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Digitized by the Internet Archive 
 in 2016 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/artsaleshistoryo01redf 
 
Art Sales. 
 
 A HISTORY OF SALES 
 
 OF 
 
 PICTURES AND OTHER WORKS OF ART. 
 
 WITH 
 
 NOTICES OF THE COLLECTIONS SOLD, NAMES OF OWNERS, 
 TITLES OF PICTURES, PRICES AND PURCHASERS, 
 
 ARRANGED UNDER THE ARTISTS OF THE DIFFERENT SCHOOLS IN ORDER OF DATE. 
 
 INCLUDING 
 
 THE PURCHASES AND PRICES OF PICTURES FOR THE NATIONAL GALLERY. 
 
 WITH 
 
 IUTO TYPES FROM SMALL SKETCHES OF GREAT PLCTURES 6- WATER-COLOUR DRAWINGS SOLD ' 
 PORTRAITS OF EMINENT COLLECTORS AND FLEWS OF THEIR RESIDENCES, 
 
 OBJECTS OF ORNAMENTAL ART, &c., 
 
 ■ S ’ffi v- — > 
 
 BY 
 
 GEORGE REDFORD, F.R.C.S., 
 
 CORRESPONDENT OF “THE TIMES” FOR ART SALES; 
 
 Registrar of the Crystal Palace Collection of Sculpture, 1853-4 ; 
 
 ' Curator of the Art Treasures Exhibition, Manchester, 1857 ; 
 
 Commissioner for the National Exhibition of Works of Art, Leeds, 1868 ; 
 
 AND 
 
 Author of “A Manual of Ancient Sculpture .” 
 
 IN TWO VOLUMES. 
 
 VOL. I. 
 
 LONDON : 
 
 ISSUED TO SUBSCRIBERS ONLY, AT FIVE GUINEAS. 
 
 1888. 
 
 {Author s Copyright Reserved .] 
 
 N 
 
BRADBURY, A G N E W, & CO., PRINTERS. 
 
 THE “WHITEFRIARS" 
 
 PRESS, 
 
 LONDO N. 
 
PREFAC E. 
 
 « 
 
 HERE is little in reference to Auction Sales to be added to 
 that which has already been said in the preface to the Volume 
 
 Sr 
 
 containing the classified Lists of Sales, which, being the 
 more difficult, was begun first, and issued in advance as soon 
 as completed, in order that subscribers might at once make use of it. I 
 have, however, still something to say as to what may be felt as an 
 incompleteness in this history of Art Sales, inasmuch as it does not embrace 
 all those which have occurred on the Continent. Some few of these are 
 included ; but after considerable expenditure of time in searching for cata- 
 logues of foreign sales in the 17th and 18th centuries, it was evident that to 
 accomplish anything like a satisfactory account of them would involve great 
 delay, besides requiring more space than could be afforded. I had, in fact, 
 prepared a summary of the Trdsor de la Curio sit d of M. Charles Blanc 
 (Paris, 1858), on the same plan as my lists, but this extended to such length 
 as to be impracticable. 
 
 The work of tracing the early sales of collections in London proved quite 
 enough to attempt, for I had to break new ground in exploring for old 
 catalogues, very few of which have been preserved in a collected form so 
 as to be readily accessible. Had it occurred to Abraham Vanderdoort (that 
 enthusiast of his craft, who actually hanged himself in despair, when he 
 was unable to find the miniature by Gibson the Dwarf entrusted to his 
 care by King Charles I., which was afterwards found safely deposited) 
 to record catalogues of sales in his time as accurately as he did the Collection 
 of Charles I., we should have had something to be still more grateful for 
 
VI 
 
 PREFACE. 
 
 than we must ever be for his invaluable work. Of this I have endeavoured 
 to give an analysis ; and all that could be gleaned from various sources 
 concerning sales of that early date, I have tried to bring into relation to 
 the general purpose of my work, and render practically instructive by notes 
 of reference. Or if George Vertue had applied his extraordinary energies 
 to recording the public sales of pictures, we should have had some- 
 thing more direct than can be gathered from the invaluable “ Anecdotes of 
 Fainting" which Horace Walpole is careful to state he so largely derived from 
 Yertue’s notes. These, however, are presented to us with all the ripe 
 abundance of Walpole’s far more comprehensive view is to historical reference 
 both in text and notes, and with such charm of suggestive remark as to render 
 his work a classic of its kind. That work must be read again and again 
 by those who wish to master the subject. Still, I venture to think that the 
 reader would find himself somewhat at a loss for the more essential nutriment 
 to be derived from such a mass of rich pabulum. Therefore, I set myself to 
 refer to Walpole's sources, with the aim of condensing the information, and 
 here and there adding, perhaps, fresh material which may be found acceptable. 
 Here, however, I would observe, that there are some interesting allusions, the 
 authority for which I have not succeeded in tracing — such as where Walpole 
 says (Chap. IX.) referring to the sale of the collection of Charles I., “ part of the 
 goods were sold by inch of candle. The buyers, called contractors, signed a 
 writing for the several sums. If they disliked the bargain they were at liberty 
 to be discharged from the agreement on paying one fourth of the sum 
 stipulated.”* 
 
 Next in importance to Walpole’s “ Anecdotes ,” published 1761, comes 
 Dallaway’s “ Anecdotes of ttie Arts in England" (by the Rev. James Dalla- 
 
 This method of limiting the time for offers to buy at a certain price, by a lighted candle marked in inches, 
 was no doubt employed ; though I am bound to say that I have not met with any sales of pictures for which it was 
 adopted. It was possibly suggested by the ancient method of limiting public speakers in the Greek and Roman 
 courts of justice by a vessel containing water allowed to run out at a certain rate, called a ‘ Klepshydra.’ The 
 sand hour-glass was a similar contrivance placed in Presbyterian pulpits, and once used, if I remember rightly, 
 in the House of Commons. At Hogarth’s own auction of his pictures, he had a clock which struck every five 
 minutes, in which time the final bidding was to be made. 
 
PREFACE. 
 
 vii 
 
 way, M.B., F.S.A., 4to., pp. 526, 1800), in which are many interesting 
 references to collections of antique statuary and pictures formed by English 
 noblemen and other amateurs ; with occasional notices of sales and prices 
 which are valuable as far as they go. But in this work, excellent and instructive 
 as it is, the writer had no special intention to record the details necessary for 
 the identification of pictures sold. 
 
 For records of sales in London before the great era of dispersions in 
 France and Italy set in, we are dependent on the old sale catalogues of which 
 I have endeavoured to give some account. After that terrible time for col- 
 lections, when during the invasion of Italy by Napoleon I., altar-pieces were 
 taken from the churches and statues from the Vatican as spoils of war and 
 trophies of victory, and choicest pictures in palaces were seized or “ re- 
 quisitioned,” or sold at any price, either to provide the sinews of war or to 
 escape actual robbery, Buchanan’s “ Memoirs of Painting" (2 vols. 8vo, 1824) 
 affords the best, and in fact only collective, account of sales and purchases by 
 himself and other competent dealers who went to Italy and France for the 
 purpose, and brought to English collections so many very valuable pictures. 
 (See pp. 69-72.) Another book containing much interesting matter referring to 
 prices and sales of pictures, besides biographical notices of artists and fine art 
 societies in France and England, is “Pye's Patronage of British Art" (By John 
 Pye, Engraver, 1 vol. 8vo, 1845,) which will be found exceedingly useful as well 
 as very pleasant and instructive. 
 
 A word has to be said as to the illustrations. These are simply given for 
 the sake of identification, not as pretending to represent the beauty of the picture, 
 which is, indeed, impossible. The small pencil sketches were rapidly done by 
 myself at the time of sale on the margins or fly-leaves of catalogues. Some 
 have been worked up from the engravings kindly lent to me by Mr. McKay (of 
 Colnaghi’s), others are precisely as they were sketched, and are very skilfully 
 fac-similed by the Autotype process under direction of Mr. Sawyer. For the 
 copy of the “Diana and Endymion ” of Mr. Watts, R.A., I am indebted to 
 Mr. W. Agnew, with the kind permission of Sir C. Tennant the owner of 
 
PREFA CE. 
 
 viii 
 
 the picture. The copy of the “Chill October” by J. E. Millais is from the 
 excellent etching also lent for the purpose by my old friend Mr. W. Agnevv. I 
 have to thank Sir George Martin Holloway for his valuable aid in having 
 photographs specially taken from the remarkable pictures in the gallery of 
 Royal Holloway College, of “ Peter the Great in Deptford Dockyard,” by 
 Maclise ; and the “Travellers in a Storm,” by Copley Fielding. My thanks 
 are also due to the proprietors of L' Art for the use of the engravings illus- 
 trating the great sale of the Hamilton Palace Collection, and to the Duke of 
 Hamilton for his obliging help in contributing for the purpose, photographs of 
 the fine portrait of Duke Alexander of Hamilton and the view of Hamilton 
 Palace. For the copy of the picture of “ Apollo and Marsyas,” I am indebted 
 to Messrs. Braun the eminent photographers of pictures by the Old Masters. 
 
 In presenting this work, which is the result of some twenty years’ 
 preparation during a course of considerable activity as a writer upon 
 passing art exhibitions and other matters of public interest, I am only too 
 conscious of its shortcomings. I should have withheld the publication till it 
 seemed to me more complete, had it not been for the dread of leaving such a 
 store of useful stuff unapplied and a good intention unaccomplished. As it is, 
 I venture to hope that my subscribers, to whom I must ever be grateful for 
 enabling me to give shape and substance to my design, will be indulgent 
 to its faults, and generous in their commendation. 
 
 G. R. 
 
 Cricklewood, 
 
 London, N.W. 
 
SUBSCRIBERS 
 
 
 
 THE ROYAL LIBRARY, Windsor Castle. 
 
 THE NATIONAL GALLERY. 
 
 THE NATIONAL PORTRAIT GALLERY. 
 
 THE DEPARTMENT OF SCIENCE AND ART. 
 
 THE ROYAL ACADEMY OF ARTS. 
 
 THE LONDON LIBRARY. 
 
 THE FREE PUBLIC LIBRARY, SYDNEY, New South Wales. 
 
 THE FREE PUBLIC LIBRARY, WORCESTER, Mass., U.S.A. 
 
 THE BIBLIOTHEQUE ROYALE. Bruxelles. 
 
 THE ROYAL BERLIN MUSEUM LIBRARY. 
 
 THE SCHLESISCHE MUSEUM DER BILDENDEN KUNSTE ZU BRESLAU. 
 THE DIRECTION DES KONIGL. KUPFERSTICH CABINETS ZU DRESDEN. 
 THE ‘'COMMISSION DE RUBENS," Antwerp. 
 
 THE ATHENZEUM CLUB. 
 
 THE CARLTON CLUB. 
 
 THE REFORM CLUB. 
 
 THE BURLINGTON FINE ARTS CLUB. 
 
 THE FINE ART SOCIETY. 
 
 THE XIX™ CENTURY ART SOCIETY. 
 
 The Duke of Hamilton. 
 
 The Duke of St. Albans. 
 
 The Earl of Northbrook. 
 
 The Earl ok Normanton. 
 
 The Earl of Orford. 
 
 The Lord Armstrong. 
 
 The Lord Rothschild. 
 
 Lord Tweedmouth. 
 
 The Lord Wantage. 
 
 The Lord Windsor. 
 
 Baron Edmond de Rothschild. 
 
 ,The Right Hon. W. E. Gladstone, M.P. 
 
 The Right Hon. W. H. Smith, M.P. 
 
 Lord Ronald Gower. 
 
 Sir Henry Cotterell, Bart. 
 
 Sir James Kitson, Bart. 
 
 Sir C. Wingfield, K.C.B. 
 
 Sir J. C. Robinson, Surveyor of the Royal Collections. 
 Sir George Martin Holloway. 
 
 The Hon. C. Ellis. 
 
 The Hon. W. F. P. M. Mainwaring. 
 
 Mrs. Martin Abell. 
 
 Mr. F. Charles Adams. 
 Mr. William Agnew. 
 Mr. George W. Agnew. 
 Mr. C. Morland Agnew. 
 Mr. W. Lockett Agnew. 
 
 Mr. C. Allhusen. 
 
 Mr. Edward Almack. 
 
 Mr. W. Amhurst Tyssen Amhurst, M.P. 
 Messrs. Amsler & Ruthardt, Berlin. 
 
 Mr. Thomas Oldham Barlow, R.A. 
 
 Mr. William Beckett, M.P. 
 
 Mr. R. H. Benson. 
 
 Mr. Henry Booker. 
 
 Mr. W. Boore. 
 
 Messrs. Boussod, Valadon & Co. 
 
 Mr. A. Bredins, Conservateur die Musee , Amsterdam 
 Mr. Seward Brice. 
 
 Mr. R. Brocklebank. 
 
 The Rev. W. E. Buckley. 
 
 Mr. John Bumpus. 
 
 Mr. W. P. Burkinshaw. 
 
 Mr. Walter J. Burns. 
 
 Mr. James Christie. 
 
 Mr. A. D. Clarke. 
 
 Mr. Richmond J. Cochrane. 
 
 Mr. Arthur Leslie Collie. 
 
 Mr. W. Wilkie Collins. 
 
 Messrs. P. & D. Colnaghi & Co. 
 Mr. Martin Colnaghi. 
 
 Mr. Cornelius Cox. 
 
 Mr. C. T. D. Crews. 
 
 VOL. I. 
 
X 
 
 SUBSCRIBERS. 
 
 Mr. Charles Davis. 
 
 Mr. Charles H. Davy. 
 
 Mr. Warren De la Rue, F.R.S. 
 Messrs. Dulau & Co. 
 
 Mr. A. W. Dunn. 
 
 Mr. F. M. Fry. 
 
 Mr. Antony Gibbs. 
 
 Mr. H. Panmure Gordon. 
 Mr. S. Wynn Graystone. 
 Mr. Algernon Graves. 
 Mr. Henry Graves. 
 
 Mr. F. S. Henson. , 
 
 Mr. T. Rowley Hill. 
 
 Mr. James R. Hoare. 
 
 Mr. PIenry Houldsworth, Jun. 
 Mr. R. S. Holford. 
 
 Mr. F. Hudd. 
 
 Mr. William James. 
 
 Captain W. H. James. 
 
 Mr. J. Auldjo Jamieson. 
 
 Mr. H. Jephson. 
 
 Mr. John G. Johnson, Philadelphia , V.S.A. 
 Mr. Felix Joseph. 
 
 Mr. S. S. Joseph. 
 
 Mr. T. S. Kennedy. 
 
 Mr. B. W. Leader, A.R.A. 
 Mr. L. Lesser. 
 
 Mr. Walter B. Lethbridge. 
 Mr. Henry Lockwood. 
 
 Lady Mary Loyd. 
 
 Mr. Archie Kirkman Loyd. 
 
 Mr. T. McLean. 
 
 Mr. R. G. Millns. 
 
 Mr. Charles Mitchell. 
 
 Mr. J. S. Mitchell, Milwaukie , Wisconsin , U.S.A. 
 Mrs. Frida Mond. 
 
 Mr. Alfred Morrison. 
 
 M. Paranhos, Consul General of Brazil, Liverpool. 
 Messrs. Phillips, Son & Neale. 
 
 Mr. Crawford J. Pocock. 
 
 Mr. Walter B. Puckle. 
 Messrs. Putticic & Simpson. 
 Mr. Horatio N. Pym. 
 
 Mrs. Quain. 
 
 Mr. Bernard Quaritch. 
 
 Mr. E. Radley. 
 
 Mr. E. Pigott Bedford. 
 Mr. J. Rohde. 
 
 Mr. John Rhodes. 
 
 Mr. Briton RiviPre, R.A. 
 Mr. Rutley. 
 
 Mr. Saxton. 
 
 Mr. George Scharf, C.B., Director of the National 
 Portrait Gallery. 
 
 Mr. Ersicine Scott. 
 
 Mr. James Simpson, Philadelphia , U.S.A. 
 
 Mr. G. F. Smith. 
 
 Mr. Jonathan Smith. 
 
 Messrs. Sotheby, Wilkinson & Hodge. 
 
 Messrs. Henry Sotheran & Co., Piccadilly. 
 
 Mr. M. H. Spielmann. 
 
 Mr. E. J. Stanley. 
 
 Mr. Thomas Stopher, J.P. 
 
 Mr. J. E. Taylor. 
 
 Mr. J. Taylor. 
 
 Mr. A. W. Thibaudeau. 
 Messrs. Too~h & Sons. 
 Mr. James Toovey. 
 
 Mr. Andrew W. Tuer. 
 
 Mr. Charles Van Raalte. 
 Mr. J. Vavasseur. 
 
 Mr. Arthur Verschoyle. 
 Messrs. J. & W. Vokins. 
 
 Mr. J. W. Waller. 
 Messrs. Wallis & Son. 
 Mr. C. Wentworth Wass. 
 Mr. C. T. Wertheimer. 
 Mr. Asher Wertheimer. 
 Mr. Ernest Willett. 
 
 Mr. Thomas H. Woods. 
 Mr. T. W. Wright. 
 
 Mr. Frederick William Yeates. 
 
CONTENTS 
 
 PREFACE ...... 
 
 LIST OF SUBSCRIBERS . 
 
 LIST OF ILLUSTRATIONS 
 INTRODUCTORY .... 
 
 HISTORICAL ACCOUNT OF SALES : 
 
 PAGE 
 
 . v-vii 
 . ix-x 
 xiii-xiv 
 xv-xxix 
 
 Analysis of Sale of Charles I. Collection . 9-14 
 Letter of King Charles I. to Mr. W. Pettye 15 
 Pictures Named in R. Symonds’ Diary . .17-19 
 
 Disposal of Charles I. Collection . . .19-22 
 
 Pictures Recovered by Charles II. . . 23 
 
 Pictures Lost in the Burning of Whitehall 
 
 Palace 23 
 
 Old Sale Catalogues of the 17TH Century . 24 
 
 The Mantegna Cartoons Recovered . . 26 
 
 Some Collections Sold in the i8th Century 27 
 Sale of Lord Oxford’s Collection, 1741 . . .28-31 
 
 Hogarth’s own Auction and Raffle . . .31 -36 
 
 Sales of Collections : — 
 
 Dr. Mead, 1754 .36-38 
 
 Sir R. Strange, and Others .... 39 
 
 the Chevalier D’Eon, and Note on His 
 
 Life, &c 40-42 
 
 M. Noel Desenfans 42-45 
 
 Duchess of Portland 46 
 
 'Earl of Waldegrave, and Others . . . 46-47 
 
 Thomas Gainsborough, R.A., and his Works .48-50 
 
 Sir J. Reynolds, P.R.A 53-54 
 
 Sir Lawrence Dundas, 1794, and Others .54-56 
 
 M. de Calonne ...... .56-58 
 
 Various Collections, 1795-8 . . . .59-67 
 
 the Orleans Collection, and Priced Cata- 
 logue with Purchasers . . . , .69-76 
 
 Sir W. Hamilton 79-80 
 
 Earl of Besborough, 1801 82-83 
 
 Mr. Beckford, of Fonthill, 1802 ... 84 
 
 Sir Simon Clarke and Mr. G. Hibbert . . 86-7 
 
 Mr. J. Udny and Mr. R. Udny. . . .88-90 
 
 From the Barberini Palace and Others . . 91-4 
 
 James Barry, R.A 95 
 
 M. Lafontaine and Others .... 98-102 
 
 Mr. Walsh Porter 103 
 
 Marquis of Lansdowne . . . . . 104 
 
 Mr. C. F. Greville 105 
 
 Lord Kinnaird 109 
 
 Mr. W. Y. Ottley m 
 
 Sales of Collections : — 
 
 Various Owners, 1S11-20 
 Benjamin West, P.R.A. 
 
 Marchioness of Thomond 
 Fonthill Abbey, 1823 .... 
 Mr. G. Watson Taylor . 
 
 Lord Carysfort 
 
 Sir T. Lawrence, P.R.A. 
 
 the Earl of Mulgrave, and Others 
 
 Horace Walpole, Strawberry Hill 
 
 112-18 
 • 119 
 
 . 120 
 121-22 
 . 123 
 ■ 123 
 124-7 
 128-30 
 131-6 
 
 Mr. E. Higginson, of Saltmarshe, and Others 136-7 
 
 the Duke of Buckingham, Stowe . 
 
 M. Casimir Perrier, and Others 
 the King of Holland .... 
 
 Prince Buonaparte 
 
 King Louis Philippe ..... 
 
 Mr. Ralph Bernal, the Bernal Collection 
 
 Mr. Samuel Rogers 
 
 the Earl of Shrewsbury, Alton Towers 
 Lord Northwick, Thirlestane House 
 Count Stolberg, of Soder, Hanover 
 Mr. M. J. Johnson. Engravings 
 Mr. Plint, Pre-Raphaelite Pictures. 
 
 Mr. E. Bicknell 
 
 [Copies of Great Pictures mistaken for Originals] 168 
 Sale of John Leech’s Works .... 169-71 
 
 ,, the Rev. Dr. Wellesley’s Collection. 
 
 Engravings. ..... .172-1 
 
 Pictures falsei.y attributed to Constable and 
 
 Turner . .175-8 
 
 Sales of Collections 
 
 138-41 
 
 141-2 
 
 143-5 
 
 146 
 
 146-7 
 
 148 
 
 150-3 
 
 154 
 
 155-7 
 
 158-9 
 
 160 
 
 164-5 
 
 166-7 
 
 THE DELESSERT AND PERRlfeRE COLLECTIONS . 179 
 
 Mr. E. Bullock ....... 1S0-82 
 
 Charles Dickens 181 
 
 the Last Works of Daniel Maclise . . . 183 
 
 the Gillott Collection 184-9 
 
 Picture Sales in Paris 190 
 
 Mr. Rusicin’s Opinion of John Leech’s Works . 191 
 
 Sales of Collections : — 
 
 the Prince Napoleon JLrome Collection . 192-3 
 
 Mr. A. Barker, 1874 194 
 
 the Marlborough Gems 195-9 
 
 Mr. Samuel Mendel, of Manley Hall . .200-1 
 the Rt. Hon. W. E. Gladstone, M.P. . . 203 
 
 Mr. W. Quilter 204-7 
 
 Mr. C. Bredel, and Others . . . 209-16 
 
 b 2 
 
ART SALTS. 
 
 xii 
 
 PAGE 
 
 The Art Sales Season, 1876 . 
 
 
 .217-8 
 
 Sales of Collections-.— 
 
 
 
 Mr. Wynn Ellis . 
 
 
 . 219-31 
 
 Herr Liphart. Engravings . 
 
 
 •233-5 
 
 the Sibyls by Botticelli. Engravings 
 
 . . 238 
 
 Mr. Bohn 
 
 
 239-40 
 
 Mr. Albert Levy . 
 
 
 . . 241 
 
 Mr. Foster, of Clewer Manor 
 
 
 . 247 
 
 Sir A. Hume. Rembrandt etchings . 
 
 
 . .248-9 
 
 the Earl of Malmesbury 
 
 
 249-50 
 
 The Art Sales Season, 1877 
 
 
 . .251-2 
 
 Sales qf Collections 
 
 Mr. Albert Grant, of Kensington House 
 Dr. Sibson’s Wedgwood Collection . 
 
 Due de Forli. Porcelain. 
 
 Sir W. H. Fielden 
 
 Mr. R. Vernon. Portraits 
 
 Mr. J. Knowles 
 
 Novar. Turner Vignettes and Pictures 
 Portrait of Walter Scott 
 
 Mr. Stone Ellis 
 
 Mr. T. G. White 
 
 Mrs. E. Romilly 
 
 Mr. Bohn 
 
 Mr. T. Greenwood 
 
 Mr. A. Brooks 
 
 Mr. T. S. Virtue 
 
 Lord Lonsdale 
 
 Mr. E. M. Ward, R.A. Works 
 
 Mr. J. Arden 
 
 Mr. Wardell 
 
 Mr. Fuller Maitland .... 
 
 Mr. W. B. White 
 
 Mr. Anderdon 
 
 Mr. A. Barke’r 
 
 [Letter from Mr. Scharf, on Portraits ] . 
 
 Mr. W. Sharp 
 
 Mr. Henderson . 
 
 Mr. J. Tassie 
 
 Mr. E. Hermon 
 
 Hamilton Palace 
 
 Mr. C. S. Bale 
 
 [the National Portrait Gallery] 
 the Beckford Vandycks .... 
 the Season at Christie’s, 1883 . 
 
 Mr. W. AngerStein 
 
 Edward Duncan. Works 
 
 Mr. James Morris 
 
 Aston Rowant, Mr. T. Taylor’s . 
 
 Mr. J. M. Dunlop 
 
 Mr. PL Woods 
 
 English Miniatures 
 
 Dr. Griffiths. Prints .... 
 
 D. G. Rossetti. Works .... 
 
 Mr. W. Lee 
 
 Stourilead Heirlooms 
 
 • 253 
 
 . 258 
 . 259 
 
 • 259 
 
 . 260 
 
 . 261 
 
 263-270 
 . 264 
 
 . 267 
 
 . 2S1 
 
 . 282 
 
 • 283 
 
 . 284 
 
 . 287 
 . 289 
 
 . 290 
 
 . 292 
 
 • 293 
 
 . 294 
 
 • 295 
 
 . 297 
 . 298 
 
 . 300 
 . 312 
 
 • 3i3 
 
 • 3H 
 
 • 3 l6 
 
 • 3H 
 319-344 
 
 • 345 
 
 • 346 
 
 • 348 
 
 • 349 
 
 • 349 
 
 • 35i 
 
 • 352 
 
 • 353 
 
 • 355 
 
 • 356 
 
 • 356 
 
 • 356 
 
 • 357 
 
 • 359 
 
 • 360 
 
 PAGE 
 
 Sales of Collections .— 
 
 the Blenheim Enamels 360 
 
 the Sunderland Old Drawings . . . 360 
 
 Leigh Court, Sir P. Miles 361-6 
 
 Mr. St. John Dent. Prints . . . 367-7° 
 
 [the National Gallf.ry] 37 1 
 
 Drawings by Turner 37 2 
 
 Mr. E. C. Potter 373 
 
 Mrs. Morrison 375 
 
 Mr. Albert Levy 376 
 
 Lord Londesborough 377 
 
 Mr. R. Hanbury 379 
 
 Mr. Ashley. Miniatures 380 
 
 Mr. C. Skipper 381 
 
 Sir A. Fountaine. Majolica , drY. . . 3S3— 7 
 
 Rembrandt Etchings 388 
 
 Mr. W. Russell. 389-9 1 
 
 Drawings by Blake 393 
 
 Miniatures 393 
 
 Mr. J. Harding 394 
 
 Mr. G. Vaughan 395 
 
 Mr. H. Cooper 396 
 
 [Debate on Vote for National Gallery] . 397 
 
 Rev. J. Fuller Russell 398 
 
 [Workers and their Work— Christie’s] . . 399 
 
 Sir W. Knighton 401 
 
 Lord Stafford 402 
 
 Mr. C. Beckett Denison .... 404-9 
 
 Raphael. The Three Graces .... 410 
 
 the Blenheim Collection .... 411-22 
 
 Col. A. Ridgway 423 
 
 Mr. W. W. Warren 423 
 
 Mr. E. H. Green 423 
 
 Col. Ellis 425 
 
 Miss Gamble. Lace and Jewels .... 426 
 
 Moxhull Hall 426 
 
 Mr. McConnel . 427 
 
 [the Art Sales Season] 429 
 
 Mr. W. Graham ...... 430-3 
 
 Mr. A. J. B. Beresford Hope . . . . 435 
 
 Mr. S. Addington ...... 436 
 
 Mr. John Bentley 437 
 
 Lord Dudley. Porcelain .... 438-40 
 
 Richard Doyle. Works 441 
 
 Lord Cholmondeley, and Others . . . 441 
 
 Mr. C. J. Nieuwenhuys 442 
 
 [Letter from Mr. Gladstone] .... 445 
 
 Sir PI. Dashwood, and Others . . . . 446 
 
 Mr. Kaye Knowles 447 
 
 Mr. Roupell 448 
 
 Lord Bread albane. Old Drawings . . . 448 
 
 Mr. H. J. Fane. Portrait by Gainsborough . . 449 
 
 the Duke of Buccleuch. Engravings . 449-51 
 
 Mr. John Graham 446 
 
 Mr. Bolckoyv. Marton Hall Gallery . . . 452 
 
 Lord Monson. Gatton Hall Gallery . . . 453 
 
 the Marquis of Exeter . • . . . . 454 
 
ILLUSTRATIONS. 
 
 I. FRONTISPIECE.— PORTRAIT OF MRS. SIDDONS AS THE TRAGIC MUSE, by 
 Sir Joshua Reynolds. Sold 1795 — £320 ; and 1823 — ,£1837. In the Colledion of the Duke 
 of Westminster. 
 
 II. 
 
 ( APOLLO AND MARSYAS {From the Picture in the Louvre) ) 
 (AUTOTYPE. From the Drawing by B. MONTAGNA . . j 
 
 III. FRONTISPIECE OF CATALOGUE OF LORD OXFORD’S COLLECTION. Sold 1741. 
 
 IV. GARRICK BETWEEN TRAGEDY AND COMEDY, by Reynolds. Sold 1782,^262 . . 
 
 V. MRS. BRADDYLL, by REYNOLDS. Sold 1854, £223. In the Collection of Sir R. Wallace 
 
 (PORTRAIT OF WILLIAM BECKFORD, by Reynolds ) 
 
 VI. 
 
 (VIEW OF FONTHILL ABBEY. Collection sold 1823 ) 
 
 ( PORTRAIT OF HORACE WALPOLE ) 
 
 VII. .... 
 
 (INTERIOR OF STRAWBERRY HILL. Collection sold 1842) 
 
 VIII. PORTRAIT OF MR. BERNAL, with Objects from his Collection. Sold 1855 
 
 IX. FACSIMILE OF JOHN LEECH’S ORIGINAL DRAWING OF ‘ MR. PUNCH’S FANCY 
 BALL.’ Size 9jX 15^ in pencil. See Punch , Vol. XII., p. 16. Presented to me after his death 
 by his Sister 
 
 X. SIX THUMBNAIL SKETCHES— 
 
 A. — Zurich. W. C. Drawing by Turner. Mo?iro Coll. Sold 1878, ^1260 . . . . 
 
 B. — Knaresborough „ „ „ ^1218 ... 
 
 C. — Lowestoft „ „ „ fin 
 
 D. — Caer Cennen Castle, in oil, by David Cox. Sold 1876, £2623 
 
 E. — Forest Scene, W. C. Drawing by David Cox. Sold 1876, ^304 
 
 F. — Bettws Church, in oil, by David Cox. Sold 1876, ^2205 
 
 XI. FIVE THUMBNAIL SKETCHES OF THE GREAT PICTURES BY TURNER IN 
 THE NOVAR OR MUNRO COLLECTION. Sold in 1878 — 
 
 No. 1. Rome from Mt. Aventine. /6142. In pencil, untouched 
 
 „ 2. Modern Rome, Campo Vaccino. .£4672. ,, „ 
 
 „ 3. St. Mark’s Place, Venice. ^4560. Pencil, worked up in Indian ink from the engraving 
 „ 4. Ancient Italy — Ovid Banished. ^5460 „ „ „ 
 
 „ 5. Modern Italy. ,£5250 .... „ „ „ 
 
 The picture “Van Tramp’s Shallop,” ,£5460, will be seen marked G in another set. 
 
 ( PORTRAIT OF ALEXANDER, DUKE OF HAMILTON j 
 (view OF HAMILTON PALACE ) 
 
XIV 
 
 CONTENTS. 
 
 XIII. 
 
 XIV. 
 XV. 
 
 XVI. 
 
 XVII. 
 
 XVIII. 
 
 XIX. 
 
 PAGE 
 
 HAMILTON PALACE COLLECTION Writing Table of Oueen Marie Antoinette, 
 
 .£6000 ; Two Armoires of Buhl Work, ,£12075 ; Ewer of Ancient Enamelled 
 Glass, 7 inches high, ,£2730; Louis XVI. Secretaire, Ebony Lacquer Work, ,£5460; 
 a Louis XV. Commode, Mounted Or-molu, £ 6247 ; a Louis XVI. Sofa, in Gobelins 
 Tapestry, ,£1176; Picture , a Boy with a Hornbook, by Leonardo da Vinci, .£2205; 
 Statuette of Voltaire, in Marble, by Houdon, .£1050 31 9-344 
 
 PETER THE GREAT IN DEPTFORD DOCKYARD, by Maclise. Sold 1883— .£388. N 
 (In Royal Holloway College Gallery.) Peter the Great is the figure with the saw; the 
 figure standing, in black, is Evelyn, whose house near Deptford was lent to the Emperor . 
 
 L -— TRAVELLERS IN A STORM, by Copley Fielding (in oil). Sold 1883, ,£3150. 
 
 (In Royal Holloway College Gallery.) .......... 
 
 M. — ‘CHILL OCTOBER,’ by Millais. Sold 1875, £ 3 2 55 ....... 
 
 THE ALTIERI CLAUDES :-THE SACRIFICE TO APOLLO, ,£6090 
 
 And THE LANDING OF YENEAS, Aqqo [Leigh Court Sale, 
 
 DIANA AND ACTHLON, by Annibale Caracci, £(462 . . ./ 
 
 THE CALLING OF ABRAHAM, by Gaspar Poussin, £1995. {Leigh Court Sale , 1882, for \ 
 the National Gallery.) 
 
 MERCURY AND ARGUS, by Turner, £(3780. {Graham Collection, sold 1887.) 
 
 THE ENCHANTED CASTLE, by Claude, .£546, Calonne Collection, 1795 5 ,£2100, Redleaf 
 Collection, sold 1848 ; ever since in the Overstone Collection (Lord Wantage’s). 
 
 THE FOUNTAINE COLLECTION:— 
 
 PORTRAIT OF SIR ANDREW FOUNTAINE, Marble Bust by Roubiliac 
 
 452. EWER, IN ENAMEL, by J. Courtois, .£2415 
 
 453 - DISH, ENAMEL, by L. Limousin, ,£7350 
 
 37 6. URBINO BOTTLE, £(336 
 
 211. URBINO DISH, .£1333. 
 
 296. CANDLESTICK, HENRI II. WARE, £(3675 . 
 
 103. CISTERN, PALISSY WARE, £(1911 
 
 RUBENS AND HIS WIFE AND CHILD, by Rubens. 
 Collection, 1886, it is said for .£35000.) . 
 
 ( Sold privately from the Blenheim 
 
 DIANA AND ENDYMION, by G. F. Watts, R.A. Sold 1886. ,£913 
 
 FOUR THUMBNAIL SKETCHES IN PENCIL— 
 
 J.— Snowdon, W. C. Drawing by Turner. Sold 1SS7, £(65 r 
 
 G. -Van Tromp’s Shallop (in oil), by Turner. Sold 1878, £(5460 
 
 H. Antwerp : Van Goyen looking for a Surifc-t C/i/w qc r 
 
 1 > 6 0 , ,£6,925 {Graham Sale) . . 1 3 , £n 3, {Bicknell Sale) 
 
 The Sheep Drove, by John Linnell. {Graham Collection.) Sold 1887, .£1942. 
 
 360 
 
 366 
 
 382 
 
 410 
 
 43° 
 
 446 
 
INTRODUCTORY. 
 
 HE history of the sales of Works of Art, more particularly of pictures, 
 which forms the subject of this volume, refers chiefly to public sales by 
 auction. These have for a century and a half or more been the 
 main channel through which some old collections have been increased, 
 and many new ones originated and continually supplied. But there 
 have always been sales of pictures and works of art of every kind going on, long before 
 the auction became established, and in later times, by “ private contract,” and as these 
 generally become known with more or less accuracy as to price and other details 
 of the transaction, they naturally claim collateral notice, though it would be vain to 
 attempt any full account of such sales, even were it quite permissible. Then there are 
 the sales to our Public Galleries, negotiated by the Director or Government authority, and 
 the gifts or bequests made from time to time, which are matters of public record, but not 
 being easily accessible they are conveniently included amongst our sales, especially as a 
 considerable proportion of them have been purchases at auction. 
 
 As we proceed to consider the working and the results of sales of pictures by 
 auction, it will soon be understood that they have a special and peculiar interest, and are 
 of great value in reference to the history of Art, its influence and purpose, as well as in 
 the promotion of Art criticism. Although the primary and direct object of such sales is 
 simply to convert works of art into money at once, it happens indirectly that relations of 
 much higher import than the mere transference of property with profit or loss to the 
 vendor or purchaser, have continually been developed. To mention only some of the 
 directions into which the very various information branches out from these dispersions of 
 collections, there are such obvious sources as the discovery of lost pictures, or even parts 
 which have been separated, known in history but long lost sight of. I hus evidence is 
 afforded towards the settling of doubts as to the existence of such and such a work ; the 
 confirming or disproving of the authenticity of a picture, and perhaps assigning it to the 
 hand of a different painter ; the tracing of the course a picture has passed through in 
 changes of ownership, and the ascertaining of its identity while in the possession ol 
 
XVI 
 
 IN TROD UC TOR Y. 
 
 different owners — the provenance , as it is concisely termed, of a picture. Many very 
 interesting pictures have remained unknown except by such vague references as have 
 been found in Vasari, or other writers of the time when they were painted, until they have 
 come to light in the auction room in this almost accidental way ; and some have 
 undoubtedly been discovered and identified as the work of a painter wholly undescribed 
 or alluded to in histories. Some remarkable instances of these discoveries will come in 
 for more special mention presently, while there are some other points to be noticed which 
 concern these public sales. 
 
 Those who have been in the habit of visiting Christie’s will have observed that 
 while the important sales are those of collections of repute, known under the name of 
 some person of taste and distinguished position who formed that particular collection, 
 there are many more which are made up from various sources, not unfrequently from 
 collections in Italy, France, Germany, and Holland, often without the names of the 
 owners being given. It often happens that pictures and other works of art have been 
 routed out of some lumber room of an old family mansion in the country, where they 
 have lain hidden and forgotten, although once they were the chosen treasures of some 
 travelled connoisseur of ancient days, who “ picked them up ” abroad and brought them 
 home, perhaps only to be laughed at for his pains. He dies, and is almost as completely 
 forgotten by his family as his pictures were, until at length it becomes necessary to have a 
 great clearance sale, either in order to realize and divide the property amongst those to 
 whom it belongs, or simply to get rid of so much lumber. But the value, both real and 
 artistic, of this sort of lumber has been vastly developed of late years ; partly through the 
 progress of Art knowledge in general, and largely by the favouring influence and the 
 opportunities afforded by the modern auction room, whether at the Hotel Drouot in Paris, 
 or at Christie’s. By the constant succession of pictures coming up for sale in this way — 
 many totally unknown, except perhaps to those who happen to have seen them in the 
 old house, and of whom there would be very few indeed who knew what they were ; 
 with a considerable proportion of pictures which had been sold or offered for sale on 
 previous occasions — the opportunities of becoming familiar with the various characteristics 
 of the great masters, as well as the less important painters, are such as could not be 
 obtained so easily and so extensively in any other way. Another point of information by 
 no means to be despised, is the estimate of the money value of pictures, and the changes 
 eithei in depreciation or increase of value which so curiously attend upon the variations in 
 taste and fashions of opinion that prevail at different times. All this has led to so much 
 education that dealers who were formerly mere brokers or jobbers, taking all fish that 
 came to their net, have become “experts,” and amateurs have learnt so much that some 
 of them are better experts than the dealers. 
 
INTRODUCTORY. 
 
 XVII 
 
 But while these sales reveal so much that is pleasant and conducive to 
 improvement in the knowledge of works of art, they have a side the reverse of this, 
 for unfortunately they often show us pictures which have suffered irreparable injury 
 from neglect of the most ordinary means of preserving them. Many have been allowed 
 to remain in dark and damp rooms, stowed away out of sight. Many have hung upon 
 the walls of an old house year after year, exposed to every change of temperature and 
 currents of hot or cold air ; often placed against heated fireplaces or in the brightest sun- 
 light near a window all the year round ; treated with no more care than if they were mere 
 painted wainscoat-panels. Thus it is no very uncommon thing to see pictures with the 
 canvas actually rotten and broken into holes, panels warped and cracked, paint peeling off 
 and varnish changed into a coat of opaque stuff, absorbing all the moisture and dust with 
 which the surface of the picture comes into contact. For this destruction there is certainly 
 the poor consolation to be found in the remedies which the picture restorer professes to 
 supply when he is called in by the intending purchaser to pronounce upon the cure. 
 Upon the strength of his promises the damaged picture is often bought, and he does his 
 best according to his lights ; but it is to be feared that for one case recovered there are 
 fifty deformed for ever, and as many more die under the operation. Nothing is more dis- 
 tressing, next to the sight of pictures destroyed by neglect, than to see these victims of the 
 picture-restoring empiric, as we so constantly do in these exhibitions for sale — pictures 
 overcleaned, scraped and scrubbed down to the very canvas ; and after being cruelly 
 skinned in this way, then elaborately touched up, and the clumsy accidents of the restorer’s 
 tools all painted over to hide the wounds and scars inflicted. Often it would be better 
 to buy the ruin, and preserve it as a beautiful ruin ; — better to bear the ills that the flesh of 
 pictures is heir to, than fly to others that we wot not of. Still, we must credit the picture 
 auction with the rescuing of many good pictures from utter destruction, and with the pre- 
 servation of them which sometimes follows the change from an owner who neither knows 
 nor cares, to one who appreciates the beauties of the old masters. The great and 
 pressing importance of this subject * may be taken as some excuse for referring to it 
 in this connection. 
 
 It remains to be said of the chances and changes of collections, and the dis- 
 coveries of the sale-room, that objects smaller and more fragile than pictures, and so the 
 more liable to be lost or destroyed, such as engravings, etchings, drawings and sketches 
 by the old masters, are doomed to even greater risk of destruction. Some of the most 
 
 * I am sure that many will feel as strongly as I do myself as to the damage done by neglect of the care 
 and preservation of pictures, whether old or modern. The subject is one that has often occupied my attention 
 during a long experience of Christie’s rooms, and in examining public and private collections, and, in my opinion 
 there is a great want of thorough scientific knowledge as applied to what may be called the sanitary preservation 
 of pictures. 
 
 VOL. I. 
 
 C 
 
INTRODUCTORY. 
 
 xviii 
 
 beautiful, rarest, and precious of these have been discovered buried amongst the heaps of 
 common prints that we see every day being tossed over in the bulky bundles of the sale- 
 rooms at Sotheby’s, Puttick and Simpsons, and at Christies. Others as choice and rare, 
 which have afterwards sold for large sums, have been found pasted into the covers of 
 some worthless old book, used as mere padding by the bookbinder stuffed in, like the dust 
 of Caesar, to stop a hole. Many have been rescued from the ignoble fate of wrapping up 
 penn’orths of butter and cheese for the dirtiest hands of the poorest of the poor, to take up 
 a place of honour in the portfolios of the millionaire collector. Such is the luck of the 
 sale-room, and the charm of discovery that haunts the fancy of the collector who spends a 
 life in those happy hunting-grounds — and one of no small delight, for though he may so 
 rarely find a gem, there is a fascination in the pursuit that never fails to attract him 
 wherever a sale comes off. There, too, he finds much to learn, not only in seeing rare 
 examples and comparing the works of one artist with those of another, but from 
 observing how the experts judge the true and the false — how they discriminate between 
 the excellent in quality, the indifferent good, and the “ poor things.” 
 
 The “ commercial spirit,” as it is politely termed, is necessarily at the bottom 
 of most things in this world ; but something more is the first requisite for dealer 
 or amateur in the close study of collections, and the practical teaching of the sale- 
 room. Here is the trial ground for all, and it has its analogies with those 
 other institutions of modern civilization that have the charm of speculation, which 
 for technical sagacity might be classed as branches of the Fine Arts, and where the 
 neophyte has to invest rather largely in experience before he can compete with “ the 
 knowing ones.” It is a sort of foriim where the merits or demerits of things can 
 be discussed with every freedom of opinion and every license of assertion, over the 
 portals of which might well be inscribed that sound legal maxim, “ Caveat emptor.” 
 Nevertheless, to those who are fond of the game, it is a pleasant place, and an amusing ; 
 singularly attractive in the constant variety and often the novelty of the display which 
 seems to be inexhaustible in its treasures. All tastes and fancies are met, every whim of 
 every fanatico — from the “ fetiche ” of the savage, or the amulet of an ancient Egyptian, to 
 a Greek gem ; from prehistoric earthen pots to the most beautiful of Greek vases ; from 
 the primitive limnings of a block-book to the engravings of Marc Antonio, and the 
 etchings of Rembrandt ; from the barbarous daubings of an ancient Mexican to the 
 splendid pictures of Titian and Raphael. It would be more difficult, indeed, to say what 
 treasures of art or letters have not either been sold or passed through the auction room, 
 than to name those which have. All this “movement/’ as it is not inaptly styled, this 
 breaking up and distribution of collections, has spread the seed of Art in every variety, 
 producing the fruit of instruction and interest of unspeakable benefit for culture ; creating 
 
INTRODUCTORY . 
 
 xix 
 
 as it grows, never worn out, and always humane in its influence. When we remember 
 how constantly in these exhibitions preceding the sale, very fine examples of painting by 
 ancient and modern artists, with those rarer instances of some celebrated masterpiece 
 of the great painters, have been brought before the public in such vast extent and variety, 
 and with a facility for instruction or acquisition which otherwise would have been im- 
 possible, it is not too much to say that the Fine Art Auction is an institution the 
 advantages of which can hardly be too highly estimated. 
 
 Having said thus much as to the general relations of the Auction in reference to 
 the interests of Art, we may notice some of those remarkable instances which have occurred 
 in our own time, exemplifying the discovery of important pictures sold at auction, and thus 
 contributing to the history of Art. Three very large and highly important collections 
 formed in Rome during the end of the last and first half or rather more of the present 
 century, were sold by auction — those of Cardinal Fesch, the Marquis Campana, and Signor 
 Castellani. The Cardinal was a collector of taste and considerable means, but not re- 
 markable as a critical judge of pictures, whatever he may have been in other works of art. 
 He seems to have been essentially a collector, buying pretty much everything that came 
 in his way. Some of his pictures found their way to London and were sold at Christie’s, 
 as will be seen in our records ; others were sold after his death in Rome in 1 840. A 
 great number of his pictures had been stowed away in the basement vaults of the Falconieri 
 Palace, where the Cardinal resided, and in which his collection of pictures was to be seen 
 during his lifetime. These pictures were removed to the Villa Paolina, and in 1845 some, 
 if not all, were sold by the Principe di Musignano to a Roman picture dealer, one D. Vito 
 Enei. Soon afterwards (1846) they were seen by Mr. R. Macpherson, a well-known 
 photographer, long resident in Rome, and he purchased some of them in one lot, for a 
 small sum. On looking more closely into his bargain Mr. Macpherson found one picture, 
 which though much obscured by long accumulation of dirt and damp, was evidently a good 
 picture. It was cleaned, and then shown to several connoisseurs and artists, amongst 
 whom was the eminent German painter Peter Von Cornelius, who pronounced it to be 
 the work of no less a master than Michelangelo, and in this opinion others who saw it 
 agreed. The subject was the “ Entombment of Christ,” a composition of seven figures 
 smaller than life, described as painted in tempera on wood, 5ft. j|in. by 4ft. iiin. wide, 
 but left unfinished, the figure of the Virgin being a mere outline. 
 
 This remarkable discovery created a good deal of interest in Rome, and the 
 vendor soon asserted his claim, according to Roman law, for the recovery of the picture, 
 and at length brought his action in the Courts in 1S56, when the evidence of Cornelius 
 was given that in his opinion it was “ una cosa preziosa — un vero originale di 
 Michelangelo.” However, judgment was given in favour of the purchaser, and Mr Mac- 
 
XX 
 
 INTRODUCTORY. 
 
 pherson after some delay succeeded in bringing his prize away from Rome, which was by 
 no means an easy thing to manage in those days, when the authorities kept a very jealous 
 eye upon all pictures and works of art of any value likely to be sold. T. he pictuie was 
 brought to London and shown to the Director, Sir W. Boxall, K.A., and the 1 rustees 
 of the National Gallery in August, 1868, and was purchased as a work of Michelangelo 
 for ^2000. This very interesting picture, after holding the favoured place amongst the 
 grand examples accorded to it for some fourteen years, had its authenticity challenged by 
 Mr. J. C. Robinson in a letter to The Times , September 1, 1881. He revived the doubts 
 which had been expressed about the picture, and besides giving the decided opinion that 
 it was not painted in tempera but in oil — a method which Michelangelo despised as only 
 fit for children. Mr. Robinson went on to show that it was in fact the w'ork of Baccio 
 Bandinelli as far as the design is concerned, but painted probably by' Agnolo Bigio, the 
 brother of Francia of that name, as related by Vasari (vol. x., p. 308, Ed. Lemonnier, 
 1853), and that it was the identical picture intended for the Church of Cestello. Mr. 
 Robinson concludes his interesting letter as follows : “ That the unfinished Cestello picture 
 is none other than the soi-disant Michelangelo ‘Entombment’ of the National Gallery, 
 leaves not a shadow of a doubt in my mind. Vasari’s description of that w r ork 
 corresponds exactly with this picture, while it is needless to say that the different manner 
 of execution from that of other paintings by Bandinelli is now fully' explained. By a 
 singular irony of fate then, after centuries of oblivion and a brief reign under false colours, 
 at last again full light is cast on Baccio’s great effort, and in this joint w r ork of his and the 
 ‘young man,’ the brother of Francia Bigio, we see the abortive result of an astute and 
 laborious attempt to surpass his hated rival Michelangelo. What would be Baccio’s 
 feelings could he again revisit this world to find that the only' result of his indefatigable 
 labour — of the set purpose of his life, in fact — is simply' that his supreme effort should for 
 a brief space only be mistaken for a secondary and abnormal performance of his enemy ? ” f 
 As the translation of Vasari given by Mr. Robinson was disputed by' Mr. Poynter, R.A., 
 in the letter he w'rote to The Times upon the subject, the original Italian is given below'. ^ 
 
 * Now Sir. J. C. Robinson, Surveyor of the Royal Collections of pictures. 
 
 t Vasari, p. 587. ed. Bottari, 1759. 
 
 + “ In questo medesimo tempo aveva preso a fare di pittura una tavola assai grande, per la chiesa di 
 Cestello, e navea fatto un cartone molto bello, dentrovi Cristo morto, e le Marie intorno, e Niccodemo con altre 
 figure ; ma la tavola non dipinse, e per la cagione, che di sotto diremo. Fece ancora in questo tempo un cartone 
 per fare un quadro, dov ’era Cristo deposto di croce, tenutoin braccio da Niccodemo, e la Madre sua in piedi, che 
 lo piangeva, e un angelo, che teneva in mano i chiodi, e la corona delle spine ; e subito messosi a colorirlo, lo 
 hm prestamente e lo rnesse a mostra in Mercato nuovo su la bottega di Giovanni di Goro, orefice, amico suo, per 
 intenderne 1 opmione degli uomini, e quel che Michelagnolo ne diceva. Fu menato a vederlo Michelagnolo dal 
 Photo orefice, ll quale considerato, ch’ ebbe ogni cosa, disse, che si maravigliava, che Baccio si buono disegnatore 
 si lasciasse uscir di mano una pittura si cruda, e senza grazia : che aveva veduto ogni cattivo pittore condurre 
 1 opere sue con mighor modo, e che questa non era arte per Baccio. Riferi il Piloto il giudizio di Michelagnolo 
 
INTRODUCTORY. 
 
 XXI 
 
 The discussion was further entered into by the Director of the National Gallery, Sir F. 
 W. Burton, chiefly to point to the drawing in red chalk preserved in the Albertina 
 Collection, Vienna, as by the hand of Michelangelo ; and in which, he stated, the figure of 
 the dead Christ upheld by a figure behind “ bears a resemblance to that in our picture of 
 ‘ The Entombment ’ too close and striking to be merely accidental. The motif in both 
 is, in fact, precisely the same.” * 
 
 Although it is not the purpose of these volumes to enter into matters of Art 
 criticism further than by brief allusion, yet in this instance the points are of such lively 
 interest and so greatly concern our special subject, that it may be permitted to say 
 something in the way of summing-up the long discussion. We have to weigh two kinds 
 of evidence: i, that derived from the picture itself, called internal evidence, which is 
 perceptible by the light of practical experience and technical knowledge, and therefore 
 matter of opinion ; 2, that which is documentary. However plausible and convincing 
 the first kind of testimony, it is too often treacherous and deceptive if not supported by the 
 second ; but when both the evidence of opinion and that of written history agree, the 
 confirmation is strong and reliable. Now there is no evidence in Vasari or Condivi that 
 Michelangelo ever designed and painted a picture of “The Entombment ” and left it 
 unfinished ; but, as we have seen, there is the most positive and detailed record by Vasari 
 that Baccio Bandinelli did do this precisely. Next comes the question of internal 
 evidence, to be judged by the actual work before our eyes, and in this the opinions of the 
 doctors are not only not unanimous but strongly opposed, some recognizing 
 Michelangelo’s style and work in the Albertina drawing and the unfinished picture 
 
 a Baccio, il quale, ancorche gli portasse odio, conosceva, che diceva il vero. E certamente i disegni di Baccio 
 erano bellissimi, ma co’ colori gli conduceva male, e senza grazia ; perche egli si risolve a non dipignere piii di 
 sua mano ; ma tolse appresso di se un giovane, che maneggiava i colori assai acconciamente, chiamato Agnolo, 
 fratello del Franciabigio, pittore eccellente, che pochi anni inanzi era morto. A questo Agnolo desiderava di far 
 eondurre la tavola di Cestello ; ma ella rimase imperfetta, di.che fu cagione la mutazione dello Stato in Firenze, 
 la quale segui 1’anno 1527,” &c., &c. 
 
 * The attribution of this drawing to Michelangelo was alluded to as doubtful by Mr. Robinson in his 
 letter in reply, and I may say that, on examining it at the time, by means ot the accurate fac-simile in the British 
 Museum amongst the drawings of Michelangelo, I made the following note : It measures 16 inches by 9. It is 
 very carefully stippled up. The shoulders of the Christ are heavy and fat, the pectoral muscles lumpy and puffy ; 
 the trunk is too long, and the ribs are not accentuated at the sides, the contour being very straight. At the 
 juncture of the thigh with the abdomen, there are some unmeaning lines, particularly on the right side, as if the 
 forms were not understood perfectly. The legs are fairly well drawn, the arms better. The head is small in 
 proportion ; the eyes are open and the mouth closed, which is the reverse of what is seen in death. I came 
 to the conclusion that this drawing is not by the hand of Michelangelo. As to the question of the method, 
 whether tempera or oil, I find a note of mine made before the picture in the National Gallery. “ There is 
 no hatching to be found in any part of the flesh-painting, which, in the Christ, is remarkably well-preserved 
 and shows the marks of the brush in the lights distinctly, while the shadows are broadly painted, without any 
 hatching. The painting of the hands has the ‘ liney ’ look given by the brush in oil-painting. The sky is 
 I think, painted in tempera." 
 
XXII 
 
 INTRODUCTORY. 
 
 No. 790, in the National Gallery ; others as clearly seeing the characteristics of Baccio 
 Bandinelli in both drawing and picture. But as the sole documentary evidence is on the 
 side of Bandinelli, confirming, as it undoubtedly does, the evidence of opinion, the logical 
 conclusion is that the picture is to be attributed to that painter. " 
 
 It remains to be remarked, as regards the sale of this picture, that it was not 
 offered to the National Gallery authorities till after it had been in the possession of its 
 owner at Rome, as a probable work of Michelangelo, for more than twenty years. It is 
 also a somewhat singular coincidence that it was brought to London and offered soon 
 after the large picture, “Christ Blessing Little Children,” had been purchased as a work 
 of Rembrandt for ^7,000 — an enormous price to be paid for a picture which when it was 
 shown to the public was by common consent decided to be by Eckhout,f and, 
 consequently, not worth a tenth part of that sum. So bad a bargain, however, cannot be 
 said to have been made for this Entombment which as an important work of so eminent a 
 rival of the great Michelangelo, is of high artistic value and historical interest, and quite 
 worth the money paid for it. It must be owned, however, that this was far below its value 
 as a work of Michelangelo. The discovery of such a picture, with the extremely interest- 
 ing historical confirmation due to Mr. Robinson’s research and critical acumen, affords us 
 one of our capital examples of the important results arising out of sales of pictures. 
 
 Another instance occurred in our own times, which made a considerable noise, and 
 is even more interesting and curiously fortunate in its pecuniary results to the purchaser, 
 who bought his picture at Christie’s for a small sum, and sold it eventually, after many 
 years, to the Louvre, for a very large sum. In the year 1850 there was a sale of a very 
 miscellaneous collection of pictures formed by Mr. Francis Duroveray, a well-known 
 publisher in his day, of illustrated books chiefly editions of the poets, who appears to 
 have had some taste for pictures. At this time many will remember how Mr. Morris 
 Moore made no small stir by his letters in The Times , attacking the direction of the 
 affairs of the National Gallery, under Sir Charles Eastlake, P.R.A. ; referring to certain 
 purchases of false pictures, and blaming the authorities for not keeping closer attention 
 to the sales going on at Christie’s and other auction rooms, asserting that such 
 opportunities were lost, and many important pictures were often there to be purchased 
 at small prices, as he himself had found.;}; 
 
 It should be remembered that Michelangelo very rarely occupied himself with easel pictures, and he 
 was too masterful a painter ever to leave a picture unfinished, still less in such a singularly incomplete and 
 tentative state as the one in the National Gallery. Had he ever essayed a work of such high importance 
 as an “ Entombment,” he would have bent his great energies to the task and completed a masterpiece. 
 
 t The name of Rembrandt was upon the frame for many years, but recently the words “School of” 
 have been prefixed to it. See Vol II. Purchases for the National Gallery. 
 
 + Mr. Moores evidence before the Parliamentary Committee upon the National Gallery, in 1853, will be 
 found in the Blue Books. It is well worth reading, especially in reference to sales at auction. 
 
INTRODUCTORY. xxiii 
 
 There was a small picture in the sale referred to, named in the catalogue, “ Apollo 
 and Marsyas, by Mantegna.” Mr. Moore, however, thought he recognized the hand of 
 no less a master than Raphael in this little panel, and instructed an agent, the late 
 Mr. Emery, who was rather a well-known dealer, to buy the picture for him.'* 1 his he 
 did for £jo Js., and much to the satisfaction of Mr. Moore, who at once began to show 
 
 his prize to friends, many of whom agreed with him that it was a work of the great 
 
 master, and those who did not were too much overawed to confess that they differed 
 with him, for he was not only as positive as most good judges of pictures— he was 
 terrible to anyone who ventured to suggest a doubt as to the truth of his judgment. 
 As in duty bound, after all that he had asserted, he offered the picture to the 
 
 Director of the National Gallery as a work of Raphael ; and naturally at the price 
 
 he valued it at, which was very largely above that at which he acquired it. But the 
 Director failed to see its importance, and it was declined with thanks. | Various 
 painters were suggested, at the time, to whom the picture might with more probability 
 be attributed, such as Lorenzo Costa, Timoteo della Vite, and Francia. A letter 
 appeared in the Morning Post , June io, 1850, from Lord Elcho, who was a member 
 of the Parliamentary Committee of 1853, strongly eulogising the picture as a work of 
 Raphael. 
 
 Mr. Moore was certainly a very acute observer, and better informed than most 
 amateurs of that day, but under dispute his view only became the more determined, and 
 he had no tolerance for the opinions of others who did not accept this picture as 
 the work of Raphael. The discovery, however, created a good deal of interest, and 
 led to the publishing of a very excellent wood-engraving of large size, io| x 7^, by 
 W. J. Linton, in The Illustrated News, dated 1 850.J 
 
 Disappointed that the picture was not accepted by all the critics and purchased 
 by the National Gallery, Mr. Moore carried his treasure abroad, and offered it to 
 every Musee in Europe ; but with the condition that it could only be sold as a work 
 of Raphael, and bear that great name upon its frame. The authorities of the Musees, 
 
 * It is seen, on reference to the sale catalogue, that there were present the following dealers, some of the 
 most competent of their day : Mr. Nieuwenhuys, Mr. Peter Norton, Mr. Smith (of Bond Street), Mr. Hickman, 
 and Mr. W. B. White — men not likely to miss a Raphael. 
 
 t At the time of the sale of the picture to the Louvre (in 1885), a short notice was published in The 
 Times , rather taunting the present National Gallery authorities for being out-done by the Louvre in the acquisition 
 at such a price, of this picture, which the writer, evidently innocent of its history, pronounced to be one of 
 Raphael’s loveliest works. 
 
 J An impression of this is before me, and as I saw the picture both at this time and afterwards, when it 
 was shown to me in Rome (1864) by Mr. Moore himself, I can speak as to the great merits of the picture. The 
 size of it is 15^ x 1 1-^ inches. It was also some years afterwards very carefully engraved on steel, and published 
 in the Gazette des Beaux Arts , 1871. A reduced photographic copy will be found at page xx. 
 
 * 
 
XXIV 
 
 INTRODUCTORY. 
 
 especially in Germany, Waagen, Miindler, and Passavant, refused to accept it as a 
 work of Raphael, though the concurrence of various artists was obtained, as well as 
 the certificates of experts, especially of the whole Academy of St. Luke, Rome, in 
 favour of Mr. Moore’s opinion. This, however, as everybody knows, is not 
 very difficult to obtain in such cases. All these assurances were most pertinaciously 
 kept up, and published in pamphlets circulated constantly for several years. The 
 value of the picture was thus assiduously enhanced in this direction, but still without 
 arriving at the wished-for result of a sale at the large sum required. Even so 
 
 impartial a journal as the Revue dcs Dctix Mondes published an article signed by 
 
 M. Delaborde, confirming the view that it was a work of Raphael (July 15, 1858). It 
 
 was in the same year, 1858, that M. Reiset, on the part of the Louvre, applied to 
 
 Mr. Moore for the purchase of his picture. 
 
 In i860 Mr. Moore took his picture to Venice, and there he soon found that 
 in the collection of the Academia was a drawing corresponding with his Raphael 
 picture, but unfortunately it bore the name of Benedetto Montagna. Nothing daunted, 
 Mr. Moore at once set to work upon the authorities of the Venice Academy, and 
 he soon prevailed upon them to cancel this name, and supply that of Raphael instead. 
 The picture was then exhibited side by side with the drawing in the gallery of the 
 Academia. At the same time there was published in the Official Gazette of Venice 
 a notice stating that the Academy had long thought that this drawing was the work of 
 Raffaello, and that they had now resolved, “ ad unanimita di vota,” to cancel the name 
 of Benedetto Montagna, and this had now been religiously carried out — “ religiosamente 
 eseguito.” * After this achievement Mr. Moore went with his picture to settle at 
 Rome in the atmosphere of infallibility, content in his belief and confident in the 
 future. There, in his simple chamber near the Barberini Palace, he lived with his 
 Raphael ; and those who were favoured with a sight of it will say that a more 
 interesting and quite pathetic spectacle of the kind was not to be seen than this 
 enthusiast of art, devoting his life for fully a quarter of a century in maintaining his 
 faith in the beauty and authenticity of his rescued work of Raphael. His health 
 became broken, and his spirit had lost the fire of days gone by in disappointment 
 of his hopes, when the necessity of parting with his beloved picture was brought 
 home to him by severe illness. This was in the winter of 1885, and it was soon 
 told to those who had the ear of the Art authorities of the Louvre, that the 
 opportunity was at hand for acquiring the picture. What the price demanded was 
 
 * The printed copy of this notice is before me, which was placed in my hands when Mr. Moore showed 
 me his picture and gave me a photograph from it in his rooms at Rome in 1864. 
 
INTRODUCTORY. 
 
 XXV 
 
 is not at present known ; but it is known that the condition of its being acknowledged 
 as the veritable work of Raphael was tenaciously insisted upon as indispensable to 
 the sale of the picture. Not even though death the inevitable was about to deprive 
 the possessor of all treasures for ever, did he give up this belief of his life. The 
 promise of the Louvre to inscribe the name of Raphael on the frame and in the 
 Catalogue was made along with the offer of 200,000 fr. (about ^8,000), which was 
 then accepted, and the picture forthwith took its place amongst the Raphaels of 
 the Louvre.* Mr. Moore died soon after, comforted in his last hours with the 
 
 proud satisfaction of feeling that he was right in his opinion, to say nothing of the 
 material recompense for all his trouble, j* This is perhaps the most remarkable 
 instance of the luck of auctions and the romance of picture-buying that has occurred 
 within our recollection, and at the same time it illustrates the dual value of art and 
 property that often lies latent amongst commonplace pictures or even in collections 
 of some repute. But this sale of the “Apollo and Marsyas” has, as will be seen, 
 another side of interest in this connection. If it is not by the hand of Raphael, is 
 there any ground for saying that it may with more accuracy be attributed to 
 
 Benedetto Montagna? It will be remembered that it was called a Mantegna in the 
 sale catalogue. The name Montagna is obviously easily convertible by the accidents 
 of transcribing into Mantegna. Pictures by this Montagna are very rarely seen, but 
 his engravings are well known, and they have a certain resemblance in style of 
 composition and subject to this “ Apollo and Marsyas.” But, besides this, there is 
 
 this drawing, identical in subject and composition, which has long been in the 
 
 collection of the Academia at Venice, and always bore the name of Benedetto 
 
 Montagna, until, as related, this was altered into “ Raffaello.” No doubt the Venice 
 
 * The writer of an article in The Quarterly Review , Oct. 1886, upon the National Gallery,” gives this 
 note upon the purchase by the Louvre of the “ Apollo and Marsyas ” : “ This little picture, which, beautiful as it 
 no doubt is, is now admitted by all competent connoisseurs not to be by Raphael, was purchased by the Louvre 
 for Rgooo, Mr. Moore making a condition that it should be attributed in the collection to that master — a 
 condition which, in the interests of art, to say nothing of truth, ought not to have been accepted.” w * * 
 
 The price paid for it by the Director of the Louvre was, we think, above its real value.” 
 
 t The Times, Dec. 24, 1885. — “Our correspondent at Rome announces the death on the 18th inst. in that 
 city of Mr. Morris Moore, whose name has been for many years intimately associated in Italy with everything 
 relating to Raphael. After having in 1830 taken part in the war for Greek independence, he came to Italy, and, 
 establishing his residence in Rome, devoted himself to tire study of the works of the great masters, and especially 
 to those of Raphael. In 1873 he voluntarily contributed the sum of money necessary for completing the purchase 
 of Raphael’s house at Urbino, and founded in it a museum for things connected with the great painter. In 
 recognition of this generous act the Municipality of Urbino conferred the freedom of their city upon him, and the 
 right to his heirs to be entertained in Raphael’s house whenever they visit Urbino. For more than thirty years 
 he was the possessor of a cabinet masterpiece by Raphael — ‘ The Contest of Apollo and Marsyas.’ Mr. Moore 
 died in his 74th year of pulmonary paralysis.” 
 
 VOL. I. 
 
 d 
 
XXVI 
 
 INTRODUCTORY. 
 
 Academy were convinced, and were only too ready to give the gieat name of Raphael 
 to any drawing they possessed, but it would have been more judicious to preserve 
 the name which had so long been on the drawing, and much more just in the interests 
 of Art criticism. However, such are the well-known facts, and a comparison of this 
 drawing with the picture (see facsimile of these annexed) will probably be sufficient to 
 afford a surer opinion as to the authorship.* 
 
 A very interesting instance of a picture coming up repeatedly at sales by auction 
 and bringing a comparatively small price, to be at last sold for a high price and pass 
 into a collection of the highest repute as the work of a great master, may be added. 
 This was in the case of the small Madonna of the Orleans Gallery, which, after many 
 curious vicissitudes, was at last purchased by the Due d’Aumale in 1869, at the Delessert 
 sale, in Paris, and is now in the collection given to the Institut de France by 
 H.R.H. the Due d’Aumale. This little picture has the Madonna seated on a chair with 
 the Infant on her lap, in a room with a greyish red curtain, and a shelf on which are 
 some earthen pots, one having an orange upon it. The Child is quite nude, without 
 a halo, but with a bright light on the forehead and hair. The Virgin has a faint ring 
 halo, the head covered with a bright brown kerchief and a thin white veil, the hair 
 fair and curling on the shoulders, entwined with a ribbon, red bodice with black 
 waistband, greenish sleeves, and a blue mantle over the knees. This description is 
 from my notes when the picture was contributed to the Royal Academy Exhibition 
 at Burlington House, in 1872, by the Due d’Aumale, when the size was erroneously 
 stated in the catalogue as 11^ by 18^, on wood, whereas it is iif by 8^, according 
 to Passavant, which is probably correct. On referring to the Orleans sale catalogue 
 p. 73, this picture is named, and in 1799 was bought by Mr. Hibbert for 500 guineas. 
 But its history before that time has been traced, and it is known to have belono-ed 
 
 <5 
 
 to the famous Crozat in 1 763, from whom it passed to the Abbe Decamps, who sold 
 
 The late Mr. Edward Cheney, who was extremely well informed upon questions of Venetian art, and 
 took some trouble in ascertaining the details of size, kind of paper, and mode of execution of this drawing by 
 Montagna, was so obliging as to give me his opinion that the “ Apollo and Marsyas ” picture was by the same 
 hand. Of course them is still the possible chance, which the advocates of the Raphael hypothesis may avail 
 themselves of, that Raphael saw the drawing and had a fancy for painting the picture from it. But this is rather 
 a far-fetched possibility. Mr. Moore used to point to some traces of letters which he read as R. V. upon the lyre, 
 but these are quite as much like B. M., if they can be accepted as letters at all. The picture will be found in our 
 records as sold at Christie’s in 1850 as a Mantegna, belonging to the collection ot John Barnard, the well-known 
 collector of old drawings and prints. (See Vol. II.) I find on reference to the Catalogue, however, that though 
 it is so stated, the only evidence of this rests upon a picture in a collection belonging to Mr. Thomas Hankey, 
 sold at Christie’s, May 10, 1799, which was formed, as so stated, by J. ^;-nard (not Bar-naxd). A picture is 
 
 there called “ Apollo and Shepherd,” by A. de Montegne, with no other description, and it sold for R\ r %s 6d. to 
 Mr. Slade. o ■ 
 
INTRODUCTORY. 
 
 XXVll 
 
 it to the Due d’Orleans (Le Regent), and it was included in the transaction with 
 M. Walkiers, the banker of Brussels (see p. 70). The London career of the little 
 picture begins with Mr. Hibbert’s purchase in the Orleans sale, only three years after 
 which he sends it to Christie’s in 1802, and it is knocked down to the name of 
 Descamps at ,£294, but whether it was actually sold is doubtful, since it seems to have 
 been the property of Mr. Hibbert in 1829, when it is again in his sale at Christie’s, 
 and is then bought by M. Nieuwenhuys, the dealer, for £ 210 , and he sells it to 
 Lord Vernon, who next sends it to Christie’s in 1831, when it sells for ^£304 icxy. 
 Two years afterwards (1833) it appears once more at Christie’s as the property of 
 M. Nieuwenhuys, and is then bought by Baron d’Aumont. It then goes to Paris, 
 and we find it in the hands of M. Delahante, the dealer. Here its beauty captivated 
 Rossini, the great composer, and he possessed it for some years, parting with it to 
 his friend the Marquis Aguado, in whose fine collection it remained till his death, and 
 in the sale of the Aguado Collection in 1843, the little Raphael brought the highest 
 price in the sale, viz., 27,250 francs (,£1090), M. Delessert being the purchaser. For 
 the last time this little gem made its appearance in the auction room, when the Delessert 
 Collection was sold at Paris in 1869, and this was the occasion when the Due d’Aumale 
 recovered the picture which had for so many years been bandied about the auction 
 rooms of London and Paris. The price now paid was one more worthy of the merits 
 of the picture — 150,000 francs (,£6,000). The advance in price, even from that which 
 it brought in the Orleans Collection, is remarkable ; and no doubt this is to be accounted 
 for reasonably enough by the increased appreciation of the work of the master, 
 and especially by the recognised connoisseurship of the Due d’Aumale, with his great 
 wealth at command. It remains to be said, however, that there was some reason to 
 be dissatisfied with the picture, on account of the painting of the interior with the pots, 
 which certainly betrayed a modern and a Flemish hand. Teniers, it was always 
 suggested, must have done this ; and in this opinion I was once disposed to agree, 
 thinking the conjecture that Teniers had possessed the picture well founded. But I am 
 now informed on unquestionable authority that the ‘ Flemish hand ’ was none other than 
 M. J. Nieuwenhuys, who should have known that the critical eye would prefer to see 
 the work of a great master untouched by any other hand. 
 
 One more instance of what, to borrow a term from the apt vocabulary of the 
 Church, might be called the beatification of a beautiful picture, may be cited in that 
 of “ The Graces,” by Raphael. The picture is not mentioned by Vasari, nor is there 
 any tradition referring to it before it came into the Borghese Gallery, from which it 
 was sold, about the close of the last century, to Mr. H. P. J. Reboul, “ Agent- 
 Gendral des Finances,” but at what price is not known. Some few years afterwards 
 
xxviii INTRODUCTORY. 
 
 it passed into the hands of Messrs. Woodburn, the English dealers, who soon sold 
 it to Sir Thomas Lawrence, P. R. A., for i.ooo guineas. This was probably about 
 the first ten years of 1800, or a little later. The picture appears to have been known 
 to Mr. W. Y. Ottley before then, and perhaps when it was in the Borghese Gallery,* 
 as there is a note in Willis s Current Notes, 1851. “Mr. Ottley, Mrs. , and I 
 took tea with Sir Thomas one evening, and, after viewing some of his finest 
 drawings, he said, ‘ Ottley, I am now going to show you something worth looking at, 
 an old favourite of yours.’ He went and opened the square pedestal on which the 
 Venus stood, and took out a small panel less than a foot square, advanced to the 
 liaht holdino- the black back to Ottley, and then quickly flashed it round. Mr. Ottley 
 absolutely started on his chair, exclaiming ‘ Good God ! is it it ? ‘ Look and judge 
 
 for yourself,’ said dear Lawrence.” Who the lady was is not told. But after this 
 there is no doubt that Lawrence parted with his treasure, as it does not appear in 
 the sale of his collection after his death in 1830 (see p. 124), but it was next in the 
 possession of Lord Dudley, and remained till 1S85 in the collection of Dudley House, 
 London, when it was sold to the Due d’Aumale for ,£25,000. Before giving the 
 interesting- account of the transaction as related to me by Mr. Thibaudeau, some 
 details must be stated. It is a very small picture, only 6| by 4|, on wood. PassaVant 
 gives the size as 7T inches square, but this is certainly erroneous, and the correct size 
 is as given in the catalogue of the Royal Academy when the picture was contributed 
 by the late Earl Dudley to the Winter Exhibition of Old Masters in 1871. As I 
 had the care of the picture at the Leeds Exhibition in 1868, though I did not measure 
 it, I am certain that it is not a square picture. What Lord Dudley paid for the picture 
 is not known, but that it was not much above the price Lawrence gave is probable, 
 as it was put aside and lost sight of until the late Earl was induced to search for it, 
 and then it was brought into notice. It was afterwards contributed by him as Lord 
 Ward to the Manchester Art Treasures Exhibition of 1857. After the death of the 
 late Earl Dudley it became known that the picture might be sold, and it was entrusted 
 to Mr. A. W. Thibaudeau of London for this purpose in March, 1885, when he took 
 it to Paris to show to the Due d’Aumale. The Duke, however, had left Paris 
 only the day belore, and Mr. Thibaudeau remained in charge of the precious little 
 
 * This Mr. Ottley bought the beautiful little picture and the drawing by Raphael “ The Vision of a Knight 
 or Warrior” (213, National Gallery), from the Borghese Collection at Rome in 1798 — 99, and it was sold in his 
 Collection at Christie’s in May, 1811 (see List, Vol. II.), and afterwards belonged to Sir T. Lawrence: next it 
 passed to Lady Sykes and then to the Rev. T. Egerton, from whom it was bought by the Trustees of the National 
 Gallery in 1847. The picture, which is of about the same time as “The Graces,” though rather earlier, is 
 framed with the drawing in pen and ink, which has been pricked on the outline for tracing. 
 
INTRODUCTORY. 
 
 XXIX 
 
 picture, sleeping at night with it safe under his pillow. It was taken by him to the 
 Louvre authorities, and, through M. Etienne Arago, an interview with M. Jules 
 Ferry was obtained, when the Prime Minister expressed his intention to ask for a 
 special grant from the Chambers to buy it for the Louvre at the price named. This 
 was not carried out, in consequence of the resignation of M. Ferry, which occurred 
 a few days afterwards. But while the picture was at Paris it was found that certain 
 indispensable legal formalities regarding the sale had not been gone through, and 
 the picture was brought back to London. Several months had passed when the 
 Due d’Aumale, having heard on enquiry that the picture could be sold, authorized 
 Mr. Thibaudeau to negotiate the matter, and early in December the picture was 
 handed over to him at the bank of Messrs. Coutts, the money paid, and once more 
 the little gem travelled across the channel, and was safely delivered into the hands 
 of the Duke at Chantilly, and is now in the collection presented to the Institut de 
 France by H. R. Highness.* 
 
 In concluding these preliminary remarks it should be observed with regard to the 
 constant tendency to the dispersion of collections, which at first sight seems injurious 
 and destructive, that it is not really so, since it is abundantly compensated by the creation 
 and growth of National collections. These have a permanence of their own, and a 
 safety impossible to private galleries ; besides which they exercise a far wider influence, 
 more searching and effective on intellectual culture and civilization, as well as on 
 technical education. 
 
 * It is not generally known that the picture was suggested to the great painter in his young days, Passavant 
 says 1506, which would be in his 23rd year, on seeing an antique group preserved in th & Libreria of the Cathedral 
 at Siena. Of this he made a drawing, which is still to be seen in his sketch-book belonging to the Academia at 
 Venice. It is scarcely necessary to say how completely Raphael has made the figures his own, and so entirely 
 different from anything antique, while the beautiful landscape is of course original. The figures are nude, 
 except a slight band of white drapery round the loins of one. The hair is ornamented with net cauls and coral 
 beads, and two of the Graces have coral necklaces, each holding an apple which still shows traces of gold. 
 The picture was engraved by Sherwin, and by F. Forster, in line, 1841. The antique group is, not a small bas- 
 relief, but in “ the round,” and a work of quite ordinary merit. There is an engraving by Marc Antonio, of a 
 bas-relief of “The Graces, known as “la Cassolette, inscribed “ Sic Rothcb niveo,” considered to be after 
 Raphael. 
 
 VOL. I. 
 
 e 
 
ART SALES. 
 
 HISTORICAL AND DESCRIPTIVE ACCOUNT OF SALES 
 OF PICTURES AND OTHER WORKS OF ART. 
 
 E history of Art Sales is to a great extent the history of collec- 
 tions. But it would not be within the compass or the intention of 
 these volumes to enter into any full account of the formation of 
 ancient collections. Neither would it be practicable to detail all the 
 vicissitudes of ownership which have befallen galleries of pictures and 
 collections of works of art formed in Italy, Spain and France at a time 
 when pictures and painted chambers were comparatively unknown in other countries. 
 It will be sufficient to say generally of the famous collections formed when the great 
 masters of Italy were engaged under the influence and encouragement of personages of 
 high rank and leading taste in contributing to their magnificence, that they exist only in 
 history; while the works of the painters remain to exalt the beauties of their art far above 
 all the glories of mere worldly greatness. Those famous galleries which have escaped 
 utter dispersion and retain their ancient name, but with comparatively little of their 
 repute in art, have mostly lost their choicest pictures by the open sale of them ; though 
 some may have passed as gifts to popes and kings, to be fortunately preserved in 
 public galleries. Many have been surreptitiously conveyed away for sale, their places 
 being filled by copies ; and some few have been actually stolen, though these last are 
 seldom lost to art, if they cannot be recovered by the original and rightful owner. 
 However much the dispersions of the old private collections may have broken the 
 interesting historical continuity, they always bring the satisfaction of enlarging the 
 influence of art and enhancing the fame of the great masters, while at the same 
 time the mere material value of fine pictures has been advanced, as we have seen in 
 modern times, to a point of appreciation that surpasses all possible preconception. As to 
 those collections of pictures formed by such magnificent patrons as Charles V. and his 
 son Philip, Francis I., and the Medici of Florence, it is fortunate that they partook of 
 a stately and national character as possessions, so that they have been preserved and 
 kept together. Those painted for Charles V. and for Philip are to be seen in the 
 galleries of Madrid ; those of Francis I. in the Louvre ; those of the Medici in the 
 Uffizi and the Pitti galleries ; those of the Sforza dukes in the Brera at Milan ; 
 those of the King of the Two Sicilies, with the famous Farnese statues and pictures, 
 in the Naples Museum, and so on. But in recounting these instances of the pre- 
 
 VOL. i. 
 
 B 
 
2 PAINTING IN ENGLAND— UNDER HEN. III. & HEN. J II. [ 1468 - 1506 . 
 
 servation of collections through the establishment of such gallenes for the State, it is a 
 bitter recollection that the splendid pictures which oui Chailes I. aittiwaids collected 
 were sold to various foreign dealers, without the least thought of the National interests 
 in reference to art. So far from this, indeed, such was the reckless political and 
 religious fanaticism of Parliament and People in those days that all the pictuies ol the 
 Viro-in Marv and of Christ in that collection were actually ordered by the House of 
 Commons to be burnt. Happily the silliness of this insane order was felt on calmer 
 consideration, when it was seen that it involved the loss ol the best oi the property. So, 
 as Mrs. Jameson says, “ prudence or avarice prevailed over ignorance and fanaticism,” 
 and the burning of the pictures was countermanded. I he rest ol the collection was 
 dispersed chiefly by sales, and is now mostly in the Louvre and the galleries of 
 Madrid; two have been bought back by the nation for the National Gallery; some, 
 certainly, never were sold, and remain in this country ; several at Hampton Court, 
 Windsor Castle and Buckingham Palace, and some are to be found in private 
 
 collections. This extremely interesting history, however, must be reserved while some- 
 thing is said of collections and collectors before that eventful time in England. 
 
 Referring to Mrs. Jameson’s excellent notice prefixed to the account oi Hampton 
 Court, we read that — 
 
 “ Almost from the time that we have had princes and palaces in England we have 
 had painting in some form as subservient to devotion or decoration, to royal state or 
 courtly flattery ; but the earliest record on the subject goes no further back than the 
 reign of Henry IIP, who, when building his palace at Westminster, had one of the 
 chambers painted with scenes from the Crusades (the ‘ Antioch Chamber,’ or 
 
 ‘Jerusalem Chamber’ alluded to by Shakespear — ‘In that Jerusalem shall Harry 
 die ’).” Jan Mabuse, in the reign of Henry VII. (circa 1499), painted the portraits 
 of the king’s children, in the collection of Hampton Court, and others which are 
 
 preserved in the collection of Buckingham Palace. But that Henry VII. or any of his 
 
 nobles in England dreamt of buying pictures is not at all likely, although at this time in 
 Italy Lodovico Gonzaga of Mantua had Andrea Mantegna painting in his palazzo those 
 large pictures of “ The Triumphs ot Caesar,” which were sold afterwards to Charles I., 
 and have long been in Hampton Court collection ; while Lodovico Sforza at Milan had 
 en g a g e d Leonardo da Vinci to establish an academy of art, and the great artist was 
 painting his “ Cenacolo ” there. Then, too, the Duke of Urbino was encouraging the 
 young Raphael, and it is most interesting to remember that he sent to the king, 
 Henry V II., a small picture by Raphael of “ St. George and the Dragon ” as a present 
 m acknowledgment ol the honour conferred upon him of Knight of the Garter* in 1506 
 
 Mrs. Jameson, whose great knowledge and remarkable accuracy I frequently had the opportunity of 
 obseiving when she was engaged upon the handbooks of the Crystal Palace collection, makes a slight error in 
 stating (p. 168, Handbook,) that Raphael sent this picture to Henry VIII. in acknowledgment of that king’s 
 invitation to come to England with Primaticcio, which Cardinal Wolsey, envoy at Rome, tried in vain to persuade 
 Raphael to accept. But as the St. George bears the order of the garter on his knee there can be no doubt of the 
 significance ol this. 1 he picture came into the possession of Henry VIII., and remained in the royal collection till, 
 in the time of Charles I., it appears to have somehow got into the private possession of the Lord Chamberlain, 
 Lord Pembroke, as it is recorded in the catalogue of Charles I. collection, that the king exchanged his Holbein 
 drawings for it with Lord Pembroke. The collection of portrait drawings by Holbein is still in the royal 
 collection. The little picture appears to have been sold in the collection of King Charles for AA50, and passed 
 to the Marquis de Sourdis, then into the collection of Crozat, and of his nephew Baron Thiers ; was sold to the 
 
1509 - 1558 .] HENRY VIII. ENCOURAGES ART; RETAINING HOLBEIN. 3 
 
 by the hands of Count B. Castiglione. Still, England can claim her share of honour 
 amongst those famous patrons and collectors even at this early date, for besides Jan de 
 Mabuse, there was Torregiano the sculptor here, who was employed to design and 
 sculpture the tomb of Henry VII. in Westminster Abbey. Then Henry V III., no doubt, 
 emulated Francis I., if not in his taste for art, at any rate in the desire to have painters 
 at his Court. 
 
 Although Mrs. Jameson styles him “that magnificent ruffian,” she is obliged to 
 recognize his services to art in England by retaining Holbein so liberally as his special 
 painter.* She relates how he invited Raphael and Primaticcio to England, and how 
 Lucas Corneliz, Luca Penni, Toto dell’ Nunciata and Girolamo da Trevisi did come, 
 and were employed, the latter artist in painting the pictures at Hampton Court of 
 Henry VIII. ’s Embarcation, and the famous Tournament at the Court of Francis I., 
 called “ The Field of the Cloth of Gold,” for which he had a pension granted by the 
 king of 400 crowns. Most of the pictures painted for Henry VIII., in the old Palace of 
 Whitehall, some on the walls and others in the chapel, were lost by the fire which 
 destroyed the palace in 1697. It is said there were no less than 738 pictures, of which 
 three were by Leonardo da Vinci, three by Raphael, twelve by Giulio Romano, eighteen 
 by Giorgione, eighteen by Titian, six by Palma Vecchio, six by Correggio, seven by 
 Parmigiano, twenty-seven by Holbein, four by Rubens, thirteen by Vandyck, fourteen 
 by W. Vandevelde. The proportion of true pictures was probably very small, and we 
 know that all the best pictures had been sold when the collection of Charles I. was 
 dispersed, and those which were not so disposed of are at Windsor Castle, Hampton 
 Court and Buckingham Palace. There were more than forty Holbein portraits in the 
 collection made in 1866 at South Kensington in connection with the National Portrait 
 Gallery, chiefly at the instance of the late Lord Stanhope, and amongst them were the 
 portrait of the celebrated Sir Thomas More by his friend Holbein as well as the large 
 family picture of the Ropers, once at Well Hall, Eltham. It was Sir Thomas More who 
 brought Holbein to the notice of Henry VIII. The important work of Holbein, painted 
 for the Barber-Surgeons Company, has, I believe, never been moved from the Hall in 
 Monkwell Street, where it once narrowly escaped destruction by fire, as Pepys relates, 
 and remains constantly liable to such a fate, when in all consideration for its great in- 
 terest historically and in art, it ought to be in the safe keeping of the National Gallery. 
 
 Henry’s son and successor, Edward VI., was painted admirably by Holbein, but there 
 is nothing in art to record of his brief reign. Of this period it is worth stating that 
 the remarkable marriage of our Queen Mary I. with Philip II. led to several fine works 
 of Titian coming to England. “ Titian painted for him, and transmitted to this country 
 
 Empress Catherine of Russia and is still in the collection of the Hermitage at Petersburg, (see Louvre Catalogue.) 
 A miniature copy was painted by Peter Oliver, which should be in the Royal Collection. The St. George in the 
 Louvre has not the order of the Garter, though Felibien confused it with the picture at St. Petersburg. There was 
 in the Wynn Ellis sale another “ St. George and Dragon,” by Raphael which sold for Rho ; it was an old copy of 
 the picture by some good Italian artist, possibly Luca Penni when he was in England. 
 
 * Henry’s chivalrous protection of Holbein shows a fine trait in his character — when he rebuked one of his 
 noble courtiers who had slighted or insulted the great painter. “You have not to do with Holbein but with me. 
 I tell you that of seven peasants I can make seven lords, but not one Holbein.” This saying stands well in contrast 
 with that attributed to Francis I. in boasting “ Nous sommes en France cinq chevaliers qui pouvent rompre une 
 lance a tout venant — Bayard, Montalembert, Lapalice, Xaintrailles et moi.” 
 
 B 2 
 
4 
 
 TITIAN PAINTS FOR QUEEN MARY I. [1553. 
 
 the ‘ Danae,’ the ‘ Venus and Adonis,’ ‘ Perseus and Andromeda,’ and some sacred 
 subjects ; and for Queen Mary he painted a Holy Family and four mythological subjects 
 from the history of the Titans Prometheus, Tityrus, Sisyphus, and Tantalus. It has 
 been said that Philip II. carried off to Spain all the pictures painted for Queen Mary, 
 but this is not certain. The Prometheus and Sisyphus are now at Madrid, but rnaj 
 have been sold out of Charles the First’s gallery. The Tantalus fell into the possession 
 of Sir Peter Lely, and was sold in his collection. I know not where it is now', nor what 
 has become of the Tityrus.* The Holy Family painted foi Queen Mar} with a boy and 
 a horse in the background was in the possession of Charles I.t It was bought attei his 
 death by Don Luis Mendez di Haro, and presented by him to Philip IV. There is an 
 engraving of the Prometheus by Cort, 1566 , and I have seen an engiaving of the 
 Tantalus ascribed to Caraglio.” (Mrs. Jameson, loc. cit.) 
 
 The close connection then between the Courts ol Spain and England introduced 
 another famous portrait painter in Antonio More of Utrecht, who, painting in the 
 service of Charles V., was sent over to paint the portrait of Mary, the affianced oi his 
 son Philip ; and though she was no beauty, the portrait was such an admirable work 
 that More had to make many copies of it. It was soon afterwards that he painted the 
 superb portrait of Sir Thomas Gresham, and others of which may be mentioned Sir 
 Francis Drake, and his own portrait in Lord Spencer’s collection in the time ot Elizabeth. 
 Portraiture, always in favour in England and wherever wealth abounds, attracted 
 several of the ablest painters, though none of them approached the style ol the great 
 Italians, or of Holbein and Antonio More. The names of Lucas de Heere, Zucchero, 
 Mark Garrard, and the miniaturists Hillyard and Oliver, native artists and founders of 
 a school of English painters in the style, will occur to those acquainted with the art 
 history of the time. In the time of James I. came other portrait painters — Van Somer, 
 
 Janssen, Mytens, Honthorst. And it is evident that a taste for collecting was springing 
 up by what is known of this time as to Thomas Howard, Earl of Arundel, travelling in 
 Italy, in France and the Netherlands in search of works of art, and having agents and 
 friends engaged abroad in purchasing whenever opportunity occurred. It was not 
 
 pictures he thus obtained so much as antique statues or fragments of them, cameos, 
 intaglios and medals. J The Duke of Buckingham (George Villiers) was a rival collector 
 
 Probably some of the missing pictures were amongst those burnt in the fire at the Escurial in 1671. Mrs. 
 Jameson has fallen into the error made in the old account ; the name “ Tityrus” should be “ Tityus.” 
 
 t I his picture is named in the catalogue, “ 35 x 66, whole length figures, life size.” This must be an error, 
 as the size given in the Madrid catalogue is m. 1.55 x 3.23. 
 
 + A considerable part of the Arundel engraved gems and cameos still exists in the famous Marlborough 
 collection, which we saw sold (for Z3L5 00 ) to Messrs. Agnew for Mr. Bromilaw in 1875 at Christie’s, having passed to 
 the Blenheim cabinet t.irough the gift of Lady Elizabeth Germain (“ Lady Betty ”) to her great niece Lady Mary 
 Beauclerk, who became the wife of Lord C. Spencer, brother of the third duke, in 1762. Thus by a family arrange- 
 ment the gems passed to the Blenheim cabinet. This, however, was only after they had been offered to the trustees 
 of the then nascent British Museum at the price of 10,000 and declined, although this was the sum the Earl of 
 Arundel had paid Daniel Nys for only one of his purchases. Howard had been restored to the Earldom 
 by James I. and lived in the old Arundel House in the Strand where all his collection was contained — 37 statues 
 128 busts, 250 inscribed marbles. In the background of Vansomer’s portrait of the Earl is a view of the statue 
 gallery, and in that of his Countess the picture gallery. It was here that Hollar worked, engaged by the earl, and 
 made the well-known engraving of the view of London from the roof. After the death of the earl at Padua, in 
 1646, having been attainted and his property confiscated, the collections nevertheless appear to have been kept 
 together, as they were restored to the grandson in 1660 ■ and there is the letter of Evelyn, dated September, 1667, 
 
1623 - 28 .] RUBENS SELLS HIS COLLECTION. 
 
 5 
 
 and was more active as the younger man in his endeavours to obtain pictures. For these 
 he probably had more taste than the earl,* as he was certainly well acquainted with 
 Rubens after the accession of Charles, and had Sir Balthazar Gerbier the painter 
 constantly with him. Indeed, it was he who introduced Rubens to the duke at Paris 
 after he and the Prince Charles had carried out their escapade to Madrid in 1623 as 
 “John Smith” and “Thomas Smith,” when “John” after having seen the Infanta, 
 fell in love with the beautiful Henrietta Maria, sister of Louis XIII. It was about 
 this time f that the collection formed by Rubens was sold by him to the Duke ot 
 Buckingham J for the then considerable sum of ^10,000. 
 
 Besides this, the Duke had acquired other important pictures and works of art 
 through his friends Sir Henry Wotton, Ambassador at \ emce, and Sir Thomas Roe, 
 who occupied the similar post at Constantinople. § All these treasures were sold alter 
 the death of the duke. It is then to these two great noblemen we are indebted for the 
 promotion of the taste for art which influenced the two royal princes to become 
 collectors, and made it the fashionable pursuit of the day ; leading to the acquisition 
 of innumerable works of art in painting, and of every other kind. Henry, 
 
 in which he relates how he obtained the gift of the marbles from “ Mr. Howard of Norfolk,” to the University ot 
 Oxford, and his library to the Royal Society of London, who held their first meetings in Arundel House. 1 he 
 house was pulled down, and the streets took the names from the old family which they bear at the present day. 
 But it is said that some few marbles were removed to Tart Hall and Cuper’s Gardens. There was a sale at this 
 Tart Hall, or Stafford House as it was also called, in 1720, before it was also pulled down, when the pictures 
 brought R8i2 17s., and the whole of the collection about R 6,000. There were also two sales of pictures 
 announced in the Gazette of 1685 and 1691 as having belonged to Thomas Earl of Arundel, but these were most 
 probably of false pretensions or mere lumber. 
 
 * It is related by Crowne, who accompanied the Earl of Arundel to Germany in 1637, that the authorities at 
 Nuremburg presented him with two pictures of Albert Durer and his father : and at \V urzburg the bishop gave 
 him the picture of “Our Ladie done by Albertus Durerus, one of his best pieces/’ and at Coblentz, when they 
 applied for permission to pass down the Rhine, it was granted and “ a very taire ancient picture ' was presented 
 to his excellence. (William Crowne’s “True Relation,” 1637.) Dr. Waagen states that he purchased drawings 
 by Albert Durer from the celebrated Imhoff collection, Nuremburg. 
 
 t Mrs. Jameson says, 1618 : but it has been shown to have been at the later date. It was then that the 
 picture of Titian, the “Venus del Pardo,” was presented to Charles by Philip IV. 
 
 t It is stated by Walpole, and repeated by Smith and others, that the Duke went to Antwerp to make this 
 purchase of Rubens, but it is more probable that it was transacted by letter, considering the state of affairs 
 between Spain and England, Flanders then belonging to Spain. (See Gachard, Hist. Politique et Diplomatique 
 de Rubens.) Sir Dudley Carleton was a mutual friend of Rubens and the Duke, and sold antique marbles to 
 Rubens. 
 
 § The Duke was assassinated by Felton in 1628. The most important picture in his collection at \ork 
 House in the Strand was the “ Ecce Homo ” by Titian, a large work 7' 7" x if 3" (A ienna foot = about 8x12 
 English), with numerous figures, painted 1543, for which it is said that Lord Arundel ottered 2)7,000 in money, 
 or lands to the duke, but which remained to be sold with the rest of the collection, and was bought by the 
 Archduke Leopold, and is now in the Belvedere gallery in \Tenn& M. Duart of Antwerp was another 
 purchaser, and King Charles, the Duke of Northumberland, and the Abbe Montague bought pictures. V hat 
 these pictures were, it is not possible now to determine. The remainder appear to have been sent to Antwerp 
 by the duke’s steward, Mr. Traylman, and sold to enable the young duke to live after the confiscation of his 
 father’s estates by the Parliament in 1648. From a catalogue of them which exists, it appears that there were 
 three by Leonardo, one by Andrea del Sarto, three by Raphael, one by Giulio Romano, two by Giorgione, two 
 by Correggio, nineteen by Titian, two by Palma Vecchio, two by Pordenone, thirteen by P. Veronese, seventeen 
 by Tintoretto, twenty-one by Bassano, six by Palma Giovine, two by A. Caracci, three by Guido, nine by D. Feti, 
 eight by Holbein, six by Antonio More, and thirteen by Rubens. Probably, few of these could have been true 
 pictures, but at any rate they serve to show that the taste for Italian pictures by the great masters was at that time 
 stronger in England than anywhere else. 
 
6 
 
 CHARLES I. BUYS THE MANTUA PICTURES. [ 1 C 28 . 
 
 Prince of Wales, had his gallery of pictures, and cabinet of bronzes and medals ; but 
 by his early and somewhat mysterious death, these came with the crown to his brother, 
 who as Charles I. brought to England that splendid collection of pictures which will 
 always be associated in our art annals with his name, as it will be with the everlasting 
 reo-ret at the loss of this collection which followed after the execution of the king. 
 (January 30, 1649.) That political catastrophe belonged to the times, and has to be 
 deplored along with the sacrifice of the king’s collection by the authorities of the time. 
 But on the side of art, the time has come now, when some national pride may be felt 
 that a king of England set an example above all princes of his time, of the noblest and 
 worthiest appreciation of art, in the taste with which he selected, and the large sums of 
 money he spent upon pictures and other works of art.* It was by the purchase which 
 Charles I. made when the famous collection of the Gonzaga family of Mantua was 
 broken up through the calamities of war, that his collection was especially dis- 
 tinguished. The Mantua gallery with nearly all the masterpieces of the great painters 
 it contained, may be said to have been brought to England. They remained for many 
 years in the various private apartments of the king, with numerous other pictures 
 collected abroad, being in the palaces at Whitehall, St. James’s, and Hampton Court, 
 to the number of no less than 1387, according to catalogues still preserved, and 
 of which 216 were esteemed of the first rank, and 88 were masterpieces. Miniatures by 
 Holbein, Hillyard, the two Olivers and Sir Antonio More, to the number of 75, were kept in 
 the new Cabinet-room, Whitehall. f Nearly all were sold as we shall see, nof by auction 
 as has been so often stated, but by offers made after valuation, and gradually in the 
 course of three or four years, from 1650 to 1653. The most important pictures were 
 bought then for Philip IV., Louis XIV., the Archduke Leopold William, and by M. Reynst, 
 a Dutch collector, and are to be seen in the galleries of Madrid, the Louvre, the Belvedere 
 at Vienna. Two only have been recovered by purchase for the National Gallery, viz. the 
 beautiful Correggio, “The Education of Cupid,” in 1834, and “The Concert” by Titian, a 
 work of doubtful authenticity, however, which was in the Angerstein collection purchased 
 in 1824 as the foundation of the National Collection. There is some consolation under 
 this lamentable loss, in the possession of the famous series of tempera paintings by 
 Mantegna, (nine in number, and each nine feet square) representing the triumphs of 
 Julius Caesar, painted for hederigo Gonzaga, which were included in the sale to 
 Charles I., but somehow were not sold in his collection, never left England, and are 
 still to be seen at Hampton Court. These were no doubt intended to have been exe- 
 cuted in fresco, as were other great decorative works of Mantegna on the w r alls of 
 the Castello di Coite, and the Palazzo of the Gonzagas, the remains of which are still 
 
 Of Charles I. as a collector, we find the following eulogy in the valuable essay by the late Comte 
 Thibaudeau prefixed to the Tresor de la Curiosite by Charles Blanc, Paris 1857. “ II n’avait pas cette prodigality 
 des rois qui ne paient pas leurs acquisitions de leurs propres deniers. II achetait avec mesure et avec discerne- 
 ment. C etait une nature elegante ; excellent cavalier, tireur adroit, bon mathematicien, amateur de musique, tres 
 verse' dans 1 histone, il parlait et ecrivait avec facilite plusieurs langues ; en outre de tous ces merites, c’e'tait un 
 curieux distingue, son appreciation etait prompte et sure ; il etait reellement au-dessus de tout le peuple de sa 
 cour pai la variete, par la profondeur de ses connaissances ; on pre'tend meme qu’il pratiquait ce qu’il jugeait si 
 bien, et qu’il faisait des dessins que Rubens corrigeait.” 
 
 t These were subsequently recovered by the purchase of them by the States-General, and the presentation 
 of them to King Charles II, 
 
1630 .] THE MANTUA COLLECTION TAKEN AS PRIZE OF WAR. 7 
 
 to be seen, notwithstanding the injuries of time, and those inflicted by the soldiers 
 of Ferdinand about the time when the purchase was made for Charles I. and those 
 of later times during the ten years’ war of Napoleon I. 
 
 The pictures forming the Mantua Gallery were of more interest, as they were 
 examples of oil painting at its highest point of excellence, and of this important sale 
 there is much to be said. “ The successive Dukes of Mantua illustrious for their 
 patronage of art, in which they were rivalled only by the Medici, had been 150 years 
 forming this gallery ; it contained some of the finest pictures in the world by Raphael, 
 by Correggio, by Giulio Romano, and Titian. About 1628,* the reigning Duke of 
 Mantua, Carlo Gonzaga, impoverished by the vices and prodigality of his predecessors 
 and the war he had waged with the Emperor Ferdinand II., wished to dispose of the 
 collection of pictures belonging to his family.” (“ Handbook to Public Galleries,” Mrs. 
 Jameson, p. 179.) They were purchased for the king j for a large sum, the exact 
 amount of which is not known, having been variously stated at £20,000 and £80,000. 
 Probably it was the smaller sum, which at that time would have been a sufficiently high 
 price for some 88 pictures, while the larger sum cannot be accepted as correct. As to 
 the remainder of the collection which was taken as prize of war in 1630, it is stated to 
 have been divided between the two generals Galeazzo and Aldringher, who took the 
 pictures and other things to Prague, where they were eventually sold to Queen 
 Christina of Sweden. She carried them with her to Rome, where they remained for 
 many years until, at her death, they came into the hands of Cardinal Azzolini from a 
 “ nephew” of whom they were purchased by Don Divio Odescalchi, and by that family 
 they were sold to the Duke of Orleans, forming the nucleus of that famous collection 
 the sale of which comes in for notice further on. The pictures known to have come to 
 Charles I. in his Mantuan purchase, as stated in the MS. Catalogue preserved in the 
 
 * The Gonzagas reigned at Mantua till 1627. After the death of Francesco IV. without issue, the Duchy was 
 claimed by the French branch of the family, Charles Duke of Nevers, but this led to the war under Ferdinand II. 
 against him. The city was taken by the Germans in 1630 and given up to plunder. The chief pictures of the 
 collection had been sold as we have seen, about 1628 — 9, to Charles I. 
 
 t It has been stated by Dr. Waagen, that the Duke of Buckingham was employed in this as he was in so 
 many other confidential affairs, for the king. But if the date of the sale of the Mantua collection was 1629, which 
 Dr. Waagen finds on a ticket upon a picture by Dorn 0 . Feti in the Belvedere collection at Vienna with the words 
 “from Mantua, 1629,” and the Royal cipher and Crown of Charles I., then it must be remembered, that 
 Buckingham was assassinated by Felton at Portsmouth in August, 1628. It is difficult indeed to see how the 
 Duke of Buckingham could have acted in this matter previously, because he was engaged as Lord Admiral at the 
 siege of La Rochelle for some months in 1627, returning with the disgrace of failure, and then to meet the 
 charges of impeachment by the Commons against him and the Lord Arundel, from which his death only released 
 him. It is much more probable that it was at the suggestion of no less an authority than Rubens himself to the 
 King that the Mantuan collection was obtained, for it was at this time, 1627-8, that he was sent to London after 
 the death of Buckingham, on a mission of diplomacy, and was constantly seen by the king while engaged upon 
 his work at the Whitehall ceiling, for which and his diplomatic services he was knighted (1630). Rubens had 
 been retained by the Duke Gonzaga as his painter, and in his long residence at the Court of Mantua knew well all 
 the pictures. It is remarkable that these two great noblemen, about the same age, Buckingham being six years 
 junior, should have been always rival collectors, and that their collections were equally doomed to be sold under 
 stress of misfortunes, for all Buckingham’s collection at York House was either sold at Antwerp or in London, 
 and the rest sequestrated and sold ; while Lord Arundel died at Padua aged 60, and his widow sold all of his 
 collection she could at Amsterdam. According to a letter of Evelyn’s to Pepys dated 1689, “that his rich 
 collection of medals and intaglios which he purchased of Daniel Nice (or Nys) for ^10,000, with other rarities, 
 have been scattered and squandered away by his Countess whilst my lord was in Italy.” “ Such as remained 
 Lely, Wright, and the rest of the painters, panders, and misses, have cheated the late Duke of Norfolk of.” 
 
8 
 
 SALE OF CHARLES I. COLLECTION. 
 
 [ 1649 . 
 
 Ashmolean Museum, Oxford, 4 ' which, however, is left incomplete, are so distinguished in 
 the list, pp. 9—14. The following refers to the dispersion ot the collection ol Chailes I. : 
 From Samuel Pegge’s “ Curialia,” Part IV., London, 1806. Extracts from a 
 MS. inventory in the library of Mr. Gough, of the plate, goods, pictures, statues, &c., 
 of King Charles I. as taken, appraised, and sold at the several Royal Palaces. “ A 
 true inventory of the several pictures now in the custody of Mr. Henry Brown, 
 Wardrobe Keeper, at Denmark House [formerly Somerset House], viewed and 
 appraised the eighth of Sept r ., 1649.” The only pictures of any interest were thus 
 
 described in this inventory: — “The Nativity, Giulio Romano, /To. Buchanan’s 
 Head, £2 105., sold to Mr. Mecurt for £3 10s., Nov r . 2, 1649. A Christ, by 
 
 Leonardo, £30. A Holy Trinity, by M. Angelo, £30.” “ A true inventory of pictures 
 
 in Somerset House, which came from Whitehall and St. James’s. A St. John, by 
 Correggio, £40. A Lucretia, by Titian, /'Go. Mary and Our Saviour, by A. del 
 Sarto, £200. Sold for £230. The Duke of Buckingham and his Lady, by Honthorst, 
 £30. Mary, Christ, and St. Joseph, by A. del Sarto, /T50. Sold for /T74. A Venus 
 laying along, with one playing on an organ, by Titian, f /T50. Sold for /T65. Mary, 
 Christ and St. Mark, by Titian, /T50. Holy Family, by Giorgione, /Too. The 
 Three Jewellers, by Titian, /Too.” [This was the price at which it was appraised, 
 but it appears to have been bought by Don Cardenas for /'50.] “ Mary and Christ, by 
 
 Raphael, £3. The same, by Correggio, £12. Mary and the Child hugging her, by 
 Correggio, /To.” “In the Closet at Somerset House. The Marquis di Guasto, by 
 Titian, £230. [Was this the picture 470 in Louvre Catalogue ?] In the Gallery [ditto). 
 The Birth of Hercules, by Giulio Romano, /Too. Titian’s Mistress, after the life bv 
 Titian, /Too. King Charles on Horseback, by Vandyck, £200. Venus dressing by the 
 Graces, by Guido, £100. [Was at Windsor, and is now in the National Collection.] 
 Margaret afraid of a Monster, by Titian, /Too. [No. 469, Madrid Cat. 1 Solomon’s 
 offering to Idols, by Peedmor, /T50.” This name has been misread for “ Pordenone ; ” 
 it appears correctly in the official catalogue. The remarks in brackets are added bv me. 
 
 * This MS. catalogue was made in 1639 by Vanderdoort, the king’s keeper of them, who however seems to 
 have had no great knowledge of pictures, though he gives the sizes and other information, now of great value, 
 and that they were in the palaces of St. James’s and Whitehall ; also some of those which were placed in Hampton 
 Court, but apparently not all of those of which Mrs. Jameson, writing in 1842, remarks, “Among a heap of 
 rubbish there exist some curious but maltreated and defaced Mantuan pictures.” The Ashmolean Museum 
 Catalogue is well known by the printed copy made by G. Yertue, who died, however, before completing it, and 
 left the work to be published by Bathoe in 1757. Bathoe afterwards bought the MS. Catalogue of King 
 James II. collection, made by Chiffinch one of the king’s attendants, which belonged to the Earl of Oxford, and 
 afterwards to Vertue. I his he published in 1 7 5 L mentions nine other pictures which belonged to the 
 collection of Charles I. and many others. Some information as to where the pictures were placed is given in 
 a MS. account upon a catalogue that belonged to Mr. J. Anstis, Garter King-at-Arms who, probablj 7 wrote these 
 notes. 
 
 + This answers to the description in the Madrid Catalogue, of No. 459, Tiziano, and the note to it gives 
 the price of AT 6 5 (libras) paid by Don A. de Cardenas when he bought it in England from the collection of 
 Charles I. R. Symonds in his Diary (Egerton MSS., No. 1636), says, referring to the purchases made by Don 
 Cardenas, “ He hath the famous Venus of Titian, for which the King was offered AT, 500 1 ’tis copied by 
 Walker ; . . . . He demands £50 for the coppy of Titian’s, woman naked, and a man playing on the 
 
 organ ; Hutchinson has the original.” Colonel Hutchinson certainly bought pictures belonging to the Kine 
 
 see pp. 19, 20. Symonds also says that Don Cardenas bought of “Murray, the tailor, and others, 2 pieces of 
 Titians, viz., a Venus, mezzo. Jigura , and The Jewellers, each at £50." 
 
1649.] SALE CATALOGUE OF CHARLES I. COLLECTION . 
 
 9 
 
 LIST OF PICTURES AS NAMED IN THE CATALOGUE OF THE COLLECTION OF CHARLES I. 
 
 Specifying those from the, Mantua Collection and those identified i)i existing Collections. The sizes , prices , and names of purchasers are those 
 stated in the original. Remarks not in the original are in brackets , and the footnotes are also not in the original. 
 
 Subject. 
 
 Size. 
 
 Price. 
 
 Ai.DEGREVER. 1. Christ on Mount 
 of Olives. Fr. Arundel Coll. 
 
 29 x 22 
 
 £ s- 
 
 Caravaggio, i. Dorcas lying 
 dead 
 
 
 
 2. Holy Family . . . . 
 
 Caracci, A. 1. Virgin and Child 
 2. St. Bartholomew . 
 
 Cleve, J.V. Pts., himself and wife 
 
 
 
 Correggio, i. St. John Baptist 
 with reed cross in 1. h., point- 
 ing with r.h.( By Parmegiano?) 
 
 61 x 20 
 
 
 2. St. John Baptist sitting. 
 From Mantua 
 
 
 
 3. Education of Cupid . . . 
 
 From Mantua (a). 
 
 
 800 0 
 
 4. A sleeping Venus, Cupid and 
 Satyr ( 3 ). (Jupiter & Antiope) 
 
 74x48 
 
 1000 0 
 
 5. The Punishment of Marsyas. 
 In water-colours. 
 
 (An allegory of man tortured 
 by Vices as women with hair 
 entwined with serpents.) 
 Mantua Collection . 
 
 52 x 31 
 
 1000 0 
 
 ■ 6. Triumph of Virtue over the 
 Monster. Companion . 
 
 (Both engraved by Picard, 
 1672). Mantua Collection. 
 
 
 1000 0 
 
 7. Great landscape, vine and 
 forestwith shepherdsdancing 
 and an ass in the field . . 
 
 40 X 56 
 
 
 8. Marriage of St. Catherine. 
 L., with martyrdom of St. 
 Sebastian. A present from 
 D. of Buckingham ; supposed 
 a good old copy. (Mentioned 
 in James II. catalogue, No. 
 
 
 
 I 7 i) 
 
 ( The original in the Louvre . ) 
 
 
 
 Buyer and Place. 
 
 ( Windsor Castle .) 
 
 ( Windsor Castle. ) 
 
 D. of Alva. 
 
 (In Nat 1 - Gallery.) 
 
 Jabach. (Louvre.) 
 
 (a) This price and purchaser are given in the official catalogue of the 
 National Gallery, but they are not in the original document, nor is any price. 
 I find in Richard Symond’s Diary (Egerton MSS., No. 1636) under date 
 1651 — 2, “ The Quadro of Correggio which the king’s glassier has is offered to 
 be sold at the lowest at ^650— /,'Soo is offered. ’Tis the Venus standing, and 
 Mercury sits by teaching Cupid to read : ” he thus distinguishes the picture 
 from the other Venus lying asleep (Antiope). He also names others, see list, 
 p. 18. 
 
 (b) Jabach sold it to Cardinal Mazarin, of whose heirs it was obtained by 
 Louis XIV. It was priced ^5000 in the Mazarin Collection. It was in the 
 hands of one Knightley in 1650 — 52, as referred to by R. Symonds (Diary, in 
 Egerton MSS.) as sold for £800; he says, “they have been offered ^500 
 divers times ready money, and the Lord Sunderland offers 100 down and a 
 ^100 a year.” It would seem that Symonds was himself in possession of the 
 pictures and he was a dabbler in varnishes, for he says, “ I laid on this varnish 
 of chiara d’ovo on my Correggio’s Venus and Satyr, and in a year it became 
 yellow and ugly durty, but with fair water and a sponge I washed it clear off.” 
 Symonds gives a long list of the pictures he saw at the collection of the Earl 
 of Northumberland at the Suffolk House in 1652, of which he particularly 
 names “2 quadros in legno,” by Sarto, of Madonnas with “ diversi putti, esteemed 
 both at 7)1000. Titian, a senator of Venice with his secretary. 3 senators of 
 Venice in their scarlets kneeling afore the altar, and six boyes ritrattos all and 
 the fruits grandly done.” “ A Venus lying along and Mars kissing her under 
 a tree, and naturale paese franco.” Palma Giovine. — “Venus upon a bed and 
 Mars, a fat red-coloured knave.” P. Vecchio. — Half figure of a woman with 
 loose hair and “rare fleshy breasts” on wood. Bassano Vecchio. — Nativity. 
 “ Our Saviour at Emaus and the host sitting, good and excellent.” Two large 
 quadros, masters unknown, (See curious extracts from this diary at pp. 8, 
 
 17—19-) 
 
 VOL. I. 
 
 9. Magdalen, standing looking 
 up. Much defaced . . . 
 
 25 x 20 
 
 £ s . 
 
 Lucas Cranach, i. Pt., Luther 
 
 2. Adam and Eve 
 
 3. Pt., Hans von Griffindorp 
 DOSSO DOSSI. Virgin and Child 
 
 playing with a cock, Joseph 
 and Saint. A Mantua piece 
 
 67x74 
 
 
 Albert Durer. 1. His own 
 portrait when young 
 
 2ox 16 
 
 100 0 
 
 2. Pt. of his father . . . . 
 
 20X 16 
 
 100 0 
 
 (These were thosepresented 
 to Lord Arundel at Nurem- 
 berg for the king.) 
 
 3. Man in black cap, red hair . 
 
 14 x 22 
 
 
 Vandyck. 1. Fam y - pict., Charles 
 I.,the Queen, Prince Charles, 
 and Princess Mary. L. with 
 Westminster 
 
 1 16 X 96 
 
 150 0 
 
 (The picture at Windsor is 
 different.) 
 
 2. King Charles on horseback . 
 
 200 0 
 
 (Claimed at law, and now 
 at Windsor Castle.) 
 
 3. King Charles on yellow horse, 
 equerry at his side with helmet 
 
 n 
 
 X 
 
 00 
 
 (x- 
 
 
 (Studyforthe Blenheim pic- 
 ture in the National Gallery.) 
 
 4. The five children of Charles I. 
 
 with large dog . . . . 
 
 5. Pt., Henrietta Maria in white 
 
 to knees .... 
 
 6. Vandyck’s own Pt., r. h. on 
 
 breast. Oval . . . . 
 
 30x23 
 
 
 7. Duchess of Richmond, w.l.l. 
 
 8. The Queen-mother of France, 
 b. d. on a chair, h. 1., a rose 
 in r. h. 
 
 (Marie de’ Medicis.) 
 
 9. Princess of Pfalzburg, with a 
 
 negro 
 
 (Brought from Brussels by 
 
 84 x 48 
 
 
 Endymion Porter.) 
 
 10. Pt., N. Laniere. h . 1. . 
 
 43 X 39 
 
 
 11. Pt., Charles Maurice Rupert 
 and his brother P. Robert, in 
 armour ..... 
 
 12. Pt., H. van der Borcht. h . 1. 
 
 47x40 
 
 
 13. Pt., Musician of Antwerp, h.l. 
 
 42x36 
 
 
 14. Lady Shirley in Persian dress 
 
 
 
 15. Head of old man . 
 
 16 x 23 
 
 
 16. Procession of Kt. of Garter. 
 
 Chiaroscuro . . . . 
 
 14 x 19 
 
 
 17. Virgin and Child, St. Joseph 
 and Angels .... 
 
 109 x 90 
 
 
 18. Charles I. on horseback ( c ) . 
 
 
 150 0 
 
 (Hampton Court.) 
 
 (Florence Gallery.) 
 (Frankfort Coll. ? ) 
 
 (Hampton Court . ) 
 
 (Burnt at White- 
 hall, 1697?) 
 
 Van Lemput. 
 
 (In Windsor Castle 
 
 (At Petworth ? ) 
 
 (Sold to Sir Robert 
 Walpole in the 1 8th 
 cent, for ,£800, and 
 with the Houghton 
 Gallery to the Empress 
 Catherine of Russia. ) 
 
 (Ho na>?ie of pur- 
 chaser is given. ) 
 
 (In Nat'- Gallery . ) 
 
 (c) Dr. Waagen in his reference to the old catalogue says, “Although the 
 
10 
 
 ART SALTS . 
 
 [ 1649 . 
 
 Subject. 
 
 Garofalo. Virgin and Child, St. 
 Joseph, St. John, and the 
 Lamb in L. Mantua Coll. ■ 
 
 Giorgione, i. Virgin and Child, 
 with SS. Joseph, Catherine, 
 Sebastian, and Donor . . 
 
 2. Virgin and Child and St. 
 Joseph. Mantua Collection 
 
 3. Diana and Actseon . . • 
 
 12 figs, in foreground, 11 
 others in L. 
 
 4. A shepherd, a flute in r. h. 
 
 Bust size .... 
 
 Size. 
 
 15x23 
 
 38x53 
 
 37x72 
 
 23 x 20 
 
 5. A man’s head, black cap and 
 * dress. Said to be the painter 
 
 Holbein, i. Pt., a Merchant, 
 black cap and dress, with 
 letter and knife . . ■ 
 
 Apresentfrom Sir H.Vane 
 (Said to belong to Dr. Mead 
 in 1758.) 
 
 2. Gentleman from Cornwall, 
 pointed beard, profile. L. 
 background . . . . 
 
 A present from Sir Robt. 
 Killigrew. 
 
 22 x 16 
 
 24 x 19 
 
 1 x 1 2 
 
 Price. 
 
 £ s. 
 
 v.i 140 
 
 None. 
 
 Buyer and Place. 
 
 Lucas van Leyden, i, 2, 3. 
 Three pictures from the 
 legend of St. Sebastian 
 
 Jabach. ( Louvre . ) 
 (Bought by Lord 
 Cottington for the 
 king, valued ^100.) 
 
 (Bought of Endy- 
 mion Porter. ) ( No 
 
 price or purchaser 
 named. ) 
 
 4. St. J erome, his hand on a skull 
 
 A present from the Dutch 
 Ambassador, 1635. 
 
 5. Joseph brought before the 
 
 Judge 
 
 Bought of Sir J. Palmer. 
 
 6. A Dying Man : Joseph bless- 
 ing Ephraim and Manasseh 
 
 7. Chess-player. 15 figs, h.l.s. 
 
 Mantua Collection. 
 
 (. Hampton Court.) 
 
 ( Bought of Geld orp. ) 
 ( No price or purchaser 
 named . ) 
 
 Mabuse, i. The Children of 
 Hen. VII., h. /., playing with 
 oranges .... 
 
 13X 15 
 20 x 14J 
 
 40 x 69 
 
 18 x 14 
 
 v. & s. 
 100 o 
 
 ( Windsor Castle .) 
 
 2. Adam and Eve . . . • 
 
 {Figures rather less than 
 life-size .) (“In King Charles’s 
 time the staircase in White- 
 hall wherein this picture hung 
 was called 4 The Adam and 
 Eve stairs.’”) 
 
 52x39 
 
 £ A 
 
 (A St. Sebastian by 
 v. & s. Leyden is at Hamp- 
 100 o ton Court.) 
 
 (“A piece in water- 
 colours, now miss- 
 ing.”— Jameson . ) 
 
 ( Hampton Court.) 
 
 “ Painted by Ma- 
 ibuse in 1498 when in 
 England. There is a 
 'duplicate at Wilton 
 and another at Lord 
 Methuen’s.” ( Jame- 
 son .) (Eng. by Vertue.) 
 
 ( Hampton Court.) 
 
 ( “ Sold after 
 Charles’s death to 
 Mr. Marriotte for 
 ^50. "—Jameson. ) 
 
 3. Gentleman in black cap, 
 
 nearly profile . . . . 
 
 A present from Sir Robt. 
 Killigrew. 
 
 4. Erasmus . . . . 
 
 5. Frobenius the Printer . . 
 
 (Copies according to Dr. 
 Waagen.) 
 
 6. Hen. VIII. in front 
 
 7. Hen. VIII 
 
 8. & 9. Two children of the 
 Duke of Brandon 
 
 15x12 
 
 1 5 x 13 
 
 v. & s. 
 
 100 o 
 v. & s. 
 100 o 
 
 (Hampton Court.) 
 
 Circle 
 1 1 diam. 
 Circle 
 2in. dia. 
 Circles 
 2in. dia. 
 
 10. Sir T. More . . . . 
 
 11. Queen Elizabeth as young 
 princess, red d. with blue book 
 
 Circle 
 
 4in.diam. 
 
 4* x 31^ 
 
 12. Hen. VIII. with the Queen 
 (Catherine Parr?) and Prince 
 Edward sitting : on the sides 
 Princesses Mary and Eliza- 
 beth standing. At the door 
 a jester with ape’s head, on 
 other side a female. Sin w. 1 . 
 
 The scene, an open colon- 
 nade and garden. The jester 
 is Will Somers, and thefemale 
 is said to be his wife. 
 
 120 x 72 
 
 (Hampton Court as 
 by Cranach.) 
 
 (This picture was 
 lent by Geo. III. to 
 jthe Soc. of Antiq., 
 and hungintheirroom 
 jat Somerset House.) 
 
 Mantegna, i — 9. Triumphal 
 
 procession of Julius Caesar. 
 
 P. in distemper on canvas. 
 
 From the Mantua Collection 
 (The size of these nine large 
 works is 9 feet square, form- 
 ing a frieze 8 1 feet long. The 
 figures rather under life-size. 
 
 Painted on twilled linen 
 stretched on frames.) (b) 
 
 10. Virgin and Child, St. Johnj 
 Baptist, and six saints sitting. 
 
 In the landscape St. Chris- 
 topher, combat of S. George) 
 with Dragon, SS. Jerome, 
 
 Francis, Dominic. Mantua 
 
 Coll. 21x17’ 
 
 11. Death of the Virgin, around) 
 her the Apostles, in distance 
 
 a lake . . . . . 21 x 16 
 
 (Mantua Coll.) 
 
 12 . TheWoman takenin Adultery' 
 
 Five h.l. figs., in water-colours; 21 x 28 
 
 13. Mutius Scsevola putting his] 
 
 hand into the fire before 
 Porsenna . . . . . 
 
 v. 
 
 1000 o 
 
 (Hampton Court.) 
 
 (These were com- 
 panion pictures, but 
 ithey are amongst 
 It hose which are miss- 
 ing from the collec- 
 jtion. ) 
 
 (Missing. Mrs. 
 Jameson says “ four ” 
 figures.) 
 
 (Missing. Named 
 | as by Mantegna in the 
 Cat. of James II. 
 pictures.) 
 
 13. Pt., Robt. Cheeseman, falconer 
 to Hen. VIII. 
 
 14. The wax model for a scabbard 
 
 of a sword for Hen. VIII., 
 with many small figures . . 
 
 Apresentfrom Inigo Jones. | 
 
 (Seen by Sir J. Rey- 
 nolds at the Hague in 
 1 7 So. No. i95inthat 
 collection now. A 
 | falconer with hawk is 
 at Windsor.) 
 
 picture is stated to be unknown, it is most probably by Vandyck, or so high a 
 price would not have been obtained for it, and that it was probably the great 
 picture at Blenheim. This sounds rather droll now that it has been purchased 
 at such a very high price for the National Gallery, and as there never was any 
 doubt as to its authenticity. A question of more interest in connection with 
 the ispersion of King Charles’s Collection, is how this picture found its way 
 to Munich, and was there purchased by John, Duke of Marlborough. 
 
 An important picture always attributed to Giorgione, and so named in 
 the Louvre catalogue, is not included in this list by Vanderdoort, viz., Le 
 Concert Champetre , which is stated to have belonged to Charles I. Collection, 
 and was purchased by Jabach. 
 
 (b) “ When this frieze was executed about 1476 Andrea Mantegna was five- 
 and-twenty. The most important works in the historical style produced before 
 the frescoes of Michelangelo and Raphael.” “ They hung in the palace of San 
 Sebastiano for a century and a half, and were the admiration of all Italy. In 
 1628 they were purchased by Charles I. with the rest of the Mantua collection : 
 sold after his death for £ 1 000, and how 1 they came back to the Royal Collection 
 does not seem well ascertained. It is said they were repurchased by 
 Charles II. Dr. Waagen and M. Passavant both assert they have been 
 coarsely painted over by Laguerre in the time of William III. It appears to 
 me, on close examination of the pictures, that the mischief done is not so 
 desperate as represented, and that they have suffered more from time and 
 accident than from ill-treatment.” “ Of the 5th picture, with the elephants, 
 Rubens, when at Mantua about 1606, made an exquisite copy, or rather version, 
 after his own manner which is now in the possession of Mr. Rogeis.” 
 See excellent account of these fine works in Handbook to the Public 
 Galleries, Jameson, Vol. II., and of the etchings and engravings. — See Bartsch. 
 Passavant states that these w r orks are “ cartoons,” and have been transferred 
 to canvas, which is contradicted both by Mrs. Jameson and Dr. Waagen. 
 There is little or no doubt that these important works rvere sold in Sir Robert 
 Cotton’s Collection in 1 733. See p. 26. 
 
1649 .] 
 
 CHARLES I. COLLECTION. 
 
 1 1 
 
 Subject. 
 
 MOLANEZO(a). Virgin and Child, 
 with SS. John, Joseph, Eliza- 
 beth ..... 
 
 Moro, Anthonis. i. Philip, K. 
 of Spain ..... 
 
 A present from the Earl of 
 Arundel. 
 
 2. Grandmother of the Duke of 
 
 Savoy . . . . . 
 
 3. Grandfather of the Duke of 
 
 Savoy . . . . . 
 
 4. Pt. of a Child 
 
 5. Mary, Queen of England, in oil 
 A present from Lord Suffolk 
 
 Palma Vecchio. i. Virgin and 
 Child, with SS. John and 
 Catherine. Panel . . . 
 
 2. The Resurrection. Sm. figures 
 
 on copper . . . . 
 
 3. Conversion of St. Paul . . 
 
 4. David with Head of Goliath . 
 
 5. Virgin and Child, with St. 
 
 Sebastian . . . . 
 
 Palma Giovane. i. The Last 
 Supper . . . . . 
 
 (Present from Ld. Hamil- 
 ton.) 
 
 2. Allegory. Virtue separating 
 
 Vice from three Ecclesiastics 
 Panel 
 
 3. Venus with Mirror sitting at 
 
 table, Cupid by her . . . 
 
 Parmigiano. 1. Virgin and Child, 
 with St. Jerome . 
 
 2. Christ and St. John as children 
 embracing . . . . 
 
 3. St. Catherine sitting in L., 
 with two Angels . 
 
 4. Virgin and Child, SS. John, 
 
 Joseph 
 
 (A present from Sir J. 
 Shaw.) 
 
 5. Virgin and Child and St. 
 
 Catherine. Afantua Coll. . 
 
 6. Virgin and Child, with hand 
 
 on globe . . . . 
 
 (Old copy of Madonna della 
 Rosa in Dresden Gallery.) 
 
 7. Virgin and Child, SS. John and 
 
 Joseph, s. h. 1 . . . . 
 
 (Bought of Frosley.) 
 
 8. A Woman with naked arms 
 dressing, by her a man with 
 looking-glass 
 
 9. A Nobleman . . . . 
 
 10. A Woman, profile, red dress. 
 
 1 1. A Learned Man, black dress, 
 
 with book . . . . 
 
 G. Penz. 1. A young man, gloves 
 in right hand 
 
 Size. 
 
 7 i X43 
 
 14 x 12 
 
 Circle 
 
 2in. dia. 
 
 v. 200 o 
 
 15 x 31 s. 225 o 
 
 Price. 
 
 £ s. 
 
 V. IOO O 
 S. 120 O 
 
 38X29 
 
 20 X 36 
 
 40 x 41 
 62 x 47 
 
 : 6| x 1 8 
 1 1 x 8L 
 
 46x36 
 
 4i X33 
 
 14X 13 
 
 25 x 17 
 36x46 
 
 V. & s. 
 
 IOO o 
 V. & s, 
 IOO o 
 
 V. & s. 
 IOO o 
 
 Buyer and Place. 
 
 ( Windsor Castle as 
 D. of Alva?) 
 
 {In the Louvre, No. 
 
 1 1 37 - ) 
 
 DonA.de Cardenas. 
 {Madrid Gallery.) 
 
 V. & S. 
 
 100 o 
 
 {Hampton Court.) 
 
 (Exchanged by the 
 Lord Chamberlain, 
 Earl Pembroke, for a 
 Judith, s. w. 1. Said 
 to be painted by 
 Raphael.) 
 
 V. & S. 
 
 150 o 
 v. & s. 
 150 o 
 
 {Hampton Court. ) 
 
 {Hampton Court . ) 
 
 {a) Dr. Waagen omits to notice that this name, which he concludes was that 
 of a distinguished artist, is explained by Mrs. Jameson as an erroneous one for 
 “ II Veronezo,” i.e., “ Paolo Veronese.” The picture is probably one of those 
 lost or burnt in the fire at Whitehall. 
 
 
 24 x 18 
 
 £ s - 
 
 2. Erasmus, black cap . . ■ 
 
 Sebastian del Piombo. i. Old 
 man with right hand on 
 
 
 breast, roll in 1. 
 
 32x23 
 
 
 PORDENONE, LlCINIO. I. Solo- 
 
 
 v. & s. 
 
 mon sacrificing to idols . . 
 
 
 150 0 
 V. & s. 
 
 2. Family picture, several figures 
 
 3. His own Pt., playing the lute 
 
 4. A satyr dancing, and young 
 
 18 x 16 
 
 IOO 0 
 
 fawn ..... 
 Caravaggio. 1—9. Fresco, bac- 
 
 
 chanalian subjects, mostly . 
 
 16 x 60 
 
 
 Raphael, i — 7. The Cartoons . 
 8. Virgin and Child. St. John 
 
 
 v. 300 0 
 
 and Elizabeth, w. 1 . below 
 
 
 V. & s. 
 
 l. s. Mantua Coll. Panel 
 9. Virgin and Child, St. John. 
 
 57 x4s 
 
 2000 0 
 
 w. /., h. 1 . s. (h) . 
 
 
 V. & s. 
 
 10. St. George and the Dragon . 
 
 (“The King obtained itfrom 
 the Lord Chamberlain, Earl 
 of Pembroke, in exchange 
 for the book with Holbein’s 
 
 
 0 
 
 0 
 
 tn 
 
 drawings, which contains 
 heads drawn in chalk. As 
 soon as my lord received the 
 book he made a present of it 
 to the Lord Marshal, the Earl 
 of Arundel.” — Ashmolean 
 MS. Cat. and Vanderdoort’s.) 
 
 1 1. Virgin, Christ and Priest. Fr. 
 Lord Montague's . 
 
 12. Virgin and Child, Joseph and 
 
 Lamb ..... 
 
 (Sold to Reynst, but no 
 price is given ; it was pur- 
 chased with others by the 
 States- General, and presented 
 to Charles II.) 
 
 13. Pt. young man’s head, with- 
 out beard, red cap, whereon 
 
 
 v. & s. 
 
 a medal ; he has long hair ; 
 
 
 being the Marquis of Mantua. 
 
 Panel 
 
 (It was probably one of the 
 Mantua pictures.) 
 Rembrandt, i. His own por- 
 trait, black cap, gold chain 
 
 85X5! 
 
 200 O 
 
 over his shoulders. Oval 
 
 2. A young learned man, red 
 cap, grey dress, reading by 
 
 29x23 
 
 
 fire 
 
 3. An old woman, white veil 
 over head, and riband . 
 
 (These three were presents 
 from Lord Ancrum.) 
 
 61x51 
 
 
 24 X 18 
 
 
 Guido Reni. i. Hercules and 
 
 
 v. & s. 
 
 Cacus . . ... 
 
 (The four pictures, painted 
 for the Duke of Mantua, each 
 2'6 i x 8'92m., or about 108 x 
 75. Figs, larger than life.) 
 
 
 400 0 
 
 ( Windsor Castle. ) 
 
 (Exchanged with 
 Nic. Laniere — not 
 
 {Hampton Court.) 
 (Exchanged with the 
 Ld.ChamberlainPem- 
 broke for a Pt. of the 
 Queen by Vandyck. ) 
 
 (Eight are in Cat. 
 James II.) 
 
 {Some at Hampton 
 Court. ) 
 
 (Bought by order of 
 Cromwell and placed 
 at Hampton Court. 
 Removed in 1872 to 
 S. K. Museum.) 
 DonA.de Cardenas. 
 {Madrid Gallery 
 — “La Perla," a 
 copy in Apsley 
 House Coll.) 
 
 {Hermitage Coll. 
 St. Petersburg. ) 
 
 (Not known now. 
 Possibly destroyed in 
 the fire at Whitehall, 
 1697.) 
 
 (Dr. Waagen states, 
 said to have been 
 afterwards in the coll, 
 of Cardinal Richelieu ; 
 and Passavant, Vol. I., 
 p. 175, that he sup- 
 posed it to be again 
 in England. But Mrs. 
 Jameson had not met 
 with it.) 
 
 {At Woburn. D. 
 of Bedford's ?) 
 
 {At Windsor Castle.) 
 (Called Countess of 
 Desmond. zEt. 120 !) 
 Jabach. {In the 
 Louvre . ) 
 
 {/>) Thought to be the small picture known as “La ii-^o^and 
 
 J a //,, » nnJ Hr Wnatren savs. Derhans that in the Coesvelt Collection, an 
 
 C. 2 
 
12 
 
 ART SALTS. 
 
 [1G49. 
 
 Subject. 
 
 2. Venus attired by the Graces . 
 
 3. Judith and Holofernes . 
 
 4. Mary Magdalen . . . 
 
 5. Portia swallowing fire. Look- 
 ing up, with a dish of hot 
 coals. Copper 
 
 6. Head of St. Peter . 
 
 Giulio Romano, i. The Deluge, 
 18 figs. Canvas . . . 
 
 2. Nativity. Longinus present. 
 On wood. Mantua Coll. 
 
 (Painted for the Church of 
 St. Andrew, Chapel of the 
 Boschetti, removed by the 
 Duke of Mantua to his 
 Palazzo.) 
 
 3. St. Jerome . . . . 
 
 4. Jupiter, Juno, and Minerva . 
 
 5. Birth of Hercules . 
 
 Mantua Coll. 
 
 Size. 
 
 27 x 24 
 
 16x12 
 24 x 19 
 
 30x40 
 
 108x73 
 
 Price. \ Buyer and Place. 
 
 (Was in Windsor 
 
 £ *■ 
 
 v - & s - iCastle many years, 
 200 o anc j was presented to 
 the National Gallery 
 in 1836, by Will. IV.) 
 
 ( Hampton Court.) 
 
 (Brought from Ger- 
 many by Lord Hamil- 
 ton, who gave it to 
 the king.) Missing. 
 
 (Afterwards in Sir 
 P. Lely’s Coll.) 
 
 V. & s 
 500 o 
 
 V. & s. 
 200 O 
 
 5° x 33 
 
 42 x 56? | v. 100 0 
 
 (48 x 34 
 is the 
 size.) 
 
 J aback. 
 
 (In the Louvre. 
 
 42 x 69 
 48 x 26 
 
 6. Cupid and Nymphs . . . 
 
 7. A Mermaid suckling children 
 at her seven breasts 
 
 8. Sacrifice to Jupiter . . . 
 
 9. Child suckled by a goat 
 
 (“Birth of Jupiter with 
 Juno.”) 
 
 10. Meleager and Atalanta, with 
 figure of Envy and others. 
 
 Mantua Coll. . . . . 
 
 11. Triumph of Vespasian and 
 Titus. Mantua Coll. . 
 
 12. Julius Caesar, and three atten- 
 dants. Mantua Coll. Missing 
 
 13 — 2 3 - Pts., 11 Roman Emperors 
 
 24. Rome Burning, 17 figures 
 
 25. Italian Prelate, seated (a) . 
 
 26. Man in black dress . . . 
 
 (Hands restored byRubens) 
 
 27. A Centaur, with youth pre- 
 senting dead boar 
 
 28. Pt. of Giulio Romano hold- 
 ing paper. Mantua Coll. 
 
 RUBENS, i. Allegory. Blessings 
 of Peace protected against 
 terrors of War, nine figs. . 80 x 1 19 
 (Painted in England and 
 presented to the king. After- 
 wards in Balbi Pal, Genoa. 
 
 Doria Coll.) 
 
 2. Daniel in the lions’ den . .88x128 
 (A present from Lord Dor- 
 chester.) 
 
 5 i X33 
 37x67 
 47X37 
 
 47x42 
 45 X 38 
 37x30 
 
 ( Hampton Court.) 
 
 (Passed to the Or- 
 S. 1 14 o] leans Coll., and after- 
 wards to Bridgewater 
 Gall. .where it is still, 
 though Dr. Waagen 
 states it had been 
 parted with. It is No. 
 293, Bridgewater Cat.) 
 
 (At HamptonCourt, 
 named in Cat. Jas. II.) 
 
 v. & s. 
 
 I IOO O: 
 
 (In the Louvre . ) 
 
 (Two at Hampton 
 Court, one was sold in 
 Orleans Coll.) 
 
 (In Cat. James II., 
 but missing. ) 
 
 (Purchased in 1802 
 by Mr. Irvine for 
 Buchanan, who sold 
 V. & s. the Marquis of 
 J Stafford, first Duke of 
 Sutherland, who pre- 
 sented it to National 
 Gallery in 1828, pro- 
 per size is 78 x 1 17.) 
 
 (Plamilton Palace, 
 sold, 1882, at Chris- 
 tie’s, and repurchased 
 1885 by the Duke >f 
 Hamilton, see\ T o\, II.) 
 
 100 o 
 
 ZIS u e He , rmita S e Collection, St. Petersburg. But the last-named is only 9; 
 
 See Coesvel't, llz^o Vobl andl^" back ^ round ’ the very small 
 
 inS. o'l' Jam ^ S ° n suggests whether this may not be the portrait of Julius II 
 m the Orleans Collection, and formerly in that of Queen Christina. J 
 
 3. A large picture of St. George 
 
 (Bought of Endymion 
 Porter.) 
 
 4. Pt. of young brother of Duke 
 of Mantua, in armour. Bust 
 
 (Bought by the king when 
 prince.) 
 
 5. Rubens’ own Pt., black dress, 
 gold chain. Bust 
 
 (A present fr.Lord Danby ?) 
 
 6. Apotheosis of James I. Sketch. 
 
 Andrea del Sarto, i. Virgin 
 and Child, St. John, Angel. 
 w. 1 . figs., near ly l. s. Panel. 
 Mantua Collection . . . 
 
 2. Virgin and Child in her lap, 
 Joseph leaning on a stick 
 
 ( The king got it in i63Sfrom 
 the Lord Chamberlain in ex- 
 change for the pt. of the 
 queen in water-colours. ) 
 
 3. Pt., Man without a beard, 
 writing, keys and arms of 
 Medici . 
 
 Schidone. 1. Virgin and Child, 
 with St. John . . . . 
 
 Schoreel. i. Pt., a learned man 
 with book .... 
 
 2. Landscape . . . . 
 
 (Bought of Lord Arundel. 
 
 Tintoretto, i. Esther and 
 Ahasuerus . 
 
 2. Washing Disciples' feet . • 
 
 3. Marriage at Cana . 
 
 (Ah price ) 
 
 £ J.| 
 
 ( Windsor Castle.) 
 
 25 X 22 
 24 x 24 
 
 15^x22 (Hermitage Coll., 
 
 St. Petersburg. Sold 
 in the H ought on 
 Gallery.) 
 
 70 x 5 1 1 
 
 v. 200 o D. de Cardenas. 
 S. 230 O ( Madrid Gallery.) 
 
 v. 1 50 O 
 jS. 174 Oj 
 
 43 x 34 
 
 V. & s. I 
 
 120 o (Hampton Court.) 
 
 2JO o Id. A. de Cardenas. 
 
 (Madrid Gallery.) 
 
 4. Birth of Christ . . . . 
 
 (Bought of Froslcy.) 
 
 5. Male Pt. in black . 
 
 6 . Ditto . . . ' 
 
 “ I nTintoretto's best manner 
 
 and taken for Titian. De- 
 livered to the king by Lord 
 Cottington, and not yet paid 
 for.” 
 
 7. Pt., Venetian Noble in black 
 
 8. Pt., a Doge. /;. /. s. 
 
 Titian, i. Virgin and Child, St. 
 Luke, and Donor. 4 figs. 1 v.l. 
 (Bought of Froslcy.) 
 
 2. Virgin and Child. Angel, St. 
 
 Mark 
 
 3. Virgin and Child and St. 
 Joseph, landscape, to. i. 1 . s. 
 
 (The “Flight into Egypt,” 
 No. 472, Madrid, Cap size 
 MS X3.23 on wood.) 
 
 4. Virgin and Child in a ruin, 
 ox and ass, St. Joseph, L. . 
 
 (In Italy called “Titian’s 
 Aurora.”) 
 
 5. Virgin and Child, SS. John 
 and Elizabeth 
 
 (Bought by Reynst. After- 
 wards presented to Charles 1 1 .) 
 
 6. St. Sebastian, /.win landscape 
 with two archers, Angels in 
 the air 
 
 (Ah price given. It was 
 
 bought by the Archduke 
 Leopold.) 
 
 44 * >3 
 
 (Hampton Court t) 
 
 
 35X27 
 32 x 24 
 
 50x67 
 
 v. 160 o' 
 s. 165 o 
 
 35 x 66 (Madrid Gallery . ) 
 
 18 x 22 
 
 
 
 75x42 
 
 
 (The Belvedere 
 Gallery, Vienna.) 
 
1649 .] 
 
 CHARLES /. COLLECTION. 
 
 13 
 
 Subject. 
 
 7. St. Margaret and the Dragon. 
 
 w. 1 . 1 . 
 
 8. Entombment, six figs. w. L, 
 
 nearly l. s. . . . . 
 
 9. The Entombment, six figs. 
 1 . s. Christ foreshortened, in 
 landscape two crosses . 
 
 10. Christ and the Disciples at 
 
 Emmaus . . . . . 
 
 11. Magdalen, h. 1 . 1 . s. 
 
 12. Pope presents Admiral to St. 
 Peter. 3 w.l.figs. less than l.s. 
 
 (Pope Alex. VI. and A. 
 Pesaro.) 
 
 13. Herodias, with head of St. 
 
 John 
 
 14. Venus del Pardo. 7 figures 
 1. s. and 4 others in landscape 
 with six dogs 
 
 (“ Jupiter and Antiope.”) 
 
 Size. 
 
 Price. 
 
 £ s. 
 
 v. & s. 
 
 74 x 63 100 o 
 
 52 X 84 V. 120 o 
 
 Buyer and Place. 
 
 ( Madrid Gallery. 
 
 No. 469.) 
 
 Jabach. {In the 
 Louvre, No. 465.) 
 
 39. The Doge Gritti holding his 
 dress, h. 1 . . 
 
 40. Marchioness of Mantua, knee 
 
 piece 
 
 41 x 54? 
 
 63x84 
 
 Jabach. [In the 
 Louvre, No. 462.) 
 
 39X33 
 
 57x71 
 
 (“ Probably that in 
 Orleans Gallery. Now 
 in Ld. Lansdowne’s. ” 
 —Jameson. ) 
 
 (Now in Antwerp 
 Museum.) 
 
 V. & s. 
 15° o 
 
 (Doubtful if the 
 picture, 461, Madrid 
 Gallery, which is 0.87 
 x 0.80 on wood. Mrs. 
 Jameson supposes it 
 to be the copy at 
 Hampton Court.) 
 
 78X 155 
 
 v. 500 
 Is. 600 
 
 o 
 
 o 
 
 Jabach. 
 
 {In the Louvre. ) 
 
 41. Titian’s own Pt. with his 
 friend a Venetian Senator, 
 in red velvet 
 
 42. Titian and his Mistress . . 
 
 43. Italian Woman holding her 
 furred gown upon her naked 
 shoulders, h. 1 . . 
 
 44. Male Pt., blk. d., a globe on 
 table, h. 1 . . 
 
 45. Anaked woman going to dress 
 herself, h. 1 . 1 . s. 
 
 (The king obtained this 
 fromthe Duchessof Bucking- 
 ham in exchange for one 
 in the Mantua Collection.) 
 
 46. The Marquess del Guasto and 
 
 his family . . . 
 
 1 5. A naked woman on velvet 
 
 couch, a small dog, gentle- 
 man plays the organ ( a ) . . 
 
 16. Tarquin and Lucretia. w. 1 . 
 
 (Present from Lord Arundel. 
 No price giveti.) 
 
 17. Lucretia standing, holdingred 
 veil over her face. w. /., li. 1 . s. 
 Mantua Collectioti 
 
 18. Lucretia, behind her a man. 
 
 Panel 
 
 19. A Music Party, five figures. 
 Mantua Collection 
 
 20. Three heads, of the same 
 
 person, full, and two in profile, 
 holding casket . . . 
 
 (“ The Three Jewellers.”) 
 
 r> 1. Three heads, a woman in a 
 swoon in the arms of a man 
 
 22 — 33. The first Twelve Roman 
 Emperors, figs, to the knees, 
 some in armour, others in 
 Imperial mantles and laurel 
 crowns, larger than life. 
 Mantua Collection 
 
 34. Pt., Charles V., w. 1 . with 
 
 white dog . . . . 
 
 (The king brought it from 
 Spain.) 
 
 35. The Consort of Charles V. 
 holding roses, h. 1 . 
 
 (Bought of Nat. Garrat. 
 No price.) 
 
 36. Marquess Vaugona with page 
 
 addressing soldiers. 4 
 figs. 1 . s . , and many others 
 in distance. Mantua 
 Coll, (b) 
 
 37. Marquess of Guasto address- 
 ing his soldiers. 2 figs. 1 . s. 
 
 38. Pope Alex. VI. and Caesar 
 
 Borgia 
 
 v. 150 o 
 52 x 87 s. 165 o 
 75x51 
 
 38x25 
 31 x 26 
 
 39x51 
 
 25 x 29 
 29 x 25 
 
 74x48 
 
 88 x 65 
 
 v. & s. 
 200 o 
 
 v. & s 
 100 o 
 
 v. & s. 
 100 o 
 
 V. & s. 
 1200 O 
 
 V. & S. 
 
 150 O 
 
 V. & S. 
 
 250 o 
 
 V. & s. 
 100 o 
 
 D. A. de Cardenas. 
 
 {Madrid Gallery .) 
 
 Jabach. 
 
 (It was damaged, 
 and was once in the 
 Louvre. Not now 
 exhibited.) 
 
 {Hampton Coiirt.) 
 
 {Not identified.) 
 
 (In National Gallery, 
 purchased with the 
 Angerstein Collec- 
 tion, 1824.) 
 
 {Not identified.) 
 
 ( Six were discovered 
 in America, and were 
 in the possession of 
 Mr. Brett of London, 
 one belonged to Sir 
 A. Hume and passed 
 to Lord Alford. ) 
 
 {Madrid Gallery.) 
 
 {Not identified . ) 
 
 (a) Several of this subject are known, one in Fitzwilliam Museum, 
 Cambridge, and one sold at Christie’s, 1884. Engraved by Gawood. 
 
 {b) A picture by Titian of the Marquis del Guasto (Vasto) with his page 
 fastening his armour is in the Hampton Court Collection. 
 
 47. A Piece of the Maritians 
 (Martyrdom of St. Mauritius ?) 
 
 Perino del Vaga. (The name 
 in the old catalogue is “ Inde- 
 luaga,” which Mrs. Jameson 
 discovered to be a mistake 
 for “ Perindeluaga.”) 
 
 Parnassus, the nine Muses naked, 
 and nine other Muses with 
 some fabulous deities . 
 
 (Dr. Waagen omits to say 
 that this picture is attributed 
 to Rossa Rossi in the Louvre 
 catalogue. The subject is 
 the “ Contest of the Muses and 
 Pierides.” Size;;z. 0.30 x 0.63 ; 
 transferred from wood to 
 canvas.) 
 
 P. Veronese, i. The Finding of 
 Moses ; on the other side 
 the Birth of Christ by Bas- 
 sano ..... 
 
 2. Faith 
 
 (“ One of 23 pictures. Bought 
 
 of Frosley.) 
 
 3. Diana and Actason, with some 
 
 small figures . . . . 
 
 (Bought of Frosley.) 
 
 4. Leda with the Swan. 
 
 (“ The king had this from 
 Duchess of Buckingham, ex- 
 changed for a painting from 
 Mantua.”) 
 
 L°- da Vinci, i. St. John Bap- 
 tist. h. 1 . panel. “ Hand 
 and arm damaged ” . . 
 
 (Given by Louis XIII. to 
 Chas. I. who gave the Pt. of 
 Erasmus by Holbein, and 
 Virgin and Child with St. 
 John by Titian, on his part.) 
 
 52 X 40 
 
 £ s 
 
 No 
 
 price. 
 
 (Missing.) 
 
 47X24 
 
 !> 
 
 v. 100 
 s. 1 12 
 
 A rchduke Leopold. 
 {Belvedere Gallery, 
 Vienna. ) 
 { Windsor Castle ? ) 
 No. 54, Mrs. Jame- 
 son’s list. 
 
 v. & s. 
 100 o 
 
 Jabach. 
 
 {In the 
 Louvre . ) 
 
 (“This is no doubt 
 the Sophonisba en- 
 graved by A. Smith.” 
 — Jameson. ) 
 
 39x38 
 
 38x30 
 
 (Tliis beautiful pic- 
 ture in the Louvre is 
 stated by Mrs. Jame- 
 son to have been in 
 the Collection of 
 Charles I. The Louvre 
 catalogue does not 
 state this, but only 
 that it belonged to 
 Louis XIV.) 
 
 v. 150 
 s. 174 
 
 o 
 
 o 
 
 (“Not in Vander- 
 doort, and not identi- 
 fied.” — Jameson.) 
 
 v. 100 
 S. 1 17 
 
 (In the Louvre. ) 
 
 No 
 
 15x15 price. 
 40 x 49 
 
 (. Not identified . ) 
 
 22 x 30 
 46x38 
 
 V. & s. 
 30 X 22 140 O 
 
 Jabach. 
 
 (In the 
 Louvre.) 
 

 ART SALTS. 
 
 [ 1649 . 
 
 Subject. 
 
 2. A Smiling Girl, holding 
 flowers, h. /. 1 . s. 
 
 (By Leonardo or one of 
 his scholars.) 
 
 3. Socrates on whom his Wife 
 
 rides 
 
 (Ascribed to Leonardo in 
 Cat. Jas. II.) 
 
 Size. 
 
 Price. 
 £ s . 
 
 22 x 15 
 
 
 Buyer and Place. 
 
 The following account of the valuation of King Charles’s Collection 
 is given with the catalogue that belonged to John Anstis, Garter King- 
 at-Arms : — 
 
 
 
 £■ 
 
 s. 
 
 143 
 
 Pictures at the Palaces of Wimbledon and Greenwich v. 1,709 
 
 19 
 
 6l 
 
 „ from the Bear Gallery, and some 
 
 of the 
 
 
 
 Privy Lodgings at Whitehall . 
 
 . v. 2,291 
 
 10 
 
 8i 
 
 ,, from the Palace of Oatlands . 
 
 • • v. 733 
 
 18 
 
 33 
 
 ,, „ Nonsuch House . 
 
 . v. 282 
 
 0 
 
 447 
 
 ,, Somerset House, with those 
 
 from 
 
 
 Whitehall and St. James’ . 
 
 . . v. 10,052 
 
 1 1 
 
 290 
 
 ,, in St. James’ Palace . 
 
 . . v. 12,049 
 
 4 
 
 33 2 
 
 ,, from Hampton Court 
 
 • • v. 4,675 
 
 IO 
 
 
 in the committee rooms at the Parliament 
 
 
 
 House 
 
 .v. 1 19 
 
 O 
 
 04 
 
 CO 
 
 *Vl 
 
 
 £3b9i3 
 
 12 
 
 
 
 £ s. 
 
 d. 
 
 120 Statues in the Gallery at Somerset House 
 
 . V. 2,387 3 
 
 O 
 
 20 
 
 „ „ Garden „ „ „ 
 
 . V. 1,165 14 
 . v. 13,780 13 
 
 O 
 
 230 
 
 „ at Greenwich . 
 
 6 
 
 29 
 
 „ in the Armoury at St. James’ 
 
 . v. 656 0 
 
 O 
 
 399 
 
 
 £17,989 10 
 
 6 
 
 The statues specified were : — 
 
 The Gladiator in bronze 
 A Muse .... 
 A Divinity . 
 
 >> 
 
 Antoninus . 
 
 Dejanira 
 
 Venus in Bronze . 
 
 Apollo on a Pedestal 
 Adonis 
 
 £ 
 
 v. 300 
 
 V. 200 
 V. 200 
 V. 200 
 V. 120 
 V. 200 
 v. 50 
 
 V. 120 
 
 v. 150 
 
 Note. — Abraham Vanderdoort, a Dutchman, had been in the service of the 
 Emperor Rudolph II., and afterwards in that of Prince Henry, on whose 
 death he was appointed by Charles I. keeper of his cabinet, and thus drew up 
 the catalogue of the collection as far as it goes. His suicide is related by 
 Walpole: “The king had commanded him to take particular care of a 
 miniature by Gibson (Richard Gibson, the dwarf) of the parable of the lost 
 sheep. Vanderdoort laid it up so carefully that when the king asked him for 
 it he could not find it, and hanged himself in despair. After his death his 
 executors found it and restored it.’’ Mrs. Jameson adds, “ I know nothing to 
 compare with it but that of the Prince de Conde’s mattre d'/idtel, Vatel, who 
 stabbed himself because the fish was not ready for dinner.” 
 
 Pictures named in Vanderdoort’s Catalogue but not identified : — 5 by the 
 Bassanos; Breenberg, 2 ; Breughel (elder), 2 ; Jan Breughel, 3 ; Bronzino, 4; 
 Cambiosi, 5 ; Coxcie, M., 1 ; Elsheimer. 2 ; Fed, 6 ; Guercino, 1 ; Hont- 
 horst, G., 8 ; Janet, 8 ; Luini, 1 ; Manfredi, 1 ; M. Mirevelt, 6; D. Mytens, 
 1 1 ; Parcellis, 2 ; Poelenberg, 4 ; Rothenhamer, 2 ; G. Rumanino, 1 ; Savary, 
 1 ; Schiavone, 1 ; D. Seghers, 2 ; O. Somachino, 1 ; Steinwyck, 5 ; 
 T. Zucchero, 1 ; F. Zucchero, 1 ; An. Carracci, 1, “Our Lady and Christ;” 
 Ag. Caracci, 1, “ St. Bartholomew,” in the Duke of Sutherland’s Collecdon. 
 Vanderdoort’s Catalogue being left incomplete gives only 574 pictures ; viz., 
 497 at Whitehall, 77 at St. James’s, out of 13S7. 
 
 A portrait of Baldassare Castiglione by Raphael in the Louvre, is said to 
 have belonged to the Mantua Collection, purchased by Charles I. See Louvre 
 Cat. 
 
 The collections of medals, engraved gems — camei and intaglii — with many curiosities 
 of art, were arranged in cabinets at Whitehall Place. Besides which the King had 
 collected fifty-four books of rare drawings and prints, amongst which was the book of 
 drawings by Michelangelo. Several drawings in the Lawrence collection belonged to 
 Charles I., and are recognizable by the peculiar star used as a mark by the King. There 
 were no less tnan seventy-five miniatures or “ limnings” by Holbein, Hillyard, the two 
 Olivers, Antonio More, and other artists in the “ New Cabinet Room ” at Whitehall. Of 
 this magnificent collection of works of Art it is remarked by Mrs. Jameson, than whom 
 no critic was more competent to pronounce, “ At this period it may truly be said that 
 no such gallery existed in Europe ; and those which have since been formed by various 
 1 linces and potentates, have owed some of their most precious ornaments to the 
 dispersion of the treasures which his taste and munificence had brought together. The 
 list of pictures which hung in his own private apartments gives us a high idea of the 
 elevation and delicacy of his taste. In his bedroom were the portraits of his wife and 
 childien by Vandyck ; of his sister Elizabeth of Bohemia and her children ; of his amiable 
 biother I lince Henry; a Magdalen by Correggio; a Madonna by Parmegiano ; the 
 Contest between the Muses and the Pierides,’ now in the Louvre. By his bedside 
 hung a Holy hamily, a chef d' oeuvre by Raphael.* In the three rooms adjoining, called 
 the Kings piivy lodging rooms, I find in the first room eleven pictures by Titian, and 
 
 * Probably “ La Perla ” 369 of the Madrid Gallery. 
 
1649.] 
 
 LETTER OF CHARLES /. 
 
 i5 
 
 one by Correggio. In the second room eight by Titian (including the ‘ Concert,’ now in 
 the National Gallery, and the famous ‘Venus del Pardo,’ now in the Louvre), six by 
 Giulio Romano. In the third room, one by Raphael, three by Correggio, one of them 
 the lovely ‘ Mercury and Venus teaching Cupid,’ in the National Gallery ; three by Titian, 
 and others by A. del Sarto, Giorgione and Parmegiano. All the pictures in these rooms 
 are by distinguished Italian masters, with the single exception of the portrait of Charles 
 the Bold, Duke of Burgundy, by Michael Coxis, which picture has I believe disappeared.” 
 
 The following document, sent by the King to Mr. Pettye, shows the constant 
 interest he was taking in the sales of pictures in Italy. 
 
 (“ Birch MSS.? British Museum. 1634.) 
 
 CHARLES R. 
 
 Whereas wee understand that an excellent Collection of Paintings are to be solde 
 in Venice, which are known by the name of Bartolomeo della Nave his Collection wee 
 are desirous that our beloved servant Mr. William Pettye should goe thither to make 
 the bargaine for them wee our selves beinge resolved to goe a fourth share in the 
 buyinge of them (soe it exceed not the some of Eight hundred pounds sterlinge) but 
 that our name be concealed in it. And if it shall please God that the same Collection 
 be bought and come safelye hither, Then we doe promise on the word of a Kinge, That 
 they shall be divyded with all equallitye in this maner, Vid 1 -’ That, that they shall be 
 equally divyded into fower partes by some men skillfull in paintinge, and then everie one 
 interessed in the shares or some for them, shall throwe the Dice severallye and 
 whosoever throws most shall choose his share first and soe in order everye one shall 
 choose after first as he casts most and shall take their Shares freelye to their owne uses 
 as they shall fall unto them ; In wittnes whereof wee have sott our hande this eight 
 daye of July in the Tenth yeare of our Reigne, 1634. 
 
 Nothing definite is known as to the result of this letter. Ridolfi refers to valuable 
 pictures bought at Venice by Basil Lord Fielding, English Ambassador in the reign of 
 Charles I. 
 
 It is scarcely necessary to say how the political disturbances leading to the civil 
 wars put a stop to the King’s collecting, and resulted in the dispersion of nearly the 
 whole. The collections were kept together until Parliament, May 23, 1649, “ resolved 
 upon the disposal of the personal effects of the late King, Queen, and Prince, and made 
 an order to have the same inventoried, appraised and sold ; except such as should be 
 thought fit to be reserved for the use of the State.” The Act was passed in the July 
 following, but though it has constantly been said that the pictures and other works of 
 art were sold by public auction, there is no record in the Public Record Office of any 
 such auction. There are amongst the State papers records of sundry orders for the sale 
 of goods belongingto the King, but they do not include pictures.* A sale by auction, as 
 we understand it, was not the customary mode of proceeding in such cases, neither did 
 it become established in London for nearly a century afterwards. There were no auction 
 
 * I have the authority of the Public Record Office for this, and that the Parliament first gave Charles I.’s 
 pictures into the charge of the Council of State and afterwards revoked that order. 
 
i6 
 
 ART SALTS. 
 
 [1649-53. 
 
 rooms where pictures could be sent for exhibition and sale ; and the mode adopted seems 
 to have been to place pictures in the hands of certain agents, who showed them, not as 
 a collection, but either separately or a few at a time, after an appraisement had been 
 made by some one admitted to be competent to judge ol the value. All thiough the 
 catalogues of Charles Ids collections, as will have been observed, there is the valuation 
 price and the price at which the picture was sold, and the probability is that the agent 
 endeavoured to obtain offers in advance of the valuation set, by privately pitting one 
 likely purchaser against another. This was a very modified sort of competition, and 
 one open to much trickery and unfairness to the proprietor. No doubt in this way the 
 pictures of Charles I., though considerable sums were obtained for them, did not realise 
 anything like the amount that had been paid by the King for them. I hey were valued, 
 with the statues, at .£49,903, and this is little more than half the sum said to have been 
 paid for the Mantua pictures alone (£80,000) . But we arrive at something more 
 definite from the catalogues above quoted, and from these we can only count £16,000 
 from prices recorded, to which has to be added the prices of important pictures known 
 to have been sold and carried away, but of which there is no precise record — none more 
 precise than the valuation of the whole collection at £49,903. I o take the instance of 
 the “ Venus del Pardo ” alone, for this M. Jabach paid £600 (i5,ooofr.). He sold it to 
 Cardinal Mazarin, and the picture was estimated by his heirs at £10,000, and sold to 
 Louis XIV., whether at this price is not stated. This price must have some relation to 
 that which was paid to M. Jabach, who knew the value of his own acquisitions perhaps 
 better than any man of his time. The picture, as is well known, was presented by 
 Philip IV. to Charles I. when Prince of Wales, on the occasion of his visit to Madrid to 
 see the Infanta. * 
 
 That some considerable time (from 1649 to 1653) was taken up in the sale of the 
 pictures, and that they were placed in the hands of persons who it would seem had claims 
 to be satisfied as creditors of the King, is shown by the notes in the diaries of Richard 
 Symonds,! preserved in the Egerton MSS. in the British Museum, already referred to. 
 
 The escapes this grand picture has had from fire and from the ravages of the picture cleaner are 
 remarkable. Prized by Philip II. for whom it was painted, it was rescued from the fire in the Palazzo del 
 Prado, 1608, when many others were burnt ; when the old Louvre was burnt in 1661, it was saved again, but 
 having suffered, it fell into the hands of the “restorer” who worked his worst upon it. Coypel next tried his 
 hand upon it, and finally it was placed on a new canvas (lined), the old retouches taken off and new ones put on 
 in 1829, as it now remains. 
 
 + Richard Symonds was evidently somewhat of a connoisseur, and had seen some of the collections in Italy, 
 where he picked up the scraps of Italian he mixes up so quaintly hi nis descriptions of the pictures he saw. In 
 one of his notes in his diaries, Nov. 19, 1651, a' Rome, he says that the portico of the Rotondo was hung with 
 modern pictures, among the rest with that of Charles I. in three positions of the head by Vandyck, of which he 
 gives a rough sketch. This picture was, as we know, sent to Rome for Bernini to make a bust from. The picture 
 has been in Windsor Castle for many years, having been sold to Geo. IV., at his special request, by Mr. Wells of 
 Redleaffor 1,000 gs., the price he had paid for it. Bernini made his bust, and there is extant a letter from 
 Queen Henrietta Maria to him, dated 1639, thanking him and expressing her satisfaction with the bust. This 
 letter passed with the picture after the death of Bernini, to Mr. Irvine, who bought it of Bernini’s descendants in 
 1803. It was sold in London to Mr. Champernowne in 1804, for 450 gs., was sold in his sale to Mr. Walsh 
 Porter, and, at his death, to Mr. Wells. The bust was burnt in the fire at Whitehall Palace in 1697. In the 
 Palazzo Barberini he saw “ quadro of Correggio, being a story of Cleopatra, for which was paid mille 200 scudi, 
 4 foot long, and 3 high. ’Tis now sent to the Queen of France.” “ In the next room Titian’s mistress done 
 by him. ’ “Titian’s master, done by himself.” “ In another room is Raphael’s mistress done by himself; she is 
 
1651-52.] 
 
 RICHARD SYMONDS ’ DIARY. 
 
 i7 
 
 These are curious and interesting as referring to several important pictures still to be 
 seen in perfect preservation. Under the date December 30, 1652, he notes having 
 seen some of the King’s pictures “ at one Harrison’s, the King’s Embroiderer, at a 
 wharf near the Thames near Somerset House ” : — • 
 
 “ Orpheus and a woman and a paese, naked figures in Bellinio’s manner. 
 
 “ A naked body wounded with an arrow. 
 
 “ Titian. A Madonna and Babe, half figures less than life. 40^. 
 
 “ A Madonna, the Babe and 2 ritrattos doing reverence ; an excellent paese of hedge 
 rows of trees. 
 
 “ St. Jerome, whole body, sitting in a cave, leaning on a rock, a lion by him, and is bound about 
 with cords and almost naked: some say by M. Angelo. ’Tis upon board. I believe it be of 
 Giulio Romano. 2oo£. 
 
 “ A strange ritratto of a great thin old bald-head, given to the King by Sir H. Wotton. 2o£. 
 
 “ A Lucrece and Tarquin, by Gentileschi daughter. 
 
 “ A Danae and Cupid, by some Italian master. 40 or $°£. io£, much damaged. 
 
 “ A ritratto of a fine boy from Mantua. A small Madonna and putto. 
 
 “ A Christo Morto in scorcio and 3 standing by, by Mantegna. Scorcio like that scorcio of 
 Borghiano. A ritratto of one at Venice by Titian : another in an oval frame of a Knight of 
 Malta, by Titian. 
 
 “ A ritratto with a story of a statue painted by him — a young man. 
 
 “ A Venus at length, naked, and Cupid, by Bronzino, written upon it. 407k 
 
 “ Divers heads in marble, antique all — Pallas at large, a Coloss, an Empress, divers 
 Philosophers, some Emperors.” 
 
 In another set of notes of the same year he speaks of pictures which “ the King’s 
 Glassier has,” and gives the name, “ Mr. Bagley’s.” Here are mentioned : 
 
 “ The quadro of Correggio, Venus standing, and Mercury sits teaching Cupid to read. 
 
 “Another sbozzo of his of a Madonna, St. Joseph, and 2 other men, less than the life, at 4o£, 
 lowest price 2$£. A Lucretia, full figure, and a paese (he held it of Titian), 3 spans long or 
 thereabout. 20o£. She shows her fear. 
 
 “ A Madonna and St. Joseph in small, I suppose of the Carraccios. 2o£. 
 
 “ A Madonna and St. Joseph, of Benvenuto Garofallo’s. io£, in very small board. 
 
 “ The Satyr and Venus of Correggio, copied in miniature. ioo£, very small. 8 o£C 
 
 In another note he speaks of the King’s pictures seen at Mr. Knightley’s : — ■ 
 
 “ The quadro of Correggio of Venus asleep and a Satyr, Cupid also asleep, prized at 8 oo£, 
 
 that is now sold to They have been offered $oo£ divers times ready money, and the Lord 
 
 Sunderland offers ioo£ down and a ioo£ a-year. 
 
 “A quadro of Narcissus and Echo, which Monsr. Billaiette gave the Queen, written on the 
 back Ludivico in black lead, prized 3o£. A large piece of our Saviour and the Woman of 
 Samaria, prized at io£, sold to Lord Bellases for $£. 
 
 “ An old fellow in a study, called Erasmus. io£. Albert Durer’s head and his Father’s, at 
 $o£ a-piece, less than life. 
 
 “ A little paese of Brill’s, 2 spaces and a half broad, of St. Eustache, prized 30^. 
 
 naked to the middle, upon her left arm is a blue bracelet, within a handfull of her shoulder, and upon it in golden 
 letters Raphael Urbinas. No black in the face, it appears very fresh.” “ Another quadro over against it (Raphael’s 
 mistress) wherein our Saviour is disputing with the Doctors, done by Albert. The Cardinal paid 20,000 crowns 
 for them both — 8 for Raphael, 12 for Albert. Upon the Albert is” (he gives a copy of the monogram of Albert 
 Durer, dated 1506). This picture is still in the Barberini Gallery. The Bellini portrait and the Correggio 
 Cleopatra are not there ; the Titian may perhaps be the picture now called “ La Schiava.” I cannot find any 
 other reference to a picture of Cleopatra by Correggio. The picture must have been a fine work, as the price 
 named is a large one — 1,200 scudi = ^C3oo. 
 
 VOL. I. 
 
 D 
 
IS 
 
 R. S Y MO N D S' DIARY. 
 
 [ 1650 - 52 . 
 
 “ Albert Durer, a ritratto far less than the life, prized 6o£. One playing upon a lute, done 
 
 y “A woman playing a cymbal, a man standing by showing her a looking-glass. Good 
 colouring by Parmeggiano, as they told me. A St. Sebastian, 4 o£. Abraham sacrificing Isaac.” 
 
 Then he mentions divers little statues : u one of Diana in biass , a young man of 
 Parian marble, prized ioo£.” This must have been a fine Apollo, to be so highly 
 priced. He also names full-length portraits of 11 the Queen of Scots, bella femina, 
 Prince and Princess of Orange, Duke of Lennox, Duke of Buckingham, Earl of 
 Pembroke. 
 
 In another note he writes : — 
 
 “ Mr. Wilson, that is of the dividend with Murray, has a head of Raphael’s, a ritratto smiling, 
 of one with a jewel in his red hat, prized at ioo£. They have been offered 50^. Sold November, 
 1653, for 7 o£, together with sleeping Venus, for which was paid 4 8o£.” 
 
 This Murray was the King’s tailor, and wab no doubt concerned with Wilson in the 
 “ dividend.” 
 
 Under date 27 Deer. 1652 : — 
 
 “ The collection of the Earl of Northumberland in Suffolk House, 27 Deer. 1652. 
 
 “ Mr. Stone, whose copier showed them : — 
 
 “ A paese of rocks and water, by a Spaniard. 
 
 “ A ritratto of an English knight, by Holbein, who sits in a chair, and a table by him. 
 
 “ Sarto. 2 quadros in legno, both of Mads. [Madonnas], and diversi putti, esteemed both at 
 ioooT- Titian. A senator of Venice and his secretary by him, writing on a table. 
 
 “ 3 senators of Venice in their scarlets, kneeling afore the lofty altar, and six boyes, ritrattos 
 all, and the fruits and clouds grandly done.* 
 
 “ A Venus lying along and Mars kissing her under a tree, and naturall paese franco. 
 
 “ Tintoretto. A ritratto of an old man. 
 
 “ Another ritratto, rare colouring, which Clein offered me for .t I prized it afore Hollar, 
 his price not far from it. 
 
 “ Vandyck : 
 
 “ The Earl of Northumberland that killed himself in the Tower because the King 
 should not have his lands. Done by help of another picture after which this was 
 done. Also another of his ancestors, an old man sitting in a gowne and leaning 
 on a table, done by an old picture. 
 
 “ The Lady Newport. Mrs. Porter. Mrs. Murray. 
 
 “ Lord Newport and Col. Goring in one piece and a body doing on Goring’s scarf, 
 rarely good, another figure. The Earl of Northumberland, half figure, holding 
 upon an anchor, and ships in perspective. The said Earl and his Lady and a 
 daughter very sweet, and the ring bleu, vest of satin, of the lady’s is veluto. 
 
 “ Another lady above with a light bleu garment. The King Charles, mezza figura. 
 
 “ The King on horseback, less than the life. A French Marquisse, mezza figura. 
 
 “ Other Dutchmen, mezza figura. Lord Percy’s picture. 
 
 “ Palma Vecchio. Una femina, mezza figura, with her hair loose, rare fleshy breasts, upon a 
 board which the wormes have taken. 
 
 “ Bassano Vecchio, original frame. A Nativity, with long narrow cloth. 
 
 “ Our Saviour at Emaus and the host sitting, good and excellent. A country farmer. 
 
 “ G. Vasari. Ritratto with a hat on. 
 
 * This does not agree with the picture of the Cornaro Family, afterwards at Northumberland House, Charing 
 Cross. 
 
 | A figure here, which I suppose stands for 70^. 
 
1650 - 52 .] DISPOSAL OF CHARLES I. COLLECTION. 
 
 19 
 
 “ Palma Giovine. A Venus whole length upon a bed and Mars, a fat red-coloured knave, 
 which she pulls down and ousted pulls off his buskins. 
 
 “ Lilly. The Duke of York and King Charles, done at Hampton Court. 
 
 “ The P., Duke and Princess Elizabeth and Duke of Gloucester, a family aided by him. 
 
 “ Maestri Fiamenghi. 
 
 “ Steenwick. An inside of a church, very rare and good, and the figures are done by 
 Polemburge. 
 
 “ 6 Alpine paese and ruins of Rome, good. An Alpine paese. 
 
 “ A small picture of Chinese work, 3 figures, good, profiles of faces but no rilievo, paese and 
 river with boats. Lord Percy’s picture, young, very good. 
 
 “ 2 large quadros of Madonnas and other persons, Italian work, masters unknown. 
 
 “ The Earl of Pembroke’s collections of Paintings at Durham House : — 
 
 “ Mr. Towers keeps them. 
 
 “ A head of our Saviour bearing his cross, the head mighty finely finished, by Correggio. 
 
 “ Danae naked, and the shower of gold at large, by Titian, original. 
 
 “ Mars and Venus, a sbozzi, by Titian, Mars is leaving of her. 
 
 “ A head of an old man, by Titian, askes 35£. A head of a woman, by Andrea del Sarto. 
 
 “ 4 or 5 demy figures by Georgione. 
 
 “ A black red Satyr carrying away a fair woman, and at bottom Jacob s Palma. 
 
 “ 4 Seasons, by Bassano, large, and the entering of the arch. 
 
 “ A mighty large piece of the Earl of Pembroke and all his family, by Vandyck.* 
 
 “ Divers ladyes by Vandyck, many pieces having 2 ladies in a piece. 
 
 “ A ritratto of a man, and written upon it Romse 16 — , by Angelo Caracelli, a most rare thing, 
 the light of the fields is very yellowish and light, and the shadow side of the face and dress 
 admirable. $£ asked. t 
 
 “ A large story of St. John the Baptist in the wilderness, by Palma Giovene. 
 
 “ A ritratto of a Venetian looking sideways and showing a full body, by Titoretto il Filio 
 (that is Domenico). 
 
 “ Picture of the King of Spain at length, by Titian, as big as the life. 
 
 “ Others most or all to be sold, and divers are already sold.” 
 
 It may be a question whether we do not owe much more than the preservation of the 
 Raphael cartoons to the intervention of Cromwell. Within a month after the execution 
 of the King, on Feb. 22, 1649, there is an order in Parliament on Cromwell’s report that 
 divers goods belonging to the State were being embezzled— “ that the care of the Public 
 Library at St. James’s and the statues and pictures be committed to the Council of 
 State, and that they be empowered to dispose of them as they think fit.” It would seem 
 that some of the pictures and other portable objects of value were got possession of by 
 the persons referred to above, and were being sold, while the proceeds did not come to 
 the State. A proposition was carried April 4th by Captain Mildmay touching the 
 pictures and statues, which it was found necessary to revoke by an order in Parliament, 
 whereby the matter was referred to the Council of State. Then comes a resolution in 
 June, 1650, “ That the House consider what goods belonging to the late King and Queen 
 and Prince should be preserved for use of the Commonwealth, and report an inventory 
 thereof.” The Act for disposing of the personal effects passed in July, 1650. There is 
 some further evidence of the sort of scramble that arose during such a time, when the 
 King’s power vanished from his palaces, and had not been directly replaced with the 
 power of Parliament. In the Memoirs of Colonel Hutchinson we read that he, “ being 
 loath that the land should be disfurnished of all the rarities that were in it, whereof many 
 
 * The famous picture. 
 
 + He gives a sketch of this. 
 
 D 2 
 
20 
 
 THE PICTURES SOLD INTO SPAIN, &c. 
 
 [ 1652 . 
 
 were set to sale m the King’s and divers noblemen s collections, he laid out about two 
 thousand pounds in the choicest pieces ol painting, most ol which weie bought out ol 
 the Kind’s o-oods, which were given to his servants to pay then wages . to them the 
 Colonel gave ready money, and bought so good pennyworths that they were \ alued 
 much more worth than they cost.” [Memoirs, p. 107-) The worthy Colonel does not 
 seem to have been wholly actuated by his love ol the arts. 
 
 Evelyn, in his Diary, date August 1, 1652, has a note referring to the King’s pictures 
 —“Came old Jerome Lennier of Greenwich. I went to see his collection of pictures, 
 especially those of Julio Romano, which surely had been the King’s.” Now this 
 Jerome was probably the brother of Nicolas Laniere, mentioned by Horace V alpole in 
 his “ Anecdotes,” and one of the numerous foreign dealers who were attracted to London 
 at this time. It would perhaps be too strong an expression to say the King’s collection 
 was “ plundered,” but it is tolerably clear that it was pretty freely parted amongst those 
 who had access to it, and those who were on the look-out with money in their hands to 
 bribe high and low of the attendants about the Court and servants ; wdiile those tradesmen 
 to whom the King and Royal family were known to be debtors, were permitted to take 
 possession of pictures and works of art in the most irregular and illegal manner. 
 Cromwell would not have used the term “ embezzle ” in Parliament had he not known 
 this was going on. That the Protector was one of the fair purchasers we know by the 
 name of Mr. John Leigh appearing to pay £iog on behalf of the Lord Protector, and 
 £ 200 for Lady Cromwell. Whatever may have been the sacrifice, and whoever the 
 gainers by it, the sum realized is recorded to have amounted to no less than 1 18,080, an 
 enormous sum in those days. The chief purchasers were Don Alonzo Cardenas, for the 
 King ol Spain, Philip IV., who carried off so many pictures that Clarendon relates he 
 “ bought as many pictures and other precious goods appertaining to the Crown, as being 
 sent in ships to Corunna in Spain, were carried thence to Madrid upon eighteen mules.” 
 Refer ring again to the subject, he says, after naming amongst the purchasers Queen 
 Christina of Sweden, who bought medals, jewels, and pictures ; the Archduke Leopold, 
 Governor of the Netherlands, from whom the pictures came to the Belvedere Gallery, 
 Vienna; the Duke of Alva, who as we know acquired the Correggio (Venus, Mercury, 
 and Cupid) of our National Gallery; Cardinal Mazarin, and the Due de Richelieu— 
 “ None of the above-mentioned princes were magnanimous enough to restore anv portion 
 of the spoil.” Besides these, the chief buyer on his own account was M. Lberhard 
 Jabach, a banker amateur, and a picture dealer, for he sold largely to Louis XIV. and 
 Cardinal Mazarin. M. Van Reynst, of Amsterdam, and the painters Decritz, Wright 
 the portrait painter, Sir Balthazar Gerbier, and Van Lemput, were other buvers. Van 
 Lemput was in London then with a collection of his own for sale, which, however, he 
 appears to have taken back to Antwerp with his purchases from the King’s collection, 
 and exhibited them for sale in the “ Salle des Peintres ” over the Bourse. He had 
 obtained the fine equestrian portrait of Charles I., by Vandyck, for £200, and the price 
 demanded for it in his exhibition was i5oogs. Legal proceedings were taken for the 
 recovery of this picture after the restoration of the Monarchy, which resulted in Van 
 Lemput being compelled to take £300 and give up the picture, which has ever since 
 been at Wmdsoi Castle. The pictures which Reynst had purchased mostly remained 
 in his hands until his death ; afterwards they were sold, when the States General bought 
 
1653 - 88 .] SALES TO LELY AND OTHERS IN ENGLAND. 21 
 
 them and presented them to Charles II.* There were some of the King’s pictures in 
 the collection of Sir Peter Lely, who came to England the year that Vandyck died, 1641, 
 and therefore may be supposed to have taken the opportunity of buying, as others of his 
 brother artists were doing. His success as a fashionable portrait painter enabled him to 
 form a good collection during the thirty-nine years he was in England, and this contained 
 twenty-six pictures by Vandyck, six by Rubens, and two by Titian, with a large and 
 highly important collection of rare drawings by the old masters,! and fine prints, the 
 whole of which was exhibited after his death and sold, 1688. Lely’s collection realised 
 about £2,300. A drawing by Raphael, of Constantine haranguing his soldiers ; pen, 
 washed, heightened with white, on brown paper, sold for £100 to M. Bergerstein, oi the 
 Hague, from whom it passed into the collection of M. Flinck, of Rotterdam, and was at 
 last bought by the Duke of Devonshire. Many of these drawings are still to be found in 
 the collections of English amateurs, having his mark p.l. | 
 
 At the time when the pictures and works of art belonging to the King were being 
 sold, the French Ambassador to England, M. de Bordeaux, was writing to Cardinal 
 Mazarin, informing him of what was going on in these dispersions, and these letters have 
 recently been published by M. le Comte de Cosnac ( Les Richesses chi Palais Mazarin , 
 Paris, 1884). One of these refers to the Arundel collections, and shows that though the 
 Countess had transferred certain objects to Amsterdam in 1641 and sold them, others 
 were brought back and were offered for sale in London. A letter to the Cardinal runs 
 as follows, translated : — “ London, 23 Oct., 1653. I am waiting the return of one of the 
 children of the Earl of Arundel, who has often caused me to be spoken to about his 
 
 * The States of Holland had before shown their esteem for the English Crown by presenting to Charles I., 
 with an embassy of congratulation on the birth of his daughter Elizabeth, “ four rare pieces of Titian’s and 
 Tintoret’s painting.” 
 
 f A letter of Evelyn’s, 1681, states that he once asked the Duke of Norfolk if he would sell some of his 
 cartoons (drawings) by Raphael and other great masters, and his Grace replied that “the late Sir Peter Lely had 
 gotten some of the best.” Lely’s collection was exhibited by permission for sale at the Banqueting House, White- 
 hall. See Vol. II., p. 5. 
 
 f “Sir Peter Lely came to England in 1641, the year in which Van Dyck died ; nor can I find that Lely ever 
 studied under that great painter, as is usually supposed. Though he painted Charles I. a short time before his 
 downfall, and Cromwell more than once, it does not appear that Lely enjoyed much celebrity till after the 
 Restoration. The gay cavaliers and beautiful women of Charles II. ’s Asiatic court were better suited to his taste, 
 and more appropriate subjects for his delicate and graceful pencil, than the stiff figures and stern puritanical 
 visages of the Commonwealth. Lely has been severely criticised as an abandoned mannerist ; and it must be 
 confessed that the languid air, the sleepy elongated eyelids, and loose fluttering draperies of his women, have 
 given a general character to his pictures which may be detected almost at the first glance. ‘Lely’s nymphs,’ 
 says Walpole, ‘ are far too wanton and magnificent to be taken for anything but maids of honour.’ In another 
 place he says, ‘ Sir Peter Lely’s women trail fringes and embroidery through meadows and purling streams. ' 
 But through the whole of his observations Walpole seems determined to undervalue Lely in comparison with 
 Kneller. The clinquant of which he accuses him, and justly, was equally the characteristic of the latter painter ; 
 and Lely, as it has been well said, was certainly the more brilliant coxcomb of the two. In other respects there can 
 be no doubt that the manner of the painter was in a great measure caught from the prevailing manners, fashions, 
 and character of the times in which he lived. He painted what he saw ; and if he made his nymphs ‘ wanton 
 and magnificent,’ we have very good authority for believing in the accuracy of his likenesses. The loose undress 
 in which many of his female portraits are arrayed, or rather disarrayed, came into fashion as modesty went out, 
 and virtue was voted ‘ une impertinence.’ The soft sleepy eye — 
 
 ‘ Seeming to shun the rudeness of men’s sight, 
 
 And shedding a delicious lunar light ’ — 
 
 appears to have been natural to one or two distinguished beauties of the time, who led the fashion, and carried to 
 an extreme by others, who wished to be in the mode. Lely painted all his women with half-shut eyes as a matter 
 of course, just as Titian painted all his women with golden hair.” — Mrs. Jameson’s Handbook. 
 
22 
 
 PICTURES RECOVERED BY CHARLES II. [ 1653 . 
 
 pictures, to take an exact account of the subject, painter and the puce. The domestic 
 affairs of this family will cause them to be sold at a reasonable puce if a laige numbei 
 are bought.” And again— “ London, 6 Nov., 1653. I will send also next week the 
 inventory of those pictures which the heirs of the Earl of Arundel will sell. They are 
 in want of money, being Catholics and in debt. Therefore it will be easy to treat with 
 them.” Again — “ London, 17 Nov., 1653. If your Eminence intends to buy many of 
 their pictures, it would perhaps be as well to send some painter from h ranee, for fear 
 that those of whose services I avail myself should not be sufficiently knowing or faithful 
 to me, although on giving them some reward they have hitherto served me faithfully.” 
 This points to the kind of “ bona mano ” plan that was customary then, as it has since 
 been in Italy, whenever a successful purchase was to be obtained. 1 he next letter 
 evidently refers to the purchase of pictures from King Charles’s collection. “ London, 
 18 Dec., 1653. As for pictures having a good reputation, I know of no others but those 
 of which your Eminence has an account” (meaning those to be had from the King’s 
 collection) “ and those in the possession of the heirs of the Earl of Arundel, who wish me 
 to go to see them in the country before they give me the particulars of them. If your 
 Eminence wishes to have them, you will be so kind, if you please, as to let me know it, 
 and I shall have leizure to execute your orders without prejudice to His Majesty’s affairs, 
 of which the change of system here will retard the conclusion.” Here he no doubt 
 alludes to Cromwell having been made Lord Protector. One more quotation from these 
 letters may be given to show that pictures as well as intaglios belonging to the Arundel 
 collection were still being offered for sale at the date. “Aug. 31, 1654. It has been 
 proposed to me to-day to buy some intaglios in the collection of the Earl of Arundel. If 
 your Eminence still intends to have any pictures, there are some fine ones in it.” 
 Unfortunately the pictures are not named, and no actual purchase is recorded as the 
 result of these negotiations. Probably M. Jabach succeeded in forestalling the 
 Ambassador, as he was a thorough man of business, with money in his hand, and by no 
 means likely to let the Cardinal buy for himself, when he saw his way to making him buy 
 of him at a huge profit. 
 
 After Chari es II. came to the throne in 1660, although Mrs. Jameson sums him up 
 as “ liking pictures and patronising painters without having a particle of that fine 
 feeling and discriminating taste which distinguished his father,” he, with the advice of 
 Clarendon and others, who had taste, evinced a desire to recover some of the pictures, 
 as we have seen m the case of the large equestrian portrait by Vandyck, and “ many 
 noblemen and private individuals who had possessed themselves of what had been 
 foimeily the royal property, now hastened to make restitution, some from scruples of 
 conscience, otheis with a hope of conciliating favour.” — “ Some were repurchased by 
 the King, and by these and other means a considerable number of interesting and 
 valuable pictures were restored to the Crown.”— Jameson. 
 
 1 he additions which Charles II. made to the collection were numerous, but not creditable 
 to his taste, consisting almost entirely of second-rate masters, as the Bassanos, Domenico Feti, the 
 \ oungei Palma , of the Dutch painters, as Gerard Douw, Breughel, Rothenhamer, Vandervelde, 
 Varelst ; portraits by Lely of his insolent mistresses and other beauties of his court ; and views of 
 his palaces by Danckers and Vostermann. He was particularly anxious to recover the miniatures 
 which had belonged to the crown, and on this point a curious anecdote is related by Walpole. He 
 
1660 - 97 .] PICTURES IN WHITEHALL PALACE BURNT. 23 
 
 tells us that Charles, who remembered the beautiful miniatures by Isaac and Peter Oliver which 
 had graced his father’s collection, made many inquiries about them after the Restoration ; ‘ at last 
 he was told by “ one Rogers” (this was Progers, groom of the bedchamber) that the widow of Peter 
 Oliver was living at Isleworth, and had many of their works. The king went privately and unknown 
 with Progers to see them ; the widow showed several, finished and unfinished, with many of which 
 the king being pleased, he asked if she would sell them ? She replied that she had a mind the king 
 should see them first, and if he did not purchase them she should think of disposing of them. The 
 king discovered himself, on which she produced some more pictures which she seldom showed. 
 The king desired her to set her price. She said she did not care to make a price with his majesty, 
 she would leave it to him, but promised to look over her husband’s books, and let his majesty know 
 what prices the late king had paid. The king took away what he liked, and sent Progers to Mrs. 
 Oliver with the option of £1000 or an annuity of £300 for life. She chose the latter.” Now it 
 happened that some of the king’s mistresses liked pretty miniatures as well as himself, particularly 
 Miss Stuart — La Belle Stuart, afterwards Duchess of Richmond — who was unhappily smitten with 
 a taste for collecting curiosities of this kind. She and others begged from the king some of the 
 finest miniatures ; and this coming to the knowledge of Mrs. Oliver, ‘ who,’ says the story, ‘ was 
 apt to express herself like a prude,’ she vowed that ‘ if she had thought the king would have given 
 
 them to such— and such (using words not to be endured by “ ears polite”), he never 
 
 should have had them.’ This reached the court ; the poor woman’s salary was stopped, and she 
 never received it afterwards. The Duchess of Richmond left after her death a fine collection of 
 original drawings by Raphael, Lionardo da Vinci, Perino del Vaga ; and miniatures by Hilliard, 
 Isaac and Peter Oliver, Hoskins, and Cooper, which were sold by auction in 1702, and thus dis- 
 persed. I find, however, twenty-two miniatures by the Olivers in James II.’s catalogue, which had 
 belonged to Charles II. ; how many of these yet remain in the possession of her present Majesty I 
 have not been able to ascertain.” — Mrs. Jameson’s Handbook. 
 
 Notwithstanding all that was done after the restoration in endeavouring to recover 
 the pictures, it is strange to see how, after all, they were doomed to a much worse fate 
 than being dispersed at prices below their value, for they were nearly all burnt in the 
 great fire that destroyed Whitehall Palace in 1697. If would be tedious to copy the 
 catalogue which exists of the pictures which Charles II. had, and which filled the palace 
 in the time of James II., as all those of any interest have already been named in the 
 catalogue of the collection of Charles I. All that can be said of them is that those 
 which escaped the fire are still to be seen in the galleries of Hampton Court, and at 
 Windsor Castle and Buckingham Palace. Some have been recovered from time to time 
 at sales, notably the famous Mantua paintings of Mantegna, as we shall presently 
 have to relate. 
 
 There are old sale catalogues preserved in the British Museum of sales by auction 
 taking place in the last quarter of the 17th century, at public rooms in the city of London, 
 but the auctioneers have long disappeared with the rooms, and prices are very rarely 
 noted upon the pages. These sales were held at the Auction House, Ave Maria Lane, 
 at Tom’s Coffee House, at the Outropers’ Office in the Royal Exchange, at the Canary 
 House, Wills’s. The pictures were generally put up without any frames, it would appear, 
 as special mention is always made if “ in a frame, gilt, and varnished.” The name of 
 the auctioneer was not given in many cases, and the usual hour of sale was 4 in the 
 afternoon. One curious catalogue refers to a sale to take place “ at the two white 
 posts, against the statue at Charing Cross,” * on Thursday, 18th (no date of year, but 
 
 * This statue was by Hubert Le Sceur, a pupil of John of Bologna, modelled and cast in 1633, but not 
 erected when the civil war broke out, and was then sold as old metal to one John Rivet to be broken up. He, 
 however, deceived the Parliament authorities by showing some broken pieces of metal, and buried the statue 
 
24 
 
 SALES BY AUCTION. 
 
 [ 1690 . 
 
 probably 1691) at 3 in the afternoon will be exposed for sale a curious collection of 
 original paintings, &c., continuing daily, by Mr. Wright, Junior,” (who was no doubt 
 son of Michael the artist) “ no person to bid less than 6 d. at a time.” The place of sale 
 was probably some public-house called “ The White Posts,” as there is now “ The Blue 
 Posts,” and not as might be supposed that the pictures were placed in the open air 
 against the stone posts round the statue; the term “ against ” and “over against 
 meaning “opposite” or “near.” The old catalogue is to be seen in the British 
 Museum with others of the time, from which this account is taken. The only pictures 
 of any interest to be mentioned are “ Lot 43. Ling Charles I. in three several views 
 after Vandyck by Mr. Wright, Senior. 53. A piece of Mr. John Lacy (the comedian) in 
 three different characters.” This was perhaps by Michael Wright, or a copy of a pic- 
 ture answering this description in Hampton Court collection, as Parson Scruple, in The 
 Cheats , a comedy by Wilson, first played in 1662. Sawney the Scot, in 7 he 7 anting of the 
 Shrew , a comedy by John Lacy, and Monsieur de Vice, in The Country Captain , a 
 comedy by the Duke of Newcastle, 1649. 
 
 Another catalogue in this collection is that of William de Ruyck of Antwerp, who 
 painted in London and died here in 1699. His collection was sold on the 30th June 
 and nth July, 1690, and the descriptions in the catalogue are exceptionally correct for 
 that time. There are several drawings ascribed to Raphael, some ot which appear 
 again in Dr. Mead’s collection ; but the most noticeable things were two large cartoons 
 attributed to the same great name, viz. “Ezekiel’s Dream, 15 foot high and 10 broad. 
 The Holy Family, about 10 foot broad and 8 foot high,” stated to be “original by 
 Raphael de Urbin.” “ A large picture about 15 foot broad and 7 foot high, being the 
 assembly of the Gods at the marriage of Psyche, painted for the Duke of Florence by 
 Julio Romano, designed by Raphael D’Urbin; another of the same height and breadth, 
 being the Feast of the Gods by the same painter, after Raphael.”* 
 
 underground in his yard near the church Covent Garden, where it remained till the Restoration. He was 
 employed to make the statue by the Earl of Portland, to be set up in his gardens at Roehampton, where it 
 never went, however, for Le Soeur kept it as security for his payment. In 1660, it was discovered, and Parliament 
 ordered the sheriff to seize it ; but it would seem that this was not done, as Strype records that Le Soeur presented 
 the statue to Charles II., and it was certainly not set up at Charing Cross till 1674. The sword and straps fell 
 from the figure in 1810 ( Annual Register , 1810) and more singular still is the fact that the sword was stolen on 
 the day Queen Victoria went into the city to open the Royal Exchange, Oct. 28, 1844. The stone pedestal was 
 the design and work of Grinling Gibbons. The Statue of Charles I., in one of the niches of the old Exchange 
 was broken to pieces at the time of his execution, and on the pedestal was inscribed in gilt letters, “ Exit 
 Tyrannus, Regum ultimus.” 
 
 These so-called Raphael cartoons have long been in the possession of the Duke of Buccleuch, at 
 Boughton House near Rettering, Northamptonshire. It is stated by Waagen in his “Art Treasures,” that they 
 were presented by Charles II., “to the Duke of Beaumont,” on the king’s return from France, with certain 
 tapestries similar to those from the cartoons by Raphael. These tapestries were contributed by the duke to the 
 Art treasures Exhibition, Manchester, 1857, and were hung by myself with other tapestries from Hampton 
 Court. They are of the “ Scuola nova,” and very inferior, and not the same as those in the Vatican. They 
 have different borders. 1 he two cartoons I have not seen, but they are described by Dr. Waagen (p. 460, 
 Vol. III.). The Vision of Ezekiel, he says, is taken from the small picture in the Pitti, but “the prophet and the 
 landscape are omitted, and a choir of eleven angels introduced quite at variance with the figures borrowed from 
 Raphael, and in the feeble drawing and character of the heads show a Netherlandish imitation. Traces of 
 colour prove that this cartoon was once tinted.” The Holy Family cartoon is taken from the famous “ Vierge 
 aux Fleurs of the Louvre, painted for Francis I., but altered into “ a wide oblong with very unfortunate alterations 
 and additions.” The “ chief group of the Virgin and Child, and St. Elizabeth and the Baptist is entirely absent. 
 
1691 - 1720 ^MILLINGTON'S AUCTIONS , AND OTHERS. 25 
 
 Amongst other interesting and curious catalogues are those of the collections of 
 “ Prince Ludovico,” whoever that may be, “ and General Doushfield, lately brought over 
 to be sold 22 and 23 January, 1691, at the Vendu next Bedford Gate, Charles Street, 
 Covent Garden, at 4 precisely ; ” “a large collection will be continued every Friday 
 following, during the gentries’ stay in Town — sold by Edward Millington — where is 
 likewise a curious invention of lights whereby the pictures may be seen as well as by 
 day.” This Millington seems to have been the Christie of his time, and Covent Garden 
 was then the chief resort of the fashionable beaux and connoisseurs of an afternoon ; but 
 as these sales were in the winter time, he had adopted some means of artificial lighting, 
 of the nature of which it would be interesting to know something. He followed the 
 fashionable world to Tunbridge Wells every season, as he says in his catalogues “ for 
 the diversion and entertainment of the gentlemen, ladies, &c., at Tunbridge Wells,” in 
 1689 — go, and he advertises that he “ undertook to deliver the pictures purchased in 
 London for a shilling on every pound of the price paid.” It is not to be supposed that 
 in sales made up by a spirited auctioneer like this, there would be any pictures of great 
 consequence. At that time the choice was generally first given to the select circles of 
 cognoscenti at Amsterdam, Antwerp, and Paris, after which the less attractive pictures 
 were sent to London, and generally christened with the names of the greatest masters, 
 or with those which at that time were chiefly in vogue, such as those of the Bolognese 
 school, the Caracci, Guido, Guercino, with an occasional dash at Michelangelo and 
 Raphael. But the time for spurious drawings by the Old Masters, and clever copies 
 artfully toned down into “ real originals,” such as took the market in the time of 
 Hogarth, and drew down his wrath upon all the race of “ black masters ” true or false, 
 had not yet arrived. These we shall have to speak of presently. In the meantime may 
 be noticed a curious sale which emanates oddly enough from the knot of speculators 
 who projected with such ruinous success the notorious South Sea “ bubble.” Here is a 
 catalogue of a collection of pictures “lately belonging to Charles Joye, late deputy 
 governor of the South Sea Company,” of which a list of the directors is appended, 
 including the name of Richard Houlditch, a well-known collector of old drawings, which 
 “will be sold by auction by an order from the trustees for raising money upon the 
 estates of the late directors, in the South Sea Company’s warehouse, Merchant Tailors’ 
 Hall, 26th and 27th of February, and 5, 6, 7, g, March.” No date of year, but it 
 must have been early in the 18th century, as the company came to grief in 1720, having 
 been incorporated in 1711 with a capital, such as it was, of over nine millions. If people 
 were disposed to such extravagance of good living as to pay from three to five pounds 
 
 The figure of the angel strewing flowers is so altered as to float almost horizontally in the air. The figures added, 
 though drawn with a certain mastery in black chalk, betray a Netherlandish master and show traces of colour.” 
 No doubt both Passavant and Waagen are right in their judgment that these cartoons were done by some 
 Netherland artist for the tapestry -workers. I am informed by Mr. McKay (of Colnaghi’s) that they are much 
 injured by time. He also points out that Dr. Waagen’s “ Duke of Beaumont ” is an error, as no such duke 
 ever existed, though there were “ Lords ” of that name. It is satisfactory to know that these cartoons are in 
 existence, and that the old catalogue above referred to is correct as to description and size, and is probably so as 
 to the pictures named, but what has become of them remains to be discovered. It is also evident that these 
 cartoons and pictures were not brought from France as stated by Waagen ; it is more probable that, if they ever 
 belonged to Charles II., they were purchased at this sale of De Ruyck’s collection. 
 
 VOL. I. 
 
 E 
 
26 
 
 THE MANTEGNA CARTOONS RECOVERED. [ 1733 . 
 
 for a haunch of venison,* they were likely to indulge their fancy in the luxury ot pacing 
 high prices for the works of the Old Masters. The descriptions of the pictures in this 
 catalogue are vague enough. There is a Holy Family by Garofalo , a sea-port by 
 Claude, dated 1677; a large sea-fight by Vandevelde ; a sketch b}< Rubens of the 
 Coronation of the Virgin, and others, but unfortunately the prices of none are recorded. 
 
 There is a sale of importance — that of the collection of Sir Robert Cotton, sold 
 April 18, 1733, by Mr. Cock, at his rooms under the Piazza, Covent Garden. Sir 
 Robert Cotton is described in the catalogue as of Habley St. George, in the county oi 
 Cambridge, Knt., deceased, late Post-Master General. The sale was under an order of 
 the High Court of Chancery. The most interesting point in this sale was that amongst 
 the pictures were included the famous set of nine large cartoons by Andrea Mantegna, 
 which belonged to the collection of Charles I., and have since been kept safe at Hampton 
 Court. There can be no doubt that these were those identical pictures, as they are 
 described, “ Lot 68, The Cartoons, the Triumphs of Julius Caesar, with the borders, 
 trophies, and other ornaments, of Andrea Mantegna,” and on the title-page, “ Those 
 celebrated cartoons of the Triumphs of Julius Caesar by Andrea Mantegna.” How they 
 came into the possession of Sir Robert Cotton is another of the questionable sales said 
 to have been made in the dispersion of the Charles I. collection. They were “valued” 
 at £1000, but there is no name given as the purchaser in the MS. catalogue of 
 Vanderdoort ; and it is equally remarkable that no name of purchaser is recorded on 
 this occasion. It is stated in Mrs. Jameson’s catalogue of the Hampton Court pictures, 
 that they were sold after the death of the king, but “ how they came back to the royal 
 collection does not seem well ascertained ; it is said they were repurchased by 
 Charles II.” It is not improbable that as the sale was for some good reason directed 
 by the Court of Chancery, the Crown secured the purchase of these cartoons, which 
 possess an interest for art of the highest importance. t 
 
 Any records of sales by auction in the early years of the 18th century, are more 
 difficult to find than those which we have noticed in the preceding times. From 
 catalogues preserved in the British Museum may be culled such scant and incomplete 
 items, the prices rarely given, as the following: — 
 
 The Collection of John Verelst, painter, perhaps a son of Simon Verelst, one of 
 the most conceited of his class, who when Lord Chancellor Shaftesbury came to sit to 
 him received him with his hat on, at which the Chancellor was indignant, and asked if 
 he did not know who he was — “ Yes, you are my Lord Chancellor and I am Verelst. The 
 king can make anybody a Lord Chancellor, but nobody a Verelst.” Lord Shaftesbury 
 declined the honour, and went away to sit to Greenhill. In this catalogue the onlv 
 • 
 
 * “ What made Directors cheat in South Sea year ? 
 
 To live on venison when it sold so dear.” — Pope. 
 
 When Sir Isaac Newton was asked to what pitch he calculated South Sea Stock would rise, he replied that 
 he could not calculate the madness of people. 
 
 t That these invaluable works, painted in 1492, by the greatest master of painting before the age of the 
 great leaders Leonardo, Michelangelo, Raphael, and Titian, should be kept at Hampton Court exposed to the 
 constant risk of destruction by fire from which they have had lately more than one narrow escape, is a most 
 deplorable piece of National neglect. The National reputation for love of the Fine Arts demands that they 
 should be placed in the National Gallery as great representative works, and even were they not all this, it is 
 imperative that they should be in a place of safety from fire which Hampton Court Palace certainly is not. 
 
1757 .] PICTURES, CARTOONS, AND MAJOLICA. 
 
 27 
 
 pictures worth naming were: Spagnoletto. — “Diogenes throwing away his bowl,’’ 
 sold for £5 105. The Duke of Alva, by Antonio More, £6. 
 
 The Earl of Cadogan’s Collection, sold Feb. 14, 1726 (1727 — O. S.), by Cock, no 
 prices, but as the sizes are given, may be quoted — David Teniers.— Two Misers 
 weighing gold, 31 by 40 inches. Rubens. — St. Jerome and angels, 60 by 4g ; A 
 Bacchanal, on panel, 46 by 53 ; Dido and EEneas, gg by 132. Murillo. — Boys playing 
 at cards, 78 by 64. Sophonisba Anguisciola. — Her own portrait playing on a harpsi- 
 chord, 44 by 36. 
 
 Thomas Sclater Bacon. Collection sold 1737. Giulio Romano. — Copy of the 
 Transfiguration by Raphael,* a most capital picture (no price). Michelangelo.— One 
 of the Prophets. A study in chiaroscuro for one of the statues designed for the tomb 
 of Julius II. 
 
 Charles Jervas, the painter, I73g. A great number of copies of pictures, amongst 
 vvhich are the seven cartoons of Raphael, size 40 by 4g. Vandyck. — Portrait, Lord 
 Chancellor Finch, g3 by 51 ; the Duchess of Richmond, g5 by 52 ; the Duchess of 
 Somerset, 61 by 51. Claude. — -Landscape, sunset, 53 by 6g. Jarvis sold also on this 
 occasion a quantity of Majolica and Urbino ware, with ivory carvings by Fiamingo, 
 besides his large collection of drawings by the Old Masters (no prices given). 
 
 Lord Viscount Colraine. Sale 1754. Raphael.— The Transfiguration, a fine 
 
 c °py — £33 165. 
 
 Sir John Austin. Sale 1755. Vandyck. — A Man playing a guitar, 26 by 20. 
 Leonardo da Vinci, a Marriage consisting of eight remarkable and humorous portraits, 
 painted 1510. 24 by 37. 
 
 Peter Scheemaker, the sculptor, sold his works in 1756, but there was no picture 
 of any consequence. Bryan Fairfax, sold his pictures in 1756, the only noticeable one 
 was a copy by Carlo Maratti of Raphael’s Transfiguration. 36 by 48. A curious sale 
 in 1757 of what was called “ Roman earthenware,” which was no doubt majolica. No 
 name of owner is given, though there are the prices and names of some purchasers, and 
 names of the painters from whose works they are painted. The auctioneer was Mr. 
 Langford. Raphael. — Hannibal’s overthrow — £\. Rosso. — An history — £3 155. 
 
 Ghirlandaio.— An history — £1 55. Aretino. — The head of Fabius — £$ 8 5. Giorgio 
 Vasari. — Achilles and Agamemnon — £5. Raphael. — Damus and Sinon with the goat 
 — £2 35. Mr. Sands; Meeting of Priam and Helen — £1 105. — Narcissus changed to a 
 flower — £1 1 15. 6 d. General Campbell. Rosso.— Jupiter and Europa — £1 45. General 
 Campbell. Fra Xanto — One of the Labours of Hercules — £2 35. General Campbell. 
 Perino de Vinci. — A vase with Judgment of Paris — £y 7 5. Lord James Manners. 
 Others of which the prices are not given were : AEneas Vico. — Samson. Fra Xanto. — 
 Daedalus and Icarus. Julio Romano. — Battle of Centaurs. Raphael. — Vase, Orpheus. 
 Fra Xanto.— A bottle with figures, on stand. Raphael. — Apollo flaying Marsyas, &c., 
 &c. Possibly some of these may be traced in existing collections or sales. 
 
 * See sale of Lord Coleraine’s pictures, 1754. 
 
 E 2 
 
THE EARL OF OXFORD'S COLLECTION. [ 1741 - 2 . 
 
 The Earl of Oxford was the greatest virtuoso and bibliophile of his time; his 
 famous library and collection of MSS., under the name of “ The Harleian Miscellanies,” 
 was bequeathed to the British Museum, taking the name from the eminent collector whose 
 family name was Edward Harley. The sale catalogue* is a curiosity, having an 
 elaborate frontispiece designed and engraved by G. Vertue, of which a facsimile is here 
 to be seen. The exact size is 8 x 5^, the title page was : 
 
 A 
 
 C AT A L O G U E 
 
 OF THE 
 
 .COLLECTION 
 
 Of the Right Honourable 
 
 Edward Earl of Oxford 
 
 D C* C C* a : 
 
 Confiding of 
 
 Several Capital Pictures by the moft Eminent 
 Italian , French , and Flemijh Mailers, great Variety of 
 Greek and Roman Antiqvities in Urns, Edicts, 
 
 Injcriptions , &c, as alfo of Bvfo's and Bronzes ; together 
 with feveral very fcarce Books of Prints and Drawings , 
 particularly of the moft famous Altars , Vejlments , Cha- 
 lices , &c. by J. Paulo Panini and others; collected by 
 the late Mr. Talman ; the King of France’s Cabinet 
 complete ; the Heads of the moft eminent Men in Europe 
 sn 30 Volumes ; with divers other valuable Curiofities out 
 of the Arundel Collection : 
 
 Which will be fold by AUCTION, 
 
 By Mr. C 0 C K y 
 
 At his Houfe in the Great Piazza , Covent-Garden , 
 
 On Monday the 8th of March , 1741-2, 
 and the five following Days. 
 
 The Collection may be viewed at the Place of Sale on 
 ‘Ttiurfday the 4th Inftant, and every Day after ( Sunday ex- 
 cepted) till the Time of Sale, which will begin each Day at 
 Half an Hour after Eleven precifely. 
 
 Catalogues may be had gratis at the Place of Sale. 
 
 A notice states that the coins and medals will be sold on the 18th instant. And 
 “ by desire of the curious,” a special catalogue describing them was issued, price Is. 
 
 * this is now very rarely met with. A copy was very kindly sent to me by Mr. A. J, Jarvis of Halesworth, 
 from which the facsimile is taken. 
 
1741 - 2 .] THE EARL OF OXFORD'S COLLECTION. 
 
 29 
 
 written by G. North, with a pompous Latin address. “ Lectori Numismatum 
 Antiquorum Studioso Salutem.” 
 
 The sale evidently attracted all “the curious” of rank and fashion, Horace 
 Walpole amongst them, but he was evidently rather a cautious buyer, as his name in 
 the priced catalogue before me does not often appear. It does in the first day, when he 
 buys “lot 11. The Dutchess of Siiffolk and her Husband, Adrian Stoaks , by Holbein,” 
 for £15 4s. 6 d. Another purchase of his was “ a Roman deep copper dish with a cupid 
 painted on it,” £2 2 s., probably an enamel, and “ a curious vase from the Antique, with 
 a Bacchanalian of Boys, by Fiamingo,” £16 165., probably carved in ivory.* A Bronze 
 “ Hercules of Farnese,” £13 135., and “ Two curious antique Tuscan urns,” £2 35., 
 probably Etruscan vases. Horace Walpole bought many of the coins. Other names 
 of buyers are G. Vertue, Lady Cossons, or Cossens, Lord Duplin, Lord Harvey, 
 Hanbury Williams, Lord Essex, Lord Burleigh, Lord Colerayne, Lord Hallifax, The 
 Duke of Richmond, Du Hamel, Lord Ancaster, James West, Lord Jas. Cavendish, 
 Lord Bristol, Lord Lovel, Lord Holden, Lord Elibank, Countess of Burlington, Earl of 
 Sandwich, Lord Ilchester, Hooper for the Society of Antiquaries, (8 vols. of curious 
 prints — English Antiquities), Captn. Madison, Dr. Johnson (Two heads by Rubens in a 
 black frame, £1 2 s.), and a “ Madonna reading, by Carlo Maratti,” £3 5 s., Lady Cobham, 
 (a “ most excellent picture of Jacob and Laban, by Sebastian Bourbon,” £89 55.,) Sir 
 Nathaniel Curson, The Duchess of Bedford, Lord Durham, Lord Cholmondeley, (a 
 march, by Borgoynone, £ig8s.6d.). Lord Duplin buys “ an exceeding fine head by 
 Holbein,” £32 10s., Lord Essex, “ A sea storm, with a sunset, an octagon, by Claude 
 Loraine,” £27 6s. The companion picture being bought by Baker, for £22 is., “ A 
 curious limning of Lord Henry Darnley, King of Scots,” is sold to Rudge for 
 £ 2 6 15s. 6 d. “ A curious limning representing Queen Elizth.’s Procession in her 
 visit to Lord Hunsden,” is bought by Hanbury Williams for £31 9 s. Could this be 
 an old copy of the picture described by G. Vertue as seen by him at Coleshill, where it 
 had been for 50 or 60 years, and which was lent to the Portrait Exhibition at South 
 Kensington, 1866, by Mr. G. Digby Wingfield Digby, and is stated to be the work of 
 Mark Gerrard, on canvas, 52x74? It is a question whether “a curious limning,” 
 means an oil painting on canvas ; perhaps it was simply a drawing in chalks or water- 
 colour on paper, card, or parchment. Whatever it was, it seems to have escaped notice 
 at the time when the picture was exhibited at South Kensington ; and it would be 
 interesting to discover its place now. The fine portrait piece by Vandyck, which is 
 described here as “ Sir Kenelm Digby, his Lady and two Sons, a most capital picture 
 by Vandyck,” was bought by Lord Duplin, for £175 55. The picture, it will be observed, 
 takes a prominent place in Vertue’s frontispiece. 
 
 The picture belonging to the Digby family which corresponds with this was lent to 
 the Portrait Exhibition of 1866, by the same gentleman (Mr. Digby) who contributed the 
 Hunsden Procession picture, which is rather remarkable. There appear to have been 
 some good portraits in the collection. Mr. Rowe, three-quarter, by Mr. Richardson, 
 bought by Boden, £1 ns. 6d. ; Charles Bridgman, by Mr. Dahl, bought by Lord Essex, 
 ^155.; the famous Sir Robert Cotton, by Cornelius Johnson (properly Jansen), three- 
 
 * Sold in the Strawberry Hill sale, 1842, to Lord C. Townshend for ^21. 
 
30 
 
 THE EARL OF OXFORD'S COLLECTION. [ 1741 - 2 . 
 
 quarter, £11 5 s., James West, Esq. ; the Lord Treasurer Burleigh, on a panel, £1 is. , 
 and Lord Fitzwilliams, a profile, by Holbein, £15 I 5 W both bought by Loid Buileigh , 
 A Noble Venetian, by Paulo Veronese, goes for £3 9 5. to Captain Broxet ; Lrancisco 
 Trevisani, by himself, half length, £y 5 s. (Webb); Spencei the I oet, thiee-quaiter, 
 £2 65. (Mr. West) ; Old Baptist, the flower painter, by Sir Godfrey Kneller, an 
 excellent head, £4 35. 6 d. (Captain Losell) ; Mr. James Gibbs the architect, by Mr. 
 Dahl, £1 12s. (Hay); Mr. Wooton the painter, by the same, £3 (Hay); Dr. Lanshaw, 
 half-length, by Mr. Gibson, £4 10 5. (Dupin); Mr. Alexander Pope, half-length, by Mr. 
 Richardson, £12 12 s. (Dunn). There were two other portraits of Pope: a kit-cat of 
 Mr. Pope, £12 (Money); and Mr. Pope, a half-length, by Mr. Richardson, £y ys. 
 (Hune); Archbishop Laud, three-quarter, £1 9s. (Vertue) ; Mr. Butler, author of 
 Hudibras , £4 15s. (Lord Colerane); Mr. Cowley, £3 15 s. (Boden); Endymion Porter, 
 half-length, by Sir P. Lely, £10 10s. (Porter); Dean Swift, half-length, by Mr. Jarvis, 
 £10 105. (Boden); Sir Walter Raleigh, half-length, by Cornelius Johnson (sic ) , £23 2s. 
 (The Duke of Bedford) ; The Countess of Desmond, /Etat. 140, £6 10 s. (Countess of 
 Burlington) ; Lrancis Lord Bacon, on a panel, £3 135. 6 d. (Burrel) ; Sir Isaac 
 Newton, three-quarter, by Mr. Dahl, £1 185. (Hay) ; Earl of Arundel and Son, half- 
 length, by Vandyck, £3 155. (Vertue); Chaucer, a kit-cat size, £11 ns. (West); 
 Dryden, kit-cat, by Sir G. Kneller, £22 125. 6 d. (Vandergutch) ; Mr. John Morley, 
 the Essex butcher, half-length, by Sir Godfrey Kneller, £4 15. (Morley) ; Potemkin, 
 Embassador from the Czar of Muscovy in 1682, by Sir G. Kneller, £13 55. (Lady 
 Cossons). 
 
 Of the subject pictures there were “ Two neat Landslips, by Lerg, £y ; A Calm, 
 by W. Vandevelde, £12 is. 6 d. ; Rembrant’s head, by himself, £b 6s. (Brand) ; 
 Two Cupids, by Vandyck, £214 18s. 6 d. (Leeds) ; Landskip, by Caspar Poussin, 
 £12 12 s. (Harding) ; Pharaoh with his Host, by Claude Lorrain, £16 (Isaac) ; A 
 Madonna with Angels, by Pietro da Pietri, £21 (Duke of Bedford) ; Flight into 
 EgypC i n a small landskip, by Claude Loraine, £10 10s. (Duke of Bedford) ; An 
 Execution of Malefactors, by J. Callot, £3 10s. (Isaac) ; Vandyck’s Mistress, by himself, 
 £57 TV- (Hanbury) ; Soldiers at cards, by Vandyck, £38 lys. (Duke of Bedford or 
 Walpole); Holy Family, by Luca Jordano in the name of Titian, £iy 16 s. (Hanbury 
 Williams) ; Ascension, by Seb. Rizzio, £26 3 s. (Duke of Bedford) ; Landskips and figures, 
 by Salvator Rosa, £16 16s. (Duke of Bedford) ; The Companion, by the same, £y ys. 
 (Duke of Bedford) ; Holy Family, by Trevisani, £33 12s. (Lord Ilchester) ; A 
 Conversation, by Paterre, £16 16 s. (Host) ; Europa, by Luca Jordano, £8 8s. (Harrel) ; 
 an exceeding fine landskip and figures, by G. Poussin, £33 14s. (Hay) ; a small 
 Madonna with out Saviour and St. John, a capital picture by A. Caracci, £2 y 16s. 6 d. 
 (Brooksby) ; a Sea-piece, by Vandevelde, £3 15s. 6 d. (Lord J. Cavendish); Our 
 Saviour at Supper with a Pope and Cardinal, by P. Veronese, £13 13s. (Naylor) ; Diana 
 and Calisto, by Rottenhamer, £3 3s. (Herrow) ; an exceeding fine piece of Ruins and 
 Figures, by Ghisolfi, £10 5s. (Hadley) ; The Marriage of St. Catherine, by P. da Cortona, 
 £8 18s. 6 d. (Lady Burlington) ; a small Madonna with a Child weeping, on copper, by 
 P. Laura, £y (Duke of Richmond) ; Jacob and Laban, a most excellent picture by 
 Sebastien Bourdon, £89 5s. (Lady Cobham) ; Two Landskips, by H. Swanevelt, the 
 figures by M. Angelo, sold for £6 8s. 6 d. and £11 3 s.” This is one of few instances 
 
1741 - 4 .] HOGARTH' S “ MARRIAGE A LA MODE." 
 
 3i 
 
 of absurd attribution in the catalogue, which for the time, is an unusually good one. 
 The total of the pictures, bronzes, &c., was £3,890 11s. 6 d., of the coins, medals, and 
 seals £1,423 gs. 6 d. 
 
 The list of names of buyers seems to show that these great people attended the 
 sales and bid for their purchases without the aid of a dealer ; and as the name of 
 “ Frederick” in rather larger letters appears to several lots as purchaser, perhaps this 
 was the Prince of Wales. He buys a portrait of Secretary Walsingham, f, £1 11s. 6 d. ; 
 a box of Egyptian, Greek and Roman antiquities, one guinea ; a Roman vestal in silver, 
 antique, £3 135. 6 d. ; a piece of ruins, picture by Ghisolfi, £6 17s. 6 d. ; besides several 
 lots of coins. 
 
 Cock’s auction room under the Piazza was no doubt constantly visited by Hogarth 
 with his jealous eye upon the sale of pictures by “the black masters,” as he chose to 
 call them.* 
 
 It was about the time of the sale just referred to that Hogarth was, as he himself 
 said, turning his thoughts from portrait painting to “painting and engraving modern 
 moral subjects, a field not broken up in any country or any age. I wished to compose 
 pictures on canvas, similar to representations on the stage.” His “ Harlot’s Progress” 
 had brought him to the notice of Sir James Thornhill the painter, whose daughter 
 Hogarth had run away with, by the little scheme of his pretty wife and her mother, who 
 put the picture in old Thornhill’s room for him to see accidentally. Sir James, when he 
 was told the name of the painter, remarked slily, that “ a man who could paint like that 
 could maintain a wife without a portion.” But whatever his success with his “ moral 
 subjects,” Hogarth was ambitious (as he says) of “succeeding in what the puffers in 
 books call the great style of history -painting." So he set to work to paint on the wall of 
 the staircase of Bartholomew’s Hospital those large pictures with figures seven feet 
 high, of “ The Pool of Bethesda ” and “The Good Samaritan,” which are still to be 
 seen there. While he was painting these it would seem he had in hand a work, which 
 perhaps, like many men, he did not see was destined to be the one on which his future 
 fame would chiefly rest — the “Marriage a la Mode,” painted 1744. And it happens that 
 these most remarkable pictures, which so worthily represent our great character-painter 
 in the National Gallery, have a special interest in connection with picture sales. They 
 were first of all sold by a peculiar kind of auction, after a plan of his own, for 120 
 guineas, and twice afterwards came up for sale at Christie’s, eventually selling for 1000 
 guineas to Mr. Angerstein, and coming to the National Collection included in the purchase 
 of the Angerstein pictures at the foundation of the National Gallery in 1824. When these 
 pictures were painted there was no society of artists and no gallery for exhibiting, and 
 such was the poor condition of the arts that painters were content to rely upon the 
 painting of signboards for a living, the said “ signs ” being large and always placed in 
 gilt frames to be hung up over the shop-doors. f This was the sort of exhibition then 
 
 * It is stated, however, by writers upon Hogarth and his works, that he nevertheless did place his pictures at 
 these rooms for sale, and of them the set of the Marriage a la Mode is named. But if this were so, which I 
 doubt, it is remarkable that they were not sold, and that he was obliged to resort to an auction of his own. 
 
 + There was a regular market for these “ signs ” in Harp Alley, Shoe Lane, see Edwards’s “ Anecdotes of 
 Painting,” and Samuel Wales’, R.A., account of sign-painting. Wales was one of the first Royal Academicians. 
 He was a sign-painter, as well as professor of perspective, and librarian of the Academy. One of his best works 
 
32 HOGARTH POKES FUN AT THE OLD MASTERS. [ 1741 - 5 . 
 
 available, and occasionally there was got up a collection of these signs and of 
 painted panels for carriages, in the style of which there are still to be seen specimens in 
 the old state coach of the Crown, painted by Cipriani, the Lord Mayor s, and some in 
 the Museum at South Kensington. 
 
 Hogarth was naturally indignant at the disparaging notice of Thornhill’s paintings 
 in Greenwich Hospital Hall published in a newspapei of the day, and he wiote a letter 
 to the “St. James’ Evening Post” (June 7, 1737), signed “ Britophil,” defending the 
 painter, and satirising the fashionable connoisseurs of the day, who were the victims of 
 picture dealers. This is so good in its way that it deserves to be quoted . 
 
 is another set of gentry more noxious to the Art than these, and those aie \ our picture- 
 jobbers from abroad. (An abuse grown to such a height, that the Legislatuie has endeavoured to 
 put a stop to it, by laying a duty on the importation of foreign pictures), who are always ready to raise 
 a great cry in the prints whenever they think their craft is in danger ; and indeed it is their interest 
 to depreciate every English work, as hurtful to their trade, of continually importing ship-loads of dead 
 Christs, Holy Families, Madona’s, and other dismal dark subjects, neither entertaining nor ornamental ; 
 on which they scrawl the terrible cramp names of some Italian masters, and fix on us poor Englishmen 
 the character of universal dupes. If a man, naturally a judge of Painting, not bigoted to those empirics, 
 should cast his eye on one of their sham virtuoso-pieces, he would be very apt to say, ‘ Mr. Bubble- 
 man, that grand Venus (as you are pleased to call it) has not beauty enough for the character of an 
 English cook-maid.’ — Upon which the quack answers, with a confident air, ‘ O Lord, sir, I find that 
 you are no connoisseur — that picture, I assure you, is in Alesso Baldovinetto’s second and best manner, 
 boldly painted, and truly sublime ; the contour gracious; the hair of the head in the high Greek 
 taste ; and a most divine idea it is.’ — Then spitting on an obscure place, and rubbing it with a dirty 
 handkerchief, takes a skip to the other end of the room, and screams out in raptures, ‘ There is an 
 amazing touch ; a man should have this picture a twelve-month in his collection before he can dis- 
 
 was a sign-board portrait of Shakespeare, for a public-house in Little Russell Street, Drury Lane, five feet high, in 
 a rich carved gilt frame, and ornamental iron-work. An elaborate joke was got up by a Mr. Bonnel Thornton, with 
 whom Hogarth is known to have been associated, though not named, in an exhibition of comic signs at his house 
 in Bow Street, near Playhouse Passage. I have seen the catalogue of this, which resembles such heavy 
 comicalities as Rowlandson’s, viz., “A Man,” pictured by nine tailors; “Absalom,” a wigmaker’s sign, with the 
 
 lines — “ If Absalom had not worn his own hair, Absalom had not been hanging there.” The thing was 
 
 noticed by all the journals of the day rather favourably. Of the state of the fine arts at this time in England 
 it has been said by the Abbe le Blanc in his letters to Du Bos, written from London about 1738, published 
 1745, “ The English have drawn from Italy and France all the rarest pictures they could find, but every effort to 
 transplant the germ of the Fine Arts into England had been vain.” Writers of this stamp, who are apt to speak 
 with authority though with very slender acquaintance with English art, require to be supplemented with some- 
 thing a little more accurate. Probably the abbe had never heard of Thornhill, the son of a Dorsetshire gentle- 
 man ; a self-taught painter, and a man of refinement and good education for his time, not unworthy of the age 
 which has been distinguished as the “ Augustan ” in English literature. He was a better artist than La Fosse, 
 who was brought over to paint the walls of Montague House (the old British Museum), and than most Frenchmen 
 of his time, and did more than many men who are often placed before him in honour, whether English or foreigners. 
 It has been the fashion to laugh at Sir James Thornhill’s paintings in the dome of St. Paul’s, in the great hall 
 at Greenwich Hospital, in the hall of Blenheim Palace, at Hampton Court, and the hall of the South Sea Com- 
 pany’s buildings ; and even his fine copies of the Raphael cartoons on the full scale, which were presented to 
 the Royal Academy by the Duke of Bedford, who bought them after his death, are thought nothing of. Such 
 hard work deserves, at least, to be respected and valued as good service in art. The mere industry and appli- 
 cation of such a painter, to say nothing of his love for his art, command respect and esteem, especially -when 
 it is remembered that at this time encouragement of “ native talent ” was at the lowest point. So miserable 
 was the pay that Thornhill was paid by the square yard for his work in Greenwich Hospital at £3 for the ceiling, 
 and Ri for the walls. It took him nearly twenty years, and the total amount he received was ^6685, which 
 allows about E300 a year. For the eight enormous pictures in the dome of St. Paul’s, which are in monochrome, 
 representing events in the life of the Apostle Paul, he was paid 40s. the square yard. For his works on the 
 walls of Blenheim Palace he was paid 25^. the square yard. 
 
1745 .] 
 
 HOGARTH'S OWN AUCTION 
 
 -y ^ 
 O J 
 
 cover half its beauties.’ The gentleman (though naturally a judge of what is beautiful, yet ashamed to 
 be out of the fashion in judging for himself) with this cant is struck dumb ; gives a vast sum for the 
 picture, very modestly confesses that he is indeed quite ignorant of Painting, and bestowed a frame 
 worth fifty pounds on a frightful thing, without the hard name on it not worth as many farthings.” * 
 
 H e was nettled that his own pictures did not find ready purchasers, while those of 
 the Old Masters, good, bad, and indifferent, copies or not, had the preference ; and when 
 he determined to resort to the auction about to be described he had another fling at them 
 in the illustrated ticket of admission to the exhibition and sale room, which bore an 
 etching called “ The Battle of the Pictures,” showing a conflict between the canvases 
 by “ the Black Masters ” and Hogarth’s own, with the inscription “ The bearer hereof is 
 entitled (if he thinks proper) to be a bidder for Mr. HOGARTH'S PICTURES , which are 
 to be sold on the Last day of this Month." The sale was advertised in the London Daily 
 Post and Advertiser, January 25, 1744 — 45, and to take place at “ ‘ The Golden Head ’ 
 in Leicester Fields.” This was Hogarth’s house, and it stood on the east side of 
 what is now Leicester Square, and close to Green Street, where Archbishop Tenison’s 
 school-house stands now. Next door lived John Hunter, the great anatomist, with his 
 famous museum, preserved in the Royal College of Surgeons ; and he had a fine 
 collection of engravings, including many by Hogarth. On the opposite side Sir Joshua 
 Reynolds afterwards (1761) lived and painted in the house, so well known as the 
 auction rooms of Messrs. Puttick & Simpson. Hogarth made a bust to resemble 
 Vandyck, cut out of pieces of cork which he glued together and had gilt, and placed it 
 over his door. It is to be seen in a good contemporary engraving of the place by Parr. 
 
 “ The biddings were to be received from the first to the last day of February, on these con- 
 ditions : ‘ 1. That every bidder shall have an entire leaf numbered in the book of sale, on the top of 
 which will be entered the name and place of abode, the sum paid by him, the time when, and for 
 which picture. 2. That, on last day of sale, a clock (striking every five minutes) shall be placed in 
 the room ; and when it hath struck five minutes after twelve, the first picture mentioned in the 
 sale-book will be deemed to be sold ; the second picture when the clock hath struck the next five 
 minutes after twelve ; and so on successively till the whole nineteen pictures are sold. 3. That 
 none advance less than gold at each bidding. 4. No person to bid on the last day, except those 
 whose names were before entered in the book. As Mr. Hogarth’s room is but small, he begs the 
 favour that no persons, except those whose names are entered in the book, will come to view his 
 paintings on the last day of sale.’ The pictures were sold for the following prices : — 
 
 Six ‘ Harlot’s Progress,’ at 14 guineas each . 
 
 ■ . a;ss 4 
 
 O 
 
 Eight ‘ Rake’s Progress,’ at 22 guineas each 
 
 184 16 
 
 0 
 
 ‘ Morning,’ 20 guineas .... 
 
 21 0 
 
 O 
 
 ‘ Noon,’ 37 guineas ..... 
 
 38 17 
 
 O 
 
 * Evening,’ 38 guineas .... 
 
 39 18 
 
 O 
 
 ‘ Night,’ 26 guineas ..... 
 
 . . 27 6 
 
 O 
 
 ‘ Strolling Players,’ 26 guineas 
 
 27 6 
 
 £427 7 
 
 O 
 
 0” 
 
 See Nichol’s “ Biographical Anecdotes of Hogarth.” 
 
 The six pictures of “The Harlot’s Progress,” and the eight of “The Rake’s 
 Progress” were purchased in 1745 by Mr. Beckford (the Alderman, not “ Vathek ” Beck- 
 
 * “ e.g. A monstrous Venus at Kensington, valued at a thousand pounds, said to be painted by Michael 
 Angelo de Buonarotti or Jacomo di Pontermo or Sebastiano del Pimbo ” (sic). 
 
 VOL. I. 
 
 F 
 
34 
 
 GARRICK AT HOGARTH'S AUCTION. 
 
 [1750. 
 
 ford). “The Rake’s Progress” set were sold by Mr. Beckford, of Fonthill, to Sir John 
 Soane for £598 10s. in 1802, and are in his museum, Lincoln’s Inn Fields, along with 
 the set of the Election (4), which were purchased of Hogarth by David Garrick under 
 the following singular circumstances : — 
 
 “When Hogarth had published his Election prints, he wished to dispose of the paintings, and 
 proposed to do so by a raffle of two hundred chances, at two guineas the stake, to be determined on 
 an appointed day. Among a small number of subscribers, not half what Hogarth expected, 
 Garrick had put down his name, and, when the day arrived, went to the artist s house to throw for 
 his chance. After waiting a considerable time, and no other person appearing, Hogarth felt the 
 neglect, not only as derogatory to his profession, but as having something in it of the mendicant 
 character ; and, mortified by the result of his plan, which he had hoped would prove, at least, a 
 morning’s amusement to the fashionable subscribers, insisted that, as they had not attended, nor 
 sent any request to him to throw for them, Garrick should go through the formality of throwing the 
 dice — but for himself only. The actor for some time opposed the irritated artist, but at last 
 consented. On returning home, Garrick despatched a note to Hogarth, stating that he could not 
 allow himself to possess works so valuable and admired without acquitting his conscience of an 
 obligation due to the painter, and to his own good fortune in obtaining them ; and, knowing the 
 humour of the person he addressed, and that, if he sent a cheque for the money it would in all 
 probability be returned, he informed Hogarth that he had placed at his credit at his banker’s two 
 hundred guineas, which would remain there at the disposal of his heirs, if it were not accepted by 
 himself.” (See Galt’s “ Life of Benjamin West, P.R.A.”) 
 
 They were sold after Garrick’s death by his widow at Christie’s in 1823 for £1,732 
 ios. Four of the set of six of “A Harlot’s Progress” were destroyed by fire in 1755, 
 at Fonthill, two were sold at Christie’s in 1878; but copies of them all exist. These 
 were in the possession of Mr. Baines, of Ripon, Yorkshire (see Nichols’s “ Biographical 
 Anecdotes of Hogarth,” p. 192). The six pictures of “Marriage a la Mode ” were 
 advertised for sale in a similar way as the others, and in the April of the same year, 
 after the plates had been engraved. Hogarth must have intended this, as he drew on his 
 ticket the famous antique picture preserved in the Vatican, called absurdly enough the 
 “ Nozze Aldobrandini ” (when it represents the marriage of Peleus and Thetis, the 
 parents of Achilles) fighting with one of his pictures. His advertisement of the 
 engravings was in the London Daily Post and General Advertiser , April 2, 1743 — “ Mr. 
 Hogarth intends to publish by subscription six prints from copper plates, engraved by 
 the best masters in Paris after his own paintings, representing a Variety of Modern 
 Occurrences in High-Life , and called Marriage a la Mode. Particular care will be 
 taken that there may not be the least Objection to the Decency or Elegancy of the whole 
 Work, and that none of the Characters represented shall be personal.” “The Heads, 
 for the better preservation of the Characters and Expressions, to be done by the Author.” 
 Notwithstanding his promise as to not representing any persons, it was generally 
 admitted that certain persons were slily intended to be thus satirised. The six pictures 
 were sold June 6, 1750, as the others had been some years before, by the same odd sort 
 of auction, to Mr. Lane, of Hillingdon, for 120 guineas,* and, as the fine Carlo Maratti 
 
 * It is stated by Allan Cunningham, in his “ Lives of the Painters,” that Mr. Lane was the only bidder present, 
 and I am inclined to think this was so. It is related that Mr. Lane was “the highest” bidder by the tickets 
 written as directed by Hogarth before 12 at noon, and that very probably means that he was the “sole 
 bidder as Cunningham infeired, for Mr. Lane seeing no chance of advance against himself, liberally said he 
 would make his “ bidding” in guineas, viz., 120 guineas instead of pounds, and leave tire sale open for an hour or 
 
1750.] 
 
 HOGARTH RAFFLES HIS PICTURES. 
 
 35 
 
 frames had cost him four guineas each, he received only £101 16s. for the set. Mr. 
 Lane bequeathed them to his nephew, Colonel Cawthorne, who after twice (in 1792 and 
 1796) having them put up at Christie’s and bought in, succeeded in selling them in 1797 
 for 1000 guineas, when, as we have seen, Mr. J. J. Angerstein was the purchaser. (See 
 list, Vol. II.) 
 
 The names of the purchasers of other pictures are given in Mr. Lane’s letter 
 to Nichols. After saying that the set of 1 A Rake’s Progress’ were sold unframed at 
 22 guineas each, he gives “ Four pictures of the Times of the day, two of them to the 
 Duke of Ancaster at 75 guineas. The other two to Sir William Heathcote at 46 
 guineas; ‘The Strolling Actresses’ to Mr. Wood at 26 guineas; ‘ Danae ’ to the 
 Duke of Ancaster at 60 guineas ; 25 heads from the cartoons to Mr. Beckford at 25 
 guineas, and Sarah Malcolm’s head to Mr. Walpole at 5 guineas.” 
 
 There is one more sale of Hogarth’s which requires to be noticed, which occurred 
 about the same time (1750), and that was of “ The March to Finchley”'"' of the Guards 
 to Scotland in 1745. For the disposal of this picture Hogarth got up a raffle. It was 
 advertised in the General Advertiser , April, 1750, with the subscriptions for the plate, at 
 the Golden Head. Each subscriber to the print of 10s. 6 d. was entitled to a share in 
 the raffle. In the General Advertiser , May 1, 1750, it was stated, “Yesterday Mr. 
 Hogarth’s subscription list was closed ; 1,843 chances were subscribed for. Mr. 
 
 Hogarth gave the remaining 167 chances to the Foundling Hospital, one of which 
 having won the prize, he delivered the picture the same evening to the Governors.” 
 The picture, as is well known, is at the Foundling still. He must have been better paid 
 by this transaction as he would receive £967, out of which some part would have to be 
 deducted for the cost of the engravings, which the raffle ticket-holders took as certain gain. 
 
 We have seen several important works of Hogarth sold at Christie’s besides those 
 above mentioned. “The Westminster Election” in 1845 f° r £200; two from “A 
 Harlot’s Progress” in the Munro collection, 1867, for £426 and £346 10s., but “bought in;” 
 then, afterwards, in 1878, sold, or at least knocked down at ,£546 and ^"315, and these 
 
 more in case any other person came to bid. As all picture-dealers were excluded, this did not occur, and so 
 Hogarth had to deliver his pictures to Mr. Lane. Mr. Lane wrote to Nichols correcting his first account of the 
 sale, in which he says, “Hogarth wished him joy of his purchase, hoping it was an agreeable one.” He states 
 that Dr. Parsons, Secretary of the Royal Society, was the only other person present, and he told Hogarth he had 
 spoilt the sale by fixing “ so early an hour when people at that part of the town were hardly up,” at which 
 Hogarth was much vexed, and this led to Mr. Lane allowing the time to be extended. Hogarth then, after giving 
 over the pictures, asked Mr. Lane to promise not to have them touched by cleaners, or to sell them without 
 acquainting him. Afterwards Hogarth frequently reminded him of his promise, and the last time he made an 
 offer “ from a great and good friend ” to purchase them at any price Mr. Lane chose to set, but this was 
 declined. 
 
 * It was of this picture that the amusing story is told of George II., almost the most uncultured of all the 
 Georges. It was sent to St. James’s Palace to be shown, with a request that the engraving might be dedicated to 
 his Majesty as a picture of his Guards. “The king had learnt to speak English only pretty well, and inquired 
 ‘ Pray, who is this Hogarth?’ ‘ A painter, my liege,’ answered the gentleman in attendance. ‘I hate bainting 
 and boetry, too ; neither the one nor the other ever did any good ! Does the fellow mean to laugh at my 
 Guards?’ To this the courtier agrees with his, ‘The picture, an’ please your Majesty, must undoubtedly 
 be considered as burlesque.’ ‘ What ! a bainter burlesque a soldier ! He deserves to be bicketed (picketed) for 
 his insolence. Take the trumpery out of my sight.’” Hogarth was so intensely mortified that he revenged 
 himself by erasing the dedication to “ The king of England,” and inserting to “ The king of Prussia ,” as encourager 
 of the arts. He got over his mortification, however, when he accepted the appointment of serjeant-painter to the 
 king, not long after ; which post he retained in the reign of George III., till he died. 
 
 F 2 
 
DR. MEAD'S COLLECTION. 
 
 [ 1754 . 
 
 pictures were stated in the catalogue to be those once in the collection of Mr. Beckford, 
 of Fonthill. It will be remembered, however, that the original set weie, accoiding to 
 Nichols, destroyed by fire, and that copies existed of them (see p. 34, ante) . The little 
 portrait of himself was purchased in Mr. Willett s sale, 1869, for the Nat . I cut . Gallery, 
 for £378, and in this sale were the replicas or copies of the Marriage a la Mode, which 
 sold for £ 210 , and the portrait of Mrs. Hogarth for £351. Then there were Lord 
 Charlemont’s “ Lady’s Last Stake,” for which he paid the painter £100,* and which the 
 late Lord C. sold at Christie’s in 1874 for £1,585 10s., at the same time selling the “ Gate 
 of Calais” for £945, bought for Mr. Bolckow’s Gallery. The last noticeable pictures of 
 Hogarth’s sold at Christie’s were the portrait of Miss Fenton, afterwards Duchess of 
 Bolton, as “ Polly Peachem,” for £840, and “ The Shrimp Girl,” £262 10s., for the 
 National Gallery, both coming from the Leigh Court collection (see 1884). 
 
 DR. MEAD'S COLLECTION. 
 
 Dr. Richard Mead was an eminent physician, and the most distinguished 
 virtuoso of his time in London. He was born at Stepney, in 1673, and died February 
 16 in 1754 at his house, 49, Great Ormond Street. f After his death, his collection, 
 consisting of antique engraved gems, bronzes, marbles, coins and medals, antiquities 
 of various kinds, pictures, prints, &c., were all sold by Langford. His fine library 
 of more than ten thousand volumes, was sold by Samuel Baker, in York Street, 
 Covent Garden, in November, 1754, and April, 1755. The original catalogue in 4to of 
 the pictures and works of art is now rarely met with, but the reprint in 8vo is more 
 common, and there are several in the British Museum, priced and annotated, from 
 which our extracts are taken. A note on one of these states, that “ Dr. Mead sold 
 during his lifetime his Greek manuscripts to Dr. Anthony Askew for £500. His 
 miniatures he sold to the Prince of Wales. His Greek Kings (coins?) part to Aug s . 
 Carmoy, and part to Dr. Kennedy.” The title-page of the sale catalogue is “ The 
 
 * While he was painting this picture, Sir Richard Grosvenor (afterwards rst Earl G.) gave him a commission 
 for the picture of “ Sigismonda mourning over the heart of her murdered lover Guiscardo” (from Boccaccio’s story), 
 upon the same terms, i.e. for Ah 0 °> as it was understood. But Hogarth having observed that a picture of the 
 subject attributed to Correggio, brought £404 in the sale of Sir Luke Schaub’s pictures, 17 58, determined 
 to charge the same price for his work. This led to Sir Richard declining to take it, and so it remained on the 
 painter’s hands at his death, and his widow obeyed Hogarth’s strict injunctions not to sell it for less than £500. At 
 her death in 1789 it was sold to Messrs. Boydell for 56^. It was contributed to the Art Treasures Exhibition, 
 Manchester in 1857, by the late Mr. Anderdon, who bequeathed it to the National Gallery. The picture 
 attributed to Correggio, which Hogarth saw and meant to surpass if he could, was contributed by the late Duke 
 of Newcastle (from Clumber) to the same exhibition as the work of F. Furini. It was purchased in 1758 by 
 Sir T. Seabright. 
 
 f In the garden at the back of the house was his museum. Within four doors was the house Lord Chancellor 
 Thurlow occupied when the Great Seal was stolen from his keeping on the night of March 24th, 1784, the day- 
 before the dissolution of Parliament. The thieves found the Mace too heavy to carry off. They 7 were detected ; 
 but the Seal, which was of silver, had been melted down, and a new one had to be made. 
 
1754 .] 
 
 DR. MEAD'S COLLECTION. 
 
 37 
 
 Genuine and Capital Collection of Pictures by the most celebrated Masters, of the late 
 Great and Learned Physician, Doctor Richard Mead, Deceased, which (by order of the 
 executors) will be sold by auction, by Mr. Langford at his house in the great Piazza, 
 Covent Garden,” Wednesday, Thursday and Friday, 20, 21, 22 of this instant March, 
 1754, punctually each day at twelve o’clock. 
 
 The principal pictures were: — Callot, “The Israelites passing the Red Sea,” 
 (17 by g^) — £21 105. Callot, “ Saint Sebastian ”- — £ 2 105. Barber, “ Dean Swift,” 
 three-quarters, in crayons — £4 145. Titian, “Vesalius the great Anatomist,” three- 
 quarters, in crayons — £39- Rubens, “ The great Earl of Arundel,” three-quarters, 
 
 engraved by Houbraken — £36 155. Pannini, “ The Inside of St. Peter’s, Rome” — 
 £40. Pannini, “ The Inside of St. Paul’s, Rome ” — £4-2. Pannini, “ The Landing of 
 Aesculapius,” painted for Dr. Mead’s Gallery — £32. Annibale Carracci, The Virgin 
 
 with our Saviour in her lap, and a Monk kissing the Infant’s toe — £6 3 . D. Teniers, 
 “ The Inside of the Gallery at Brussels,” (38 by 51) — £73 10s. Sir G. Kneller, 
 Portrait of himself when young, three - quarters— £31 105., and Cardinal Dudda, 
 
 Nuncio from the Pope to James II. three-quarters — £10 105. Canaletto, “ St. Mark’s 
 Place, Venice, Carnival Time,” (23 by 38) — £33 12s. Canaletto, “ The Grand Canal, 
 Venice,” (23 by 38) — £34 85. Rubens, “ Sir Theodore Mayerne,” half-length — 
 £115 105., engraved by Faber. Claude Lorraine, “A Morning,” engraved by Pond 
 — £113 85., and “An Evening,” (companion) etched by Claude (28 by 39) — {no 55. 
 Rubens, Eight pictures representing the “ History of Achilles,” with a frontispiece 
 painted here ; the largest, 18 by 20, the others differ a little ; etched by Ertinger, and 
 engraved by Baron— £106. Ramsay, “ Miss Flora Macdonald,” three-quarters — 
 £3 105. Seb. Concha, “The Angel appearing to Joseph” — £65. N. Poussin, 
 Architecture with story of “ Moses burying the Egyptian,” (38 by 50) — £31 105. 
 Bemmel, “ Dr. Harvey the famous Physician,” half-length — £42. Kneller, “ Sir 
 
 Isaac Newton,” half-length — £13. Holbein, “Erasmus,” a kit-cat, (36 by 30) — {no. 
 
 “ Egidius,” its companion, (36 by 30) — £93 11s. D. Teniers, “Boors at cards,” 
 very small — £74115. Rubens, “ Two Lions’ heads,” — £36 155. S. Ricci, “Christ 
 
 healing the Blind,” — £44- Watteau, “ A Pastoral Conversation,” (24 by 30) — £42. 
 Its companion, “ Italian Comedians,” engraved by Baron. — £52 105. F. Lauri, 
 “The Finding of Moses” — £53- G. Dow, Boy blowing bubbles, on copper — £32 65. 
 
 Rembrandt, Landscape and figures, (16 by 24) — £44 125. Vandyck, “ Magdalen,” (38 
 by 24) — £22. N. Poussin, “ The Baptism of Christ,” (84 by 96)— £47 55. Carlo 
 
 Maratti, Holy Family; two saints, one playing harp, (50 by 42) — £183 155. 
 “ damaged towards the bottom ” (MS.) ; bought by Dr. Conyers. The whole collection 
 of pictures realized £3,417 115. 
 
 The prints and drawings were sold by Langford in the following year (1755), 
 beginning on January 13th, and lasting for thirteen evenings, producing £1,908 145. 6 d. 
 The gems, bronzes and marbles, with other antiquities were sold at Langford’s, 
 beginning March nth, and lasting four days, realizing : — the medals, £1,977 1 7 s - 5 the 
 antiques, £3,246 155. 6 d. Thus, with the library which realized £5,518 105. lid . — the 
 total amounted to £16,069 85. lid. a very large sum for those days. It is interesting 
 to observe, as showing the taste of this remarkable connoisseur, that he gave a 
 commission to Pannini, who painted for his gallery a picture, the subject of which was 
 
' COUNT BRUHL’S COLLECTION. 
 
 [ 1754 . 
 
 no doubt given by the great Doctor, as it was “ The Landing of iEsculapius.” 
 Another interesting fact is, that when Watteau visited London, being in very poor 
 health, he consulted Dr. Mead, who no doubt knew him well as a painter, and painted 
 for him two pictures as many artists before and since have delighted to do as grateful 
 
 patients.” 
 
 1770. Nicholas Sprimont’s sale of Chelsea China. — This is interesting so far 
 as it gives the date of the final breaking up of the famous Chelsea China Works, the 
 productions of which are now so valuable. At the bottom of the title page of the 
 catalogue dated 14th February 1770, is this : — 
 
 N. B. The public may he assured that this will positively be the last sale of the 
 produce of that distinguished manufactory, the molds, kilns, models, &c., being sold to 
 Mr. Duesbury of Derby. There were only 85 lots in the sale and the total amounted to 
 £1,068. 
 
 In 1771 Mr. Sprimont’s pictures were sold, March 16. Only one of the pictures 
 reached £6g, a large landscape by Berghem. Total £1,239 9 s - 6^. for the 89 lots. 
 
 1770. Count Bruhl’s Collection. — Although Count Bruhl had some considerable 
 reputation as a collector of works of art, and his name is so familiar in the sale 
 rooms from the well-known Dresden china groups of a German tailor riding on a goat 
 called “Count Bruhl’s tailor,” yet we can scarcely regard the collection sold at Christie’s 
 after his death, on this occasion, as representing his collection proper, for there were 
 only two pictures, out of the 80 lots, which sold for more than £100 ; and the total only 
 amounted to £784 165. 6 d. The two pictures were : — Titian, “ St. Jerome ” — £ 120 '■> 
 and Guercino, “Joseph’s brethren showing the bloody garment to Jacob” — £147. This 
 is described as “ a superb picture.” 
 
 One of the most interesting instances I know of in our time is the fine portrait painted by Maclise of the 
 distinguished physician Dr. Quain, the editor of the greatest work of our time on Medicine — “ The Dictionary of 
 Medicine. The head in this remarkable portrait is painted with fine perception of character, and with 
 the exact and minute technical work of a Holbein ; while the accessories, a miscroscope and a cut-glass 
 inkstand in which the reflections of the window are painted — rival the touch of a Metzu or Mieris. On 
 a half-open letter may be read the words, “grateful,” and “ kindness, ’ and the envelope has the postage-stamp 
 painted like fac-simile. Maclise, the greatest figure-painter of his time, delighted in painting objects as mere 
 imitative work ; just as Leonardo da Vinci, and other great artists, even Phidias himself, took pleasure in 
 repi esenting the minutest details with such marvellous perfection. This remarkable picture is admirably reproduced 
 in the engraving by Mr. T. Oldham Barlow, R.A., who has translated the beautiful work of the painter with 
 faultless accuracy and the most artistic feeling. 
 
1770 - 74 .] SIR ROBERT STRANGE'S COLLECTION . 
 
 39 
 
 1770. Collection of Pope Paul IV. — This was a sale by Christie of a collection 
 left by will to Prince Carafa of Naples, and consigned from that place. There were 
 197 lots, of which 11 were sculptures, and the total only amounted to £382 11s. The 
 highest prices were : — Raphael, a “ Holy Family,” very capital — £84 (D. Morgan) ; 
 Calebrese, “Preaching of St. John” — £36 (Dr. Dodd); “St. John before Herod” — 
 £32 ns. (Nivay) ; “ Herodias and Head of St. John” — £32 ns. (Astley) ; Pannini, 
 Architecture and figures — £100 (Brecknock). 
 
 1771. Collections of Sir Robert Strange. — The eminent engraver was a 
 collector of pictures during his tours in Italy and France, about 1750-61, for the purpose 
 of engraving celebrated works of the great masters. There are three sales recorded by 
 Mr. Christie, the first of which was in 1771, consisting of 153 lots, producing a total of 
 £6,367 17 s. The most interesting pictures were : — Guido Reni, Madonna, Child 
 
 asleep ; Murillo, Christ as a Shepherd ; Vandyck, Portrait of Charles I. (Marquis of 
 Montrose) ; Albano, “ The Three Maries ; ” Salvator Rosa, “ Laomedon Detected ; ” 
 Luca Giordano, “ Adoration of Shepherds ; ” Guido Reni, Virgin, Child asleep, oval ; 
 Domenichino, “ St. Catherine ; ” Titian, Portrait Count N. Orsini ; Correggio, “ Mary 
 Magdalen,” oval ; Raphael, “Virgin, Child, and St. John.” 
 
 In the next sale, 1773, there were 115 pictures, of which the best were the Leonardo, 
 “ Christ and the Virgin, with St. Joseph,” sold for £283 to Lord Clive, and the Claude, 
 “ Departure of Jacob,” the drawing of which is in the Liber Veritatis — £420. The 
 total, £3,093. The last sale was in 1775, and was of less interest, only one picture, 
 “ Christ and the Virgin, with Angels,” by Vandyck — £304, and the total was only 
 £1,467. (See lists, Vol. II.) 
 
 1774. Sir George Colebrooke’s, Bart., Collection. — The important pictures 
 of the 50 sold at Christie’s were : — P. da Cortona, “ Nero and Poppasa ; ” L. Giordano, 
 “Adoration of Shepherds;” C. Dolce, “The Virgin teaching our Saviour,” from collection 
 of Sir L. Shaub ; Claude, View in Italy, from collection of Lady Betty Germain ; Titian, 
 “ Holy Family;” M. A. Caravaggio, Soldiers and Gipsy; Vandyck, Portrait of Cardinal 
 Triest ; S. Bourdon, “ Brazen Serpent,” Lord Waldegrave’s Collection ; Bassan, “ The 
 Vintage,” from Boucher’s Collection; Cuyp, “View of Nimeguen ; ” Guido, “Venus 
 attired by Graces.” Total £4,385 175. (See lists, Vol. II.) 
 
40 
 
 ART SALTS. 
 
 [ 1784 . 
 
 THE COLLECTION OF “ THE CHEVALLER IT EONS 
 
 That this extraordinary person, who played such a prominent part both political 
 and social for many years in the time of Louis XV. and Louis XVI. as to be appointed 
 “ Minister Extraordinary from his Most Christian Majesty” at the Court of St. James, 
 was an amateur of the Fine Arts and a collector of pictures, seems to have escaped the 
 biographers.* The catalogue before me, however, places this beyond question, and the 
 
 * There are abundant accounts of this remarkable man who with singular ability and wonderful persistence and 
 energy played such a prominent part in politics and society. There are several portraits of him, one of which 
 represents him as a French young lady of 25 by Latour, and this was copied by Angelica Ivauffmann, who was a 
 neighbour of hers when she (A. K.) lived in Golden Square, London. As this “ Chevaliere” she actually resided 
 officially at the Court of St. Petersburg under the Empress Elizabeth. Another, of later date, is as a gentleman in 
 court dress and wig, without any sort of beard. Several others were published at the time he was so notorious in 
 London and Paris, and when the question of his sex was so much talked about that actually it became a matter of 
 betting and stock exchange speculation, with policies upon which large sums were ventured and gave rise to 
 actions-at-law upon which Lord Mansfield had to deliver judgment. This state of things in fact drove him from 
 London to France. Pie is described as short, about 5 feet 4 inches, wearing high heeled shoes, fair complexion 
 and hair, very full-breasted, and with round plump legs and arms, and the hands of a woman. Once when he 
 was at Versailles in company of some ladies, and dressed as a lady, one of the party said she had heard that she 
 had very fine legs, at which the “Chevaliere” gaily pulled up her petticoats and showed her fine leg. But perhaps 
 the most astonishing thing was that the “ Chevaliere ” actually captivated Beaumarchais, and she appears to have 
 been engaged to him, or at least he led her to consider so, and she wrote letters to him fanning the flame, and 
 promoting the project of their marriage. All this must have been a sublime joke of the great author of Figaro 
 which he could hardly have had the audacity to bring to such a climax of absurdity, although the Chevaliere would 
 perhaps have been equal to the occasion. Lie knew all the while the secret, and fooled the Chevaliere to the top 
 of her bent, but stopped the farce without coming to the denouement. He grew stout with age, and particularly 
 about the neck and chest, and there is a portrait of this time, said to be by Sir Joshua Reynolds, or at least partly 
 by his hand as he made the sketch, which belonged to the late Mr. Charles Reade, and is now, according to 
 Captain Telfer, the property of General M. Reade of New York. In this we see a stout lady in a bushy wig of 
 gre) or powdered hair, a cap, and a silk gown with spacious muslin chemisette, lace edged and ruffles, with a 
 black \elvet ribbon round the neck tied in her most coquettish style. This is dated 17S2. It was about the time 
 0 the sale above noticed that the Chevaliere, fallen into the political misfortunes of the time, having lost his post 
 as minister, and with heavy debts for jewellery and the large collection of books, manuscripts and pictures, was 
 ■ i\en to exhibit his powers as a fencer, and made the acquaintance of Angelo, the famous master of that art. But 
 e ^ ra0rdmar y thing was that this was all done as a woman, the encounters being in ordinary petticoats. As 
 j. 1< ” va ' cre ’ "'hen she was no less than 64 years old, she made her first appearance with a Mrs. Bateman, a 
 ema e encer, at her house in Soho Square after a dejeuner. Captain Walmsley was her antagonist, and the news- 
 papers 0 t e day noticed the affair, saying, how splendidly Mademoiselle D’Eon repulsed the captain’s attacks and 
 not appear to be out of breath in an assault of fifteen minutes, she only once exclaimed after it was over, “ Ah 
 nes jam ts . Afterwards she was requested to appear at Carlton House to fence before the Prince of Wales, when 
 e met a most skilful fencer in VI. de Saint George, and won the contest, giving him what is termed coup de temps , 
 tl tV S 1? Ta CSt ^ Sa '^ WaS trough his complaisance , though he would not allow this, and assured the company 
 , a C ° ne ad ’ n h' s power to ward against it. The reporter of the newspaper was told by a gentleman 
 | 5 a | n0t c J hd equal the quickness of the repartee, and that this modern Pallas was nearly sixty and had 
 
 -P e wit a }oung man of the utmost skill and vigour. There is a print of this encounter from a picture by 
 -- <V f” Se ex h^°' ts came 1:0 a sudden and serious end by an accident when in a display at Southampton 
 
 .1 • 79 > e 01 0 adversary bioke near the button and she was wounded. She was then 68, and the strangest 
 Am P , yslCia ? and two surgeons who attended the Chevalihre certified the wound to be in the right 
 t j rp, ' n ° atl f ra I about four inches, occasioning intense pain which she sustained with the utmost forti- 
 anrl in S ° C GVer C ° Ct0rs were completely deceived as to the sex of their patient. Poor D’Eon never recovered ; 
 
 ^ 05 7 ° ea n ° te acknowledging ten guineas sent by the Marchioness of Townshend, “ in the sorrow of my 
 npnsin Vr™ °- * w J,ea j ev olution which has at one blow swallowed up my little property in Burgundy, and the 
 or h hnnV eCeiVe , U ^ XV ‘ andXVL " : “ Chevalier D’Eon, who has not quitted his bed, his room. 
 
 Chevalipr H ' 0 ) 116 ! 'i in ? S - unn ° tPe ^ ast n ' ne years. On May 21, 1810, after being bed-ridden for some years, the 
 0 o ni o s on the second floor, 26, New Milman Street, Foundling Hospital, where he had lived 
 
1784 .] 
 
 4i 
 
 “ CHEVALIER D'EON’S” COLLECTION. 
 
 title page describes “ a superlatively fine assemblage of pictures of the Italian, French, 
 Flemish, and Dutch schools ; most of which were collected at a vast expense and with 
 great taste by the Chevalier D’Eon, late Minister Extraordinary from his most Christian 
 Majesty, &c. The whole being left with an eminent merchant, who has sent them to 
 be sold without the least reserve ; and amongst which are several originals of the First 
 Rate. Which will be sold by auction by Mr. Chapman at his auction rooms, No. 30, 
 Cornhill, next Tom’s Coffee House, opposite the Royal Exchange, on Friday, July 30th, 
 1784.” This sale occurred at the time when the “ Chevalier,” who was as often styled 
 “ Chevaliere,” from his having frequently worn the dress of a woman, and behaved as a 
 woman, was in money difficulties. The landlord, who seems to have held his library 
 and collection of MSS. for several years at the house occupied by “ the Chevalier ” in 
 Brewer Street, Golden Square, for about 30 years, had advertised it for sale while the 
 “ Chevalier ” was in France, when, strange to say, the King had ordered him to lay 
 aside his officer’s uniform of a Dragoon and “resume the garments of her sex” (in 
 1777). This was actually done, and the “ Chevaliere ” appeared at the court of Marie 
 Antoinette in petticoats, at which he laughed very much, and made the little joke and 
 pun that it was hard to be degraded from a captain to a cornet ( C ornette ). We must 
 refrain from going into further accounts, and refer the reader to the interesting book of 
 Captain Telfer, R.N. (Longmans & Co., 1885), from which our note is taken, and from 
 which source it is shown that about the time of this sale (1783) “ she was maturing her 
 plans for getting back to London,” anxious to recover money owed to her and save 
 
 many years as a female friend of a very old lady, a Mrs. Cole. A Mr. Silk, Notary Public, certifies this in a letter 
 preserved in the Slade Collection, British Museum. Such was the doubt and curiosity as to the real sex of the 
 Chevalier, that The Ti?nes published a certificate from the eminent surgeon, Mr. T. Copeland, stating that he had 
 dissected the body and that the Chevalier was of the male sex. Mr. Copeland lived for many years after to answer 
 any questions, had there been any, and I myself knew him in 1842-5, being a neighbour and meeting him in con- 
 sultation. The Chevalier was 83, born Oct. 5, 1728, and baptized two days after, the son of the noble Louis 
 D£on de Beaumont and dame F. de Charenton, his father and mother legitimately married. He was buried in 
 St. Pancras ground, but the grave and inscribed slab have been lost in the appropriation of the burial ground to 
 the uses of the Midland Railway, and it is not amongst those rescued and preserved through the kind interest of 
 the Baroness Burdett Coutts. 
 
 There was a sale of books and MSS. of the Chevaliere D’Eon, “formerly Minister Plenipotentiary from 
 France to England at the Peace of 1763, &c., &c., who is about to quit London — by Mr. Christie, in Pall 
 Mall, May 5th and 6th, 1791. Furniture, swqrds, trinkets, jewels, and all her wearing apparel, constituting the 
 wardrobe of a Captain of Dragoons and a French lady:” — 
 
 Quale decus rerum si Virginis Auctio fiat 
 Balteus, et Manicae, et Cristae crurisque sinistri 
 Dimidium tegmen ! 
 
 . . . . Tu felix, Ocreas vendente Puella. 
 
 Juvenal. 
 
 His library and MSS. in which were 500 editions of Florace, left by will to his nephew O’Gorman, was sold by 
 Mr. Christie, Feb. 19, 1813, for ^313, but this seems to have gone to pay debts and expenses. 
 
 It was stated that her name was written with her own hand in every book, and the preface of the catalogue 
 contains a narrative of the case of Mdlle. D’Eon. Catalogues, price One Shilling. 
 
 A large number of letters and MSS., with his sword, his corset and other articles, are still in the possession 
 of Mr. Christie, whose grandfather had much befriended the Chevalier (a). 
 
 (a) The quotation, on the title-page of the catalogue, from Juvenal, was no doubt due to Mr. Christie, who was a scholar himself, 
 and sent his sons to Eton College ; but he seems to have varied the first line, which should be, “ Quale decus rerum si conjugis auctio 
 fiat” into “ Virginis,” perhaps as a joke. The lines mean “A fine state of things if an auction should be held of your wife’s 
 (gladiatorial) properties ; her belt, gauntlets, plumes, and the guard that half covers her left leg ! * * * You will be a lucky fellow 
 when the young woman sells her greaves (or leg-guards),” i.e. (probably) when she gives up gladiatorial combats for those of an 
 amatory character. Juvenal is satirizing the fashion that had come in of women taking part in gladiatorial exhibitions in the arena. 
 
 VOL. I. 
 
 G 
 
42 
 
 M. DESEN FA NS' COLLECTION. 
 
 [ 17 S 6 . 
 
 from dispersion the property left in charge of her landlord. She succeeded in doing this, 
 and returned to hey rooms in Brewer Street, Nov. 1 7 ? ^ 7 ^ 4 > where she came attended by 
 hey maid, and was received by many friends, amongst whom were Lord Tamworth, Col. 
 Kemys Tynte, and Mrs. Church. But this collection of pictures had been sold before 
 she arrived. My catalogue, unfortunately, has only a few prices, and it is impossible 
 now, I conclude, to discover what was the value of the pictures. But it is of some 
 interest to mention some of them : — P. de Cortona, “ Martyrdom of St. Appollina ; 
 Mieris, “ A Musical Lady ; ” L. Caracci, “ Perseus and Andromeda ; ” Rubens, 
 “Madonna and Child;” Murillo, “A Holy Family,” “ truly capital;" Domenichino, 
 “St. Cecilia,” “ truly capital ; " Both, A most capital landscape; Jan Steen, “Playing 
 at Hot Cockles ” — £d 105.; Hobbima, a most capital landscape and figures — £11 10s. ; 
 Ruysdael, “ A Waterfall ” — £3 ; Ferg, landscape and figures — £11 55.; Canaletti, “Two 
 Views in Venice” — £8 15s.; Wouverman, two — “A Skirmish,” and another, £ 21 ; 
 Ailmer — £6 16s. 6 d . ; Elsheimer, Two landscapes with historical subjects — £6 65. ; 
 Hogarth, “Procession of Freemasons” — £5 10s. ; Ruysdael, landscape — £14 145.; 
 Guido, “ Head of the Saviour ”- — £4. 125.; Vandevelde, “A Fine Shipping” — £11 is. 6 d.\ 
 Claude le Lorraine (sic), landscape with cattle and figures, a warm glowing picture — 
 £13 5 s. ; Jan Steen, “ Two fine Conversations” — £14 5 s. There were several attributed 
 to Rembrandt, Cuyp, Vanderneer, Watteau, Teniers, Vandyck, &c., &c., but it may be 
 guessed that few, if any, of those were true pictures, and they no doubt sold for sums 
 smaller than those above given, or they would have been noted in this catalogue, which 
 was evidently in the hands of someone who attended the sale and knew what he was 
 looking at. It is just possible that many of the pictures were good, and that these low 
 prices were the result of a forced sale under disadvantageous circumstances and at a 
 place not frequented by fashionable men of taste. 
 
 M. NOEL DESENEANS ’ COLLECTION . 
 
 hi. Noel Hesenfans, a Frenchman, came over here about 1770. He had been a 
 teacher of languages, a merchant, and was now a picture dealer. He acted as consul in 
 London lor the King of Poland, and was employed by Stanislas II. to collect pictures 
 when the French nobility were selling anything valuable. Stanislas intended to found 
 an Academy ol Art and National Gallery, but this was only a project, though there is no 
 doubt Desenfans had got together many good pictures with this view, and the king ex- 
 piessly directed that none should be cleaned till he had seen them. Poland being in- 
 vaded and paititioned by Russia and Prussia, Stanislas was dethroned in 1798. But 
 before this time we have Desenfans in London with his collection, exhibited in the 
 galleries late the Royal Academy, No. 125, Pall Mali,” on Saturday, April 8, 1786, and 
 following days, Sundays excepted, the whole to be sold by private contract, which seems 
 to have then been a usual expression for the selection of any picture by anyone who 
 chose to pay for ii, though not to receive it till the closing. The preface to this catalogue 
 
1786.] 
 
 M. DESENFANS' COLLECTION. 
 
 43 
 
 is a long one, and amusing enough in its way ; full of flattery to the King George III. 
 as the founder of the Royal Academy — that superb academy which in so few years has 
 acquired a splendour that will remain an immortal monument of the glory of his reign.” 
 He then names all the dukes and lords and other amateurs ending with Mr. Dalton, who 
 was at that time the king’s librarian, and the owner of the gallery which was the first abode 
 of the Royal Academy, and afterwards became the first auction gallery of Mr. Christie. 
 He gives a word to the British youth, “ few of whom,” he says, “ do not in some degree 
 apply themselves to painting or drawing, and several with much success. Among 
 these be it permitted us to mention His Royal Highness the Prince of Wales.” 
 “ Nor have Lord Duncannon, Mr. Abraham Hume, Mr. George Beaumont, and the 
 Hon. Mr. Clifford, and many other English gentlemen, done inconsiderable honour 
 to the pencil.” 
 
 Then he goes on to say how Her Majesty and the Princesses “devote whole hours” 
 to these “ elegant amusements no less than in the parental cares,” and names many 
 ladies — the Marchioness of Buckingham, the Countess Stanhope, Countess Spencer, 
 Ladies Dashwood, Diana Beauclerc, Susan Bathurst, Catherine Powlet, Elizabeth 
 Yorke, Margaret Fordyce Gordon, Lion. Mrs. Darner, Mrs. Walsingham, Mrs. Weddel, 
 Miss North, Miss Egerton, Miss C. Grimston, Miss Black, Miss Boyle. He next 
 dilates upon how “ numbers of persons pass for connoisseurs who have not the least 
 superficial knowledge of a picture. And as these seldom possess less confidence than 
 those who have more real skill, they will sometimes, to show their importance, turn their 
 backs on a work which feasts the judge’s eye, and bestow the most extravagant 
 encomiums on the mere daubings of the canvas. A valuable picture must struggle with 
 envy, malice, and ignorance — with the dealer whose interest often leads him to 
 depreciate what is not his own — with the parsimonious collector, who, while he wishes 
 ardently to possess a picture, runs it down with the view of buying it at a cheaper rate, 
 and lastly with the mere bunglers in the art, who, being incapable of merit in them- 
 selves, will suffer none in any other pencil than their own.” This was all in a very 
 different strain from his preface to the catalogue of his collection offered for sale again 
 in 1801, when he had been disappointed in his speculations from the King Stanislas, and 
 had failed in inducing the Emperor Paul, the new possessor of Poland, to accept the 
 dethroned king’s engagements, and either take to the pictures obtained, or defray the 
 expenses and cost, if any, upon a public sale. The application appears to have been 
 made through the English Government by Lord Whitworth, then Ambassador at St. 
 Petersburg, but it is doubtful whether the Czar ever heard of the request, and war 
 breaking out, the papers were all lost, and thus there remained nothing but to sell the 
 pictures as well as could be. Probably many of them had been seen in the exhibition of 
 1786; but the catalogue of 1801 was written in such a feeling of anger and revenge, 
 that poor Desenfans came in for a storm of abuse in the newspapers, and anonymous 
 letters for the want of “ honesty ” and “ prudence,” as it was phrased in those days, ol 
 his expressions. Thus Mrs. Jameson says he committed some unseasonable inadver- 
 tencies, not to say impertinences, for he affirmed that “ the professors of the art of 
 painting were subject to mutual jealousy,” and insinuated that it painters wanted 
 employ “it was not very surprising when men of talent had the weakness to depreciate 
 each other,” and he presumed to lament that “ there did not reign among painters that 
 
 g 2 
 
44 
 
 THE DESENFANS COLLECTION & DULWICH GALE. [ 1786 . 
 
 noble emulation which prevails in other liberal piofessions, particular 1_\ in the aim}, 
 where officers and soldiers were always praising and mutually encouraging each other 
 by reciprocal example .” — ( Handbook to Public Galleries.) 
 
 Desenfans tried to defend himself, and quoted, certainly with some point, Dr. 
 Johnson, who had said in the Rambler (No. 64), “ It was once ingenuously confessed 
 to me by a painter that no professor of his art ever loved another (the painter was 
 Sir Joshua Reynolds, according to Mrs. Jameson) ; and, continues the Doctor, “This 
 declaration is so far justified by the knowledge of life, as to damp the hopes of warm and 
 constant friendship between men whom their studies have made competitors, and whom 
 every favourer and every censurer are hourly inciting against each other. The utmost 
 expectation experience can warrant is that they should forbear open hostilities and 
 secret machinations, and thus, when the whole fraternity is attacked, be able to unite 
 against a common enemy.” No doubt Desenfans was right enough in his estimate, but 
 he was not politic in saying what his opinion was. In our own day, before a judge in 
 court, we have seen and heard enough to confirm both the opinion of the picture-dealer 
 of a century ago and the profound wisdom of one ol the most thoughtful, learned, just, 
 and temperate critics that ever spoke on the subject. 
 
 It was not, however, these remarks alone that brought Desenfans into his unfortunate 
 position and ruined the prospects of his sale, although the living painters “ winced and 
 took umbrage” naturally enough, as Mrs. Jameson says; and she doubts whether the 
 sale took place at all, meaning the complete sale, as she states a few of the best out of 
 188 pictures were sold. 
 
 It seems that in his remarks upon particular pictures he betrayed some ignorance, 
 as in stating that Rubens was envious of Vandyck and Jordaens. This Mr. West, 
 P.R.A., pretended to be indignant at ; though, like other Academicians, he was really 
 smarting under the charges alluded to, which were felt to be almost personal in their 
 offensive insinuations. So he made himself the champion of the dead masters for the 
 sake of dealing a blow at the man who had presumed to question the conduct of living 
 painters ; and, in those days, his influence, and that of all the authorities of the 
 Academy, was strong enough to spoil Desenfans’ sale. This was in 1801, when West 
 had been president in succession to Sir Joshua, whose death occurred 1792; and the 
 collection was taken back to Desenfans’ house — the last house at the upper end of 
 Charlotte Street, Portland Place,* where he died a few years after, bequeathing all his 
 pictures and his property to his friend Sir Francis Bourgeois, whose name the collection 
 afterwards bore, when he in turn bequeathed it to Dulwich College with Fio,ooo to erect 
 a proper gallery, and £2,000 for the care of the pictures. So that, within ten years of 
 the attempt to sell the collection formed by Desenfans, both he and Sir Francis 
 Bourgeois were dead ; and the pictures, for which purchasers could not be found at the 
 price they were valued at, became public property, so to speak. The gallery at Dulwich 
 was soon built, after the design of Sir John Soane, and opened in 1812. 
 
 It is impossible to say what pictures now in the Dulwich gallery were in the 
 exhibition for sale in April, 1786, as Desenfans has, with singular want of practical 
 knowledge, given the sizes ol the frames instead ol the pictures. As, however, there 
 
 * Sir Francis wished to make this house a public gallery to exhibit the collection in, but the landlord would 
 not consent, and in the end he thought of Dulwich College. 
 
1786 .] THE DESENFANS COLLECTION & DULWICH GALL Y . 45 
 
 are 354 pictures in the Bourgeois bequest at Dulwich, and there were in the sale of 
 1786, 420, and 1801, 188, it may be concluded that most of them were included in those 
 two catalogues. Some, we know, were sold, as, for example, the famous Claude, 
 “ St. Ursula and Her Maidens,” which appears as the last lot in the 1786 catalogue : 
 “ 420. A Seaport with St. Ursula, the history of the eleven thousand virgins going to 
 the Holy Land — out of the Palace of Barbarini.” This picture had been bought by Mr. 
 Lock, of Norbury Park, who is named by Desenfans, in his 1786 catalogue, as a distin- 
 guished collector of pictures abroad ; and about 1773, as stated in the Angerstein 
 catalogue, the whole of Mr. Lock’s collection was sold to a Mr. Van Heythusen, from 
 whom this Claude passed to M. Desenfans, and eventually, from the last-named, to 
 Mr. Angerstein, whose collection was purchased by the Government as the foundation of 
 the National Gallery, in 1824. 
 
 Another important lot, and one of special interest, was the Holbein Cartoon 
 for his famous picture in the Hall of the Barber-Surgeons’ Company, of “ Henry VIII. 
 granting the Charter to the Surgeon-Barbers’ Company of London.” This is 203, 
 size 7 ft. x io'6. I conclude it is the picture or drawing long in the library of the 
 College of Surgeons, which has been coloured in water-colour or in some method. 
 
 No. 327. Claude : A Landscape with Bacchus and Ariadne, painted 1642, out of 
 the collection of the late Earl of Scarborough ; 4-9 x 5-10, should be a good picture, but 
 it is not in the Dulwich catalogue. 
 
 The replica of “Mrs. Siddons as the Tragic Muse,” painted by Sir Joshua for M. 
 Desenfans for 700 guineas, and “ The Flower Girl,” by Murillo, for which he paid 640 
 guineas, were left to Sir F. Bourgeois, and are in the Dulwich Gallery. 
 
 Desenfans’ sale catalogue is dated April 8, 1786 — Saturday and following days, at 
 the rooms, late the Royal Academy, 125, Pall Mall, by private contract, by a committee 
 appointed by M. Desenfans. In the preface he states that he “ sent the first part of his 
 collection to be sold by auction at Mr. Christie’s rooms” (some time before), but that, by 
 “the honorable conduct of Mr. Christie” some important pictures were reserved until 
 later on in this sale. He had postponed to this year, in consequence of the advanced 
 season, and because particularly that “ Mr. Lunardi made an aerial excursion, which 
 drew almost everybody to the Artillery Ground.” He dilates upon English noble col- 
 lectors in his long preface of six pages ; and, alluding to Roubiliac’s work in West- 
 minster Abbey, mentions Houdon (he spells Heudone), the French sculptor, having been 
 sent by the King of France to America to make the statue of General Washington. 
 
 Bishop Newton’s Collection. — These pictures, which the catalogue states were “ some of 
 the best of the Italian School purchased for Dr. Newton, Bishop of Bristol, by the well-known 
 connoisseur Dr. Bragg at the sale of the collection of Cardinal Ottoboni at Rome,” were exhibited 
 for sale, by a committee, at the rooms, late Royal Academy, 125, Pall Mall, April 8, 1788, till 
 May 15th. With them were a “ Descent from the Cross,” by Vandyck, which had belonged to 
 R. Mengs, and other pictures collected in Spain by Richard Cumberland, and “ The Death of 
 Chatham,” by J. S. Copley, R.A., the engraving by Bartolozzi having been finished. There 
 were 453 pictures, many of which belonged to other persons, and many were of no interest. Those 
 belonging to Dr. Newton are not distinguished, but we find them in the sale by Mr. Christie in 
 I 79° — JI 7 pictures, bringing small prices, the only noticeable being Raphael, “ Holy Family” — 
 £84 {Hyde). Titian, “Last Supper” — £52 {ditto). Baroccio, “Holy Family” — £73 {ditto). 
 Claude, “ The Flight into Egypt ” — £100 (ditto). Total, £560. 
 
4 6 
 
 ART SALTS. 
 
 [ 1786 , 1789 . 
 
 THE PORTLAND MUSEUM. 
 
 Although this collection was not distinguished for fine pictures, it is one that will always be 
 memorable for having the celebrated ancient Greek vase, since known as The I ortland \ ase, 
 which was not sold, but reserved at a high price, and “ knocked down ” at £1029, to be afterwards 
 deposited in the British Museum by the Duke of Portland, where it remains. It was described in 
 the catalogue (Lot 4156 and last) as “ the most celebrated antique vase which contained the ashes 
 of the Emperor Alexander Severus and his mother, Julia Mamaea, dug up by order of Pope 
 Barberini Urban VIII., between the years 1623 and 1624, g§ high, 2i| in circumference.” It was 
 placed in the old Museum in a small chamber near a staircase, and was here, some fifty years ago, 
 smashed by a man who was lunatic. It was then found to be made of glass, the ground of dark 
 blue, and with an outer layer of opaque white, in which were cut the beautiful cameo-like figures 
 representing the meeting of Peleus and Thetis in presence of Poseidon and Eros, and on the bottom 
 of the vase, which is detached, is a bust of Atys. It is placed with the engraved gems (see Guide 
 Book B. M., p. 139). The catalogue of the Portland Museum is now rare. The copy in the 
 B. M. Library, which has the prices and purchasers in MS., is qto size, with a frontispiece designed 
 by Burney, engraved by Grignon. The title-page runs—”' Catalogue of the Museum, lately the pro- 
 perty of the Duchess Dowager of Portland, deceased, sold by Skinner & Co., 24th April, 17S6, and 
 thirty-seven following days, at her late dwelling house in Privy Gardens, Whitehall, by order of the 
 acting Executrix. On view for ten days preceding sale. Catalogues, five shillings each, w ill admit 
 bearer at exhibition and sale.” The only other objects of any interest were : four prints by Albert 
 Durer, extremely fine, St. Hubert, the Prodigal Son, Adam and Eve, and the Knight and Death, 
 which sold in one lot for £3 ns. The works of Hollar, proofs and variations, 13 vols., folio — £385 
 (Lee). Hogarth’s fine prints sold for about £1 each. A miniature of Sir Walter Raleigh and his 
 son, aged about 65 and 24, in gold locket — £44 (W. F.). Miniatures of Milton and his mother — £34. 
 A curious rosary, by Benvenuto Cellini, said to have belonged to Queen Henrietta Maria — £116 
 (Jones). A cameo, head of Augustus Caesar— £236 (Jones). Head of Jupiter Serapis in green 
 basalt, from the Barberini Cabinet — £1 73 (Humphrey). Total of the 4156 lots £10,974. 
 
 THE EARL OF IVALDEGRAVES COLLECTION. 
 
 This sale was after the death of the Earl, who had sold pictures so far back as 1763 ; 
 it was at Mr. Christie’s in Pall Mall “ by order of the executrix,” on Saturday, April 17, 
 1790, at 12 o’clock. There were only 27 pictures, all by good masters, chiefly of the 
 Italian school, but several were old copies, such as one of the St. Michael by Raphael 
 ( I0 g s -) 5 of the Jupiter and lo by Correggio (5 gs.). The important pictures specially 
 named on the title page of the catalogue were the equestrian portrait of Charles I. 
 with the Due d Epernon by his side, by Vandyck, £^74 called “ a noble and capital 
 
 picture,” but nevertheless most probably the work of a copyist. Titian. “ A Knight 
 
 of Malta,” £32 12s. Rubens. — A Bacchanalian scene, with leopards, &c., a grand 
 composition, £34 ns. ; and the companion picture, an allegorical subject, equally 
 capital, £*25. These three last-named were a present to a former Earl Waldegrave 
 from Prince Charles of Lorraine. N. Poussin. — Landscape, with the story of Nar- 
 cissus, £22. Trevisani. — Holy Family, with St. Francis and Angels in adoration, £Ti. 
 Some small bronzes sold for 3 gs. each. A dessert service of “ the fine Sevres porce- 
 
 lane,” painted in bouquets of flowers, blue and gold border, 86 pieces, 48 plates, 
 sold for £*44. 
 
1791.] 
 
 ART SALTS. 
 
 4 7 
 
 COLLECTION OF PRINTS AND DRAWINGS— 1791. 
 
 This was a collection of some importance, but the name of the owner was not given. 
 There were 220 lots, some of which contained three or four prints or drawings. The 
 catalogue stated them to have been “ purchased from the most distinguished cabinets 
 here and on the continent : ” the drawings stamped by the several judicious collectors, 
 viz., Padre Resto, Sir Peter Lely, Richardson, Pond, Hudson, and John Barnard. 
 Among the prints are many fine proofs and first impressions, but they brought only 
 a few shillings each generally, with two or three exceptions. Edelinck. — Holy Family 
 after Raphael, £1 16s. Bolswert. — “ Moses with the Brazen Serpent,” after Rubens, 
 first impression, £4 4s. “ Raising of Lazarus,” after Rubens, £3 igs. Among 
 
 the drawings was that celebrated one by Rubens of Thomyris, from which the print 
 was engraved, from Mariette’s collection, £40 19s. ; (a note in my catalogue says 
 worth 50 gs.). “ The Martyrdom of St. Lawrence,” by Titian, also from the Mariette 
 
 collection, £3 5s. By Raphael. — A study after the antique, from J. Barnard’s 
 collection, £8 8s. Another study, from the same collection, £3 3s. A design for 
 the cartoon, drawn on both sides, from J. Barnard’s collection, £2 105. ; and a group 
 of boys, also from J. Barnard’s collection, £1 ns. 6 d. By Cipriani. — “The Mistress 
 instructing her Pupil,” £28 7 s. ; and “ Nymphs bathing,” ^18 185. La Grene. — “ The 
 Nativity and the Wise Men’s Offering,” £2 2 s. Vasari. — “ Descent from the Cross,” 
 £4 6s. B. Peruzzi. — “A Saint adoring the Virgin,” £1 ys. A Sacchi. — “ Marriage 
 of the Virgin,” £1 45. N. Poussin. — “Andromache sacrificing to the memory of 
 Hector,” a sketch for the picture in the Houghton collection, £4 45. A collection of 
 200 pen drawings by P. da Cortona, from antique statues and bassi relievi in the 
 Aldobrandini and Medici Collections, with Latin inscription annexed, £4 4 s. 
 
 A NOBLEMAN'S COLLECTION. 
 
 This was a sale of pictures “the undoubted property of a nobleman, selected about 
 fifty years ago with great taste, and at a most liberal expense,” on Saturday, May 14, 
 1791, by Mr. Christie, in Pall Mall. The most important picture was an altar-piece by 
 Rubens, painted for a church at Antwerp, but what church is not stated. The subject was 
 “ The Nativity,” as it is engraved by Bolswert. The catalogue before me is not priced, 
 but some of the pictures will be found in the lists (Vol. II.) . If it is correct that these 
 pictures were collected so far back as fifty years, which takes us past the middle of 
 the 18th century, the mere record of the names of the masters as subjects possesses 
 some interest. The following are noticeable in the catalogue: Rembrandt. — “A 
 
 Philosopher,” half-length. L. da Vinci. — “ Ecce Homo,” on copper , finely finished. 
 Titian. — “ Head of Christ.” Andrea del Sarto.- — “ Portrait of Leo X.,” a noted copy, 
 from Raphael. John de Bellini. — -“The Presentation of our Saviour in the Temple.” 
 Elsheimer. — “ The Flight into Egypt.” Rembrandt. — “ His own portrait.” Rubens. — 
 
 “ Rubens’ second wife and mother making him a visit before marriage.” Claude. 
 
 Landscape with a riposo, very capital — £136 105. (Vandergucht). Albano. — “Paul 
 Preaching,” and the “ Baptism of Christ,” two. Murillo. — “ Ecce Homo.” Guido.— 
 “Judas Betraying Our Saviour.” Correggio. — “ The Descent from the Cross,” a copy 
 of the famous picture by Lud. Carrache. “The Nativity,” by Rubens — £472 105. 
 (Tassaert). This was the last of the 53 pictures. 
 
4 8 
 
 ART SALTS. 
 
 [ 1792 . 
 
 SALT OF GAINSBOROUGH'S COLLTCTION , 
 
 AND SOME OF HIS REMAINING WORKS. 
 
 Gainsborough died Aug. 2, 1788, at the rooms which he had occupied since 1774* 
 in Schomberg House, Pall Mall, to the west side of the large buildings long the War 
 Office, in front of which is the statue of Sidney Herbert. This Schomberg House will 
 be recognised at the present time by the entrance having two figures of Caryatids on the 
 door-posts ; but it ought to bear a tablet to commemorate Gainsborough having lived 
 and died there, after having painted there for the best part of his life.'" 
 
 There was a sale opened March 30, in the year following Gainsborough’s death, 
 when his pictures were exhibited at Schomberg House, admission ix., but not by auction, 
 simply by Mr. Dupont, who was to be applied to. Those not sold were the pictures 
 which we have now, three years afterwards, to record in this sale on June 2, 1792, “on 
 the premises as above,” “ by order of the executrix,” and by Mr. Christie. The said 
 premises, no doubt, were Schomberg House, as the title-page of the catalogue before 
 me says, “ The remainder of the capital collection of pictures, drawings, See., of that 
 ingenious and esteemed artist, Mr. Gainsborough, Dec., comprising many of his best 
 works ; also a few capital pictures by old masters selected with great judgment ; together 
 with a few fine drawings by himself, and were exhibited at his House in Pall Mall.” 
 It will be remarked that he is styled “ Mr. Gainsborough,” without any “ R.A. + 
 and it is also curious to see that in his day this great painter and most interesting man 
 was spoken of so tamely as “ that ingenious and esteemed artist.” Good Mr. Christie 
 was a friend of Gainsborough, who painted a fine portrait of him ; and he only reflected 
 the very temperate esteem in which the art authorities of the time with whom Sir Joshua 
 was the first favourite, held the modest painter who has since risen in fame equal to 
 Reynolds himself. Great as Reynolds was as a painter, he was not great enough as a 
 man, or in his respect for art, to speak with generosity of his rivals Gainsborough and 
 Romney. 01 Gainsborough he praised the diligence, “ which we can hardly refuse 
 acknowledging,” and admitted that the “ chaos and uncouth shapeless appearance,” 
 “ the effect rather of accident than design, by a kind of magic at a certain distance 
 assumed form, and all the parts seem to drop into their proper places.” Why not have 
 
 * Some years back I took upon myself to suggest this to the authorities at the War Office, to whom the 
 property belongs, but as no notice was taken of it, I concluded that the reason for not doing this was probably 
 that the whole range of buildings were so soon to be pulled down on the completion of the new Government 
 Offices at Whitehall. But whatever becomes of old Schomberg House, it should not be forgotten that Gains- 
 borough, one of our greatest national painters, lived and worked here. 
 
 t It will be remembered that Gainsborough was offended with the Academy for not hanging his picture of the 
 Princesses as he wished, in the Exhibition of 1784. He objected to its being hung above the line, according to 
 the rule for life size full length figures, or, as he said, above eight and a half feet, because “the likenesses and 
 the work of the picture will not be seen higher.” The Academy hanging committee did not take this into con- 
 sideration, and they hung the picture above the line, which no sooner had Gainsborough seen than he 
 demanded to have his picture taken down and returned to him. This was done, and he never sent another 
 picture to the Exhibition. This fine picture was doomed to far greater obloquy, for it was eventually, when in the 
 Royal Collection, cut down by some one in charge of the pictures at the time, to fit a place over a doorway, and is 
 now to be seen, I believe at Windsor, as a half-length. 
 
 7 O 
 
1792.] 
 
 GAINSBOROUGH’S COLLECTION. 
 
 49 
 
 said it was the magic of his genius that did this ! Dr. Johnson said his friend Reynolds 
 was “the most invulnerable of men.” But it was that he only concealed the wound 
 that he felt so deeply ; and that he could wound as keenly as a Macchiavelli we know, 
 or he would not have proposed Gainsborough’s health at the banquet as “ the greatest 
 landscape painter of the age.” And this was a two-edged cut at poor Richard Wilson, 
 who it is said growled out loud enough for the President to hear, “ Yes, and the greatest 
 portrait painter, too ! ” Then also of Romney, who sought Academic distinction and 
 who certainly in his beaux moments was as happy as either Reynolds or Gainsborough, 
 Sir Joshua, who felt his rivalry, was jealous enough to speak of him as “ the man 
 in Cavendish Square.” * 
 
 Returning from this digression in favour of those two native-born artists, who were 
 their own teachers, and whose works are justly appreciated in our time, we proceed with 
 this sale of Gainsborough’s remaining works- — drawings and pictures which were left to 
 his widow. There were 43 drawings, most of them in black chalk, some in Indian ink, 
 one or two in water-colour, some few chalk drawings were tinted with water-colour, and 
 some of these were varnished. From this it maybe gathered that he was rather disposed 
 to make experiments in this direction, though in his oil painting he seems never to have 
 had any inclination to try various processes, as Sir Joshua did so often to the destruction 
 of his picture. His oil painting is strikingly pure, simple, and decided in a method of 
 execution and touch which was peculiarly his own ; and whatever his materials as to 
 the vehicle and the colours, the stability and freshness of his work is remarkable. And 
 it is evident on examining such admirable examples as his portrait of Mrs. Siddons in 
 the National Gallery, and the fine head of his nephew Gainsborough Dupont often 
 exhibited, that he painted with great rapidity and left his work finished without much, 
 if any, second painting. It is probable that he set himself to learn something about 
 technique , when in his early days he copied pictures both of the great Italian master 
 Titian, as well as some by Vandyck, and landscape painters of the Dutch school, whose 
 manner he once imitated in his own landscapes. There were in this sale several of these 
 copies or studies of his. We find “A Man’s Portrait,” after Vandyck; “ The Cornaro 
 Family,” after Titian, at Northumberland House, not of the full size but 22x36, and 
 probably the picture, which was sold in the sale of pictures belonging to the Marquis of 
 Lansdowne in 1806, described as “ small, animated, and glowing,” and which then sold 
 for £115 105. This was probably the picture which the poet Rogers had, and which 
 was sold in his collection, 1856, for ^68 55. If so, it was done from the engraving, and 
 coloured from memory, a feat which Gainsborough could easily do, and of which we 
 have an instance in the present sale, in which there is “ The Pembroke Family,” painted 
 from memory, after seeing the original by Vandyck at Wilton. j* Then here is “The 
 
 * This reminds me that it was once whispered about the Garrick Club that Dickens spoke of his great con- 
 temporary as “ that Thackeray.” Verily the odium artisticum is as biting as the odium iheologicum. 
 
 f In Fulcher’s life, however, it is stated that he began this picture (which is 35x47) from the print and 
 finished it from the picture ; that it was originally purchased by Capt. Thomson for £126, and afterwards became 
 the property of Mr. R. Lane, from whom Lord Dover bought it. The size of the portrait of the Duke of 
 Richmond was 81x50. The same authority says that he painted “ The Conspirators,” by Velasquez, 38 x 3 1 ; 
 a “ Man’s Head,” by Rembrandt, 29x24; “ Abraham and Isaac,” by Murillo, 41x33; The “ Good Shepherd,” by 
 Murillo, 63 x 44, from memory after seeing the original in the Collection of the Duke of Bridgewater ; “ Portrait of 
 Inigo Jones,” by Vandyck, 28 x 23. 
 
 VOL. I. 
 
 H 
 
50 
 
 ART SALTS. 
 
 [ 1792 . 
 
 Duke d’Aremberg,” after Vandyck, and “James Stewart, Duke of Richmond and Lenox,” 
 after Vandyck ; then 87 pictures by him, others of which number were “ Hagar and 
 Ishmael,” — a landscape, with cattle and figures,— another with Cottage and figures,— “ A 
 Representation of St. James’s Park,” with drest figures (whether this was the picture 
 which was some years back contributed to Burlington House Exhibition by Mr. S. 
 Addington, and afterwards engraved, is a question) ; the others were landscapes, with 
 cattle, horses, and figures. But none of these brought prices of any amount, so that 
 we must suppose they were more or less unfinished (see List, Vol. II.). His love of 
 music, though not himself much of a performer, is shown by the musical instruments in 
 this sale, which were a lute, another lute of a very fine tone ; an Amati violin, and a 
 tenor (viola), in a case. His old masters (25) were all of the Dutch school, with the 
 exception of a landscape, by Poussin, and one with figures, by Sebastien Bourdon, but 
 none of any consequence. In a sale of the collection, belonging to Mr. Gainsborough 
 Dupont, about five years after the above, there were some more important pictures by 
 Gainsborough (see 1797). 
 
 A COLLECTION OF PICTURES AND OLD DRAWINGS. 
 
 This was a sale of some interest, though the name of the gentleman who has “ left 
 off the pursuit of pictures ” was not given. It was by Mr. Christie, in Pall Mall, 
 Feb. 18, 1792. The title page says . — in the highest state of preservation selected with 
 the greatest care, in which there is not one damaged or blemished picture.” The best 
 will be found in the lists of Vol. II. We may here notice, however, that there were 46 
 pictures, of which the following appear to be interesting : — Sir G. Kneller, “ A Crucifix ” 
 (crucifixion), an uncommon picture in which there is a portrait of the painter. Domeni- 
 chino’s “ Holy Family,” a sweet jewel of the master ; Vandyck, “ David and Abigail,” 
 a masterly high finished sketch. Morrillio (sic), “ The Good Shepherd,” the original 
 design lor the large picture in the collection of M. Presles, at Paris ; F. Hals, 
 “Himself,” painted with great spirit; Teniers, “The Seasons,” out of the Duke of 
 Rutland’s collection; Van Capelle, “A Calm;” Panini, “The Rotunda and other 
 buildings,” painted in 1743 for Mr. Sheldon, of Warwickshire, at whose sale it was 
 purchased; Vandyck, “Portrait of Gaspard Creyer ; ” Rubens, “ Feast of the Gods,” 
 engraved. A highly finished sketch. “ The Four Doctors of the Church, SS. Gregor}’, 
 Jerome, Ambrose, Austin ; this charming matchless sketch has been much the admira- 
 tion of the aitist as well as connoisseur, and is deemed for sublimity of character, might 
 ol colouring and effect, equal to any by this master ever imported into this country.” 
 This was probably the principal picture in the sale, and it was no doubt a fine work as it 
 brought the considerable price of ^430 105. ; Carlo Dolce, “ St. Francis, attended by 
 cherubs, a beautiful cabinet picture ; this was given as a legacv to Dr. Bragg by the 
 late Mr. Potts, the Surgeon. It may be remarked, and with some pride by myself as a 
 
1792 - 93 .] GREAT SURGEONS OFTEN GOOD ARTISTS. 51 
 
 member of the medical profession, that many eminent surgeons and physicians have 
 studied the fine arts, as we have already seen in the sale of the collection formed by 
 Dr. Mead, in 1754. The Mr. Potts here mentioned was then a leading authority 
 in surgery whose writings are still referred to; and the celebrated John Hunter, who 
 lived next door to Hogarth in Leicester Fields, had a collection which was sold at 
 Christie’s, in 1793-4. Dr. Chauncey was another amateur in these early days who had 
 some fine pictures, amongst them the celebrated Claude “ The Enchanted Castle.” In 
 the present day we can boast of several names as distinguished in Art as in Medicine — 
 Sir Prescott Hewett, Mr. Seymour Haden, Sir Henry Thompson, and Mr. John 
 Marshall, Professor of the Royal Academy, and author of the important work on 
 Artistic Anatomy. In this connection too we can never have a more remarkable 
 example than Sir Charles Bell — himself an excellent artist, and author of that exceedingly 
 interesting and valuable treatise on The Anatomy and Physiology of Expression as connected 
 with the Fine Arts. 
 
 Returning from this digression to the catalogue, there are by ‘ Morrillio,’ two other 
 pictures which are described as “Sublime Compositions;” Hobbima, landscape, with figs, 
 by Weenix, a most beautiful and perfect picture; A. Ostade, “ The Alchymist ; ” Berghern, 
 “ Landscape and cattle,” a chef d' oeuvre of this exquisite master ; Cuyp, “ Landscape and 
 cattle,” — “ Singularly Happy ; ” Teniers, “ Twelfth Night ; ” P. Potter, “ Landscape with 
 a nobleman returning from sport,” very fine of the master. Allowing for the auctioneer’s 
 permitted eulogy, we must conclude that these were pictures which would, in the present 
 day at Christie’s, have justified the praise given to them. The old drawings, of which 
 there were 35 lots, of from two to six or more in each, must have been interesting as 
 there was one lot of 18 by Italian masters, another of 3 by Raphael ; several by 
 Vandyck, one of which was “The Three Crosses,” from which the “Altar piece at 
 Dermonde ” was painted ; several by Rubens, and 7 in one lot, by W. Vandevelde. 
 
 SALE OF ANTIQUE STATUES, BRONZES , CAMEOS , &c. 
 
 This was the collection of “A man of fashion,” a term often adopted in the old 
 catalogues at this time to signify a “ connoisseur ” or amateur of art as we should say. 
 On May 14, 1793, and by Mr. Christie in Pall Mall. There were 93 lots, and amongst 
 them were many interesting things, which tell well for the taste of this “ man of 
 fashion,” and lead us to enquire who he could have been.* The catalogue after the 
 style of such compositions, describes “ many fine bas reliefs in terra cotta, &c., superb 
 groups and single figures of Grecian and Roman workmanship — a most noble bronze 
 
 * Two years after this date we have a sale of “ A Curious Museum,” the property of “A man of fashion,” 
 deceased, of various works of art and natural history, amongst which I notice the Abbate Dolci’s set of sulphurs, 
 of which it is unlikely there would be two in this country. It may be supposed that this gives a clue to the 
 name of the collector to whom these belonged when they were in the sale noticed in 1793. And for the reason 
 that on my copy of this catalogue (1796), the name of “ Sir Thomas Henry Rumbold, Bart.,” is written under the 
 “ man of fashion.” 
 
 H 2 
 
52 
 
 ART SALTS. 
 
 [ 1793 . 
 
 Neptune, the original model from the collosal statue in the great square of Bolognia, by 
 the celebrated Giovanni di Bolognia {sic), &c., &c.” Original models were not cast in 
 bronze ; and this was no doubt a good cinquecento work of some follower of the great 
 sculptor of the Renaissance, as it only brought guineas. A more important bronze, 
 also called “ an original model,” though it was of the full size of the famous Mercury 
 “ in the Grand Duke’s gallery at Florence,” seems to have been a genuine and fine 
 work, and perhaps by Giovanni di Bologna, as it sold for 25 guineas. Four lots appear 
 to have been sold together for no guineas, viz. : — Ajax and Alexander in bronze with 
 pedestals ; Poseidippus and Menander, the seated statues probably, in the Vatican ; 
 Castor and Pollux, small repetitions from the Monte Cavallo colossal groups ; and the 
 Nerva from the Vatican. An Apollo with pedestal antique, found at Palombara, 7^ 
 guineas. Four antique marble statues found at Ostia ; — Alexander, 2 guineas ; A Satyr, 
 £ 2 15s. ; Juno, 8 guineas; Harpocrates, 7^ guineas. These must have been statuettes 
 and probably not antique work. Some sculptors of the 15th century in bronze and marble 
 may be noticed if only to show that “ A man of fashion,” was at any rate acquainted 
 with the names of great sculptors, e.g., two small bronzes by Vivarini ; three Cupids by 
 Algardi ; two larger by the same ; two mules by Sansovino ; two horses by Algardi ; 
 “ The Cleopatra of the Capitol,” by Sansovino, in bronze ; a Boy carved in wood, by 
 Brastoloni, the “ Grinling Gibbons of that age; ” a figure of “Justice” and one of “Re- 
 ligion” by Algardi ; a Boy sleeping, life size ; a basso relievo of three Cupids; and an alto 
 relievo medallion, small life, of Ugo and Lotharius, Kings of Italy, by Bernini, with 
 three others similar of ancient kings ; an Apollo, life size, in Oreo stone, by Locatelli ; 
 a Mercury, life size, in the same stone, by the same sculptor ; a group of “Venus and 
 Adonis with a dog,” in white marble by Algardi ; three very fine terra cottas, by 
 Sansovino, with many figures ; a small alto relievo of two horsemen engaging a lion, 
 “exceedingly spirited and fine, by the great Michael Angelo di Buonarotti”; a set of the 
 Abbate Dolci’s curious series of Sulphurs, from the finest antique intaglios at Rome, in 
 four boxes with descriptive indexes to each, and a dissertation on the subject, in six 
 small folio books; an ivory carving in alto relievo of a Bacchanalian scene from Titian, 
 a most exquisite carving. There were 42 cameos and intaglios, 13 paintings in enamel, 
 and 15 miniatures were sold in one lot, and another lot, was 12 tortoiseshell snuff-boxes, 
 inlaid with gold ; this was rather a careless way of selling objects that could hardly 
 have been so poor as to be only fit to be lumped together as these were. 
 
1794 .] SIR JOSHUA REYNOLDS' COLLECTION. 
 
 53 
 
 SIR JOSHUA REYNOLDS' COLLECTION. 
 
 Sir Joshua died in 1792, Feb. 23, in his 6gth year, and the whole of his 
 collection of 41 1 pictures was sold by order of the executors, Edmund Burke, Edmund 
 Malone, and Philip Metcalf, by Mr. Christie “ at his Rooms, late the Royal Academy, 
 Pall Mall, on the nth and 12th of March (Wednesday and Thursday) 1794,” (not 1795, 
 as seems to be misprinted in the title-page of the Sale Catalogue, but correctly at the 
 heading of the lots, where, however, the day is Wednesday, March 5th) and “ on the 
 following two days at Mr. Christie’s Great Room, next Cumberland House, Pall Mall. 
 Catalogues, is. each.” The title-page of the catalogue runs, “ The capital, genuine and 
 valuable collection of pictures, late the property of that eminently distinguished artist, 
 Sir Joshua Reynolds, late President of the Royal Academy, deck, comprising the 
 undoubted works of the greatest masters of the Roman, Florentine, Bolognese, 
 Venetian, French, Flemish, and Dutch schools, in the most perfect state of preservation." 
 
 A short preface was written, evidently by Burke, and signed by the three executors, 
 as follows : — 
 
 “ The public has here a Collection, of great Extent and great Variety, of the 
 Pictures of the most eminent Artists of former Ages, made by the most eminent 
 Artist of the present Time. He chose these Pictures as Objects at once of Study 
 and of Rivalship. No Person could do more than the great Man we have lately 
 lost from the Funds of his own Genius ; no Person ever endeavoured more to 
 take Advantage of the Labours of others. He considered great Collections of 
 the Works of Art in the Light of great Libraries ; with this Difference in favour 
 of the former, that whilst they instruct they decorate. Indeed all his Passions, 
 all his Tastes, all his Ideas of Employment, or of Relaxation from Employment, 
 almost all his Accumulation and all his Expenditure, had a Relation to his Art. 
 In this Collection was vested a large , if not the largest Part of his Fortune; and 
 he was not likely from Ignorance , Inattention , or want of practical or speculative 
 Judgment, to make great Expenses for Things of small or of uncertain Value. 
 
 “ The whole of the within Collection were the entire Property of the late 
 Sir Joshua Reynolds, as Witness our Hands, 
 
 Edmund Burke, J 
 
 Edmund Malone, v Executors." 
 
 Philip Metcalf, ) 
 
 In a letter written by Edmund Burke immediately after the death of Sir Joshua, he 
 says, “ We do not know his circumstances exactly, because we have not been able to 
 estimate the immense collection of pictures, drawings, and prints. They stood him in 
 more than twenty thousand pounds.” Those important pictures by Sir Joshua which 
 he left to his niece, Mary Palmer, who became Marchioness of Thomond, were, with 
 the exception of “ The Iphigenia,” presented by her to the King (George IV.), sold at 
 Christie’s in 1821. (See 1821.) 
 
 There were 41 1 pictures, amongst which many were distinguished by capital letters 
 in the catalogue as of special interest, and most of these will be found in sales occurring 
 
54 
 
 ART SALES. 
 
 [ 1794 . 
 
 afterwards; some, however, such as the Raphael (No. 95 in last day) Madonna with 
 Infant Christ and St. John, were purchased for great private collections, this being still 
 in the Bridgwater Gallery (the Earl of Ellesmere’s). The variety in the selection is 
 remarkable, showing that Sir Joshua had a very liberal and large view— 54 by Correggio, 
 28 by A. Caracci, 18 by L°. Caracci, 70 by Vandyck, 9 by Fra Bartolommeo, 32 by 
 Tintoretto, 43 by Giulio Romano, 12 by Leonardo, 44 by Michelangelo (!), 22 by 
 Rubens, 24 by Raphael (!), 19 by Rembrandt, 13 by Titian. Portraits of artists 
 seem to have interested him, as we notice one of Vandyck by himself, also Guido, 
 Salvator Rosa, Sir Godfrey Kneller, Titian, Giorgione, Caracci, of Marco and Sebastian 
 Ricci by Rosalba, in crayon ; Raphael, by Rembrandt, Vosterman, by Vandyck, Rubens 
 and two companion artists on same canvas, by Vandyck. Obviously, these were not all 
 true pictures. Unfortunately, several pictures which should be of importance as being 
 chosen by such a painter as Reynolds, I have not succeeded in tracing to their present 
 place and ownership. The Jupiter and Leda attributed to Michelangelo, said to have 
 been painted for Alfonso, Duke of Ferrara, and to have belonged to Francis I., 
 presented to Sir Joshua by Earl Spencer, is one of these ; it was purchased in 1746 
 by the Honourable John Spencer. It maybe said that it could not have been by the 
 hand of Michelangelo, though he did design the subject as the cartoon in the Royal 
 Academy * testifies, as well as the outline given in Landon of which that author writes 
 “ inconnu .” Both the cartoon and the picture, said to have been painted in tempera, 
 with other nudes, are specifically named by Vasari, the former being then in the 
 possession of Bernardo Vecchietti at Florence, while the picture was sold to Francis I. 
 by one Anton Mini, a pupil or friend who went to France, and Vasari says, “ La Leda 
 la vende al re Francesco per via di mercanti oggi a Fontanableo,” p. 245, Vasari, 
 Bottari Ed., Tom. III. The story of the gentleman sent to Michelangelo by the 
 Duke Alfonso of Ferrara, to whom he showed this picture of Leda with Castor and 
 Pollux coming from the egg — “in certo quadro grande dipinto a tempera,” and who so 
 offended the great painter by exclaiming, “ Oh, this is but little,” that he turned him 
 out of the house for an ignorant messenger, and said, “ Tell your master he shall not 
 have the picture at all ” — is correctly related in this Reynolds catalogue. This picture 
 only brought £86. Total of this sale, £10,319— of the sketches, &c., sold in the 
 following year, £4,536. 
 
 COLLECTION OF SIR LAWRENCE DUN DAS, BART. 
 
 May 29, 1794, and two following days, at 12 o’clock, by Messrs. Greenwood, at 
 their room in Leicester Square. The size of every picture is given in catalogue. The 
 prices of the best pictures are given in my catalogue, which was marked by 
 W. Smith, M.P., who has written his opinion of the pictures in a single word, as 
 “excellent,” “admirable,” “good,” “fine.” (See Vol. II. lists.) 116 pictures. This is 
 styled by the auctioneers a magnificent collection, and the high prices proved that there 
 were some fine pictures. In the 1st day 37 lots, Italian and Dutch, none important, 
 
 * this cartoon is, I believe, that which was in the Casa Vecchietta, Florence, 
 
1794 .] COLLECTIONS OF COUNT REDEEN AND OTHERS. 55 
 
 produced £560. 2nd day, the chief picture was the Murillo, “ Holy Family,” the Virgin 
 seated receiving the Infant Saviour from St. Joseph, life size, figures whole length — 
 £315; Philip de Champagne, Portrait of Colbert, from Sir R. Strange’s Collection — £42 ; 
 Rubens, Portrait of Duke of Alva on horse, 100 by 72 — £126; Teniers, Interior with 
 figures, g by n — £103. On the 3rd day, “The Alchymist,” by Teniers, 11 by 14 — 
 £108, and “Fete de Village,” by Teniers, 44 by 68, with many figures, engraved by 
 Le Bas — £252 ; Portrait of Murillo, by himself, circular, inscribed “ Bartolomeus Murillo 
 seipsum depingens pro filiorum votis ac precibus explendisT The portrait of Murillo in 
 Lord Spencer’s Collection at Althorp is, I think, smaller than this one which Mr. Smith 
 marks “ excellent.” “ Cupid Sleeping,” by Guido ; Portrait of Archduke Albert of 
 Austria on a white horse, by Vandyke, go by 60 ; “ The Lago Bolseno,” by J. and 
 A. Both ; “ St. Francis di Paolo, with Angels,” by Murillo, noted “ admirable,” but no 
 size given; “Nature unveiled by the Graces,” by Rubens and Breughel; “ Renier 
 Ansloo,” by Rembrandt; “A Convoy,” by Wouwermann ; “The Crucifixion,” by 
 N. Poussin. The prices of all are given in Vol. II. 
 
 COLLECTIONS OF COUNT REDEEN AND OTHERS. 
 
 Count Redeen was “ lately ambassador from the Court of Prussia,” and to the sale of 
 his collection were added “ a small collection of another nobleman, and a few pictures 
 lately consigned from abroad, also that celebrated and well-known chef d’oeuvre, ‘ The 
 Madonna and Infant Christ’ by Vandyck brought to England and late the property of 
 Bradshaw Pierson, Esqre.” Other pictures are named on the title page of the catalogue, 
 with a few fine drawings and prints. Sold by Mr. Christie at his room in Pall Mall, 
 Saturday, June 14, 1794. The catalogue unfortunately does not name the pictures 
 forming Count Redeen’s collection, but it may probably be taken that those which were 
 placed first belonged to him, and though there are some good names and subjects, 
 several were stated to be “after” the master and altogether it was a collection ol no 
 importance. The catalogue in my collection is not priced but simply marked at the 
 pictures which were most worth notice. These were Michael Angelo, “ The Crucifixion” 
 and a “ Madonna instructing the Infant Christ,” and a drawing of a triumphal gate. 
 Others have a better claim to being true, such as Artois, “ A Landscape ; ” Canaletti, 
 “Ruins near Rome,” (Pannini?) Griffier, a pair of landscapes; Callot, two views in 
 Paris; Murillo, “ St. Joseph ; ” Morland, a frost piece, woman feeding pigs, and sheep 
 in a landscape ; a landscape with gipsies ; Wilson, Italian landscape ; Marlow, “ London 
 Bridge ” and part of the city ; Domenichino, “ David with head of Goliah;” Rottenhamer, 
 “ Feast of the Gods ; ” Isman Vaccio, “ Seaport ” equal to S. Rosa. Bassan, “ En- 
 tombment of Christ ; ” Cuyp, River scene, figures, and horses ; Rubens, “ Sampson and 
 Delilah,” very capital sketch ; Wilson, “ View in the Campagna ; ” Dobson, group of 
 portraits, Sir Balthazar Gerbier, Sir Charles Cottrell, and Dobson himself. Marlow, 
 “Waterfall at Tivoli;” Wouwerman, “Going out Hawking,” engraved by Moreau. 
 Sebastian Ricci, “ Feast of Canaan ; ” Jordaens, “ Le Roy Boit or Twelfth Night,” 
 engraved by Bolswert — £42. This was the highest price in the sale according to 
 Christie’s catalogue. The following five pictures which came last did not find 
 
ART SALTS. 
 
 [ 1794 . 
 
 56 
 
 purchasers at a higher price. Correggio, “ First design or ‘ botzo ’ of the famous ‘ Notte ’ 
 at Dresden ; ” P. Veronese, “ The Adulteress brought before Christ,” a fine work from 
 the collection of M. St. Maurice at Paris; Murillo, “The Nativity,” composition of 
 seven figures, brought from Spain 50 ycais ago. A MS. note in the maigin sajs in 
 a very rich frame with curtains.” Rubens, “ The Crucifixion,” a capital and highly 
 finished picture with all the brilliancy of Rubens’ colouring and great accuracy of 
 drawing, in perfect preservation. MS. note “in a mahogany case,” therefore it must 
 have been a picture of moderate £\ze. Vandyck, “ Madonna and Infant Christ,” ‘/ever 
 with great justice acknowledged to be a chef d’ceuvre.” The portraits of Charles I. and 
 his Queen by Vandyck, specially named on the title page is not in the catalogue and was 
 probably withdrawn. 
 
 John Hunter’s Collection of Prints. — The famous anatomist and surgeon, 
 whose researches are amongst the most important of the time, and whose museum 
 forms the great treasure of the College of Surgeons of England, was one of the most 
 distinguished amateurs of his day. He lived next door to Hogarth’s house in Leicester 
 Fields, and here was kept his museum and his collection of engravings, &c., which, after 
 his death, was sold by order of executors by Mr. Christie, on Wednesday, January 2g, 
 1794. The prints were most of them “elegantly bound in Russia,’’ and many were 
 separately framed. Two days were occupied with them, and on Friday were sold his 
 collection of curiosities, the library following on Saturday. Landscapes and portraits 
 amongst which were two of himself, probably from the fine picture by Sir Joshua 
 Reynolds. The framed prints included “The Transfiguration,” by Raphael; “The 
 Seven Sacraments ” of Poussin; “ The Battles of Alexander.” by Audran, after Le Brun; 
 a mezzotint of Broughton and Stephens boxing. There was a large collection of 
 Hogarth’s prints, which brought but small prices. “ The Cruelties,” and two of 
 Hogarth’s portraits with his pug-dog, £3 ys. A set of twelve, “ The Good and Bad 
 Apprentice,” £4 4 s. “ The Harlot’s Progress,” six, £3 35. “ Rake’s Progress,” £2 3s. 
 “ Marriage a la Mode,” £2 10s. (the set). “ March to Finchley ” and the “Strolling 
 Players,” £2 12s. 6 d. “ Calais Gate ” and “ Southwark Fair,” 18s. Of the pictures — 
 Carlo Dolci, “ Madonna and Child,” engraved by Sharp — £111 ; Sir Joshua Reynolds, 
 Nelly O’Brien. “ a very capital fine portrait” — £21 ; Cornelius Jansen, Portrait of Dr. 
 Harvey, the great physician — £10 10s. These two pictures were bought by Sir Wm. 
 Watkins Wynn, Bart. 
 
 THE C A TONNE COLLECTION. 
 
 Sold partly in March 1795, by auction by Messrs. Skinner and Dyke at the great 
 rooms in Spring Gardens, March 23rd and five following days, by order of the mort- 
 gagees. Catalogues 2s. 6 d. each. It was described as, “ All that noble and superlatively 
 capital assemblage of pictures, drawings, miniatures and prints, the property of the 
 Rt. Hon. Charles Alexander de Calonne, late Prime Minister of France. Selected at the 
 immense expense of about 60,000 guineas.” With these was included a small collection 
 of cabinet pictures bequeathed to M. de Calonne by M. D’Arveley, High Treasurer of 
 
1795 .] 
 
 THE CALONNE COLLECTION. 
 
 57 
 
 France, “ forming the most splendid collection in Europe, which were intended for a 
 magnificent gallery at his late house in Piccadilly.” A notice on the catalogue states 
 that “ M. de Calonne, in 1789, was building a most magnificent gallery at his late house in 
 Piccadilly, when the revolution happened in France. He soon after left England to join 
 the Princes and the French nobility at Coblentz, to assist whom effectually, he not 
 only raised the capital of his fortune, sold his town and country houses, but also mort- 
 gaged his valuable collection.” Buchanan, in his “ Memoirs of Painting,” 1824, says 
 that M. Calonne, “seeing a storm gathering in France, at an early period transferred the 
 principal part of his property to England, of which his celebrated collection of pictures 
 formed part, and he fully intended to spend the remainder of his life quietly in England.” 
 The mortgagees, after some years, became anxious for the repayment of the money 
 advanced upon the collection, and the notice in the catalogue states that, “ last year, (i.e. 
 1794) they resolved to sell, and had the collection removed to Spring Gardens. But 
 scarce 150 pictures were arranged when news arrived that the Empress of Russia would 
 probably purchase the whole collection, and the mortgagees thought proper to postpone 
 the sale, and left 16 cases unopened.” These 1 50 pictures were exhibited for a short time 
 and in the following year the sale took place. But as Buchanan states, most of the 
 important pictures were “ bought in ” by the mortgagees, and thus we find that in about 
 a month afterwards they make their appearance in a large collection at the gallery of 
 Mr. Bryan in Savile Row, with some further collections of Baron Nagel and Sir Joshua 
 Reynolds (15 pictures), and from the Calonne 25. A few pictures were afterwards sold 
 with a number of curiosities in Natural History and scientific instruments, by Mr. Christie, 
 July 9th, 1803, "'the property of M. de Calonne deceased; and the libraryof 4000 volumes 
 followed on the 15th to 17th of the same month. There were 359 pictures, but not six 
 days’ sale as the catalogue states, only four.f 
 
 The following are the prices of the principal pictures— Dietrich, two landscapes — 
 £140; Cuyp, landscape, horses, sheep and figures — £105; landscape — £100; Claude, 
 landscape, with St. George and dragon — £170; Vernet, ancient baths, near Naples — 
 £165; companion picture — £150; W. Vandevelde, sea fight, — £105; Rembrandt, a 
 young man {half length) — £105 ; Murillo, Satyr with tigers — £105 ; Madonna and Child 
 — £205; Titian, Caesar repudiating Pompeia — £180; Canaletti, Grand Canal, Venice — 
 
 * This sale in 1803 was of the contents of the House, corner of Hamilton Street, Piccadilly, and deserves notice, 
 as there were besides a few pictures some curious things which show that M. de Calonne was in advance of his 
 time, in his observation of scientific matters referring to mineralogy and inventions. These were — a set of bar 
 magnets, a portable mineralogical laboratory, a Saussure’s hygrometer, a machine for drawing in perspective, 
 Schmeisser’s new instrument for ascertaining the specific gravity of fluids, an electrical machine with a vacuum 
 flask, a large battery with 9 jars, a reflecting telescope, a solar microscope, three patent machines by Watts. A 
 superb rock crystal, having in it crystallized chlorite, ochreous iron ore and prismatic colours, from Madagascar 
 only to be equalled by the specimen in the Royal Museum, Madrid. A cast from the Venus de Medicis, “ the 
 only one taken from the statue by particular favour to M. de Calonne at great expense.” There were only 27 
 pictures, of which maybe noticed, Fragonard, “the Annunciation;” Le Nain, “St. Martin giving Alms N. Poussin, 
 “Landscape with Tombs,” a grand scene ; Sir J. Reynolds, “Head of a Boy,” very fine ; P. Veronese, “Descent from 
 the Cross;” A. Schiavone, “The Last Supper,” very capital, equal to Titian; A. Vandevelde, “Landscape and 
 Cattle;” Pynaker, “Mountainous Landscape;” Giorgione, “The Three Graces,” very capital. Perhaps this was the 
 picture in Mr. Hope's collection, called a Titian, which was sold in the Leigh Court Collection, 1884, for ^210. 
 L. Carracci, “Madonna, Infant and St. John,” a cabinet picture; Velazquez, the “ Ascension of Christ,” very capital 
 and undoubted. The catalogue is in my collection, with that of 1795, but unfortunately it is not priced. 
 
 t See notice in “ Trdsor de la Curiosite.” 
 
 VOL. I. 
 
 I 
 
53 
 
 ART SALTS. 
 
 [ 1795 . 
 
 £165; F. Mieris, girl and old woman— £130 ; G. Metzu, lady and gentleman, dog 
 —£165; N. Poussin, Rebecca at well— £140; G. Terburgh, lady and music-master— 
 £64; Claude, landscape, Apollo and Marsyas— £62 ; Rembrandt, old lady with book 
 —£100; A. Veronese, Hercules and Omphale— £200 ; Cuyp, landscape, cattle— £220 ; 
 Pynaker, landscape, cattle, figures {upright)— £ 120; Spagnoletto, Roman charity— 
 £60; Rubens, study of children, Whitehall Ceiling — £220; Van Dyck, portrait, a lady 
 {whole length) — £ 130 ; ditto, ditto— £170, bought of Sir Joshua Reynolds for 500 guineas ; 
 Cuyp, landscape, cows— £140 ; Claude, landscape {small) — £100; Ostade, cottage, 
 woman spinning — £115; A. del Sarto, Madonna, Infant, and St. John {circle) — £170; 
 Guido, St. Michael and rebel angels {small) — £7 5; Schedone, Holy Family — £250; 
 Rubens, Madonna and Child — £165; K. du Jardin, landscape, cattle, figures — £150; 
 Parmegiano, Holy Family— £185 ; J. Both, landscape, cattle — £60; Claude, landscape, 
 seaport, ruins — £270; Vernet, view near Tivoli — £105 ; Vanderheyden, City of Le}'den, 
 figures by A. Vandevelde — £100; A. Ostade, cabaret, dancers — £350; K. du Jardin, 
 landscape, cattle — £155; Wouwerman, landscape, horses — £110; I. Ostade, landscape, 
 cottagers — £200; Rubens, “The Assumption” — £150; Gainsborough, girl with pigs 
 — £185, bought of Gainsborough by Sir Joshua Reynolds and sold to M. Calonne for 
 300 guineas ; Claude, landscape, “ The Enchanted Castle ” — £520 ; the companion 
 picture — £500 ; Van der Werff, Lot and Daughters — -£300 ; Reynolds, a nymph — £250; 
 Teniers, “ Le Bonnet Rouge ” — £350 ; N. Poussin, “ Triumph of David ” — £600, bought 
 of Lord Carysfort for £800 guineas; Teniers, “ Le Teniers aux Chaudrons ” — £700; 
 N. Berghem, landscape, cattle, figures — £3 50 ; P. Wouverman, “ Le jeu de la Bague ” — 
 £210 {from d’A rveley Collection) ; N. Poussin, “ Bacchanalian Dance ” {from V audreuil 
 Collection) — £870, sold before in Paris for 900 louis d’or ; Sir Joshua Reynolds, 
 Mrs. Siddons as “ The Tragic Muse” — ^3 20 (W. Smith) ; N. Poussin, landscape, 
 figures — £125, bought of Sir Joshua Reynolds for 500 guineas ; Murillo, gipsy girl with 
 flowers {from Bossett Collection — goo louis d’or) ; Holy Family — £510 ; Salvator Rosa, 
 a seaport — £500 5 Rubens and Breughel, Christ with Martha and Mary — £330 ; 
 P. Potter, landscape, cattle {from Braam-Camp Collection) — £310. 
 
 The Dusseldorf Gallery. — A collection ol reduced copies made for the use of 
 the engravers, Messrs. V. & R. Green, by permission of the Elector Palatine, was sold 
 by ^ r - Chiistie, May iG, 1795. I he pictures ol this gallery were much injured and 
 some entnely destroyed in the burning of the building during the bombardment of the 
 City. These copies were some of them of the exact size of the originals and most of 
 the chief pictui es. 1 hey have, therefore, a special interest as representing lost pictures. 
 
 I he pioject oi engiavmg the whole was abandoned in consequence of the loss of the 
 oiiginals. Some pioofs ol the engraved pictures were sold on this occasion at from 
 fi 1 os. to ^3 each. One, ol Rubens’ “ Descent from the Cross,” at Antwerp, with the 
 side pieces, sold loi £8, and another ol the same f\2 12s. The copies sold for small 
 sums, from three to ten guineas. “ The Crowning with Thorns,” after Vanderwerff, 
 15 gs. “ Hagar and Ishmael,” by the same, 20 gs. “ Adoration of the Shepherds,” 
 ao -> £ 2 5 - Geiaid Dow, Quack Doctor,” on panel, the exact size of the original, £44. 
 
1796 .] 
 
 LORD BUTE'S COLLECTION. 
 
 59 
 
 The Earl of Bute’s Collection. — This sale, March ig, 1796, by Mr. Christie, 
 the pictures having been brought from High-Cliffe, Hampshire, the seat of the Earl, after 
 his death. A notice at the head of the catalogue stated that it contained “ the whole of 
 the High-Cliffe collection as sold without one single picture being taken from or added 
 to the number ; and that they are offered in the same state in which they were found, 
 without being cleaned or repaired for the public eye.” There were a great many sea 
 pieces, and it was described as “the first marine collection ever offered to public sale.” 
 The prices, however, were small ; the highest of the 87 lots being: Stork— “ View of the 
 Maes,” £17 65., Sir T. Baring. Marieschi — “The Rialto,” £37 165. W. Vandevelde 
 — “Sea piece,” £30 95., T. Woodburn. B. Peters — “The Battle of Lepanto,” 
 £18 ys. 6 d., Young. A. Cuyp — “ View on the Scheldt, embarkation of the P. of 
 Orange,” “purchased in Holland at a very large sum,” £52 105., Samuel. W. Vande- 
 velde — “Harbour with Shipping,” £52 10s., Payne. Vandyck — “Portrait of Lord 
 
 Sydney,” “a picture of the first rate and acknowledged excellence,” £ 1 5 155. 
 Catalogues 15. each, returned to purchasers. 
 
 N. N. COLLECTIONS SOLD. 
 
 A large collection of cabinet pictures belonging to “ A Foreign Gentleman,” 
 imported from Italy, with “a small but capital collection ” the property of “a Gentleman 
 of Fashion deceased, brought from his seat near Dorking, Surrey,” was sold by Mr. 
 Christie, April 6th and 7th, 1796. Out of the 123 pictures in the first day’s sale, there is 
 no picture of any note, unless it were “ The Return of the Prodigal,” by Ferdinand Bol, 
 and this, like most of the others, sold for a small sum, few reaching y,ogs. The picture 
 which brought the highest price (£63) was a moonlight landscape by Rubens, and this 
 is interesting because this picture, as stated in the catalogue, was in the collection of 
 Sir Joshua Reynolds, and had been purchased in the sale after his death, by Boswell 
 for ^84. There is also a picture by Jordaens of “ Diogenes seeking an honest man,” 
 styled “ large and capital,” which sells for 33°^. and this was probably the picture sold 
 in F. Bernard’s collection in 1783, to Sir R. Wynne. (See Vol. II.) A half-length of 
 “ a Lord Chancellor ” by Vandyck sold for 35^. 
 
 Sir Thomas Henry Rumbold’s Collection, was sold as that of “ a Man of 
 Fashion,” April 29 to May 2nd, by Mr. Christie at “ No. 118, near Carlton House, Pall 
 Mall, late the Royal Academy.” It was called “ a curious museum,” and it included 
 watches, jewels, coins, bronzes, a sedan-chair, &c., but no pictures or prints of any 
 interest. 
 
 “The Collection of an Emigrant Gentleman, and of a Nobleman brought from his 
 seat in the country,” sold December 2nd and 3rd, consisted of 175 pictures by old 
 masters, but few of any interest. The “ View of Rome from the Villa Madama,” by 
 R. Wilson, R.A., did not attract attention, and brought less than ^50. “ A Gipsy 
 
 Fortune Teller,” by Mieris, was bought in at £89 55. A “ River Scene with Cattle, and 
 Figures,” by Cuyp, sold for £54 125. to Knight. 
 
 1 2 
 
6o 
 
 [ 1797 . 
 
 ART SALES. 
 
 MR. GAINSBOROUGH DUPONTS COLLECTION. 
 
 This sale derives considerable interest from containing several pictures by Gains- 
 borough, the uncle of Mr. Dupont, who was but an indifteient nitist. It took place on 
 April 20th, 1797, in Pall Mall, but the name of Mr. Christie is associated with 
 those of Sharpe and Harper as a firm of auctioneers. The title-page of the catalogue 
 describes “a valuable collection of pictures, drawings, copperplates, &c., the property 
 and principally the works of that esteemed and excellent artist Mr. Gainsborough 
 Dupont, deceased. Removed from his late dwelling-house in Fitzroy Street, amongst 
 which are included several of the most capital and fine productions of his late uncle, 
 Mr. Gainsborough of Pall Mall, deceased. Comprising an assemblage of finished and 
 unfinished portraits of many persons of distinction, together with a selection of cabinet 
 pictures, works of the old esteemed masters.” After the above comes “ a grand selec- 
 tion of views in India by the late ingenious artist, Mr. Hodges.” Portraits by Kettle, 
 &c., the property of Warren Hastings, Esq., brought from his house in Park Lane. 
 
 The pictures by Gainsborough were: “A Peasant Girl with Sticks” — unfinished; 
 “Girl Gathering Mushrooms” — unfinished , but sketched with great ease and sweetness; 
 its companion (not described) ; “ Descent from the Cross” — after the celebrated one by 
 Rubens, unfinished; a landscape with figures, “one of his very ready and elegant 
 effusions of genius ; ” its companion — a picturesque scene of great extent ; the original 
 sketch for the celebrated picture of “ The Gipsies” — very fine effect; “Mountainous 
 Landscape ” — unfinished , with bridge, cascade, and figures, a fine poetic scene ; two 
 other landscapes — unfinished ; a “ Landscape with cows in a lane,” a large and very fine 
 drawing ; a “ Nymph at the bath ” — a large oval. Copy of the Vandyck portrait of the Duke 
 of Richmond and Lenox ; a landscape, a woody scene with cart and figures — painted 
 with great spirit. A view in St. James’ Park — nothing can exceed the airiness of this 
 artist’s foliage, the figures are probably known portraits of the times. This was perhaps 
 the picture in the sale of Gainsborough’s works after his death, 1792 — a landscape with 
 figures — a clear brilliant picture. To this is appended a rather long sentence praising 
 the picture and the “ prolific imagination ” that could “ body forth Nature in her most 
 wild and varied forms. A “ Landscape with figures and sheep coming down to a brook” 
 — a grand and romantic woody scene. This is pronounced a specimen replete with 
 picturesque grandeur in the favourite style of Gainsborough — the “ Dignified Pastoral ; ” 
 a “ Hilly landscape with waggon, horses, and figures at a ford ” — a sultry evening scene. 
 A “landscape with cattle watering at sunset ” — painted with uncommon spirit, perhaps one 
 of the very finest productions of this great artist. Whether this was one of the pictures 
 called “ I he Watering Place,” in the National Gallery, No. 209 and 309, is a question. 
 Both have been engraved by W. Miller. “ The Haymaker and Sleeping Girl ” — a fresh 
 morning scene, unfinished , but touched with great freedom and beautiful expression. 
 I he prices will be found in the list, Vol. II., but they were all small, except the “ Land- 
 scape with cattle watering,” which brought /T o 1 17s. 
 
1797 .] SALE OF THE “MARRIAGE A LA MODEL 
 
 61 
 
 PORTRAIT OF HANDEL BY DENNER,* 
 
 AND OTHER WORKS BY DENNER. 
 
 A sale which derives special interest from this portrait of the great composer 
 Handel occurs in April, 1797 (Friday and Saturday, 7th and 8th), at Phillips’s 
 room, in New Bond Street, but the auctioneer being Peter Coxe, to whom the room was 
 lent for the occasion. The name of the owner was not given, but the catalogue states 
 that the pictures were in part recently consigned to this country. There were 57 pictures 
 in the first day, and 59 in the second, in which were the Denner portraits at the end of ^ 
 the sale. Denner, “ The portrait of George Frederick Handel,” presented by him to 
 the late John Christopher Smith, Esq. — £194 5 -S- ; “An old man’s head,” astonishingly 
 finished — £105 ; “ An old woman’s head,” executed with extraordinary effect — £157 105. ; 
 
 “ His own family (member of ?)”, small whole length — £52 10s. The other pictures, 
 which were of the Italian, Flemish, and Spanish schools, sold for small sums, varying 
 from 10 to 20 guineas; A Vanderneer brought £43; a Pynaker — £31 105,; a Back- 
 huysen £42; and a W. Vandevelde, “ Storm,” 54 x 78 in., £68 55. 
 
 “ Hogarth’s Marriage a la Mode.” — These pictures which had been “ put up ” at 
 Christie’s twice before — in 1792 and 1796 — were now again offered, and this time sold; 
 and no doubt the owner was Col. Cawthorne, although his name was not given. The 
 title-page of the catalogue describes the pictures as “ That most capital and matchless 
 set of originals of the Marriage a la Mode, the chefs d’oeuvres of the immortal Hogarth, 
 in the most perfect state of preservation,” Feb. 10 at two o’clock. Catalogues to be 
 had at the Rainbow Coffee House, Cornhill. In the conditions of sale it was stated, 
 that the proprietor had entered into a bond with Messrs. Boydell, for the engraving 
 of the pictures, and the purchaser would have to enter into the same. There was a 
 long eulogy of Hogarth following the description of the pictures, comparing him with 
 Teniers, but as a great moralist and dramatic painter far above the Dutch master. 
 The six pictures were now sold to Mr. Angerstein for iooogs. and passed with the 
 sale of his collection to the National Gallery in 1824. 
 
 It appears from the catalogue before me, that in this sale were included a portrait 
 of Hogarth by himself, which sold for <\2gs. and one of Sir James Thornhill, by 
 Hogarth, 14^5. These are added in MS. in a handwriting of the time. 
 
 * This portrait appears to have passed to the Sacred Harmonic Society, and was sold, after the dissolution of 
 that Society, at Christie’s, in 1883 f° r L l IO 5 - r - See Denner, Vol. II. 
 
62 
 
 ART SALTS. 
 
 [ 1797 . 
 
 MR. JOHN TRUMBULL'S COLLECTION. 
 
 Mr. Trumbull appears to have been an artist, as well as a connoisseur of repute, 
 for he is spoken of in the preface to the catalogue as, “ a collector of well-known 
 critical knowledge who has given ample proofs to the world — nor do we conceive 
 that it is the present age alone that will stamp its admiring testimony upon the recent 
 inimitable productions of his pencil.” He was attache of the American legation at 
 Paris in the spring of 1795. The catalogue of the sale by Mr. Christie, in Pall Mall, 
 February 17 & 18, 1797 (charged 25. 6 d.), described the collection as, “ most superb and 
 distinguished;” a selection made during Mr Trumbull’s late residence in Paris, from 
 some of the most celebrated cabinets in France. “ The convulsions with which that 
 country had been distracted presented a scene that too well seconded his endeavours.— 
 What a confusion of persons and of property ! Possessors missing or proscribed, and 
 their cabinets dispersed like the leaves of the Sibyl, in every quarter ! England has had, 
 perhaps, the greatest share in gathering up these scattered treasures, and by affording a 
 sanctuary to the Fine Arts, has constituted within herself an emporium of wealth 
 incalculable.” The most important of the ninety-one pictures were, Vandyck, 
 Virgin and Child, from the collections of the Due de l’Assaise and M. Donjoux — £\ 71. 
 Gerard Dow, “ The Onion- cutter,” from the collection of Countesse La Verrue, and 
 M. Grandpre — £yo {Bryan). ♦ Bassano, Mary Magdalen wiping the feet of the Saviour 
 with her hair, from the collection of Due de Tallard — P241 105. (Agar). Bronzino, 
 Madonna and Child with St. Catherine, from the collection of Baron D’Espagnac 
 — £178 1 05. (Knight). N. Poussin, Holy Family, engraved by Pouilly, from the 
 collection of M. de la Regniere — £178 10s. (W. Smith ) ; “Christ on the Mount of 
 Olives,” from the collection of M. Le Rouge — £273 (Bryan). Guido, Patron Saints 
 of Bologna, from the Braamkamp and Donjoux collections — £jo (Clcland). Murillo 
 “St. John with the Lamb,” from the collection of the Due de Praslin — £210 (Bryan). 
 Pordenone, “ Dejanira and the Centaur pursued by Hercules,” from the collection of 
 “a late Noble Duke,” — ^'588 (West). Guercino, “Angelica and Medora,” life-size 
 figures, from the same collection — £462 (Bryan). Berg hem, Landscape with figures 
 and cattle, from the collection of M. Grandpre — £945 (Mr. West). This was after- 
 wards bought by Mr. R. Hall, and then by Mr. Smith, M. P., whose note upon the 
 catalogue before me is “ Now mine, W. S.” Raphael, The Virgin, Christ, and St. 
 John, known as the “ Madonna du Corset rouge,” “brought from Rome by Cardinal 
 Mazarin, and notwithstanding very high prices were offered for it, particularly by the 
 Prince ot Conde, was religiously preserved in the family until the distress of the 
 Revolution, in which M. Primodan, the late possessor, had his full share, determined 
 him to part with it for a very extravagant sum — 40,000 livres. It was originally on 
 wood, which beginning to decay was transferred upon cloth in 1767 by M. Hacquin, 
 as was also the Holy Family by the same Master in the Royal collection,” (sale 
 catalogue) £890 (Mr West). Le Brun, original drawings of “Battle of Constantine 
 and Maxentius ”—£210 (West) ; “ Triumph of Constantine ”— £ 157 105. the catalogue 
 stated that Le Brun never painted pictures of these subjects. Teniers, Gamblers 
 
1797.] MRS. FRENCH & FI ELD-MAR. WADER COLLECTIONS. 63 
 
 at Trictrac, from the Le Brun collection — £115 10s. [Lord Suffolk). J. Both, 
 Landscape — £87 ( The Bishop of Durham). Vernet, A Shipwreck — £147 ( Lord Temple) ; 
 “Castle and Bridge of St. Angelo, with a fete on Tiber; ” portraits of Vernet and his 
 wife — £131 ( Cleland ). The total amounted to £7,996 5s. Buchanan states that some 
 of the pictures bought in at reserve prices, were perhaps put up again in 1812 by 
 Peter Coxe, and again bought in. 
 
 COLLECTIONS OF MRS. FRENCH, and FIELD-MARSHAL WADE. 
 
 Mrs. French is referred to in the title-page of the catalogue as “ distinguished 
 in the line of the Virtu." The pictures were collected by her, at her house in New 
 Street, Hanover Square. They became the property of Mr. Edward Bearcroft, and 
 were now sold at his death, “ by Messrs Christie, Sharp and Harper, at the great room, 
 Pall Mall.” With them the pictures belonging to Mr. John Wade deceased, were 
 sold, the two collections not being separately described. There were very few out of 
 the 180 pictures which sold for more than £ 5, many at half that sum. “A Lawyer 
 and his Clerks,” by Holbein— £14. “ Mona Lisa,” by Leonardo, — £10. “ The Virgin 
 and Child with St. Joseph and an Angel,” by Raphael and Perugino (so stated) — 
 £36 15s. (Shaw). The catalogue stated that the late Mrs. French gave £300 for this 
 to Dr. Bragge. “ View of the Campagna,” by R. Wilson — £ 35 - Oval Landscape 
 with Sea-port, by G. Poussin — £44- The companion Landscape — £36. Panini, “ St. 
 Peter’s and Colonnade” — £13 13s., and the companion picture, £12 12s. Pietro de 
 Cortona, “Nero and Poppeia,” £52 195. Sebastien Bourdon, “ Niobe and her 
 Children,” £51 95. On the same day (March 27, 1797) was sold — a COMPLETE 
 COLLECTION OF HOGARTH’S ENGRAVED WORKS, and original 
 drawings in 4 vols. imperial folio ; many proofs, altogether near 600 prints. A note in 
 the catalogue stated, that this Hogarth collection, was selected by a well-known 
 admirer of Hogarth, who purchased many of them from the widow of the painter. A 
 pencil note on my priced catalogue, says this person was Ireland. This collection 
 was bought by Mr. Darner for £309 15s. It would seem that it was bought in. On 
 May 6th following it was put up again, “ for the accommodation of collectors, in small 
 lots,” with a full descriptive catalogue of 189 lots. From this, which is before me 
 with every lot priced and names of buyers, may be mentioned Portrait of Hogarth 
 with the head touched upon by himself, and the name written in by him— £6. “ The 
 
 Seal of the Exchequer,” and copy, engraved by Hogarth when an apprentice — £1 105. 
 “The Tankard,” and copy — £4 45. “The Discovery,” and copy — £2 25. “Hogarth’s 
 shop-bill or message card ”—£2 125 . d. Two prints from Milton’s “ Paradise Lost,” 
 and copies engraved, 1728 — £3 155. Set of twelve large Hudibras, subscription set 
 with list of names — £2 2 5. “ March to Finchley,” etching — £4 185. Finished proof 
 
6 4 
 
 ART SALTS. 
 
 [ 1797 . 
 
 of “ March to Finchley £$ 10s. “ Satan, Sin and Death,” only three known, £y 
 
 17s. 6 d. Others varied from 155. to 30s. or more, the buyers being Clarke, Evans, 
 James, Darner, &c., of the drawings and oil sketches, one in oils of the “ Sigismonda,” 
 and a drawing of it by Edwards, R.A., touched by Hogarth for Basire the engraver, 
 who died before finishing the plate — £5 55. Sketch of “ Orator Henley christening 
 a Child ”—£3 3s. 
 
 A sale of Italian, French, Flemish and Dutch pictures 168 in number, by Christie, 
 Sharp & Harper, few of which brought more than £10. “ The Assumption of the 
 
 Virgin,” by Rubens — £38. “ The Shepherds’ offering,” by Raphael, £g 4 10s. “ Paris 
 
 with the Graces,” by Giorgione, from the Calonne collection — £23- “ The Marriage 
 
 of Henry VII.” by Mather Browne, (7 by 4) — £49. “ Storm,” by Vernet, on copper 
 
 ■ — £110. “A Storm rising, ” Italian coast, (36 square) by Vernet — £141 15s. “A 
 Sea-port,” by Claude, (48 by 36) — £126. 
 
1798.] 
 
 MR. EYRE'S COLLECTION. 
 
 65 
 
 MR. EYRES COLLECTION. 
 
 A sale which has some interest from the low prices obtained for pictures, perhaps 
 works of merit, by the great masters, was that of a small collection of Mr. Francis Eyre, 
 sold, Feb. 1798, at his residence, Cecil Street, Strand, by order of his widow, the adminis- 
 tratrix, by Messrs. Robins, of Covent Garden. Correggio, “ Magdalen reading,” sells for 
 95. ; Rubens, “ Adoration of Magi ” — £ 3 105. ; G. Bassan, “ Adoration of the Shepherds,” 
 “ fine effect, capital "—£2 55. ; Velasquez, “ Portrait of a Grandee ” — £ 3 ; A. Pether, Rich 
 landscape, with cattle and figures, evening — £4 85. ; Monnicks, “ Goatherds milking,” 
 “ painted with great force and effect ”—^4 145. 6 d . ; Le Sueur, “ Parting of Hector and 
 Andromache” — £2 igs. ; Carlo Dolce, “Magdalen,” a capital picture, a chefd'ceuvre — £3; 
 Bassan, “ Our Saviour in the house of Martha and Mary,” ‘very capital’ — £3 3s.; F. 
 Mieris, “ Woman selling grapes ” — £1 2 s . ; Guercino, “ The painter and his daughter ” — 
 195.; Rubens, Subject from the Classics — £\ 14s. 6d . ; G. Douw, “Vertumnus and 
 Pomona,” “ treated with chastity, expression, and effect; most elaborately finished ” — 
 175. 6 d. (The rostrum rhetoric of Robins seems to have been a gift in the family.) Wou- 
 verman, “ Hawking at Noon,” with many figures, “ an acquisition to the first collection 
 in the kingdom — a matchless cabinet jewel ” — £ 4 4s. ; D. Teniers, “ Market Scene,” “ a 
 multiplicity of figures of different nations, the background enriched with festive peasants, 
 cattle, &c., executed with his usual capacity and versatility, capital ” — £6 16s. 6 d. Some 
 names of painters are quite strange to modern catalogues, e.g., Dandride (Portraits), 
 Oram,* landscape in style of Claude; and Begalck, view in Holland, equal to Van 
 Goyen ; Monnicks, three landscapes with figures, is also little known. The low prices 
 were probably due to the sale being in a private house, and not necessarily showing 
 that the pictures were so bad. 
 
 N. N. COLLECTION. 
 
 Removed from the country, sold by Mr. H. Phillips, 67, New Bond Street, 
 January 25th, 1798. The priced catalogue of 87 pictures, on which is written the 
 name of Mr. Elliott as the owner, shows few of any interest, and the prices very small. 
 A Landscape, by R. Wilson — £31 10s. “ View of Sudbury,” by Gainsborough — 
 
 £13 15s. “ Bull-baiting,” with many figures, by Ibbetson, “ presumed the best 
 
 picture ever painted by this ingenious artist,” (48 by 36) — £28. “ Innocence with 
 
 the Lamb,” by Sir Joshua Reynolds, “graceful and full of taste,” (30 by 24 ) — £31 
 10 s. “ Rembrandt’s Mother,” by Rembrandt — £36 15s. Sea-port by Vernet — ££& 
 16s. Landscape, with cattle, by Berghem — £46. A Sea-port, with cattle and figures, 
 by Berghem — £100 16s. Wood scene, by Hobbima, (36 by 24 ) — £77 16s. 
 
 * Mentioned in Hobbes’ Picture Collectors Manual , 1849, ^ ut merely as a landscape painter. Dandride must 
 be a misprint for Dandridge, who is mentioned by Walpole in the Anecdotes ; a portrait by him of the Earl of 
 Halifax on horseback, sold in this sale for 6r. 
 
 VOL. I. 
 
 K 
 
66 
 
 ART SALTS. 
 
 [ 1798 . 
 
 MR. JAMES BRADSHAW'S CHINESE COLLECTION. 
 
 After his death, brought from his house in Portland Place, by Christie, February 
 15> ijg8, formed during his long residence in China, with his valuable library, porcelain, 
 &c. A drawing of Canton and suburbs, 10 yards long, by i foot high— £42. Birds 
 and flowers of China, (86)— £42. Chinese fishes and insects, (47)— £105. Drawings 
 of Josses and Temples ( 88 ) illustrating Chinese mythology — £139. 
 
 MR. FIRMER HONYWOOD'S COLLECTION. 
 
 There were 81 pictures, which Messrs. Robins sold “ at their spacious rooms 
 under the great Piazza, Covent Garden, April 21, 1798, brought from his late house, 
 Charles Street, Berkeley Square, and amongst which will be found some rare subjects 
 which distinguish the great masters.” There were, however, no pictures of any 
 pretensions, and the prices were all small. “The Saviour disputing with the Doctors,’’ 
 by Rembrandt — £7 10s. “ Marriage of St. Catherine,” by Seb. Cerchi — £6 6s. 
 
 Pair of Venice Views, by Canaletto — £27. An Eruption of Vesuvius, by Wright — 
 £7 17 s. 6 d. 
 
 PICTURES BY GEORGE MORLAND. 
 
 In a collection of 120 pictures, sold by Messrs. Denew at their room, 30, Charles 
 Street, Berkeley Square, January, 1798, consisting of common-place pictures of all 
 schools, were “ a few choice Morlands, one of which is allowed to be the chef d' oeuvre 
 of that ingenious artist.” Poor Morland was living at the time, and probably felt the 
 mortification of seeing his pictures sell for about ten times the price he got for them, 
 though no doubt he was proud that none of the other pictures came even near his 
 price. The picture of “ The Cottage Door,” called in the catalogue “ a charming 
 interesting subject, esteemed the most highly finished work of that celebrated master,” 
 sold for £73 105. ( Cartwright ). This must have been the picture sold at Christie’s in 
 
 1883 f° r £ 399 » a price that has since been exceeded in the sale of “ The Post-Boy’s 
 Return” (engraved), in Mr. Fish’s collection 1888, for £745 105., and “ The Tea 
 Garden (also engraved), for £472 105. The other Morlands in the sale of 1798, were, 
 A Slate Quarry, (about 24 by 18) — ^38 115. “Perch-fishing” — -^40 195. [Barnett). 
 The h avour accepted ’ £3 3 5. “A pair of beautiful cabinet pictures ” — £30 g s. 
 
1798 .] 
 
 THE DUKE OF ARGYLL’S PICTURES. 
 
 67 
 
 THE DUKE OF ARGYLL'S PICTURES. 
 
 These were sold as “ A collection of pictures by the great masters of all the 
 schools ; the greater part of which was formed by the late John Duke of Argyll,” by 
 Mr. H. Phillips (under the direction of Mr. T. Philipe, May 25 & 26, 1798, at 67, New 
 Bond Street. There were 140 pictures, but those from the Argyll collection are not 
 distinguished from the others, and very few brought prices of any amount, many not 
 more than two guineas. Those which may have some interest were, Old Franck, 
 “ Battle of Lapithae and Centaurs,” (32 by 30)— £13. Spagnoletto, Portrait of himself 
 with a flask and hoop, life-size — ^14 14s. Leonardo da Vinci, Madonna and Child, 
 “ highly finished ” on wood, (30 by 24) — £53- A pencil note in the catalogue says, “ in 
 parts out of drawing, but for colouring and sweetness (good as Bassano) most admirable: 
 not Da Vinci, but Pontormo.” John de Mabeuge, Madonna and Child with an Angel, 
 a small altarpiece, highly finished on panel, (36 by 24 ) — £4 14s. 6 d. John van Eyck, 
 “ The Fathers of the Church,” on panel, (39 by 36) — £3. Titian, Portrait of a Man, 
 half-length, dated (1548. a.d.i. XI Mazo,) — £36 155. ( Woodburn .) Tintoret, Portrait 
 of a Man with music-book — ^10 10s. Rembrandt, Landscape with Tobit, Cabinet 
 size — £37 16 5. N. Poussin, Venus and Cupid in a Landscape (72 by 48), “colouring 
 equal to Titian ” — £32 10s. {Woodburn.) 
 
 Mr. Biddulph’s Collection.— There were some pictures of interest amongst the 127 which 
 were sold by Mr. Christie, June 9, 1798, as “ the property of a gentleman deceased, brought from 
 his seat in the country.” The name was not given, but the most important picture was 
 particularised as “ a very renowned and esteemed family picture of Charles I. and his Queen, 
 presented by Charles II. to the family of the present proprietor,” and the catalogue stated “ it 
 was given to the Biddulph family by Charles II.,” so that no doubt Mr. Biddulph was the owner. 
 Other pictures were: — Ruysdael, a Landscape, with a Bleaching Ground. Wilson, A fine View 
 near Tivoli. Titian, “ Battle of the Bridge,” a well-known picture, out of the collection of Sir 
 Joshua Reynolds. Raphael, “The School of Athens,” copied by P. Mattei. Hobbima, A Woody 
 Scene, of singular merit. The prices obtained were but small, the Portrait-piece of Vandyck 
 selling for £30 only (see Vol. II.). 
 
 N. N. Collection of a gentleman deceased, brought from his residence in the Adelphi and 
 his villa at Finchley, with some added by permission, at Christie’s, Nov. 1798. There were very 
 few out of the 219 lots in the two days which brought more than £10. The highest was a Pynaker 
 — £73 los - Others were : — Titian, “Nymphs Bathing”; Fuseli, “The Resurrection ” {large) ; 
 
 Tintoretto, “ Christ washing the Disciples’ feet,” “ a very grand and noble composition and 
 undoubted.” 
 
 •v 
 
 K 2 
 
68 
 
 ART SALTS. 
 
 [ 1798 , 
 
 MR. BRYAN’S COLLECTIONS. 
 
 Mr. Bryan was a merchant and dealer of no small importance in his day during 
 the last quarter of the 18th century and the early part ol the next. His experience 
 and knowledge enabled him to collect while in Holland and Flanders many good 
 pictures. Mr. Bryan was authorized by the Duke of Bridgewater, Lord Carlisle, and 
 Lord Gower afterwards Marquis of Stafford, to treat for the purchase of the Orleans 
 collection, i.e., so much of it as was not previously sold in Paris (1792) to Mr. Slade in 
 conjunction with Lord Kinnaird, and Mr. Morland (see notice of the Orleans collection), 
 and which was concluded at the sum of £43,000. That collection was exhibited 
 (1798, December 26) partly in the gallery of Mr. Bryan in Pall Mall, and partly at the 
 Lyceum in the Strand, for six months, and those not sold by private contract were 
 afterwards sold by auction by Mr. Coxe. The chief sale of his own pictures, after they 
 had been exhibited for sale for some three or four years, was on May 17, 1798 at his 
 gallery by Peter Coxe, and it is specially interesting as it contained the fine Vandyck 
 portrait called “ Gevartius,” bought by Mr. Angerstein for £357, and since in our 
 National Gallery. The copy, which is described as “admirably executed,” was sold by 
 the side of the original and brought £53 ns. Besides this there was the fine work of 
 Sir Joshua Reynolds, “Mrs. Billington as St. Cecilia,” with a choir of angels, which was 
 bought by Mr. H. Hope for £325 10s. “ The Centurion,” by Rembrandt, which was 
 
 obtained from the Boers family at the Hague, was purchased by Sir Francis Baring for 
 £1,522 10s. as well as the fine cattle-piece by Paul Potter (of the Valkineer collection, 
 Amsterdam), for £1,110 10s. ; and, as Buchanan relates, “ were ceded by the present Sir 
 Thomas Baring, along with the whole of the Flemish part of his collection, to his 
 present Majesty, about the year 1812, which laid the foundation for the fine collection 
 now at Carlton Palace” (Memoirs, 1824). The sale occupied three days, and there 
 were in all 163 pictures, most of which are noted in Vol II. But it appears that Mr. 
 Bryan had another collection, and this came to the hammer in May, 1804, sold by Messrs. 
 Peter Coxe, Burrell, & Foster, of Throgmorton Street, whose preface runs : “ Without a 
 single comment on any one picture, this extensive collection is laid with silent respect 
 before the public, which remains at large, free and unrestrained, to judge of its united 
 excellence, from each respective performance being left in the first instance self supported 
 only — the narrator of its own merits. The same mode is thus pursued that was adopted 
 in the disposing of the remaining part of the celebrated Orleans collection.” A final 
 paragraph states that Mr. Bryan is already engaged in a mercantile establishment in 
 the city, and the object is the “ closing of all his transactions under his late pursuit.” 
 The sale began with two days at the rooms, late the Royal Academy, No. 118, east end 
 of Pall Mall, and two last at Mr. Bryan’s Gallery, No. 88, west end of Pall Mall. Cata- 
 logues were 2 s. 6 d. each, and no person admitted without one on the days of sale. There 
 were 293 pictures, and those which have prices marked in the catalogue I possess, and 
 which appear to be the best which attracted the notice of Mr. W. Smith, are given in 
 
 ' o 
 
 the list under the names of the painters (see Vol. II.). 
 
1798.] 
 
 THE ORLEANS COLLECTION. 
 
 69 
 
 THE ORLEANS COLLECTION. 
 
 The following account of this famous collection is taken from Buchanan 1 s Memoirs 
 of Painting, 2 vols. 8vo, 1824: — 
 
 In 1792, the Duke d’Orleans gave orders for disposing of his magnificent collection of 
 pictures, as will be found particularised in the subsequent details ; and the casualties of the times 
 afterwards forced the purchasers to send it for protection 'to our more happy shores. The storm 
 of Revolution at last burst forth with all its terrors, and with it sprung up those causes, which in 
 a measure forced upon us a species of remuneration in the Arts, for our former heavy losses. 
 
 As the introduction of a collection of so much importance as that of the Orleans into this 
 country formed of itself an era, it cannot but be interesting to trace it to its origin, to observe the 
 new turn which it gave to the prevailing taste of the day ; to know the objects of which it was 
 composed, with the value attached to each ; and to learn the names of those men who first gave 
 its reception into this country, a marked patronage and encouragement in matters almost as 
 interesting to those who appreciate a correct knowledge of chronological events, as to the lover of 
 art himself. 
 
 The gallery of the Palais Royal was always regarded as one of the finest in Europe. 
 
 In 1639, the Cardinal Richelieu, either from vanity or gratitude for the favours which he had 
 received from the king, ceded to him by a deed inter vivos his palace, with the furniture and other 
 valuables which it contained ; and he confirmed this gift by his testament executed at Narbonne 
 in May, 1642. 
 
 In the year 1643, Anne of Austria, Queen of France and Regent of the Kingdom, accompanied 
 by her two young sons, Louis XIV., and the Duke D’Anjou, quitted the palace of the Louvre to 
 take possession of that of the Cardinal, and to establish her residence there. The Marquis of 
 Touville, who was then great marechal of the king’s household, conceiving that it was not fit that 
 her majesty should inhabit a palace which bore the name of a subject, prevailed upon her to 
 change its title, and substitute that of the Palais Royal — at the intercession however of the 
 Duchess D’Arguillers, this name was afterwards for a time suppressed, and the original inscription 
 of Palais Cardinal replaced. 
 
 Louis XIV. ceded this palace to Philip his only brother, father of Philip Regent of France, 
 and by the latter this collection was rendered the finest and the most important private collection 
 at that time existing in Europe, — from that period this palace again bore the name of Palais Royal. 
 
 Philip Regent Duke of Orleans was a man of a high and proud spirit, of a refined and culti- 
 vated taste, — he considered that no man could perpetuate his name so effectually with posterity 
 as by a just and liberal patronage of the fine arts,— he fully appreciated the high value which had 
 been attached to the name of De Medicis, — a family, which, having sprung from the commercial 
 classes of society, had, by a liberal and refined encouragement of literature, and of the arts and 
 sciences, founded for themselves a reputation which may be deemed immortal ; neither did he lose 
 sight of the splendid example which Fran£ois Premier, one of his illustrious predecessors, had left 
 in his own country. 
 
 Philip with the power which he possessed in the state, joined to his own wealth, had ample 
 means afforded him of gratifying his taste, as well as his ambition. He employed some of the 
 most celebrated artists of the day to select for him by purchase, the finest works of the great 
 masters which could be procured in the various countries of Europe, while many of the minor 
 states desiring to pay their court to him, made presents to the regent of such works as were likely 
 to yield him satisfaction, or to secure his favour and protection,— and in general, the whole col- 
 lection was formed upon the broad and liberal view of rendering it one of the most splendid and 
 consequential in Europe ; — Philip employed twenty years of his life in forming this magnificent 
 gallery. 
 
 Queen Christina of Sweden was possessed of forty-seven pictures of the highest importance, 
 which her father had possessed himself of on the reduction of Prague. Among these were ten by 
 Correggio. When she abdicated the crown she retired to Rome, and carried with her this precious 
 collection of chefs-d'ceuvres. Out of this collection she presented to Louis XIV. the famous picture 
 of the Leda of Correggio, and on her death these pictures were sold in Rome and purchased by 
 
;o 
 
 ART SALES. 
 
 [ 1798 . 
 
 Livio Odeschalchi, Duke of Bracciano, nephew of Pope Innocent XI., from whose heirs again, the 
 Regent Philip made the purchase of this rich collection. 
 
 The other cabinets from which the Regent made acquisitions in the formation of his gallery, 
 were those of the Cardinals de Richelieu, Mazarin, and Dubois; of Loid Melford, of the Duke de 
 Grammont, the Abbe de Maisainville, Deval, Forest de Nancre, de Nosse, de Seignelay, 
 Tambonceau,* Paillet, de Launay, de la Ravois, of the Duke de Noailles, de Menars, de Hautefeuille, 
 of the Duke ’ de Vendome, Corberon, de Bretonvilliers, du Cher, de Lorraine, l'Abbe de Camps, 
 Dorigny, & c. &c. 
 
 The above list of amateurs proves the high and general regard in which the art of painting 
 was held in France, at the period at which this collection was forming ; and it is worthy of remark, 
 that it was principally composed of the works of the ancient masters. 
 
 Among the different pictures which were purchased for the legent, the prices which he paid 
 for some of these have come down to us. For the celebrated picture of the raising of Lazarus, 
 now in the Angerstein collection, he paid to the chapter of monks at Narbonne the sum of 24,000 
 francs ; a sum certainly much under its value even in those days, when it is considered that for 
 the Seven Sacraments of Poussin now in the Stafford gallery, he paid 120,000 francs ; and it was 
 well known, that price never was the bar to the acquisition of whatever was truly excellent ; the 
 good fathers no doubt had their reasons for ceding this celebrated picture for so small a sum. 
 
 For the Saint Roch and Angel by An. Caracci, which was formerly in the Church de St. 
 Eustache of Paris, he paid 20,000 francs; and for the Saint John in the Desert by Raphael, he 
 paid likewise 20,000 francs ; but it has been asserted, that had this last picture been indubitable, 
 it must even at that period have cost four times that sum, as the works of Correggio, which can- 
 not be placed above those of Raphael, were paid for in that proportion. 
 
 By the means of these various acquisitions, the gallery of the duke regent contained during 
 his lifetime 485 pictures, of the best choice, and in the finest state of preservation. 
 
 At the death of Philip, his son Louis became Duke of Orleans. He was a man of weak 
 understanding, and was guided in all his actions by priests, and monks. To please the fancy 
 of these worthies, and prove how much he was devoted to them, he caused all pictures which 
 represented “ nature unadorned ” to be destroyed, or sold. The fine picture of Leda, by Correggio, 
 which had been presented by the Queen of Sweden, was among the first objects to fall a sacrifice 
 to his blind zeal : it was ordered to be cut into quarters, which was literally done ; but not having 
 been committed to the flames, as was the case with many others, the director of the gallery, 
 Coypel, contrived means to secrete the fragments, and had them put together. At the death of 
 Coypel it was sold to Pasquier, and, at his sale of pictures, in 1755, it was purchased for the King 
 of Prussia at the sum of 21,060 frs. and afterwards placed in the gallery of Sans Souci. 
 
 After these various dilapidations and outrages committed on the works of these great men, 
 whom the world has always been taught to regard with veneration, this collection passed down 
 quietly until the epoch of the meeting of the National Convention. In 1792, the Duke d’Orleans, 
 for the purpose of procuring money to agitate the national spirit, of which he always hoped ulti- 
 mately to profit, sold all the pictures of the Palais Royal. A banker of Brussels, named 
 Walkuers, bought those of the Italian and French schools at the price of 750,000 livres, and again 
 sold them to Monsieur Laborde de Mereville, a gentleman of fortune, for 900,000 frs. This 
 gentleman, either as an amateur, or guided by feelings of national pride and philanthropy, made 
 this purchase with the sole view of preserving the collection for France. For this purpose he gave 
 orders to build a superb gallery, connected with his own hotel, in the Rue d’Artois. The works 
 were already far advanced, when the storm of the revolution burst out in all its force, and obliged 
 Mons. Laborde, with thousands of other refugees, to seek safety in England, whither he had the 
 good fortune to transport his collection, which proved to him a resource during this period of his 
 misfortunes. 1 hey did not, however, stop here ; for, anxious to revisit his native country, for 
 motives at present unknown, he was recognised by the reigning faction of the day, and fell a 
 sacrifice to the revolutionary cause. 
 
 The pictures of the Flemish, Dutch, and German schools were likewise sold in 1792, by the 
 Duke of Orleans to I homas Moore Slade, Esq., who paid for them 350,000 francs, and by 
 
 1 his name should be Le Resident Tamboneau ’ mentioned by Felibien, and by M. Thibaudeau, vid. 1 Tresor de la 
 Curio site] 1857, p. xxix. 
 
1798.] 
 
 THE ORLEANS COLLECTION. 
 
 7i 
 
 great management succeeded in having them sent to this country at the moment that matters 
 began in France to wear the most serious aspect. This purchase was made for the late Lord 
 Kinnaird, Mr. Morland, and Mr. Hammersley, in conjunction with Mr. Slade. 
 
 The principal part of this magnificent collection, consisting of the Italian schools, was con- 
 signed, on the part of Mons. Laborde de Mereville, to a house of eminence in the city of London, 
 and it is believed that they were in the hands of that house when a treaty was entered into by the 
 late Mr. Bryan, as authorised by and on the part of the late Duke of Bridgewater, the present Earl 
 of Carlisle, and the Earl Gower, now Marquis of Stafford, for the purchase of that part of the col- 
 lection, including also the French school, which was agreed on at the price of 43,000/. sterling. 
 
 When this important purchase was concluded, which secured for England one of the richest 
 collections, and at the same time one of the most valuable acquisitions which had presented itself 
 in modern times, it was determined on by these three noblemen to select a certain proportion of 
 the pictures for their own private collections, and to allow the remainder to be sold by private 
 contract, under an exhibition to be made of the entire collection. 
 
 This exhibition commenced on the 26th of December, 1798, in the rooms belonging to Mr. 
 Bryan, in Pall-Mall, and at the Lyceum, in the Strand, neither of these places being individually 
 sufficiently extensive to contain the collection. It continued for six months ; at the end of which 
 time all pictures sold were delivered to the purchasers. 
 
 The pictures reserved for the original purchasers are indicated in the following catalogue, at 
 their estimated valuation, and amount to 39,000 guineas. Those sold during the sale by private 
 contract amounted to 31,000 guineas, while the residue sold afterwards by Mr. Coxe, joined to the 
 receipts of exhibition, which were considerable, amounted to about 10,000/. more, thus leaving a 
 valuable collection of pictures to the purchasers, as a bonus and just reward, for securing for this 
 country so splendid a collection, and enriching it with works of the first class. 
 
 This part of the subject is the more particularly noticed for the purpose of proving the great 
 advantage which must always arise to individuals, or to the public (were such subjects deemed 
 worthy of public attention), from the acquisition of works of art, which are of a rank to attract the 
 general attention of the public itself. 
 
 When matters of this description are presented to the world, it is always interesting to know 
 in what manner they are received at the period, and likewise to be informed of all circumstances 
 which tend to throw light upon the subject itself. In the present instance, the interest which this 
 famous collection had excited was great beyond any thing which had preceded it. The amateur 
 was anxious to secure the genuine works of those masters which had long been sought for in 
 England ; and the present was among the first opportunities which had occurred where the same 
 could be obtained to any extent. The whole pictures of the Bolognese school were engaged in an 
 incalculably short time, although it formed the most numerous branch of this collection ; and the 
 amateurs seem to have vied with each other in gaining possession of the works of particular 
 masters. 
 
 On the first morning of opening for the private view to the principal amateurs, the late Mr. 
 Angerstein became a purchaser of some of the most important pictures in the collection ; in 
 particular, of the Resurrection of Lazarus, by Sebastian del Piombo, which he immediately, and 
 without hesitation, secured at the price demanded of 3,500 guineas. The late Sir Francis Baring 
 was likewise an early visitor, and named a certain number of those pictures which were marked for 
 sale, as objects which would suit his taste. The price demanded was 10,000 guineas; the offer 
 made was 10,000/. Mr. Bryan had no power to diminish. The worthy Baronet would not 
 advance, and the treaty was not concluded. This anecdote, which the author of these sketches 
 had from Mr. Bryan himself, not only proves the off-handed decision, and liberality, which always 
 mark the character of a British merchant, but the intrinsic value which was attached to the col- 
 lection itself, the proprietors not admitting of the principle of naming a price greater than would 
 actually be taken. 
 
 Lord Berwick, the Viscount Fitzwilliam, the Earl Temple, Mr. Maitland, Mr. Hope, and Mr. 
 Hibbert, were all early, and considerable purchasers from this collection, as were likewise the 
 late Mr. Willett, the Earl of Darnley, the Earl of Suffolk, Mr. T. Hope, Mr. Troward, Mr. W. 
 Smith, Lady Lucas, afterwards Countess De Grey, Mr. Udney, Mr. Long, Sir A. Hume, Mr. 
 Fitzhugh, &c. &c. &c. This list sufficiently proves the great and general interest which this col- 
 lection had raised in England; and at the same time disproves the assertion which foreigners had 
 
72 
 
 ART SALES. 
 
 [ 1798 . 
 
 till then made,* that we were a nation possessing no love for the Fine Arts, nor any knowledge of 
 
 them. 
 
 Until the arrival of the Orleans Collection in England, the prevailing taste and fashion had 
 been for the acquisition of pictures of the Flemish and Dutch schools , this likewise had foi a long 
 period been the rage in France. These were much more easily to be acquired, and came more 
 frequently before the eye of the public than works of the Italian masters , it might, theiefore, be 
 deemed somewhat singular to see with what avidity the present collection was seized on by the 
 amateurs of painting in general ; and it will not be deemed surprising, that, from that time, a new 
 turn was given to the taste for collecting in this country. Subsequent importations of the works 
 of the Italian masters, gave an opportunity of improving that taste, and brought the English col- 
 lections, generally, to a standard of consequence, which they could not boast of before that 
 period. 
 
 In the subjoined catalogue, such pictures as are only stated to be valued (marked “ V ”) at 
 specific sums, were not sold by private contract during the exhibition, but afterwards by Mr. 
 Coxe. Those again to which the names of the Duke of Bridgewater, the Earl of Carlisle, or the 
 Earl Gower are affixed, are such as were reserved for these Noblemen as purchasers of this 
 collection, at a specific valuation, and which were estimated by the same scale of value, as those 
 which were sold to the public. — Buchanan's Memoirs. 
 
 It is scarcely necessary to add anything to this account written by Buchanan, who 
 was a man of education and taste, and by profession a barrister of those days, but who, 
 like others, took up the study of pictures not with much pretension to be a critic in Art, 
 but rather with the intention of acquiring practical knowledge of pictures, and chiefly 
 with the view of purchasing under circumstances of the time which had arisen, and 
 which offered such advantageous opportunities. In this way Mr. Buchanan became the 
 most enterprising procurer and picture-dealer of his time, in which business he was 
 much esteemed. But besides his good services in this respect, he deserves our cordial 
 appreciation for having so accurately recorded his own transactions, and those of others 
 engaged in the acquisition of fine pictures for various private collections in England. 
 
 The importance of the Orleans Collection is too well known to need any further 
 remark; the finest of the pictures are still to be seen in the noble Gallery of Bridgewater 
 House, at Stafford House, Cobham Hall, and Castle Howard, and in the National 
 Gallery, where is the grand work of Sebastian del Piombo, “ The Raising of Lazarus,” 
 with some others which were included in the Angerstein purchase. 
 
 That so many beautiful pictures should have been sold into England from the 
 Royal Collection of France may be taken as some compensation for the similar depriva- 
 tion we had to suffer when the choicest gems of the Collection of Charles I. were sold 
 to the Royal Galleries of Spain and France. 
 
 The following catalogue of the pictures of the Orleans Collection sold in England, 
 with the prices and the names of the purchasers, and some of Buchanan’s Notes, will 
 be acceptable : — 
 
 * Montesquieu, Winkelmann, &c., See. 
 
1798 .] THE ORLEANS COLLECTION. 73 
 
 Subject. Buyer. 
 
 Guineas. 
 
 eonardo da Vinci. Pt., a Woman. 
 
 60 
 
 D. of Bridgewater. 
 
 La Colombine 
 
 250 
 
 R. Udny. 
 
 Herodias. (By A. Solario.) 
 
 80 
 
 Cox. 
 
 I ichelan GELO. Christ in the Garden 
 
 V. 200 
 
 
 Holy Family 
 
 v. 400 
 
 H. Hope . 
 
 Vasari. The Six Italian Poets . . . 
 
 100 
 
 T. Hope. 
 
 ronzino (Allori). Venus and Cupid 
 
 150 
 
 5 > 
 
 . Del Sarto. Lucretia . . . . 
 
 100 
 
 Mitchell. 
 
 Jupiter and Leda ..... 
 
 200 
 
 A nf r ere. 
 
 1. da Volterra. Deposition . . . 
 
 IOO 
 
 Ld. Suffolk. 
 
 APHAEL. Christ bearing his Cross . 
 
 150 
 
 G. Hibbert. 
 
 Christ on the Mount 
 
 V. IOO 
 
 
 Entombment 
 
 V. IOO 
 
 
 Virgin and Child . ..... 
 
 V. 200 
 
 T. Hope. 
 
 Holy Family 
 
 700 
 
 IV. Willett. 
 
 Virgin and Child . . . . • 
 
 OJ 
 
 0 
 
 0 
 
 D. of Bridgewater. 
 
 Holy Family 
 
 3000 
 
 ) J J J 
 
 Virgin and Child . . . . . . 
 
 0 
 
 0 
 
 LO 
 
 G. Hibbert. 
 
 Julius II 
 
 
 
 St. John in the Wilderness (a) . . 
 
 1500 
 
 Ld. Berwick. 
 
 La Vierge au Palmier. Circular &p\in. . 
 
 1200 
 
 D. of Bridgewater. 
 
 Vision of Ezekiel (b) . . . . . 
 
 • 800 
 
 Ld. Berwick. 
 
 ULIO Romano. Birth of Jupiter . . . 
 
 V. 200 
 
 
 Nursing of Hercules ..... 
 
 3 °° 
 
 D. of Bridgewater. 
 
 Birth of Bacchus ( c ) . . . . 
 
 V. 200 
 
 
 ebastian Del Piombo. Pt. of Michael- 
 Angelo (d) ...... 
 
 Deposition 
 
 200 
 
 D. of Bridgewater. 
 
 Raising of Lazarus ..... 
 
 3500 
 
 Angerstein. [Sold to 
 
 'aravaggio. The Three Graces 
 
 v. 40 
 
 JVaP. Gallr., 1824.) 
 
 'ERINO del Vaga. The Three Goddesses 
 
 80 
 
 Nesbitt. 
 
 Iicolo del’ Abbate. Rape of Proserpine. 
 
 160 
 
 Ld. Gower. 
 
 1 AROCCIO. The Repose in Egypt 
 
 200 
 
 L.ady Lucas. 
 
 La Vierge aux Chats . . . . . 
 
 v. 400 
 
 ( Countess de Grey). 
 
 Holy Family ...... 
 
 IOO 
 
 G. Hibbert. 
 
 Burning of Troy 
 
 v. 40 
 
 
 alviati. Rape of the Sabines . 
 
 v. 150 
 
 
 Iomenico Feti. La Fileuse . . . 
 
 IOO 
 
 Maitland. 
 
 iIUSEPPE Cesari. Susannah and Elders. 
 
 < 
 
 00 
 
 0 
 
 
 ’.da Cortona. Flight of Jacob ( e ) . 
 
 45 ° 
 
 G. Hibbert. 
 
 vndrea Sacchi. Death of Abel . . . 
 
 20 
 
 R. Udny. 
 
 Christ bearing his Cross .... 
 
 150 
 
 H. LLope. 
 
 1 . A. Caravaggio. Masquerade . . . 
 
 V. 30 
 
 
 lOURGUlGNONE. Charge of Cavalry . 
 
 
 N. N. 
 
 arlo Maratti. Triumph of Galatea 
 
 IOO 
 
 W. Willett. 
 
 Buchanan' s notes : — 
 
 (а) This picture has since passed through several hands ; it is the duplicate 
 f that in the Florentine gallery, and is painted on canvas. The Florentine 
 icture is painted on wood, and is certainly the finer of the two. 
 
 ( б ) Now in the possession of Sir Thomas Baring, Bart. 
 
 (<•) The set of friezes were retained for the Duke of Bridgewater at 200 guineas 
 ach ; but some of these were afterwards parted with by his Grace, and are in 
 tie possession of different individuals. One of the best of them passed into the 
 elect collection of Jeremiah Harman, Esq. A small picture painted on wood, 
 epresenting a Holy Family, is in the possession of Lord Radstock, which is 
 a his highest style of excellence. 
 
 (flj It does not appear from the printed catalogue that this picture was 
 rought to England with this collection. 
 
 (<) Afterwards sold to Mr. J. Allnutt, and at Christie’s in 1802 for ^"356. 
 
 SUBJEC T. 
 
 
 Buyer. 
 
 Guineas. 
 
 
 Correggio. The Mule Driver. {Ex. B. 
 House , 1871) 
 
 80 
 
 Ld. Gower. 
 
 Madonna and Child ..... 
 
 1200 
 
 D. of Bridgewater, 
 
 Danae ( a ) v. 
 
 IOOO 
 
 
 The Magdalen. {Not in the printed cata- 
 logue, probably did not come to England . ) 
 
 
 N. N. 
 
 The Education of Cupid {b) 
 
 350 
 
 Willett. 
 
 Noli me tangere . . . . • ■ 
 
 400 
 
 R. Udny. 
 
 Pt. Csesar Borgia ..... 
 
 500 
 
 T. Hope. 
 
 Pt., called Le Rongeau 
 
 20 
 
 Jones. 
 
 Studies of Heads (2) . . . . each 
 
 IOO 
 
 Angerstein. 
 
 Parmegiano. Education of our Saviour . 
 
 IOO 
 
 R. Udny. 
 
 Cupid making his Bow {c) 
 
 700 
 
 D. of Bridgewater. 
 
 Marriage of St. Catherine . . . . 
 
 250 
 
 Troward. 
 
 Holy Family ...... 
 
 IOO 
 
 Ld. Carlisle. 
 
 The Offering to Jesus 
 
 150 
 
 Coles. 
 
 Head of St. John ..... 
 
 25 
 
 Wright. 
 
 A. CARACCI. Holy Family — Le Raboteur . 
 
 3°° 
 
 Ld. Suffolk. 
 
 Procession of the Sacrament . 
 
 3°° 
 
 T. Maitland. 
 
 L., called Le Batelier 
 
 600 
 
 Ld. Carlisle. 
 
 Jupiter and Danae ..... 
 
 500 
 
 D. of Bridgrwater. 
 
 St. Rock kneeling to Virgin . . . 
 
 500 
 
 W. Willett. 
 
 Vision of St. Francis. {Coll, de Launay.) 
 
 500 
 
 D. of Bridgewater. 
 
 L., La Chasse au Vol . . . . . 
 
 600 
 
 Ld. Carlisle. 
 
 Pt., Annibal Caracci ..... 
 
 200 
 
 ,, 
 
 The Prodigal Son. {Not in printed cata- 
 logue, and probably not brought to 
 England.) 
 
 
 N. N. 
 
 Martyrdom of St. Stephen 
 
 250 
 
 Ld. Darnley. 
 
 Venus and Cupid. (Not in printed cata- 
 logue.) • 
 
 
 N. N. 
 
 Descent from the Cross (dead Christ and 
 the Maries). {Still at Castle Howard.) 
 
 4000 
 
 Ld. Carlisle. 
 
 Infant St. John sleeping . . . . 
 
 IOO 
 
 D. of Bridgewater. 
 
 St. Rock with the Angel .... 
 
 IOO 
 
 Ld. Fitzwilliam. 
 
 St. John, who shows the Messiah. {Coll. 
 Paillette .) ....... 
 
 3 ° 0 
 
 D. of Bridgewater. 
 
 Crucifixion ...... 
 
 80 
 
 J > J i 
 
 Deposition ..... . • 
 
 160 
 
 Maitland. 
 
 Toilet of Venus 
 
 800 
 
 Ld. Berwick. 
 
 Bath of Diana. {Fr. Coll. Tombanceau ) . 
 
 1200 
 
 D. of Bridgewater. 
 
 Riposo. {Fr. Coll. Tombanceau .) 
 
 700 
 
 Ld. Gower. 
 
 Christ and the Samaritan Woman {d) 
 
 3°° 
 
 Hibbert. 
 
 St. John Praying, with Angels . 
 
 400 
 
 Troward. 
 
 St. Stephen, with Angels . . . • 
 
 5o 
 
 Ld. Gower. 
 
 St. John in the Wilderness 
 
 200 
 
 A nger stein. 
 
 The Infant Hercules. (Not in printed 
 catalogue, and probably retained in 
 Fraticei ) ....... 
 
 
 (Nat 1 . GalP.) 
 
 N. N. 
 
 (a) Passed afterwards to Mr. H. Flope, and at the sale of his pictures was 
 sold for ^250. It is now in Faris. 
 
 (b) This picture was sold after the death of Mr. Willett, and is now in the 
 possession of Monsieur Erard of Paris. It is the same subject as that lately 
 brought to England by the Marquis of Londonderry, and which was formerly 
 in Spain. This of the Orleans Collection is the earlier picture, and is painted 
 in a much looser and more unfinished manner : it has suffered considerably, and 
 has been very indifferently repaired. 
 
 (c) This was one of the pictures which belonged to the Queen of Sweden ; 
 it was painted by Parmegiano for the Chevalier Bayard, the knight whom 
 Fran£ois Premier used to designate as being sans peur, et sans reproche. 
 
 (d) This picture was lately sold with the pictures which belonged to G. 
 Watson Taylor, Esq., for ^325 I or. 
 
 VOL. I. 
 
 L 
 
74 
 
 ART SALES. 
 
 [ 1798 . 
 
 Subject. 
 
 
 Buyer. 
 
 Guineas. 
 
 Ludovico CARACCI. Deposition. {Fr. Coll. 
 D. of Modena.) . . . • • • 
 
 400 
 
 D. of Bridgewater. 
 
 Susannah and Elders. {Nat 1 . Gall y ) 
 
 200 
 
 Anger stein. 
 
 Christ crowned with Thorns 
 
 60 
 
 Ld. Gower. 
 
 Ecce Homo • • 
 
 80 
 
 99 
 
 Vision ofSt. Catherine. {Fr.Coll.de Nancre) 
 
 600 
 
 D. of Bridgewater. 
 
 Marriage of St. Catherine (a) . . . 
 
 150 
 
 99 99 
 
 The Entombment 
 
 450 
 
 Ld. Carlisle. 
 
 Agostino Caracci. Martyrdom of St. 
 Stephen 
 
 IOO 
 
 Willett. 
 
 Christ appearing to the Magdalen. {In 
 
 
 Ld. Fitzwilliam. 
 
 Fitzwilliam Museum , Camb.) . . . 
 
 500 
 
 M. A. Caravaggio. His own Portrait \ Not so ig 
 
 N. N. 
 
 Sacrifice of Isaac 7 
 
 i?i 
 
 >5 
 
 The Flute Player . . . ' London - 
 
 9 9 
 
 F. Albano. St. John in the Desert . 
 
 IOO 
 
 Maitland. 
 
 Holy Family — La Laveuse . . . . 
 
 400 
 
 99 
 
 Holy Family 
 
 IOO 
 
 Lady Lucas. 
 
 Salmacis 
 
 60 
 
 D. of Bridgewater. 
 
 St. Laurence Justinian .... 
 
 150 
 
 T. Hope. 
 
 Christ and the Samaritan Woman . . 
 
 v. 200 
 
 
 Christ and the Magdalen .... 
 
 150 
 
 Maitland. 
 
 Communion of the Magdalen . . . 
 
 200 
 
 Willett. 
 
 Baptism of Our Saviour .... 
 
 700 
 
 * Ld. Temple. 
 
 Schidone. Virgin teaching the Inft. Saviour 
 
 300 
 
 D. of Bridgewater. 
 
 The Holy Family 
 
 20 
 
 Boddington. 
 
 Guido. Inft. Jesus asleep on Cross . . 
 
 00 
 
 O 
 
 O 
 
 D. of Bridgewater. 
 
 Apollonia Martyr {b) .... 
 
 35 ° 
 
 Troward. 
 
 The Magdalen 
 
 400 
 
 H. Hope. 
 
 Herodias. {Not in printed catalogue) 
 
 
 N. N. 
 
 Decollation of St. John 
 
 250 
 
 Bryan. 
 
 Virgin and Child. {Not in printed cata- 
 logue — probably did not come to England) 
 
 
 N. N. 
 
 Susannah and the Elders .... 
 
 400 
 
 Willett. 
 
 Ecce Homo 
 
 150 
 
 G. Hibbert. 
 
 Mater Dolorosa 
 
 v. 50 
 
 
 David and Abigail . . . . . 
 
 v. 400 
 
 
 The Sibyl {c) 
 
 300 
 
 G. Hibbert. 
 
 St. Sebastian 
 
 V. 60 
 
 
 The Force of Love 
 
 350 
 
 W. H. Hope. 
 
 Head of Magdalen 
 
 150 
 
 Ld. Gower. 
 
 Erigone. {Not in printed catalogued) 
 
 
 N. N. 
 
 St. Bonaventure ..... 
 
 So 
 
 Bryan. 
 
 Domenichino. Christ bearing his Cross. 
 {Fr. Coll. Seignelay.) . . . . 
 
 800 
 
 D. of Bridgewater. 
 
 St. Jerome 
 
 35 ° 
 
 W. H. Hope. 
 
 L., with St. Jerome. {Fr. Coll, de Haute- 
 feuille. ) . . . . . . . 
 
 500 
 
 D. of Bridgewater. 
 
 L., with Abraham and Isaac 
 
 150 
 
 Ward. 
 
 St. John Evangelist . . . . . 
 
 600 
 
 Ld. Carlisle. 
 
 The Sibyl 
 
 400 
 
 Ld. Temple. 
 
 The Vision of St. Francis. {Fr. Coll. 
 Paillette.) ..... 
 
 300 
 
 D. of Bridgewater. 
 
 Marine L., 
 
 250 
 
 Maitland. 
 
 Guercino. Presentation in Temple . . 
 
 600 
 
 Ld. Gower. 
 
 (a) A copy after Correggio, from the picture at Capo di Monte. 
 
 ( b ) Lately sold from the collection of G. Watson Taylor, Esq. for £400. 
 
 (c) Afterwards sold for 600 guineas. Now in the possession of W. Wells, 
 Esq. , of Readleaf. 
 
 Subject. Buyer. 
 
 Guineas. 
 
 David and Abigail 
 
 800 
 
 D. of Bridgewater. 
 
 St. Jerome 
 
 v. 80 
 
 
 Head of the Virgin 
 
 50 
 
 G. Hibbert. 
 
 Mola. Riposo 
 
 80 
 
 C. Long. 
 
 Hagar and Ishmael. {Not in printed cata- 
 logue — probably did not come to England ) 
 
 
 N. N. 
 
 The Death of Archimedes 
 
 40 
 
 Ld. Gower, 
 
 St. John preaching 
 
 250 
 
 9 9 
 
 Carlo Cignani. Christ and the Magdalen 
 
 80 
 
 D. of Bridgewater. 
 
 Guido Cagnacci. Martyrdom of a Saint. 
 
 v. 50 
 
 
 Titian. Pt. of Titian 
 
 70 
 
 Ld. Carlisle. 
 
 Rape of Europa {a) 
 
 700 
 
 Ld. Berwick. 
 
 Diana and Acteon 
 
 2500 
 
 D. of Bridgewater. 
 
 Philip the Second and his Mistress. {Now 
 in the Fitzwilliam Gallery at Cambridge) 
 
 1000 
 
 Ld. Fitzwilliam. 
 
 Perseus and Andromeda {b) 
 
 700 
 
 Bryan. 
 
 Diana and Calisto 
 
 2500 
 
 D. of Bridgewater. 
 
 Titian’s Mistress 
 
 50 
 
 Bryan. 
 
 The Temptation 
 
 400 
 
 T. Hope. 
 
 Venus admiring herself .... 
 
 300 
 
 Ld. Darnley. 
 
 Diana and Acteon 
 
 200 
 
 Sir A. Hume. 
 
 Education of Cupid ...'.. 
 
 800 
 
 Ld. Gower. 
 
 Titian’s Daughter . . . . . . 
 
 400 
 
 Lady Lucas. 
 
 Clement VII 
 
 400 
 
 (Countess de Grey.) 
 D. of Bridgewater. 
 
 The Magdalen 
 
 350 
 
 T. Maitland. 
 
 Venus and Adonis ..... 
 
 300 
 
 Fitzhugh. 
 
 Allegory on Human Life. {Fr. Coll. Queen 
 of Sweden) 
 
 600 
 
 D. of Bridgewater. 
 
 Christ and the Magdalen {c) 
 
 400 
 
 
 Pt. of a Lady — L’Esclavonne {d) . . . 
 
 V. 200 
 
 
 Riposo (<?) 
 
 250 
 
 Walton. 
 
 Venus rising from the Sea — Vetius d la 
 Coquille (/). {Fr. Coll, of Christina of 
 Sweden) ....... 
 
 800 
 
 D. of Bridge-water. 
 
 Charles V. on Horseback .... 
 
 150 
 
 f. f. Anger stein. 
 
 Sketch of a Concert 
 
 100 
 
 G. Hibbert. 
 
 Pt. of a Lady ... ... 
 
 V. IOO 
 
 
 Pt. of Count Castiglione . . . . 
 
 v. 50 
 
 
 Vitellius 
 
 20 
 
 Cosway. 
 
 Pt. of a Young Man . . . . . 
 
 v. 40 
 
 
 Vespasian 
 
 20 
 
 99 
 
 Giorgione. L’lnvention de la Croix {g) . 
 
 
 N. N. 
 
 Milo Crotoniate . 
 
 40 
 
 Ld. Darnley. 
 
 Gaston de Folx . . . . . . 
 
 150 
 
 Ld. Carlisle. 
 
 Pic de Mirandola ..... 
 
 20 
 
 fustice Lawrence. 
 
 (n) Now in the possession of Lord Darnley at Cobham Hall. 
 
 (b) This and the Europa were originally in the possession of Charles I. 
 
 (rj Sold by Mr. Christie at the sale of Mr. Champernowne’s pictures in 
 1820 (to Mr. Rogers, who bequeathed it to the National Gallery in 1855. — G.R) 
 
 (d) Afterwards passed into the collection of the Earl of Suffolk, and is now 
 in the possession of Edward Gray, Esq., of Harringay House, Hornsey, a 
 gentleman who possesses one of the finest small collections of pictures which 
 is in this country. (Since sold privately. — G.R. ) 
 
 ( e ) Afterwards belonged to the collection of A. Champernowne, Esq. — it 
 was sold at the sale (Christie’s) of his pictures in 1820, and is now in Paris. 
 
 (/) When I was engaged by the Trustees to report upon the state of the 
 Bridgewater Gallery and value the pictures (1880-1), I found that this picture 
 had never been lined. It is on the original stretcher, precisely as it left the 
 hand of the great painter. It is in a good state, but requires lining, or it will 
 suffer. I recommended this to be done. — G.R. 
 
 (g) Engraved as belonging to this collection, but it does not appear to have 
 come to England. 
 
1798 .] 
 
 THE ORLEANS COLLECTION. 
 
 75 
 
 Subject. 
 
 
 Buyer. 
 
 Subject. 
 
 
 Buyer. 
 
 
 Guineas. 
 
 
 Guineas. 
 
 
 3 t., Pordenone 
 
 50 
 
 J. H. Nesbit. 
 
 Holy Family with St. John . . . . 
 
 200 
 
 D. of Bridgewater. 
 
 3 upid stung by a Bee, complains to 
 
 
 
 Francesco Bassano. Midday. 
 
 
 N. N. 
 
 Venus (a) . . . . . . . 
 
 v. 400 
 
 
 Christ healing ...... 
 
 20 
 
 Willett. 
 
 Adoration of the Shepherds 
 
 v. 300 
 
 
 A Farm 
 
 20 
 
 fustice Lawrente. 
 
 St. Peter Marytr 
 
 V. 200 
 
 
 A Shepherd sleeping 
 
 20 
 
 Walton. 
 
 Poly Family with St. John 
 
 300 
 
 D. of Bridgewater. 
 
 The Ark ....... 
 
 20 
 
 Ld. Gower. 
 
 RDENONE. The Woman taken in Adultery. 
 
 
 
 Leandro Bassano. The Last Judgment . 
 
 IOO 
 
 D. of Bridgewater. 
 
 (Did not come to England : not m cat.). 
 
 
 N. N. 
 
 Cagliari. Adoration of the Kings . . 
 
 V. 200 
 
 
 dercules and Achelous . . . 
 
 40 
 
 Ld. Darnley. 
 
 
 
 
 
 
 
 Alessandro Veronese. The Angels 
 
 
 
 udith and Holophernes . 
 
 40 
 
 Ld. Wycombe. 
 
 appearing to Abraham .... 
 
 IOO 
 
 E. Cox. 
 
 SSANO. The Circumcision . . . . 
 
 100 
 
 Ld. Gower. 
 
 The Chastity of Joseph . . . . 
 
 200 
 
 D. of Bridgewater. 
 
 jtoretto. Jupiter and Leda . 
 
 200 
 
 Willett. 
 
 Spagnoletto. Christ among the Doctors 
 
 150 
 
 ) 9 ) > 
 
 'he Nursing of Hercules . . . . 
 
 50 
 
 Bryan. 
 
 Heraclitus ....... 
 
 20 
 
 Ld. Darnley. 
 
 Deposition ...... 
 
 600 
 
 D. of Bridgewater. 
 
 Democritus ....... 
 
 20 
 
 
 "he Dukes of Ferrara 
 
 150 
 
 Ld. Carlisle. 
 
 Heraclitus ...... 
 
 20 
 
 Ld. Gozver. 
 
 ncredulity of St. Thomas 
 
 40 
 
 Ld. Falmouth. 
 
 Democritus ....... 
 
 20 
 
 Nesbit 
 
 tretino 
 
 30 
 
 Ld. Gower. 
 
 Luca Giordano. Christ expelling the 
 
 
 
 'itian 
 
 30 
 
 J) 
 
 Money-Changers . 
 
 V. IOO 
 
 
 >t., Man with a Book. (Not engraved in 
 
 
 
 Pool of Bethesda 
 
 V. IOO 
 
 
 this collection .) . • . • • • • 
 
 80 
 
 D. of Bridgewater. 
 
 Velazquez. Lot and his Daughters . 
 
 500 
 
 H. Hope. 
 
 ’ortrait ....... 
 
 60 
 
 >> J> 
 
 The Finding of Moses 
 
 500 
 
 Ld. Carlisle. 
 
 'he Last Judgment 
 
 150 
 
 5 J ) J 
 
 N. Poussin. The Seven Sacraments — 7 
 
 
 
 ’resentation in the Temple 
 
 40 
 
 > J J J 
 
 pictures ...... each 700 
 
 D. of Bridgewater. 
 
 'he Consistory 
 
 40 
 
 Ld. Gcnuer. 
 
 The Birth of Bacchus (a) . 
 
 500 
 
 W. Willett. 
 
 jiavone. Christ before Pilate 
 
 250 
 
 D. of Bridgewater. 
 
 Moses striking the Rock . . . . 
 
 1000 
 
 D. of Bridgewater. 
 
 Dead Christ and Angel . . . . 
 
 ISO 
 
 Ld. Gower. 
 
 Moses trampling on the Crown of Pharaoh 
 
 400 
 
 D. of Bedford. 
 
 Entombment. ( Not in printed catalogue.) 
 
 
 N. N. 
 
 The Exposing of Moses . . . . 
 
 800 
 
 Ld. Temple. 
 
 Veronese. Christ & Disciples at Emmaus 
 
 200 
 
 Ld. Goiuer. 
 
 St. Paul supported by Angels . 
 
 400 
 
 W. Smith. 
 
 Death of Adonis 
 
 150 
 
 D. of Bridgewater. 
 
 Claude. A Sea Port ..... 
 
 50 
 
 Rogers. 
 
 aul Veronese between Virtue and Vice . 
 
 v. 350 
 
 T. Hope. 
 
 
 
 
 Visdom and Hercules 
 
 500 
 
 
 REMAINDER OF THE COLLECTION, \ 
 
 
 lercury and Hersd 
 
 V. 200 
 
 
 Sold Feb. 14, 1800, at Bryan’s Gallery, Pall 
 
 
 lars disarmed by Venus . . . . 
 
 V. 200 
 
 
 Mall , by Core, Burrell, and Foster. 
 
 Guineas. 
 
 
 lars and Venus 
 
 250 
 
 Willett . 
 
 M. A. Caravaggio. The Transfiguration . 
 
 12 
 
 
 lars and Venus united by Love . . 
 
 300 
 
 H. Elwyn. 
 
 Abraham and Isaac 
 
 47 
 
 
 he Daughter of Paul Veronese. (Not 
 
 
 
 B. Garofalo. Holy Family. . , . 
 
 51 
 
 
 in catalogue.) . . . . . . 
 
 
 N. N. 
 
 Holy Family with St. Catherine 
 
 32 
 
 
 eda 
 
 300 
 
 Ld. Gower. 
 
 Transfiguration. (After Raphael.) . . 
 
 155 
 
 
 he Finding of Moses ..... 
 
 40 
 
 Maitland. 
 
 P. Veronese. Three Allegories . 39, 
 
 44, 46 
 
 
 he Judgment of Solomon 
 
 60 
 
 D. of Bridgewater. 
 
 Mercury and Hersd 
 
 105 
 
 
 n Allegory— Le Respect . . . . 
 
 V. 200 
 
 Ld. Darnley. 
 
 His Own Pt., between Virtue and Vice . 
 
 60 
 
 
 Ditto — L’ Amour heureuse 
 
 200 
 
 >, 
 
 Mars disarmed by Venus .... 
 
 50 
 
 
 Ditto — Le Ddgout . . . . 
 
 150 
 
 J J 
 
 Guido Reni. St. Sebastian . . . . 
 
 22 
 
 
 Ditto — L’Infiddlitd (b) 
 
 150 
 
 ,, 
 
 Mater Dolorosa ..... 
 
 36 
 
 
 uropa 
 
 200 
 
 Willett. 
 
 David and Abigail 
 
 255 
 
 
 eparture of the Israelites. (Not brought 
 
 
 
 Titian. Pt., a Woman .... 
 
 40 
 
 
 to England .) ...... 
 
 
 N. N. 
 
 Pt., a Lady — l’Esclavone . . . . 
 
 80 
 
 
 urning of Sodom. (Not brought to 
 Englatui.) ....... 
 
 
 J > 
 
 Pt., Count Castiglione .... 
 
 63 
 
 
 )UANIN0. Rinaldo and Armida 
 
 350 
 
 T. W. Hope. 
 
 Perseus and Andromeda . . . . 
 
 310 
 
 
 .maVecchio. Venus and Cupid 
 
 v. 250 
 
 
 Luca Giordano. Pool of Bethesda . 
 
 32 
 
 
 erodias 
 
 150 
 
 Nesbit. 
 
 Christ expelling Money-Changers . . 
 
 50 
 
 
 enus combing her Hair. (Not in printed 
 
 
 
 G. Bassano. Pt., a Woman 
 
 Si 
 
 
 catalogue) 
 
 
 N. N. 
 
 St. Jerome 
 
 20 
 
 
 t. Catharine ...... 
 
 30 
 
 Bryan. 
 
 Raphael. Deposition .... 
 
 60 
 
 
 t. of a Lady 
 
 60 
 
 Shipp. 
 
 Christ on the Mount . . . . . 
 
 42 
 
 
 t. of a Doge 
 
 400 
 
 D. of Bridgewater. 
 
 
 
 
 
 
 
 (a) Sold at the sale of Mr. Willett’s pictures 
 
 n 1S19, and is now in tile 
 
 afterwards sold to Mr. Walsh Porter. ( b ) All afterwards sold to Ld. Darnlcy. 
 
 possession of Mr. Erard of Paris. 
 
 
 
 L 2 
 
ART SALTS. 
 
 [ 1798 . 
 
 76 
 
 Subject. 
 
 Buyer. 
 
 Subject. 
 
 
 Buyer. 
 
 Guineas. 
 
 
 Guineas. 
 
 
 Pt., Julius II.. 
 
 36 
 
 Death of Maximilian 
 
 200 
 
 
 Madonna and Child 
 
 150 
 
 Triumph of Constantine . 
 
 200 
 
 
 J. Romano. Birth of Jupiter 
 
 38 
 
 Entry of Constantine into Rome . . . 
 
 150 
 
 
 Birth of Hercules . . . . . . 
 
 so 
 
 Constantine restoring the Senate 
 
 150 
 
 
 Michelangelo. Christ on the Mount 
 
 5 2 
 
 Command of the Fleet given to Crispus . 
 
 IOO 
 
 
 Holy Family ...... 
 
 90 
 
 Founding Constantinople . 
 
 70 
 
 Sir P. Stephens. 
 
 Correggio. Holy Family . . . . 
 
 200 
 
 C. worships the Cross 
 
 80 
 
 
 Danae ....... 
 
 650 
 
 Baptism of Constantine . 
 
 IOO 
 
 
 Giorgione. St. Peter Martyr . . . 
 
 38 
 
 Vandyck. Family of King Charles I. (a) . 
 
 1000 
 
 Hammersley. 
 
 Cupid Stung by a Bee .... 
 
 195 
 
 Charles the First — a single figure . . . 
 
 
 N. N. 
 
 Adoration of Shepherds . . . . 
 
 155 
 
 Earl of Arundel (b) 
 
 
 „ 
 
 S. Bourdon. Two Portraits. N. N. 
 
 21 
 
 Duke of York 
 
 
 )> 
 
 Pt., Queen of Sweden .... 
 
 21 
 
 An English Gentleman . . . . 
 
 
 
 Perugino. Madonna and Child . . . 
 
 5 
 
 An English Nobleman . . . 
 
 
 > > 
 
 Adoration of Christ ..... 
 
 
 His Lady 
 
 
 ,, 
 
 G. Palma. Lady at the Bath . . . 
 
 
 A Widow Lady . . . . . . 
 
 
 
 Y r enus and Cupid ..... 
 
 5 “ 
 
 The Princess Falsbourg . . . . 
 
 
 „ 
 
 F. BarOCCIO. The Burning of Troy . . 
 
 14 
 
 Portrait of Snyders ..... 
 
 400 
 
 Ld. Carlisle. 
 
 Watteau. A Fete Champetre . 
 
 1 1 
 
 Teniers. The Chymist .... 
 
 0 
 
 Ln 
 
 > 
 
 
 G. Bellini. The Adoration of the Kings . 
 
 16 
 
 The Guitar Player 
 
 v. 50 
 
 
 Lanfranco. The Annunciation . . . 
 
 8 
 
 An Old Man ..... 
 
 
 N. N. 
 
 S. Vouet. An Allegory on Peace 
 
 IO 
 
 The Smokers . . . . . . 
 
 200 
 
 Erard (of Paris). 
 
 Francucci. The Nativity . . . . 
 
 20 
 
 The Game of Tric-Trac ( c ) 
 
 300 
 
 G. Hibbert. 
 
 M. A. de la Bataille. A Masquerade f 
 
 ■3 
 
 The Gazette . 
 
 300 
 
 Sir P. Stephens. 
 
 P. Caravaggio. The Graces. . . . 
 
 l8 
 
 Ale-House and Smokers . . . . 
 
 1 
 
 
 0. Gentileschi. A Man with a Cat . 
 
 12 
 
 Le Cabaret. This, and the preceding one 
 
 > 500 
 
 ) 
 
 W. Beckford. 
 
 G. Cagnacci. Martyrdom of a Saint . . 
 
 18 
 
 The Shepherd . . . . . . 
 
 
 Donducci. A Sketch for an Altar 
 
 9 
 
 Rembrandt. Pt. of a Fleming . 
 
 V. 200 
 
 
 P. Mathei. Salmacis 
 
 30 
 
 Pt. of his Wife 
 
 v. 150 
 
 
 Valentin. The Senses .... 
 
 33 
 
 A Burgomaster (d) 
 
 v. 300 
 
 
 A. Solario. Herodias ..... 
 
 41 
 
 The Cradle 
 
 1000 
 
 Mr. P. Knight. 
 
 G. Cesari. Susannah and the Elders 
 
 t8 
 
 The Mill {e) 
 
 500 
 
 IV. Smith. 
 
 G. MuziaNO. The Raising of Lazarus . 
 
 56 
 
 St. Francis 
 
 
 N. N. 
 
 L. Cambiasi. Judith 
 
 22 
 
 G. Dow. Player on the Vholin. .SrtfVol. 1 1 ., 1801 
 
 300 
 
 John Davenport. 
 
 A. Carracci. A Portrait . . . . 
 
 36 
 
 Old Woman and Lamp .... 
 
 
 N. N. 
 
 Guercino. St. J erome .... 
 
 39 
 
 A Dutch Woman 
 
 
 J J 
 
 Maitre Roux. A Woman taken in Adultery 
 
 3 2 
 
 P. WOUVERMAN. Departure for the Chase 
 
 200 
 
 John Davenport 
 
 Salviati. The Rape of the Sabines 
 A. del Sarto. Jupiter and Leda 
 F. Albano. Christ and Samaritan Woman 
 
 34 
 
 105 
 
 42 
 
 THE DUTCH <Sr» FLEMISH PICTURES. 
 
 F 
 
 Rubens. The Judgment of Paris (a) 
 
 . 2000 
 
 Ld. 
 
 Kinnaird. 
 
 The Rape of Ganymede . 
 
 . v. 400 
 
 
 
 Venus returning from the Chase . 
 
 . v. 400 
 
 Ha, 
 
 ris. 
 
 Continence of Scipio . 
 
 800 
 
 Ld. 
 
 Be, ■wick. 
 
 Thomyris ...... 
 
 1 200 
 
 Ld. 
 
 Darnley. 
 
 The Adventures of Philopoemen 
 
 . v. 600 
 
 
 
 The St. George — View of Richmond (/>) 
 
 1000 
 
 IV. 
 
 Mori and. 
 
 Marriage of Constantine. (12 sketches) 
 
 . V. IOO 
 
 
 
 The Miraculous Cross . 
 
 IOO 
 
 
 
 The Labarum .... 
 
 IOO 
 
 
 
 Battle of Constantine and Maxentius (c) 
 
 200 
 
 Sir 
 
 P. Stephens. 
 
 (a) Sold for 2500 guineas to T. Penrice, of Great Yarmouth, Norfolk; 
 bought for the National Gallery, in 1844, at his sale for £4200. — G.R. 
 
 ( b ) Afterwards sold to Geo. IV. 
 
 (c) Afterwards sold to Lord Ranelagh. 
 
 Return from the Chase 
 
 The Stable 
 
 Hawking 
 
 Mieris, The Old. Chemist 
 A Picture of Bacchanalians 
 Woman eating Oysters 
 G. Netscher. Pt. of Netscher. The Gip- 
 sies. Hagar. The Riposo. Offering to 
 Venus. No prices named. 
 
 The Schoolmistress 
 
 The Bird in the Cage ..... 
 Vanderwerff. The Fish Merchant 
 The Egg Merchant . . . . . 
 
 The Judgment of Paris . 
 
 v. 200 
 v. 200 
 v. 200 
 v. 150 
 
 N. N. 
 
 v. 200 
 v. 200 
 
 V. IOO 
 V. IOO 
 
 v. 150 
 
 (a) Afterwards sold to the Duke of Richmond 
 
 (b) Missing when Mr. Slade took possession, and 10,000 francs deducti 
 allowed for it. The picture u'as afterwards found in the collection of Citiz 
 Robit, which was bought by Sir S. Clarke and G. Hibbert in 1801, and th 
 the Duke of Bridgewater bought it for 500 guineas. (And it is now at Staffc 
 House. — G.R. 1 . 
 
 (c) Afterwards sold to Mr. Penrice. 
 
 \d) Sold to Mr. Woodburn for 400 guineas at Christie’s. 
 
 ( e ) Sold to Marquis of Lansdowne for 800 guineas. 
 
1798.1 
 
 THE ORLEANS COLLECTION. 
 
 77 
 
 Mr. T. M. Slade’s letter to Buchanan respecting this purchase of the Dutch and 
 Flemish pictures : — 
 
 “ In the month of May, 1792, the late Lord Kinnaird and Messrs. Morland and Hammersley 
 asked me, if I would join them in the speculation of purchasing the whole of the Orleans 
 Collection ; for which they were to provide money, and I to find judgment as to their value. This 
 proposal suiting me, I readily acquiesced in it ; and on the 8th of June I set off from my house at 
 Rochester for Paris, carrying with me a letter of credit on the house of Peregaux and Co. for fifty 
 thousand pounds sterling. I arrived at Paris the very day the king had fled : the city was in the 
 greatest confusion, and under martial law ; however, the keepers of the gallery had orders to let 
 me have free access at all hours, and to take down any pictures which I wished to inspect. 
 
 “ A negotiation on the part of Lord Kinnaird had been begun through the means of a Mr. 
 Forth, a gentleman who was intimate in the family of the Duke of Orleans. After two or three 
 days that I had been in Paris, I was requested on the part of the Duke of Orleans to make a 
 valuation of all the pictures in the collection, and to make an offer. This I represented was 
 contrary to all usage, as it was for His Royal Highness to fix the price, and to make a demand — 
 all expostulation, however, on this point was in vain ; for unless I acceded to these conditions the 
 negotiation could not be entered into. — I was therefore compelled to make a valuation, which I 
 presented to the Duke ; but when he saw it, he got into a rage, and said he was betrayed, and that 
 I was in league with Monsieur le Brun, the director of His Royal Highness’s gallery, as there .was 
 only 20,000 livres difference between his valuation and mine. I most positively assured the Duke 
 that such could not be the case, as I was not acquainted with Monsieur le Brun ; had never spoken 
 to him in my life ; and only knew him by reputation. This casualty, however, gave a check to the 
 affair. The Orleans party at this time became every day stronger at Paris, and the Duke so 
 popular, that he flattered himself he should speedily be elected regent — he suddenly, therefore, 
 resolved not to sell that collection, on the credit of which he had already borrowed considerable 
 sums of money for the purpose of influencing the public mind : thus was this first, and most 
 important negociation broken off, to my great mortification, and I returned to England, having 
 accomplished nothing. I had not long left France, when Lord Kinnaird informed me that the 
 Italian part of the Orleans Collection had been disposed of; that the Duke had lost a large sum 
 of money at billiards to M. Laborde, the elder ; and that the bankers were so pressing upon him 
 that he was compelled to let them have the Italian pictures to pay his debt ; — that the Flemish 
 and Dutch pictures still remained, but there was not a moment to be lost in endeavouring 
 to secure them for this country. I accordingly set off a second time for Paris, and on my 
 arrival was again required to make a valuation, which I did ; and, strange to say, it again 
 came within 10,000 livres of Monsieur le Brun’s valuation. On this occasion my offer 
 
 was accepted, a memorandum of agreement was signed, and I conceived all to be settled ; 
 but the duke having learnt that he could obtain a larger sum from the Empress of Russia, 
 
 objected to ratifying the sale, unless he was allowed the difference of exchange, which was 
 
 at that time exceedingly favourable for England : this I acceded to, being anxious to terminate 
 the affair, and I flattered myself that all obstacles had been removed ; but no ! the duke 
 had nearly outwitted himself by this delay. The numerous creditors, to whom he had 
 pledged different parts of the palace, rose up, and claimed the pictures as a part of the furniture, 
 and refused to let them be removed. I consulted an able advocate, who advised me, as 
 I spoke the French language fluently, to plead my own cause. I accordingly attended the first 
 meeting of the creditors, in the great hall of the Palais Royal — from thirty to forty claimants were 
 present — I urged the justice of my claim, which they did not seem to allow ; and I boldly declared, 
 that, if they would not suffer me to remove the pictures, I had the power, and would enforce it, of 
 lodging a protest against their being sold to any other person ; in which case, the duke could not 
 satisfy their demands to any extent. This threat had the desired effect, and next day I was 
 
 informed that I might remove them at my own risk. I lost no time in availing myself of this 
 
 permission, and had them carried to a large warehouse adjoining the Palais Royal. 
 
 “ Here again I had fresh difficulties to encounter ; and considering the state of the times, very 
 considerable risk ; for while I was having them cased up, I was surrounded by a parcel of people, 
 many of them artists, who declared that it was a shame so capital a collection should be permitted 
 to go out of the kingdom, and seemed from their language determined to prevent it. Some of them 
 
78 
 
 ART SALES. 
 
 [ 1798 . 
 
 asked privately by what route they were to go ; — I had told the people employed in the emballage 
 that they would be sent off by land for Calais : so soon however as the packing was completed, I 
 had them all privately in the night put on board a barge which was in readiness, and sent by the 
 Seine to Havre de Grace; from whence they were immediately forwarded to England, and were 
 safely landed at the Victualling Office at Chatham. 
 
 “ I was at that time a man of good fortune, and held a place under government. My house 
 was at Chatham, where I had a very excellent gallery of pictures for my own gratification. So 
 soon as these pictures were landed, I had them arranged in my gallery, and for some months had 
 an opportunity of gratifying visitors with a view of my acquisition ; of which, considering the risks 
 I had encountered, I was very proud. 
 
 “ The following season the collection was carried to London, where it was exhibited for sale 
 by private contract, at the Old Academy Rooms in Pall Mall, under the direction of Mr. Wilson of 
 the European Museum ; and you may judge of the general interest which this collection created, 
 when I inform you, that above one hundred pounds per day was received during the last week of 
 the exhibition, at one shilling admittance only. I had the entire control over this valuable 
 property, and fixed those prices which I considered as fair, but which have since proved to be 
 much under the real value of the pictures. Many of the finest were sold in the course of a few 
 days, and I can give you the names of the purchasers, with the prices of the principal pictures ; 
 but not having retained one of the marked catalogues, I must refer you to Mr. Wilson for the 
 prices of those which were not of so great value, although it may be said that the whole collection 
 was good.” 
 
 The above letter is here given as containing a short and interesting history of the introduction 
 of this branch of so important a collection into England. 
 
 The names of purchasers of this part of the collection, which the author of these compilations 
 received from Mr. Wilson, are as follow : — The Duke of Richmond, the Marquis of Lansdowne, 
 the Earl of Carlisle, the Earl of Ossory, the Earl of Darnley, the Baron Nagel, Lord Eardley, 
 
 Viscount Dudley and Ward, Danby, Esq. of Yorkshire, Walter Fawkes, Esq. of Farnley- 
 
 Hall, M.P., Edward Knight, Esq. of Portland Place, Lady A. Polwarth, Joseph Smith, Esq., Mr. 
 Vandergucht, the Count de Bruhl, the Earl of Buckinghamshire, General Craig, Sir Francis 
 Basset, Lord Gower, Miss Ottway, the Earl of Gainsborough, Viscount Clermont, William Smith, 
 Esq., M.P., Monsieur Mickel Basil, Payne Knight, Esq., M.P., the Countess of Hardwicke, Sir 
 
 John Nelthorpe, W. Beckford, Esq., J. Davenport, Esq., George Hardinge, Esq., Taylor, 
 
 Esq., and Sir Philip Stephens. — Buchanan's Memoirs, Vol. I. p. 164. 
 
1799.] LORD R. SPENCER’S AND OTHER COLLECTIONS. 
 
 79 
 
 Mr. W. Jennen’s Collection of Italian, French, Flemish, and Dutch pictures, sold after his 
 death by Christie, May 24 and 25, 1799, brought from his mansions at Acton Green, in Suffolk, and 
 Grosvenor Square.- The 115 pictures, which sold for small prices, realized £ 680 . Noticeable 
 pictures were: — Tintoret, “The Nativity”; Giorgione, “A Musical Composition”; Albert 
 Durer, “ The Wise Men’s Offering” ; Murillo, “ Simeon with the Infant Christ ” ; Ant. More, 
 Portrait of a Lady. 
 
 Mr. Nathaniel Bayly’s Collection. — The pictures, eighty-four in number, sold May 31, 1799, 
 by Christie, were by painters of the Italian, German, and Dutch schools, and appear to have been 
 of fair pretensions, though the prices were not large, the highest being for a G. Dow, “ The Tooth- 
 drawer ” — £105. Noticeable pictures were: — Dom° Feti, “ St Jerome”; L. Giordano, “Paris 
 with the Graces ” ; Ciro Ferri, “ Madonna, Infant, and St. Francis ” ; Le Brun, “ Holy Family,” 
 Holbein, “John, Elector of Saxony”; Cuyp, Landscape and Cattle ; Raphael, “ Holy Family ” 
 {circle), an early work; Vandyck, “ Holy Family with Angels,” in the manner of Titian ; Maturino, 
 “ Adoration of the Magi,” “very capital” ; Poussin, “ The Plague at Athens,” a most grand and 
 capital picture ; Cuyp, Cattle piece, “ a warm, glowing, beautiful picture,” and the Companion ; 
 Paul Potter, Landscape with Cows, “ a very capital picture” ; Dgmenichino, “ Cleopatra.” 
 
 Lord Robert Spencer’s Pictures. — These were sold on the same day as the above, but 
 though few out of the twenty-six pictures brought prices of any amount, they must have been good 
 pictures. Noticeable were: — Raphael, “ The Transfiguration,” a very fine old copy ; “ St. John 
 preaching in the Wilderness,” “ an undoubted picture ” — £147 ; Gainsborough, “The Milk-girl,” 
 “The Italian Villa,” “A Man watering Horses,” “ evidently he had in mind the fine works of 
 Murillo ” ; Titian, Portrait of himself ; Giulio Romano, “ St. Catherine ” ; P. da Cortona, “ Christ 
 on the Cross ” ; Vandyck, “ The Crucifixion ” ; A. Sacchi, “ Martyrdom of St. Peter ” ; Van 
 Eyck, “St. John Baptist”; Correggio, “A Cupid,” well known to be from the collection of 
 Charles I. — £210; Watteau, “The Marriage,” “a very capital picture,” engraved; a pair of 
 Conversations, small ; Guercino, “ The Prodigal Son ”; Zuccaro, “ Presentation in the Temple.” 
 
 Mr. Paul Benfield’s Collection. — These pictures, which were by the old masters, were 
 brought from Mr. Benfield’s seat, Woodhall Park, Herts, sold June 22-24, r 799 > an d July 2 anc l 3 > 
 by Mr. Christie. 388 pictures in all ; of which were specially mentioned : — Raphael, “ Madonna 
 and Child” with the Strawberry; P. Veronese, “Wisdom and Hercules”; S. Rosa, A noble 
 Landscape; Corregcio, “Madonna with Saints,” Parmegiano, “Marriage of St. Catherine." 
 The prices were but small. “ The Repeal ” — £16 16s. ; Parmegiano — £43 ; P. Veronese — £21 ; the 
 three bought by Captain Bailey. Correggio — £21 ; P. Veronese, “ The Crucifixion ” — £36 15s. ; 
 Old Palma, “ The Woman taken in Adultery” — £28; Tintoretto, Portrait of Venetian Noble, 
 54 by 42 — £84 ( Comyn ) ; Vandyck, Portrait of Sir K. Digby — £28. The price and size of most of 
 the pictures are marked in my catalogue. Some pieces in fresco and mosaic must have been 
 interesting, but they seem to have escaped notice. They were — “ St. John in the V ilderness ” ; 
 A “Deposition;” “ Ecce Homo;” “St. Francis,” “St. Jerome;” “ Ecce Homo;” “Birth of 
 St. John ; ” “ Charity” ( circle ) ; Head of a Pope with a gold fish. 
 
So 
 
 ART SALTS. 
 
 [ 1800 . 
 
 PICTURES FROM THE COLONNA PALACE; THE FLORENCE 
 GALLERY AND CAPO DJ MONTE. 
 
 This was an important sale by Mr. Christie, April 25, 1800, “ of about fifty well-known pictures 
 of the highest class and consequence, which have graced some of the finest palaces in Florence, 
 Rome, and Naples. The many judges who have visited Italy will recognise these pictures, which 
 are in the same pure and perfect state as when they were transferred from the easels of the immortal 
 artists who painted them, to the apartments in the several distinguished Palaces they adorned.” 
 The sale was “ without the least reserve ” and the catalogues were 2 s. 6 d. each. Of the twenty-one 
 pictures from the Colonna Palace the chief pictures were. — Velasquez, Portrait of Clement III.; 
 Titian, “ Holy Family ” ; Bronzino, “ Adoration of the Shepherds,” {small) ; Claude, Landscape, 
 and another, both painted for the Colonna family, representing Morning and Evening; Guido, 
 “ St. Cecilia,” painted for Prince Colonna; Raphael, “ Virgin and Child.” These last four were 
 bought by Mr. Davidson : for prices see Vol. II. Colonel Macdonald, Colonel Murray, and Captain 
 Baillie were the chief buyers. The principal pictures from the other palaces were : — Schidone, 
 “ Holy Family,” from Capo di Monte ; Albano, “ St. John in the Wilderness,” {small) ; A. Caracci, 
 Two Landscapes, painted for the Parma Gallery ; Guercino, “ David with Head of Goliath,” from 
 Parma Collection, {half-length) ; Guido, “ Magdalen ” ; A. Caracci, “ Venus, Satyrs, and Cupid,” 
 large life-size ; Schidone, “ Girl learning the Lord’s Prayer,” from Parma Collection {Earl of 
 Ashburnham) ; Polidoro da Caravaggio, “Judgment of Paris,” on panel, from Parma Collection 
 {Mr. Hope ) ; Ludovico Caracci, A Riposo, on thick wood, from Parma Collection — £1,155 
 {Col. Murray) ; Raphael, “ Holy Family,” a repose, was in the Colonna Palace for upwards of 
 two centuries — etched by Buonasoni but never engraved — £682 {Davidson). 
 
1801 .] SIR WILLIAM HAMILTON'S COLLECTION. Si 
 
 SIR WILLIAM HAMILTON'S COLLECTION. 
 
 Sir William Hamilton during his long residence of thirty-seven years as Minister 
 Plenipotentiary at the Court of Naples, had great opportunities for collecting works of 
 art, and the large collection of antique fictile vases which he formed chiefly through the 
 purchase of those possessed by the Porcinari family, with many works of art in terra- 
 cotta, glass, bronzes, sculptures in marble, gems, and medals, with miscellaneous 
 antiquities, was purchased by the British Government in the early days of the British 
 Museum, and gave rise in fact to the original department of antiquities. This was a 
 most advantageous investment of public money by special vote of Parliament in 1772, 
 for £8,400. He afterwards got together another large collection of similar objects, and 
 this was despatched to England for sale, but was mostly lost from H.M.S. Colossus in a 
 great storm. Those objects not selected for the British Museum, and those which 
 escaped the storm at sea, were sold, March 27 — 28, 1801, Friday and Saturday, by 
 Mr. Christie, in Pall Mall, and in another which followed in April. In both sales there 
 were pictures, though in neither was there any picture of distinction except that of 
 “The Laughing Boy” or “ Boy with a Hornbook,” attributed to Leonardo da Vinci. 
 The catalogue of March 27th sale, stated it to be of “ a select part of the capital, 
 valuable and genuine collection, the property of the Rt. Hon. Sir W. Hamilton, K.B., 
 purchased by him with great taste at a liberal expense, from several distinguished 
 cabinets in this country and during his residence as Minister at the Court of Naples.” 
 A charge of one shilling was made for catalogues, which was returned to purchasers. 
 There were 48 pictures in the first day, of which may be noticed : Tintoretto, “ Flagella- 
 tion of Christ” — “ a true and fine little picture;” Caravaggio, “The Nativity,” and a 
 “ Pieta” — with seven figures, “ very masterly,” saved from the church at Messina thrown 
 down in the earthquake, 1783; F. Hals, a portrait; Claude, landscape, seapiece with 
 figures, sunset — the drawing is in the collection of the D. of Devonshire ; L. 
 Giordano, “A Neapolitan playing on the Calascione, or Great Guitar, with a Monkey, 
 Parrot, Ass, and a Ram ” — a satire on his countrymen as “ Simii, papagalli , cucci, e 
 cornuti buoni ; 11 S. Rosa, “Democritus” — from the collection of Duke of Laurenzano ; 
 L. Caracci, “ Holy Family” — from collection of P. de Conti, Paris; four pictures by 
 L. Giordano and G. Simonelli, which were purchased from the Convent of the Carmellite 
 Friars at Naples, copies of which are now substituted for them ; Giorgione, portrait of 
 the Fifth Duke of Piombino — on panel , bought of the family by Gavin Hamilton. “A 
 most curious picture on a gold ground, in the style of Giotto,” is attributed to Raphael 
 as being “much like his first manner.” The subject was “The Virgin seated with 
 Jesus on her Lap,” three male and three female Saints, God the Father, with Christ 
 crucified, and the three Marys in the upper part. 
 
 In the second day there were 49 pictures, besides some remarkable water-colour or 
 tempera paintings by Don Tito Luzzi, of Naples, which brought high prices. There 
 were also some good antique sculptures. Of the pictures: Sir Joshua Reynolds, “ His 
 Original Bacchante — painted on panel. This picture has for many years met with the 
 universal approbation of the Dilettanti in Italy, and was engraved before it went abroad.” 
 A pencil note on the priced catalogue in my collection says this was Lady Hamilton. 
 
 M 
 
 VOL. I. 
 
32 
 
 ART SALTS. 
 
 [ 1801 . 
 
 It sold for £131 5s.; Rubens, sketch on panel, the portrait of one of his wives, the same 
 that is painted full length in a picture belonging to Lord Bute. This sketch was in the 
 collection of Sir Joshua. It now sold for £54 12s.; Berghem, landscape and cattle, 
 from the Porto Pio, Rome— £199 105.; Vandyck, “ St. Sebastian with two Angels” — 
 £244 ; Titian, portrait of a man of the Barberini family, the arms with the bees on his 
 sword — £63 ; Guido, “ Cupid and Psyche,” in his dark manner, like Caravaggio, from 
 the collections of Prince Carignan at Turin and Prince Conti at Paris — £152 5s.; 
 Garofalo. “ Holy Family in Landscape,” from the Duke of Coscia’s collection, Naples, 
 presented by the Pope to Cardinal Coscia — £64 ; Schidone, “ The Virgin and St. 
 Joseph teaching Jesus to read,” on silver, a charming picture out of Prince Francavilla’s 
 collection, Naples — £7 6 13s.; Raphael, “The Coronation of Charles VI.,” as painted 
 by his scholars in the Vatican — “ There is every reason to believe this to be original ” — 
 £56 14s.; Leonardo da Vinci, “A Laughing Boy with a Plaything in his Hand.” There 
 are two drawings of the same boy in the drawing-book of Leonardo in the Ambrosian 
 Library, Milan. This picture was in the Arundel collection inherited by Lady Betty 
 Germaine, who left it in her will to the present proprietor — £1,365- This interesting 
 picture was now bought by Mr. Beckford — “ Vathek Beckford ” — and remained in his 
 collection at Fonthill Abbey until 1823, when it was sold in that sale, and then again 
 bought for Mr. Beckford, to be afterwards transferred to Hamilton Palace and remain 
 there till 1882, when it was sold once more in that famous sale for a much larger price, 
 viz., £2,205 (see Hamilton Palace sale). 
 
 Amongst the drawings were: by Guillaume Baur, “who was painter to Charles V., 
 and by whom there are several small works in the Royal collection at Paris.” “ The 
 Miracle of the Fiery Furnace” ; Guercino, “The Prodigal Son” (two) — £21 ; Cipriani, 
 three drawings of the Barberini vase (the Portland vase) from which Bartolozzi engraved 
 — £56 145.; Ducroz, “ Arch of Titus ” — £44 ; “ The Temple of the Sibyl, Tivoli ” — £48 ; 
 “ The Cascatelli ” — £50 85. ; Don Tito Luzzi, “ Naples, with Eruption of Vesuvius, by 
 Moonlight, in 1796” — £52 105.; “Bay of Naples,” from the window of the British 
 Embassy” — £107. A pencil note on the catalogue says “ These two drawings were 
 done in India ink and tinted, and were beautifully finished ; they were at least six feet 
 long; without glass, covered in the frame by thin muslin.” Jole, “Interior of St. 
 Peter’s, Rome,” with many figures. “Jole was the favourite scholar of Paolo 
 Pannini and first painter to his Sicilian Majesty” — £20 10s. 6 d.\ Mad. Le Brun, 
 “Head of a Sibyl” — £32 11s. ; Angelica Kauffman, “A Muse with a Mask” — 
 
 £31 lew- 
 
 The Antique Sculptures . — A prefericulum of Oriental alabaster — £64; a bust, re- 
 sembling Cicero, in basalt and rose antique — £15 155. : a marble bust, Greek work, dug 
 up in Cicero’s Villa of Formice, near Gaeta — £105 ; a figure of Isis, in white marble, 
 with the lotus in her hand, Greek style, found near Caprea — £21 ; bas-relief, white 
 marble, Bacchus and Meta — £43 ; Egyptian lion, in basalt, found in Villa of Augustus, 
 in Caprea — £57 15s.; bead of Nero, in porphyry, with the bust added in bronze 
 gilt, by Luigi, of Rome, from the antique. The head was found at Naples and 
 belonged to Prince Cassano d’Arragona — £8g 55. The pictures and drawings sold 
 in the second sale were all of no interest, many being commonplace copies and views 
 of Naples. 
 
1800 - 1 .] 
 
 MR. BAY’S COLLECTION . 
 
 8 
 
 MR. DA Y’S COLLECTION. 
 
 Mr. Day was an artist who was studying at Rome when that city was in possession of the 
 French Army under Napoleon I., and he purchased fine pictures from the Colonna and the 
 Borghese Collections, which were sent over to London and exhibited for sale “by private contract” 
 at Mr. Tresham’s rooms in Lower Brook Street in the years 1800 and 1801. Several of the most 
 important pictures after being sold in this way came eventually to the National Gallery. Buchanan 
 gives the following account of these pictures. From the Colonna Gallery : — Titian, “Venus and 
 Adonis ; ” “ Ganymede ; ” G. Poussin, Landscape with Abraham and Isaac. These three were 
 sold to Mr. Angerstein for 6000 guineas and were sold by him to the National Gallery in 1824. G. 
 Poussin, two small landscapes, sold to the Duke of Bedford ; Titian, “ Herodias,” sold to Lord 
 Northwick for 1000 guineas, afterwards in Lord Radstock’s Collection; Guido, “ Magdalen,” sold 
 to Lord Radstock, valued at 800 guineas; “St. Jerome,” sold to Mr. G. Hibbert ; “Madonna, 
 Infant Saviour, and St. John.” From the Borghese Gallery (Aldobrandini Cabinet) : — Leonardo da 
 Vinci, “ Christ disputing with the Doctors,” valued at 3000 guineas, sold to Lord Northwick, 
 afterwards to Rev. W. H. Carr, who bequeathed it to the National Gallery in 1831 ; Raphael, 
 “ The Madonna, Infant Christ, and St. John,” valued at 1,500 guineas, sold to Lord Garvagh, and 
 sold to the National Gallery for £9,000 in 1865 ; A. Caracci, “ Christ and St. Peter,” valued at 
 2,000 guineas, to Lord Northwick, afterwards sold to Mr. Thomas Hamlet,* who sold it with the 
 Titian, “ Bacchus and Ariadne,” and “The Bacchanalian Dance,” by N. Poussin, to the National 
 Gallery in 1826 for £9,000. The “ Bacchus and Ariadne,” had belonged to the Aldobrandini 
 Cabinet, and had been bought at Rome by Buchanan through his agent Irvine. Lord Kinnaird 
 being aware of the negociation for it, and becoming the purchaser of the picture when it arrived, 
 after great difficulty in getting it out of Rome. As to the price of the picture, Buchanan quotes a 
 letter of Irvine’s, dated Rome, May 31st, 1806, stating the terms — 9,000 crowns, half at once and 
 the rest it two payments in bills at 5 and 9 months, and besides, “if the picture be sold for more than 
 £3,500, then other 500 crowns are to be added to the above.” The Roman crown or scudo is equal 
 to 4s. 3 \d. Andrea Mantegna, “Birth of Christ;” Titian, “Madonna, Infant, and Saints,” 
 valued at 1,000 guineas, sold to Mr. G. Hibbert; G. Bassano, “ Angel appearing to Shepherds;” 
 Giorgione, “King David;” Baroccio, “Madonna and Child;” Unknown, “The Maid of 
 Orleans ; ” Garofalo, “ Conversion of Saul ; ” P. Bordone, “ Susannah and the Elders.” From 
 the Borghese Gallery : — Raphael, “ St. Catherine,” valued at £2,500, to Lord Northwick, afterwards 
 sold to Mr. W. Beckford, and by him to the National Gallery in 1839 with a Mazzolino, “ Holy 
 Family,” and Garofalo, “ Holy Family,” for £7,350 ; Lud°. Caracci, “ Madonna and Child ; ” 
 Domenichino, “Cupid and Psyche,” valued at 200 guineas. From the Aldobrandini Villa: — 
 A. Caracci, “ Holy Family;” Domenichino, “St. Jerome,” sold to Rev. W. H. Carr, bequeathed 
 to National Gallery; Schidone, “A School-girl,” sold to Lord Northwick. Pictures taken by the 
 French at Rome (destined lor the Museum at Paris , and found at Genoa) : — A. Caracci, A Saint and 
 Angels, from the Church of St. Gregorio, valued at 2,500 guineas, sold to the Duke of Bridgewater, 
 and in the Stafford Gallery : Guido, “ St. Cecilia and Saints,” after Raphael, a copy mentioned by 
 Malvasia ; A. Caracci, “ Coronation of the Virgin,” is also named by Buchanan amongst the 
 pictures purchased by Mr. Day from the Aldobrandini Palace. 
 
 * This Mr. Hamlet kept a shop in Coventry Street as a dealer in old gold and silver plate. I used to meet 
 him occasionally at a restaurant in the neighbourhood about the year 1840, and he often spoke with pride of 
 having sold these pictures to the National Gallery, but always with a sigh that he had parted with them too cheap, 
 in which I quite agreed with him. 
 
 M 2 
 
8 4 
 
 ART SALTS. 
 
 [ 1801 . 
 
 LORD BESBOROUGLTS COLLECTION. 
 
 The Earl of Besborough was a distinguished amateur and enthusiastic collector of 
 works of art besides pictures, for we find in the catalogue of the sale, Feb. 5, 1801, after 
 his death, many interesting and curious objects. Of these may be noticed, an antique 
 fresco of a woman bearing a modius on her head, from the Massimo Palace, Rome — 
 £8 16s. 6 d. An antique mosaic, found in Adrian’s Villa, Tivoli, see Caylus, Vol. I., 
 pi. 105,-— £18 185. Many good antique bronzes, some old Chinese work, a vase and 
 cover of antique work in Bianco e Nero marble — £12 ; a bust of Demosthenes, by Ben- 
 venuto Cellini— — £22 ; six groups of boys carved in ivory by Fiamingo, from the collec- 
 tion of the great Duke of Buckingham — £141 1 55. ; a pot of old Raphael ware — 
 £y lys. 6 d. There were many miniatures, portraits of celebrities, amongst which was 
 one of Sir Isaac Newton by Vertue — £3 55.; and by J. Oliver, “Venus,” very highly 
 finished from the celebrated picture by Titian, in the collection of Charles I. — £13 2s. 6 d. ; 
 a “ Sleeping Venus with Cupid and Satyr,” from the picture by Correggio — £6 16 s. 6 d. ; 
 this was from the picture now in the Fouvre, “Jupiter and Antiope;” “Venus, Mercury 
 and Cupid ” from the picture by Correggio — £12 is. 6 d. ; the picture now in the National 
 Gallery. Isaac Oliver and his son Peter both painted fine miniature copies of great 
 pictures. Isaac died in 1617, and Peter in 1660. Other pictures, of which it would be 
 interesting to know what has become of them, were — a copy of the “ Leda ” by Michael 
 Angelo'” in chiaroscuro — £13 2s. 6d. : the “ Aldobrandini Marriage” by Nic. Poussin 
 — £7 7 s • 5 tfn s may have been a copy of the picture painted by Poussin from the famous 
 ancient fresco or tempera painting known as the “ Nozze Aldobrandini,” more properly 
 the nuptials ofPeleus and Thetis, the parents of Achilles, placed on the walls of the Vati- 
 can Library. The copy has long been in the Doria collection, Rome. Enamel by Liotard 
 “A Girl sleeping” — £14 145.; “a gladiator,” from the antique by the same — £6 6s. ; 
 “A Deception ” finely enamelled by the same — £5; the “Four Seasons,” heads in 
 crayons by Rosalba — £16 16 s. There were many portraits of painters. “ Dom° Feti,” 
 by himself; “ W. Vandervelde,” byVanOost — ^11 ; “ Coysevox,” by Rigaud — £yys.; 
 “Ephraim Bonus,” by Rembrandt — £23 45.; “ Jerome Cardan,” by Rembrandt — £23 45.; 
 “W. Dobson,” by himself — £12 125.; and “Lord Arundel,” by Dobson — -£12; 
 “John Dryden,” by Riley — £10 10s. ; “ S. Rosa,” by himself — £yoys.; “Alexander 
 Pope,” by Sir G. Kneller — £3 13s. 6d.; “Congreve,” by the same — £11 ; “Joseph 
 Addison,” by Jarvis — £8 8s. ; “ Polemberg,” by himself — £18 185. ; “ Francis I.,” by 
 Holbein, — £2y 6s.; “Hubert and John Van Eyck,” by Van Eyck, — £23; “Bishop 
 Gardner,” by Holbein — £26 3 s. ; “ Claude Lorraine,” by Valentine — £2 7 65. ; “ Du 
 Quesnoy” (Fiamingo) by N. Poussin — £29 8s. ; “ Michael Angelo,” by Titian — £15 15s.; 
 “Pierre Puget,” by Seb. Bourdon — £13 135.; “Galileo,” by Spagnoletto — £33 145.; 
 “Gabriel Fallopius” the anatomist, by Tintoretto — £8 8s. ; “ Moliere,” the head, by 
 Largilliere ; “ Sir C. Wren,” by Kneller (half-length)— £8 185. 6 d. ; “ Descartes,” by P. 
 de Champagne — £16 55. 6 d. ; “ Lebrun,” the sculptor, by C. Le Brun, his son — 
 
 See note upon this picture, p. 272, Vol. II. (French School), where the name of the painter is given as Arland. 
 
1801.] 
 
 LORD BESBOROUGH'S COLLECTION. 
 
 85 
 
 £17 1 75. ; “ Rembrandt,” by himself — £2g 8s. Although we may not feel very sure of 
 the authenticity of these portraits, they are worth recording, and it must be borne in 
 mind that these prices were considerable in those days. Other pictures, which suggest 
 inquiry as to what they really were and where they are now, may be mentioned, e.g., Albert 
 Durer “The Annunciation,” a very curious and elaborate picture — £28 7 s. 6 d. ; 
 Pourbus, “ Portrait of a Jeweller” — £46 4 s. Claude, “ Landscape, cattle, and figures,” 
 from the collection of Lady Betty Germaine — £56 14s. N. Poussin, “ Venus Asleep,” 
 with Cupids, study for a large picture — £67 4 s. Raphael, An historical drawing, out 
 of the collection of King Charles I . — £ig ig s. Old Mieris, “The Story of Lucius 
 Papirius, a most exquisite picture” — £31 10 s. G. Dow, “A Woman weighing 
 
 money, highly finished in his first manner” — £84. F. Monaville, “The School of 
 Athens,” after Raphael — £37 15s. ; “ Mt. Parnassus,” after Raphael — £42. Tintoretto, 
 “The Last Supper” ( sketch ) — £30 gs. Jan Van Eyck, “The Entombing of a 
 Cardinal, an invaluable curiosity : the figures are all undoubtedly genuine portraits from 
 life, one of which is visibly a king of France ” — £85. Raphael, “ His own Portrait, 
 very capital ” — £gg 15s. ; a very fine copy of the “ St.John in the Desert,” by Raphael, 
 formerly in the Orleans Collection, supposed to be by Parmegiano — £gg 155. Hogarth, 
 “ Before and After ” — £33 145. ; whether this was a picture in oils or an engraving is 
 not stated. The pictures of acknowledged importance were : A. Cuyp, “ Landscape and 
 cattle ” — £409 10s. Le Nain, “ Group of Beggars,” engraved in Boydell’s collection — 
 £105. A. Cuyp, “ View of Dort,” with shipping — £64. Rubens, “ Moonlight Land- 
 scape ” — £8g 5s. Raphael, “ Madonna with Bambino,” from Lord Waldegrave’s 
 Collection — £231. Titian, “Chess Players, a very singular and rare picture” — £231. 
 S. Rosa, “Jason poisoning the Dragon,” bought at the sale of James, Duke of Chandos, 
 in 1747, by Lord Besborough, engraved in Boydell’s collection — £323 10s. Claude, 
 “ Sea Port, a brilliant and fascinating effect of the sun gilding and reflecting on the 
 undulating motion of the water ” — £294. De Konink, “ View in Holland, much of 
 the boldness of the pencil of Rembrandt” — £178 10s. (Mr. Walton). Rembrandt, 
 “ Portrait of a Dutch officer” (half length) — £194 55. ; “ Portrait of a Lady” ( companion 
 picture) — £32 10s. S. Rosa, “ Zenocrates and Phryne,” engraved in Boydell — £183 155. 
 (Mr. "yValton). Rubens, “Portrait of Sir Theodore Mayerne$ physician to James I.,” 
 engraved, and was in Dr. Mead’s Collection. Spagniolet, “ Pharaoh’s Butler and 
 Baker in Prison ; ” this and its companion picture, now in the Earl of Chesterfield’s 
 collection, were presented by the King of Spain to the English Admiral who carried 
 Don Carlos to Naples ; engraved in Boydell.” P. Wouwerman, “ Return from the 
 Chace ” — £19455. N. Poussin, “Venus and Adonis” — £262 10s. This sale was by 
 Mr. Christie, on Thursday, Feb. 5, 1801, and two following days, at twelve o’clock, at 
 the Great Room, Pall Mall. Catalogues one shilling each, without which no person 
 could be admitted. There were 274 lots, the whole amounting to nearly £8,000. 
 
86 
 
 ART SALES. 
 
 [1802. 
 
 THE EON THILL COLLECTION. 
 
 In noticing this sale, which took place Saturday, Feb. 27, 1802, at Christie’s, in 
 Pall Mall, as of “ a most superb, capital, and valuable collection of Italian, French, 
 and Dutch pictures, the property of a gentleman highly distinguished for his taste in the 
 fine arts ; the whole selected with unbounded liberality, and now brought from his seat 
 at Fonthill, in Wiltshire,” — it is necessary to distinguish it from the sale of the much 
 more important Fonthill Collection, formed by William Beckford, son of the Alderman, 
 and the author of V athek , which took place at Fonthill Abbey in 1823, when Mr. Phillips 
 was the auctioneer, and which comes in for description in order of date. 
 
 Although the sale of these pictures from Fonthill at Christie’s was announced 
 without any name being given, it was well known that Alderman Beckford had many 
 years before bought the set of eight pictures of “ The Rake’s Progress,” the most 
 important lot in the sale, as well as the set of “ The Harlot’s Progress,” which had 
 unfortunately been burnt in the fire at Fonthill. The Alderman, who had been Lord 
 Mayor, was what was then politely styled a “ West-India proprietor,” and large land- 
 owner in England, died in 1770, leaving his only son of ten years old, the richest 
 commoner in England. Probably some of the pictures by the old masters in this 
 sale had been purchased by Mr. Beckford, the author of V athek, who would at this 
 time be in his 42nd year, and had been famous as “ V athek ” for sixteen years. The 
 Hogarth pictures were described in the catalogue (charged one shilling) as “ ever 
 celebrated as chef d'ceuvres of Hogarth, well acquainted with all the vicissitudes of life, 
 and perfectly master of the passions, has immortalized himself by correcting the 
 failings of his countrymen.” They were the last lot, and were bought now by Sir John 
 Soane, the architect, for ^598 10s., and are in his museum in Lincoln’s Inn Fields. 
 There were 85 other lots, nearly all by old masters, of which may be mentioned “ A View 
 of Conway Castle,” by Loutherbourg — £46 (Lord Northwick), and another of 
 “ Grasmere Mill,” a rocky landscape in Wales — ^53 11s. ; “ A Storm and Wreck,” with 
 banditti — £84; “ A Deposition and a Riposo,” by Sebastian Bourdon; A “ Nativity,” 
 by L. Giordano; “The Four Seasons,” by Teniers; “A Village Road,” by Ruysdael 
 — £78 I 5 5 -i “The Doctor,” by Ostade — £j 6 13s.; and “The Burgomaster” — £50 8 s.; 
 “ The Flagellation of the Saviour,” by Rembrandt — £58 ; “A Landscape,” evening, by 
 Claude ; “ The Holy Family,” by Murillo, from Sir L. Dundas’ collection — £99 155. ; 
 “ The Presentation of the Virgin,” and “ The Circumcision,” by Albert Durer, “ both 
 brought to Italy by Christina Queen of Sweden, and not long since purchased from 
 out of the Bracciano Palace, Rome.” These were bought by Mr. Walsh Porter for 
 £ 1 A 7 > as a pair; “ The Death of Socrates,” by Salvator Rosa — £58 165. ; “Banditti 
 near a River,” with “St. Francis Preaching” — pictures from the Colonna Palace, 
 Rome; “The Banditti” for £igg 10s., and “St. Francis” £105, both bought by 
 Lord G. Cavendish. “ Lucretia,” by Guido, from the collection of M. Le Rouge — 
 £i8g (Porter) ; “ Dejanira and the Centaur pursued by Hercules,” by Paduanino, “from 
 the collection of a noble duke, whose taste is well known.” 
 
1803 .] 
 
 MR. WALSH PORTE HS COLLECTION. 
 
 87 
 
 MR. WALSH PORTER'S COLLECTION. 
 
 Mr. Walsh Porter was one of the most intelligent and enterprising of those who 
 went to the continent to collect during these troublous times, and who were also on the 
 look out for good pictures coming to England through various hands to be sold, and 
 often placed in the possession of bankers as security for loans, or as a place of safety. 
 This appears to have been the first sale Mr. Porter had, but after his death there was 
 another, of which an account is given in 1810. The catalogue called it “ a truly 
 superb and valuable collection of pictures of the Italian, French, Flemish, and Dutch 
 schools, of the first class, and in the highest state of preservation, selected with very 
 superior taste, and at a liberal expense, from several of the most distinguished cabinets 
 on the continent, the genuine property of Walsh Porter, Esq., going abroad ; by Mr. 
 Christie, in his great room, Pall Mall, Tuesday, March 22, 1803, and following day, at 
 twelve. Catalogues one shilling each. The most important pictures were named on 
 the title-page. There were 53 pictures in the first day, and 50 in the second ; they were 
 sold for guineas. In the first 30 lots there is nothing remarkable, the prices varying from 
 5 to 30 guineas, with the exception of a landscape by Swanneveldt, — £61 igs. ; Cuyp, 
 “ Prince of Orange on horseback, and attendants, going to the Chase,” — £152 5s. ; Do- 
 menichino, “ Eandscape and figures,” from Orleans collection — £26 5s. ; Guido Cagnacci, 
 “ Female Martyr,” from Orleans collection— £29 85. ; Gainsborough, “ Female domestic 
 bestowing alms,” from Ford Robert Spencer’s collection, engraved by Bower — £76 13s. ; 
 Adrian Van de Velde, “Cattle and figures in landscape” — £5 o 8s.; Paul Potter, “ Landscape 
 and cattle” — £39 18s. ; D. Teniers, “ Harvest scene,” “ Le Moisson,” engraved by Le Bas 
 — £37 16s. ; Carlo Dolci, “ St. Catherine,” half-length — £43. The remaining pictures were, 
 G. Poussin, “ Landscape with Pyramus and Thisbe ” — £126 ; A. Carracci, “ Landscape 
 with bridge and cascade,” from the Borghese Palace — £j2 9 s. ; Perino del Vaga, “ Holy 
 Family ” — £52 10s. ; Murillo, “The Seven Acts of Mercy;” this was called “ by Old 
 Murillo,” and from the collection of the Chanoine Clynfs at Antwerp — £388 10s. ; W. Van 
 de Velde, “ The naval battle in which Van Tromp was killed” — £430 10s. ; A. Ostade 
 “Interior, with Boors” — £178 10s. ; Cuyp, a landscape with figures on horseback 
 descending a mountain pass to the right, a river in distance to left, formerly in collection 
 of Mr. Delme, and engraved — £101 17s.; Van der Werf, “ Infant Fame crowning the 
 Fine Arts,” formerly in the collection of M. Robit, engraved in Le Brun collection — 
 £89 5s. ; Pynaker, “Landscape with cascade and figures,” from the Choiseuil collection — 
 £126; Dusart, “Dutch family at a repast, in an arbour, with Hurdygurdy player,” 
 engraved, in Le Brun collection — £157 105.; Salvator Rosa, “Rocky landscape with 
 figures” — £121 16s. ; A. Carracci, “ Holy Family,” cabinet size x from the Aklobrandini 
 Palace — £120 15s. ; R. Wilson, landscape with Phaeton, engraved by Woollett, formerly 
 in the possession of the late Duke of Bridgewater — £194 S s - > Gainsborough, “ Landscape 
 with cart and figures in a wood,” formerly in the possession of the Duke of Hamilton. 
 In the second day there were some thirty pictures, which brought small prices — from 
 £10 to £50; D. Teniers, “ La Lanterne,” the celebrated picture, from the collection of 
 Mr. Verelst — £1525 s. ; G. Poussin, “Landscape and figures,” engraved by Vivares — 
 £65; “The Companion ” — £76 135.; Velasquez, “St. Jerome ” — £31 105.; A. del Sarto, 
 
88 
 
 ART SALTS. 
 
 [ 1803 . 
 
 “Madonna, Christ, and Infant Saints” — £199 10s. ; Cuyp, three cows in a sunny 
 landscape — ^315 ; A. Van de Velde, “Cattle Watering” — £117 12s.; Claude, an 
 Italian landscape, with the Civita Castellana in distance, and figures, from the collection 
 of the Due de Choiseuil — £635; “Landscape, with the story of Mercury and Battus,” from 
 the Choiseuil collection; D. Teniers, “ Le Tambour battant,” the celebrated picture, 
 from the collection of the Due de Praslin — £294; G. Schalken, “ Le Roi depouille,” 
 “worthy of the collection it once graced of the late unfortunate Monarch of France” — 
 £409 105. ; Caravaggio, “ Infant Card Players, an exquisite jewel from the Aldobrandini 
 Palace, too well known to need description” — £388 10s. The name of Caravaggio 
 however has been altered into “ Le Nain” by the person who attended the sale, who 
 perhaps knew an engraving of the picture, as it is a subject painted by the Le Nains, and 
 certainly there is no resemblance in style or manner between Caravaggio and Le Nain. 
 Leonardo da Vinci, “ Virgin and Child” — £840. This is described in the catalogue as 
 “ an inestimable performance.” It will be observed, on referring to the list of sales of 
 the master’s works, or at least those attributed to him, that three of this subject had 
 been sold previously, but at much lower prices. It must have been a good picture, 
 whether by the master or not, to bring a price so considerable in those days. It was 
 the highest in the sale. Correggio, “The Madonna with the Rabbit” — £210. “Few 
 works of this scarce master have attracted more notice than this, when in the celebrated 
 collection it once graced ; it is sufficient to declare that it has in no respect suffered 
 since it was removed from that Royal Gallery. It has been recently engraved.” The 
 total of the sale was £*7,952 165. 
 
 Mr. Richard Walker’s Pictures. — Mr. Walker lived at Liverpool, and at his decease these 
 pictures were sold by Mr. Christie, March 5, 1803. There were only eight pictures but they were 
 all good. The most important was a bacchanalian subject by N. Poussin, “painted for his patron 
 the Prime Minister of Louis XIII.” (Cardinal Richelieu). This picture is marked in the catalogue 
 before me as bought by Mr. Angerstein for 800 guineas. It may be concluded that it was the 
 “ Bacchanalian ” included in the sale to the National Gallery, 1824, and is No. 42, N. G. Catalogue. 
 The others were: — Titian, “The Chess-players,” from Lord Besborough’s collection — £115; 
 G. Dow, Portrait of himself touching the violin, the celebrated picture from the Orleans collection 
 — £304 10s. ; Teniers, “ Farmyard with the white horse” — £1:15 10s. ; Caravaggio, “ The Lock- 
 smith of Bologna,” from the Besborough collection — £16 16s. ; M. Angelo della Battaglia, 
 Landscape with Peasants dancing — £80 17 s. ; G. Dow, “A Woman weighing Money” — £"27; 
 G. Morland, “ Traveller at a Public-house Door” — £34 13s. On the previous day some good pictures 
 were sold, the name of the owner not being given, of which — Weenix, “A dead Cock with fruit,” 
 from Holderness Collection — £72 ; Rubens, “ Christ and the Disciples at Emmaus ” — £68 ; Cuyp, 
 View of Dort, “very capital” — £66; Landscape with a white horse and ■ sheep — £157; 
 Gainsborough, Landscape with figures — £99 15s.; Teniers, Interior, Card-players — £356; 
 “ Boors playing tric-trac ” — £126 ; Rembrandt, “ A Turkish Nobleman,” “very capital” — £136 10s. 
 
 Lord Godolphin’s Pictures. — These were sold at Christie’s, June 6, 1803, the only pictures 
 of interest were, Vandyck, Portrait of Rubens in advanced life — £15 7. Rubens, Madonna and 
 Child — £173. In this sale were two pictures which, from a note on the maflgin of the catalogue, 
 appear to have belonged to Lord Egremont — Murillo, Spanish beggar boys — £267 {Barker). 
 The companion picture — £283 (Wallis). 
 
1803.] 
 
 VARIOUS COLLECTIONS SOLD. 
 
 89 
 
 Mr. George Grave’s Collection. — This was described as selected during many years’ 
 residence at Rome and other parts of Italy, many “ purchased out of the most distinguished palaces 
 in the Papal territory.” Sold by Christie, May 6 and 7, 1803, consisting of 65 pictures, five old 
 drawings by Guercino, and one by Raphael in water-colour, “ Madonna and Child with St. 
 Elizabeth,” small, highly finished, from the Barberini Palace, engraved by Marc Antonio, and five 
 antique busts. The pictures specially named were : — Raphael, “ Adoration of Magi,” with choir of 
 cherubs in the sky and Bethlehem, and a “ Holy Family ” ; Guercino, “ Lot and Daughters,” 
 engraved by R. Morghen ; Titian, Portraits of Clement VIII. and Paul III., half-length, seated. 
 Others were: — Velasquez, “Christ mocked”; Tintoretto, “Adoration of Magi”; L. Caracci, 
 “ Pieta ” with the Virgin ; A. Mantegna, Portrait of a Woman ; Schiavone, “ Holy Family” in 
 Landscape, “ a noble picture, not inferior to Titian.” Scarellino di Ferrara, “Christ’s Entry 
 into Jerusalem,” “ a beautiful cabinet jewel.” Only a few of these brought good prices. (See Vol. II.) 
 
 Mr. Robert Thistlewaite’s Collection. — Sold after his death at Christie’s, May 20, 1803, 
 brought from his seat, Norman Court, Hants. Two pictures by Canaletti, “presumed 
 chefs d'ceuvre ,” A Land View of St. Mark's Place, and View on the Grand Lake, with St. Gregory’s 
 Church; L. da Vinci, “ Infant Saviour and St. John ” ; Rubens and Snyders, Copies of the two 
 pictures of Dead Game, fruit and figures, at Houghton, by permission of Lord Orford, by Angelis, 
 in all 108 pictures. 
 
 Count de Hagen’s Pictures, 48, were sold on the next day to the above. The prices were 
 small. The one interesting picture was by Martin Schoen, “ The Murder of the Innocents,” and 
 this has been erroneously entered in the Thistlewaite sale. A curious picture was by Tilborg, An 
 Interior with portraits of Czar Peter the Great with his ambassador Laforte, and most of the 
 celebrated artists of the time. Another was attributed to John Van Eyck, “ The Pharisee and the 
 Publican ” — “ a singular picture.” 
 
 The Collection of Sir Simon Clarke, Bart., and George Hibbert, Esq. — These 
 gentlemen appear to have bought and sold many pictures in partnership, and their pictures were 
 sold at Christie’s, May 14, 1802. Amongst the 141 pictures were several of interest. Raphael, 
 Virgin and Child, from Orleans Coll. — £294 ( see Vol. II.) ; Christ bearing his Cross, from Orleans 
 Coll. — £35. Rubens, Assumption of Virgin, from Purling Coll. — £430 ; Diana returning from 
 chase; from Walkenier Coll. — £1102. S. Rosa, Pythagoras, from Hamilton Coll. — £483. 
 Wouwe^mann, Coach and horses; from Gildermeister Coll. — £357; Horse fair — £199; Landscape, 
 from Gildermeister Coll. — £252. Titian, Holy Family, from Aldobrandini Coll.— £420. P. Vero- 
 nese, Baptism of Christ — £294. Guido, Sibyl ; from Orleans Coll. — £346. P. da Cortona, 
 Flight of Jacob; from Orleans Coll. — £336. Giorgione, Cupid stung; from Orleans Coll. — £168. 
 Cuyp, Landscape, from Le Brun Coll. — £309. Total, £18,454. 
 
 The Holderness Collection. — There were some good pictures of the Dutch school in this 
 collection sold after the death of the Countess, who succeeded to some of the best from the Greffier 
 Fagel collection in Holland. There were eighty-two lots, but only about forty were of any interest. 
 Rubens, Judgment of Paris, cabinet size — £320 ( W . Smith). Hobbema, Landscape, with figures 
 by A. Vandevelde— £294 ( Hanbury Tracey). A. Vandevelde, Landscape and cattle — £315 (Ewar). 
 Coast near Scheveling — £162 ( General Stainforth) ; Landscape, with cows — £210 ( Stainforth ). 
 A. Ostade, a Cabaret — £320 ( Jauhcrt ). W. Mieris, Lady, and child in cradle — £204 {Thane) ; 
 Poulterer’s shop — £152 ( H . P.); The Showman — £210 (Nodin). Teniers, Inside of a Gardener’s 
 house, with woman — £325 ( Stainforth ). Berchem, Landscape, shepherdess and cattle — £294 
 (Stainforth). Jan Steen, The Schoolmaster — £115 ( Dormer ) ; the Pancake Girl — £120 (Dormer). 
 John de Mabuse, Portraits, gentleman and lady at devotion — £138 ( Coxe ). Palamedes, Interior, 
 card-playing and music — £173 (Lord Yarmouth). P. Wouwermann, Horses watering — £178 
 (Lord Dreadalbane). Rembrandt, his own portrait — £82 ( Lord Gower). Total, £5954. 
 
 VOL. I. 
 
 N 
 
90 
 
 ART SALES. 
 
 [1804 
 
 THE UDNY COLLECTION. 
 
 Some confusion may arise from there having been two brothers of the name : John 
 Udny, who was British Consul at Leghorn, and Robert Udny. The Consul collected 
 pictures in Italy, and sent them over to his brother, and these were sold by Mr. Christie 
 in 1803 (see index and list). Afterwards the brother Robert died, and his collection was 
 first exhibited by the executors as they hung on the walls of his house at Teddington, 
 Middlesex (not Paddington, as Buchanan has it), by tickets given by Mr. Edward 
 Vaux of Austin Friars, one of the executors. A very good catalogue with descriptions and 
 measures was printed, dated 1802, of which I have a copy, in which it is stated, “the 
 executors are willing to treat with any gentleman or company for the purchase of the 
 collection entire, at a price to be named, as it was the wish of the late respectable 
 possessor that it should be sold entire.” This, however, was not accomplished, and in 
 May, 1804, the sale took place “ by order of the Court of Chancery,” and by Mr. Christie. 
 There were 207 pictures, several of which were of special interest, as the “Madonna, with 
 Infant St. John,” attributed to Fra Bartolommeo, corresponding completely with the 
 famous Madonna della Seggiola of Raphael, and as Mr. Udny believed, was the original 
 of Raphael’s picture. This was brought from Italy with the Raphael Madonna with the 
 Bird (No. 165). Portraits of the Taddei family, and the “ Danae” by Correggio, which I 
 presume was a replica of the famous picture in the Borghese Gallery. Of this a long history 
 is recorded by R. Mengs in his Life of Correggio, printed in the catalogue, which states 
 circumstantially that this picture of “ Danae ” was painted for the Duke of Mantua as a 
 present to the Emperor Charles V., and was in his collection at Prague. It was taken 
 possession of by Gustavus Adolphus and sent to Stockholm, where he never returned, but 
 Queen Christina brought the whole collection to Rome, and at her death it was bought by 
 Prince Odescalchi, at whose death the whole was purchased by the Due d’Orleans, 
 Regent, and seen in the Palais Royal. It was one of the pictures ordered to be 
 destroyed on account of having nude figures in it, by the succeeding Due d’Orleans ; 
 and Coypel the Court-painter was directed to see this put into execution. He so cleverlv 
 cut the picture as to avoid spoiling the figures, and secreted the pieces, so that having 
 joined them together and so restoring the picture, which he deliberately appropriated, 
 he sold it to a Venetian nobleman named Francis Lobbia. It was pawned by one of the 
 Lobbia family in 1776, and the ticket, as we should say, given by him to a Venetian lady 
 Latti Minotto, who redeemed it. It was offered to Consul Udny in 1780, and he bought 
 it, sending it to England in 1793. It measured 60x76. It is said to be the picture 
 engraved by L. Cunego when in the possession of the Odescalchi, but whether it corre- 
 sponds exactly with the picture in the Borghese Gallery I am not able to say, as no pre- 
 cise description is given of it in the catalogue. The above history of the picture is given 
 by Mengs, who perhaps saw it, but it must be obvious that there is no mention of the 
 picture in the Borghese collection, which was well known at that time, and which certainly 
 belonged to the Odescalchi (Don Livio) at the beginning of the 18th century, passed 
 with the Queen Christina pictures to the Duke of Orleans, and is found in the catalogue 
 of that famous collection sold in London, 1792, when this “Danae” was purchased bv 
 Mr. Henry Hope (it was valued at 1000 guineas), at what price is not known, but in his sale 
 
1804 .] 
 
 THE UDNY COLLECTION. 
 
 9i 
 
 it only brought £250, and eventually went to Paris. How it came to the Borghese 
 Gallery I am not at present able to state. It is engraved by Desrochets. (See 
 Buchanan, Vol. I. p. 62, and Charles Blanc, “ Hist, des Peintres.”) Another important 
 picture was the Correggio “ Ecce Homo,” which is described in the catalogue precisely 
 as if it were the one belonging to the Prati family of Parma (or now called De la Rosa) 
 long in the Colonna Palace (in 1784), which is now No. 15, National Gallery, but it is 
 stated this one passed to Cardinal Salviati of Florence, and is therefore not the identical 
 one in the National Gallery, which was bought by Sir Simon Clarke of the Colonna 
 family, and sold to Murat the then King of Naples. It should be stated here, however, 
 that the National Gallery picture, which was bought of the Marquis of Londonderry v/ith 
 the famous “ Education of Cupid,” of which also a repetition or copy exists (grand sale, 
 Paris, 1832) for £11,500 in 1834, has been constantly doubted, though it is engraved by 
 Agostino Caracci. 
 
 This picture (“ Ecce Homo”) is described, No. 154, in Mr. Robert Udny’s private 
 catalogue, which is before me, printed 1802, “ Half figures, large as life. This well-known 
 and celebrated picture was painted for an old noble family of Parma, then denominated 
 Prata or Perata, now De la Rosa, from whom about 1660 it passed into the possession 
 of a Cardinal Salviati of Florence * * and was never moved till it came here ” (London). 
 The size given is “ 40 x 33, painted on thick panel.” The picture by Correggio of the same 
 subject, No. 15 in National Gallery catalogue, is on wood, 38^ x 31^, and is also stated 
 
 to have been “ formerly in the possession of the Count Prati of Parma.” Then that 
 
 it “ was subsequently long in the Colonna Palace, Rome, and it was purchased of the 
 
 Colonna family by Sir Simon Clarke, who sold it to Murat, King of Naples, and it was 
 
 purchased with No. 10 (i.e. the “Mercury, Venus, and Cupid”) from the Marquis of 
 Londonderry in 1834.” Not a word is said in the National Gallery catalogue of Mr. 
 Udny, so that the question arises whether his picture is that now in the National 
 Gallery, and whether it ever belonged to General Murat, who was made King of Naples 
 by Napoleon. There is no doubt that Murat somehow became the possessor of the 
 other CorVeggio, the “ Venus, Cupid, and Mercury,” in 1808, which was one of the 
 Charles I. pictures bought of the Duke of Mantua in 1630. But of the “ Ecce Homo ” 
 it is said in the National Gallery catalogue, that Sir Simon Clarke sold it to Murat because 
 he could not remove it from Italy. The Udny catalogue makes no reference to the 
 Colonna “ Ecce Homo,” but expressly states the picture sold was not removed from the 
 Cardinal Salviati collection till Mr. Udny bought it and brought it to England. Did it 
 ever come into possession of Lord Londonderry after this sale in 1804 ? It will be 
 observed that at the sale of this “ Ecce Homo ” in 1804 at Christie’s, when it was bought by 
 Mr. Tuffin, the picture had been in Mr. Udny’s collection certainly before 1802, i.e. six 
 years before Murat acquired the Correggio “ Venus and Cupid ” at Madrid. Then it is 
 stated by Ramdohr that the “ Ecce Homo ” by Correggio was in the Colonna Palace, 
 Rome, in 1784, i.e. that the picture formerly in the Prati collection at Parma was there ; 
 and Mengs also saw that picture and described it before the date of his death at Rome, 
 1779. Therefore the Udny picture and the Colonna picture, each of which claim to be 
 from the Prati collection at Parma, are distinct pictures, since Mr. Udny is no doubt 
 correct in stating that his Prati picture never left possession of the Salviati at Florence 
 from 1660 until he purchased it and brought it to England. 
 
 N 2 
 
92 
 
 ART SALTS. 
 
 [ 1804 . 
 
 One of the surest proofs in identification — that of size, only partly helps in the investi- 
 gation, as the two measurements given of the “ Ecce Homo ” do not precisely correspond. 
 The National Gallery catalogue gives 38^ x 31^, while the Udny catalogue gives 40 x 33. 
 But it will be observed that the difference is proportional and small — only i\ inch each 
 way, so that it is possible this difference may be accounted for by the non-including of 
 | of an inch all round the picture hidden by the frame. Sale catalogues are not usually 
 quite accurate in this respect, and are generally taken as “ sight measure.” The two pic- 
 tures then may be of the same size. 
 
 There is generally more or less unreliable information as to the identification of pictures 
 purchased abroad during the last three years of the 18th century, when the great private 
 collections of Rome lost many of their finest pictures; the Princes Colonna, Barberini, 
 Borghese and others, being alarmed at the spoliations of Napoleon, were glad to sell to 
 English and French agents, often at very short notice, rather than run the risk of being looted 
 of their treasures. Mr. John Udny, at this time Consul in Italy and Leghorn, was one 
 of the purchasers of the Colonna pictures, and he sent over these to his brother, whose 
 sale we are referring to. Mr. Day at the same time or rather earlier (1800), purchased from 
 the same collection and sold pictures at Christie’s. Sir Simon Clarke and Mr. G. 
 Hibbert, who appear to have bought jointly, also obtained pictures from the Colonna 
 collection at this time, and it was probably then that the “ Ecce Homo ” passed out of 
 the Colonna Gallery. Buchanan mentions the “Venus, Cupid and Mercury” as “lately 
 (1824) purchased by the present Marquis of Londonderry” of the widow of Murat, who 
 had carried the picture to Vienna. But he never mentions the “ Ecce Homo,” which is 
 remarkable, and this would lead us to suppose it was not then in the possession of Lord 
 Londonderry. It is remarkable that no other “ Ecce Homo ” by Correggio occurs in 
 the Christie sales. It must also be pointed out that the price at which the picture in 
 Robert Udny’s sale was sold, viz. £159 12s., is a very inadequate one compared with the 
 prices obtained at the same date of £745 105. for the “ Passion of Christ,” and £1,575 
 for “ The Flight into Egypt,” and £3,150 for “ Virgin, Child and St. John ” in the Lafon- 
 taine collection. I should be disposed then to consider that Mr. Udny’s picture was 
 either an ancient copy or a replica which had been kept in the Prati Gallery, and the 
 more so, as at the time of this sale the Colonna picture, if it ever was in the possession of 
 Murat, was so in 1804, and was probably well known to the connoisseurs and dealers. 
 This would account for the small price obtained. If this conjecture is correct, then it is 
 desirable to know where the Udny picture is now. 
 
93 
 
 1805 .] PICTURES FROM THE BARB ERIN I PALACE. 
 
 SALE OF PICTURES FROM THE BARB ERIN I PALACE. 
 
 This was a sale of some importance “by Mr. Christie at the great room in Pall 
 Mall, Saturday, March 30, 1805, at twelve o’clock, of Italian pictures of the very distin- 
 guished class, recently consigned from Italy.” There were 42 pictures in the sale, but 
 five of these at the beginning of the sale were of no interest, and four at the end were 
 from a different property. These were : Domenichino, “ Presentation of a Saint to the 
 Virgin, a little beautiful cabinet jewel,” price not given ; Correggio, “ Madonna, Infant 
 Christ, and S. John in a landscape, an enchanting specimen replete with grace ; an 
 exquisite cabinet Bijou ” — £199 10s. ; Raphael, “ Descent from the Cross, many figures, 
 supposed portraits of the time, a curious picture” — £105, Hague; Giorgione, a pastoral 
 subject, “ designed with great poetic fancy, a rich specimen of the colouring of this 
 master; capital ” — £44. Sir P. L. Stephens. The Barberini pictures of importance are 
 included in the lists of Vol. II. Those of any special interest were : Luini, “ Portrait 
 of Calvin in his study”— £141 155.; Baroccio, “Madonna and Infant sleeping on her 
 bosom,” left unfinished — £252 ; this was a high price for an unfinished picture ; Simone 
 da Pesaro, “ St. Matthew and St. John,” two pictures, life-size half-lengths- — £178 105. 
 and £73 105.; Vandyck, “Portrait of an Abbess” — £241 10s. ; Carlo Dolce, “St. 
 Jerome” — £126] Moretto, “Madonna and Child, with pilgrim presenting an apple in 
 landscape” — ^74 ns. ; Guercino, “Infant St. John in landscape” — £49; “Angel 
 praying” — £51; “Madonna reading”- — £ij8 105.; “St. Joseph reading” — £131. 
 Tintoretto, “ Portrait,” a noble with hand on sword, his right on his breast — £152 10s. ; 
 Titian, “ Holy Family and S. Elizabeth under a tree ” — £136 10s. ; “ The Flagellation,” 
 noticed by Ridolfi, Vol. I., p. 182 — £241 10s. ; Guido, “ Magdalen in the Desert,” com- 
 mended by Malvasia, Vol. II., p. 35 — £514 10s. ; Giorgione, “A Female at her Toilet,” 
 “ truly capital ” — £588. A picture somewhat answering to this description was con- 
 tributed 4 to the Burlington House Winter Exhibition, 1884, by Mr. F. R. Leyland, said 
 to be Violante, the beautiful daughter of Palma Vecchio, so admired and often painted 
 by Titian, as in the famous picture called “ Sacred and Profane Love ” in the Borghese 
 Gallery, Rome. Leonardo da Vinci, “ Daughter of Herodias receiving the head of St. 
 John Baptist ; deemed one of the most precious jewels of the Barberini Palace,” see 
 Vasari , Vol. V., p. 59 — £1008, Tucker. 
 
 Boydell’s Shakespeare Gallery. — Alderman Boydell commissioned the best British 
 artists to paint for his Shakespeare Gallery about 170 pictures, for engraving. They, with 
 engravings, &c., were to be disposed of by a lottery of 22,000 tickets, and on the day of his death, 
 December 12, 1804, set. 85, every ticket was sold, and on January 28, 1805, the lottery was drawn, 
 the pictures falling to the lot of Mr. Tassie, the gem modeller, who sold them all at Christie’s, 
 May 17, 18, 20. Most of them brought small prices, from £5 to £"50. The more important were 
 Northcote, Prince Arthur and Hubert in prison — £106 ( Miss Linwood) ; Richard II. and 
 Bolingbroke — £113, a very large work ( The Armourers Company ) ; Romeo, Juliet, and Paris in 
 the Tomb of the Capulets — £210 ( Stainforth ) ; The Princes smothered — £105 (P. IT. Baker). 
 Reynolds, Puck — £213 (S. Rogers), see list Vol. II.; Death of Cardinal Beaufort — £53° (Lord 
 Egremont) ; Macbeth and the Witches — £378 (Lewis). West, Ophelia — £13 1 (Felton, for Phila- 
 delphia Museum); Orlando and Oliver — £23 (Felton, for Philadelphia Museum); King Lear in 
 the Storm — £213 ( Felton , for Philadelphia Museum). Smirke, Shakespeare’s Seven Ages of Man 
 — £232 (Nath. Bailey). Tresham , Anthony and Cleopatra — /Too (W. Smith M.P.). Total £6iSi. 
 
94 
 
 ART SALTS. 
 
 [1806. 
 
 Mr. Richard Hulse’s Collection, consisting of 180 pictures by old masters of all the 
 schools, was sold after his death by Christie, Mar. 21, 1806, without reserve. The pictures specially 
 named on the title-page of the catalogue were : — S. Rosa, “ Lycian peasants transformed ” ; 
 Guido, “ Assumption of the Virgin ” ; Tintoretto, “ Holy Family with Saints” ; Rubens, “ Holy 
 Family”; Rembrandt, “Abraham and Sarah with Isaac”; G. Poussin, Two Landscapes; 
 Cuyp, two; Claude, four; Vandevelde, “A Storm,” &c. Besides these — Raphael, A fine 
 copy of “ The Transfiguration ” by Mignard, and a copy of a “ Holy Family ” of Raphael by the 
 same. G. Bellini, “ SS. Louis of Toulouse, Antony and Peter ” — “ a fine specimen ” ; Giorgione, 
 Portrait of Gaston de Foix, and “ A Warrior.” The highest prices were— Claude, Sea-port— £90 ; 
 Landscape and figures— £148 ; Rubens, “ Boar Hunt ”—£85 ; Cuyp, Landscape, man on a grey 
 horse and herdsman — £451; Rubens, “Virgin and Child with Saints — -^115; G. Poussin, 
 Landscape and figures — £ 210 ; Rembrandt, “Abraham and Sarah with Isaac” — £157 10s. ; 
 S. Rosa, “Lycian peasants ”—£283 15s.; N. Poussin, “Christ healing the Blind” — £73 10s. ; 
 Titian, “A Musical Conversation,” four figures — £54; Watteau, “Fete Champetre ” — £47 ; 
 G. Barrett, R.A., and S. Gilpin, R.A., “Windermere Lake,” a man driving sheep and cattle,— 
 “ a chef d! oeuvre that does infinite honour to the British School ” — £84. 
 
 SIR GEORGE YONGE , BART. 
 
 The collection belonging to this gentleman, which was sold by Mr. White on the 
 premises, No. 4, Stratford Place, Oxford Street, 24 and 25 March, 1806, was formed by 
 Mr. Bouchier Cleeve in the early part of the 18th century, and kept together, according 
 to the catalogue, without any more recent additions. This catalogue is to be found in 
 “ England Displayed,” two vols., fol. 1769, vol. 1. p. 144, in the description of the County 
 of Kent. The sale catalogue was an unusually precise one, for besides giving a ruled 
 column with the sizes of each picture, it gave another with the numbers of the pictures 
 in the old catalogue. The copy before me is priced and named throughout by Mr. W. 
 Smith. There were g2 pictures, and two very fine Egyptian porphyry columns with a 
 marble antique bust on each, 6 feet high, which sold together for £178 105. to James. As 
 a collection it seems to have been very respectable, with a few important pictures, par- 
 ticularly the Teniers, “ Village Feast ; ” Rubens, “ Holy Family ; ” Pordenone, “ Woman 
 taken in Adultery;” and the two fine Salvator Rosas, bought for the Marquis of 
 Lansdowne, the Pordenone being for the Marquis of Stafford (see Vol. IF). The 
 total of the sale amounted to £8615 5 s. 6 d. 
 
 THE MARQUIS OF LANSDOWNES COLLECTION . 
 
 This was the collection formed by the late Marquis, and it was sold, after his 
 death, “ by order of the executors, without the least reserve, on the premises, Lansdowne 
 House, Berkeley Square, March 19 and 20, 1806 ; catalogues 2s. 6d., to be had at the 
 Lodge at Lansdowne House, without which no person can possibly be admitted,” by 
 Peter Coxe, Burrell, and Foster. The preface stated that the pictures “ have long 
 ornamented the walls of Lansdowne House, — they are brought unsophisticated before 
 the public, without even a varnish to call forth those beauties — “speaking a plain, 
 
1806 ] MR. WELBORE ELLIS AGAR'S COLLECTION. 
 
 95 
 
 unvarnished tale.” There were 57 pictures, the most important of which were Rubens’ 
 “Adoration of the Magi,” 800 guineas; a Claude: “Evening, with St. Paul carried 
 into bondage,” 510 guineas. Some good examples of Joseph Vernet, a riposo by 
 N. Poussin, 530 guineas ; and a Teniers with portraits of himself and wife with the 
 gardener, 520 guineas; and a portrait of Washington by Stewart, 525 guineas. Other 
 good pictures will be found in the lists under the names of the artists (see Vol. II.). 
 
 MR. WELBORE ELLIS AGAR'S COLLECTION. 
 
 This collection was formed by Mr. Agar, chiefly through Mr. Gavin Hamilton, who 
 brought so many fine pictures to England from Rome and other cities of Italy. The 
 whole collection was announced for sale by Mr. Christie, for May 2, 1806 — and the sale 
 catalogue is before me, printed in French, giving the sizes of all the pictures, of which 
 there were 65. The well-known Claudes are some of the most remarkable in 
 the noble gallery of Grosvenor House, where all the pictures belonging to Mr Agar 
 were afterwards to pass, having been purchased by Lord Grosvenor, almost immediately 
 it was decided to sell by auction. Upon the first page of the sale catalogue is a pencil 
 note of Mr. Smith’s : “ This collection was purchased by Lord Grosvenor for 30,000 
 guineas, and not brought to public sale.” He then adds in “ explanation ’’that the prices 
 put opposite any picture “ are onlv a supposed valuation at a rate which brought the 
 whole to 50,000 guineas” (signed W. S.). As these prices give some sort of estimate 
 at the time, they are given as follows for the prominent pictures : Velazquez, 
 Equestrian Portrait of the young Prince of the Asturias — size 56x37 — 1,000 guineas. 
 Claude — Landscape, “ Hagar and the Angel ” — 50 x 38 high — 300 guineas. Rubens — 
 “David and Abigail ” — 74x91 — 500 guineas. Poussin — Grand Landscape — 62x72 — 
 500 guineas. Hobbima — landscape — from Fizean collection, Amsterdam — 35 x 47 — 300 
 guineas. Claude — “ Christ’s Sermon on the Mount — 67 x 102 — 500 guineas. Poussin, 
 N. — “Achilles and the Daughters of Lycomedes ” — 38 x 52 — 600. Claude— landscape 
 with the Arch of Titus — 39 x 29 high — 1,000 guineas. Rubens — portrait of himself and 
 wife as Pausias and Glycera, the flowers by Breughel (Velvet) — 79 x 75 — 1,000 guineas. 
 Claude — “ The Israelites worshipping the Golden Calf,” painted for Sir P. Lely — 55 x 98 
 — 2,000 guineas. Vanderwerff — “ Holy Family,” after Correggio — 17 x 20 high — 1,200 
 guineas. Poussin, N. — “Areas chasing his Mother as a Bear ” — 35 x 46 — 1,000 guineas. 
 Poussin, S. — landscape — 37 x 52 — 1,000 guineas. Rubens — “ Ixion ” — 66 x 96, from 
 Mr. Gregory Page’s collection — 3,000 guineas, exhibited at Burlington House, 
 Claude — landscape — 39 x 57 — 3,000 guineas. Claude — landscape — same size — 3,000 
 guineas. Correggio — “ Holy Family” in Landscape— 25^ x ig — 2,000 guineas, the sum 
 offered by Sir Joshua Reynolds to Mr. Agar. Berghem — landscape, with the Chateau 
 of Bentheim, from the collection of Gagnac and Gagny — 56^ x 82^ — 3,000 guineas. 
 
96 
 
 ART SALTS. 
 
 [ 1806 . 
 
 LORD RENDLESHAM'S COLLECTION. 
 
 Lord Rendlesham lived at Foley House, Chandos Street, Cavendish Square, and 
 his pictures were sold there when he was removing his residence, June 20th, 1806, by 
 Mr. Peter Coxe, of 88, Pall Mall, and 33, Throgmorton Street. Catalogues 25. 6 d. each, 
 to admit only to see the pictures or attend the sale. The preface, in the style of that 
 day, says, “ In former times it was a rare instance of felicity if a nobleman or gentleman 
 could boast that he had two or three specimens of uncommon excellence,” then that this 
 one “ abounds in works pre-eminently beautiful,” &c., &c. There were only 58 pictures, 
 of which a Cuyp, Adrian Vandevelde, a Wouverman, Paul Potter and Murillo, appear to 
 have been important, as they brought good prices. Unfortunately as usual no sizes are 
 given, and no descriptions, but the customary preposterous eulogies, as for example of 
 the Titian “ Entombment,” “ A divine composition of exquisite beauty, the tone of 
 colour in the linen, the flesh of the Dead Christ so difficult to be managed, the marking 
 of the muscles, the expression of the Apostles, and the grief of the Maries (sic ) , are all 
 in the truest excellence of this great Master’s accomplished Power of Art.” What this 
 picture really was, it is hard to guess, whether that sold in the Hamilton Palace collec- 
 tion, and afterwards at Christie’s (sale, 1884), or a copy of the Louvre “ Entombment.” 
 Probably it was not by Titian at all, as in none of his pictures of the subject known has 
 he introduced “ The Apostles,” only the disciple John A The prices are noted to each 
 picture in my catalogue by Mr. Smith, and the total amounted to £8,700. The impor- 
 tant pictures are given in the lists, Vol. II. 
 
 The Duke of Gloucester’s Pictures. — The pictures belonging to H.R.H. the Duke of 
 Gloucester were sold after his death by Mr. Christie, May 17, 1806, and consisted of twenty-four lots. 
 The only pictures requiring notice were R. Wilson, The Death of Niobe, which was styled “that 
 celebrated chef d'ceuvre of the immortal Wilson, engraved by Woollett ” — £840 ( S . F. B.). This 
 may stand for Sir F. Bourgeois. A. del Sarto, Holy Family, known as the “ Madonna del 
 Sacco,” purchased at Rome by his late R.H. the Duke of Gloucester, and is in the finest preserva- 
 tion — £630 (S. F. £>.). (The famous picture is in fresco on the wall of the Convent SSma. 
 Annunziata, Florence.) 
 
 there are, besides the famous Louvre “ Entombment,” in which the figures are life-size, two in the Madrid 
 Gallery, 464 and 491, nearly the same size, not quite so long, but only variations from the Louvre composition. 
 The Hamilton Palace picture differed very much more, and was of doubtful authenticity and unfinished. 
 
1807 .] REMAINING WORKS OF JAMES BARRY \ R.A. 
 
 97 
 
 REMAINING WORKS OF JAMES BARRY, R.A. 
 
 This was the sale which took place April io, 1807, by Mr. Christie after the death 
 of the painter who was certainly a very remarkable man, and whose artist career of 
 mingled enthusiasm for his art and great personal misfortune and suffering was one of 
 singular interest notwithstanding all his faults of temper and the incompleteness of his 
 views as an artist.* The title page of the catalogue ran : — “ A catalogue of all the 
 original finished and unfinished paintings, drawings, and sketches of that great genius 
 and distinguished artist James Barry, Esq., R.A., deceased. Including his grand and 
 justly celebrated chef d’ceuvre, ‘ Pandora receiving her presents from the Gods ; ’ 
 ‘The Venus Anadyomene ; ’ a portrait (the head only) of Samuel Johnson, a striking 
 likeness. 
 
 “And other capital works which have been long withheld from the sight of the 
 public to whom the exhibition and sale it is presumed will afford an opportunity of 
 properly appreciating an artist whose mind and talents have reflected high honour on 
 the British school. And his prints and casts. The copper plates from the celebrated 
 pictures in the Adelphi, and his library of books consisting chiefly of valuable works 
 relating to the history and practice of his art.” 
 
 There were 141 lots, amongst which the most interesting were : — A portrait of 
 Edmund Burke (his great friend and admirer) by James Barry, R.A., as demonstrating 
 “ The Sublime and Beautiful ” of Barry, painted about 1771 — £g gs. ; “ Barry crushing 
 Envy,” — £12 125. ; Portrait of Dr. Johnson unfinished — £31 105. ; “ Temptation of 
 Adam ” — £105 ; “ Pandora,” — £241 105. This was the finished study for his great 
 picture on the wall of the room of the Society of Arts in the Adelphi. Whether it was 
 actually sold now or bought in at this price seems to be doubtful, as no name of a 
 purchaser is recorded in the priced catalogue at Christie’s. A study made by the late 
 John Mortimer, R.A., from the cartoon of Leonardo da Vinci, of two heads of the 
 disciples in the picture of the Last Supper. The catalogue states that the original 
 cartoons, of which this was a copy of one, were purchased by the late Mr. Udny from 
 the family of the Marquis Casini, and brought to England where they did not find a 
 purchaser but were sold to the Empress Catherine, and transported to St. Petersburg, 
 which circumstance will be fully explained by reference to Mr. Barry’s letter to the 
 Dilettanti Society. But on referring to this letter I find that Barry says that he had 
 mentioned in his lectures as Professor of Painting in the Royal Academy, that “ Wright 
 in his account of the curiosities of Milan, mentions a room of the Marquis Casenedi 
 entirely furnished with drawings of Raffael, Caracci, Del Sarto, and others, but those 
 most admirable are the cartoons of Leonardo da Vinci, done in chalks but raised a little 
 higher with other crayons.” — “ Two of these cartoons contain two heads apiece, so that 
 in the eleven cartoons are drawings of thirteen heads. ”t 
 
 * He wrote a long and interesting letter to the Dilettanti Society in 1797, in which he spoke in strong terms 
 of the party opposed to him and to his views of art matters in the Academy, and was in consequence expelled by 
 vote of this body, April 15, 1797. He died in great poverty, Feb. 22, 1806. 
 
 t “ These cartoons of Leonardo were some years since purchased of the family of this Marquis Casenedi by 
 Robert Udny, Esq., a gentleman well-known for his public spirit and love of virtu. On my inquiring after these 
 VOL. I. O 
 
9 3 
 
 ART SALTS. 
 
 [ 1807 . 
 
 Mr. Troward’s Pictures. — There were only fourteen pictures in this sale, which was by 
 Mr. H. Phillips at his rooms in New Bond Street, April 18, 1807, but they were of unusual 
 excellence, and according to the catalogue were sold without reserve. Mr: Troward lived in Pall 
 Mall, and was, like Mr. Buchanan, regularly engaged in picture-dealing. The pencil notes upon the 
 priced catalogue in my collection would indicate that these pictures represented a much larger sum 
 of money than they realized, and it may be conjectured that this copy of the catalogue actually 
 belonged to Mr. Troward, as it bears his name, and has a pencil note as if written to show the 
 auctioneer at the time— “ As no one has cash in pocket, I will take bills of two and four months.” 
 Teniers, Landscape and Fishery— £39 18s. ; Parmegiano, “ Marriage of St. Catherine,” from 
 the Orleans Collection— £105 ; Murillo, “ Assumption of the Virgin,” cabinet size (12 by 8)— £157, 
 
 cartoons of Mr. Udny, the account he gave me was that they were well preserved, some in excellent condition ; 
 they were framed and covered with the old blistered glass of the time, easily cognisable from its irregular undulating 
 surface ; that as his wish was to enrich his country with these studies of Vinci, he did not include them in the 
 collection he sold to the Empress of Russia, but sent them to the palace at Buckingham House, where Mr. Dalton 
 had engaged to show them to his Majesty, and where they might have been purchased for any sum, even for £100. 
 as Mr. Udny wanted nothing so much as that they should remain here. But after remaining about five weeks at 
 the palace, and neither seeing nor hearing anything from Mr. Dalton all this time, Mr. Udny was surprised one 
 morning on coming down to breakfast to find these invaluable cartoons returned to him with no other message than 
 that they would not do. It is more than probable that Dalton in this procedure acted only on the defensive, as all 
 such contracted miserable reptiles generally do, by recurring to his cunning and left-handed policy in contriving 
 some mean dirty deception to discredit this work of Leonardo, and consequently to prevent the owner of it being 
 personally known to his Majesty, and thereby having an opportunity of interfering with the opinions of Mr. Dalton 
 on any future occasions. When inferior, worthless men are about great princes, thus will the latter be ever deceived, 
 and even turned aside from doing the good they intended ; and unfortunately for the country, but very naturally, 
 Mr. Udny, piqued and full of honest indignation, wrote to Russia, presented those cartoons to the Empress and 
 received a very honourable acknowledgment and present in return. On my suggesting to him the idea of getting 
 them back ; that probably their importance might not be known in such a country as Russia, more especially as they 
 were divested of all glitter in their modest homely garb of old glass and frame, that the Academy -would be glad to 
 have them ; and even I, though persecuted, plundered (a) and traversed for so many years by a base combination 
 and cabal * * * yet still matters were not so bad but that I could raise more than L IO ° i n order to be the happy 
 means of depositing them in some public place for the use and entertainment of this great city — Mr. Udney shook 
 his head and told me he had a memorial of one of them remaining, a copy in the same size and material made by 
 the ingenious Mr. John Mortimer, which he immediately produced and generously obliged me to accept of, as an 
 anodyne for my uneasiness at so great a national loss.” Barry, as professor of painting in the Academy, showed this 
 copy to the students in one of his lectures. It is worth remarking also of Barry’s efforts to induce the Academy 
 to purchase fine examples of the works of the old masters, in which he was supported by Sir Joshua Reynolds when 
 president, that he spoke always of thus founding a * National Gallery,’ and I believe he was the first of our artists 
 not only to conceive such a project in the interests of art, but the first to give it the name of a ‘ National Gallery.’ 
 Poor Barry was before his time, and had too much of the fortiter in re with far too little of the suaviter in modo 
 which often carries out successfully schemes of infinitely less value to the public than his would have proved, 
 had the Academy begun then to buy pictures and present them to the nation, as the defunct British Institution 
 many years afterwards did, many fine examples would have been secured. It took another generation to convert 
 artists and amateurs of art to Barry's opinion as to the instruction to be derived from the works of the old masters. 
 It will be observed that Barry says the cartoons were presented to the Empress of Russia, not sold. There 
 appears to be some confusion about these cartoons, since there was a set of six sold in Sir W. Hamilton's collection 
 at Christie's in 1801, and these were sold again in the same year for the small sum of £ 22 , being bought by 
 Woodburn, the eminent collector and dealer. Then we have eight cartoons of the same heads sold in the collection 
 of Sir T. Lawrence, P.R.A. ( see that sale 1830), which brought much higher prices, the “ Christ” bringing £i'&(). 
 The question is whether there are not two sets, one of six and one of eight of the same cartoons, one being copies ; 
 that is to say, the six were the copies. If Mr. Udny sent to the Empress the cartoons he could not succeed in 
 selling, they could not have been the cartoons sold in the Lawrence sale. Next comes the question whether the 
 cartoons which were sold in the collection of Sir W. Hamilton in 1801, were those which Mr. Udny bought of the 
 Marquis Casenedi (or Casini), and offered to the king through Mr. Dalton as related by Barry, but declined. If 
 so, it becomes doubtful if any were sent to Russia ; perhaps only this one which Mortimer copied. At any rate I 
 find no mention of any ‘ cartoons ’ by Leonardo in the St. Petersburg collection in the notice of the painter by 
 Charles Blanc in Vie des Peintres. 
 
 {a) His house was broken into and a large sum of money stolen. 
 
1807.] 
 
 M. LAEONTAINE’S PICTURES. 
 
 99 
 
 “cost qoogs. ; ” Caracci, his own Portrait — -£105, “cost 3oogs. ; ” Holbein, Portrait of Queen 
 Mary, on panel — £178; A. Sacchi, “St. Bruno holding a crucifix” — £ 241 ; Venusti, 
 “Michelangelo’s Dream,” so called — £89 ; Claude, “ Rinaldo and Armida, or the Enchanted 
 Castle,” from M. de Calonne’s cabinet; the size of this picture is 39 by 58^-. This beautiful 
 picture sold for £1,050. Domenichino, “ St. Cecilia” (54 by 24! ?) “painted for Cardinal Sausi ” 
 (Sassi?) — £578; N. Poussin, A Bacchanalian, “allowed to be the finest in this country, from 
 the collection of the Count de Veudreul ” (Vaudreuil ? ) — £1,575 ( Lord Kinnaird). Michelangelo, 
 The Virgin supporting the Saviour, with two angels, painted for Pope Clement VIII. — £231 ; 
 Leonardo da Vinci, “The Son of God creating the Universe,” painted for Francis I. and 
 a portrait of Francois I. by Leonardo, two pictures sold together — £1,680; Rubens, “The 
 Doctors of the Church,” a fine sketch — £378. Total, £6,418 13s. 
 
 MR. EDWARD COKE'S COLLECTION. 
 
 This was certainly one of considerable importance, consisting of 70 pictures, pur- 
 chased at various sales and abroad, during his travels in Holland and the Austrian 
 Netherlands, as Mr. Coxe states in the note prefixed to the sale catalogue, the date of 
 which is April 23, 1807, to be sold on that and two following days, by Peter Coxe, at 
 Mr. Squibb’s Great Room, Saville Passage. Catalogues, 2 s. 6 d. each. Whether this 
 gentleman was a relative of the auctioneer is not stated, probably he was, as it is stated 
 in this catalogue, which is bound up in the volume noted by Mr. W. Smith, that he 
 attended constantly all the sales of pictures, and had been a collector for thirty years. 
 Amongst the pictures are several from the Calonne collection, the Orleans, Sir W. 
 Hamilton’s, Marquis of Londonderry’s, Barnard’s, the Delme collection, and M. 
 Laborde’s. The prices are unfortunately not given upon this catalogue, but it will be 
 interesting to see what the chief pictures were. Mr. Coxe is not mentioned in 
 Buchanan’s Memoirs. 
 
 M. LAFONTAINE'S PICTURES. 
 
 M. Lafontaine was one of the most successful of the picture dealers of Paris, and 
 had many fine pictures through his hands, but it would seem that he resorted to London 
 to dispose of some of his most important collections, and we have Mr. Christie selling 
 for him, June 13, 1807, and again in June 1811. Both sales are interesting, for in the 
 first-named we find the picture by Rembrandt, No. 45, National Gallery, “ The Woman 
 taken in Adultery,” selling for £5,250, a very high price in those days, and in the second 
 sale another, perhaps more famous work of Rembrandt — “The Master Shipbuilder;” 
 which has long been in the Royal collection at Buckingham Palace, selling at the same 
 high price. Probably Mr. Angerstein was the purchaser of the National Gallery picture, 
 as it was amongst those of his collection which was purchased from him to form the 
 National collection. It may have been “bought in,” and afterwards sold to Mr. 
 Angerstein at a lower price, as the name of Clifford is entered as the buyer of this 
 and several other pictures, notably the Correggio “ Virgin and Child with St. John.” 
 Then there is another National Gallery picture, No. 12, “The Marriage of Isaac and 
 
 o 2 
 
IOO 
 
 ART SALTS. 
 
 [ 1807 . 
 
 Rebecca,” called also “ The Mill,” or “ Claude’s Mill,” as is the other of the same 
 subject in the Doria Pamfili collection, Rome, and this appears to have been sold 
 in this sale for £840, although it is stated in “ Buchanan’s Memoirs ” that it was sold 
 to Mr. Angerstein by M. Sebastian Erard of Paris in 1804, along with the “ Queen 
 of Sheba” picture (No. 14, N. G. Cat.), both having been in possession of the Bouillon 
 family, since painted for the Due de Bouillon in 1648. The question arises, however, 
 whether the “ Mill” sold in Lafontaine’s sale was the picture in the National Gallery 
 or another of this subject. It would seem to have been esteemed of questionable 
 authenticity by the price. Buchanan remarks of the Angerstein-Erard Claude, that 
 “ doubts exist as to its originality,” and the official catalogue of 1875 by Mr. Wornum 
 states that it had been pronounced a copy, but that it differed from the Doria picture. 
 There were other pictures by Claude, A landscape with riposo by Albano — £111 ; “ The 
 Grotto of Neptune” — £430 10s., and “Landscape and Seaport” — £1995. By 
 Rembrandt, “Presentation in the Temple” — £120 165.; “A Seapiece ” — £493 105. 
 Rubens, “ Portrait of Helena Forman and Child,” in a landscape by Breughel — £290] 
 Leonardo da Vinci, “ St. Jerome seated under a tree ” — £462 ; Correggio, “ Virgin and 
 Child with St. John ” — £"3150. This was from the Modena collection, and must have 
 been a good picture to bring so high a price. 
 
 The pictures belonging to M. Lafontaine sold in 1811 were included with others 
 from another owner, and his name did not appear on the title page, hut it is known 
 that certain pictures were his, as it was stated they “ were partly collected at Rome and 
 Genoa, and comprising the flower of the very precious cabinet of Mr. Schmidt of 
 Amsterdam, particularly the ‘ Master Shipwright,’ celebrated throughout all Europe as 
 Rembrandt’s ne plus ultra in his second manner.” The other important pictures were 
 W. Van de Velde, “ Calm, Fleet at Anchor ” — £997 10s., bought in. A. Van de Velde, 
 “Landscape and Cattle” — £1890, Lord Yarmouth. Wouwerman, “ Hay Harvest ” — 
 £1785, Lord Yarmouth. A. Ostade, “Flemish Interior” — £1050, Lord Yarmouth. 
 Teniers, “Flemish Fete” — £1732 105., Lord Yarmouth. J. Both, “Grand L. 
 Baptism of Eunuch” — £1550, Higgins. F. Mieris, “A Lady stringing Pearls” — 
 £1050, Lord Yarmouth. A. Vandyck, “Christ healing the lame man” — ^3800, 
 Higgins. Guercino, “ The Woman taken in Adultery,” from the Palazzo Cambiaso, 
 Genoa — T252, bought in. 
 
 N. N. Collection. — Sale by Mr. Christie, July 4, 1807, of Italian and Dutch pictures, “ chiefly 
 the property of an amateur of rank distinguished for his refined taste.” The pictures specially 
 named were: — Old Mieris, “ L’Enfileuse des Perles,” from Collection of Mr. Van Leyden, 
 Amsterdam ; Lady in red corset and white satin, and woman bearing a silver cup on salver. 
 Metzu, Lady at Toilet, from Collection of Elector Palatine. Netscher, “ The Lacemaker,” from 
 the Van Leyden Collection. P. Veronese, “ Purification of the Virgin,” from the Collection of 
 Count Zechi of Brescia ; “ Venus and Cupid,” from the Collection of Count Bevilacqua, Verona. 
 Titian, “ Flight into Egypt,” from the Church of the Annunciata, Ancona. 
 
1808 .] 
 
 SPEAKER LENTHALL'S PICTURES. 
 
 ioi 
 
 A* 
 
 Speaker Lenthall’s Pictures. — These were of remarkable interest as portraits of the time, 
 and for the celebrated large family group by Holbein of the family of Sir Thomas More. ' The 
 catalogue of the sale, May 21, 1808, states the pictures to be “ the property of John Lenthall, Esq., 
 being a choice part of the collection formed by William Lenthall, Speaker of the Long Parliament, 
 who died in 1662, since which time the paintings have never been out of the family mansion at 
 Burford (Oxfordshire), from which they have recently been brought.” The Holbein picture is 
 described as “ A group of eleven figures, size of life, the arms of the principal figures emblazoned 
 over the heads of each. In the corner is a tablet with an inscription describing the several 
 characters. This very rare and capital picture is in its original state, having never been cleaned 
 during the long period of its preservation in the priory at Burford.” The size is noted in pencil 
 15ft. by 10, and the price “1000 guineas, bought in.” * Baroccio, “ Entombment ” — £11 ; Unknown, 
 Portrait of Lord Cottington — £2 J 3 S - 6d. ; Walker, Portrait of Oliver Cromwell, “with a plain frill” 
 — £3° 9 s - 1 Van dyck, Portrait of Sir Kenelm Digby — -£13 13s. ; Schiavone, “ Descent from the 
 Cross” — £10 10s. ; Mytens, Portrait of William, Earl of Pembroke — £25 ; Portrait of Charles II. 
 — £15 15s.; Honthorst, “Ecce Homo,” — £5 5s.; C. Jansen, Portrait of the Countess of Winchelsea, 
 “fine hands with a rose” — £12 12s. ; Vandyck, Portrait of the Earl of Holland — £j8 15s. ; Portrait 
 of Charles I. in armour — £gg 15s. 
 
 * This picture is now considered to be made up from Holbein’s drawing at Basel, and other figures 
 introduced by a later hand in 1593, fifty years after the death of Holbein. It now (1867) belongs to Mr. Walter 
 Strickland of Cokethorpe Park, Oxfordshire. There are three other large pictures more or less similar; viz., 1. 
 At Nostell Priory, near Wakefield, Yorkshire, belonging to Mr. Winn, 8ft. 3m. by nft. 6in., formerly in the 
 collection of A. de Zoo, contemporary of Holbein, and afterwards at Well Hall, Eltham, the seat of the Ropers, 
 in 1731, exhibited at South Kensington Portrait Collection in 1866. 2. A copy of No. 1, but deficient in a part of 
 
 the left side, and inferior, on canvas, size 7ft. Sin. by 9ft. 9^, formerly at Barnborough, seat of the Cresacres, 
 relatives of the Mores, now (1867) belongs to Mr. Chades Eyston, of East Hendred, Berks. 3. Is also a copy of 
 No. 1. on canvas, size, 8ft. 3m. by 11ft. 2in., but a little dog is omitted, and Sir Thomas More wears a moustache, 
 with other minor differences in colours, &c. ; this was formerly at Heron in Essex, the seat of Sir John Tyrrel, but 
 is now (186/) in possession of Lord Petre at Thorndon, near Brentwood, Essex. No picture corresponding 
 exactly with the drawing by Holbein, engraved by Von Mechel, 1794, has yet been discovered. A miniature of 
 the Burford Priory picture, ascribed to P. Oliver, exists. See Life and Works of Holbein, by R. Wornum, 1867. 
 
102 
 
 ART SALTS. 
 
 [ 1810 . 
 
 * 
 
 5 / 7 ? H. T. GO XT’S COLLECTION. 
 
 The capital and very valuable collection of pictures, chiefly of the Flemish and 
 Dutch schools, the genuine property of Sir H. T. Gott, deceased; brought from his late 
 seat, Newland Park, near Chalfont St. Peters, Bucks ; particularly a grand gallery 
 picture by M. A. Caravaggio ; a beautiful landscape by John and Andrew Both ; a land- 
 scape and figures, and “ An Interior of a Stable ” by Wouvermans ; and “ The Birth of 
 Bacchus ” by N. Poussin. The whole of which are submitted in their original state, 
 and by order of the executors, by Mr. Christie at his great room, Pall Mall, Feb. 24. 
 There were fifty-nine pictures, of which may be noticed a pair of “Views near Rome,’’ 
 with figures, drawings in water-colours by Marco Ricci ; five “ ‘ Antient ’ Views of 
 Windsor,” drawn in crayons ; a small portrait of Mary, Queen of Scots, by Zucchero ; 
 “ A Man with a Hawk,” “ on panel, very fine,” by Holbein ; “ Portrait of Rembrandt,” 
 by himself ; Ad. Brauwer, “ Dutch Boors quarrelling; ” “ Market-woman and Servant,” 
 bv Gonzales ; “ The Duke of Cumberland on Horseback,” with view of Windsor in 
 distance by Lambert, the horse by Sartorius ; “A Romantic Landscape ” with a halt of 
 sportsmen, exquisitely finished, by Wouvermans — £126 ; “ The Birth of Bacchus,” a 
 grand composition, by N. Poussin — £g\ 10s. ; “View in Italy” with cattle and figures, 
 by J. and A. Both, in fine preservation — ^162 15s. ; “ Interior View of a Stable,” with 
 horses and figures, exquisitely finished, by Wouvermans (no price quoted) ; A capital 
 landscape, with fruit and flowers, and children gathering snails, a fine production of 
 this celebrated painter — £72. gs. 
 
1810 .] 
 
 MR. IVALSH PORTER'S COLLECTION. 
 
 103 
 
 MR. WALSH PORTER’S COLLECTION. 
 
 1 he sale of this collection was the most important of the season, and it attracted 
 the attention of all interested in the disposal of fine pictures, as Mr. Walsh Porter had 
 for many years been a leading collector abroad during the first ten years of the century, 
 when as we have seen so many great collections were being broken up in all parts of the 
 Continent. He had, in fact, already formed a fine collection, which had been sold at 
 Christie’s in 1803 * (see that year), when he was “ going abroad,” so that he was evidently 
 to a great extent always disposed to sell at a profit, like Mr. Buchanan, Mr. W. Y. Ottley, 
 and others. Now, however, he was dead, and the pictures were as stated “ sold 
 peremptorily, and without reserve,” on Saturday, April 14, 1810. Catalogues 2s. 6 d. 
 each, without which no person can be admitted on the day of sale. The collection was 
 described as “ a superb assemblage, well known to the more distinguished cognoscenti, 
 but which has never been generally exhibited” — “Scarcely to be equalled by even the 
 finest that have been consigned to this country within the last ten years.” The following 
 were the most important of the 52 pictures : — 
 
 Jan Steen, Skittle ground, near a fortified town, several groups, a countryman 
 courting a girl, the landlord explaining his bill to a “ Sancho Panza,” who has not money 
 enough, from the collection of M. Neully, engraved — ^203 145. ; Van der Heyden, 
 “ Stadthouse, Amsterdam ” — £231 ; Vandyck, Portrait of Fiamingo — £246 5s. ; K. 
 der Jardin, “ Peasant Children ” — £15 7 105. ; Ruysdael, “ The Mill ” — ^304 io.s., 
 purchased by Lord Yarmouth for the Prince of Wales, and now at Buckingham Palace ; 
 Raphael, “Charity,” with two infants, in a landscape, from Borghese Palace — £105; 
 “ Hope,” the idea taken from the “ Spes Etrusca,” antique; also from Borghese — £71 8s.; 
 C. Dolci, “Virgin and Child,” with flowers — £315; Guido, “St. Apollonia and the 
 Executioner,” with Cherub, from the Orleans collection, Cambridge — £346 10s. ; S. Rosa, 
 “Banditti,” in landscape — £199 10; Metzu, “ Lady at Harpsichord and Cavalier,” from 
 Choiseul collection— £262 10s. ; A. Ostade, “ Boors Smoking ” — £273 ; Forest scene, 
 with figures hawking, by Wynants and Wouvermann — ^336; Lord Yarmouth for the 
 Prince of Wales; C. Maratti, “Holy Family”- — £393 155.; Wouvermann, Camp scene, 
 with a beggar — ^315 ; Leonardo da Vinci, “ Virgin and Child,” with cherries, sculptured 
 pedestal and landscape — £850 10s. ; Giorgione, “ Venus and Cupid stung by a Bee,” 
 landscape, from Orleans collection — ^336; Vandyck, “St. Sebastian and Soldiers ” — 
 £8g2 10 s. (Sir A. Hume) ; “ Virgin,” with Infant standing on her knee, Magdalen, 
 David, and the good thief — £78 7 10s. ; Teniers, Group of fishermen on beach — ^640 10s.; 
 “Village Surgeon,” from Chevalier De Venee’s collection, engraved; G. Dow, “Old 
 Woman with Candle,” from Robit collection — £210 ; Rembrandt, “ Head of a Rabbi ” 
 — 204 155. (Lord Milton) ; P. Veronese, “ Marriage of the Virgin,” many figures, small, 
 from the Corsini Palace — £367 10s. ; N. Poussin, “Holy Family ”—^640 105.; G. 
 Poussin, “ Woody Valley,” goat-herd and figures, from Corsini Palace — £630; A. Carracci, 
 
 * The original Catalogues of both these Sales are in my collection. That of 1803 is completely priced by 
 some practised hand at the sale; the other I have myself priced from the Catalogues possessed by Messrs. 
 Christie. 
 
104 
 
 ART SALTS. 
 
 [ 1810 . 
 
 “ Silenus and Apollo,” designed for a harpsichord, from the Lanzelotti Palace, engraved 
 — £315 (Angerstein) ; Murillo, “ Magdalen in Prayer,” choir of angels, from the Capuchin 
 Convent, Genoa — £441 ; “Assumption of Virgin,” from the same convent — £766 105. ; 
 “ Riposo,” with angels, from the same convent — £1050 (all these were bought by Coch- 
 rane and Johnstone) ; Titian, “ Adoration of the Kings,” with one of the kings, probably 
 Portrait of Charles V., alighted from a white horse, as the picture was presented to him by 
 the Spanish Court — £546. This picture was said to have belonged to Charles I., but 
 no picture answering this description appears in that catalogue, nor in the Madrid 
 catalogue. “ Ariadne in Naxos,” known as “ the Bacchanalian Scene,” one of four 
 painted by Titian for Duke Alfonso of Ferrara — £1,575. (See note to this in Vol. II., 
 p. 256.) Guido, “ St. Jerome and Angel,” from the Balbi Palace — £640 105.; Bassano, 
 “Conversion of a Princess,” with a bishop, and cherubs, from Corsini Palace — £325 10s.; 
 A. del Sarto, “ The Virgin,” with the young Christ and St. John — £1,207 10s. (Buchanan); 
 Domenichino, “ St. Cecilia,” holding palm in right hand, and scroll of music in the left ; 
 group of angels near, and before her the organ, a wreath of roses round her head, formerly 
 in the Pallavicini collection — £1,837 I05 - (Buchanan) ; Claude, “ The Enchanted 
 Castle,” a bay, with castle on the shore in middle ground, and fine trees; a female 
 figure in a pensive attitude seated in foreground, figures in a boat in the bay, some deer 
 near. Formerly in the collection of Dr. Chauncey ; and a sketch of it by Claude is in 
 the Liber Veritatis, No. 162 — £945 (Buchanan). This is the famous picture originally 
 painted for the Conestabile Colonna in 1664, which after passing into the possession of 
 Mr. Davenant, then to Dr. Chauncey, M. de Calonne, and Mr. Troward, comes to 
 Mr. W. Porter, from whose sale it passes into the collection of Mr. Wells of Redleaf, 
 and being sold in that collection at Christies, 1840, was purchased for the late Lord 
 Overstone, a trustee of the National Gallery, and has for the last forty years been in the 
 Overstone collection. (See Sketch Copy.) “ Sinon before Priam,” grand landscape ; 
 Priam and his suite, with guards on the right, Troy seen on the left, on a hill, and the 
 Trojan camp ; from the Ghigi Palace, No. 145, in the Liber — £2,887 105. (Barnett) ; 
 “ TEneas shooting Deer on the Coast of Lybia,” Achates and followers, woody land- 
 scape, with several temples, and venerable buildings, from the Colonna Palace — £630 ; 
 Rubens, “ Pan and Syrinx,” from the collection of the Due de Montesquieu, cabinet size, 
 engraved — £1,050. Rubens as St. George, preceded by his three wives, one as Mary 
 Magdalen, standing in the front before the Virgin, seated with the Infant, St. Jerome 
 kneeling, with winged boy holding the book ; group of infant angels in sky, formerly in 
 the Palace of M. Francesco Balbi, Genoa — £2,152 10s. (Webster) ; P. Veronese, “ Venus 
 and Cupid,” Venus seated on a bed, withholding the bow from Love embracing Venus, 
 from the Colonna Palace — £808 10s. (Webster*) ; Correggio, “ Danae receiving the 
 Shower of Gold,” whole figures, rather smaller than life. No description of this fine 
 picture is given in the catalogue ; but the composition is well known by the numerous 
 photographs of the picture in the Borghese Gallery. According to Mr. Porter’s cata- 
 logue, this picture was the identical one which “ passed from the Duke of Mantua to 
 Charles V. at Prague, was removed to Stockholm, and afterwards to Rome by the 
 celebrated Queen Christina ; the subsequent purchases of it by Odescalchi, and the 
 
 * It will be observed in the lists that several of the finest pictures were bought by this Mr. Webster. 
 
1810 .] 
 
 MR. C. F. GRE VILLE’S COLLECTION. 
 
 105 
 
 Regent of France (by whose order it was mutilated), and the eventual possession and 
 restoration of the picture by the noble Venetian, Francis Lobia, may be collected from 
 Mengs, in his ‘ Life of Correggio.’ The public in this country have ol late years had an 
 opportunity of comparing this with the supposititious picture of the same subject brought 
 to England with the Orleans collection. The genuine merit of this chef d' oeuvre will be 
 most truly estimated by those who have examined the real works of Correggio on the 
 Continent” — £2,152 105. (Goddard). (See note to List, Vol. II.) On reference to 
 Dr. Waagen, “ Treasures of Art,” it will be seen that he states the picture in the Orleans 
 collection sold in London is that in the Borghese Gallery, Rome. It is evident there 
 are two Danae pictures, and the one in this Walsh Porter sale claims to be the true 
 Orleans picture. The total of this important sale amounted to £30,074 195., giving a 
 very high average on 52 pictures. 
 
 MR. C. F. GRE VILLE'S COLLECTION. 
 
 The Honourable C. F. Greville, F.R.S. and F.A.S., &c., &c., &c., formed a large 
 collection of pictures and other works of art at his residence “ near the Church at 
 Paddington Green,” with the design, as the title page of the catalogue informs us, “to 
 illustrate the progress of painting and its perfection by the masters of the great Italian 
 and other schools.” The sale took place after his death and in the house at Paddington 
 on Saturday, March 31, by Mr. Christie. There were 71 pictures, of which about 26 
 formed a sort of historical collection, beginning with a picture attributed to Cimabue, 
 “ A Virgin, Child and Saints,” on gold ground, the heads finished with the delicacy ol 
 miniature painting — £12 12s.; Giotto, “An Angel,” in fresco— £1 11s. 6 d.\ a pencil 
 note on my catalogue gives the size as 2oin. by 14m. Masaccio, “ Heads ol St. 
 Peter and St. Paul,” in fresco from the Church of Brancacci in Carmel (sic) — fio 10s. 
 The size according to a pencil note appears to be 24in. square. This could not have 
 been what it was said to be, as the paintings in the Brancacci Chapel at the Carmine, 
 Florence, are intact. A picture attributed to Masaccio, “ Head of an Evangelist, on 
 gold ground, 24m. by i8in.— £5 155. 6 d. Ghirlandajo, “Virgin and Child,’ with 
 
 angel in landscape, choir of angels in the clouds, very highly finished, circle , 36m. 
 £16 16s. P. Perugino, “Virgin, Child, and St. John, with Angels,” architecture and 
 landscape, 40m. by 36m. — £10 10s. Raphael, “Virgin teaching Jesus to read,” 24 in. by 
 i8in. — £80 175.; “Vulcan and Venus on a couch,” Cupids bending Love’s bow, Vulcan’s 
 forge in the distance, engraved by M. Antonio — £136 I05 - This was a cabinet picture, 
 the size is indistinctly marked like i6in. by loin. Polidoro, “ Adam and Eve ” — sketchy 
 picture — £32. Correggio, A female head, in fresco , cut from the wall of a chapel at 
 Parma,* size loin, by 20m. — £94 105. Baroccio, “Marriage of St. Catherine’ £ 53 - 
 Giorgione, “ Adoration of the Magi,” in a landscape — £89 5 5 - Titian, “ The Chess 
 Players ” — £90. This picture was sold in Mr. Crawford’s collection in 1785- 
 
 * It is certainly to be noted, that as this was acknowledged to have been “ Cut from the ivall,” the question 
 may fairly be asked whether the same thing was done with the fresco on the Brancacci Chapel Wall. 
 
 VOL. I. 
 
 P 
 
io6 ART SALES. [ 1810 . 
 
 P. Veronese, “ Mars and Venus in dalliance,” a Cupid holds a horse by the rein, an 
 exquisite cabinet picture — £63. L. Carracci, “ Virgin and Child, with Saints, with 
 Prior in adoration.” — £320 55. Rubens, Portrait of Helena Forman — £26 55. “ The 
 Loves of the Centaurs,” in a landscape — £640 10s. Bought by the Marquis of Douglas 
 and remained in the collection of Hamilton Palace till 1882, when it was sold (see list, 
 Vol. II.) Both, A brilliant little landscape with figures — £72. R. Wilson, “ The Niobe,” 
 40 in. by 36 in. — £215. Vandyck, “ St. Sebastian,” — £215. Guido, “ Cupid and Psyche,” 
 — £105. Seb. del Piombo, Portrait of a Friar with a skull, — £7 5 12s. Jordaens, 
 “A Supper party,” — £105. Romney, “Lady Hamilton as Diana,” engraved — £136; 
 Portrait of Sir William Hamilton — £4 2 ; Portrait of Lady Hamilton — £42. 
 
 Amongst the miniatures were, an enamel portrait by Petitot of Mareschal Due de 
 Grammont — £41 ; Oliver Cromwell, by Cooper — £3 155. Of the antique sculptures a 
 painted earthen vase, Sicilian, — £36 15s. A marble bust found in Adrian’s Villa — £43. 
 A marble Statue, Pudicitia , life-size, the head adapted, — £140 14s. The total was 
 over £5,000. 
 
 A sale of some interest was in May of this year by Mr. Christie, no name being 
 given, but only as the property of three distinguished families in Sicily. The im- 
 portant pictures were: — Albano, “Judgment ot Paris,” cabinet size — 200 guineas. 
 Velasquez, “ The Prodigal Son,” giving a purse to a lady with attendants — 440 guineas. 
 The companion picture, “The Return of the Prodigal," appears to have been included 
 in his price. Caracci, “St. Sebastian” — 100 guineas. Murillo, “Assumption of the 
 Virgin ”—610 guineas. A. del Sarto, “ St. John Evangelist,” said to be a portrait of 
 Raphael — 150 guineas. G. Poussin & Mola, Landscape with riposo — 250 guineas. 
 
 Claude, “ Daedalus and the heifer, with Pasiphae in a Palace ” — 170 guineas. Fra 
 Bartolommeo, “ Martyrdom of a female Saint ” — 200 guineas. Michelangelo, “ Holy 
 Family,” il silenzio, cabinet size — (. Bt . in, no price given.) Polidoro Caravaggio, “ In- 
 credulity of St. Thomas,” two figures — Bt. in, 47 guineas (?) 
 
 THE MARQUIS OF L A NSD 0 T VNE'S PICTURES, &c. 
 
 This was a sale ot pictures and antique works of art in marble and bronze, after 
 the death ot the Marquis and removed from Lansdowne House ; on May 25th and 
 following day, by Mr. Christie, at the room in Pall Mall. But, included in the same 
 catalogue, and on the day preceding the Lansdowne pictures, were sold thirty-eight 
 pictures, by order of the assignees of Mr. Michael Bryan, the author of the Dictionary of 
 Painters , in which there were some few interesting pictures, and 52 pictures belonging to 
 “ a collector distinguished for his refined taste,” amongst which were some important 
 pictures which require a separate notice. The Lansdowne pictures were only five, but 
 they were fine examples. Jordaens, “ Susannah and the Elders ; ” in the background a 
 circular balustrade enclosing a bath, with birds, fruit, draperies, and other objects — 
 £136 ns, Rombouts, “ A Sleeping Venus,” on a red bed-cover, satyrs approaching, 
 
1810 .] THE MARQUIS OF LANS DOWNERS PICTURES , &c. 107 
 
 gold vase, dish, and jewels; an “ Amorino waking Venus,” was added by Sir Joshua 
 Reynolds, to whom the picture belonged — £63. Rubens, “ Venus and Cupid at the 
 forge of Vulcan working at the armour of TEneas,” a satyr and two nymphs presenting 
 fruit and corn ; “a finely composed picture in the free and spirited manner of Rubens.” 
 This remark seems to have spoilt the sale of the picture, for there was no bidding for it, 
 and it was passed. S. Rosa, “ Diogenes casting away his golden Cup ” — £1029 : a 
 pencil-note on my catalogue says “ Bt. in ;” “ Heraclitus Contemplating,” surrounded 
 with decaying pyramids, obelisks, spoils of war, skeletons, &c. — £997 105. These two 
 pictures were sold in the Collection of Sir G. Yonge, 1806 (see list). The bronzes and 
 marbles numbered 30 lots, of which the most interesting were : a pair of a winged 
 Cupid on horseback, and an armed figure slaying a chimaera — £ag 85. A pair of bronze 
 fire dogs for a hearth, of beautiful design and exquisite cinque-cento work, in the 
 manner of Cellini — £210. A bust of a youth, bronze — £21. A colossal set of bronzes 
 of the twelve Caesars — £304105. Antique female bust — £10 105. Bust of Claudius — 
 £10 ios. Fine bust of M. Dunning — £42. Bust of Mr. Hastings, by Banks, on half- 
 column, marble — £105. Bust of Cromwell, by Wilton — £96. Bust of Pope Ganganelli 
 — £83. A slab of antique mosaic, “ very curious and fine ” — £110. A slab of bianca 
 e nero antico — £21. A pair of Breccia marble vases, with bronze handles of satyrs and 
 serpents — £42. 
 
 COLLECTION OF A DISTINGUISHED AMATEUR. 
 
 This collection of 150 pictures was sold on the same day and on the preceding day 
 as the Marquis of Lansdowne’s pictures. Of these some 50 pictures may be considered 
 of no interest, either on account of the Masters, or the prices, which were small. Of 
 these, however, may be noticed : — Seb. Bourdon, “ Riposo with Angels scattering 
 Flowers,” in a landscape — £23 75.; Opie, “Shepherd and Dog” — £14 145.; G. Hoet, 
 “Banquet of Antony and Cleopatra,” many figures- — £42. The more important 
 pictures were: — Titian, Portrait — £126; Giorgione, “ Holy Family and Saints” — £49; 
 Van Huysum, “ Flowerpiece ”—£86 ; J. Vernet, “ Les Blanchisseuses,” dated 1749, 
 Rome — £99 155. ; Landscape and buildings, companion , d. 1749— £99 155. ; Garofalo, 
 “Holy Family” in landscape — £126; Michelangelo, “The Dream,” youthful naked 
 figure resting on a mundane sphere surrounded by the vices and deadly sins, the Angel 
 Gabriel rousing the dreamer with his trumpet — £64. This may have been the picture, 
 No. 8 in the National Gallery, bequeathed in 1831 by the Rev. W. H. Carr, which was 
 said to have once been in the Barberini Palace. There are several repetitions of it, and 
 it is improbable that Michelangelo ever painted it on this scale, though the design is 
 his. A note on my catalogue of this sale says it is painted in oil. J. Vernet, “View of 
 Avignon” — £210; Murillo, “Madonna and Child” — £682 ios. ; D. Teniers, “La 
 Laitiere,” stable with cows, woman pouring milk into a brass pail, old man at the door ; 
 P. Wouwerman, “ Landscape with horses and figures ” — £210 ; A. del Sarto, “ Holy 
 Family and Saints,” a grand chef d'ceuvre — £220 ios. ; N. Poussin, “ Moses striking the 
 Rock,” replica of the Orleans picture— £210 ; Brauwer, “ Interior, with Smokers ” — 
 
 p 2 
 
io8 
 
 ART SALTS. 
 
 [ 1810 . 
 
 £gg 155. ; Wouwerman, Landscape with Hawking, a dog drinking from pool — £84; 
 Sir Antonio More, Portrait of Queen Mary — £189; Murillo, “Assumption of the 
 Virgin,” “a beautiful little gem” — £147 ; Vandyck, Portrait, Bishop of Trieste, for- 
 merly in the collection of M. Robit — £94 10s. This portrait does not seem to have 
 been identified in the Robit sale, 1801, at Paris, when it sold for 3766 francs. Le Nain, 
 “ A Family at a Repast ” — £74 ns. ; Hobbema, Woody landscape with figures — £294; 
 Cuyp, Portrait of a gentleman holding a watch — £42 ; Both, Landscape and figures, 
 ravine and torrent — £78 15s. 
 
 Collection of Sir Philip Stephens, Bart. — This collection was sold at the residence, 
 2, Great Cumberland Crescent, Oxford Street, May 17, 1810, by Mr. Christie, by order of Viscount 
 Ranelagh. There were 100 pictures, of which the most interesting were G. Bellini, Virgin and 
 Child under a canopy — £28. Parmegiano, Holy Family, with St. Catherine — £75. Garofalo, 
 Holy Family, a chamber with drapery lifted by Cherubim (small) — j£T8i. Taverner, Venus 
 stepping from her car to bewail Adonis — £60. Berchem, Rocky landscape, with figures — £70. 
 Teniers, The Vinegar Merchant wheeling a barrow — £105. Rembrandt, The Piping Boy, 
 from the Orleans Collection (price illegible). Portrait of a Burgomaster, from the Orleans 
 Collection — /T50. Rubens, Constantine with plan of Constantinople, sketch from Orleans 
 Collection — £118. W. Vandevelde, Sea Fight, from Calonne Collection — £180. Teniers, 
 The Gazette, four men and the newsman, from the Orleans Collection — £45° ; Landscape, with 
 wooden bridge over cataract, figures with a cow, size 54 by 66 — £220. Rubens, Battle of 
 Maxentius, from the Orleans Collection — TCI 0 - A. Cuyp, Grand Landscape, with river, a 
 horseman in the middle of foreground, and other figures with cows, early morning, 48 by 63^ — 
 1600 guineas ( Bonelli ). An Evening Scene, bank of a river with cows and herdsman, fisher- 
 man’s basket in front, and a heron hiding in the rushes — 1000 guineas. These were companion 
 pictures, probably both bought by Mr. Bonelli, who, according to a pencil note in the catalogue, 
 sold to the Earl of Darnley. 
 
 Caleb Whitefoord’s Collection. — This was styled “ the capital, extensive, and very' 
 valuable collection of Caleb Whitefoord, Esq., F.R. and A.S., deceased, distinguished for his 
 genuine taste in the Virtu.” He is called by Peter Cunningham “ the Papyrius Cursor of the 
 newspaper press,” and he also says that he is painted by Wilkie as the hero in his picture of 
 I he Letter of Introduction.” He is referred to by Goldsmith in a sort of epitaph which, if it is 
 correct that The Retaliation was written in 1774, the vear Goldsmith died, anticipated Whitefoord’s 
 death by more than thirty years. 
 
 4 ‘ Here Whitefoord reclines, and, deny it who can. 
 
 Though he merrily lived he is now a grave man. 
 
 Ye newspaper witlings ! ye pert scribbling folks ! 
 
 Who copied his squibs and re-echoed his jokes, 
 
 Ye tame imitators, ye servile herd, come, 
 
 Still follow your master and visit his tomb.” * 
 
 The Retaliation. 
 
 1 he sale took place “ on the premises,” 28, Argyll Street, May 4th and 5th, 1810, by Mr. Christie, 
 There were no pictures, chiefly Italian, with several portraits of literary friends, and others of 
 persons of rank, by Sir Joshua Reynolds. There were some good copies of famous pictures, such 
 as the “ Notte ” and the “ Jupiter and Antiope ” of Correggio. The picture most interesting to us 
 now was the Nelly O’Brien of Sir Joshua Reynolds, which was bought by the Marquis of Hertford 
 for the trifling sum of £64. A study for the portrait Reynolds painted for the Florence Gallery, 
 bought by Graves — £76 ; and, also by Sir Joshua, “Charity,” a singularly fine picture by this 
 esteemed artist, painted by him when in Italy — £89. 
 
 * Caleb Whitefoord died in 1810, and was buried in Paddington Churchyard, which is quite a campo satito of Art. Here lie 
 J. Bushnell, the sculptor of the statues on old Temple Bar ; Vfvares, the engraver of Claude and Poussin pictures ; John Hall, 
 engraver; G. Barret, R.A, ; T. Banks, R. A. ; L. Schiavonetti, the engraver; Nollekens, sculptor; William Collins, R.A. ; Michael 
 Bryan, author of the Dictionary of Painters ; Mrs. Siddons, the great actress, to whom there is a tablet in the church ; and here 
 Hogarth and Jane Thornhill were married, March 23, 1729. 
 
1811 .] 
 
 LORD KINNAIRD'S COLLECTION. 
 
 log 
 
 * 
 
 LORD KINNAIRD'S COLLECTION. 
 
 Although the name of the “ nobleman of distinguished taste ” was not stated on 
 the title page of the catalogue, yet it was evidently tolerably well known that the sixteen 
 pictures, “ removed from his house in Lower Grosvenor Street,” belonged to Lord 
 Kinnaird. The sale was on May 21, 1811, by Mr. H. Phillips, at his rooms, 73, 
 New Bond Street, at two o’clock ; catalogues one shilling each. It was certainly a very 
 choice and interesting little collection, and the prices obtained show this. The pictures, 
 taken in the order of the catalogue, were : — Guercino, “ Lot and his Daughters,” a 
 cabinet size — £29 85. ; Guido, “ St. Peter ” — £30 gs. ; A Magdalen from the Chigi 
 Palace — £3 25 10s. ; L. Caracci, “ St. Francis with Angels”- — £194 55.; Rembrandt, 
 Portrait of himself holding a book— £336 ; Sir Joshua Reynolds, “ Mrs. Billington as 
 St. Cecilia ” — £1 73 5s. This appears to be the picture purchased by Lord Kinnaird at 
 the sale of Mr. Elwyn’s pictures at Christie’s in 1807 for £gg. A pencil note on the 
 catalogue before me gives the size 8 ft. by 5 (see list, Vol. II.). Titian, “Portrait of 
 Sophonisba (Anguisciola) ” — £588 ; Fra Bartolomeo, “ Virgin and Child ” — ^178 10s. '> 
 Teniers, “ Interior, with a variety of figures,” from the collection of Mr. Craufurd, of 
 Rotterdam — £472 105. ; Claude, “ Italian landscape ” — £640 10s. ; Murillo, “ Virgin and 
 Child,” from Seville — £1260; Domenichino, “The Bath of Diana,” from the collection 
 of the Comte de Lepsis at Milan — £735 ; N. Poussin, “ Bacchanalian Dance,” formerly 
 belonged to Comte de Vaudreuil — £1470. For this picture Lord Kinnaird had paid 
 £1575 in the sale of Mr. Troward’s pictures in 1807 (see list, Vol. II.). Vandyck, 
 “ Mutius Scaevola,” a grand gallery picture— £483 ; Dubbels, “ A sea-piece ” — £168. 
 After the above were sold some remarkable water-colour copies of pictures by W. M. 
 Craig, which brought high prices. G. Poussin, “Land-storm,” 16x12 — ^18185. ; 
 Claude, “ Sunset ” — £42; Rubens, “Judgment of Paris,” 18 x 14— £78 155.; Rembrandt, 
 “ Portrait of himself,” 18x14 — £22; Murillo, “Virgin and Child,” 18x10 — £43; L. 
 Caracci, “St. Francis attended by angels,” 16x12— £18 18s. ; N. Poussin, “Baccha- 
 nalians” — £85; D. Teniers, “Boors drinking” — £45; G. Dow, Copy of picture in 
 Gen. Murray’s possession — £13 ; Claude, Copy of the Bologna Claude in the possession 
 of the Rev. Holwell Carr — £60 18s. 
 
 N. N. Collection Sold. — By permission, at the private gallery in Oxenden 
 Street, by Mr. Christie, June 21, 1811, pictures, “the property of an eminent collector, 
 purchased by him in Italy, or recently in Spain, or which were formerly distinguished 
 in the collections of Welbore Ellis Agar and Walsh Porter, Esquires.” Among 
 them were a noble landscape — “ A Land Storm,” by Gaspar Poussin, from the 
 Falconieri Palace, which brought ^304 10s. ; “The Discovery of Achilles,” by N. 
 Poussin, from Mr. Agar’s collection — £220 10s. ; and “ I he Infant Moses trampling 
 on the Crown of Pharaoh,” by the same — £ 3-5 Ias - > 14 Landscape ’ by Claude, 
 
 etched in the Liber, from the same collection — £304 105.; another, of “/Eneas 
 Shooting Deer,” said to be the last work of Claude, and from the Colonna Palace — 
 £294; by Titian, “The Adoration of the Kings,” a king with a white horse, from 
 
I IO 
 
 ART SALTS. 
 
 [ 1811 . 
 
 the collection of Charles I.— £294; by Hobbema, a woody landscape, for 70 years 
 in the possession of Mr. Gordon— £182 ; G. Dow, “ Old Woman at a window with a 
 Candle,” and two other figures, dated 1671, from the Robit collection ; Fra Bartolomeo, 
 “ Virgin and Child with S. John,” from Mr. Hope’s collection— £94 10s. ; J Both, two 
 landscapes, one with a waterfall brought— £131 5 5 - i J- Steen, “A party at bowls,” 
 from Mr. Walsh Porter’s collection — £204. 155.; Van der Heyden, “ View of Amster- 
 dam” — £210; Murillo, “St. Francis” — £126, and “Crucifixion” — £28310$.; Cara- 
 vaggio, “The Incredulity of S. Thomas ” — £178 10s. ; Adrian Van de Velde, “ Landscape 
 with cattle” — £126; G. Palma, “The Maries mourning the Dead Christ,” from the 
 collection of the Marquis Ensenada, bought in Madrid in 1809 — £58 10$.; A. Ostade, 
 “Boors at door of a cabaret,” from Mr. Tillotson’s collection, engraved — £152 5$.; 
 Guercino, “ Samson presenting the honeycomb to his parents,” from the Aldobrandini 
 Palace — £126 ; Du Jardin, “ Peasant children dancing at door of a cabaret ” — £gq 10s. ; 
 Domenichino, “ Christ and Disciples going to Emmaus,” brought from Bologna — £420; 
 Ribera (Spagnoletto) , “ Four Philosophers,” one the portrait of Salvator Rosa, from the 
 collection of the Prince of the Peace, called in Madrid “ Salvator Rosa’s Philosophers ” 
 — £210. There were in all 52 pictures, but as the same name of Swift appears to 
 nearly every lot as the buyer, it may be concluded that they were bought in. Such 
 sums were certainly prices not often obtained in those days. 
 
 PICTURES FROM THE COLLECTION OF THE DUCA DI 
 
 SAN PIETRO. 
 
 This sale, June 22, by Mr. Christie in Pall Mall, takes some importance from the fine 
 pictures by Rubens, Leonardo da Vinci, Spagnoletto, and Alessandro Veronese, which 
 brought very large prices, although it must be observed that these prices do not represent 
 actual sales, but only those at which these pictures were bought in, which were probably 
 the reserve or near the reserve prices. These important pictures belonged to some one 
 whose name was not given, probably it was some foreign dealer, and some of the 
 pictures reappear in future sales. The two pictures by Rubens were described in the 
 catalogue (lot 27) “ Portrait of a beautiful female seated in a chair, the character evidently 
 Spanish, presumed to be some Spanish Princess who married into the reigning family 
 at Naples in the time ol the painter.” It may be doubted, however, whether this was a 
 work of Rubens, as it did not bring a high price and was probably not sold. The other 
 picture was “ The Calling of St. Matthew,” described as “a very capital and beautiful 
 easel picture painted with great spirit of outline, and a most brilliant and harmonious 
 display of colour ” — £1,522 10$., bought in ; Leonardo da Vinci, “ Portrait of a female in 
 a white bodice and low embroidered turban cap, a brunette with the most pleasing 
 regularity of feature, the scanty head-dress seems to heighten the oval contour. The 
 figure is simply relieved by a curtain of emerald green, very capital ” — £3,150. The 
 name Guzen is given as the buyer. The description suggests a portrait of the well- 
 
MR. W. Y. OTT LEY’S COLLECTION . 
 
 1 1 1 
 
 1811 .] 
 
 known lady painted by the master, called “ La Belle Joconde ” and “ Mona Lisa." It 
 must have been a fine work to have brought this high price. Ribera (Lo Spagnoletto) , 
 “ St. Sebastian.” A female is drawing an arrow from a wound, and another bears the 
 ointment, “ very capital” — £3,150; no name, and no doubt it was bought in. Other 
 pictures were: Vandyck, equestrian portrait of the Cardinal Infant Ferdinand, as in the 
 great picture by Rubens at Dusseldorf, with a fine landscape. This, however, only 
 brought £27; Rembrandt, “ Semiramis at her Toilette.” No price. Portrait of a 
 Spanish general, hat, feathers, and gold chain ; no price. Dormenichino, portrait of 
 himself, described as small, very spirited and curious; inscribed “ Noli altum tendere ” — 
 £35; Perugino, “The Crucifixion,” “has been considered an early work of Raphael, 
 appears to have been painted for the family of Villa Marina, Counts of Salerno, see the 
 inscription with date 1503 ” — £26 5s. This picture appears again as a work of Raphael 
 in a sale, 1805, £110 5s., and again in 1813, sold with others from the San Pietro 
 Collection by Mr. Squibb, when it only brings 20 gs. There were 34 pictures 
 
 and some fine bronze groups, which sold for large prices, viz., “ The Laocoon,” fine 
 Italian work — £315; “Hercules with the Erymanthian Boar” — £210; “Atlas” — 
 £199 1 os. ; “ Hercules Slaying the Centaur Nessus ” — £357 ; “ Hercules tearing off the 
 horn of Achelous ” — £325 10s. ; “ Bust of Conde,” “ size of life, very spirited and fine ” 
 —£472 10s. 
 
 Mr. W. Young Ottley’s Collection. — Mr. Ottley was one of the best informed collectors 
 of the time, whose name will always be known as a writer of a valuable work upon the Italian 
 School. There were 92 lots, and although some of the more important pictures were “ bought in ” 
 below the reserve price, it will be well to give the prices at which they were knocked down on this 
 occasion (May 25, 1811), as they were some of them sold at Christie’s after his death (sale, March 4, 
 1837). Masaccio, St. Dominic, in tempera, from C. Greville Coll. — £31 ( Phillips ) ; The Last 
 Supper, from Villa Aldobrandini — £64 {Frazer). Botticelli, Nativity — £42 ( N.N . ). Fra 
 Bartolommeo, The Magdalen carried to Heaven by Angels — £126 {Walker). Titian, Europa, 
 study — £283 ; a Concert — £168. Giorgione, Holy Family, and St. Catherine — T183. Guido, 
 Infant Christ — -£136. Bassano, Jacob’s Journey — £231. Albaxo, Holy Family, with Angels 
 — £142. Raphael, Vision of a Christian Knight, from the Borghese Palace — £409 ( see Vol. II., 
 p. 246, note). Gaspar Poussin, Landscape, from Colonna Palace — £682 {Sir G. Beaumont). 
 A. del Sarto, Charity— (£504 {Phillips). Rembrandt, His own portrait, from Udny Coll. — £120 ; 
 Bathsheba — £189. No total is recorded. In the sale after Mr. Ottley’s death, many pictures were 
 included which were not his, but the catalogue has Titian, the Europa sketch — -£155 {Buchanan ) ; 
 Virgin and Child, St. Elizabeth presenting flowers — T199 {McDougall). Mazzolino di Ferrara, 
 St. Joseph and the Virgin finding Christ in the Temple — £120 (Rogers) ( see Vol. II.). Rembrandt. 
 Bathsheba — £no (Pennell). 
 
r r 2 
 
 ART SALES. 
 
 [ 1812 . 
 
 Sale of Italian Pictures. — This was a two-days’ sale at the rooms of Mr. Stewart, in 
 Piccadilly, opposite the Albany, May i and 2, 1812, in which there appear to have been some 
 good pictures, but unfortunately there is no record of the owner or prices upon the catalogue. 
 The following were noticeable : — Masaccio, “ A Head : The Crucifixion.” G. Romano, “Apollo and 
 the Muses.” Pordenone, “A Family Concert.” Fra Bartolommeo, “ Holy Family.” Giorgione, 
 “A Lover as a physician visiting his Mistress.” Titian, Allegory. U. da Volterra, “Noli me 
 tangere.” Raffaelino del Garbo, “Virgin and Child, with S. John.” Albert Durer, “ A 
 Warrior and his Wife.” Tintoretto, Two pictures of Festivals and Tournaments. Botticelli, 
 Portrait of a Woman, ‘very curious and rare.’ Ridolfo Grillandajo, “ Holy Family:” round. 
 Albert Durer, Portrait of a Woman, ‘very singular.’ John Bellini, “Holy Family:” on wood; 
 “The Virgin between SS. Paul and Peter;” “Virgin and Child,” ‘a picture of great repute.’ 
 Mantegna, “ Virgin and Child,” ‘ curious.’ Beato Giov. Angelico, Two Angels, ‘ curious and 
 antique.’ There were 116 pictures; followed by 42 — -“ the property of a gentleman, removed from 
 his seat in Worcestershire,” which were also good pictures. Those which are specially marked 
 in the catalogue are Rembrandt, “ The Woman taken in Adultery.” Teniers, “ Temptation of 
 S. Anthony.” Walker, Portrait of Oliver Cromwell. G. Romano, “ Rape of the Sabines.” 
 P. da Cortona, “ Christ and the Woman at the Well.” Titian, “ Bacchus and Ariadne” — study 
 for the large work. Cuyp, Portrait of Cuyp and his Wife on horseback, 30 by 24. Claude, 
 “ The Embarcation of St. Ursula,” from Prince Conti’s Collection, and M. Desenfans, who is here 
 stated to have purchased it for the late King of Poland. Whether this was the picture now in 
 the National Gallery, since 1824, is a question. Mr. Lock, of Norbury Park, who bought the 
 “ St. Ursula” in Rome, about 1774-5 sold it with others to Mr. Van Heythusen for £3,000, and 
 he sold it to M. Desenfans, in whose collection it was offered for sale in 1786, and bought by 
 Mr. Slade for £1,200. This gentleman was ruined in a cloth-working scheme, and sold it for 
 £1,700, and it was soon after bought by Mr. Angerstein, passing to the National Gallery (see 
 Buchanan Memoirs, Vol. I. p. 321). 
 
 N. N. Collection. — This was a sale at Christie’s of some interest, of 105 pictures, said to 
 be “ consigned from the continent,” in May, 1812, the specified pictures being two charming 
 interiors by Netscher and Terbukg ; a Rembrandt Portrait of his Mother, a Seapiece by Back- 
 huysen, and a grand Altar-piece by Rubens — “ Christ appearing to St. Teresa” — from the Church 
 of the Cannes Deschaux at Brussels. This picture, however, was “ passed ” at the sale, there 
 being no offer, d he Terburg was “ The Music Master,” and it brought the highest price in the 
 sale — (sold to D . L. H.). Other pictures were — Leonardo da Vinci, “Christ among the 
 Doctors,” “exquisitely finished” — £26 5s. (Woodburn) ; Rubens, Henry IV. with Attendants, going 
 to a siege, landscape, &c., by Vandermeulen — £14 ( D . L. H .) ; Titian, Riposo in a landscape — 
 £16 16s. ( Woodburn ) ; G. di Bellini, Holy Family, with St. Sebastian — £16 16s. ( Conant ). The 
 Rembrandt portrait appears to have been “ passed.” 
 
1813 .] 
 
 VARIOUS COLLECTIONS. 
 
 1 13 
 
 MR. JAMES POOLE'S COLLECTION . 
 
 There were some good pictures apparently in this small collection, sold in Maddox 
 Street, Hanover Square, March 22, by Peter Coxe. The catalogue states that they were 
 brought from the Continent many years ago, and have never yet appeared before the 
 public. There were only 20 pictures, of which the best seem to be — F. Mola, “ Apollo 
 and Eurydice ” in a landscape ; Velasquez, “ Familiar Life,” — a scene in the Alma- 
 dravas, or shambles of a Spanish town; “A Woman cooking mussels;” “A Gipsy 
 lighting her pipe ; ” “ Muleteers and other figures,” masterly work in expression and 
 character; Luca Giordano, “ Constitution of St. Peter;” Parmigiano, “ Timothy as 
 a youth,” from the Orleans collection ; S. Rosa, “ Rocks, landscapes and figures ; ” Guido, 
 “ St. Sebastian,” the picture from which Mr. Bone painted his enamel for Mr. T. 
 Hope ; “ The Head of the Saviour,” the unfinished study for the head in the picture 
 known as the “ Great Crucifix,” in the Louvre, which was in the Duke of Medina’s 
 collection, also enamelled by Bone ; “ Head of David,” the finished study for the head 
 in the picture of “ David with the head of Goliath,” in the Louvre, formerly in the 
 collection of the King of Sardinia, also enamelled by Bone ; A. Caracci, “ St. John in 
 the Wilderness ; ” L. Lauri, “ Acis and Galatea ; ” Giorgione, “ A Venetian Lady and 
 Cavalier,” rich in colour, said to be portraits of Philip II. and his mistress ; Tempesta, 
 “ Storm in Gulf of Salerno ; ” Titian, Portrait of “ Don Carlos of Austria,” in rich 
 armour inlaid with gold with device of a crescent and monogram, with a light Spanish 
 ruff ; “ The Carnations happily blended with a brilliancy and roundness of effect 
 produced with scarcely any shadow”; G. Poussin, “ Landscape,” figures of nymphs 
 gathering flowers for an altar, a magnificent solemn woody scene or deep grove ” ; 
 P. Veronese, Portrait of “ Francis, 1st Duke of Etruria,” in armour, his right hand on 
 his helmet; Titian and F. Vecelli, “Venus and Cupid” in landscape, with Cupid 
 holding the armour of Mars : evidently a portrait of “ Joan of Austria,” wife of Francis 
 Duke of Etruria. Unfortunately the catalogue is not priced. 
 
 There was a sale of some important works of Murillo, with other pictures, “the 
 genuine property of a gentleman of acknowledged taste, collected by him at a liberal 
 expense,” by Mr. Hermon at his great room,'; Conduit Street, Bond Street, Saturday, 
 April 3, at twelve. The catalogue seems to describe good pictures amongst the 2g 
 which formed the sale ; and although it is not priced, we may take out those which seem 
 to be the best pictures, judging from the descriptions: — Rubens, “Virgin and Child, 
 with St. Brands ” ; L. Giordano, “ Battle of Joshua,” a grand composition ; L. da Vinci, 
 “ Virgin and Child,” an exquisite high-finished cabinet picture ; Tintoretto, “ Presenta- 
 tion in the Temple,” a grand gallery picture; Murillo, “Presentation in the Temple,” 
 grand composition, the figures rather smaller than life; “The Nativity,” companion 
 picture; “Virgin and Child,” “The Flight into Egypt,” figures nearly life size; 
 “ Assumption of the Virgin,” surrounded with infant angels, from the Convent of the 
 Capuchin Friars, Genoa ; “ The Magdalen in Prayer,” with choir of infant angels ; 
 
 Q 
 
 VOL. I. 
 
ART SALES. 
 
 [ 1813 . 
 
 114 
 
 “ A Riposo,” with two infant angels, and choir above, in a mountainous landscape, also 
 from the Convent of the Capuchin Friars at Genoa ; C. Maratti, “ Death of Adonis,” 
 “Venus on the Sea,” and two others, grand gallery pictures, of which the subjects are 
 not given, were painted expressly for Mr. Hope as a set ; Guercino, “ Christ and the 
 Woman at the Well,” life-size figures. Our lists show that a picture of this subject by 
 Guercino was sold in 1840 by Sir S. Clarke, at Christie’s, bought by Lord Northwick at 
 £325 105., said to come from the Balbi Palace. In Lord Northwick’s sale, 1859, it 
 sells for £530, and again, in 1873, for £37 8. The pictures by Murillo cannot be identified 
 with any certainty. J. Hondius, “A Boar Hunt.” After the sale of the above, 18 
 pictures were sold “ by permission ” from another collection ; amongst these were — 
 A. Vandevelde, “Landscape and figures;” Metzu, “Interior,” with women nursing a 
 child asleep, and attendant ; Murillo, “ Salutation of the Virgin ;” Vandyck, “ Portrait of 
 Henrietta Maria ;” Ruysdael, “ View in Norway ” — 70 guineas (a few prices are written 
 in pencil) ; A. Caracci, “Bacchanalian” — 20 guineas; Rembrandt, “ Portrait of a Man 
 and Woman,” in one picture — 210 guineas; R. Mengs, “Cupid and Psyche” — 
 30 guineas ; W. Vandevelde, “ A Storm ” — 40 guineas ; Hobbema, “ Landscape,” with 
 a mill — and a companion picture. 
 
 Sale of a Small Collection. — This sale, which was May 15th at Christie’s 
 room in Pall Mall, at two o’clock, is noticeable for the few good pictures, although 
 the name of the owner was not given, and it can only be conjectured to whom they 
 belonged at this time. On my catalogue is written very plainly “ Lord Kinnaird’s 
 pictures,” but in Christie’s copy certain pictures marked as “ bought in,” have 
 the initials W. W., which may refer to Mr. Willett Willett, who was a frequent 
 purchaser at that time. There were only fifteen pictures. The sale, however, does 
 not seem to have resulted in a transfer of the best to a fresh owner. The title 
 page of the catalogue eulogised it as “ a small but very precious assemblage of 
 distinguished cabinet pictures in the very finest state of preservation, the genuine 
 property ol an amateur of refined taste, who purchased them at a very liberal 
 expense from several very celebrated collections.” Had they belonged to Lord 
 Kinnaird it would probably have been said “ property of a Nobleman.” The name of 
 R. Creed, Esqr.,” is written across the margin of the catalogue in the Christie 
 collection. 1 he following pictures maybe recorded: — Wynants, “ Winding road in a 
 sandy wood,” figures by Lingelbach — ^jqo. Pynaker, “ Halt of peasants, mule, herds- 
 men with cattle, evening ” — £39. Breughel, “ Pass through a wood, sportsman with a 
 hare ” — 105. Guercino, “ Vision of St. Agnes, and angel,” from the Giustiniani 
 Palace — ^37 15s. Berghem, “ Small landscape, peasants and cattle, rocky archway” — 
 £30 igs. Lingelbach, “ Italian market and convent,” from Mr. Craufurd’s of Rotterdam — 
 £ 33 - J an Miel, “ Cavaliers at an Inn ” — £29 85. Marcello Venusti, “ A sleeping 
 infant Christ, His arm thrown across the lap of His mother, St. Joseph and St. John on 
 either side,” brought from Italy by Sir Gregory Page Turner, and sold in his sale — 
 £53 1 15. This appears to be another of several known to exist of this subject from the 
 design of Michael Angelo; although the description says it was an infant Christ, it was 
 
1813 .] 
 
 SALE OF ITALIAN PICTURES . 
 
 05 
 
 probably a youthful boy, as in the picture sold in the Hamilton Palace sale. G, Dow, 
 “ A philosopher writing,” a globe, skull, &c. — £131 55. P. Wouverman, “ Camp scene, 
 sutler’s booth ” — £147. Gaspar Poussin, “ Land storm,” tower struck by lightning, 
 figures of frightened peasants and cattle. A well known picture from the Colonna 
 Palace — £211. A picture answering to this was sold in 1810 in Mr. Campion’s collec- 
 tion for ^346 105. Teniers, “ The very celebrated chef d’ oeuvre,” the “Bonnet rouge,” 
 from the Calonne collection — £268 165. (W. W.) The picture in the Calonne sale 
 brought £367 105. (see list, Vol. II.) It appears to have changed hands several times, 
 and it must be noted that there are more than one of these “ Bonnet rouge.” W. 
 Vandevelde, “A calm, shipping, and boys bathing” — £140. Backhuysen, “Storm, a 
 brig labouring, and a boat” — £116 115. Melendez, “Assumption of the Virgin, 
 cherubim and infant angels with symbols.” The colouring most brilliant, a splendid 
 chef d'ceuvre — £70 75. This would probably be a painter of the school of Murillo, and 
 the name very likely misspelt. 
 
 N. N. Cqllection.— Although no name was given, it was known that the most important 
 pictures in a sale of 76 pictures by Christie, on May, 1813, belonged to M. Lafontaine, the dealer, 
 of Paris. P. Potter, Landscape, with eight cows, sheep, and peasants — £241 10s. ; A. del 
 Sarto, Virgin and Child, with St. John, half life-size, from the Duke of Cambioso’s at Genoa — 
 £15 7 10s. ; Schidone, Holy Family, from Capo di Monte — £157 10s. ; Rembrandt, his Wife— 
 £120 ; Rubens, A Benedictine of Antwerp, with a skull — £204 15s. ; A. Cuyp, Groom with an 
 iron-grey horse, dog, Cavalier drawing on his boot, hunt in the landscape, morning — £202 10s. 
 (W. Woodburn ); Teniers, His Chateau, with fishermen — £252; “ A Guard House” — £36 7 10s. ; 
 “The Bowl-Players,” from Duke Albert Collection — £632 10s. Backhuysen, Sea-piece, a pier 
 with figures — £25 7; N. Poussin, “ Flight into Egypt,” engraved— £462 ; Wouwerman, “ Sablons 
 de Westphalie” — £609 ; Vandyck, Mars kneeling to Venus, Cupid and a white horse in landscape 
 — £808 10s. 
 
 Sale of Italian Pictures. — This was a sale on the premises, 8, Argyll Street, 
 June 24, by Mr. Squibb, whose “great room” was in Saville Place. On the cata- 
 logue before me is written the name “ Mr. Rubishal ” opposite the address, and 
 though few prices are marked, yet the measures are written by the same hand, 
 and these are always acceptable as information, although they may be only 
 approximate as in this case. The pictures appear to have been good. Schidone, 
 “St. John,” 60x36. Mad. LeBrun, “Portrait of the present Duchess of Bedford 
 as Hebe received amongst the Gods,” 72x48. Hondius, “ A Bacchanalian scene,” 
 96x72. Bassano, “The Angels appearing to the shepherds,” 24x18. Murillo, 
 “A peasant feeding ducks,” 60x36. Cignani, “Venus deploring Adonis,” 60x42. 
 L. Caracci, “Madonna,” 60x42. Claude, “Landscape,” 38x24. R. Mengs, 
 “Magdalen,” 36x38 [fine). Guercino, “Joseph and Potiphar’s wife” {no size), 
 price 54g5. Guido, “Susannah and the Elders” {no size), price 75^5. {fine). A. 
 Caracci, “ St. Charles Borromeo supplicating the Virgin to stop the plague at Milan, 
 and St. Ambrose holding its Cathedral under his protection ” {no price or size). 
 Fragonard, “The Visitation,” 20x12. Le Sueur, “The Salutation,” 84x60. Le 
 
 Q 2 
 
ART SALES. 
 
 [ 1813 . 
 
 1 16 
 
 Brun, “ The Education of Jesus,” 24 x 12. Parocel, “ A battle-piece ” {no price or size). 
 Pontormo, “Holy Family,” 24x18 {panel). Tintoretto, “The Raising of Lazarus,” 
 120 x 96. Unknown, “ The Adoration of the Infant Jesus,” a fine old painting, a panel, 
 42 x 36 {fine). 
 
 COLLECTION OF THE DUKE OF SAN PIETRO. 
 
 This sale was after the death of the Duke, who was of the kingdom of Naples, 
 and it will be observed that some of the more important pictures were the same as had 
 been “ put up ” at Christie’s in 1811, but now sold by Mr. Squibb, July 10, 1813. The 
 catalogue, price is., before me, is marked with the prices of all the eighty-three 
 pictures, and the sizes of the chief ones. Most of the pictures brought small prices — 
 from 2 to 15 guineas. The pictures which appear to have been good were: — B. 
 Passerotti, Portrait of Ugo Boncompagni, Pope Gregory XIII. — £47 ; Luca Giordano, 
 “ Martyrdom of St. Peter” — £55, and of St. Andrew — ^50; Seb. del Piombo, Portrait 
 of Aretino — £25; Guercino, “Death of Sisera,” 66x48 — £71; Guido, “ The Cruci- 
 fixion, with SS. John, Mary, and Magdalen,” 54x36 — £75', Rubens, Portrait of the 
 Infanta — £47; Raphael, in the manner of Perugino, “Deposition,” painted for the 
 Count of Salerno, dated 1503, 60x48 — £21 ; Spagnoletto, “ St. Jerome,” half-length — 
 £75; Alex. Veronese, “Adam and Eve,” nearly life-size, engraved, 72x54 — £79; 
 Victors, “ Eleazar with Rachel,” 60x42 — £142 (a pencil note says, “Worth 500 
 guineas”); Murillo, “A Boy sleeping,” 36x27 — £525 (a note says, “Worth 1,000 
 guineas, bt. in) ; Rembrandt, “ The Family of Rembrandt,” representing Semiramis 
 at her toilet hearing of the revolt of Babylon, introducing the wife of the painter in 
 front in profile, his mother, and himself, 66 x 48 — £840 (a note says, “ Worth 2,000 
 guineas as to its merits ”), 
 
1814 - 19 .] 
 
 VARIOUS COLLECTIONS. 
 
 ii 7 
 
 Sale, May 28, 1814, by Mr. Christie, of Flemish and Dutch pictures, consigned 
 from Holland — thirty-nine pictures — of which the only interesting lots were: A. Durer, 
 “ Adam and Eve,” signed with his monogram, and date 1515 — £147 {May) ; J. Vernet, 
 “A Storm and a Calm” — £*95 and £87; Lingelbach, “ The Campo Vaccino ” — £98 
 {May) ; De Hooge, Interior, with music party — £205 {Richards ) ; De Heusch, “View in 
 Italy ” — £85 {Rutley). 
 
 Mr. Henry Hope’s Collection. — After the death of Mr. Hope there was a sale lasting three 
 days, from June 27, by Mr. Christie, “ of this highly distinguished and very celebrated collection.” 
 There were 286 pictures, and no less than four were bought by Lord Yarmouth for the Prince 
 Regent (George IV.), and are in the Royal Collections — viz.: Rubens, “The Assumption of the 
 Virgin ” — £262. Vandyck, Portrait of him as Paris— £378 ; Portrait of Gaston, Due d’Orleans — 
 £409 ( a t Windsor Castle). Rembrandt, Portrait of Burgomaster Pancras and Wife — £300 
 (. Buckingham Palace). The highest price was for the Rubens, “ The Woman taken in Adultery” — 
 £2,100 ( Norttn ), afterwards sold to Sir W. Miles, and in 1884 (Leigh Court Collection Sale) 
 bought in at 1,700 guineas. The other pictures are in the lists Vol. II. Total, £14,466. 
 
 The Due d’Alberg’s Pictures. — Although most of these pictures were “bought in” at 
 the sale of June 13, 1817, at Christie’s, they are of sufficient interest to be recorded. Giorgione, 
 Portrait of Aretino — £141, engraved by M. Antonio. Correggio, Christ’s Agony in the Garden 
 — £367* Domenichino, Landscape — £1050. Albano, S. Teresa in prayer— £210. G. Poussin, 
 Mount Parnassus, with figures by P. da Cortona — £210 ; The Companion picture — £262. Both 
 painted for the Palavicini Palace, Rome. Metzu, Woman cleaning fish — £168. Jan Steen, 
 The artist and family at dinner — £362. Total of the 67 lots, £2,162. 
 
 MR. J. F. TUFFENS COLLECTION. (1818.) 
 
 This was a collection of 94 pictures, with a few good bronzes and Etruscan vases, sold by Mr. 
 Christie, April 11, 1818, described as “ the truly valuable cabinet of high finished Dutch pictures of 
 the first class, and in the finest condition, of J. F. Tuffen, Esq., of Park Lane.” The best pictures 
 were: Van Os. — Grapes, melon, &c., a mouse eating an ear of Indian corn, 25x19^ — £93. I. 
 Ruysdael. — Wood scene, with figures by A. Vandevelde, from collection of M. St. Priest, 15^ x 21b 
 — £69. Jan Steen. — The Aubergiste at a cabaret, from the collection of Duke de Valentinois, 
 I2|xgj — £257 ( Pinney ). Wouwermann. — A Fair, from the same collection, 13x14 — £131. 
 Berkheyden. — View of a palace, 20x24 — £126. A. Van de Velde. — Cattle feeding, with boy 
 and girl, from collection of R. Heathcote, Esq., ii£xi6— £194. A. Ostade. — Interior, with 
 boors at trictrac, from the Orleans Gallery, 14 x 13— £357. Garofalo. — Christ and the Woman 
 of Samaria —arched, 21 x 15 — £80. Isaac Ostade.— Door of a cabaret, with boors drinking, and a 
 white horse, from the collection of Comte de Vaudreuil, 20x14 — £210. W. Mieris. — Interior, 
 with the showman and a Dutch family, from the collection of Lady Holderness, 23 x xgl — £346. 
 Leonardo da Vinci. — St. John, half figure, from the collection of Mr. Udny, and originally in the 
 collection of Charles I., 23 x 18 — £31 10s. Teniers. — An Open-Air Concert before Tenier’s house, 
 he playing the violoncello, with his wife and family, 16 X 13 — £173. 
 
I IS 
 
 ART SALTS. 
 
 [ 1819 , 1820 . 
 
 Mr. Ph. PannFs Collection. — This consisted of about 350 pictures by the old masters, 
 and Mr. Panne being a collector of repute living in Great George Street, Hanover Square, they 
 were probably good. They were sold at Christie’s after his death, “without reserve,” March 26, 
 1819. De Hooge, The Cradle, mother suckling infant, spaniel, servant, 32 by 36 — £174. Claude, 
 Landscape, Jacob and Esau, 56 by 75— £154. D. Teniers, Junr., Fete in courtyard of mansion, 
 Teniers and his family, i8i by 37— £199. Raphael, Virgin, Infant, and St. John, Virgin lifting 
 veil, Child sleeping, 39 by 30— -£157. L. da Vinci, Virgin, Child in her lap stretching out his 
 arms, foliage background, 41 1 by 32 — £294. Correggio, Virgin, Child, and St. John, 34 by 27 — 
 £ 262 . Giorgione, Concert of four figures, said to be portraits of two Italian poets and their 
 mistresses, from the Udny Collection, 32 by 40— £290 (Lord Yarmouth). Rubens, Landscape 
 Story of Baucis and Philemon, 57^ by 681 — £157 (Harris). L. da Vinci, Virgin and Child, 
 jessamine bower behind them, 34 by 26 — £204. Total, £6,125 I ^ s - 
 
 MR. CHAMPERNO WNT’S COLLECTION. ( 1820 .) 
 
 Mr. Arthur Champernowne was evidently a man of taste, and well acquainted with the 
 Galleries of the Continent, where, as Christie’s sale catalogue says, “ the highly valuable pictures 
 and some antique marbles were purchased from several distinguished Palaces in Italy.” They 
 were sold after his death, June 30, 1820. Some of the best pictures were bought by Mr. Holwell 
 Carr, and Mr. Samuel Rogers, and came eventually to the National Gallery by bequest or purchase 
 -—viz., Rubens, Copy of the “ Mantegna Triumph,” and the “ Horrors of War ” ; Titian, “ Noli me 
 Tangere ” ; Domenichino, Landscape with St. George and Dragon. (See lists, Vol. II.) Others 
 were, N. Poussin, Landscape and figures — £212 ( Rogers ) ; G. Poussin, Landscape, “ The 
 Campagna” — £220 ; Murillo, “Adoration of the Shepherds,” from a convent at Genoa — £430; 
 A. del Sarto, “Holy Famiiy,” from Mari Palace, Genoa — £430; Fra Bartolommeo, The 
 Virgin, Christ and St. John, from the Aldobrandini Palace, Rome — £304. The total was £5,688. 
 
1820.] THE COLLECTION OF BENJAMIN WEST, P.R.A. 
 
 119 
 
 THE COLLECTION OF BENJAMIN WEST, P.R.A. 
 
 This distinguished painter, who rose to be President of the Royal Academy in succession 
 to Reynolds in 1792, was a self-taught artist, born in the wilds of Pennsylvania in 1738. He 
 painted portraits as a youth, and soon acquired money enough to enable him, with some aid 
 from friends, to go to Rome to study the great pictures of the world, of which he had heard 
 and read, and was so anxious to see. His determination to learn the practice of his art led 
 him to make copies of many pictures in the galleries of Italy, and he afterwards came on 
 to England about 1763, and for nearly sixty years was an eminent painter, being for 
 about thirty years historical painter to the king, George III., up to 1802. He died at his 
 house in Newman Street, March 11, 1820, in his eighty-second year, and was buried with great 
 ceremony in St. Paul’s. He had formed a large and important collection of pictures by the Old 
 Masters, and had besides a great number of studies for pictures by himself, and some by other 
 modern painters, all of which were sold by auction. The Old Masters were sold by Mr. Christie 
 at the house in Newman Street, June 23 and 24, 1820, “by order of the representatives,” catalogues 
 2s. 6 d., to be returned to purchasers. There were 55 pictures, and 30 engravings and drawings, 
 some coloured, amongst which were A Lion Hunt, print touched in oils by Rubens for the 
 engraver — £45 ; and a set of the seven Cartoons of Raphael, coloured, the Death of Ananias, in 
 oils, by West ; the others were perhaps by Sir Jas. Thornhill, as they were all in his possession 
 formerly — £51. The interesting pictures were, Rembrandt, Abraham and the Angels, d. 164b, 
 6|x8i-, on panel — £304. Metzu, Lady playing Viol di Gamba, gentleman with a flute, and two 
 others in background, 18JX15J, canvas — £157. A. Caracci, Death of S. Lrancis, and choir of 
 angels, 27I x 19^— £194. Berghem, Landscape, watering cattle, 23x25 — £152. P. Veronese, 
 The Offering of the Wise Men, 39 x 53 — £126. Titian, The Magdalen, in Landscape, 47x37 
 — £ 1 57 > the Bath of Diana, 27 x 36, study for the picture in the Stafford Gallery — £640 ; The Last 
 Supper, study for the picture in the Escurial, 29b X 40 — £456 (this picture has been for many years 
 in the Overstone Collection); The Death of Actseon, 49x71, formerly in the collection of 
 Charles I., presented by the King of Spain — £1785. Pynaker, Landscape, 38J x 50^ — £299. 
 N. Poussin, Landscape, with Cephalus and Procris, 25^x32 — £215; a Moonlight Landscape, 
 with Pyramus and Thisbe, 25 1 x 37 — £194. Correggio, Virgin and Child, with St. John, 28^ x 23, 
 on wood — £195. Claude, Landscape, shepherd piping, 12 x 14J, octagon — £157. A. Caracci, 
 Dead Christ in lap of the Virgin, and two infant angels, 13^x11 — £147. Giorgione, Knight in 
 armour, the head bare, w.l., 15J x iof — £147 (No. 269, National Gallery). Rembrandt, Lorest 
 scene, figures, 16x14, panel— £ 210. Parmegiano, Virgin and Child, St. John and Magdalen, 
 26x21, from Coll, of Sir G. Page — £378. Ruysdael, Woody scene, with waterfall, 39 x 34, 
 canvas — £215. Wouwermann, Watering place, with the red cap, from Choiseul Coll., 18x25, 
 panel — £577. Hobbima, River scene, 18 x 25 b, panel — £304. Rubens, Minerva repelling War 
 from throne of James I., 27^x33 — £162. Guido, Ecce Homo, 22x16^-, oval on panel — £735. 
 Berghem, Peasants and girl milking in a stable, 44x39 — £472. Total (roughly), £15,000. The 
 gallery of pictures, mostly studies for his large pictures which Mr. West exhibited, and when 
 he received visitors at his house, was sold May 22, 23, 25, 1829, by Mr. George Robins, who 
 put forth one of his characteristic catalogues of “ this exhibition of the works of the Lather of the 
 British School of Epic Design. Many will, perhaps, lament that at this enlightened epoch, so 
 great a treasury of art should be exposed to the hazard and uncertainty of the hammer, when the 
 entire collection might have become the property of the public and have constituted the foundation 
 of a National Gallery.” There were 181 pictures, including the painter’s first picture of his 
 childhood, 11x15 (subject not given), and his last one, of feoys with grapes, 28x36. Amongst 
 the pictures were several for the windows of St. George’s Chapel, Windsor. Christ healing the 
 Sick, 12 ft. 6 in. x 10 ft. The Death of Nelson, 70x96. Death of Wolfe, 64x96. Death on 
 the Pale Horse, 15 ft. x 25 ft. 3 in. Battle of La Hogue, 65 x 96. Christ rejected, 16 ft. 9 in. x 22ft. 
 The Raising of Lazarus, study for the altar-piece in Winchester Cathedral. The Resurrection of 
 our Saviour, 10 ft. X4 ft. 6 in. Overthrow of Pharaoh, 12 ft. 6 in. x 10 ft., for the intended chapel 
 in Windsor Castle. The Ascension, 17 ft. 7 in. x 9 ft. 6 in., for the chapel in Windsor Castle. 
 There were several landscapes ; unfortunately the prices obtained for these are not upon the 
 catalogue before me ; probably the great size of most of the pictures led to their being sold at 
 very small sums, but it would be interesting to know what has become of so many pictures. The 
 residence was also sold on the last day. 
 
I 20 
 
 4RT SALES. 
 
 [ 1821 . 
 
 SALE OF LADY THOMOND’S PICTURES. 
 
 {May 1 8, 19, 1821.) 
 
 This memorable sale was the most interesting one of this time, as it contained the important pictures by Sir Joshua 
 Reynolds which he had never parted with, and which together with many works of the old masters and the bulk of his 
 DroD ert v he bequeathed to his favourite niece Mary Palmer, who shortly after obtaining this rich inheritance of art and 
 money was married to the Marquis of Thomond (the first Marquis and fifth Earl) and at her death the pictures came to 
 be sold One most important picture-the Cymon and Iphigenia * had been presented to the King, George IV., by the 
 Marchioness but other pictures of great interest retained by her, were the large paintings designed for the New College, 
 Windsor of which the set of the Virtues (7) were bought at large prices by Lord Normanton ;t the Adoration of the 
 Shepherds I (portraits of Sir Joshua and of Jarvis the glass painter who carried out the designs,) which sold for the 
 largest sum- A 575, in the sale. Belonging to the same set were a Shepherd Boy and Dog, which sold for £(82 10*., and 
 a Girl with Children— ,£420. Besides these there was the beautiful portrait of Mrs. Stanhope called “ Contemplation,” 
 which sold for ,£1125. Dido at the Funeral Pile ,— £>35 1 The Snake in the Grass — £>35 lor. ; bought by Sir 
 John Soane, to find a permanent place in the Soane Museum in Lincoln s Inn F ields. Other interesting pictures in 
 the sale will be found in the list of the works by Sir Joshua Reynolds sold. A number of sketches by Sir Joshua, 
 and drawings by the Old Masters belonging to the Marchioness of Thomond were sold on May 26 following, 
 producing .£96 2 4s. bd. So that altogether the total amounted to .£16,002 17*. bd. The prices of the Oxford window 
 designs given in an interesting note in Leslie and Taylor’s Life of Sir Joshua Reynolds (p. 264, vol. ii.), differ 
 so widely from those which I find in Christie’s catalogues, and which are recorded in the lists of Vol. II., that it is 
 necessary to quote this note “ These designs were purchased at Lady Thomond’s sale in 1821 by Lord Normanton, 
 at the following prices Charity— £1575 ! Faith— £(420 ; Hope— £(682 lew.; Temperance— £(630 ; Justice — £\ 1 55 ; 
 
 Fortitude— £735 ; Prudence— £(367 ioj. Total, ,£5565. There are some interesting points in connection with the sale of 
 these pictures to Lord Normanton. Lord Normanton had known and admired these pictures at Lady Thomond’s from 
 his Westminster schooldays, and made an offer to the executors to purchase them by private contract. The price offered 
 was handsome, but the executors conceived themselves bound to sell by auction, having announced the intention. The 
 room was crowded. James Christie took the sense of the company present (including the Dukes of Devonshire and 
 Northumberland, Lords Egremont, Grosvenor, Bridgwater, Fitzwilliam, Dudley and Ward, Harewood, Sir Charles Long 
 on the part of the King, and Mr. Alexander Baring), whether he should put up the Virtues separately or together ; and 
 after some twenty minutes’ discussion in groups, the sense of the company was pronounced to be in favour of separate 
 sale. The ‘ Charity ’ was first put up, and its purchase by Lord Normanton, then a young man unknown among the 
 picture buyers, at the price of £(1575, made a sensation. Lord Dudley and Ward ran him hard for the ‘ Fortitude,’ 
 for which his mother had sat to Mr. Joshua.” Now I find that the price recorded plainly in Christie’s catalogue for this 
 “ Charity ” is £Ji 1 55, and the price of £(1575 stands opposite “ The Shepherds,” with the name of Lord Normanton in 
 Mr. James Christie’s handwriting. Yet we know that “ The Shepherds ” is in Lord Fitzwilliam’s collection, and has long 
 been there. The question is whether, therefore, Lord Normanton was not the actual purchaser of “ The Shepherds,” and 
 allowed Lord Fitzwilliam to have it after the sale, and this with the next two lots which belong to the subject of the adoration, 
 viz., The Girl and Children with a torch (,£420), and The Shepherd-boy and Dog {£ 682 ior.). There seems some reason 
 for this conclusion, as there appear on the margin, by the titles of the pictures, the following prices : — Lot 60. The 
 Shepherds — £(350; Lot 61. Girl and Children — £)6oo ; Lot 62. Shepherd Boy and Dog — £(400; Lot 63. St. John and 
 Lamb — £>75 ; which give a total of £(1525, a sum which approaches that of £(1575. If this was the case, then the other 
 three pictures should be still in the possession of Lord Fitzwilliam, or accountable by him. At any rate, those pictures 
 of the Shepherds and the other three named above are not in Lord Normanton’s collection, though his name stands in 
 the sale book. Leslie states that his authority for his facts was Lord Normanton, and that the prices he gives are from 
 Christie’s catalogue. As to the latter he is certainly not correct. Leslie’s note goes on to say that, “ Seven years after 
 this sale, Mr. Seguier (commissioned by the King) offered double the money Lord Normanton had paid for these pictures. 
 The offer was refused. Another seven or eight years elapsed, Seguier reappeared, and this time with an offer from the 
 National Gallery. The pictures are still in Lord Normanton’s possession.” 
 
 “The Nativity,” which was the central subject of the window, treated in the manner of Correggio, and borrowed 
 from him in idea, as Sir Joshua expressly stated was his intention, had been purchased of Sir Joshua by the young Duke 
 of Rutland for £(1200, but this was, unfortunately, destroyed in fire at Belvoir Castle. As to the whole design, which 
 is executed in New College Chapel, Oxford, I remember seeing in the hands of Mr. O’Neil the picture dealer, about 40 
 years ago, a very excellent copy of the window in glass painting by Jarvis himself, the size being about 20 inches in 
 height. Mason has related how he one day called on Sir Joshua at the time he was engaged on this window, and found 
 him painting from the reflected figures of a group of these beautiful girl-children in a plate of mirror suspended at an 
 angle above them. 
 
 The proceeds of this sale of Lady Thomond’s pictures were, for those by Sir Joshua Reynolds, £(15,040 13.?. : for 
 sketches by Sir Joshua and drawings by Old Masters, £(962 4 s. bd. 
 
 * Contributed by H.M. The Queen to Special Exhibition, Grosvenor Gallery, 1883-4. 
 
 f These have recently been contributed by the present Earl Normanton to the Winter Exhibition at Burlington House. It is well 
 known that the beautiful Mrs. Sheridan sat to Sir Joshua for the “ Charity,” and for the “ Fortitude” Lady Dudley and Ward, the 
 mother of the Lord Dudley and Ward who bid against Lord Normanton for “Fortitude” and ran him hard for it up to 700 
 guineas. Dibdin says in his Northern Tour that the Duke of Rutland contended for “ the Nativity ” at Christie’s, but this is, I think, 
 an error. 
 
 J Contributed to the Special Exhibition of the works of Reynolds at the Grosvenor Gallery, 1883-4, by the Earl Fitzwilliam K.G. 
 

1823 .] 
 
 THE BECKFORD COLLECTION. 
 
 I 2 I 
 
 THE BECKFORD COLLECTION. 
 
 The sale of the collection formed by the celebrated William Beckford, the author of “ Vathek,” 
 at Fonthill Abbey, in Wiltshire, a few miles from Salisbury, in September and October, 1823, was 
 the most noted dispersion of the time, and attracted all the world of rank and fashion to the place. 
 The magnificence of this may be imagined from the view of it in its completed state, and before 
 the vast structure fell to the ground through inadequate provision in the foundations, a catastrophe 
 that happened during the life-time of the owner, who lived to the great age of eighty-four, when he 
 died in the spring of 1844.* 
 
 The sale we are now about to speak of was necessitated in consequence of the loss of two 
 large estates in a law suit, the value of which may be inferred from the fact that in these West 
 India properties no less than 1,500 slaves were included. After having expended a large sum in 
 his taste for the fine arts, Mr. Beckford decided to sell everything and quit Fonthill, notwithstand- 
 ing that he had so provided for his seclusion as to build a wall, 17 feet high, with iron spikes on 
 the top, all round the domain, about seven miles in extent. It is recorded that he had consulted 
 Mr. Christie, and intended that he should sell the collection. The catalogue was made and 
 1500 sold at a guinea; but, before it was available, an offer was made in 1822, by a Mr. Farquhar, 
 to purchase the whole Fonthill property, with the collection, for £350,000 ; and this was accepted. 
 The sale by auction of the works of art, the library, and furniture, &c., being placed in the hands 
 of Mr. Phillips, was conducted at the abbey during September and October. Accommodation 
 was provided in a pavilion in the park, beds being charged 3s. 6 d. single, and 5s. double ; and 
 guinea tickets gave admission to the abbey for two persons, half-a-guinea for one, the catalogues 
 being charged 12s., giving admission to the sale-room only. The Times, noticing the view before 
 the sale, said : “ He is fortunate who finds a vacant chair within twenty miles of Fonthill ; the 
 solitude of a private apartment is a luxury which few can hope for .... Falstaff himself could not 
 take his ease at this moment within a dozen leagues of Fonthill. The beds through the county 
 are literally doing double duty : people who come in from a distance during the night must wait to 
 go to bed until others get up in the morning. Not a farm-house, however humble, not a cottage 
 near Fonthill but gives shelter to fashion, to beauty, and rank; ostrich plumes, which by their very 
 waving, we can trace back to Piccadilly, are seen nodding at a casement window over a depopulated 
 poultry yard.” 
 
 The books and prints occupied twenty days ; the furniture and works of ornamental art, thirteen 
 days ; the pictures and miniatures, &c., four days : altogether there were forty-one days’ sale, 
 producing £43,869 14s., the 424 pictures amounting to £13,249 15s. Some very fine things of 
 historic interest were amongst the furniture, such as the set of chairs of ebony which belonged to 
 Cardinal Wolsey, and came from his palace at Esher. A magnificent state bedstead, of ebony, 
 with crimson damask hangings, and a rich purple silk quilt worked with gold, which belonged to 
 Henry VII.; a matchless state bed-quilt of Brussels point-lace over a damask ground; and a 
 toilette table-cover of similar work. Ebony tables with slabs of Verde antique ; a table inlaid with 
 precious marbles, jaspers, and oriental onyx, with arabesque border of costly marbles, from the 
 Borghese Palace; cabinets of the time of Queen Elizabeth and James I. ; Japan cabinets, from the 
 
 * By a strange fatality the old Fonthill Abbey, which took its ancient name from the number of springs 
 arising round the hill on which it stood, and was built on the estate that belonged to the Gifford family so far 
 back as the time of William the Conqueror, was burnt down, and rebuilt, it is said, by the famous Inigo Jones. 
 Then this abbey, being bought by Beckford the father, the wealthy Lord Mayor of London, and much enlarged, 
 was destroyed all but one wing, by fire in 1755. Another abbey was built by the elder Beckford, which was so 
 defective that it had to be demolished ; and a new building, designed by Mr. James Wyatt, was begun in 
 1795, under the direction of Mr. Beckford, the author, and erected at the cost of £273,000. The chief feature 
 of this structure was the tower, 280 feet high, and the whole was an attempt to represent the favourite 
 ideal of “Vathek” in his “Hall of Eblis.” Beckford was as impetuous in the building of his tower as in the writing 
 of his romance (which was written when he was only twenty, and in French, in three days and two nights at a 
 single sitting), and he had the work continued by torchlight night and day, with relays of workmen. Again the 
 fates pursued him : his tower caught fire, and “Vathek” is said to have looked on, enjoying the magnificent 
 spectacle. Still the place was doomed : the restored tower fell to the ground, and Fonthill Abbey was eventually 
 left a ruin in the lifetime of its owner. One reason for hurrying on the works was that Beckford wished to have 
 his mansion ready for the visit of Lord Nelson and Sir William Hamilton with his beautiful lady. 
 
 VOL. I. 
 
 R 
 
122 
 
 ART SALTS. 
 
 [ 1823 . 
 
 Collection of the Due de Boillon, and the Duchess of Mazarin ; and a superb coffer of raised Japan 
 work, with animals in gold and silver, which belonged to Cardinal Mazarin. Services of Sevres 
 and Dresden porcelain ; silver-gilt and silver plate, of various designs, as plateaux, candelabra, and 
 many fine candlesticks, caskets, toilette-services, &c., &c. Amongst the objects of Oriental art was 
 a matchless Hookah, carved in jade and set with jewels, mounted in silver-gilt, and the stand 
 elaborately chased, which belonged to Tippoo Sahib, and was taken as plunder from his palace 
 of Seringapatam. The bronzes were many of the size of the antique : The Laocoon,* cast and 
 chased by Carbonneau, to which the gold medal of the Institute was awarded ; the Medici Venus; 
 a vase of the largest block of Hungarian topaz known, set with diamonds and gold mounts 
 enamelled, made as a present to Catarina Cornaro, the work of Cellini ; a commode and a 
 secretaire, inlaid by Riesener, from the Garde Meuble, Paris, and bearing the cypher of Queen 
 Marie Antoinette. These were, no doubt, those sold in the Hamilton Palace sale, and were bought 
 in at this sale, as were many other objects included in the catalogue. The pictures were sold on 
 October io, n, 14, 15,- — 385 lots, nearly all single pictures. The miniatures, only nineteen in 
 number, all French. The cameos and intaglios, twenty, with fifty-four cameos in oriental 
 alabaster of large size, called antique, but no doubt of modern work from ancient sculptures at 
 Rome. The noticeable pictures, as named in the catalogue, were : — Coello, The Duke of Alva 
 in a cuirass, with baton. Orcagna, Crucifixion, on gold ground, from the Campo Santo. 
 Rubens, “ Le Jardin d’Amour,” with portraits of Rubens, his Wife, Vandyck, Snyders, and the 
 “ Chapeau de Paille ” portrait. Mantegna, “Christ in the Garden,” with figures in a landscape, 
 and angel with the cup in the sky. Van Eyck, “ Entombment of a Cardinal,” from Lord 
 Bessborough’s Collection. G. Jamieson, “The Regent Murray in Highland dress.” Metzu, 
 Woman cleaning fish, a kitten on a brass kettle, from Collection of Duke d’Alberg. Ant. Moro, 
 Portrait, Jeanne d’Archel ; portrait of Dona Juana of Austria. J. Bellini, “ Marriage of St. 
 Catherine,” from the Oratory of the Doge Loredano. P. de Hooge, Lady with a spaniel, in white 
 satin, a servant caressing a hound, in interior. Interior, woman weighing money. Van Huysum, 
 Vase of Flowers, from Due de Praslin Cabinet. Wouwermann, Battle-piece, from the Collection 
 of the P. of Orange. Rembrandt, A Rabbi, from Vandergucht Collection ; An Architect and 
 his Wife. Bonifaccio, Virgin and Child, St. Catherine, St. John, St. Jerome, and Mary 
 Magdalen, in a landscape — a gallery picture (see Vol. II., 1875). Teniers, A Village Fete, 
 called “ Sign of the Teniers.” Albert Durer, Virgin with the Infant on a table, with the word 
 “ Veni ” in gold before his extended hand, in a landscape ; presented by Philip V. to a convent at 
 Saragossa. L. da Vinci, “The Laughing Boy with a Toy” (see Vol. II., 1882). G. Dow, “The 
 Poulterer’s Shop,” from the Choiseuil Collection. Jan Stein, “The Poultry Market,” from the 
 Aynard Collection. Berghem, A Sea Port, “ Embarquement des Vivres,” Gulf of Genoa, from 
 Due de Praslin Collection. P. Veronese, “ St. Jerome at Devotion,” from the Monastery of St. 
 Benedict at Mantua, where it was the companion to the “Communion of St. jerome ” presented 
 by the British Institution to the National Gallery. Rubens, “Holy Family, with SS. John and 
 Joseph,” of gallery size. Cuyp, Landscape with a camp, officer and other figures, soldiers playing 
 cards. Palma, “ Martyrdom of a Saint,” large gallery picture. Bonifaccio, “ Adoration of Magi,” 
 in a landscape, grand gallery picture. Van Eyck, The Virgin, with the Infant on her lap, an 
 angel presenting an apple, a saint kneeling, a landscape and fortified city in distance. K. DU 
 Jardin, “ Le Manege,” upright landscape, with horses exercising, from the Aynard Collection. 
 Gainsborough, A grand Landscape, woody scene, with cattle in distance ; a girl with milkpail, 
 and man on horseback refreshing his horse with water ; shepherd and flock coming to the brook 
 (see Vol. II., 1823). 
 
 When this sale took place, Mr. Beckford was in his 63rd year ; but he was not parting with his 
 favourite pictures, for he reserved them at prices which were not nearly approached then ; and in 1839 
 (as will be seen on referring to the catalogue of the National Gallery) he sold three pictures, one of 
 which was the “ St. Catherine ” by Raphael, which was not in the Fonthill sale, to the National 
 Gallery for £7,350; and in 1841, three years before his death, the Perugino “Holy Family” 
 (No. 181) for £800. “ The Laughing Boy,” by Leonardo, and other pictures, were long afterwards 
 
 to be seen on the walls of Hamilton Palace, where they passed with the choicer part of his fine 
 
 * This was the fine bronze sold in the Hamilton Palace Sale, 1882, though that was said to be by Crozatier. 
 It was afterwards sold to the Duke of Buckingham, and was again sold at Stowe in 1848. 
 
1823 , 1828 .] LORD CARYSFORT'S COLLECTION. 
 
 123 
 
 library as dowry of his daughter, who became the wife of the Duke of Hamilton, and were sold 
 finally in 1882. Had the collection at Fonthill been sold at the present time, the prices would 
 have been far higher than any then bid, as will be seen on reference to Vol. II. — Hamilton Palace 
 Sale. It may be added that after the death of Mr. Beckford, the pictures, &c., at Lansdown 
 Tower, Bath, were sold by Messrs. English and Son, November 20, and seven following days. Of 
 the forty-six pictures, the only interesting ones were: Velazquez, Portrait of Philip IV., 29-J by 
 24I ; and G. Bellini, Portrait of the Doge Andrea Vendramini, by i8|, on wood. 
 
 Mr. G. Watson Taylor’s Collection. — This was a sale of importance, though the collec- 
 tion was constantly changing through Mr. Taylor’s transactions in pictures. The sale was at 
 Christie’s, June 13, 1823, the catalogue stating that it was of the collection in his town mansion, in 
 Cavendish Square. The most remarkable picture was that masterpiece in portraiture by Sir Joshua 
 Reynolds, “Mrs. Siddons as the Tragic Muse” — £1837 {Lord Grosvenor). Other good pictures 
 were — Rubens, Lions at play — £325 ( Lord Normanton). Wouwermann, Landing goods, many 
 figures, from the Le Perier Coll. — £719 {Hume). D. Teniers, Village dance — £415 ( Baring ) ; 
 The Four Seasons — £470 {Bt. in). W. Vandevelde, a Calm — £409 {Peel). J. Ruysdael, 
 Landscape, traveller — £112 {Baring) ; Heath scene — £210 {Baring). Jan Steen, Interior, a 
 courtezan stealing a watch from a youth — £215 {Dunford) ; Jan Steen and his wife taking an 
 afternoon nap, from Due d’Alberg Coll. — £231 {Hume). F. Bol, His own Portrait, h. 1 . — £107 
 {Penney). Vandyck, Portrait of De Vos — £191 {Baron Stockmaer ) ; Portrait of the wife of De Vos 
 — £357 {Wells). Van Huysum, Flowers, from Gildermeister Coll. — £262 {Smith) ; Fruit — £273 
 {Lord Grosvenor). Guido, Magdalen and infant Angels — £325 {Bullock). The whole realized 
 £7924. The statuary and furniture were sold May 28, 1825. 
 
 Lord Carysfort’s Collection. — This sale, which was of pictures brought from Elton, 
 Huntingdonshire, the seat of the late Earl, and from his town house in Grosvenor Street, by 
 Messrs. Christie, June 14, 1828, was interesting, as it contained one of “The Snake in the 
 Grass” by Sir Joshua Reynolds — £1260 {Smith), for Sir Robert Peel, and passed with the Peel 
 Collection to the National Gallery. [There are three pictures of this subject, the other title of 
 which is “ Love unloosing the zone of Beauty,” the snake being a Cupid — viz., the one here named, 
 another in Sir John Soane’s Museum (see Thomond sale, 1821, Vol. II.), and another, which is 
 considered the best, in Lord Rothschild’s Collection.] A Nymph with Infant Bacchus — £105; 
 A Strawberry Girl— £177 {Lord Lansdowne). A Gainsborough landscape, with figures and sheep 
 — £120 {Peacock). Hayter’s large work of Tartars carrying off Circassians — £231. Rembrandt, 
 Portrait of himself, with a gold chain — £69 {Rogers, the poet, who was present). Parmegiano, 
 Holy Family, cabinet size — £63 {M. of Stafford). Raphael, Virgin and Child — £88 {Ellis). 
 G. Poussin, Landscape — £409; Landscape, classical — £210. There were 65 pictures, giving a 
 total of £3604. 
 
 R 2 
 
124 
 
 ART SALTS. 
 
 [ 1830 . 
 
 COLLECTIONS OF SIR THOMAS LAWRENCE, P.R.A. 
 
 Sir Thomas Lawrence besides being the most eminent portrait painter of his time 
 was distinguished for his fine taste in art, which was especially shown in his love for the 
 drawings of the old masters. For many years he devoted himself to the formation of 
 a collection of these invaluable works of the great masters, frequently outbidding the 
 great dealers, who provided him with drawings, when any were to be sold privately, and 
 paying such prices for fine things as would allow of no profit to a dealer. The well- 
 known expert and most active collector of his day — Samuel Woodburn — was constantly 
 engaged in finding drawings worthy of the collection which Sir T. Lawrence was 
 forming, and no one knew better than he did the great value of such a collection After 
 his death in 1830 the proposal was made to the Government to purchase the Lawrence 
 Collection and a public subscription was started, headed by the Royal Academy with 
 £1,000, to acquire the drawings for the National Gallery ; but it was neither taken up by 
 the Government of the day nor by the governing bodies of the British Museum and the 
 National Gallery, so that the promoters did not, unfortunately, succeed in carrying out a 
 scheme which would have rendered a most important public service in the interests of 
 art. Sir T. Lawrence had in his unbounded liberality, encouraged by the large income 
 he derived from his position as the fashionable portrait painter of the day, expended a 
 large sum — about £40,000- — upon his collection, and being one of the handsomest and 
 most courtly men in society it is not to be wondered at that his expenditure was spoken 
 of as extravagance. In fact he was led in his enthusiastic love and admiration for these 
 old drawings to exceed the means at his command, so that his executors found his estate 
 in debt to Messrs. Woodburn to a considerable amount. There is something touching 
 in the words of his will, dated July 28, 1828, as he contemplated the possible dispersion 
 of these treasures of a life, with a hope evidently, but faintly, expressed in the desire that 
 “ My collection of genuine drawings by the old masters which in number and value I 
 know to he unequalled in Europe ” should he offered at the modest price of £20,000, 
 about half what it had cost him, first to the King (George IV.) and if not accepted, then 
 to the British Museum, to Sir Robert Peel, or the Earl of Dudley.* And if none of 
 such offers be accepted, the collection shall be forthwith advertised for sale and if within 
 two years a purchaser shall not be found, the same may be sold by public auction or 
 private contract in London, either altogether or in separate lots, at such price or prices 
 and in such manner as the executors may think best.” In the end, an offer of £16,000 
 was made by Messrs. Woodburn and this was accepted. They then arranged in 1836-7 
 several exhibitions of the drawings during two London seasons, with the prices they 
 asked. These were for the Raphael drawings alone (160) £15,000. For the Michael 
 Angelo drawings, about 150, no price was named. For the Rubens drawings (150) 
 £3,° 0 °. The other masters were also priced at considerable sums and many of them 
 were sold to private collectors. In 1838, the remaining designs were exhibited again 
 but without any great result, and the Woodburns declared their intention to sell them 
 separately with the exception of the Raphael and Michael Angelo drawings. These they 
 
 * This was not the late Earl nor his father, but the great political Lord Dudley of that time. 
 
1830 .] COLLECTIONS OF SIR THOMAS LAWRENCE, P.R.A. 125 
 
 took to the continent, and eventually they were offered to the Prince of Orange, after- 
 • wards King of Holland, William II., but at a price beyond the means at his disposal. 
 He however proposed the purchase of some, and this being agreed to certain drawings 
 were selected, but according to Sir J. C. Robinson, who wrote the valuable catalogue of 
 the Oxford Collection, * to which many of these drawings finally came, “ the greater 
 number of the really important authentic works both of Raffaelo and Michel Angelo, 
 especially the invaluable preliminary studies and designs, were unwittingly disregarded 
 and sent back to England.” In 1840 and 1842 fresh efforts were made to induce the 
 Government to purchase but without success, and then a committee endeavoured by 
 subscription to obtain the remaining part of the Lawrence Collection for the University 
 Galleries then being built. Only about £ 3000 was subscribed, but the collection was 
 valued by a competent judge at £14,000 and the price named by Messrs. Woodburn was 
 only 10,000 guineas, including many fine drawings added from the Harman Collection 
 which Sir T. Lawrence did not possess. It is very creditable to the public spirit of 
 Messrs. Woodburn that they reduced their price to meet the views of the Committee, 
 and the necessary sum was made up by the liberality of Lord Eldon who gave £4000 
 to complete the purchase for the University of this most important series of drawings 
 by these two great masters. 
 
 But we have still to follow out the dispersion of this splendid Lawrence collection 
 as regards those drawings which passed into the King of Holland’s possession. “ The 
 number of drawings by or ascribed to Raffaello selected by the Prince amounted to 
 eighty ; but of these not more than about thirty were authentic, and the number of 
 drawings by Michel Angelo, are about sixty, and of these probably a somewhat larger 
 proportion were genuine” (Robinson). The King died in 1850 and his collection was 
 sold by auction at the Hague (August, 1850). Samuel Woodburn then bought at the 
 sale thirty-three drawings by Michel Angelo, and thirty-four by Raphael. The Duke ol 
 Saxe Weimar, for the Weimar Gallery, bought chiefly the Michel Angelo drawings ; the 
 Louvre and Frankfort Museum represented by M. Passavant, others. These Institutions 
 securing five or six by Michel Angelo and about eighteen by Raphael, the rest passed 
 into the hands of English and Continental collectors. Woodburn sold a few of the 
 drawings to the Rev. Dr. Wellesley of Oxford, whose collection was a fine one dispersed 
 by auction at Messrs. Sotheby’s in 1866 ; retaining most of them which he restored to 
 ths residue of the Lawrence collection still in his possession, till his death in 1853, after 
 which they were offered at Christie’s in 1854, but without effecting a complete sale, for 
 the auction was stopped on the second day. Finally, however, in i860 the Woodburn 
 collection was sold at Christie’s, and then some of the Lawrence drawings were purchased 
 by the Government ; but even then, although a special grant of money was made by the 
 Treasury to the British Museum for the purpose of acquiring the finest works in the 
 sale, a large proportion of drawings “equal if not superior to those actually acquired,” 
 (Robinson) were bought by private collectors at little more than nominal prices, while a 
 
 * A critical account of the drawings by Michel Angelo and Raffaello, in the University Galleries, Oxford, by 
 J. C. Robinson, F.S.A., &c., &c. By authority of the Curators of the University Galleries, Oxford, Clarendon 
 Press, 1870. The introduction to "this work gives an able summary of the history of collections of drawings by the 
 old masters, to which I am indebted for the above accounts.. 
 
126 
 
 ART SALTS. 
 
 [1830, 
 
 sum of several hundred pounds was actually returned to the Treasury which was 
 intended to be spent in the purchase of these drawings. It is curious that the same • 
 thing occurred in the case of the Bernal sale, when purchases were missed which ought 
 to have been made, and a large balance was handed back to the Treasury. Before 
 proceeding to notice the sale of Sir Thomas Lawrence’s collection at Christie’s, it will 
 be interesting to the reader to have some idea of the scope of his collection of old master 
 drawings, specially exhibited by the Messrs. Woodburn, as we find them recorded in the 
 Oxford catalogue (Introduction, p. xx.). In the ist exhibition, Rubens, 150 drawings, 
 price asked £3,000 ; 2nd exhibition, Vandyck, upwards of 50, price £1,000 ; Rembrandt, 
 200, about £1,500; 3rd exhibition, Claude, upwards of 100 — £1,800 ; Nicolas Poussin, 
 
 74 — £800; 4th exhibition, Parmigiano, 175 — £1,500; Correggio, 60 — £1,000; 5th ex- 
 hibition, G. Romano, 80 — £800 ; Primaticcio, 50— £600 ; Leonardo da Vinci, 75 — 
 £1,500; P. del Vaga, 85 — £300; 6th exhibition, L. A. and Ag°- Caracci, 160 — £1,500; 
 7th exhibition, Fra Bartolommeo, 430 — 1,200; A. del Sarto, 30— £300 ; Polidoro, 30 — 
 £230; Taddeo and Federigo Zucchero, 80 — £400; 8th exhibition, A. Durer, 100 — 
 £800; Titian, 60—600; gth exhibition, Raphael, 160 — £15,000; 10th exhibition, 
 Michael Angelo, no number stated, but probably about 150, and no price named. The 
 Lawrence collection contained some of the finest drawings from the famous Antaldi 
 collection, the last remains of which were bought by S. Woodburn in 1824, and at this 
 time he had given into his hands a MS. annotated catalogue of these 88 drawings in 
 the possession of the Marquis Antaldi, to whose family they came through the Viti 
 family as the collection of the distinguished painter and friend of Raphael, Timoteo 
 della Vite. The descendants of the Viti sold a part to M. Crozat (spelt “ Croasaz ” in 
 the Italian document) and the rest came to the Antaldi. This interesting catalogue 
 with its notes and Woodburn’s certificate, was found among the papers of Sir Thomas 
 Lawrence by his executor A. Keightley. The catalogue with these notes is given in 
 the Appendix to the Oxford “ Critical Account,” by Sir C. Robinson, along with much 
 valuable information and references upon many other points of research. 
 
 The sale of Sir T. Lawrence’s remands began May 10, 1830, with five days occu- 
 pied with prints and books of prints etc., which produced £1761 155. On the 15th came 
 the pictures which were not remarkable as examples, though interesting to artists. A 
 Rembrandt, “ Potiphar’s Wife,” 44 x 34-^, sold for £598 105. There were several works 
 of Sir Joshua Reynolds (see list, Vol. II.) and two curiously interesting experimental 
 canvases of Sir Joshua’s, on which he had placed various pigments as test-colours, to 
 which he had written his memoranda ; these sold for £5 5 5. There was a Giorgione ; 
 a Marcello Venusti after design of Michael Angelo “ of Christ driving out the Money 
 Changers;” two attributed to Raphael; two by Rubens ; a Memling, “Death of the 
 Virgin,” 15^ x 14 — £74 ; a landscape by Turner; and a “ Pandora” by Etty, 44x35 — 
 £110. All these will be found in the lists in Vol. II., and the total of the pictures was 
 £5283 25. 6 d., a very respectable sum for a collection not pretending to any special 
 importance. On the 20th and 21st, drawings by himself and other artists, in which were 
 some interesting studies of his boyhood, done when he was 13 or 14, from pictures 
 by old masters belonging to the Hon. W. Hamilton, uncle to the ist Marquis of 
 Hamilton at his house on Lansdowne Hill near Bath, who gave the young genius a 
 room to use as his studio. These copies which were done in crayons, whatever their 
 
1830 .] COLLECTIONS OF SIR THOMAS LAWRENCE , P.R.A. 127 
 
 merit, showed the feeling of the youth who was destined to become President of the 
 Academy. The pictures chosen by him were — Guido, “ St. Peter and St. Paul ” — 
 £8 8s. ; P. da Cortona, “St. Paul restored to sight” — £8 8s.; Andrea Sacchi, “St. 
 Romualdo and monks ” — £2 105. ; Guido, “ Aurora ” ; D. da Volterra, “ Descent from 
 the Cross” — £12 ; Raphael, “The Transfiguration” — £24. This two days’ sale, how- 
 ever, only produced £589 6 s. 6 d. 
 
 On June 17th began a three days’ sale “ of the remaining part of the valuable 
 collection of modern drawings, a few paintings, a set of cartoons by L. da Vinci, 
 consisting of the original designs of that great master for the heads in his picture of the 
 ‘ Last Supper,’ as also numerous rare and very precious Cinque Cento models in wax 
 and terra-cotta, by M. Angelo, G. di Bologna, antique and modern ; a few bronzes and 
 antique marble bustos, and an engraved copper-plate portrait of the young Duke of 
 Reichstadt, never published.” The most interesting were the eight cartoons of the 
 heads in the celebrated “ Last Supper,” by Leonardo da Vinci, in black chalk and 
 crayons. 
 
 The Head of an Apostle in profile, the furthest £ s. 
 
 figure from Christ on his right hand . . 48 6 
 
 Another, also in profile, right hand resting upon 
 
 the shoulder of his companion . . . . 35 14 
 
 The Head of the Apostle next the one last 
 
 described 33 1 2 
 
 The heads of Judas and another Apostle, pro- 
 bably Peter 37 16 
 
 The head of St. John, the beloved disciple . 96 12 
 
 The head of Christ . . . . . . . 189 o 
 
 The heads of two Apostles immediately on the 
 left of Christ . . . . . . . 31 10 
 
 The head of another Apostle on the same side, 
 his hand on his bosom . . . . . 67 4 
 
 S. Woodburn bought all but the Head of Christ, which was purchased by Mr. 
 Knowles. 
 
 The copper plates of the portrait in profile of the Duke de Reichstadt, finely 
 engraved in the line manner by Bromley, after a finished drawing made from the life by 
 Sir Thomas Lawrence — not published , was bought by Colnaghi for £262 105. 
 
 His collection of casts of statues from the antique, and some medals in gold, silver, 
 and copper, was sold in July, producing £732 10s. The final dispersion of his various 
 collections was completed in May of the following year, 1831, when his unfinished 
 pictures, portraits, and sketches were sold at Christie’s. Of these the portrait of 
 himself by his own hand, described as exquisitely finished, brought the considerable 
 sum of £493 10s. and was bought by Lord Chesterfield. The picture of “ Satan 
 summoning his Legions,” was “ bought in ” at £504. An unfinished picture of two 
 children embracing, the heads only painted, the group sketched in chalks, sold for 
 £204 15s. to Lord C. Townshend. Two beautiful heads of children, part of a group, 
 £215. The total amounting to £3,191 5s. 6 d., which brought the grand total up to 
 £h >557 6d. 
 
123 
 
 ART SALTS. 
 
 [ 1832 . 
 
 THE EARL OF MU LG R A VE'S COLLECTION. 
 
 Though not a remarkable collection, it contained a few pictures by the old masters 
 of some importance, and was rendered specially interesting by some good sketches by 
 Wilkie of his well-known pictures, which were painted expressly for Lord Mulgrave, and 
 the famous picture of “ The Rent Day,” painted in 1807, which brought the considerable 
 price of £787 105. The sale was on Saturday, May 12th, 1832, at the rooms in King 
 Street, St. James’s, to which Mr. Christie removed but five years previously, but he had 
 died the year before, and the name appears now associated with that of Mr. Manson, 
 his assistant, forming the future firm as it continued for so many years. Catalogues 
 were charged one shilling each, and there were 75 pictures, including the 13 sketches 
 by Wilkie. The two Claudes were the most important, and brought the highest prices ; 
 they were “ A morning,” river scene with bridge and buildings, from the Gavotti Palace, 
 Savona — £273. Of this a MS. note on the catalogue in my collection says, “Very 
 dirty, and has been lined and not very happily repaired in a few places,” and “An 
 evening scene with peasants attacked by banditti,” river scene with waterfall, painted 
 for the Ruspigliosi family, and purchased about thirty years ago from the Prince 
 Ruspigliosi by an amateur, from whom Lord Mulgrave obtained it — £36 7 105. The 
 note on this is, “A burnt sienna tone of colour prevails throughout the picture; it is 
 also dirty, but in fine condition.” Rubens, “ Moonlight landscape, with a horse grazing 
 in the foreground, and the stars painted.” This picture was well known by the engraving 
 by Bolswert, and it had been sold in Sir Joshua Reynolds’s collection — £220 10s. There 
 were also a sketch of an altarpiece — £y ys . ; “an allegory,” sketch from Lord Lansdowne’s 
 collection — £24] a woody landscape with a waggon at a ford — £43; a note says, “a 
 sort of raw sienna smudge ; ” design for a ceiling, “a splendid sketch” — £ 20 ; “in a 
 handsome carved frame.” A copy of the Correggio, “ Christ’s Agony in the Garden,” at 
 Apsley House, by John Jackson, R.A. — £48 ; a note says, “ a most extraordinary decep- 
 tion— the dirty appearance and texture of old age marvellous ; ” De Koning, “ View in 
 North Holland,” equal to Rembrandt, from the Le Brun collection, engraved — £48; A. 
 Caracci, a fine copy of the picture known as “ The three Maries,” in Lord Carlisle’s 
 collection, by J. Jackson, R.A. — ^45. “A portrait of Gaston de Foix,” from Lord 
 Bessborough’s collection, by Giorgione, was in the catalogue, but omitted in the sale. 
 J. Ruysdael, “Harvest scene” — a chalky road leading to a wood bordered with corn- 
 fields; the figures and cattle by A. Vandevelde — £y 3 105., bought by Sir Abraham 
 Hume ; Rembrandt, “ Tbe Jewess Bride,” a small whole-length — £120 15 s. ; a MS. note 
 says, “ an ugly woman in a red dress, formerly Lord Radnor’s.” This would lead to 
 some doubt whether this picture is that which is included in Vosmaer’s Catalogue 
 Chronologique , 1632— 33, and Smith, No. 494, because that picture has the figure of an 
 aged woman behind the bride, who is described as a “ belle dame.” The Mulgrave 
 catalogue describes only one figure, and this a small whole-length. Vosmaer states the 
 picture he notes was sold in Lord Rendlesham’s collection, 1806 (see list, Vol. II.), 
 which may be so, but I find again that in Lord Rendlesham’s sale catalogue the 
 Rembrandt “Jewess Bride” is described as “ a small whole-length,” and no doubt it 
 was the picture sold in 1832 in Lord Mulgrave’s collection. “ The Jewess Bride ” sold 
 
1832 .] THE EARL OF MULGRA VE’S COLLECTION. 
 
 1 29 
 
 in the collection of Mad. Baudeville, 1787, for 1,800 francs, as stated by Vosmaer, was 
 probably a different picture. Vandyck, “St. Sebastian with two Angels ”—£147 ; 
 Bassano, “ Portrait of a Doge and family,” from Lord Rendlesham’s collection, who 
 was said to have given £1,000 for it — £131 5$. ; Wouverman, “ Horse-fair,” view of 
 Dort (corrected into Delft ) — £162 15s.; Ludo. Caracci, “Lot and his Daughters,” 
 large gallery picture— £105 ; S. Rosa, “ Rocky landscape and figures” — £100 16s. ; Sir 
 David Wilkie, “The Rent Day” — £78 7 105. The sketches— £1,009. Total of the 
 sale— £5,193 5s. 
 
 The sale attracted a crowded audience, as is told by a note upon the catalogue 
 referred to, which says “ the sale of Lord Mulgrave’s and Mr. John Ewer’s lasted three 
 hours and a half, the room being crowded.” Amongst the audience are mentioned 
 General Phipps, Lord Wharncliffe, Lord Farnborough, Lord Northwick, Mr. Beckford, 
 Mr. Fairley, and Mr. Rogers the poet. “ Also several ladies of rank, baronets and 
 haut ton were present the whole of the sale, Seagers (Seguier ?) and several of the crack 
 dealers.” On the same day, after the Mulgrave pictures, took place the sale of — 
 
 Mr. John Ewer’s Collection. — This consisted of only 12 pictures which had 
 been collected during the last thirty years, and were now sold by the executors of 
 the deceased. The interesting pictures were : A. Vandevelde, “ an upright landscape, 
 with a colt of mouse colour standing in the centre, a cow of tan colour lying down 
 with a white calf, and some sheep under trees, beautifully finished, dated 1662, about 
 14 x 10” — £451 105. This picture had been in the Holderness collection; Berghem, a 
 small landscape with cattle and figures, clear, warm and brilliant — £215, from the 
 Duke of Bedford’s collection ; Carlo Dolce, “ Christ breaking Bread,” in a purple 
 robe, with gold glory proceeding from the head, a cup on a table— £162 15 ; Greuze, 
 a girl, painted for M. de Calonne, and purchased at the sale of his collection in 
 1795. This appears to be the picture called “ La Fille in Ecstacy,” which sold 
 then for £61. It now brought £141 155.; Guercino, “Madonna and Child” 
 — £44; Ruysdael, small landscape with a vista, from Baron Nagel’s collection — £23. 
 The pictures by English artists were interesting, as there was a small upright landscape 
 by Linnell — £13 ; a view in Italy, by R. Wilson, “ clear and beautiful ” — £52 10s. ; and 
 the well-known picture by Gainsborough, bequeathed by Mr. Vernon to the National 
 Gallery (No. 310), who purchased it at this sale for £231. It was described in the 
 catalogue as a landscape with waggon and horses passing a brook, a favourite work of 
 the painter, who kept it till his death. It was bought by Mr. Ewer at the sale in 
 Gainsborough’s rooms at Schomberg House in Pall Mall, the year after his death (he 
 died August 2, 1788), in 1789. 
 
 VOL’. I. 
 
 s 
 
130 
 
 ART SALES. 
 
 [ 1833 - 1839 . 
 
 Chevalier Sebastian Erard’s Collection.— The collection belonging to M. Erard was 
 put up at auction in Paris after his death, in 1832, but most of the pictures were not sold, and 
 
 on June 22, 1833, a collection “ the property of the Chevalier Sebn. Erard, deceased, removed 
 
 from the Chateau de la Muette at Passy,” was offered by Messrs. Christie, “by order of the 
 
 executor.” The most interesting picture was the replica of the Mercury and Venus teaching Cupid, 
 
 by Correggio, 57x40, on wood (the National Gallery picture is 61 x 36, on canvas), which had been 
 in the Orleans, the Odescalchi, Queen Christina and Willett Collections (see 1813, Vol. II.). 
 It had been “bought in” in the Paris sale at 10,000 fr., and was again “ bought in ” at £205. 
 Other pictures were— N. Poussin, Birth of Bacchus, 45 x 56— £ 3°5 ( Shayer ). Cuyp, Landscape, 
 with Shepherdess, 17x27, panel— £399 (Norton). Teniers, Prodigal, with two women, 19x28 
 —£ 7°3 (White) ; The Seasons, four, 22^x33 — £560 (. Bt . in). G. Dow, His portrait, with palette, 
 17 x 14, panel— £575 (Bt. in). P. Potter, Three cows, 15 x 14— £310 (Bt. in). A. Vanderneer, 
 Moonlight, with figures by Cuyp, 44x56 — £808 (Seguier). 
 
 Mr. W. G. Coesvelt’s Pictures. — From time to time Mr. Coesvelt, who was a foreign 
 dealer resident in London, sent his pictures for sale to Christie’s, but generally with such a high 
 reserve upon them that few were sold. He issued a very good catalogue of his collection, illustrated 
 with outline engravings, which is occasionally to be met with, and is of interest, since most of the 
 best pictures were sold to the Emperor of Russia, while some are in private collections in England. 
 In a sale of his pictures, }une, 1837, at Christie’s, the catalogue states them to be “removed from 
 the gallery in Carlton Gardens.” Correggio, Riposo, “ La Zingarella,” different from the picture 
 at Naples, 24x19 — £194 (Bt. in); Holy Family, St. Joseph leading the ass, from Sir Joshua 
 Reynolds’ Coll., 33 x 18 — £141 (Bt. in) ; Venus, with Cupid and a crouching Satyr, 19 x 14 — £294 
 (Bt. in). Parmegiano, Flagellation of Christ, from Panne Coll., 23x18 — £215 (Bt. in). Gior- 
 gione, Head of Duke of Salerno as a herdsman, with flute, 20 x 15 — £162 (Lord Lansdowne) . 
 Raphael, Virgin and Child seated on clouds, 16x12, panel — £546 (Bt. in). Titian, Rape of 
 Proserpine, 25x37 — £409 (Bulteel) ; Virgin and Child, St. Catherine and St. John, in landscape, 
 40x56 — £377 (Bt. in). Fra Bartolommeo, Virgin and Child in landscape, 33, circle, on wood 
 —£472 (Bt. in). Claude, Sunset, 46x68 — £640 (Bt. in). These pictures were all “put up” 
 again in June, 1840, when a few were sold — Seb. del Piombo, Virgin and Child — £84 (Rodd). 
 Parmegiano, Virgin — £80 ( Edwards ). Fra Bartolommeo, Virgin and Child, circle — £162 
 (Leader). The others were “ bought in ” at less than half the sum in the previous sale. 
 
 Prince Poniatowski’s Collection.— The name of this Polish nobleman is associated with 
 the large and remarkable collection of engraved gems which he found at Florence, most of which 
 were the work of the clever artists of that place, and were sold to him as antiques, and the great 
 excellence of the work fully justified the pretension that they were such. After his death they were 
 sold at Christie’s, with a few pictures, bronzes, and miniatures. The sales began in February and 
 March, and the gems took 17 days to sell, from April 29, 1839. Very few brought as much as £30, 
 and many did not reach £To ; some lots were passed as doubtful, and were afterwards sold 
 privately. The total of the 2,639 lots was £ 3>7 96* The pictures (211 lots) £2,374; marbles, 
 bronzes, &c., £441- 
 
1842 .] 
 
 HORACE WALPOLE'S COLLECTION. 
 
 in 
 
 THE STRAWBERRY HILL SALE. 
 
 Considering the high place that Horace Walpole holds as a critic and as a 
 collector, it is surprising that so little was said at the time of the dispersion of the 
 remarkable collection he had formed. Had such a sale occurred within the last thirty 
 years, it would have excited a far greater interest. At that time there were com- 
 paratively few persons who observed what was passing in the auction room, and it will 
 be seen from the tone of the notices in the Times , contemptuous as it is through the 
 ignorance of the writer, how wanting the public were in appreciation of Walpole’s 
 treasures ; although they had been so aptly described in a single line by Pope as “ A 
 Gothic Vatican of Greece and Rome ” : — 
 
 “ The sale of the contents of this place was commenced yesterday in a temporary 
 shed erected in the grounds. The attendance of company was far from numerous, not 
 more than 200 persons were collected together, notwithstanding the appliances of fine 
 weather and the notoriety which has been given to the auction. There were not more 
 than a dozen bidders present, and they for the most part were booksellers and persons 
 buying as agents. The eloquence of the auctioneer’s address produced good prices and 
 produced a sum which the 181 lots would have brought at any other sale, but there was 
 nothing for which a good judge would have travelled a step out of his road. The sale went 
 off without energy and without display ; there was little animation and nothing to excite.” 
 
 The sale, as stated, took place in a large shed erected for the purpose, as it was 
 impossible to accommodate the large audience expected, in any room of the house. This 
 shed would have contained 800 people, but the Tines reporter says, on the second day 
 there was not 100 present at any time, and generally about half that number. 
 
 The catalogue is one of the most amusing specimens of the style of that famous 
 master of his craft, George Robins. The title-page stated that George Robins “ is 
 honoured by having been selected by the Earl of Waldegrave to sell by public 
 competition the valuable contents of Strawberry Hill, and it may fearlessly be pro- 
 claimed as the most distinguished Gem that has ever Adorned the annals of 
 Auctions. It is definitely fixed for Monday the 25th of April, 1842, and twenty-three 
 following days (Sundays excepted), and within will be found a repast for the lovers of 
 Literature and the Fine Arts of which byegone days furnish no previous example, and 
 it would be in vain to contemplate it in times to come.” Catalogues, illustrated, were 
 12 s. each, and were “ a passport to the purchaser.” Private view on 28th of March, 
 and to the public on April 4th. A good many more persons went down to see the place 
 more out of curiosity than with any intention of buying or from caring about the works 
 of art. The preface to the catalogue will be read with interest, as a glorious jumble of 
 amazing balderdash, as follows : — 
 
 “ Some cry up Gunnersbury, 
 
 For Sion some declare, 
 
 And some say that with Chiswick House 
 No villa can compare ; 
 
 But ask the beaux of Middlesex, 
 
 Who know the country well, 
 
 If Strawberry Hill — if Strawberry Hill 
 Don’t bear away the bell.” 
 
 The Earl of Bath’s Ballad on Strawberry Hill. 
 
 S 2 
 
ART SALTS. 
 
 i 
 
 [ 1842 . 
 
 “ The individual who has received instructions from the Right Honourable the Earl of 
 Waldegrave, to distribute to the world the unrivalled and wondrous Collection at Strawberry Hill, 
 formed by his Lordship’s great ancestor, Horace Walpole, Earl of Orford, and has thus had 
 placed within his power the ability to enrich the royal and national collections of every civilized 
 country, the galleries of the cognoscenti, and the cabinets of amateurs, in every class of the highest 
 walks of Art, has had the singular good fortune, during a long professional career, to be the 
 favoured agent in introducing to the public, in endless variety, unique collections of all that is rare 
 in taste and vertu, and although, through his instrumentality, he has exchanged properties 
 extending over several millions of pounds sterling, yet he approaches his present herculean 
 undertaking with feelings such as he never experienced on any former occasion, fully sensible that 
 the distribution of this precious museum, crowded with the tangible records of past ages — 
 treasures consecrated by the hand of time and of genius— far exceeding in interest and importance 
 all that has preceded it in the chronicles of auctions, and that no future sale can by possibility 
 enter into rivalry with it. 
 
 Whether he considers the hallowed recollections which surround a pictorial and historical 
 abode, so dear to its distinguished originator, and so often and so tenderly referred to in his letters 
 and writings, or the extreme rarity and value of the collection contained therein, rich in all that 
 can delight the antiquarian, the scholar, the virtuoso, or the general lover of Art, so perfect and 
 unapproachable in all its details that each will quit it with the fixed opinion that his peculiar 
 tastes were those to which the energies, the learning, and research of the noble founder were 
 directed ; when there pass before him in review the splendid Gallery of Paintings, teeming with 
 the finest works of the greatest masters, — matchless enamels, of immortal bloom, by Petitot, Boit, 
 Bordier, and Zincke, — chasings, the workmanship of Cellini and Jean de Bologna, — noble 
 specimens of Faenza ware, from the pencils of Robbia and Bernard Palizzi, — glass, of the rarest 
 hues and tints, executed by Jean Cousin and other masters of the 15th, 16th, and 17th centuries, 
 — Limoges enamels of the period of the Renaissance, by Leonard and Courtoise, — Roman and 
 Grecian antiquities, in bronze and sculpture, — Oriental and European China, of the choicest forms 
 and colours, — exquisite and matchless missals, painted by Raphael and Julio Clovio, — magnificent 
 specimens of cinque-cento armour, — Miniatures, illustrative of the most interesting periods of 
 history, — a valuable collection of drawings and manuscripts, — engravings, in countless numbers 
 and of infinite value, — a costly Library, extending to 15,000 volumes, abounding in splendid 
 editions of the classics, illustrated, scarce and unique works, with 10,000 other relics of the arts 
 and history of by-gone ages, — he may well feel overpowered at the evident impossibility of 
 rendering to each that lengthened notice which their merits and their value demand. He has, 
 however, attempted to supply this as far as possible by the introduction of notes into the body of 
 the catalogue, many of them from the pen of Walpole himself, whose work on this, the favourite 
 object of his life, printed at his own press at Strawberry Hill, has, from its scarcity, become an 
 object of value to the Bibliomaniac : but interesting as these must prove, he considers that 
 something beyond this is due to the memory of the mighty master who planned and matured this 
 wondrous whole, and whose life, almost from the cradle to the tomb, was occupied in snatching 
 from the depredations of time the few remaining specimens of the classic ages — the treasures of 
 gothic halls and cathedrals — and the antiquities of the middle ages ; and feeling that every 
 individual w T ho visits this Musee de Rarete, will desire to know something of the labours of the 
 mighty spirit who, by the magic of his pen, has caused him to lose “ the memory of himself” in 
 the pages of romance, and with the sentiment that none but a poet or a novelist should illustrate 
 the classic abode of the author of the Castle of Otranto.” .... 
 
 “ Mr. Robins ventures to express a hope that many of the invaluable items in the collection 
 may obtain a final resting-place in the galleries and archives of the British Museum; and he would 
 most respectfully draw the attention of the trustees of that national establishment to the present 
 occasion, as the only one which can enable them to form the nucleus of a collection of domestic 
 archaeology, embracing memorials of the dynasties of the Plantagenets, the Tudors, the Stuarts, 
 and the Guelphs, of their ministers and favourites, and of the wisest and greatest that flourished 
 in their respective aeras. He would also earnestly impress upon all who possess, as Walpole did, 
 a vocation to vertu, that a similar opportunity of enriching their collections can never occur — 
 neither fortune nor research, after the distribution of this museum, can enable them to unearth 
 such treasures, and he thinks there will hardly be found an individual, whether tinged with the 
 
1842 .] 
 
 HORACE WALPOLE'S COLLECTION. 
 
 i38 
 
 spirit of antiquarianism or an admirer of the Augustan period of British History, but will be 
 anxious to procure some relic of him who may be denominated the last of that glorious age ; and 
 who by his inimitable works of fiction, his charming correspondence, and his delicate perception of 
 all that was choice and beautiful in Art, achieved for himself a glorious immortality in the memory 
 of mankind.” 
 
 After this came a long account of Strawberry Hill, written by Harrison Ainsworth for 
 his Miscellany , which is illustrated with small woodcuts, one of which is here facsimiled, 
 with the portrait of Horace Walpole given as a frontispiece to the sale catalogue, taken 
 from a small picture by Eckardt, which was sold in the collection for £34 135. Other 
 objects engraved were the room called “ The Tribune,” at the end of which was the 
 cabinet of miniatures. Amongst numerous interesting and beautiful things was the 
 silver bell, the work, it was said, of Benvenuto Cellini, made for Pope Clement VII., 
 and long in the possession of Marquis Leonati, of Parma, from whom it was purchased by 
 the Marquis of Rockingham, who exchanged it with Walpole for some rare coins. Mr. 
 Beckford bid for this but did not buy it, at the price £252. Anne Boleyn’s clock, in silver 
 gilt, bearing the initials H. A. above a true-lovers’ knot, with motto “ The Most Happye,” 
 given to her by the king on the morning of the marriage* ; a present to Horace Walpole 
 from Lady Betty Germaine. This was bought for the Queen for £110 5 5. The beautiful 
 MS. Psalter on vellum with 21 paintings in ornamental borders by Julio Clovio, in 
 1537 as dated, was in the collection of Lord Arundel from which, at its sale, it was 
 bought by Lord Oxford in 1720, who bequeathed it to his daughter the Duchess of 
 Portland, and at her sale, in 1786, Horace Walpole bought it. It was now sold for £441. 
 Another MS. was the Missal of Claude Queen of Lrancis I., painted with miniatures in 
 the style of the school of Raphael, bound in gold case enamelled, and set with rubies 
 and turquoise, with an intaglio of the Crucifixion. This was bought by Walpole in 
 the sale of Dr. Mead’s collection, 1755. It sold now for £115 105. [Forster). The 
 famous “ Dr. Dee’s Speculum,” which was a round piece of polished kennel coal, into 
 which the pretended diviner peered, and so it was called “ The Devil’s Looking-glass ” 
 as Dr. Dee was a necromancer and conjuror in the time of Queen Elizabeth. It was long 
 in the possession of the Mordaunts, Earls of Peterborough, as “ The Black Stone into 
 which Dr. Dee used to call his Spirits.” It passed to Lady Betty Germaine, and from 
 her to John Duke of Argyle, whose son gave it to H. Walpole. It sold for £12 12s. 
 Amongst the strange relics sold was a lock of hair cut from the head of Edward IV. 
 when his coffin was opened in St. George’s Chapel, Windsor, 1789, and one from the 
 head of Mary Tudor when her tomb at St. Edmundsbury was opened. Cardinal 
 Wolsey’s red hat, found in his wardrobe by Bishop Burnet, Clerk of the Closet, from 
 whose son it came to the Countess of Albemarle, who gave it to Walpole — £21 [Charles 
 Kean , the son of Edmund). The hunting-horn of Limoges enamel, with the life of 
 St. Hubert, in grisaille on one side, and allegories on the other in colours. Sold for 
 £114 5s. [Webb). 
 
 * Harrison Ainsworth says, “This love token of enduring affection remains the same after three centuries; 
 but four years after it was given, the object of Henry’s eternal love was sacrificed upon the scaffold. The clock 
 still goes : it should have stopped for ever when Anne Boleyn died.” 
 
134 
 
 ART SALTS. 
 
 [ 1842 . 
 
 (“The Times,” 18 May , 1842.) 
 
 “ The sale of the innumerable lots at this place still drags its slow length along. 
 
 “ since we last noticed the auction about £4000 or £5000, certainly not worth of things, but 
 amount of things, have been sold ; and the gross proceeds of the whole sale may be something like 
 £ 20,000 up to the present time. A fortnight’s sale of prints and drawings will take place in 
 London, so that it may be calculated that the property sold or to be sold will realize little less than 
 £30,000 (£29,615 6s. 6 d.), an enormous sum when the absolute worthlessness of hundreds of the 
 lots is considered, but comparatively very moderate when ignorance, credulity, and bad taste are 
 put into the opposite scale. Several of the more recherche lots fetched very high prices: the 
 celebrated silver inkstand of Horace Walpole brought 36s. per ounce, weight about 90 ounces 
 (£185), purchased by Mr. Seguier for Sir Robert Peel. The celebrated suit of armour, certainly a 
 magnificent piece of workmanship, and perhaps the finest suit in England, sold for 320 guineas 
 (Pratt).” 
 
 Of the pictures the following, judging from the catalogue, appear to be the most interesting: 
 The Marriage of Henry VI. and Margaret of Anjou, 37m. by 34m.— £84 (Colnaghi) ; Frances, 
 Duchess of Suffolk, mother of Lady Jane Grey, and Adrian Stoke, her second husband, by Lucas 
 de Heere— £92 8s. (Finch) ; Interior of King’s College Chapel, Cambridge, by Canaletti — 
 £21 10s. 6 d. (Beaumont); portrait piece, Henry VIII. and his children — £220 10s. (Bevan) ; 
 Margaret, wife of T. Carye, groom of the bedchamber to Charles I., by Vandyck, from Wharton 
 and Sir R. Walpole’s collections — £78 15s. (Rodd) ; Philip Herbert as Lord Chamberlain, with 
 view of Wilton House, by Mytens — £86 2s. (Seguier) ; Bianca Capella, by Vasari, the hands 
 unfinished, from the Vitelli Palace, Florence. See Walpole’s Letters and Catalogue — £16 16s. 
 (Seguier) ; Ninon de L’Enclos, given by herself to Lady Sandwich, and by her grandson, John, 
 Earl of Sandwich, to H. Walpole — 131 5s. (Lord Northwick) ; Landscape with cattle, by Gaspar 
 Poussin — £58 16s. (Lord Northwick) ; Countess de Grammont (Madlle. Hamilton), by Eckardt — 
 £73 10s. (Rodd); two views in Venice, by Marieschi — £105 (Lord Lisburne) ; Madame de 
 Maintenon, by Mignard — £52 (Lord Northwick). A curious picture of Henry VII. and his family, 
 from Tart Hall, Westminster.* See Walpole’s Anecdotes. Purchased at the sale of J. West, 
 F.S.A., 1773, by H. Walpole — £131 5s. (Forster). See an elaborate paper upon this picture, by 
 Mr. G. Scharf, C.B., Director of the National Portrait Gallery. Henry VIII. and Charles V., with 
 two figures behind, supposed to be Maximilian and Philip — £54 2 s. (Redfern) ; Horace Walpole, 
 third son of Sir Robert Walpole and Catherine Shorter, in a blue dress, by Richardson — £105 
 (Forster); portraits of Ladies Laura, Maria, and Horatia Waldegrave, by Sir Joshua Reynolds — 
 £577 10s. (Forster, bought in) ; portraits of Lord Edgcumbe, G. J. Williams, G. A. Selwyn — “ The 
 “ Committee of Taste,” by Sir Joshua Reynolds — £157 10s. (Smith) ; four paintings on panel, doors 
 of a shrine, formerly in the Abbey of St. Edmundsbury, with portraits of Cardinal Beaufort, Kemp, 
 Archbishop of Canterbury, Duke of Gloucester, and other figures. The centre panel wanting. On 
 one panel are the arms of Tate — £63 (Duke of Sutherland). See Gentleman's Magazine, July and 
 August, 1842. Portrait, Margaret Lemon, as Judith, by Vandyck — £78 15s. (Bryant) ; “Education 
 of Jupiter,” by Poussin, from Sir Robert Walpole’s Collection — £78 15s. (Bryant); Lady Dorothy 
 Percy and Sister Lucy Percy, the famous Countess of Carlisle, by Vandyck. See Walpole’s 
 account. Sold in the Penshurst Collection — £231 (Norton) ; Marriage of Henry VII. and Elizabeth 
 of York, by Mabeuse — £178 10s. ; James, second Lord Waldegrave, by Sir Joshua Reynolds — 
 £73 10s. (Forster) ; Maria, widow of Earl Waldegrave and wife of Duke of Gloucester, by Reynolds 
 — £735 (Forster, bought in) ; John Law, Prime Minister to the Regent Philip, Due d’Orleans, and 
 inventor of the Mississippi scheme, in crayons by Rosalba — £28 18s. ; portrait-piece, Catherine de 
 Medici and her children, Charles IX., Henry III., Due d’Alen^on, and Margaret, Queen of Navarre, 
 by Janet — £90 6s. (Hall) ; Head of a young man, in rich black velvet trimmed with fur, by Giorgione 
 — £110 5s. (Brown). This was in the Collection of Charles I. Portraits of Charles Brandon, Duke 
 of Suffolk, and Mary, Queen of France ; from Lord Westmoreland’s Collection at Apthorp — 
 £535 I0S - (Duke of Bedford). Thomas Howard, Duke of Norfolk, on his handkerchief a cross and N., 
 
 * This picture is erroneously described in the Strawberry Hill Sale Catalogue. The King is Henry VII., 
 and the name “ B. West, P.R.S.,” should be James West. The compiler evidently mistook it for B. West, the 
 President of the Royal Academy. 
 
1842 .] 
 
 HORACE WALPOLE'S “APOLOGY.” 
 
 135 
 
 and his arms without the coronet on the background — £42 (Bryant). The four whole length 
 portraits of Lord Howard of Bindon, of the Duke of Richmond and Lennox, of Duchess of 
 Richmond, by Mark Garrard; of Lord Falkland, by Vansomer ; the picture which suggested to 
 Walpole the idea of walking out of the frame, as in his romance, the Castle of Otranto, were 
 bought by Mr. Tollemache, and went to Helmingham Hall, Suffolk. The pictures, including 
 those bought in, came to £14,394. The stained glass was chiefly bought by Mr. Porrett for the 
 horse armoury at the Tower. The total of the 24 days at Strawberry Hill was £33,450 ns. 9 d. 
 The prints were deferred to be sold in London. In the Gentleman's Magazine will be found some 
 interesting antiquarian notes of the sale. 
 
 The following, written by Horace Walpole, shows that like all collectors he con- 
 templated the dispersion of his treasures. This “ Apology” was the preface to his own 
 catalogue, and it was prefixed to the price-list published soon after the sale by J. H. 
 Burn ; — 
 
 APOLOGY FOR STRAWBERRY HILL. 
 
 " In matters of taste, there will ever be difference of opinion ; because in such matters, there is no other criterion of rectitude, 
 
 than individual feeling.” — A. F. Tytler. 
 
 In a house, affecting not only obsolete architecture, but pretending to an observance of the 
 costume even in the furniture, the mixture of modern portraits, French porcelain, and Greek and 
 Roman sculpture may seem heterogeneous. In truth, I did not mean to make my home so gothic, 
 as to exclude convenience and modern refinements in luxury. The designs of the inside, and 
 outside, are strictly ancient, but the decorations are modern, and the mixture may be denominated, 
 in some words of Pope — 
 
 “ A Gothic Vatican of Greece and Rome.” 
 
 Would our ancestors, before the reformation of architecture, have hesitated to deposit in their 
 gloomy castles, antique statues and fine pictures, beautiful vases and ornamental china, had they 
 possessed them ? — But I do not mean to defend by argument, a small capacious house. It was 
 built to please my own taste, and in some degree to realise my own visions. I have specified what 
 it contains * — could I describe the gay, yet tranquil scene where it stands, and add the beauty of 
 the landscape, to the romantic structure of the mansion, it would raise more pleasing sensations, 
 than a dry list of curiosities can excite — the prospect, at least, would recall the good humour of 
 those, who might be disposed to condemn the fantastic fabric, and induce them to consider it, the 
 very proper habitation of, as it was the scene that inspired, the author of the Castle of Otranto. 
 
 Having lived, unhappily, to see the noblest school of painting, that this kingdom beheld, 
 transported almost out of the sight of Europe, it would be strange fascination, nay, a total 
 insensibility to the pride of family, and to the moral reflections that wounded pride commonly 
 feels, to expect that a paper fabric, and an assemblage of curious trifles, made by an insignificant 
 man, should last, or be treated, with more veneration and respect, than the trophies of a palace, 
 deposited in it, by one of the best and wisest ministers, t this country has enjoyed. Far from such 
 
 * Description of the Villa at Strawberry Hill, with an Inventory of the Furniture. Pictures, Curiosities, &c. Straw- 
 berry Hill : Printed by Thomas Kirgate, 1774, 4to. The same, with additions, 1784, 4to ; and again, with corrections, 
 in the second volume of the edition of Lord Orford’s collected works, 1798, 4to. 
 
 t Sir Robert Walpole, created Earl of Orford, and father of Horace Walpole, a name of much greater celebrity than 
 when ennobled as a Peer. The Gallery of Paintings, formed at Houghton-Hall, by Sir Robert Walpole, were sold by 
 George, the third Earl, in 1779, to the Agents of Catherine, Empress of Russia, for .£40,555, or according to another 
 statement for £40,220. The difference arose from the circumstance, as the writer has been informed, of the Empress 
 Catherine’s Agents requiring the portrait of Sir Robert Walpole, as the Collector, being included with the paintings ; to 
 this the Earl demurred, and the purchase in consequence was almost set aside ; subsequently it was arranged, the sum in 
 difference was abated, and the Earl allowed to retain the picture — it was that in the Refectory, at Strawberry Hill. 
 
ART SALTS. 
 
 [ 1842 - 1846 . 
 
 1 3 6 
 
 visions of self-love, the account of the pictures and rarities is given with a view to their future 
 dispersion. The several purchasers will find a history of their purchases, nor do Virtuosos dislike 
 to refer to such a catalogue for an authentic certificate of their curiosities. The collection was 
 made out of the spoils of many renowned cabinets, Lord Oxford’s, Dr. Mead’s, Lady Elizabeth 
 Germaine’s, the Duchess of Portland’s, and about forty more of celebrity. Such well attested 
 descent is the genealogy of the objects of virtu — not so noble as those of the peerage, but on a par 
 with those of race-horses. In all these, especially the pedigrees of peers and rarities, the line is 
 often continued by many insignificant names. 
 
 HOR. WALPOLE. 
 
 Mr. Penrice’s Collection. — This was an important sale, as some of the pictures, which 
 were all good though only 17 in number, were bought for the National Gallery. The sale took 
 place at Christie’s, July 6, 1844, “of the celebrated collection of pictures of the very highest class, 
 the property of folm Penrice, Esq., removed from Great Yarmouth.” The most interesting were : 
 — Titian, Riposo, the Virgin and Child, and St. Joseph, from Giustiniani Gallery — £ 210 ( M or ant ) ; 
 “The Woman taken in Adultery” — £630 (Bt. in). Wouwermann, A Hawking Party, from Orleans 
 Gallery — £651 ( Farrer ). D. Teniers, Junr., “ Le Lendemain des Noces,” Brunois Collection — 
 £535 ( Nieuwenhuys ). G. Poussin, Italian Landscape, from Lancilotti Palace — £798 (D unford). 
 
 Teniers, “ Pair ou non Pair,” from Orleans Gallery — £892 (Farrer). Guido, Lot and his 
 daughter leaving Sodom, from Lancelotti Palace, Rome — £1,680 (National Gallery) ; Susannah and 
 the Elders,” from Lancelotti Palace — £945 (Bt. in, afterwards sold to the National Gallery for 
 £1,260). Rubens, “ The Judgment of Paris,” from the Orleans Collection (see catalogue, p. 75) — 
 £4,200 (National Gallery). A. Ostade, Interior, with two dancing, and about 26 other figures, 
 from the Le Brun, Wassenaer, Randon de Boisset, Geldermester, and Crawford Collections — 
 £1,375 (Farrer). Total of the 17 pictures, £11,488. 
 
 THE SALTMARSHE COLLECTION. 
 
 The sale of this fine collection, which was formed by Mr. Edmund Higginson, of Saltmarshe, 
 Herefordshire, about five miles from Bromyard, was the principal event of the season at Christie’s, 
 and attracted all the foreign dealers and numbers of amateurs during the exhibition of the pictures 
 and on the days of sale, which took place on June 4, 5, 6, 1846. The private catalogue had only 
 been completed and printed in Sept., 1842, and some surprise was expressed that the collection 
 should be sold so soon afterwards. It was said that the l'eason why Mr. Higginson determined to 
 sell a collection which had cost him so much trouble and a large sum of money, was, that he had 
 been alarmed by the accident of the dining-table cloth having been set fire to. The 231 pictures, 
 of which 144 were hung in a fine gallery, were purchased from the sales of the Boursault, Burtin, 
 Bonnemaison, Lucien Bonaparte, Durand, Delahante, Lapeyriere, Pourtales, Duchesse de Berri, 
 Beckford, Gray, Lord Northwick and other collections. I was present at the sale, and well 
 remember the great interest felt in the pictures, more especially in the Murillo — “ Adoration of 
 the Shepherds,” a large and beautiful example, measuring 58 in. by 85 long, which was hung in the 
 place of honour in the centre of the gallery at Christie’s. The sum of £3,018, which it sold for, 
 was then considered a very high price, though it would bring nearer five times that amount were it 
 to be sold at the present time. It was purchased for the Marquis of Hertford, and is in the 
 splendid gallery of Sir Richard Wallace at Manchester House, London. The little picture by 
 Metzu, “ A Woman Cleaning Fish,” with a kitten sitting on a brass kettle turned up on its side, 
 only 10 x 12 in., sold for £504 to Baron Rothschild. The fine Wouwermann, “ Sacking of a Village,” 
 24JX16I, was bought in at £483, but was afterwards offered again in i860 at Christie’s, and then 
 sold for £525 (see list, Vol. II.). The W. Vandevelde, “ Calm, with ship of War at Anchor,” 64 
 
1846 .] 
 
 THE SALTMARSHE COLLECTION. 
 
 i37 
 
 by 98I canvas, £1764 ( Marquis of Hertford). The K. du Jardin, “The Farrier,” from the 
 Pourtales Collection, 19! by 17! on canvas, brought a very high price, £1417 ( Baron Roths- 
 child). The Greuze, “Psyche” was another picture which brought a high price, £1050 
 {Marquis of Hertford). The Rembrandt portrait of Katrina Hoogh, 49J by 38! canvas, her name 
 inscribed and signed with date 1657, from Lord Le de Spencer’s Collection, was bought in at £7 98, 
 but was sold in the sale of i860 for £777 ( Farrer ). Rubens, Holy Family from Lapeyriere and 
 Boursault Collections — £2478 ( Marquis of Hertford). Claude, Landscape, from Hesse Cassel and 
 Talleyrand Collections — £1470 {Marquis of Hertford) ; TEneas visiting Helenus at Delos, painted 
 for M. Passey le Gout — £1260 {Bt. in). P. Potter, Three Cows — £976 {Marquis of Hertford). 
 A. Ostade, Cabaret — £1060 {Nieuwenhuys). The amount, including pictures bought in, was 
 £32,703, (231 lots) and, as will be seen in the lists, the reserve prices were not afterwards 
 reached in the sale of i860. The interesting work of Baldassare Peruzzi, “ The Adoration of 
 the Magi,” which was bought in at £525, was afterwards (in 1849) presented by Mr. Higginson 
 to the National Gallery. 
 
 Mr. Edward Solly’s Collection. — Mr. Solly was an amateur of acknowledged repute for 
 his good taste, and especially for his knowledge of the Italian school of painting. He collected 
 many examples of the earlier painters, and though there were no works of historical celebrity, the 
 sale was a very interesting one. There were 42 pictures sold by Messrs. Christie, May 8, 1847. 
 Perugino, Christ, St. Thomas, and St. Francis — £152 {Domville). L. da Vinci, Madonna and 
 Child— £199 {Domville). Girolamo da Cottignola, Ascension of the Virgin, 120x72 — £252 
 {Davenport Bromley) ; Pope Gregory and St. Peter, 96x66 — £213 {Davenport Bromley). Mazzolini 
 da Ferrara, The Destruction of Pharaoh and his Host, 50x63, engraved in Agincourt— £241 
 {N.N.). Lorenzo Lotto, Portraits of the artist, his wife, and two children, 48x54, engraved in 
 Lucien Buonaparte’s Coll., as by Carlo Lotto — £225 {N.N.). Francia, Christ on the Cross, 
 96x67 — £346 {Davenport Bromley). Carlo Crivelli, The Annunciation, 82x58, painted for the 
 Convent Santissima Annunciata, described by Orsini — £325 {Graves). Gaudenzio Ferrari, The 
 Visitation, 81 x 65 — £399 {Brown). Innocenzo da Imola, The Virgin and Infant enthroned — £325 
 {Davenport Bromley). Raphael, St. Sebastian, 30X19J, from the Degli Oddi Coll. — £168 {N.N.). 
 Bernadino Luini, Madonna, and Child standing on her lap in a landscape, 84 X 60, formerly in 
 Cathedral at Como — £390 {Tate). Girolamo da Treviso, Madonna enthroned, 98x57, from the 
 Church of St. Domenico at Bologna — £296 {Lord N orthwick) . Raphael, Ascension of the Virgin, 
 formerly in a Cathedral at Pisa, 72x72 — £346 {N.N.). Giorgione, Madonna enthroned, 
 11 7 X 153, from Soranzos and Balbi Colls. — £525 {N.N.). Total £5279. 
 
 Mr. Claudius Tarral’s Pictures. — These were brought from his residence at Paris, and 
 sold at Christie’s, June 11, 1847. The sale is interesting from having three pictures which belonged 
 to Cardinal Fesch’s Collection — viz.: Giorgione, “Adoration of the Shepherds,” 35 by 42 — 
 £1,543 {Banting). J. Ruysdael, Forest Scene, 22 by 25 (No. 210 Fesch Catalogue)— £483 {Bruce). 
 Backhuysen, “ A Squall ” (No. 5 Fesch Catalogue) — £252 {Farrer). The 55 pictures sold for £3,383. 
 
 VOL. I. 
 
 T 
 
133 
 
 ART SALES. 
 
 [ 1848 . 
 
 trie s to we CO llec tl on. 
 
 The vast accumulation of works of Art of almost every kind contained in the noble 
 modern classic mansion of Stowe, near the town of Buckingham, from which the title of the 
 Duke is taken, was sold by auction on the premises by Messrs. Christie & Manson, the 
 sale beginning August 15 and continuing for forty days. The sale created the greatest 
 interest, as will be gathered from the following article which appeared as “a leader” 
 in the Times the day before the sale : — 
 
 (“ The Times,” August 14, 1848.) 
 
 During the past week the British public has been admitted to a spectacle of painful interest 
 and gravely historical import. One of the most splendid abodes of our almost regal aristocracy has 
 thrown open its portals to an endless succession of visitors, who from morning to night have flowed 
 in an uninterrupted stream from room to room, and floor to floor — not to enjoy the hospitality of 
 the lord or to congratulate him on his countless treasures of art, but to see an ancient family 
 ruined, their palace marked for destruction, and its contents scattered to the four winds of Heaven. 
 We are only saying what is notorious and what therefore it is neither a novelty nor a cruelty to 
 repeat, that the most noble and puissant prince, his Grace the Duke of Buckingham and Chandos, 
 is at this moment an absolutely ruined and destitute man. Our advertising columns have intro- 
 duced to the public the long list of estates, properties, and interests which are no longer his, and 
 will not revert to his heirs. The last crash of this mighty ruin is that which now sounds. Stowe 
 is no more. This morning the tumultuous invasion of sight-seers will once again be endured, and 
 to-morrow the auctioneer will begin his work. 
 
 As every thoughful spectator has spoken to the peculiar and most lamentable character of the 
 scene, one may be permitted to dwell for a while upon circumstances of such rare occurrence and 
 indelible recollection. Under the lofty arch which crowns the long avenue from Buckingham, and 
 opens the first view of the magnificent Palladian facade, has lately passed a daily cavalcade which, 
 except in its utter absence of style, might remind one of the road to Epsom on a Derby day. 
 Barouches, flys, stage-coaches, “busses” pressed from the metropolitan service, and every grada- 
 tion of “ trap,” down to the carrier’s cart hastily emptied of groceries, dragged to Wolverton, and 
 filled with the unfortunate holders of return tickets to town, constituted a dreary antithesis to the cortege 
 which so lately brought Royalty to Stowe. An elaborately circuitous road conducted the impatient 
 visitors to the park front, before which in the vast amphitheatre formed by its side colonnades, so 
 often the scene of rural festivities, the enemy encamped, one might imagine a great country pic- 
 nic had suddenly gathered at Stowe ; even stalls were there. From the branch of a noble beech 
 hung a huge pair of scales on which venison was weighed. An advertisement posted on the front 
 door particularized the very moderate prices at which a back, a half, or a quarter might be obtained. 
 In the distance were fallen trees, timber waggons, and extempore sawpits. The enormous edifice 
 was a human hive, every window showed the crowd within passing to and fro. But once admitted 
 — once standing under the Pantheon like vault of the central saloon, and glancing right and left at 
 endless vistas of gorgeous apartments, then one indeed realized the sacrilege that was going on. 
 Every scholar must have thought of the scene related by /Eneas when the Greeks had burst open 
 the gates of Priam’s palace, and when the splendid interior, the spacious halls, and the sacred 
 haunts of the ancient dynasty were presented to the eyes of the furious assailants. 
 
 The house was well set out for the distinguished visitors. Neither Louis the 18th, nor the Duke 
 of Orleans, nor Queen Victoria, nor any of the great ones of the earth, whose visits are recorded 
 with pillars and with trees planted by their own hands saw Stowe so nobly arrayed as the British 
 public have seen it this week. The bride was dressed for the altar, the victim for the sacrifice. No 
 thrifty coverings, no brown holland, no neat chintzes were there. King Mob had it all of the best, 
 the richest Damask furniture and the newest state hangings ; only as that personage rode literally 
 rough shod through the palace and brought with him cartloads of gravel, there was just an attempt 
 
1848 .] 
 
 THE STOWE SALE. 
 
 i39 
 
 to save the carpets from excessive trituration. In the state dining room were set out 60,000 ozs. 
 of gold and silver plate ; one was involuntarily reminded of the weight, for the scales were at work 
 there also, and men were weighing and noting down lot after lot. 
 
 On a table 20 yards long, and on a dozen sideboards stood forests of vases, candelabras, 
 epergnes, groups, goblets, tankards, and every other form and variety of plate, from the elaborate 
 designs of Italian artists to the simple elegance of the old English school, and the pretentious 
 richness of the last generation. Among fifty other pieces of historic value, the gift of royal person- 
 ages and distinguished men, stood a vase formed from snuff boxes presented by the cities and 
 corporations in Ireland 1779, the mace of the old corporation of Buckingham purchased by the 
 Buckingham conservatives and presented to the Duke as an everlasting possession, and the Chandos 
 testimonial for which the gentry and yeomanry of the Country lately subscribed we believe £1,500. 
 During the whole week this testimonial has been surrounded by a crowd of agriculturists, the very 
 originals of the figures thereon represented, telling of the guineas they had contributed to the ill- 
 fated fabric but avowing with unvaried gratitude worthy of a safer, if not a better cause, that 
 they would gladly give the money over again. 
 
 The galleries of family portraits and collections of family memorials seem to connect all the great 
 men and all the great achievements of modern Europe with the name of Chandos, Temple, Cobham, 
 and Grenville. But beyond the somewhat extensive circle of family affection, the original portraits 
 of famous men and women here assembled are of the greatest interest and value. Here, too, is the 
 victor’s portion in the celebrated sieges, the memento of historical friendships, and the favourite 
 gem of royalty or beauty. In the manuscript room is the most extensive and valuable collection of 
 Irish documents anywhere to be found. For the pictures, marbles, bronzes, antique articles of virtu, 
 curiosities, china, glass, and wines, we leave them to the auctioneer and his catalogue of 5,000 items. 
 It is not our purpose to speak of that which money has collected and may collect again. Such things 
 are only scattered for a fresh reunion elsewhere under new and more favourable auspices. But the 
 heirlooms of many great families, the records of many great events, and the memorials of many 
 great persons, all spontaneously collected into one great whole, constitute a most singular and 
 significant fact, the obliteration of which we can only compare to the overthrow of a nation or a 
 throne. 
 
 And everything is to be sold. The fatal ticket is everywhere to be seen. The portrait of 
 Charles Brandon, Duke of Suffolk,*' the founder of the family, by Holbein, is Lot 51 in the 21st 
 day’s sale. That every other ancestor should go to the hammer, whether Vandyke or Lely, or 
 Kneller or Gainsborough or Reynolds, follows, of course. But there is one item of which no 
 preparation can remove the shock. The Chandos family is descended from Frances Brandon, 
 eldest daughter of the above Charles Brandon, by Mary, daughter of Henry VII., and Queen 
 Dowager of France. Some time since savages or dilettanti at Bury exhumed that Mary Brandon 
 from her grave, and took from her head a lock of silken hair, which thus constitutes a visible link 
 between the present Duke of Buckingham and the throne of these realms, to which he has a 
 reversionary claim. That lock of silken hair in its glass case is now to be sold to the highest 
 bidder.! 
 
 As a collection, it was more remarkable for costly ornamental objects of display than 
 for fine works of art, selected as such. The pictures could not be regarded as a repre- 
 sentative collection, as there were few works of the great masters, and the portraits 
 formed the chief part of the collection. Of these the most important was the portrait of 
 Shakespeare, said to have been painted either by John Taylor, the player, to whom it 
 
 * This was purchased by the Duke of Sutherland for £50. 
 
 t This relic sold for £7 1 os., Owen, just 20s. more than was paid for it by the last Duke of Chandos, at the 
 sale of the Duchess of Portland’s museum in 1786. The lock was of a most brilliant gold colour, and rather 
 more than 12 inches long. 
 
 T 2 
 
140 
 
 4 RT SALES. 
 
 [ 1848 . 
 
 belonged, or by Richard Burbage, and the history of which is well authenticated. This 
 was purchased by Lord Ellesmere at the sale for £372 15s. ; and afterwards, in 1856, 
 presented by him to the National Portrait Gallery. The copy of it, by Sir G. Kneller, 
 which he did as a present to Dryden, is in the Collection of Lord Fitzwilliam, at 
 Wentworth Wood House. A very good priced catalogue was published by Bogue, 
 1848, illustrated with woodcuts of the house and the various “ temples in the grounds,” 
 and a mezzotint from the picture by Rembrandt of “ The Unmerciful Servant” which 
 was bought by the Marquis of Hertford for £2,300 ; besides most of the objects of 
 ornamental art. The sale catalogue was charged 155., admitting four persons to the 
 private view, from August 3rd to the 15th, and many thousands of persons visited the 
 sale. The pictures had come from time to time from Gosfield, the seat of Earl Nugent, 
 in Essex ; from Minchenden House, near Southgate, the seat of Mr. Nicoll, whose 
 heiress married the Marquis of Caernarvon, afterwards third Duke of Chandos ; from 
 Avington, another seat of the Chandos family, in Hampshire. When the Duke of that 
 day, 1848, succeeded to the title, he sent about 1000 pictures to be sold at Christie’s, 
 and they only realised some £600. For weeks after the shops in Wardour Street were 
 crammed with those pictures. The only modern commissions given by the Duke to 
 artists were to John Martin for his “ Destruction of Herculaneum and Pompeii” — 
 £800, and this was sold with others from Buckingham House, Pall Mall, at Christie’s, 
 in 1S48, for £103 ; Stanfield’s “ Wreckers off Calais ” was bought by the Duke in the sale 
 of Mr. Watson-Taylor’s Collection, 1823, for £315, and now sold for -£430 105. The 
 following were the important pictures by Old Masters: A. Durer (?), St. Catherine — 
 £157 105., and St. Barbara — £168. Primaticcio, Diane de Poictiers at her toilette, 
 with an attendant at a robe chest — £111 ( Ryman ). Rembrandt, The enraged 
 
 Prisoner — John, Duke of Cleves, with two black boys, said to be a duplicate of the 
 pictures in Berlin Museum and at Dresden — £83 [Snare). “A Negro with bow and 
 arrows” — £263 [Marquis of Hertford) ; “A Burgomaster,” seated, his right hand raised, 
 from the Orleans Collection, 52x43 — £830 [Lord Ward) ; “The Unmerciful Servant,” 
 four figures, nearly life-size, 70 x 84m. — £2,300 [Marquis of Hertford). Domenichino, 
 “ Sybilla Persica,” from the Orleans Gallery — £724 [Marquis of Hertford). Correggio, 
 An old copy of the “ Mercury and Venus teaching Cupid,” brought to England by 
 George Villiers, Duke of Buckingham, in the time of Charles I. — £157 [Ryman). 
 S. Rosa, “The Finding of Moses,” 48x79 — £1,030 [Farrer). A. Cuyp, “Philip 
 baptizing the Eunuch,” 66 x 45m., from Count de Vismes’ Collection — £1,543 (^- B. 
 Brown). The portraits sold for small prices generally, and some were bought in for the 
 family. The ornamental objects brought nothing near the prices they would bring at 
 the present time. The beautiful little majolica vase, painted with a battle, was bought 
 by Mr. Mark Philips, of Manchester, for 50 guineas. The large majolica cistern — £67, 
 to Mr. Hope, of Deepdene. Some of the choicest candelabra and other objects were 
 purchased by Mr. R. S. Holford ; others by Mr. Baring, Sir A. Rothschild, Mr. 
 Beaufoy, and Mr. S. M. Peto. The bust of Prior, by Roubiliac, was bought by Sir 
 Robert Peel for £136 105. The fine bronzes of the Laocoon and the Mercury, by G. 
 di Bologna, were bought, the first by the Duke of Hamilton for £567 ; the Mercury by 
 the Marquis of Londonderry for £112 ; and the beautiful antique marble of the Marine 
 
1848 .] 
 
 M. CASIMIR PERRIER’S COLLECTION. 
 
 141 
 
 Venus, found in the baths of Agrippa, Rome, about 54m. high, was purchased for 
 the Queen.* 
 
 The amount of the chief day of the pictures was £10,821 165. 6 d.\ another day 
 was £5,219. The plate, &c., averaged from £5,000 to £6,000 a day, the total 
 amounting to £75,562 45. 6 d. 
 
 Mr. J. N. Hughes’ Collection. — Mr. J. Newington Hughes was a well-known collector who 
 lived at Winchester, and had some good pictures besides his portraits of personages of the time 
 of Charles I., 16 in number, called “The Fairfax Portraits,” which brought only £174. The sale, 
 after his death, was at Christie’s, April 14, 1848. The best pictures were: Turner, “Sheerness 
 and Isle of Sheppey £593 ; “ Whalley Bridge and Abbey ”—£309. This has been in the 
 collection of Lord Wantage for some years past. A. Ostade, Interior — £388. Teniers, “ The 
 Village Mill ” — £235. Cuyp, A Chateau, Evening — £745 ( Baron L. de Rothschild). 
 
 M. Casimir Perrier’s Collection. — The pictures which were sent from France to be sold at 
 Christie’s, May 5, 1848, were stated to be “ the most select portion of the collection formed by the 
 former Minister of France, the late M. Casimir Perrier.” There were only 26 pictures, all of 
 the Dutch School, and they produced a total of £5,987. The most interesting were : Hobbema, 
 “ Les Deux Mares ” — £588 {Brown). P. de Hooghe, Interior, lady peeling apples, 21 by 28 — £283 
 {M. of Hertford). Metzu, A Dutch Kitchen, 16 by 13 — £252 (M. of Hertford). P. Potter, 
 “ L’Hotellerie,” 20 by 13 — £446 {Norton). Rembrandt, Portrait of himself, 25 by 19 — £294 
 (M. of Hertford). Ruysdael, A Watermill, 32 by 25 — £367 {Gardner). Terburg, “ La Couseuse,” 
 18 by 14 — £325 {Bt. in) ; “ La Liseuse,” 18 by 14 — £640 {M. of Hertford). W. Vandevelde, A 
 Calm, 18 by 16 — £577 {Gardner). Wouwermann, “ Les Sables,” 26 by 22, from Choiseul 
 Collection — £409 {M. of Hertford) ; “ Le Defile de Due de Vendome” — £640 {Derby). Velazquez, 
 Philip IV. in armour, 26 by 16 — £189 {Stone). 
 
 Sir T. Baring’s Pictures. — These were some pictures sold by direction of the will of the 
 deceased Baronet, removed from Stratton Park and Devonshire Place, London, on June 2, 1848, 
 by Messrs. Christie. There were 136, and the total was £11,776 ns. The important pictures 
 were — W. Collins, Boy taking sea-fowls’ eggs — £693. Turner, Sheerness — £577 (Wells). 
 Wilkie, Alfred in the Neatherd’s cottage — £430 {Ryan). R. Wilson, Meleager — £178 {Rought). 
 Watteau, Fete Champetre — £15 7 {Mawson). Rembrandt, Landscape — £225 {Farrer). Hobbema, 
 Landscape, £288 {White). Rubens, Abraham and Melchizedec — £383 {Nieuwenhuys). Back- 
 huysen, A fresh breeze, from Hibbert Coll. — £283 {Nieuwenhuys). P. Potter, A brown Bull — £220 
 {Fuller). Wouwermann, Stag hunt — £446 (Brown). 
 
 * There was a rather sharp contest for this at the sale, and it was bought by M. Gruner for £163 i6j. It 
 was announced, in the Morning Post, that the purchase was made for H.R.H. Prince Albert. The story goes 
 that the Queen, when visiting Stowe in January, 1845, admired the statue, and when the sale occurred, com- 
 missioned M. Gruner to buy it. The newspaper was handed by the Queen to the Prince Consort, congratulating 
 him on so beautiful an acquisition to his collection ; but the Prince expressed his surprise, as he knew nothing of 
 it, when the Queen, with some naivete, requested her Royal Consort to accept the statue as a birthday present, 
 and it was at once placed at Osborne, the Marine Residence of the Queen. 
 
142 
 
 ART SALTS. 
 
 [ 1849 . 
 
 The Montcalm Collection. — The Montcalm Gallery at Montpellier in France was originally 
 formed by the Marquis de Montcalm who commanded the French forces at the battle of Quebec ; 
 pictures were afterwards added, and the collection became one of considerable importance. When 
 the revolution of 184S occurred, such was the disturbed state of France, that the representatives of 
 the family in possession of the collection decided to send the pictures to London to be sold at 
 Christie’s. The sale was on May 4, 1849, “ without reserve.” Some of the best pictures were 
 bought by the Marquis of Hertford and the Earl of Normanton, viz.: H. Vernet, “ Une 
 Odalisque,” 27 by 23 — -£107 (M. of Hertford). Sasso Ferrato, Virgin and Child, 17 circle — £215 
 {ditto). P. de Champagne, “ Adoration of the Shepherds,” Bonnemaison Collection — £36 7 {ditto). 
 Albano, Venus reposing in Clouds, 12 by 14 — £3 88 {ditto). Salvator Rosa, “Coast of Calabria ” 
 — £199 {Lord Normanton ); A battle of Alexander, Lapeyriere Collection — £273 {ditto). Le Sueur, 
 “The Annunciation,” from Tourgot and Robit Collections — £178 {ditto). Guido, Woman in pink, 
 plucking a rose, from Sommariva Collection — £232 {ditto). The rest of the 145 pictures were 
 bought by the dealers Farrer, Nieuwenhuys, Smith, Norton, Ellis (see lists, Vol. II.). “ Le 
 
 Premier Sentiment,” by Greuze, 22b by 28, oval ; a portrait of Madame Geoffrin when young, sold 
 for £630 {P. Norton). “ La Reveuse,” by Greuze, 15-i by 12 — £372 {Bryant). Total, £9,546. 
 
 Mr. W. Conyngham’s Collection. — Mr. Conyngham was an amateur of repute, and had 
 sold a few pictures at Christie’s in 1844, but his best pictures were most of them sold June 9, 1849. 
 Of the 67 pictures may be noticed — Garofalo, Circumcision, from Lord Cawdor’s Coll. — £262 
 {Farrer). Filippo Lippi, Offering of the Wise Men, circle — £28 3. Filippino Lippi, Offering of 
 the Wise Men, circle — £199 {Brown). A. Mantegna, Angel, Magdalen, Mary, and Salome — £134 
 {Farrer) ; The Resurrection of Christ — £53 {Webb) ; Christ on the Mount of Olives — £420 {Bt. in). 
 M. Albertinelli, Creation of Man and the Temptation — £189. M. di Ferrara, The Circum- 
 cision — £147 {Farrer). G. Bellini, Virgin and Child — £183 {Smith). P. Veronese, Death of 
 Procris — £525 (Bt. in). Titian, Tarquin and Lucretia, from Charles I. Coll. — £525 (Bt. in). 
 C. Crivelli, Virgin and Child, St. Peter and Saints, from Brera Gallery — £910 (Bt. in). Raphael, 
 Christ praying on Mount of Olives, from Gabrielli Coll. — £787 (IF. Brown). S. del Piombo, 
 Holy Family, from Cambiaso Coll. — £1890 ( Bentley , for Mr. T. Baring). Rembrandt, Portrait of 
 Martin Looten, from Fesch Coll. — £700 (Brown, for Mr. Holford). Total £6894. In 1851 six 
 pictures of Mr. Conyngham’s were included in a sale — Mantegna, Christ on the Mount of Olives 
 — £252 (Chaplin). P. Veronese, Death of Procris — £301 ( Pulsford ). Bassano, Landscape — £105 
 (Chaplin), and a cartoon of Virgin and Child by Raphael — £110 (Stirling). 
 
 Mr. William Williams Hope’s Pictures. — The sale of these was at Christie’s, June 14, 
 1849, “pictures of the very highest class, partly from Rushton Hall, Northamptonshire,” with some 
 rare vases, bronzes, and enamels. There were 101 pictures, of which the chief were : A. Van de 
 Velde, Shepherd and Shepherdess in landscape — £420 (Winthrop). Murillo, Virgin and Child — 
 £609 (Mawson). W. van de Velde, A Calm — £357 (Farrer). Isaac Ostade, “The Bowl 
 Players” — £262 (Norton). Teniers, “The Three Smokers” — £546 (Bt. in). Van der Heyden, 
 Square in a German Town — £388 (Farrer). Jan Steen, “The Poultry Market” — £525 (Bt. in). 
 Rembrandt, The Portrait of Admiral Van Tromp — £483 (Baron Rothschild). A. van Ostade, 
 “Adoration of the Shepherds” — £472 (Woo din). Wouwermann, Cavaliers starting — £36 7 (Bt. in). 
 Claude, Landscape — £577 (Bt. in). Greuze, “Ariadne ” — £556 (Mawson). Hobbema, “Wood in 
 Guelderland — £367 (Bt. in). Murillo, Repose of Holy Family — £819 ( M . of Hertford). Total, 
 £7,526 14s. 6 d. 
 
1850 .] SALE OF THE KING OF HOLLA NH S COLLECTION. 143 
 
 SALE OF THE KING OF HOLLANDS COLLECTION. 
 
 This important sale took place at Amsterdam, after the death of the King, 
 William II., beginning on the 12th August, and continuing during the eight following 
 days at the Xew r Palace, the Gothic Hall being fitted up for the occasion, and admission 
 was given by tickets for which 10 cents were charged (about 15.). Most of the best 
 pictures had been formerly at Brussels in the Collection of the Prince of Orange who 
 began to collect in 1816 and continued up to 1830. The Times, in a notice of the sale 
 “ from a correspondent at the Hague,” remarked, “ It may be very mortifying to the 
 present King to dispose of these collections, but no doubt he has been induced to the 
 sacrifice by high and honourable motives.” The sale excited very great interest through- 
 out Europe, and was attended either by the Directors themselves of the principal 
 Musees, or by persons commissioned to act for them. It does not appear, however, 
 that any of the pictures were considered desirable for the National Gallery, as there 
 were no purchases made. The Marquis of Hertford being the purchaser of several of 
 the finest works, notably of the two Yandyck portraits, and the two of Jan Pellicorne and 
 his wife, by Rembrandt, these fine pictures are in this country. Some of the pictures 
 w r ere engraved on wood, and published in the Illustrated London News, Oct. 19, 1850. 
 The following list of the pictures which brought the highest prices was given in The Art 
 Journal of the same month : — 
 
 The first day’s sale consisted of forty-six pictures of the ancient Dutch, Flemish, and French 
 schools, with one by Albert Diirer. The principal of these were — a large gallery picture, “ A 
 Family Party in a Garden,” by Van der Helst — -C992 ( Brunnit ); Portrait of Van Der Heist, 
 by the painter — £6 7 ; Portrait of a Rabbi in black costume holding a letter in his left hand, and 
 dated 1631, by Rembrandt — £283 (M. Veymar, of the Hague) ; Portrait of Rembrandt, wearing 
 a cap of crimson velvet, by himself — T312 (X ieuwenhuys) ; Portrait of the Artist’s Son, Rembrandt, 
 £335 ( Brondgeest ) ; “ The Owner of the Vineyard paying his labourers,” Rembrandt — 4293 
 
 ( Von Cleef , of Utrecht) ; A small Portrait in Oriental costume, Rembrandt — F37 5 (A Ieuwenhuys) : 
 St. Hubert kneeling before a stag, Vouvermans — F250 (X ieuwenhuys) ; A large Italian Landscape, 
 with figures, cascades, &c., a very fine work by J. and A. Both — -C866 (purchased for the 
 Museum at Brussels); A Mountainous Landscape, J. Ruysdael, a picture of the highest class 
 with figures by A. Van der Velde — £1075 (purchased for the Museum at Brussels); “A 
 Fleet in a Calm,” W. Van der Velde — £208 (Roos) ; A small picture of Norwegian Scenery, J. 
 Ruysdael — £j6 (Xieuwenhuys) ; “Vessels in a Storm,” L. Backhuysen — /471 (G. de Vries) ; “La 
 Fete des Rois,” Jan Steen — £250 (Pescatory) ; Flowers, J. Van. Huysen — /250 {X ieuwenhuys)-, 
 A Dog, with Dead Game, Jan Weenix — T275 ( J . Scheurteer ) ; a picture entitled “ Les Fieaux de 
 Dieu,” divided into two parts, one of which exhibits a shipwreck, and the other a town infected 
 with the plague, L. Lombard — /155 (Roos) ; A Sea-port, Claude — £300 (Roos) ; “ The Marriage 
 of Isaac and Rebecca,” attributed to Claude — £208 (Brondgeest) ; “ The Departure of the Queen 
 of Sheba,” also attributed to Claude — £208 (Brondgeest). 
 
 The second day’s sale comprised eighty pictures by modern painters, chiefly of the Dutch 
 and French schools. “A Meadow with Cattle,” a very fine work by Brascassat — -C54 2 (P. Roos ) ; 
 An Interior, C. Brias — £300 (A. Lamnie) ; “ A View in Switzerland,” A. Calame — -Clio (Landry) ; 
 Interior of a Court-yard, Decamps — £95 (P. Roos); “ View in the Herb Market of Antwerp,” 
 Dyckmans — £287 (X ieuwenhuys ) ; “ The Abdication of Charles Y.” L. Gallait — T325 ( Engelberts . 
 of Amsterdam); “The Battle of N'ieuwport,” N. de Keyser — £-175 [Brondgeest); “The Battle 
 of Senef,” N. de Keyser — £625 (Brondgeest ) ; “ Byron's Giaour,” X. de Keyser — F1S3 (G. de 
 Vries) ; “ Albert and Isabella,” N. de Keyser — £39(0 ( Van Twickel ) ; Meadow with Cattle ; 
 J. Kobell — £408 ( Brondgeest ); A Landscape, B. C. Koekkoek — £292 (A. Lamme) ; “St. John 
 
144 
 
 [ 1850 . 
 
 ART SALES. 
 
 Baptist preaching in the wilderness,” C. Kruseman— £416 (De Vries) ; “ The Four Reformers,” 
 by Labouchere, an amateur artist — £254 ( Gambart ). 
 
 The third day’s sale included seventy-two pictures of the ancient Flemish and Spanish schools. 
 Of these the most important were— “ The Annunciation of the Virgin,” Van Eyck— £448 ( Brunnit , 
 the agent, it was understood, of the Emperor of Russia) ; “ La Vierge de Lucques,” Van Eyck 
 —£250 ( P . Engelberts) ; “ The Emperor Otho and the Empress Maria,” by Dirk Van Haarlam, 
 a painter of the early Flemish school, but little known — £7 50 (. Brondgeest ) ; Two subjects from the 
 Life of St. Bertin, Hemling— £1916 ( Roos ) ; “ St. John the Baptist, and Mary Magdalen,” a pair, 
 Hemling — £408 ( Brondgeest ) ; “ St. Etienne and St. Christopher,” a pair, Hemling— £396 (Roos) ; 
 “The Repose in Egypt,” Hemling— £216 (Heris) ; “The Adoration of the Magi,” Hemling— 
 £538 (Roos) ; A picture attributed to Hemling, and entitled “ L’Autel portatif de Charles Quint ” 
 —£500 (Weber of Bonn, for the Museum of Berlin) ; two pictures also attributed to Hemling, “ The 
 Birth of St.John and the Baptism of Christ” — £334 (Weber); “The Crowning of the Virgin,” 
 Quintin Matsys — £166 (Brunnit) ; two subjects, “ the Bust of Christ and the Bust of the Virgin,” 
 Q. Matsys — £196 (De Vries) : four subjects from the Life of Job, and “ La Mort du Juste,” by 
 B. Van Orley — £534 (Roos) ; “The Adoration of the Magi,” L. de Leyden — £370 (Roos); “The 
 Descent from the Cross,” L. de Leyden — £583 (Brunnit) ; “ Portrait of a Lady of Quality,” 
 Holbein — £416 (Heris) ; “ Portrait of Sir Thomas More,” Holbein — £154 (Roos) ; Of the 
 Spanish School, a noble picture by Murillo, “ The Assumption of the Virgin,” was bought by 
 M. Roos for the large sum of £3 000 ; “ St. John of the Cross,” Murillo — £208 ( Von Sonsbeck) ; “ A 
 Holy Family,” Murillo — £371 (Roos); a similar subject attributed to the same painter — £100 
 (. Brondgeest ) ; two exceedingly fine portraits, by Velasquez, Philip IV. of Spain, and the Duke 
 d’Olivarez, were knocked down to M. Brunnit for the Emperor of Russia, for £3,240 ; and “ The 
 Holy Family,” by Spagnoletto, was bought by M . Roos at the price of £ 708 . 
 
 The sale, on the fourth day, consisted of eighty-four modern pictures ; amongst these 
 were “A Stag-hunt,” by Mcerenhout — £107 (H. L amine) ; “The Cannon-shot,” by 
 
 W. J. J. Nuyen, a clever young painter of the Hague, who died in 1839 — £37 5 (the Baron Van 
 Brienen) ; “ The Fish Market at Antwerp,” by the same — £208 (P. J. Landry) ; “ Maternal Love,” 
 Paul de la Roche — £608 (Roos) ; “ The Three Magicians,” Ary Scheffer — £498 ( Brondgeest ) ; 
 “ The Family of the Distiller,” Sir D. Wilkie — £841 (Grundy, of Liverpool). 
 
 On the fifth day were sold fifty-four pictures by the old Italian masters, nineteen of the old 
 Flemish school, and three of the Dutch. Many of these realised large sums. “ The Virgin under 
 a Palm-tree,” Fra Bartolomeo — £1,166 (F. Roos ) ; “ A Son of Cosmo de Medicis,” A. Bronzino 
 — £416 (Pleschanoff, of St. Petersburg) ; “ Venice,” Canaletti — £162 ( 0 . de Vries) ; the companion 
 — £160 (O. de Vries); “ St. Luke,” Domenichino — £-192 (Dingwall) ; “St. Joseph,” Guido — £658 
 (AC Brondgeest ) ; “ The Martyrdom of St. Catherine,” Guercino, a work of very high quality — 
 £841 (Brunnit); “ Sisera and fael,” Giordano — £120 (F. Roos); Three Portraits, two Male and 
 one Female, attributed to Giorgione — £188 (A. Roos): “St. Sebastian,” B. Luini — £617 
 
 (F. Roos) ; “ The Holy Family,” B. Luini, a very fine specimen of the master — £1,292 
 
 (AC Brondgeest) ; “ St. Catherine with two Angels,” half-lengths, B. Luini — £583 (O. de Vries) ; 
 “ St. Augustine,” P. Perugino — £617 (F. Roos); “The Holy Family,” P. Perugino — £ 1,958, 
 unquestionably one of the finest pictures of this early master (it was bought by M. Van Cuyk for the 
 Gallery of the Louvre, in Paris) ; “The Holy Family,” Jacopo Palma, called II Vecchio — £316 
 (O. de Vries) ; Portrait of a Lady of the Family of the Medicis, Seb. del Piombo — £292 
 (P. Engelberts) : “ Christ at the Tomb,” a noble work by the same painter — £2,466 (AC Brondgeest ) ; 
 Portrait of J. F. Penni, ascribed to Raffaele — £250 (K. Veyniar) ; “ The Holy Family,” Raffaele 
 — £T 375 (T- Roos, for one of the Royal Family of Holland, it was presumed) ; Portrait of Salesar, 
 Raffaele— £1,333 (Brunnit); “The Holy Family,” Andrea del Sarto — £708 (N. Brondgeest); 
 
 La A T ierge de Pade,” Andrea del Sarto, after a contest of upwards of an hour, was knocked 
 down to Mr. Mawson, for the Marquis of Hertford, at £2,521 ; “ Philip II. and his Mistress,” Titian 
 — £833 (AC Brondgeest) ; a pair of pictures, “ The Triumph of Religion” and “ The Triumph of 
 Science,” Titian — £1,042 (O. de Vries) ; “ La Columbine,” Leonardo da Vinci, to M. Brunnit the 
 agent of the Emperor of Russia, at the enormous sum of 40,000 florins, about £3,333 sterling, the 
 largest price given for any single picture at this sale. “ Leda,” this is also a grand work by 
 Leonardo da Vinci, it was disposed of to M. F. Roos for £2,041. This concluded the Italian 
 pictures. Of the Flemish works the principal were the following by Rubens : — “Trinity” — £658 
 
1850 .] 
 
 KING OF HOLLAND'S COLLECTION . 
 
 i45 
 
 (F. Roos); “The Tribute Money” — £330 (N. Brondgeest) ; “The Wild Boar Hunt” — £1,666 
 (F. Roos ) ; Portrait of Baron Henry de Vicy— £585 ( Van Cuyk, for the Louvre) ; Portrait of Marie 
 de’ Medicis — £330 ( O . de Vries) ; Portraits of the Archduke Albert and of the Queen Isabella of 
 Spain, a pair — £433 (F. Roos ) ; portraits of Philippe le Roy and of Madame le Roy, a pair by Van 
 Dyck. These pictures excited great interest, and were eagerly sought after : after a long and 
 spirited bidding, Mr. Mawson succeeded in securing them for the Marquis of Hertford, at a cost of 
 £ 5 ) 3 00 ' Portrait of Martin Pepin, Van Dyck — £3 58 (bought for the Museum of Brussels) : “ The 
 Magdalen,” Van Dyck — £208 (J. A. Hoare ); “A Flemish Fete,” D. Teniers — £1,025 (H. Brond- 
 geest) ; “ Les Repos Champetre,” G. Cocques — £600 (purchased for the Museum at Brussels). 
 The three Dutch pictures sold on this day were, Portrait of John Pellicorne and his Son, and its 
 companion, Portrait of Madame Pellicorne and her Daughter, by Rembrandt — to Mr. Mawson, for 
 the Marquis of Hertford, for £2,516. The third of the Dutch pictures was a charming picture by 
 Hobbema, “ The Water-Mill,” well known to the amateur and collector, by whom it has generally 
 been considered as the chef d’ oeuvre of this artist : it was bought by Mr. Mawson for the Marquis of 
 Hertford, for £2,250. The largest buyer in amount was the Marquis of Hertford, whose purchases, 
 including the auction charges, came to over £14,000. The ten pictures bought for the Emperor of 
 Russia came to £10,173. Mr. Dingwall of Virginia Water bought 14 pictures, and Mr. 
 Nieuwenhuys was the largest buyer of the dealers. The pictures (352 in number) realized about 
 £96,000. 
 
 The last three days of the sale were devoted to the marbles and drawings. 
 
 Referring to the sale of the Drawings by the Old Masters the correspondent of The Times 
 said : — “ This extraordinary rich and rare collection had brought together a great number from 
 almost every part of Europe. The eagerness manifested both yesterday and to-day to possess some of 
 these precious objects was quite astonishing : the prices they realized were in most cases enormous, 
 especially everything bearing the name of Raphael, Michael Angelo, Correggio, and some other of the 
 great masters, whether good or bad, genuine or false. It is unfortunately now too evident that the 
 British Government has altogether disregarded the strong feeling of the nation which has been 
 manifested in favour of rescuing the best portion of this collection of the rarest works of art.*' It is 
 some consolation, however, though small to an English heart, to know that many of the best of 
 these precious objects have been purchased for the two great national collections, the Louvre at 
 Paris, and the Museum at Frankfort. The spirited competition of Mr. Woodburn has secured 
 many of them to England, and he merits our thanks for it. Some purchases have also been made 
 by Mr. D. Colnaghi, and a few choice works have also been bought to enrich the collections of 
 private amateurs in England. The drawings alone produced about £7,800, but there were several 
 important lots withdrawn from the sale at the desire of the members of the Royal Family, 
 particularly two highly interesting volumes of sketches by Fra Bartolomeo valued at £1,500. 
 
 Raphael, “Venus at the Banquet of the Gods” — 360 florins (Woodburn) ; “The Sister of 
 Raphael,” black chalk — 500 florins ( D . Colnaghi) ; Study of the Head of St. John the Evangelist, 
 very beautiful — 670 florins ( D . Colnaghi) ; “ La Vierge aux Poissons ” — 590 florins ( Enthoven ) : 
 Portrait of his Sister, sketched in black chalk — 670 florins ( Enthoven ) ; Another Portrait of her in 
 the same style — 760 florins (Woodburn) ; Study of a Head of a Madonna, beautifully sketched with 
 black chalk — 1,700 florins ( Woodburn ) ; “ Christ at the Tomb,” a most beautiful composition, justly 
 considered the very choicest in the whole collection, purchased after a long contest with various 
 amateurs for 6,900 florins for the Louvre ; Study from the picture of St. Cecilia, which is at 
 Bologna — 700 florins ( Woodburn ) ; Portrait of an aged man, known under the title of “ The 
 Executor of Raphael’s Will.” It is a marvellous fine work — 3,200 florins (Woodburn). M. Angelo, 
 “ The Last judgment,” a very fine sketch — 770 florins (W oodburn) ; “ The Resurrection of Christ,” 
 very fine — 750 florins (Wood burn) ; “ The Death of Phaethon ” — 910 florins (Woodburn). Leonardo 
 da Vinci, Eight Drawings of Heads of the Apostles, of the size of nature, which served as studies 
 for his celebrated picture of “ The Last Supper,” extremely fine — 8,000 florins (bought for Weimar ) ; 
 Two Studies, one children playing with goats, and portraits— 1,020 florins (for Weimar). 
 Correggio, Study for the Head of St. John, in red chalk, magnificent — 1,100 florins (Woodburn). 
 
 * This alludes to the collection of drawings having once belonged to Sir T. Lawrence, P.R.A. 
 of his Sale, 1830.) 
 
 VOL. I. 
 
 (See Notice 
 U 
 
146 
 
 ART SALTS. 
 
 [1850-1853. 
 
 Lord Ashburnham’s Pictures. — This was an interesting sale, in which some important 
 pictures passed into other collections in England, while some were not sold at the reserve price, 
 July 20, 1850, by Messrs. Christie. C. Dolce, The Daughter of Herodias— £715 (M. of West, 
 'minster). S. Rosa, Apollo and the Sibyl, from Julien Coll.— £1785 (M. of Hertford). Vandyck, 
 Portrait of Don Livio Odescalchi — £500 ( Lord C. Townshend). Rembrandt, A Cavalier — £724 
 (Farrer) ; A Mathematician and pupil, from Dundas Coll. — £1050 (Bt. in). Guido, Bacchus and 
 Ariadne, from Lord Essex’s Coll. — £420 {Bt. in) ; Lucretia — £409 ( Baron N. Rothschild). Claude, 
 Bay of Naples— £1123 (Bt. in) ; Ponte Molle — £1890 (Bt. in). Murillo, Portrait of himself, 
 from Dundas Coll. — £829 (Lord Spencer) ; St. Francis, from Dundas Coll. — £1050 (Bt. in). 
 Rubens, Nature unveiled by the Graces, painted for Villiers Duke of Buckingham — £1050 
 (Bt. in). N. Poussin, Marriage of St. Catherine — £189 (Bt. in) ; Tivoli, from Waldegrave and 
 Fleming Colls. — £504 (M. of Hertford) ; Triumph of Bacchus — £1218 (Lord Carlisle) ; Triumph of 
 Pan — £239 (ILume). Schedone, The Horn Book, from collection of King of Naples — £787 
 (Bt. in). The 91 pictures and 5 bronzes, &c., gave a total of £13,295, of which £9773 represent 
 the sales. 
 
 Viscount Middleton’s Collection. — These pictures, which were mostly of the Dutch 
 School, were sold, after the death of Lord Middleton, by Mr. Christie, July 31, 1851, having been 
 removed from Peper Harrow Park, near Godaiming, Surrey. There were 87 pictures, and five 
 works of sculpture. The most interesting pictures were : Rembrandt, Portrait of himself, in a 
 brown cloak and brown cap, the hands clasped, bust size, 33 by 27J, panel — £430 (Sir C. Eastlake 
 for National Gallery). Van Eyck, Portrait of a man, in a fur cloak with a red handkerchief round 
 his head, from the Arundel Collection, 10J by jh, panel — £315 (Farrer), afterwards sold to the 
 National Gallery for £365. A. Ostade, Interior, six peasants— £304. Wouwermann, An Army 
 on the March— £250 (Nieuwenhuys). Vandyck, Portrait of Paul de Pont — £183 (Brown). 
 Terburg, A lady tickling the face of an officer — £299 (Lewis). The total was £3137. Sculpture, 
 £291. Engravings and books on Art, 232 lots, £347. 
 
 Prince Buonaparte’s Collection. — The pictures in this sale, at Christie’s, March 12, 1853, 
 were, with the exception of four, those which “ were reserved at the sale of the gallery of the late 
 Cardinal Fesch by his grand-nephew, Charles Lucien Buonaparte, Prince of Canino. The numbers 
 of reference in this catalogue are those of the Fesch catalogue made by Monsignore George” 
 (Notice prefixed to Christie's catalogue). There were 47 lots, and all were “ bought in ” at very low 
 prices. Two pictures only were sold, viz., Tiberio d’Assisi, Virgin and Child, dated 1507 — £399 
 (Griiner). Rubens, “ Adoration of the Magi” — £1200 (Bentley). 
 
 It should be stated here that the Lucien Buonaparte Collection proper was sent to London to 
 be sold privately about 1812, and was exhibited in Pall Mall under the care of Chevalier Boyer. 
 A fine catalogue, with 130 outline engravings by Italian artists, was printed and sold in London, 
 dated 1812, in which are the Holbein portrait of Francis I., the Rembrandt portrait of Copenhol 
 (purchased by Mr. Baring), and the Raphael “ Madonna dei Candelabri,” afterwards in the Munro 
 sale (see 1878), with other important works. Those which were not sold M. Boyer intended to take 
 back to Paris, but the return of Napoleon from Elba put a stop to this, and a sale at auction by 
 Mr. Stanley took place, when some were sold, but most were “ bought in,” and were afterwards 
 purchased by M. Aynard and M. Erard, of Paris. — (See Buchanan’s Memoirs, p. 267, Vol. II.) 
 
 King Louis Philippe’s Collection. — After the death of Louis Philippe at Claremont, in 
 Surrey, near Windsor, which Royal Residence belonged to Leopold, King of the Belgians, and 
 was lent by him as the son-in-law of the ex-King of the French, this collection was sold by Messrs. 
 Christie in May, 1853, on the 6th and 7th, 13th and 14th, 20th and 21st, and the Standish 
 collection, which had been bequeathed to him by Mr. Frank Hall Standish, on May 28 and 30. 
 
1854.] 
 
 KING LOUIS PHILIPPE'S COLLECTION. 
 
 i 47 
 
 The furniture, porcelain, &c., which came from the Chateau d’Eu (124 lots) was also sold, 
 producing £1190. The 501 pictures, exclusive of the Standish Collection, sold for £4497. These 
 were chiefly by painters of the Spanish School, and formed “the Spanish Gallery” as exhibited in 
 the Louvre. Two of these pictures were bought for the National Gallery, viz., Velazquez, The 
 Adoration of the Shepherds, 91 by 66, canvas, from the collection of Count del Aguilar, in whose 
 family it had been ever since it was painted, till it was sold to Louis Philippe — -£2060 { Uwins , 
 Director of the National Gallery). Zurbaran, St. Lrancis, or a Lranciscan monk kneeling in 
 prayer, holding a skull, the whole figure life-size, 61 by 39 — £265 {Uwins). The other pictures will 
 be found in the lists, Vol. II., the most important being — Murillo, Christ and St. John on the 
 banks of the Jordan, obtained from a canon at Seville — £660 ; The Conception, bought from a 
 convent at Cordova — £810 {Cave) ; the Magdalen, bought from a canon at Seville — £840 {Wells) ; 
 St. Augustin at Hippona — £680 {Cherry) ; Portrait of Don Andreas de Andrada — £1020 {Graves) ; 
 Portrait of Himself, oval, inscribed and dated — £420 {Nieuwenhuys) ; St. Thomas de Villanueva 
 a study — £710 {Graves ) ; St. Catherine, from Duca d’Hijar Collection — £300 {Duke of Cleveland) . 
 In the Standish Collection there were four good pictures by David Roberts, R.A., and the picture 
 by Watteau, a landscape, with the actors of the Comedie Italienne, which was bought for the 
 Marquis of Hertford for £735. The Standish pictures numbered 249, and produced £9,857. 
 
 In a notice of the sale in The Times it was remarked that all these pictures had suffered much at 
 the hands of the modern restorer, both in injury to the surface painting and in repainting, as is so 
 generally the case. The pictures were most of them obtained for the king by M. le Baron laylor, 
 who was a sort of general art factotum at Paris during this reign. The purchase of the St. Lrancis 
 by Zurbaran for the National Gallery at £265, was censured by Mr. W. Coningham in a letter 
 to The Times, as he considered it an inferior example to the Altar-piece which was bought for £165 
 for the King of Prussia. This drew forth a joint letter signed by Richard Lord and William 
 Stirling, regretting that the Altar-piece — Virgin and Child in glory, with angels, monks in prayer 
 below — was not acquired for the Gallery, but stating their opinion that the St. Lrancis was 
 unquestionably a true and fine example, pure and uninjured in condition. 
 
 Mr. J. D. Gardner’s Collection. — This was a small but good collection, sold March 25, 
 1854, a t Christie’s, containing pictures from the sales of the Duke of Lucca, Casimir Perrier, and 
 J. Harman Collections, removed from Bottisham Hall, Cambridgeshire. There were 76 pictures, 
 one of which was the Rubens landscape, which sold in the Harman sale, 1844, to Mr. Gardner for 
 £535, and now was “ bought in ” at £472. A Salvator Rosa landscape, View in the Apennines, 
 also bought in the Harman sale for £598, was bought in at £472 (see lists, Vol. II.). Total, £2305, 
 including the antique marble of an eagle, from the Strawberry Hill Collection, found in the 
 Boccapadugli gardens near the Baths of Caracalla, Rome, in 174 2 — £ 55 ^ {Hickman). This sold for 
 £210 in the Strawberry Hill sale, 1842. The eagle stands on a plinth of Verde antique, mounted 
 on a Roman altar decorated with masks of Satyrs, Medusa head, and festoons of flowers and 
 fruits, with eagles, and an old inscription. The whole stands 6 feet high. 
 
 Mr. E. J. de Bammeville’s Pictures. — This was a small but good collection of 57 pictures 
 and a statuette of Charity by Luca della Robbia, in white glazed ware — £157 {Griiner). Sold at 
 Christie’s, June 12, 1854. The most interesting pictures were L. Cranach, Christ blessing 
 Children — £158 {Graves). Perugino, St. Bartholomew — £199 {Griiner). S. Botticelli, Madonna 
 and Child, circle — £220 {Griiner) ; Madonna and Child, with St. John — £546 {Barker). Masaccio, 
 Madonna dictating to St. Bernard — £483 {Bt. in). Duccio di Buoninsegna, The Crucifixion 
 £278 {Davenport Bromley). Lorenzo di san Severino, Madonna and Child, enthroned, with 
 SS. Catherine of Siena, Augustin, Dominick, and Demetrius, on gold ground, figures small life-size, 
 57 by 57, on wood, formerly in the Church of S. Lucia, at Fabriano — £393 I 5 S - {Uwins, for the 
 National Gallery, No. 249). Fra Angelico, The Last Judgment — £630 {Bt. in). The total was 
 £4106, of which £1253 were “ bought in.” 
 
 U 2 
 
148 
 
 ART SALTS. 
 
 [ 1855 . 
 
 THE BERNAL COLLECTION. 
 
 This remarkable collection of works of art of almost every kind and style, except subject 
 pictures of the great schools, takes its name appropriately from the man who formed it, and with 
 whom will always be associated the merit of having been the most accomplished collector of his 
 time, and of having rendered very considerable public service to art by thus affording the 
 opportunity of acquiring some of the most important representative examples for the British 
 Museum, the South Kensington Museum, and various private collections. Mr. Ralph Bernal was 
 from his youth inclined to pursuits of study and refinement, and graduated at Christ’s College, 
 Cambridge, in 1806, being afterwards called to the Bar. His literary ability was shown 
 occasionally in contributions to the fashionable “ Annuals ” of that day, and he soon distinguished 
 himself as an M.P. for Rochester, becoming chairman of Committee of Ways and Means during 
 the Grey and Melbourne ministries. Such was his activity of mind and body that during the whole 
 of his arduous political work he was constantly indulging his taste for works of art, and pursuing 
 the study of the subject practically by daily visits to the shops of the dealers and the sales at the 
 auction-rooms ; and though by no means a rich man, his good taste and accurate knowledge 
 enabled him to purchase many fine and rare objects, the value of which he knew better than the 
 dealers themselves did.* Mr. Bernal’s habit of the cmdo-hunter was so intense with him that he 
 suspected the dealers of keeping things out of his sight, and once as he entered the shop of 
 Town & Emanuel in Bond Street he caught sight of Mrs. Town shuffling something into a 
 drawer to hide it from him. “ Ulloa ! what have you got there, Mrs. T. ? let me see it, let me see 
 it,” says Mr. Bernal. “ Oh, no, sir, nothing that you’ll care about,” said the pretty woman, 
 smiling. “Come, come, I know it’s something ‘good,’” said Bernal, threatening to open the 
 drawer, on which she kept her hand, looking very guilty in her smiles ; but at last, yielding to his 
 curiosity, she opened the drawer, and displayed the old worsted stocking she was darning when 
 the great virtuoso came in. 
 
 The catalogue, which was illustrated with many excellent wood engravings by A. J. Mason, 
 from drawings by Henry Fitzcook, described about 4,300 objects, and the sale lasted thirty-two 
 days, beginning March 5, at the rooms of Messrs. Christie, not, as stated, “ at the mansion, No. 93 
 Eaton Square.” The collection was exhibited at the residence to those who had the catalogue, the 
 price of which was 8s., admitting three persons, and the objects were removed as required for the 
 sale. The largest amount of any one day was for the porcelain, £6,133 x 6s. 6 d., of which the 
 Sevres brought the highest prices, viz., No. 469, Pair of Vases of Rose du Barri, with plinths of 
 ormolu, iqdin. high with plinth, £1942 10s. ( Lord Hertford). No. 470, a pair of vases, turquoise, with 
 ormolu plinths, 18 in. high, with plinth — £1417 10s. ( Lord Hertford) ; see illustration. The 
 interesting majolica plate, No. 1848, described as painted with Raphael and the Fornarina in the 
 studio of an artist, q| diameter, from Stowe, was bought for the National Collection (then being 
 formed at Marlborough House, which, being unoccupied, was lent for the purpose) for £120. It 
 was thought so little of in the Stowe sale that Mr. Forrest, the best informed dealer of his day, 
 bid £4 for it, and sold it afterwards to Mr. Bernal for £5. The St. Thomas aBeckett Reliquary, No. 
 1320, of copper gilt, the heads of the figures in high relief, the subject being in champHve enamel, 
 4I long, zb wide, and 6| high — £28 17s. 6 d. {Col. Sibthorpc, M.P. ). Sir Thomas More’s candlesticks, 
 
 * Mr. Bernal had such a reputation that whenever he was observed to admire anything it was quite enough to 
 enhance its value in the eyes of the dealers, and thus it required no small diplomacy on his part to obtain the 
 object he wanted at a reasonable price. A good story was told by the late Mr. Carpenter, the keeper of the 
 prints in the British Museum. Mr Bernal had called at Colnaghi’s, the great print-sellers in Pall Mall, as he often 
 did, and found Dominic Colnaghi, who was the best expert in the line, looking over a heap of prints bought at a 
 sale. Bernal glancing over his shoulder spied one of Hogarth's “ Midnight Modern Conversation,” and said 
 carelessly, “ I say, Dominic, you seem to have got there a pretty good impression ; what do you want for it ? ” 
 Colnaghi, busy with his searching for better things and without examining the print, said, “ Oh, three guineas.” 
 “ I A take it,’ said Bernal. “ Shall I send it home for you ? ” asked Colnaghi. “ No, thank you, I’ll take it now,” 
 answered Bernal rolling up the print, and walking out of the shop, chuckling over having thus got the rare early 
 impression in which the word ‘ Modern is spelt ‘ Moddern,’ as his quick eye had told him at a glance. When 
 this print was sold in the Bernal sale of books and prints at Sotheby’s, Feb. 1855, Mr. Carpenter determined to 
 have it for the Museum, but he had to pay £81 i8r. for it. 
 
9 3 S 
 
 15 6 5 
 
1855.] 
 
 THE BERNAL COLLECTION. 
 
 149 
 
 No. 1305, a pair, of brass, with flowers in blue and white champl6v6 enamel, the foot inscribed 
 underneath, “ Sir Thomas More, Knight, 1552,” height 5J in. — £232 is. ( Durlacher ). A casket of 
 silver gilt, chased and enamelled with plaques of the Sybils in black and white with gilding, and 
 with gems and camei, &c., height 4J, width 5J inches — £252 ( Annoot & Gale). Many important 
 acquisitions were made for the British Museum and the S. Kensington Museum, and at most 
 advantageous prices, for throughout the sale the average was very moderate compared with recent 
 prices since the art value has been so much more adequately appreciated. The whole collection 
 realized £62,690 1 8s. without the prints, old furniture, and library, which came to — prints, £1313 
 13s. ; furniture, &c., £1676 4s. ; library, £5273 9s. — total, £70,954 4s. Of the portraits, No. 935, Lord 
 Vaux, by Holbein, sold for £105 ( Movant ) ; No. 927, Anne of Cleves, by Holbein, 15! by 14, on 
 vellum — £183 15s. ( Movant ) ; Lady Johanna Abergavenny, in crimson with yellow sleeves, gold 
 head-dress embroidered with A. I., holding a pink, 16 by 12 in., tortoise-shell frame — £54 12s. 
 [Reginald Neville, Esq.) ; Edward IV., attributed erroneously to Holbein, 17 by 11 — £157 10s. [Farrer) ; 
 Eleanor, Queen of Francis I., by Janet, 15J by 12— £225 15s. (P. & D. Colnaghi) ; Isabel, Queen of 
 Charles IX., by Janet, 14 by 10 — £15475. (P. & D . Colnaghi); Anna Maria of Austria, Queen of Philip 
 II., in white, with black cap and feather, by S. Coello, 48 by 39 — £215 5s. [Sir H. H . Campbell) ; 
 Isabella de Valois, wife of Philip II., black dress and cap with red and white feather, by Palomino, 
 whole length, 75 by 43 — £115 10s. (C. Mills, Esq.) ; Portrait of W. Mieris, by himself, in yellow 
 with crimson cloak, holding palette and brushes, oval, 34 inches high — £65 ( Nieuwenhuys ) ; Lucy 
 Harrington, Countess of Bedford, whole length, beating a child, by Mark Garrard, from Mereworth 
 Castle, 69 by 43 — £43 [Alex. Barker, Esq.) ; Madame de Maintenon, by Mignard, in yellow, seated 
 with an hour-glass, 52 by 40 — £84 [Duke of Hamilton) ; Madame de Pompadour, by Greuze, in 
 white, with a muff, oval, f-length, 23 in. high — £194 5s. [S. Lyne Stephens, Esq.). The armour and 
 arms were especially fine, and several of the best and rarest were bought for the Tower collection. 
 The splendid cap-a-pie suit of Italian work, about 1530, engraved, chased and gilt, with a shield, 
 mentoniere, and other objects of similar work, were bought by Lord Londesborough for £315.* One 
 of the most interesting of the Byzantine objects of the 9th or 10th century was King Lothaire’s 
 magic crystal, circular, engraved with the story of Susannah, 4J inches diameter, set in Gothic 
 frame of copper gilt, and with imitation gems, inscribed “ Lotharius Rex Franc, fieri jussit.” This 
 was bought by the British Museum for £267. It was discovered in an old curiosity shop in 
 Brussels by Mr. Pratt, the well-known dealer in Bond Street, who bought it for ten francs and sold 
 it to Mr. Bernal for £10. M. Didron is said to have offered Mr. Bernal a hundred for it. An 
 excellent illustrated catalogue on large paper, with names of the purchasers, was published by 
 J. H. Burn, 1855, which contains the brief preface written by Mr. Planche in praise of Mr. Bernal 
 for “ the perfection of his taste and the extent of his knowledge.” 
 
 * This brought £1050 in the sale of Lord Londesborough’s collection at Christie's in July, 1888, and went to 
 Paris (bought by M. Coureau), as most of the finest arms, &c., did. 
 
ART SALES. 
 
 [ 1855 . 
 
 150 
 
 THE COLLECTION OF MR. SAMUEL ROGERS. 
 
 The poet Rogers, as he is generally styled, was certainly the Mecaenas of his time, 
 if he was not the Horace. He was rich enough as a banker to gratify all his refined 
 taste for the Fine Arts, though his Collection showed that his love of Art never led him 
 to pay extravagant prices for pictures or other objects which he admired ; indeed, like 
 most City men he seems to have had a dread of paying a large sum for any work of Art, 
 and was never known to exceed £250. Fortunately for his estate, and not less so for 
 the quality of his Collection, he began to buy pictures and works of Art so far back as 
 1816, when at the sale of Mr. H. Hope’s Collection at Christie’s he bought the little 
 picture, Madonna and Child, attributed to Raphael, which had been formerly in the 
 Orleans Gallery, for the small price of £66 3s. This picture sold for £472 10 s. in his 
 sale, and many other such instances of pictures bringing large profits upon the original 
 purchase will be noticed in the records of the sale given below. Mr. Rogers having 
 ample means, and having won his reputation as a man of letters, attracted a brilliant 
 circle at his house, and was himself always amongst the celebrated men who have made 
 the assemblies at Holland Flouse famous. He used to make a point of inviting 
 everybody at all a figure in the political, literary, and artistic world, to the breakfasts he 
 gave at his house in St. James’ Place, No. 22. 
 
 Macaulay, in one of the letters to his sisters, June, 1831, says, “ I breakfasted with 
 Rogers yesterday. What a delightful house it is ! The furniture has been selected with 
 a delicacy of taste quite unique. In the drawing-room the chimney-pieces are carved 
 by Flaxman into most beautiful Grecian forms. The bookcase is painted by Stothard 
 in his very best manner with groups from Chaucer, Shakespeare, and Boccaccio. In 
 the dining-room are some beautiful paintings, a cast of Pope * taken after death by 
 Roubiliac, and a mahogany table, on which stands an antique vase. Chantrey asked 
 Rogers who made the table. ‘ A common carpenter,’ said Rogers. ‘ Yes,’ said 
 Chantrey, ‘ I was the carpenter.’ ” 
 
 The Athenaeum announced (December 29, 1855), “The irrevocable determination of 
 Mr. Rogers to disperse his Collection has gone forth,” and then went on to describe the 
 house. 
 
 (“Athenaeum,” December 29, 1855.) 
 
 The poet’s house consists merely of a front and back room on each floor, separated by the 
 staircase, and is a narrow strip extending from St. James’s Place to the Green Park, where its 
 .contracted frontage is distinguished by a triple bow-window and curved gilt balcony. The street 
 entrance conducts by a long narrow passage by the side of the staircase direct to the dining-room 
 door. On entering this apartment the large window, shaded by evergreens, at once removes the 
 confined feeling connected with a town house. In front of the window rises, dark and monumental, 
 a handsome mahogany pedestal, surmounted by a beautiful vase ; the latter is antique, the former 
 the work of Chantrey when a journeyman. Viewed from the window the pedestal has a stove-like 
 appearance. To the right of the door on entering is a sideboard supporting ancient painted Greek 
 vases, and Roubiliac’s terra-cotta model of the head of Pope. Above the glass is a portion of a 
 
 * The Athenceum , in a notice of the Collection, said this was a terra-cotta model. 
 
1855.] THE COLLECTION OF MR. SAMUEL ROGERS. 
 
 1 5 1 
 
 fresco from the Carmine at Florence by Giotto.* * * § In the corner to the left and towards the 
 fireplace is the original terra-cotta model by Michelangelo for his well-known statue of the Duke 
 Lorenzo dei Medici. Over the chimney-piece is the sketch by Velasquez of “ d he Infant Don 
 Balthazar.” Between the fireplace and the window is the poet’s writing-table, and immediately on 
 a level with his eye were three small pictures. The right-hand one, “ Christ on the Mount of 
 Olives,”! was painted by Raphael when about two-and-twenty. It is one of a series of pictures 
 that ornamented the predella or step of the great altar-piece executed by Raphael for the nuns of 
 St. Antonio at Perugia. The large picture is in the Royal Palace at Naples :J the other 
 compartments of the predella belong to Mr. Miles of Leigh Court, § and Mrs. Whyte of Barron 
 Hill. || The remaining subjects over Mr. Rogers’ writing-table are a Virgin and Child worshipped 
 by six saints, by Ludovico Carracci, and a lovely landscape (“ The Mill”) by Claude, IT No. ii of 
 the Liber Veritatis. On this side of the room is the magnificent sketch by Tintoretto for his 
 celebrated picture of the “ Miracle of the Slave.** * * §§ It formerly belonged to Pilkington. Near, on 
 the same wall, hangs a fine original study by Titian of Charles V. on horseback. Low down, 
 next the window, is one of the most powerfully painted heads by Rembrandt — being his own 
 portrait. ft The touches and texture are truly marvellous. On the wall facing the fireplace is the 
 large study by Paul Veronese JJ for the celebrated picture in the Durazzo Palace, from which it 
 differs in many respects. Mr. Rogers purchased it from the Hope Collection in 1816 for £go. 
 This is the picture which he actually crawled on his hands and knees to obtain. Near it are a 
 superb sketch by Rubens for the picture of “ The Horrors of War” in the Pitti Palace at Florence, 
 and the head of our Saviour, by Guido §§— one of the three destined to grace our National 
 Gallery. |l || Many of the largest pictures in this room are contrived by very simple machinery to 
 advance from the wall and turn in almost every possible direction. Immediately from the dining- 
 room door to the left the staircase leads by a curved and unbroken flight of steps to the first floor, 
 opening by a door upon a covered gallery connecting the drawing-room with the small square 
 
 apartment in front, which is the poet’s celebrated library. The gallery is lighted by a glazed 
 
 window from the staircase, the walls of which are relieved by choice casts from the marbles of the 
 Parthenon. Here, scarcely to be seen, is hung the sketch, by Titian, for the famous “ Gloria ” IfU 
 at Madrid. Here, in semi-darkness, are some of the choicest painted Greek vases and Egyptian 
 sculptures. Some of the rarest objects of vertu are laid out on a table, including an especially fine 
 specimen of a Greek Rhyton. The library is lined with bookcases surmounted by Greek vases, 
 each one remarkable for its exquisite beauty of form. Upon the gilt lattice-work of the bookcases 
 are lightly hung in frames some of the finest original sketches by Raphael, Michelangelo, and 
 Andrea del Sarto, and finished paintings by Angelico da Fiesole and Fouquet of Tours. Modern 
 works also by Turner, Wilkie, and Mulready are there. The large painting by Reynolds of Cupid 
 and Psyche is over the fireplace in the same apartment. Over the drawing-room fireplace, 
 sculptured by Flaxman, is the study by Rubens.*** from Andrea Mantegna’s triumphal 
 
 procession of Julius Csesar, now at Hampton Court. Beneath this picture is a range of 
 
 interesting miniatures and various relics, including orange-blossoms under glass. The chiet 
 picture towards the window is the beautiful “Noli me Tangere”by Titian. It is fortunately 
 destined to pass to the National Gallery. ttt Over the sofa hang pictures by Watteau, Le Nain, and 
 Jan van Eyck, the latter a most exquisitely painted figure of Madonna and Child, surmounted by 
 
 * Bought for National Gallery for ^78 15^. 
 
 t Purchased at the sale for the Baroness Burdett-Coutts for 450 guineas, and in her Collection still. It 
 was once in the Orleans Gallery, and afterwards in Lord Eldin’s Collection, Edinburgh. 
 
 X Since sold to a Spanish nobleman for the ex-king. 
 
 § Sold in the Leigh Court Sale, 1884, for 560 guineas (Agnew) for Lord Windsor. 
 
 || Bought by Mr. Whyte at Sir Thomas Lawrence’s Sale in 1830. 
 
 U Bought by Baroness Burdett-Coutts for ^693. 
 
 ** Bought by the Baroness Burdett-Coutts for ^430 ior., and in her Collection, 
 
 ft Bought by Mr. Rogers for ^69, sold for ^325 ior. 
 
 X I Bought by Baroness Burdett-Coutts for ,£399. 
 
 §§ Bequeathed in 1855 to National Gallery. Cost Mr. Rogers E26 15s-. 6 d. 
 
 |j|| The Rubens was purchased by the National Gallery at the sale for J£z 10. 
 
 Bought by Lord H. Vane for ^283 ior. 
 
 *** Purchased at the sale by the National Gallery for j£\\o2 ior. 
 ttt Bequeathed by Mr. Rogers. 
 
152 
 
 4RT SALES. 
 
 [1855. 
 
 the richest ornamental architecture. Facing the window is a bold allegorical picture by 
 Rembrandt, and a mellow moonlight scene by Rubens. Opposite the chimney-piece a cabinet of 
 light wood is panelled with pictures by Stothard. The subjects are the characters of 
 Shakespeare, the Canterbury Pilgrims, the characters of the Decameron, and the Sans Souci. In 
 the centre of this side of the room is a fine picture of Annibal Carracci of “ The Coronation of the 
 Virgin ; ” another repetition of this subject hangs to the right, but is very different in treatment. 
 It is a small altar-piece by Lorenzo di Credi.* Near this again hangs the well-known Madonna 
 and Child from the Orleans Gallery, attributed to Raphael, but certainly differing in feeling, form, 
 and tone of colour from others of his known works at that period.! An extraordinary riposo by 
 Correggio,!: remarkable for power of handling and incorrect drawing, is possibly one of his early 
 genuine works. The famous “ Puck,” by Sir Joshua Reynolds, § graces this room, and the 
 collection possesses altogether seven excellent specimens of this English master. 
 
 The other works of Sir Joshua Reynolds were “ Cupid and Psyche ” in a landscape, 
 bought privately of Lord Farnborough for 250 guineas, the poet’s highest figure, 
 which now brought £420 ; “ A Girl Sketching,” from the Thomond Collection, in the 
 sale of which Mr. Rogers bought it for £106, sold now for £46 7 10s. ; “ The Strawberry 
 Girl” for £2205, to the Marquis of Hertford; “The Mob Cap,” for the infant 
 Academy, engraved — £819, to Mr. B. G. Windus, who sold it at Christie’s in 1859, 
 when it was bought by the late Lord Dudley for £1155, and afterwards sold^rivately 
 for a very much larger sum, to Mr. D. Th waites by whom it was contributed to 
 Burlington House Winter Exhibition, 1885 ; “ The Sleeping Girl ”—£15 7 105., to Mr. 
 Bentley. This picture belonged to Dr. Wolcot (“Peter Pindar”), who paid Sir 
 Joshua 50 guineas for it, and on the back he had written a verse from Shakespeare, 
 “ Enjoy the honey-heavy dew of slumber, Thou hast no figures nor no fantasies.” “ A 
 Girl with a Bird” — £241 10s. ; a woody landscape — /A 10 5 s. ; Reynolds’ three sketch- 
 books, made in Italy — £29 85., were bought for a gentleman at New York. The picture 
 of “ The Princes in the Tower at Prayer,” by C. R. Leslie, R.A., a commission from 
 Rogers of 20 guineas, which, when the picture was finished, he doubled, was bought by 
 Gambart for £225 155. ; and the same painter’s “ Sancho and the Duchess,” for which 
 200 guineas was paid, brought /'ll 76— sold to Mr. Lloyd. Gainsborough’s study from 
 the Cornaro family, by Titian, sold for £68 55. The fine study by Giorgione for a 
 figure of a knight in armour, for his great altar-piece in the church of Castel Franco, 
 said to represent San Liberale and intended for Gaston de Foix, was bequeathed to the 
 National Gallery. It was bought by Rogers in the sale of B. West’s, P.R.A., Collection 
 in 1820 for /147. “ The Good Samaritan,” by F. Bassano, was bought by the 
 
 National Gallery for /241 10s. : it had cost Mr. Rogers £40. The Mazzolino di 
 Ferrara, “Christ disputing with the Doctors,” sold for/525, and had cost him/'i20 15s. 
 The Murillo, which cost him £28 75., sold for /ggg. “ The Enchantress,” by Teniers, 
 sold for /'315, to Mr. Danby Seymour, which cost /T20 155. “A Moonlight Land- 
 
 * Purchased by the late Lord Overstone for E$99> an d now in the Collection of Lord Wantage at 
 Lockinge House, Berks. 
 
 f Mr. Rogers is said to have given only 60 guineas for this beautiful little picture, which now brought 480 
 guineas. 
 
 X Sold for Ai 2 5 2 - Cost Mr. Rogers Ai53 IIS - 
 
 § Bought by Lord Fitzwilliam for Eio2g. Mr. Rogers gave Ai 2I 5 5 s - Reynolds sold it to Boydell for 
 AF°5- 
 
1856.] 
 
 LORD ORFORD'S COLLECTION. 
 
 i53 
 
 scape,” by Rubens — £325 105., cost £162 15s. Two pictures by Watteau, which had 
 cost him £63 the pair, sold for £346 10s. 
 
 The drawings by the Old Masters and those by Stothard brought very greatly 
 increased prices; and among the water-colour drawings was one of “ Stonehenge,” by 
 Turner, which sold for £304 10s. The most important drawing by the Old Masters was 
 the one for the “ Entombment ” in the Borghese Palace, by Raphael, which was once 
 in the Crozat Collection, and this sold for £462: it had cost Mr. Rogers £120. The 
 total of these drawings in one day was £1227 10s. 6 d. ; the total of the pictures, 233 
 in number, realized £30,180. The grand total of the sale, eighteen days, from April 
 28th, amounted to £42,367. 
 
 There is a very graphic description of Rogers in a letter from Mrs. Norton to 
 Mr. Hayward, dated May 8, 1856:— 
 
 “ He was the very embodiment of quiet, from his voice to the last harmonious little picture that hung in his hilled 
 room, and a curious figure he seemed — an elegant, pale watch-tower, showing for ever what a quiet port literature and 
 the fine arts might offer, in an age of ‘ progress,’ when every one is tossing, struggling, wrecking, and foundering on a 
 sea of commercial speculation or political adventure ; where people fight even over pictures, and if a man does buy a 
 picture it is with the burning desire to prove it is a Raphael to his yelping enemies, rather than to point it out with 
 a slow white finger to his breakfasting friends.” — Mr. Hayward' s Letters, London, John Murray. 
 
 Lord Orford’s Collection. — Although the pictures were advertised as “ a highly important 
 collection removed from a noble mansion in the country,” to be sold June 26, 1856, by Messrs. 
 Christie, it was very well known that they belonged to Lord Orford, as the famous “ Rainbow 
 Landscape” by Rubens was the principal picture in the sale, which he had bought for £3,000 in 
 the sale of Mr. G. Watson Taylor’s collection in 1823. There were 71 pictures. Canaletti, 
 Courtyard, Venice — £168 (Rut ley ) ; Staircase, Doge’s Palace — £232 (D. of Cleveland ), bought by 
 Lord Orford in 1812 at St. Petersburgh, of the Exors. of Count Algarotti ; St. Mark’s Place — £273 
 (Movant)-, St. Mark’s Church — £28 7 (Movant). Berghem, Landscape, with cows — £493 (Pennell). 
 Lo Spagna, Glorification of Virgin — £651 (The National Gallery). Ruysdael, Sea-piece, storm 
 — £315 (-£*• Norton). M. Grunenwald, Virgin standing on the Moon — £136 (Bentley, for H.R.H. 
 the Prince Consort). De Koningh, Landscape, from Pourtales Coll. — £409 (Grenfell). Murillo, 
 Christ bearing Cross, from Bishop of Tarento Coll. — £724 (Fordham). Sasso Ferrato, Marriage 
 of St. Catherine — £1076 (M. of Hertford). Rubens, The Rainbow Landscape, from Balbi Palace, 
 Genoa — £4550 (M. of Hertford). Opie, Two peasant children — £32$ ( Rippe ). Total, £11,577. 
 Porcelain, and curios (June 28, 207 lots) — £2025. 
 
 VOL. I. 
 
 X 
 
i54 
 
 ART SALTS. 
 
 [ 1857 . 
 
 THE ALTON TOWERS COLLECTION. 
 
 This large collection of pictures and works of ornamental art, armour, arms and old decorative 
 furniture, was formed chiefly by the 15th Earl, Charles, early in the present century. He was a 
 man of taste, and he enclosed the land around a farm house on an eminence in the valley of the 
 Churnet, Staffordshire, called Alton Lodge ; and here was begun, about 1814, the magnificent Gothic 
 mansion which took the name of Alton Towers. The Earl, however, dying in 1827, the house and 
 gardens were completed by John, the 16th Earl, into one of the most picturesque places in England. 
 When it was announced that Messrs. Christie would sell the contents of this “ princely seat of the 
 Earls of Shrewsbury, by order of the executors of the late Rt. Hon. Bertram Arthur, Earl of 
 Shrewsbury, July 6, 1857, and twenty-nine following days at Alton Towers,” The Tunes pub- 
 lished a long article beginning — “ One of the noblest families in the English peerage is extinct, 
 its effects for sale, and the manor over which the premier Earls of England have held right and 
 jurisdiction since the days of Henry IE, is about to pass into the keeping of strange hands.” As 
 regards pictures, the collection was by no means of a high order,* although most of them came from 
 Rome, and were purchased in 1829 by the Shrewsbury family in one large lot of Madame 
 Bonaparte, the mother of Napoleon. These had been obtained by her son Lucien, who had many 
 fine pictures, the best of which were sold in London ; and it is evident that Madame Mere must 
 have made a very successful sale of pictures which her son Lucien knew were inferior to his own. 
 The Earl Charles also bought pictures by the advice of Bryan the picture dealer, and being a 
 strict Roman Catholic the subjects were all in accordance with that feeling. The quality of the 
 collection may be seen from the following, which were the highest prices obtained in the six days’ 
 sale of 708 lots of pictures. Velazquez, Philip IV. — £129 {Collett). Cuyp, Landscape and cattle, 
 Morning, — £573 ; Evening — £45. Murillo, St. Theresa — £17 ; Virgin and Child — £216 (Rhodes). 
 Sasso Eerrato, Virgin and sleeping Infant — £137 (Collett). Van Eyck, his portrait by himself 
 — £37 ( Nie-uwenhuys ) ; Virgin and Child, with monk and donor — £8y (Collett). Carlo Dolce, St. 
 Catherine — £12 7 (Munro). Bellini, Circumcision — £126 (Collett). A. del Sarto, Virgin, Child, 
 and St. John — £170 ( Ratclyfje ). Raphael, Virgin kneeling in a landscape, holding a book — £2.20 
 (King). Perugino, Virgin seated with Infant in her lap on a cushion, in landscape — £2 10 (King). 
 Hondekoeter, Turkey and poultry in a garden — £112. De Heusch, Landscape, with banditti 
 — £ 12 6 (Emery). Wynants, Landscape, river scene, fallen tree — £136 (King). Gonzales, 
 Gentleman and lady, with three children and servant in a garden — £173 ( Van Cuyck). Memling, 
 a Triptych (bought at Ratisbon) — £102 (Bateman). Vandyck, three children of Charles I., with 
 spaniels — £94 (Watson). Most of the other pictures sold for small sums, few reaching £50. A 
 statue in marble of Raphael by Ceccarini — £168. A mosaic table — £302. 
 
 The total of the pictures was £12,940, and the grand total was £42,198 16s. 
 
 * The account of the collection given by Dr. Waagen in Art Treasures was written in 1835. and mentions 
 pictures which were not in the sale. 
 
1859 .] 
 
 LORD NORTH WICK’S COLLECTION. 
 
 T 55 
 
 LORD NORTH WICK’S COLLECTION. 
 
 The sale commenced Tuesday, July 26, 1859, and continued for 21 days, Mr. 
 Phillips, of Bond Street, being the auctioneer, on the premises of Thirlestane House, 
 Cheltenham. As a collection it was decidedly of importance, both as regards the 
 interest of the pictures, and as one of the largest ever formed in England. It has also 
 some special interest from being the work of a nobleman amateur, at a time when com- 
 paratively few students were engaged upon the old masters, though Lord Northwick did 
 not pretend to be more than a dilettante. It is evident, however, that he knew the 
 masters historically, if not practically, for we find many names given to pictures, which 
 at his date must have been quite unknown generally. Probably very few of these are 
 truly assigned, but the pictures represent the art of the period, and I have purposely 
 named them as a record of such examples, and the value attached to them in the sale. 
 We must conclude that most of these were good, as they were bought often by such 
 eminent connoisseurs as Lord Lindsay, the Duke of Newcastle, Lord Elcho, Due 
 d’Aumale, the Duke of Hamilton, Duke of Buccleuch, Mr. Drax, the Marquis of 
 Lansdowne, Mr. Davenport Bromley, Lord Taunton, and the several expert dealers who 
 attended the sale from abroad and all parts at home. The Director of the National 
 Gallery, Sir C. L. Eastlake, P.R.A., selected four pictures at a cost of £2,078 3s. viz., 
 Masaccio — portrait of himself ; Moretto of Brescia,— St. Bernardino and other saints ; 
 Giulio Romano — “The Infancy of Jupiter.” Girolamo da Treviso — “Madonna and 
 Child.” There were no less than 1,430 pictures, besides 83 miniatures, many antique 
 engraved gems, with many bronzes. The total realized by the pictures and works of 
 art, was £94,722 185., in 18 days’ sale (see Lists, Vol. II.), one of which amounted 
 to £16,482 7 s. 61 d., another to £10,770 75. 6 d. 
 
 The bedrooms and upper chambers were hung with pictures, and the various 
 galleries were named — The Parthenon Gallery, The Platform Gallery, Vestibule, The 
 Principal Gallery, The Giotto Room, Venetian Room. Some were bought for North- 
 wick Park ; the Lord Northwick, the successor in the title, purchasing pictures and 
 other works of art, to the amount of £7,984 10s. 6 d. And Sir Thomas Phillips to about 
 £1,000, many of which remained in the galleries of Thirlestane House for some years, 
 during which he occupied the mansion at Cheltenham. A testimonial was presented to 
 Lord Northwick, signed by upwards of 700 noblemen and gentlemen of the town and 
 neighbourhood of Cheltenham, in replying to which Lord Northwick said, “ I had myself 
 the good fortune to commence my travels through foreign lands at an early period of my 
 life, and it was in the year 1792 that I first saw Rome, where I sojourned during the 
 greater part of eight successive years, and was impressed with a profound veneration — 
 which during the whole course of a long life has never since been effaced from my 
 memory — for the stupendous monuments of falling greatness, with which it is on all 
 sides surrounded — an unbounded admiration for the works of the most refined art in 
 painting, sculpture, and architecture, with which it then abounded, and to which I had 
 the advantage of a most free and unlimited access. These were the seductive amuse- 
 ments of my youth : they have clung to me through a long life, and they are now the 
 
 x 2 
 
art salts. 
 
 [ 1859 . 
 
 156 
 
 solace of my old age.” Lord Northwick’s family name was Rushout — John Rushout 
 Baron Northwick. 
 
 Thirlestane House, where Lord Northwick had his pictures, and where he lived at 
 Cheltenham, is a spacious mansion built of Bath stone, in the classic style, with a hand- 
 some portico of four Ionic columns, and facade on each side, with two storeys. The 
 gallery was a long one, with a transept at the end a little raised, the whole being lighted 
 from skylights. He himself was a most pleasant and cheerful gentleman, extremely 
 simple and unpretending in his manner, with a slight, rather short figure, and a face 
 round, smiling, and fresh in complexion. I remember him well as an habitue of 
 Christie’s, more than forty-two years ago, and in summer he generally wore a suit of 
 Nankeen, a kind of cool dress which has long since disappeared. I visited Thirlestane 
 House when forming the collection of pictures for the Leeds National Exhibition, in 
 1867, and was received by the late Sir Thomas Phillips, whom I found almost buried in 
 his piles of books, his head just visible, peering over them at me his stranger visitor, as 
 he was taking his luncheon from a tray on a heap of large quartos as high as his chin 
 nearly. He waved his hand, directing me how to find my way through the lanes of 
 books stacked up all over the floor of a large room, till at last I came upon the small 
 open space where the great bookworm was standing in the midst of his treasures. In a 
 few kindly words he welcomed me, and assured me that any pictures that seemed to me 
 desirable for exhibition he should be most happy to lend, and bid me go round the 
 gallery. This I soon did, but found nothing of any special interest, though there were 
 many pictures which had belonged to the Northwick collection, mostly rather poor 
 school pictures, with the exception, however, of some four or five good examples of 
 Glover’s landscapes — largish works in oil. I did not ask for any picture. 
 
 The following notice of Lord Northwick’s Collection appeared in the 
 
 “ Morning Post,” August 30, 1859. 
 
 The Duty of Making a Will. — The disposal of Lord Northwick’s pictures, collected during a life extending for 
 nearly a quarter of a century beyond the average term allotted to man, occupied 18 successive days, attracted buyers or 
 buyers’ agents from all parts of the kingdom, and realised a sum amounting in round numbers to nearly £ 100,000. So 
 extensive a collection has not been sold for many years. The residents and visitors of Cheltenham knew its value, and 
 will long lament its unfortunate dispersion. The galleries at Thirlestane House were the pride of Cheltenham. They 
 were to that thriving town what the National Gallery is to the metropolis. They were open all the year round, without 
 fee or charge of any kind, and their liberal owner had no greater pleasure than that of knowing that his pictures drew 
 visitors by the hundred. In like manner, at Northwick Park, near Campden, his Lordship had built a spacious gallery, 
 which was never closed at any hour of the day to the public, and, being the only gallery for many miles round, was 
 greatly valued by all the neighbourhood. LTntil within the last year or two Lord Northwick spent much of his time 
 every day among his pictures, and took great delight in pointing out their beauties to any intelligent visitor who might 
 ask permission to see the collection. He had a kind way of getting into conversation with young people, and would 
 explain the difference between one school of painting and another, and show how to discern the great points in a picture, 
 where to look for merits, and how to distinguish between good and bad. It was a pride and pleasure to him to know 
 that either at Cheltenham or Northwick Park his treasures were appreciated by the public. Few men of his rank and 
 retired habits had more public spirit. Not his pictures only, but his whole house and park were at the service of the 
 public. Those who have frequented that lovely spot for picnics or parties of pleasure know well the hospitality with 
 which its noble owner would send out choice fruit or other refreshment by way of welcome to his often unknown visitors. 
 As for Thirlestane House, it was for all practical purposes a public institution, of which Cheltenham and its visitors 
 reaped the benefit. These splendid collections are now scattered to the winds. They were brought together in the 
 course of a very long life, they cost immense sums of money, and repaid their owner by the gratification they afforded to 
 his own refined taste and the pleasure they afforded to others. But they are scattered, and it may be a whole generation 
 
1859.] 
 
 LORD NORTHWICK'S COLLECTION. 
 
 i57 
 
 before another collection at all approaching to it in number, value, and public usefulness shall be formed. And it is this 
 thought that suggests these remarks. We contemplate the dispersion of these pictures with two painful reflections, 
 which, by way of caution or suggestion to other collectors, we wish to impress upon the public. The first is the 
 comparative uselessness of collecting works of art without some provision for their preservation. Here was a most 
 accomplished nobleman, devoted to art, especially pictures. He spent enormous sums of money in the collection 01 
 choice specimens, and was a liberal patron of young artists of ability and promise. In the course of years he had 
 galleries of which any peer or millionnaire might be proud. Now where are they? He has gone, and his pictures are 
 scattered all over the country and the continent. They are no longer a school of art. The galleries of Thirlestane and 
 Northwick no longer form a school for the student or a refreshment to the amateur. The purpose of a life is dissipated, 
 and a new illustration is given to the preacher’s moral, “ Va?iitas vanitatis et omnia vanitas .” It was the belief in 
 Cheltenham, we know not on what authority, that the pictures at Thirlestane would be left for the benefit of the town, or, 
 at least, that some provision would be made by which they would be preserved there for the use of the public. This 
 turns out to be a mistake. Those works of art have gone to the highest bidder, and their sale is regarded as a great 
 calamity. Undoubtedly, he who collects treasures of art in the way Lord Northwick did, and gives the public the 
 benefit of them during his life, does a great service in his day and generation ; but it is impossible not to remember how 
 much greater a service he renders who not only forms a collection, but provides for its perpetuity. To collect pictures at 
 great cost and then sell them by auction is to throw to the winds a large amount of money. The difference between 
 purchase and sale is the price of the owner’s enjoyment during his lifetime, and a costly price it often is ; whereas a 
 comparatively small addition to this expense would save the labour and thought of years from the auctioneer’s hammer, 
 and, what is worse, from uselessness and oblivion. In the next place, see the duty of making a will. These collections 
 are dispersed because they form a portion of the personalty of the deceased, and there being no instructions as to their 
 disposal, there is no choice but to sell them, and appropriate their proceeds among the heirs-at-law. Next to the 
 mischief of making an unfair will is that of making none at all. Had Lord Northwick ordered by will the sale of his 
 pictures, however disappointed the world might have been, it would have been felt that he had a right to do as he liked. 
 But dying intestate, the sale follows as a matter of course, and the results of a long life and large fortune devoted to 
 works of art are just nowhere. Many of our readers are men of fortune and collectors of art treasures ; we think the fate 
 of Lord Northwick’s pictures is a lesson to them. A gallery of pictures left to a family er to the public is an offering 
 at the shrine of art ; but, sold by auction, and dispersed among innumerable private purchasers, is sheer vanity and 
 labour lost. 
 
 (“ The Times,” September 19, 1859.) 
 
 So much doubt and mystery attended the sale of this collection, in consequence of a majority of the purchases 
 having been made “ on commission,” that it is really a matter of interest to know with certainty into whose hands these 
 treasures have fallen. Gradually, since the termination of the sale, this information is supplying itself, and at present 
 furnishes the following results. Among the principal purchasers were the Due d’Aumale, who secured several very 
 choice examples, and among the rest the fine Perugino, “The Virgin and Child,” for 350 guineas — the Dukes of 
 Cleveland, Wellington, Newcastle, Hamilton, and Buccleuch — who, each through their agents, bought a number of 
 valuable works — the Marquis of Hertford, Baron de Rothschild, the Marquis of Lansdowne, the Earl of Ellenborough, 
 Lord de Lisle, Lord Lindsay, Lord de Saumarez, Sir T. Phillips, Mr. Labouchere, Mr. Drax, Mr. Scott, Mr. J. E. 
 Denison, Mr. Baring, Mr. B. Owen, Mr. Holford, Mr. H. Butler, Mr. Hargreaves, Mr. Hardy, and other noble and 
 distinguished collectors. The most extensive purchaser among the gentlemen alluded to above, was Mr. Earle 
 Drax, M.P., who is said to have bought upwards of 100 pictures, several of them choice examples of the masters whose 
 names they bear. They include, among a host of others, Claude’s “Apollo and the Cumaean Sibyl,” 210 guineas; 
 Sacchi’s “Ascension of the Virgin,” 200 guineas ; Pinturicchio’s “ Nativity,” 240 guineas ; and A. del Saito’s “ Charity,” 
 the figures life-size, 210 guineas. Mr. J. Scott was the purchaser of Lingelbach’s “ Departure for the Chase,” 105 guineas ; 
 B. Luini’s“The Virgin gazing on the Infant Saviour,” 200 guineas; “Girl with the Horn Book,” by Schidone, 405 
 guineas ; and the “ St. John ” of Carlo Dolci, for which he gave 2,010 guineas, the highest price of any picture in the sale. 
 The nobleman who bought most freely was the Marquis of Hertford, and among his purchases are included Gonzales 
 Coques’ “ Group of Family Portraits,” 300 guineas ; J. B. Weenix’s “View in the Garden of a Chateau,” 350 guineas ; 
 Conegliano’s “ St. Catherine,” 800 guineas ; Giorgione’s “ Cupid Wounded by his own Arrow,” 1,250 guineas ; Velasquez’s 
 “Boar Hunt,” 310 guineas; and a number of others. The Marquis of Lansdowne has acquired, for 7 00 guineas, 
 Giorgione’s “ Musical Party,” one of the most charming pictures in the collection, and a few others. Lord Northwick was 
 also a large purchaser, and has secured upwards of 60 of the choicest paintings, comprising Maclise’s “ Robin Hood and 
 his Foresters,” for 1,305 guineas ; “The Stoning of St. Stephen,” by Garofalo, 1,530 guineas ; Frost’s “ Diana and her 
 Nymphs surprised by Actaeon,” 675 guineas; Danby’s “Wood Nymph chanting her Hymn to the Rising Sun,” 360 
 guineas ; Redgrave’s “ Flight into Egypt,” 350 guineas ; Van Schendel’s admired “ Market Scene— Selling Poultry by 
 Candle-light,” 255 guineas ; Rubens’s large gallery picture of “The Lion Hunt,” 300 guineas ; G. Dow’s “ Portrait of Dr. 
 Harvey,” 120 guineas ; Velasquez’s “ Lot and his Daughters,” 140 guineas ; and a number of others, including examples 
 of Titian, Guido, Giorgione, Mabuse, Giotto, Vandyck, Fiesoli, Albano, and other famous masters, ancient and modern. 
 Five pictures only were purchased for the National Gallery, namely, G. de Treviso’s “Virgin seated on a 1 lirone, holding 
 the Infant Saviour,” 450 guineas ; Giulio Romano’s “ Birth of Jupiter,” 875 guineas ; Moretto of Brescia’s “ Glorification 
 of the Virgin,” 550 guineas ; G. Terburg’s “ Portrait of a Gentleman in Black,” 65 guineas ; and Masaccio’s “ Portrait of 
 Himself,” 103 guineas. 
 
ART SALTS. 
 
 [ 1859 . 
 
 158 
 
 SALT OF COUNT S7'0L BERG’S COLLECTION. 
 
 (“Times,” November 14, 1859 . *** 1000 Thalers are equal to £150.) 
 
 The sale by auction of a large private gallery of pictures in the small capital of Hanover has been a source of much 
 excitement to the natives, and was not without interest of various kinds to the casual English visitor. The knowledge of 
 art and abundance of money, which combine to fix the market value of a picture, are often put to the proof with us, but 
 the auctioneer’s hammer has uttered but little 011 this commercial point in close- bargaining Germany. In Hanover itself 
 one may dine at the best tabic d'hote for two shillings, and patronise the most fashionable music-master for eighteenpence 
 the lesson. The Soder sale, however, shows that pictures are not to be had for the same relative prices. 
 
 The existence of Count Stolberg’s gallery in his family chateau of Soder, situated, as the catalogue had it, “ in the 
 principality of Hildesheim, kingdom of Hanover,” had not been very generally known. The few country seats occupied 
 by the few German nobles of real consequence are in remote places, not easily heard of or got at by the foreigner, and the 
 fact of their containing pictures has been but recently known to the lovers of art. I remember a letter in The Times 
 more than 20 years ago, which first announced the discovery of the Pommersfelden Gallery, near Bamberg, in terms as 
 enthusiastic as if applied to a newly-found Pitti Palace. Baron Rumohr, however, made his way to Soder, it is true, when 
 he was but 15 years of age, though, as it proves, not too young to have formed a very correct estimate of the chief 
 pictures. 
 
 The Soder Gallery was gathered together by a Count Brabeek in those palmy days for collectors, the latter part of 
 the last century, and, besides the names of Raphael, Correggio, and Titian, included chiefly those of Flemish, Dutch, and 
 German masters. Baron Rumohr speaks enthusiastically of “the splendid Ruysdaels,” is not so warm as to the 
 Correggio, and is very impertinent about the Raphael and a Claude Lorraine. Count Brabeek’s daughter married Count 
 Andreas Stolberg, the head of the Catholic branch of the old race of Stolberg, now a fine old gentleman, and as report 
 blesses him with a family of no less than 1 1 daughters, the disposal of his pictures is, at all events, an intelligible stroke 
 of paternal strategy. The collection was removed some months ago from its time-honoured quarters to large rooms in 
 the Museum at Hanover, where it was open to inspection. Great hopes were entertained that the Hanoverian Govern- 
 ment or an English millionnaire would purchase it en masse, the more so as in that case two portraits of Count Brabeek 
 and his brother, a Prince Bishop, which stood last on the catalogue, were promised to be thrown in gratis. But no one 
 coming forward, in spite of this naive bribe, a public auction was announced for Monday, the 31st of October. 
 Accordingly, on the Saturday before the express from Cologne to Berlin, and vice versa , landed many a passenger at the 
 Hanover station, and a number of strange visitors, with glass in eye, pencil in mouth, and catalogue in hand, assembled 
 in the Soder Gallery. Among them were pointed out to me the massive brow and ponderous figure of Professor Waagen, 
 the director of the Berlin Museum, and the slighter and less ungainly person of our own director, Sir Charles Eastlake. 
 Another individual was also indicated, who raises the hopes of sellers and the fears of buyers wherever he appears. This 
 was a fine young man supposed to be not remotely connected with a certain munificent nobleman, who, when he has 
 marked a picture for his own, is known not to scruple what he pays for it. The catalogue, to which every one was 
 referring, was not got up with the care nowadays bestowed on documents calculated to form important witnesses in the 
 history of art. A certain number of wrong names is the incorrigible right of all compilers, but wrong names may be 
 correctly spelt. Teniers did not sign his name with two “ n’s,” and Snyders without the “d” may be mistaken for 
 Snayers, a painter of a very different class. You will expect me to say a few words about the pictures on my own 
 account, though, not being a member of the House of Commons, I speak diffidently about art. The general aspect of 
 the collection was not brilliant ; the stars were few, and did not suffice to illumine the rather dark tracts between them. 
 The Ruysdaels were the chief objects of attraction ; three large and three smaller pictures ; two of the former grand 
 waterfalls, fresh, cool, and clear, which you will have a speedy opportunity of studying in our National Gallery, and 
 which were evidently painted as companion pictures, being of the same size, if not from the same locality. The third 
 large picture was very fine in parts, but had much darkened. The three smaller pictures have all his mournful character ; 
 that peculiar pathos which belongs to the student rather than to the lover, “all sickbed o’er with the pale cast of thought.” 
 In one of them the sunlight upon a ruin has as melancholy an effect as if cast by the sister luminary. Another has 
 for its chief feature a pallid field of corn, on which a sad smile of light momentarily plays. These latter are all charming 
 specimens, but look slightly out of condition. The works next in interest were various subjects of dead game, for which 
 Fount Brabeek must have had a particular predilection, representing the best masters in that walk — Snyders, Fyt, 
 Weenix, Gyssels, &c., all fine of their kind. A dead hare, by Weenix, was especially the popular wonder of the gallery, 
 for its exquisite execution was not above the lowest comprehension. A picture, too, signed “Antonio Mor : fecit 1544,” 
 though very much injured, was fascinating in character ; two ecclesiastics, one following the other, as if forming part of a 
 procession, each in white striped robes. A triptych by some Flemish painter, whose forms evidently became more beau- 
 tiful but also much more affected by the imitation of the Italians, was very pleasing — one of those nameless pictures 
 which Mabuse is always compelled to father. The portraits w^ere numerous and miscellaneous, many of them interesting, 
 though few, if any, by the masters — Holbein, Moro, Rembrandt, &c. — to whom they were assigned, yet puzzling the wise 
 heads apparently to give them a more legitimate baptism. Two capital specimens of the latest Italian time were con- 
 spicuous male portraits — a Strozzi and a Tineili, both signed, circular pictures, and executed with indescribable dash. Of 
 these it was told that Count Brabeek prized them so highly as to have them conveyed, frames and all, over the Alps on 
 men’s shoulders. These and other stories were circulated in the gallery, but otherwise a certain reserve and mystery was 
 apparent, as of men not eager to enlighten each other as to the merits of sorrje highly hung picture, or their own inten- 
 tions regarding it. 
 
 At 10 o’clock on Monday morning the auctioneer had begun his labours in presence of a numerous assembly, com- 
 fortably seated before him, as if about to listen to a discourse. The atmosphere of an auction-room has perhaps 
 
1859.] 
 
 COUNT STOLBERG’S COLLECTION. 
 
 i59 
 
 nowhere a refining effect. People look shabby and mercenary, and bent on disparaging what they most covet. “ It is 
 naught, it is naught,” saith the buyer. But the Germans stop here. That air of raffishness so frequent in our sale-rooms 
 is not one of their forms of Vielseitigkeit. Not but what various types of national dandyism appeared. There was the 
 beard in every stage of development, from the spring to the autumnal period, the one suggesting the callow bird, the 
 other the moss-grown nest it has abandoned. There were negligent open collars and elaborate shirt fronts, these latter 
 as curious works of art as some upon the walls ; but, do what they would, there was no getting rid of that something 
 solid, and slow, and unjaunty, which we take or mistake for the sign of respectability in the national physiognomy. 
 
 The auctioneer in Germany is not a functionary of the same pretension as with ns. Puffing is no part of his 
 business, and he sits at his ease, not saying one word in favour of a picture, nor so much as its name or number. This 
 was a poor old fellow whose clothing and whose hearing were alike timeworn. But he went through the mysterious 
 vocabulary of his calling, which I should find it difficult to spell, with spirit, though sometimes getting confused as to the 
 amount of the “ dhalers,” as he called them, for which he was inhumanly taken up by a lawyer’s clerk who sat beside 
 him. The sale was arranged alphabetically. Early in the first morning, therefore, the Correggio, a very pretty picture, 
 was produced. This speedily ran up to just 5,000 thalers (1,000 thalers being ^150.) — a “ spottgeld" 1 in the opinion of 
 some, an enormous price in that of others, who consigned the painter to various other places in the alphabet. A pretty 
 picture by Eckhout, his own family, was another interesting thing. This went to an Englishman, whose name I did not 
 discover. The Fyt, signed and dated 1649, soon followed, a large and true specimen. For this Professor Waagen was 
 seen nodding his massive head, and I believe obtained it. Meanwhile, it was astonishing to observe the zest with which 
 rather indifferent works of art were contended for. Germany is evidently the land in which to dispose of those cumbrous 
 weeds of art which seem always to have been drawn up by the nobler plants. Never was a Peter Bloot, or a Van Borssum, 
 or a Van der Does, or a Helmbrecher, with other names equally euphonious and unknown, so eagerly desired and 
 liberally paid for, as many pounds being given as shillings would have been bid in Christie’s rooms. A certain class of 
 portraits, too, — smirking Marechals of France, all wig and cuirass, by Largilliere, were greatly in request, some 
 prosperous manufacturers being among the bidders, who were building family chateaux, and family chateaux require, of 
 course, family ancestors. 
 
 But though the proceedings began as late as 10, that solemn rite which in Germany is associated not only with the 
 hour but also with the name of midday was not to be neglected. At 12 o’clock a pause was made and all hurried away 
 for refreshment, or, as an old gentleman coquettishly termed it, for a “ Dasse Pouillon 
 
 A fair third of the 365 pictures were sold on the first day. The second afternoon brought us up to the letter R, and 
 as the first glorious Ruysdael was placed on the easel that hushed stir went through the room which tells a particular 
 moment of interest. The directors of galleries — for there were others besides those I have named — and the representa- 
 tive of the highest private bidder in the world were not supposed to have come for any of the smaller game, though 
 no reports had given them any definite aim. The first few bids went by thousands of thalers, but soon the scale began to 
 rise more deliberately, both bidders and biddings fell off, and 100, 50, 20, five, and even one thaler at a time cautiously 
 swelled the sum. The competitors were soon confined to two — the keeper of the gallery, on the one side, and some one 
 from the centre of the room on the other. Slowly the sum reached 7,000 thalers, the poor old auctioneer getting sorely 
 entangled with the long numbers ; slower still, 7,800, or about ,£1,180, at which price it was knocked down. The com- 
 panion came next, — of the two perhaps the less attractive picture. This took the same course, and stopped at 7,050 
 thalers, or about £ 1,060 . Then the stroke of the hammer was followed by the words u fiir London ,” which were met by a 
 rather gratifying show of approbation, not confined to a few tall, fair, and slim youngsters, candidates for Foreign-office 
 examination, studying languages in Hanover, who got up a little whisper of “ England for ever ” at the lower end of the 
 room. The rival bidder I understood to have been His Hanoverian Majesty. The other Ruysdaels fetched compara- 
 tively but low prices, — the large landscape, 3,950 thalers ; the field of corn, 960 ; the melancholy ruin, 603 ; and the third 
 small picture — which though I have not described it, was almost the most tempting of the three — but 575. There is 
 reason, however, to believe that they were bought in. 
 
 With the disposal of the Ruysdaels I fancied the interest of the sale over, quite forgetting that a Raphael was to 
 come, and with it, as it proved, a rather unusual scene. But soon the letter S brought forward the great Sanzio — a small 
 work of miniature-like character, and painted on parchment. At the same time a gentleman of very distinguished 
 appearance— reported to be a Count, deputed by the Austrian Government— came conspicuously forward, and began to 
 bid with a Lord Hertford-like pertinacity. The numbers mounted with great zest, soon outstripping the Ruysdael 
 standard, and had just touched 10,000 thalers when Count Stolberg, who had been harrowing his soul in the adjoining 
 gallery, from the time the auction began, by the contemplation of every picture as its turn came to go up, now entered, 
 pale and agitated, like a man in a dream, and laying hands on the object of contention said, “ I withdraw it.” A stir 
 ensued, and some not very gentle words began to be heard as to the rights of the matter, when kind friends took the fond 
 old man by the arm, and a further bid knocked the picture down to himself. This made an unpleasant impression on 
 many who look with impatience on all that savours of pride in a class who have too often little more than pride to 
 support their pretensions ; but I am convinced that no Adel haughtiness, or disregard for the laws of the occasion or the 
 feelings of others, had any part in this sudden act. Count Stolberg is known to be one of the kindest of men and one of 
 the truest of gentlemen ; but every German has his weak and Werthery side, when, like a man in love, he is hardly 
 responsible for what he does ; the fine old Teuton was in love with his Raphael, and the higher the thalers rose the more 
 his heart failed him. It was only a pity it had not failed him a little sooner. As it was, the loss was perhaps his own, 
 for it might not be easy again to dispose of the work in question for ,£1,500, unless, indeed, another kind Count were 
 deputed to decide on its merits. 
 
 After this scene the excitement rather flagged. The celebrated Weenix was warmly contested, and fell to His 
 Hanoverian Majesty for just 3,000 thalers — the highest price, 1 think I may venture to say, ever given for the master ; 
 and then a long list of anonymes , for which the bidders showed the same goodwill, closed the sale, the Counts of Brabeek 
 at last becoming the property of some fortunate person at between 30 and 40 thalers each. 
 
i6o 
 
 ART SALTS. 
 
 [I 860 . 
 
 A FINE COLLECTION OF ENGRAVINGS. 
 
 (“The Times,” April 19, i860.) 
 
 Mr. Johnson’s Collection of Engravings.— The valuable collection of engravings made by the lamented Mr. M. 
 J. Johnson, Radcliffe Observer in the University of Oxford, was disposed of yesterday by Messrs. Sotheby and Wilkinson, 
 at their rooms in Wellington Street, Strand. The attendance of amateurs and dealers was very great, and the prices 
 realized were such as to astonish the oldest purchaser. This result was, no doubt, in great measure owing to the choiceness 
 of the collection, but partly also to that gradual rise in prices which fully justifies the amounts given from time to time for 
 rare works of art. The prices given by Mr. Johnson, one of the most fastidious and discriminating of buyers, were often such 
 as to astonish those who fancied that the maximum prices had been reached ; but the same persons must have been still 
 more astonished yesterday to find that what were esteemed enormous prices ten years ago were made absolutely moderate 
 by the fabulous prices to which choice works of art mounted. The following are the sums realised for the principal lots : — 
 Earlom. — The “ Liber Veritatis,” after the drawings by Claude Lorraine, engraved by Richard Earlom, 2 vols., fine 
 proofs in the earliest states— ,£27. ANDERLONI. — “ Judgment of Solomon,” after Raffaelle, before the border and before 
 any letters, with the remark, “fine and most rare ” — £8 lew. ; “The Woman taken in Adultery,” after Titian, first state, 
 proof before any letters, with the two white flowers and P. A. lightly etched in ; fine and most rare — £\\. Bolswert. — 
 “ Presenting the Reed,” after Vandyck, first state, from the Mariette and Borduge cabinets, called “ La plus belle epreuve 
 connue ” — £16 10s. Canaletti’s Etchings. — “Views in Venice” very fine impressions. This lot is remarkable as 
 having the original sketch for the frontispiece, in pen ; likewise an unfinished impression of the frontispiece, with the 
 title of the work written in, probably by Canaletti himself ; it likewise contains the rare uncut plate, which may be called 
 almost unique. From the collection of Domenico Tiepolo — £jS- Claessens. — “Descent from the Cross,” after 
 Rubens, first proof before letters, except the artist’s name, fine and very rare — £23. Samuel Cousins. — “Bolton 
 Abbey,” after Edwin Landseer, first proof before any letters, very fine and rare — £21. DESNOYERS — “La Belle 
 
 Jardiniere,” after Raffaelle, first proof before the letters with all its margin ; a most brilliant and rare proof— ^29 ; “ La 
 Vierge aux Rochers,” after Leonardo da Vinci, first proof before all letters, with all its margin ; a most rare and valuable 
 print — £29. “La Vierge au Linge,” after Raffaelle, proof in the first state, before the drapery on the infant Saviour and 
 before all letters ; most rare and fine — £23. Albert Durer. — “ Adam and Eve,” very fine and rare — ^46 ; “ St. 
 Hubert,” most brilliant and rare — £42. Lucas van Leyden. — The “ Ecce Homo,” fine and rare (has been slightly 
 restored) — £20. LONGHI. — “ The Sposalizio,” after Raffaelle, most brilliant and perfect proof before any letters, very rare 
 — £74. R. Morghen. — ■“ The Last Supper,” after Leonardo da Vinci, a most splendid impression before the letters, 
 and with the white plate ; a print of the greatest rarity — £316. “ The Transfiguration,” after Raffaelle, fine proof — £24. 
 
 “ The Aurora,” after Guido Reni, very fine and brilliant proof — ,£50. “ The Penitent Magdalen,” after Murillo, proof 
 
 before any letters, a most brilliant impression, with the whole of its margin ; most rare — ,£35. “ Parce Somnum 
 
 Rumpere,” after Titian, proof before letters, but with the artist’s name ; fine and very scarce— ^26. Portrait of 
 Raffaelle, proof before letters, but with the artist’s name, very fine and scarce — £17 10s. F. MULLER. — “ Madonna di S. 
 Sisto,” after Raffaelle, fine and most brilliant proof before any letters, in splendid condition — £120. Marc Antonio 
 Raimondi. — The “ St. Cecilia,” after Raffaelle, fine and very rare — ^ji8. The “ f'ive Saints,” after Raffaelle, with margin, 
 fine and rare — £66. The “ Parnassus,” after Raffaelle, fine and scarce — ^35- “ St. Paul Preaching at Athens,” after 
 Raffaelle, fine and scarce — ,£36. “The Judgment of Paris,” after Raffaelle; one of the finest impressions known of a 
 print of the greatest rarity — £320. “The Massacre of the Innocents,” after Raffaelle, with the “ Chicot,” a most brilliant 
 impression ; one of the corners has been restored — £61. The original sketch in pen, by Raffaelle, for the above 
 composition of “The Murder of the Innocents,” with several variations — a highly interesting and valuable drawing, 
 formerly in the possession of Sir Thomas Lawrence; the figures are studied in the nude — ,£190. Rembrandt. — “J. 
 Lutma,” first state, before the window, and likewise before the names of Rembrandt and Lutma — £91. “Old Haaring,” 
 a print of the greatest rarity, and very fine — ^107. “ The Hundred Guilder Piece,” a very splendid impression on India 
 
 paper, with large margin, from the Debois cabinet — ,£160. SCHIAVONE. — -“Assumption of the Virgin,” after Titian, first 
 state, proof before any letters, with the arms of Russia, the crown unfinished ; a splendid impression, and rare — £30. 
 Schongauer. — “ The Death of the Virgin,” a fine impression of a print of great rarity — £60. Strange. — “ Charles I. 
 in his Robes,” after Vandyck, proof before any letters, most brilliant and rare, with all its margin— ^52. “Charles I. 
 with the Horse,” after Vandyck ; proof before any letters, in the finest condition, with large margin — £37. “Henrietta 
 Maria and her Children,” proof before any letters, and before the jewels on the table, in the same condition as the 
 Charles — £22. “The Dismissal of Hagar,” after Guercino ; most brilliant proof before any letters, with large margin — 
 £6 ior. “ Esther before Ahasuerus,” after Guercino ; proof before any letters, in the finest condition, with large margin 
 — £9- “ Cleopatra,” after Guido Reni ; proof before any letters, very fine — £9. “Virgin and Sleeping Saviour,” after 
 
 Guido Reni ; proof before any letters, in splendid condition, with all its margin — £4 4-f. TOSCHI. — “ Lo Spasimo di 
 Sicilia,” after Raffaelle ; fine proof before letters, except the engraver’s name — £23. “ Descent from the Cross,” after 
 
 Daniel de Volterra ; a splendid proof before any letters, with the remark, “very scarce” — ^15 15J. The Correggio 
 Frescoes, artist’s proofs with the remarks, on India paper, and signed by the engraver, and Toschi’s portrait — £80 
 Cornelius Visscher. — “ The Rat Catcher,” after Ostade, proof before any letters, very fine and rare — £18. Woollett. 
 — “Battle of La Hogue,” after West, fine and rare proof before the letters, with the exception of the artist’s name — ,£18. 
 “ Roman Edifices in Ruins,” after Claude Lorraine, fine and rare proof before letters, in the first state, No. 59, being 
 afterwards altered to No. 60 — £16. “The Fishery,” after Wright of Derby ; fine and scarce proof on India paper — 
 £20 10 s. “ The Niobe,” after Wilson, a most brilliant and finished proof of this exquisite plate, which may be declared 
 as all but unique — £70. The total amount of the sale was £3,3 59 is. 6 d. 
 
I860.] MR. LEICESTER'S, & MR. ASHBURNHAM'S PICTURES. 1 6 1 
 
 “The Times,” May 21, i860. 
 
 The Rev. Frederic Leicester’s Collection of Pictures. — The very choice collection of Italian, Spanish, and 
 Dutch pictures, of the very highest class of art, formed by the Rev. Frederic Leicester, was disposed of on Saturday- 
 last at the rooms of Messrs. Christie, Manson, and Woods. Among the more valuable specimens were the following : 
 7. Claude. — “An Italian Seaport,” with a square tower on a rock in the centre, near which ships are lying at anchor ; 
 classical buildings on the left, a woody bank on the right, and figures in the foreground ; brilliant effect of evening sun 
 on the rippled sea. This splendid picture was formerly in the collection of Marie Antoinette, at Malmaison. It is of 
 cabinet size — 146 guineas (Collins). 9. Wouvermans. — “ The Lake ; ” a lady and gentleman allowing their horses to drink 
 at the shallow water, a peasant with a laden horse behind, women washing linen, and three others bathing near a pierced 
 rock, beyond which is a round tower surrounded by low trees ; a group of sheep in the foreground ; a beautifully clear 
 blue hilly distance and a brilliant sky complete this composition. Cabinet size— 144 guineas (Collins). 16. Cuyp. — “ The 
 Ferry Boat view on the River Maes, w ith a ferry-boat full of figures starting from a wooden jetty, at which a galliot is 
 moored with sail set ; a long ferry-boat is crossing to the opposite point, where a waggon and figures are waiting ; a 
 vessel under sail in the centre, and boats sailing in the sunshine beyond ; coloured with wonderful golden effect. This 
 superlatively fine work is from the collection of Sir Robert Price. It was the gem of the day’s sale. Exhibited at 
 Manchester, No. 721, and at the British Institution in 1837 and 1856. See Smith's Catalogue Raisonne, Vol. V., No. 24. 
 Painted on panel ; size, ift. io|in. by 2ft. 4m. — 810 guineas (Morrison). 17. Hobbema. — “ A Landscape,” with a winding 
 road through a wood ; cottages seen on either side between the stems of the trees ; coloured with rich and powerful 
 effect ; from the same collection ; exhibited at the British Institution — 185 guineas (Carr). 19. Ruysdael. — “View' on the 
 Hollands Deep a brisk gale off the Dutch coast, two vessels under sail ; the waves, breaking against a wooden jetty in 
 the foreground with fine effect, catch a gleam of light from an opening in the grand clouds which are rolling in the sky. 
 From Mr. Theobald’s Collection ; exhibited at the same place. See Smith's Catalogue Raisonne ', Supp., No. 56, p. 700 — 
 1 55 guineas (White). 20, W. Mieris. — “ The Greengrocer ; ” at a stone-arched window a young lady, the wife of the artist, 
 in a brown silk dress, choosing a melon from a basket ; an old woman, his mother at her side offering a cauliflower ; 
 vegetables lying on the windowsill, a string of onions suspended at the side, a Persian drapery looped up above ; a carved 
 frieze of boys in stone beneath the window. Signed, and dated 1731. This admirable work is from the Saltmarshe 
 Collection ; exhibited at the British Institution in 1852, and at Manchester, No. 1,070. See Smith's Catalogue Raisoniie, 
 Supp., No. 24, p. 60. Painted on panel, size ift. 3^in. by I2fin. — 255 guineas (Morrison). 21. Canaletti. — “ Piazza di San 
 Marco, Venice,” looking towards the front of the church and the Campanile, with numerous spirited figures ; a cabinet 
 picture of the most brilliant quality. From Mr. Cankrien’s Collection ; exhibited at Manchester, No. 830 — 350 guineas 
 (Farrer). 25. Gonzales Coques. — “ Henry III., Stadtholder,” in a green silk dress ; his secretary, chancellor, and De Witte 
 at his side, seated at a table, on which is a book, a globe, and a statuette ; the Prince is turning towards his Consort, 
 Emilia, Princess of Solms, attended by a child, bringing a present of flowers ; their daughter-in-law, Mary, Princess 
 Royal of England, daughter of Charles I., and wife of the Prince of Orange (William II.), in a pink dress, holding a 
 salver of flowers near an orange tree ; the two aunts of the Prince are seen seated in a garden ; the Stadthouse in the 
 distance. This important and interesting work of a very rare master is from Mr. Cave’s Collection ; exhibited at 
 Manchester, No. 948 — 380 guineas. 26. Teniers. — “ His own Chateau,” with portraits of himself in a red cloak, his twc 
 daughters, and his son in a blue dress ; they are standing on the bank of a river, a fisherman offering a fine pike ; other 
 fishermen are drawing a net to shore. An example of the very highest quality. From Sir George Warrender’s 
 Collection. Exhibited at the British Institution, 1855, and at Manchester, No. 532. See Smith's Catalogue Raisonne. 
 Supp., Vol. III., No. 422. Painted on panel ; size, 2ft. by ift. 8in.— 465 guineas. 27. John and Andries Both. —“The 
 Ferry-boat ; ” a cavalier and lady on horseback, in conversation with peasants in a ferry-boat, in which are two cows, 
 peasants with laden mules, near a fine group of trees, and Roman ruins on the woody bank ; a round tower on the 
 winding point of the river, with beautiful blue distance, delicate golden effect of approaching evening. This admirable 
 work is well known as “The Courteney Both.” From the Collections of Mr. Acraman and Mr. French. See Smith's 
 Catalogue Raisonne, No. 49, p. 187 — 360 guineas (Collins). 28. Murillo. — “The Virgin,” in a crimson and blue drapery, 
 pressing the infant to her bosom, the infant full of lovely character. From the celebrated Collection of Joseph 
 Bonaparte — 220 guineas (Owen). 29. Jacob Ruysdael. — “Solitude,” a grand landscape, with a ruined chateau, seen 
 between the stems of a group of venerable oaks, and backed by a wood ; a pool of water partly covered by water-lilies in 
 front, a felled stem of a beech on the right, a church tower seen in the distance ; the dark mass of foliage is admirably 
 relieved by a brilliant sky. Exhibited in the British Institution in 1854, and also at Manchester, No. 756. A picture 
 of the highest importance and quality — 305 guineas (Carr). This was the last of the Rev. Mr. Leicester’s Collection, 29 
 pictures in all, realising the large sum of ,£4,565. 
 
 The Hon. Percy Ashburnham’s Collection. — The Hon. Percy Ashburnham’s very choice Collection followed, 
 and some interesting pictures from private cabinets, from which we select the following specimens 48. D. Teniers. — 
 “The Enchantress quitting the Infernal Regions.” She is emerging from a cavern, guarded by Cerberus, numerous 
 grotesque figures around her. This extraordinary fine work was with difficulty obtained by Sir Joshua Reynolds from 
 Dr. Chauncev, in exchange for three of Sir Joshua’s own productions and two others by celebrated masters. It was 
 purchased at the Marchioness of Thoinond’s sale of pictures by the poet Rogers, from whose collection the present 
 owner obtained it — 230 guineas (Stone). 49. Jacob Ruysdael. — “A Landscape,” with a peasant driving sheep over a 
 wooden bridge to the entrance of a wood, up a winding road, a river scene on the right. A beautiful example of the 
 highest quality — 134 guineas (Pierce). 50. Guido. — “The Seasons,” with many figures; a grand gallery picture — 
 
 VOL. I. 
 
 Y 
 
162 
 
 ART SALES. 
 
 riSGi. 
 
 45 guineas. 51. Jan and Andries Both.— A grand Italian Landscape, representing a rocky and highly picturesque scene, 
 under the aspect of a sultry day. This view is traversed by a road, and in the foreground, reposing by the wayside, are 
 two travelling peasants ; near them, advancing along the road, is a waggon drawn by two oxen ; other figures tastefully 
 introduced may be seen in more distant parts of the view. This important and beautiful picture was formerly in the 
 Earl of Shaftesbury’s Collection — 300 guineas (Owen). 54. Greuze. — “ Head of a Child,” in crimson dress and white scarf. 
 A beautiful cabinet specimen— 106 guineas (Collins). 66. Giorgione. — “ Hippomenes and Atalanta,” contending in the 
 race, near a castle and other buildings on the banks of a lake, with mountainous background. A highly characteristic 
 work of the master. From Mr. Woodburn’s Collection — 125 guineas (Wellson). 74. Paul Veronese. — “ The Vision of 
 St. Helena,” the empress, in a robe of delicate crimson hue, is reclining in sleep before a stone cornice, her forehead resting 
 on her hand ; in the sky above appears the cross, borne by two infant angels, admirably foreshortened. This very 
 interesting and beautiful work belonged to the great Duke of Marlborough, from whose possession it passed to that 
 of the treasurer Lord Godolphin ; it was purchased at the sale of the Duke of Leeds’s pictures by the late Marquis of 
 Hertford — 270 guineas (Wellson). 75. Andrea del Sarto. — “ Carita,” a noble female figure, seated, surrounded by a 
 group of children, in a grand landscape. “Without question the picture mentioned by Vasari as painted in 1529, and 
 purchased by Conti, the painter, from the widow of the master, and which at the time of Vasari was in the hands of 
 Nicolo Antinori. It is highly attractive, of masterly painting, and incomparably better preserved than that in the 
 Louvre .” — Waageiis Treasures of Art , Vol. II., p. 251. This chef d' oeuvre was the property of Mr. W. Y. Ottley— 500 
 guineas (Wellson). The total amount of the day’s sale was nearly ,£7,600. 
 
 The Scarisbrick Collection. — This was one of considerable importance, formed by 
 Mr. Charles Scarisbrick at Scarisbrick Hall and Wrightington Hall, Lancashire, and was removed 
 and sold, after his death, by Messrs. Christie, May 1861, occupying four days, the Friday and 
 Saturday in each week. The chief pictures will be found in the lists of Vol. II., but some may here 
 be mentioned. Hobbema, Landscape, from Dawson Turner Coll.— £462 ( N.N. ). Berghem, 
 Landscape — £315 ( Lord Dudley). P. de Hooghe, Interior, with lady in red — £441 ( F . N., 
 F. Nicuwenhuys). W. Vandevelde, A Calm, from Vernon and Redleaf Colls. — £651 ( Lord 
 Hertford). Wynants, Landscape, figures at a ford — £367 ( Lord Hertford). Baroccio, Noli me 
 tangere, engraved by Morghen — £756 {Beaumont). Ostade, Cottage door, from Capron Coll. 
 — £493 ( Lord Dudley). Velasquez, Portrait of Olivares standing, from Altamira Coll. — £262 
 (King). Guido, St. James, from King Louis Philippe Coll. — £1312 (Graves). Ruysdael, 
 Landscape — £1312 (Birch). L. da Vinci, Herodias’ Daughter, from Barberini Palace — £388 
 (Davenport Bromley). The 243 lots in the first portion amounted to £20,373. In the second 
 portion — Murillo, The Annunciation, from Church of S. Trinidad, Seville — £222 (Kibble). 
 Berghem, Landscape, lady on horseback, from D. Mackintosh Coll. — £514 (Smith). John 
 Martin, Joshua commanding the Sun to stand, engraved — £472 (Durlacher ) ; The Deluge — £157 
 (Durlacher). Fall of Nineveh — £215 (Durlacher). 375 lots — £3495- The engravings and drawings 
 (494 lots) £1346. Amongst the objects of ornamental art— the Aldobrandini Caesar Tazzas, 
 attributed to Cellini — £1280 (Alt). A pair of etageres of Cellini design, 19 inches high, from 
 Stowe — £172 (Garrard). 397 lots— -£4852. 
 
 “The Times,” June 15, 1861. 
 
 Sale of Fine Old Sevres and Chelsea Porcelain, &e. — A very valuable and beautiful assemblage of the finest 
 old Sevres, Chelsea, and other rare porcelain, including examples of the highest importance, and a choice cabinet of 
 objects of art and vertu , were yesterday brought under the hammer of Messrs, Christie, Manson, and Woods, at their 
 great room in King Street, St. James’s. There was a very large attendance of connoisseurs. We give the leading 
 specimens. Lot 84. A pair ot Campana^shaped vases and covers, of the finest old Sevres ; the ground green, richly 
 pencilled with gold, with flattened handles and ornaments in slight relief in pure white and gold, in the most refined 
 taste, painted with miniatures of Venus and Cupid, and flowers in colours on white ground, in large oval medallions. 
 These exquisite vases are as perfect as on the day on which they were made, and the form is believed to be unique — 500 
 guineas. 85. A pair of dventail jardinieres and stands, of the finest old Sevres, of equally high quality, green ground, 
 richly pencilled with gold, painted with exquisites miniatures of figures, after Teniers, and flowers in medallions — 335 
 guineas (Anthony). 86. A beautiful jardiniere of the finest old S6vres, of oblong shape, with w 7 hite and gold scroll- 
 foliage handles, the ground apple-green, white and gold, a large subject of figures, after Teniers, exquisitely painted in a 
 medallion in front — 160 guineas (Durlacher). 87. A beautiful Cabaret of the finest old Sevres, deep blue, pencilled with 
 gold, exquisitely painted with subjects of figures, after Teniers, in large medallions, consisting of a two-handled plateau, 
 
1861 .] 
 
 THE SC A R/SBR/CK COLLECTION. 
 
 t 63 
 
 teapot and cover, milkpot and cover, sucrier and cover, and cup and saucer — 137 guineas (Annoot). 89. A beautiful 
 Reisner secretaire, of most elegant design of inlaid woods, tastefully mounted ormolu, and inlaid with four plaques of the 
 finest old Sevres (one of large square shape on the fall-down front, one of shield shape on the drawer beneath, and a small 
 oval at each end), with Cupids and trophies exquisitely painted in grisaille on white ground, surrounded by wreaths in 
 colours, and with borders of blue, white, and gold-spotted ground ; a shelf beneath, surmounted by a white marble slab, 
 with open-work gallery. The mark of Reisner is on the under part of this charming piece of decorative furniture — 280 
 guineas (Webb). 112. A magnificent oviform vase of the finest old Chelsea, with white and gold scroll-pattern handles, 
 deep blue ground beautifully pencilled, with birds, trees, and flowers in gold, and exquisitely painted with the subject of 
 Leda the Swan, with nymphs and cupids in a landscape, in a large oval medallion — ^129 (Parkins). 113. A pair of 
 very fine vases of the finest old Chelsea, with open-work necks and covers, white and gold scroll-pattern handles and feet, 
 deep blue ground beautifully pencilled with Chinese figures in landscapes in gold — 406 guineas (King). 124. A magnifi- 
 cent old Vienna bowl, with bands of gros-bleu, richly pencilled with gold and a frieze of roses, beautifully painted in 
 crimson, on an elegant high stand of silver-gilt, beautifully chased with satyrs’ masks and festoons of flowers — ^)8o (Dent). 
 174. A beautiful shrine, of silver-gilt, surmounted by a crucifix, beneath which is a smaller crucifix in a tabernacle, set 
 with sapphires, diamond, turquoises, carbuncles, and a large pearl ; the base formed of two open-work arcades, and with 
 figures of the 12 Apostles ; on the back is engraved “ Urbanus Barberini VIII., a.d. 1637,” &c. ; in a case — ^40. 1S1. 
 
 A frame with 24 plaques, of the finest old Limoges enamel, with subjects from the life and passion of Christ, in brilliant 
 colours, heightened with gold ; the property of the late Mr. C. S. Steuart, of Dalguise, and sold by order of his executors 
 — 170 guineas (Gordon). 
 
 THE SCA RISE RICH COLLECTION. 
 
 (“The Times,” May 24, 1861.) 
 
 MARTIN’S PICTURE OF JOSHUA. 
 
 To the Editor of “ The Times.” 
 
 Sir, — I n the account of the sale of the Scarisbrick collection of pictures given in The Times of the 1 8th inst., the 
 painting of “Joshua commanding the Sun to stand still,” by Martin (lot 367), and described by you as “the gem of the 
 collection,” is stated to be the original engraved picture. This is an error, which you will, perhaps, allow me to correct 
 through the medium of your columns. 
 
 The original engraved picture is in the collection of John Naylor, Esq., of Liverpool, and Leighton Hall, Mont- 
 gomeryshire, who purchased it in 1848, together with the original picture of “ Belshazzar’s Feast,” and who has a letter 
 
 from the painter, written at that time, mentioning that he had then “just completed a new picture of Joshua a 
 
 commission from a gentleman who greatly admired the design of the original,” and, further, that he had “ not seen the 
 original for twenty-seven years.” The picture recently sold, and dated 1845 in the catalogue of the sale, is probably the 
 repetition alluded to by the artist ; at any rate, it is not the original engraved picture, as the engraving was published 
 in 1827. 
 
 As the statement which appeared has caused some misconception respecting it, you will confer a favour on all 
 interested in Mr. Martin’s works by inserting this letter in The Times. 
 
 I am, Sir, your obedient servant, 
 
 R. H. GRUNDY. 
 
 26, Church Street, Liverpool. 
 
164 
 
 ART SALTS. 
 
 1862. 
 
 MR. T. E. FLINT’S COLLECTION. 
 
 SALE OF PRE-RAFFAELITE PICTURES. 
 
 (“The Times,” March 5, 1862.) 
 
 On Friday and Saturday was held, at Messrs. Christie and Manson’s, a sale of very unusual interest. Connoisseurs 
 well know how many rare and curious works pass through these rooms every season ; what choice bargains, in “ dark” 
 pictures, may sometimes be picked up there ; what exciting contests may be witnessed when some well-known “gem” is 
 competed for with all the weight of metal brought to bear by conflicting Hertfords or Barings, Holfords or Rothschilds. 
 But of all the sales at the King Street rooms for these many seasons past none should have more interest for those who 
 occupy themselves with contemporary English art than that which took place at the close of last week. It was the 
 dispersal of a gallery collected by one of those new patrons of art whom the manufacturing industry of the North has 
 called into existence. They furnish the best customers, if not of our artists themselves, at least of the great picture- 
 dealers who have grown up as middlemen between the uncultivated patron and the painter ; and who have, in some 
 sense, revolutionized the picture-market, and enormously increased the gains of the artist’s calling. 
 
 But this particular collector was unlike the rest of his order. They buy, as a rule, only the pictures of “ made” men 
 
 works which are as safe an investment as Consols or cotton bales. Mr. Plint, of Leeds, whose pictures have been 
 
 thrown on the market by the premature death of their collector, bought almost exclusively pictures of the school called 
 Pre-Raffaelite, and did not even confine his purchases to the great lights of that school, such as Mr. Millais, Mr. Hunt, 
 Mr. Madox Brown, Mr. Wallis, but ventured to encourage the young and unknown disciples who first followed in their 
 venturous footsteps, but soon struck out a path of their own, when they found that the track their leaders were taking did 
 not lead far enough from the life of our own times to please their fantastic mediaevalism. His collection, offered for sale on 
 Friday and Saturday, included some 333 pictures in oil and water-colours. Among the former were to be found many of 
 the pictures which have excited fiercest debate and discussion in recent exhibitions for their daring defiance of hallowed 
 conventionalisms in art or their eccentric retrogression into the earlier manners and modes both of conception and 
 execution. Here were sold Mr. Millais’s “ Carpenter’s Shop” (^525 — Moore), exhibited in 1850, with its ugly nudities 
 and its marvellously-painted shavings ; the same painter’s “ Proscribed Royalist,” exhibited in 1853 — ,£551 S s - (Agnew), 
 and his “Black Brunswicker,” exhibited in i860 — £819 (Graves); replicas in small of his “Huguenot” — ^136 ioj. 
 (U. White), and his “ Escape of the Heretic ” — ,£673 (Gambart), with unexhibited pictures by him, a small female head, 
 of intense expression, called “Wedding Cards” — ,£126 (Grindlav), and a pretty figure in a garden of a bridesmaid 
 prepared to fling the old shoe after the bridal cortege — ^126 (Moore). Next in interest come a series of Mr. W. H. Hunt’s 
 landscape studies in the Holy Land: — “The Plain of Rephaim” — ^126 (Agnew); “Nazareth” — ,£151 (ditto); “The 
 Dead Sea from Siloam ,£66 3^. (Moore) ; “Jerusalem during Ramazan” — ,£105 (Agnew) ; “ Cairo, with sunset on the 
 Gebel-Mokattum ” — ,£105 (ditto). Repetitions in small of his “Scene from the Two Gentlemen of Verona” — ,£221 ior. 
 (Agnew), and his “Claudio and Isabella” — £i\o (Cox) ; Noel Paton’s “Dead Lady ” — £178 10 s. ; Mr. Windus's “ Burd 
 Helen” — £36 7 ior. (Gambart); and Mr. Luard’s “Crimean Hut” — £210 (Grindlay ) ; “Nearing Home” — £470 lor. 
 (Moore) ; and “The Girl I Left Behind Me ” — £103 (Gambart). Here were Mr. Wallis’s “Elaine” — ,£498 15^. (Agnew) ; 
 “Return from Marston Moor” — ,£141 15s. (Smith); “Marten in Chepstow Castle ” — £232 is. (Anthony); and his 
 “ Gondomar Watching Raleigh’s Execution” — ,£190 ior. (Smart) ; Madox Brown’s “ Last of England,” (an emigrant and 
 his wife sitting at the stern of a ship, which is carrying them to their new home) — £4 30 io.r. (Gambart). His far finer 
 work, “ Christ Washing Peter’s Feet” — ,£94 ioj. (Smith) ; “A Head of an English Boy” — £67 6s. (Gambart) ; a finished 
 sketch of his great subject, designed to illustrate English poetry, a triptych, with idealized figures of English poets on the 
 wings, and in the centre “ Chaucer reading the ‘ Legend of Custance’ to Edward III. and his Court ;” and a large and 
 most elaborate water-colour picture of the Virgin, as “ Our Lady of Good Children ” — ,£53 1 is. (Crofts). But these men 
 may be regarded as in some sense the “moderates” of Pre-Raffaelitism. They treat for the most part modern subjects 
 as freely as ancient ones, affect no antiquarianism of costume, and only apply to these subjects, as they perhaps believe, 
 and, at all events, somewhat arrogantly claim, the early spirit of earnestness, directness, minute elaboration, and 
 unconventionality. By their side are here exemplified a race of more thoroughgoing medievalists who would transport 
 the art back into the fourteenth century — men who, if they could carry out their art theories into life, ought to talk and 
 write the English of Chaucer, to wear the courtepie, liripipe, and peaked shoes of the Plantagenets ; to strew their rooms 
 with rushes, and to substitute tilts and tournaments, running at the ring and shuffle-board, for cricket, boat-racing, and 
 billiards. Of course, they couldn’t do it, because they would be laughed to death in the attempt. If they are not equally 
 ridiculed for their silly medievalism in art, it is partly that art critics are gentle, and still more because nobody need look 
 at or buy pictures unless he likes them. Prominent among these worshippers of the past is Mr. Dante G. Rossetti, a 
 great colourist, and an imaginative designer — a poet evidently in spirit — witness his “Lovers” — ,£15 4s. 6 d. (Meyers) — 
 and one who might be a great painter if he had not wilfully cramped his artistic feet in the small shoes of the miniaturists 
 and missal painters of five-and-a-half centuries ago. His principal works in this collection are in water-colour: — “The 
 Wedding of St. George” — £40 19^. (Moore), and “The Bower Garden” — £22 is-. (Smith). Still more extraordinary, in 
 the exclusiveness of his medievalism, which in him disdains the aid of colour, is Mr. E. Jones, whose compositions of 
 “The Wedding of Buondelmonte ” — £32 1 is-. (Rose), “ The Foolish Virgins ” — £27 6s. (Moore), and the “Waxen Image ” 
 — ,£21 i.f. (Street), are marvellous pieces of crowded detail, which put Albert Diirer’s elaboration in cross-hatching and 
 wood-drawing to shame, and defy aerial perspective in a way that makes your head ache. With all their confusion and 
 grotesqueness, however, Mr. Jones’s works might claim a rank of their own, both by virtue of their invention and a sense 
 of beauty that breaks through all their stiffness and contortion, but for the constant repetition of one and the same face 
 
1862 .] 
 
 MR. T. E. FLINTS COLLECTION. 
 
 165 
 
 which reappears in all Mr. Jones’s designs. Something of the same fault may be charged against Mr. A. Hughes, but 
 then he is a colourist, — see his “King’s Orchard” — ^105 (Agnew), — he has less grotesqueness, and he can compass a 
 reach of manlier sentiment, as he shows in his “ Knight of the Sun,” a really fine and impressive picture — ,£210 (Agnew). 
 Mr. Simeon Solomon carries ugliness and grotesqueness to their height in such drawings as his “ David Dancing Before 
 the Ark” — £6 16 s. 6 d . (Milnes). But in his “ Naomi” — ,£90 6s. (Gambart), his “ Mother of Moses” — ,£105 (ditto), and 
 his “Jewish Harper” — ,£54 I2J. (ditto), he shows himself a designer and colourist of no ordinary power, with an exclusive 
 devotion to Jewish subjects. Another young Pre-Raffaelite — whose name is less known to fame than his work, for he 
 painted “A Wounded Cavalier” with no name to it in the Academy catalogue, which attracted great notice some few 
 years ago — is Mr. Burton, author of a “ Christ Crowned with Thorns,” an “ Angel at the Sepulchre,” and a “ Mary 
 Mother,” all in this collection, as well as of “A Nun” looking back from her convent window at the world she has left. 
 All of these figures contain evidence of refinement and depth of feeling, whatever we may think of their exaggerated 
 sombreness of expression and their lank and emaciated contour. 
 
 Besides the figure subjects Mr. Flint’s gallery contained landscapes by Oakes, Brett, and A. Hunt, the latter, in 
 particular, works of very uncommon aim and conscientiousness, sometimes rising into great excellence — and water-colour 
 drawings of rare merit by great men now passed away, Turner, De Wint, David Cox, Copley Fielding, and some by living 
 men of high mark, as W. Hunt, E. Duncan, Richardson, Bright, &c., all of which fetched good, many of them high 
 prices. Among the water-colours there were Millais’s pretty designs for Framley Parsonage (sold at prices varying 
 between £ 20 and £30 each), “A Street in Cairo,” by John Lewis— ,£178 10 s. (Vokins), and some of Bida’s very powerful 
 and beautifully executed studies of Oriental figures. 
 
 Lastly, there were a few very noticeable foreign pictures, — chief among them H. Ley’s fine historical composition of 
 Capestro, the carpenter reformer, preaching in his yard at Antwerp, to our thinking, the masterpiece of this vigorous 
 Flemish painter— ,£850 (Agnew). We may mention, besides, two of Edouard Frere’s pretty little child-pictures — a 
 “Young Drummer” — ,£94 lew. (Leggatt), and a young “ Kettledrummer ” — £qa io.y. (Gambart), and a few good French 
 and Netherlandish landscapes. But, though Mr. Plint’s collection contained such pictures as these, its chief interest 
 arose from its distinctly Pre-Raffaelite character. There has been no such good opportunity as this sale afforded for 
 testing the public taste for the pictures of this class by that coarse British gauge of “ market value.” Taking the price-list, 
 it is evident that in water-colour art, while there seems to be a class of purchasers willing to give good prices for even the 
 most eccentric and fantastic medievalisms in the styles of Mr. Rossetti and Mr. E. Jones, the works of Turner and his 
 greatest contemporaries, D. Cox, De Wint, and Copley Fielding, still command, as they ought, a decided superiority in 
 the market. Among the oil pictures Mr. Millais’s later and less eccentric works obtained far better prices than his earlier 
 productions. These prices reached their height in the ^819 paid by Mr. Graves for the “Black Brunswicker,” the 
 painter’s last exhibited picture. 
 
 But the sale presented many proofs how little the test of price can be relied upon as an index of the merit of pictures, 
 take, for instance, the sum obtained for Mr. M. Brown’s “Christ Washing Peter’s Feet” as compared with that fetched 
 by his “ Last of England.” This is due, no doubt, mainly to the preference among buyers for themes of contemporary 
 life over scriptural subjects. The first day’s sale (of drawings) realized ,£5,269 195. 6 d. ; the second day’s sale (of oil 
 pictures) ,£13,121 \\s. 6d. 
 
 The above able article, which I take to be written by the late Mr. Tom Taylor, so many years the most accomplished 
 art critic of Tne Times , with whom as a confrere I was well acquainted, cannot fail to be read with deep interest now that 
 Pre-Raffaelitism is no more, while the artists referred to have risen to such high repute, and when some have died. 
 
r 66 
 
 ART SALES. 
 
 [18G3. 
 
 THE BIC KNELL COLLECTION. 
 
 {From “The Star,” April 28, 1863.) 
 
 There took place last Saturday an event in London, such, as we venture to think, could scarcely in the same time 
 and under the same conditions, have happened in any other city in the world. It was not a great national event— a royal 
 reception, or a popular demonstration. It was not anything attaching to or symbolising institutions or sentiments 
 peculiarly British. It had nothing to do with our glorious constitution, our Lords, our Commons, our free press, our meteor 
 flac our climate, our race-horses, or our bitter beer. It was just something which might have happened anywhere else, 
 and' yet which we have ventured to affirm could not be paralleled out of London. It was merely a sale of pictures. The 
 collection of paintings thus sold had been gathered together by a private Englishman, a man of comparatively obscure 
 position, a man engaged at one time in mere trade ; a man not even pretending to resemble a Genoese or Florentine 
 merchant-prince, but simply and absolutely a Londoner of the middle-class, actively occupied in business. This English- 
 man now no more, had brought together a picture gallery which would have done no discredit to a Lorenzo the 
 Magnificent, although his name is probably still hardly known to the general public of the very city in which he lived. 
 He had been the patron of some of the greatest of modern artists, and had formed a collection which would have brought 
 tourists from all parts of the world to the dingiest and most decaying of Italian towns. Offered for sale in an auction, 
 room on Saturday, to that select section of the London public, who both care about and can pay for pictures, and who 
 found it convenient to be at the time in Messrs. Christie and Manson’s establishment, the collection realised a sum of 
 money only wanting a few hundreds of sixty thousand pounds. The artists whose works were thus purchased, were for 
 the most part, too, our own. It was no mere competition of fashionable pretenders, feeling themselves secure to praise 
 and purchase so long as “your Raphaels, Correggios, and stuff” were in question. English money was spent upon 
 English art. 
 
 But, as a whole, the collection was a magnificent display of English art. Painted (with very little exception), by 
 English artists, gathered together by an English collector ; it appears from the names we have seen to have been 
 purchased almost altogether by Englishmen. We were slow to obtain a name as a nation possessing artists. Long after 
 the world had consented to acknowledge that Britons could write poems and construct dramas, foreign nations were 
 entirely incredulous as to our capacity to paint pictures. Boileau professed to have never heard of Dryden ; but it is 
 only in our own time that Boileau’s countrymen are beginning to hear and to care anything about Gainsborough and 
 Turner. Nor was the reputation we enjoyed as collectors, which is of a good deal older date, very honourable in its 
 character. The rich Englishman was supposed to go about the world staring with lack-lustre, unappreciating eyes, at 
 the wonderful productions of Italian and Spanish pencils — productions which he pretended to admire because he thought 
 it genteel to do so, and which he consented to purchase because he supposed it due to his social state to display expensive 
 paintings to all his guests. This was the continental notion of an English art-patron. 
 
 Voltaire embodied it, and fifty others since his time gave it what new colouring their natures would. Many a 
 Frenchman who came over to last year’s Exhibition, frankly acknowledged himself amazed at the pictorial collection 
 which our British court had to show, and returned impressed with the belief that John Bull was a better judge of pictures 
 than his neighbours had supposed. We have plenty of picture-fanciers indeed, who purchase and criticise still upon just 
 the same principles as the honest Briton in “ Peregrine Pickle ; ” but it would be impossible to deny that the taste for art 
 has immensely progressed in England during the past two or three generations. Some of the finest collections of pictures 
 to be found in Europe are at present the property either of the English nation, or of individual Englishmen. Those who 
 are not disposed to render us full credit in this respect, might have been better able to appreciate the fact had they 
 attended the sale on Saturday, and observed the artistic wealth accumulated in one English collection, which did not 
 claim to be among the foremost. 
 
 Mr. Elhanan Bicknell was the son of a much respected schoolmaster at Tooting, who had for his pupil Thomas 
 Wilde, the well-known Attorney-General afterwards Lord Chancellor as Lord Truro. He was intended to be a farmer, 
 but joined a Mr. Langton, an oil-merchant and refiner of waste spermaceti, by which a large fortune was made. He always 
 had a love of country scenery, and devoted himself to gardening on his estate at Herne Hill, where his house became a 
 complete gallery of pictures and sculpture. He died in November, 1861. The Athenceum of December, 1861, in noticing 
 his death as a great loss to the arts, claimed him with Mr. Vernon, Mr. Wells, and Mr. Sheepshanks, as the four principal 
 collectors of modern art — men who, unimpelled by the motive of investment for profit, collected for the pleasure and 
 instruction they derived from contemplation and love for the art exhibited in the painter’s works. It will be remembered 
 that Mr. Vernon and Mr. Sheepshanks bequeathed their very valuable collections to the National Gallery. 
 
 (“The London Review,” May 2, 1863.) 
 
 A tribute, eminently English, has been paid to the genius of Turner. His presence in the market-place has changed 
 it for the time into a temple of art and a hall of fame ; but no doubt every picture, even the “ Madonna di San Sisto,” 
 the “ Spasimo,” or any other masterpiece of Raphael, has a price. Immortal works of genius are not priceless, as 
 Marshal Soult discovered when he accepted the £ 26,000 for the “ Concezione Immacolata” of Murillo. Probably, if the 
 “ Correggio Magdalen ” of the Dresden Gallery were offered for sale at Messrs. Christie and Manson’s, it would realize 
 
1863 .] 
 
 THE BICKNELL COLLECTION. 
 
 167 
 
 as many thousands as Earl Dudley, in the flush of his younger enthusiasm, gave Prince Odescalchi for his reputed replica 
 of that famous picture. Now, the “ connoisseurs ” have been talking for the last fortnight of the thousands that the 
 “ Palestrina ” alone, one of Turner’s latest and larger pictures, illustrating his own poem of “ The Fallacies of Hope,” 
 would fetch. When it came to the last wave of Mr. Manson’s baton, the “Palestrina” hung in doubt for a moment at 
 1,890 guineas, the next it fell at 1900 guineas. If Turner could have known this, it must have given him a twinge, because 
 all his later pictures were pet fancies of his heart, emanating from the same source as his “ Fallacies of Hope,” as anyone 
 will remember who saw the catalogues of the Academy in those days. It was a work much in the vein of his “ Childe 
 Harold,” but more vague, and not quite so artistic ; yet it has fine passages, and a glorious air of poetic landscape feeling 
 pervades it, free from any of his prismatic fancies. An avenue of trees leads away on one side of a foreground rich and 
 varied with herbage, rock and water, with a bridge, and still, clear, deep pool running over the rocks, and becoming a 
 torrent as it rushes to the valley far away. The hill, with its famed city clinging to its sides and shining in the sun, is 
 also finely painted. The sky is, for Turner, rather crude, and not so luminous as his skies generally are. This picture 
 was hung in the sale-room as a centre, and immediately beneath it was placed the “ Ehrenbreitstein,” on each side of 
 which ranged out the four splendid sea-pieces flanked by the two early pictures, painted 1813-4, somewhat in the manner 
 of Wilson ; now changed to a mournful brown, like faded laurel-wreaths gained by the first triumphs of some young poet 
 — the “ Ivy Bridge,” Devon, and “ Calder Bridge,” Cumberland — and they were purchased as relics for 880 guineas and 
 500 guineas respectively. “ The Ehrenbreitstein ” was the picture often appealed to by Mr. Ruskin for its beauties, when 
 he cried like a voice in the wilderness about the advent of Turner’s glory. The idea of this picture was suggested, perhaps, 
 by Byron’s allusion to the spot in “ Childe Harold,” and Turner has painted it in the tomb of General Marceau. It is 
 extremely grand and noble in the idea of the glorious sun shining upon the tomb of a hero, while the pale moon looks on, 
 in the clear, calm blue of the heavens above the hills, like the face mournful at the fate of heroes. There is a wonderful 
 delicacy and brilliancy of colouring in the opaline tints spread over the hills and blending tenderly with the blue mist that 
 hangs over the town in the distance, and again harmonising with the broad sweep of afternoon’s sunlight that strikes 
 through the trees and lights up the groups of figures and soldiers at the tomb of the soldier. This fine work was sold to 
 Mr. Agnew, the dealer, for ,£1890. It was painted in 1835, and measured 3 feet by 4. 
 
 “The Antwerp,” with Van Goyen, the Dutch sea-painter, supposed to be looking out for a subject in the fishing-boat 
 tossing about nearest to the shore, is remarkable for the fine lighting of the picture. The light beams out of the squally 
 sky, and falls upon the cathedral and churches of Antwerp, making them shine as if built of pearls. The freedom and 
 mastery in the painting of the sea, and the buoyancy of the fine frigate and other vessels, give extraordinary life and 
 movement to the scene. This, like most of the others, was purchased of Turner by Mr. Bicknell. It was in size, 35 by 
 48 inches, painted and exhibited in 1833. The first bid for this was 1000 guineas, and the next as many more, and it was 
 eventually knocked down to Mr. Agnew for ,£2635 ioj. 
 
 “ The Helvoetsluys ” was another fine piece of sea painting, especially in the drawing of the shipping, the chief object 
 in which is “The City of Utrecht,” 64-gun ship, going to sea, charmingly shown as if just feeling the breeze as she heels 
 over gently, and sets herself to find her way to the sea. This picture, painted in 1832, is the companion picture and 
 of the same size as the “Antwerp.” It was bought by Mr. Agnew for ,£1,680. “The Port Ruysdael,” a picture of the 
 same size, painted in 1827, is one of the most interesting of the sea-pieces, from the astonishing power with which the 
 painter has represented what sailors call “a nasty lop of a sea” with a stiff breeze, giving the water the peculiar sandy 
 look of the broad Dutch rivers. The sky is filled with dark clouds, and a lugger, with light, red-coloured sails, is running 
 hard for the port, the jetty of which forms the foreground of the picture. This was bought by Mr. Agnew for ,£1,995. 
 But the gem of these sea-pieces will, we think, be considered to be “ The Wreckers,” a work of his very finest time, painted 
 and exhibited in 1834. This is indeed a miracle of painting, surpassing in the wild movement of the clouds driven by the 
 gale, and the waves dashing upon the shore, and in the misty air, tne famous “ Blue Lights and Rockets ” picture. The 
 scene is part of the Northumberland coast, and the cliffs, with the ruins of a castle, are seen lit up by a gleam of misty 
 light that strikes out of the upper clouds, and falls far and wide over the wet sand, throwing cut a shining haze and 
 reflection with marvellous reality and most beautiful effect. A party of men are struggling and grappling with a huge 
 mast washed ashore, the shrouds of which are seen washed up in the monster wave reared up, about to break upon the 
 shore. Nothing is more striking, as it proves the true observation and genius of the painter, than his showing how the 
 mighty waves play with these immense pieces of timber, and heavy ropes and chains, as if they were light as cork. The 
 suggestion is most complete, and this touch of reality, surrounded with so much of the mystery and vagueness of the natural 
 landscape, it is that conveys to the mind an impression so closely allied to the real scene. This picture was put up at 
 1,000 guineas, and was presently knocked down to Mr. Agnew for ,£1,890. 
 
 The two extremely beautiful pictures of Venice — “The Campo Santo” and “The Giudecca ” — were both painted for 
 Mr. Bicknell in 1841-2. They measured 24 by 36 inches. At this time he was impressed with his studies of Italian 
 skies ; and it is not too much to say that to have caught the mirage-like qu vering light that shines over Venice, the city 
 of the sea, is an achievement in art that belongs to Turner alone. “ The Campo Santo,” with the white-winged felucca 
 moving like a phantom ship upon the clear, smooth, glistening sea, and the boats, with figures all touched in colour, so 
 dazzling and yet so indefinite and indescribable, is altogether a most beautiful work. This was sold to Mr. Agnew for 
 ,£2,000, and “The Giudecca” for ,£1,732 ioj. It was expected that the Turner pictures would have realised ,£20,000 or 
 ,£25,000; as it was, they amounted to ,£17,146 lew., and none quite equalled the price of £ 2 , 626 , given at a sale by 
 auction in i860, for the “Venice and the Grand Canal.” The pictures by other painters of the English school were some 
 of them of very high merit, and they realised prices quite unexampled in any previous sale by auction. 
 
 (G. R.) 
 
ART SALTS. 
 
 [ 1863 . 
 
 16S 
 
 COPIES OF GREAT PICTURES MISTAKEN FOR THE ORIGINALS. 
 
 (“The Standard,” October 1863.) 
 
 [A remarkable error of this kind was made by a judge of such celebrity as Dr. Waagen in his notice of the collection 
 formed by the Earl of Normanton at Somerley. (See Galleries of Art, Waagen, p. 363, Vol. IV.)] 
 
 TO THE EDITOR. 
 
 Sir, — An error in literary or scientific criticism has rarely a long existence ; but a misjudgment on a work of art, 
 especially in reference to painting, may pass current for generations, and often remain for ever unchallenged. An 
 erroneous criticism, therefore, when detected, appeals more imperiously for prompt correction in the latter than in the 
 former case. For this reason I should feel obliged if you would afford space in your columns for the few following 
 remarks : — 
 
 Dr. Waagen, director of the Royal Gallery of Pictures, Berlin, in his work on “ The Galleries and Cabinets of Art in 
 Great Britain,” describes his visit to Somerley, the seat of the Earl of Normanton, and expresses his pleasure and surprise 
 at the “ stately picture gallery which the earl had only recently completed after a plan of his own. The proportions of 
 the gallery,” he observes, “ are not only fine, and the gold decorations rich and tasteful, but the lighting from above is so 
 happily calculated that every picture receives a clear and gentle light, while the reflections which so much disturb the 
 enjoyment of the similarly-lighted Bridgewater Gallery are quite avoided.” In justice to myself it behoves me to claim 
 the merit, whatever that may be, of this construction, as it was erected entirely from designs furnished by me ; and in 
 justice also to Dr. Waagen I should observe that I have not the slightest intention of even hinting at his responsibility for 
 this error — an error which no doubt occurred very naturally, and quite in accordance with the popular conception of 
 human vanity. 
 
 I now pass to what arraigns more immediately the judgment and critical acumen of Dr. Waagen. At p. 366, 
 vol IV., of the work mentioned above, Dr. Waagen, in his review of the various works in the Somerley Gallery, describes 
 a picture, which he attributes to “ Claude Lorraine,” as “ an admirable work of the middle and best time of the master ; 
 very powerful in the foreground, the trees of warm tone, and the distance of rare delicacy.” At p. 368 another picture, 
 the subject of which is “ St. Ursula,” is mentioned, and also attributed to Claude. Of this production Dr. Waagen observes, 
 that “ amongst the pictures of this class by the master it takes a prominent position for richness of composition, power, 
 and transparency of foreground, tenderly graduated, airy distance, and mild and warm tone of sky.” Not the slightest 
 shadow of hesitation seems to have crept across the mind of the distinguished critic whilst pronouncing these to be the 
 veritable productions of Claude ; not even the modest symbol of doubt which he occasionally appends when the 
 possibility of error exists is to be discovered. In his estimation the works before him are Claudes, distinctly and 
 positively Claudes. 
 
 I beg to thank Dr. Waagen for this very flattering compliment, for the pictures in question happen to be “genuine” 
 copies executed by me, and for Lord Normanton. At page 369 four pictures are set down as the productions of “ Greuze,” 
 specimens, as Dr. Waagen says, of Greuze’s favourite subjects, “young girls, all genuine and attractive,” one of which is 
 painted by myself. Then we find at page 368, a picture representing “The Virgin and Child, St. John and St. Joseph,” 
 which, according to Dr. Waagen, is by Sir J. Reynolds. Further on another celebrated picture of the “ Fortune-teller” 
 is described and pronounced to “possess great power of colouring.” Another production of Sir J. Reynolds’s is mentioned 
 at page 371, vol. IV., the “ Infant Samuel,” which Dr. Waagen is pleased to designate as “ the finest example he knows 
 of this picture.” Of these Sir Joshuas, like the Claudes and the Greuze, I claim to be the painter, notwithstanding the 
 elevated position assigned to them by the celebrated art-critic, the “ Director of the Royal Gallery of Pictures, Berlin.” 
 
 If such numerous instances of unquestionable error can be culled from a single gallery, what a marvellously 
 grotesque harvest of mistakes there must be ready for the reaper in the vast aggregate of “ Galleries and Cabinets of Art 
 in Great Britain ! ” 
 
 I am, Sir, your obedient servant, 
 
 Brompton, Oct. 15. JOSH. R. POWELL. 
 
 To the above very interesting letter I may add that when I was myself painting in the National Gallery, about 1846, 
 Mr. Powell’s copies were admired by everyone for the extraordinary technical perfection with which he painted, and the 
 rare faculty of perceiving the feeling and style of the different masters, which enabled him to paint these marvellous copies. 
 
1865.] JOHN LEECH'S OWN DRAWINGS AND PICTURES. 169 
 
 SALE OF JOHN LEECH'S OWN DRAWINGS AND PICTURES . 
 
 Preface to Sale Catalogue, April 25, 1865. 
 
 From those who offer for sale, by direction of the executrix of John Leech, and for the benefit of his family, this 
 extraordinary collection of Original Sketches, little can be needed as an introduction to the catalogue. The name of 
 John Leech will endure while and wherever the English language is spoken, and any work from his hand is a treasure 
 that must increase in value with the increasing love of Art. To the true student it is almost needless to say that these 
 sketches illustrate the character of the great Artist as truly as he illustrated the life and manners of his age. They are 
 intensely interesting, not merely as the originals of the pictures that have delighted millions and have become the 
 property of the world, but as showing the mode in which John Leech worked and thought out his exquisitely truthful 
 conceptions, and as proof that he was as mindful of the pictorial as of the satiric requisitions of the art of which he was 
 so great a master. They also show his brilliant and incessant advance, and the mode in which he attained his singular 
 facility and unequalled grace. To the general public it is believed that this opportunity of enriching the homes of 
 England with memorials of the greatest artist who has dealt with home life of a refined order, will be as acceptable as to 
 the connoisseur and collector. 
 
 With a notice that “ The Copyright of all the works of John Leech (being the property of Messrs. Bradbury & Evans 
 and others) is reserved.’’ 
 
 The following were some of the most interesting, and the prices at which they sold 
 
 “ Mr. Briggs goes out with the Brighton harriers ; he has a capital day. The only drawback is that he is obliged to 
 lead his horse up hill to ease him, and down hill because he is afraid of going over his head, so that he doesn’t get quite 
 so much horse exercise as he could wish.” The pair of pictures 105 guineas (Shoolbred). “ Mr. Briggs, feeling that 
 his heart is in the Highlands a-chasing the deer, starts for the North ” — 61 guineas (Shoolbred). “ With extraordinary 
 perseverance they come within shot of ‘ the finest hart ; ’ Mr. B. is out of breath, afraid of slipping, and wants to blow his 
 nose (quite out of the question); otherwise he is tolerably comfortable” — 56 guineas (Russell). “After aiming for a 
 quarter of an hour, Mr. B. fires both his barrels — and--misses ! ! ! ! The Forester’s Anguish” — 85 guineas (Hopgood). 
 “ After a good deal of climbing, our friend gets to the top of Ben Something-or-other, and the forester looks out to see if 
 there are any deer on the top of the hill. Yes, several hinds, and perhaps the finest stag that ever was seen ” — 107 
 guineas (Lucas). “ The Deer are driven for Mr. Briggs ; he has an excellent place, but what with waiting by himself so 
 long, the murmur of the stream, the beauty of the scene, and the novelty of the situation, he falls asleep, and while he 
 takes his forty winks, the Deer pass” — 55 guineas (Eaton). “Mr. Briggs is suddenly face-to-face with the Monarch of 
 the Glen ; he is so astonished that he omits to fire his rifle ” — 7 2 guineas (Russell). “ Mr. Briggs has another day’s 
 stalking, and his rifle having gone off sooner than he expected, he kills a stag. As it is his first, he is made free of the 
 forest, by the process customary on the hills ” — 72 guineas (Ditto). “Romance and Reality. Beautiful Being (who is 
 all soul) : ‘ How grand, how solemn, dear Frederick, this is ! I really think the ocean is more beautiful under this aspect 
 than any other.’ Frederick (who has about as much poetry in him as a codfish) : ‘ H’m — ah ! — yes — perwaps. By the 
 way, Blanche, there’s a fella swimping, s’pose we ask him if he can get us some pwarns for breakfast to mawaw morning ’ ” 
 — 60 guineas (Millais). “A Problem for Young Ladies: Given — the elegant Reginald Fipps, who used to waltz so 
 beautifully, performing the above kindly and piost needful operations at the end of the pier while the band is playing, 
 what relation is he to the darling operated upon?” — 61 guineas (Haydon). “A Contented Mind — OldWurzel: ‘Well 
 Muster Chawles, so you’ve been a riding the young ’un. How does he go?’ Muster Chawles : ‘ Oh, splendid ! never 
 carried better in my life ! it was his first run, and we only came down five times” — 73 guineas (E. Instone). “ One of 
 Multum in Parvo’s Going Days”— 78 guineas (Shoolbred). “Scene: A Park— hounds running. — Keeper: ‘Stop a bit, 
 Master Reginald, and I’ll lift one on ’em up.’ Master Reginald : ‘ Now you just let ’em alone, I’m coming over ” — 70 
 guineas (S. Mitchell). “Well, Reginald, when do you go to school?” — 49 guineas (Armstrong). “When it is foggy in 
 London, it is delightful at Brighton 1 10 guineas (Herring). “The Lovers’ Quarrel— Frederick : ‘ But 1 assure you, 
 
 dearest ’ Emily : ‘ Oh, nonsense, Frederick ! don’t tell me ; I judge by deeds, not words ; and I am sure you cannot 
 
 really love me, or you never would have given that horrid Miss Clapperton the wing of the chicken and me the leg. 
 Besides, you handed the strawberries first to Flora Giggles, and you know how I hate her ! ” — 37 guineas (Cumming). 
 “ Malicious.” Never exhibited. “ Flora : ‘Can you still see the steamer, Lucy, dear?’ Lucy : ‘ Oh, yes ! quite plainly. 
 Flora: ‘And dear, dear William, too ? ’ Lucy: ‘Oh, yes!’ Flora: ‘Does he seem unhappy, now he is away from 
 me?’ Lucy : ‘Evidently, I should say, dear; for he is smoking a cigar, and drinking something out of a tumbler to 
 cheer him, poor fellow ! ’” — 22 guineas (Lucas). “As little Grigley is on his way to call upon those jolly girls he met 
 on New Year’s Eve, he thinks he will have his boots touched up ; just as the polishing begins, the jolly girls come round 
 the corner. ‘ Dooced awkward! wasn’t it?’ as little Grigley said” — 30 guineas (Lucas). “Very attentive. Hard- 
 riding Cornet (to old party who is rather bothered by a brook) : ‘ Don’t move, Sir ? Pray don’t, Sir ! and 1 11 take you 
 over with me’”— 64 guineas (Armstrong). “ Putting his foot in it. Little Hairdresser (mildly) : ‘ \ er ’air’s very thin on 
 the top, Sir.’ Gentleman (of ungovernable temper) : ‘ My hair thin on the top, Sir ! and what if it is ? Confound you, 
 
 you puppy, do you think I came here to be insulted and told of my personal defects ? I’ll thin your — 23 guineas 
 
 (Cumming). “Remarkable Occurrence. On the morning after the dispensary ball, Emily Deuxtcmps and Clara 
 Polkington were sitting in the plantation, when who should come to the very spot but Captain Fastman and young 
 Reginald Jipps ! ” — 62 guineas (Lucas). “ Tableau representing a young gentleman who fancies he is alone by ‘ I he Sad 
 Sea Waves” — 58 guineas (Right Hon. W. E. Gladstone). “A New Game at Billiards ” — 41 guineas (Vokins). “ 1 he 
 VOL. I. 2 
 
170 
 
 ART SALES. 
 
 [ 1866 . 
 
 Fair Toxophilite ”—60 guineas (Vokins). “ Croquet : a nice game for two or more : * Fixing her eyes on his, and placing 
 her pretty little foot on [he ball, she said “ Now, then, I am going to croquet you,” and croquet’d he was completely ’ (From 
 Rose to Emily)”— 95 guineas (Oliphant). “ Married for money— the honeymoon : ‘Now, then, darling, put away your 
 paper, and we’ll have a nice long walk, and then come back to tea in our own little cottage, and be as happy as two little 
 birds,’ said the fair bride. ‘ Oh, hang it ! ’ mentally ejaculated the captain ”—20 guineas (Anderson). “ A Sketch at 
 Ramsgate: Ellen (who loves a joke at Aunt Fidget’s expense) : ‘Good gracious, aunt, there are two officers ! ’ Aunt 
 Fidget (a short-sighted lady) : ‘ Bless me, so there are. Well, they may be officers, but they are not gentlemen, I’m 
 sure, or they wouldn’t stand looking at us in that impudent manner’” — 40 guineas (ditto). “Division of Labour. 
 Sportsman (in standing beans) : ‘ Where to, now, Jack ?’ Jack : ‘ Well, let’s see. I should just go up the beans again 
 and across the top end, beat down the other side and round by the bottom ; while you’re there, get over and try old 
 Haycock’s standing oats— he won’t mind. I’ll stop here and mark ’ ”—31 guineas (ditto). 
 
 The above list of the subjects will be read with interest as recalling the pleasure afforded to those who remember 
 these delightful works as they appeared in Punch. 
 
 (“Daily News,” April 13, 1866.) 
 
 One of the most interesting exhibitions of last season was the collection of original drawings, with some of the 
 enlarged series in chromolith, which were exhibited at the sale-room of Messrs. Christie and Manson at the time of the 
 sale of the late John Leech’s works. Not less interesting is the collection of the tracings of all the important works, and 
 some hundreds of original drawings in pencil and colour, with many etchings on copper, which has during the past week 
 been exhibited at the residence of the Misses Leech, the sisters of the eminent artist. Perhaps few will require to be told 
 that all those delightful sketches in Punch, which we used to look for with such eager expectation every week, were 
 drawn no less than three times — thrice the work has passed through the refining crucible of that ardent mind. First, 
 there was the very original with all its life and spirit, and here and there a “ pentimento,” as the Italians say, where a 
 second thought improved upon the first ; next came the tracing from this on transparent paper by which the work was 
 transferred in its essence to the block to be again drawn in perfection by the same master hand ; and finally, we had the 
 wood engraver’s reproduction. A great sculptor used to say of the processes of his art, that the clay model was the life, 
 the cast the death, and the marble the resurrection. Happily for Leech, his touch had so much life in it, that in all the 
 four stages, or forms, in which his work appears, it never fades or loses the impress of his taste and humour. Indeed, we 
 may go further, to show how true and thorough his work was, in its being able to bear the direct enlargement or 
 expansion as if by a magnifier of high power, as we see in the admirable series of coloured drawings which have recently 
 been so wonderfully well reproduced in chromolith under the direction of Messrs. Agnew. That Leech was right in his 
 notion that he could add the charm of colour to his work will be admitted at once on looking at these, especially where 
 his favourite landscape of the coast or the hunting field comes into the scene. 
 
 We were certainly not prepared to find the tracings so strikingly full of his peculiar power as they are. Many of 
 these show his grace and delicacy of line and touch with more clearness and decision than either the original drawings or 
 the engravings. They possess also' a singular character which it is somewhat difficult to describe — a sort of purity and 
 simplicity in their outline forms, which reminds one of the drawings of the old masters. Whatever is done is essential to 
 the work and full of meaning : there is not a touch that the artist could spare, and the whole bears a stamp of unity and 
 perfect understanding of the master hand. It appears that Leech was in the habit of giving these tracings to his sisters 
 just as they happened to be torn hastily from the block and thrown aside often in the hurry of his work ; fortunately, 
 they have nearly all been preserved, and have now been mounted properly, so that they form really an unique collection 
 not inferior to the originals, and having certain interesting points of their own which give them a peculiar value in artistic 
 eyes. Many of these are from drawings before the days of Punch, as the series called “ The Children of the Mobility,” 
 and some illustrating the life of Savage. In the collection, also, were exhibited all the original drawings for Gilbert 
 h’Beckett’s “ Comic History of England,” those for the “ Comic English Grammar and Latin Grammar,” as well as those 
 which illustrated Mr. Dickens’s “ Christmas Carol ” and “ Chimes,” and a large volume of 172 etchings, done for Bentley’s 
 Miscellany, many of which are remarkable as specimens of this branch of art. Not the least interesting in this large 
 collection were some small drawings by Leech when quite a child, which abound in the schoolboy love for broad 
 caricature, but with a rare touch of humour in the heads of his figures that showed how completely native it was to him. 
 The whole collection is most interesting, and the tracings especially serve to show what was a high excellence in Leech, 
 that he brought beauty and grace to the satire and humour of art. Hogarth never added a line of beauty and grace to his 
 satire, though he could see the want of it in the pictures of others. Gillray, Rowlandson, Seymour, Cruikshank cared 
 little for “ the beautiful ; ” they would be nothing without the licence permitted to all caricaturists, and which every one 
 is perfectly willing to give, but to Leech we owe quite a new order of art in this direction — one in which beauty is an 
 essential element — and nothing can prove this better, were proof needed, than the sight of the collection of tracings and 
 drawings with which we have been so obligingly favoured. 
 
 (G. R.) 
 

 
1866 .] JOHN LEECH S “MR. PUNCH'S FANCY BALLS 171 
 
 “MR. PUNCH’S FANCY BALL” (By John Leech). 
 
 Description . — Mr, Punch in full dress, leads Queen Victoria as Britannia, Prince Albert following, wearing the new 
 shako of the Line ; Col. Phipps behind, and Lord John Russell close to the Queen’s right, with the Mistress of the Robes and 
 a Lady, before whom dances Tom Thumb as Napoleon I., in which character this curious dwarf dressed at his levees. The political 
 caricatures on the right side. The Duke of Wellington with a pretty girl between him and the Sultan, who may be intended for Greece. 
 Lord Brougham as Pantaloon is in front, arm-in-arm with an old lady ( The Standard ) in the big bonnet of the period; then on 
 the opposite side of the Cartoon we have the symbolic attribute of the mild Tory Newspaper, since defunct. The Morning 
 Herald, quizzed as Dickens’s immortal “SaireyGamp” with her umbrella, and being toasted by Lord George Bentinck dressed 
 as a Jockey. Returning to the right hand of the picture, we notice a very funny group beyond the old lady in the bonnet, of 
 the British Lion, got up for the occasion in a high shirt collar, frill, and eye-glass, being complimented by Lord Palmerston in his 
 jaunty style, with a straw in his mouth, while Col. Sibthorp, in a puritan hat, looks on disgusted. In the group on the left-hand side 
 is an admirable likeness of Sir James Graham, above the cap of Lord G. Bentinck. The others are polit ; cal characters, but too indistinct 
 to identify. 
 
 Orchestra . . The Editor and Staff of Punch. 
 
 Conductor . . Mark Lemon ( Editor ). 
 
 Pianoforte 
 
 Drums 
 
 Piccolo 
 
 Violin 
 
 Tom Taylor. 
 
 Douglas Jerrold. 
 Thackeray (in spectacles). 
 Gilbert a Beckett. 
 
 Oboe 
 
 Flageolet . 
 Cornet . 
 Double Bass 
 
 John Leech. 
 
 R. Doyle. 
 
 Horace Mayhew. 
 Percival Leigh. 
 
 Of this notable Orchestra, whose merry music delighted the whole world, all have now gone aloft but one — Mr. 
 Percival Leigh. Those who remember their faces, as I well do, will recognize them all in this wonderful sketch which 
 makes them live again. Sic itur ad astro. / 
 
 Z 2 
 
T72 
 
 ART SALTS. 
 
 [ 1866 . 
 
 THE WELLESLEY COLLECTION. 
 
 This remarkable collection of drawings by the Old Masters and engravings formed by the 
 Rev. Dr. Wellesley, Principal of New Inn Hall, Oxford, was sold soon after his death by 
 Messrs. Sotheby, Wilkinson & Hodge, at their rooms, beginning June 25, 1866, and continuing 
 for fourteen days inclusive. The catalogue contained 2,454 lots, many of which were single, of 
 which there were 21 pictures, a terra cotta head in relief of Marie de’ Medici, and a carved ivory 
 casket of XIV. Century work. Dr. Wellesley began to collect at a time when little was known 
 about old engravings and drawings ; thus he had obtained a large number of engravings which 
 have since become rare, and the original drawings by Michel Angelo, Raphael, Correggio, Fra 
 Bartolommeo, and other masters of the Italian School, besides many by Claude, were especially 
 line. The prices paid for the choicest drawings were very high for those days, but not so high as 
 these drawings bring at the present time, while many sold for shillings which would now sell for 
 as many pounds. The most important were those by Raphael in the last day’s sale : — The 
 Almighty appearing to Isaac, sepia, 10 by 8 — £35 (Colnaghi) ; his Sister, half-length, black chalk, 
 from Ottley Collection, 10J by 7 — £240 (Whitehead) ; another portrait of his Sister, black chalk, 
 Ottley Collection, 16 by 10 — £300 (Whitehead, for Mr. Malcolm) ; another of his Sister, 
 looking down, with metal point on prepared ground, 10J by 7, engraved in Ottley’s “ Italian 
 School of Design,” on the back a sketch of a youth — £470 (Addington) ; the Virgin, Child, and 
 Angel, sketch with the pen, 10 by 8J, from collections T. della Vite, Crozat, Mariette, Leroy, and 
 Dimsdale — £380 (Grundy, for the British Museum) ; Virgin and Child, silver-point, 4! by 5J — 
 -£■600 (Colnaghi); Holy Family, black chalk and white, 15 by 11J — £13 (Colnaghi); “The 
 Entombment,” two soldiers sleeping by a sarcophagus, 7 by gj — £2 3 (Whitehead) ; Prophet and 
 Sibyl, 8 by 10, pen, sepia and white — £42 (Knowles) ; Six figures, seated, whole length ; pen, with 
 white, 7\ by 10, sketch of a man asleep on back — £\ 5 15s. (Colnaghi) ; The Prophet, black chalk, 
 8J by 11J — £3 (Lord Warwick) ; Head of a young man, in a cap, black chalk, 7J by 10 — -£11 
 (Whitehead) ; Five studies of heads, heightened white, 7J by iif, Virgin and Child on back — £39 
 (Mayor). By Michel Angelo : — Study for a soldier in Cartoon of Pisa, 7J by 5f, black chalk — 
 £3 10s. (Robinson) ; Sketch in black chalk, with writing of poetry by Michel Angelo’s hand — £3 5 s. 
 (Whitehead) ; “ The Marchioness of Pescara,” profile, black chalk, 9I- by ni, from collections 
 Buonarroti and Vicar, some grotesque figures on the back in red chalk- — £290 (Addington). 
 Andrea del Sarto : — His portrait, by himself, life size, black chalk, 16 by n| — £67 (Addington). 
 Canaletto : — “ Piazza S. Marco,” pen, sepia, 11 by 17b, engraved by F. C. Lewis — £163 
 (Hogarth). By Titian : — 59 drawings, figures, and landscape, none of which sold for high prices, 
 the highest being a landscape with waterfall, from Mariette Collection, 14 by 9J — £30 (Whitehead); 
 most of them for from 30s. to £3. A battle-piece, pen, washed, with white, since said to be the 
 
 Cadore drawing, 9J by 7f ( ), and which I observed was marked with the name “ Rota” of the 
 
 eminent engraver of Titian’s works ( ), from the Lawrence and Esdaile Collections, only brought 
 
 £1 12 s. (Hogarth) ; another, called “ Conversion of Saul,” a man falling from his horse, black 
 chalk on grey paper, washed, 10 by iof, from Richardson, West, Lawrence, and Esdaile 
 Collections — £6 6s. (Hogarth). This has since been said to be a study for the Battle of Cadore. 
 “ Ruggiero and Angelica,” 16 by 10, engraved by Cort — £30 (Grundy). Many other fine drawings 
 passed for small sums, though some were undoubtedly not genuine. A portrait study of Isabella 
 Sforza, in red chalk, 5 by 6, from Ottley, Lawrence, and Esdaile Collections — £20 (Addington). 
 The Correggio drawings sold for a few shillings mostly, only two or three bringing from £3 to £7. 
 The drawings by Claude, about 200, sold for very moderate prices, the highest being “ Ponte 
 Mollo,’ sepia with white, from Lawrence and Esdaile Collections, 13 by 8f — £94 (Whitehead) ; 
 “ An Embarcation,” pen, sepia with white, signed and dated, 7J- by 6- — £20 (Colnaghi) ; “ Prato 
 Lungo,” sepia, signed on back, and dated 1643, \\ by 7J — £30 (Clement); cattle at a brook with 
 shepherd, signed and dated 1646, from Denon Collection, 85 by 5I — £<48 (Colnaghi) ; sea-piece, 
 stormy, with coast and figures, pen sepia with white, signed, 7 by 5 t — £30 (Colnaghi) ; shepherd 
 seated on a stump, other figures and temple, &c., pen sepia, 6 by 4 — £37 (Whitehead) ; Rome, at 
 the Carnival, sepia, figures, 13 by 8J — £44 (Colnaghi) ; “ Mercury and Argus,” pen, indian ink, 
 signed 1662, 14^ by 9! — £68 \ “Embarcation of St. Ursula,” sepia, 10J by 16J, study for the 
 
1867.1 
 
 MODERN PICTURES AND DRAWINGS. 
 
 i73 
 
 picture in National Gallery — £70 (Colnaghi). By Perugino : — Six drawings, all brought good 
 prices but one — the “ St. Sebastian,” 5 by 10 — £5 5s. Two full-length figures, pen, sepia with 
 white — £37 (Addington); “ Marriage of the Virgin,” pen and white, 8|- by 11 — £38 (Whitehead); 
 men in armour, whole-length, pen, sepia and white, by gf — £23 (Addington) ; the Saviour 
 Enthroned, pen, washed and white, injured, 20 by 12 — £30 (Clement); “Adoration of the 
 Shepherds,” for the fresco at Perugia, pen, sepia, from Richardson and Barnard Collections, 
 by 15I — £38 (Whitehead). Leonardo da Vinci :• — -Ludovico Sforza, “The Moor,” life-size, 
 black chalk, washed, 9 by 14 — £54 (Mulvany) ; G. Galeazzo, head with cap and flowing hair ; 
 black chalk, with white, from Lely Collection, iol by 11 — £82 (Addington). The total amounted 
 to £20,023 8s. 
 
 STANFIELD'S SKETCHES. 
 
 Of the pictures sold during the week, the Stanfield sketches were interesting and brought generally very good prices, 
 especially those for his large works — such as Citara, Gulf of Salerno, painted for Lord Lansdowne, £25 4s. ; Sorrento, for 
 Mr. Barton Phillips — £32 ; Pozzuoli — £107 ; Castle of Ischia, painted for Mr. G. Knott — £56 14s. ; the Inn Kitchen at 
 Amalfi, painted for Lord Overstone — £35 14s. ; the Day after the Wreck, for Mr. Bicknell — £80 17s. ; Fording the 
 Magra, painted for Lord Ellesmere — £94 10s. Most of them were purchased by the principal dealers, and they realised 
 a total upon the 50 lots of £1,560. 
 
 The water-colour drawings of the late Mrs. Harrison, chiefly flowers and fruit, with a few landscape studies, sold at 
 prices from two guineas to £15 each, the whole amounting to £500. 
 
 THE MARRY AT COLLECTION. 
 
 Mr. Joseph Marryat was the author of the well-known work on Pottery and Porcelain, and the collection now 
 sold was formed during his study of the subject, many of the examples being those engraved as illustrations in his book. 
 The catalogue of the sale at Christie’s, February 9, 1867, and seven following days, contained eight pages of these 
 woodcuts. As a historical collection it was valuable, but the prices obtained were not at all remarkable, many of the 
 objects selling for less than £50, and few bringing £100, the whole only realizing about £3000. 
 
T 74 
 
 ART SALTS. 
 
 [1868. 
 
 MODERN PICTURES AND DRAWINGS. 
 
 (“The Times," March 16, 1868.) 
 
 A very valuable assemblage of modern pictures and water-colour drawings, including the choice collections of 
 Mr. George Sharp, the late Mr. William James Lancaster, and the late Mr. Alan Potter, and numerous works of the 
 highest class, was on Saturday last brought under the hammer of Messrs. Christie, Manson, and Woods, at their rooms 
 in King Street, St. James’s. The following were the more important examples: — From the collection of the late 
 Mr. Alan Potter, of Liverpool. — B. C. Koekkoek, 1845. — A woody landscape, with cattle, and a boy angling ; a beautiful 
 work — 100 guineas (Owen). E. Duncan, 1851. — “Lowestoft Beach; preparing for the herring fishery” — 95 guineas 
 (Vokins). T. Creswick, R.A. — “View near Dolgelly, North Wales” — 96 guineas (Gambart). G. Lance, 1845. — “The 
 Marechal Due de Biron ; stimulated by a letter from the Duke of Savoy to betray his Sovereign and benefactor Henry 
 IV. ; ” exhibited at the Royal Academy in 1845 > and a picture of “ Fruit and Still Life,” on a marble slab — 100 guineas 
 (Earl). Daniel Maclise, R.A. — “The Origin of the Harp;” the celebrated engraved work mentioned by Ottley ; 
 exhibited in Manchester in 1857 — 105 guineas (Stevens). Auguste Bonheur, 1861. — “Driving Cattle over the 
 Highlands ; ” a grand and magnificent picture, one of the most important works of the master — 315 guineas (Agnew). A 
 different property : — J. C. Horsley, R.A., 1861. — “The Prodigal Son,” the original finished sketch for the large picture, 
 obtained direct from the artist — 92 guineas (Vokins). 66 and 68. G. B. O’Neill. — “ The Forester’s Home,” and “A Statute 
 Fair,” scene taken from Love in a Village , the original finished sketch for the picture exhibited at the Royal Academy ; 
 obtained from the artist — 96 guineas (Tooth). T. Sidney Cooper, R.A. — A beautiful cabinet landscape, with sheep — 105 
 guineas (Agnew). 72. T. Faed, R.A.“— “The Sunbeam,” a cabinet work of superlative quality — 475 guineas (ditto). 
 Edouard Frere. — “The Travelling Printseller,” a very fine example of the great French master — 475 guineas (Agnew). 
 74. Same artist. — “The Sick Child;” a beautiful work — 190 guineas (Gambart). 75. T. Creswick, R.A. — A grand 
 landscape, with a bridge over a river and a girl and dog. — 1 10 guineas (Herring). “ Old Crome ; ” a wooded landscape, with 
 a cottage and a group of figures and donkeys near a pool of water in the foreground ; a beautiful example from the late 
 Mr. R. Mill’s collection— 145 guineas (Vokins). Erskine Nicol, A.R.A. “ The Finishing Touch ; ” a beautiful example — 225 
 guineas (Ponsonby). The following were the property of Mr. George Sharp : — Alexander Johnston. — “ John Anderson 
 my Jo” and“ Burns and his Highland Mary ;” both works painted for Mr. Sharp and exhibited at the Royal Academy 
 in 1862. — 130 guineas (Smith). Alexander Johnston. — “Youth and Age,” painted for Mr. Sharp, and exhibited at the 
 British Institution — 102 guineas (Castle). W. Duffield. — “A Dead Heron and Fruits,” the chef d 1 oeuvre of the artist; 
 
 exhibited at the International Exhibition in 1862, obtained direct from the artist — 150 guineas (Agnew). Same artist. 
 
 Four other smaller v/orks, obtained also from the painter — viz., “ Winter Fruit,” “ Fruit and Gres de Flandres Jug,” “ Fruit, 
 Dead Duck, and Still Life,” and “ Fruit and Bird’s Nest; ’’all very fine — 1 50 guineas (ditto). A different property: — 
 Clarkson Stanfield, R.A. — “Ischia! Rough Water ;” a beautiful drawing — 150 guineas (Andrews). Same artist. — The 
 companion drawing, “ Amalfi ! Smooth Water ; ” — 105 guineas (Vokins). J. C. Horsley, R.A. — “The Joys of Home,” a 
 beautiful cabinet work — 150 guineas (ditto). T. Faed, R.A., 1867. — “The Haymaker ;” an exquisite cabinet work — 175 
 guineas (Owen). Charles Baxter. — “ The May-flower Wreath ; ” a beautiful work — 95 guineas (Wilson). Louis Haghe, 
 1864. — “Fountain at Albano,” a splendid example in water colours — 116 guineas (Vokins). The following pictures, from 
 the collection of Mr. William James Lancaster, deceased, were chiefly obtained direct from the painters, and now sold 
 by order of the executors : — W. Hemsley. — “ Sunday Morning,” a beautiful work, exhibited at the Royal Academy in i860 
 — 96 guineas (Vokins). J. Clark. — “The Draught Players ; ” a very fine work, exhibited at the Royal Academy in 1859, 
 and at the International Exhibition in 1862 — 175 guineas (Agnew). J. C. Horsley, R.A. — “The Noon-day Sleep:” a 
 splendid work, exhibited at the Royal Academy in 1858 — 95 guineas (Vokins). F. R. Lee, R.A. — “Breaking up the 
 Wreck ; ” a magnificent example, exhibited at the Royal Academy in 1856 — 180 guineas (Cox). G. B. O’Neill. — “Tales 
 of a Traveller;” a very fine cabinet work, exhibited at the Royal Academy in 1865 — 172 guineas (Addington). 
 F. D. Hardy. — “Preserving;” a beautiful work, exhibited at the Royal Academy in 1864—155 guineas (Vokins). 
 H. O’Neill.— “The Letter Writer ; ” a splendid example, exhibited at the Royal Academy in 1862 — 210 guineas (Vokins). 
 E. W. Cooke, R.A. — “ Coming Ashore a magnificent work — 365 guineas (Williams). 
 
 The following were the property of a gentleman deceased, and sold by order of executors : — G. C. Stanfield. — 
 “Trarbach on the Moselle,” and “ Saarburg on the Saar ;” — 155 guineas (Permain). T. Creswick, R.A. — The Winding 
 of a River, near Bettws-y-Coed. The distant mountain is Moel Siabod — 196 guineas (Gambart). David Roberts, R.A., 
 “ Grand View of the Castle of Angelo, Rome, from the Gardens of the Barberini Palace ;” a splendid work, exhibited at 
 the Royal Academy in 1864. This was the gem of the day’s sale — 525 guineas (Vokins). Sir Joshua Reynolds, P.R.A., 
 A Burlesque of the School of Athens of Raffaelle, including portraits of Mr. Henry, Lord Milltown, and Lord Charlmont. 
 “ Few original productions came from the hands of Reynolds while he remained at Rome. He painted a noble portrait 
 of himself, and left it in that city ; and he also painted a kind of parody on Rafifaelle’s School of Athens, into which he 
 introduced about 30 likenesses of English students, travellers, and connoisseurs, and, among others, that of Mr. Henry, of 
 Straffan, in Ireland, the proprietor of the picture. ‘ I have heard Reynolds himself say,’ remarks Northcote, ‘ that it was 
 universally allowed that he executed subjects of this kind with much humour and spirit, yet that he thought it prudent to 
 abandon the practice, since it might corrupt his taste as a portrait painter, whose duty it was to discover only the 
 perfections of those whom he represented.’” Painted at Rome in 1751 — 190 guineas (Haly). The whole realized nearly 
 £ 10,000. 
 
1869 .] SPURIOUS TURNERS AND CONSTABLES. 
 
 i75 
 
 PICTURES ATTRIBUTED TO CONSTABLE AND TURNER. 
 
 The most extraordinary event of this season was the attempt to sell four large 
 pictures called in the sale catalogue of Messrs. Foster in Pall Mall, “ Magnificent pic- 
 tures by John Constable, R.A., and J. M. W. Turner, R.A.” As the catalogue is scarce 
 now, in consequence of the circumstances arising at the time, the following copy of it 
 will be valued : — 
 
 The heading of the catalogue ran : “ Messrs. Foster respectfully invite lovers of the 
 works of the two great masters of the British school, Turner and Constable, to the 
 public view at the Gallery, 54, Pall Mall, on Saturday, Monday, and Tuesday, 12th, 
 14th, and 15th of June, of the following Four Splendid Pictures. 
 
 “ Turner is represented by a glorious Italian composition, the distance bathed in 
 marvellous sunlight ; the whole work lovely in design, colour and execution, painted in 
 the meridian of the artist’s power and genius. 
 
 “ Constable, by three Grand Rural Landscapes, which show how truly this great 
 English Painter could delineate the sunny meadows and refreshing streams of Dedham’s 
 rich pastures, and Sarum’s fertilising valley. 
 
 “ These pictures were painted by express commission, and have never been publicly 
 exhibited.” 
 
 Lot 1. John Constable, R.A. 
 
 Dedham Lock. 
 
 Size, 6 ft. w. by 4.5 high. 
 
 „ 2. John Constable, R.A. 
 
 Salisbury. 
 
 Painted as a pendant to last. Same size. 
 
 „ 3. John Constable, R.A. 
 
 On the Stour. 
 
 6 ft. w. by 4 ft. 3 high. 
 
 „ 4. J. M. W. Turner, R.A. 
 
 An Italian Landscape. 
 
 ( A Classic Composition .) 
 
 Size, 4 ft. 8 w., 3 ft. ioj high. 
 
 On Saturday the sale room was hung with these large pictures, and as there had 
 been an attractive advertisement in “ The Times,” a considerable number of persons visited 
 the exhibition, but I regret to say that I did not myself see them as I intended to do on 
 the view days ; and, as it turned out, this proved to be impossible, for the doors were 
 closed on the first day (Saturday), and a placard appeared upon them stating that the 
 pictures had been withdrawn from sale. However, several most competent judges, both 
 professional experts and amateurs, have told me what they observed. I he room had an 
 unusually strong smell of varnish. Suspicions were immediately aroused on coming 
 before the pictures attributed to Constable. The Turner was under glass, but the Con- 
 stables were not, and this led to more than one person feeling the lumps ol paint, and 
 discovering that they were soft. Mr. Wallis, the well-known proprietor of the French 
 Gallery, told me that he tried the paint and found that it was soft and easily dented with 
 the finger-nail. Mr. Cox told me the same thing. ^ 
 
 As to the Turner picture, it was a view of Tivoli, and a most cleverly painted 
 
ART SALTS. 
 
 [ 1869 . 
 
 176 
 
 picture in imitation of the master, made up from the engravings, as the Constables were 
 also with certain variations which an expert artist imitator could give in work of this 
 deceptive nature. The glass over this Turner picture prevented the test of the finger- 
 nail, though the evidence was patent enough against the authenticity of the work to those 
 who knew the master’s hand and style. This picture was no doubt by the same expert 
 hand which painted the other remarkable “ Turner ” which was hung in a post of 
 honour at Burlington House Winter Exhibition, 1871, two years afterwards, called 
 “ Italy,” 35 x 59, lent by Wynn Ellis, Escp, and which drew forth from Mr. Ruskin 
 such a positive denunciation in a letter to “ The Times” (see p. 178).* 
 
 I am inclined to think it was the identical picture withdrawn from the sale with 
 the Constables as above stated. Mr. Foster, the highly honourable auctioneer who had 
 undertaken the sale in perfect good faith, being impressed by the respectability of his 
 client, who for obvious reasons must be nameless in such a case, at once decided that 
 with such representations as had been made to him, it was out of the question that the 
 sale could take place ; and accordingly the pictures were seen no more. And this is 
 absolutely what was the final result, for these four “ Splendid Pictures Painted on 
 Commission and never Exhibited,” were forthwith carried away to the recesses of the 
 Pantechnicon, and there they met with the fate which such things deserve in being 
 burned in the great fire t that happened Feb. 13, 1874. It should be a curious history 
 if we could ever know who it was who gave the “ commission ” for these remarkable 
 pictures, and who was the able artist who painted them. There could hardly be more 
 than one such rival of Constable, Turner and Muller, although it would appear from a 
 letter in “The Times” from the son of Constable, that imitations of that great 
 landscapist were somewhat common. This was published within a few days of the 
 proposed sale, and dated June 21st, under the heading “ Caution to picture collectors.” 
 “ Sir, I went among many others to see three large paintings, each six feet long, 
 
 * My own opinion was expressed in an article in “ The Daily News,” for which journal I was then the 
 responsible art critic, as follows : — “ There are some poor copies of celebrated pictures in the Exhibition, and 
 some very colourable imitations of great masters’ work. When this affects the old masters the offence may be 
 passed over as a venial one, and rather an acceptable means of recalling the beauty of the original ; but where, 
 as in one notable instance, it affects the high name of one of the greatest painters that the Academy ever owned, 
 and one in whom the Nation has one of the proudest rights of art, Turner himself, then we must protest. The 
 picture alluded to is No. 40, ‘Italy.’ This very clever picture is not a copy, but an artful imitation of the painter’s 
 hand ; and we hardly see how the work can be permitted to hold its place, except on the same principle that the 
 late Sir Robert Peel allowed the copy of a Hobbema for which he paid a large sum, to remain among the gems 
 of his rich collection — for its merit as a work of art.” There was a picture in the same exhibition, “ No. 12 — 
 The Slave Market, W. J. Muller, 43 x 55 canvas,” also lent by Mr. Wynn Ellis — and this was evidently an 
 imitation picture. My note in pencil at the private view is against the “Italy” — “not him, but by the same 
 hand as the Muller.” 
 
 t It will be remembered that there was a long inquiry as to the origin of this remarkable fire, in which 
 many other pictures were destroyed, — amongst them a number of most valuable drawings in pen and ink by Sir J. E. 
 Millais, Bart., R A., done when he was a youth, some of which I had often admired and have never forgotten, as 
 they were outline illustrations of the EEneid, showing extraordinary faculty in a boy of 15. I once asked him 
 what had become of them, when he raised his hands with a sigh as he told me they were all burnt in the 
 Pantechnicon. Now how was the Pantechnicon set fire to? The story in the papers at the time, was that a lady 
 came in the evening and asked to refer to her property, and that she was shown to the place where her things 
 were, but it was too dark to see, and the attendant was requested to go and fetch a light. He went away, leaving 
 her in the room. On the safhe night the fire broke out. Whether the name of this lady was known to the 
 Pantechnicon proprietor I know not, but a name has been mentioned to me of a lady since dead, and this must 
 lie buried with her so far as I am concerned. 
 
1869 .] SPURIOUS TURNERS AND CONSTABLES. 
 
 177 
 
 which were advertised for sale by auction at Messrs. Foster’s gallery on the 16th inst., 
 and called in the catalogue magnificent pictures by John Constable, R.A. 
 
 “ I think the public are greatly indebted to Messrs. Foster for declining to sell 
 these pictures after the doubts expressed by myself and others. It now occurs to me 
 that I might do a little good if I warned those wishing to purchase a Constable, that 
 there are a greater number of imitations about than usual. For one genuine picture 
 offered for sale there are six sham ones. I have seen them at auctions, at dealers, and in 
 the houses of gentlemen who have been imposed upon, and I have come to the conclusion 
 that there is a manufactory for them somewhere. They are nearly always made up from 
 the mezzotint engravings by David Lucas from my father’s pictures. But these imita- 
 tors seem not to know that Constable’s works are each known to artists and admirers, 
 and are catalogued and cannot be repeated without detection, notwithstanding the varia- 
 tions artfully introduced ; moreover, it has not occurred to them that Constable could 
 draw, and was also a colourist. 
 
 “ I am, Sir, Your Faithful Servant, 
 
 “ C. G. Constable, son of the late 
 
 “J. Constable, R.A.” 
 
 The affair excited a good deal of interest at the time, and had constantly been talked 
 about when the Royal Academy were so taken in by the contribution or selection of the 
 picture called “ Italy ” in their exhibition at Burlington House, 1871, which had been 
 condemned by Mr. Ruskin. That picture has vanished like the “ Tivoli,” but whether 
 it met the same fate in the fire, I am unable to say. So far as I know, however, it has 
 never been seen since, and certainly was not in the sale at Christie’s of the large collec- 
 tion sold after the death of Mr. Wynn Ellis. 
 
 An amusing piece of doggerel was shown to a few persons at the time, but which 
 has never appeared in print till now. Those who know, will not need any key, and 
 others may be able to read between the lines the secrets of these most curious transac- 
 tions in picture sales. 
 
 THE READY-MONEY TURNERS. 
 
 There came a man from across the sea, 
 
 And showed a painter a golden fee : 
 
 Says he, “ I’ve got my ticket-of-leave, 
 
 And now I can creep up any man’s sleeve, 
 
 If you’ll only paint for me.” 
 
 “ All right,” says his friend of the facile brush, 
 
 “ I’ll do what you like if you’ll down with the dust ; 
 
 I don’t care a fig for the name of the thing, 
 
 And as for my art — bah ! it’s what it will bring ! ” 
 
 So away went this painter of the sea 
 Arm-in-arm in his patron’s company. 
 
 “ I’m rather afraid of the Constables, you see : 
 
 Do you think you can manage to do them for me ? ” 
 
 “ Do ! why I could paint the Devil himself 
 If he’d sit and you’d pay me the pelf, 
 
 And, as for the Constables, I’ve outrun them so often, 
 I’ll be bound all the judges in London to soften.” 
 
 So to work went this painter with high aims in his looks, 
 Forsaking the sea for the bubbling brooks, 
 
 Full of hope and delight that the dealer had bought him, 
 But, alas ! in the end the Constables caught him. 
 
 As they turned from Pall Mall said one to the other, 
 
 “ Those chaps are too keen, we must try on another ! ” 
 “Yes — the paint was too green, we mus t tone’em down duller 
 And I know I can chisel ’em yet with a Muller.” 
 
 When the blunt’s in the wind men look towards the city, 
 Where so many old buffers are open to pity : 
 
 Here the smart picture dealer is sure to succeed, 
 
 If he only contrive to humour their greed. 
 
 In St. Paul’s Churchyard or in busy Cheapside, 
 
 There’s many a connoisseur known to reside, 
 
 Who to sell ribbons and tape is as equally ready 
 As to make Raphaels and Rubenses turn in the penny ! 
 
 If a Turner’s bright vision of fair Italy 
 Is wanted to grace some grand gallery, 
 
 This dealer and painter win £ s. and d ., 
 
 And together they diddle the Academy. 
 
 VOL. I. 
 
 A A 
 
ART SALTS. 
 
 [1869 
 
 Had this sale taken place, there would in all probability have been some good 
 people victimized to a very serious extent, as many have been and are constantly, though 
 there never was an enterprise on quite such a gigantic scale as this, with three of what 
 Constable used to call his “ six-footers,” and a Turner “ bathed in marvellous sunlight.” 
 As a proof of what might have happened, I may relate that the late Mr. Joseph Gillott, 
 whose fine collection, sold at Christie’s, was the great feature of the season, 1872, and 
 inaugurated the tremendous rise in prices of modern pictures, actually telegraphed to 
 Mr. Cox, his picture factotum, who had his office and gallery in Pall Mall, London, on 
 the morning of the Saturday, “ Buy all the Constables at any price,” but the answer was 
 as characteristic as it was pithy, “ Not for Joseph ! ” Mr. Cox’s most amusing account 
 of the great Birmingham pen-maker’s first attempt at picture-buying will be found in my 
 notes of the Gillott sale. 
 
 MR. RUSKIN'S LETTER TO THE “ TIMES JAN. 24. 1871. 
 
 THE EXHIBITION OF OLD MASTERS. 
 
 “ Sir, — I have refused until now to express any opinion respecting the picture No. 40 in 
 the Exhibition of the Old Masters, feeling extreme reluctance to say anything which its kind owner, 
 to whom the Exhibition owes so much, might deem discourteous. 
 
 “ But I did not suppose it was possible any doubt could long exist among artists as to the 
 character of the work in question ; and, as I find its authenticity still in some quarters maintained, 
 I think no other course is open to me than to state that the picture is not by Turner, nor even by 
 an imitator of Turner acquainted with the essential qualities of the master. 
 
 “ I am able to assert this on internal evidence only. I never saw the picture before, nor do I 
 know anything of the channels through which it came into the possession of its present proprietor. 
 
 “ No. 235 * is, on the contrary, one of the most consummate and majestic works that ever came 
 from the artist’s hand, and it is one of the very few now remaining which have not been injured by 
 subsequent treatment. 
 
 “ I am, Sir, Your Obedient Servant, 
 
 Denmark Hill, January 23. “John Ruskin.” 
 
 * This was a landscape with cattle (35 by 47) with red evening light breaking through trees, and a brook — 
 lent by Lord Leconfield. 
 
1869.] 
 
 THE PERI ERE COLLECTION. 
 
 179 
 
 THE DELESSERT COLLECTION. 
 
 (“Athenaeum,” No. 2160, March 20, 1869.) 
 
 The following is a list of the prices obtained on Monday last in Paris at the sale of a portion of Old Masters’ pictures 
 of the Delessert Collection. It will be seen that it comprised several famous works. Pynacker, Landscape, /130 — Van 
 Tol, A Young Woman making Lace, /216 — Vandyke, Portrait of Michel le Blon, agent from the Queen of Sweden to 
 the English Court, /651 — Van der Heyden, Great Square of a Dutch Town, ,£1,680 ; Capture of a Dutch Town, figures 
 by A. Vandevelde, ,£693 ; A Dutch Canal, ,£336 — J. B. Greuze, An Infant in a Cradle, from the Fesch Collection, ,£424 ; 
 Portrait of Wille, engraver, ,£1,218 — L. Backhuysen, Sea Piece, stormy effect, .£764 ; Sea Piece, with fishing boats, ,£147 
 — Sea Piece, The State Visit, ,£378 — Raphael, The Virgin and Infant Christ, called “ La Vierge de la Maison d’Orleans,” 
 £6,300. This small picture has been engraved with the Crozat Collection, plate 24, — in the “ Galerie du Palais Royal,” 
 while it was in the possession of the Due d’Orleans, plate 8, — by Landon, plate 146, — and, in 1S38, by Forster. The last 
 is a fine plate of the same size as the original, which measures 29 centimetres by 21. The history of this picture, as it has 
 passed from hand to hand within the last century, is curious. In 1763 it formed part of the Crozat Collection ; next in 
 those of M. Passart and l’Abbd Decamps, the latter of whom sold it to the Due d’Orldans. In 1790 the Duke, it is said, 
 lost it at the gambling-table, or rather, with all the other Italian pictures belonging to the Regent, it seems to have been 
 sold to M. Walkiers, of Brussels, in which case the price might have discharged a gaming debt. It next passed to the 
 collection of M. Laborde de Mdreville. In 1799 it was bought by M. Hibbert, at whose sale, about 1828, M.Nieuwenhuys 
 bought it for 200 guineas. The latter sold it to Lord Vernon, at whose sale he acquired it again for 300 guineas ; and at 
 M. Nieuwenhuys’ sale it was bought in at poo ; and he sold it afterwards to M. de La Flaute, who exchanged it to 
 Rossini, the musical composer, who sold it to M. Aguado, from whom M. Delessert purchased it. A. Cuyp, Cows in a 
 Landscape, .£3,864 — Hobbema, A Forest, ,£1,680 — G. Dow, An Old Woman at a Window, ,£315 — Wouverman, .£1,113 > 
 The Halt, £34.6 — J. van Ostade, Landscape in Holland, Winter, .£546 — P. Potter, A Pasturage, ,£420 — G. Metzu, .£352 — 
 W. Van de Velde, A Calm, ,£525 ; Sea Piece, /609 — A. Verboom, Landscape, £302 — N. Berchem, A Public Square in 
 Italy, ,£180; Meeting of Huntsmen, /155 ; Landscape, A Ford, ,£462 ; Landscape, Evening, ,£108 — -Hobbema, 
 Landscape, with a Waterfall, sun setting, ,£428 — Rembrandt, Portrait of a Man, ,£210. M. C. Blanc has devoted two 
 elaborate and learned articles to the old and modern pictures in this collection. These articles appeared in the numbers 
 for February and the current month of the Gazette des Beaux- A rts, which contains engravings from several of the 
 paintings. 
 
 THE PERIERE COLLECTION. 
 
 Ary Scheffer, of whose works some very remarkable specimens were disposed of at the sale of the Peri^re Gallery 
 was the antitype of Ingres. Feminine virtues and graces can hardly be called in his pictures incarnations. His women 
 and girls are nebulous as the forms which pass before the mind’s eye of a northern mystic. “ Margaret at the Fountain ” 
 is very characteristic of his not so much ideal as visionary style. In the way of outline or colour it has not much to 
 boast of, but it unquestionably exercises a fascination over those who take the trouble to contemplate it for any length of 
 time. Without having read “ Faust,” one could almost tell from the physiognomy of poor Gretchen the sad fate to which 
 she was born. This picture brought 56,000/ Robert Fleury’s “ Charles V. at the Monastery of St. Just ’’was purchased 
 I hear, for the Comte de Paris, for 40,000/ It was painted for the late Duchess of Orleans in 1841, and sold with other 
 effects of hers in 1852. Leopold Robert’s “ Pifferari before the Shrine of the Madonna” was hotly disputed, and finally 
 knocked down for 40,000/ to the Superintendent of Fine Arts. Leopold Robert is a pictorial Macaulay. His painting 
 are glowing, dramatic, full of strong contrasts and flashy etfects — and if they don’t give us the truth in the way of local 
 colour, so much the worse for Italy and the Italians. “ Neapolitan Fisher Boys,” also by this painter, went for 18,800. 
 “ St. Jean’s Flowers scattered on the Ground ” brought 17,900/, and the fellow painting, “ Fruits and Flowers,” 19,200/ 
 Considering that both these still-life pieces are, in their way, very second-rate productions, the prices I mention were 
 exorbitant. Curiously enough, De'camp’s delicious Oriental scenes, which came next to the hammer, did not awaken the 
 enthusiasm of connoisseurs. His “ Flight into Egypt,” which was most appreciated, was knocked down at 1 5,000/ The 
 rage for Delacroix, judging from the prices his contributions to the PeriNe Gallery have fetched, is well-nigh exhausted. 
 A Morocco scene was, for instance, sold for 2,100/ Delacroix copies of the paintings of Rubens in the Brussels Gallery 
 and Antwerp Cathedral were much more highly esteemed than his original works. Gdrome is still in high favour, though 
 on the wane. An Italian scene bearing his name, but hardly in his style, sold for 17,000/ Three works of Gudin were 
 disposed of, I should say, for sums below their value ; “A Stiff Breeze” bringing 9,000/ ; “ The Retiring Tide,” 1,409/ ; 
 and “The Fishers,” 1,000/ The richest section of the PeriNe Gallery was the Dutch. You found here none of those 
 coarsely realistic scenes that are the weak side of the Dutch school. Van Dyck presents us Henrietta Maria, wife of 
 Charles I. That unfortunate Queen comes up to Miss Strickland’s standard of grace and Royal dignity. But she is less 
 soft and interesting than the Henrietta Maria of the Windsor collection. I suspect this portrait was taken subsequent to 
 the shooting of the dancing bears, by the Puritans, on Kew Green. Cuyp’s landscapes in the Louvre are not less pleasing 
 than the one belonging to the Peri£re collection. How much this painter makes of a ray of sunshine ! How he caresses 
 it and coaxes it until it transfigures the most commonplace of landscapes. You cannot look at those fleshy cows which 
 ruminate in the rank grass of a Flanders meadow from a butcher’s point of view, thanks to the magic of that ray of 
 sunshine. From Cuyp eclogues we go on to one of the most powerful productions of Rembrandt’s pencil. It is a portrait 
 of Justin Lipse. Rembrandt had a fine insight into Dutch character, such as it was developed by the great struggle 
 against Spanish tyranny, an uncongenial climate, and a menacing ocean. Besides “Justin Lipse’ we find a portrait by 
 Terburg of a Flemish magistrate, which quite deserves a place in the Louvre Galleries. 
 
 A A 2 
 
ART SALTS. 
 
 [1870. 
 
 i So 
 
 MR. BULLOCK'S COLLECTION OF MODERN PICTURES. 
 
 (“ Daily News,” May 20, 1870.) 
 
 The large collection of pictures and watercolour drawings formed by the late Mr. Edwin Bullock, of Handsworth, 
 near Birmingham, is now exhibited at Messrs. Christie and Manson’s large gallery, previous to the sale which will take 
 place on Saturday and Monday next. Mr. Bullock was well known as one of the most liberal amateurs in the Midland 
 Counties, and had for the last forty years been a constant purchaser of modern pictures from the various exhibitions, and 
 by many commissions given directly to the artists. The collection is particularly remarkable for the large number of 
 drawings and oil-paintings by the late David Cox, who, it will be remembered, came from the neighbourhood of 
 Birmingham. There are more than a hundred works of this highly esteemed painter of our water-colour school, all of 
 great interest, and some remarkable examples. They illustrate the career of the artist from the year 1813, of which early 
 time there is one very bold and effective drawing of Hastings Beach, down to his latest period. Although there are none 
 of his large and grand drawings, such as the famous “Welsh Funeral,” “ The Hayfield,” “Bolsover Castle,” and others 
 of his very highest point of excellence, yet there is scarcely one out of this very large number of sketchy drawings which 
 is not marked by some points of beauty distinctive of the gifted master. The exhibition of so many side by side gives 
 the impression of sameness, but viewed separately every drawing would acquire its true force, and many, even as it is, 
 shine out with astonishing power. The oil-paintings are singularly good as the work of a professed water-colour painter. 
 We noticed especially a large view of Windsor Castle, from the forest (283), a first sketch (285) for the “ Welsh Funeral,” 
 apparently studied on the spot, with the little church of Bettws-y-Coed, and the party of country people, and (287), 
 “ Collecting the Flocks, North Wales,” dated 1848. 
 
 There are several good works by Leslie ; that from “ Twelfth Night,” with Sir Toby Belch, Sir Andrew, and Maria, 
 is full of humour. This was exhibited at the Academy in 1842, and bought from the artist. There is also his well-known 
 picture of “ The Rape of the Lock,” a larger but not so well finished an example. Etty is well represented by several of 
 those studies of the nude which he painted so rapidly and with so much beauty of colour. The “ Venus and Cupid ” is a 
 very brilliant example, and the picture in a lunette. “ A Scene from Comus,” with corner-pieces, is a beautiful work in 
 his decorative style, although unfinished. 
 
 Muller is admirably seen in the small picture, 18 by 12, of a Slave Market, splendid in colour, the figures most 
 picturesque, and drawn with a master-hand, and altogether a charming work of the master. His power in landscape is 
 equally well displayed in a sunny view of hayfields near Gillingham, on the Medway ; 99, “ Lago Maggiore,” and 77, 
 “ Venice.” But of Venice nothing can be expected to compare with the splendid work of Turner, which is placed by itself 
 in the gallery. This was exhibited at the Academy in 1844, and it is signed with large capital letters, J. M. W. T. It is 
 not a large work, measuring about 36 in. by 30. This will be the great contention of the connoisseurs at the sale. 
 
 Maclise’s fine picture of Alfred in the Danish Camp, exhibited at the Academy in 1852, is a large and very boldly 
 conceived work, which will be viewed with great interest. 
 
 Landseer’s “Highland Shepherd’s Home” is the engraved picture, and was painted for Mr. Sheepshanks. It is 
 rather small, in the painter’s earlier style. 
 
 By William Collins there is a specially interesting picture, as being the work which gained for the eminent painter 
 his admission to the Academy when exhibited in 1815. Compared with works of the present day, this landscape is 
 surprisingly pure in the tints and in the effect of light through the picture, as though the artist had been more careful in 
 his method of painting than is the custom now. There are several good examples of Constable, in his smooth manner 
 and in his later rough and vigorous style. There is one good coast scene by Bonington, whose works, with those of 
 Constable, may be said almost to have created the modern French school of landscape. This is a view of St. Michael’s 
 Mount, Cornwall. 
 
 By David Roberts, there are many of his excellent drawings of Egyptian scenery, and one large work in oil. “ The 
 Ruins of Koomombos,” with a fine effect of red sunlight striking upon the temple, and a caravan of many figures arriving 
 for the night. A smaller picture represents the artist well as an architectural painter, giving a view of the monument to 
 Colleoni in the church of St. John and St. Paul, Venice, painted in 1856. 
 
 Stanfield is fairly seen, though not at his best, perhaps, in the “View of the Coast near the Gulf of Salerno,” which 
 was painted for Mr. Bullock in 1844, and exhibited at the Academy. 
 
 Linnell takes his place high amongst the landscapists by a richly-coloured and brilliant woodland scene, a work of 
 just twenty years ago, fresh as if painted yesterday. 
 
 Holland, better known as a water-colour painter, could not possibly be seen to greater advantage than in the view of 
 the market place at Rouen, which is painted in oil-colour. 
 
 A fine example of Patrick Nasmyth, dated 1826, may be mentioned as one of the best landscapes by that very 
 mannered painter ; and with this we may point out a landscape by Mr. G. Sant, which speaks well for the advance our 
 painters have made since the day when it was thought necessary to study Ruysdael and Hobbema rather than Nature. 
 
 There are a few pictures by modern foreign artists of unusual excellence, of which the most remarkable is 152, “A 
 Scene in Brittany,” by Rosa Bonheur, a peasant driving cattle, and a farmer on a white horse, painted in the strongest 
 effect of sunlight, and admirably well drawn. This is a work altogether in Mdlle. Rosa’s happiest style, and will 
 certainly excite the liveliest competition at the close of the first day’s sale. 
 
 There is also a capital work by C. Troyon, “The Water Cart,” painted in 1856, and one by Veyrassat, with a 
 pleasing picture by E. Fichel, “ The Chess Players,” and a small but very truthful view of Jerusalem by Theodore Frere. 
 
1870 .] 
 
 THE CHARLES DICKENS'S SALE. 
 
 1 8 1 
 
 THE CHARLES DICKENS'S SALE. 
 
 PRIVATE VIEW. 
 
 (“ Daily News,” July 6, 1870.) 
 
 “Charles Dickens, deceased ; ” “Will be sold by auction ; ” “Maybe publicly viewed three days preceding;” 
 “ Conditions of sale;” “The highest bidder to be the buyer;” “ Lots to be taken away and paid for at the buyer’s 
 expense and risk.” The place, the sale rooms of Messrs. Christie & Manson in King Street, St. James’s ; the work 
 quoted from, the auctioneers’ catalogue for next Saturday. To such uses do the household gods of great men return. 
 The knowledge that the articles now exhibited in Messrs. Christie’s great room are to be sold by their late owner’s express 
 desire makes their appearance there seemly and proper, yet in spite of this there is something inexpressibly painful in 
 their examination and in the task of analysing their merits. It is as if you were tracing Dickens’s brilliantly useful life ; 
 as if you were with him when he wrote “ Pickwick,” and when the young unknown author leapt into fame, and took and 
 kept his place with Bulwer and Macaulay ; or as if you had been at his elbow unseen and unsuspected when the brightest 
 efforts of his genius were given to the world. The room is full of mementoes. The noble portrait by Maclise of a hand- 
 some young man with long chestnut curls, seated at a library table with one hand on an open book, and with wondrously 
 luminous eyes turned searchingly towards the Spectator — the Charles Dickens of the original edition of “ Nicholas 
 Nickleby” — first attracts the visitor. From the broad cloth straps of the tightly-buttoned green trousers to the high 
 cravat of black satin, with its rolling knot and its pins connected by a tiny chain, the figure is that of the well-dressed 
 man of a generation since, and will carry many a man back to the genial high-spirited days when brimstone and treacle, 
 Dotheboys Hall, Mrs. Squeers, and poor Smike were in everybody’s mouth. “ Presented by the publishers of ‘ Nicholas 
 Nickleby’” is the description given in the catalogue, and it is easy to believe that the competition for this well-known 
 masterpiece will be keen and high. On either side of this hang “ Dolly Varden” and “ Kate Nickleby,” by W. P. Frith, 
 R.A. Let the visitor mark these pictures well. Dolly Varden has been taken at the moment of her casting a coquettish 
 look back at Joe Willett as she passes on her way through the wood, and it is sufficient to say that never did an artist 
 more thoroughly realize an author’s conception than Mr. Frith. To stand before this picture is to ask with the author 
 of “ Barnaby Rudge ” — “ Was there ever such a plump, roguish, comely, bright-eyed, enticing, bewitching, captivating, 
 maddening little puss in the world as Dolly ? ” The story of this picture is curious, as illustrating how great artists grow, 
 and how the augmentation of the country’s wealth has increased the popular estimate of the value of works of art. Many 
 years ago a young man called Frith was a passionate admirer of the new literary light which had just risen above the 
 horizon, and read “ Pickwick” and “ Nicholas Nickleby” month by month as they came out, with the keenest apprecia- 
 tion. From reading came the wish to create, to embody on canvas and in colours which should live his conception of 
 the author’s character. Hence “ Dolly Varden.” A picture was painted from another point of view than the one which 
 is now to be seen at Messrs. Christie’s, and which has been known since by artists and connoisseurs as the “ Dolly with 
 the bracelet.” It was sold for fifteen pounds, which the artist considered and does consider a fair price for the time. 
 But the fame of this little picture grew. Competent judges declared that it brought the most vivid scenes in “ Barnaby 
 Rudge” before them, and that it was the one thing wanted to make Dolly Varden be to them a real person, with the 
 attributes, the charms, and the weaknesses of flesh and blood. Encouraged by his success, young Frith painted another 
 “ Dolly Varden,” and sent it to Suffolk Street, the Royal Academy Exhibition being far beyond his hopes in those days. 
 Charles Dickens’s intimate friend, Mr. John Fbrster, saw this, and bought it for ,£15, consenting that it should be shown 
 at Birmingham. Here a picture-dealer saw it, and asked what reduction the artist would make to one “ in the trade,” 
 and another “ Dolly Varden” was painted by Frith for £ 12 . We do not profess to remember whether it was Mr. Forster 
 or the dealer who was first in possession, but we pledge ourselves to the accuracy of these figures and facts. Mr. Frank 
 Stone, even then an artist of wide reputation, gave his young brother in the craft a commission for another “ Dolly ; ” and 
 it was after this that Dickens wrote to Mr. Frith, asking him to paint another “ Dolly Varden,” as well as a companion 
 picture of Kate Nickleby in the workshop of Madame Mantalini. For these two pictures Mr. Dickens paid ^20 each— 
 an advance of 25 per cent, on the artist’s previous prices, and the hundreds upon hundreds of pounds they are certain to 
 bring in on Saturday will make an interesting comment upon the facts. Mr. Frith’s introduction to Mr. Dickens took 
 place when the latter called to thank the artist for the marvellous intuition with which he had portrayed the two 
 characters, and a friendship, which was only interrupted by the death England deplores so deeply, was founded there and 
 then. 
 
 The small Leslie in grisadle of Mr. Pickwick holding the fainting Mrs. Bardell in his arms, with Messrs. Tupnran, 
 Winkle, and Snodgrass appearing at the open door, is a cabinet work with which all England is familiar, through the 
 frontispiece to the first cheap edition of Dickens’s works. The admirable specimen of Webster, a perfect gem, representing 
 Mrs. Squeers administering the brimstone and treacle to her shuddering victims, while Master Wackford struggles with 
 the new boy’s boots, pulling poor Smike’s hair meanwhile, and while the meek little owner of the aforesaid boots looks on 
 aghast, enlists one’s sympathy and laughter on the instant. So does “ Mr. F.’s Aunt,” a miniature picture by Gale, and 
 “ Tilda Price,” a provoking young beauty putting a blossom in her hair, who more than justifies John Browdie’s choice. 
 There is another fine specimen of Maclise, the “Girl at a Waterfall,” which Mr. Dickens bought from the artist in 1843 
 and which is said to be a portrait of a member of the family ; while the two Calderons — “The Letter: a room in Hcver 
 Castle,” and the “ Hide and Seek,” also bought by Mr. Dickens, seem to illustrate, were illustration necessary, the great 
 author’s love for intelligent realism in art. “ The Simoom,” by David Roberts, presented by the artist, shows a lurid 
 Egyptian sunset, with the Sphinx in the foreground and the Pyramids of Ghizch behind ; while “ Lc Garde Champetrc,” 
 a work bought by Mr. Dickens in America, is an admirable specimen of artistic humour. But the Stanfields— some 
 
182 
 
 ART SALES. 
 
 [1870 
 
 illustrating Mr. Wilkie Collins’s thrilling drama of the “Frozen Deep,” which, as Mr. Dickens told the world in the 
 preface to the “Tale of Two Cities,” took so deep a hold on his imagination that he felt and suffered all that was 
 portrayed ; others giving the ship in which Mr. Dickens made his first visit to America, the Logan Rock, and the 
 Land’s End, mementoes of a tour the artist and the author took together ; some of vast size, others cabinet pictures — 
 have a deep interest, for they are associated with the recreations, the energetic holiday seasons of the deceased author. 
 So with countless other objects in the room. Here is a sketch of a mother and child, taken by Sir David Wilkie for his 
 picture of the “Cotter’s Saturday Night,” and presented by the artist in 1840. There are two Tophams, the merits of 
 which it would be impossible to praise too highly. The picture of Barnaby Rudge and his mother, in which the poor dupe 
 is fluttering his martial finery and marching gaily in the breeze ; while his powerless protector turns to him a face full 
 of imploring anxiety, and seems to beg him to be calm ; and that of Little Nell and her grandfather, making bouquets for 
 the race-course in the tent, are masterpieces. The wistful look of the old man, its mixture of pathetic helplessness and 
 cunning senility ; and the sweet innocence of the child as she anxiously endeavours to make her poor garlands attractive 
 have a world of meaning, and read life a new page from the book we all know so well. Among the other water-colour 
 drawings are some magnificent Cattermoles, the designs for the original illustrations to the “ Old Curiosity Shop ; ” some 
 original sketches of the Volunteer Movement by John Leech ; a design, termed Wilson and Defoe, in pen, presented, in 
 1851, by Mr. E. M. Ward, R.A. ; a fine Prout of Beauvais Cathedral, and works of W. Hunt, of Callow, and of Rayner. 
 There are, too, a portrait by Sir Joshua Reynolds ; an excellent picture by Egg of Charles Dickens as Sir Charles Cold- 
 stream in Used up ; and two pictures by Hannah brought from the Royal Academy, one rivals at a theatre, and the 
 other two ladies in a carriage, one of whom is reading a monthly number of “ Bleak House,” while their groom, open- 
 mouthed and eager, peers over her shoulder eager for the last word. 
 
 But the interest of Saturday’s sale will centre on the other things offered as much as on the pictures. In the preface 
 to one of the late editions of “ Barnaby Rudge” Mr. Dickens tells the story of the original of poor Burnaby’s “Grip” — 
 a raven the author had in his possession for many years. This bird, we are told, developed the most extraordinary pro- 
 pensities for theft, and for burying stolen goods in out-of-the-way places. It was after devouring the greater part of a 
 wooden staircase, diversified by much putty and broken glass, that he laid down on his back and expired ; since which 
 sad event, wrote Mr. Dickens, “ I have been raven-less.” This original— stuffed and in a glass case — will be sold on 
 Saturday. The Pickwick ladles, being six silver ladles, manufactured after the model furnished by the old Apostle 
 spoons, but with silver-gilt figures of Mr. Pickwick, of Mr. Alfred Jingle, of Mr. Winkle, of Sam Weller, of Old Weller, 
 and of the Fat Boy, for handles, were the subject of much speculation yesterday, as were the well-worn walnut stationery 
 box and blotting case on the table near them. But there is no catalogue raisonee of the things to be sold. It merely 
 professes to touch on those most characteristic and noteworthy. There are abundant specimens of china, and many 
 statuettes and ornaments, and those wishing for a memento of Charles Dickens — as who will not — will find the task of 
 selection easy from the wide range and varying value of the articles to be put up. There is something wonderfully 
 characteristic in the exhibition, for it tells in minute touches the story of the man’s life, whispers of his associates and his 
 likings, tells “ those who run ” of his home and his surroundings, and testifies throughout to artistic sympathies and 
 tastes. 
 
 THE SALE OF MR. BULLOCITS PICTURES. 
 
 (“ Daily News,” May , 1870.) 
 
 The sale room of Messrs. Christie and Manson was crowded on Saturday with a large assemblage of connoisseurs 
 anxious to obtain some of the choice examples of the modern school which were there to be dispersed. The prices 
 realised were generally very high, and in some instances quite beyond all former precedents. Of the pictures by W. 
 Muller, a painter very inadequately represented in his day either by the Academy or the general art public, Lot 64, a 
 landscape, with peasants driving sheep, sold for 390 guineas; 77, “Venice,” 130 guineas; 99, “ Lago Maggiore,” for 
 590 guineas; 104, “The Slave Market,” a small but highly picturesque work, sold for the large sum of 900 guineas; 
 “ The View of Gillingham, on the Medway,” for 360 guineas ; a fine landscape, “ Compton Dando,” with children sailing 
 a little paper boat by the dam of the river, and eel pots, was put up at 1,000 guineas, and knocked down to Mr. Agnew 
 for 1,250 guineas. It was said to have been bought of the painter originally for 45 guineas. The Constables did not 
 reach such high prices. The view in Salisbury Marsh, painted in his smoother and more careful earlier manner sold for 
 380 guineas, while the more characteristic piece of the master, a boldly painted heath scene, with figures and cattle with 
 a donkey, sold foi 750 guineas. But the highest price amongst these earlier painters of our landscape school was gained 
 by William Collins’ picture, called the “Reluctant Departure ;” so named from the figure of a lady kissing her child in 
 the nurse’s arms, before she steps into the boat that the fisherman holds on to the shore. Mr. Agnew made the first bid 
 of 1,000 guineas for this, and after some competition, it fell to him for 1,400 guineas. The nearest approach to this high 
 price was in the “ Woodlands,” by J. Linnell, sen. (1850) which fell to Mr. Cox’s bidding for 1,300 guineas. Next in 
 price was the Patrick Nasmyth, which sold for 1,160 guineas — probably the highest price ever attained for a work by 
 him. 
 
 The view of Hampstead Heath, by Sir A. Callcott, R.A., a picture which appeared to have lost its colour and condi- 
 tion a good deal, sold for 195 guineas ; and the large figure piece by the late C. L. Eastlake, P.P.A., of “ Ruth and Boaz” 
 (1853), fetched only 160 guineas. The Stanfield “ Gulf of Salermo ” was put up at 500 guineas, and fell to Mr. Agnew 
 for 950 guineas ; while the two examples of David Roberts, his contemporary, sold for the moderate sums of 320 guineas, 
 
1870.] THE SALE OF MAC LISE'S LAST WORKS. 
 
 
 the “ Koonombos ” — and 295, the “ Venice.” The one work of Landseer, “ The Shepherd’s Home,” was put up at 1,000 
 guineas by Mr. Agnew, and as no higher bid was made it became his at that price. Next followed the chief work of 
 Leslie, “ The Rape of the Lock,” which Mr. Agnew started at 500 guineas, and, after a warm contest, acquired at the high 
 price of 1,300 guineas ; the other Leslie, which was a small work, sold for 520 guineas. Etty fully maintained his position, 
 the small studies selling for moderate prices, from 40 to 50 guineas — the“ Bacchante ” sold for 310 guineas to Mr. White — 
 and the principal work, “ The Comus,” bringing 1,005 guineas. The large and important work of Maclise, “ Alfred in the 
 Danish Camp,” was bought by Mr. Walker for 550 guineas. Mr. Frith’s “Trial for Witchcraft,” a small study for the 
 picture, sold for 150 guineas to Mr. Johnson. 
 
 Mr. Goodall’s small but highly-finished replica of Charles I. and his children in a boat, with the swans, sold for the 
 large sum of 640 guineas. The Turner, “Venice,” (1844), was, however, the crowning contest of the day ; this rather 
 small but beautiful example was put up at 1,000 guineas, and quickly ran to double that sum. Pausing for a few moments 
 at bids of fifties, it fell at last, amid a round of applause, to Mr. Agnew for 2,560 guineas. The few pictures by foreign 
 artists followed after this, the two by C. Troyon selling for very high prices — the larger and more important to Mr. Wallis 
 for 690 guineas, the smaller, which was simply a woman driving geese, to Mr. Agnew for 200 guineas. Some idea of the 
 rapid rise in the value of pictures by some of the best of the French and Belgian artists will be given by the fact that this 
 work by Troyon, upon which Mr. Wallis no doubt expects to realise at the price, was actually sold to Mr. Bullock in 1856 
 for £&o. The advance in the case of the picture by Mdle. Rosa Bonheur — “ A Scene in Brittany ” is almost equally 
 remarkable ; this picture, which is of cabinet size, and for which Mr. Agnew pays 1,700 guineas, was originally purchased' 
 by him as one of the eminent artist’s first works exhibited in England, and was sold by him to Mr. Bullock for £600 in 
 1855 ; thus, to say nothing of the value of the pleasure given by the picture, the investment produces about ,£1,200 profit 
 in fifteen years. The great capitalists appeared to see this at Saturday’s and Monday’s sales, if the large sum which it 
 was said was laid out by Messrs. Agnew, amounting to about £ 27,000 , may be taken as any indication. The drawings 
 by David Cox realised very large prices considering how slight many of them were, varying from 30 to 150 guineas ; with 
 two or three others of the small oil pictures which fetched (lot 274) 413 guineas, for which the artist was paid, it was said, 
 only six guineas ; (282) “Hayfield,” 420 guineas ; “ Windsor Castle,” 240 guineas ; “ Going to the Hayfield,” 425 guineas. 
 The total proceeds of the sale of the whole collection amounted to £(42,700. 
 
 THE SALE OF MACLISE' S LAST WORKS. 
 
 (“ Daily News,” June 26, 1870.) 
 
 The great interest created by the exhibition of the works of our great painter sold after his death including the noble 
 Waterloo Cartoon at Messrs. Christie and Manson’s Gallery during the past week, came to a climax on Saturday with the sale 
 of this great masterwork of the painter. The many artists and critics who came to do homage before this remarkable work 
 had but one opinion as to its high merits — that it is simply the finest cartoon that modern art can boast. Many competent 
 to speak compared it with the grand designs of Leonardo, Michel Angelo, and Raphael, and in point of elaborate finish in 
 the drawing and beautiful work in the modelling every nicety of form that could give force and expression to the counte- 
 nances, it resembles more the finest drawings of the old masters. It was universally admitted that the cartoon far sur- 
 passed the fresco as a realisation of the painter’s conception. Such a work was in itself a school of art and an invaluable 
 example for the Academy, who are now the possessors of it, having acquired it at the price of 300 guineas, which by no 
 means represents the value of the cartoon in an art point of view. When Mr. Woods, who acted on the occasion, said 
 that the Royal Academy were the purchasers, the announcement was received with a continued round of applause from 
 the large audience. The cartoons for single figures in the frescoes of “ the Spirit of Chivalry,” and “ Alfred in the Danish 
 Camp,” sold for very moderate sums, varying from five to ten guineas. Three most important and interesting drawings 
 in black chalk appear to have been overlooked both by the friends of Maclise, who allowed them to appear simply as 
 sketches under the nondescript titles of “ Troops Landing,” “ A General and his Staff,” “ Queen Elizabeth at Tilbury,” 
 when the first-named of these was evidently the finished drawing for one of the series of frescoes in the Royal Gallery of 
 the Houses of Parliament, representing the storming of a fort by sailors landing from boats — probably one of Blake’s 
 actions. This drawing, which was as fine as some of Michel Angelo in the strong action of the figures, was knocked 
 down to Mr. John Murray for the absurdly low price of 27 guineas. The “Queen Elizabeth at Tilbury,” went for 30 
 guineas, and the “ General and Staff” for 15 guineas. The sketch-books, of which there were a great number, sold for 
 from 5 to 20 guineas, and one set of small designs for the figure of Britannia in the corner of the Bank notes, which were 
 interesting as the work of so great a man, sold for 25s. The personal relics, such as studio furniture, easels, palettes, and 
 costumes and armour, were eagerly bid for, and of these it was gratifying to see that the camphor-wood box, containing 
 the palettes and brushes which Maclise used while painting his great frescoes, was bought by Mr. Herbert, his eminent 
 compeer, and one of the very few Academicians present at the sale. The numerous studies from the old masters sold for 
 good prices, one admirable little sketch on millboard of Sir Joshua’s “ Cymon and Iphigenia,” sold for 13 guineas, and a 
 capital study of the “ Blue Boy” by Gainsborough brought 26 guineas. The Academy studies, the male figures in which 
 were some of them very masterly, proved, however, only “ caviare ” to the dealers, and we were sorry to see were not very 
 eagerly sought for by the few artists present. Of the pictures the most important, the “ Desmond and Ormond,” his last 
 work, now hanging on the Academy walls, and, as Mr. Woods remarked, the only instance known of a picture being sold 
 by auction under the circumstances, was knocked down to Mr. Maclean, the dealer, after a rather languid competition, 
 for 500 guineas. The “ Duncan’s last Sleep,” exhibited some years ago, fell to Mr. Cox, the dealer, for the very inade- 
 quate price of 191 guineas. “ Macbeth and the Witches over the Cauldron,” a large but unfinished work, sold for 66 
 guineas. The “ Christmas in the Baron’s Hall,” was, as we understood, bought in for 200 guineas. (G. R.) 
 
ART SALTS. 
 
 [ 1872 . 
 
 1 84 
 
 THE GILLOTT COLLECTION. 
 
 The most important sale in this season at Christie’s, and one that first began the 
 great rise in the price of modern pictures of the English school, was that of the collection 
 formed during many years by Mr. Joseph Gillott of Birmingham, the inventor it may be 
 said of the modern steel pen, of which he was also the largest manufacturer in the world. 
 The collection consisted of 525 pictures and water-colour drawings, of which 305 were 
 works of the British school, 60 by old masters and foreign painters (2 only), and 160 
 water-colour drawings of which 12 were important works by Turner, 26 by William 
 Hunt, 29 by David Cox, one of which “Peace and War” in oils, brought the then 
 unprecedented price of £3601 10s. Of the works of Sir Joshua Reynolds there were 
 three, but not of great importance ; of Gainsborough there were twelve, all landscapes, 
 and some very fine examples, with one portrait, but that one of special interest being a 
 portrait of Gainsborough by himself. By William Collins there were eight, two of which 
 were capital works, “ Barmouth Sands,” the engraved picture painted for Mr. Gillott, 
 and “Cromer Sands,” exhibited at the Royal Academy, 1845, which brought the highest 
 price ever reached for a work of this master, viz., £3,780. By Constable seven pictures, 
 two of which were “Weymouth Bay,” and “A View on the Stour.” Twelve by Patrick 
 Nasmyth; several by Old Crome, of which two were “The Windmill on Mousehold 
 Heath,” and “ A Wood Scene.” Fifteen by Muller. By Wilson thirteen, of which at 
 least three were capital works, one being the “ Meleager.” By Landseer five pictures, 
 three of which were of first-rate excellence — “ Waiting for the Deer to Rise,” “ St. 
 Bernard Dogs,” and “ The Pointers, To Ho ! ” one of the finest examples of his earlier 
 time, 1821, exhibited at the British Institution, before he had gained his place as an 
 Associate of the Royal Academy. The engraving of this picture is perhaps the 
 masterpiece of his eldest brother, Thomas Landseer, A.E. The pictures were hung 
 chiefly in two galleries specially built in Mr. Gillott’s residence at Edgbaston, the west-end 
 suburb of Birmingham, some being in the entrance hall which was lit by a top- 
 light, others in the dining-room, and the fine Turner drawings with others in the 
 drawing-room. 
 
 The title-page of the catalogue described the sale as of “ The renowned collection 
 of ancient and modern pictures and water-colour drawings of that well-known patron 
 of art, Joseph Gillott, Esq., deceased, removed from his residence at Birmingham (by 
 order of the executors). In three portions. 1st. April igth and 20th. Modern pictures 
 of the late English School. 2nd. April 26th and 27th. Pictures of the early English 
 School. 3rd. May 3rd and 4th. Old Masters (one day), water-colour drawings on the 
 next.” A short preface preceded the list of lots, as follows : — 
 
 “ The noble collection of pictures brought together by the late Mr. Joseph Gillott 
 has enjoyed so world-wide a fame, and has been so long regarded by connoisseurs — and 
 justly so — as a complete epitome of the English School, that very little comment is 
 necessary in bringing it before the public. 
 
 “ Being the growth of many years, its formation has been the result of no hasty or 
 indiscriminate purchase. Nearly half a century has elapsed since Mr. Gillott, then a 
 young man, first laid the foundation of it, and during the whole of that period the work — 
 
1872.] 
 
 THE GILLOTT COLLECTION. 
 
 185 
 
 with him a very labour of love — has been steadily continued upon principles of thought- 
 ful and judicious selection, which excluded all but first-rate productions. 
 
 “ Enjoying the friendship of many of those whose names are most honoured in the 
 roll of English art — among others, of Turner and Etty (in the works of both of whom 
 the Gallery is especially rich) — of Linnell and Miiller, of William Hunt and David Cox 
 — and himself gifted with a refined and critical taste, and with a true artistic instinct 
 which appears never to have been at fault, Mr. Gillott was in possession of advantages 
 rarely falling to the lot of collectors. Of these, his ample means enabled him fully to 
 avail himself, and the result has been a collection, both in oil and water-colour, 
 altogether unrivalled among private galleries as embracing all the highest characteristics 
 of the English School. Of landscapes the collection boasts many among the greatest 
 ever executed by human hand, while there is scarcely a name of note in the history of 
 British art, to whatever branch devoted, of whom one or more first-rate and characteristic 
 examples will not be found.” 
 
 The sale created the greatest interest, as will be seen from the subjoined extracts 
 from the notices which appeared in the Daily News : — - 
 
 For Webster’s “ Roast Pig” the bids ran rapidly up to 3,000 guineas, then there was a lull, 
 when Mr. Agnew advanced, and in the end it fell to him for 3,550 guineas. This picture was 
 painted for Mr. Gillott, and exhibited at the Royal Academy, 1862, and then it was said to have 
 been a commission for 700 guineas. “ The Chess Players,” by Miiller, rose in four bids to 3,000 
 guineas; and, after a spirited competition between Mr. Addington and Mr. Agnew, was adjudged 
 to the latter for £ 2 , 950 . 
 
 {April 29, 1872.) 
 
 The prices obtained surpassed any hitherto given for pictures by English landscape-painters, 
 and the general interest was something quite extraordinary. The rooms were completely besieged, 
 and hundreds of persons could not even get within sight of the auctioneer ; while at the close of the 
 sale, on Saturday, the street was blocked with carriages, and the pavement crowded with gentlemen 
 and ladies eager to hear what the Turners sold for. These pictures were the last in the day’s sale, 
 which, though a short affair, consisting of only about sixty lots, was the most exciting contest of 
 two hours ever witnessed in the renowned arena of art and picture buyers. 
 
 Of the pictures by Turner, the small “ Kilgarren Castle” — 600 guineas — for the National 
 Museum, New York. For the larger picture, one of the painter’s grandest works, America was also 
 a competitor, the New York Museum acquiring this noble example for 2,700 guineas, which must 
 be considered a very moderate price. “The Junction of the Thames and Medway,” formerly in 
 the Collection of Mr. J. Newington Hughes, of Winchester, fell to Mr. Agnew for 4,350 guineas. 
 This picture, it may be remembered, was sold from the same easel at Christie’s about twenty-five 
 years ago for 1,200 guineas, which was then an unheard-of price for any English painter’s work, 
 'i'lie enormous price realised for the last-named picture was, however, to be surpassed by the next 
 offered — “Walton Bridges ’’—which, after starting at a 1,000 guineas, ran up quickly to £4)850, 
 when Mr. Agnew made one enthusiastic bid of 5,000 guineas, and thus carried off the great prize of 
 the Collection. 
 
 {May 6, 1872.) 
 
 The sale-room of Messrs. Christie was on Saturday again the scene of the greatest excitement 
 and interest to witness the final disposal of this remarkable collection, with the sale of the splendid 
 drawings by Turner. The “ Heidelberg” was put up at 1,000 guineas amidst a round of applause. 
 The next bid was 2,000, and the beautiful drawing finally fell to Mr. Lane’s bid, 2,650 guineas. 
 The “ Ehrenbreitstein,” after being started at 2,000 guineas, was knocked down to Mr. Agnew for 
 VOL. I. B B 
 
ART SALES. 
 
 [ 1872 . 
 
 1 86 
 
 2,650 guineas. The last of the Turners now came to the hammer in the noble drawing of 
 Bamborough Castle, to be received with several rounds of applause. The first bid was 2,000 
 guineas, and after rapidly advancing by large bids, it was at last knocked down to Mr. Lane * at 
 the extraordinary price of 3,15° guineas. 
 
 The prices of all the important pictures will be found in the tables under the names 
 of the artists. 
 
 The following is the statement of the amounts of each day’s sale, and grand total : 
 
 1 st day — 
 
 Oil Pictures, English School . 
 
 . . . 89 
 
 ^29.718 
 
 7 
 
 0 
 
 2nd „ 
 
 ’)') 5 ? * 
 
 • - 73 
 
 44,443 
 
 O 
 
 O 
 
 3 1- d „ 
 
 ?? 
 
 76 
 
 ! 9 , 55 6 
 
 5 
 
 O 
 
 4th „ 
 
 5 ? >5 * 
 
 • • • 58 
 
 36,83° 
 
 I 2 
 
 0 
 
 5 * „ 
 
 Old Masters .... 
 
 . . . 58 
 
 6,559 
 
 O 
 
 O 
 
 6th „ 
 
 Water Colour Drawings . 
 
 160 
 
 27,423 
 
 O 
 
 O 
 
 
 
 
 Ah 64 , 53 ° 
 
 4 
 
 O 
 
 Gillott 
 
 a Yorkshireman, born at 
 
 Sheffield, was 
 
 evidently 
 
 far 
 
 before 
 
 time amongst the men of his class, and certainly gifted naturally with fine feeling for 
 pictures. Although he had not had the advantages of modern education, and was 
 entirely a self-taught man in days when there was little to be read about art matters in 
 the newspapers, yet he acquired great practical knowledge of pictures, and his judgment 
 and taste were generally sound. Like many lovers of pictures, he was fond of music, but 
 not a practical musician ; yet such was his native instinct, that he loved fine old violins 
 and violoncellos as he did fine pictures, and indeed he was quite as remarkable an 
 enthusiast in collecting these as in pictures. I have been told by Mr. Cox, who was his 
 great friend, and whom he consulted about almost all his purchases of pictures, that he 
 delighted in simply twanging the strings of his fine fiddles and ’cellos. He used 
 frequently after dinner to say to his friend, “ Let’s have the Strad out to-night, or the 
 ‘Amati,’ ’’and then he would twang the strings, while his face beamed with pleasure. 
 His collection of violins and ’cellos, which was sold at Christie’s at the same time 
 (April 29), was the most extraordinary one ever sold, both for number of instruments 
 and fine quality, by the greatest makers of Italy, Germany, France and England. It 
 was really quite a representative collection, and being myself an amateur of the ’cello, I 
 shall never forget the interest with which this collection was viewed. There were 
 more than a hundred instruments, some of unique excellence, by the famous Andrea 
 and Antonius Straduarius of Cremona, 1672 ; others, by Joseph Guarnerius, Nicolas 
 Amati, and Grancino of Milan ; while by Gaspar di Salo there was the grand old 
 double bass upon which Dragonetti used to play in the Opera and Philharmonic 
 Orchestra. A Strad. Violin sold for £290 ; a Guarnerius of 1752, £275 ; a ’Cello, 
 £121 .— Total £4,195. 
 
 In a short biography of Mr. Gillott, his artistic taste is thus spoken of : — 
 
 “ He could instinctively recognise the true in the work of young artists, and always 
 encouraged budding talent. Muller, a gifted genius, came in for a share of his warm 
 support, but he scarcely repaid Gillott in a generous way. By reason of Gillott’s 
 
 * “ Mr. Lane ” was the nom de guerre assumed for Lord Dudley. 
 
1872 .] 
 
 GIL LOTTS INTERVIEW WITH TURNER. 
 
 187 
 
 patronage others sought the young artist, and bought at large prices the pictures which 
 had been commissioned by his patron” .... Gillott was angry at this, and punished 
 Muller severely by sending off all the pictures by him to be sold in London by auction, 
 and without reserve. “ This step so frightened the art-world that ‘ Mullers ’ became a 
 drug in the market, and the disappointed artist went in penitence to Gillott,” who was 
 generous enough to restore him to favour, and give him commissions to the end of his 
 short life, one of these being ‘ The Chess-players,’ which sold in his collection at 
 Christie’s for £3,950.” — Old Yorkshire , by W. Smith, F.S.A.S., Longmans, 1881. 
 
 After he had become so successful as a maker of steel pens, and when only about 
 thirty years of age, he became acquainted with Mr. Dawes and Mr. Birch, both like 
 himself engaged in trade at Birmingham, and both great lovers of pictures. They 
 possessed fine works of David Cox, who was also a native of Birmingham, and of 
 Turner. He was ambitious of rivalling them, and soon went in for pictures with the 
 same enterprise that had carried him so successfully in his trade. He found that it was 
 not easy then to get pictures by Turner, for he was proud and chary of selling, especially 
 as one of his finest works, “The Building of Carthage,” which he afterwards bequeathed 
 to the Nation, had passed, on the walls of the Academy Exhibition of 1815, unnoticed; 
 or rather, laughed at by the art-critics of the day, and no one bought it at the price fixed 
 by the painter — £ 200 . In fact, Turner lived in dudgeon in his house in Queen Anne 
 Street with this and a great many other pictures, some hung on the walls, others piled 
 against the wall, on the floor; and one or two, it is said, were actually used to stop the 
 wind and rain in a broken window. Few persons who wanted to buy of Turner could 
 get into his house at that time, and he had a sort of female Cerberus in the shape of his 
 old housekeeper, who kept stealthy watch at the door. Mr. Gillott, however, was an 
 original in his way, and liked a joke as much as anybody, and he planned an attack upon 
 Turner’s stronghold which is amusing, and most characteristic of the two men. He 
 used to tell the story of his first interview with Turner with the greatest glee, and with 
 no small pride at the success he achieved. The story was repeated to me at the time of 
 the sale by a friend who had often heard it from Gillott, and I made note of it on the fly 
 leaf of my catalogue. When Gillott knocked at the door the old housekeeper opened it 
 only just enough to see who it was, and gave the usual answer, “ Mr. Turner’s 
 particularly engaged ; he won’t see anybody.” Gillott, however, contrived by parleying 
 with her to get a footing on the door-mat, and soothing her with the charm of a piece of 
 silver in the palm persuaded her to go and tell Mr. Turner that a man from Birmingham 
 wanted to speak to him. While Gillott was standing in the passage, presently Turner 
 came out looking very surly, and eyeing the stranger as he came close up to him, when 
 Gillott addressed him with, “ My name’s Gillott — I come from Birmingham to see your 
 pictures.” “What, the pen-maker?” exclaimed Turner. “What do you know about 
 pictures ? ” “ Oh, I know enough to like yours.” “ Ah, but you can’t buy of me,” said 
 
 Turner, gruffly. “No, I know that, but I want to swop with you.” “Swop! what 
 with?” “Oh, some pictures.” “Pictures? what pictures?” “Well, I’ve got my 
 pictures in my pocket,” says the Birmingham wag, as he pulled out a handful of £1,000 
 notes, and waved them before the eyes of the grim painter, whose face broke into a smile 
 at the sight and the humour of his new visitor, while he said, “ You’re a rum chap ; come 
 in and have a glass o’ sherry.” With this Turner led him into his room, and Gillott 
 
 13 13 2 
 
ART SALTS. 
 
 [ 1872 . 
 
 1 88 
 
 soon began to point to this and that picture he should like, at which Turner generally 
 replied with, “Ah, don’t you wish you may get it!” One of these was the “The 
 Building of Carthage,” which attracted Gillott’s eye especially. Gillott said, “ I should 
 like that and that, pointing to “ Sun rising in Mist,” * and held out his bunch of bank- 
 notes as he said, “ Come, Mr. Turner, I’ll swop these with you for those two.” “ No, 
 thank ye, I’ll never sell ’em. They might have been had in the Academy for a couple 
 o’ hundred a piece, but the press made fun of ’em, and wrote ’em down, and now nobody 
 shall have ’em.” As may be supposed, however, the visit was not a fruitless one, for 
 Turner was not insensible to the touch of crisp banknotes ; and a bargain was struck 
 for several pictures, Turner stipulating for the price in guineas, at which Gillott was 
 ready enough to say, “Of course, I expect to pay in guineas.” “Well,” said Turner, 
 “ you’re the only man that ever came prepared to pay in guineas and for the frames.” The 
 pictures were taken away in a cab. This account has been told in a much less extended 
 shape in the biography above quoted, which says, “When he had got into Turner’s 
 room he looked round at the walls, and startled the painter by saying, ‘Well, what will 
 you take for the lot ? ’ Turner, half joking, and thinking to frighten Gillott, named a 
 very large sum, many thousands, when Gillott opened his pocket-book, and, to Turner’s 
 amazement, paid down the money in crisp Bank of England notes.” Now, I rather 
 think that two occurrences are here confused. What my informant j told me was, — 
 that some years afterwards Mr. Gillott offered to pay £35,000 for the pictures in the 
 house in Queen Anne Street, and to take charge of the old housekeeper while Turner 
 went abroad, as he was complaining of being much knocked up and wanting a change. 
 Turner took a week to consider the offer, but declined it; and fortunately so for our 
 National Collection, to which he preferred to bequeath all his magnificent works. 
 
 Another characteristic story is told of Gillott and Linnell, to whom he gave a 
 commission to paint “ The Eve of the Deluge.” This was in 1848 ; and when the 
 picture was finished, Gillott proposed that as no price had ever been named, each of 
 them should write a sum down and enclose it in an envelope. This was agreed to ; 
 and when, after a good dinner, each opened the other’s envelope, the sum of 1,000 
 guineas was found to be the same in both, much to their mutual satisfaction. 
 
 Joseph Gillott was born at Sheffield in 1799 of poor parents, who gave him a good 
 plain education. When very young he made penknife blades, and ground them finer 
 than most lads in the trade could do, and attracted a good deal of work to him. He 
 grew up with an enterprising spirit of invention, and at twenty-one, when the cutlery trade 
 was depressed, he went to Birmingham, and there made steel buckles and other polished 
 steel articles of personal ornament. His natural taste enabled him to gain so much 
 employment, that he began to make money. This would be about 1822, at which time 
 Josiah Mason and Mr. Perry of “The Morning Chronicle,” London, were experimenting 
 with John and W. Mitchell in making steel pens by a tedious method, which Gillott soon 
 showed them could be improved. In these experimental attempts the Mitchells were 
 assisted by a sister with whom Gillott thus became intimate, and eventually married. 
 Gillott soon adapted the “ press ” used in the button-making to making pens, and 
 
 * This was the picture he bought back in Lord de Tabley’s Sale at Christie’s, in 1827, for ,£514 an d 
 bequeathed to the National Gallery. t Mr. Cox. 
 
1872 .] 
 
 THE GILLOTT COLLECTION. 
 
 189 
 
 succeeded by this appliance in producing more pens than twenty pair of hands could do 
 in the time. On the morning of the wedding of Miss Mitchell and Joseph Gillott, he 
 worked before breakfast and turned out a gross of pens, which he sold at once for £j 4s. 
 at one shilling each. He often used to tell this in after years to his children. His 
 manufactory then, however, was simply a garret, and no one but himself and his wife 
 was allowed to work there. It was a secret, and a very primitive affair, for they used to 
 finish their pens with the blue lacker, heating them in a common frying pan on the fire. 
 They made money so fast that they were afraid of its being known, and so put it into 
 several banks. By 1836 Mr. Gillott had built a large factory, and made pens by the 
 million, 36,000,000 in that year, and the price was reduced from a shilling to less than 
 that sum for a gross (12 dozen), entirely by his invention of labour-saving machinery. 
 When he died (January 5, 1873) the works made 5 tons a week. His biographer, Mr. 
 Smith, in “Old Yorkshire,” says, “his chief characteristic was love of excellence in every- 
 thing,” and it was his favourite joke to say “ the best of everything is good enough for 
 me.” In his garden his plants and flowers were the most beautiful that could be 
 obtained, and he was fond of precious stones as beautiful objects. 
 
190 
 
 ART SALES. 
 
 [1872. 
 
 PICTURE SALES IN PARIS. 
 
 (“ Daily News,” March 13, 1872.) 
 
 To fashionable idlers in Paris the Auction Mart of the Rue Drouot is pretty much what London sale rooms were to 
 the ladies Betty, Tabby, and Sacharissa, whom Addison was prone to lecture. The “ Piet ” of modern times goes there, 
 not to obtain “ cheap pennyworths,” but to display the resources of her toilette, and watch English, American, Hebrew, 
 and Russo-Greek “ money-bags ” disputing the possession of art treasures, which have been accumulating in French 
 palaces, chateaux, and hotels, since the period of the Renaissance. Hardly a week passes in which, under the influence 
 of French law, some rarity of priceless value is not thrown into this stream which draws the artistic wealth of France 
 into other countries. One day we hear that the heirs of some member of the bande noire , who bought the Chateau of 
 Bellevue with its inimitable pictorial decorations for a song, are bringing to the hammer a series of allegorical paintings 
 by Nattier. Next day we may learn that the famous Thanksgiving picture, celebrating the happy recovery of Louis the 
 Well-beloved at Metz, has passed into the hands of a dry goods dealer of Sacramento City. What will all the fine folk 
 depicted in this chef d' oeuvre think on finding themselves in the parlour of a Californian trader ? We leave the Well- 
 beloved Monarch, with Mechlin lace cuffs and shirt frills, receiving the congratulations of the Parliament, the Church, 
 and the nobility. These great bodies, in all their official trappings, are kneeling in the august presence. Reverence is 
 in their attitude, but satire is in their eyes. Nattier well knew how to express that state of mental revolt of the eighteenth 
 century of which Voltaire was the supreme incarnation. A Duke of Orleans holds the bridle of a mythological horse — 
 one of those coursiers of Racine, and a Condd the stirrup. Pages, who promise to develop into Lauzuns and Richelieus, 
 cluster round the animal ; whilst, majestically seated on a cloud, the grave Marie Lecsinska hovers towards her well- 
 beloved though not loving spouse. Sir Richard Wallace has a hard fight with an Archangel exporter of hides and tallow 
 for the Duchess de Chateauroux, personifying “ Strength.” A London Rothschild carries off a sister of the Duchess, and, 
 if possible, a finer woman. An Australian, with a North of Scotland name, picks up for his wife a fan, painted for 
 Madame de Pompadour, and a “ tete-h-tete ” set of chocolate cups, sent to that favourite by the austere Maria Theresa. 
 When such things flow freely from Paris into the dwellings of squatters, how could the plaintiff in a recent celebrated 
 lawsuit plausibly excuse Wapping manners on the score of a fourteen years’ residence in the bush ? The heirs of defunct 
 art collectors, who are obliged by the French code to send their pictures and bibelots to the Auction Mart, in most cases 
 fail to buy them in when they attempt to do so. Never seek for a “ cheap pennyworth ” at the Hotel des Ventes, or the 
 Picture Show Rooms on the Boulevart des Italiens. Rich Jews, and indeed wealthy Gentiles, often find it worth their 
 while to dispose of their galleries by public auction, for the sake of getting rid, on advantageous terms, of the rubbish in 
 which they have speculated. Our Sacramento City friend, seeing a poor production of Ingres in the same catalogue with 
 a Rembrandt (which the person who offers it for sale is sure to purchase back) thinks nothing of bidding a thousand 
 pounds for what, if he saw it at Goupil’s, he would not give a tenth part of that sum. 
 
 Just now the whole town is talking of the Periere sale. The Messrs. Peri&re are very skilful in giving publicity to 
 their merchandise. They do not act on the proverb which tells us that good wine needs no bush. The sale of their 
 gallery was advertised by telegraph all over the United States, in Russia, and other countries where money bags are 
 recklessly emptied. You may therefore well imagine how eager was the competition thus brought about. M. Thiers 
 thrice visited the show-rooms on private days. The Due d’Aumale was a still more frequent visitor. On public days, 
 whatever remains to Paris of fine equipages was to be seen between 2 and 4 o’clock in front of the house where the 
 Periere Gallery has been on view. As many languages were spoken in the fashionable gathering inside as there could 
 have been at the building of the tower of Babel. I must say that a spirit of enlightened criticism did not distinguish 
 either “ Piets ” or amateurs. The note of admiration was uttered in the different tongues before nearly every picture, the 
 claque of M. Charles Pillet, the auctioneer, giving the tone. It was easy to foresee that the Messrs. Periere would repair 
 many of their financial losses through the sale of their pictures. But sanguine as their hopes must have been, I doubt if 
 they expected M. Jules Breton’s “ Gleaners ” to be knocked down at 18,200/! A number of paintings by living French 
 masters, some of whom are not highly esteemed, fetched as high prices. MeissoniePs “ Flute Player ” can be hardly 
 considered dear at 26,100/!; but his other painting, entitled “ After Breakfast,” which is about the poorest and most 
 “ wooden ” thing that ever came from his pencil, was certainly not a bargain at 25,000/! Yet dearer at 25,600 f. was the 
 duplicate of Gidipus and the Sphinx, painted by Ingres for Count Duchatel. Ingres had some of the qualities of a 
 sculptor, but few of a painter. He belonged to the school of David, which worshipped form for form’s sake, and never 
 thought of making it a medium for the expression of ideas. He prided himself on walking in the traditions of Raphael, 
 and related to his pupils how his art perceptions were awakened by seeing in childhood an engraving of the “ Madonna 
 della Sedia.” His belief in this point was so robust, that he persuaded the world to be of his mind. Raphael, with due 
 submission to the school of M. Ingres, was an “ idealogue.” He laboured to produce something more than graceful lines 
 and skilful juxtapositions of colours. We find in his pictures the apotheosis of mansuetude, of soft, matronly virtues and 
 graces, and of simplicity of life and character as opposed to mere surface beauty. A girl aspiring to resemble one of 
 Raphael’s women must abandon her faith in those tricks which are supposed to render “ beautiful for ever,” and lay 
 herself out to study what is honest, just, true, and of good report. 
 
1872 .] 
 
 JOHN LEECH'S SKETCHES. 
 
 191 
 
 MR. RUSK IN'S OPINION OF JOHN LEECH'S WORK. 
 
 (“The Times,” May 8, 1872.) 
 
 WHEN the original sketches of this admirable delineator of the humours and characters of our day were sold after 
 his death, it was not generally known that there remained in the possession of his sisters, to whom the artist gave them 
 as they were produced, the more finished tracings which he used in transferring his sketches to the wood block, before 
 working up their detail for the engraver. These tracings, though often identical with the sketches, sometimes received 
 new touches and more careful finish. In all cases they retain all those admirable qualities which give Leech’s work its 
 value, as the pleasantest record of the manners and humours, the social fashions and political events, personages and 
 impressions of a period ever made by one man’s hand. 
 
 These tracings have been preserved by John Leech’s sisters with loving care, carefully mounted, and inscribed with 
 their proper titles and references, and are now exhibited for a short time in the Architectural Gallery at 9, Conduit Street. 
 The hope of the Misses Leech and the committee which is co-operating with them is that the collection may, by 
 subscription or otherwise, be acquired as a whole for the nation. Whenever the proper arrangements are made for 
 collecting in one place and under the same guardianship the national drawings and national pictures, with suitable 
 conveniences for study of the former, as indispensable to the full enjoyment of the latter, such a collection as this ought, 
 the committee think, to belong to the nation as an unique record of more than a quarter of a century of the life of 
 England, public and private. A letter of Mr. Ruskin’s prefixed to the catalogue of the present Exhibition gives his 
 estimate of the peculiar artistic value of these outlines and the grounds of that estimate. Mr. Ruskin writes : — 
 
 “ I am honoured by the request of the sister of John Leech that I should give some account of the drawings by her 
 brother, which remain in her possession ; and I am able to fulfil her request without departing from the rule which has 
 always bound me not to allow any private interest to weigh with me in speaking of matters which concern the public. 
 It is merely and simply a matter of public concern that the value of these drawings should be known and measures taken 
 for their acquisition, or, at least, for obtaining a characteristic selection from them, as a national property. It cannot be 
 necessary for me, or for anyone now to praise the work of John Leech. Admittedly it contains the finest definition and 
 natural history of the classes of our society, the kindest and subtlest analysis of its foibles, the tenderest flattery of its 
 pretty and well-bred ways with which the modesty of subservient genius ever amused or immortalized careless masters. 
 But it is not generally known how much more valuable, as art, the first sketches for the woodcuts were than the finished 
 drawings, even before those drawings sustained any loss in engraving. 
 
 “John Leech was an absolute master of the elements of character — but not by any means of those of chiaroscuro — 
 and the admirableness of his work diminished as it became elaborate. The first few lines in which he sets down his 
 purpose are invariably of all drawing that I know the most wonderful in their accurate felicity and prosperous haste. It 
 is true that the best possible drawing, whether slight or elaborate, is never hurried. Holbein or Titian, if they lay only a 
 couple of lines, yet lay them quietly, and leave them entirely right. But it needs a certain sternness of temper to do this. 
 
 “ Most, in the prettiest sense of the word, gentle artists indulge themselves in the ease, and even trust to the felicity 
 of rapid — and even in a measure inconsiderate — work in sketching, so that the beauty of a sketch is understood to be 
 consistent with what is partly unintentional. 
 
 “There is, however, one condition of extreme and exquisite skill in which haste may become unerring. It cannot be 
 obtained in completely finished work ; but the hands of Gainsborough, Reynolds, or Tintoret often nearly approach 
 completion at full speed, and the pencil sketches of Turner are expressive almost in the direct ratio of their rapidity. 
 
 “But of all rapid -and condensed realization ever accomplished by the pencil, John Leech’s is the most dainty, and 
 the least fallible, in the subjects of which he was cognizant. Not merely right in the traits which he seizes, but refined in 
 the sacrifice of what he refuses. 
 
 “ The drawing becomes slight through fastidiousness, not indolence, and the finest discretion has left its touches rare. 
 
 “ In flexibility and lightness of pencilling nothing but the best outlines of Italian masters with the silver point can 
 be compared to them. That Leech sketched English squires instead of saints, and their daughters instead of martyrs, 
 does not in the least affect the question respecting skill of pencilling ; and 1 repeat deliberately that nothing but the best 
 work of 16th century Italy with the silver point exists in art, which in rapid refinement these playful English drawings do 
 not excel. There are too many of them (fortunately) to be rightly exemplary — I want to see the collection divided, dated 
 carefully, and selected portions placed in good light, in a quite permanent arrangement in each of our great towns, in 
 connexion with their drawing-schools. I will not indeed have any in Oxford while I am there, because I am afraid that 
 my pupils should think too lightly of their drawing as compared with their other studies, and I doubt their studying 
 anything else but John Leech if they had him to study. But, in our servile schools of mechanical drawing, to see what 
 drawing was indeed, which could represent something better than machines and could not be mimicked by any 
 machinery, would put more life into them than other teaching I can conceive. It is, therefore, with the greatest pleasure 
 that I accept the honour of having my name placed on the committee for obtaining funds for the purchase of these 
 drawings ; and I trust that the respect of the English public for the gentle character of the master, and their gratitude 
 for the amusement with which he has brightened so many of their days, will be expressed in the only way in which 
 expression is yet possible by due care and wise use of the precious possessions he has left to them.” 
 
 We cannot but echo the wish thus eloquently expressed, and aid it by giving the publicity of our columns to the 
 opening of the Exhibition. There are upwards of a thousand of these outlines, great and small. 1 'hcy include all that 
 this wonderfully keen and kindly-observant eye, subtle brain, and busy hand gave to the world, during their span oi 
 constant watchfulness and unwearying labour, from the almost infantine work, done at the mother’s knee, which 
 attracted the notice of Elaxman in his evening of life, and drew from him the prophecy and advice to Leech’s father 
 “That boy’s work is wonderful. Do not let him be cramped by lessons in drawing. Let his genius follow its own bent. 
 He will astonish the world.” 
 
ig2 
 
 ART SALES. 
 
 [ 1872 . 
 
 PREFACE TO CATALOGUE OF PRINCE NAPOLEON'S ( GEROME ) COLLECTION. 
 
 (May 9, 1872, and two following days.) 
 
 A strange fate seems to be reserved to the art collections formed at various times by the noble inhabitants of the 
 Palais Royal in Paris ! 
 
 Mazarin, who had built the Palace, thought prudent (to avoid probable confiscation) to leave it by will to his king, 
 with its contents, amongst which were many pictures purchased at Charles I.’s sale. The wonderful gathering of Italian, 
 French, Dutch, and Flemish works made by the Regent was partly lost at billiards, or sold to an English dealer by his 
 descendant, Philippe Egalitd, and these chefs d' oeuvre are mostly to be found now in the principal galleries of this country ; 
 another Duke of Orleans had subsequently collected in the same palace choice modern paintings, which were destroyed 
 or stolen in the fire and plunder of February, 1848 ; finally, the various collections made by H.I.H. the Prince Napoleon 
 have also been partly destroyed, with the building itself, by the fire of the Communists in last May ; what could be saved 
 is now to be sold by auction on a foreign land, and is hereafter described. Of this nothing need be said here, but to give 
 an idea of the loss inflicted, not only to the owner, but to all lovers of art ; it has been thought that the public might be 
 interested in reading the following abbreviated account of the paintings and other works of art destroyed. 
 
 Amongst the pictures were some by Paris Bordone, Moretto, Paolo, Veronese, Innocenzo da Imola, the Pordenone, 
 Luini, Lippi, Altobello, Mellone, Pollajuolo, Previtali, the Sodoma, Perugino, Carpaccio, Tintoretto, and Guardi’s, from 
 Count Correr’s gallery, altogether nearly forty works ; then drawings by Giulio Romano, Greuze, Watteau, the sitting of 
 the Convention Nationale when Louis XVI.’s death was voted, by P. Chenavard ; the celebrated Dying Drummer Barra, 
 one of the finest works of David d’ Angers, a terra-cotta figure of a Triton, by Giovanni da Bologna, and other sculptures, 
 a magnificent terra-cotta altar-piece, in the Della Robbia style, which had for years been in the Altavanti family chapel 
 of the San Panerace church in Florence ; a large number of Maiolica dishes, plates, cups of the Faenza, Gubbio, Urbino, 
 Pesaro, and other manufactures ; Italian, German, and Spanish arms, or pieces of armour; finally, numerous Japanese and 
 Chinese porcelains, bronzes, and jades. 
 
 SALE OF PRINCE NAPOLEON’S COLLECTION. 
 
 (“Daily News,” May 9, 1872.) 
 
 Messrs. Christie & Manson’s rooms are now filled with the large collection of pictures and other works of art 
 formed by Prince Napoleon, together with the magnificent plate, china, and bronze candelabra, all made in the style of 
 the Greco-Roman house which the Prince furnished in the Avenue Montaigne, and which was entirely sacked and burnt 
 during the reign of the Commune. Many of these objects have passed through the fire and carry the marks upon the 
 surface, while some have been half melted and broken. A fine Chinese enamel vase has the whole surface fused and 
 destroyed ; the bronze inkstand which stood on the Prince’s table, formed after the base of the candelabrum of San 
 Marco, at Venice, and very carefully modelled, has evidently been subjected to great heat. A large scollop shell, in four 
 compartments, used for holding cigar ashes, shows the glass centre- cup melted down upon the metal. Some of the 
 objects have, however, escaped wonderfully, and are to be seen in their perfect condition. There is the tripod incense- 
 burner in bronze, which stood in the atrium of the house, immediately before the statue of the Emperor, by Guillaume, 
 quite perfect, while the statue remains only in the broken fragments, which the Prince preserves, in the hope of being 
 able to have it put together. One of the most strange escapes, however, was in the large china crackle vase (lot 65), 
 which was used as the support for a lamp in the centre of the table in the smoking-room. This fragile vessel remains 
 quite perfect. The large transparent shade which was adapted to the lamp was burnt, and this is a loss to be regretted, 
 for it was beautifully painted by Edouard de Beaumont, with a representation of the “ sortie ” from a bal masque. Two 
 marble busts, by Clesinger, of Rachel — one as Tragedy, the other as Comedy — still bear the indelible marks of petroleum, 
 but they were completely black when found in the ruins. A bust of Ponsard, the poet, resembles the bronzes found buried 
 for centuries at Herculaneum. Most of these costly articles however have, by some extraordinary chance, escaped, and 
 many must have been rescued. A considerable portion of the collection belonging to the Palais Royal ; all the pictures 
 by old masters which are now exhibited, and which are to be sold on Saturday, come from this place, as well as the 
 collection of old majolica, and other old Italian earthenware. The pictures to be sold consist of about 40 examples, 
 chiefly of the earlier Italian schools. Many of these have been very skilfully restored, and are so far good examples of 
 the art of the time. There are two upright pictures, by Ambrogio Borgognone. One is St. Augustine, in the robes of a 
 bishop, presenting a donor who is kneeling by his side. This picture formed the left wing of a triptych (on panel), height 
 4 feet 6 inches, width 2 feet 6 inches. The other is St. Peter, of Verona, presenting a lady who is kneeling beneath a 
 portico ; on his head is the instrument with which he was martyred, in the background the martyrdom of the saint in a 
 wood. This picture formed the right wing of a triptych, on panel. These two pictures, which are both from the Duke 
 Litta’s Gallery, and before in the Certosa of Pavia, are amongst the best in the collection. The Bellini “ Virgin and 
 Child ” is a signed picture, and, though weak in the colouring somewhat, is altogether an interesting work. The large 
 work by Sebastian del Piombo, “ Christ bearing the Cross,” with the figures of Simon of Cyrene and a soldier, with 
 
1874 .] 
 
 PRINCE NAPOLEONS COLLECTION. 
 
 i93 
 
 Jerusalem and Calvary in the background, is a very fine example of the master. It was formerly in the collection of M. 
 Reiset. The picture of a beautiful lady looking into a mirror held by an aged attendant, by Paris Bordone, resembles 
 the same figure in the National Gallery picture, and is an excellent specimen of the master. It belonged to Duke Litta’s 
 gallery in Milan. The portraits by Bronzino of Cosmo dei Medici and a Princess, are also good works, which will, no 
 doubt, excite the attention of connoisseurs in portraits. The portrait of a little boy, in black dress and cap, by Francia, 
 is in a very pure state, and appears to have all the character of the master. The collections contained at various times 
 in the Palais Royal have been fated to be dispersed and sometimes destroyed. Mazarin, who built the Palace, left it by 
 will to his King, with its contents, amongst which were many pictures purchased at Charles I.’s sale. The wonderful 
 collection of Italian, French, Dutch, and Flemish works made by the Regent was partly lost at billiards, or sold to an 
 English dealer by his descendant, Philippe Egalite, and these chefs d.’ oeuvre are mostly to be found now in the principal 
 galleries of this country ; another Duke of Orleans had subsequently collected in the same palace choice modern 
 paintings, which were destroyed or stolen in the fire and plunder of February, 1848 ; finally, the various collections made 
 by Prince Napoleon have also been partly destroyed, with the building itself, by the fire of the Communists in last May. 
 Amongst the Dictures were some by Paris Bordone, Moretto, Paolo Veronese, Innocenzo 'la Imola, Pordenone, Luini, 
 Lippi, Altobello Mellone, Pollajuolo, Previtali, Sodoma, Perugino, Carpaccio, Tintoretto, and Guardi, from Count 
 CorreFs gallery, altogether nearly forty works ; drawings by Giulio Romano, Greuze, Watteau, the sitting of the 
 Convention Nationale when Louis XVI.’s death was voted, by P. Chenavard ; the celebrated Dying Drummer Barra, 
 one of the finest works of David d’Angers ; a terra-cotta figure of a Triton, by Giovanni da Bologna, and other sculptures ; 
 a magnificent terra-cotta altar-piece, in the Della Robbia style, which had for years been in the Altavanti family chapel 
 of the San Pancrace church in Florence. Several fine bronze statues are in the sale, which come from the Palais Royal. 
 Two life-size figures of Bacchus and Venus, of sixteenth century Italian work, and two colossal figures of Eolus, of the 
 same time, are the most important. These, with several other objects, formerly belonged to Duke Litta, of Milan. The 
 sale commences to-day and will be continued to-morrow and Saturday. (See Lists, Vol. II., 1872.) 
 
 SALE OF LORD COVENTRY’S SEVRES VASES. 
 
 The set of three beautiful vases of Rose du Barri Sevres, consisting of a centre-piece as a vaiseau a ?>iats and two 
 eventail jardinieres, belonging to the Earl of Coventry, styled “ a magnificent garniture de chemin< 5 e,” was sold at 
 Christie’s, June 12, 1874, for the most extraordinary price ever known, viz ., ,£10,500. They were bought by 
 Mr. E. Rutter, of Paris, for the Earl of Dudley, who at that time was an enthusiastic admirer of Sevres, and shortly 
 afterwards paid the large sum of ,£6,825 for a pair of vases with open-work covers, and stands of gros bleu, green, and 
 rose, of rare form, painted with Rose du Barri foliage and Chinese figures, uiin. high, sold in Mr. W. Coding’s 
 Collection. Lord Dudley’s important collection was sold, after his death, at Christie’s {see 1886). 
 
 VOL I. 
 
 c c 
 
r 94 
 
 ART SALTS. 
 
 [1874 
 
 THE BARTER COLLECTION. 
 
 (“ Daily News,” yune 5, 1874.) 
 
 The large collection of pictures and works of art of almost every kind formed by the late Mr. Alexander Barker, 
 and which rendered his name so well-known amongst the most practical connoisseurs of the day, is now exhibited at the 
 auction-rooms of Messrs. Christie, Manson & Woods previous to the sale, which commences to-morrow, and will occupy 
 the four following week-days. Mr. Barker’s house, 103, Piccadilly, has for some weeks past been shown by tickets of 
 admission, and those who availed themselves of the opportunity must have been astonished at the splendid old furniture 
 in the richest buhl and parqueterie work, with many fine cabinets and chairs of Italian carved and inlay work in ebony, 
 with various beautiful vases in Sevres and other choice kinds of china, Venetian glass chandeliers, statues in marble and 
 bronze, which formed the extraordinary accumulation of decorative objects. The pictures, which are chiefly by the 
 earlier Italian painters, cover the walls, and many, there being no wall space, were placed on easels or against pieces of 
 furniture. Every corner was filled with some curious work of art, and generally good, for Mr. Barker was never an 
 indiscriminate gatherer of bric-d-brac. He was, in fact, about one of the keenest judges of good things in the shape of 
 pictures and every other form of art, and during a very considerable part of his life was constantly exploring and foraging 
 all over Europe to discover anything of merit that was to be had for money. Such was his instinctive knowledge in 
 his favourite pursuit that he was more successful than any of the professional dealers in acquiring fine pictures by rare 
 masters, as well as those by well-known names, and some of the most recherchd cabinets have thus been enriched by 
 Mr. Barker’s acquisitions, while from time to time the various public exhibitions at the old British Institution, at South 
 Kensington, at Manchester Art Treasures, at Leeds, have constantly received highly important examples from his collection. 
 Yet this great judge must have been entirely a self-taught man, for he could have had no advantages and opportunities of 
 learning anything about pictures when he was a young man in his father’s shop — a first-rate bootmaker’s at the West- 
 End. Perhaps he read “Vasari ” on the sly, and dreamt about Italian pictures when he should have been orthopedically 
 occupied ; at any rate his taste was above the very best of boots, which is saying a great deal, and we have again to 
 congratulate ourselves that another cobbler has defied the ancient saw — “ne sutor ultra crepidam.” The collection now 
 about to be dispersed, remarkable as it is in general excellence, and for some unique examples of Italian painting, is not 
 what it would have been, after more than thirty years’ accumulation, had no gem ever been parted with ; still, there are 
 several pictures of the greatest interest, and many of the objects of art in other forms are of the highest merit. Many of 
 the Italian pictures were purchased from old Italian families — the Manfrini, of Venice; the Marini Franceschi, the 
 descendants of Piero della Francesca, the painter of “The Nativity” (70), referred to by Vasari as in the hands of 
 Frescobaldi ; the Petrucci of Siena, from whose palace came the important set of pictures by Pinturicchio ; the Pucci, of 
 Florence, from whom were purchased the interesting series of pictures by Botticelli, works of the 15th century, painted 
 for the Casa Pucci, and bearing the arms of the family. These and several others are examples referred to by such 
 authorities as Dr. Waagen and Messrs. Crowe and Cavalcaselle in their classical work upon the history of painting in 
 Italy. The pictures attributed to Pinturicchio, the scholar of Perugino, and the painter of the liberia at Siena, where the 
 young Raphael is said to have assisted him, will, it is to be hoped, not escape the notice of the authorities of the National 
 Gallery, as we have only two — a figure of St. Catherine of Alexandria and a “Madonna and Child” — comparatively 
 feeble and uninteresting. With these are three pictures of the story of Griselda, and especially the fresco of “The 
 Return of Ulysses,” which is commended by Messrs. Crowe and Cavalcaselle, though these writers doubt whether the 
 subject is not Collatinus and Lucretia. These are all particularly interesting, not only in art history, but as portraying 
 the manners and customs of the time. They are well preserved and in very perfect state. Of Botticelli as a subject- 
 painter, our national collection possesses only examples of his religious style. There are here no less than eight pictures 
 by him in his secular style, illustrating stories in the “ Decameron of Boccaccio,” works which Vasari describes as having 
 been painted by Botticelli for the wedding of Lucretia Pucci in 1487. By Luca Signorelli there are two frescoes 
 transferred to canvas, and a Madonna which Dr. Waagen mentions. Of this rare master the National Gallery possesses 
 no example. A Madonna and infant Saviour with attendant saints, by Giovanni Bellini, is noticed by Messrs. Crowe 
 and Cavalcaselle, and it was purchased by Mr. Barker for the Manfrini Gallery; as were also the “Giorgione 
 Landscape” (38), with “ Borso d’Este and Lucretia Borgia consulting an Astrologer,” and the “portrait of the Artist’s 
 Mistress” (35). Two pictures, attributed to Leonardo da Vinci of Leda, and described by Dr. Waagen, closely 
 resembling each other, are interesting works ; and there is a picture assigned to Andrea Mantegna of Clcelia, “ Crossing 
 the Tiber on Horseback from the camp of Porsenna,” which will be viewed with much curiosity as a work of the time. 
 The only picture of the German school is an important and well-preserved panel — a “ Madonna and Child,” enthroned 
 with St. Catherine and Margaret, in a landscape, with a sea view in the distance, called in the catalogue by H. 
 Himmelinck, but as this is a way of spelling the name no longer employed, it is no doubt intended for Hans Memling. 
 The pictures of the older French school, by Pater, Boucher, and Fragonard, are all fair examples of those painters. Eight 
 large upright panels by Boucher, were formerly in the Chateau of Madame de Pompadour, at Crecy, and once belonged 
 to Lord Pembroke’s collection. All the pictures are included in the sale of to-morrow, and as there has not been such an 
 important sale of old masters for some years, the occasion is regarded with much interest by the admirers of early 
 Italian painting. The prices and purchasers are recorded in the lists of Vol. II. Certain pictures were afterwards sold, 
 see 1879. 
 
1875.] 
 
 THE MARLBOROUGH GEMS. 
 
 J 95 
 
 THE MARLBOROUGH GEMS . 
 
 (“The Times,” June 25 th, 1875.) 
 
 The splendid collection of antique engraved gems and cameos, formed by George, third Duke 
 of Marlborough, in the latter part of the last century, and ever since then preserved in the cabinets 
 at Blenheim, is now displayed in the rooms of Messrs. Christie, Manson and Woods, in prospect 
 of the sale which is announced to be held on Monday next. A reservation, however, appears 
 conspicuously at the head of the catalogue, to the effect that the vendors reserve the right to sell 
 the whole collection in one lot. This raises the hope in every Englishman who has a feeling for 
 classic Art, that a collection of such surpassing interest in Art, and possessing important historic 
 associations, will be retained in its integrity, and be preserved among the Art treasures of the 
 country. Whether it be in the National Museum, or in one of our many noble private collections, 
 these inestimable examples of Art, which in their selection and preservation have employed the 
 taste, learning, and the love of such distinguished men as Thomas Howard, Earl of Arundel, well 
 styled the Mecaenas of his time ; of William, second Earl of Bessborough, and of Philip Dormer, 
 Earl of Chesterfield, ought, from every consideration, to be saved from dispersion. As a whole 
 they serve as a complete encyclopaedia of glyptic Art, invaluable as a book of reference to the 
 students of Art and History. Parted out among the cabinets of the innumerable connoisseurs of 
 the world, they would lose half their interest, and all the value to be derived from them as a series 
 in which the varied styles of sculptural Art of this nature can be traced or be studied from the 
 antique of the Greek and Greco-Roman to that of the Italian Renaissance later work. 
 
 The vast importance in Art of works of the kind now before us will be seen when it is 
 understood that they contain, so to speak, the very essence of the finest Art. The sculptor must 
 be gifted with the thought and feeling, and trained as to eye and hand to marvellous exactness and 
 mastery over the most unyielding and opposive materials. He has to create anew, and condense 
 into reduced but perfectly symmetrical proportions some grand form before him or in his mind’s 
 eye. So to epitomize his subject can only be within the power of a master; and the mere copyist 
 who reduces to scale would produce but a lame and lifeless image. It would seem that the great 
 antique glyptists, as may be observed in mqny gems in this collection, were as sensible of their own 
 repute as of the beauty they represented, for they cut their names proudly upon the face of the 
 imperishable stone. AIOCKOYPIAOY on the Hermes (No. 167), known as the Holderness 
 Hermes, because bought by Lord Holderness of Baron Stosch, which has an irreproachable 
 pedigree, as far back as Fulvius Ursinus ; AAMX1N on the celebrated Hercules Bibax (296), which 
 is, however, Roman work ; NIKANAPQZ on a splendid hyacinthine intaglio of Julia, daughter of 
 Titus, written backwards, and other instances. 
 
 The names of several of the famous artists of antiquity, mentioned by Pliny, have been handed 
 down to us in such gems as the celebrated fragment of an onyx intaglio in the Devonshire cabinet , 
 which was purchased by a former duke of Baron Stosch for the large sum of 1000 guineas, representing 
 simply a cow lying down, but bearing the precious letters, AHOAAONIAOY — Apollonides, one of 
 the greatest engravers. A bull in the Paris cabinet bears the name of Hyllos ; the beautiful 
 sardonyx cameo of Amphitrite, in the same collection, that of Glycon. One of the most remark- 
 able and interesting gems of the Marlborough cabinet is No. 81, a deeply cut intaglio in a large 
 pale amethyst faced cn cabochon, i.e., as a carbuncle is usually cut, and measuring ifin. by ijin. 
 oval, and fin. from the fiat to the convex surface. The figure is a bust of Pallas, full-face, wearing 
 the helmet ornamented with a winged griffin on each side, and two rams’ or goats’ heads, and on 
 the shoulders the scale breastplate with twisted snakes, and the Medusa’s head partly concealed 
 by the peplum, a fold of which is held by the left hand. On the face of the stone are EYTYXHC 
 AlOCKOYPIAOY AITIAIOC Ell — Eutyches of Dioscorides HDgean did it — the autograph of a 
 son, perhaps, of the great Dioscorides above referred to. He may simply have been a pupil, and so 
 took the name of his master, as was the custom and continued to he one among the Italian 
 artists of the fifteenth century. It is, indeed, a noble work, and is considered to be the original 
 of one of the most interesting of antique signed gems. Stosch, who describes an impression he 
 took in wax from an intaglio, which, in all probability, was this identical one, says that the head 
 
 C c 2 
 
196 
 
 ART SALES. 
 
 [ 1875 , 
 
 appeared in the highest relief, which is extremely rare, on account of the immense difficulty of the 
 work. Nothing can be more singularly fascinating than this gem, into which one looks as into 
 deep water, to discover a beautiful vision of the stern goddess. It is not easy to see this properly, 
 but with some care the figure comes out with wonderful effect. As showing the finesse and 
 subtlety of antique Art, it is altogether a most interesting and valuable work. In some respects to 
 be compared with this is the smaller ring-set gem of the dog-star Sirius, cut into a splendid 
 garnet (No. 270), and taking rank for execution and finish highest among the gems of any age. 
 The dog is radiated and open-mouthed in front face, and on his collar is the signature in minute 
 letters, FAIOC EflO!€!. This stone is worthy of the Art bestowed upon it, being of that rare kind 
 of carbuncle (garnet) known as the Siriam or Syriam, found near the ancient capital of Pegu. 
 Most of the finest cameos and intaglios are cut in oriental stones of rare quality, such as are 
 scarcely ever met with in modern commerce. This gem belonged to Lord Chesterfield, and Natter 
 the gem-cutter, who described it in his “ Traite de la Methode Antique de Graver,” acknowledges 
 that he copied it in topaz. 
 
 Natter’s copy is at St. Petersburg, and there are others in different collections: one in the 
 Payne-Knight collection in the British Museum, another in the Berlin Museum. A good specimen 
 of Natter’s skill may be noticed in intaglio 376, copied from the original (375), a profile of Marcus 
 Junius Brutus, beautifully wrought in rich sard, but certainly not altogether the head on the 
 coin that has been always received as the portrait of Brutus. It is in expression rather common- 
 place and meagre, but Natter always held it in great esteem, as the original from which all the 
 numerous copies were taken, and it is certainly a very fine work of the Imperial time. This 
 belonged to the Chesterfield and Bessborough cabinet. Laurent Natter catalogued Lord 
 Bessborough’s collection in 1751. The gems have all been identified with the exception of four, 
 and are referred to in the sale catalogue. Before the Bessborough gems were purchased by the 
 Duke of Marlborough, however, he had acquired the Arundel cabinet, formed by the Lord Arundel 
 who died in 1646, and had passed through the possession of the sixth Duke of Norfolk, to whom 
 Oxford is indebted for one portion of the Arundel marbles. The Duke of Norfolk’s son succeeded 
 to them ; but, by a strange fate, they passed away from the house of Howard, for they were 
 retained as her property by the divorced duchess, that Lady Mary Mordaunt who in 1705 died, 
 five years after the decree of her divorce was passed in the House of Lords, and left her estate to her 
 husband, Sir J. Germain. In 17x8 Sir John married his second wife, Lady Elizabeth Berkeley, and 
 left her all his property. A trustworthy record of the collection at this time remains in a MS. copy of 
 the catalogue, dated 1727, in the library of the Society of Antiquaries. The “ Lady Betty ” survived 
 till 1769 ; but, in October, 1762, Lady Mary Beauclerk, her niece, was married to Lord Charles 
 Spencer, brother of the third Duke of Marlborough, and as her wedding-gift received the gems. 
 Subsequently, by a family arrangement, the gems passed from this Lady Spencer to the duke, her 
 brother-in-law, who was then enthusiastic in his pursuit of Art, and here they have remained at 
 Blenheim till the present time, only known to the general public by the etchings of Worlidge, or 
 by the superb work illustrated by Bartolozzi’s engravings from Cipriani’s drawings of the gems, 
 with descriptions by Jacob Bryant, the accomplished antiquarian, which the duke, in 1783, had 
 printed for presentation to kings and princes, and to the great public libraries of Oxford and 
 Cambridge— a book which was reprinted and published by Mr. John Murray in 1845. The 
 British Museum was then only thought of, and the Portland Vase had not taken its stand in that 
 curious little octagon room upstairs in old Montague House, where it was some quarter of a 
 century or more ago smashed by a fanatic visitor ; but these Marlborough gems, it appears, were 
 offered by Lady Elizabeth Germain to the trustees for £10,000 and declined. This sum, however, 
 must have been far less than the actual cost of the collection. 
 
 One other source of this magnificent collection was the cabinet of a Jewdsh dealer and 
 collector, one Medina at Leghorn, from whom came about forty gems, some of them very 
 admirable and authentic pieces, and one particularly interesting (No. 316), a double nicolo 
 engraved on both sides and massively set in gold, with large table diamonds and rubies alternately 
 on either side, and a delicate filagree work of triplets of trefoil tied into a sort of fleur-de-lys. On 
 one side is an antique cameo of Omphale, on the reverse a cameo bust of Hercules, of Renaissance 
 work, while the stone itself is perforated horizontally by one of those wonderfully fine drill-holes 
 made by ancient Indian skill, which are only found in the very choicest works. The historical 
 interest attached to this gem is that it was presented by Charles the Fifth to Pope Clement the 
 
1875.] 
 
 THE MARLBOROUGH GEMS. 
 
 197 
 
 Seventh, and by the latter to the Piccolomini of Sienna. The setting bespeaks the authenticity of 
 this legend by its fine work of the time. 
 
 Another of the gems possessing an interest that comes nearer home is the large cameo, No. 390, 
 a crowned head of Augustus carved in a dead white layer of reddish-brown sard, set in an exquisite 
 frame of gold and enamel of cinque-cento design. This is the gem the duke holds in his hand in 
 the splendid portrait group of the Marlborough family at Blenheim, one of the masterpieces of Sir 
 Joshua Reynolds, in which the duchess stands as the centre figure, the duke l^eing seated, with 
 the young Marquis of Blandford by his side, holding under his arm a red morocco case, which is 
 one of the ten such cases now to be seen in the sale rooms of the auctioneers. This gem was, no 
 doubt, chosen to be thus painted in the hand of the duke as one he had himself discovered and 
 selected as the finest of those due to his own research. 
 
 The proportion which the gems thus acquired by separate purchases in Italy and at home bear 
 to the whole cabinet is about half, and the whole collection as we see it now consists of no less than 
 739 gems. Making a rough guess at the relative numbers of antique, cinque-cento, and modern 
 works, it may be said there are about four antiques for three cinque-cento, Renaissance, and modern, 
 while the modern and old Italian works are about equal in number. This is, we should say, a 
 high average of antique work for any general collection. The Devonshire gems consist of 400 
 cameos and intaglios, eighty-eight of which form the celebrated parure mounted in enamelled gold, 
 which was lent to the International Exhibition ; and some thirty more antiques were placed in the 
 South Kensington Museum in company with the fine collection of the Rev. Gregory Rhodes of 410 
 gems. Mr. Hawkins’s fine cameo of the Apotheosis of Augustus, and other good examples of 
 glyptic work, were in the special Exhibition of 1862. 
 
 Fine as are many of the antiques in the collection, we should say that it is especially 
 important for the Cinque-cento examples, the beauty of several of which is worthy of Valerio 
 Vincentino himself, the greatest of all the Italian gem-workers, who can only be seen by his grand 
 works in the Vatican and the Uffizi and Pitti cabinets. 
 
 It would be impossible to exhaust the wide and varied field of interest to be found in the 
 collection, to some of the prominent beauties of which we have endeavoured to direct attention, 
 and we must refer to the catalogue furnished for the purposes of the sale, which has been 
 abridged from the private catalogue of Blenheim, written by Mr. H. Nevil Story Maskelyne. We 
 regret that Mr. Maskelyne, as will be seen from the letter we print below, finds cause to criticize 
 the use that has been made of his labours. We feel no doubt of the benefit the catalogue would 
 have received from Mr. Maskelyne’s own supervision, but the visitor will probably experience a 
 sentiment of simple gratitude for it as it is. The introduction abounds with interesting points in 
 reference to the different natures of precious stones employed by gem-cutters, besides giving a 
 full account of the collection, and referring to the most important gems. The following numbers 
 will be found to well repay the trouble of finding them out in the collection : No. 160. The 
 renowned cameo of the “ Hymeneal Procession of Cupid and Psyche,” which has been so 
 beautifully reproduced by Wedgwood ; an Arundel gem, and either an antique or of the finest 
 cinque-cento work and design, perhaps the finest of its kind in existence. No. 194. A cameo of 
 great beauty, Ariadne or a Bacchante. No. 236. An onyx cameo — a nymph assailed by a satyr 
 and defended by a soldier. No. 325. A minutely carved cameo of exquisite Italian work, twenty- 
 seven figures, “The Death of Meleager.” No. 350. A shell cameo of the Laocoon, supposed 
 to be the work of Flammingo, but original, and not taken from the antique group. No. 358. 
 Cameo head of Alexander the Great. No. 387. A fragment of a portrait of Augustus as Hermes 
 with the caduceus. No. 150. Cupid on a marine pard, an exquisite little work of the time of 
 Hadrian. Hermes 165 and 166. Remarkable as showing the skill of some copyist, No. 165 being 
 the original, and a work of not later than the 3rd century B.c. No. 422. A large cameo bust of 
 Claudius, set in a case of the most beautiful Italian 16th century Arabesque and enamelled gold. 
 No. 629. An intaglio — a prize for a victor, on the back of which is cut the early Christian 
 symbolic word IX 0 VZ, having the double allusion to the fish and Jonah, and the initials 
 of the words, Ir/o-ous Xpnrroj &eov Tios ’Soorqp — Jesus Christ, the Son of God, Saviour. This is, 
 therefore, a specially interesting gem. The collection will, we believe, remain on view to the end 
 of next week, the sale being fixed to commence on Monday next. — (G. R.) 
 
 Mr. Nevil Maskelyne writes : — “The great Blenheim collection of gems is announced for sale 
 by auction at Messrs. Christie, Manson and Woods, and a sale catalogue has been widely 
 
ART SALTS. 
 
 [ 1875 . 
 
 198 
 
 circulated by the auctioneers which purports to be an abridged form of a catalogue of that famous 
 collection made by my hand. Such a catalogue, indeed, formed by me in my leisure hours for my 
 own instruction, was given by me to the duke as a small return for the splendid confidence with 
 which he intrusted his gems to my care for study during a considerable time. His Grace was so 
 good as to print my catalogue. The impression was a small one, sufficient, however, to supply 
 copies to most of the great libraries and collections in this country and the Continent. I confess 
 to some surprise at the auctioneers having reprinted a great part of my catalogue without having 
 consulted me in any way about it ; but I am still more surprised at the way in which my work is 
 mutilated by omissions, to the extent of frequently having the very opposite of what is expressed 
 in the original. I ask you, Sir, to insert this statement, because it is due to myself, and in some 
 sense only justice to purchasers at the sale, that it should be known that the catalogue thus put 
 forth, with such little authority as it might receive from my authorship, does not convey the sense 
 of the original ; and that, ready as I should have been to help in converting it into an honest 
 sale catalogue without any bias as regards criticisms on the dates and work of the gems, I am no 
 party to its publication in its present form.” 
 
 (“The Times,” June 28, 1875.) 
 
 The greatest interest has been shown in the Marlborough gems. Every day, crowds of 
 curious visitors and connoisseurs with their magnifying glasses, were to be seen peering into the 
 cases, and waiting eagerly for their turn to have some gem of antique art placed in their hands or 
 turning over the leaves of the large folio work with Bartolozzi’s beautiful enlarged engravings of 
 about 100 of the choicest examples. This book was a most happy thought of the auctioneers, and 
 it tended greatly to facilitate the viewing of the gems ; indeed, had it not been for this, many 
 must have been wholly disappointed, such was the “ run ” upon some — as the Hermes (No. 167) 
 with the name of Dioscorides cut upon it in fine and delicate Greek letters. 
 
 (“The Times,” June 29, 1875.) 
 
 In accordance with announcement previously made, the famous Marlborough cabinet of gems 
 was yesterday put up for sale, after being exhibited for three days in the sale rooms. A large 
 audience assembled, among whom might have been seen nearly all the most distinguished amateurs 
 and experts of London and the Continent, who either took their seats round the long narrow tables 
 in front of the rostrum, or crowded round, showing the greatest eagerness to witness the proceedings. 
 We noticed amongst those present, Mr. A. Franks, of the British Museum ; Mr. Burton, Director 
 of the National Gallery; Signor Castellani, of Rome; Mr. Chaffers; Lord Overstone; Sir Dudley 
 Coutts Majoribanks ; Mr. C. S. Bale; The Rev. Thomas Hugo; Mr. C. E. D. Fortnum, &c. 
 Mr. Woods took his place, and began by saying that as the gems had for some days been 
 exhibited to the public, creating unbounded admiration, he had now to deal with a plain matter of 
 business in the disposal of them. He was instructed to say, that the Duke of Marlborough, though 
 not pretending to know the value of such a collection, had been led to consider that it was worth 
 at least .£60,000. The Duke, however, feeling that it was right to give the Nation the opportunity 
 of purchasing, had taken the opinion of Signor Castellani, the well-known art antiquary, as to the 
 value of the cabinet, and that gentleman had estimated it at £ 35 , 000 . This was, therefore, the 
 reserved price at which he now put up the gems. 
 
 After a brief pause, Mr. Agnew asked what advance upon the sum named was required, to 
 which the auctioneer replied, 5 per cent., Mr. Agnew then at once said, “ I bid 35,000 guineas!” 
 which was received with a burst of applause from the audience. After another pause of a few 
 minutes, the auctioneer raised his hammer, and slowly repeated the sum — “ Thirty-five thousand 
 guineas, once ; thirty-five thousand guineas, twice ; third and last time, thirty-five thousand 
 guineas,” and there being no further bidding, the hammer fell amidst the loudest applause ever 
 heard in this room. 
 
 Immediately after the sale, Mr. Agnew was beset with inquiries as to whether he intended to 
 dispose of any of the gems separately, and if so, whether he was prepared to enter into 
 negociations. To all this, the reply seemed to be that in a matter of this magnitude, it was 
 
1875.] 
 
 THE MARLBOROUGH GEMS. 
 
 199 
 
 incumbent upon him to take time to consider. Some very large offers were, we believe, made for 
 certain gems, but as the dealers say, “ no business was done.” 
 
 In a very short time, however, it transpired that the collection had passed into the hands of 
 Mr. Bromilow, of Battlesden Park, Bedfordshire. Here for the present ends one of the most 
 remarkable sales of art property, which has ever occurred in the annals of auctions in this country, 
 and the present owner of the splendid historic cabinet, may be assured that his treasure will be 
 watched with the liveliest interest whatever may be its future destination. 
 
 ART SATES OF THE SEASON. 
 
 (“The Times,” February 18, 1875.) 
 
 Of ail the art exhibitions in London the most agreeable is that which is always open 
 throughout the spring and summer months in King Street, St. James’s. Witha constantly changing 
 programme, and its prices varying from a guinea to ten thousand, it is almost as complete a mirror 
 of the wealth and tastes and fashions of the period as our own advertisement sheet. 
 
 The lover of works of art can wander through the rooms, and enjoy the innocent pleasure of 
 coveting what he has no intention of buying, and the collector can anticipate the glory of the day, 
 when either death or satiety shall have brought his treasures to the hammer, and other collectors 
 shall double the prices he gave. This season’s campaign at Christie’s, already opened with a few 
 preliminary skirmishes, significant rather of high prices than rare quality, promises to be an 
 exciting one for the connoisseurs. 
 
 The programme issued by the auctioneers, refers to some rather remarkable dispersions which 
 will be made under their omnipotent hammer in the course of the next few weeks. 
 
 The most important sale of modern pictures is that of the Manley Hall collection belonging to 
 Mr. Sam Mendel of Manchester, which with the very interesting drawings and sketches of Lord 
 Clyde’s Campaign in Oude, by Mr. Ltindgren, and twenty exquisite drawings by Mr. Millais, R.A., 
 will occupy four days in the middle of April. Among these are many well-known works, which have 
 been admired in the academy exhibitions of the last twenty years, and many that have been objects 
 of the same competitions to which they are about to be submitted again. The fine pictures of 
 “ the Lottery,” and other Spanish subjects, by the late John Phillip, R.A., which formed such a 
 feature of the Manley Hall gallery, and which will be remembered in the Phillip and Creswick 
 exhibition, at South Kensington, are, we observe, not included in the sale, having been previously 
 disposed of to Messrs. Agnew. 
 
 But even without these the collection is one that fairly rivals the Gillott collection, sold three 
 years back, in the number and excellence of the pictures. 
 
200 
 
 ART SALTS. 
 
 [ 1875 . 
 
 THE MANLEY HALL COLLECTION. 
 
 {April, 1875.) 
 
 The Manley Hall collection of modern pictures, chiefly of the English school, the 
 property of Mr. Sam Mendel, formed the great event of this year at Christie’s. Mr. 
 Mendel had established himself in Manchester as a merchant dealing largely in textiles, 
 being of German family originally, and had raised himself by his great ability and 
 untiring enterprise and industry to a first-rate position amongst the many first-rate 
 commercial men of the great Cottonopolis of the manufacturing district of Lancashire. 
 When the famous Exhibition of Art Treasures of 1857 was proposed, Mr. Mendel was 
 one of the General Council, though he did not contribute any of his fine pictures to the 
 exhibition. Manley Hall was a large modern house standing in extensive gardens in the 
 suburbs of Manchester, ornamented with statues ; and, besides the collection of pictures 
 which were hung on the walls of the various rooms and round the corridor on the first 
 storey of the inner hall, there was a very large collection of works of art of almost every 
 kind arranged about the rooms. The modern statues, in marble, were good examples, 
 and they were chiefly in the conservatory adjoining the house. These were sold on the 
 premises. 
 
 The collection of objects of ornamental art was sold by Messrs. Christie in their 
 rooms in 1878. 
 
 Mr. Mendel made no pretensions to being a great connoisseur, and did not collect 
 works of art as a pursuit. He found himself a rich man, and he saw that other rich men 
 in business, successful like himself, were displaying their wealth by buying pictures at 
 high prices and making their dwelling-houses as magnificent with works of modern art 
 as the aristocracy had always done with the pictures by the old masters. The aristo- 
 cracy of wealth, born and bred in business which they thoroughly understood, naturally 
 inclined to and preferred modern pictures, which they also thoroughly understood and 
 enjoyed, and about the authenticity of which there was at any rate some certainty, or to 
 use an expression often heard amongst buyers of modern pictures — “ In a modern 
 picture you know what you buy.” Mr. Mendel, however, did not give commissions to 
 artists, neither did he frequent Christie’s, but always consulted Messrs. Agnew in his 
 purchases, so that the great excellence of the Manley Hall collection, so far as pictures 
 are concerned, is due to that eminent firm, who, as will be seen in the progress of the 
 sale, stood by their client, buying more largely than any other dealer or amateur. In 
 fact it was well known at the time of the sale that some choice pictures, such as the 
 large “ Views of Edinburgh,” by Turner, had already been bought back by Messrs. 
 Agnew. 
 
 The collection was distinguished by several masterpieces, both of the English and 
 the foreign painters. There were, by Sir J. E. Millais, such pictures as “ Swallow, 
 Swallow,” “Chill October,” and “ Jephthah’s Vow ” ; by Turner, the “View on the 
 Grand Canal, Venice,” which brought the highest price that had been ever obtained at 
 auction for a Turner — 7000 guineas; by Mr. Frith, “The Dinner Party at Boswell’s 
 Lodgings,” which sold for the highest price ever known at auction of a picture sold 
 
1875 .] 
 
 TIIE MANLEY HALL COLLECTION, . 
 
 201 
 
 during the lifetime of the painter — £4,567 105. ; and by W. Collins “ The Skittle Players ” 
 — £2,415 — and other pictures recorded in our lists (see Vol. II.). There were in all 
 137 pictures of the English school, and 25 by artists of the foreign schools, of which the 
 most important were the fine works of Louis Gallait, painted 1864: “Vargas taking 
 the Oath,” and “ Columbus in Prison,” with a small replica of his — “ Last Honours 
 Paid to Counts Egmont and Horn”; by Delaroche, “The Scene before the Death of 
 President Duranti,” and a small replica of his — “ Napoleon Crossing the Alps,” with 
 other excellent examples of Henriette Browne, Troyon, and Baron Leys. Besides these 
 there was a remarkable series of 271 water-colour drawings and sketches, by E. 
 Liindgren, made in India in 1857 — 8, during the mutiny, when he accompanied 
 the army of Lord Clyde in the Oudh campaign immediately after the relief of 
 Lucknow. This collection was exhibited in the rooms at Christie’s, and advertised 
 for sale on Friday and Saturday, April 16 and 17, 1875, but being offered as one lot, 
 it was sold for 3050 guineas (£3202 105.), to Mr. Hermon, M.P. for Preston. There 
 were also eleven drawings by J. E. Millais, R.A., which were sold in the following week. 
 The sale of the whole collection and the contents of Manley Hall, occupied twenty-one 
 days, thus coming amongst the largest sales. The Northwick collection took twenty- 
 two days. The Bernal sale thirty-two days. The Stowe sale forty days. The Hamilton 
 Palace sale nineteen. The Beckett Denison sale twenty-two days. 
 
 The total of the Pictures, including the Liindgren drawings, amounted to j £ ioi , i 84 13 6 
 
 Other Works of Art, with Furniture, &c., at the Hall .... 42,855 o o 
 
 Wines * . 6,108 o o 
 
 I I 5°> I 47 13 6 
 
 VOL. I. 
 
 D D 
 
202 
 
 ART SALTS. 
 
 [1875. 
 
 MR. WM. LEAF'S COLLECTION. 
 
 (“The Times,” May io, 1875.) 
 
 Consisting of water-colour drawings, pictures and statuary in 538 lots, occupying the last 
 three days of the past week at Christie’s. As a collection, it was not remarkable for fine examples, 
 though there were a few drawings and pictures of first-rate excellence, such as the large drawing 
 by Prout, of “An Indiaman Ashore,” a subject rarely treated by the artist, which sold for £420. 
 
 MR. MITFORDS CHINESE AND JAPANESE COLLECTION. 
 
 (June 8 , 1875.) 
 
 Mr. A. B. Mitford’s Chinese and Japanese collection attracted a good deal of attention, due as much to the 
 interesting information given in the catalogue about the more curious objects as to the excellence of the specimens of 
 Asiatic art work. A pair of fluted jars and covers of Chinese porcelain, painted with female figures and flowers on pink 
 ground, work of the end of the sixteenth century ; very scarce ; sold for ^34. A pair of jars and covers, deep blue, gilt 
 and painted with flowers in leaf-shaped medallions — 182. A large cistern or flower-pot, painted inside and out with 
 dragons, waves, and fish, of the date of the Cheng Hwa period, a.d. 1465-1488— ^85. A bottle in porcelain of the 
 famous Lang family of potters, which has never been successfully imitated by the Chinese since the secret was lost with 
 the extinction of the Langs in 1610 — £16 10s. A pair of purple birds — ,£33 12.?. A white vase, with stag’s head handles 
 and birds and waves in relief — a specimen of the attempt to revive the ancient art in 1736-96 by the Emperor Kien Lung 
 — ,£26 15^. A pair of turquoise kylins of unusual size and brilliant colour — ,£199 ioj. A fine turquoise bottle, with 
 ornaments and foliage in relief — £47 5-f. A pair of small circular boxes, in Chinese cloissonnd enamel of gold cloissons 
 birds, animals, and ornaments, in white and colours on black ground ; very rare — ^135. A pair of storks, enamelled in 
 black and white, on deep blue stands, the cloissons of gold about 2ft. high — ,£194 5.?. A large vase, with dragon handles 
 gilt, in enamel, with cloissons of gold, turquoise ground, with butterflies and medallions of birds and flowers — ,£152 55. 
 This and the preceding lot were given out of the Winter Palace by the Empress Mother to a favourite eunuch, from 
 whom they were purchased by Mr. Mitford. They are work of the early time of the 17th century. Two cabinets 
 ornamented with plaques of enamel — £60 i8j. The specimens of Japanese lacquer work were all good. A box with 
 medallions in gold and mother-of-pearl sold for £27 ioj. A small cabinet formed as a house with flowers in gold— 
 ^24 3 j. A tortoiseshell cabinet, with plants in gold and silver mounted doors — ,£40 igs. A writing desk, with a 
 waterfall in gold — .£19 19^. Two cabinets, with the arms of the Prince of Awa and the Tycoon — ^42. A beautiful 
 screen, with a group of storks under a tree, with Fujiyama, the peerless mountain, and flowers and quails on each side 
 in carved wood frame — ;£i68. The Japanese carved buttons, or ndtsukti, which we learn simply means “attached,” as 
 they are worn by the Japan dandies on their purses, tobacco-pouches, or medicine-boxes carried in the girdle, were much 
 more curious than those which are commonly met with, and the explanations given in the catalogue of the meaning of the 
 carvings added in no small degree to their value. One carved with Daruma and the Wasp — by Mitsuhiro, a famous 
 carver of the end of the last century — sold for £8. Daruma, it appears, was one of the apostles of Buddha, who came to 
 China a.d. 520, and vowed that for nine years he would not take his hands out of his sleeves. Of course he was fed and 
 attended by his disciples, and Heaven, to prove him, sent a wasp which settled on his bald head and stung him, yet the 
 holy man never moved his hands, and only tried to frown and wrinkle the wasp away. Another very clever bit of work 
 by the same carver was a cuttlefish trap, which sold for £$ 5 s., carved out of a hardened lemon as if it had lain long in 
 the sea, and was covered with limpets. On it was engraved a verse from a poet of the Middle Ages, Basho, alluding to 
 the cuttlefish mistaking the trap for his own house and being caught as quickly as a dream passes. Quails on millet, 
 signed by Okatomo, aged 27, 1 8th century work — ^19 19s-. Other excellent grotesques by carvers whose names and dates 
 are known, the subjects of which refer to ancient legends, sold for similar high prices. One of these, which sold for 
 ^'5 5^., is worth noticing for its droll fancy ; it represented a badger drumming on his belly, carved by Rantai. The 
 badger is said by the Japanese to bewitch people and to lie in wait in lonely moors. Distending his belly he drums upon 
 it, and poor wayfarers attracted by the sound are thus led on to their destruction. The whole collection amounted to 
 .£2,400. 
 
1875.] 
 
 MR. GLADSTONE'S COLLECTION. 
 
 203 
 
 MR. GLADSTONE'S COLLECTION . 
 
 (“The Times,” June 21, 1875.) 
 
 The fine collection of works of art formed by Mr. Gladstone, which is, this week, to be 
 dispersed by Messrs. Christie, is now exhibited. Such is the extent and variety of the collection, 
 that nearly the whole of the exhibiting space of the large galleries is occupied ; the walls of the 
 principal room being hung with the pictures, while long tables are covered with the many large 
 groups and figures, the work of ceramic art, with bronzes and numerous ornamental objects in 
 carved ivory and metal-work, the glass cases being filed with very choice specimens of the 
 different fabriques of English and foreign earthenware and porcelain, with many admirable 
 examples of Wedgwood’s art. Of the last-named beautiful form of ceramic work, Mr. Gladstone 
 is known to be a connoisseur of authority, and his selections, as would be expected, show a fine 
 appreciation of the exquisite perfection of work with great refinement and beauty, which belong 
 especially to Wedgwood. Among the 58 lots of this ware, there are examples illustrating very 
 completely the style and work of this highest of all the forms of fine art applied to ceramics. The 
 classic style in which Wedgwood and Flaxman as his modeller, even rivalled the beauty of the 
 Barberini vase, is well exemplified in a fine vase with serpent handles about 18 inches high, with 
 Apollo and the Muses in relief in white on pale blue. 
 
 A curious example of the way in which objects of this kind are often tampered with and changed 
 altogether in their character, may be noticed in the large group of the “ Finding of Moses,” (50), 
 placed among the Wedgwoods. This, we believe, came into Mr. Gladstone’s possession as 
 Italian work, and there is quite enough of excellence in the modelling of the figures to justify such 
 an opinion, as it is coloured and glazed in the manner of some Majolica figures. It was 
 subsequently said to be a work of Fessore, a recent French artist in Majolica ; but when exhibited 
 on some occasion it was claimed by a Scotchman as a work which he did for Wedgwood, but 
 without glaze or colour, and the conclusion arrived at was that Lessore painted and fired it as it is 
 now seen. 
 
 The Worcester makers of the early times, as is well-known, adopted deliberately the marks 
 of the Chinese, as the Chelsea factory, perhaps unintentionally, did the Anchor of Venice ; but we 
 find here a tea-pot (157) marked with C. T. and a Crown in blue (Carl Theodore) which is 
 obviously of Worcester manufacture. It is on points of this kind that Mr. Gladstone’s collection 
 frequently illustrates the history of the subject. 
 
 The sale was on June 23 to 26, no very high prices were obtained. A Loius XV. clock, £472. 
 Four Capo di Monte groups of the Quarters of the Globe, £115. The total of the 382 lots was 
 £4743. The pictures, few of which were important and mostly a good deal restored, were 94 in 
 number, of which the highest prices were : B. W. Feader, a Welsh Churchyard, £178. j. Finnell, 
 Mercury and Argus, £63. W. Dyce, R.A., Lady with Coronet of Jasmine, £420. Murillo, St. 
 Fo. di Paolo, £105. Mantegna, Predella, £94. J. Patenier, Virgin and Child with Saints, £89. 
 Spagnolettc, Archimedes, £68 ; a Philosopher, £68. B. Vivarini, Madonna with Infant, in a 
 portico with fruits, £63. Bonifazio, The Virgin and Child with Saints, in a landscape, a large and 
 fine work from the Beckford Fonthill Collection, £483. Total of pictures, £3243. 
 
 D D 2 
 
204 
 
 ART SALTS. 
 
 [ 1875 . 
 
 THE QUILTER COLLECTION. 
 
 (“The Times,” April 9, 1875.) 
 
 Messrs. Christie, Manson and Woods entered upon the sale of this important collection 
 of water-colour drawings yesterday, before a very large and enthusiastic assemblage. The sale 
 began with the small drawings in sepia by David Cox, which were comparatively unimportant, 
 though they realised good prices, fetching from 6 to 25 guineas each, one or two going a little 
 beyond this. The small water-colour drawings sold extremely well. (Prices, see list, Vol. II.) 
 “Old Mill and Moor,” from the collection of Mr. J. E. Fordham, 2iin. by I2f in. — £472 10s.; 
 “ Kenilworth,” a selected Art Union prize exhibited at the Water Colour Society and at Leeds, 
 1868, 14J in. by 10 in. — £409 10s. ; “ Fors Novin, North Wales,” about 36 in. by 24 in. — £325 10s. 
 A Cornfield, with horse and cart going through a gate, 14-fV in. by 10-V in.— £315 10s. ; “ Gipsies 
 crossing a Common,” 19 in. by 125- in. — £315; “Beaumaris,” engraved in Roscoe’s “North 
 Wales,” and for the Art Union, 1869, exhibited at the Burlington Fine Art Club, 1871, and at the 
 Royal Academy, 1873 — £441. “ Deerstalking in Bolton Park,” 34 in. by 22 in. — £997 10s. 
 
 (This drawing was originally purchased of David Cox by Mr. Vokins for £30, and cost Mr. Quilter 
 £ 250 .) “ Hardwick Castle, — windy day,” from the collection of Mr. W. M. Rigg, 34 in. by 24 in. 
 
 For this Mr. Vokins gave the same artist £30, and it became Mr. Quilter’s for £150, now falling 
 to Mr. Agnew’s bid of £1008. “ Storm on the Llugwy, from Pont-y-Kyfir, near Capel Carig,” 
 
 from Mr. BickerstafTs collection, Preston, 26^ in. by 31 in. — £69 3; “Green Lanes,” 30 in. by 
 25 in., exhibited at the Water Colour Society, 1845, and at the Royal Academy, 1873. For this 
 fine drawing David Cox received £33. It cost Mr. Quilter £600, and was put up at this price, 
 falling to Mr. Hewett’s bid of £1470. “ The Vale of Clwyd,” 27 in. by 21 in., put up at 500 
 guineas, speedily rose to 1050 guineas, and was knocked down to Mr. Eley for £1627 10s. “ The 
 Hayfield,” 33 in. by 22 in., painted and exhibited at the Water Colour Society in 1850, where 
 it was purchased at the private view by Mr. Vokins for 50 guineas, David Cox being so much 
 gratified that he insisted on presenting a drawing to the purchaser. It was now put up amid a 
 round of applause at 1500 guineas, becoming the object of a spirited contest between Mr. 
 Addington and Mr. Agnew, the latter gentleman winning the prize at the bid of £2,930. It is 
 said to have cost Mr. Quilter £500. “Peace and War,” “ Lymne Castle, Hythe, Kent,” from 
 Mr. BickerstafTs collection, Preston, 34 in. by 23 in. — £997 10 s. By S. Prout : “ The Church of 
 St. Pierre, Caen,” 16 in. by 24 in., exhibited at the Royal Academy, 1873, £840. By Fortuny: 
 “ Interior of a Morocco Carpet Warehouse,” a chef d' oeuvre of the young painter who died recently 
 — £1470 (bought by Mr. Agnew). The proceeds of the day’s sale amounted to £30,000. 
 
 (“The Times,” April 10, 1875.) 
 
 The large rooms were, if possible, more densely filled yesterday than on the first day, many 
 persons being anxious to see the Turner drawings sold, and the beautiful fruit-pieces by Hunt, as 
 well as the three splendid works of Copley Fielding, which came last in the day’s sale. 
 
 The following drawings by W. Hunt brought high prices : “ Interior of a Hut, with Gipsies,” 
 from the collection of Mr. James Fallow's, exhibited at the Royal Academy, 1873 — £315; 
 “ Primroses on a Mossy Bank,” from the collection of Mr. J. H. Gurney — £237 5 s. ; “Too Hot,” 
 from the collection of Mr. John Leigh Clare, exhibited at the Manchester Art Treasures, 1857, and 
 at the Royal Academy in 1873 — £787 10s. ; “ Cymon and Iphigenia,” from the collection of 
 Mr. Sam Mendel — £462; “The Eavesdropper,” from the collection of Mr. J. James — £787 10s. 
 (For this drawing we are told the artist received only £40, and it w'as recently sold by auction 
 for £400.) “Devotion,” formerly in Mr. J. Rucker’s collection, and sold for 500 guineas, now 
 fetched the reduced price of £420. 
 
 The finest of the drawings by Turner sold as follows : “ Plymouth,” from the collection of 
 Mr. John Farnworth — £409 10s. ; “ Cashiobury ” — £425 15s. “The Tomb of Cecilia Metella,” 
 signed and dated from the Munro collection — £336 ; “ Malvern ” — £840 ; “ Heidelberg ” — 
 
1875.] 
 
 THE QUILTER COLLECTION. 
 
 205 
 
 £1,522 ios. ; — “ The Oberwesel,” from the collection of Mr. Oldham Whitaker and Mr. J. Leigh 
 Clare, was put up at a bid of 1,000 guineas and fell to Mr. Lane* for £1,627 I0S - If was said that 
 the drawing cost Mr. Quilter £1,500. It was sold in the Windus collection, some years ago, 
 for £400. 
 
 By Carl Haag: “ A Tyrolean Huntsman and Mountain Girl,” a large important work from 
 Mr. Cafe’s collection, exhibited R. W. S., 1858 — £525; “Encamping at Palmyra” — £420; 
 “ Leaving Palmyra ” — £414 15s. By F. W. Burton : “ La Marchesa,” purchased from the artist, 
 exhibited at Water Colour Gallery — £335 ; “ La Romanina,” exhibited at Dudley Gallery, 1871 — 
 £558 ios. ; “ A.D. 1660, — A Remnant of the Ironsides,” purchased from the artist, exhibited at the 
 International, 1862, and at Dublin Exhibition, 1865 — £420. 
 
 In putting up the three superb drawings by Copley Fielding, the auctioneer, Mr. Woods, 
 stated that they were the most important and beautiful examples of the master that had ever 
 been offered for sale in that room, and, as far as he knew, the finest works of the artist. 
 
 “ Rivaulx Abbey, 1842,” from the Bicknell collection, exhibited at the Water Colour Gallery 
 in 1842, and at the Royal Academy, 1873. This fine drawing, for which the artist received 40 
 guineas, sold in the Bicknell collection for 600, and was now knocked down to Mr. Agnew at the 
 sum of £997 ios. “ Loch Awe near Ben Cruachan,” a rather larger drawing than the “ Rivaulx 
 Abbey,” measuring about 36 in. by 24 in., exhibited at the Royal Academy, 1873, was chosen by a prize- 
 holder of 80 guineas in the Art Union from the Water Colour Exhibition, who eventually sold it 
 to Mr. Quilter for £500. It was now knocked down to Mr. Vokins at £892 ios. ; “ The Mull of 
 Galloway,” a fine sea-piece with dark stormy sky, considered to be the painter’s masterpiece of the 
 kind, about 36 in. by 20 in., exhibited at W. C. S., 1845 and 1846, and at the Royal Academy, 1873. 
 Mr. Agnew made the opening bid of 850 guineas for this drawing, and found a spirited competitor 
 in Mr. Eley, the biddings going up by fifties till at length it fell to Mr. Agnew for the large sum of 
 £1,732 ios., amid the loud applause of the audience. The day’s sale amounted to £24,562 14s. 
 The most attractive lots in to-day’s sale are the drawings by De Wint, Bonington, F. Tayler, 
 F. W. Topham, Sir John Gilbert and J. F. Lewis, with which the sale concluded. 
 
 (“The Times,” April 12, 1S75.) 
 
 At the third and last day’s sale on Saturday, the high prices of the two previous days, when the 
 more important drawings were disposed of, were still sustained in the case of all works of first- 
 rate quality, reaching a climax with the beautiful landscapes by De Wint and the exquisitely 
 finished Eastern interiors with figures by M. J. F. Lewis, R.A. The day’s sale commenced with 
 the sepia drawings by Luke Clennell, which, considering they were small and little more than 
 sketches, brought good prices. (Many were mentioned, as well as drawings by other artists, 
 which will be found recorded in the lists of Vol. II.) 
 
 By Sir John Gilbert : “The Duke of Gloucester and the Murderers ” — £420 ; “ To Be or Not 
 to Be,” figure of a young lady, exhibited as a sketch at W. C. S., 1868 — £430 ios. 
 
 By F. W. Topham: “The Holy Well ” — £241 ios.; “Little Nelly in the Churchyard” — 
 £325 ios.; “Oliver Goldsmith when at Trinity College, Dublin, hearing his ballad sung, gives his 
 last farthing,” a large drawing — £262 ios. By F. Walker: “The New Boy,” exhibited 1870 
 — £210. 
 
 “ Lancaster,” a long narrow drawing, 13 in. by 36 in., exhibited at Royal Academy, 1873 — £950 5s. 
 “Southall, Notts,” with a barge on the river, the same size as preceding, exhibited at Royal 
 Academy, 1873 — £1,732 ios. This drawing and the Lancaster formed a set of six of the same size, 
 painted as a commission from Mr. Vokins, twenty-five years ago, at the price of 35 guineas each. 
 By P. F. Poole, R.A. : “ Peasant Girls,” two figures in a landscape, purchased from the artist, 
 exhibited at the International Exhibition, 1862, and at the Loan Collection, 1870, about 20 in. by 14 in. 
 — £577 ios. Rustic mother and child in landscape, also purchased from the artist, exhibited at the 
 International Exhibition, 1872, about 2oin. by 14m. — £525. “ Caged Doves,” Turkish lady with doves, 
 about 14 in. by 20 in. This beautiful drawing, generally considered a masterpiece of the artist, was 
 
 * This was a name often given to purchases made for the late Lord Dudley. 
 
20 6 
 
 ART SALTS. 
 
 [ 1875 . 
 
 put up at a bid of 500 guineas from Mr. Agnew, who was at once challenged by Mr. Addington, the 
 price rising by hundreds and fifties to 1,000 guineas, when Mr. Eley took up the bidding and 
 became the purchaser at £1,239. We believe Air. Quilter gave 400 guineas for this unique 
 example. “ Lilium Auratum,” a lady in rich Eastern dress in a flower-garden ; the drawing for the 
 oil picture by Mr. Lewis, which was exhibited at the Royal Academy, 1872 — £1,060. This was 
 also bought by Air. Eley, and originally cost Mr. Quilter 400 guineas. “ The Prayer of Faith shall 
 heal the sick,” the drawing for the picture by Mr. Lewis, which was exhibited at the Royal 
 Academy, 1872. This very elaborate work, containing many figures, which was, we learn, 
 purchased by Mr. Quilter for 1,000 guineas, was put up at a bid of 700 guineas from Mr. Addington, 
 but after a short and sharp contest it fell to Mr. Vokins for £1,176, bringing up the total of the 
 day’s sale to £16,420 7s. 6 d., and making a grand total of £71,000. 
 
 In dismissing this remarkable sale it may be observed that the prices of most of the important 
 drawings were higher than any as yet reached at a sale by auction for works of this kind. In the 
 Gillott sale there were three drawings by Turner which sold for higher prices, but they were of the 
 highest order; the Heidelberg, which sold for £2,782 10s., the Ehrenbreitstein, which fetched the 
 same price, and the Bamborough Castle, which sold for £3,367 10s. The Copley Fielding drawings, 
 strange to say, scarcely fulfdled all that was expected of them as chefs d’ceuvre, unless it be the 
 magnificent sea-piece “ The Mull of Galloway,” which marked the highest point yet obtained by 
 him, £1,732 1 os. The works of Hunt, so marvellous in manipulation and colour, did not come out 
 so prominently by any advance of prices ; and in some instances they receded a trifle. But the 
 De Wint drawings took a higher stand than they have yet done, with the price of £1,732 10s. given 
 for the “ Southall, Notts,” and £504 for the small drawing of a country homestead. The increase 
 upon the price paid originally to the artist for his beautiful works has in all these cases been 
 enormous. When the finest works of David Cox were sold in his lifetime, they were almost a drug 
 in the market ; he rarely received more than 50 guineas for his large works, and for his small 
 drawings, which we have just seen sold for from £50 to £500 each, he had something very little 
 indeed. De Wint, we know, accepted Mr. Vokins’ commission of 35 guineas each for six drawings, 
 like that which sold now for 1650 guineas. Copley Fielding was contented with similar moderate 
 prices, such as £40 — the sum he actually received for “ Rivaulx Abbey,” which brought now 
 £997 10s. Hunt, again, worked willingly at prices of from £30 to £50, for his drawings. It must 
 not be supposed, however, that all this profit finds its way into the pockets of the dealers. They 
 have merely bought and sold at the price of the day, after having the same drawing through their 
 hands several times at largely increased prices, and simply, as we understand, taking as their share 
 the 10 per cent, upon the price, which is the recognized and admitted tariff paid by their clients. 
 Mr. Quilter has been fortunate in realising upon his most fruitful of all treasures : in one case, we 
 are told, no less than 55 times the cost of the drawing, and upon his whole collection something 
 like 260 per cent. 
 
 I have since heard it stated that Mr. Quilter bought back through friends many of the 
 drawings in this sale, and that he still possesses a very fine collection. 
 
 SALE OF MR. QUILTER' S PICTURES AT LOWER NORWOOD. 
 
 (“ City Press.”) 
 
 W hen the Roman of old had bested his man in war, diplomacy, or finance, and got him well under his thumb ( sub pollice ), 
 he used to sell him up like a Christian money-lender at the halberd’s foot — sub hasta. So did the baron, or squire, or knight 
 of the shire of the middle ages. The manners and customs, by the way, of these unworthies, despite the sentiment of the 
 song about the fine old English gentleman, the books about chivalry, and all that sort of thing, ought to be far more carefully 
 studied than was the custom in my young days. I sincerely believe that a conscientious perusal of their ways will tend 
 towards an impression, if not a conviction, of their lawlessness, rapacity, rowdyism, and general vice. When they, or he, 
 as the case may be, prevailed over an individual, or a lot of the same quality, the conquered was also held to ransom, 
 and sold up in due course. Nowadays, if circumstances deliver one into the hands of one’s enemies or creditors, the 
 same sort of thing takes place, as every man’s son doth know. The presiding functionary of the Roman Forum was the 
 auctor : his type in the nineteenth century is the auctio7ieer. 
 
 I fancy the above may appear to be about as irrelevant an introduction to a notice of a gentleman’s picture gallery 
 
1875.] 
 
 THE QUILTER COLLECTION. 
 
 207 
 
 as the famous “ tar- water ” prceludium of Bishop Berkeley’s. It is written, however, and must remain. Nay, I am of 
 opinion that, on the whole, it will do fairly well, as a preamble or introduction to the subject ; so to proceed. 
 
 In a dialogue by a living writer between two fictitious characters, I?igeniosus and Ingenuus , the former, albeit 
 somewhat of a pantaloon, is made to say : “ I hold that no man upon town can be said to have completed his education, 
 unless he has taken a course of auctions. For in sale-rooms he will learn to discriminate between good and bad 
 property, and the vast difference between buying and selling ; he will find out the general hopelessness of getting 
 bargains, and the absurdity of wasting his substance on the acquisition of articles he can never get rid of except at a 
 loss.” I quite agree with the writer in question ; and, during my own course of auctions, I have observed manifestations 
 of acquisitiveness, and I may say gambling, that are not uncommonly supposed only to characterize gambling booths 
 and roulette tables. However that may be, there is no question that a great deal of gratuitous education in matters of 
 taste may be picked up at such establishments as those of Messrs. Christie, Manson, and Woods, in King Street, St. 
 James’s, and the Salle Drouot which occupies a similar position in Paris. One might not inaptly term the London firm 
 (and probably their confreres abroad) the Clotho, Lachesis, and Atropos of art collections. In King Street, enthusiasts, 
 although they may have been inoculated elsewhere, begin the serious pursuit of their hobbies. King Street, like the three 
 weird sisters, has figuratively presided over the birth, the maturity, and the demise of collections beyond number and 
 beyond price, and must in many cases have officiated over and over again. Its hammer confers diplomas and grants 
 pedigrees, establishing that which is weak in value, confirming the strong, and confounding imposture. Instances are on 
 record of properties having been sold at Christie’s for twice and three times their cost, to the great solace and 
 gratification of vendors. Other traditions, of course, speak of sad disappointment. The great lesson taught at a 
 thoroughly well-conducted auction is that everything is worth just what it will fetch, and no more. 
 
 The hammer has been uncommonly busy this wintry spring. A goodly pile of catalogues on my table reminds me 
 of pleasant hours spent in the pursuit of fine art, while the season is even yet young. Among other things, I have 
 observed, too, that your modern collector has taken it into his head to acquaint himself, instead of his executors, of the 
 accuracy of his matured judgment and the success of his ventures. On the 13th of the present month, for instance, was 
 dispersed, at admirable prices, the highly important and valuable collection of water-colour drawings, deserving every 
 encomium the officiating high-priest could pass upon them, and formed by Mr. Greenwood, of Hampstead, who, it is 
 pleasant to know, is still alive, and able to appreciate the public recognition of his excellent taste. He had, besides 
 others, no less than fifty-six by Turner, more than sixty by David Cox, a dozen by Muller, and about as many by 
 S. Prout and David Roberts. One of the Turners brought no less than 75 ,680, and the values realised all round were 
 what the artists of our youth and the old time before us would have deemed fabulous. On the 15th, 646 lots of old 
 English pottery, porcelain, and enamels, being only a portion of Mr. Henry G. Bohn’s fine art property, were disposed of 
 at great prices. The erudite collector informs us in the quaint preface to his catalogue that he is nothing like “ hard up.” 
 His family do not appear to sympathize with his “ garnerings,” and we may suppose he has concluded that he may as 
 well find out for himself whether he has been as fortunate in his selection of the scarce and the beautiful as was the famous 
 Ralph Bernal, whose successors, I believe, sold for £ 30,000 , or more, objects of taste that had never cost him half that 
 sum. During the same week Messrs. Christie and Co. found eager and excited customers for a magnificent casket of 
 jewels. So eager, indeed, were the crowd, that the occupant of the rostrum seemed really bored with the record of 
 successive bids. On Tuesday was sold a “small collection” — many thousands strong, however — of engravings and 
 drawings, many of them belonging to living persons. The portfolios of Rowlandson’s drawings, to the number of 170 
 and upwards, contained remarkably-interesting proofs of the great caricaturist’s sentimental, as well as his comic force. 
 Wednesday witnessed the fate of over 200 lots of engravings (mostly portraits, by the best masters of that art, after 
 pictures by Sir Joshua Reynolds), many of them being worth their five, ten, or twenty sovereigns in the open market. 
 And now for a little season the hammer will be at rest, to resume its office on the 8th of April, when the truly unrivalled 
 gallery of Mr. William Quilter, said to be changing his residence, will be submitted to competition. 
 
 On one of the prettiest of the heaven-kissing hills of South London, bowered among delightful evergreens, is the 
 handsome residence of the fortunate amateur, who has been able to surround himself with sumptuous things of beauty, 
 which it almost seems cruel to disperse. Satiated with his gallery, and unable to find space for more, perhaps, 
 Mr. Quilter may believe he can enjoy the excitement of collecting another ; but this may be fairly doubted. At all 
 events, I have enjoyed the privilege of revelling among the beautiful works gathered at Lower Norwood, and will record 
 my thanks without lengthy speculation on the motives of the vendor. The number of lots in the catalogue is 517. 
 There are 1 1 4 examples of David Cox in all the styles of which that accomplished artist was master. The diversity of 
 Cox’s talent here exhibited is surprising ; particularly so his beautiful architectural drawings. The most remarkable of 
 the water-colours are a huge composition, “ Carthage,” from Mr. Mendel’s collection, bathed in a flood of glorious light. 
 The “ Golden Vale, Carmarthenshire,” the “ Beaumaris,” are exquisite morceaux j and Cox’s grandest manner is 
 abundantly illustrated in “The Old Mill and Moor,” and “ Lymne Castle,” “ The Vale of Clwyd,” &c. Mr. Ouilter’s 
 wealth in drawings by W. Hunt, is no less astonishing than the splendour of his Copley Fieldings, his “ Romanina ” and 
 “ Marchesa,” by F. W. Burton ; his Haghes, his Mullers, Lewises, and Turners. He has evidently bought with the 
 greatest taste and equal spirit, and his three days’ sale in April will create a sensation in the art world, and take a 
 conspicuous position in the annals of King Street. I sincerely feel for the man about to separate himself voluntarily in 
 mere exchange for £ 80,000 from so many objects of attachment — even though his grim resolve has been the means of 
 conferring on me a fleeting hour of exquisite enjoyment I might hardly otherwise have hoped for. 
 
 N EMO. 
 
20S 
 
 ART SALTS. 
 
 [1875. 
 
 COLONEL GUTHRIES INDIAN COLLECTION. 
 
 (“The Times,” May 17, 1875.) 
 
 A large and very interesting collection of Indian armour and arms, Chinese and Japanese 
 enamels, carvings in rock crystal, jade and agate, and other objects of oriental art, formed by the 
 late Colonel Charles Seton Guthrie, occupied three days in selling. So many fine examples of the 
 glyptic art as practised by the Asiatic workers have rarely been collected. Many of them had been 
 exhibited in the Indian Museum, and we believe some of the choicest specimens now belong to the 
 National Collection. Among the hard-stone carvings, were many of the intaglie known as 
 “ Poniatowsky ” gems, being the works of modern Italian artists in imitation of the antique, 
 which were sold to the Prince in considerable numbers as real works of ancient art, and which 
 are so excellent, that even when the deception was found out, the Prince still continued to buy 
 them. There were about 300 of these intaglie, in red carnelian chiefly. 
 
 MR. SANDER'S LARGE COLLECTION OF CHINA . 
 
 Among the “ Chelsea China,” was The Nelson service, painted with the coat-of-arms, crest 
 and coronet of Lord Nelson, with border painted with oak branches in green and gold inscribed, 
 “ Nelson, San Josef, February 14th,” consisting of nine pieces, sold for £46. 
 
1875 .] MR. C. BREDELS COLLECTION , AND OTHERS. 
 
 209 
 
 MR. C. BREDELS COLLECTION , AND OTHERS. 
 
 This collection of pictures by the Flemish and Dutch Masters was one ol 
 considerable repute, having been formed many years ago by Mr. Charles Bredel, who 
 died in 1851. Several of them are mentioned in Smith’s “ Catalogue Raisonne, and 
 were exhibited at the British Institution so far back as 1832 — 1848, as well as at the Art 
 Treasures Exhibition, Manchester, in 1857, and recently at the Burlington House 
 Winter Exhibitions. They were now sold by order of the executor of Miss Bredel, 
 deceased, late of Eaton Square, London. The sale (May 1, 1875) included the ancient 
 and modern pictures belonging to the late Rev. John Lucy, of Hampton Lucy, ninety- 
 one in number, of which forty-two were by British artists. Five pictures of the Dutch 
 school were works of great excellence, especially the one by J. and A. Both, which sold 
 for nearly £5,000. From the late Marquis of Hertford’s collection at Ragley Castle 
 two pictures by Romney of Lady Hamilton as the Tragic and the Comic Muse, and a 
 Venus and Cupid by Guercino, were sold after the Lucy collection. I here were also 
 twenty-three pictures by old masters from Baroness Dimsdale’s collection. 
 
 (“The Times,” May 3, 1875.) 
 
 The sale of the Bredel collection, with some other highly-important pictures of the Dutch school and a remarkable 
 landscape by Gainsborough, belonging to the late Rev. Mr. Lucy, of Hampton Lucy, attracted a very full assemblage on 
 Saturday at the rooms of Messrs. Christie, Manson and Woods. The large room was almost as much crowded before the sale 
 began as at the recent great sale of modern pictures, but on this occasion the French and German heard in the general 
 buzz of animated conversation told that all the fine-art powers abroad and at home were more strongly represented. The 
 presence of such well-known foreign authorities as Mr. Nieuwenhuys of Brussels, Herr Gruner, the expert of the Dresden 
 Gallery ; Herr Schmidt, of Berlin ; Herr Carsiangen of Cologne ; and M. Rutter, of Paris, prepared us for the exciting 
 contests over some of those gems of Dutch art, which, as will be seen, added such interest to the sale. It was to this 
 competition in high places, probably, that is to be attributed such an advance in the value of Dutch pictures as was 
 marked in the case of each of the works of prime importance disposed of — an advance which is quite parallel with that 
 which we have so lately had to record of modern pictures of first-rate excellence. This was a result that had been 
 variously regarded during the exhibition of the pictures, some thinking that an old Dutch master would simply maintain 
 the price it had sold for 30 years ago, others anticipating the complete rivalry with the moderns which has now been so 
 posidvely asserted by the facts of figures. The test of an auction is a tolerably reliable one, and an auctioneer engaged 
 in the disposal and valuation of pictures of all kinds is, of course, guided by an average estimate of their realizable value ; 
 we have also the best authority for stating that in this sale of the Bredel pictures the highest average ever reached by any 
 pictures, whether by old or modern masters, was obtained. 
 
 The thirty cabinet pictures of the Dutch and Flemish schools averaged as nearly as possible ,£1,000 each ; the whole 
 collection of 43 pictures, of which at least eight may be set aside as of no consequence, bringing ,£32,402. As will be 
 observed in the details of the prices, some of the pictures sold reached the very highest prices ever given by auction for 
 cabinet works of the schools — as, for example, the landscape, with figures of Abraham, Hagar, and Ishmael, by John and 
 Andrew Both, in Mr. Lucy’s collection, which fetched ,£4,725, and the beautiful little work of Adrian Van de Velde, very 
 little larger than an octavo volume, but such a book to read 1 which sold for ^4,5 1 5. This little masterpiece will, we 
 regret to say, be the chief trophy carried off by the foreign dealers, who succeeded, we believe, in winning other prizes ; a 
 Lucas Van Leyden “ Nativity,” from Baroness Dimsdale’s collection, which may go to enrich the Dresden Gallery, while 
 our National Gallery is without its example of the rare old Flemish master. The Hobbema, and one of the three Wouver- 
 mans of the Bredel collection also. 
 
 VOL. I. 
 
 E E 
 
2 10 
 
 ART SALTS. 
 
 [ 1875 . 
 
 THE B REBEL COLLECTION. 
 
 (‘•The Times,” May 3, 1875.) 
 
 The Bredel collection was entered upon by beginning with some unimportant pictures of the English school, after 
 which came the following F. Guardi. — A pair of views in Venice, with figures ; loin, by 7m., panel— £(147. Le Nairn— 
 Interior, with two lads and a girl playing musical instruments, a bird-cage on a trunk on the right, a stone bottle and a 
 book on the ground on the left ; signed and dated 1629; 26m. by 33m., canvas; bought of Mr. H. Phillips, 1826— 
 1,7493 1 os. A. Watteau. — A Couple of Peasants Dancing before a Cabaret ; a violin player and three other figures on the 
 right ; a clever pasticcio , in the manner of David Teniers ; 9m. by 6|-in., panel ; exhibited at the British Institution, 1848 
 — £(262 lost A. Watteau. — “A Danse Champetre;” a composition of 25 figures, a child building a house of cards in 
 the foreground ; 2 5fin. by 32m., canvas ; described by Dr. Waagen as “ of great warmth and transparency, and of singular 
 carefulness of execution” — £(525. G. Berkheyd. — A View in a Dutch Town; houses with trees on either side, a 
 picturesque building with spires, by a canal in the foreground; signed and dated 1655; 2iin. by 25m., canvas — ,£69. 
 Nicholas Berchem. — A Woman with a Distaff ; a landscape, hilly and broken foreground, bounded by rocky cliffs, trees 
 and bushes ; a dog and a goat ; on the right of the picture, a woman seated on a bank, and a youth lying at her feet ; on 
 the top of a bank are two cows ; at some distance is a peasant with a plough drawn by oxen ; I7|in. by 15m., panel ; 
 from the collection of Mr. Edward Solly, 1837 ; see Smith’s “Catalogue Raisonne ”—£(945. John Both. — A Landscape, 
 with two large trees in the centre of the foreground, rising to top of the panel, by the side of which is a peasant, wearing 
 a sheepskin jacket, driving a mule laden with panniers : in the second distance, a party of two gentlemen on horseback, 
 a man and two dogs, crossing a ford, near which are a man seated on a bank and a herdsman standing by him ; beyond 
 are two huntsmen with dogs in pursuit of a stag ; i9|-in. by 25m., canvas ; bought from R. R. Reinagle, R.A., 1825 ; see 
 Smith’s “ Catalogue Raisonne” — ,£1,732 ioj. Albert Cuyp. — View of a Dutch River, w ith a church and six windmills in 
 the distance, a cottage and trees on the left bank ; warm, early morning ; 14m. by 2oJ-in., panel — .£325. Albert Cuyp. — 
 A View on the Banks of the Maas, fine summer’s evening ; a youth and two cows, with a third lying down near four 
 sheep ; the tower of Het huis te Mewer is seen in the distance ; signed, 1 84 in. by 29m., panel ; mentioned by Smith, and 
 described by Waagen as “an admirable picture of sunny transparency of the master’s second and best period” — 
 £(1,102 ioj. Cornelius Dusart. — A Farmyard, with peasants and children, a rustic building and shed with trees forming 
 the background ; signed, and dated 1687 ; 27m. by 24m., canvas — £323 ior. Frank Hals. —Head of a Boy with a Dog ; 
 lain., circular, panel — £(189. Frank Hals. — Head of a Boy with a bubble, the companion; I2in., panel — £(115 10s. 
 Minderhout Hobbema. — A River Scene with trees ; a boat with two figures appears to glide smoothly along the stream 
 and the light fleecy clouds which float over the bright azure complete the charm of this simple scene ; signed, and dated 
 1650 ; i8iin. by 25m., panel. See Smith’s “ Catalogue Raisonne,” Supplement, p. 719, No. 2. Of this Dr. Waagen says, 
 “ The silvery clouds in the clear sky are as fine as any specimen of the master in this line.” Exhibited at the British 
 Institution in 1839 and 1854. A keen competition arose over this picture between the English and foreign purchasers, 
 but in the end it fell to Mr. Nieuwenhuys for £ 3,225 . Nicholas Maas.— Interior, with a girl seated, making lace, a 
 calendar on the wall behind, on which is the date 1655 ; 22m. by I7^in., panel ; exhibited at Burlington House, 1872 — 
 £(1,77 5. Francis Mieris. — A Young Lady holding a palette and a mask suspended from her neck bya gold chain, arched 
 top ; 5in. by 3jin., on copper ; from the collection of the late Mr. W. Williams Hope, of Rushton Hall, 1849 1 exhibited 
 at the British Institution, 1850 — £262 ioj. Francis Mieris — “ The Enamoured Cavalier.” Interior with a cavalier in a 
 striped jacket, cuirass, and a scarlet cloak, seated, looking at a pretty girl who is filling his glass from a silver tankard. On 
 the right of the apartment is a gentleman sleeping with his head resting on a table. At the exterior of a doorway at the end 
 of the room is seen a couple embracing. A dog on the left. This admirably finished picture is signed “F. M.,” and dated 
 1658; 1 6-fin. by i3fin., panel. See Smith’s “Catalogue Raisonnd,” Supplement, page 48, No. 44. Exhibited at the 
 British Institution, 1839 and 1851. The first bid for this capital example, of which there is a smaller replica in the 
 Louvre, was £(500, rising rapidly to £2,000, then to £(3,000, amid loud applause ; another bid brought it to £(4,000, at 
 which it hung for a moment, when it fell to Mr. Colnaghi for £4,300, amid enthusiastic applause. William Mieris. — An 
 Owl on a stand, two figures with a bird-cage in the landscape background, birds hovering above ; signed, and dated 1686 ; 
 5jin. by 4jin , on copper; exhibited at the British Institution, 1850 — £(250. Adrian Ostade— “ The Tric-trac Players.” 
 Interior of a room, with a company of five boors disposed round a table, which stands near a projecting chimney ; a man 
 and a woman talking together are seen in the back of the room ; a dog is in front. Engraved by Suyderhoef ; i2jin. by 
 ioin., panel ; signed, and dated 1670. From the collections of Sir S. Clarke and Mr. G. Hibbert, 1802. See Smith's and 
 Dr. Waagen’s works. Exhibited at Burlington House. 1872 — £700. Adam Pvnacker — “ L’ Accident du Voyage.” A 
 rustic bridge of timber over the stream has given way with a woman on a mule ; beyond are some travellers arriving from 
 a pass in the mountains: morning. Signed; 17m. by I9^in., canvas. See Smith- — £(136 ioj-. Rubens. — “Christ 
 Triumphant over Sin and Death : ” the Saviour standing erect on a globe under a portico entwined by a serpent, whose 
 bruised head is under his feet, holding a banner in one hand, while the other upraised contains a chalice ; 28m. by 19m., 
 panel; from the collection of the Marquis of Camden, 1841 ; see Smith — £(430. Jacob Ruysdael. — “ The Ruin the 
 landscape represents a flat country, with a large ruin, built of brick and plaster, and figures; i8^in. by 25^in., panel, 
 signed ; from the collections of M. Morelli, 1776 ; M. de Calonne, 1788 ; M. Coders, 1789 ; Mr. W. Smith, M.P. ; and 
 Lord Radstock, 1826; see Smith; at Burlington House, 1872 — £(2,310. Godfrey Schalcken. — “The Cook-maid;” a 
 young woman at a table, holding a lighted candle and an earthen pan ; 6^in. by 5fin., panel, oval— £63. Jan Steen. — 
 An interior, with a large projecting chimney, near which are seated two women, whose attention is directed to a droll 
 fellow bowing most obsequiously before them, and other figures ; 17m. by 13m., panel ; signed on the mantelpiece ; see 
 Smith — £661 \os. David Teniers. — “Villagers Merrymaking;” the figures are 8Jin. high; signed; i6in. by 14m., 
 
1875 .] 
 
 THE BRED EL COLLECTION. 
 
 2 I I 
 
 canvas; from the collection of Mr. R. Heathcote, 1807; see Smith — £388 10s. Arnold Van der Neer. — “Winter in 
 Holland ; ” a village on the bank of a frozen river, with a church and other buildings and numerous skaters ; signed ; 
 22jin. by 3oiin., canvas — £556 icw. Eglon Van der Neer. — Interior, with a young lady wearing a white cap, a black 
 silk kerchief, and a white satin robe, seated at her toilet ; signed, and dated 1665 ; I3^in. by ioiin., canvas ; from the 
 collection of Lord Gwydyr, 1829 ; see Smith — £525. D. Van Tol. — Two Children at an arched open window, blowing 
 bubbles ; iojin. by 8Jun., panel — £- 73 - William Van de Velde. — A View on the Dutch Coast during a calm ; a clear 
 fine morning ; 13 jin. by i6Jin., canvas ; see Smith — £787 ioj. Adrian Van de Velde. — “A Pastoral Scene a woody 
 landscape, with a sloping meadow in front, in which are two cows lying down, beyond these stands a horse of a mouse 
 colour ; to the left is a third cow, and near it is a sheep rubbing itself against a tree ; on the opposite side are a woman 
 milking a goat, another woman with a child in her arms, and a boy ; close to them are two kids playing together, and a 
 sheep lying down ; on the left the eye looks through a vista to the distant landscape ; a fine clear sky adds lustre to the 
 scene ; I3jin. by i2-|in., panel ; signed on the foreground, and dated 1662 ; from the collection of the Countess of 
 Holdernesse, 1802; Mr. John Ewer, 1832 ; and Brooke Greville, 1836; see Smith’s Catalogue; pronounced by Dr. 
 Waagen “ in every respect one of the finest pictures by this great master exhibited at the British Institution, 1844, 
 1854, and 1855 ; this little gem, Mr. Woods stated, was the most highly prized by Mr. Bredel, who was an excellent 
 judge, and continually improving his collection by weeding out. It was certainly the finest example ever seen in that 
 room. It was bought by Mr. Bredel for £700. It was first put up at a bid of 1,000 guineas from Mr. Addington, who 
 was at once opposed by M. Rutter by an equal bid, then by another of 1,000, pausing at 3,500, when Mr. Addington 
 advanced to 4,000 guineas, with a loud cheer, but M. Rutter again came to the charge, and became the conqueror at 
 4,300 guineas, or ,£4,515, a price which was loudly cheered by the audience Philip Wouvermans. — View on a Canal in 
 Holland— winter ; I2^in. by iq^in., panel; see Smith’s “ Catalogue Raisonne ;” exhibited at Manchester, 1857 — £1,281. 
 A River Scene, spanned by a picturesque bridge and other buildings on the bank, with figures ; signed ; 135m. by 19m., 
 panel ; from the Earl of Ashburnham’s collection — ,£630. “ The Departure of A Hawking Party ; ” a chateau with a 
 
 gentleman escorting a lady to her piebald horse, which is held by a groom, and other figures ; I9|in. by 25-gin., panel ; 
 exhibited at Burlington House, 1872 — £609. John Wynants. — A Herdsman with Cattle in a landscape ; the figures and 
 cattle by Adrian Van de Velde, signed ; 15m. by 19m., canvas ; see Smith — £367 ioj . John Wynants. — A Boy Angling 
 near to cottages by the brook ; on the opposite side is a winding road leading to the distant landscape ; a number of 
 poultry are feeding around the house ; 14m. by 19m., panel, signed ; see Smith ; pronounced by Dr. Waagen one of the 
 most beautiful works of the master — ,£1,890. 
 
 This being the last lot in this most interesting Bredel sale, after the excitement had subsided, the pictures belong- 
 ing to the Hon. Baroness Dimsdale, deceased, late of Somerset Lodge, Wimbledon, were proceeded with. Of 
 these, however, there is little to be said, the only pictures calling for any notice being “The Nativity,” by Lucas 
 Van Leyden, with an infant angel in adoration on the left, two shepherds in the background, with landscape distance, 
 33gin. by 33m., sold to M. Gruner for ^£31 5 ; a “ Coast Scene,” by W. Van de Velde, with a fishing-boat near a jetty on 
 the right, numerous other boats and men-of-war in the distance, 17m. by 2iin. — £280; and a portrait by Sir J. 
 Reynolds, P.R.A., of Charles James Fox, when a child, in a white frock with pink sash, and landscape background in an 
 oval 16m. by I3gin., which sold for £105, bringing the total of the day’s sale up to £48,393 for 165 lots. 
 
 The coming sales of the present week are of considerable importance and interest. Tuesday and Wednesday will 
 be occupied by the sale of part of Mr. Saunders’s collection of English and foreign porcelain, which has been on view in 
 the cabinets for the last few days, and which has evidently been selected with unusual taste, containing several pieces of 
 exceptional quality and style. The last three days of the week will be required for the sale of the late Mr. W. Leafs 
 fine collection of water-colour drawings, pictures, and sculpture. 
 
 E E 2 
 
2 12 
 
 ART SALTS. 
 
 [ 1875 . 
 
 THE REV ; JOHN LUCY’S COLLECTION. 
 
 Following the order of the sale the first picture we have to notice in Mr. Lucy’s collection is “The Landscape,” by 
 Gainsborough — a picture measuring 40m. by 50m., extremely bright and pure in colour, with a brilliant sky, having a 
 large mass of white cumuli rising from dark gray clouds below and at the horizon, a party of rustic figures on a road, 
 approaching the spectator, a girl on a white pony and three peasants with horses, a youth with a rabbit slung over his 
 shoulder, and his dog, with sheep on a hill in the middle distance, a boy reposing by the roadside under a tree, a pool of 
 water and a felled tree in front, and in the distance a village church. Deservedly pronounced by the auctioneer a 
 chef d’ oeuvre. Put up at 1,000 guineas, this fine example was knocked down at ,£3,465, to Mr. Rose. 
 
 By J. Ruysdael. — A river scene with cascade, and the chateau of Count Bentheim, the painter’s great patron, on a 
 height, ioijfin. by 13m., sold in Lord Coventry’s collection many years ago for ,£100, now fetched only 30 guineas. The 
 companion picture went for the same price. 
 
 By Van der Capella. — A river scene, with boats at anchor in a calm, and figures on a jetty. Signed and dated 1651, 
 22^in. by aB^in. — .£409 iov. M. Hondikoeter. — Landscape, wild ducks and birds under a tree — ,£105. Canaletti. — View 
 on the Grand Canal, with the Palazzo Bernardo and the fish market ; 24^in. by 38m. — ,£15 7 io.f. W. Mieris. — “The 
 Grocer’s Shop ; ” a woman with scales in her right hand, and a boy at the open window of a shop, over which a vine is 
 trained, a sculptured frieze beneath ; a work of the highest excellence and in the finest condition ; 15m. by 13m. ; sold in 
 1825 at Christie’s for 300 guineas, now sold for ,£787 ioj-. J. Wynants and A. Van de Velde. — A Woody Landscape 
 with two decayed trees on the left, a road, with a pool, a cornfield and hills in the background, two peasants in conversa- 
 tion and a dog, and a woman carrying a bundle on her head ; the figures by Adrian Van de Velde ; signed and dated 
 1683 ; 2oin. by 25m. — .£325 iox. Watteau. — “A Danse Champetre,” seven figures, circular, 8in. ; “ A Musical Conversa- 
 tion,” five figures, the companion — sold together for ,£535 icm These were sold 50 years ago in Lord Carysfort’s 
 collection, when Mr. Rogers purchased at the same sale the famous “ Strawberry Girl” by Sir Joshua Reynolds. 
 
 John and Andrew Both. — “Abraham with Hagar and Ishmael ; ” a sunny Italian landscape, with figures on a road 
 near a lake approaching the spectator under a group of fine trees, two peasants with sheep and goats in the middle 
 distance, and a castle with round tower and arch over the road beyond, with mountainous distance ; 41 in. by 49m. ; from 
 the collections of Mr. C. H. Wade, 1827, Major Dunn, 1828, and the late Mr. H. J. Munro, from whose collection it 
 passed to Mr. Lucy (see Smith’s “Catalogue Raisonne,” Part VI., No. 63). This fine example was put up with a round 
 of applause at 1,000 guineas, and after spirited biddings fell to Mr. Colnaghi at the large price of £(4,725. W. Van de 
 Velde. — “A Fresh Breeze,” with a Dutch man-of-war in front, six other men-of-war in the distance, and fishing-boats 
 shortening sail ; signed ; bought by Mr. Lucy about 30 years ago from the Earl of Lichfield’s Collection at Shugborough 
 and then called “ The Arrival of William III. iyin. by 24m. (see Smith’s “ Catalogue Raisonn^,” Supplement, p. 823, 
 No. 70)— ,£682 ion 
 
 PICTURES FROM THE COLLECTION OF THE MARQUIS OF 
 
 H. ER TEORD, K. G. ( Deceased. ) 
 
 The following are from the collection of the late Marquis of Hertford, K.G., at Ragley Castle : — By G. Romney, R.A. 
 —“Lady Hamilton as the Tragic Muse:” draped figure reclining in a cave with a book; 48m. by 62m. — £(252. G. 
 Romney, R.A. — “ Lady Hamilton as the Comic Muse reclining figure, in white and red dress, on the seashore : 48m. 
 by 62m. — £(325. Guercino. — “ Venus and Cupid ; ” 68in. by 54-gin. — £23. 
 
 SALE OF MEZZOTINT PORTRAITS AND REMBRANDT 
 ETCHINGS AND ENGRAVINGS . 
 
 (“The Times,” June 15, 1875.) 
 
 The collection of engravings belonging to the late Mr. Thomas Richmond, of Park Range, Windermere, sold by 
 Messrs. Christie, Manson and Woods, with some fine Rembrandt etchings, and other works, the property of different 
 collectors, fully equalled the anticipations formed of them at the view days, and in the case of the very beautiful proof of 
 Valentine Green’s mezzotint of Sir Joshua’s Three Ladies Waldegrave, to which we drew attention, the highest price ever 
 attained for this work was reached — viz., £(247 i6j. It was bought by Mr. Colnaghi. “The Lady Bamfylde,” by T. 
 Watson, a rare proof in sepia, before letters, sold for £(100 i6j., to Mrs. Noseda ; “ Lady Betty Compton,” by Valentine 
 Green, a very rare proof — £jiu 6 s. “The Countess of Harrington,” by Green ; proof before letters — £ 102 i8r. “The 
 
1875 .] 
 
 MR. T. JVOOLNER’S COLLECTION. 
 
 21 3 
 
 Marchioness of Salisbury,” by Green ; proof — ^94 ioj. “ Lady Charlotte Talbot,” by Green ; rare proof — ^42. “ Mrs. 
 
 Sheridan as St. Cecilia,” by W. Dickinson ; fine proof — £ 42 . “ Mrs. Siddons as the Tragic Muse,” by F. Haward ; rare 
 
 proof — £309 s. “Mrs. Payne Galwey,” by J. R. Smith, carrying her baby on her back — £31 ioj. “The Duchess of 
 Gordon,” by W. Dickinson, 1775 — £33 12s. The “Cherubs’ Heads,” by T. Simon; from the picture by Sir Joshua, 
 painted from the daughter of Lord William Gordon, in the National Gallery; proof — £39 i8j. “The Hon. Mrs. 
 Hardinge,” by T. Watson — £31 ioj. “The Duchess of Manchester,” by James Watson — £21. Mrs. Matthew, by W. 
 Dickinson, fine proof — ^21. “ Lady Melbourne and Child,” by T. Watson — ^19 19J. “ Nelly O’Brien,” by J. Watson — 
 
 .£13 13J. “ The Marchioness of Tavistock,” by G. Fisher — ^15 1 55-. ; “ Lady Taylor,” by W. Dickinson — ^15 15J. ; “ Sir 
 
 Joshua Reynolds,” by J. Watson ; proof — ,£16 i6j. Among the miscellaneous engravings sold were the “Bolton Abbey,” 
 by S. Cousins, from Landseer’s picture, in the first choice state — £31 ioj. ; “The Countess of Southampton,” by 
 McArdell, from the picture by Vandyck, proof — ,£15 15J. “Rembrandt’s Mill,” by Rembrandt — ^15; “The Three 
 Trees,” and another, by Rembrandt — ^15 ioi-. ; a Woman Bathing, by Rembrandt, fine and rare — £y iys. 6 d. ; “The 
 Prodigal Son,” by Lucas Van Leyden — £39 i8j. ; Virgin and Child, by Albert Durer, with the Crown of Stars — ^10 ; 
 “S. Jerome,” by A. Durer — £y ; “The Prodigal Son,” by A. Durer, rare — ^16 6s. ; “The Nativity,” by A. Durer — 
 ^8 5J. ; “The Cornfield,” by Ruysdael, rare — ^14 3J. 6 d. ; “The Bagpiper,” by Berghem, first state — £10. The following 
 by Rembrandt : — “ Little La Touche ” — ^15 15 -f- “ Christ Healing the Sick” — £10. Large Landscape, with cottage and 
 Hay Barn — £2 y 6s. An Arched Landscape, with Obelisk, and another with Sheep — £23 2 s. “A Village near the 
 High Road” — £2y 6s. “ St. Jerome,” unfinished — ^31 ioj. “Beggars at a Cottage Door” — /13 13s-. “The Shell” 
 
 (the Damier), very rare— £30 8s. Two volumes of small engravings and etchings by rare masters, Robetta, Ravenna, the 
 Master of the Die, Eneas Vico, Beham, George Peux, Aldegrever, &c., with catalogue raisonne—£33 12J. (Colnaghi). 
 
 MR. T. IVOOL NET’S COLLECTION. 
 
 {June, 1875.) 
 
 The collection of modern pictures belonging to Mr. T. Woolner, R.A., sold on Saturday, consisted of 141 examples, 
 all by deceased painters of the earlier English school, except five, three of which were by Mr. Linnell, sen., and two by 
 Mr. Millais. Of those pictures calling for notice among the older painters may be mentioned “The Old Cottage,” by 
 Crome, from the collection of Mr. Yetts, of Yarmouth, and etched by the artist, which sold for ^147. “A Storm coming 
 over Mousehold Heath,” also etched by Crome — £\^y ioj. “ Lanrwst, Wales,” by John Laporte, exhibited at the 
 Royal Academy, 1814 — £66. A Cottage and figures, by W. Mulready, R.A. — ^84. A Young Lady in a blue dress, by 
 Sir Joshua Reynolds — ^94 ioj. “Captain Holdane,” by Sir Joshua — £34 13s'. “ Conham,” by W. Muller — £6y 4s. 
 “The Discovery” and “The Surprise,” by T. Stothard, R.A., engraved by Joseph Strutt, exhibited at Burlington House, 
 1875 — 173 IOJ - “The Sleeping Congregation,” , by W. Hogarth, engraved by the artist and various others — ^94 ioj. 
 A Cottage and figures, by W. Muller, signed — £162 15J. “A Homestead,” by Sir A. W. Callcott — ^112 ys. Worcester, 
 the Cathedral, from the banks of the Severn, by J. M. VV. Turner, R.A., about 27m. by 36m., engraved vvith variations by 
 T. Rothwell — ^420. “Orchard Bay, Isle of Wight,” by Turner, engraved by John Landseer — £32 ioj. “Edinburgh, 
 from Salisbury Craigs,” by Turner — £8>9- “ Weymouth Bay,” by Turner, engraved by W. B. Cooke, 1814, for “ Southern 
 
 Coast Scenery ”—^78 15s-. “Arundel Castle,” by Turner, engraved with variations, by G. H. Phillips, 1827, for “The 
 Rivers of England,” — £99 15J. “Hampstead Heath,” by John Martin — £2 y 6s. Of several good examples of R. P. 
 Bonington, the most interesting were: — “On the Coast of Normandy” — £94 ioj.; “An Old French Water-mill’’ — 
 ^315 ; “A Village in Normandy” — ^141 15J. ; “Venice from the Giudecca,” about lain, by 14m. — ^147 ; “The Palace 
 of the Prince Maffei, Verona,” given by the artist to Mr. Dominic Colnaghi, from whom it was purchased, exhibited at 
 Burlington House, 1875—^199 ioj. “Francis I. and his Sister,” — “ Souvent femme varie. Bien fol est cjui s’y fie.” 
 Engraved by Charles Heath — ,£331. By William Collins — “ The Ferry,” about 27m. high by 36m. — ,£279 1 6s. “ Bruges 
 on the Ostend River,” moonlight, etched by the artist, by John Crome (Old Crome), exhibited at Burlington House, 1S73 
 — ^294. “A Chateau in Normandy,” by J. S. Cotman, about i8in. high by 24m., exhibited at Burlington House, 1875 — 
 ,£288 15J. Of the following four pictures by J. M. W. Turner, R.A., “ Kirkstall Abbey on the Aire,” about 24m. by 36m., 
 engraved with variations by John Bromley, 1824, for “The Rivers of England” — ,£273. “ Crichton Castle,” engraved 
 
 with variations for “Antiquities of Scotland,” by G. Cooke, 1826, exhibited at Burlington House, 1875 — £504. 
 “Whalers,” exhibited at the Royal Academy, 1845, about i8in. by 24m. — ^325 ioj. “Neapolitan Fisher Girls, surprised 
 while bathing by moonlight,” about 24m. high by 30m., exhibited at the Academy, 1840, and at Burlington House, 1875 
 — 15 2 5 - By J. Constable, R.A. — “ On the Stour ;” a study for the picture in the Miller Collection at Preston, engraved 
 by D. Lucas, about loin, by 14m.— ^56 14J. ; “View near Highgate,” exhibited at Burlington House, 1872—^178 ioj. 
 By J. S. Cotman. — “Boys Fishing,” lent to the International Exhibition, 1874 — £i 4 ! 1 5 s ' > and “The Cave of 
 Boscastle, Cornwall,” exhibited at Burlington House, 1875 — £syy ioj. By Old Crome. — “ A View near Thorpe,” 
 exhibited at Burlington House, 1872 — ^304 ioj. By J. Linnell, sen. — “ Evening, a hayficld in Derbyshire;” an early 
 work of great beauty, about 2in. by 5m. — £$y 15J. “ Hanson Foot, Dovedale,” signed, and dated 1846, 1854 — ^472 ioj. 
 
 “The Last Gleam before the Storm,” about 54m. long by 30m., signed J. Linnell, 1847, and Rd., 1863, exhibited at the 
 British Institute, 1847 — £2,623 ! this was precisely the sum this picture sold for in May last year, in the collection of 
 the late Mr. James Eden, of Lytham. It was now bought by Mr. Thomas Johnson of Manchester, and returns once 
 more to Lancashire, where it had so long been in the collection of Mr. Miller, of Liverpool, who bought it of the artist 
 
214 
 
 ART SALTS. 
 
 [ 1875 . 
 
 for ,£300. The two pictures by Mr. Millais sold were the “ Isabella,” one of his very first successes at the Academy in 
 1 849, when a youth of twenty, which among artists went by the name of “ The Kick ” from the figure of the brother, who is 
 kicking at the hound across the picture, in the scene taken from Keats’s poem ; and a small work, highly finished, taken 
 from the Tempest — “ Ferdinand lured by Ariel,” which was exhibited in the following year. The “ Isabella,” which, it 
 will be remembered, represents a family party at a mediaeval repast, was originally in the collection of the late Mr. 
 Windus, of Tottenham, and was sold with other pictures belonging to him in 1862 for 650 guineas. It afterwards 
 appeared again on the walls of Messrs. Christie’s Gallery in 1868, after the death of Mr. Windus, and was sold at a 
 considerable advance on that sum. It was now knocked down at ,£892 ior. to Mr. Willis. The “ Ferdinand lured by 
 Ariel” was sold last year in part of the Ellison Collection for about the same price it now fetched — viz., ^315. The 
 total realised by Mr. Woolner’s collection amounted to ,£8,210. 
 
 THE BOHN COLLECTION , AND PICTURES SOLD AT CHRISTIES. 
 
 The principal event of the present week will be the sale of the second portion of Mr. Bohn’s collection, which 
 embraces all the fine carvings in ivory, wood, and honestone, &c., some ancient Greek vases, and other ancient pottery, 
 a large collection of Wedgwood, and many fine examples of ancient metal work. The disposal of this extensive 
 collection will occupy the whole of to-morrow, Thursday, and Friday. The whole of the objects are now exhibited at 
 the rooms, forming a most interesting and instructive exhibition, which derives considerable advantage from the very 
 complete descriptive catalogue provided by Mr. Bohn himself, with the consent of the auctioneers, in which is shown 
 the prices given for many of the objects in the collection. The sale of this day consists of pictures by old masters, with 
 some of the English school, belonging to the late Mrs. Martineau, Mr. Hingeston Ogier, and other collectors. Among 
 these we noticed a “ St. Catherine,” by Lucas Van Leyden ; a figure called the “Artist’s Cook,” attributed to Rembrandt ; 
 several portraits more or less finished, by Gainsborough; a portrait of Theophila Palmer, by Sir Joshua Reynolds; 
 exhibited at Burlington House in 1875, and a portrait of Miss Mary Cole, by Sir Joshua Reynolds; “ Christ at the 
 column,” by Morales ; and a “Holy Family with St. John,” attributed to Raphael, which belonged to the collection of 
 Mr. Campbell, of Islay, and was bought by him at Florence in 1848. Saturday’s sale will be the collection of Mr. 
 Samuel Barlow, of Stakehill, Middleton, consisting entirely of modern pictures of the English and Continental schools. 
 
 MR. J. WATTS RUSSELL’S COLLECTION. 
 
 (“The Times,” July 5, 1S75.) 
 
 The sale of the collection of pictures belonging to the late Mr. Jesse Watts Russell, of Ilam-hall, Staffordshire, on 
 Saturday last, by Messrs. Christie, Manson and Woods, brought together a large and distinguished assemblage. Some 
 of the important modern pictures of the English school have already been mentioned in our anticipatory notice of the sale, 
 and among them was the large landscape by Gainsborough — “ A Wood Scene with Figures, a View near the Village of 
 Cornard, in Suffolk,” — which has been viewed with a good deal of interest during the week as a work of our great painter 
 of portrait and landscape, unlike his usual style, but of large proportions and treated with great skill. It may be 
 remembered, perhaps, as being exhibited at the Art Treasures Exhibition at Manchester in 1857, and it was then 
 contributed by Mr. Watts Russell. In the catalogue it is described as “painted for Alderman Boy dell,” the great 
 printseller of his day, who became Lord Mayor of London and gave extraordinary encouragement to artists by his 
 enterprise of the Shakespeare Gallery, which consisted of no less than 170 pictures by Sir Joshua Reynolds and all the 
 best painters of the time except Gainsborough. As the sale went on it soon became known that this landscape had not 
 escaped the notice of the authorities of the National Gallery', for there were present the director, Mr Burton, and 
 Mr. W. Russell, one of the trustees ; and the picture when put up, was knocked down, after a very short competition, to 
 Mr. Burton at the price of ,£1,207 io.r. The dimensions of the picture are about 6ft. long by 4^ft., and it is therefore of 
 much the same size as “ The Watering Place,” presented to the Gallery by Lord Farnborough in 1827. “ The Market 
 
 Cart,” is an upright picture, and was presented in the following year by the Governors of the British Institution. The 
 other four pictures by Gainsborough belonging to the nation were the bequest of Mr. Vernon, so that this is the only 
 landscape of Gainsborough purchased by the Government. The superb portrait of Mrs. Siddons, and that of 
 Dr. Schomberg, were purchased each for 4 ji,ooo in 1S62. Another remarkable example of the English school of 
 Landscape was the large and very beautiful work of Richard Wilson — “A View on the Arno,” — which followed the 
 Gainsborough in the sale. It was also last seen as a companion picture to it in the Art Treasures Exhibition at 
 Manchester, and belonged formerly to the collection of the late Lord de Tabley (better known, perhaps, as Sir John 
 Fleming Leicester), whose fine pictures were all sold in 1827, this Wilson among the number. It was now sold for ,£1,890, 
 a sum which shows the high appreciation of the master at the present time in comparison with that in his own day, when 
 for such a noble picture as the “ Villa of Mecaenas,” in the National Gallery, he received the munificent payment of 25 
 guineas ! It will be observed that the price of this work of Wilson’s, which was a most characteristic example of the master, 
 was nearly one-third higher than that of the Gainsborough ; but William Collins, the favourite painter of fisher children, and 
 of English coast scene-y in all its sweetness of light and colour, surpassed both the great masters in point of price, for 
 his picture of “ The Fisherman’s Return,” brought the large sum of ,£2,362 ioj. Even Landseer’s magnificent work of 
 
1875.] MR. J. WATTS RUSSELL'S COLLECTION. 
 
 215 
 
 “The St. Bernard Dogs,’’ (Lot 29) — the large picture, measuring at least 8ft. by 6ft., which is to be distinguished from the 
 smaller one he painted — sold for less than the Collins — viz., ,£2,257 ioj. This picture was also in the Art Treasures 
 Exhibition, was bought from Landseer, and is engraved by John Landseer. A sea-piece of large size, by Sir A. W. Callcott 
 R. A., “ Dutch Fishing-boats Running Foul,” with a fine bold sea and bright sky, sold for ,£1,680. Two views of Oxford 
 by Turner, one of the High-street, the other of the city from the Abingdon-road, measuring each about 36m. by 24m. 
 sold, the first for £(1,050, the last-named for £(1,280. Both are engraved pictures. Among other pictures of the 11 am 
 Gallery, which, counting the works of old masters and a large drawing by S. Prout, numbered 50 pictures, may be 
 mentioned: — “ Puck, or Robin Goodfellow,” by H. Fuseli, R.A., from Lord de Tabley’s collection — £(65. “The Fall of 
 Phaeton,” by James Ward, R.A. — £(94 ioj. “The Pleiades,” by H. Howard, R.A. — £(147. “The Fortune Teller,” by W. 
 Owen, R.A.— £(294. A girl crossing a brook leading a little child, by H. Thompson, R.A. ; life-size figures — £(861. Titania, 
 Puck and the Changeling, by G. Romney, R.A. ; the figure of Titania studied from Lady Hamilton — £(241 ioj. The last 
 five pictures were also from Lord de Tabley’s collection. “ The Schoolmistress,” by J. Opie, R.A., from the collection of 
 Mr. Watson Taylor, a large and important work of several figures — the old lady schoolmistress and her pupils — painted 
 in emulation of Rembrandt — £(78 7 ioj. ; probably the highest price ever paid for a picture by Opie. Una, from Spenser's 
 Faerie Oueen, by W. Hilton — -£(37 8. Harwich Lighthouse, by J. Constable, R.A. ; a small picture, about i8in. by lain., 
 very highly finished, and delicate in the painting especially of the sky — £(378. Market-day at Malines, by Samuel Prout ; 
 a large drawing with many figures and the cathedral measuring about 36m. by 2oin. — £(304 ioj. Portrait of Congreve, 
 the dramatist, reclining in a landscape, dressed in a blue robe, by Sir P. Lely ; oval, about 2oin. — £(90 6 s. Portrait of 
 Salvator Rosa, by himself, a life-size standing figure to the knees, holding a tablet, on which was written in Italian the 
 motto, “Better to die among one’s friends than to live with enemies ” — £(78 15J. A River Scene, with cattle, evening, by 
 Albert Cuyp, signed (from the collection of Lord Radstock), about 54m. by 30m., on panel — £(787 ioj. A view of the 
 Castle of Dordrecht, with shipping, by Van der Capella, from Lord Radstock’s collection, about 54m. by 30m. — £(7 56. A 
 portrait of a Jeweller, from the same gallery — £(105. A River Scene in Norway, from the same gallery — £(682. A 
 Landscape with figures, by Claude, upright, about 40m. by 26m., from the same gallery — £(210. 
 
 This was the last of the Ilam-hall Col ection, which realized altogether the sum of £(18,761 i8j. 6 d. 
 
 THE BELLAMONT PORTRAITS , AND OTHERS BY SIR JOSHUA , 
 GAINSBOROUGH AND ' ROMNEY , &c., &c. 
 
 Two large full-length portraits, by Sir Joshua Reynolds, of the Earl of Bellamont in the robes of the Order of the 
 Bath, wearing the plumed coronet, and of his Countess, were next sold, the former going for £(556 ioj\, and the latter for 
 £(2,520. The portrait of the Earl was said to have been purchased by Mr. Doyle for the National Gallery of Dublin. 
 Both pictures have recently been engraved, and they have been removed from Coote-hill, Bellamont Forest, Ireland, 
 where they have been from the time they were painted. “ The Death of Dido,” by Guercino, a picture taken by the Earl of 
 Bellamont at the sacking of Vigo, was sold for £(157 ioj. The following were the more interesting pictures in the day’s 
 sale belonging to different properties : — “ The Spinster,” by G. Romney, R. A., representin g Lady Hamilton at the spinning 
 wheel, an engraved picture, bought from the artist— ^£(808 ioj. ; sold to Lord Normanton. Lady Hamilton as a Bacchante, 
 by G. Romney — £(210. A portrait of Mrs. Burton, by G. Romney — £(273. Portrait of Mr. Justice Burton, 20 years M.P. 
 for Oxford, by Romney — £(37 i6j. A portrait of Bach, a musical composer, and preceptor to Oueen Charlotte, by 
 Gainsborough ; from the collection of Mrs. Mudge, and mentioned in Fulcher’s life of the painter — £(630; this portrait, 
 which, it should be understood, was not of J. Sebastian Bach, was sold about this time last year for £(934 ioj. Portrait 
 of Mrs. Moody in a white dress, with a dog, by Romney — £(189. Children Feeding Pigs, by G. Morland ; bought of the 
 artist by the Earl of Wigtown in 1788— £(78 15J. “The Temptation of St. Anthony,” by D. Teniers, from the collection of 
 the Comtessede Verrue* and the Due de Valentinois, 1 737 ; a large work, about 6oin. by 30m. — £(168. Portrait of Colonel 
 Sir William Johnson, first Baronet, in gorget and uniform, by Sir Joshua Reynolds — £(105. A grand upright landscape, 
 with figures and dead game, a boar hunt in the background, by J. Weenix ; signed and dated 1700 — £(567. A grand 
 upright landscape, with the meeting of Isaac and Rebecca, by N. Berghem, signed — £(210. A Calm, by W. Van de Velde, 
 measuring only 4fin. by 9 \ wide, on panel, mentioned in Smith’s Catalogue, vol. VI., p. 279 — £(105. Morecambe Bay, by 
 David Cox, a water-colour drawing — £(451 ioj. Bolton Abbey, by P. de Wint — £(472 ioj. Portrait of Lady Gordon with 
 her son, by Sir Joshua Reynolds — £(35 7. A grand view at Tivoli, by Salvator Rosa, a very large gallery picture, from 
 the collection of Bishop Tomline, and exhibited at the British Institution, 1867 — £(98 14J. The Madonna with the Infant 
 Christ and St. John, by Lorenzo di Credi, from the collection of the late Rev. J. Sandforcl — £( 231. The daughter of 
 Herodias, by Guido— £(189. The Windmills, near Scheveningen, by J. Ruysdael — £(189. The Virgin and Child with 
 Angels, by Bernard Van Orley (1490-154D, on panel, about 24m, by I Sin. wide — £ 178 ioj. Lafayette signing the 
 Independence of America, by Greuze ; a small picture, believed to have belonged to Robespierre — £99 15J. A Kentish 
 Meadow with Sheep, by Sidney Cooper, R.A., 1861 — £(304 ioj. Portrait of Hoyle, author of “ Whist, ” by Hogarth, from 
 Dr. Fenton’s collection, and purchased at Hoyle’s sale at Kensington — £(15 15J. The Promenade on the Ramparts, by 
 Tissot, 1864 — £2 15. The total of the day’s sale of 109 pictures exceeded the sum of £(27,000. 
 
 * The famous ‘ Dame,' of whom Voltaire wrote an epitaph : 
 
 “ Ci-glt dans une paix profonde 
 Cette dame de volupte, 
 
 Qui, pour plus grande surete, 
 
 Fit son paradis dans ce monde. ” 
 
ART SALES. 
 
 [ 1875 . 
 
 2 1 6 
 
 DR. DASENTS COLLECTION OF OLD PLATE. 
 
 ('• The Times,” June 3, 1875.) 
 
 The sale of the very interesting collection of Old English and foreign plate formed by Dr. Dasent attracted a large 
 assemblage at the Rooms of Messrs. Christie, Manson and Woods yesterday, and all the more important objects were 
 competed for by the dealers and the numerous amateurs present with the greatest spirit, bringing very high prices. The 
 rat-tailed spoons sold at prices from a guinea to ^5 5-r. Of those called Puritan spoons, one sold for £4 12s - 6z/., another 
 for £4 ys. 6 d. The seal-headed spoons sold for good prices, none less than £ 2 , and most of them bringing between £5 
 and £4. The fine gilt spoon of the date 1595, with initials of the Payne family, sold for £7. Of the Icelandic spoons, 
 one with the double scallop-drill on the top sold for £3 ioj. ; another, with angels’ heads and foliage, the shank 
 ornamented with cable work, for £2 10s. ; another of finer work, for £4 Sr. The English Apostle spoons all brought good 
 prices, none going for less than £3, and the three finest, with the effigies of the Saviour, St. John, and St. Alban, selling 
 for ,£12 each. The two trade spoons sold for £4 12 s. ; the soldier’s spoon with the arquebusier, and the carpenter’s 
 spoon, with the figure of Judith on the shank. Of the ornamental plate a chocolate ewer of 1737, on tripod foot, sold for 
 /104 ; a splendid two handled cup and cover, Lond., 1713, Queen Anne, for /165. A peg tankard, Lond., 1690 — ^42 ; a 
 pair of castors, Lond., 1707, once the property of John, Duke of Argyll — ,£200 ; a fluted waiter, Dublin mark, and date 
 5639 — ^35 ; a barber’s basin, Lond., 1639, with inscription, ,£13. The fine set of four salts of the 16th century, formerly 
 belonging to the Society of Serjeants’ Inn, and known at the time of the Fire of London as “ the old salts ” — ,£195 ; a 
 salt with cable ornament and Tudor borders, Hall mark, 1569—^95 ; the “ Bacon saltcellar,” parcel gilt, inscribed on 
 foot “Nicholas Bacon, 1566,” once belonging to the famous Lord Keeper Bacon, and bearing Hall mark of 1553 — ^200. 
 A double high-standing saltcellar, surmounted by a pinnacle supported by grotesque figures, Hall mark, 1620, 15m. high 
 — £ 3 00. A pair of triple saltcellars or spice boxes, beautiful specimens of Old English work, retaining the old gilding 
 and ornamented with Tudor Strapwork, Hall mark, 1600 and 1599 — £200. An Icelandic tankard, engraved with foliage 
 — ,£11 ior. An Elizabethan silver Bellarmine, Newcastle mark — ,£19. A very early Irish silver mazer or bulbed bowl, 
 probably of the 15th century — £37. A mazer bowl of maple wood, with a rim of silver, found in a shop in Norfolk 
 serving as a money-box — ,£15 4J. 6d. A noble beaker, from Stowe, with engraved medallions of the Princes of Orange, 
 ending with William III. as a boy — ,£60. A betel box and stand of Indian work, from the Exhibition of 1851 — ,£46 ior. 
 A noble standing cup and cover in silver gilt, with the owner’s name, “ Werli von Berenfels, 1541,” and enamelled coats 
 of arms, from the Bernal collection — £300 ; this splendid cup sold in the Bernal sale for ,£45 only. A half-pint stoup, 
 of plain silver, London mark 1677, weighing 6oz. — £19 U)s. The mace of the Watermen's Company of London, 
 containing within the butt a silver oar, Hall mark, 1736 on the oar- — £14. A mottled brown stoneware pint jug, silver 
 mounted, the base ornamented with Tudor work, the hasp of the cover ending in the figure of a double-tailed mermaid — 
 £54 14J. A magnificent high-standing cup and cover, silver gilt, surmounted by a spire supported by angels, on which is 
 a female figure holding a globe and leaning on a shield with the arms of Sir Thomas Glen, Mayor of Norwich in the 
 reign of Queen Elizabeth and James I., London Hall mark, 1625, weight 380Z. This fine piece was put up with a bid of 
 £100, quickly rising to £350, and was knocked down at the price of £390. A low bowl, richly gilt with the old gilding, 
 the stem having three grotesque masks of lions’ heads, a band of Tudor work in leaves round the rim ; London Hall 
 mark, the date mark obliterated, but from the character of the work considered to be of the reign of Henry VIII. — £220. 
 A beautiful ewer, of silver gilt, profusely ornamented with Elizabethan borders and repoussde work of fruits, foliage, and 
 sea monsters, about i6in. high, London Hall mark, 1609 — £330. A pair of silver candelabra of old English work, the 
 stems wreathed with olive leaves, the branches for lights having been added of modern work to match — £105. The total 
 amounted to close upon £4,000. 
 
1876.1 
 
 THE ART-SALES SEASON. 
 
 217 
 
 THE ART-SALES SEASON. 
 
 (“The Times,” February 14, 1876.) 
 
 The prospect of the sales to come looks promising enough in several directions ; but, as far as present announce- 
 ments go, the season is not likely to prove so interesting as last year, unless we are to be surprised again in the middle 
 of June with some such exceptional event as the sale of the Marlborough gems. Last year, indeed, will long be 
 remembered as an annus mirabilis in auction annals : not only were the collections of pictures sold remarkable for fine 
 examples, but the commercial value of them was significant of the greatly increased appreciation of all works of art of 
 high merit. Taking just half-a-dozen of the more important, the Marlborough gems sold for ,£36,750 in one bid; the 
 Mendel collection of pictures and other works of art, not including statuary, for £\ 17,000 ; the Ouilter collection cf 
 water-colour drawings for .£70,983 ; Mr. W. Leaf’s collection for ,£32,257 ; the Bredel collection of only twenty-nine 
 Dutch pictures, for ,£32,402 ; and part of the Bohn collection, of china and Wedgewood chiefly, for £1 1,500. If to these 
 we were to add other sales in London, and such collections as that of Hooton Hall dispersed in the country, the total 
 would represent something like a million sterling. It may be interesting to recall some of the highest sums reached last 
 year for certain pictures : — A landscape, with figures, by Gainsborough, in the sale of the Rev. Mr. Lucy’s collection, 
 sold for ,£3,465 ; in the same gallery a fine Landscape, with the subject of Abraham, with Hagar and Ishmael, by John and 
 Andrew Both, sold for ,£4,725 ; and a Landscape and Cattle, by Adrian Van de Velde, in the Bredel collection, brought 
 ,£4,515. But the crowning price of all was won by Turner’s splendid “Venice,” sold in the Mendel collection for 7,000 
 guineas (.£7,350) to Messrs. Agnew, and afterwards to Lord Dudley. In the sales now before us there are no pictures 
 likely to reach prices quite so tremendous as these, though it is impossible to assert what may or may not be taken as the 
 limit when millionnaires compete. Among the collections which will come to the hammer of Messrs. Christie almost 
 immediately are those of the absconded bankrupt, Mr. Alexander Collie, and two others also under an order in 
 bankruptcy — those of Mr. William Kershaw — of which, indeed, a three days’ sale has already been completed — and Mr. 
 Walter Armstrong. Mr. Collie, as the friend and executor of the late John Phillip, R.A., had the opportunity of acquiring 
 many good modern pictures, and among them, as wotdd be expected, there are some very important works of the eminent 
 painter of Spanish life and character. Fortunately, in fact, for his creditors, his investments in works of art of almost 
 every kind were not merely extensive, but were made with considerable taste. Besides modern pictures, water-colour 
 drawings, and engravings, there are decorative objects of the time of the First Empire, chests of plate, porcelain, and 
 curiosities enough to occupy three days’ sale towards the end of this month. Mr. Kershaw’s collection of water-colour 
 drawings alone numbers near 400, and, with the pictures, will take this week three days in selling, besides the three 
 employed on it last week ; but out of nearly 1,000 lots there are none that call for special mention, and the collection is 
 rather noticeable for the extraordinary number of pictures, and the numerous examples of particular painters. Among 
 Mr. Armstrong’s pictures there is one, at least, which will create a sensation in its way, and that is the large portrait 
 group of the three young ladies playing whist in a conservatory, by Mr. Millais, R.A., which was called “ Hearts are 
 Trumps” when in the Academy Exhibition of 1872. It will be curious to see what will prove to be the auction price of 
 this picture, for which, it is said, the largest sum ever charged for a portrait piece was paid. 
 
 A sale of great artistic interest among those coming off before Easter will be that of the sketches from Nature by 
 De Wint, which have never been out of the possession of his family. Admirers of De Wint will have another fine 
 opportunity for enriching their portfolios in the sale of the late Mr. Perigal’s collection which, besides the “ Stacking 
 Hay,” — a premium drawing of De Wint’s — contains six others which were purchased at the sale of his works many years 
 ago. This is, we observe, to be followed at Christie’s by several very interesting sales of the works of well-known artists, 
 left at their death. Of these, there are the drawings and sketches, with some finished works, by the late Mr. Pinwell, a 
 young and very promising member of the Society for Painters in Water-colours ; a similar collection of the remaining 
 works of the late Mr. A. B. Houghton, an Associate of the same Society ; the pictures and sketches by the late James 
 Danby ; and numerous studies and finished drawings of flowers and fruit by the late Mrs. Harrison, a veteran member 
 of the Institute of Painters in Water Colours. In addition to these there will be sold, in consequence of the death of the 
 widow of Clarkson Stanfield, R.A., many finished drawings, some sketches, and a picture by this distinguished marine 
 painter. As associated with these sales may be mentioned one of peculiar interest, which is also to be held at the rooms 
 of Messrs. Christie, Manson and Woods about Easter — namely, that of the sketches and remaining works of the late 
 Mr. Rowbotham, of the Institute of Water-colour Painters, together with those drawings and pictures which have been so 
 generously contributed by his brother artists for the benefit of the painter’s family. A collection of sketches by Mr. 
 Erskine Nicol, A.R.A., belonging to the late Mr. Andrew Armstrong, of Dublin, will, no doubt, prove an amusing display 
 of this clever painter’s humorous style. 
 
 Some of the most attractive of the early sales are those of Water-colour Drawings collected by the late Mr. Sigismund 
 Rucker, in which are several very choice examples by Mr. F. W. Burton, and of modern pictures belonging to Mr. Jacob 
 Burnett, of Tynemouth, among which are the well-remembered “ Apple Blossoms,” by Mr. Millais, painted in what we 
 suppose may be called his “ second manner,” and the smaller picture by Louis Gallait of one of his chef d oeuvres, “ The 
 Last Moments of Count Egmont.” In the same collection, also, is a good example of Mr. Alma Tadema’s style in the 
 “ Reception of Guests in Ancient Rome.” The pre-Easter sales at Christie’s will be brought to a climax with Mr. Albert 
 Levy’s fine collection of modern pictures and water-colour drawings, and his more remarkable cabinet of Dutch and 
 Flemish pictures, which contains several examples named in “ Smith’s Catalogue,” and among them the well-known 
 work of Francis Mieris — “ Le Cavalier Amoureux” — which was sold so recently as last May in the Bredel collection for 
 the large sum of 4,100 guineas. The drawings by David Cox, in Mr. Levy’s collection, are nearly all known among the 
 best works of this great master of English landscape in water-colour, and these are supplemented by one picture in oil 
 VOL. I. F F 
 
2 I 8 
 
 ART SALTS. 
 
 [ 1876 . 
 
 which is specially interesting as a replica of the beautiful drawing called “ Changing Pastures.” There are 
 several good collections of china and other objets d’art before Easter, and chief among them is the third exodus from 
 the cabinets of North End House, Twickenham, this time of Mr. Bohn’s Oriental porcelain and ancient enamels. 
 
 In engravings and etchings the season will be a remarkable one, both at home and abroad. The collection of the 
 late Vicomte Du Bus, which is now being sold at Brussels, has long been known as one of the most complete and well- 
 chosen of the works of Vandyck, Rubens, Rembrandt, Teniers, and other masters of the Dutch and Flemish schools, 
 forming series numbering altogether nearly 3,000 examples. Noticeable among them are the portrait of Vandyck, etched 
 by himself, in the first state ; of Erasmus (Didier) before any letters ; of Philippe Le Roy, first state, also by Vandyk, who, 
 it will be remembered, painted the splendid full-lengths of Le Roy and his wife in the gallery of Sir Richard Wallace. 
 Most of the works named by Weber, Carpenter, and Ignace Szwykowsky in their catalogues are to be found in this 
 immense collection. M. Du Bus was also an amateur of pictures, particularly of the Dutch and Flemish schools, which 
 are to follow the sale of his engravings. Another remarkable foreign collection, that of M. Philippe Burty, whose critical 
 knowledge must be well known to readers- of the Gazette des Beaux Arts, is to be sold in London by Messrs. Sotheby, 
 Wilkinson and Hodge in April. The exhibition of this collection will be specially interesting for the works of modem 
 etching and fine lithographs of the time when the best artists of the French school worked upon the stone, such as Vernet 
 Delacroix, and Gericault, with our Bonningcon. The collection formed during many years by Mr. James Anderson Rose 
 is to be dispersed by the same auctioneers, and the sale is looked forward to with great interest as one of the most 
 important ever made of engraved portraits. Many of the historical portraits were exhibited at the opening of the new 
 Guildhall Library in 1872, among them being the five series of mezzotints after the pictures by Sir Joshua Reynolds. 
 Some fine and rare proofs of Sir Joshua’s portraits are included in the sale of the late Mr. W. Stuart’s collection, which 
 contains examples of Edelinck, Drevet, Delft, Nanteuil, Wille, and otheis. 
 
 But the monster sale of the season in this class of art will be that of the historical series illustrative of engravings 
 formed by the Rev. J. Burleigh James, consisting of about 60,000 prints, and likely to extend over at least three weeks, 
 at the rooms of Messrs. Sotheby, in Wellington Street, Strand. The most interesting feature in this extraordinary 
 collection is the series of the works of Albert Diirer, which is almost unique in its completeness and for the fine condition 
 of many of the examples. Besides these coming off in London, we hear of sales of two important foreign collections. 
 The one, belonging to a Russian nobleman at Florence, is chiefly noticeable for examples of the old Italian engravers ; 
 the other, which is to be sold at Leipsic in the Spring, consists of a large number of etchings by Rembrandt. At the 
 Hotel Drouot, Paris, one of the most important sales of pictures is expected to be that of M. Schneider’s gallery of Dutch 
 and Flemish works, in which two Rembrandt portraits are spoken of as fine examples. 
 
 Two sales which will be regarded with singular interest in the course of the season are those of the original drawings 
 by two eminent architects and ornamentalists, the late Owen Jones and Sir Digby Wyatt, formerly Slade Professor of 
 Fine Arts at Cambridge University. Those by Owen Jones are his Alhambra studies and other sketches abroad, together 
 with some of those remarkable designs which were lately exhibited at South Kensington, to which place they naturally 
 ought to belong as models of decorative art of the highest value. The designs of Sir Digby Wyatt are those made for 
 his great work on “ The Industrial Arts of the Nineteenth Century.” It is remarkable that by a mere coincidence 
 of this kind the works of these great authorities, who have done so much for modern art in company, to whom we 
 owe the vast historical collection of the Crystal Palace, should come to be dispersed together. These sales will be at 
 Messrs. Sotheby’s. 
 
 The season after Easter at Messrs. Christie, Manson and Wood’s rooms will be enlivened by a sale of Old Masters 
 of unusual interest in the Clewer Manor collection, belonging to the late Mr. Richard Foster, which, though a small one* 
 is distinguished by several extremely fine pictures by the masters represented. There are only nineteen pictures, but 
 every one of them receives Dr. Waagen’s good word, and the merits and pedigree of several are to be read in Smith’s 
 “ Catalogue Raisonn£.” Mr. Foster was not fond of allowing his pictures to leave his walls to gratify the general public, 
 but his choice little collection was generally shown to those who took the trouble to request such a favour. Rubens’s 
 “ Virgin and Child ” is certainly one of the most refined and brilliant works of the great colourist. The Adrian Ostade 
 “ Country People in a Tavern ” — a small work formerly in the collection of M. de Calonne, Minister of France, whose 
 pictures were sold in London soon after those of the Orleans Gallery in 1792 — is a capital work, dated 1674 ; the Jan 
 Steen, an old man holding a girl by the apron and men playing backgammon ; a Cuvp river scene worthy to be compared 
 with Mr. Holford’s famous “ View on the Maas,” and a landscape by the same painter, with a man in a red coat, on a grey 
 horse, like the figure in the National Gallery picture, are all admirable pictures. There are two good examples of Murillo 
 — one a small Assumption of the Virgin, with the Apostles below, and two holy women ; the other a large work (60 in. by 
 48 in.) of the Madonna, seated, holding the Infant Saviour sleeping on her knees. A Greuze, a little girl holding a dog, 
 her delighted face contrasted with the angry dog’s, is a most fascinating and charming picture of its kind, and of the best 
 time of the painter. 
 
 The sale of the Wynn Ellis collection some time in May will naturally form a prominent feature of the season, and, 
 in connection with the splendid bequest to the National Gallery, it cannot fail to rouse a very cordial interest. The 
 more important pictures will be those of the old English school and some works of modern painters ; the pictures by old 
 masters not included in the bequest to the nation are, however, to be sold at the same time, together with a large 
 collection of bric-a-brac of considerable value. There is a picture of Nelly O’Brien by Sir Joshua, and a fine portrait of a 
 lady by Gainsborough, which, with the grand landscape by Turner, “ The Temple of Jupiter” and the “ Niobe,” the first 
 of several painted by Wilson, are enough in themselves to give great bclat to this sale, even had they not belonged to one 
 who has shown such high public spirit in giving the nation so many gems from his fine collection. 
 
1876 .] 
 
 THE WYNN ELLIS COLLECTION. 
 
 219 
 
 THE WYNN ELLIS COLLECTION. 
 
 This was a very large collection of pictures by the Old Masters and English 
 painters of the old and modern schools, with a few water-colour drawings. It consisted 
 of several hundreds of pictures from which, in accordance with the bequest of Mr. Ellis, 
 a selection was made by the Director of the National Gallery of certain pictures which 
 are now placed in a separate room as the Wynn Ellis bequest. After this selection had 
 been made, the rest of the collection was sold at Christie’s. The sale commenced 
 May 6th, 1876, with a first portion of 135 pictures of the early English school. The 
 second portion on May 27th, with 156 pictures by Dutch and Flemish masters. The third, 
 of 154 by French, Spanish, and Italian masters. On June 17th, the last and remaining 
 portion, as it was called, of water-colours (20) and pictures (115), a considerable 
 proportion of which were described in the sale catalogue as only in the “ style of” the 
 painter under whose name they appeared ; thus there were 10 pictures as “ Collins 
 (style of) ; ” 6, “ Constable (style of) ; ” 21 under the name of “ Turner (style of) ” and 
 “(after);” with some others of the same kind which need not be referred to. A 
 considerable number of objects of art in china and decorative furniture, with some 
 statuary in which was the statue “ Highland Mary,” by B. E. Spence, 1851, “ Infant 
 Hercules ” in marble, statuette of old Italian work. The total of the pictures was 
 £ 3 B 5 oo. 
 
 The sale was the most important of the season, and, as it turned out, will always 
 be famous in auction annals for having the portrait of the celebrated beauty of her 
 time Georgina Duchess of Devonshire, attributed to Gainsborough — a picture which, 
 after attracting an extraordinary amount of public attention, curiosity, and dispute 
 amongst artists and critics, brought the unprecedented price of 10,100 guineas, the 
 highest price ever obtained for a picture at Christie’s. 
 
 As if this was not enough of a sensation, the nine days’ wonder was scarcely passed 
 away when one fine morning (May 26th) the town was astonished to hear that the 
 picture had been stolen in the night. It was cut out of the frame, at the rooms of 
 Messrs. Agnew in Old Bond Street,* where it had been exhibited. 
 
 As this event soon assumed an interest which eclipsed the excitement that arose 
 over the enormous price, and still retains the fascination of a mystery, it will be as well 
 to say at once all that can be said about it. From the investigations of the police 
 conducted by those expert officers Messrs. Superintendents Williamson and Micklejohn, 
 nothing was discovered, although the large reward of £1,000 was offered by Messrs. 
 Agnew for the discovery of the thief, and telegrams were sent all over the world, de- 
 scribing the picture and the robbery. To this day nothing has been found out. The 
 only things in the way of a clue that have been mentioned, are that Colonel Keith 
 Fraser, a few days after the event, informed Messrs. Agnew that he had been shown bv 
 a fellow-passenger on the Midland Railway, and on their arrival at St. Pancras station, 
 while waiting for a cab, and at night — a picture, which, so far as he could judge, was 
 
 * Not the present spacious premises, but an old house, since pulled down, which had for some time been 
 occupied by Mr. Gullick, art critic and picture dealer, in the front room of which this picture had been placed 
 for exhibition. 
 
 F F 2 
 
220 
 
 ART SALES. 
 
 [1876 
 
 one very like the stolen picture, and the man who had it said it was a portrait of the 
 Duchess of Devonshire,* but not the one that was wanted. No more came of this, how- 
 ever, but of the fact I can speak, for I happened to see Colonel Fraser at the rooms of 
 Messrs. Agnew, then in Waterloo Place. 
 
 When the Wynn Ellis collection was exhibited, people soon began to crowd into 
 King Street, and I remember my astonishment on going down as usual in the afternoon, 
 to find the street full of carriages, extending in ranks right into St. James’s Square, 
 where there were many standing. The passages to the gallery were full of well-dressed 
 ladies and gentlemen passing in and out, and as I ascended the stairs, who should meet 
 me coming down but Millais (not Sir John then), who in his downright way said to me, 
 “ I don’t believe Gainsborough ever saw it.” I was not at all surprised to hear this 
 from so acute an artist, who sees as far into Gainsborough’s method as most people, 
 and indeed it agreed with my own opinion, which always was that the picture was a 
 much re-painted one by some recent hand,f though upon a true unfinished work of 
 Gainsborough. 
 
 The following is from the notice in The Times, Monday, May 8th, 1876: — 
 
 The sale of the modern pictures belonging to the Wynn Ellis collection on Saturday last 
 created such a sensation as has never been experienced in the picture world of London. 
 Throughout the week the pictures had attracted considerable numbers of visitors, but on the 
 day preceding the sale the interest came to a climax, and crowds filled the rooms of Messrs. 
 Christie, Manson, and Woods all day. Any one passing the neighbourhood of St. James’s Square 
 
 * In connection with this story it may be mentioned that a portrait was exhibited at a place called the Byron 
 Gallery, 26, Savile Row, at the end of July, 1877 — the following year — which pretended to be the original one of 
 the Duchess of Devonshire. The printed description is before me calling it “ The original and famous portrait of 
 the beautiful Duchess of Devonshire painted from life when at the age of twenty years. Nothing can surpass the 
 charm and elegance herein, and the pedigree and history of the picture are traced beyond a question of doubt.” 
 This does not say it is painted by Gainsborough, but on the title-page of the catalogue it is “ Exhibition of 
 Gainsborough’s original Duchess of Devonshire.” It was advertised in “The Times” as such, and the persons 
 concerned in it wrote letters to Messrs. Agnew stating that it was such. A cleverly concocted story was printed 
 and circulated about this picture of how it belonged to a Mr. Foster, a relative of the husband of the Lady Betty 
 Foster who became second Duchess ; and how he had become possessed of it and had carried it to Australia 
 rolled up, and how it was brought back by him on his hearing of the great price paid for the Wynn Ellis picture, 
 and was now, of course, to be sold with all the precious and indubitable documents proving its authenticity, which 
 it was stated would be placed in the hands of the buyer at the trifling sum demanded of 12,000 guineas. Such a 
 dupe, however, it is hardly necessary to say, never turned up. Very few persons went to see this picture, but 
 amongst those few were Mr. Woods (of Christie’s), Mr. Andrew McKay (of Colnaghi’s), and myself, each going 
 separately, but agreeing in the opinion that it was a newly-painted picture. I examined it closely, though it was 
 under glass, and observed it was cracked and cockled, and in places the paint had peeled off and the ground had 
 been painted over afresh. It had not been lined, and the canvas was old, so old that I thought it possible there 
 might be underneath the surface paint a portrait of King George or Queen Anne, but certainly not one of the 
 beautiful Georgina whom it was made to resemble as nearly as a dexterous artist having engravings and 
 photographs and a good memory of the picture when seen at Christie’s, could make it. I remember having seen 
 exhibited in London, now a good many years ago, a picture of Gainsborough’s “ Blue Boy,” which pretended to 
 be the original. It was a very clever thing, and was a good deal discussed at the time in “ Notes and Queries,” and 
 a pamphlet appeared about it. So much assertion was made about it that the Marquis of Westminster (the father 
 of the first and present duke) wrote a letter to “ The Times ” threatening to enforce the law against the exhibitors 
 of this picture as the original. This soon snuffed out that “ Blue Boy,” and I should not be surprised to find 
 that it has been laid up in the same limbo of shams with this portrait of the Duchess with its ridiculous 
 Foster pedigree. 
 
 t Before this picture had been hung in the gallery, or indeed any of them, I was asked by Messrs. Christie 
 if I would like to see “The Duchess.” Not knowing at that time anything about the collection, I asked 
 “ What Duchess? ” “ The Beautiful Duchess,” was the reply, as I was shown into a room where the picture was. 
 
 As I came before it I at once said, “ Yes, but she’s been made beautiful for ever,” alluding to the saying then in 
 vogue, taken from the advertisements of Madame Rachel of Bond Street, and her process of making faded 
 beauties “ beautiful for ever ; ” about which there had been the action to recover payment from Mrs. Pearce, the 
 daughter of Signor Mario and Grisi, the great singers. 
 
1876 .] 
 
 THE WYNN ELLIS COLLECTION. 
 
 2 2 1 
 
 might well have supposed that some great lady was holding a reception, and this, in fact, was 
 pretty much what was going on within the gallery in King Street. All the world had come to see 
 a beautiful Duchess created by Gainsborough, and, so far as we could observe, they all came, saw, 
 and were conquered by the fascinating beauty. Even those who were prepared by Walpole’s 
 glowing description of Georgina, Duchess of Devonshire — that her “ lively modesty and modest 
 familiarity made her a phenomenon ” — were not disappointed, though there were some few who, 
 equally charmed with the picture, failed to recognize the lovely sentiment and refinement of the 
 portraits of her by Sir Joshua at Chatsworth and at Althorp. Thus there arose constantly the 
 most lively discussions before the picture. To convince those who were disposed to be sceptical 
 as to the right naming of the portrait, there were placed in the room two small engravings from 
 portraits of the same personage, one of which bore the name plainly engraved upon it, and was 
 taken from a small whole-length sketch or study in grisaille by Gainsborough which has been in 
 the possession of Lady Clifden for a great length of time. This corresponded precisely with the 
 picture the sale of which we are about to speak of, but it is not an old engraving, being one 
 published by Messrs. Graves. During the sale some further information was afforded by 
 Mr. Woods, who was the auctioneer on the occasion. 
 
 When the portrait was placed before the crowded audience, a burst of applause showed the 
 universal admiration of the picture, and after this Mr. Woods proceeded to give the history of the 
 picture, as far as he knew it. It was exhibited as a whole-length at the Royal Academy in 1783, 
 the year in which also was exhibited the portrait of Mrs. Sheridan, by Gainsborough, now 
 belonging to Baron Rothschild. It was purchased by Mr. Wynn Ellis of the late Mr. Bentley, the 
 picture restorer, who had it from a Mrs. Magennis, and it had been many years in Mr. Ellis’s 
 collection. The biddings then commenced at one of 1,000 guineas, which was immediately met 
 with one of 3,000 guineas from Mr. Agnew, and, amid a silence of quite breathless attention, the 
 bids followed in quick succession, at first by defiant shots across the room of a thousand guineas ; 
 then, as if the pace was too severe, the bids were only 500 up to 6,000 guineas, when again 
 another thousand-pounder was fired by Mr. Agnew, making it 7,000 guineas. Still the fight 
 went on briskly with 500’s, till there was a shout of applause at 10,000 guineas, and then a serious 
 pause for breath between the combatants, when Mr. Agnew was the first to challenge “ any further 
 advance” with his 10,100 guineas, and won the battle in this most extraordinary contest. The 
 whole affair was, of its kind, one of the most exciting ever witnessed ; the audience, densely 
 packed on raised seats round the room and on the “ floor of the house,” stamped, clapped, and 
 bravoed. After the furore had subsided a little, Mr. Woods, before going on with the sale, said 
 that he might tell his audience that this gum which had just been bid was the highest price ever 
 paid in that room for any picture. He also referred to an interesting record of Gainsborough's 
 portraits of this Duchess of Devonshire, to be found in Allan Cuningham’s “ Lives of the 
 Painters,” in which it is related that Gainsborough once failed in painting a full-length of her, and 
 left the picture unfinished, saying he found “ the Duchess was too much for him.” 
 
 So much interest has arisen over this remarkable picture that we may endeavour to state 
 something of the various opinions that have been expressed upon it during its exhibition. There 
 were the two opposite opinions which divided the numerous admirers of the picture, and in which 
 more than one distinguished Academician agreed, either that it is a work of Gainsborough’s 
 highest quality, and entirely authentic, or that it is not by his hand at all. But the doctors, 
 though they differ as to the authorship, agree as to the high merits of the picture. The evidence 
 of fact, putting aside internal evidence, which can only be matter of opinion, bearing upon this 
 point is, that the portrait was called the “ Duchess of Devonshire, by Gainsborough,” by Mrs. 
 Magennis, of whom the picture was bought for £50 in the year 1839, and afterwards sold to 
 Mr. Ellis for £63 only. Whether Mr. Bentley cut down the picture, as is admitted was done, and 
 which seems a most incomprehensible proceeding, is at present not stated. But it was stated that 
 this picture was exhibited at the Academy Exhibition in 1783. Referring to the Catalogue which, 
 of course, after the style of catalogues generally — gives no description of the picture by which it 
 may be identified, a full-length by Gainsborough of the Duchess is there, with the “ Mrs. 
 Sheridan ; ” but this portrait of the Duchess we find Leslie, in his life of Reynolds, says, is the 
 one now at Althorp. Leslie remarks of this and “Mrs. Sheridan”: — “It is interesting to 
 compare both with Sir Joshua’s portraits of them ; we see how differently the same features were 
 reflected in the mirrors of the two minds. Yet both were faithful painters.” Comparing, however, 
 
ART SALES. 
 
 [ 1876 . 
 
 0^2 
 
 the engravings of the portraits he refers to, there can be no doubt that they are of the same person, 
 as the character of the head is similarly idiosyncratic in them. It will be fresh in the memory of 
 all who follow these subjects that Mr. George Scharf, secretary of the National Portrait Gallery, 
 pointed out in these columns in his letter of March 3, how three magnificent Vandyck portraits 
 were misnamed in the last Exhibition of Old Masters at Burlington House, “through the want of 
 descriptive catalogues, or, what is worse, false ones which get substituted in their stead.” The 
 picture now sold measures 59^-in. by 45 in., and is described as “ The Duchess of Devonshire, in a 
 white dress and blue silk petticoat and sash, and a large black hat and feathers.” The head is 
 turned three-quarters to the right, the eyes directed towards the spectator, the hair profusely 
 curled, powdered, and falling on the shoulders; the complexion very brilliant, with very red lips; 
 the eyes gray. The right shoulder is towards the spectator, with the arms folded across the waist, 
 and the left hand, which is very slightly painted in, seen upon the dress. The figure is shown to 
 the knees, or rather lower, and the background is sky, with foliage at each side. 
 
 The following pictures by Gainsborough preceded the portrait above referred to : — A 
 Landscape, with peasant children and cows, 17 in. by 21 in. — £27. A Woody Landscape, with a 
 cottage, and a peasant driving cattle near a pool, 24J- in. by 30 in. — £84. A landscape with a 
 rustic bridge — £ 70 . The entrance to a harbour, moonlight ; Languard Fort, the Governor of 
 
 which, Major Thickness, was a friend of Gainsborough, 26 in. by 53 in. — £30 9s.; a Woody 
 Landscape, with gypsies round a fire on the right, and a man with two horses on the left, 
 47 in. by 58 in.— £262 10s. The Three Princesses, daughters of George III.; small full-lengths 
 in a garden, one seated, 24J in. by 17 in. ; this is said to be the picture which Gainsborough sent to 
 the Academy in 1784 and asked for a special place for it, which was refused, and in consequence he 
 never afterwards contributed to the Exhibition. It is now a good deal faded, and, though touched 
 with great delicacy, must always have been rather in this slight and sketchy manner. It sold for 
 ■£73 10s. Mr. and Mrs. Hallett walking together, with a dog, in a landscape, small full lengths, 
 25 in. by 19 in . — £63 5 s. ; Lady Sheffield, small full length, in a landscape, in a blue skirt and hat 
 — £136 ios. ; Queen Charlotte, bust size, with a muslin hood over the head, delicately painted, but 
 a good deal faded — £157 10s. ; Kitty Fisher, nearly profile, wearing a mob-cap and brown dress 
 with chemisette — £gg 15s. ; Mrs. St. Leger as Imogen, with curly powdered hair, 29 in. by 24 in. 
 — £162 15s. ; Gad’s Hill Oak, with a group of peasant children and donkeys, an upright picture, 
 49 in. by 39 in. — £325 10s. By G. Morland. — A Farmyard — £152 5s. Of the landscapes by 
 P. Nasmyth a Gardener’s Cottage in Battersea Fields, with a man angling, 7 in. by 9 in., very 
 highly finished, sold for £igg 10s. ; a woody river scene, with figures, ii| in. by 8J in. — £131 5 5. : 
 a Landscape, with cottage and figures at the end of a lake, 10 in. by 14 in. — £131 5s.; a View on 
 the Essex Coast, with figures — £210 ; a Landscape, with a man in an old quarry, and a cottage 
 with animals, 13^ in. by 17b in. — £147 ; a Woody Landscape, with two peasants and dog, near a 
 quarry with pool of water, 12 in. by 16 in. — £420; a Woody Landscape, with cottages and 
 peasants, ducks on a pool in foreground, 12 jin. by 17 in. — £556 10s. ; a View in Northamptonshire, 
 with cottages and figures sitting on a felled tree in foreground, 27 in. by 39J in. — £682 10s. The 
 other Nasmyths went for small sums. The landscapes by Sir Joshua Reynolds sold as follows: — 
 A Woody River Scene, from the collection of Mr. Rogers, the poet — £68 5s. A River Scene with 
 windmill, 39 in. by 49 in., in the manner of Rembrandt — £36 15 s. The portrait of Dr. Johnson, 
 12 in. by g| in., by Sir Joshua Reynolds, exhibited at the National Portrait Exhibition, 1867 — 
 £46 4s. ; “The Babes in the Wood,” by Sir Joshua, 28 in. by 24 in. — £346 105.; “Young 
 Hannibal,” a red-headed boy — £35 14s.; Lady Taylor — £157 10s. ; a girl with a dog, 
 29 in. by 23 in. — £178 5s. ; Nelly O’Brien, in a white dress, leaning over a crimson cushion, bust 
 size, recently engraved, 30 in. by 24 in. — £556 5s.; Lady Betty Foster, seated half-length, in a 
 white dress, hat with blue ribands and feathers, life size — £178 105. ; Mrs. Mathew, whole length, 
 with a spaniel, in a landscape — £945. The other pictures attributed to Reynolds brought small 
 prices. By Sir David Wilkie. — “ The Soldier’s Grave,” sketch exhibited at the International 
 Exhibition — £26 5s. ; a sketch for “ The Village Festival,” 6 in. by 7 in. — £21 ; “ The New Coat,” 
 13! in. by nj in. — £43 ; finished sketch for the picture of “ Blind Man’s Buff” in the possession of 
 the Queen, exhibited at Leeds, 24 in. by 34 in. — £152 5s.; “The Rabbit on the Wall,” a sketch, 
 8 in. by 7 in., exhibited at the International Exhibition — £68 5s. ; “ The Rabbit on the Wall,” the 
 picture engraved by G. Burnet, 23J in. by 20 in. — £1,050. Of the landscapes by Turner, a 
 Waterfall, with figures, 15 in. by 12 in., sold for £147 ; “ On the Tyne,” 28 in. by 38 in. — £241 10s. ; 
 
1876 .] 
 
 THE WYNN ELLIS COLLECTION , . 
 
 223 
 
 “ Kilgarran Castle, evening,” 22 in. by 28 in. — £472 10s. ; “ Whalley Bridge,” from the collection 
 of Mr. J. N. Hughes, of Winchester, 24 in. by 34 in.— £945 ; “ Conway Castle,” 41J in. by 54J in. 
 This noble example was received with much applause, and was put up with a bid of 500, rising 
 quickly to 2,500 guineas, when, after a short pause, it was knocked down at 2,800 guineas (£2,940). 
 It has since been said that this fine work was purchased for the Duke of Westminster. 
 
 In putting up the next picture, which, it will be remembered, hung at the top of the large room, 
 called “The Temple of Jupiter at ^Egina,” by J. M. W. Turner, R.A., Mr. Woods said that as 
 certain doubts had been cast upon the authenticity of the picture,* he was instructed by the 
 executors of the late Mr. Wynn Ellis to state that they would guarantee the picture for three 
 months, in order to give the purchaser the opportunity of producing any proof that it was not what 
 it pretended to be, and as they believed it to be, a work of Turner; and that if this was proved to 
 their satisfaction, his money would be returned to him, and the sale cancelled. This announcement 
 was received with much applause, as it was considered to meet in the fullest and fairest manner 
 the doubts that had arisen. Mr. Woods then read a letter written by Mr. Wynn Ellis a short time 
 before his death to a friend, in which he referred to the picture, saying that it had been at 
 
 * The following letters appeared on the matter : — 
 
 To the Editor of “The Times.” 
 
 Sir — As I was present at the interview in Mr. Woods’ room on Friday, May 5, perhaps you will allow me to 
 add my testimony to that of my co-executor, Mr. Howell, as to what passed. Mr. Woods stated that the 
 authenticity of “The Temple of Jupiter” was impugned, and that Mr. Graves, having inspected the picture 
 again on the previous day, had come to the conclusion that it was not the one he had sold to Mr. Ellis. Mr. 
 Graves not only assented, but stated that the current opinion was that Mr. Ellis had had the picture copied and 
 sold the original for 1,400 guineas, and further that it was now in the possession of the Duke of Northumberland 
 at Sion House. 
 
 I gave in reply the substance of Mr. Ellis’s letter, which was afterwards read at the sale, and in confirmation 
 of it called into the room a lady, one of Mr. Ellis’s oldest friends and a constant visitor at his house. Notwith- 
 standing, Mr. Graves professed to entertain the most serious doubts. 
 
 If Mr. Graves saw reason to change his opinion after the interview with us, and before he bid 1,900 guineas 
 for the picture, I think it is much to be regretted that he did not think proper to inform us. 
 
 The effect of his doubts expressed as to this picture disastrously affected the sale of others as well, by 
 shaking confidence in their genuineness. 
 
 Apologizing for the length of this letter. I am, Sir, yours obediently, 
 
 3, Paper Buildings, Temple, May 12, 1875. Edgar R. Everington. 
 
 To the Editor of “ The Times.” 
 
 Sir — A very important piece of evidence as to the authenticity of the picture “The Temple of Jupiter,” is 
 afforded by Mr. Graves, — viz., that it had been “relined ” since he sold it to Mr. Ellis. He does not say that it 
 was a “lined” picture when it was in his hands. I also minutely examined the surface of the picture, but 
 observed no sort of indication of its having required to be lined, an expedient which is generally adopted for the 
 preservation of a picture showing signs of decay, and occasionally for preventing curious eyes from examining the 
 canvas on which it is painted. 
 
 Now the fact of this picture having been relined proves — 1st, that it must have been out of the possession of 
 its late owner for some considerable time; 2nd, that if the picture sold by Mr. Graves was not a lined picture, 
 the one recently before the public differs from it in being a lined picture ; 3rd, it follows, therefore, as a possibility, 
 that there may be two pictures concerned in the inquiry ; 4th, whether the propositions 2 and 3 are affirmed or 
 not, it is true that a picture called “The Temple of Jupiter,” by Turner, was removed to be relined or lined. 
 Was this the picture we have just seen sold by auction ? Mr. Graves, at first sight of his old acquaintance, fails 
 to recognise it, and even on a second visit impugned its authenticity; but he afterwards thinks he knows it by 
 “a small damage ” which existed 40 years ago, and is still distinctly visible. Looking at the engraving by Pve, 
 there cannot be two opinions as to its great superiority to the picture in question ; it suggests Turner as the 
 author, and resembles as closely as any engraving can the handling of the painter. Indeed, John Pye, was too 
 conscientious an artist and too upright a man to work from a picture in the originality of which he did not believe, 
 neither could he, in my opinion, have caught his inspiration from this picture. 
 
 It may afford some collateral evidence if we call to mind the fact that there was a picture called “ Italy,” bv 
 J. M. W. Turner, R.A., exhibited at Burlington House, in 1871, which was selected by the Academicians from 
 the collection of the late Mr. Wynn Ellis, and that this picture held a prominent place all through the Winter 
 Exhibition, notwithstanding that it was denounced as spurious by the critics and by Mr. Ruskin in the columns 
 of “ The Times.” This “ 'Burner ” is said to have been burnt in the Pantechnicon. I am, Sir, 
 
 Talpa. 
 
ART SALTS. 
 
 [ 1876 . 
 
 2 24 
 
 Ponsbourne (his country house) for 40 years at least. Mr. Woods also said that the picture was 
 bought of Turner by Messrs. Moon, Boys, and Graves, the well-known printsellers, and remained 
 in their possession in 1826, and was engraved by the late Mr. John Pye, under their direction, the 
 plate bearing the date of 1828, as might be seen by the engraving on the easel by the side of the 
 picture. Messrs. Graves afterwards sold the picture to Mr. Wynn Ellis. It was exhibited at the 
 Roval Academy in the year 1816. The biddings then commenced, and after a brief and somewhat 
 tardy competition, the picture was knocked down to Mr. Goupil for £2,100. Although this picture 
 gave rise to quite as animated a discussion as the Gainsborough portrait did, there was always this 
 difference — that the generality of good judges were agreed that it was not a fine example of the 
 master if it could be accepted as his work, while some did not hesitate to pronounce it the work of 
 some other painter in the style of Turner. Yet no one was prepared to name the whereabouts of 
 the picture engraved by Pye and with which engraving this corresponds completely. Referring to 
 the Academy Catalogue of 1816 there is No. 71, “ View of the Temple of Jupiter Panellenius in the 
 island of TEgina,” with the Greek national dance of the Romaika, the Acropolis of Athens in the 
 distance, painted from a sketch by Mr. H. Gaily Knight in 1810, by J. M. W. Turner, R.A. 
 No. 55, in the same catalogue, is “The Temple of Jupiter Panellenius restored,” which was 
 possibly an architectural picture. Now, one would expect to find a picture painted considerably 
 over half a century to show some of the ripeness, to say nothing of the cracks and wrinkles, 
 of age. This had neither the one nor the other. Yet it was asked, how could a picture pretending 
 to be the work of Turner be engraved and published as his during his lifetime and not be repudiated 
 bv him ? It may contribute something towards the solution of the question if we remind the 
 reader that Turner did paint one of his finest works from this subject, and this has for many years 
 hung on the walls of Sion House, having been acquired by the present Duke of Northumberland.* 
 It is exactly the same size as the picture in question, but although similar in the general 
 composition, having the group of trees and the temple nearly in the centre and the dark trees and 
 hillside on the left, there are many great differences. The figures are a group of many women 
 dancing in the centre, not quite in the foreground, and not in a procession across the immediate 
 foreground, as in the picture before us ; the figure of the woman dipping her cup into the water on 
 the right is not in the Sion House picture ; but on this side of the composition there is a prominent 
 group of several Albanians, sitting on a large fallen piece of rock or ruined stonework, watching the 
 dancing, and these figures are painted unusually well. The temple is entirely different, being a 
 very grand-looking ruin of white marble columns, without any pediment, glistening in the silvery 
 light that strikes across from the left. The sky is very luminous and full of atmosphere, with a 
 mass of cumuli above the trees, and the sea is of a very tender veiled blue. Upon a large mass of 
 stone in the foreground it is signed in full with the date 1814. As to condition, the Sion House 
 picture, though showing many “hair cracks,” is as clear and brilliant as any of Turner’s finest 
 pictures. Here we must leave the matter with the puzzling question every one was putting 
 at the sale — If this of the Wynn Ellis collection is not the engraved picture, where can it be ? 
 
 The following are interesting paragraphs relating to this important sale : — 
 
 Messrs. P. and D. Colnaghi and Co. write to us from 14, Pall Mall East : — “ Referring to your 
 notice of the Wynn Ellis sale, permit me to state that the picture of the ‘ Temple of Jupiter,’ by 
 Turner, which is now at Sion House, was sold by us not to the present Duke of Northumberland, 
 but to the fourth Duke about 30 years since. The sum paid was £1,200 — a fair price then for a 
 fine Turner. The differences between the Sion House picture and that recently sold are certainly 
 many and remarkable. Allow us to add that we shall be happy to show to any of your readers 
 who are interested in the matter an impression of the rare old mezzotint, engraved from 
 Gainsborough’s full-length portrait of Georgiana, Duchess of Devonshire, which is now at Althorp, 
 and which Eeslie states to be the picture exhibited in 1783.” Mr. Henry Graves, Publisher to the 
 Queen, writes to us from 6, Pall Mall : — “ Your correspondent ‘ Observer ’ remarks that the state- 
 ment as to the ‘ Duchess of Devonshire ’ having been exhibited at the Royal Academy in 1783 is 
 without any evidence to confirm it. In answer to that I can only say that he has investigated the 
 
 * I may say that before the sale I went down to Sion House and requested permission to see this picture. 
 The Duke of Northumberland was at home, and I was received in the most gracious manner, being shown this 
 noble picture, which hangs in the dining-room. 
 
1876.] THE WYNN ELLIS COLLECTION. 
 
 subject in a very superficial manner. The statement is proved as follows : — There exists a set of 
 marked Royal Academy catalogues by Horace Walpole, in which he has written the names of the 
 portraits who were well known to him ; and in 1783 he describes No. 78 as Duchess of Devonshire, 
 and 140 as Mrs. Sheridan. The “ London Chronicle,” of May 1, 1783, has the following remarks : — 
 * Sir Joshua and Gainsborough appear in this year’s Exhibition to be maintaining an honest and 
 laudable species of rivalry. They have each a variety of portraits, and those in so capital a style 
 that the most enthusiastic admirer of each cannot but divide his praise between both. Nos. 23, 
 60, and 230, are admirable proofs of the President’s powers of pencil ; but when this is 
 acknowledged, who can deny that Gainsborough’s Lord Sandw’ch, Sir Charles Gould, Lord 
 Cornwallis, the Duchess of Devonshire (for this picture is the work of Gainsborough and not Sir 
 Joshua, as stated by us through mistake in our last number), the Duke of Northumberland, the 
 lady under the miniatures, and the Royal Family are equally excellent ? ’ The “ Morning Chronicle,” 
 which gives a list of the portraits in 1783 describes Nos. 78 and 140 as Duchess of Devonshire 
 and Mrs. Sheridan, and further adds that they are whole lengths. Yes, but were they life-size ? 
 Where is the life-size picture if he ever painted it? “ The Herald,” April 30, 1783, says:— “ The 
 portrait of the Duchess of Devonshire is after Mr. Gainsborough’s best manner ; the attitude she 
 is shown in is graceful and easy. . . . Mrs. Sheridan appears with every advantage that 
 
 painting can bestow ; her attitude is easy and the drapery is charmingly executed.’ The finished 
 sketches of these two portraits are in the possession of Viscount Clifden, and were greatly 
 admired at the National Portrait Exhibition in 1867. It was remarked in your notice of the sale 
 that the Duchess of Devonshire was the picture now at Althorp, and in ‘ Leslie’s Life of 
 Reynolds,’ vol. 2, page 408, it was stated ‘the Duchess of Devonshire is at Althorp ’ : now, in the 
 same volume, p. 215, when mentioning the Royal Academy Exhibition of 1778, five years earlier, 
 Leslie says, — ‘ Gainsborough showed in great strength at this exhibition. The full-length of the 
 Duchess of Devonshire (now at Althorp) among them.’ Both these statements cannot be correct. 
 The Duchess was married in 1774, and Lord Spencer’s portrait of her is the younger (1778). 
 While referring to our notes on Gainsborough, I find a short extract from “ The Morning Herald ” of 
 May 5, 1784, which may be interesting in connection with the sketch of the three Princesses sold 
 at Mr. Ellis’s sale, — ‘ Yesterday the picture of the Princess Royal, the Princess Elizabeth, and 
 Princess Augusta was removed from the Exhibition rooms at Somerset House, in the Strand, to 
 Mr. Gainsborough’s, at Pall Mall, and thence is to be fixed as furniture at Carlton House, 
 Gainsborough, whose professional absence every visitor of the Royal Academy so feelingly 
 deplores, is fitting up his own saloon in Pall Mall for the display of his matchless productions, 
 where he may safely exhibit them without further offence to the sons of envy and dulness. By- 
 the-by, let it be remembered to the honour of Sir Joshua Reynolds and Sir William Chambers 
 that so far from abetting the conduct of the Academy hangmen, they have in the handsomest 
 manner protested against the shameful outrage offered by these fatal executioners to genius and 
 taste.” — Times, May 10, 1876. 
 
 Mr. H. Graves, publisher to the Queen, writes to us from 6, Pall Mall, May 8 : — “ Some doubt 
 seems to have arisen regarding Turner’s picture of the ‘Temple of Jupiter.’ Having been the 
 original owner of the painting, I venture to ask your permission to give some slight history of it, 
 It was purchased from Turner by my predecessors, Messrs. Hurst and Robinson, and was sold to 
 me with the business in 1872. The line engraving, by the late Mr. Pye, was one of my earliest 
 publications. The picture remained in my possession unsold for several years after the plate was 
 completed. Mr. Ellis then agreed to give me the original cost — viz., 300 guineas. I have myself 
 carefully examined the picture, and I do not hesitate to assert that it is the same picture which I sold 
 to Mr. Ellis 40 years ago. I further called to mind a small damage which then existed and which is 
 still distinctly visible. Mr. Ellis has, however, had it relinecl. The picture at Sion House is, as 
 you mention in your notice, a very different composition, and is, in my opinion, the second picture 
 exhibited in 1816. I supported my own opinion as to the genuineness of the picture by bidding 
 1,900 guineas for it on Saturday for myself. While selling ‘ Gainsborough’s Duchess of Devon- 
 shire,’ Mr. Woods remarked that it had not been satisfactorily engraved. It is but right to add 
 that he was then referring to the very small plate engraved for the ‘ Gainsborough ’ work froj»t Mr. 
 Ellis’s picture, and not to the fine line engraving by my late brother, Mr. Robert Graves, A.R.A. 
 after Lady Clifden’s beautiful design by Gainsborough.” “ Observer ” writes : — “In your report 
 
 VOL. I. 
 
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226 
 
 ART SALTS. 
 
 [1876. 
 
 of the sale at Messrs. Christie’s, on Saturday last, of the picture called ‘ The Duchess of Devon- 
 shire ’ and attributed to Gainsborough, you say: — ‘ Referring to the catalogues, which, of course, 
 after the style of catalogues generally, gives no description of the picture by which it may be 
 identified, a full-length by Gainsborough of the Duchess is there,’ &c. I presume that the 
 catalogues referred to are those of the Royal Academy, as it has been stated that the picture was 
 exhibited in the year 1783 at the Royal Academy. On referring to the catalogue of the Royal 
 Academy of that year, I find that Gainsborough exhibited no less than 12 pictures — six of which 
 were portraits of gentlemen, one landscape, one a seascape, one portraits of the Royal Family (a 
 picture containing 15 portraits), one described as ‘ Shepherd Boys with dogs,’ No. 78, portrait of a 
 lady of quality, and No. 140, portrait of a lady. I cannot, therefore, allow that there is any 
 evidence found in the Academy catalogue of 1783 that this picture was exhibited there, or, in fact, 
 that Gainsborough exhibited in that year a portrait of the Duchess of Devonshire. I look upon 
 it, also, to say the least, as a most remarkable fact that the picture should have been sold so late 
 as 1839 for the sum of £63, as a picture of that importance and beauty by Gainsborough was even 
 in those days worth considerably more. 1 do not wish to offer any opinion as to the authenticity 
 of the work, but feel that in addressing you on the subject it may be the means of bringing to 
 light further evidence about the picture which would be most interesting to a very large number of 
 your readers.” * — Times, May 9, 1876. 
 
 Of the pictures by R. Wilson, only one — the “ Niobe” — sold for any considerable sum, and this was 
 generally thought to have been very cheaply sold at £451 10s. It was a very fine work, and differed 
 from the National Gallery picture, which is that engraved by Woollett, and not this, as stated in the 
 catalogue. The flash of lightning is much more faint and of a reddish tinge, and the bow in the 
 hand of the Apollo is scarcely visible, while both are very marked in the engraving. The picture 
 attributed to Wilson — “ the top of Cader Idris ” — was found to be an engraved picture by Hooper, and 
 sold for £21 only. Of the four pictures by Constable, the only one that commanded attention was 
 the “ Glebe Farm,” from Mr. Morant’s collection, for whom it was painted, and this sold for £388 
 icw. The Cromes sold well, — a river scene for £16710 s.; Yarmouth beach looking north (1819), 
 14m. by 2oin. — £115. A “View of Yarmouth Harbour,” which Mr. Woods stated had long hung in 
 Mr. Ellis’s rooms as the work of Turner, but was undoubtedly of the Norwich School, sold for £420. 
 “The Oak,” exhibited at Burlington House, 1873. — £346 ioj. “Windsor Castle,” from the river, with 
 boats and figures, a small work by Sir A. W. Callcott, R.A., sold for £110 5^. “ Cymocles and 
 
 Imogen,” by Etty — £325 105. 
 
 The sale will long be remembered as much for the extraordinary price of the Gainsborough 
 portrait, which is nearly double that given some four years ago for the beautiful picture of the two 
 sisters, as for the very interesting questions which have arisen in connection with it, and which we 
 imagine must for some time afford matter for discussion. The sum obtained for the whole was 
 £31,500 — a sum, we believe, very considerably above that anticipated by the executors. 
 
 My note on the catalogue of this famous sale says, there were present Lord 
 Houghton, who came to see the full-length portrait of his grandmother, Mrs. Matthew, 
 by Sir Joshua Reynolds, sold as it was for goo guineas; Mr. J. Graham who had 
 bought the Gainsborough picture of Misses Ramus called “The Sisters” in 1873 for 6,300 
 guineas, the highest price ever before paid at auction for a work of Gainsborough (see 
 Vol. II.) ; Lord Wolverton, Baron Alphonse de Rothschild, Sir Wm. Armstrong, Lord 
 Charlemont, Mr. Wentworth Beaumont, Mr. W. Beckett Denison, M.P., Mr. Walter 
 B. Lethbridge, and Mr. J. C. Robinson, afterwards Surveyor of the Royal Collections of 
 Pictures. 
 
 I have also noted that it was said after the sale that Baron Rothschild had made 
 an offer for the Gainsborough “ Duchess” of 8,000 guineas before the sale, which was 
 
 * The next day Mr. Graves writes that in Walpole’s marked catalogue he notes them No. 78, as “ Duch. of 
 Dev.” No. 140, as “ Mrs. Sheridan.” 
 
1876.] 
 
 THE WYNN ELLIS COLLECTION. 
 
 227 
 
 declined. I have the best authority for saying that the person who gave the commission 
 to Messrs. Christie was the late Earl of Dudley, who was in Paris at the time, and 
 telegraphed to buy the picture, giving no limit to price. When the biddings reached the 
 extraordinary price of 10,000 guineas Messrs. Christie decided not to advance, and their 
 prudence in taking this step was afterwards cordially approved by their noble client. 
 
 SALE OF THE HUTCH AND FLEMISH PICTURES. 
 
 (“The Times,” May 27.) 
 
 The pictures by the masters of the Dutch and Flemish schools belonging to the collection of the 
 late Mr. Wynn Ellis which were not among those selected from the large number included in the 
 bequest to the National Gallery were sold by Messrs. Christie, Manson, and Woods on Saturday. 
 They consisted of 156 pictures, some few of which, however, Mr. Woods stated, had never been 
 offered with those which were submitted to the choice of the Director and Trustees of the Gallery, 
 in consequence, as we understood, of their having been overlooked at the time. It will be observed 
 that several good examples were in this sale, and they stand out rather prominently from the 
 generality, which, it was pretty generally admitted, were not of that merit to entitle them to be 
 accepted as representative pictures of the masters. As each of the more important pictures came 
 upon the easel Mr. Woods did not hesitate to express his surprise that it had not found favour with 
 the authorities of the National Gallery, and more especially in reference to the two Rembrandt 
 portraits, one of which, it will be seen, brought a rather high price for a rejected picture — viz., £661 
 IOJ., while the “Tribute Money,” by Rembrandt, from Sir Simon Clarke’s collection, and well known as 
 the picture engraved by M’Ardell, brought £378. These prices, of course, speak well for the merits 
 of the pictures, but as we took occasion to remark before the sale, the Rembrandt portrait must 
 be of the very highest quality to take rank with those already in the National Collection. Still, it 
 was felt that these pictures might fairly and reasonably have been accepted, and if not placed with 
 the great works of the master, they would have served the important purpose of such excellent 
 examples in the National Galleries of Edinburgh and Dublin, which are certainly not overburdened 
 with fine Rembrandts. The same remark applies also to the Cuyp, so long known as “ The 
 Coventry-house Cuyp,” which was now sold to Mr. Nieuwenhuys, the great dealer of the Continent, 
 for the considerable sum of £1,197 ioj-. In this last case, as Mr. Woods stated when the picture 
 was put up, the reason why it was not aceepted was conjectured to be that it so closely resembled 
 the other Cuyp belonging to the bequest which had been chosen. But those who know the Edin- 
 burgh and Dublin Galleries will remember that they are not so rich in Cuyps as to decline such a 
 picture. We are only giving expression to what was commonly remarked at the sale, and to the 
 feeling that some good examples had been allowed to pass chiefly into the hands of foreign dealers, 
 who seemed to be perfectly well aware of what they were buying. 
 
 Proceeding now with the sale, which partly from the dulness of the November-like day, and 
 partly from the distraction caused by the general conversation about the great robbery of the 
 Gainsborough picture, was one of the heaviest affairs of the kind we ever assisted at, being from first to 
 last without a particle of enthusiasm, and dragging on till nearly 6 o’clock, d he prices will serve as 
 some indication of the merits of the pictures, and they are, as far as possible, given without selection. 
 
 “ The Garden of Love,” by Van Balen— £38 17s. By Berchem. — A grand Italian landscape, 
 with two mounted cavaliers halting, with attendants and dogs, from the collection of Mr. W. Smith, 
 M.P. — £157. Landscape, with peasants and animals, sunset — £147. The other four pictures 
 attributed to the master sold for small sums. Van der Capella. — A Calm, with boats and figures — 
 £295. Cuyp. — A River Scene, with windmill and figures at a jetty, moonlight, named in Smith’s 
 Catalogue No. 85 and engraved by S. W. Reynolds— £120 15^. William of Orange and attendants 
 reposing after the chase, a large gallery picture — £105. C. de Jonghe, 1650. — “Old London 
 Bridge,” a picture measuring about 36m. by i8in. — £ 5 2 5 - Gerard Dow. — An Interior, with portraits 
 of Burgomaster Haeslaar and his wife, No. 76 in Smith’s Supplement, about 3061. by 24m. long 
 £127. “ The Miniature ” — £71. Albert Dtirer. — Portrait of Katherine Furleyer, nearly life-size, 
 to waist, painted, in tempera, on linen, with landscape background, and inscription on the border of 
 the dress; mentioned in Mr. Scott’s life of Albert Diirer, and engraved by Hollar. Mr. Woods 
 
 G G 2 
 
22S 
 
 ART SALES. 
 
 [ 1876 . 
 
 stated that this picture was in the collection of Lord Arundel in the time of Charles I., and after 
 the dispersion of that collection it found its way to Munich, where it was seen by M. Mundler, and 
 brought back to England by him and sold in 1851— £338. The other reputed Albert Diirer, a 
 riposo, and the three Van Eycks, brought insignificant prices. By Fyt. — A dead peacock and 
 other birds, and a cat on a marble slab, from the Aguado collection, and exhibited at Leeds — £120 
 I5-5-. The pictures bearing such high names as Lucas Van Leyden, Roger Vander Weyden, Jacob 
 Grimmer, and Memling brought but small prices, one, which was attributed to Memling — “The 
 Madonna and Child Enthroned with Angels ” — selling for £73 ioj. By F. Mieris.— “ The Fortune 
 Teller,” an unusually large work of the kind, being about 30m. by 24m., sold for £147. This 
 picture, it was observed, bore the signature of the painter, but the date had been obliterated 
 apparently. Adrian Van der Neer.— “River Scene, Moonlight” — £162 15J. Another moonlight 
 river scene by the same master sold for the same price. G. Nelscher. — “ Interior with Lady and 
 Gentleman and Boy blowing Bubbles ”—£ 88 . J. Schovel. — “ Flight into Egypt” — £65. Bernard 
 Van Orley. — “The Virgin” — £5 15J. “A Lady with a Book” — £14 14 s. Adrian Ostade. — 
 Interior, with four peasants, about i6in. by 12m. — £235. This picture Mr. Woods stated had 
 belonged to the Saltmarsh Gallery (Mr. Higginson’s). It was last sold in Mr. Morland’s collection 
 in 1863 for £164. An Interior with, two boors at a table — £53 11s. An Interior, with fiddler and 
 four boors — £18 18s. Exterior of a cabaret, with peasants, about i8in. by 12m. — £31 10s. Interior, 
 with ten figures — £65. Exterior of a cabaret, with boors smoking, a woman pouring out beer; 
 engraved, from the collections of Mr. Tillotson and Mr. E. W. Smith — £162 12s. Patenier. — 
 Assumption — £9 9s. The Crucifixion, ioin. by 7m. — £15 155. The Pieta — £9 9s. Poelemburg.— 
 Landscape, with ruins and figures — £18 18s. Landscape, with nymphs— £23. Paul Potter. — Two 
 cows near a pollard willow, 6oin. by 48m., canvas — £15 15J. ; a forest scene, with deer, ioin. by 
 9in. — £15 15^. ; a woody landscape, with figures and animals, 48m. by 40m. — £36 15^. Tynacker. 
 — Landscape with figures. — £8 8 s. River Scene, with ferry-boat and figures — £48. This was one 
 of the pictures which escaped notice, and was not offered to the Gallery. A River Scene — £33 io-r. 
 A sunny River Scene, with boats and figures, about 40m. by 30m. — £220. Rembrandt. — Interior, 
 with a burgomaster and his wife at a table ; a school picture — £10 ioi'. “ Elevation of the Cross” — 
 £17 17 s. This was a small study apparently for the picture in the Pinacothek at Munich. “ Sarah 
 introducing Hagar to Abraham ” — £29 8 j. Portrait of a Gentleman in a black dress and hat, with 
 ruff, oval; described by Dr. Waagen in his account of Mr. Ellis’s collection — £661 io^. 
 Portrait of a Lady in a black dress and muff, oval ; the companion picture — £136 10s. “ The 
 
 Tribute Money,” described in Smith’s Catalogue No. 3, from Sir Simon Clarke’s collection, 
 engraved by M‘Ardell — £378. This picture was exhibited in the British Institution in 1815 by 
 Lady Clarke ; it was sold in the collection of M. Robit in 1801 for £352, which was then a very 
 high price, and Mr. Woods stated that it had been once sold in that room for 600 guineas. It is a 
 composition of 16 figures, painted on canvas, and measuring 23m. by 31m. The two Rembrandt 
 portraits were once in the collection of Baron Lockhurst, of Rotterdam, and were brought to 
 England by Mr. Gall i in 1826. “Abraham and Hagar” — £31 ioj. Rembrandt’s Sister — £10 io.r. 
 A Landscape with buildings — £54 12s. Rotenhamer. — “ The Annunciation ” — £21 ioj. Rubens. 
 Study for Whitehall ceiling — £36 1 5^. ; Head of Helena Fourment — £77; “Peace and Plenty,” 
 replica of the picture in the Hermitage, St. Petersburg — £26 5^. ; Landscape — £23 ; Portrait of his 
 Wife — £63; study for Whitehall ceiling — £31 io.r. ; “The Garden of the Hesperides,” a large 
 gallery picture — £71. Helena Fourment — £35 14^. ; “The Virgin and Child, with Angels” — £12 
 12s.; “St. Martin dividing his Cloak with the Beggar,” a large gallery work — £53 iu. ; Landscape, 
 with figures — £30 gs. ; studies from the Farnesina frescoes, by Raphael, composed as a picture — 
 £35 14^. ; Portrait of his young nephew in a blue dress and cap — £67 ; “ Holy Family,” from the 
 Duke of Lucca’s gallery, very small octagon — £31 ioj. Ruysdael. — Landscape — £17 ; frost scene, 
 described in Smith’s Catalogue, No. 42 — £123 i8.r. ; Landscape — £77 14^. ; River Scene, with 
 carriage and ferry-boat, about 36m. square — £120 15^. Solomon Ruysdael. — Woody river scene, 
 with figures — £1 71; Ride scene — £48. J. Schovel. — “The Virgin” — £6 6 s.; “ Baptism of Christ ” and 
 another, a pair of wings of a triptych — £9 gs. Slingelandt. — A man cleaning fish — £36 15^. ; “The 
 Trumpeter” — £61 igs. Jan Steen. — Mother and child- — -£16 i6.r. ; Village Festival — £26 5 s. P. 
 Neefs. — Cathedral interior, from the Bernal Sale — £46 4^. This was not in the bequest. D. 
 Teniers. — Landscape — £35 14^. ; ditto — £15 15^. ; ditto — £7 ys. ; Interior, with four peasants —£31 
 ioi-. ; “The Philosopher” — £84; Village Festival — £52; Landscape with figures — £31 10^. Terburg. 
 
1876.] 
 
 THE WYNN ELLIS COLLECTION. 
 
 229 
 
 — Portrait of himself — £10 ioy. ; Portrait of a Lady — £73 ioy. ; “The Satin Gown,” exhibited at 
 Leeds — £54 12s. ; Interior, with a lady and servant washing her hands — £21. Vandyck.- — -Full- 
 length portrait of Mutio Vitelleschi, General of the Jesuits — £73 ioy. ; Portrait of an Ecclesiastic, 
 whole length- — £90; “Boys Playing” — £26 15 s. ; “Andromeda,” life-size figure — £37 1 6^. ; 
 “ Henrietta Maria,” in a yellow silk dress — £98 14Y. ; “ Virgin and Child ” — £23 ; “ Assumption of 
 Virgin ”—£13 13^. ; Portrait of Paul du Pont — £ 28 1 ys. W. Van de Velde. — A Calm, with man-of- 
 war and boats — £125. A Storm, with wreck — £31 ioy. A. Van de Velde. — “ The Manege” — £85 
 ir. ; a frost scene — £ 26 6r. ; a Landscape, with figures and animals — £44 2 s.; Peasants, with 
 animals crossing a ford — £28 ys. W. Van de Velde. — A Calm, with man-of-war and boats at 
 anchor — £73 ioy. ; a Calm, with man-of-war, yachts, and boats — £52 ioj. ; a Calm, with yachts and 
 boats at anchor — £31 10s. ; a Sea-piece, with boats in a calm — £65 2s. Van der Werf. — Interior of 
 a tavern ; boys playing cards — £22 is. J. B. Weenix. — The Gardens of a Palace — £22 is . ; “ The 
 Virgin” — £13 13Y. P. Wouvermans. — A Landscape, with peasants and mule — £64 ij.; a Landscape, 
 with travelling peasants — £52 ioj. ; “March of an Army” — £22 is. ; a Landscape, with hawking 
 party — £31 ioy. ; “A Horse Fair”— £32 ns. J. Wynants, 1679— A Landscape, with peasants, a 
 horse and cart, &c.— £26 5s. Z org. — “The Smokers” — £42. A Cuyp.— “ The Shepherd and 
 Shepherdess” — ,£1,199 Iay - The total realized was .£10,380.* 
 
 (The “Daily News.’ - ) 
 
 Messrs. Christie, Manson and Woods completed the sale of those pictures by the old 
 masters which had been declined by the National Gallery authorities, on Saturday last. There 
 were of the French, Spanish, and Italian schools one hundred and fifty-four pictures, and of 
 the more important masters generally from three to nine examples ; then there were no less 
 than five Raphaels, and the same number of Leonardos, ten Titians, four Giorgiones, and five 
 Claudes. Few of these, however, could claim to be authentic works, as they were supposed 
 to have been by the donor, but there were amongst them pictures which were universally 
 esteemed far too good to be rejected as not worth being exhibited. The “ Mount Helicon,” 
 by Claude is one, the “ Gaudenzio Ferrari ” another, as a master not exemplified in the 
 National Gallery ; and a Madonna, with St. Catherine and St. Lucia, which, though attributed to 
 Raphael, is so far not a true picture, but, nevertheless, a very fine work of the school. The prices 
 brought by these and some few others sufficed to show that they were pictures of unquestionable 
 merit. The following were the most important pictures: — Mount Helicon, with the Muses 
 listening, Apollo playing the lyre — originally painted for the Connetabile Colonna at Rome, it 
 passed through different collections into that of Mr. Edward Gray, at whose sale Mr. Wynn Ellis 
 obtained it, (Smith’s Catalogue Raisonne, No. 193, and engraved by Dubourg), £315 — Waters ; 
 Watteau, A Musical Party, £173 5s. — Mr. Raikes Currie; Nymphs Bathing, £33 12s.; “The 
 Embarkation for Cytherea,” £33 12s. ; A Conversation Champetre, £48 ; by Murillo, “ The 
 Coronation of the Virgin,” exhibited at Leeds, 1868, £52 10s, ; “ The Virgin in Prayer,” from 
 Prince Joseph Bonaparte’s Collection, £195 ns. ; St. Justina and St. Rufina, the companion, 
 £241 the pair — Graves; St. Joseph with the Infant Saviour Asleep, £231; “ The Baptism of 
 Christ,” from the Stowe Collection, (Duke of Buckingham’s), £89 5s. — Graystone ; The Madonna 
 and Child, with four Saints, a large work, £483. — Waters. By Canaletti, the Grand Canal, 
 Venice, with gondolas and figures, and The Piazza de Popolo, Rome, £75 12s. the two pictures — 
 Graystone. By Occhiali, A View of Venice, with procession, £78 15s. — Graves. Gaudenzio 
 Ferrari, The Visitation of the Virgin to St. Elizabeth accompanied by St. Joseph, Zacharia, and 
 St. Sebastian, in a richly wooded and mountainous landscape, a large gallery picture, exhibited 
 at Manchester in 1857, £75 12s. Giorgione, a Sibyl, £141 15s. — Graystone. A Venetian Bravo 
 drawing a sword, £36 15s. Guardi, a Fete on the Grand Canal, with numerous gondolas and 
 allegorical figures, £162 15s. — Lesser. By Guercino, “ David and Bathsheba,” large gallery 
 picture, exhibited at Manchester, 1857, £22 is. — Cox. By Onorio Marinari, The Madonna and 
 Child, £67 4s. By Innocenza Da Imola, “ The Marriage of St. Catherine,” exhibited at 
 
 * The names of purchasers will be found in Vol. II., under the name of the artist and picture. The pictures 
 by French, Spanish, and Italian masters, sold June 17th. 
 
art sales. 
 
 [ 1876 . 
 
 230 
 
 Manchester, 1857, £36 15s— Lesser ; by Luini, A Guitar Player, from the Duke of Litta’s 
 Gallery, £ 107 2s.— Waters ; Raphael, “ The Procession to Calvary,” small predella picture, replica 
 of the Leigh Court picture, £57 15s. ; 1 he Madonna and Child, with St. Catherine and St. Lucia, 
 £3 — Graystone ; St. George and the Dragon, a small work, copy of that at St. I eteisburg, 
 
 I2S , Cox. Total, £6305 15s. 6 d. There yet remain of this large collection some hundreds 
 
 of pictures, chiefly modern, which are to be sold in July. 
 
 (The “Daily Telegraph.”) 
 
 To empanel a jury of ghosts should surely be within the attributes of modern spiritualism, and 
 the interests of expertise in matters of art would have materially benefited if some eminent 
 professor of phantom-raising had been present at the recent sale at Christie’s of some hundred and 
 fifty reputed specimens of the “ old masters” belonging to the Wynn-Ellis collection, which had 
 been declined by the National Gallery authorities in exercising their right of selection among the 
 art treasures bequeathed by Mr. Ellis to the nation. The ghost-seer might have obligingly 
 summoned from the shades a boxful of “ honest men ” — we mean spirits— to form a jury 
 empowered to decide whether all, or any, of the alleged “ old masters ” brought under the 
 auctioneer’s hammer were genuine, or more or less worthless copies ; and these twelve assessors 
 might most appropriately have comprised Messer Rafaelle Sanzio of Urbino, Messer Tiziano 
 Vecelli — commonly called Titian — Messer Lionardo da Vinci, Signor Giorgione — or “ Big George” 
 — of Venice, and Monsieur Claude Gelee, popularly termed Claude Lorraine. To these five might 
 have been adjoined the spirits of Nicolas Poussin, Bartolomi Esteban Murillo, Antonio da Canal 
 — alias Canaletto — Annibale Caracci, Domenichino, Bernardo Luini, and Giulio Romano. These 
 eminent although disembodied judges would have been admirably qualified to act as referees in 
 King-street, St. James’s, last Saturday, since there were brought to the rostrum no fewer than five 
 ‘‘ Rafaelles,” five “ Lionardos,” ten “ Titians,” four “ Giorgiones,” and five “ Claudes.” Now, five 
 genuine specimens of the first-named painter should, at a moderate computation, have fetched 
 £25,000; ten Titians would certainly be cheap at £30,000 ; five Lionardos — Da Vinci’s works are 
 amongst the most rare— would scarcely be dear at £20,000 ; four Giorgiones might be safely put 
 down at £4,000 ; and five Claudes at £1,000 a piece. Thus if “ truth were on every shepherd’s 
 tongue” — and every picture-dealer’s — the twenty-nine leading pictures in this remarkable sale 
 should have realised between £80,000 and £90,000 ; to which a very pretty penny ought to have 
 been added by the sale of the remaining masterpieces. Foreign appraisers, especially those 
 accustomed to attend the salles dc vente of the Elotel Drouot, may, however, be astonished to learn 
 that the amount realised by the entire sale was only £6,305 15s. 6 d., showing an average of about £40 
 for each chef d'cnavrc. Prices as regards the “ old masters ” certainly “ ruled low.” Two Claudes 
 sold respectively for £43 and £22. A “ Girl and a Dog,” said to be by Greuze, fetched the 
 ridiculous price of £27 6 s. If any sensible picture-dealer had believed the work to be by Greuze 
 he would gladly have given ten times that amount for it ; and a really important Greuze would be 
 worth from £1,500 to £2,000. The reputed Rafaelles went for analogously absurd prices, 
 although one Madonna and Child imputed to him, which was possibly a fair copy of the master, 
 brought £315. What the jury of spirits would have said to such a sale as that of Saturday, it 
 would be rash to assume. From a mundane point of view, it might be hinted that the late Mr. 
 Wynn Ellis must have been a gentleman of exceedingly lively faith in matters pictorial, but that a 
 corresponding incredulity was manifest by the bidders at the late auction. 
 
 The remaining portion of the collection was sold Saturday, July 15th, 1876. The 
 auctioneer, Mr. Woods, in proceeding to complete the sale, made a few remarks, stating 
 that the pictures were sold according to the conditions prefixed to the catalogue, and it 
 was for the buyers to exercise their judgment as to the authenticity of the pictures. The 
 prices obtained were generally small, few reaching 50 guineas. Those which may be 
 noticed as bringing higher prices were : Gainsborough, Girl with a Pitcher, ^152 55. — 
 
1876.] 
 
 THE WYNN ELLIS COLLECTION. 
 
 231 
 
 Graves; “Charity,” figures and a cottage in a landscape, £110 55. — Partington; Reynolds, 
 “ Mrs. Robinson, ”£52 10s. — Ellis. “Shipping off Antwerp, Turner, ”£85 2 s . ; Turner (after), 
 “Caligula’s Palace,” a large picture in imitation of the painter’s style, £68 55. — Rouse ; 
 Murillo,” “ The Miraculous Conception,” a large gallery picture, brought from a collection 
 at Peru about 30 years before, imported by Messrs. Gibbs. It had once hung on a 
 staircase at the premises of Messrs. Christie for some years, and was afterwards sold for 
 400 guineas. It was said to have been sold to Mr. Ellis for the large sum of £4000, 
 but this is a mere piece of irresponsible talk. However, I had the opportunity of 
 examining this picture, and it is my opinion it was originally a true work, probably left 
 unfinished by the master, then afterwards painted upon and sent to Peru, and since 
 repainted by a modern hand. It was now sold for £430 105. to Mr. Martin Colnaghi. 
 
232 
 
 ART SALES. 
 
 [ 1876 . 
 
 MR. W. KERSHAW'S COLLECTION . 
 
 (“The Times,” Feb. 21, 1876.) 
 
 The sale of the large and very miscellaneous collection of engravings, water-colour drawings, 
 and modern pictures belonging to Mr. William Kershaw, late of Suffolk Lodge, Brixton, by order 
 of trustees in bankruptcy was concluded by Messrs. Christie on Saturday, having occupied no less 
 than six days in the disposal of 979 lots. The prices obtained were fully equal to the merit of the 
 pictures, and considering the number of examples of the same master one after another, in some 
 instances twenty or thirty, it may be said they sold remarkably well. These were generally very 
 indifferent specimens of the painters — the best are recorded in Vol. II. The total amounted to 
 £18,050. 
 
 MR. S. RUCKER’S COLLECTION OF WATER-COLOUR 
 
 ERA WINGS. 
 
 ( March 11, 1876.) 
 
 Messrs. Christie, Mansonand Woods sold the collection of water-colour drawings belonging to the late Mr. Sigismund 
 Rucker, of West Hill, Wandsworth, on Saturday. Of the 68 drawings the following were the most important — By T. 
 M. Richardson. — “Near Naples ” — £79 17.?. ; “ Ardconnel Castle, Loch Awe ” — £126. F. W. Topham.— “Resting by the 
 May,” rustic children — £73 ior. W. Hunt. — “ATramp” — £120 15.1. ; “ The Young Angler ” — £183 15.?. ; “ Grapes and 
 Pears” — £79 i6j. ; “ Bird’s Nest and Hawthorn Blossom” — £84. Carl Haag. — An Italian Woman at a Fountain — £47 5 r. 
 E. Duncan. — “ Off the French Coast” — £52 io.y. David Roberts, R.A. — Abbeville Cathedral (1830) — £105 ; A Cathedral 
 Interior— £75 ier. Birket Foster. — “Feeding Chickens” — £801 ys. Cottage, withChildren — £652 s. G. Barrett. — Warwick 
 Castle — £34 135-. ; “ The Wayside Inn” — £75 12.1. ; “ Richmond” — £108 ; “A Composition” (1825) — £111. These four 
 drawings, which were all good examples of the artist, showed a great advance in price, in one especially — “ The Wayside 
 Inn,” which was sold by auction about thirty years ago for three guineas. By Samuel Prout. — Buildings — £120 15J.; 
 Abbeville— £100 1 6s.; Ratisbon Cathedral — £127. G. Chambers. — Coast Scene — £80 lys. E. Duncan. — “ Barges on the 
 Medway” — £179 nr. H.BrittenWillis(i867). — “Highland Cattle” — £13610.1. CopleyFielding(i834). — “Arundel Castle” 
 — £346 ior.; “ Bridlington Pier” — £455 14.?. ; “Rydal Water” (1837) — £290 5J. ; “ Off Oban” — £336. These were all ex- 
 cellent works, though of the smaller size, for which Copley Fielding was accustomed to paint for from 30 to 40 guineas, but 
 they well maintained his high reputation by bringing nearly double the price at which they were last sold ; thus the 
 ‘ Bridlington” was sold at Christie’s ten years ago for £267 15,?., and the “ Rydal Water ” at the same time for £178, to Mr. 
 Vokins while the beautiful little sea piece — “ Off Oban,” which was now knocked down for £336, was bought by the same 
 dealer of the artist when first exhibited at the gallery of the Society of Painters in Water Colours for 35 guineas. By 
 G. Cattermole. — “ Clarence’s Dream” — £73 ioj. ; “ Salvator Rosa among the Brigands,” — £127. T. S. Cooper, R.A. (1839). 
 — “Sheep” — £100 i6.r. Louis Haghe (1855). — “Work and Play” — £58 i6.r. ; “ The Guard Room” — £46 14,1.; “The 
 Watering Place, Cairo,” a large drawing with many figures, painted i860 — £430 ioj. ; “The Guard Room” (1850) — 
 £178. Clarkson Stanfield, R.A. — “ Castle of Anghiera” — £162 15^. ; “ Heidelberg” — £168. For these drawings it is said 
 the artist only received 12 guineas each. J. D. Harding . — “ A Swiss Valley” — £168 ; “ Lake Como” — £210. Frederick 
 Tayler. — “ Return from Deerstalking” — £273 ; “ The Kennel” — £220 ioj. ; “ A Gillie and Hounds” — £372 15.1. ; “ The 
 Keeper’s Daughter” — £32 510^. These drawings all more than maintained their place in the estimation of water-colour 
 amateurs, the last bringing more than three times the commission price paid to the artist. But the highest price was 
 carried off by Mr. F. W. Burton’s admirable picture, “Faust’s First Sight of Marguerite,” which will be remembered in 
 the Water-Colour Exhibition of 1857. Tnis now sold for £630, having passed from the walls of the Exhibition at 240 
 guineas. The charming little drawing of “ The Virgin’s Day ” — a little girl in a white dress, with bright red and yellow 
 shawl over her head, carrying a large white lily, with a blue sky, the first price of which was only 50 guineas, now rose to 
 no less than £430 ior. Another small drawing, “ The Apple Girl,” sold for £225 15^., and the “ Tyrolese Boys Trapping 
 Birds,” painted 1858, for £262 ioj. The one oil painting in the collection was “ The Lacemaker,” by J. L. Dyckmans, 
 of Antwerp, the painter of “ The Blind Beggar” in the National Gallery, which picture this, and another which was sold 
 in company with it, quite equals as a curiosity of high finish and minute execution. It brought the large sum of £682 ior. 
 The other picture was called “ The Startling Account,” a domestic interior, which with figures in modern costume, sold 
 for £357. A landscape by William Collins, R.A., painted 1821 for Mr. F. G. Currie, and mentioned in the artist’s life; 
 the subject is very simple, with rustic figures, and a girl on a pony, Chichester Cathedral in the distance, measuring about 
 38m. by 24m., sold for £829 ioj. 
 
1876 .] 
 
 THE LI PH ART COLLECTION. 
 
 THE LI PH ART COLLECTION. 
 
 (“The Times,” December 19, 1876.) 
 
 The sale of the very remarkable collection of old engravings formed during the last 40 years by Herr von Liphart, a 
 distinguished German connoisseur, of Dorpat, but lately a resident of F lorence, which has just been conducted at Leipsic, 
 in the Hotel Stadt Dresden, was an event of the highest interest to the world of print collectors. Herr von Liphart began 
 to study the subject so far back as 1836, when he laid the foundation of his large collection, which in its complete state 
 numbered nearly 2,000 examples, by purchasing many fine prints at a sale in Leipsic, through Herr Boerner, the 
 auctioneer, who has now directed the final disposal of his cabinet. He afterwards continued his pursuit at Bonn, gaining 
 much from his acquaintance with such experts as Herr Weber and Professor Wolf, the great student of historical portrait 
 engravings, and spent many years in Russia adding greatly to the treasures of his portfolios, eventually in 1855-6 obtain- 
 ing a most choice selection from the collection belonging to Herr Weber, sold after his death. In later years his great 
 experience and fine taste enabled him to take advantage of every sale of importance in perfecting the different series of 
 the works of the Masters, until at length he had brought together not only a vast collection of the highest general excel- 
 lence, but in some respects quite unrivalled in the completeness of certain sets of engiavings and the perfect condition of 
 some unique specimens. Of these may be mentioned, for example, the set of the three engraved designs of wonderful 
 interlaced work, attributed to Leonardo da Vinci, by Vasari, copied in woodcut by Albert Diirer, of which the British 
 Museum possesses only one, and which are, we believe, unique as a set. The series of Albert Diirer’s work was one of 
 the finest ever formed, consisting of 1 16 prints, among which were the extremely rare “ Pestkranke,” with the Latin verses 
 by Dr. Ulsensius ; the “ Adam and Eve,” in the first state ; and the first edition of his three great books — “Die Crosse 
 Passion,” “ Die Apocalypse,” and “ Das Marienleben,” which, however, had unfortunately been taken out of the old 
 original binding to have the prints cleaned. Others almost equally rare will be noticed as we go through the details of 
 the catalogue. The examples of Martin Schongauer and Lucas Cranach were also numerous and in fine condition. 
 Rembrandt was a favourite master with Herr Liphart, who tolerated none but the choicest specimens, and the whole of 
 the 228 examples were of almost uniform beauty. The collection of Vandyck portraits, many etched by his own hand, was 
 another most interesting feature in the sale. But only those who have been so fortunate as to obtain the catalogue, which is 
 a most elaborate work of 166 pages, with several admirable illustrations of the principal examples, can form any just idea of 
 the extraordinary variety and completeness of the collection. 
 
 The sale, which began on the 5th ult. and continued for several days, was attended by all the principal dealers of the 
 Continent holding commissions from most of the great public museums, and though it does not appear that any specially 
 instructed agent of the British Museum was present, yet as many of the most important examples have been brought to 
 London by Mr. Thibaudeau, and some by Mr. M‘Kay, of the old house of Colnaghi and Co., it may be hoped that the 
 National Collection may still obtain the advantage of filling up some of its vacant places. 
 
 Most of the purchases made by the English agents were for the Fitzwilliam Museum of Cambridge, the authorities 
 of the University having devoted a sum of ,£1,000 to be expended in adding to this already fine collection, the funds of 
 which have been accumulating since the completion of the building. Coming immediately in connection with the recent 
 purchase of the objects of antique Greek and Phoenician glass discovered by General Cesnola, this acquisition of rare 
 engravings will be viewed with great satisfaction, as evincing the determination of the University to make the splendid 
 Fitzwilliam bequest fully efficient in promoting the influence of art. Following the alphabetical order of the catalogue, the 
 following were the most interesting lots, which were sold in marks, a coin equivalent to the English shilling. These prices, 
 however, we give in pounds sterling. The references are to the numbers in the Peintre-Graveur of Bartsch or Passavant, 
 and the measurements are in French millimetres. 
 
 Aldegrever — The Virgin and Child, half figure, with crown and sceptre — ,£5 ioj. (Thibaudeau) ; the Great Book of 
 Costumes (Bartsch, 160-171) — £30 (Clement, of Paris); the Duke Wilhelm von Julich — £16 13s. (Coppenrath, of Ratisbon). 
 Altdorfer. — Landscape (Bartsch, 74), a fine and rare impression — £1 5 (Herr von Hagens); Andrea Andreani — the 
 Triumphs of Julius Caesar, from Andrea Mantegna’s frescoes at Mantua, nine impression in chiaroscuro (B 11), corres- 
 ponding with the celebrated tempera picture on cloth by Mantegna, which belonged to Charles I., and are preserved at 
 Hampton Court Palace — £12 (Mr. Mitchell). A most interesting collection of very rare prints of ornamental designs for 
 goldsmiths and metal-workers of the style of the German Renaissance, considered to be probably by the anonymous 
 master I. S., all in fine condition, some being coloured for the use of the enamel-worker, contained the following noticeable 
 examples : — A large flagon, with cover, ornamented with trophies, nymphs, satyrs, and tritons (h. 184 m.m.) — £6 (Herr 
 Ruland, for the Weimar Museum) ; a large cup, with a female head in the centre (h. 280 m.m.) — .£6 5s-. (Thibaudeau) ; 
 a tall covered cup, the body richly ornamented with arabesques and figures of cupids in landscapes, the cover surmounted 
 by a cupid drawing his bow (h. 300 m.m.) — £(15 5-y. (Herr Wavra, for the Vienna Museum) ; a vase, ornamented with 
 figures and dolphins, &c. (h. 291 m.m.) — £10 155-. (Ruland) ; a cup, with body, stem, and knop richly chased and enamelled 
 with scrolls and fruits in relief (h. 151 m.m .) — £i \ 15J. (Herr Prestel, for the Stadel Museum at Frankfort) ; a large cup 
 with a female head and vases of flowers and other figures, coloured for enamel and gold (h. 286 m.m .) — £7 ioj\ (Thibau- 
 deau) ; a double cup (h. 206 m.m .) — £7 (Thibaudeau) ; a fine cup, with a landscape in enamel and figures in chased and 
 engraved work, coloured for enamel and gold (h. 169 m.m.) — £(14 (Ruland). 
 
 Among the Italian anonymous engravers was a most curious engraving, evidently a political caricature of the time of 
 the late 15th century. It has been attributed to Baccio Baldini, the famous contemporary of Botticelli, whose designs he 
 engraved, but this is not generally accepted, although it is admitted to be in his style. It represents the Pope wearing the 
 triple tiara, but otherwise nude, except a small drapery round the loins, supporting with one hand an Emperor clad in the 
 same way, and both standing with one foot on the mast of a ship and the other the Pope’s on a wheel, the Lhnperor’s on 
 VOL. I. H H 
 
234 
 
 ART SALTS . 
 
 [ 1876 . 
 
 a lion, at whose feet is a scroll with the legend “ Borgondie Dux,” the wheel has a scroll with “ Patriarce Rome.” The 
 Emperor stretches out his hand to a broken reed attached to the wheel, on which is the legend “ Rex Boemic.” The Pope 
 with his left hand holds a pair of scales having the legend “ Roma,” and above a crowned shield of fleur-de-lis and legend) 
 “ Rex Francie,” over which is a double headed eagle. Below is an inscription, “ Profecia de la Sibilla Tibvrtina trovata 
 in vna granda pietra in la cita,” &c. The size of this curious print is 21 5 by 152 m.m., and in condition it is absolutely 
 perfect. It was bought by M. Clement, for Baron Edmund de Rothschild, for £ 1 12 ioj. The Ars Moriendi, with the text 
 of Nicolaus Gotz, 1474-78, finely bound — £27 (Dougulin, of Leipsic.) Hans Baldung. — Hercules and Omphale, seated 
 nude figures, Passavant, 5 ; the finest possible impression — £9. (Thibaudeau). The Virgin with the infant Saviour and 
 Angels in a landscape ; a rare woodcut, not known to Bartscii, but mentioned by Passavant, 66—^14, for Mr. Mitchell, of 
 London, whose collection of wood engravings is one of the most complete of any private cabinets. Jacob de Barbari 
 — “The Holy Family” (Bartsch, 4) ; very fine impression — ,£40 (Prestel, of Frankfort). Barthel Beham— tire Virgin, with 
 the Infant Saviour in her arms, and the death’s head (Bartsch, 5) ; one of the rarest works of the master — ^13 ior. 
 (Thibaudeau) — The Virgin and Child, seated near a window (Bartsch, 8 ) — £25 (Herr Gunther, of Frankfort). There were no 
 less than 16 prints by Berthel Beham, and 67 by Sebald Beham, his younger brother. By the latter, an impression of the 
 small plate of two figures called “The Kiss,” wonderfully fresh and with fine “burr,” signed and dated 1526, probably a 
 first impression — £1 1 5 s. (Thibaudeau). F. von Bocholt. — The Annunciation (Bartsch, 3), a very fine impression — £77 ior. 
 (the Stadel Museum, Frankfort). The Apostle Peter, full length standing figure (Bartsch, 6 ) — £30 10s. (Clement, for the 
 National Library of Paris). The Apostle Philip, similar figure (Bartsch, 10) - £31 3s. (for the same library). Giulio 
 Bonasone.— There were six examples of this engraver, of which the finest was the bust of Michael Angelo (B. 345), with 
 the face turned to the right, with full margin and a remarkably choice impression — £1 5 is-. (Herr Schloesser, of Elberfeld). 
 Breenberg. — Roman Ruins, 17 plates — £3 2 10 s. (Boerner). J. T. de Bry. — “ Mansches de Coutians,” &c. — ,£14 ior. 
 (Clement). Hans Burgkmair. — The Virgin and Child, with Angels, fine woodcut — ^14 15^. (Mr. Mitchell). The Young 
 Woman and Death, in chiaroscuro — £17 io.r. (Schloesser). The Triumph of Emperor Maximilian and Mary of Burgundy, 
 after the drawing of Albrecht Dilrer, very fine proof— ,£50 (Prestel). Lucas Cranach. — The Assumption and Coronation 
 of the Virgin — £26 10 s. (Ruland). Portrait of Luther when young (Sch. 79 ) — £7 1 55-. (Mr. Mitchell). Albrecht Durer. — 
 Adam and Eve (B. 1), in the first state, before the additional touches given to the trunk of the tree, fine impression with 
 margin — ^100; The Passion of Christ (B. 3-18 ) — £90 (Koppenrath) ; The Christ Crucified with the Maries (B. 23), first 
 described by Passavant, and known as being designed by Durer for the pommel of the sword of Maximilian I. — ,£115 ior. 
 (Thibaudeau). The Knight with Death and the Devil (B. 98 ) — £60 (Boerner). Erasmus (B. 107), on paper with watered 
 mark of two lilies — £30 (Drugulin). The “three great books,” “Die drei Grossen Bucher,” woodcuts (B. 4, &c.), a 
 splendid example in rare condition — ,£128 (Kopp.nrath). The “Great Column,” “ Grosse Saule,” woodcut — £21 
 (Boerner). The head of Christ, woodcut, with wide margin — £2 19 s. (Drugulin). The same in chiaroscuro, but much 
 restored — £60 (Dr. Freund, of Berlin). The “Pest Kranke ” (Pass. 198), with inscription and date 1496; a rare and 
 curious cut attributed to Durer, representing a man with plague spots on his arms and legs, supporting a skeleton globe on 
 his head with the signs of the Zodiac, and Latin verses at each side on the margin. A photographic copy of this is among 
 the illustrations of the catalogue. The impression measures 251 m.m. by 95 m.m . — £30 (Boerner). The large tapestry 
 design, with the Satyr family (Pass. 206 ) — £60 (Gutekunst, of Stuttgart). The Vandyck portraits and the landscapes and 
 waterfalls of Everdingen were too numerous to mention, and the prices obtained were not remarkable. Francia. — The 
 Virgin and Child, unknown to Bartsch (Pass. 10), not in the British Museum Collection — £43 10s. (Clement, for the 
 Paris National Library). Albrecht Glockenton, a German engraver of the 15th century, follower of Martin Schongauer — 
 Christ crucified, with Mary and John and Angels, on vellum, belonging to a missal for the city of Wurtzburg in 1481 (Pass. 
 28 ) — £43 (Thibaudeau). Holbein. — There were only six woodcuts by Holbein, the most interesting of which was the 
 small medallion portrait of Erasmus — a proof from the original block — 65 m.m. diameter about 2J inches, with inscrip- 
 tion round it, “ Erasmus Roterodam” — -£ 2 5 IOS ■ (Mr. Mitchell). The Hollars may be passed over as not very uncommon. 
 J. C. Le Blond. — Head, also engraved, after Carlo Dolce, by R. Morghen and Strange, in “ Poesia ” and “ Sappho” — ,£15 
 (Colnaghi). Lucas van Leyden — David and Saul, (B. 27 ) — £62 10 s. (Prestel). The Holy Family in a landscape (B. 85) — 
 £20 15s-. (Gutekunst.) The Magdalen (B. 122). rather a poor impression, and restored — ^50. The Fall of Man, woodcut 
 (B. 1 ) — £ 1 2 5j. (Mitchell). Andrea Mantegna. — The Madonna in the Grotto (B. 9), a rare and fine impression of the great 
 master such as is seldomseen — ^197 ior. (Herr Geller, for the Berlin Museum). Israel van Mecken. — “The Organ Grinder” 
 (B. 175) — ^28 ; “ The Ball-room ” (B. 187 ) — £21 (Thibaudeau). The German Master B. M., 1480. — “ The Judgment of 
 Solomon ; ” a most interesting early print, though much restored, the whole upper part done d la plume — £73 (Colnaghi). 
 The Master E. S. 1466. — “The Woman with the Shield” (B. 92 ) — £72 ior. (Clement). The Master W. (Michel Wolge- 
 mut ?). — The Virgin and Child, unknown to Bartsch (Pass. 135 ) — £43 5 s. (Geller, for Berlin Museum). Benedetto 
 Montagna. — “St. Benedict with the Monks ” (B. n), a wonderfully fine impression — £73 (Clement, for Baron Edward 
 Rothschild). Peregrini (Niello impression). —“The Triumph of Mars and Venus ” (Duchesne, 220), size 93 m.m. by 60 m.m. 
 This beautiful example was formerly in the famous Durazzo collection — £47 ior. (Wavra, for the Vienna Museum.) 
 Of Marc Antonio Raimondi and his school there were 53 examples, of which we can only name the St. Cecilia after 
 Raphael (B. 116) — /81 5^. (Dr. Freund, of Berlin); Bacchanalian scene, after an antique bas-relief, somewhat restored 
 (B. 249 ) — £31 iu. (Colnaghi.) Of the many fine Rembrandts, the great landscape with the Flight into Egypt (B. 56) — 
 £22 15J. — (Drugulin) ; the “Christ Healing the Sick,” the 100 gulden print, second state, but not a very fine impression 
 — £72 ioj-.(Boerner) ; this was said to have been “bought in : ” St. Francis, in a landscape (B. 107), a very fine example 
 from the collection of Fries and Verstolk — ,£41 (Gutekunst) ; the landscape with the three cottages (B. 212), an extremely 
 fine impression— ^152 ior. (Gutekunst) ; Landscape with the Milkman (B. 213), slightly restored— ,£40 (Prestel) ; the Gold- 
 weighers (B. 234), the finest possible impression — £32 ior., (Wavra, for the Vienna Museum) ; Doctor Faustus (B. 270) — 
 £32 10s. (Wavra) ; Renier Ansloo (B. 271), nor a specially fine impression, but with a very wide margin — ^65 (Dr. Freund) ; 
 Ephraim Bonus (B. 278 ) — £37 10 s. (Wavra) ; Jan Sylvius (B. 280), an extraordinarily fine example of this etching, which 
 is generally badly printed, from the Weber collection — £70 (M. Danlos, of Paris). William II. (B. 310), with wide margin, 
 
1876 .] 
 
 THE LI PH ART COLLECTION. 
 
 235 
 
 very fine — ,£18 (Ammuller, of Munich). Jacob Ruysdael. Landscape — £22 ioj. (Herr Schlosser). Landscape, with 
 travellers (B. 4) — ,£35 (Drugulin). Barthel Schon. The Two Peasants, 83 m.m. by 60 m.m. (Pass. 29) — ,£39 ioj. 
 (Berlin Museum). Martin Schongauer. — “The Nativity ” (B. 4) — £50 (Gutekunst). “ The Flight into Egypt ” (B. 7) — 
 £60 (Clement). The large Crucifixion — £6 2 ictt. (Boerner). The Death of the Virgin (B. 33), a rare print restored — 
 £252 ior. (Schosser). The Temptation of St. Anthony (B. 47), much restored — £175 (Baron Rothschild). A Bishop, 
 standing full length, 88 m.m. by 61 m.m. (B. 61) — £79 ioj. (Herr Felix, of Leipzig). This valuable print was sold a 
 few years ago at Christie’s in a lot together for £15. “ St. Catherine ” — £35 ioj. (Thibaudeau). “The Elephant 
 
 (B. 92) — £45 (Felix). The young Woman with a Shield — £38 1 os. (Thibaudeau). Ornament (B. 115) — £49 10s. (Prestel, 
 for the Stadel Museum). Virgilius Solis. — The set of Tarot Cards —£105 (Baron Rothschild). Dirk Van Staren. — 
 “ The Deluge,” first state undescribed — £15 (Thibaudeau). Leonardo da Vinci. — The complete set of three impressions 
 from the plates of a design for ornamental work, supposed to be for embroidery, in which the words, “ Achademia 
 Leonardi Vinci,” abbreviated, are inclosed in the interlaced lines in the most intricate and ingenious manner. Each one 
 is different, and they have all wide margins with a similar interlaced ornament at each corner, the plates measuring 1 i-Jin. 
 long by Sin. wide. Passavant had never seen but one, and there is only one in the British Museum, which, however, 
 possesses a beautifully engraved head, with the name of Leonardo in precisely the same abbreviations as in these curious 
 ornamental plates. Great interest attached to these impressions, and it was proposed at the sale that they should not be 
 sold separately, as in the catalogue. This was opposed by the agent of Baron Rothschild, who happens to possess two 
 of the set ; but Mr. Thibaudeau strongly urged that this complete set, which is unique, as far as we know, should be sold 
 in one lot, and in the end this was agreed to. They fell to Mr. Thibaudeau for the very moderate price of £ 60 . Zwott— 
 the master with the shuttle. — St. Anna enthroned, a rare print, but restored, and the part where the signature should be 
 wanting — £112 ioj. (Van Hagens). Total, ,£12,700. 
 
 H H 2 
 
236 
 
 4RT SALES. 
 
 [1876 
 
 MR. A. BASSETT'S PICTURES. 
 
 On the same day as Mr. Rucker’s were sold the pictures and drawings belonging to Mr. Ambrose Bassett, of which may 
 be mentioned, among the drawings by JabezBligh, a bird’s nest and roses, £139 13s'. ; Wyke Baylis— “ Cathedral Interior,” 
 ,£94 1 os. ; J. C. Hook, R.A.— “ Fishing Boats,” £73 10s. ; and of the oil paintings by Colin Hunter— “Off the Ayrshire 
 Coast,” ,£210; “Off the Coast of Ayrshire, morning,” ,£215; Heywood Hardy — “Scotch Gamekeeper and Pony,” 
 .£183 15J. ; B. O’Neil — “The Painted Chamber,” £ 247 15J. ; E. Creswick, R.A. — River Scene, North Wales, £273; 
 Edwin Douglas — “ Hailing the Ferry,” £262 ior. ; J. C. Horsley, R.A. — “ Showing a Preference,” £131 5-r. ; J. S. Cooper, 
 R.A. — “Canterbury Meadows,” ,£2 7 3 ; Sheep on the Downs, £273 ; A. Vickers, sen. — Windsor Castle and Eton College, 
 £131 5 .s'. ; George Cole — “ Fern Gathering,” £383 5J. ; John Phillip, R.A. — “ In the Garden,” .£157 ioj. ; Edwin Douglas 
 — “ Rest after Work,” ,£215 ioj. The total of the day’s sale including both collections amounted to ,£15,500. 
 
 In the collection of modern pictures and water-colour drawings belonging to the late Mr. Andrew Armstrong, of 
 Dublin, sold in the early part of the week by Messrs. Christie, there were many good studies for his pictures by that very 
 clever painter of Irish life and character Mr. Erskine Nicol, A.R.A. and R.S.A. Those which chiefly attracted attention 
 were “ Duck Shooting,” “ Tom Gaffney,” an old servant and model to the painter, which sold for £69 ior. ; “ Turfcutters, 
 Westmeath,” .£178 ioj. ; “ Old Mickie, ‘Long life to yer Honour,’” ,£115 ioj. ; “Setting a Night Line, Westmeath,” 
 £,'162 1 53-. ; “ A Westmeath Cabin,” ,£90 6 s. ; “ Health to Ye,” £147 ; “Evicted — God help me,” .£120 15J. ; “Waiting an 
 Answer,” ,£116 19J. : “Notice to Quit,” .£262 ioj\ ; “Jim Blake landing in Liverpool” — a finished picture, £7 45 icw. 
 
 MR. PEPLOE BROWNE COLLECTION. 
 
 The collection of works of ancient Oriental art in metal work, glass, and ceramics formed by Mr. G. Peploe Brown, during 
 a long residence in Syria, was in many respects a remarkably interesting one, more particularly for the very perfect 
 Arabic pendent lamps in enamel work on glass, and for several other pendent lamps in perforated metal which came from 
 old mosques. The Arabic glass lamp was ioi-in. high, with an inscription in two bands on blue enamel ground to the 
 Sultan Melik el Adil. It sold for .£40, a price very considerably below that obtained some years ago when first these 
 lamps were seen in this country. This, however, seemed to be the market value of them now, for another very similar, 
 sold at the same time but from a different collection, brought ,£42, and a Persian hanging lamp of porcelain, painted 
 with flowers in blue and white, with green band round the neck, sold for £50. A hanging vase of Rhodian ware, with 
 blue flowers and ornaments on white, about eight inches high, sold for £6 1 5 s., and a similar one for £8. A large number 
 (78) of square Persian tiles painted in blue and green arabesque on white glazed ground, forming a dado or panel, sold 
 for £32 10 s. A similarset of 127 tiles sold for ,£12 7s. A Hispano-Mauro dish sold for ,£5, and a similar one for ,£4 4.5-., 
 another bringing £7 17s. 6 d. A pair of Chinese vases and covers enamelled with arabesques on engraved green ground 
 and with dragons in relief on the neck sold for £17. The bronze dome-shaped pendent lamps in Mr. Peploe Brown’s 
 collection, which were very old and came from mosques at Damascus, were very richly ornamented, the Arabic characters 
 having the remains of plates of silver laid on, and so curiously perforated that when lighted the pattern and the inscription 
 are cast upon the ceiling from which they are suspended by three chains. One sold for £26, another for £25, the others 
 bringing smaller prices. Some of the jade carvings sold for high prices, — a pair of candlesticks formed as birds standing 
 on tortoises min. high, for ,£16 ; another pair, in dark green, carved with foliage in low relief, i6in. high, brought ,£48 ; 
 and a similar pair to these, with birds on tortoises, ,£17 ioj. A pair of discs in dark green, carved with figures and 
 landscapes in relief, the reverse engraved and gilt, with enamel borders, ioin. diameter, sold for ,£28 7s. ; a fluted dish, 
 with handle, carved with flowers and foliage, 9m. diameter, £37 ; a tripod incense burner, carved with foliage and a 
 dragon on the top of cover, .£31. 
 
 In porcelain the only object sold during the week which calls for special notice was the large Dresden china table 
 decoration called “ Surtout de Table,” which attracted a good deal of admiration as it was set out in the anteroom, though 
 how any ordinary table was to display such an elaborate work it was not easy to see, as it measured about 12ft. long and 
 5ft. broad. Ir. design it was a plateau of plate glass, with a balustrade and series of tall arches running all round, 
 enclosing numerous groups and single figures. There being no bidding for the whole work it was sold in groups and 
 pairs of figures, which went for about ,£4 each, the balustrade and ornamental arches and vases being sold separately 
 for £17. and the glass at the same price, the whole selling for .£149 14-f. 6 d. This curious work, which has now passed 
 into the hands of several different dealers, belonged to the collection of Mr. G. R. Gilbert, of Torquay. 
 
1876 .] 
 
 VARIOUS SALES. 
 
 *37 
 
 CHEVALIER DE LISSINGEN’S PICTURES . 
 
 (. March , 1876.) 
 
 The collection of pictures belonging to the Chevalier De Lissingen, of Vienna, recently sold at the Hotel Drouot, 
 Paris, contained a very fine Rembrandt portrait of a man, half-length life size, in a brown coat and dark velvet cap, 
 holding some papers, and standing near to a bust of a youth on a pedestal, the head finely lit up, having dark eyes and 
 long hair, with shaven chin, but a thin moustache. According to M. Vosmaer * the picture resembles the manner displayed 
 in the portrait of a Rabbi in the National Gallery, which was painted in 1657. This was sold for £6,800. The other 
 pictures were all good examples of the Dutch school, but they brought comparatively moderate prices. A Van der 
 Capella “Calm,” about 30m. by i8in., sold for £692 ; a fine church interior, by De Witte, small, for £572 ; a “ Calm,” by 
 W. Van de Velde— ,£1,380 ; “The Card Players, ”by Adrian Van Ostade — two men and an old woman — No. in, Smith’s 
 Supplement — ,£1,124 5 “ Le Sender,” a fine landscape, by Jacob Ruysdael, dated 1667, about 36m. by 28m., for ,£1,164 
 “A Flemish Interior,” by Teniers — .£852. 
 
 A SHAM SALE. - 
 
 {From “The Times.”) 
 
 Several correspondents write to draw our attention to a sale reported, though not in our columns, to have been 
 held recently, at which Sevres vases were said to have been sold to great noblemen at fabulous prices, and others equally 
 costly to have been broken in a scuffle among disputant bidders ; among other marvellous things, a painting, by Leonardo 
 da Vinci, of the interior of the Basilica of St. Marks, Venice, being alleged to have been sold at 1,000 guineas. It has 
 been ascertained beyond question that no such sale was held, and that every detail as to the time, place, and auctioneers 
 is utterly false. 
 
 SALE OF THE REMAINING WORKS OF JAMES DAN BY, 
 
 G. J. PINWELL, AIRS. HARRISON, &c. 
 
 (“The Times,” March 20, 1876.) 
 
 THE sales of pictures during the past week have had a special artistic interest in being almost entirely made up of 
 the studies, sketches, and some few finished works, left at their death by three artists — Mr. James Danby, son of 
 F. Danby, A.R.A., the master of poetic landscape, who died in 1861 ; Mr. G. J. Pinwell, a young and promising member 
 of the Society of Painters in Water Colours, whose collected works have recently been exhibited with so marked an 
 appreciation of their merits ; and Mr. A. Boyd Houghton, who had also won his rank in the Water Colour Society, and 
 distinguished himself among the graphic artists of the day. The whole of Thursday, Friday, and Saturday at Messrs. 
 Christie, Manson and Wood’s rooms, was devoted to these sales. The remaining works of the late Mr. Pinwell consisted 
 of some drawings in black and white, but chiefly of water-colour drawings more or less finished in the singularly careful 
 manner of the artist, numbering altogether 185, and most of them illustrations. Several were for “ The Pied Piper of 
 Hamelin,” and for Gilbert k Becket’s “ Troth ; ” for the Danish ballad, “ Maid Mettelil ; ” for the “ Vicar of Wakefield, 
 
 “ Vanity Fair,” with many other very charming studies of domestic genre and incident. Those which attracted most attention 
 and brought the highest prices at the sale on Thursday were : — “ Hot Chestnuts” — £17 17s. : “ Maid Mettelil” — £ 12 ; 
 “ My Son’s wife Elizabeth,” “ The High Tide,” by Jean Ingelow — £17 17s. 6 d . ; “ Goldsmith and his Landlady ” — £7 7s. ; 
 “Sigurd of Saxony” — £27 6s. \ Study for Gilbert k Becket’s “Troth” — £12 12.?. ; “Lady at the Piano” — £11 iu. ; 
 “Distraining for Rent” — £12 12 s. ; “Plucking Flowers ” — £4 4^'.; “Sweet Content” — £9 9 s. ; “To the Rescue” — 
 £14 14J. ; sketch for “ The Princess and Ploughboy — £632 1 is. ; sketch for “ Vanity Fair” — £9 9-r. ; study for Gilbert 
 k Becket’s “Troth” — £11 in, ; “The Visitor” — £7 17s. ; “Mamma’s Watch” — £11 ns-.; “Well, I must go” — 
 £5 1 5 s. 6 d. ; “ The Sailor’s Wife ”—£12 12s. ; “ Moonlight ”—£35 5-f. ; “ The Double Transformation ”—£25 4.1'. ; study 
 for “The Pied Piper of Hamelin” (the children)— £24 3s. ; “ Sweet Melancholy ”—£22 is. ; sketch for “ Vanity Fair” 
 
 Who etched it in Gazelle des Beaux Arts , vol. xiii., 1876. 
 
ART SALTS. 
 
 [ 1876 . 
 
 — £36 15-f. Of those drawings which are now exhibited in the gallery of the Society of Water Colour Painters, “A 
 Cockfight” sold for £7 7 s. : “The Strolling Players”— £25 41-. ; “The Elixir of Love,” an unfinished replica— £32 iij. 
 Of the fifteen oil paintings sold, “ Vanity Fair ” brought £ 12 12s. : “ The Enchanted Prince ”—£12 12s. ; “ Sally in our 
 Alley” — £25 4 s. ; “Vanity Fair”— £79 16s. ; “The Earl of Quarter-deck ”—£14 14s.; “The Quarrel, old Cross”— 
 £63, the whole amounting to ,£1,165. The drawings in pen and ink and water-colours and the oil paintings, by 
 Mr. A. B. Houghton were 127 in number, mostly studies and unfinished works. Of the water-colour drawings the 
 following were those which sold for the highest prices : — “A Fakir”— £14 14J. ; “A Sheik” — ,£21 ; “The New Picture- 
 Book” — £13 15 s. ; “A Peace Offering” — £33 12s.; “The Enchanted Horse” — £21. Among the 33 oil pictures, “ The 
 Gay Noble” sold for ,£23; “The Studio” — .£23; “In the Garden” — £22; “The Sorceress” — £51 gs. ; “Useless 
 Mouths ” — .£24. 
 
 The pictures and sketches of the late James Danby, which were all painted in oil colour, were confined entirely to 
 landscape, and presented a very extensive field of study, chiefly of coast scenery, and generally with beautiful effects of 
 sunlight and atmosphere. There were in all 150 works, and good prices were realized, very few even of the slighter 
 sketches selling for less than .£5, and many bringing double that sum, while some sold for high prices, as, “A View of 
 Greenwich — effect of morning” — ,£34 13J. ; “A Scotch Coast Scene” — £32 1 is. ; “French Coast at Entretat ” — £21 ; 
 “ Estuary of the Mawddach, near Barmouth ” — £2 3; “On the Dorset coast— fog clearing off” — ,£103 19 s. ; “Fishing 
 Boats off Hastings” — .£102 i8j. ; “ Isle of Sark, sunset” — £66 ; the whole results of the sale amounting to .£1,947. 
 
 In connection with these sales it may be mentioned that in the present week there will be a similar dispersion of the 
 remaining works of the late Mrs. Harrison, whose beautiful flower and fruit pieces were for so many years a great 
 attraction at the gallery of the Institute of Painters in Water Colours, of which she was a member; and besides these 
 there are the drawings and sketches of Stanfield, the eminent marine painter, to be sold in consequence of the death of 
 his widow. Among these, which we observe are in the sale of Thursday, are many first studies for some of his finest 
 pictures, such as “ The Castle of Ischia,” now in Lord Overstone’s collection ; “ The Bay of Baiae,” painted for 
 Sir George Phillips ; “St. Malo,” painted for Mr. Bicknell, and others. 
 
 THE SIBYLS BY BOTTICELLI. 
 
 (“The Times,” March 13, 1876.) 
 
 One of the most interesting sales that has occurred for some time past in the department of engravings by the Old 
 Italian Masters is that of a complete and wonderfully perfect set of the twelve Sibyls by Botticelli, the famous Florentine 
 painter of the 15th century. Only two sets have hitherto been known — one in the museum at Vienna, the other the 
 national collection of Paris, and neither of these is considered to be in fine condition. Ten impressions more or less 
 imperfect were sold in the sale of the Durazzo collection for £927 some years ago, which now belong to Baron Rothschild. 
 But this series has the importance of being not only a discovery of such very rare and precious examples, but of 
 impressions singularly well preserved. The British Museum collection possesses only two of the set, which are from the 
 plates after being very much worn, and it must be a matter of regret that the remarkable and, in all probability, unique 
 set referred to has not been acquired by the Trustees. Yet it is perfectly well known that it was offered to them, and 
 that the offer was declined — which, we understand, was .£1,250 ; but in the meantime the Sibyls had passed into the 
 cabinet of Mr. Malcolm, already distinguished among English collections by some of the choicest examples of early 
 Italian engravings and drawings by the Old Masters. That this set of the Sibyls should have been so fortunately 
 preserved for fully 400 years is explained when we learn that they were bound up in a copy of an old book — a treatise on 
 the Sibyls — published by Johannes Philippus de Lignamine in 1481, as illustrations with some old woodcuts. This book, it 
 appears, was known for some years past to a connoisseur as being in the library of a Convent in Italy, and at length it 
 was sold to a well-known Paris dealer, by the connoisseur who secured it first, who took it with him to the great sale 
 of the Vicomte du Bus at Brussels, which we recently noticed. Here it was seen by M. Thibaudeau, and he bought it 
 after Baron Rothschild refused it, and eventually brought it over to London to be offered to the British Museum, with the 
 result we have seen. The volume is what would be called a small quarto, and the plates are considerably smaller, 
 having good margins ; the outlines firmly drawn and the shading very delicately touched with all the feeling of the 
 Master, who was an expert niello worker as well as a painter. Those who happen to have seen the folio edition of 
 Dante which is illustrated by the designs of Alessandro Botticelli, mostly engraved by Baccio Baldini, but some by 
 his own hand, would recognize the master of the Sibyls. To persons unacquainted with the subject it may be interesting 
 to know that these are among the rarest examples of engraving in its infancy, at the time when Maso Finiguerra, 
 with whom Botticelli was contemporary, and to whom the invention of the art is attributed, had discovered the method 
 of taking impressions from his niello work. 
 
1876 .] 
 
 THE BOHN COLLECTION , 
 
 239 
 
 LOUIS XV. FURNITURE, &c. 
 
 {March, 1876.) 
 
 SOME very fine decorative furniture, of the style of Louis Quinze and Seize, was sold at Messrs. Christie, 
 Manson and Woods’ last week, of which we noticed especially a Louis XV. cartel clock — ^94 ioj. ; a clock 
 in griotte marble case, with ormolu work by Gouthiere, surmounted by a seated figure of a lady reading, in white 
 marble, said to be by Canova, from the Duke of Sussex’s collection— ^89 5J. ; a set of Louis XVI. chairs, and 
 sofa, carved and gilt, from the Royal Palace at Naples — ^162 15W ; a clock in case of Angouleme porcelain, with 
 figures of nymphs in biscuit — ,£165 ; a fine Louis XV. secretaire — ^250 ; a walnutwood console, designed by Berain, with 
 slab of fior di Persiera marble, from Fontainebleau— ^105 ; a library table of black buhl, style of Louis XIV. — ^200 ; 
 a hanging cabinet of Spanish parqueterie, inlaid with birds and scrolls of brass, engraved — ,£157 ior. ; a musical clock 
 in parqueterie case— £73 10 s. ; a Louis XVI. marqueterie commode, inlaid with flowers, ancl jasper slab — ^15 7 ior. ; 
 a beautiful side table of walnutwood, on carved columns, the back carved with masks and scrolls, from the De Bruges 
 and Cadogan collections — £iS 7 los - > two Louis XV. cabinets of rosewood, inlaid with flowers in dark wood, and 
 mounted with finely-chased scroll ornaments in ormolu, from the collection of Prince Demidoff — ^525 ; an armoire, in 
 black buhl, ornamented with inlay of brass and tortoiseshell, and mounted with chased ormolu figures, style of 
 Louis XIV., also from the Demidoff collection — ,£157 low ; a pair of cabinets of mahogany, with fluted columns, 
 mounted with classical figures in ormolu, the doors parqueterie, with painted bands of arabesque, the tops white marble 
 by Gouthibre, style of Louis XVI. — ^210. These cabinets were given by George IV. to Mrs. Fitzherbert. A Venetian 
 mirror in carved wood frame, with figures in high relief, from Lord Cadogan’s collection — ^34 13W : a triptych in 
 Limoges enamel work by Leonard Penicaud, painted with the Annunciation and two figures of Saints under Gothic 
 canopies, in the original metal gilt frame, from the Soltikoff and De Bruges collections — .£152 5W ; a Briot ewer and 
 dish of pewter, ornamented with masks, arabesques, and medallions of figures — ^54 I2r. Among the china sold on the 
 following day were some good pieces of Dresden, Sevres, and Chelsea, of which the following may be mentioned : — 
 Dresden figures, Leda and Cupid — ^39; a masquerader — ^ji6 i6j. ; a man at a table — £ 18 i8.f. ; Harlequin — £14; 
 three children, a group emblematic of music — ^40 ; two children — ^25 ; three masquers — £36 : a pair of groups, Spring 
 and Summer, on ormolu plinths — ^128 ; a Sevres china sucrier, turquoise, with medallions of flowers — £29 8r. ; a small 
 Sevres vase with pierced neck, each side painted with Cupids, and the foot with trophies, from the Sneyd and Goding 
 collections— £7 5 ; an old Chelsea vase, oviform and deep blue, supported by three figures of Caryatids and festoons of 
 flowers in relief — £80 ; a pair of Chelsea Mayflower vases, with heart-shaped medallions of birds in gold on deep blue 
 — £170; a pair of tall Chelsea vases, with turquoise and white scroll handles, deep blue stripes, with flowers and 
 insects in gold and white stripes, with Chinese figures — ^jiio; a square-shaped Chelsea vase, painted with Watteau 
 figures — £62 ; a set of five Chelsea vases in light blue, with raised foliage and flowers in white and gold — ^147 ; the 
 Elements, a set of four fine Chelsea figures of children — £73. The proceeds of the whole were a little over £7,000. 
 
 THE BOHN COLLECTION. 
 
 (“ The Times,” March 28, 1876.) 
 
 The large collection of Oriental porcelain and Chinese and Japanese enamels in cloisonne work, forming only a 
 portion of Mr. Bohn's vast accumulations, the dispersion of which was begun last season with three days’ sale of old 
 English pottery, porcelain, and Battersea enamels, followed by three more in June of ivory carvings, Wedgwood ware, 
 and metal work, formed an attractive sale at the rooms of Messrs. Christie, Manson and Woods, on Tuesday, Wednesday, 
 and Thursday last. There were in the catalogue 510 lots, which brought the total number of objects up to more than 
 1,600, with the prospect of another sale this seasbn of his Egyptian, Rhodian, and Moorish ware, Persian, Turkish, and 
 Majolica carvings in agate and jade. Mr. Bohn again prefaces his catalogue, which is really as instructive as it is 
 entertaining in its details, with some remarks which are worth the notice of collectors. Most of the specimens, he 
 informs us, “have been acquired many years ago at the sales of choice collections such as Mr. Fortune’s in 1856, or have 
 been brought to me after the sacking of the Summer Palace in i860, and from Japan after the troubles of 1862. I have added 
 scarcely anything for the last ten years, and, therefore, have escaped the very clever modern imitations which have been pouring 
 into our market so abundantly. Oriental porcelain, at one time in the ascendant, especially with that discerning amateur 
 Mi Beckford (the author of “ Vathek ”), would not sell now for half the money ; Chelsea, Worcester, Bristol, and Plymouth 
 china have taken the lead with English collectors, and Oriental, formerly thought the finest and most covctable, has, with 
 few exceptions, declined from its commercial rank. So much for Ceramic fluctuations.” As will be seen, however, in the 
 course of the sale the prices were frequently very much higher for fine examples than those which Mr. Bohn with perfect 
 candour quotes as the cost to him, although this may not be generally the case, and he may be right in the opinion that 
 Oriental china is a little on the wane. It should be borne in mind, however, that throughout the whole of this collection, 
 
240 
 
 ART SALTS. 
 
 [ 1876 . 
 
 as far as the sales have gone, there is to be observed a sort of ruling inclination in the collector towards that which is 
 merely uncommon or quaint, or historically curious, without having much reference to the beautiful of its kind. A rather 
 amusing instance of this occurred at the opening of the sale, when Lot 2 was put up— “ A small milk ewer and saucer of 
 Chinese porcelain, enamelled with the love story of Admiral Byng (April, 1756), by which he is said to have failed in his 
 attack on the French fleet, and was beheaded for it.” The audience were generally disposed to accept this as a veritable 
 specimen of Chinese art employed upon a European subject to suit the English market, but the historical correctness of 
 the description was demurred to by a gentleman, who, amid much laughter, stated the undoubted fact that Admiral Byng 
 was never beheaded, but that he was shot on the quarter-deck of the Monarque. This Byng milk jug, however, sold for 
 a very insignificant sum. The prices may be said generally to have been quite up to the ready marketable value of the 
 objects, and in some cases they touched the higher valuation of the amateur. Among the curious things may be 
 mentioned : — A Chinese eggshell porcelain bottle, with a large portrait of Martin Luther, in imitation of the engraving, 
 unique, height 9m . — £3 ; a turquoise cat, the eyes and ears intended to be used with a night-light to frighten mice away, 
 6in. long — £ 18 i8x. ; another turquoise cat of the same size, but furnished with eyes and ears (no doubt added in France, 
 and probably at Sevres) — £37. Mr. Bohn remarks, “ These turquoise cats are very rare; I never saw but one other 
 pair.” A crimson bottle, high-shouldered, with white top, height 13m. — ,£31 ioj. ; a rare Pekin ware Pilgrim vase, with 
 birds and flowers in colours and gold, exquisitely engraved on rich canary ground, monogram of Dynasty on bottom, 
 height 7in. — £37 ; a tall and very singular double triangular bottle, pale green, with red flowers, height 21 in. — ,£29 ; a 
 rare Imperial yellow vase, with purple flowers — £31 icw. ; a small pair of double gourd-shaped vases, deep blue and gold, 
 height 9 n.— ,£32 ; a gourd-shaped bottle of turquoise mottled, height 8in. — £13. This sold in Mr. Fortune’s sale, 1857, 
 for _£i3 10s. ; a teapot, brilliant turquoise, hexagonal and perforated on sides and top, with gold chain to spout, height 
 6in. — ,£33 1 2s. ; a blue enamelled coffee-pot, height 9m. — ,£24, supposed to be a Worcester imitation; a very ancient 
 crackle basin of faded green, covered with dragons holding monograms of date on a shield, from the Summer Palace, 
 diameter 8in. — £22 ; a pair of Japanese vases, enamelled, old cloisonne work, square shaped, with medallions of flowers 
 and game fowls and ring handles, marked with a heart-shaped wreath, height 25m. — £30 19J. 6 d. ; a pair of small 
 globular vases and covers, cloisonne enamelled with flowers on blue, height 6fin. — ,£53 1 is. These were bought in Japan 
 in 1856, and then valued here at ,£ioo, very few having then been seen. An incense burner, fluted, turquoise, with 
 crimson medallions and dragon handles, height 9win. — ,£*4; bought at Christie’s. 1866, for £19 ; a pair of square-shaped 
 vases, of the Chelsea form, with large flower on turquoise ground; Japan cloison — £21 ; a wide-mouthed vase, with 
 globular centre, architectural devices and masks like cats’ heads, with engraved letters, height 8in. — £47 ; a pair of 
 barrel-shaped porcelain tankards, painted with birds and flowers, height 6|in. — .£19 (bought at Christie’s, 1867, for 14 
 guineas) ; a puzzle teapot, turquoi-e, with purple foliage — £14 10 s. ; an ancient and rare small fluted vase, blue impressed 
 diaper and medallions in imitation of agate, with monogram of Lung Ching, 1567-1572, height 5^in., from the Summer 
 Palace, bought at Christie’s, 1862, for 20 guineas, sold for £33 ; a pair of remarkably fine Kylins, with movable eyes and 
 ears, from Lord Willoughby de Eresby’s collection, height 9m. — £67 (these cost 36 guineas at the Caen-lodge sale, 1865). 
 Chinese cloison enamels: — A fine pair of double gourd-shaped bottles, flowers, birds, and animals in turquoise, height 
 min. — £21, cost, in 1867, ,£43 ij. ; an elegant pair of double gourd-shaped bottles, with curious reversible nozzles, height 
 15m. — ,£48 ; an incense burner in form of a bird, with ornaments in high relief, gilt and engraved, 1 iin. by 8in., from the 
 Summer Palace, supposed to be 500 years old— £30 gs., bought, 1862, for ,£40; a grand pair of altar candlesticks, 
 turquoise ground, height 17m. — £23 2 s. These, with some objects in lac work and a few Hindoo, Chinese, and Japanese 
 idols and other figures, made the total of the three days’ sale ,£3,154. 
 
 SKETCHES BY PETER DE WENT. 
 
 {March, 1876.) 
 
 A very large number of sketches and studies, some in chalk but the majority in 
 water-colour, which have remained in the possession of the artist’s family for many years, 
 formed the first part of the sale at Christie’s on Thursday. Most of them being more 
 or less slight, though marked by all the strong characteristics of the painter, were sold in lots of 
 two or more, which realized prices varying from one guinea to twenty, a few single drawings 
 bringing more (see Vol. II.). A large and fine drawing of Lincoln by De Wint which had been 
 sold in the Ellison Collection in 1874 an d in the collection of Mr. Shand of Allerton near Liverpool, 
 (at Christie’s, March 4) was knocked down at £498 15s. The other pictures in Mr. Shand’s 
 collection do not call for notice. Mr. Heritage’s pictures, sold on the same day, were more 
 important (see vol. ii., G. Vincent). 
 
1876.] 
 
 MR. ALBERT LEVY’S COLLECTION. 
 
 241 
 
 MR. ALBERT LEVY’S COLLECTION. 
 
 (“The Times,” April 3, 1876.) 
 
 The modern pictures and water-colour drawings, belonging to Mr. Albert Levy, formed the 
 important sale at Christie’s on Friday and Saturday last. The exhibition of these pictures on the 
 three days preceding the sale had attracted great numbers of persons and the warmest interest was 
 felt in the remarkable series of oil paintings by David Cox. Such an assemblage of pictures by 
 this great landscape painter of the English School has certainly never been seen before in an 
 auction room, and in all probability will never be seen again. Of the eighteen examples, six may be 
 placed among his master-pieces, and of these, which were not large pictures, four brought prices 
 between 2000 and 3000gs. The others from two to three hundred to more than a 1000 each. 
 In the case of such noble works as these, the extraordinary rise in price which it will be seen in 
 the course of the details of the sale has occurred, is not to be attributed to the prevailing taste of 
 the day, so much as to a genuine appreciation of their beauty, and a conviction that they are not 
 likely to be equalled for many a long day. 
 
 It may be remarked, however, that these are not the very highest prices attained by the 
 pictures of David Cox; as it will be remembered his famous “ Peace and War,” a harvest held with 
 troops marching towards Lancaster— in the Gillott sale brought £3,601 10s. and the “ ITay-held,” 
 water-colour drawing at the Quilter sale last spring sold for £2,950. The magnificent upright 
 picture “ Caer Cennen Castle, Carmarthenshire, (38 by 28) which was at Burlington House last 
 year, was the great prize in the present sale, it was put up at a bid of 2000gs. and although it was 
 knocked down to Mr. Agnew at the exact sum of 2,5oogs. which as the auctioneer, Mr. Woods, 
 stated it cost Mr. Levy, yet the purchaser was heard to say he considered it a very cheap picture 
 (see illustration, D. No. IX.). “ Wind Rain and Sunshine,” (18 by 25) a groom on a white horse with 
 a woman behind him, holding a green umbrella against the wind — was put up at iooogs. and fell at 
 i°55gs. with a round of applause. This charming little picture was sold at Christie’s in 1863, for £250. 
 “ Counting the Flock,” painted in 1852 (24 by 34) was put up at a bid of iooogs. from Mr. Agnew, 
 and knocked down to him after a sharp contest at £2,415 amid loud applause. It had been pur- 
 chased at a sale in Birmingham, by the same gentleman about seven years ago, for less than £600. 
 
 The water-colour drawings by David Cox were most of them ot small size (about 8 by 12) 
 some being in sepia. They brought good prices, varying from ten to sixty pounds. “ Old Mill and 
 Moor,” (12 by 19) — £378 ; it sold for £472 in the Quilter sale last year. Of the pictures by Muller, 
 “ A Street scene in Cairo,” with figures, (21 by 15) upright — £1092 ; when last sold in 1865 the 
 price was £305. Whitchurch, with two children near a stream, (31 by 56) — £1312. “ The Slave 
 
 Market at Cairo,” 1841. It ranks, perhaps, next to “The Chess Players,” among his finest figure 
 subjects, and was sold in the Gillott collection for £3,950. This “ Slave Market,” is the larger one 
 of two painted in the same year. The smaller picture was sold in the Gillott sale for 15 logs. ; it 
 measured 15 by 25, while that now before us is 24 by 41 long. It was sold several years back 
 with the collection of Mr. Reeves of Birmingham by auction for £1000, and passed into that of 
 Mr. James Fallows, afterwards coming up at the dispersion of that gentleman’s pictures, when it 
 was sold for i28ogs. It was now once more the object of a very spirited competition, and again 
 came into the hands of Mr. Agnew, at the price of £2,898. There were only two pictures by John 
 Phillip in the collection. One, a beautiful half-length profile portrait of a lady, called “ The Pride of 
 Seville,” brought £1050. It was last sold in the collection of Mr. Guest for £200 only. 
 
 The Turner drawings came last, “ Venice,” (7 by 10) £189, last sold in Mr. Greenwood’s sale 
 for 3oogs. “River Scene in the Tyrol,” sold in Mr. Ruskin’s sale for 2oogs ; brought £147. “ Le 
 Havre” (7 by 10), engraved in the Keepsake — £262 10s. In the collection of Mr. F. 1 \. Leyland, this 
 sold for 38ogs. “ Merick Abbey” (11 by 16), engraved in the Yorkshire series — £745. “Exeter” 
 (11 by 16), engraved in the England and Wales series. A burst of applause welcomed this 
 beautiful drawing followed by a bid of 5oogs., and it fell to Mr. Goupil at £745 10s. It was sold 
 in the collection of Sir H. H. Campbell, a few years back, for 490 guineas. “ Patterdale,” 
 (10 by 15), in Turner's earlier manner — £682 10s. This drawing was sold in the Gillott 
 collection for 800 guineas. 
 
 The total of the two days’ sale amounted to £58,199. The fine collection of Dutch pictures 
 belonging to Mr. Levy will be on view each day previous to the sale which comes off on Thursday. 
 
 vol. 1. 1 1 
 
242 
 
 ART SALTS. 
 
 [1876. 
 
 (“ Daily Telegraph,” April 7, 1876.) 
 
 ART IN THE MARKET. 
 
 Yesterday the pictures of the early English school and the old masters, collected by Mr. Albert Levy, were put 
 up at their sale rooms by Messrs. Christie and Manson. A hundred and three examples only were there in all, but 
 they realised the handsome sum of ,£25,000. We have room only to mention the most prominent works in this 
 excellent gallery, amongst which the twelve Morlands claim foremost notice. Many better painters were repre- 
 sented, but none to more advantage, if the artist be compared with himself. We have been warned of late to dis- 
 trust the traditions current about George Morland. It is argued that no genius, however wild and strong, could have 
 gained by intuition such a mastery of his art as this painter showed when he chose. The examples gathered by Mr. 
 Levy quite confirm that view. Some of them are even free from Morland’s faults, whilst nearly all show his highest 
 qualities. Of “ Evening ; or, the Postboy’s Return,” little needs to be said, for it was seen at the Winter Exhibition only 
 last year. The painting is solid, the figures stand out clear, and they have abundant character. It has been declared 
 that this is Morland’s finest work, and of its class it has probably no rival. But 302, “ A Woody Scene, with a 
 Cottage and a Sportsman,” has merits of a higher sort. It is delightfully mellow, and the wood has shadowy depths 
 in it such as Morland seldom saw, or very seldom cared to portray. The vein of humour which led this artist to his 
 wildest extravagances may be traced even here, in the dusky figure of the old woman who steals out, guided by her cat, 
 to interrupt the sportsman’s earnest conversation with her daughter. Both these pictures are of large size, but “A View 
 at Enderby ” (305) has a canvas bigger yet, measuring 35 in. by 46. There are critics who class this work as the finest 
 specimen of Morland’s landscapes. We cannot think that it compares with the one last named or with the “ View at 
 the Edge of a Wood.” Able as it is, and striking in the easy fluency of its painting, one finds therein all the artist’s 
 washiness and unreality. The foreground is a maze of vegetation confused and shadowless. The figures want solidity; 
 they are all outline. The same remarks apply to 301, “A Landscape at the Edge of a Wood,” wherein there is even 
 less of depth and boldness. One sees here the accomplished painter, it is true, but one sees also the carelessness and 
 haste bred of dissipation overnight and “early porter” in the morning. But for all that may be said, these pictures are 
 surprisingly fine. On the delightful works by Borrington, the Nasmyths, Crome, and Stark, we have no time to dwell, 
 but there was in the gallery a Richard Wilson, R.A., “ View on the Thames ; Morning” (315), which Corot himself could 
 not have beaten in its exquisite suggestions of rising mist and trembling radiance of dawn. 
 
 Amongst foreign masters the first to be noticed specially was Gerard Dow’s “ Astrologer at a Window ” (329). 
 When Dow paints a man reading it is conventional to suppose his subject an astrologer, but other reason is entirely 
 lacking in this case. The golden-haired student leans his tome upon the window-sill, and reads it by light of a candle 
 in his right hand. An astronomical work evidently, for he follows its teaching with a pair of compasses and a celestial 
 globe. The frame of the window is a pillow, upon which disports himself a Cupid, carved in high relief. Nothing 
 astrological is there about their details, nor about the wine-bottle and hour-glass. Whether seen at a distance cr 
 examined through the microscope, this small picture is exquisite. It sold for £1,600, as we have understood, at the 
 last change of masters. The candle-light effect is admirable, the composition graceful, and the minute beauty of painting 
 unsurpassed. Saving the Morlands, the six pictures by Frank Hals aie, perhaps, most interesting as a set in all the 
 collection. Gerard Dow and Mieris and the Ruysdaels need no revelation to satisfy us of their ability ; but few persons 
 probably have done justice to Frank Hals. Perhaps “The Singer” (340) should be pronounced finest of his works 
 exhibited. It was bought, we believe, from Lord Mostyn’s gallery in Wales. The singer’s face, raw-boned and high 
 of cheek, is dashed in as with a “ three-tie brush ; ” long flaxen hair borders it lankly, and, with the downcast eyes, 
 open mouth, and velvet head-dress like the feathers of a hearse, gives him a silly look. He is all in his singing, and 
 it is conveyed to you as plainly as by ear that his voice is nasal and high-toned. Is not that imp of a boy behind 
 agrin with mockery of the simpleton? Admirable character is shown in this sketch. Unthinking critics may point out 
 that the eyes don’t match. They do not, but the irregularity helps out that air of foolish concentration. This picture 
 should hang side by side with Gainsborough’s “ Portrait of Signor Tenducci, the great tenor.” There also we behold a 
 singer reading the score held in his right hand. With powdered head thrown back, and eyebrows raised, he obligingly 
 interprets — the image of complacent vanity. His handsome mouth is good-naturedly curled. Though of other figures 
 there are none suggested, we see that Gainsborough caught M. Tenducci at rehearsal, when the stage-manager bade him 
 sing, and there were ladies listening. The one specimen of Hobbema, a landscape (344), is beautiful. In the shadowed 
 but luminous foreground some peasants stand among fallen trees. Through a dark arch of foliage gleams a white streak 
 of water, with fields beyond, and a cottage surrounded by its orchards. Over a little stile one may see miles of distance. 
 This admirable example of Hobbema was shown at the Winter Exhibition last year. “Domestic Poultry ” (345), by 
 Melchior Hondekoeter, deserves notice for its size, unusual with works of that master. It is full of spirit, but chickens 
 such as those would strike terror in a farmer’s wife, so gruesome and ferocious is their look. It will be observed, more- 
 over, by the ornithologist, that golden orioles seldom visit a northern shore, and crested chatterers never. Should they 
 have done so in former times, it seems improbable that they would display acrobatic feats upon a branch whilst a cock 
 of such abnormal size prepares to fight such a terrible turkey within a peck of them. 
 
 “The Enamoured Cavalier,” by Francis Mieris (348), fetched ,£4,300 at Miss Bredel’s sale. It is signed and 
 dated 1658. Most persons will think this the gem of the collection. From the bolster and bedclothes hanging above 
 along an oak gallery, to the broken pipe upon the floor, it is perfect in its painting. The cavalier, half armed, is leaning 
 from his chair, and gazing up, with head aside, into a woman’s face— the official description calls her “ a pretty girl,” 
 but that’s a matter of opinion. He holds out his glass, which she, laughing and looking down into his eyes, forgets 
 
1876. J 
 
 MR. ALBERT LEVY’S COLLECTION. 
 
 243 
 
 to fill from the quaint flask in her hand. The ease of attitude and expression are admirable, the harmony of tone 
 delicious to observe. Though painted with such minuteness, it has grand qualities of light and power as of feeling. 
 The figure of the woman shines luminous as moonlight. Every detail, saving only an imbecile dog, merits equal praise. 
 The man behind, asleep, is a picture by himself. No such emphatic admiration can be bestowed on the “ Guitar Player,’ 
 by William Mieris (349). Though an excellent specimen of the artist, and a marvel of minute painting, it wants the 
 higher qualities. How such radiant light settles on his face when the sun is setting behind the player, and dusky 
 shadows surround him, is but one problem suggested by the composition of this painting. Where are his legs, and how 
 does he accommodate them in the thickest of a solid balcony? We are requested to admire the carpet upon which he 
 leans. It is, indeed, most wonderfully rendered, and Francis Mieris could not have painted better. But one must ask 
 how it got there — where is its beginning or its end ? Echo answers, with the gentleman’s legs. The faces of the player 
 and his attendant are characterless and insipid, painted through a magnifying glass as they may have been. So much 
 said, we may wullingly admit that the master is here shown at his best. The combination picture of Frederick Moucheron 
 and Adrian Van der Velde (351) is interesting for its rarity, besides high merit. The finest of five Jacob Ruysdaels is 
 “ A View in the Environs of a Forest ” (361). It was bought from the Due de Choiseul for £ 700 . we believe, by Mr. 
 Theobald. The best qualities of the master are displayed therein, his graceful colour, mellow lights, and charming 
 distances. It was exhibited at Burlington House last year. Solomon Ruysdael is less known than his brother, and 
 many persons were vastly surprised to see the excellence displayed in the “Landscape” ^'364) and the “ River Scene” 
 (365) when they examined them at Burlington House. The latter represents a canal, with shipping, which smoothly 
 drop down below a church and shadowy trees. A warm glow of evening makes the picture radiant. Jacob Ruysdael 
 himself was not more happy in his tenderness of tone. “ The Fruitseller” (366) of G. Schalcken is unsatisfactory. Its 
 drawing is feeble, its thought poor, and its interest nil, except for those who consider it art to paint each thread in a bit 
 of lace, and each hair on a foolish head. “ La Reconnaissance de la Bohdmienne ” (367) is so much better one may be 
 surprised to learn that the same hand painted it. A girl stolen by gipsies in her childhood, is brought back to the 
 father’s house when full grown. The parents recognise her by a mark upon her bosom, but they regard their ragged 
 girl with mingled feelings. The figures are not badly drawn, though with exaggeration ; the flesh of course, and every 
 detail, is worked up with extraordinary smoothness and perfection. It is certainly an example of the master as fine as 
 could anywhere be found, and as such takes a place in Smith’s “ Catalogue RaisonnG” But the master’s style is not 
 interesting. If one be allowed such boldness, the same may be said of Jan Steen’s “ Bad Company” (369), though it will 
 rank so much higher in the market. A drunken youth has fallen asleep upon the knees of a courtesan, whose comrades 
 are picking his pockets. The figure of the woman is both true and good, but of the women little can be sincerely 
 praised except the hideous character of their faces. The delight of that old wretch in a coif who receives the stolen 
 goods is exaggerated beyond the “ dramatic verities”- — the table littered with empty oyster-shells, and stained with wine; 
 is roughly painted, if truth be told, and the drunken roisterer, the blind fiddler, and the background are represented in 
 mere daub. The colour is crude and the light feeble. If the “View in a Woody Park,” by Adrian Van der Velde 
 (376) is not his masterpiece, it can only be compared with that great work in the Bredel collection. The composition, 
 however, is inferior. “A Hawking Party,” by Philip Wouvermans (381) was painted for the wife of Philip IV. of Spain, 
 and was first bought from the Royal Gallery of Madrid for ,£1,200. The arms of Spain are stamped upon the back of 
 its panel. It is an admirable example, and has been several times exhibited. The “ View of a Canal in Holland” 
 (382), by the same, was one of the treasures of the Bredel collection. It represents a frozen water-way, spanned by a 
 bridge. The whole landscape lies deep in snow. Some critics have declared that the sky is untrue, that the bank of 
 clouds looms too heavy for snow, the clear space is too blue, and, at the same time, smoky. But the picture is so 
 remarkable that errors like these pass unseen. This valuable collection did not fetch prices to compare with those 
 realised in the former days of Mr. Levy’s sale. An average of 225 guineas is excellent, so far as it goes, but some of the 
 greatest pictures fetched a less sum than had been obtained before the present furor showed itself. It is merely a fact to 
 be noted that David Cox’s works alone realised, last week, more money than an equal number of picked examples by the 
 masters of historic name. But from this result every one will draw his own moral. The following list of prices has 
 value to the buyer: “ Hautbois Common,” Crome, sen. (288) — ,£404 5s. (Ellisham) ; “Portrait of Tenducci,” Gains- 
 borough, (291), £262 10s. (Hill); of the Morland pictures, “ Mutual Confidence” (300), £(126 (Agnew) ; “Landscape 
 View at the Edge of a Wood” (301), £(367 10s. (Agnew) ; “A Woody Scene,” (302), £(147 (Cox) ; “A View at Enderby” 
 (305), £262 1 os. ; “A Landscape with a Gipsy Encampment” (306), £(441 (Agnew) ; “ Evening, or the Postboy’s Return” 
 {307), ££>30 (Agnew) ; “ A Landscape ” by P. Nasmyth (311), ,£336; “View on the Thames,” R. Wilson, R.A. (315), 
 £88 4 j. ; “ The Virgin Seated, and Infant Christ,” Cima il Conegliano (323), £(385 5J. (Agnew) ; “An Astrologer at a 
 Window,” Gerard Dow (329), £(714 (Piercer); “The Singer,” Frank Hals (341), £(262 ioj. (M. Colnaghi) ; “A Richly- 
 wooded Landscape,” Hobbema (344), £997 10s. (Elliston) ; “Domestic Poultry” (345), £(273 (Watson); “The 
 Enamoured Cavalier,” Francis Mieris (348), £(3,675 (Lane); “The Guitar- Player,” William Mieris (349), £(483 
 (Warden) ; “An Upright Landscape,” Frederick Moucheron and Adrian Van der Velde (351), £246 15 s. ; “ The Card- 
 Players,” Adrian Ostade (354), £(283 io.y. (Agnew) ; “A View in the Environs of a Forest,” Jacob Ruysdael (361), £714 
 (Salting); “A View in a Grove of Trees,” by the same (362) £(388 10s. (Elliston) ; “A View in the Hollands Deep,” by 
 the same (363), £(304 ioj. (Salting) ; “A Landscape,” Solomon Ruysdael (364), ,£508 (M. Colnaghi) ; “A River Scene,” 
 by the same (365), £420 ; “ La Reconnaissance de la Boh^mienne,” G. Schalcken (367), £120 15J. ; “ Bad Company,” 
 by Jan Steen (369), £997 ioj. ; “ A View in a Woody Park,” Adrian Van der Velde (376), £(945 (Lane) ; “ A Hawking 
 Party,” Philip Wouvermans (381), £924 (Elliston) ; “ View on a Canal in Holland,” by the same (382), £1,102 10 s. 
 (Elliston). 
 
 I I 2 
 
244 
 
 ART SALTS. 
 
 T1876. 
 
 MR. A. LEVY'S COLLECTION. 
 
 (“The Times,” April 7, 1876.) 
 
 The large room at Christie’s was well filled by 1 o’clock, but not by one of those densely packed assemblages that 
 have been seen on such occasions. And, as the sale proceeded, it was evident that although the audience represented an 
 ample amount of purchasing capability, the capitalist, the amateur, and the dealer were not much in a mood to speculate. 
 Indeed the sale was one of the dullest we ever remember to have witnessed where pictures of such unquestionable mark 
 were submitted. The general feeling seemed to be that this was due to the commercial stagnation in a great measure, 
 and partly also to the rival attractions of the great sale in Paris of Mr. Schneider’s collection which was going on at the 
 same time. This was the cause, no doubt, of the absence of the foreign dealers, of whom the only one present was Mr. 
 Frangois Niewenhuys. We have the consolation of knowing that the principal pictures — those which may be said to have 
 a European reputation, such as the “ Cavalier Amoureux,” the “ Tricoteuse,” and the two Jan Steen’s — will still remain in 
 English galleries. It will be observed, however, that in some cases the high prices for which some of these chefs d'amvre 
 were last sold have not been quite maintained. In opening the sale Mr. Woods observed that only a very modest 
 reserve had been named by the proprietor upon some few pictures, and he had no doubt the result would be eminently 
 satisfactory as it had been in the previous sale of the modern pictures. The pictures by Morland, of which there were 12, 
 were some of his best works, and they nearly all sold at considerably advanced prices. “ Mutual Confidence,” an 
 engraved picture, sold for ^126 — more than double the price it last fetched ; A Landscape, edge of a wood, with gipsy 
 family and fire, dated 1792 — ,£369 — last sold for ,£125; Landscape with gipsy camp, 1790, from the collection 
 of Mr. G. H. Morland, exhibited at the Academy Winter Exhibition last year — £440 (nearly four times the price it sold 
 for at Christie’s in 1873) > “Evening ; The Postboy’s Return,” the celebrated stable picture engraved from the Morland 
 Collection where it sold for £120, now brought ,£630. Francis Mieris, “ The Enamoured Cavalier.” This picture will 
 be remembered in the Bredel Collection. It was brought to this country in 1838 by Mr. Chaplin, a dealer, and has been 
 more than once exhibited at the British Institution. Mr. Woods stated that he had two commissions for this picture 
 which he reminded his audience was sold last year (or more than 4,000 guineas, and he therefore put it up at 2,000 
 guineas, a sum which was quickly advanced to 3,000 guineas, after which the biddings rose somewhat languidly till the 
 hammer fell at 3,500 guineas with slight applause. The exact price the picture sold for in the Bredel Collection was 
 £(4,315. We believe it will now take its place in the gallery of a nobleman* whose collection is already rich in fine 
 examples of all the schools. [104 pictures by the Old Masters and Early English (32) brought ,£25,000.] 
 
 SALE OF FINE ITALIAN TAPESTRIES OF SILK NEEDLE 
 WORK , AND RAPHAEL TAPESTRIES. 
 
 The sales of the week were remarkable for the interesting and valuable examples of decorative art in textile fabrics 
 and needlework. We drew attention on a former occasion to the splendid set of hangings formerly belonging to King 
 Ferdinand I. of Naples, Italian needlework of the 16th century of the most florid style, being in bold scroll designs worked 
 in coloured silks, and profusely enriched with gold and silver thread. There were six pieces of square form and two 
 narrow, which appeared to have served as valances. These fine pieces sold together for ,£520. Five panels 8ft. high, 
 and varying in width from 5ft. to 1 6ft., woven with subjects from “Don Quixote,” curiously treated, in old silk tapestry, 
 sold for £220. At another Art Sale-room— Messrs. Sotheby, Wilkinson, and Hodge, in Wellington-street, Strand — a set 
 of Italian tapestries in the pictorial style, taken from the works of Raphael on the walls and ceilings of the loggie of the 
 Vatican, were sold on Tuesday last. These fine pieces, though partly taken from the designs of the great master, were not 
 the work of tapestry-workers of the 1 6th century, when such artists as Michael Cocxis and Bernard van Orley superintended 
 the work, but they were said to have been executed at Rome between the years 1732-35, during the Pontificate of Clement 
 XII. They were all about 13ft. in height, and the five panels varied in width from square to oblong. The subjects were 
 “The Creation,” “The Creation of Eve,” “ The Temptation,” “The Expulsion,” “Adam and Eve with Cain and Abel.” 
 The figures were all considerably above life size, the borders especially good in work and design, and the whole were in 
 an unusually good state of preservation. One p>ece bore, woven into the border, the inscription “Ralph. Pinx. in Vat. P. 
 Ferloni in Hospo. A.P. a.d. MDCCXXIV. another simply “ P. Ferloni. f. Roms,” with the date 1734. This probably 
 refers to the cartoons made for the tapestry workers ; whether they were actually woven, as supposed, in Rome may be a 
 question. The great Raphael tapestries in the Vatican were, as every one knows, woven at Arras ; others were 
 subsequently made which are known as of the “ Scuola Nuova,” such as the fine pieces belonging to the Duke of Buccleuch 
 and others in this country ; and Walpole refers to the project of Le Blon, a Fleming, who made drawings from the 
 Raphael cartoons at Hampton Court for tapestry works erected in the Mulberry Grounds at Chelsea about 1733. The 
 tapestries sold on Tuesday have for a great many years hung upon the walls of a mansion in the West of Ireland. They 
 were now sold for £(715. 
 
 * Lord Dudley, who also bought the Adrian Vandevelde “View in a Woody Park” £945 (see lists, Vol. II.). 
 
1876.] 
 
 M. SCHNEIDER'S COLLECTION. 
 
 245 
 
 THE COLLECTIONS OF WALTER ARMSTRONG AND 
 
 ALEXANDER COLLIE. 
 
 (“The Times,” Feb. 28, 1876.) 
 
 These, which had been exhibited together in the large room of Messrs. Christie, Manson, and 
 Woods during the week, were finally disposed of on Saturday last. The pictures were sufficiently 
 good in themselves to attract attention, but the crowded audience assembled for the sale was 
 evidently due in great measure to the curiosity of the public to see with what fine works of art the 
 absconded bankrupt had surrounded himself. But besides this there was one picture which had 
 acquired no small amount of notoriety of its own, and that was Mr. Millais’ “ Hearts are Trumps ” 
 — the large portrait-group of the three Misses Armstrong playing whist with one taking dummy in a 
 conservatory. The last time this picture was exhibited it was at the top of the great gallery of the 
 Academy with all the honours ; this time it took the post of honour, which has been filled by many a 
 chef d’ceuvre, and the young ladies in their pictorial presence held the same little court of critics 
 and admirers that attended them at the Royal Academy. As it was well known how large a sum 
 had been paid for the picture — some said 2000 guineas, while others declared it was 5000 — now that 
 it was to be knocked down to the highest bidder the price it would fetch became quite the question 
 of interest in the sale. At length, after some 70 lots had been patiently gone through, came this last 
 in the catalogue of Mr. Armstrong’s pictures, and as the enormous canvas was swayed round upon 
 the easel it was greeted with applause followed at once with a bid of 700 guineas. It was soon felt, 
 however, that the competitors were not very enthusiastic, and after rising by fifties it hung at 1250 
 guineas, falling at the next bid of 1300 guineas to Mr. Agnew. After all the fabulous sums talked 
 about, we believe the true price paid for it to the painter was 2000 guineas. Few of the other 
 pictures and water-colour drawings call for mention. 
 
 The pictures belonging to the estate of Mr. Alexander Collie, which were sold after the above, 
 were of much better pretensions generally, especially those by John Phillip (see Vol. II.). A portrait 
 of Colonel Crealock, C.B., exhibited in Paris by the painter in 1867 sold for £630. This was a work 
 of special interest. It was painted in emulation of Velasquez, and as a companion picture to a copy 
 Phillip made of a portrait by the great Spanish master which hung in his studio. He asked Colonel 
 Crealock to stand for it, and chose to paint this gallant officer in a black slashed dress with a steel 
 cuirass, and the head uncovered, a half-length standing, the light striking strongly on the face and 
 full red beard falling upon the armour. It was painted in eight sittings of two hours each, and must 
 have been the last work of the painter, for, in a letter written to Colonel Crealock, then at Vienna, 
 within three or four days of his death, he says, “ I have just put the last touch to the portrait, and 
 sent it off to Paris.” It will be remembered that the eminent painter died from a sudden attack of 
 apoplexy. 
 
 M. SCHNEIDER'S COLLECTION. 
 
 (“The Times,” April 10, 1876.) 
 
 The dispersion of the collection belonging to the late Mr. Schneider, of Paris, formerly President of the Corps 
 Legislatif, at the Hotel Drouot on 6th and 7th inst., was an event in the art world which created the greatest interest both 
 in Paris and in London. Since the sales of the collections of Mr. Patureau, M. Delessert, Prince Demidoff, and the 
 Count de Pommersfelden there has been none of such importance. Although the gallery of Mr. Schneider contained 
 only 52 pictures, they were nearly all of first-rate excellence and such as a wealthy amateur of rather severe taste and 
 jealous of the intrinsic value of his treasures would select. Most of the pictures had a well-authenticated pedigree ; and 
 it is interesting to observe that several have passed through English galleries, among which we find those of a Lord 
 Granville, Mr. Edward Gray of Harringhay, Mr. Dawson Turner, Mr. Jolly, and Sir Simon Clarke, &c. In the forma- 
 tion of the collection, Mr. Schneider, who was the owner and the original promoter of the large ironworks of Creuzot in 
 
246 
 
 ART SALTS. 
 
 [1876. 
 
 France, took care to obtain the advice of one of the most experienced dealers, though he would always insist that the 
 picture must possess the charm, as he expressed it, of “ aimabilite The collection may be considered as one of the 
 Dutch and Flemish masters, for it contained only one of a French painter— “The Head of a Young Girl,” by Greuze, 
 which sold for 53,000 francs. Even the drawings and aquarelles, of which there were 47, were all by masters of the old 
 German and Dutch schools. 
 
 The principal pictures were : — Hobbema, “ The Water Mill,” 26m. by 40m., exhibited at the British Institution, from 
 Mr. Fordham’s collection. This, one of the finest of the master, was purchased for the Antwerp Museum for 100,000 
 francs. P. de Hooghe, A Dutch Interior, 36m. by 39m., canvas, formerly in the possession of Madamoiselle Heffmann 
 of Haarlem, sold for 135,000 francs (£5,400) to Lord Dudley. A. van Ostade, Interior of a Cabaret, about 15m. by 
 12m., panel, from Prince de Conti Collection in 1777, and Pontain Collection, described as a chef d'ceuvre of exceptional 
 quality — 103,000 francs (£4,120) to Lord Dudley. Rembrandt, Portrait of the pastor Ellison — 65,000 francs ; Portrait of 
 Miss Ellison — 50,000 francs. Mr. Ellison was minister of the English church at Amsterdam, and these portraits were 
 formerly in England in the collection of the Rev. William Colby.* Among the drawings were : — Portrait of Gerard 
 Segers* by Vandyck, black chalk washed, — 3,100 francs; Rembrandt, “The Mill,” sepia, signed and dated 1635 — 
 3,000 francs. Total of sale 1,307,920 francs (£52.316). 
 
 COLLECTIONS OF MR. POTTER , MR. J. BURNETT , AND 
 
 MR. J. LEWIS. 
 
 The important picture sale of the week was that of the three small, but very pleasing collections, all from the North of 
 England, sold on Saturday. Of these, Mr. T. O. Potter’s, of Liverpool, was the first entered upon. Among the drawings 
 were “ Devotion,” by Guido Bach — £105 ; “ Les Confiances,” by F. Heilbuth — £105 ; “ Faith,” by W. C. T. Dobson, R.A. — 
 £126. Oil paintings : — A Forest Scene, by Koekkoek — £283 ios-. ; Canal Scene, Venice, by Keeley Halswelle — £47 55. ; 
 “Before the Fight,” Spanish bull-fighters, by Haynes Williams — £48 ; Antwerp, by Edouard Fr£re — £25 ; “The Widow, ”by 
 Fred Morgan— £131 ; “ Little Foxes,” by S. Carter — £119 14X. ; On the Beach, Scheveningen, E. W. Cooke, R.A. — £241 
 ior. ; Brittany Girl, by H. Merle — £102 1 8^". ; “Dog in the Manger,” by Briton Riviere — £141 15.?.; “ Innocence,” by 
 H. Le Jeune, A. R.A. — £325 105. ; “The Last Gleam,” by B. W. Leader — £252; Landscape and Cattle, by Sidney 
 Cooper, R.A. (a large, upright picture, painted about 1850) — £793 ; “The Winning Hazard,” by Mr. W. P. Frith, R.A. 
 (the young ladies playing billiards, exhibited 1873) — £677 ij-r- ; “ Evangeline,” by T. Faed, R.A. (the engraved picture) — 
 £367 ioj. The noticeable pictures in the collection of Mr. Jacob Burnett, of Tynemouth, were among the drawings : — 
 Lincoln, by De Wint, with a cornfield and reapers -£55 13^. ; Knaresborough Castle, with windy effect, by David Cox 
 (1846) — £115 19.?. ; “The Palace of Sleeping Beauty,” engraved in Tennyson’s poems, by J. E. Millais, R.A. —£28 7s.; 
 “Summer Evening; Folding the Sheep,” by J. Linnell, senior — £157 10s. ; Farm Building, by Birket Foster — £86; 
 Abergavenny Bridge, by Turner (1799) — £52 io.y. ; Town in Spain, by J. D. Harding, engraved — £57 15^. ; Bird’s Nest 
 and May Blossom, oval, by W. Hunt — £141 15.?. Oil paintings : — “The Little Housekeeper,” by E. Frfere, 1853 — 
 £257 5^. ; Study of a Head, by J. E. Millais, R.A. — £28 7s.-, Landscape and Sheep, by S. Cooper, R.A., 1857 — 
 £178 ioi'. ; Falstaff thrown into the Thames — £99 15s-. ; “The Potters,” by V. Lagge, 1869 — £159 12 s . ; “Broken Vows,” 
 by P. H. Calderon, R.A., 1857 — £78 1 5^. ; “The Knight of the Sun,” by Arthur Hughes — £210; a river scene, with 
 cattle and reapers, by David Cox — £288 15J. ; “A Reception of Guests in Ancient Rome,” by Alma Tadema, A.R.A., 
 exhibited at Paris, 1867 — £619 ioj. ; “The Last Moments of Count Egmont,” by Louis Gallait, 1861 — £556 i8j. ; 
 “Apple Blossoms,” by J. E. Millais, R.A., the well-known picture exhibited at the Academy in 1859 and at the 
 International Exhibition of 1862 — £1,459 iay - The pictures belonging to Mr. John Lewis, of Halifax, were many of them 
 by artists of the modern Italian and Belgian school, of which a landscape by Vertuni (Rome) sold for £131 ; “The 
 Coliseum,” by A. Guerra — £84 ; a landscape by J. Van Luppen — £184 16^. ; “The Morning and the Evening of Life,” 
 by A. A. E. Hubert, exhibited at the Royal Academy 1872, and at the Vienna Exhibition — £682 tor. Of the pictures by 
 English painters: — “The Maiden all Forlorn,” by T. D. Francis, sold for £126; a landscape, with waterfall, by 
 T. Creswick, R.A., and Frank Stone, A. R.A. — £81 i8.r. ; “A Love Scene,” by J. C. Horsley, R.A. — £105 ; “A Page in 
 Waiting,” by the same — £315 ; “ In with You !” the large picture of cavaliers passing beneath a balcony with ladies in it, 
 exhibited 1872 — £787 ioj. ; “The Cotters’ Saturday Night,” by Landseer, a sketch purchased at his sale — £47 ; “Fair, 
 Quiet, and Sweet Rest,” by S. L. Fildes, exhibited at the Academy, 1872 — £861 — the total of the three collections being 
 £14,760 1 or. 
 
 Some excellent works of modern Italian sculpture, from the above-named collections, were sold after the pictures. 
 “First Love,” by F. Barzaghi, for £267 15J. ; “A Bathing Girl,” life size, by Amo Tantardini — £430 ior. ; “Pharaoh’s 
 Daughter,” life size, with the infant Moses — £955 ior. ; “Two Boys blowing bubbles,” life-size figures, seated on a 
 balcony, a very elaborate work by Amo Barcaglia — £630. 
 
 The fine collection of water-colour drawings and pictures belonging to Mr. Albert Levy, remarkable for examples of 
 David Cox, Copley Fielding, De Wint, and Turner, will form the principal sale of the present week, and these will be 
 “on view,” we believe, to-day, Tuesday, the important pictures of the Dutch school of the same collection, to be sold next 
 week, being also exhibited in an adjoining gallery. 
 
 These two portraits were sold or bought in at Christie’s in i860, at £1,974. See Vol. II. 
 
1876 .] 
 
 THE CLEWER MANOR COLLECTION. 
 
 247 
 
 MR. FOSTER: S CLEWER MANOR COLLECTION. 
 
 (“The Times,” June 5, 1876.) 
 
 The sale of the Clewer Manor collection has been the great event of the past week. All through the week the 
 exhibition of these pictures, with some other very good examples belonging to Mr. Uunn Gardner and others, attracted 
 great numbers of persons, and even on the Derby-day it was only after great perseverance that a place to see the Greuze 
 and the Ostade could be obtained. The sale on Saturday, however, gave rise to a most unusual procedure on the part 
 of the owner of the Clewer Manor pictures, which somewhat marred the pleasure of the very distinguished company 
 invited to witness the dispersion or partake in the acquisition of these beautiful works of art. This was nothing more or 
 less than the withdrawal of three highly important pictures after the sale of the 16th lot in the sale. The Greuze had 
 just been sold for the enormous sum of £6,720, with, every sign of the great interest felt in the picture, which Mr. Woods 
 justly eulogized as the finest example ever offered for sale at an auction ; the next picture, the Murillo “Holy Family,” 
 was placed upon the easel, and received with a round of applause, when the auctioneer, to the surprise of everybody, 
 announced that he was instructed by Mr. Foster to say, that, having realized a certain sum by those already sold, this 
 and the two following lots would be withdrawn, therefore he would not trifle with his audience by asking them for a 
 bidding for the fine picture now before them. The 16 pictures had, in fact, realized no less than 7)34,465, or considerably 
 more than an average of 2,000 guineas apiece, and it was felt that to stop the sale in this very abrupt and rather 
 ungracious manner was scarcely respectful to those who had come, perhaps from long distances, and were prepared to lay 
 out large sums of money. It was matter of common remark during the week that the very highest prices would be obtained, 
 and no one could have been better informed upon this point than the person whose interest was most concerned in the 
 sale, so that any such intention as that so awkwardly made known at the wrong moment might have been stated as a 
 condition of the sale. Returning now to the opening of the sale, Mr. Woods stated that the late Mr. Richard Foster was a 
 constant frequenter of those rooms, and added to the collection begun by his father, and that nothing surprised him 
 (Mr. Woods) more than when the present possessor of the pictures proposed the sale to his firm ; but Mr. Foster was 
 quite in earnest, and he left this most perfect cabinet now entirely in the hands of the company before him. He then 
 began the sale with the Jan Steen called the “Guitar Lesson,” a young gallant seated on a table in a bedroom touching 
 the guitar held by a lady seated near him, an old woman behind, and at the half-open door a squint-eyed old man, 
 measuring 24m. by 30m. ; which sold for 7)315, and was considered the cheapest picture in the sale. W. Van de Velde. 
 — Sea piece, with a fresh breeze, numerous ships and other vessels, with a gilded yacht and fishing-boat conspicuous. 
 17m. by 24m., No 71 in Smith’s Catalogue, and from the Earl of Lichfield’s collection at Shugborough, 1842 — 7 ) 735 , 
 A. Cuyp. — “ View on the Rhine,” mentioned by Dr. Waagen, a beautiful effect in sky and distance, 22m. by 30m., was 
 put up at 700 guineas, rising quickly to 2,000, and was knocked down at £2, 150. Jan Both. — “ A Rocky Pass,” through 
 which a road winds, with a cluster of tall trees and rich distant landscape, and figures passing, from the collection of the 
 Duke of Brunswick, 42m. by 40m. — ,£1,600. Philip Wouvermans. — A hilly sandbank, with a river winding into the 
 distance and figures of men and horses, a little gem, according to Dr. Waagen, No. 433 in Smith’s Catalogue, 7-jdn. by 
 iojin. — ,£294. N. Berghem. — Two herdsmen with cattle passing a ford, No. 32 in Smith’s Catalogue — 7) I2 °7 iox. 
 Rachel Ruisch. — Vase of Flowers with insects, in a vase on a slab, 42m. by 34m., from Alton Towers in 1857 — £420. 
 Carl du Jardin. — “ La Fraiche Matinee,” a peasant woman passing a ford, with cattle and other figures, 2oin. by 1 Sin., 
 No. 36 in Smith’s Catalogue — £7 35. Philip Wouvermans. — “ Le Port-Drapeau,” three cavaliers, with other figures, 
 
 with horses, and a bridge over a stream, from Colonel Hugh Bailie’s collection, No. 42 in Smith’s Catalogue, 22in. by 
 26in., — 74,312 1 ox. Jan Steen. — “ The Tric-Trac Players,” interior of an estaminet with a group of four men round the 
 table at the game, and an old man joking with the maid, No. 60 in Smith’s Catalogue, 24m. by 27m. — 7 ) 755 - W. Van 
 de Velde. — “A Calm,” with fishing boats near a jetty, drying their sails, and a man-of-war at anchor, a man carrying a 
 plank at the edge of the water, and a child, No. 125 in Smith, 25|in. by 3oMn. This very fine example w'as received with 
 applause and put up at 500 guineas, falling at the price of £2,267 10s. Albert Cuyp. — A hilly landscape, with beautiful 
 effect of early morning, a cavalier in a red cloak on a grey horse in the middle ground, other horsemen, and a shepherd, 
 with fine pasture country beyond, and a tree in the right hand foreground, mentioned in Smith’s Catalogue, No. 12, as an 
 example of the highest excellence, 26m. by 32m. Put up at a bidding of 1,000 guineas, it rose by bids of 1,000 to 3,000, 
 then to 4,000, and finally fell at 7 ) 5 , ° 4 °- Jacob Ruysdael. — “The Mill,” with a house under the trees and the miller 
 raising the sluice, formerly in the collection of M. Casimir Perier, 22^in. by 39m. — 7 ) 1 ,837 iox. Adrian Ostade.— 
 “ Interior of a village alehouse,” with man and woman dancing, a fiddler on a bench, and many figures round watching the 
 dance ; No. 138, Smith. Bought of Mr. Nieuwenhuys by the late Mr. Foster in 1827, on panel, i8in. by I5iin., in superb 
 condition, and stated by the auctioneer to be the most perfect picture by the master ever remembered to have been sold 
 by auction. Loud applause greeted this gem, followed by a bid of 500 guineas, which speedily rose to 3,000, at which 
 there was a brief pause, after which it was knocked down at 3,600 guineas ( 7 ) 3 , 780). Rubens. — The Virgin and Child. 
 The Virgin clothed in a scarlet robe, with pale purple mantle and lighter drapery, holding the Infant Saviour naked and 
 standing on her knee, with her right hand round him, the child looking affectionately to the mother. This beautiful work 
 of the master, w'hich was warmly applauded, was put up at 1,000 guineas, and brought the large sum of 7)4,200. The 
 catalogue stated by an error in the printing that the picture had been sold to Sir Mark Sykes for 1 1,000 guineas, which 
 Mr. Woods explained as intended for 1,100. It had previously been bought in at 1,000 guineas in the sale of the 
 collection of Mr. Hart Davis in 1814. It is No. 794 in Smith’s Catalogue. The charming work of Greuze came next 
 upon the easel, to be welcomed with the most enthusiastic applause of all. A little girl of five or six years old, just risen 
 from her bed, is seated on a rush-bottomed chair, holding her spaniel puppy close to her bosom, and looking aside towards 
 the spectator, as if suddenly startled. It was formerly in the collection of M. de Calonne (not Colonne, as printed), the 
 
248 
 
 ART SALTS. 
 
 [1876. 
 
 French Minister, whose pictures were sold in London soon after the sale of the famous Orleans Gallery in 1792, and 
 probably by the first Mr. Christie. Mr. Foster’s grandfather bought it at the dispersion of the collection of Mr. Watson 
 Taylor at “ Erlestoke,” in 1832, for 400 guineas. It was now put up with a bid of 1,000 guineas, and with biddings of 
 1,000 each it soon reached 6,400 guineas (,£6,720), at which sum it was knocked down amidst very loud applause. Here 
 the sale was broken off by the announcement above alluded to. With regard to the purchasers of these interesting 
 pictures, it is pretty generally understood that the Greuze passes into the gallery of Lord Dudley, while Baron Ferdinand 
 de Rothschild acquires the Carl du Jardin and some others, and M. Rutter, the great Paris dealer, carries off the two 
 Cuyps and the Ostade. The three pictures withdrawn were the Murillo Holy Family, the fine Ruysdael sea-piece, and 
 the large Weenix still-life piece — pictures which, if they had been sold, would have probably brought the total up to 
 nearly £(50,000, which would give the highest average upon a collection ever known. 
 
 After the Clewer Manor pictures had been sold, those of Mr. Dunn Gardner and others were proceeded with, of 
 which W. Van de Velde — “ A Calm,” from the collection of M. Casimir Perier, sold for ,£577 io.y. ; Salvator Rosa — “A 
 View in the Apennines,” from Mr. Jeremiah Harman’s collection — ,£220 ; Rubens — A Landscape — £(514 io^. ; Perino del 
 Vaga — “ The Raising of Lazarus,” fresco painting — £68, Colnaghi ; Hubert van der Goes — “ The Stem of Jesse,” from 
 the collection of Sir Culling Eardley — £(283 105. Agnew ; Greuze — Portrait of a Lady — £787 10 s., Holloway; Murillo — 
 “The Madonna de la Faja,” exhibited at Burlington House in 1871, — £1,312 1 or., Smith ; P. J. de Loutherbourg — 
 Landscape, with peasants and horses, — £131 5 j., Agnew; G. Morland — “An Interior,” with dogs, — £(92 8r., Lord 
 Normanton ; G. Morland — “A Snow Scene,” with sheep — £(105 2 s., Sampson ; Angelica Kauffman — Portrait of herself 
 — £(105, Graves ; W. Collins — A landscape, Chichester Cathedral in the distance — £787 ior., Leggatt ; T. Gainsborough 
 — Portrait of a Lady, in white dress, with blue ribands — £78 15J. ; T. Gainsborough — “The Cottage Girl,” study for 
 the engraved work — £147, Lane ; R. Wilson, R.A. — “Tivoli” — £136 ior., Powell ; R. Wilson, R.A. — “Lake Albano ” — 
 £178 10 s. ; Sir J. Reynolds — “Kitty Fisher as Cleopatra” — £2,467 ior., Howard. 
 
 SIR ABRAHAM HUMES COLLECTION OF 
 REMBRANDT ETCHINGS. 
 
 The collection of etchings by Rembrandt, sold by Messrs. Christie, Manson, and Woods, on June 1, was one of 
 the most remarkable that has been dispersed for some time past ; it was formed by the late Sir Abraham Hume, who was 
 a great connoisseur, and had for many years taken every opportunity of obtaining the choicest specimens. The greater 
 part of them were purchased from the Aylesford, Astley, Barnard, Claussin, Hibbert, Josi, Mariette, Pole Carew, 
 Woodhouse, and Worlidge collections, and are referred to in Wilson’s “ Catalogue ” and Mr. Charles Blanc’s “ L’CEuvre 
 complet de Rembrandt.” Only a very few were of doubtful authenticity, although bearing the signature of Rembrandt 
 upon them, and these were to be found among the fancy heads of men. The sale attracted all the cognoscenti in this 
 walk of art, Mr. Seymour Haden being the purchaser of the Burgomaster Six for £270, Mr. Heugh and Mr. Fisher 
 obtaining other good etchings. The contest between the foreign dealers present and the London printsellers was very 
 warm over some of the important works, and brought the prices to a very high pitch ; but Mr. Holloway and Mr. 
 Colnaghi secured all the great prizes, such as “ The Shell,” the “ Christ Healing the Sick,” “ The Three Trees,” 
 “ Landscape with the ruined Tower,” the “ Portrait of old Haaring,” and the “ Portrait of Van Tolling,” which passed 
 into Mr. Holloway’s hands at the large price of £(500. A curious point of interest in connection with these valuable 
 and extremely portable objects may be mentioned, which is that many of the etchings bore the stamp of a painter’s 
 palette, with a D upon it, the initial of a collector, whose mark appears upon some of the finest etchings in the British 
 Museum, which were recovered from him after having been stolen while he was enjoying the privilege of study afforded 
 by the museum. 
 
 Portrait of Rembrandt, with moustache, first state, — £24 3s. ; ditto, in a tumed-up hat and embroidered mantle, fifth 
 state, with date — £13 4 s. 6 d. ; ditto, with a drawn sabre — £(4 ; ditto, in cap and feathers, early, with name and date — 
 £6 :6s. ; ditto, leaning on a stone sill, first state — £26 5s-. ; ditto, full face, laughing — £(5 ; ditto, drawing, eighth state — 
 £4-, “Abraham sending away Hagar and Ishmael ” — £24 ior. ; “Joseph’s Dream” — £3 7s. 6d. ; “Triumph of 
 Mordecai” — £\o ior. ; “The Angel and the Shepherds,” fourth state, from the Hibbert collection — £72-, “The 
 Presentation,” dark manner, fine — £26 55. ; “ Flight into Egypt,” second state, from the Barnard and Hibbert collections 
 — £23 2 s. ; “Jesus found by his Parents” — £(11 ; “Christ preaching,” second state, very fine — £60 ; “Resurrection of 
 Lazarus,” large print, sixth state — £36 15J.; “Christ healing the Sick,” called “the hundred-guilder piece,” from Rembrandt’s 
 having once scld it for this price (about £(8), in the second state, very fine impression on India paper, with an inch-and-a- 
 half of margin, from the Pole Carew collection — £(215 5s-. Impressions of the plate in the first state before the cross 
 hatchings on the ass’s neck were added, as seen in this, are worth much larger sums ; one was sold at Sotheby’s in the 
 late Sir Charles Price’s collection in 1867 for £(1,180, and it was sold again by the purchaser, Mr. Palmer, in the following 
 year for £(80 less, when it passed into the hands of M. Dutuit, a PTench amateur. It had been sold by auction at 
 Amsterdam in 1847 for £(147 only. There are only eight in the early state known, and five of these are in public 
 collections. The difference is very slight between the two states, but it is this which makes the first, although a less 
 finished work, so much more precious in the eyes of collectors. “ Christ before Pilate,” fifth state — £43 ; “ Christ 
 Crucified,” third state — £22 ir. ; “Descent from the Cross,” second state, before the address — £34 13J. ; ditto, a Night 
 Piece, on India paper — £6 ior. ; the “ Entombment,” second state— £ji6 i6r. ; “Good Samaritan,” first state, with the 
 
LORD MALMESBURY’S COLLECTION. 
 
 249 
 
 1876 .] 
 
 white tail of the horse, margin cut off — £31 ioj. ; “Peter and John at the Temple” — £11 ; St. Jerome— £10 ; ditto- 
 second state — £16 ioj. ; ditto, unfinished, second state — £30; “Youth Surprised by Death,” scarce — £ 26 55-.; the 
 “ Spanish Gipsy,” very fine and scarce — £70 ; “ The Rat-killer,” second state — £16 i6r. ; “Jews’ Synagogue,” first state 
 — £8 18s. 6 d. ; “ An old man with boy,” fine but stained— £6 ; “ The Persian,” — £16 i 6 j. ; “ The Shell,” first state, with 
 white background, very fine — £200 ; this was the well-known work, being nothing more than a simple conical spotted 
 shell of the natural size, about 3m. long, but so exquisitely drawn as to be quite a marvel among etchings. An old 
 beggar with a long beard and a dog, very rare — £40; “Six’s Bridge,” second state — £21 ; View of Omval, near 
 Amsterdam, from the Barnard collection — £47 5J. ; View of Amsterdam, from the Astley collection — £20 : “ The 
 Sportsman,” second state — £9 ; “ The Three Trees,” from the Hibbert and Barnard collections, a fine impression of this 
 celebrated and unique landscape — £120 ; “ A Peasant with Milkpails,” second state — £2 7 6,r. ; the “ Coach Landscape,” 
 on China paper, from the Mariette and Astley collections, very rare — £55 ; “A Village near the high road,” arched, 
 Hibbert collection — £33 ; another of the same — £31 105. ; Village with square tower, arched, from the Barnard and 
 Claussin collection — £17 17s.; “The Canal” — £ 22 ; “Shepherd and family ” — £14 14^. ; Landscape with a vista, third 
 state, very rare — £30 ; the Landscape with a ruined tower and a clear foreground, second state, rare — £230 ; an arched 
 Landscape, with flock of sheep — £31 ios-. ; large Landscape, with cottage and barn, fine, with large margin, Hibbert 
 collection — £80 17 s . ; an arched Landscape, with an obelisk, first state, from the Claussin collection — £27 6s. ; a Grotto, 
 with a brook, first and second state, rare — £107 2 s. ; a Cottage with white palings, second state — £\2 ; Rembrandt’s mill 
 — £6 > 11 The Gold Weighers’ Field,” mended — £4 14s-. 6 d. ; Landscape, with cow drinking, second state — £26 5r. ; “A 
 Young Man Musing ,” — £9 19J. 6d. ; “Doctor Faustus” — £6; “ Renier Ansloo,” second state, India paper — £32; 
 “ Clement de Jonge,” second state — £23 2 s. ; ditto, fourth state — £3 15 s. ; fifth state— £1 18.L ; portrait of Old Haaring, 
 third state, from the Josi collection — £255 ; Young Haaring, second state, Barnard collection, and the reduced plate — 
 £71 ; “ George Lutma,” second state, before the window, Hibbert collection — £155 ; “ John Asselyn,” second state, with 
 traces of the easel, India proof, from the Hibbert collection — £42 ; ditto, third state — £8 8s. ; Ephraim Bonus, second 
 state, from the Hibbert collection — £92 ; “ Wtenbogardus,” third state, Worledge’s collection — £21 ; “ Uytenbogaert,” 
 called the gold-weigher, second state, India, with large margin — £23 2 s. ; counter proof of the first state, the face added 
 in pencil and Indian ink, Hibbert collection — £11 ; “ Coppenol,” small plate, India paper — £10; “ Coppenol,” large 
 plate, third state, with verses, autograph and date, 1661 — £31 ; “ Van Tolling,” from Lord Aylesford’s collection, fine and 
 rare — £500. For this rare etching, which to the uninitiated would appear of no extraordinary merit, Sir Abraham Hume 
 gave only £90. “The Burgomaster Six,” third state, with name and age, from Josi’s collection, very fine — £270; the 
 great “Jewish Bride ” — £34 ; “ St. Catherine,” from the Astley collection — £21 ; Sketch of a Tree, and other subjects, 
 very rare — £15 15L This remarkable collection of rather more than 200 etchings realized the large sum of .£4,293 9s 
 
 LORD MALMESBURY’S COLLECTION. 
 
 (“Thf, Times,” July 4, 1876.) 
 
 Lord Malmesbury’s pictures, exhib : ted during last week at the rooms of Messrs. Christie, Manson and Woods 
 previous to the sale on Saturday last, attracted a good deal of attention. The following were the principal among them, 
 and the prices : — 
 
 Murillo. -Head of Christ. Purchased in Spain in 1852 of a priest — £23 2s. Bellini. — Portraits of Petrarch and 
 Laura, painted in tempera on a slab of stone, i8in. by 29m. — £16 i6j. In this picture Petrarch is represented in full 
 face, very fat and bald, wearing a wreath of ivy round the head and holding a musical instrument like a hurdy-gurdy, 
 looking towards Laura at his left. DOSSO DOSSI.- — “[The Flight into Egypt,” purchased at Ferrara in 1846, on panel, 42m. 
 by 3oin. — ,£63. Titian. — “ Danae,” purchased at Lord Pembroke’s sale in 1851, who bought it of Count D’Orsay, who 
 had it from Mr. Crawfurd, signed, a large gallery picture, 44m. by 66in. — £13 4-f. 6 d. A “ Danae,” by Titian, was sold 
 in Mr. Crawfurd’s collection in 1820 for £200, which was said to have been included in the Luxembourg catalogue in 
 1803. The picture now sold differs from the well-known Danae in the Vienna Gallery in not having the Cupid, and in 
 the figure of an old woman who holds a salver as if to catch the golden shower. “ The Death of Lucretia,” — a small 
 whole-length nude figure, standing holding a sword with the left hand raised, long floating red drapery behind the figure, 
 landscape seen on the right, and the left of the background filled with a building. Of this the catalogue says : — “ This 
 undoubted original belonged to the Royal Collection of Charles I., and will be found described in the list of his pictures 
 printed from an original MS. in the Ashmole Museum, 1757 ; also in ‘ The Parliamentary History of England,’ vol. xix., 
 p. 85, No. 10, ‘ Lucretia standing by herself, by Titian.’” Appraised at and sold for £200 at that epoch by Cromwell’s 
 order. The picture was now knocked down at £47 5-r. Lo SPAGNA (Giovanni Spagnuolo).— Three Apostles. One 
 seated figure reading, with the others standing at each side in scarlet robes. Tintoretto. -Portrait of the Doge Antonio : 
 half-length of a grey bearded man in gold damask dress and Doge’s cap, the letters M A R on the background. See the 
 medal in the British Museum, dated 1553. Purchased at Florence in 1832 — ,£84. Lavinia Fontana. “The Holy 
 Family,” with St. Catherine, signed on the wheel “Lavinia Fontana de Zappis faciebat 1581.” This excellent example 
 of the painter, who was the daughter of Prospero Fontana, of the school of Bologna, was in the Leeds Exhibition — £84. 
 Paris Bordone. — Portrait of a lady of the Gradenigo family, standing, half length, life size, in crimson velvet dress, the 
 VOL. I. K K 
 
250 
 
 ART SALTS. 
 
 [ 1876 . 
 
 hair auburn, with pearls entwined, holds a white feather fan in right hand— .£47 5^ Portrait attributed to Raphael, of 
 Evangelista Andrea Tarasconi, Secretary to the Popes Julius II. and Leo X., described by Passavant as lost, and also by 
 Latramer ; on thick panel, 30m. by 25m. — a very dark-complexioned hard-featured man, nearly full-face, wearing a black 
 « biretta,” standing, half-length, holding a small book at a table, the background landscape — 62 guineas. Titian.— 
 “Nymphs and Satyr,” with the old woodcut of the picture, formerly in the private collection of the French Kings, as 
 proved by the woodcut attached, canvas 14m. by i8in. long— ,£39 i8.f. The subject of this picture is a landscape with a 
 nymph reclining in the foreground and a satyr carrying off another in the middle ground. PAOLO VERONESE. — Portrait of 
 the Queen of Cyprus, bust-size — ,£52 los - Caterina Cornaro, of whom this is said to be the portrait, died in 1510, more 
 than 20 years before Paolo Veronese was born. GIORGIONE. — “ The J udgment of Paris,” about 24m. by 26m. This picture 
 was brought to England from Venice in 1770 ; it is cited by Dr. Waagen as a beautiful picture of the master— £84. 
 Venetian School.— “Journey of the Magi,” on panel, about I2in. by 15m. long ; attributed by the late Mr. Farrer to 
 Giorgione as an early work — ,£39 i8j. Sebastiano DEL PlOMBO. — Portrait of Titian, circular picture painted on a solid 
 block of cypress, 43m. diameter. Purchased of the Marquis de Brignole, at Genoa, in 1846. On the back, before it was 
 planed, were branded the words “ Ritratto del Vecellio da Fra Sebastiano, 1542," exhibited at the British Institution, 1848 
 — £189. This portrait is rather larger than life, representing Titian drawing on a board held in the left hand, the long 
 beard growing grey, and on the head the close black cap. He wears a richly furred robe and massive gold chain. 
 Elizabeth Sirani. — “ The Daughter of Herodias with the head of the Baptist,” from the late Mr. Barker’s collection. 
 Mr. Woods, in putting up this picture, stated that it was purchased by Mr. Barker at the sale of the Portales collection in 
 Paris as a picture by Guido, but was since considered to be the work of Elizabeth Sirani. It sold now for ,£49 7s. 
 Hobbema. — A Wood and Cottages. This picture was left by the Earl of Radnor to the first Lord Malmesbury at the 
 end of the last century ; measuring 42m. by 54m. It was put up at .£100, and after slowly advancing was 
 knocked down at ,£1,102 ior. Giorgione. — “The Duke of Ferrara and his Mistress” (whom he afterwards married), 
 purchased from the collection of Cardinal Fesch. It was brought from Venice by General Bonaparte in 1796 and given 
 to his uncle, the Cardinal, then at Florence ; measuring 35m. by 29m. — £367 ioj. The figures are shown to the waist, 
 the Duke leaning towards his mistress, who is richly dressed, with the neck and bosom exposed, her hair golden, with a 
 turban head-dress and gold chain. The Duke touches the ring upon her finger and holds his right hand upon his heart. 
 A portrait of Lord Byron, by W. E. West, the grandson of the President of the Royal Academy. It represents him much 
 fatter than in other portraits, but was considered to be a good likeness. It was now sold for £)8i i8r., the purchaser 
 being Sir William Stirling Maxwell. Equestrian portraits of Napoleon III., with Marshals Vaillant and Magnan, by 
 Poignon, 1864— £49 7s. 
 
 AN ANCIENT EGYPTIAN STATUE. 
 
 One more sale in the past week, at Messrs. Sotheby’s, of unexampled interest in the dispersion of art treasures^ 
 remains to be recorded. The object in this case has been acquired by the British Museum. It is a fragment of a small 
 life-size statue in black basalt, representing the lower part of the body and the legs to the knees, in an unusually perfect 
 state, the work showing more of anatomical detail than is commonly seen in ancient Egyptian statues, and the surface 
 finely polished. Dr. Birch, who was present at the sale, considered it to be an example of the Ptolemaic time, and from 
 the hieroglyphic inscription it was not a King or a deity, but some officer of state. It was brought to this country by the 
 famous traveller Salt, from whose collection at the same time several interesting antiquities were sold. Rich as the 
 Museum is in Egyptian antiquities, this well preserved fragment will be valuable as an example of the style of Ptolemaic 
 art, and it was obtained at a price (.£19) which is certainly to be considered a most fortunate bargain. 
 
1877 .] 
 
 THE ART-SALES SEASON. 
 
 2 5i 
 
 THE ART-SALES SEASON. 
 
 RETROSPECT, AND COMING SALES. 
 
 (“The Times,” February 20, 1877.) 
 
 The prospects of the season, which has already opened with some miscellaneous sales not calling for any special 
 notice, are not quite so brilliant as those of the past two years. They were both memorable for the dispersion of very 
 important and interesting collections, and last year was especially made an annus mirabilis by the extraordinary sale 
 in the Wynn Ellis collection of the Gainsborough portrait of the Duchess of Devonshire for the largest sum ever bid 
 for a portrait — .£10,505 — followed by the mysterious theft of the picture within a few days of its being exhibited to the 
 public. The picture seems to have vanished into the limbo of lost and destroyed pictures, which is unfortunately too 
 full of treasures. At the same time it may be remarked in passing that the majority of stolen pictures have in fact been found 
 again, as was the famous “ Reading Magdalen” of Correggio, stolen from the Dresden Gallery in 1788, which was 
 discovered in a hayloft hidden in a hole close by the chimney. This picture was worth a great many such Duchesses of 
 Devonshire, the recovery of which is still likely to remain a problem for the detectives. 
 
 The Clewer Manor collection sale was one that we shall not soon see equalled for choice examples, such as the 
 little Cuyp, which sold for .£5,040 ; the Rubens’ “ Virgin and Child,” now in the Royal Academy, exhibited as Baron 
 Ferdinand de Rothschild’s contribution, which sold for .£4,200 ; and the Greuze “ Girl with a Dog,” which became Lord 
 Dudley’s at the unprecedented price of ,£6,720. The 16 pictures realised no less than £34,465. Other exceptionally 
 high prices will be remembered in the sale of Mr. Albert Levy’s collection, in which, among the old masters, there was 
 “The Enamoured Cavalier,” by Francis Mieris, which passed into the Dudley House collection at £3,175, while among 
 the fine examples of David Cox, as an oil painter, were two which deserve to be recalled — “ The Counting the Flock,” 
 for which Mr. Agnew had to pay .£2,41 5, and the “ Caer Cennen Castle,” which cost him £2,625. These were prices 
 which, although they were paid for pictures of the highest merit, are probably higher than would have been obtained at 
 the present time, which with its cloudy prospects, political and commercial, is not very propitious for the encouragement 
 of sales. On the other hand, such a period is not as favourable to those anxious to add fine things to their collections 
 as might be supposed, because, although prices may be moderate, the choicest examples do not come into the market 
 except under the temptation of a good time for selling, or from necessity of some kind. 
 
 (Mr. Robert Napier’s Collection.) — Still, no season nowadays is likely to be without its important sales. A 
 collection which has been the favourite hobby of a rich man for half a century, like that of the late Mr. Robert Napier, 
 the great iron shipbuilder of Glasgow, assumes at last such proportions and represents such a large investment of capital, 
 that the time comes when its money value must be sought. This will be the great sale of the present season. It will 
 come off in April, and several days will be occupied in the dispersion of the immense collection of almost every kind 
 of art-work, which formed a complete museum, besides the picture gallery in the fine mansion of West Shandon, which 
 Mr. Napier built on the shore of the Gareloch. The catalogue, which was written chiefly by Mr. J. C. Robinson, has 
 5,000 numbers, of which nearly 500 are pictures representing the old masters of the Italian, Spanish, French, Dutch, 
 German and Flemish schools, with a few modern pictures. Those which are the most interesting are “The Saviour 
 after the Resurrection,” with small figures in the background of the Madonna and Child, with St. John holding a banner 
 and in the act of benediction, by Cosimo Roselli, 57m. by 30m. ; a “ Pieth,” by Gaudenzio Ferrari, from the Palazzo 
 Porta at Vicenza; “The Crucifixion,” a large work by Daniel da Volterra ; “The Adoration of the Shepherds,” by 
 Palma Vecchio ; “Titian’s Daughter,” by Titian ; “The Nurse saving the Children of Medea,” by Andrea Mantegna, a 
 small work from the collection of Count Castellani, at Turin, and engraved ; “The Last Supper,” by Bonifazio, a large 
 gallery picture. By Raphael there are two pictures which are recommended to notice from having been one in the 
 collection of Louis David, the great French painter, and the other in that of Sir Robert Strange, the eminent engraver. 
 The first-named is a Holy Family, the last the Virgin with the Infant and St. John. A triptych, by Jan de Mabuse, 
 15m. by ioin., corresponding in style and excellence with the celebrated Castle Howard Mabuse, was exhibited at 
 Manchester, and was brought from Portugal in the collection of Count Palante. Another picture of the school, exhibited 
 at Manchester as the work of Mabuse, has since been pronounced to be by B. Van Orley. Of several good pictures by 
 Teniers, “The Card Players,” 1 5+in. by 2o|in., is the most important. It was formerly in the collection of Count 
 Schoenbrunn, from which well-known gallery also comes a landscape by Wynants, with figures by Adrian Vandevelde, 
 on panel, i6in. by 21 in. Another fine Wynants is from Lord Mornington’s collection. A Backhuysen harbour scene was 
 in the collection of the Due de Berri, and No. 147 in Smith’s catalogue. A rather remarkable work by Jan Weenix is a 
 portrait piece of three children on a terrace with a dog, parrot, and monkey, with fruit and flowers on canvas, 
 6oin. by 54m. A large landscape by P. de Koning, a wide expanse of fiat country, with a carriage and four, and a man 
 on a white horse near a canal, is a fine example of the master, measuring 48m. by 66in. Among the modern pictures is 
 “The Audience Chamber at Bruges, with Margaret, Governess of the Netherlands, receiving the Burghers,” by Louis 
 Haghe, a water-colour drawing painted in 1852, and considered to be the chef d' oeuvre of the artist, 46m. by 66in. 
 exhibited at Manchester, 1857. A coast scene by T. Creswick, R.A., and some good examples of the elder Koekkoek 
 and Verbeckhoven, are others which may be mentioned. The old watches and clocks, locks and keys, and articles 
 of personal ornament form a remarkable feature in the collection, and the Venetian and German glass, the Majoiica 
 and Hispano-Moresco ware, S6vres china, Wedgwood, Japan and Chinese porcelain, arms and armour, and ornamental 
 metal-work and furniture, make up one of the largest and most varied collections ever seen in Messrs. Christie’s rooms. 
 
 K K 2 
 
ART SALTS. 
 
 [1877 
 
 (Mr. Albert Grant’s Collection.) — The most attractive sale of the season will, no doubt, be that of the modern 
 pictures belonging to Mr. Albert Grant, which comes off in April. They are nearly all by painters of the English School. 
 Landseer’s “Otter Hunt,” certainly one of his most original and striking works, so well known by the fine engraving, his 
 “ Highland Lassie,” “Prosperity and Adversity,” and his portrait of Sir Walter Scott, will alone be an exhibition. But 
 besides these there are by Stanfield “ The Morning of the Wreck,” “ Eddystone Lighthouse,” which belonged to Charles 
 Dickens and the lovely “ Lago di Garda,” from the Bicknell collection. By John Phillip, the “ Spanish Altar,” the “ Flower 
 Girl,” and the “Scotch Baptism.” By Muller, “The Opium Dealer,” and the “Temple of Osiris.” By Holman Hunt, an 
 interesting small replica of his “ Finding in the Temple.” One of Mr. Millais’ finest figure-subjects, the “ Moses,”* exhibited 
 in 1871, his landscapes “ Winter Fuel ” and “ Scotch Firs,” and his “ Knight Errant,” represent that eminent painter in 
 the collection. Mr. Elmore’s large picture of “ Charles V. at the Convent ; ” T. Creswick’s two fine landscapes — “ The 
 First Glimpse of the Sea,” exhibited 1852, and “St. Michael’s Mount, Cornwall,” 1866 ; Sir Noel Paton’s extraordinary 
 picture, “ The Bluidie Tryste,” and many pictures by other artists which have been exhibited at the Academy, besides 
 the well-known work by Wilkie, “ Napoleon commanding Pope Pius VII. to sign the Concordat,” will form such a show 
 of English art as has not been seen in the Gallery of Messrs. Christie since the Gillott and Mendel sales. 
 
 (Mr. Stone Ellis’s Collection ) — Admirers of David Cox will have a good opportunity in the sale of the late 
 Mr. Stone Ellis’s collection, which is to be early in March at Christie’s. Mr. Ellis was a pupil of David Cox, and became 
 one of his most intimate friends, and for the past 30 or 40 years had been adding to his portfolios whenever a drawing 
 pleased his rather fastidious taste, while Cox, during his lifetime, frequently gave drawings to his pupil and friend. 
 
 (Remaining Works of J. P. Lewis, R.A., and Skinner Prout.) — The only sales of the works of artists left at 
 their decease are those of the late J. F. Lewis, R.A., which will be found chiefly interesting for the admirable studies 
 made by the painter in elaborating his highly-finished pictures, and to those by the water-colour artist, the late 
 Mr. Skinner Prout, who was, we believe , a nephew of “ the ” Prout, and spent a considerable part of his life in 
 Australia, of the scenery of which country he made numerous sketches extremely truthful and interesting. 
 
 (Dr. Sibson’s Collection of Wedgwood Ware.) — The Sibson collection of Wedgwood ware, which takes its 
 name from the late Dr. Sibson, the eminent physician, is to be sold early in March. It may be called a representative 
 collection of this beautiful form of ceramic art, containing examples of the highest excellence referred to in Miss 
 Meteyard’s works and life of Wedgwood. It contains about 300 pieces, several sets of camei and intaglii in frames, 
 and a very remarkable collection of medallion portraits of distinguished personages, many of which are modelled by 
 Flaxman. There are also several models by Flaxman and some drawings, which were in Miss Denman’s collection. 
 One of the vases is specially noticeable ; it is in black jasper, with snake handles and Medusa heads, the body having 
 for subject the Apotheosis of Homer, the cover surmounted by Pegasus, and the pedestal ornamented with relief of 
 a sacrifice to Flora and Cupid. This fine piece stands 25 inches high. 
 
 (The Bohn Collections.) — Mr. Bohn has not yet exhausted his cabinets, and we are to have a fifth portion on view at 
 Messrs. Christie’s in the middle of March, consisting of a chronological series of F rench porcelain and faience, with 
 some rare examples of Sevres. The sale is to occupy three days, and one of these will be devoted to the large collection 
 illustrating the various forms of glass and its ornamentation from the earliest times. 
 
 (Mr. B. James’s Collection of Engravings.) — In engravings, the season will be remarkable for the sale of one of 
 the largest and most interesting collections ever dispersed in London, that of the Rev. J. Burleigh James, late of 
 Knowbury, Salop, which commences on the 19th of March at the rooms of Messrs. Sotheby, Wilkinson and Hodge, 
 and is to be continued for nine days, and with intervals will occupy twenty-eight days, running over the two following 
 months. Mr. James’s cabinet is well known for its almost unequalled series of Albert Diirer’s and Hollar’s works, and 
 it is particularly distinguished by one precious engraving which is all but unique, the only other known impression being 
 in the British Museum. This, which is by Cherubino Alberti, is a portrait of the famous Savonarola. The face is a profile, 
 to the left, in an oval, with figures of Faith and Hope as supporters, two angels above on the pediment, and below a tablet 
 with two figures representing fallen tyrants at each angle, forming a very fine frontispiece in the best Italian style. There 
 are many other works of Alberti in the collection, but this is especially interesting. The catalogue of this collection is by 
 far the best that has ever been produced by English typography, and is rendered most valuable not only by the elaborate 
 care bestowed upon the descriptions, which extend to 6,000 numbers, but by the illustrations of rare engraved portraits of 
 Reynolds, Romney, Hoppner, Van Dyck, Largillierie, Vanderwart, and other painters, which have been admirably 
 reproduced in facsimile by the photogravure process of Messrs. J. Leitch and Co., of London. 
 
 * Called “ Victory, O Lord ! ” in catalogue. 
 
1877 .] 
 
 MR. ALBERT GRANT’S COLLECTION. 
 
 253 
 
 THE KENSINGTON HOUSE GALLERY. 
 
 Under this somewhat imposing style and title was sold (Friday, April 27th, and 
 Saturday, 28th), the remarkable collection of pictures purchased by Mr. Albert Grant, 
 once M.P. for Kidderminster, and more commonly known as Baron Albert Grant, 
 whose very fortunate transactions as a financial agent were so successful as to enable 
 him to launch out in gratifying his really good taste in the Fine Arts, and his ambition 
 to have the leading gallery of modern pictures of the day. The opportunity happened to 
 be just at this time singularly propitious, for the Gillott Collection had been sold five 
 years before, and the Mendel or Manley Hall Collection so recently as two years pre- 
 ceding — the first representing the success of Birmingham trade, the last-named of 
 Manchester commerce, and together the most remarkable investments, to say nothing of 
 the Art question, ever made ; and this third we are about to describe, taking a place in 
 the same rank as to money value and Art interest, since some of the finest pictures in it 
 had come from the Gillott and Mendel sales. The totals of these three great sales were : 
 Gillott, £164,530 4 s. ; Mendel, £101,134; Grant, ^106,262. It is perhaps worth observ- 
 ing, that in the two last named the sale was forced by stress of financial difficulties, and 
 accompanied with loss, while in the first (the Gillott) the sale was in settlement of estate 
 after the death of the owner, and resulted in an enormous profit, in some instances amount- 
 ing to above a thousand pounds for every hundred. In Baron Albert Grant’s sale the 
 catalogue stated that the magnificent collection was “ offered for sale owing to his inten- 
 tion to dispose of Kensington House, for which residence they have been collected during 
 the last seven years.” The vast pile built by the side of the road opposite the avenue 
 near Kensington Palace, took the name from an old mansion which, oddly enough, had 
 long been used as a private lunatic asylum. It was never completed, never furnished or 
 inhabited ; and at last, after vain attempts to sell this white elephant in bricks and 
 mortar, it was pulled down and got rid of as second-hand building materials, the ground 
 being more valuable than such a colossal structure. 
 
 As will be seen from the annexed account of the exhibition previous to the sale, 
 the pictures never adorned the destined gallery, but were stowed away in the 
 Pantechnicon. 
 
 (“The Times,” April 24, 1877.) 
 
 The sale of Baron Albert Grant’s fine collection of pictures, to which the name of the 
 “ Kensington House Gallery ” has been given, as they were intended to decorate the mansion 
 built by him at Prince’s Gate, comes off on Friday and Saturday next at the Rooms of Messrs. 
 Christie, Manson, and Woods. The pictures are now to be seen filling the spacious galleries in 
 King-street, St. James’s, and probably this will be the first time that even Baron Grant himself 
 has seen the whole collection as a gallery, for hitherto, as they have been acquired, they have been 
 confided to the safety of the Pantechnicon. The dispersion of such an important series of modern 
 pictures of the English school, known to have been selected with good taste and the indispensable 
 requisite of ample means, has been talked of with very lively interest for some time past, it having 
 been rumoured last season that it was then about to be effected. But as circumstances were 
 considered to be not the most favourable for the disposal of a collection which represented 
 an investment of something like £150,000, the sale was postponed, to become the great event 
 of the present season. 
 
254 
 
 ART SALTS. 
 
 [1877 
 
 Apart from the notoriety attending the Kensington House Gallery, and the more lasting 
 interest which is inseparable from such an assemblage of so many masterpieces, the greatest 
 curiosity and speculation have been created as to the prices likely to be obtained for pictures 
 purchased during the last seven years, when modern art has been at its zenith in this respect. 
 Nearly all the important pictures we have seen sold at these Rooms recently, some in the Gillott 
 Collection, others in the Manley Hall and other sales at Christie’s, so that the opportunity of 
 testing the present state of the modern picture market is a rather remarkable one. Some of the 
 finest works, however, appear to have passed from the Manley Hall Collection before the great sale 
 of Mr. Mendel’s pictures in 1875. Whatever may be the result of the sale, however, the exhibition 
 is one of the highest interest, such as no one Royal Academy Exhibition can be expected to afford, 
 for here we have brought together many pictures each of which was the picture of its year. The 
 large room presents a really splendid appearance. At the top hangs Landseer’s “Otter Hunt,” the 
 large upright picture painted for the Earl of Aberdeen, and so well known by the engraving. On 
 the right wall the prominent picture is Wilkie’s work, “ Napoleon and Pope Pius VIE,” painted for 
 Mr. James Marshall, of Leeds, and exhibited in 1836, about five years before the death of the 
 painter. Below this hangs another picture of Napoleon’s career — the divorce of his Empress 
 Josephine — the scene in the cabinet of the Emperor at the Tuileries on Dec. 16, 1809, by Mr. 
 E. M. Ward, R.A. ; and on either side are C. R. Leslie’s “ Falstaff personating the King,” and 
 John Phillip’s “ Scotch Baptism,” an early work of the painter, chosen for exhibition at Paris, 1867, 
 but not so characteristic of him as “ The Lottery,” which was in the Manley Hall Collection, and is 
 here to be found in the ante-room. Mr. E. M. Ward’s pictures, so well known by the engravings — 
 “ The Last Sleep of Argyle,” and “ The Last Scene in the Life of Montrose ” — are in the west room. 
 Mr. Millais takes an important position among the principal pictures in the large gallery, with his 
 sacred subject of Moses with Aaron and Hur supporting him during the battle with the Amalekites, 
 which is now called “Victory, O Lord! ” besides which there are his two landscapes, “Winter 
 Fuel ” and “ Scotch Firs,” which will be so well remembered at the Academy in 1874, and his 
 Knight Errant rescuing the maiden. Turning to the pictures on the opposite side of the large 
 room, in the centre is Mr. Frith’s capital work of Dr. Johnson at Boswell’s lodgings in Bond 
 Street, before dinner, with Garrick complimenting him on his good health, and Goldsmith strutting 
 about in his new bloom-coloured coat “ bragging of his dress,” but not forgetting the wish of his 
 tailor to tell everybody who made it. This was the picture in the Manley Hall sale, which brought 
 the highest price at an auction during the lifetime of the artist — viz., £4,567 105. Above the Dr. 
 Johnson picture, hangs a large and very clever work of Mr. Keeley Halswelle, “ Bringing Home the 
 Bride, among the people of the Abruzzi,” and flanking this on each side are the two magnificent 
 pictures by Stanfield, “ The Battle of Roveredo,” 1851, and “ The Morning of the Wreck,” 1844. 
 Another highly interesting work of Stanfield’s is the large tempera picture of the Eddystone 
 Lighthouse which he presented to Charles Dickens, and which was sold after his death for more 
 than a thousand pounds. Besides these there are many others which deserve to be mentioned, 
 such as Mr. Elmore’s “ Charles V. at the Convent of Yuste,” seated surrounded by courtiers, looking 
 at the portrait of his wife which Titian painted; Mr. O’Neil’s “Last Moments of Raphael;” 
 “ St. Francis preaching to the birds,” by Mr. Marks ; “ The Queen of the Tournament,” and “ The 
 Maiden’s Bower,” by Mr. Calderon, R.A. ; Mr. Goodall’s picture of the Desert with the Arab chief 
 at prayer; Etty’s “ Pluto carrying off Proserpine;” Mr. Leader’s “Mountain Solitude;” “The 
 Opium Dealer,” and “ The Temple of Osiris,” by W. Muller, and “ The Lady and the Pome- 
 granate,” by Mr. F. Leighton, R.A. The small replicas of two pictures which have created so much 
 sensation in their day as Mr. Holman Hunt’s “ The Finding of the Saviour in the Temple,” and Mr. 
 Wallis’s “ Death of Chatterton,” should not be omitted in any account of this remarkable 
 collection. 
 
 The pictures were, as usual, exhibited on Tuesday and on the following two days 
 before the sale began, and great numbers of persons visited the rooms — so many that 
 by the sale of catalogues at a shilling each, which Messrs. Christie arranged with their 
 accustomed attention to the claims of deserving institutions, a sum of £265 85. was added 
 to the funds of the Artists’ General Benevolent Institution. 
 
1877 .] 
 
 MR. ALBERT GRANT’S COLLECTION , 
 
 255 
 
 The following is the report of the sale, from which, however, some few pictures are 
 omitted, which will be found recorded with the artists’ works (see Vol. II.) : — 
 
 (“ The Times.”) 
 
 The final dispersion of Mr. Albert Grant’s “ Kensington House Gallery ” was completed on 
 Saturday by Messrs. Christie, Manson, and Woods, and as the most important pictures were in 
 this second day’s sale, the room was, if possible, more densely packed than on the first day. 
 Indeed, many persons were unable to get beyond the anteroom. There was however less 
 excitement than on the previous day, the results of the sale so far having rather disappointed the 
 great expectations as to the high prices which were to be given. Still, there was the greatest 
 interest and curiosity felt as to the prices which would be realized in the case of the “ Dr. Johnson ” 
 picture, which every one knew had so recently been sold by auction at such an extreme figure, the 
 Landseer “ Otter Hunt,” for which, it seemed to be pretty generally known, Mr. Grant had paid 
 no less than £10,000, and the fine picture by Wilkie, “ Napoleon and the Pope.” But now that 
 the hammer has fallen we may as well say at once that none of the great prizes of the collection 
 came out at anything like the figure they went in at. Thus “ The Otter Hunt ” was once more 
 Mr. Agnew’s at £ 5,932 10s., a price which is a most handsome tribute to the picture as a work of 
 art, but not quite up to the perhaps extravagant mark anticipated. The “ Dr. Johnson ” was a 
 more signal instance of depression, because for this we had the auction price of only two years 
 back, from which there was a falling off of more than £1,400. As to the price paid by Mr. Grant 
 for this most interesting portrait piece, the auctioneer did not favour us with any information as he 
 did in other cases. The Wilkie “ Napoleon and the Pope” fell to Mr. Agnew at £1,890; and, as 
 Mr. Woods took the opportunity of saying, it was an example of the painter of such importance 
 that it well merited a place in the National Gallery. The details of the sale will show a similar 
 fall in the prices since the pictures were last sold by auction, which, however, though generally 
 regarded as a severe test, is one not unfrequently fallacious, as may be observed in the sale before us 
 in Stanfield’s “ Eddystone Lighthouse” selling for nearly £300 less than when it was offered 
 immediately after the death of Dickens, when every one was eager to obtain some relic of an 
 eminent man. Several of the finest pictures fell in price in consequence of being of such large 
 dimensions that few houses could possibly find rooms large enough to hang them, especially when 
 those who would like to possess them have already crowded their walls with fine things. But the 
 sale was instructive in another direction, showing that the auction price is not always a good title 
 deed ; it showed us how a sketch attributed to a very distinguished deceased painter of our school, 
 but which he certainly could never have touched, could be bought for so high a sum as £35 7, which 
 is actually only less than half the price it realized in the Gillott sale. So curious an incident is, 
 perhaps, worth notice in a sale which will stand as one of the most remarkable in the annals of 
 Christie’s for the excellence of the pictures, and the large sum realized upon a comparatively 
 moderate number. There were, including the water-colour drawings (20), and the crayon drawings 
 by Landseer (of which there are 12), 205 pictures, and the sum total amounted to £106,262. The 
 Gillott collection, sold in 1872, consisted of 525 pictures, occupying six days in the sale, and 
 realizing £164,500. The Manley Hall Collection, Mr. Mendel’s, consisting of 445 pictures, drawings, 
 and the Indian sketches by Mr. Lundgren, sold in 1875, realized £102,000, to which have to be 
 added the 100 or more pictures disposed of privately to Mr. Agnew before the auction, several of 
 which will be found in the present sale, representing altogether more than a quarter of a million as 
 the value of the Manley Hall Gallery. Proceeding now with the sale of Saturday, after a few 
 unimportant lots had passed : Welsh landscape, by J. Linnell, Sen., 1863, 39 in. by 54 in., from the 
 Manley Hall Gallery, was received with applause, and a bid of 1,000 guineas by Mr. Agnew, who 
 became the purchaser at £1,522 10s. This, Mr. Woods stated, cost Mr. Grant 2,000 guineas. 
 “ Milking Time,” by the same, 1866, same size, for which Mr. Agnew bid 1,006 guineas, but it fell 
 to Mr. White for £1,396 10s. In the sale of Mr. Eden’s pictures in 1874 it sold for £1,160. 
 “ Lilacs,” a lady in a pale blue dress, carrying a bunch of lilac, by J. Tissot, 20 in. by 14 in., 
 exhibited at the Academy — £346 10s. “Tito Melema,” from “ Romola,” life-size, half-length, by 
 Miss Elizabeth Thompson — £388 10s. “ The Death of Chatterton,” by H. Wallis ; the small study 
 for the picture, 6£ in. by g| in. This was purchased by Mr. Agnew in the Manley Hall sale for 
 
256 
 
 ART SALTS. 
 
 [ 1877 . 
 
 £273, but it fell now to Mr. Vokins for £157 10s. Classical Landscape, by Sir A. W. Callcott, 
 R.A., from the Wells and Hargreaves Collection— £640 10s., sold in 1873 at Christie’s, for £650; 
 
 “ The Venturesome Robin,” by William Collins, R.A., 27 in. by 36 in. — £840, sold in the Farnworth 
 sale for the same price; “ Le Bon Cure,” by William Collins, R.A., 27^ in. by 35 in., from the 
 Knott Collection, 1845, when it was sold for £270, a remarkably fresh and brilliant picture, Mr. 
 Woods said, cost Mr. Grant £700 guineas, now sold for £493 ; “ Haddon Hall,” by David Cox, 
 18 in. by 12 in., from Mr. Dawes’ Collection, an upright picture— £395 ; “A Cool Stream,” by 
 ]. Constable, R.A., 10 in. by 12 in.— £36 15s.; “The Penny Wedding,” by Sir D. Wilkie, R.A., a 
 full-size sketch, 23 in. by 34 in. — £357, this picture was sold in the Gillott Collection for £720; 
 “Army Organization in Morocco — the awkward squad,” by J. E. Hodgson, A. R. A. — £399; “A 
 Brittany Lane,” large upright landscape with cattle, by H. B. W. Davis, A.R.A., exhibited 
 1874 — £367; “A Rainy Day,” by Peter Graham, A.R.A., horses and boy at the inn door in a 
 Scotch mist, exhibited 1871 — £798 ; “ A Highland Croft,” by the same, 48m. by 72m., landscape 
 and cattle — £640 10s., Mr. Woods stated it had cost Mr. Grant 1,100 guineas; “ Madrid, or Liberty 
 of Creed,” by E. Long, A.R.A., priests discussing with the people in the streets, 55m. by 84m. — 
 £661 10s. “ The Adjutant,” by H. S. Marks, A.R.A. When this capital picture of a stork was 
 put up, Mr. Woods proposed to sell it with the companion, “ The Sentinel,” but Mr. Agnew 
 objected, as he had separate commissions for the pictures. This being settled, the question arose 
 as to which was “ The Adjutant ” and which “ The Sentinel,” when the artist, who happened to be 
 present, was appealed to by Mr. Woods, who then stated that the picture No. 148 was the right 
 one, being the bird with the black wings, ‘‘The Sentinel” having red wings and legs. “The 
 Adjutant” fell to Mr. Agnew for £199 10s. ; and “The Sentinel,” after a sharp attack from Mr. 
 Vokins, also fell to the same gentleman, but for £241 10s. The other most interesting and original 
 picture of Mr. Marks’ “ St. Francis Preaching to the Birds,” was then put before the audience with 
 a round of applause, and a word of compliment from Mr. Woods, who said that Mr. Grant had 
 
 given 1,500 guineas for it. The first bid was 500 guineas, and, after a spirited contest, Mr. 
 
 Agnew’s bidding of 1,100 guineas won the picture. “ The Last Moments of Raphael,” by H. 
 
 O’Neil — £1,060 10s. This picture was sold in the Manley Hall Collection for £1,102 10s. We 
 
 believe it is to take its place with many other fine works of the English school, some purchased in 
 this sale and at the Gillott and Mendel sales, which form the gallery of an eminent patron of the 
 arts at Cragside, not far from Newcastle. The “ Bluidie Tryste,” by Noel Paton, R.S.A., from the 
 Manley Collection — £493 10s. “ The Young Lord Hamlet,” by P. H. Calderon, R.A. — £346 10s. 
 
 “ The First Glimpse of the Sea,” by T. Creswick, R.A. from the Manley Hall Gallery, 36m. by 
 59m. ; an old windmill by the shore, with figures and sheep, painted by Phillip and Ansdell — 
 £1,102 10s. “The Virgin’s Bower,” by P. H. Calderon, R.A. — the two maidens at the well under 
 the clematis — £763 10s. ; “ St. Michael’s Mount, Cornwall,” by T. Creswick, the figures by R. 
 Ansdell, R.A., from the Manley Hall sale— £1,417 10s. “ The Finding of the Saviour in the 
 
 Temple,” by W. Holman Hunt, study for the large picture, was received with much applause, and 
 a bid of 800 guineas from Mr. Agnew, who became the purchaser at £1,417 10s. This very 
 interesting study for the celebrated picture which sold for several thousands some years ago and 
 is engraved, goes, it is said, to the Skelmorlie Collection, so well-known in Scotland. “The 
 Emperor Charles V. at the Convent of Yuste,” by A. Elmore, R.A., 65jin. by 47m., considered to be 
 the chef d' oeuvre of the painter, and from the Manley Hall Collection though not in the sale — £1,260; 
 “ Charles II. and Lady Russell,” by E. M. Ward, R.A. — £840 ; “ Sea Earnings,” by J. C. Hook, R.A. 
 — £1,113 > “ Pinto carrying off Proserpine,” by W. Etty, R.A., 5o|in. by 78m.— £745 10s. This fine 
 work of the master, we believe, goes to the collection of Mr. Rhodes, of Leeds. It was painted for 
 Lord Northwick, and was in the Gillott Collection, where it sold for £1,050. “ The Opium Dealer,” 
 by W. Mtiller — £493 10s. “ Entering the Temple of Osiris at Philae,” by the same painter, 29m. by 
 52m., one of the finest examples of the master. It was put up by a bid of 1,000 guineas from Mr. 
 Agnew, but it was knocked down to Mr. Goupil for £2,310. It was sold in the collection of Mr. 
 Cope in 1872 for £2,005 at Christie’s. “ Peaches,” a little girl holding a peach in each hand in a 
 garden in front of a peach tree, with a pug-dog, by J. Sant, R.A., 1874— £525 ; “Josephine Signing 
 the Act of Her Divorce,” by E. M. Ward, R.A. — £997 10s. ; “ The Lady and the Pomegranate,” 
 by F. Leighton, R.A. — £803 5 s. ; “ Before Dinner at Boswell’s Lodgings in Bond Street, 1769,” by 
 W. P. Frith, R.A. — one of the great pictures of the sale — was received with loud applause, and 
 after the little excitement was over Mr. Agnew led off the biddings at 1,500 guineas, met at once by 
 
1877 .] 
 
 MR. ALBERT GRANT’S COLLECTION. 
 
 257 
 
 an advance of 100, when he made the next of 2,000 guineas, after which the biddings rose to 3,000 
 against him, amid a round of applause, when, with one more of 3,050 guineas, he gained the 
 picture. It will be remembered that in the Manley Hall sale this picture sold for the extraordinary 
 price of £4,567 10s. It is pretty generally known that Mr. Frith received £1,200 for the work. 
 “ Winter Fuel,” by J. E. Millais, R.A. — £1,785 ; “Scotch Firs,” by the same painter — £1,837 IOS< > 
 “ The Knight Errant,” by the same ; the well-known picture of the maiden tied to a tree released 
 by the knight, exhibited 1870 — £1,522 10s. ; “Victory, O Lord!” by the same; the painter’s 
 principal contribution to the Academy in 1871, and certainly not inferior to his famous 
 “ Jephthah ” in Sir William Armstrong’s gallery at Cragside — £2,047 10s. This fine work was said 
 to be purchased for the collection of a munificent lady in London. Portrait of Sir Walter Scott, by 
 Landseer. Mr. Woods reminded his audience that the other portrait of Scott was purchased at the 
 sale of Landseer’s remaining works, after his death, by Mr. Grant, and presented to the 
 National Portrait Gallery. This one was sold in the artist’s sale for 160 guineas, and it now 
 brought £545. “ A Highland Lassie,” by Landseer — £619 10s. “ The Otter Hunt,” was now 
 
 uncovered and placed before the company, and after the applause had subsided, Mr. Agnew made 
 his bidding of 3,500 guineas, and was opposed quickly by advance of 100, when he made a spring 
 to 4,000 guineas, to be again challenged steadily by advance of 100, and at last to 5,000 guineas, 
 at which there was a pause, during which Mr. Woods added to the excitement of the moment by 
 informing his audience that he believed Mr. Grant had paid double this sum for the picture, when 
 Mr. Agnew renewed the contest with another advance of 100, till 5,600 was reached against him, 
 when, after another short pause, his last bid of 5,650 guineas won the victory. This fine master- 
 piece was painted at the time of the Crimean War, for Lord Aberdeen, K.G., who loved the 
 sport, and of whose favourite pack these are all portraits so true that he used to point out 
 every one by name ; and the huntsman is also a portrait. Mr. Agnew, it is well known, 
 purchased the picture of the Earl’s son some time after his death for, it is said, £2,500, and soon 
 afterwards sold it to Mr. Mendel, of Manley Hall, afterwards repurchasing it from that gentleman. 
 “Prosperity — the Lady’s Horse,” by Landseer — £1,480; and “Adversity — the London Cab 
 Horse,” the companion picture, sold for £1,501 10s. The large picture by Wilkie was then 
 uncovered — “Napoleon and Pope Pius VII.,” painted for the late Mr. James Garth Marshall, of 
 Leeds, and lent by him to the Art Treasures Exhibition at Manchester. It was afterwards 
 purchased by Mr. Agnew, and belonged eventually to the Manley Hall Gallery, being one of about 
 100 pictures sold by Mr. Mendel previous to the public sale. The commission given to Wilkie was 
 500 guineas. This picture was now sold, after a very slight competition, to Mr. Agnew for 1,800 
 guineas. This brought this very interesting sale to a close, with £63,977 for the day’s sale, and a 
 sum total of £106,262. 
 
 VOL. I. 
 
 L L 
 
258 
 
 ART SALTS. 
 
 [ 1877 . 
 
 SALES OF MR. IV. LINTON'S WORKS, AND ERA WINGS BY 
 
 SIR CHARLES BELL, F.R.C.S. 
 
 Among the sales during the past week which call for notice was that of the remaining works of Mr. William Linton, 
 a landscape painter, lately deceased, who during a long life painted an extraordinary number of sketches, in oil and 
 water-colour, of English and Welsh scenes, views in Sicily and Greece, and pictures many of which were engraved as 
 illustrations. These were sold by Messrs. Christie, Manson and Woods on Thursday. There were in all 208 lots, many 
 
 of which contained several drawings, oil studies, or engravings. The prices generally were very moderate. Bodiam 
 
 Castle, Sussex, a drawing, sold for £5 ; London from Lambeth Palace, a large drawing, for £42 ; Jerusalem at the 
 Crucifixion, the engraved picture, ^17 17s. ; Rydal Fall, Westmoreland, ^52 10s. ; Hornby Castle, ,£12 12s. ■, Goodrich 
 Castle, on the Wye, ^15 15s-. ; a Forest Scene and Vdlage, Cheshire, .£52 ios. ; the Grand Canal, Venice, £30 gs. ; 
 
 Florence, £29 8s. ; Nesso, Lake of Como, .£30 gs. ; the Valley of Aosta, £29 8s. 
 
 Some drawings by the late Sir Charles Bell, the distinguished anatomist and physiologist of fifty years ago, who was 
 also a most accomplished artist, were sold by Messrs. Christie last week, by direction of the executors of his widow. They 
 were all studies, numbering about 70, and marked with a good deal of artistic power, although the prices obtained for 
 them were very low, varying from two to six guineas for each lot. 
 
 DR. SIBSON’S COLLECTION . 
 
 (“The Times,” March 5, 1877.) 
 
 The remarkably complete Sibson Wedgwood collection is now exhibited at the sale rooms of Messrs. Christie, 
 Manson and Woods. It is altogether one so fully representative of the beautiful form of ceramics created by 
 Wedgwood, and brought to perfection by him in his own Etruria of England, that no one interested in art for beauty’s 
 sake or concerned for the merits of English art work should miss the opportunity of seeing it. There has never 
 certainly been such a show of fine examples of every kind to be sold in an auction room, not even when the collection 
 of Mr. T. Delarue was seen in the same place, for that was less complete in the variety of forms which Wedgwood 
 invented. The late Dr. Sibson for the last ten years of his active life devoted himself enthusiastically to his favourite 
 pursuit, and his cabinet will always be known with the Haliburton, Mayer, Apsley Pellatt, Falcke, Nettlefold, 
 Carruthers, Bowker, and Bohn collections, from which have been chosen the typical examples for Miss Meteyard’s 
 classic on Wedgwood and his art. Perhaps the portrait medallions and the cameos are the most salient feature of the 
 collection. There are about 200 portrait medallions, some of which are by Flaxman and others signed by W. 
 Hackwood, which are rare, for Wedgwood objected to the artists he employed placing their names on his ware. The 
 cameos are too numerous to mention, except as sets in frames, of which there are enough to cover one entire side of a 
 room, and they alone are an inexhaustible field of beauty and exquisite delicacy of work. We can see in them how 
 highly Wedgwood esteemed this branch of his work, and how he sought out with admirable taste the finest examples of 
 Greek glyptic art in the cabinets of Stowe, of Baron Stosch, of the Blenheim gems, Sir W. W. Wynne’s, since destroyed 
 by fire, Sir W. Hamilton’s, and the Duke of Portland’s famous Barberini vase, with which his art reached its culminating 
 point of excellence in 1791. Wedgwood made several hundred of these camei in 1773-4 ; from the Wynstay cabines 
 alone 180. His ambition was to equal in ceramic work, combined with the undercutting and finish that the gem- 
 cutter’s wheel afforded, the beautiful glyptics of the antique. He says : — “ If the nobility and gentry should please to 
 encourage the design, they will not only procure to themselves everlasting portraits, but have the pleasure of giving life 
 and vigour to the arts of modelling and engraving. The art of making durable copies at a small expense will thus 
 promote the art of making originals. Nothing can contribute more effectually to diffuse good taste through the arts than 
 the power of multiplying copies of fine things in materials fit to be applied for ornaments.” These words express the 
 whole intention of Wedgwood and find their confirmation in every object to be studied in the works before us now, so 
 many of which are examples of absolutely perfect work, and in point of design unequalled in the whole range of applied 
 art. In his feeling for classic beauty and the perfection of his work Wedgwood surpassed all predecessors and stands 
 alone. As an accomplished writer in ceramic art has well said, “ Wedgwood is recognised universally as one of the 
 worthies of our country, his name has become a household word, and his beautiful wares have attained a kind of 
 classical repute.” The sale will occupy two days — Wednesday and Thursday next — beginning each day with the 
 portrait medallions. 
 
1877 .] 
 
 SIR W. H. FI ELD EH S COLLECTION . 
 
 259 
 
 THE DUC DE FORLI'S DRESDEN PORCELAIN. 
 
 The sale of the choice collection of Dresden china formed by the Due de Forli, a Neapolitan nobleman, tolerably 
 well known for his taste in this direction, did not disappoint the expectations that its exhibition had created. The high 
 prices show that there are still some virtuosi among us of whom it might be said, as it was of Horace Walpole— “ China’s 
 the passion of his soul.” 300 guineas for an “ £cuelle ” in Mayflower, painted with Watteau figures and the arms of the 
 Dauphin ; 100 for a pair of small candlesticks, and £215 for a little lady in a hooped petticoat and her two pet pugs, are 
 indeed an prix de luxe / The pretty birds — bullfinches, woodpeckers, owls, cocks and hens — sold for sums from two to 
 forty guineas, the latter price being given for a pair of yellow birds with black wings. The animals were in equal favour, 
 few going for less than ,£20, while a brown and white terrier fetched nearly ,£35, and a pair of bulls attacked by dogs, 
 only 6Mn. high, sold for ,£195. The single figures, most of them, sold for £5 to £10 ; a pair of candlesticks i6in. high, 
 for £26 5-r . ; a statuette of King Augustus in Masonic dress, with a pug dog, £31 ioj. ; a pair of figures in long cloaks 
 with rosettes, 6in. high, £45 ; a pair of seated figures, holding baskets, £40 ; a gardener and shepherdess, £45. Groups 
 of figures : Count Bruhl’s “ Tailor Riding on a Goat,” £68 ; pair of groups of three children, £42 ; a lady and gentleman, 
 with pug dog, seated in a harbour, £29; two figures in Oriental costume seated in a bosquet, £25 ; pair of double 
 candlesticks, £78 iys. ; “The Toilet,” a group of three children, £32 111 ; “ Europa on the Bull,” attended by two 
 nymphs, £61 ; a Shepherd and Shepherdess under a tree, £40 ; two Chinese figures, £30 ; two figures dancing, £37 ; a 
 Girl with a Harlequin Child, taking spectacles off harlequin’s nose, £7 5 ; a gentleman fastening on a lady’s skate, £20 ; 
 a gardener and a girl with basket of flowers, £18 i8j. ; “ Pluto carrying off Proserpine,” £25 ; a lady with two parrots, 
 £^2 ; a man playing the guitar, and two figures dancing, £24 ; pair of groups of Chinese ladies and children, £52 ioj. ; 
 two Lovers seated by a birdcage, £47 ; two seated Spanish figures, in masquerade costume, playing cards, £41 ; another 
 group of Spanish figures, £33 1 is. 6 d. ; “ The Companion,” £49 ; a lady in hooped petticoat, and a gentleman in fancy 
 costume, £64 ; a lady in hooped petticoat, with a pug dog on her lap, taking tea, and a negro servant at her side — £153. 
 Three children dancing, on white scroll pedestal — £50. Set of four candlesticks, of scroll design, each with two figures 
 at the base — £121. A double candlestick, formed as a cherry tree — £22. A lady in black bodice and large hooped 
 petticoat, carrying a pug dog in one arm and another pug peeping from under her dress, on white and gold pedestal — 
 £215. A pair of busts of Count Bruhl’s children, richly coloured, with daisies in the hair and bosom — £73 ioj. ; a large 
 group of angels scattering flowers, cherubs, and clouds — £80 ; pair of caricature figures of Dutchmen — £34 ; an inkstand 
 formed as a galley, with a seated figure in the stem, mounted with ormolu — £94 ioj. ; pair of two-handed vases, with 
 pierced necks and covers, painted with conversations — ,£69 6j. ; a vase and cover of similar form — ,£24 13J. 6 d. ; a large 
 punch bowl and cover, painted with Hogarth’s midnight conversations — £48 6 s. ; fine dcuelle, cover and stand, 
 beautifully painted with seven groups of figures after Watteau — £35 14J. ; an oviform vase and cover, canary-ground, 
 painted with military subjects in four medallions — £50 8j. ; pair of large oviform jars and covers, painted with flowers in 
 colours and gold, i8in. high, very fine in the colours and paste, marked “ A. R.” — £36 1 5 J. ; a large oval-shaped dcuelle, 
 cover, and stand, painted with Watteau subjects and flowers in colours — £27 6j. ; a pair of Louis XV. candlesticks of 
 scroll design, richly gilt — £100 ; a fine clock, in white and gold case, painted with landscapes, and surmounted by a 
 figure of Venus, I5|in. high — £80 ; a fine coffee pot and cover, painted with a river scene and figures, in basket pattern 
 border, the handle of scroll work, surmounted by a bust — £105 ; an oval verriere, with handles formed as eagle’s head, 
 a mask on each side, and festoons of flowers in high relief, in colours — ^135 ; a beautiful dcuelle, cover, and stand, with 
 dolphin handles, May-flower ground, painted with medallions of Watteau figures on each side, the arms of the Dauphin 
 of France in relief on each side of the lid, and painted on the stand — ,£305. The catalogue contained excellent outline 
 drawings of the principal pieces. The whole realized ,£4,221 14J. 
 
 S/E IV. H. FIELDEN'S COLLECTION. 
 
 In the collection of pictures belonging to the late Sir W. H. Fielden, of Feniscowles Park, near Blackburn, sold at 
 Christie’s on Saturday, the following were the more noticeable examples 
 
 By R. Wilson, R.A., the Umbrella picture — £60 i8j. ; W. Shayer, a landscape, with cattle and figures — ,£52 ioj., 
 and the companion — £7,2 ioj. ; W. Bird, R.A., “The Poacher Detected” — £76 15J. ; Sir W. Beechey, R.A., portrait of 
 Mrs. Hatfield — £70 8j. ; W. Linton, a grand landscape view of the Vale of Lonsdale — £110 5J. ; R. R. Reinagale, R.A., 
 group of children in a storm with a dog — £67 ; De Heusch and Lingelbach, a landscape with a horseman, on a road — 
 £72 ; Weenix, a boy with a greyhound — £72 I2J. ; Everdingen, landscape with a waterfall — ,£88 4J. ; A. Cuyp — a 
 landscape, with a man in a red coat on horseback on a road — £ 3 9 i8j. ; Karl de Moor, 1686, a boy with a dog — £27 ; 
 N. Berghem, a landscape with cattle fording a stream — £87 3J. ; Claude, “ The Embarkation of St. Ursula ” — ,£59 17J. ; 
 Van Dyck, portrait of Martin Rychart— £25 4J. ; Verboom and Lingelbach, woody landscape, with figures — ,£46 4J. ; 
 Everdingen, a waterfall — £26 5 j. ; Moucheron, an Italian river scene — ,£58 i6j. ; Old Cuyp, Prince Maurice, with his 
 family, in a landscape, signed — £67 ; Breughel, the Garden of Eden, with animals — ,£24 7s. ; Moucheron, a mountainous 
 landscape, with peasants— ,£47 5J. ; Quintin Matsys, “The Misers,” an old copy — ,£81 i8j. ; Hobbema, landscape, with a 
 
 L L 2 
 
26 o 
 
 ART SALTS. 
 
 [1877 
 
 cottage — £31 iol ; Dobson, portrait of King Charles, and Oueen Henrietta Maria, the companion — £73 10s . ; Fyt, dog 
 and dead game — £ 79 i6.r. ; Pynaker, landscape, with figures — £70 7 s. ; N. Berghem, landscape, with female figures — 
 cattle and goats by a stream — £79 i6.r. ; Old Teniers, “ Chateau.” with a drove of sheep — £52 iol ; Van Uden and D. 
 Teniers, grand landscape — ,£63; Pannini, Roman ruins and figures— £58 i6j. ; Vernet, pair of sea-pieces — £26 15J. ; 
 Albano, a group of cherubs with musical instruments — £23 ; portrait of Duke d’Urbino, attributed to Raphael — £32 iol ; 
 Albano, “ The Triumph of Amphitrite” — £32 iu.; F. Pourbus, the Chancellor William du Vair — £132 5J. ; Carlo 
 Dolci, the Magdalen — £45 3s. ; Spagnoletto, St. Peter — £23 4L ; Murillo, Joseph and the Infant Christ — £152 55. 5 A. 
 Sacchi, Job and Two Females — £105 ; Andrea del Sarto, the Holy Family — £58 i6j. ; Pereda, the Assumption of the 
 Virgin — £52 ioj. ; Murillo, the Virgin and Child — £39 i8r. ; F. Mola, a landscape, with the Angel appearing to 
 Manoah’s wife — £29 8r. ; Parmigiano, St. Peter, and St. Jerome, and the Holy Family, from Mr. Brett’s collection 
 — .£ 10 5 - 
 
 From a different collection. — J. Vanos, vase of fruit and flowers on a marble slab, signed — £110 5V. ; Canaletto, 
 view of Santa Maria della Salute, Venice — £51 9s.; view of Venice— £44 2 s. ; Reynolds, a child with lambs, in a 
 landscape — £30 9s.; Barker (of Bath), landscape, with timber-waggon — £32 us.; and a landscape, with muleteers — 
 £230 ior. ; Hondikoeter, geese, ducks, and ducklings, in landscape by a river, an excellent example of the master — 
 £462, said to have been bought for Lord Dudley. J. Ruysdael, a woody river scene — £29 8r. ; Canaletti, view of 
 Northumberland House — £38 17s. ; the companion picture, back view — £21 ; Correggio, the Holy Family, with St. 
 Francis — £24 ; a copy of a picture by P. Veronese, called “ A Legendary Subject” — £71 8j. ; Guido, a large altar-piece, 
 with the Madonna and Child, and angels above, St. Lucia and the Magdalen beneath — £215 5.?. ; Alonzo Cano, “The 
 Assumption of the Virgin,” a large upright picture — £1945^.5 Patel, a set of four landscapes, with classical subjects, 
 signed and dated — £42. The two collections realized £5,000. 
 
 The interesting collection of drawings and sketches by David Cox, formed by the late Mr. W. Stone Ellis, of 
 Streatham, will be exhibited in the rooms of Messrs. Christie, Manson and Woods on Wednesday and Thursday, previous 
 to the sale on Friday and Saturday next. 
 
 MR. R. VERNON'S COLLECTION OF PORTRAITS. 
 
 (“The Times,” April 24, 1877.) 
 
 A gallery of historical portraits of rather unusual interest, belonging to the late Mr. Robert Vernon, whose name is so 
 well known as the liberal donor of the many modern pictures in the National Gallery, was sold on Saturday by Messrs. 
 Christie, Manson and Woods. There were, besides, 20 miniatures of various historical personages, about 100 portraits, 
 most of which were life-size. The most interesting of these were — A Portrait of John Riley, by himself; he was a 
 contemporary of Lely and Kneller, who painted Charles II., and with such success that the King, looking at the portrait, 
 exclaimed, “ Is this like me? Odd’s fish! then I am an ugly fellow.” This capital portrait, however, attracted little 
 notice, and sold for £17 17s. only. Van Dyck. — The Duke of Richmond with his Dog ; whole length in crayons, a study 
 for the well known picture — £15 4 s. 6 d. Janet. — Gaston de Foix, in black cap with feathers, crimson vest, and green 
 cloak — £236 5r. Sir G. Kneller. — Sarah, Duchess of Marlborough, in blue and white drapery— £50 8.r. C. Jansens. — 
 Henry Jermyn, Earl of St. Alban’s, in rich striped dress with lace collar — £42. Van Dyck. — Portrait of John Rockose-, 
 in black dress and ruff, very boldly touched — £86 2 s. ; King Charles I., in armour, leaning on his helmet and holding a 
 baton — £18 i8r. ; Queen Henrietta Maria, in a green dress, seated at a table — £69 6 s. Sir P. Lely. — Catherine of 
 Braganza, wife of Charles II. — £70 7 s. ; Lord Grandison, in crimson dress and scarf with lace collar and sleeves — £105 ; 
 the Duchess d’Aremberg, her child and confessor — £32 ior. Rubens. The Marquis Spinola, in rich armour — £106. 
 Van Dyck.— Sir Kenelm Digby, in armour, holding a baton, his left hand on a helmet — £99 ior. P. de Champagne.— 
 Louis XIII. investing a knight with the Order of St. Esprit — £99 151. Zucchero. — Robert Dudley, Earl of Leicester, in 
 rich crimson dress, with chain and badge of the Garter — £199 ior. Van Dyck. — Count Tully, Commander of the 
 Imperialists at the storming of Prague, in armour, with order of the Golden F'leece — £157 19^ W. van de Velde. — A 
 seapiece, with men-of-war and boats — £162 15s-. Ruysdael. — View in Amsterdam, with shipping and figures — £48 6s. 
 Metzu.— Interior, with a lady at a table, opening a window — £404 5J. Watteau. — Fete Champetre ; composition of seven 
 figures — £105. M. Hondekoeter. — Waterfowl and other birds in a landscape — £199 ior. Snyders. — Stag Hunt — £84; 
 the Fox and the Crane— £157 ioj. ; Interior of a Larder, with dead game, &c . — £89 5 s. Jordaens. — Portrait of a 
 Burgomaster, in black dress and ruff— £199 10s. ; the wife of same Burgomaster, in black dress and ruff— £178 ioj. Sir 
 Edwin Landseer, R. A.— Lady Catherine Douglas, hawking — £372 15J. Patrick Nasmyth. — Carisbrook Castle, signed 
 and dated 1826— £556 ior. J. P. de Loutherbourg, R.A. — View in Wales, with a castle on the banks of a stream, a large 
 work — £131 5-f. F. R. Lee, R.A. — Mill in Devonshire — £120 15J. C. Stanfield, R.A. — The mouth of the Tees, signed 
 and dated — £609. W. Collins, R.A. — The Mariner’s Widow, exhibited at the Royal Academy, 1835 — £320 3s. Total, 
 £7,095 12s. 
 
MR. J. KNOWLES' COLLECTION. 
 
 261 
 
 1877 .] 
 
 MR. J. KNOWLES' COLLECTION. 
 
 (“The Times,” May , 1877.) 
 
 The collection of water-colour drawings belonging to Mr. John Knowles, of Manchester, sold by Messrs. Christie, 
 Manson and Woods on Saturday, consisted of 100 examples, all of the English school, with the exception of two draw- 
 ings by Rosa Bonheur and one by Isabey. There were nine drawings by Turner, eight by David Cox, and five by Copley 
 Fielding, but none quite of the first order as examples of these great masters, although they were all of acknowledged merit. 
 There were, however, some works which rank among the highest of the artists’ achievements : such as the Junction of the 
 Llugwy and Conway, by David Cox ; “The Nuremberg,” a large upright drawing, by Samuel Prout ; “Salvator Rosa 
 sketching the Banditti,” by G. Cattermole; “ Lowther Castle,” by De Wint ; “The Giralda, Seville Cathedral,'’ by 
 J. F. Lewis, R.A., and “The Turret Stair,” by F. W. Burton — the fine expressive picture of the lady parting with her 
 lover knight at the foot of the turret stairs, which was exhibited at the Water-colour Society’s gallery about 12 years ago 
 —£666 15-y. The beautiful “ Seville Cathedral ” by Lewis, the “ Nuremberg” by Prout, and some of the Turner drawings, 
 with some other important lots, will, we believe, not pass on this occasion to new owners. Among the water-colour 
 drawings may be mentioned “ Preparing to Mount,” by Isabey — £34 13J. ; “ Rouen,” by R. P. Bonnington — £162 cj. ; 
 “ Spezzia,” by the same — ,£50 8 j. ; “ Scene in Sussex,” by H. B. Willis — ,£119 14J. ; “ Sunset,” by G. Barrett — £(183 15J. ; 
 “Canterbury Meadows,” by T. S. Cooper, R.A . — £223 15J. ; “Wreck of the Betsy Cains,” by S. Prout — £417 I2.f. ; 
 “ The Signal,” by W. Collins, R.A., engraved — £89 5 j. ; “ Dieci Miglia on the Road to Tivoli,” by T. M. Richardson — 
 — ,£204 155. ; “Transept of Tournay Cathedral,” by Louis Haghe — £252; “View in Surrey,” by Birket Foster — 
 £341 5s. ; “The Chair Mender,” by the same — £323 10s. ; “ Oxford from the Thames,” by the same — £395 ; “The 
 Bedouin’s Home,” by J. R. Herbert, R.A. — ,£152 5^. ; “ Marseilles,” by J. D. Harding — £273 5^. ; “A Pastoral Landscape,” 
 by T. Stothard, R.A . — £40 19s.; “The Mock Duenna,” Pereira’s studio, by D. Maclise, R.A . — £194 3s. ; “Windsor 
 Forest,” by John Linnell — £262 10s. ; “The Young Scholar,” by F. W. Burton — ,£346 ioj. ; “Fern Gatherers,” by 
 F. Tayler — £273; “Spanish Gipsies,” by F. W. Topham — £(215 5^. ; “The Gipsy Toilet,” by the same — £498 15J. ; 
 Driving Cattle, by Rosa Bonheur — £(189 ; “ Forest of Fontainebleau,” by the same — £378 ; portrait, by J. B. Madon, 
 — £128 ; “A Flower Girl,” by W. Hunt — £(115 ioj. ; “ Pears and Grapes,” by the same — £194 3s. ; “ Quinces, Plums 
 and Blackberries,” by the same — £346 10s. ; “ Flowers and Plums,” by the same — £210 ; “ The Acropolis, Athens,” by 
 W. Muller — £441 ; “ Sir Isumbras at the Ford,” by J. E. Millais, R.A . — £99 13s. ; “The Vale of Rest,” by the same — 
 the same subject as the large oil painting — £107 ; “Scene from Henry V,” by Sir John Gilbert, A.R.A. — £(115 10s. ; 
 “Jean d’Arc contemplating the bodies of Talbot and his son,” by the same — £272 ; “Rubens in his studio,” by the 
 
 same — .£420. By J. F. Lewis, R.A. — “ The Greeting in the Desert ” ,£346 ioj. ; “ A Curiosity Shop, Venice ” — £34 1 5^. ; 
 
 “The Giralda, Seville Cathedral ” — £330 5-y. By D. Roberts, R.A. — “ Ehrenbreitstein ” — £(68 55-. ; “Town Hall, Ghent” 
 ,£88 4-r. ; “St. Bavon, Ghent” — £jio6; “Malaga ” — £76 16J. ; “Church of St. Pierre, Caen” — £(241 io.f. ; “Shrimp 
 Boats, Northfleet Creek,” by E. Duncan, an upright drawing, with a rainbow — £341 5J. ; “ Salvator Rosa sketching the 
 Banditti among the ruins of an ancient temple ” — £423 5^. ; “The Turret Stair,” by F. W. Burton — ,£666 1 5.5-. ; “The 
 Fish-shop,” by F. Walker, A.R.A . — £223 155-. ; “The Arrest of the False Herald,” “Quentin Durward,” vignette, 
 engraved, by Sir E. Landseer, R.A. — ,£199 io.y. ; “Raising the Maypole,” by F. Goodall, R.A., the same subject as the 
 
 oil painting, engraved — £336 ; “ The Palm Offering,” by the same ; “ The Eastern Woman Carrying her Child on her 
 
 Shoulder” — ,£551 5-f. ; “Beauvais Cathedral,” by S. Prout — ,£139 1 3^. ; “Nuremberg,” by the same — £493 ioj. By 
 C. Stanfield, R.A. — “ Lago Maggiore ” — £199 ior. ; “Portsmouth,” engraved — £209 12s. ; “The Channel off Fort Rouge, 
 Calais” — £(388 io.f. By Copley Fielding, 1824. — “ Sunset ” — £37 15J. ; “Loch Lomond £(267 15.?.; “Vessels in a 
 Breeze” — ,£315 ; A landscape, with cattle, a road, and a seated figure — £399 ; “The Clyde, Isle of Arran and Goatfell” 
 — £631. By P. De Wint.— “ Windsor Castle” — ,£115 ior. ; “Near Lowther Castle, Cumberland,” with a flock of sheep 
 and figures— £(656 5^. By David Cox.— “ Shrimpers ” — £(63; “Fort Rouge ” — £63 ; “Windsor Castle ” — £162 io.r. ; 
 “The River Conway ” — £147 ; “Stacking Hay ” — £278 3s. “ The Junction of the Rivers Llugwy and Conway,” with cows 
 
 standing in the water and group of oak trees in the right foreground. This fine work was put up with much applause at 
 a bid of 500 guineas, and fell to Mr. Agnew at £829 10 s. “ Bolsover Castle,” the subject of two of his finest drawings — 
 £430 10s. ; “ Shepherds Gathering in their Flocks,” a close scene of mountains with trees in the right foreground — 
 £393 IOS - After this came the Turner drawings : “ Lake Nemi,” an early work, which was in the collection of Mr. Heugh, 
 and then sold in 1874 for £262 10s., now brought £283 10s. ; “ Leeds,” engraved — .£336 ; “ Wharfedale,” formerly in the 
 collection of Stanfield, the painter — £3 88 ioj. ; “ Tintagel Castle, Cornwall,” engraved, a small but beautiful example of 
 his later middle period, which also belonged to Mr. Stanfield — £399 ; “ The Welsh Coast near Flint Castle,” engraved in the 
 England and Wales series — £(44 1 ; “ Richmond Hill,” with several figures in the foreground, but left unfinished — ,£330 ; 
 “ Orfordness,” engraved in the England and Wales series — £3 93 io.r. ; “ The First Steamer on the Thames, with the 
 Tower of London,” from Colonel Birchall’s collection. This drawing was put up at a bidding of 700 guineas, but did not 
 get beyond 766 guineas, at which price the hammer fell. It was said that Turner disposed of this and other drawings of 
 similar work at .£100 a piece. The “ Nottingham ” was the well-known drawing with the double rainbow, engraved in 
 the England and Wales series. It was put up at a bidding of 500 guineas, and quickly advanced to double that sum, 
 being at last knocked down to Mr. Agnew at ,£1,155. This brought the total up to ,£24,571. 
 
262 
 
 ART SALES. 
 
 ri877. 
 
 THE SHANDON COLLECTION. 
 
 (. MR . R. NAPIER'S.) 
 
 In the second portion of the Shandon collection sold during the past week, a miniature of Louis XV., oval enamel on 
 gold, attributed to Petilot, sold for ,£27 i6.r. ; an oval snuffbox of Louis XV. style, enamelled with miniature — ,£85. Of 
 the ivory carvings, “ Thorwaldsen’s Night and Morning,” reduced by the Chevorton process, brought ,£54 \2s. ; “Three 
 Amorini upholding the Papal Tiara and Keys,” by II Fiammingo, exhibited at the Art Treasures and at South Kensing- 
 ton — ,£96 12 s. ; “The Descent from the Cross,” group of eight figures, by Algardi, signed and dated 1653 — ,£199 ior. ; 
 “ Rape of the Sabines,” in high relief, attributed to Lucas Faydherbe — ,£115 lew. ; a group of four figures, representing 
 Death taking an infant from the mother — ,£54 I2.r. ; a tankard, carved with tritons and nymphs — £70-, another carved 
 with marine deities, mounted silver gilt — £75 I2.r. ; a cup carved with Bacchanalian figures, silver-gilt mountings — 
 £73 ior. ; a fine tankard, with ivory cover, the body carved with the feast of the gods, silver-gilt handle and mounts 
 from the Duchess of Cleveland’s collection and exhibited at South Kensington in 1862 — £913 io.y. The immense 
 collection of watches and clocks and old knives brought generally good prices. A chronometer by J. Harrison, 1770, 
 duplicate of one for which he received the reward of £70,000 from the Board of Longitude, sold for £168 ; an 
 astronomical timepiece, by James Shearer, London — £73 ioj. ; an old German clock in form of a temple — ,£64. Among 
 the miscellaneous objects, a large oval cup of rock crystal, decorated with enamelled dragons and flowers, fetched 
 /j 1 83 15J. ; an ewer and salver in engraved rock crystal, and silver gilt and enamel — £732 ; a pair of Amorini playing 
 with a lion, carved in wood, part of a State bedstead of a Doge of Venice — £757 los - A vase of old Celadon porcelain, 
 formed as two lotus flowers, with ormolu mounts, was the object of a very eager competition and brought the large sum 
 of £715. It was said that this unique piece had at one time long been shown in a curiosity shop window without finding 
 a purchaser. The five days’ sale realised £^9,462 ior., bringing the present total to ,£43,803. 
 
 THE MUNRO COLLECTION OF TURNER DRAWINGS. 
 
 (“The Times,” June 1, 1877.) 
 
 The water-colour drawings belonging to the collection of the late Mr. H. A. J. Munro, of Novar, which are 
 to be sold to-morrow by Messrs. Christie, Manson and Woods, form an exhibition of Turner’s works in water- 
 colour, particularly of his vignette drawings, which is specially interesting. There are 21 of the larger drawings, all 
 good examples of his earlier and middle styles, the rest of the 55 forming the sale being nearly all vignettes. Such a 
 display of Turner’s fine imaginative faculty, and his amazing power of concentrating beauty of form and colour, and giving 
 the essence of a scene in the small space of a vignette, has rarely if ever been seen before. The well-known engravings 
 from these, it is true, render their beauties with admirable effect, so far as black and white can go in interpreting 
 Turner's visions of light and colour, but they are, after all, but like paste copies of these brilliant gems. In this case the 
 drawings happen to be in a remarkably pure and fine condition/rom having been kept in the portfolio from the time they 
 were painted. There are besides the 16 engraved drawings of the England and Wales series, the vignettes to Sir Walter 
 Scott’s works, those for Milton’s poetical works, Byron’s, Moore’s “Epicurean,” and some of the original drawings 
 engraved in the “Rivers of France,” and Hakewill’s “Picturesque Tour of Italy,” with some which have never been 
 engraved. Where all are so full of interest, even his figure subjects, such as those for the “Paradise Lost,” which show how 
 well he could deal with composition of this nature, it is quite an embarras des richesses to point out the best among the 
 vignettes. The Dumbarton (m. 8) might be chosen as an example of the exquisite finish of his work and the extraordinary- 
 power he had of as it were epitomising a grand scene of landscape. In this minute picture there is all the breadth and 
 distance of a large work, so that it would, as Mr. Ruskin has said, bear being magnified, and thus developed into a grand 
 picture. The Caerlavrock Castle (m. 4), a drawing less than 4m. by 5 in., the castle warm and glistening with the parting 
 rays of the sun reflected on the lock, and the pale moon rising away over the hills, has all the solemnity and power of a 
 large picture. There are further illustrations of Scott, published in 1826 : the Rouen (17), with the diligence lumbering 
 slowly up the hill and the crowd of picturesque figures : the Abbeville Street (18), with the cathedral shining in every 
 detail of its beautiful tracery ; the Winchelsea (19), with the soldiers on the march with their baggage waggons — another 
 of those most remarkable works in little. As to the large drawings, although there are none that can be placed quite in 
 the highest rank, either for quality or for grandeur of dimensions, yet there are some of very great beauty, and eminently 
 worthy of the master, such as the Lancaster Sands, with the market-people and the coach hurrying from the advancing 
 tide ; the Valle Crucis, with the sun sinking over the hills and the reapers still working in the valley below, bathed in 
 blue vapour ; or Kenilworth, with the moon rising over the castle, and the cows waiting for the milkmaid in the old moat. 
 The two vignettes on gray paper should not be overlooked — the lighthouse at Lowestoft, with the moon rising in a blue 
 sky, and Orford Haven, with the moon behind the castle spreading a golden light over the evening mist. A signature or 
 date upon these drawings is seldom found, his “ J. M. W.” appearing only on the “ Criccieth Castle ; ” but it is 
 considered that the drawings for the England and Wales series begin about 1824, and extend to 1838 or 1840, before he 
 entered upon his romantic style. It will be remembered that he died in 1851. 
 
1877 .] 
 
 THE NO VAR COLLECTION. 
 
 26 
 
 MR. CALLENDER'S COLLECTION OF CHINA. 
 
 In the large collection of china formed by the late Mr. W. Romaine Callender, M.P., of Mauldeth Hall, Lancashire 
 sold by Messrs. Christie on Tuesday and Wednesday, a plate of the dessert service (Worcester) made for Lord Nelson, 
 green and gold and coat of arms, sold for £5 10 s. ; a spirally-fluted teapot, cover and stand, deep blue and gold, festoons 
 of flowers, from the Gladstone collection — £17 ; two cups of the same service and collection — ^8 8j. ; dessert service, by 
 Chamberlain, in white, blue, and gold, views painted in sepia and named, made about 1806 for Lady Hamilton; the 
 pattern is one of Chamberlain’s earlier style, and the china is peculiar— ^48 6s. ; large and important vase of Leek china, 
 antique shape, painted with Gil Bias in the Robbers’ Cave, illustrated in Marryatt — £25 4.?. ; figure of Winter, 12m. high 
 —£ l 9 i 9 s - I the well-known milk jug with ram’s head and bee, purchased at the Stowe sale— ,£34 icw. ; magnificent vase 
 and cover, gros bleu ground, gilt and white handles, 13 inches high, marked gold anchor — £$2 ; open work scroll vase 
 with cover, claret ground, ieiin. high, painted with two groups of pastoral figures — ^75 ; large basin, gros bleu ground 
 finest quality, from the Gladstone collection— ,£35 ; pair of figures in the Maccaronic costume of 1770-72, from the 
 Edkins collection — £7$ 17^. ; fine dish, with perforated scroll margin, illustrated in Owen — ^34; superb coloured figure of 
 Winter, rustic series, from the Edkins collection — £70 ; the unique teapot of the well-known Smith service and stand for 
 the same, described by Owen, page 95, given to Champion by Edmund Burke and presented to Mrs. Smith in 1774 — 
 £74 1 is-. ; a matchless pair of vases, light blue scale ground, painted with birds and insects in compartments, gilt mounted 
 in chased ormolu, Owen, page 252 — ,£105 ; magnificent Angouleme vase (French porcelain), richly gilt, and painted in 
 sepia with the subject of the Rape of the Sabines, 4ft. 6in. high — ^162 15^. ; an octagonal dish (Palissy), with group of 
 figures, from Baron Marochetti’s collection — £27 6s. ; a superb pair of vases, supported on tripods, mask handles, painted 
 with classical subjects, ditto centre vase with snake handles — ^160 the two lots ; very fine and rare old ecuelle cover and 
 stand, painted with landscapes representing the Visit of the Ring — £$g i 8 j. ; a compotier, ornamented in gold and 
 festoons, and painted in sepia — ^40 ; two double-handled coffee cups and saucers, with covers finely gilt, and painted 
 with medallions and festoons of green laurels — £70 ; the unique teapot of the celebrated Burke service, a teapot of 
 extraordinary interest and beauty, with a yellow diapered border and gold scroll work, painted on both sides with an 
 altar, on which stands a cupid holding a torch, and supported by figures of Minerva holding the Cap of Liberty and 
 Plenty, with the cornucopia. The inscription in Latin, rendered into English, reads, “ Richard and Judith Champion 
 gave this as a token of friendship to Jane Burke, the best of British wives.” Decorated by Henry Bone, R.A., the 
 celebrated enameller— ^21 5 5 s. 
 
 THE NO VAR COLLECTION 
 OF DRAWINGS AND VIGNETTES BY TURNER. 
 
 (“The Times £ June 4, 1877.) 
 
 The Turner drawings and vignettes of the Novar collection, so called from the name of the late Mr. Munro’s seat in 
 Scotland, more than realized the anticipations formed during the exhibition of them, and the sale on Saturday proved to 
 be the most spirited and interesting one of the season. The large room was very full, and the biddings came quick from 
 every side, so many being anxious to possess at least one of the magic little vignettes ; but the race for all the great 
 prizes was between Messrs. Agnew, Mr. Wallis, Mr. Vokins, and the agent of a lady of distinction, who proved a rather 
 formidable competitor, and did, in fact, carry off the “ Johnnie Armstrong’s Tower ” vignette, the charming little drawing 
 of “ Winchelsea ” and “The Rhigi,” at prices which seemed quite to astonish the trade. Nothing like such prices have 
 been obtained before for vignette drawings, which made this collection so remarkable. It was said before the sale that 
 probably the best would bring from two to three hundred guineas, but the first one put up went for over two hundred, and 
 the next, which was “Johnnie Armstrong’s Tower,” went for £ygg ; then the little “Dumbarton” for within a few shillings 
 of £100 ; and at last these were capped by the “ Dunfermline,” which brought ^404 5^. The drawings did not bring 
 proportionally high prices, two only going beyond 1,000 guineas- the “ Kenilworth ” and the “ Coventry both charming 
 and most characteristic works of the master. Mr. Woods, in opening the sale, reminded his audience that the late Mr. 
 Munro was the intimate friend and executor of Turner, and one of the few ever admitted to see him at work in his studios. 
 He purchased these drawings many years ago and kept them carefully in portfolios, which accounted for the perfect state 
 in which they were preserved. But large and remarkable as was the collection of vignettes and other of the engraved 
 drawings, it is worth remembering that they are but a very small part of his extraordinary work, his contributions to the 
 Academy alone numbering above 300 pictures and drawings. Mr. Munro was once the possessor of the picture 
 “Venice,” which was sold in the Mendel collection to Lord Dudley for the highest price ever paid for any one of his pictures 
 — 7,000 guineas. The following were six out of the 24 vignettes engraved in the edition of Sir Walter Scott’s poetical 
 works, published in 1834, and are distinct from those of 1826, which illustrated the picturesque scenery of Scotland, with 
 descriptions written by Sir Walter Scott: — “ Smallholme Tower,” with the moon in the blue sky, sold for ^215 55-. : 
 “Johnnie Armstrong’s Tower,” one of the most generally admired, and which realised the highest price, for ^399; 
 “Hermitage Castle” — ^168 ; “ Caerlavrock Castle,” the moon rising, 34 in. by 5-fin., and not strictly a vignette, for ^210; 
 “ Fingal’s Cave,” Staffa — £115 ioj. ; “ Mayborough — King Arthur’s Round Table” — ,£105. Drawings and vignettes 
 engraved in Scott’s Prose Works published by Cadell, 1834 : “ Dryden’s tomb in Westminister Abbey,’ vignette — ^48 6 s . ; 
 “ Dumbartom,” vignette, rather larger than a watch glass, so remarkable for its minute finish — ^299 5J. ; “ Brussels,” a 
 
ART SALTS. 
 
 [ 1877 . 
 
 264 
 
 small, highly-finished drawing, 3|in. by 5 fin.— ,£189 ; “ Norham Castle,” 34in. by ^.—£404 5^ ; “New Abbey near 
 Dumfries,” vignette— ^189 ; “ Vincennes ”—£147 ; Malmaison’s vignette — £ 132 6s.; “Dunfermline,” vignette of great 
 beauty, with a rainbow, and water-wheel in foreground — £404 5-T. : “ Craigmillar Castle,” vignette — £204 ; “ Killiecrankie,” 
 vignette— ^210 ; “Rouen,” vignette— £267 ior. ; “Abbeville,” vignette— £278 $s. ; “ Winchelsea ,” the very beautiful 
 little drawing, with the soldiers and baggage waggon, measuring only sin. by 8in., was the object of a spirited contest 
 and fell for /651 — a remarkable price for so small a work ; “ Corinth, from the Acropolis,” vignette, engraved by Finden 
 to Lord Byron’s works — £320 5J. ; “The Temple of Minerva, Cape Colonna,” 6Jin. by 9m., engraved by Finden for the 
 same work — 4426 ; “ Havre,” 5 -jin. by 7^in., engraved in “The Rivers of France ”- — £121 ; “The Trial of the Ring,” 
 vignette, engraved in Moore’s “Epicurean ” — £gg 1 55-. ; “The Chaplet,” in the same work — £66; “The Garden,” 
 vignette, with numerous figures, in the same work — £147. The following were vignettes from Milton’s poetical works : — 
 “The Expulsion from Paradise ” — £141 14.?.; “Mustering of the Warrior Angels,” multitudes meeting in the skies, in 
 crystal spheres, vignette — ^105 ; “Fall of the Rebel Angels,” vignette — £147; “The Temptation on the Mountain,” 
 vignette— £84 ; the “Temptation on the Pinnacle of the Temple,” vignette — £110 5-f. ; “St. Michael’s Mount, the ship- 
 wreck of Lycidas,” vignette — £204 5 s. ; “Ludlow Castle,” with many fairy figures, vignette for the “Comus” — ^231. 
 This was the last of the vignettes, after which came the larger drawings. Of these, the “ Rhigi,” effect of sunrise, the sky 
 clear yellow, with only a speck of cloud high above the mountain, lain, by i8in., sold for ^661 ioj. ; “Lucerne,” 
 moonlight and stars, uiin. by iSfin.— ^892 lew. ; “Nantes,” view up the principal street, with many figures on the quay 
 and bridge, engraved by R. Wallis, 1 1 Jin. by 1 7jin. — ^8 1 9. Some interest attaches to this lot from the fact of its being 
 now bought by Mr. Wallis, who first etched the plate from the drawing, he at that time assisting his brother, who finished 
 the engraving. The drawing was probably done at the same time as those of the “Rivers of France” — from 1833 to 
 1835. “St. Germain-en-Laye,” 1 1 Jin. by 1 jin., fetched £367 io.y. ; “ Marly,” with an avenue of trees on the left, many 
 figures of ladies and bonnes with children, and a poodle playing with another dog in the road, 1 i^in. by i6fin . — £420 ; 
 “ Northampton,” election time, crowds in the street before the church chairing the member, with banners inscribed 
 “Speed the Plough,” “ Purity of Election,” “ Triumph of Law,” &c., iigin. by 1 7jin . — £220 lew. ; “Bridge at Narni,” 
 engraved in Hakewill’s “ Picturesque Tour of Italy,” from sketches by him, published by Murray, 1820, is remarkable for 
 purity and freshness of the colour and high finish, and it was one of the very few illustrations signed J. M. W. Turner. 
 It measured only 5^in. by 8iin., but it attracted much admiration as a choice example of the master’s earlier time, and 
 brought the considerable price of £6\g icw. Of the 16 drawings belonging to the England and Wales series engraved, 
 “ Criccieth Castle,” 1 1 Jin. by i6|in., sold for ^651 ; “Kenilworth,” 11-Mn. by 17-sin., was largely contested for, and 
 eventually was knocked down for £1,263 5-r. ; “ Kidwelly Castle,” 1 1 gin. by 1 7jin . — £640 ioj. ; “Lancaster Sands,” n|in. 
 by i6Jin.— ^882 ; “Leicester Abbey,” 1 1 in. by iSin . — £631 ; “Bedford,” ijjin. by I9jin. — £304; “Carnarvon Castle,” 
 1 1 in. by i6|in., with girls bathing from a boat, not boys, as has been stated in some lists — £7g8 ; “ Chatham, from Fort 
 Pitt,” 1 1 jin. by i8in . — £472 io.r. ; “Christ Church, Oxford,” u|in. by 16-oin. — 47 l 2 5 5 s. ; “ Coventry,” with a splendid 
 effect of sunlight over the three churches, and storm passing over, 11-Jin. by I7jin., after a spirited competition, fell for 
 _£i,o8i icw. ; “ Louth,” with the horse fair going on, 1 1 Lin. by 16-jin. — 4 H 3 ° IOJ - > “Richmond Terrace,” with the fine 
 view on the river and many figures of ladies in the foreground, under the trees — £430 ior. ; “ Valle Crucis Abbey,” one 
 of the Yorkshire drawings, and, therefore, of his fine earlier time, rich and glowing in tone and lighting, u^in. by i6jin. 
 — 4^918 15J. 5 “Whitehaven,” with a gleam of sunlight over the hills, and a stormy sea with a brig caught in a squall on 
 the left, i2-|in. by 1 8 Jin., fetched £777. This was the last of the drawings, but there were still the two very beautiful 
 vignettes on gray paper which belong to the England and Wales series, and though not appearing in the work were 
 published afterwards. The “ Lighthouse, Lowestoft,” with the moon rising in a blue sky, sold for £110 5-f., and the 
 “ Orford Haven,” with the moon in a yellow sky hidden behind the tower of the castle, sold for ^189. With this ended 
 the sale of this remarkable collection, producing a total of £20,733. 
 
 LANDSEERS PORTRAIT OF SIR WALTER SCOTT, 
 
 AND PICTURE OF THE POINTERS “ TO HO!” 
 
 (“The Times,” June 12, 1877.) 
 
 The pictures sold by Messrs. Christie, Manson and Woods on Saturday last, though not forming any particular 
 collection, were many of them well-known works, and the sale was one of considerable interest as regards both the merits 
 of certain pictures and the prices they were likely to bring on this occasion, as some had been sold here not very long 
 ago. The chief interest centred in the portrait of Sir W T alter Scott which was painted by Landseer for the late 
 Mr. Wells, of Redleaf, and will be remembered from having been exhibited at the Academy Landseer exhibition, and 
 at the Scott exhibition in 1871. It represented Scott seated, bareheaded, in the Rhymer’s Glen, so called from the 
 place where Erceldoune the Rhymer met the Fairy Queen in the old ballad of the Scottish Minstrelsy. The likeness 
 was admirable, and painted with all the wonderful vigour of touch and colour the painter possessed ; but Landseer had 
 added great interest to the picture by painting the poet’s favourite deerhound, Maida, which the late Glengarry gave 
 to him, lying at his feet, with his little Dandy Dinmont pets, the yellow -haired Ginger and Black Spice, of the famous 
 “Pepper and Mustard ” family. A very spirited contest arose over this interesting picture, and it brought the large 
 sum of £2,202 10s. The portrait was said to be purchased for a gentleman in Scotland. Another important work of 
 Landseer’s — the Pointers, or “To Ho !” well known by the capital engraving, sold in the Gillott Collection in 1872, did 
 
1877.] PICTURES BY LANDSEER, AND MILL/ AS. 
 
 - 6 5 
 
 not realise the price it fetched when it appeared among the many fine pictures of that remarkable sale. The three 
 pictures from Lord Suffolk’s collection sold well, the Van de Velde “Calm,” engraved in the Choiseul Gallery, and 
 additionally interesting as being one of the stolen pictures which were carried by the thief in the night some miles 
 across country, sold for 1 , 575 - Before entering upon the details of the sale must be noticed an incident which is by no 
 means common in picture sales — the withdrawal of two pictures which could not be authenticated as the work of the 
 painters whose names they bore in the catalogue. These were Lot 84, “ The Slave Market,” attributed to W. Muller, 
 and Lot 80, “ Kenilworth Castle,” called a De Wint. The first-named of these had been the subject of some remark 
 before the sale, and was pretty generally pronounced a forgery. The last might have been fairly offered as a work of 
 John Glover, a clever landscape painter, who died a very old man in 1849; but in withdrawing both lots Messrs. 
 Christie took the step which gave general satisfaction. The following were the other pictures in the sale deserving 
 notice. — “ Lost ” and “ Found,” a pair by R. Andsell, R.A — ,£220 109. ; and the “ Goatherd,” with a view of Gibraltar — 
 £367 lew.; Landscape and Cattle, by S. Cooper, R.A.— .£168 ; a Flemish interior, 13th century, by Alma Tadema, A.R.A., 
 an early work in the style of his master, Baron Leys — ,£210 ; Canal Scene, Venice, by J. Holland —£79 169. ; “ A Street 
 in Genoa,” by the same — £77 14 9. ; “ With Wind and Tide,” by Colin Hunter — £ 2 73 ; “ Homewards,” by Peter 
 Graham, A. R.A. — £ 336 ; and “Misty Morning in the Highlands ”—,£367 109. ; “Homeless,” by T. Faed, R.A. — 
 ^194 5.9. ; “Old Farm at Bettwys-y-Coed,” by D. Cox — £122 159. ; “ On the Llugwy,” by W. B. Leader, a small work 
 — .£126; “Waiting,” a fisherman’s wife seated, looking anxiously towards a window, by I. Israels, an upright picture, 
 about 24m. by i8in. — ,£346 109. ; “Expectation,” by the same artist, a portrait study of a woman — ,£152 55-. ; “ View on 
 the Lledr,” by W. Muller — ,£241 10.9. ; “Goatherd on Moel Siabad, North Wales,” by T. S. Cooper, R.A. — ,£483 ; 
 a landscape and figures, with a gray pony, and Chichester Cathedral in the distance, by W. Collins, R.A. 1821, and mentioned 
 in his life as painted for Mrs. F. G. Currie— ,£593 5.9. This picture was sold, or rather bought in, last year at £787 109. ; 
 it passes now, however, to a fresh owner. Needlework at the National School for Girls, by John Morgan — ,£19789.; 
 “Washing Day,” by Edouard Frere, 1870 — £237 59. ; “ Hagar and Ishmael,” by H. Merle, 1872, a large upright picture 
 — ,£645 129 . ; “ Summer,” by T. Webster, R.A., a hayfield, with figures — ,£420 ; and “ Winter,” the companion — £320 59. ; 
 “La Marchande de Fleurs, Boulogne,” by W. P. Frith, R.A. — £393 1 5^- ; “The Love of James I. of Scotland,” by 
 J. E. Millais, exhibited 1859, a figure of a lady in a deep blue dress caressing a hand held over a wall — 630 ; “Tintagel 
 Castle,” by C. Stanfield, R.A., 1866 — .£913 109. ; a Devonshire landscape, by F. R. Lee, R.A, 1853 — ,£131 59. ; landscape 
 by W. Muller, 1834 — ,£199 109. ; “ Prayer in the Desert,” signed “ W. Muller, 1843,” lunette-shaped picture — ,£556 109. ; 
 “ The Horse Fair,” by G. Morland, exhibited at the Academy, Winter of 1875 — .£352 59. ; “ The Fruits of Early Industry 
 and Economy,” by the same, a family portrait piece, engraved by W. Ward — ,£582 I 5 - f - This picture was sold at 
 Christie’s in 1873 for ,£640 109. A Highland lake scene, by Patrick Nasmyth, 1812 — £99 159. ; “ Danish Craft on the 
 Elbe — Low Water,” by E. W. Cook, R.A. — ,£735 ; “Deer in the Forest of Fontainebleau,” by Rosa Bonheur, an upright 
 picture of a brown deer and fawn, with foliage background, measuring about 26m. by i8in. ,£892 109. ; “A Young Lady 
 m Italian Costume,” by R. Buckner — ,£194. The following were water-colour drawings “ Lancaster Sands,” by 
 David Cox — ,£257; “Off the Scotch Coast,” by Copley Fielding — ,£304 109.; “Apple Blossom and Bird’s Nest,” by 
 W. Hunt — ,£141 159. ; “Black Grapes, Apples and Strawberries,” by the same — ,£157 109. ; “Roses and Bird’s Nest,” 
 — ,£252; “Sidmouth,” by J. M. W. Turner, R.A. — ,£183 159.; “Tivoli,” by David Cox — .£368 59. This drawing was 
 sold in Mr. Allnutt’s collection in 1867 for ,£157 109. “ The Dogana, Venice,” an oil painting by James Holland — ,£210 ; 
 
 “La Senora,” by John Phillip, R.A. — £99 159. ; “The Officer’s Widow,” by the same, an unfinished picture of the mother 
 showing her boy his father’s sword — £283 109. In the sale of his works after the artist’s death this picture sold for ,£462. 
 The Pointers — “To Ho!” — by Sir E. Landseer, R.A., exhibited at the British Institution, 1821 — £997 109. In the 
 Gillott sale, 1872, this fine picture sold for ,£1,920. A garden scene, with a peacock and birds, by Hondikoeter — 
 ^£24 1 109. ; “ A Fresh Breeze,” by W. Van de Velde, with a man-of-war and other ships, signed, in the Earl of Lichfield’s 
 collection at Shugborough, 1842, and the Rev. Mr. Lucy’s, 1875, No. 70, Smith’s Supplement, measuring about i8in. by 
 26m. — £477 159. ; “A Calm,” with boatmen, a jetty, and ships, by W. Van de Velde, about i8in. by 22in. — .£1,575 ; 
 a View in a Dutch town, with figures, by J. Van de Heyden, about i6in. by 22m. — £309 ; a woody river scene, with 
 figures in a boat fishing, by J. Ruysdael, oval — £ 152 59.; “Venice,” by R. P. Bonington, signed— .£262. 
 
 VOL 
 
 I. 
 
 M M 
 
ART SALTS. 
 
 [ 1877 . 
 
 266 
 
 THE DUG DE FORLI COLLECTION OF PORCELAIN . 
 
 (“The Times,” 1877.) 
 
 The sale of the choice collection of Dresden china formed by the Due de Forli, a Neapolitan nobleman, tolerably 
 well known for his taste in this direction, did not disappoint the expectations that its exhibition had created. The high 
 prices show that there are still some virtuosi among us of whom it might be said, as it was of Horace Walpole — “ China’s 
 the passion of his soul.” Three hundred guineas for an “ ecuelle” in May flower, painted with Watteau figures and the 
 arms of the Dauphin ; 100 for a pair of small candlesticks, and ,£215 for a little lady in a hooped petticoat and her two 
 pet pugs, are indeed au prix de luxe ! The pretty birds — bullfinches, woodpeckers, owls, cocks and hens — sold for sums 
 from two to forty guineas, the latter price being given for a pair of yellow birds with black wings. The animals were in 
 equal favour, few going for less than ,£20, while a brown and white terrier fetched nearly £35, and a pair of bulls attacked 
 by dogs only 6£in. high sold for ,£195. The single figures, most of them, sold for £5 to £20 ; a pair of candlesticks i6in. 
 high for £ 26 5.?. ; a statuette of King Augustus in Masonic dress, with a pug dog, £31 10s. ; a pair of figures in long 
 cloaks with rosettes, 6in. high, £45 ; a pair of seated figures, holding baskets, £40 ; a gardener and shepherdess, £45. 
 Groups of figures. — -Count Bruhl’s “ Tailor Riding on a Goat,” — £68 ; pair of groups of three children — £42 ; a lady and 
 gentleman with pug dog, seated in a harbour — £29 ; two figures in Oriental costume seated in a bosquet — £25 ; pair of 
 double candlesticks — £78 17s. ; “ The Toilet,” a group of three children — £32 1 rr. ; “ Europa on the Bull,” attended by 
 two nymphs — £61 ; a Shepherd and Shepherdess under a tree — £40 ; two Chinese figures — £30 ; two figures dancing — 
 £37 > a giK with an harlequin child, taking spectacles off harlequin’s nose — £73 ; a gentleman fastening on a lady’s skate 
 — £20 ; a gardener and a girl with basket of flowers — £18 i8r. ; “ Pluto carrying off Proserpine,” — £25 ; a lady with two 
 parrots— £32 ; a man playing the guitar, and two figures dancing — £24 ; pair of groups of Chinese ladies and children — 
 £52 ior. ; two lovers seated by a birdcage — £47 ; two seated Spanish figures, in masquerade costume, playing cards — 
 £41 ; another group of Spanish figures — £33 nr. 6 d. ; “The Companion,” — £49; a lady in hooped petticoat, and a 
 gentleman in fancy costume — £64 ; a lady in hooped petticoat, with a pug dog on her lap, taking tea, and a negro servant 
 at her side — £150. Three children dancing, on white scroll pedestal — £30. Set of four candlesticks, of scroll design, each 
 with two figures at the base — £121. A double candlestick, formed as a cherry tree — £22. A lady in black bodice and 
 large hooped petticoat, carrying a pug dog in one arm and another pug peeping from under her dress, on white and gold 
 pedestal — £213. A pair of busts of Count Bruhl’s children, richly coloured, with daisies in the hair and bosom — 
 £73 10s. ; a large group of angels scattering flowers, cherubs and clouds — £80 ; pair of caricature figures of Dutchmen 
 — £34 ; an inkstand, formed as a galley, with a seated figure in the stern, mounted with ormolu — £94 ior. ; pair of two 
 handed vases, with pierced necks and covers, painted with conversations — £69 6s. ; a vase and cover of similar form — 
 £24 13V. 6 d. ; a large punch bowl and cover, painted with Hogarth’s midnight conversations— £48 6 s. ; fine dcuelle, 
 cover and stand, beautifully painted with seven groups of figures after Watteau — £35 I4r. ; an oviform vase and cover, 
 canary ground, painted with military subjects in four medallions — £50 8r. ; pair of large oviform jars and covers, painted 
 with flowers in colours and gold, 1 Sin. high, very fine in the colours and paste, marked “ A. R.” — £36 15J. ; a large oval- 
 shaped dcuelle, cover, and stand, painted with Watteau subjects and flowers in colours — £2 7 6s. ; a pair of Louis XV. 
 candlesticks of scroll design, richly gilt — £100 ; a fine clock, in white and gold case, painted with landscapes, and 
 surmounted by a figure of Venus, 1 5iin. high — £So ; a fine coffee pot and cover, painted with a river scene and figures, 
 in basket pattern border, the handle of scroll work, surmounted by a bust — £105 ; an oval verrKre, with handles formed 
 as eagle’s head, a mask on each side, and festoons of flowers, in high relief, in colours — £135 ; a beautiful dcuelle, cover, 
 and stand, with dolphin handles, May flower ground, painted with medallions of Watteau figures on each side, the arms 
 of the Dauphin of France in relief on each side of the lid, and painted on the stand— £305. The catalogue contained 
 excellent outline drawings of the principal pieces. The whole realized ,£4,221 i+r. 
 
 Sale of Tapestry in Paris.— -The Times, 1877, Paris Correspondent writes : — “Few words are more impressive 
 than the associated names of Alva and Flanders. That idea occurred to me on hearing announced the sale of the very 
 curious and unique collection of Flemish tapestries of the Duke of Berwick and Alva. This sale will be one of the most 
 interesting that has been held for a long time. Among the articles to be sold there is a series of six Biblical tableaux, 
 Flemish tapestry, gold and silk, which amateurs place above everything existing of the kind, and among the six, one 
 representing Christ in the Garden of Olives, which will attract special attention. Those present at such an auction 
 cannot but regret the necessities which impose such sales, implying the scattering of treasures of patience and art, the 
 value of which is doubled precisely because they exist as a collection. This reflection is the more vivid because the 
 collection in question dates from a time when the name of Alva had an irresistible authority in the Low Countries, and it 
 is easy to understand with what ardour the unrivalled artists whom Flanders then possessed laboured in working at those 
 tapestries to gratify the most terrible of masters, whose yoke they dreamt of shaking off while weaving those marvellous 
 works to satisfy his haughty fancy.” 
 
1877.] COLLECTION OF MR. IV. STONE ELLIS. 
 
 267 
 
 MR. W. STONE ELLIS'S COLLECTION. 
 
 (“The Times,” March 12, 1877.) 
 
 The collection of drawings and sketches by David Cox, belonging to the late Mr. W. Stone Ellis, of Streatham, sold 
 on Friday and Saturday last by Messrs. Christie, Manson, and Woods, without being remarkable for any striking 
 examples of the highest order, such as we have seen sold recently in the collections of Mr. Ouilter and Mr. Albert Levy, 
 contained many interesting sketches and some finely finished drawings in the artist’s boldest later style, which had not 
 been seen before. The drawings were all in perfect condition, having been nearly all preserved constantly from the light 
 in portfolios. There were in all about 300 which were by David Cox, the rest being by his son, the member of the Society 
 of Water-Colour Painters, by G. Cattermole, F. Tayler, and other artists, and one drawing by Turner — a view in Italy in 
 his middle manner, a slight but masterly work, the subject of which was a castle on a hill above a river, with figures in 
 the foreground. This sold for £147. The prices obtained were generally high, though the more important and larger 
 works did not bring comparatively such high prices as the smaller drawings, the “ Cader Idris,” which is said to be the 
 largest he ever painted, selling for 365 guineas only. The average, however, was certainly high, as the large total of 
 ,£17,91 1 will show. 
 
 The drawings in sepia, most of which were sketches, were all about the same size of Sin. by I2in. Among those 
 which were more finished may be noticed “The Garden at Haddon ” — ,£21 ; Conway, from Llansantffraid — £(21 ; a moor 
 scene — ,£26 5J. ; Wyndcliff— ,£23 ; Ploughing, early morning — £(30 9J. ; Aberglaslyn Bridge — £21 ; Milking — ,£27 6s. ; 
 Vale Crucis — £(47 5J. ; driving sheep, a windy day — ,£58 i6j. ; near Windermere — £(31 105. ; Calais Pier — £(464 s. Of 
 the sketches in water-colour, of which there were many sufficiently finished to be very characteristic examples of the 
 painter’s style, the following were sold in lots of three: — A lane scene and milking time — £(34 13J. ; the terrace at 
 Haddon, and two after Cuyp — £ 42 ; a woman driving geese, and evening after a storm — £44. Capel Curig — a stubble 
 field — £,36 15J. ; view on Bala Lake, Boulogne jetty, Windermere — £(40 19J. ; Boulogne Sands — £(45 ; Off Sheerness — 
 ,£50. Returning from Market, Lancaster Sands, one of the artist’s favourite subjects, often painted, of which this was a 
 charming example — £(351 15J. ; “A passing Shower,” 1854, a gleam of light and colour over the fields — £1 37 1 ij. ; 
 Outskirts of Pakenham Park, 1854 — £(183 15J. ; on the Kentish Coast — -£(152 5 j. ; Beeston Castle, gleaners going home, 
 evening, with a primrose sky and dark clouds, the rooks flying home — £(63 ; Rhiwaedog, near Bala, gray daylight effect — 
 £473 5-r. ; mill in Staffordshire — £226 16 s. ; Kent Bank, Lancaster Sands— £(105 ; gipsy camp, an early work — £499 10s.; 
 Ludlow Castle, evening — £410 5J. ; Bolton Abbey — £410 5J. ; a Welsh road, stormy effect, 1846— £(68 5J. ; a Staffordshire 
 mill, a larger drawing — ,£210 ; a hayfield, watering horses, on sugar paper, about 15m. by 20m. — £367 ioj. ; Little Orme’s 
 Head, about i8in. by 28m., on sugar paper — £99 1 5J. ; the Monk’s Walk, about 1 5 in. by 2oin., a convent under the hill, large 
 trees and figures of the monks seen in the shadow — £99 1 5J. ; Off Sheerness, a bold and sketchy drawing, but very effective, 
 on sugar paper, about 15m. by 2oin. — £(294; Pevensey Marsh, a small work — £32 11s. ; Bolton Park, 5 in. by Sin. — 
 £33 1 2s. ; In the Garden, Haddon Hall, 6in. square — £33 I2J. ; old house and trees, evening — £(42 ; Ludlow Church during 
 the plague, with a crowd of figures crouching and kneeling at the door, 12m. by 8in. — £(46 4 j. ; a Farmyard, with geese, 
 broad effect of shadow under the trees, the geese in the light — £(50 8j. ; Breezy Day, a small but charming drawing, about 
 loin, by lain. — £236 5s-. ; Plumstead Marsh — £204. 15J. ; Haymaking, 1853, about loin, by I2in., a beautiful drawing — 
 £(283 ioj. ; Children flying the Kite, 1853, very spirited, and fresh in colour, about loin, by I2in. — £330 15J. ; a lane 
 scene, Cheshire — £415 10s. ; Haddon Hall, with hawking party, a bold but slight sketch — £78 1 3s. ; Stokesay Castle, 
 1852, cloudy day, about ioin. by 13m., on sugar paper — £246 15J. This, Mr. Woods stated, David Cox considered the 
 best sketch he ever made; it is engraved in his Life. Boy opening gate for Sheep — £131 5J. ; Colwyn Bay, 1845 — 
 £152 55. ; Tallypont, above the blacksmith’s shop, about 15m. by 24m. ; a bold sketch made on his birthday, July 9, 
 1844, as written in the rock in foreground — £38 17J. ; a Welsh Valley, with trees, sheep, and figures, about i6in. by 
 24m., on sugar paper — £105 ; a Sandy Lane, with a gleam under the trees and a timber waggon — £210 ; Going to the 
 Hayfield, a man in a smock frock on a gray horse, and a hay wain in the middle distance, about 14m. by iSin. — £262 ioj. ; 
 the Dinas Mountain, with a man leading his horse over the rocks in the river bed — £115 ioj. ; Waterlane, Harbourne, 
 gray daylight effect — £188 15J. ; the meeting of rivers Conway and Lugwy, a fine Titianesque drawing, about i6in. by 
 28m. — £120 15J. ; Tooting Common, 1851 — £157 ioj. ; Mischief, 1852, a boy driving the geese about near the farm-yard, 
 exhibited at the Ventnor Hospital Exhibition, about 15m. by 2oin. — £535 ioj. ; Cader Idris, 1828, described in Ruskin’s 
 “ Modern Painters,” the largest drawing Cox ever made, measuring 3o|in. by 42jin. ; on the back is wr.tten, apparently 
 in the artist’s writing, “ Cader Idris, No. 1, D. Cox ; Storm Clearing Off, Evening.” The mountain fills the distance, 
 with fine gnarled oaks in the left corner, and a man with a horse laden with hares, and two greyhounds ; two other 
 greyhounds in the foreground — £383 5J. The last three pictures were oil paintings, about loin, by 12m. “ A Road 
 Scene, wind and shower” — £325 ioj. ; “Lane at Flarbourne, from the gate of the artist’s house” — £105; “Market 
 Women Crossing a Heath,” signed and dated 1854 — £367 ioj. 
 
 M M 2 
 
268 
 
 ART SALTS. 
 
 [ 1877 . 
 
 THE SIDSON COLLECTION OF WEDGWOOD WARE. 
 
 (“The Times,” March 5, 1877.) 
 
 This remarkably complete collection is now exhibited at the sale rooms of Messrs. Christie, Manson and Woods. 
 It is altogether one so fully representative of the beautiful form of ceramics created by Wedgwood, and brought to 
 perfection by him in his own Etruria of England, that no one interested in art for beauty’s sake or concerned for the 
 merits of English art work should miss the opportunity of seeing it. There has never certainly been such a show of fine 
 examples of every kind to be sold in an auction room, not even when the collection of Mr. T. Delarue was seen in the 
 same place, for that was less complete in the variety of forms which Wedgwood invented. The late Dr. Sibson for the 
 last ten years of his active life devoted himself enthusiastically to his favourite pursuit, and his cabinet will always be 
 known with the Haliburton, Mayer, Apsley Pellatt, Falcke, Nettlefold, Carruthers, Bowker, and Bohn collections, from 
 which have been chosen the typical examples for Miss Meteyard’s classic on Wedgwood and his art. Perhaps the 
 portrait medallions and the cameos are the most salient feature of the collection. There are about 200 portrait 
 medallions, some of which are by Flaxman and others signed by W. Hackwood, which are rare, for Wedgwood objected 
 to the artists he employed placing their names on his ware. The cameos are too numerous to mention, except as sets in 
 frames, of which there are enough to cover one entire side of a room, and they alone are an inexhaustible field of beauty 
 and exquisite delicacy of work. We can see in them how highly Wedgwood esteemed this branch of his work, and how 
 he sought out with admirable taste the finest examples of Greek glyptic art in the cabinets of Stowe, of Baron Stosch, of 
 the Blenheim gems, Sir W. W. Wynne’s, since destroyed by fire, Sir W. Hamilton’s, and the Duke of Portland’s famous 
 Barberini vase, with which his art reached its culminating point of excellence in 1791. Wedgwood made several 
 hundred of these camei, in 1773-4 ; from the Wynstay cabinet alone 180. His ambition was to equal in ceramic work, 
 combined with the undercutting and finish that the gem-cutter’s wheel afforded, the beautiful glyptics of the antique. He 
 says : — “ If the nobility and gentry should please to encourage the design they will not only procure to themselves 
 everlasting portraits, bur have the pleasure of giving life and vigour to the arts of modelling and engraving. The art of 
 making durable copies at a small expense will thus promote the art of making originals. Nothing can contribute more 
 effectually to diffuse good taste through the arts than the power of multiplying copies of fine things in materials fit to be 
 applied for ornaments.” These words express the whole intention of Wedgwood and find their confirmation in every 
 object to be studied in the works before us now, so many of which are examples of absolutely perfect work, and in point 
 of design unequalled in the whole range of applied art. In his feeling for classic beauty and the perfection of his work 
 Wedgwood surpassed all predecessors and stands alone. As an accomplished writer in ceramic art has well said, 
 “ Wedgwood is recognised universally as one of the worthies of our country, his name has become a household word, and 
 his beautiful wares have attained a kind of classical repute.” The sale will occupy two days — Wednesday and Thursday 
 next — beginning each day with the portrait medallions. 
 
 (“The Times,” March 12, 1877.) 
 
 The sale of the Sibson collection of Wedgwood ware, at Christie’s, on Wednesday and Thursday last, attracted a 
 very full attendance, and the prices of the many fine examples showed that the appreciation of this beautiful form of 
 Ceramic art is higher than ever. All the best pieces sold for higher prices than have ever been reached, and the one 
 magnificent vase in black jasper, with serpent handles, Medusa heads, and the Apotheosis of Homer on its superb pedestal, 
 probably the work of Webber, who executed the figure reliefs of the famous Portland or Barberini Vase, brought the un- 
 precedented price of £735. This is remarkable, as being not much below the sum obtained for the original antique 
 Barberini Vase at the sale of the Duke of Portland’s collection in 1786, when it was bought in at ,£1,029. Wedgwood 
 himself having bid up to £1,000 for it. The framed sets of cameos and medallions also sold for prices higher than have 
 ever been known; one with the beautiful Apollo in high relief, and a number of small cameos selling for ,£178 10s. 
 These are the prices of works of art, and not more than they are worth as such ; but Wedgwood, though making them 
 wholesale, never attempted to compete in cheap and bad works of manufacture. His Portland Vase, of which only a 
 limited number of the best were sold by him at 50 guineas, brought 180 guineas at Christie’s in 1875. His cameos and 
 small medallions were priced in his invoices at a few shillings, but the manufacturing prices of his vases and plaques were 
 considerable, such as from 10 to 20 guineas or more. For the Cupid and Psyche, from the Marlborough gem, ioin. long, 
 5 guineas was charged ; for the Apotheosis of Homer, 10 guineas. So that, considering that Wedgwood ware is as 
 completely extinct as Henri Deux ware, Sevres, Dresden, Chelsea, and Worcester china, the prices we have seen attained 
 during the past week are not by any means extravagant or attributable to mere fashion. 
 
 Following the order of the sale, among the portrait medallions those which brought the highest prices were: — Sir 
 William Hamilton — ,£4 ioj. ; Thomas Bentley, Wedgwood’s partner — £5 ; Shakespeare, signed by W. Hackwood — 
 ,£1616.1.; David Garrick, also by Hackwood — £17 17s.: Sir Joshua Reynolds — £9 9s.; Dr. Franklin — ,£12 12^.; Solander 
 — £10 1 or.; Captain Cook — £15 1 5 ; Warren blastings — £9 19J. 6 d .; Josiah Wedgwood — £10 ioj-.; John Kemble — 
 £14 14 s.; Mrs. Siddons as the Tragic Muse — £22 (these two sold together in the Carruthers collection, 1870, for £10 15J.); 
 E. Bouen, the modeller, by Hackwood — £16 i6r.; Lord Duncan and Lord St. Vincent — £28 7s.; set of George III. and 
 the Royal family — £67 41-.; Newton and Locke, pink jasper— £27 6s.; Dr. Priestley — £19 8s. 6 d.\ Nelson — £12 12 s. 
 Cromwell — £15 1 5 j. ; C. J. Fox — £15 151-. 
 
 Medallions and Bas-reliefs. — Venus Callipyge, large oval on purple ground — £15 1 5 ^. ; Flora — £18 i8r.; Hebe — 
 
1877.] 
 
 THE SIB SON COLLECTION . 
 
 269 
 
 .£15 15^; Apollo and the Muses, ten oval plaques— £79 16 s.; frame of 21 — .£54 12s.; ditto of 31 — ,£58 i6j.; ditto, with 
 Apollo on black, Hercules and the Lion, and others— ,£57 15J.; n, Hope and Peace, Labour and Plenty, by Webber, 
 1 789 — £\o2 i8j.; frame, with the Dancing Hours, and others — ,£84; ditto, with the Marlborough gem, and others— 
 .£94 1 os . ; ditto, with Nymphs and Cupid in a cage, and others— ,£99 1 5 ; ditto, with the zodiac, head of Medusa, death of 
 Caesar, and others— ,£115 ioj.; the Infant Academy, circular, 4^in.— ,£16 15J. 6 d.; frame of 12, Achilles with the body of 
 Hector, by Pacetti, and others— ,£49 7s.; ditto, Achilles and Hector, Venus and Cupids, Friendship, and others— 
 ^115 ioj\; ditto of 35, with Cupid on a lion, Mutius Scaevola, on pink, and others, small— ,£126 ; ditto, with Apollo, large 
 bas-relief, Aurora and others, small— ^178 ior.; ditto, with Victory, Antonia, with the ashes of Germanicus, Priam, and 
 Achilles, Medusa head, small, and others — £69 6j\; Medusa head, by Flaxman, 5Lin. in diameter, engraved in Meteyard 
 —^52 1 or. ; head of Cleopatra, blue jasper, by Flaxman— ,£17 17s.; the Muses watering Pegasus, 4^ in. long— ^26 55.; 
 sold for £9 1 Sr. in the Carruthers collection ; Feast of the Gods, oval, blue jasper, 9m. by 6in . — £43 ; Marriage Feast 
 of Perseus— .£42 ; Nymphs decorating the statue of Priapus, oval, blue jasper, designed by Angelica Kauffman— ,£86 ; 
 Apollo and the Four Muses, blue jasper, 15m. by 6in., by Flaxman, from sarcophagus in the Capitol— ,£131 sr. ; the 
 companion, with five Muses — ,£131 5r. ; The Dancing Hours, by Flaxman, 9m. by 2in. — ,£46 4r. ; Offering to Peace, 
 Flaxman, icin. by 3m.— ,£99 15J. ; large plaque, with bird’s nest and festoon of flowers, by Westmacott— ,£98 i4r.; 
 Bacchanalian Boys, 12 in. by sin., by Lady Di. Beauclerk— ,£65 ; Priam begging the body of Hector from Achilles, 
 green jasper, 15m. by 6Jin., by Pacetti— ,£136 ior. ; vases, pedestals, &c., a pair of oviform ewers, granite, with gilt 
 foliage — £ 1 8 i8r. ; altar-shaped jardiniere , Cupids as the Seasons, palms at angles— ,£26 $ s - a stand, with griffins 
 at angles, blue jasper — ,£58 i6j. ; another, similar, with Prince of Wales’s feathers — ,£60 i8j. ; a bust of Voltaire— 
 £ 2 5 7 s ; sold in the Delarue sale, 1866, for £4. 15J.; an oviform vase, with serpent handles, figures of Charity, and 
 Nymphs and Cupids — ,£60 18.J. ; a similar vase, i6in. high, dark blue, serpent handles, with Venus and Adonis and 
 Cupid and Venus in her car— ,£65 ; a vase, blue jasper, Venus in her car, &c., 17m. high, designed by Le Brun 
 —£90 6s. ; a vase, blue jasper, 14m. high, Hercules in the garden of the Hesperides, by Flaxman, from an Etruscan 
 Vase — ,£120 15-y. A similar vase, with Cupids, by Lady Di. Beauclerk — ,£100 1 6 ; the companion Vase, with the 
 Infant Academy of Reynolds, music, &c. — ,£100. A Secretaire, of satin wood, with plaques of the Marlborough 
 
 gem, large size, and two upright plaques of Sappho and Flora, with others of children — ,£189. This was the 
 only large copy of the Marlborough Gem in the collection. The fine oval of the gem, measuring Sin. by 6in., in 
 the Bohn sale (1875) sold for .£45. A small table of Coromandel wood, inlaid with Wedgwood plaque and eight 
 small medallions — ,£150; a pair of candelabra, pedestals of blue jasper, with glass branches and drops — ,£31; 
 
 a pair of oviform vases, blue jasper, with Flaxman’s “ Blindman’s Buff,” and Venus in her car with Cupids, nin. high 
 
 £115 10s . ; a vase, pale blue jasper, serpent handles, with Achilles confided to Chiron and Achilles and Chiron chasing a 
 lion, by Flaxman, 13m. high — ,£86 ; a two-handled vase in pale red ware, painted by Flaxman, with Agamemnon and 
 Cassandra addressed by Chorus, from the Denman Collection — £25 ; a campana-shaped vase, dark blue jasper, 12-iin. 
 high, with Achilles and the daughters of Lycomedes and Priam begging the body of Hector — ,£71 8j. A square 
 pedestal, blue jasper, ornamented with festoons, and subjects of Flora, a sacrifice and the Dancing Hours — ,£43 ; an 
 altar-shaped pedestal, blue jasper with rams’ heads and griffins at the angles, figures of Juno, Hebe, Victory, and Ceres 
 on the faces — ,£81 i8j.; the magnificent vase in black jasper, with serpent handles and Medusa heads, bands of Greek 
 ornament in white, the body having a relief of the Apotheosis of Homer, with palm trees on the reverse side, standing on 
 a pedestal ornamented with “A Sacrifice to Flora and Cupid,” the cover surmounted by a figure of Pegasus, 25m. high, 
 was put up with a round of applause at a bid of 300 guineas, and rising in two bids to 500 guineas, was knocked down to 
 Mr. Davis for 700 guineas. Some interesting models in wax and drawings by Flaxman were afterwards sold, the model 
 for the head of Cleopatra (lot 234) sold for ,£9 19J. 6 d. ; Ganymede — £11 ; two studies of children — ,£13 13^.; study for 
 the Shield of Achilles, in pencil — ,£6 i6.r. 6 d.; “The Birth of Bacchus,” drawing for the wax model sold in Miss 
 Denman’s sale — £32 12 s.; “Mercury crossing the Styx,” and Jupiter, engraved in the outlines to “Aeschylus” — _£i2 1 2 ; 
 designs for the “Acts of Mercy,” &c. — .£11. Other wax models made for Wedgwood were : — “The Marriage of Cupid 
 and Psyche” (Marlborough gem) — £4-, two children with a bird, by Lady Diana Beauclerk, for Horace Walpole’s 
 Collection, and the companion, Children with a Cat — £6 17s.; “The Triumph of Silenus,” the original in wax by 
 Fiammingo, from Paul Sandby’s Collection — ,£40 191. The total realized by this remarkable sale of two whole days 
 amounted to £7 , 376 i2.r. 
 
2 JO 
 
 ART SALES. 
 
 [ 1878 , 
 
 THE NO VAR COLLECTION. 
 
 (“The Times,” April 4, 1878.) 
 
 The fine pictures by Turner belonging to the late Mr. Munro, who was his intimate friend and executor, forming 
 what has long been known as the Munro collection, but which has recently taken the name of “ Novar” — that of Mr. 
 Munro’s place in Scotland — are now exhibited at the rooms of Messrs. Christie, Manson and Woods, previous to the sale 
 on Saturday. The collection had always been at the house in Hamilton Place, Piccadilly, but when that was pulled down in 
 making the new road they were removed to the Pantechnicon, where they have remained for some years until the present 
 time. As now exhibited this extremely interesting collection, however, is not quite what it was during Mr. Munro’s lifetime. 
 Two of the most beautiful pictures were sold in i860, the “ Ostend ” and the “ Approach to Venice” ; and the “ Modern 
 Italy” was parted with in 1867, but was soon afterwards, in the following year bought back again by Mr. Butler 
 Johnston, and now appears among its fellows. It is remarkable of these sales that such high prices were realised that 
 Mr. Munro actually gained more by the “ Ostend ” and the “ Venice ’’—which sold, the first for £ 1,732 ioj-., the latter for 
 ^£2,520 — than he had paid Turner for all his pictures and water-colour drawings. But, strange to say, in repurchasing 
 the “ Modern Italy ” from Mr. Fallows’ sale, a profit of more than ,£500 was paid, the picture having been sold in the 
 Munro sale for ,£3,465, and bringing only ,£2,961 afterwards in the Fallows sale. The “ Venice,” it will be remembered 
 was sold at the sale of Mr. Mendel’s collection, in 1875, for ,£7,350, and passed into the gallery of Lord Dudley. The 
 greatest interest and curiosity is felt as to the prices which will be given for the pictures now about to be sold, as they are 
 considered to be quite worthy compeers of the splendid “Venice,” and the “ Ostend.” Since the memorable Bicknell 
 sale, in 1863, there has been no such display of Turner pictures at this famous auction gallery. Then there were, indeed, 
 some works of the highest interest in the “ Antwerp, Van Goyen looking for a subject,” “ Helvoetsluys,” “ Ivy Bridge,” 
 “The Wreckers,” “ Calder Bridge,” “Venice,” “The Campo Santo” and the companion the “ Giudecca,” the “Ehren- 
 breitstein,” the “ Port Ruysdael,” and the “Palestrina,” 10 pictures, all capital works. Here there are nine, with more 
 than 30 water-colour drawings, many of which are large and important examples, and some, such as the “ Zurich,” the 
 “ Knaresborough,” and the “ Lowestoft,” as beautiful and characteristic of the master as any of his acknowledged 
 masterpieces, and all fresh and brilliant from having been kept so carefully from the light in portfolios, as were those 
 which, with the numerous exquisite vignettes, were sold last year. 
 
 Of the pictures, the “ Ancient Italy,” with its subject, suggested by Turner’s own peculiar feeling, of “ Ovid banished 
 from Rome,” and the “ Modern Italy,” are known by the engravings, and so is the “ St. Mark’s Piazza,” with the moonlight 
 masquerade, and “Juliet with her Nurse on the balcony.” The “ Kilgarran Castle,” is tolerably well known from his having 
 painted it frequently, but perhaps never with more grandeur and imposing solemnity than in this. The two views of Rome 
 are of his finest middle time, when, as Mr. Ruskin has so eloquently said, “ He saw there were more clouds in any sky 
 than ever had been painted, more trees in every forest, more crags on every hillside, and he set himself with all his 
 strength to proclaim this great fact of quantity in the universe.” In these the subject is infinite and the beauty is 
 inexhaustible. Nothing could be more lovely and abounding in the charm of poetic treatment than the “Campo 
 Vaccino,” with the departing glory of the sunlight striking over the classic ruins fading before the silvery light of the 
 moon. The view of Rome, showing the vast city spread out from the foot of the Aventine, with the umbrella pine high 
 in the foreground, is amazing in the grasp and power with which the scene in all its intricate detail and vast space is 
 brought before the spectator. The “ Avalanche ” is one of his most tremendous efforts, and altogether a most striking 
 and impressive picture. The “Van Tromp’s Shallop ” is one of four “ Van Tromps” he painted, described in the sale 
 catalogue as painted in 1831, but, if this is correct, the picture is that in the Academy catalogue of that year called 
 “Van fromp’s Barge at the entrance of the Texel,” otherwise it would be the one exhibited in the next year, and called 
 “ V. Tromp’s Shallop at the entrance of the Scheldt.” A picture of great interest as an early work of his youth almost, 
 is the “Venus and Adonis,” an upright landscape with Amorini hovering in the trees, and four hounds held in the leash 
 by Adonis, painted in 1806, but not exhibited till 1849, quite in emulation ofTitian. The pictures by Bonington, and the 
 celebrated “Kitty Fisher” of Sir Joshua, though somewhat overshadowed by the Turners, add great interest to this 
 remarkable sale. 
 
 (“The Times,” April 8, 1878.) 
 
 The fine collection of pictures belonging to the late Mr. Munro, to which we have already drawn attention as 
 rendered so famous by the splendid works of Turner, was finally dispersed at the hands of the auctioneers, Messrs. 
 Christie, Manson and Woods, on Saturday, with the sale of the nine remaining large oil paintings and 32 water-colour 
 drawings. The most extraordinary and enthusiastic interest was shown during the exhibition of the pictures on the three 
 days preceding the sale, the spacious rooms being crowded from the moment of opening till the closing, and even then 
 people lingered before the pictures, and it required repeated loud summonses from the porters in attendance before the 
 rooms could be cleared. It has been calculated that from twelve to fifteen thousand persons must have passed before the 
 pictures, and this is founded on some tangible data in the number of catalogues sold. The proceeds of these are devoted, 
 as in the case of other great sales by Messrs. Christie, to the Artist General Benevolent Fund, and when last we inquired 
 the sum amounted to over £70 On the morning of the sale day, such was the pressure to obtain good places in the 
 large room that it was found necessary to keep the door closed for a time and admit those who were concerned in the 
 business of the sale by tickets. The room was densely packed as the time for commencing the sale arrived, and even in 
 the ante-room numbers of persons stood anxious to catch a sight of the pictures on the easel and to hear the biddings rise 
 
 
F 
 
1878 .] 
 
 THE NO VAR COLLECTION. 
 
 271 
 
 from thousand to thousand guineas, amid the applause of the excited audience. The feeling of admiration expressed 
 while the pictures were on the walls was constantly met with the question, “What will they sell for?” and while some 
 good judges did not hesitate to name very large sums, others spoke of the bad times and doubted whether these 
 exceptionally beautiful pictures of the great master would hold their own as they had a few years ago when prices seemed 
 to be at the zenith in the sale of the “Venice” for 7,000 guineas. However, the enthusiasts were speedily made happy 
 when the first high note was sounded in the bid of 3,000 guineas for the smaller Bonington from Messrs. Agnew, followed 
 immediately by another of the same firm for the larger picture by the same painter. The loud applause when this 
 masterpiece was put on the easel and when it passed away at this high price gave a brilliant opening to the sale, which 
 then proceeded quietly with the less important pictures till the Turner drawings came up, when the excitement began in 
 earnest, and some eager contests arose, culminating with the great pictures, of which the six choicest ones averaged 
 5,000 guineas each, and bringing this remarkable sale to a conclusion with a total of £[73, 520, the highest ever reached 
 for such a small number of pictures, of which it may be said that only about 50 were of first-rate interest. 
 
 In opening the sale Mr. Woods stated that he regretted in offering a collection of such great interest, that he had so 
 little to say except as to the high merits of the pictures, for Mr. Munro had died suddenly and left no record whatever 
 about them among his papers. They were now to be sold without any reservation, and he left them with confidence in 
 the hands of his audience. The sale then commenced with a Normandy Coast Scene, by R. P. Bonington, 9-Jin. by 
 I2jin., which sold for £420. Another small French coast scene, by the same, £[210. In putting up the next picture by 
 Bonington, “The Fish Market, Boulogne,” 31m. by 47m., engraved by Quilley, Mr. Woods said that there was a note by 
 the late Mr. Frost, the artist, among Mr. Munro’s papers, that this and the next lot, “ The Grand Canal,” were the two 
 largest works of Bonington. He only wished that a painter whose works are so little known, and of which so many 
 imitations exist, could be represented in the National Gallery by at least one of these two masterpieces, as there would 
 then be some court of appeal to refer to for the authenticity of a Bonington. “The Fish Market,” was then put up at 
 600 guineas, and rose quickly to 2,000, falling to Mr. Agnew at last for £[3,150. “The Grand Canal, Venice,” 40m. by 
 5oin., engraved by C. G. Lewis, was received with loud applause and a bid of 1,000 guineas from Mr. Agnew, between 
 whom and Mr. Vokins a sharp contest was kept up, ending in favour of the former with a bid of 3,000 guineas, the same 
 price as the smaller picture. It is said that Turner admired this picture so much that he wished it always to hang near 
 his own. The next few lots may be passed over, being pictures by Carl Brocky and A. E. Chalon, of no interest. 
 “Dominicans returning to their Monastery, Amalfi,” by W. Collins, R.A., 1842 — £[267 15J. ; by J. Constable, R.A., 
 “Stratford St. Mary, Suffolk,” lain, by 19m., sold for £[325 ; “Hampstead Heath,” 14m. by 19m. — ,£483 ! “Ploughing,” 
 loin, by 14m. — £[304 ior. ; by W. Etty, R.A., “The Graces,” 2oin. by 30m. — £[178 ioj. ; “The Good Samaritan,” 21 Jin. 
 by 26m. — _£i68. This picture was given by the artist to Mr. Samuel Cartwright, the eminent dentist, and had been sold 
 to Mr. Munro for £600. “Venus and Adonis,” after the Titian in the National Gallery, smaller than the original — £[231 ; 
 “ Diana and Endymion,” 31m. by 27m. — ,£315 ; “ Waters of Elle,” circular 25m., a half draped female figure, moonlight 
 — £l8 ioj. ; head of Mr. Wethered — £68 ; “Aurora and Zephyr,” circle, 36m., exhibited 1845, delicate in colour and 
 graceful in composition — ,£483; a large picture, “Sin and Death,” by H. Fuseli, R.A., engraved — ,£10 ioj. ; by 
 W. Hogarth, “The Harlot’s Progress,” i8in. by 24m., the quarrel with her new lover — ,£541 j the scene in Bridewell, 
 companion picture, by the same, the woman at the washing blocks, with the taskmaster— ,£31 5. These were the only 
 two remaining of the set of six, the others having been burnt in a fire at Fonthill, Mr. Beckford’s. Hogarth held a sort 
 of Dutch auction in his own room of this set and the eight of the “Rake’s Progress,” and five other pictures, January 25, 
 1745. They then brought him £427 10s. ; those of the “ Harlot’s Progress” selling for 14 guineas each. The set of the 
 “Rake’s Progress” have been since the Beckford sale in 1802 in the Soane Museum, Lincoln’s-inn-fields. Passing over 
 some small pictures by Lawrence, Maclise, and Landseer’s boyish picture of a spaniel’s head, which sold for 45 guineas, 
 we come to the large gallery work of P. F. Poole, R.A., “The Visitation and Surrender of Syon Nunnery, Isleworth, to 
 the Commissioners of Henry VIII.,” exhibited 1846, 55m. by 88in., sold for £[530. The portrait of Kitty Fisher, the 
 notorious traviata of her time, by Sir Joshua Reynolds, was the well-known one which corresponds with that belonging 
 to Lord Crewe, engraved in the life of Sir Joshua, and was exhibited at the British Institution about twenty years back, 
 seated on a green sofa with a dove perched on the back and another in her lap. It was sold at Christie’s in the 
 Marchioness Thomond’s, the niece of Sir Joshua, sale in 1821. Leslie, in his life of Sir Joshua, says he had seen five 
 portraits of her, and of this composition there are three — one at Crewe Hall, another at Mr. Munro’s, and the third at 
 the collection of Mr. Lennox, of New York, all very lovely. The two others differ, one is at Petworth, the other that in 
 which Kitty as Cleopatra dissolving the pearl, belonging to the Earl of Morley, exhibited at the Academy Winter 
 Exhibition, 1876. The picture now sold is much faded, but is still beautiful in the sweet morbidezza both of colour and 
 expression. It brought ,£735. The fine portrait of Miss Stanhope, by Sir Joshua, called “ Contemplation,” was also 
 from the Thomond sale, and is that engraved by C. Watson. She wears a white dress, seated, looking upwards, her 
 brown hair frizzed, with hanging locks and a green riband, black velvet bands at the wrists ; the background a red 
 curtain column and a landscape ; 55m. by 44m It was put up at 1,000 guineas, and fell to Mr. Agnew for £[3,150, 
 Smirke’s “ Seven Ages of Man,” from the Beckford collection, engraved in Boydell’s “ Shakespeare,” sold for £[283 io.r. 
 Of the five pictures by Stothard, the large gallery work “ Euphrosyne ” brought the highest price — £[99 15^. ; Wilkie’s 
 “ Gentle Shepherd,” I2in. by 7m., a trial sketch probably for the more important picture belonging to Mr. Gibson Craig, 
 and with two figures only, sold for £[157 ior. Five pictures by Wilson, Italian river scene — .£273 ; Italian lake scene — 
 £[294 ; Syon House and Thames from Kew — £ 28 3 10s. Wilson’s pictures of “ Rome from the \ ilia Madama ” and “ I he 
 Niobe,” which formerly belonged to the Munro collection, were sold in i860 at the same time as the “ Venice ” and 
 “Ostend” and the charming portrait cf Mrs. Robinson by Sir Joshua Reynolds. In entering upon the Turner drawings 
 Mr. Woods remarked that they had been kept in portfolios and had never been exposed to the light, consequently they 
 were many of them of finer quality than those in the National Gallery. They were also quite new to the public, as he 
 was sure they had not been seen by more than 100 persons from the time they were first painted. I he first of the 
 vignettes and small drawings was “The Sea, the Sea ! ” engraved by Wilman for “ I he Keepsake,’ 1837 — £210 ; “Ihe 
 
ART SALTS. 
 
 [1878 
 
 Simplon,” vignette, Sir W. Scott’s prose works — £(215; “The Bellerophon,” vignette for ditto— £(187 10s . ; 
 “Hotel de Ville, Paris,” vignette for ditto — £ 147 ; “Hotel de Ville, Brussels,” vignette for ditto — £(136 105. ; 
 “ Stirling,” engraved, for ditto, 3^in. by 6iin., a very beautiful little work— ,£357 ; “ Edinburgh,” 3^in. by 5fin., 
 for Sir W. Scott’s poetical works, a very remarkable little drawing — £(430 ; “Inverness,” 3^in. by 6Jin., 
 Scott’s works— £(315 ; “Glencoe,” 3 ('in. by 5-Hn., Scott’s works— £(335 ; “Loch Katrine,” Scott’s works— ,£335 ; 
 “ Moonlight on the Nile,” vignette for Moore’s “ Epicurean” (some amusement was created by this tiny drawing being 
 placed on the easel for a moment upside down, which the auctioneer was, however, one of the first to put right)— £260 ; 
 “ Kenilworth, Moonlight,” 3§in. by 5^-in., illustrating the illumination when Leicester entertained Queen Elizabeth, as 
 described in the novel — £157 ior. ; “Valley of the Var,” signed and dated 1813, 5|in. by 8fin., a charming drawing in a 
 delicate, opal-like scheme of colour (for this a spirited competition arose between Mr. Agnew and Mr. Vokins ; the 
 hammer fell at 316 guineas, when both claimed the bidding, and it was accordingly put up again, to become Mr. Agnew’s, 
 however, at 400 guineas); “The Walls of Rome and Tomb of Caius Cestius,” 5-|in. by 8|in., engraved in Finden’s 
 illustrations of Lord Byron’s works — £(215 ; “ Rhodes,” engraved by Finden to Byron’s works, 5^11. by 9m . — £ 262 ior. ; 
 “Acropolis of Athens,” 6iin. by 9m., engraved by Finden— £(162 i6j. The following were the large drawings: — 
 “Lichfield, the Cathedral and River,” done for the England and Wales series, but never engraved, njin. by \7\in . — 
 £(420; “Oxford,” I3^in. by 205m., engraved by Goodall, with cornfield and figures in foreground — £(525 ; “River in 
 Switzerland,” 9m. by iefin. — £ 120 ; “The Baths of Pfeffers, Ragatz, Splugen Pass,” iigin. by i8jin. This was the 
 interesting drawing to which Mr. Ruskin refers as “one of the noblest Alpine drawings Turner ever made.” For this 
 Mr. Agnew made one enthusiastic bid of 1,000 guineas, and there being no advance, it fell to him at that price. “The 
 Lake of Lucerne,” min. by i8jin. — £614. 10s. ; “ Kussnacht, Lake of Lucerne,” I2^in. by i8jin.— £(1,018 ior., to Mr. 
 Goupil ; “Zurich,” min. by i8in., a beautiful effect of morning light over the town and river, with wonderful amount of 
 detail and numerous figures in foreground — £(1,260. The following are engraved drawings in Turner’s “ England and 
 Wales:” — “ Ashby-de-la-Zouche,” iifin. by I7jin. — £520; “Chain Bridge over the Tees,” iofin. by i6fin., one of the 
 finest in the set — £(1,491 ; “ Blenheim,” view of the palace and park, with sportsmen and dogs and horses, iifin. by 
 i8^in . — £714 ; “ Knaresborough,” iifin. by i6Jin., perhaps the most beautiful of all this series, with blue mist in the 
 valley, and rosy light striking over the town on the hill — £1,218 ; “ Lowestoft,” nin. by i6fin., a late evening effect, with 
 cloudy sky, and sea in foreground, with fishing-boats, and lights seen on shore — £777 ; “ Malmesbury Abbey,” iifin. by 
 i6fin. — £73$ ; “ Pembroke Castle,” from the sea, with shipping, iifin. by 17m., a fine example — ,£630 ; “ Ulleswater,” 
 13m. by 17^-in. — .£680 ; “ Ancient Italy” was the first of the oil pictures to appear, and it was received with a burst of 
 applause, followed by a bid from Mr. Agnew of 2,000 guineas. The picture, which is as brilliant in gorgeous sunlight as 
 anything Turner ever painted, crowded with classic temples, was exhibited in 1838, and is engraved by Willmore ; it 
 measures 36m. by 48m. It was knocked down to Mr. Agnew for .£5,450 ; “ Modern Italy,” exhibited the same year as a 
 companion picture — £(5,260; “Rome, from the Mount Aventine,” painted for Mr. Munro, and exhibited 1836, of the 
 same size, when placed before the audience drew forth long and loud applause, and its great beauty was testified by its 
 bringing the highest price, £(6,142 ior., to Mr. Davis ; “Modern Rome — the Campo Vaccino,” 35^in. by 48m., exhibited 
 1839, with the quotation, “ The moon is up and yet it is not night. The sun as yet divides the day with her,” as 
 describing the beautiful effect of the strong afterglow, and the cool light from the moon seen in the light clouds. [The 
 beautiful lines of Byron so often applied to pictures are seldom correctly quoted. They are— 
 
 “ The moon is up and yet it is not night, 
 
 Sunset divides the sky with her — a sea 
 
 Of glory streams along the Alpine night 
 Of blue Friuli’s mountain.” Childe Harold, Canto IV., 27.] 
 
 This fine picture sold for £(4,672 ioj. to Mr. Davis ; “ St. Mark’s Place, Venice, by moonlight, with Juliet after the Mas- 
 querade,” 35m. by 7iin., exhibited 1836, and engraved. This picture excited as much applause as any that had gone before it. 
 It was put up at a bid of 3,000 guineas from Mr. Agnew, who became the purchaser at £(5,460. “ Van Tromp’s Shallop at 
 
 the entrance to the Texel,” 1645. This magnificent sea-piece, so fine in quality and in such exceptionally perfect condition, 
 was the object of another round of applause, to be followed by a bid from Mr. Agnew of 3,000 guineas, who, however, 
 had to contend for his prize, which in the end he carried off at £(5,260. It would appear that this fine work is the one of 
 Van Tromp exhibited in 1832, not 1831, as the sale catalogue has it, the picture exhibited in 1831 being “Van Tromp’s 
 Barge entering the Texel,” 1645, which has been for many years in the museum of Sir John Soane, and is an equally 
 beautiful work. The picture now sold should be called “ Van Tromp’s Shallop at the entrance of the Scheldt,” and it 
 will be observed that the shallop is seen in it and not a barge. “Avalanche in the Valley of Aosta, Savoy,” exhibited 
 1837, 35|in. by 48m. — £(955 ; “The Departure of Adonis for the Chase,” painted about 1806, but not exhibited at the 
 Academy till 1849, 6oin. by 48m. — £(1,942 ior. ; “ Ivilgarran Castle,” 35m. by 46m., a picture in a grand Rembrandt-like 
 tone of rich colour — £(3,570. This was the last in this most interesting and memorable sale. It may be acceptable to 
 add that the 55 drawings sold last year amounted to £(20,753, making a grand total of £(94,273. But besides these, the 
 collection as originally formed by Mr. Munro contained six other great works of Turner — “The Grand Canal, Venice;’’ 
 the “ Ostend,” sold in i860 at Christie’s as “ the property of a well-known amateur ; ” and four more sold in 1867, viz., 
 “ The Wreck Buoy,” “ River Scene on the Maas,” “ Cicero’s Villa and Tumulus,” and “ Loch Katrine,” the prices of which 
 were — “Wreck Buoy,” 1,500 guineas; “River Scene,” 1,270 guineas; “Cicero’s Tumulus,” 1,470 guineas; and “Loch 
 Katrine,” 555 guineas. 
 
 The sale of the pictures by the Old Masters belonging to the collection of the late Mr. Munro, of Novar, is 
 announced for Saturday, the 1st of June. The great picture of the collection is the well-known work of Raphael, “The 
 Madonna of the Candelabri,” and this is, we learn, to be exhibited at the gallery in Suffolk Street, Pall Mall, so long 
 occupied by the Society of British Artists, in consequence of the great numbers of persons anxious to see it. Admission 
 will be given by tickets at a charge of is., but the entire profits are to be handed over to the fund of the Artists’ General 
 Benevolent Institution. 
 

 \\\ 
 
 IV 
 
. 
 
 
 
1878 .] 
 
 THE NO VAR COLLECTION. 
 
 27 
 
 T 
 
 o 
 
 (“The Times,” May 29, 1878.) 
 
 The pictures by the Old Masters belonging to the collection of the late Mr. Munro, of Novar, are now to be seen at 
 the rooms of Messrs. Christie, Manson and Woods, in King-street, St. James’s. There are in all 153 pictures, and they 
 completely cover the walls of the large room, the smaller room, and the ante-room, some of them being of large size. As 
 a collection, it is by no means remarkable, and had not Mr. Munro been so associated with Turner, and possessed so 
 many of that great painter’s choicest works, these pictures by the Old Masters would not have given the Novar collection 
 any traditional historic importance. But there is one picture of considerable repute, and long known as the “ Madonna 
 dei Candelabri ” of Raphael, which alone is beautiful enough to confer a reputation upon any private gallery. This 
 picture has already been exhibited for some weeks past at the room taken for the purpose in the Suffolk-street Gallery, 
 and it has also been sent over to Paris, and is now returned to be seen previous to the sale on Saturday next. The 
 engraving by Levy must have rendered the picture tolerably familiar to many, but we may describe it briefly as a round 
 picture 26m. in diameter, painted on thick panel ; the Virgin seated with the Infant Saviour held upon her right knee, 
 and on a white cushion, supported by her left hand at the side of the child, the right hand not being shown. At each 
 side is seen an angel head, and the two candelabra, which are flaming, appear one on each side in the background of the 
 picture, as if held by the angels. The chief authority upon Raphael and his works, Passavant, says of it : — 
 
 “ La Vierge est d’une dignitd sublime et d’une grande beautd, le petit Jesus est vivant d’expression. La Vierge et 
 1 ’enfant sont de la main de Raphael, mais les deux anges sont si roides de dessin, si nuls d’expression et si titroitement, 
 plaquti, dans la place qu’ils occupent de chaque cotfi, qu’on ne peut guere douter qu’ils n’aient dtd ajout^s posterieurement 
 par un artiste mediocre.” 
 
 Speaking of the figure of the child, he says : — “Toutefois son corps a fortement restaurd.” The “Vierge aux 
 candelabres ” has been engraved by several hands, but all these engravings differ from one another in leaving out some of 
 the accessories. The best is the last executed, that by Levy, which corresponds with the picture as we see it now in not 
 showing the Virgin’s right hand, although it is remarkable that this hand is seen in the engraving by Folo, which is 
 otherwise incomplete in not giving the angel heads and the two candelabra. The picture, when in the Borghese Gallery, 
 Rome, was engraved by Ernest Moraces in 1796; this engraving also differs from the picture. After it was purchased 
 from Prince Borghese by Lucien Bonaparte, it was engraved for him by Fabri, but the Virgin’s right hand is not in this, 
 neither is it in those by Bridoux, Bettelini, and Blot, a French engraver of the last century. Those who are curious upon 
 this point can refer to the engravings in the British Museum, or to the portfolios of Messrs. Colnaghi and other print- 
 sellers. Old copies of the picture are mentioned by Passavant quoting Pungeleoni’s “ Elogio storico di Timoteo Viti 
 one by Palmarini, a pupil of his, from which a copy was made by one Consoli. He also refers to one in the cabinet of 
 Prince Carignan, which passed into the Choiseul collection, and one very fine old Italian copy purchased in Italy about 
 1814, in the possession of M. Ingres, the eminent painter. 
 
 The history of the picture now exhibited and about to be sold, as far as it is known, is that it was bought from the 
 Borghese Palace by Prince Lucien Bonaparte, sold by him to the Queen of Etruria, and through her came to the Duke 
 of Lucca, whose collection was brought to London for sale and exhibited in 1840 at the gallery of the Society of Painters 
 in Water-colours, Pall-mall-east, this Raphael being among the 94 pictures placed. In July of the same year 47 selected 
 pictures were put up for sale at the rooms of Messrs. Christie and Manson, bringing very small prices. In June of 1841 
 54 pictures belonging to the Lucca gallery were sold by Mr. Phillips in Bond-street, when the “ Madonna dei 
 Candelabri ” was bought by Mr. Munro for ^1,500. 
 
 Another picture, which was engraved by Forster under the title of “ La Vierge de Novar, by Raphael,” was formerly 
 in the collection of Lord Gwydir, when it was ascribed to Giulio Romano. It was also known as “ La Vierge h la 
 Legende,” from the scroll held by the Infant Saviour and St. John. 
 
 The large work of Saint Anthony caressing the Infant Saviour, by Murillo, once belonged to Queen Christina. It is 
 a fine picture, and is extremely well seen between the two Claudes — “Philip baptizing the Eunuch,” signed and dated 
 1673, and painted for the Cardinal Spada, afterwards belonging to Mr. Beckford ; and “A Seaport,” nearly of the same 
 size and, like its companion, still retaining much of its pristine beauty. After these perhaps the Jan Steen comes next in 
 merit of its class, being touched with all his verve and rich colouring, although the subject of “ the effects of 
 intemperance,” represented by both master and mistress having indulged to repletion and fallen asleep, is not of the 
 happiest. This picture has passed through several collections, and appears to be that sold in the Lucca collection by 
 Mr. Phillips, when it brought 290 guineas. The pictures by Greuze and Watteau are especially worthy of notice. The 
 sale will, no doubt, be one of the most interesting events of the season, and much speculation is excited as to the price 
 which the Raphael is likely to bring. 
 
 (“The Times,” June 10, 1878.) 
 
 AFTER having attracted great numbers of persons during the first five days of the week, when the pictures were on 
 view at the galleries of the auctioneers, Messrs. Christie, Manson and Woods, the Novar collection was, with one notable 
 exception — that of the “ Madonna dei Candelabri” — finally disposed of on Saturday. The sale, besides possessing the 
 interest attaching to the pictures generally, proved to be one of the most extraordinary ever known as regards this one 
 great prize of the collection — “the Novar Raphael”- — about which such widespread interest has been felt for some 
 time past. To give some idea of how far this interest reaches now, it was stated by Mr. Woods in opening the sale that 
 a telegram had been received that morning from Australia desiring to have the result of the sale of the Raphael wired 
 immediately. It was to this, which was the last picture in the sale, every one looked as the culminating point of interest, 
 especially as there was a general expectation that it would be bought for the National Gallery, and this was not diminished 
 VOL. I. N N 
 
2/4 
 
 ART SALTS. 
 
 [ 1878 . 
 
 at all by the loud and enthusiastic cheers which greeted Mr. Burton’s one purchase of the fine work of Paolo Veronese— 
 « St. Helena”— for the National collection for 3,300 guineas. After the excitement that attended this had subsided, the 
 pictures by Watteau were proceeded with, which we shall refer to presently in detail, and the “Vierge h la Legende,” 
 attributed in the catalogue to Raphael, was sold for 3,000 guineas at one bid from Mr. Agnew, above which there was no 
 advance. Then came the Raphael “ Madonna dei Candelabri.” After a round of applause, when the picture had been 
 placed on the easel and the folding doors of the glass opened, Mr. Woods proceeded to say that for a picture of such 
 importance and high value it was not expected that many persons could compete for its possession ; and that, as he had 
 stated at the opening of the sale, this was the only picture in the sale upon which any reserve had been placed. He 
 was, therefore, instructed to offer it at 15,000 guineas. The naming of this large price was received with no small 
 surprise, and the audience seemed to consider that this was a tolerably safe limit, beyond which there would be no 
 further advance ; but after a grave pause, arn'id the breathless suspense of his audience, the auctioneer, as if looking 
 at some bidder before him, said, “ Fifteen thousand five hundred guineas” to the surprise and astonishment of most 
 persons. But no sooner had this surprise been got over than another announcement was given of 16,000 guineas amid 
 quite a buzz of excitement, while several persons rose to look where the bidding came from. It was not from Mr. Burton, 
 the Director of the National Gallery, for he was seen to remain from the first putting up of the picture a placid and 
 silent spectator, and though it was said that Mr. Agnew made a bidding,* we were unable to discover where the advances 
 came from. This state of wonderment was kept up while the auctioneer proceeded with perfect gravity to name 
 prices increasing by five hundred guineas, pausing between each, till he arrived at 19,000 guineas, when he quietly 
 said, “The picture is not being sold, gentlemen,” and then, naming the last sum of 19,500 guineas, the hammer fell, 
 and the auctioneer said, “ The picture is bought in, gentlemen.” There was a general rising and burst of mingled 
 disappointment and excitement, with a few hisses, such as we never in many years’ experience witnessed in these 
 rooms. The general impression which we gathered from remarks on every side was that the 15,000 guineas first named 
 was taken to be the reserve price, but that it was now evident that this was not so, but that the real reserve price was 
 some sum above 19,500 guineas. It may be added to complete this account of such very unusual circumstances, that on 
 inquiry we found that Mr. Agnew did not make any bidding for the “ Madonna dei Candelabri,” and the presumption 
 is that there was no bond fide advance over the 15,000 guineas at which it was put up. The proceeding appears, 
 therefore, to have been simply the reverse of that adopted in the sale of pictures in a Dutch auction room, where a 
 “ commissaire-priseur ,” himself an expert or advised by an expert, is appointed, who fixes the highest price to which 
 bidders are invited to approach as near as they please, or the auctioneer descends the scale to meet them if he pleases. 
 There is nothing fictitious in this, and it is commonly accepted as a fair mode of sale. 
 
 But having recorded what transpired as the denouement of the sale so far as the “Madonna dei Candelabri” is 
 concerned, it remains to be said that after the sale was over it became known among some of the many virtuosi 
 who had assisted at this most interesting and remarkable of auctions that another “ Madonna dei Candelabri ” was in 
 existence. The possessor of this picture had thought it right not to mention even the existence of this picture until 
 after the Novar Raphael had been offered for sale. That condition having passed, in all probability he will feel at 
 liberty to exhibit his “ Madonna dei Candelabri,” and to tell the history of how he became possessed of it. The mere 
 fact of the finding of such a picture is a matter of such undeniable interest that we have no hesitation in announcing it, 
 but the story we must leave to be told by the finder, who, though he happens to be a most capable connoisseur, admits 
 frankly that in this case his judgment as an expert was not put to the test, for he bought it for a very insignificant sum 
 at an auction at Christie’s as a “ copy ” of the picture, not being able to see it through the very dirty glass under which 
 it was framed. Here, then, we must leave this most curious and interesting discovery, whatever may be ultimately 
 pronounced as to the merits of the new “ Madonna dei Candelabri,” and upon which we have necessarily nothing to 
 say, to proceed with the details of the Novar sale. The pictures were catalogued alphabetically and began with Albano. 
 — “ Landscape, with Salmacis and Hermaphrodite,” 22m. by 27|in., which sold for ^35 14^. — “Venus and Adonis, with 
 Cupids,” in landscape— ,£12 12^. ; “Nymphs clipping Cupid’s Wings,” iSin. by 23m.— ^15 155-.; “Madonna and 
 Child bust of the Virgin only on copper, 9fin. by 7 in. — m. ; “Apotheosis of the Magdalene,” i6Jin. by ii^in. 
 — ^54 12s. Alton.— “ Abraham’s Sacrifice,” on copper, 12m. by 9m.— ^10 ioj. L. Backhuyzen. — “Storm and Ship- 
 wreck ; a Rocky Coast,” 53m. by 77|in . — £78 15J. Bassano. — “Susannah and the Elders,” 28m. by 38m. ; good landscape 
 with a garden — ^78 15^. Bellini. — “Madonna and Child,” 12m. by ioin.— ,£52 ioj. N. Berchem.— “ Diana and 
 Calisto,” life-size, half-length figures in landscape — ^64 ; “Bacchanalians,” 7fin. by 8fin.— £10 icu. ; “ Lady and 
 Gentleman on Horseback,” with peasants, 9^-in. by I2^in. — ^24 ; sunny landscape, with muleteers and animals, signed 
 and dated 1644, 21 in. by iqiin. upwards — ^225 15^. John Both. — View on the Tiber, sunset, with the Ponte Molle 
 and figures, 31m. by 42m., from Sir Henry Oxenham’s collection, 1840, Smith, p. 784 — £273. F. Boucher. — Two girls, 
 small life size, one leaning over the other, nearly nude, the lower one with blue riband in her hair, 2iin. by 17m. — 
 £37 155. ; “The Mask,” signed, and dated 1734, a lady in a slate-coloured jacket and red skirt, dark blue cap and 
 feathers, holding mask — ,£115 toj. ; Pastoral scene, with shepherd, shepherdess, and sheep, 30m. by 27m. — ,£45. 
 Bonifaccio. — Female figure of justice, in red robe, holding sword and scales in landscape, 9|in. by 6fin., £ 7 8 15s. 
 A. Carracci. — “Toilet of Venus,” 51m. by. 64-fin., from the Tanari Palace, Bologna, Venus seated with blue drapery, 
 attended by two nymphs, statue in background of landscape, £489 ; the Magdalene, 22m. by 2oin., £2 2 s. ; “Vision of 
 St. Francis,” 19m. by 17m., ,£19 19J. ; Landscape, with Tobit and Angel, i8in. by 13m., from Lord Lichfield’s collection, 
 £<37 15^. Claude. — Landscape, with ruins and figures, uin. by 14m., £31 icw. ; Lake scene, with sportsmen, cattle, and 
 goats under trees on the left, 23m. by 32^in., £315, sold to M. Goupil ; “ Philip baptizing the Eunuch,” 33m. by 55m., 
 
 * I was informed afterwards that Mr. Agnew did bid £10,000, and on behalf of Lord Dudley. It may be added to this account, 
 that it has since been commonly whispered amongst those who are somehow generally well informed in such matters, that the real 
 reserve upon the picture was £35,000, and that this sum had been advanced by one of the greatest firms of private bankers upon this 
 picture as security or joint security. The picture was exhibited for sale in the gallery of Messrs. Meyers during the season of 1886, but 
 it was not sold then. 
 
1878.J 
 
 THE NOVAE COLLECTION. 
 
 275 
 
 wooded landscape, with river and bridge, trees in foreground. Painted 1673 for the Cardinal Spada, signed and dated 
 and inscribed with title. From Mr. Beckford’s collection, vide Smith’s catalogue ; £(840, to Mr. Graves. A grand 
 seaport, 39m. by 52jin., bright sunny effect of afternoon, classic buildings, vessels, and tower in the bay, with many 
 figures. This picture was put up at a bid of 1,000 guineas from Mr. Agnew, and fell to him for ,£3,150. This picture 
 is engraved by T. Major, and in reverse by Jorma. Correggio. — “Ganymede on the Eagle,” 8fin. by 14m., oval, 
 — £ l 3 I 5 5 '- > “ The Nativity,” 17m. by 14-frin. — ,£25 4_r. ; The Agony of Christ, on copper, 8fin. by 7jin., the figure like 
 that in the picture at Apsley House — ,£21 ; Madonna and Child, 14m. by 12 Jin. — ,£24 3s. ; Madonna and Child, 26m. 
 by 24m., the child seated on a table by the Virgin — £72 laf - Albert Cuyp. — A portrait group of three girls seated, 
 supposed to be the artist’s daughters, under a tree with pet sheep and lambs, landscape and river, with a church in the 
 distance, 6oin. by 70m. — ,£525 ; a landscape with farm buildings, peasants, and cows, 14m. by i7jin. — ,£204 5-f. ; a sunny 
 landscape, with peasants and a miller’s waggon, near rustic buildings, signed, 13m. by 195 in. — .£451 ioj. Caspar 
 Crayer. — Madonna and Child, 67m. by 47m. — ,£63. Carlo Dolce. — Mater Dolorosa, on copper, ioin. by 8in., from the 
 Montcalm sale — ,£105. Domenichino. — Madonna and Child, with angels presenting fruits, 38m. by 48m., half-length, 
 life-size figure — £22. Elsheimer. — Lot and his Daughters, 6Jin. by 8Jin. — ,£5 15^. Sasso Ferrato. — Madonna, 19m. by 
 15m. — £(115 ; the Madonna and Child, 262m. by 2iin., like the picture in the Rogers collection — ,£100 16 s. ; the 
 Madonna in Prayer, i9jin. by I5jin. — .£105 ; the Holy Family, with St. Elizabeth and St. John with the Lamb, 42m. 
 by 34m. — ,£210. Garofalo. — The Adoration of the Shepherds— arched top, with ruins in foreground, I5fin. by nin. 
 — £42. Greuze. — Head of a Boy in a large black hat, iSin. by 14m. — ,£126 ; Head of a Girl, her hair tied by a blue 
 riband, iSin. by i4jin . — £210 ; the Artist’s Daughter in a yellow brown dress holding a letter, half-length, life-size, 
 24jin. by 2oin. — £)no 55. ; “The last Scene in the Opera of Nina Pazza,” with the portraits of the actors, 31m. by 
 37jin., from the gallery of the Marquis de Montcalm — ^89 5 s. Guercino. — St. John and the Angel of the Apocalypse, 
 I3fin. by i6fin . — £14 14s. Guido. — St. Catherine, holding her wheel with right hand, half-length, life-size, 44-Mn. by 
 37m.— ,£24 ; the Magdalene, with her hands crossed upon her breast, 25m. by 2iin. — ,£23; the Repose of the Holy 
 Family, _with angels, on copper, 2iin. by 28m.— ,£29 8s. ; the Madonna, with her hands clasped in prayer, 24m. by 2iin. 
 — £6j 5 Cleopatra, 68fin. by 40m., full-length, life-size, nude except green scarf, leaning elbow on red cushion, red 
 curtain background, engraved by Strange— £1 57 ioj. ; St. Sebastian, life-size, half-length replica of the well-known 
 picture — ,£157 ior. Europa, from the Altieri Palace and Altimira Gallery, Madrid, 6iin. by 44m., life-size — ,£215 10s. 
 Hobbema. — A wooded river scene, with peasants and winding road, blue sky, with white cumuli and gray cloud in 
 right corner, church in middle distance, signed, 26m. by 34-Hn. — ,£2,205 (to M. Rutter, of Paris). It was said that Mr. 
 Munro gave only £200 for this picture. A woody landscape, blue sky and clouds, with cottages, a post waggon passing a 
 ford and figures, by G. de V., 17m. by 2o|-in . — £733 (M. Goupil). Filippo Lauri. — Diana and Actteon, on copper, engraved 
 by Woollett, 13m. by i6Jin. — £1 3 135. Nicholas Maes. — Interior, with woman arranging a child’s hair, two other 
 children beyond, a dog and a cat, 24m. by i8jin . — £472 10s. Murillo. — St. Peter and the Angel, iijin. by lain. — 
 ,£391 8j. ; St. Francis, 23m. by 17m. — £(31 19J. ; the Descent from the Cross. The dead Christ on the lap of the 
 Virgin attended by two Angels, 13m. by 13m. octagonal — ,£110 S ' 5 '- 1 the Miraculous Visitation of St. Ursula to St. 
 Catherine of Sienna, 15m. by 19m., a sketch for the picture in the Earl of Dudley’s Gallery, formerly in the Salamanca 
 collection — £113 10s. ; the Miracle of the Loaves and Fishes, 13 Jin. by 30m., a sketch for the great picture in the 
 Caridad at Seville — ,£315. These sketches for great pictures may settle the question whether Murillo ever made small 
 complete studies for his pictures ; a group of Spanish beggars at the stall of a woman selling bread and aguardiente in 
 Madrid in winter, 37J in. by 47-Jin . — £273 ; the native village of Murillo, in the Andalusian Mountains, with lady on 
 a mule and woman feeding fowls, 75m. by 49m., large upright landscape — £120 155-. ; St. Anthony caressing the Infant 
 Saviour, 73jin. by 8iin., sold by Queen Christina from the Royal Gallery, Madrid ; bought from M. Teschier — 
 £2,362 io.y. “The Duenna,” a very modern and poor copy from Murillo, was withdrawn from the sale. Paduanino. — 
 “ The Graces,” three-quarter-length figures, nude, with scarfs, 46m. by 59m. — -£ :I II5 - Jacopo Palma. — Holy Family, 
 with St. Catherine, 25m. by 37m. — £42. Parmegiano. — Holy Family, 27m. by 2oin., arched top — ,£15 15^. Perugino. 
 — The Crucifixion, i6fin. by njin. — £(94 ioj. ; St. Francis in Ecstasy, 24m. by 19 Jin. — £273. G. Poussin.— A 
 landscape, with a cascade and classical figures, 14m. by i8in . — £37 16.?. G. Poussin. — A classical landscape, with 
 buildings and figures, 29m. by 38Jin . — £ 1 1 5 ioj. Nicolas Poussin.— The Madonna and Child, surrounded by flowers, 
 22in. by 19m., oval — ,£42 ; “Venus and Adonis, with Cupids and Bacchanalian boys,” 3710. by 52m. — £(53 iu. Prima- 
 ticcio. — “ Venus, with Time and Cupids,” 35m. by 28m., a small picture on panel, corresponding with that by Angelo 
 Bronzino, in the National Gallery, called “An Allegory,” (No. 651 ) — £17 \7 S -, (to M. Clement, of Paris). A. Pynacker. 
 — A rocky coast scene, with vessels wrecked, one burning, the crews saved by boats, signed, 32jin. by 43m., a very 
 interesting example- -£(472 \os. Raphael. — “The Vision of Ezekiel,” on panel, i6in. by lain., good school copy — 
 £33 14$. ; “A Dance of Cupids,” 8in., circular, blue sky background, the composition resembling the well-known Marc 
 Antonio print— £(120 15^. Rembrandt. — “An Aged Man,” three-quarter portrait, with long beard and black cap, 
 reading a book, 24jin. by 22m .— £37 155. (to M. Sedelmeyer, of Paris). Portrait of Rembrandt, in black dress and cap, 
 holding a book and ink-bottle and pen in his right hand, 31 Jin. by 26fin., panel — £126. Salvator Rosa. — Portrait of 
 Masaniello, wearing black cap and feather, black dress, i8in. by 1 3 ^' n - Bought by the Earl of Blessington from the 
 Belvidere Palace, Naples. Said to have been painted from life during Masaniello’s insurrection. Exhibited at the 
 British Institution — £(105. Rubens. — Achilles, with the daughters of Lycomedes, a sketch, 13m. by ioin. — £(37 16.J'. ; 
 “The Meeting of Jacob and Esau,” a sketch, i8fin. by 1 5 Jin . — £323 ioj. 1 “A River God and Two Nymphs,” ioin. 
 by i4Jin . — £13 13^.; “The Triumph of the Church of Rome,” 24m. by 42.Jin . — £27 6s.; “Christ, with Martha and 
 Mary,” the background and accessories by Velvet Breughel, 25m. by 24m. — £(294; “I he Grecian Daughter,’ life-size 
 figures, 58m. by 6oin. — £22 ; St. Joseph holding the Infant Saviour in his arms, with the Deity above and angels offering 
 flowers, 94m. by 74m. — ,£46 4 5 - ; portrait of a lady in a black dress, with lace collar and cuffs and jewelled chain, her 
 hands crossed at the waist, inscribed “Virgo Brabantino,” 42jin. by 3 1 in., life-size to the knees — £(1,102 io.c. Portrait of 
 Thomas Parr (Old Parr), born 1483, died 1635, 24m. by 1 8 J in., panel, said to have been painted by Rubens when 
 
 N N 2 
 
276 
 
 ART SALTS. 
 
 [ 1878 . 
 
 Ambassador at the English Court, from the collection of Sir Robert Price’s, exhibited at the British Institution, 1846 
 — £489 (to M. Sedelmeyer) ; “St. Sebastian,” full-length figure larger than life, with tree and landscape, 79m. by 5o^in. 
 —£115 ioj. (M. Sedelmeyer); Holy Family with St. Anne, life-size figures, 59^in. by 44^in.— £483 155. Jacob 
 Ruysdael. — A grand sea-piece, storm, with fishing-boats making for harbour, the sky very dark and cloudy, from the 
 Earl of Orford’s collection, Wolverton, 34m. by 47|in.— £4,470 (Graves) ; a sea view, with fishing-boats and men-of-war, 
 two men on the shore on the right, 2yhin. by 36 ^.— £ 1 ,470 (Martin Colnaghi) ; a grand waterfall, with a felled tree 
 and a castle on a height on the right, 38m. by 32m. — £494. Andrea da Salerno. — St. Stephano, from Alton Towers— 
 £2 3. Andrea del Sarto.— La Carita, 48m. by 37m., from the Ruspigliosi Palace, formerly in Mr. Anderdon’s collection 
 — ^346 ioj. ; “ Pieta,” the Madonna and two angels mourning over the body of Christ, figures nearly life-size, 38-Jdn. 
 by 5 if in. — ,£1,785 (to M. Rutter, of Paris). Schedone. — -“The Holy Family,” ioiin. by 8Mn. — ,£27 6j. Solimena. — 
 Ganymede, 17^01. by 9^in. — £48 i8j. Jan Steen. — “The Effects of Intemperance;” the artist’s wife seated outside 
 the house asleep, her head resting on her arms, a broken pipe in her hand, a boy picking her pocket, a girl in a yellow 
 skirt offering a glass of wine to a grey parrot, another giving a pie to a black kitten, a man throwing roses to a pig ; in 
 the arbour in the middle ground a lady and gentleman seated at a repast, with a hospital scene in the background, 
 over the trees, signed, 304-in. by 43^in., from the Beckford collection, £4,312 ioj. A picture answering this description 
 was sold in the Lucca collection, from which Mr. Munro purchased the “Madonna dei Candelabri.” That picture 
 brought 290 guineas. “After Dinner,” with a portrait of his wife and Jan Steen himself, smoking, dressed in a yellow 
 gown and red cap, and two children at the side blowing bubbles in the garden, signed, 25m. by 325m. — ,£241 ioj. 
 A young girl with a wreath of flowers, 7m. by 5 -fin. — £(35 14J. ; a party of peasants and other figures assembled in front 
 of a cottage, signed, I7fin. by 14m. — £499 ioj. H. Swaneveldt. — A landscape, with cattle, on copper, signed, 8fin. 
 circular, ,£35 14^. ; a landscape, with travellers, signed, 1 iin. by i6-|in. — £(27 6.?. Tassi. — A harbour scene, with shipping 
 and figures, 30m. by 6iin., an interesting example of the painter, who was the first teacher of Claude — £(63. D. Teniers. 
 — “ Diana surprised by Actseon,” 6fin. by 94-in . — £7 7 s. ; “ Perseus and Andromeda,” a pasticcio, iopin. by 14m. — 
 £(65. G. Terburg. — “The Glass of Lemonade,” two ladies and a gentleman in a handsome apartment, the cavalier 
 stirring the ladies’ glass with a silver knife. From the Praslin collection, engraved in the Choiseul gallery, vide Smith, 
 p. 1 19, 25fin. by 2ofin. panel — £4,942 io^. J. B. Tiepolo. — “Martyrdom of S. Agnes,” 73m. by 52m., life-size figures 
 — £(105 (M. Sedelmeyer) ; “Virgin and Child, with angels,” signed and dated 1734, 94m. by 6oin., large upright picture 
 — £ 99 I 5 J- (Sedelmeyer). Tintoretto. — “Descent from the Cross,” 43fin. by 344m. — £420; “A Nymph surprised,” 
 40m. by 5oin. — £(53 1 ix. ; portrait of a gentleman holding a book in his right hand, 45m. by 34m. — £(65 ; “ Candaules 
 and Gyges,” 52iin. by 77m. — £(73 ioj. (to M. Sedelmeyer). Titian. — “The Adoration of the Magi,” 544m. by 87m., from 
 the collections of B. West, P.R.A., and the poet Rogers, in whose collection it was sold in this room — £(199 ior. ; 
 a Knight and Lady with casket of jewels, 37fin. by 284 in. (the Marquis del Guasco and his wife, in the Louvre ) — £68 ; 
 “The Toilet of Venus,” a seated figure, larger than life, the face not seen, 45 in. by 43m. — £26 5 j. ; “ The Repose of 
 the Holy Family,” under a tree, with castle on the right, i8in. by 24^in., believed to have belonged to the Emperor 
 Rudolph at Prague — £367 1 os.; “Diana and Actzeon,” a sketch for the picture in the Bridgewater Gallery, 21 in. by 
 25jjin. — £6 3 ; “Venus caressing Cupid,” 29m. by 21 in. — £(99 15^. ; St. Jerome kneeling, a sketch, 9m. by 13m. — £23 4 s. ; 
 “ Noli me Tangere,” 23m. by i6in., small replica of the picture bequeathed to the National Gallery by the poet Rogers 
 • — £42 ; “ Danae and Cupid,” 42m. by 66in., good old copy of the well-known picture at Vienna — £(38 17s. ; “Venus 
 Reclining,” the head resembling the portraits of the Duchess of Urbino, 41 in. by 63m., from Stowe, brought from Italy 
 by the Marquis of Buckingham, who paid £1,000 for it — £(39 iSj. (Sedelmeyer) ; “Venus Sleeping,” 2oin. by 35m. — 
 £47 17s. Vandyck. — “ Daedalus and Icarus,” life-size figures, 43m. by 35m., engraved in mezzotint by Watts ; exhibited 
 in the British Institution in 1815, vide Smith’s catalogue, p. 103 — £(420; a group of horsemen and horsewomen with 
 falcons, a sketch, 19-Mn. by 17m., panel — £40 ioj. ; “The Dead Christ, with the Maries and Angels,” a large gallery 
 work, 66in. by io8in. — £6 3. Adrian Van de Velde. — A landscape, with a herdsman and shepherdess and animals near 
 a pool of water, signed, io-|in. by 13m. panel — ,£530 (Agnew). W. Van de Velde. — A Storm and Shipwreck, 46-|in. by 
 65m. — £462 1 55. ; a sea-view, with a fishing boat and vessels in the distance, storm coming on, 141'n. by 2iiin. — 
 £136 10s. Paul Veronese.— Venus seated on a couch, withholding the bow of Cupid, white damask with flower pattern 
 drapery, and red curtain forming the background, 757rin. by 56m. Originally in the Colonna Palace, afterwards in the 
 collection of Mr. Walsh Porter. Purchased by Mr. Munro at the sale of the late Sir Simon Clarke’s gallery in 1840 — 
 £714. Mars, Venus, and Cupid, 59-fin. by 47m. — £405. St. Helena: the Vision of the Invention of the Cross. The 
 altar-piece of a chapel dedicated to St. Helena at Venice. It belonged to the great Duke of Marlborough, from whose 
 possession it passed to that of the Treasurer, Lord Godolphin ; and was sold at the sale of the late Duke of Leeds’s 
 collection to the late Marquis of Hertford. 77|in. by 45 Pin. A large upright picture, with life-size seated figure. From 
 the collection of the Hon. Percy Ashburnham. The contest for this picture, which was speedily seen to lie between 
 Mr. Burton, on behalf of the National Gallery, and Mr. Davis, the well-known dealer, was watched with the greatest 
 interest, as the biddings rose above 2,000 guineas, and the excitement went on with fresh applause as Mr. Burton rose to 
 face his antagonist and made a bid of £(3,200, which was met, after a pause, with an advance to £(3,250 from Mr. Davis, 
 when every eye was directed upon Mr. Burton, who presently advanced to £3,300, and the auctioneer turning towards 
 Mr. Davis, took what he thought was a sign of his assent to another advance, but this was at once pronounced to be in 
 error, and Mr. Burton’s bidding of 3,300 guineas was thus immediately acknowledged as the last and highest, and the 
 hammer fell amid the loudest applause we ever heard in this room. The figure represents the saint leaning her head 
 upon her hand, the right elbow being rested upon a stone sill, and, as it were, in a reverie, with the face in profile or 
 nearly so, turned upwards towards the cross, which appears in the upper corner of the picture, supported by two 
 cherub angels. The motive of this fine expressive work is taken evidently from a small print by Marc Antonio of a 
 figure called “ Meditation,” in which an angel bears the cross, and which has been variously described as the design of 
 Parmegiano or Raphael. 
 
 The sale then proceeded with Leonardo da Vinci’s “ Flora,” 23m. by 17pm panel, the well-known bust figure, which 
 
1878.] 
 
 THE NOVAE COLLECTION. 
 
 2 77 
 
 sold for ,£640. Watteau. — “ The Bird Cage,” 23111. by 31 in. — ^84; “A Fete Champetre,” a composition of six figures, 
 14m. by iSjin. — ^15 7 icm ; “A Fete Champetre, ”i2in. by I5^in. — ,£315 (M. Goupil) ; “ Le Printemps,” two nude 
 figures, a youth crowning a nymph with flowers, who is seated on clouds, 49m. by 4oiin. oval, engraved by Desplace — 
 ^650 ; “ Les Deux Marquises,” two little girls in white wigs and pompons of feathers and flowers, a charming work 
 of the painter’s earlier time, the figures small life-size, 30jin. by 24jin. This picture was put up at 2,000 guineas as 
 Mr. Agnew’s bid, and was knocked down to him at ^2,625. P. Wouvermans. — u A Halt of Cavaliers and Ladies at a 
 Farrier’s Shop,” a hound drinking at a stream on the left, I3^in. by 19m. — ^3 1 5. The next picture was the “ Vierge 
 de la Legende,” or, as it has been called since it was engraved by Forster for Mr. Munro, “ La Vierge de Novar.” 
 It measures 32^in. by 24m., and is in panel. The catalogue says it is believed to have belonged to Charles I., and 
 there exists in the Bibliotheque Nationale, Paris, an etching by Guido of the composition entitled from Raffaelle. 
 When in the collection of Lord Gwydir it was ascribed to Giulio Romano. It once belonged to Mr. Nieuwenhuys, the 
 eminent dealer, who pronounced it to be by Raffaelle after the Guido etching had been discovered, and it was sold by 
 him, Mr. Woods stated, in 1832. The picture was put up at a spirited bid from Mr. Agnew of 3,000 guineas, and there 
 being no advance, it fell to him at that price. The “ Madonna dei Candelabri ” was next put up, and brought this most 
 remarkable sale to a conclusion under the circumstances which have already been above related. The total amounted 
 to ^44,500, of course not including the sum at which the Novar Raphael was bought in. It is gratifying to state that 
 a sum of ^80, derived from the sale of the catalogues, as so benevolently proposed and carried out by Messrs. Christie, 
 Manson, and Woods, will be handed to the Artists’ Orphan Fund, an institution which has very strong claims upon the 
 patrons of art, and is much in need of support. 
 
 In reference to the account of the sale of the Novar collection, published onMonday last, and as to what occurred 
 when the “ Madonna dei Candelabri” was put up for sale and bought in, it is due to Messrs. Christie, Manson, and 
 Woods to say that, our attention having been called to the conditions of sale appended to the catalogue, we find the 
 third condition there laid down is — “ In the case of lots upon which there is a reserve, the auctioneer shall have the 
 right to bid on behalf of the seller.” We have also been informed that the precise words employed by the auctioneer 
 on putting up the picture referred to, and after having stated that there was a reserve on this picture only, were that he 
 was instructed “to make a first bidding of ,£15,000.”— Times , June 10, 1878. 
 
 A SALE AT CHRISTIE’S. 
 
 (“The Observer,” June 2, 1878.) 
 
 “ Christie’s ” has many aspects, each of them well known to the practised habitui of the place. There are not 
 only picture sales ordinary and extraordinary, each with their totally different accessories and human environments, held 
 within the historic walls ; there are sales of libraries, of old china, or china that should be old, of collections of jewellery 
 of every conceivable denomination, of articles de vertu , of comparatively modern furniture, and lastly of wines. When 
 goods that come under any of these categories are about to be offered for public competition, the famous rooms in King 
 Street are, both on and before the eventful day, occupied by distinct varieties of votaries. The sale itself is not the most 
 favourable opportunity for discovering the ultimate purchasers. When the treasures are actually on view, the scene, as 
 we shall presently find, is one of serious business. You have not so much the dilettcuiti and patrons and connoisseurs 
 who buy to possess as the dealers who buy to sell. Not, indeed, that the dealers are at all conspicuous by their absence 
 on the days preceding the sale itself. They are recognisable at a glance, these gentlemen, and they are strange 
 customers. They come from the east and the west, from the north and the south. The home of some of them is in the 
 centre of the metropolis, and of others in the heart of the provinces. They are the true competitors of this favoured isle. 
 If business is to be done in Edinburgh or London, in York or Plymouth, in Birmingham or Canterbury, they somehow 
 contrive to come up to time. They are like certain birds of passage, and the ordinary member ol the British public, il he 
 troubles himself to think about them at all, may, perhaps, reflect that, while he never sees them on the wing— never, that 
 is actually en route — he invariably meets them on the scene of operations. Next to the invisibility of their locomotion, 
 the most wonderful thing about them is the rapidity with which they take stock of and mentally appraise the value of the 
 entire collection. One has been accustomed to hear so much of artistic insight, of its prophetic power, and its mystical 
 origin, that one may naturally expect almost more than human attributes in the person of the possessor of this quality. 
 As a matter of fact, he is very human indeed, and there can be no doubt whatever that he takes a complete mental 
 inventory of everything about him in an inestimable minimum of time. He glances occasionally at his catalogue ; but 
 he never reads it. In the course of a minute he can survey about fifty pictures, or fifty specimens of porcelain, or antique 
 candelabra, and can arrive at a correct judgment upon the merits of each, discriminating the genuine article from the 
 counterfeit presentment, the base copy from the priceless original. What is the explanation of these masterly looks, 
 these swift, omniscient, and well-nigh infallible surveys ? Much, of course, is to be accounted for by the educated vision 
 and the well-trained intelligence ; but perhaps more by the fact that the possible range of experience in these matters is 
 limited, that collections, whether of crockery, or jewellery, or pictures, are slowly made and rapidly dispersed, that art is 
 long and life is short, that the triumphs of genius and skill which are bought to-day are sold to-morrow ; that, in plain 
 English, the well-versed dealer has seen often, and bids sometimes for everything in the superb show, which, to the public 
 at large, is a novel and delightful treat. The chefs d’auvre of Rafaelle, Titian, Correggio, Gainsborough, Sir Joshua, and 
 David Cox have neither more nor less of the charm and mystery to the professional trickster of freshness than the oratory 
 of Mr. Gladstone to him who is bound to hear it four days out of the seven. 
 
278 
 
 ART SALES. 
 
 [1878. 
 
 It was not yesterday only but during the three previous days that the interior of Messrs. Christie, Manson and 
 Woods’ “ Great Rooms ” in King Street, St. James’s, presented a sight which it was well worth coming from Newcastle 
 to witness. Most of the individuals, and certainly representatives of every type of individual who are in the habit of 
 going to these favourite premises have, as well as the superb Novar Collection itself, been “on view.” Cabinet Ministers 
 with testhetic tastes — and all Cabinet Ministers, like all the rest of the world now-a-days, have aesthetic tastes — have 
 looked in, generally in the comparatively early morning, when they were on their way from their houses to their offices in 
 or about Downing Street. Ex-Cabinet Ministers have come in, awhile later, and just as these were leaving, large 
 contingents of clubmen, habitually idlers, or idlers for that day only, have made the tour of the rooms, or have feasted 
 their eyes on the most precious assemblage of the master-pieces of the great Italian school that they are ever likely to 
 behold within the compass of the same four walls. Personally have come the lady critics, who have a soul far above the 
 follies of the Row and the vanities of Hyde Park. Some of these have been votaries of high art in the abstract, and 
 profess to be able to comprehend what they call the “ mystical lines of beauty, ” whether these lines are illustrated in an 
 old picture, or an old plate, an ebony chair, or an excavated fragment of Tuscan bijouterie. Closely following on these, 
 but still before the luncheon hour, have been country cousins, and loungers, and flaneurs of every variety. The country 
 cousin, be it understood, is by no means used here as an equivalent for the unsophisticated bumpkin of primeval days. 
 Gentleman or lady, he or she is quite as thoroughly initiated into the main features of urban life as the Londoner himself. 
 The country cousin, indeed, differs only, or chiefly, from the Londoner, pure and simple, in having less to do and more 
 loose cash to spend. At this time there are probably about three hundred persons in the rooms. But the interest taken 
 by the majority of them in the pictures is astonishingly small. They have been told that it is the right thing to do, and 
 they are doing it accordingly. What is Rafaelle or Correggio to them, or they to Rafaelle or Correggio ? They see a 
 crowd before one or two paintings, and, sheeplike, they go thither. In half-an-hour’s time they will be seated at a well- 
 filled luncheon table, and will be declaring, not indeed without some truth, that they have seen nothing. There are 
 indeed, one or two gentlemen here who have come for something more than purely idling purposes. One of them has 
 just entered the room, and is making his way to Rafaelle’s “ Vierge aux Candelabres There is much to be said about 
 that marvellous piece of human handiwork, there is nothing new which can be told him. He knows what others do not 
 know, and what may therefore be here stated, that it has been engraved by Bridoux, Fabri, Blot, and Bertini, that it was 
 destined on its original completion for the Borghese Palace at Rome ; that in the earlier part of the present century it 
 was the property of Lucien Bonaparte, and that the late Mr. Hugh Munro purchased it from the Due de Lucca rather 
 more than a quarter of a century ago. Rafaelle died in 1520. The building of the Borghese Palace was not begun till 
 1590, and the earlier years of the picture’s history are shrouded in uncertainty. Our connoisseur, the little old man 
 whose patronymic is a synonym for the riches of Croesus in every capital of Europe, has apparently made up his mind as 
 to the merit and the money worth of the “ Virgin with the Candelabra.” He turns to the next room, in which there is 
 Rafaelle’s second chef d oeuvre, the “ Vierge a la LegendeP Thither turn we ; the history of this picture is more 
 remarkable in some respects than that of the other. Its escape from the rigour of the iconoclastic fervour of Puritanism 
 can only be accounted for by the fact that Cromwell — for the “ Virgin with the Legend ” was then in England, having 
 probably been purchased by Henry VIII. from the Continent, and the property of Charles I. — who was no mean judge of 
 art himself, had expressly sought out the marvellous product of the painter’s genius for salvation. 
 
 Let us pass over the hours which are still available for speculation on the worth or on the history of the pictures, and 
 come to the day of business, the veritable hour of action. Imagine an indefinitely intensified edition of the Christie’s of 
 ordinary sale days, and you will have a fair notion of the scene which Christie’s presented yesterday. On ordinary sale 
 days there are intervals of languor and apathy. The auctioneer waits for a bid, and waits in vain. The hammer 
 descends with a neglected sound, and buyers wearily wonder what is coming next. On Saturday, June 1, there was 
 nothing of this kind. Every new picture was the signal for a new and fierce competition, and the battle was waged 
 unceasingly till there was nothing more to fight over. There were not merely an outside ring of buyers, and an outside 
 ring of spectators ; the spectators themselves were ranged nearly four deep. Ever and anon strangers hurried in through 
 the swinging doors, eager and resolute to hear and see something of an historic sale. But on entering the apartment 
 they were confronted by a fierce blast of hot air, a buzzing of tongues, then a solemn moment of silence, then the final 
 thump of the fateful hammer. How describe the general effect when the two immortal works — or rather those two which 
 in the midst of so much that was immortal, eternity seemed chiefly to have sought out as her own — were brought forward ? 
 The solemn appeal of the auctioneer, the grave recital of the ancestry of the pictures, the intermittent artillery-like report 
 of the several bids, the longer intervals, the heavier offers ; the intervals then shorten, but the bids become heavier, till at 
 last, amid thunders of applause that might have been heard from King Street to the City, the practically priceless works 
 are knocked down — these things who can describe fittingly ? 
 
 Mr. Woods said this was the one reserved picture in the sale. It had been felt that such a noble work in these times 
 might fail to be appreciated, and, as it was not a picture anyone could afford to pay a fair price for, a reserve had been 
 placed on it. He was instructed to make the first bid of ,£15,000 [cheers). This bid was increased by advances of ,£500 
 at a time, until the price offered reached ,£19,500. No advance on that being made, Mr. Woods declared the picture to 
 be bought in. The sale, which lasted from one o’clock until nearly six, then concluded, the amount realised, of course 
 excluding the ,£19,500 offered for the Raffiaelle, being ,£44,522 17s. The prices were, with few exceptions, considered 
 very low. 
 
1878.] 
 
 THE NOVAE COLLECTION. 
 
 279 
 
 RESERVE PRICES AT AUCTIONS. 
 
 (“The Times,” June 6 , 1878 .) 
 
 TO THE EDITOR OF “THE TIMES.” 
 
 Sir, — Your report of the sale of the Novar collection does but put into plain words that which must only too often 
 have passed through the minds of many who are in the habit of attending auction-rooms. 
 
 I trust that so eminent a firm as Messrs. Christie and Manson may either be able to assure the public that the 
 biddings for the Raphael were, after all, bona fide or may suggest some satisfactory reasons for the manufacture of fictitious 
 bids passed off as genuine, which I must confess I have never yet been able to discover. 
 
 It is a matter of every-day experience at second-rate auction-rooms that the auctioneer accepts, and sometimes, if he 
 is a good actor, even acknowledges with a polite “ thank you,” mysterious biddings which, in point of fact, have no author 
 other than himself. 
 
 Now, Sir, I am loth to use the only word that seems to me applicable to this sort of thing. I, of course, fully 
 acknowledge the right of any vendor to put a reserve price upon his property. I will grant that the auctioneer is not 
 bound to state at once the full reserve price which he holds, but I cannot for a moment admit that he has any right to 
 imply by look and gesture that his own reserve biddings are bona fide advances proceeding from one or more members of 
 the assembled company. It is true “the trade” are up to all this, but many a private person must be painfully 
 undeceived on discovering too late the unreal and unfair nature of the competition into which he has been betrayed. 
 
 I can only trust that your remarks may help to put a stop to a practice which is certainly far from uncommon. 
 
 STRAIGHTFORWARD. 
 
 “ THE MADONNA DEI CANDELABRI.” 
 
 (“The Times,” June 7 , 1878 .) 
 
 TO THE EDITOR OF “THE TIMES” 
 
 SIR, — The world-wide celebrity of the “ Madonna dei Candelabri” has been mainly brought about by the numerous 
 engravings, all made, as it would seem, either directly or indirectly, from the Novar picture. That picture, however, has 
 remained almost unknown to the present generation of critical students of Raffaelle. For many years past, indeed, it 
 appears to have been shut up in its case and kept in complete seclusion. At the same time it is remarkable that, although 
 the existence of more than one other ancient example of the same composition is recorded, their present whereabouts is 
 unknown. Again, quite as extraordinary is it, as your correspondent “ G. R.” has noted, that while of nearly all the other 
 important works of Raffaelle there exist innumerable copies, made at all periods, such copies in the case of the “ Madonna 
 dei Candelabri” seem to be entirely wanting. Any other example, then, of the same subject, even any obvious copy of 
 the Novar picture itself, would, and for special reasons moreover, be a welcome discovery. 
 
 The picture which has now been brought to light,, however, occupies very different ground. Whether it is one of the 
 recorded examples before alluded to or an entirely unnoticed and hitherto unknown example is as yet uncertain. What, 
 however, is quite certain is that it is intrinsically a work of high excellence ; that it is in many respects different from the 
 Novar picture, some of the variations being very important and suggestive, and I apprehend it will be considered equally 
 unquestionable that it is an ancient picture, and of the age, exact style, and technique of Raffaelle even. Lastly I may 
 add that the picture is substantially in a fine state of conservation. 
 
 Such being the facts, and as the possessor of the picture, I quite admit the desirability of its being publicly exhibited. 
 My desire, indeed, is that it should be most fully seen and scrutinised, and that its past history should, as far as possible, 
 be ascertained and revealed. So far as my present information goes, these revelations promise to form an interesting 
 chapter in the history of the vicissitudes of works of art. 
 
 If the owner of the Novar picture would allow it to be brought side by side with the present one, and if the entire 
 series of engravings of the compositions could at the same time be got together in illustration, doubtless the opportunity 
 for examination aad comparison thus afforded would be of the highest value to students of Raffaelle. At the same 
 time, it could not fail to prove an interesting and instructive exhibition to the public at large. I scarcely know 
 what practical steps I could take to bring this about beyond this announcement of my willingness to co-operate in 
 the matter. 
 
 I am, Sir, your obedient servant, 
 
 10, York-place, Portman-square, 6 . J. C. ROBINSON. 
 
 (“The Times,” June 6 , 1878 .) 
 
 TO THE EDITOR OF “THE TIMES.” 
 
 Sir, — That another “ Madonna dei Candelabri ” should have come to light, as announced in your valuable account 
 of the sale of the Novar collection, cannot fail to be a matter of the highest interest to the art world — provided, that is to 
 say, that the picture proves to have any pretensions to be a rival to the Novar picture, the history of which appears to be 
 
28 o 
 
 ART SALES. 
 
 [ 1878 . 
 
 reliable for nearly a century— from 1796, the date of the engraving made from the picture by Ernest Morace, a young 
 German engraver, pupil of J. G. Muller, who contributed to the great work of the “ Galdrie de Florence,” the “ Musee 
 Frangais,” and the “ GaKrie d’OrHans.” As far as research has hitherto led, there is no record of how or when the picture 
 came into possession of the Borghese family at Rome, from whose collection it was purchased by Prince Lucien Bonaparte, 
 during the time of the French occupation, and probably some few years after it had been engraved by Morace. This 
 obscurity is not relieved in any degree by references to such a picture as the Madonna dei Candelabri among the works of 
 Raphael in Vasari or any other contemporary writer ; neither is there at present known any sketch, drawing, or study of 
 it or for parts of it by the great master, as in the case of most of his authenticated works. 
 
 Still the picture has always been accepted among those of its kind designed by Raphael, in some important parts 
 also painted by his hand, in others by such masterly pupils and assistants of his as Giulio Romano, G. Francesco Penni, 
 Giovanni da Udine, and Timoteo della Vite, his scholar, friend, and ultimately his executor. All of these accomplished 
 artists are known to have worked immediately under Raphael’s eye and constant superintendence. His great monu- 
 mental works occupied his attention chiefly, while the small easel pictures such as the numerous Holy Families, received 
 only a share, however loving, distinct, and devoted that always was, for of no master could it be said with more truth 
 “nihil tetigit quod non ornavit.” Therefore it is that with few exceptions, such as those of the “ Mad. della Seggiola,” the 
 “ San Sisto ” at Dresden, the “ Pesce” at Madrid, and the little Orleans “ Madonna,” these pictures derive their great 
 interest from some beautiful face and form which breathes with the life of ineffable expression that Raphael alone has ever 
 bestowed. The “ Madonna dei Candelabri,” then, may be considered, judging from its internal evidence, to be a work of 
 the joint production class, and it is so considered to be by Passavant, Waagen, and by Kiigler. 
 
 But it is remarkable that while old and modern copies of so many of the other Madonnas are commonly met with, 
 those of the Madonna dei Candelabri are all but unknown. As you have already noticed the existence of one or two referred 
 to by Passavant, I would beg to point out that that writer also mentions that Goede, a German writer of the beginning 
 of this century, author of a “ Voyage en Angleterre,” says that he saw a picture of this subject in the collection of a 
 Mr. Agars, in London. Can this newly discovered Madonna be the picture seen by Goede ? 
 
 It would, at all events, be of the utmost interest to students of Raphael if the picture now in question could, together 
 with the various engravings, be placed for comparison with the Novar “ Madonna dei Candelabri.” 
 
 Yours, &c., G. R. 
 
 (“The Times,” June 8, 1878.) 
 
 TO THE EDITOR OF THE “TIMES.” 
 
 Sir, — I hope the possessor of the “ Novar ” picture will accept Mr. Robinson’s challenge, and allow the two works in 
 question to be placed side by side. 
 
 I have frequently seen the Novar picture ever since Mr. Monro purchased it at the sale of the Duke of Lucca’s 
 collection, and though parts of it are not wholly by Raffaelle, I have ever regarded the head of the Virgin as indisputably 
 by the hand of the master, at his best time, when he produced the Madonna di San Sisto. Picture-restorers have, for a 
 hundred years at least, adorned galleries with spurious works ; but the educated eye can discover the imposture, though 
 concealed beneath cloaks of varnish. 
 
 Your obedient servant, 
 
 June 8. HENRY O’NEIL, A.R.A. 
 
 Mr. G. A. Sala wrote to The Times in answer to mine, that there were numerous copies of the Madonna dei 
 Candelabri, and that he had seen them. But Mr. Robinson challenged him in another letter to name one ancient one, 
 and he could not. I never saw any but the one which turned up in Scotland, and was eventually exhibited at South 
 Kensington Museum along with Mr. Robinson’s picture. I examined this, and it is a very feeble work, gone very dark 
 and obscure, and never could have been a fine copy. The only other copy that has ever been brought to light is one 
 made for the French painter, Ingres, and in his possession at his death. This is all noted in Mr. Robinson’s pamphlet on 
 the subject of his picture which he bought at the sale of an old country clergyman who was a friend of Munro’s and who 
 exchanged pictures with him, in one case a fine Turner. 
 
1878.] MR. T. GRAHAM WHITE'S COLLECTION. 
 
 281 
 
 MR. AL T'S COLLECTION. 
 
 (“The Times,” March 6, 1878.) 
 
 The collection of modern pictures belonging to Mr. W. J. Alt, recently exhibited at the Bethnal Green Museum, was 
 sold by Messrs. Christie, Manson and Woods, with some other smaller collections, on Saturday. Those which brought 
 the highest prices were “ Blowing Fresh,” by H. Koekkoek, ,£59 17s., and “ A Calm,” £52 ioj. ; a frost scene in Holland, 
 by the same — £73 io.r. ; “ The Long Story,” by Edouard Frere — £63 ; “ The Gipsy’s Deathbed,” by J. Grund — £68 5 s. ; 
 “ Vivandiere,” by H. Schlesinger — £60 i8j. ; “ Her First Ball,” by J. C. Horsley — £89 5J. ; “ Canterbury Meadows,” by 
 T. S. Cooper, R.A., 1870 — £183 1 55. ; the companion picture — £136 ioj. ; View in Surrey, by T. Creswick, R.A., with 
 figures by W. P. Frith, R. A., from the Gillott collection — £241 ioj. ; “The Eve of St. Bartholomew’s Day,” by A. B. 
 Clay, exhibited 1865 — £168; “An English Rustic,” by W. C. T. Dobson, R.A. — £94 ioj.; finished sketch of the 
 principal group in “The Derby Day,” by W. P. Frith, R.A. — £187 19J. ; “The MotheFs First Care,” by T. Faed, R.A. — 
 £252 ioj. ; A View on the Stour, from the Gillott collection, by J. Constable, R. A.— £52 ioj. ; “The Burgomaster’s 
 Table,” by G. Lance — £120 15J. ; Lake Scene, with figures in the foreground, from the Gillott collection, by R. Wilson, 
 R.A. — £33 12J. ; Landscape, with figures on a road — £80 17J. ; “The Installation of Captain Rock,” by D. Maclise, 
 R.A., exhibited at Royal Academy, 1834, and at Burlington House, 1874 — £220 13s. 
 
 Water-Colour Drawings. — “The Serenade,” by Fortuny — £ 27 6j. ; “By the Riverside,” by Heilbuth — 
 £33 14J. ; “Grapes and Pears,” by W. Hunt — £32 ns. ; Vokins. Harlech Castle, by D. Cox— £73 ioj. 
 
 Oil Paintings. — “Sty Head Pass, from Borrowdale,” by A. W. Hunt- £39 i8j. ; “The Market Girl,” by E. Jones 
 (Madame Soyer) — £31 ioj. ; “ Love and Music,” by W. Oliver— £29 8j. ; “ On the Banks of Derwentwater,” by B. W. 
 Leader — £53 iu. ; “The Pleasures of a Shepherd’s Life,” scene near Newhaven, by H. Brittan Willis — £84; 
 “ Festiniog,” exhibited at the Royal Academy, 1873, by J. Syer — £168 ; “ Lady Teazle discovers Joseph Surface’s perfidy 
 and Sir Peter’s generosity,” by Val Prinsep, A. R.A. — ,£152 5J. ; “The Race in the South Park, Reigate,” by E. H. 
 Holder — £36 ioj. ; “The Virgin and Child,” after Murillo — £22 ij. ; Fruit on a Table, from the Redleaf collection, 
 by G. Lance — £42 ; Permain. “Passing the Cross, Brittany,” exhibited at the Royal Academy by F. Goodall, R.A. — 
 £2(12 ioj. ; Graves. Scene from “Gil Bias,” by D. Maclise, R.A. — £ 7 4 iu. ; Horses and Cattle, Essex Marshes, by H. 
 Brittan Willis — £210; Hounds, by O’Penne, and the companion — £44 2 j. each ; “The Dictation,” by F. G. Russ — 
 £30 gs. ; “View in Seville,” by F. Baratti — £46 4J. ; Lake Scene, by A. Wahlberg— £56 14J. ; “ Hush ! hush !” interior 
 of infant school, by John Morgan — £140 19J. ; “ Sennybridge, on the Usk,” by D. Bates — £42 ; “The Toast,” interior 
 of Hardwick Hall, by Laslett J. Pott — £75 I2J. ; “The Pet Lamb,” by W. Oliver and W. Watson — £120 15J. ; Park 
 Scene, with cattle and sheep, by F. R. Lee and T. S. Cooper, R.A. — £73 ioj. ; Woody Landscape, with cottages, by 
 E. J. Niemann — £4 7 5 j. ; “Genius Checked,” by M. Stone, A.R.A. — £73 I2J. ; “The Hayfield,” by J. Morgan — 
 £36 14J. ; “Lady Place Abbey, Henley-on-Thames,” by Laslett J. Pott — £67 4J. ; “The Hireling Shepherd,” by W. 
 Linnell — £288 15J. ; a Cornfield on the French coast, by H. W. B. Davis, R.A. — £246 15J. ; “The Warrior’s Rest,” by 
 Marcus Stone, A.R.A. — £68 5J. ; a Forest Scene, in water colours, by Vicat Cole, A.R.A. — £47 5J. The total amounted 
 to £6,500. 
 
 MR. T. GRAHAM WHITES COLLECTION. 
 
 (“The Times,” March 23, 1878.) 
 
 The sale of the collection of pictures belonging to the late Mr. T. Graham White, at the rooms of Messrs. Christie, 
 Manson and Woods, on Saturday, attracted the fullest attendance that has been seen this season. The collection was 
 chiefly interesting on account of the old portraits of the Smyth family, the late Mr. Graham White being the grandson 
 and heir of the late Sir G. H. Smyth, M.P., of Berechurch-hall, Essex. There were portraits of Sir Robert, the first 
 baronet, who died 1669, and his wife, both full lengths ; of Sir James Smyth, Knight, Lord Mayor of London at the 
 Coronation of King James II., and others, all of which, however, sold for comparatively small prices. The picture of the 
 sale, and one that had been viewed with much interest during the week preceding the sale, was the well-known picture of 
 Lady Smyth and her three children, by Sir Joshua Reynolds, which was exhibited at the Royal Academy in 1787, and 
 again at the British Institution in Pall-Mall so far back as 1817. It has been engraved by Bartolozzi in that very slight 
 and unsatisfactory manner he adopted for other portraits engraved by him, and it is much to be regretted that this once 
 beautiful picture was not engraved properly before it fell into its present condition. It was painted in the year when 
 Sir Joshua was at work upon the famous “ Infant Hercules,” in the collection of the Emperor of Russia, and finished 
 while he was beginning the similar group of Lady Harrington and her children. In this picture of Lady Smyth she is 
 seated looking to the right of the spectator, wearing a hat with white ostrich and cocks’ feathers, the children grouped 
 before her and leaning over her lap ; the background a dark interior, with an opening at the right side showing the sky. 
 When the picture was placed on the easel, the auctioneer, Mr. Woods, remarked that, notwithstanding the condition of 
 VOL. I. OO 
 
282 
 
 ART SALTS. 
 
 [ 1878 . 
 
 the background, it must be admitted that it was still a very beautiful picture, and perhaps many would prefer to leave it 
 in this state rather than venture upon any attempt to restore it. The biddings then commenced with one of 500 guineas 
 advancing but slowly up to 1,000 guineas, at which there was a pause, when at length they rose to 1,250 guineas, at which 
 price, ,£1,312 ios-., the picture was knocked down to Mr. Graves. The only other picture of importance in the collection 
 was described as a portrait by Rembrandt of his wife in a rich red dress with pearl bracelet and earrings, her left hand 
 resting on a ledge in front and her right hand raised pulling a string, as of a bell-pull at a door-post. The picture was 
 life-size to the waist, and the person represented was a good-looking, plump young woman with dark hair and eyes, having- 
 round her neck a black braid string with an eye-glass attached. It was sold for £472 ior. Besides these there were a 
 few pictures of the Dutch and Italian schools, which were of no special interest, and seven large canvases by Fuseli, all in 
 the very exaggerated manner of the painter, and of such subjects as “ The Death of Dido,” “ Count Geyeling Murdering 
 his Wife,” “ Midsummer Night’s Dream,” “ Lady Macbeth,” &c. These brought but very small sums. 
 
 LADY ANNE BAIRD'S COLLECTION. 
 
 In the collection of the late Lady Anne Baird, sold on the same day, consisting of about 30 pictures, chiefly of the 
 Dutch and Flemish schools, an Italian landscape, by Moucheron and Lingelbach, sold for £47 5 r . ; portrait of the Young 
 Pretender, by Largilliere — £34 y . ; a horseman and peasants near ruins, by Weenix — £52 ioj. ; portrait of a cavalier, by 
 Karel du Jardin — £ 26 5J. ; poultry in a landscape, by Hondekoeter— £162 15.?. ; the family of Rubens, in a landscape, 
 replica of the picture by Rubens, purchased at Lord Strathmore’s sale at Holyrood — £79 i6r. ; “ Old London-bridge,” by 
 W. Marlow, a bright and sunny picture, about i8in. by 24m. — £53 iu. ; Florence from the Arno, by Marlow — £79 16s. ; 
 the Bay of Naples, by Marlow — £75 i2.y. ; a group of geese and ducks on a pool and pigeons on a dovecot, a lage upright 
 picture — £178 io.r. 
 
 MRS. EDWARD ROMILLYS COLLECTION. 
 
 The pictures and water-colour drawings belonging to the late Mrs. Edward Romilly, which followed after the 
 sale of the above, formed an interesting little collection noticeable especially for the admirable picture by Teniers, 
 a good twilight effect by Van der Neer, a brilliant landscape by Cuyp, and several water-colour drawings by Copley 
 fielding, T. M. Richardson, and others, and by De Witt a remarkable “ View of Lincoln.” The interesting pictures 
 among those of the Dutch school were the following: — “The Sick Lady,” by F. Van Mieris, signed and dated 1713, 
 consequently by the grandson of old Francis, representing a lady in a white dress fainting, with the doctor feeling her 
 pulse and the nurse behind in a blue dress, about 2oin. by i6in., sold for £165 i8r. The Van der Neer, a landscape with 
 figures of peasants travelling, a bright and clear effect of late evening with a silvery sky, about 24m. by 1 Sin. — £273. 
 “ The Guitar Player,” an oval on oak panel, ioin. by iein. ; interior with aman seated on wooden block, playing his guitar> 
 a woman seated behind a table holding a glass, and a group of five men playing cards and smoking in a further room — 
 a picture in perfect condition and touched with all the master’s spirit and character. An eager contest arose over this 
 little picture, which brought the large sum of £56 7. The Cuyp was a sunny lake scene representing the “ Flight into 
 Egypt,” with the Holy Family on the left, and figures with cattle on a bridge on the right of the spectator, about i8in. by 
 24m. — £304 ioj. Of the water-colour drawings, London from the Thames, by Copley Fielding (1852), sold for £178 io.f. ; 
 and a View oft the South Coast (1853) — £262 ioj. ; Val d’Ossau, by C. Stanfield, R.A. — £31 ioj. ; A Boar Hunt, by 
 F. Tayler. — £1 10 y. ; Menaggio, Lake of Como, by T. M. Richardson (1837) — £105 ; Castle of Sperlenza, Sicily, by the 
 same — £105 ; On the Black Mount, Argyllshire, by the same — £126. A view of Lincoln, from the Brayford, by De Wint, 
 about 2oin. by 30m., being certainly one of his finest works, well merited the high price of £761 y., at which, after a 
 spirited competition, it was knocked down to Mr. Vokins. A coast scene in oils by J. J. Danby, 1861, sold for £110 5^., 
 and an Italian seaport, by Sir A. W. Callcott, R.A., for £199 ioj. From other collections, not named, were sold the 
 following: — A portrait of the Marquis of Granby, by Sir Joshua Reynolds, a full length representing him bareheaded 
 standing leaning the left arm on a mortar, dressed in an open blue coat with buff and red facings, red sash, buff leather 
 breeches and long boots, a battle in the background. This was formerly in the collection of the late Duke of Buckingham 
 at Stowe, and is engraved by S. YV. Reynolds. The colouring in the face was much faded, and in parts of the dress. It 
 sold for £173 A portrait of Madame Van Westrenen, by Greuze, painted in 1802, and the property of the lady’s 
 daughter, sold for £304 ior. ; this must have been one of the painter’s latest works, as he died in 1805 ; a Lake Scene, 
 with sheep and lambs, by Verboeckhoven, 1S57 — £168 ; “ The 1st of September,” by J. F. Herring, senr., 1846 — £70 7s. ; 
 a Welsh River Scene, with ruins, a small work by R. Wilson, R.A. — £ 152 5^. ; “The Coronation of the Virgin,” by 
 Murillo, from the Wynn Ellis Collection — £84 (this picture sold in the Wynn Ellis sale for £52 iar.) ; “Windsor Castle,” 
 by J. M. W. Turner, size ioin. by iein. — £37 i6j. ; “A Fair,” with a charlatan and other figures, by Hogarth, from the 
 Redleaf Collection — £152 ; portrait of Mrs. Berkeley, by Hoppner — £63 ; “The Raising of Lazarus,” by Bonifaccio, a 
 very large gallery picture, formerly in the Pesaro Collection, Venice — £63. The proceeds of the day’s sale amounted to 
 £8,873 i ox. 
 
1878.1 
 
 THE BOHN COLLECTIONS. 
 
 28 
 
 SALE OF FINE SEVRES PORCELAIN 
 
 (“The Times,” March , 1878.) 
 
 The admirers of rose du Barri Sevres had a rare opportunity in the sale of a rather celebrated dessert service 
 belonging to the late Mr. J. P. G. Dering, of Great Missenden, Bucks, and which had formerly been the property of 
 Lord Gwydir when it was sold in 1829. The set consisted of 57 pieces, all painted with medallions of fruits and flowers 
 and many formed in pierced work and gilt, dating mostly in the year 1757. The set was not sold as a whole but in lots, 
 all of which were bought by the different dealers, so that the set is now dispersed. A pair of seaux sold for ,£1,123 ioj. 
 A circular tureen, the cover bearing an artichoke in green and gold, 1757, £204 ; the companion tureen, £(215 5J. ; two 
 oval dishes, with white centre, the ends painted with flowers, each £(267 1 5J. ; a large bowl, £99 1 5 s . ; an oval pierced 
 basket and cover, painted with medallions of flowers, £189 ; an oval tureen and cover, £(148 ; the companion, ,£140 ; a 
 triangular plateau, bouquet of flowers in centre and bands of rose du Barri and gold, 1757, £100 ; the companion, but 
 imperfect, sold for £27 ; four pairs of custard cups sold for 23 to 25 guineas ; a pierced fromagere and stand, ,£52 ; a pair 
 of square dishes and a pair of shell-shaped dishes, each pair £130 ; 12 plates, painted with flowers, fruits, and exotic 
 birds by Thevenet, £378 ; a pair of oval dishes, £203 ; a pair of openworked baskets, with rose du Barri and green 
 interlaced ribands, .£155. The whole set realised the large sum of £(4,039 14J. A pair of fluted lavender-coloured vases 
 mounted in ormolu, from Lord Gwydir’s collection, sold for £(410. 
 
 THE BOHN COLLECTIONS . 
 
 (“The Times,” April 2, 1878.) 
 
 THE immense collection of ceramics and other works of art formed by Mr. H. G. Bohn was finally dispersed with 
 the sale of the sixth portion, occupying four days of the past week, by Messrs. Christie, Manson and Woods, ending on 
 Friday last. Including the ornamental cabinets, there were no less than 777 lots, consisting of all kinds of foreign 
 porcelain in great variety, some of them being unique examples. The prices realized were considered to be good, though 
 in the majority of cases they did not come up to that paid for them by Mr. Bohn as stated in his catalogue, but in some 
 instances there was a gain in the price. 
 
 Dresden Porcelain. — An oval Marcolini plateau, gros-bleu and gold, purchased in 1869 for £18, now sold for £9 gs. : 
 a gros-bleu and gold Marcolini cup, cover, and saucer, cost in 1871 £8, for £4 ioj. ; another beautifully painted with 
 mythological subjects — £7 10s. ; a cup and saucer painted with Chinese figures in colours on a solid gold ground, cost in 
 1867 £9 5J-., sold for £5 2s. 6 d. ; an old white and gold cup and saucer, marked Dresden, 1739, cost in 1867, £12 10 s., 
 sold for £4 ioj. ; a richly gilt cup and saucer of the finest old Dresden, cost at Lord Ashburton’s sale in 1869 £19 8j. 6 d.. 
 
 sold for £8 ioj. ; a green and gold teapot and cover and teacaddy and cover to match — £30 gs. ; a scalloped milk-ewer 
 
 and three cups and saucers, £17 ; an oviform compotier and cover, with blue and gold scale borders, also a basin-shaped 
 sucrier and cover — £10 ioj. A splendid plate, with openwork border, with the Marcolini mark in blue ; this unique 
 plate having been specially referred to by Chaffers, page 464 — £3 ioj'. A fine old coffee pot and cover, with pink and 
 gold scroll borders ; also a small teapot and a cup and saucer of the same pattern — £10. Four old plates, white and 
 gold — £17 17s. A curious grotesque teapot and cover, with human face in front, the figure of a female for a handle, 
 and the neck of a bird for a spout ; height, inches ; figured in Marryat, and sold in his own collection for £9 1 5^., 
 
 sold now for £12 12J. Fine old dcuelle and cover, with rustic handle ; also a cup and saucer of the same service — 
 
 £10 ioj-. ; a miniature Marcolini cup, cover, and saucer, painted with mythological subjects (Pyramus and Thisbe) 
 — £6 ioj. ; a white and gold Marcolini cabaret, consisting of a large plateau, coffee pot and ewer, milk ewer and cover, 
 sucrier and cover — £29 8j. ; a curious water jug in the form of a monkey, with gilt bells on his neck, with two young 
 monkeys as handle and spout, similar to that at the Due de Forli’s sale, which fetched £22— £18 ioj. ; a fine old milk 
 ewer, cover and stand, with twisted handles— £13 ; a lithophanic cup and saucer, of the highest quality, perfectly unique 
 —£(55 J 3 S - A fine old basin, richly inlaid with solid gold ornaments, cost in i860 £38, sold for £22 iij. 6 d. A bijou 
 bonbonniere, enamelled inside and out with classical figures, subjects, and cherubs’ heads — £14- The following are 
 choice specimens of the fine old Dresden service made for the King of Holland, afterwards purchased by Mr. Beckford, 
 of Fonthill, and at his sale in 1823 bought by the late Mr. Hodges in one lot, sold in 1868 at from £3 to £5 per plate : — 
 A pair of fruit dishes— £13 13J. ; six plates of the same service— £10 ioj. ; six similar, of the same service— £13 2J. 6 d. ; 
 six similar, one of which is enamelled with the seven armorial shields of the King of Holland — £14 14J. ; 12 circular 
 ice-plates of the same service— £25 45. ; making a total of £190 13J. A pair of Marcolini vases, with perforated covers, 
 and handles formed as doves, apparently marriage vases, probably on the marriage of F rederick Augustus III. in 1763 — 
 £17. A very elegant clock, with circular dial and a pair of candelabra en suite , with nozzles for three lights ; these are 
 said to have belonged to the late Duke of York— £50. A very tall pair of old vases and covers, encrusted with bold 
 projecting figures of stags, dogs, and other hunting symbols in suitable colours, 25m. high— £16. A two-handled 
 brule-parfum vase, of early Bottcher porcelain, black and gold, in Japanese taste— £21 ioj. 6 d. A Dresden porcelain 
 
 0 0 2 
 
284 
 
 ART SALES. 
 
 T 1878. 
 
 bras de cheminie—£ 22. Two old Chinese figures, male and female, with moving heads— ,£28 Js. A group of Theseus 
 with the Bull of Marathon— /31 iojt. Four old dramatic figures— £28 7s. A fine pair of old groups of two figures 
 each, representing the four quarters of the globe ; cost in 1886 ,£32 — sold for ,£35 145-. Two old figures of females in 
 rich Russian costume, 9m. high— £33. A figure of Cleopatra, very richly attired, wearing a crown of gold— .£21. Count 
 Bruhl’s Dresden Tailor, 9 Jin. high— .£36. A large old group of two children, representing Sculpture and Painting ; cost 
 in 1865 £10 15J., brought now £ 27 6s. An old figure of Astronomy— £47. Pair of fine old figures, beautifully modelled 
 and richly coloured, height njin. ; a similar pair sold in 1877 for £141— sold for £71. A pair of finely-modelled Berlin 
 rustic groups, 6 Jin. high— £13 3s. The Berlin cups and saucers brought from 30J. to £5 55. Two Berlin plates— 
 £14 5-r. A Frankenthal porcelain plateau— £7 7s. A fine old Frankenthal group of three figures— £11 m. The 
 Frankenthal china of the Carl Theodor period, five small figures in pink and white dresses, and two similar figures with 
 slouched punchinello hats and yellow boots — £16 1 5^. The Nymphenburg china sold for prices from 1 guinea to 
 ■3I guineas, and the Hochst for rather more. A white and gold Fulda breakfast service brought £9 9s. Five Arnberg 
 (Bavaria) coffee cups and saucers — £4. A white and gold Gotha teapot and cover, with scroll handle — £10 10s. A pair 
 of matchless green and gold seaux or jardinieres, with foliated handles of Tournay porcelain, 1778, soft paste— £28 7s. 
 An oval plateau, Vienna porcelain, painted with “The Judgment of Paris,” after Angelica Kauffman ; cost in 1869 
 £2 1 ioj-.— sold for £23 2 s. A Vienna plate, with borders in raised gold and turquoise, painted with Apollo and a 
 Centaur, cost in 1869 £25 — sold for £23 I2.f. A beautiful plate painted with figures of Hercules and Dejanira, with gray 
 and gold borders, dated 1805— £16 i6j. Another, entirely covered with gold ornaments, raised, burnished, and mat , on 
 colours, with iridescent appearance, a fine sample — £25 m. A cup and saucer — £9 19^. 6 d. A milk ewer and cup and 
 saucer, cost £20 in 1871 — £29 8 j. A group of Venetian porcelain, representing Mars, Vulcan, Venus, and Cupid— £21. 
 A large Le Nove dcuelle and cover, and stand, cost in 1871 £61 — sold for £61 19J. A large Capo di Monte compotier, 
 cover, and stand— £23 2s. A statuette of a Sibyl— £29 8 j. A curious old group of coloured Capo di Monte porcelain, 
 cost in 1865 £30, sold for £33 t2s. A fine two-handled Capo di Monte coffee cup and saucer — £17 17s. A pair of Capo 
 di Monte perforated baskets — ,£18 i8j. A complete dejeuner service of Capo di Monte, variously painted and ornamented 
 in gold and colours — £17. A set of four remarkable dwarf candlesticks in the form of Negroes as caryatides supporting 
 shells, marked with the fleur-de-lis, 6in. high. Mr. Bohn thinks these are “ portraits of slaves sent to Naples by the 
 Queen Mother, who received an artistic education by direction of Charles III.” These candlesticks were purchased on 
 different occasions for £63, and sold now for £24 13^. A beautiful figure of Andromeda, 9jin. high, in Buen Retiro, 
 coloured, sold for £20 ioj . The travelling dejeiiner of Isabella II., the present ex-Queen of Spain, of Buen Retiro china, 
 silver mounted, with a small ornamental churn of carved wood, sold for £13 13J. The sale realized altogether £5,023. 
 Mr. Bohn’s large collection of pictures and miniatures yet remains to be sold, but he states in the preface to his very 
 interesting and instructive catalogue, that being now in his 83rd year, he doubts whether he shall have the courage and 
 physique to undergo the labour of graphically cataloguing these. 
 
 The present week at Christie’s will be specially interesting in the exhibition and sale of the Novar collection, and the 
 remarkable etchings and drawings by Rembrandt belonging to the late Mr. Danby Seymour, and the engravings by 
 Albrecht Durer from another collection. 
 
 The remaining works left at his death by the late Mr. F. W. Topham, of the Old Society of Painters in Water 
 Colours, sold on Saturday by Messrs. Christie, Manson and Woods, contained many sketches and a few finished 
 drawings, with a few oil paintings, all of which may be said to have brought good prices. The slighter sketches, of 
 which there were about 50, sold at from 1 to 10 guineas. 
 
 MR. T. GREENWOOD'S COLLECTIONS. 
 
 (“The Times,” April 15, 1878.) 
 
 The sale of the collection of water-colour drawings belonging to the late Mr. Thomas Greenwood, of Sandfield 
 Lodge, Hampstead, on Friday last, by Messrs. Christie, Manson and Woods, afforded some rather interesting 
 comparisons between the prices now obtained and those when the drawings were last offered for sale. It will be 
 remembered that Mr. Greenwood sold in 1872 at Christie’s upwards of 130 drawings and sketches by David Cox, and 
 afterwards, in 1875, nearly the whole of his large collection was put up in the same rooms, when all the finer examples 
 of Turner and David Cox were sold, while those not reaching the reserve price formed, with a few exceptions, the 
 present sale, which was made absolute. The prices obtained, it was generally considered, were very decidedly in favour 
 of the dealers, and they were fortunate in acquiring some undoubtedly good drawings at such low prices. A water- 
 colour drawing by R. P. Bonington, “ The Rialto,” sold for £31 ioj., the last sale price of which in 1875 was £73 ioj. 
 Henriette Browne. — “A Court of law in Damascus,” water-colour on blue paper — £10 iox., sold in 1875 for £54 12 s. 
 G. Cattermole. — “Baronial Hall: Reading the Scriptures” — £42, former price £31 105. “A Venetian State Barge, 
 with Procession ” — £64 — £71 8s. “ Murder of the Duke of Clarence ” — £27 — £49 7s. D. Cox. — “ Shipping at Mouth 
 of River” — £32 ioj. — £43. “View of Brough Castle” — £23— £47 5-r. “Traeth Mawr, Carnarvonshire,” a large 
 drawing — £34 12 s. — £178 ioj-. “Snowdon, with Sheep, Twilight” — £44 — £89 3s. “A Landscape, with Brigands,” 
 a large work — £210 — £682 ioj. A large drawing by De Wint, “The Harvest Field” — £210 — £367 105. 
 
 Sir John Gilbert’s “ Humphrey, Duke of Gloucester,” a large drawing more than maintained its credit, 
 
1878 .] 
 
 MR. T. GREENWOOD’ S COLLECTIONS. 
 
 2S 5 
 
 selling for £60 18.J., the former price being £38 lys. The drawing “Lincoln Cathedral,” by T. Girtin, 
 Turner’s master, exactly doubled its price, selling for £21. Landseer’s amusing pen-and-ink sketch of himself 
 as a beggar, with two dogs, sent as an apology for his late arrival to dinner, which was sold in the sale after his death, 
 and in Mr. Greenwood’s former sale for £36 1 5^. , now brought only £15 15J. The sketch in colour of a church interior 
 at Liege, with the pulpit, also in Landseer’s sale, when it sold for £105, and in Mr. Greenwood’s former sale for £110, 
 now brought £37 16s. Still more surprising was the “ Baiting Waggon Horses, Geneva,” which sold for £95 guineas 
 in Landseer’s sale, now going for 1 5 guineas. A large upright drawing by Samuel Prout, “ A Norman Tower, which 
 brought in 1875 £131 5 s -, was allowed to pass at £32 ior. C. Stanfield, R.A. — “ Off Dover” — £7 1 8 j. — £ 44. Frederick 
 Tayler’s “ Squire Western and Sophia” — £29 8s. — £33 14J. “The Death Shot,” a large drawing of a stag, with the 
 study for it— £29 8r. — £8 7 3s. Of the Turner drawings, most of which were unfinished and several mere sketches on 
 gray paper may be mentioned, “ Venice, from under the arch of the Rialto ” — £54 12J. former price £81 i8r. ; “Geneva,” 
 slight and sketchy — £18 ys. 6 d. — £30; “ Sisteron ” — £32 ior. — ,£53 1 3 ; “Heidelberg ” — £53 II - f - — £1105.?.; “The 
 Brunig Pass,” larger and more finished — £54 I2r. — £84 ; “The Foot of the St. Gothard,” the most finished and highly 
 coloured of all, which brought in the former sale £ 252 , and went for £29 8^. only ; “ The Bridge of Coblentz ” — £4 7 5-y. 
 — £110 ; “A Mountain Pass in Switzerland” — £4 7 5-r. ; “The Death of the Whale” — £4 4^. — £15. In noticing these 
 drawings of Turner we may take the opportunity of correcting an error which occurred accidentally in stating the price 
 of the Turner pictures in the Bicknell collection (1863), where that of the “ Antwerp ” should have been 2,510 guineas 
 instead of 510 guineas. This collection of the late Mr. Greenwood, consisting of 52 drawings, 10 of which were by 
 Turner and 13 by David Cox, with 9 oil pictures by other artists, realized ,£2,344. The objects of ornamental art 
 belonging to the same gentleman were sold on the Wednesday and Thursday preceding. Among these were many 
 good examples, such as the sweetmeat box of Indian jade, mounted in gold and studded with numerous rubies and 
 emeralds, which sold for .£155 ; a fluted two-handled Campana-shaped vase of rock crystal, the cover carved with 
 foliage, with silver-gilt mounting and enamel work, 9m. high — £51. A large fluted cup of rock crystal, the cover of 
 crystal in form of a swan, enamelled, on stand to match, 14m. high — £84. A pair of vases in Dresden painted enamel, 
 on silver, classical subjects and arabesques, gin. high — £63. A silver vase, chased with mythological figures in high 
 relief, the handles and cover formed as equestrian figures, 29m. ; this fine work of Vechte, the well-known artist in 
 metal work, sold for £525. A carved wood looking-glass frame, by Grinling Gibbons, ornamented with children, birds, 
 flowers, fruit, and foliage — £105. 
 
 In the sale of Saturday at Christie’s, the following, from various private collections, were sold : — Water-colour 
 drawings. — “ The Tailor’s Shop,” by J. D. Watson — £29 8s. ; “Welsh Mountain Scene,” by T. Collier — £42; 
 “ Andernach,” by S. Prout — £28 ys. ; “Venice,” by C. Stanfield, R.A. — £32 iu. ; “ On the Rhine,” by S. Prout — £39 15^. ; 
 “The Coast at Bonchurch,” by Birket Foster— £103 19J. ; “Road Scene, with Children,” by D. Cox — £36 15^. ; “The 
 Card Party,” and “ The Music Party,” by Louis Haghe — £32 1 ir. and £53 1 ir. Oil Pictures. — “ The First of September,” 
 by E. Douglas— £152 ; “The Mumbles,” by J. Syer — £32 ior. ; “ Snowdon, early Morning,” by the same— £116 11$. ; 
 “Westminster, F'og clearing off,” by James Danby — £39 i8j. ; “Combe Wood,” by Patrick Nasmyth, painted for 
 Mr. Hartwright, Manchester — £325 ioj. ; “ Martello Tower, Jersey,” by E. W. Cooke, R.A. — £68 5 s. ; “A Spanish 
 Lady,” by J. B. Burgess, A. R.A. — £69 ir. ; “Taking a Nap,” by E. Nicol, A.R.A. — £68 5^. ; “ A Rough Day on the 
 Welsh Hills,” by David Cox — £73 ior. ; “Shields, mouth of the Tyne,” by E. Hayes, R.H.A. — £85; View of 
 Edinburgh, with Donaldson’s Hospital in the foreground, by David Roberts, R.A., painted for Professor Playfair — £315 ; 
 “The Stolen Slice,” by Sir D. Wilkie, R.A., signed and dated 1820 — £74 iu. This was painted when Wilkie was in 
 Belgium, and was left in his house in which he stayed at Malines. “A Christening at Antwerp, 16th Century,” by 
 V. Lagye — £65 ; “Gipsies,” by H. Campotosto — £52 ior. ; “French Fishermen and Children,” by E. le Poitevin — 
 £40 igs. ; “Landscape, and Man with Rabbits at a Cottage,” by W. Shayer — £70 ; “A Forest Scene,” by J. Stark — 
 £52 1 ij. ; “A Lane Scene,” by the same — £69: “The Thames, Early Morning,” by G. Vincent, exhibited at the 
 Academy — £115 ior. ; “Canterbury Meadows,” by Sidney Cooper, R.A. — £232 ; “ Sheep in Landscape, Storm coming 
 on,” by the same — £252 ; “ Early Morning,” by L. Munthe — £141 15J. ; “ Hard Winter,” by Edouard Frere — £141 15^. ; 
 Interior, by the same — £141 1 5^. ; “ Mirth and Melancholy,” by G. Romney — £37 6j. This picture belonged to Hayley the 
 author of the Lives of Romney and Cowper. Five portraits of famous racehorses, by J. F. Herring, sen. — “ Bay Middleton ” 
 — £31 ioj. ; “ Plenipo £31 ior. ; “ Queen of Trumps ” — £99 s. ; “Priam” — £99^'. ; “Touchstone” — £13 13^. 
 
286 
 
 ART SALTS. 
 
 [ 1878 . 
 
 MESSRS. AGNEWS NEW GALLERY. 
 
 (“ The Times,” June , 1878.) 
 
 In connection with art sales it is due to Messrs. Agnew to notice the very handsome galleries which they have just 
 opened in Old Bond Street, having removed there from the premises in Waterloo Place, which have been occupied by 
 this old-established firm for many years past, in addition to their Manchester and Liverpool houses. The building is 
 quite an ornament to the street, having a very picturesque front with large entrance and balcony above, in the fine 
 brickwork of the style of Oueen Anne. On the ground floor one small room is devoted to etchings and engravings, where 
 we noticed the first artist’s etching proofs of the engravings from Mr. Holman Hunt’s picture, “ The Shadow of Death,” 
 and Mr. Goodall’s “Virgin and Child,” with other finished etchings from portraits by Mr. Watts and Mr. Ouless, by M. 
 Rajon, and many of the most important engravings of the day. Another room is hung with cabinet pictures, among 
 which are Etty’s “ Venus in her Car,” Millais’s “ Gambler’s Wife,” Tissot’s picture of the young midshipman and his love, 
 and other interesting pictures by Edouard Frere, Bonnington, Briton Riviere, and David Cox. By a staircase of dark 
 stained woodwork carefully kept in subdued light, and the walls hung with crimson tapestry of a plain diaper pattern, which 
 is continued throughout the galleries, and is most effective in showing off the pictures, the principal gallery is entered. 
 Here are the large pictures, the chief one being Mr. Frith’s fine work of “ The Fete of our Lady of Boulogne,” exhibited 
 two or three years back at the Academy. Mr. Briton Riviere’s “ Noah’s Ark,” Mr. Millais’s “Yes or No,” Mr. Marks’s 
 most amusing and characteristic picture of the “ Three Jolly Postboys drinking at the Dragon,” Mr. Goodall’s “ Blind 
 Beggar,” Mr. E. M. Ward’s “ The Dauphiness sketching in the Gardens of the Tuileries,” and Mr. Yeames’s “ Appeal to 
 the Podesta,” with many other good pictures, which amply serve to maintain the reputation of Messrs. Agnew as 
 enterprising and most competent promoters and encouragers of artists and the interests of the fine arts. 
 
 “ THE SIRENS! F. T. TURNER COLLECTION. 
 
 TO THE EDITOR OF THE “TIMES.” 
 
 Sir, — At a sale of modern pictures belonging to the late F. T. Turner, on the 4th ult., at Messrs. Christie, Manson 
 and Woods, a picture by the late W. E. Frost, R.A., called “ The Sirens,” was described in the catalogue as being “a 
 small replica of the picture in Her Majesty’s collection.” As I am the possessor of the original picture, and as the above 
 inaccuracy might seriously injure its value, I beg to send you an extract from a letter addressed to me by the late Mr, 
 Frost, R.A., and dated the 15th of August, 1863 : — 
 
 “The history of the picture is as follows: — It is what is called a ‘kit-cat’ size (36m. by 28m. I think). It was 
 painted for Mr. Andrews, of York, in 1849, and has never been repeated the same size. The small picture in the late 
 Mr. Bicknell’s collection was painted the same year, and only measured about 15m. by min. There is no other copy to 
 my knowledge. The account in The Times of Mr. Bicknell’s collection contained many inaccuracies. I did not paint 
 ‘ The Sirens ’ for Her Majesty, as stated in that paper. Though I had painted three pictures for Her Majesty and the 
 Prince, they were entirely different subjects.” 
 
 The picture thus described above was purchased by my father, the late Mr. Dennistoun, of Golf-hill, in 1850, and is 
 now in my possession. 
 
 Your obedient servant, 
 
 A. DENNISTOUN. 
 
 Rosslea Row, Dumbartonshire, May 27. 
 
1879 .] 
 
 MR. A. BROOKS’ COLLECTION. 
 
 287 
 
 MR. A. BROOKS’ COLLECTION. 
 
 (“The Times,” May 20, 1879.) 
 
 The collection of modern pictures and water-colour drawings belonging to the late Mr. Alfred Brooks, of the Finchley 
 Road, London, sold by Messrs. Christie, Manson and Woods on Saturday last, was one of unusually high average excellence 
 and exceedingly well selected, as showing the varied merits of the English school in subject pictures, landscapes, domestic 
 genre, interiors with figures, animal painting, and flowers. There was none, perhaps, that could exactly be called a 
 chef d' oeuvre of the master, though Mr. Frith’s “ Hogarth arrested as a Spy at Calais,” painted in 1851, may certainly be 
 named among his capital works, and had some passages which the painter has never surpassed in the delineation of 
 character and in the great power of execution. Sir Frederick Leighton’s “Orpheus and Eurydice ” was also an 
 important picture ; and the fine sea-pieces of Stanfield, the landscapes by Linnell and F. R. Lee, R.A., and Landseer’s 
 “ Twa Dogs” of Burns, with many excellent water-colour drawings, made up a sale of very great interest. As Mr. Brooks 
 had bought for himself and given many commissions, the pictures were very little known. 
 
 Of the 58 drawings sold, an Italian peasant and children, by Guido Bach, 1874, 30m. by 2oJin., sold for 1 68 ; an 
 Italian Pifferaro, by the same, 26Jin. by 19m. — ^94 ioj. ; “Sunset,” a composition by G. Barrett, 7jin. by 6Jin. — 
 ^15 155-. ; “Windsor Castle and Park,” by the same, Sin. by 12m .— £72 9 s . ; “ Evening,” by the same, 13m. by 19m., a 
 very fine example — £237 S-* 1 - > “ Near Abinger, Surrey,” by G. P. Boyce, 1 ijin. by i6in . — ,£34 I 3 J - ; “The Baron’s Chapel,” 
 by G. Cattermole, 14-jin. by 195m . — £262 iox. ; “The Conspirators,” by the same, 6Jin. by 12 Jin. — ,£157 los - 1 “ Sacking 
 the Monastery,” by the same, I9jin. by 27jin . — £378 ; bird’s nest and daisy, by Miss A. C. Coleman, 5iin. by 6Jin. — 
 ,£31 ioj. ; two cows in a landscape, by T. S. Cooper, R.A., 1832, I2jin. by iojin. — ,£43 ; “Returning from Market,” by 
 the same, 1848, 7jin. by iofin . — £63 ; cattle and sheep on the banks of a river, by the same, 14 Jin. by 26m. — ,£189 ; 
 view from Bedgellert, by David Cox, 7 Jin. by 10 Jin. — ,£54 12s - j “ Caversham, near Reading,” by C. Davidson, 9m. by 
 15m . — £31 ioj. ; “ Early Spring,” by the same, with figures by F. W. Topham, 2oin. by 3oJin. — ,£199 ioj. ; a blue vase 
 with roses, by P. Dolan, njin. by 9fin . — £42 ; river scene, Godaiming, by E. Duncan, 1 3 Jin. by 2oJin . — £\2 ; “ The Last 
 from the Wreck,” by the same, 1869, 7in. by iajin. — ,£84: “The Lifeboat going to the Wreck,” by the same, 1869, 
 2iin. by 39m., painted for Mr. Brooks, a large and fine drawing — ,£483 ; “ Homeward Bound,” by the same, 1859, 
 1 1 Jin. by 24jin. — £389; “Collecting Sheep on the Hills, Brecon,” by the same, 1861, njin. by 23jin., painted for 
 Mr. Brooks — ,£241 ioj. ; “ Ailsa Craig,” by Copley Fielding, 1832, 9jin. by 14m. — 1 83 15J. ; “ Going to the Spring,” by 
 Birkett Foster, 6fin. by 5in. — ,£43 is. ; “Mist Rising on the Thames, Pangbourne,” by the same, iijin. by isfin. — 
 £162 15-r. ; “Henley-on-Thames,” by the same, 8Jin. by i3jin. — £341 1 5 - S 'G “The Market Cart,” by the same, 
 8-Jdn. by I3jin. — ,£204 “ Cookham-on-Thames,” by G. A. Fripp, 9in. by I3|in. — ,£43 ; “ Leigh, in Essex,” by the 
 
 same, 1851, I3jin. by igjin . — £77 145. ; “The Fortune-teller,” by Sir J. Gilbert, R.A., i4jin. by i8Jin . — £278 ; “ I he 
 Quarrel,” 6Jin. by 8Jin., and “ The Sequel to the Quarrel,” by A. C. Gow — ,£178 iox. ; “ The Fisher Boy,” by W. Hunt, 
 1830, isjin. by ioin., from the Bernal collection — £170 ; “The Woodman,” by the same, 1825, i4jin. by iofin. — £210; 
 “The Problem,” by the same, 1835, I2in. by 8|in. — £389 ; “Grapes, Peaches, and Figs,” by the same, 7fin. by iiin. — 
 £267 15-r. ; “ Peaches and Grapes,” by the same, 7 Jin. by 1 iin . — £232 ; “ The Arrest,” by A. Johannot, i9jin. by 26Jin., 
 from the Ricardo collection — ,£210 ; “A Camp in the Desert,” by J. F. Lewis, R.A., 14m. by 2ofin. — ,£210 ; “Valley of 
 the Tombs of the Ancient Kings of Egypt,” by W. M Tiler, I3jin. by 2iin., from the artist’s sale — £389 J “ The Temple of 
 the Winds,” by the same, 1840, 1 1 Jin. by 19m., from the artist’s sale — £37 1 5J. ; “ Girl at a Spring,” by P. F. Poole, R.A., 
 
 1845, i6Jin. by njin . — £71 8.r. ; “ The Bourse at Antwerp,” by S. Prout, 9m. by iajin. — £359 15J. ; “View of Como,” by 
 
 T. M. Richardson, 6jin. by i4fin. — £39 i8j. ; “ Interior of North Transept of the Cathedral, Seville,” by D. 
 Roberts, R.A., ioin. by I4jin., from the artist’s sale — £6g 6s. ; “ The Cathedral, Seville, from the Bullring,” a capital 
 sketch, by the same, 1833, 8Jin. by i4jin., from the artist’s sale — £31 10s. ; “ Interior of the Church of St. Miguel, 
 
 Xeres,” by the same, 14m. by iofin., from the artist’s sale — £315 laf - > “The Viva Zambia, Granada,” by the same 
 
 I3jin. by 9jin., from the artist’s sale — £63 2 s. ; “ Segovia,” by the same, 1836, ioin. by 1 5 i' n -> from the artists sale — 
 £7 4 iij.; “Temple of Theseus,” by C. Stanfield, R.A., 9jin. by 1 5 Jin. — ,£84; “Harbour of San Sebastian,’ by the 
 same, 13 Jin. by 29jin., from the artist’s sale — £305 ; “ San Sebastian from the Port,” by the same, I3fin. by 29jin., from 
 the artist’s sale — £113 ioj. ; “ A Summer Day in the Highlands,” by F. Tayler, 1858, I9jin. by 28Jin. — £394; “ fhe 
 Village Musician,” by F. W. Topham, 1856, 2oin. by 23jin . — £288 15^.; a scene from “ Guy Mannering,’ by J. M. W. 
 Turner, R.A., 3«in. by 5.Jin., engraved in Scott’s works — £7 1 8j. Pictures: — “ The Highland Shepherd,’ by R. 
 Ansdell, R.A., 56m. by 48m., painted for Mr. Brooks, exhibited 1856 — ^546 ; “Crossing the Ford,” banks ot the 
 Guadalquivir, Seville, by the same, 1858, 34m. by 7 8 Jin., painted for Mr. Brooks, exhibited 1858 — £340 I S J G a river 
 scene, with shipping, by P. J. Clays, 1869, 29m. by 43m . — £220 1 5.9. ; “Fordwich on the Stour,’ with cattle, l.S. 
 Cooper, R.A., 1852, I9jin. by 27m . — £199 io.r. ; banks of a river and cattle, by the same, 1853, 29jin. by 42m. - 
 £388 ioj. ; “ Summer — Noon, Arundel Park,” by Vicat Cole, A.R.A., 1875, 57* n - by 35 ' n -> painted for Mr. Brooks, 
 exhibited 1875 — £341 ; “ Rowsley Mill,” with figures by Marcus Stone, A.R.A., by I. Creswick, R.A., 9m. by 10 Jin. 
 
 £\ 15 ioj. ; “ Ashford Mill,” by T. Creswick, R.A., with figures by Stone, 9m. by ioin. — £103 ; “ 1 he Road through the 
 Park,” an avenue of Scotch firs, by the same, 24m. by 1 Sin. — £283 ioj . ; a scene in Wales, by the same, exhibited 1856, 
 27m. by 35 Jin., painted for Mr. Brooks — ,£441 ; “South Downs,” by Creswick and Ansdell, 31m. by 49jin., painted 
 for Mr. Brooks — ,£420; “ Alms,” by W. C. T. Dobson, R.A., 46m. by 37 ’ n -> painted for Mr. Brooks, exhibited 1871 
 £220 io.r. ; a scene from “ The Devil on Two Sticks,” by A. L. Egg, R.A., 1842, 25m. by 30m. — ^ji 47 ! “ f be Flower 
 Girl,” by W. Etty, R.A., I9^in. by 12 Jin.— £33 12s. ; “Our Washing Day,” three Scotch lassies by the sea-coast, by 
 T. F'aed, R.A., 1863, 32iin. by 2oiin, painted for Mr. Brooks — ^430; ios\ : “Wood Gatherers, Winter,” three children, 
 
283 
 
 ART SALTS. 
 
 [ 1879 . 
 
 by E. Frere, 1857, izji-in. by nfin. — £315 ; “The Lovers,” by W. P. Frith, R.A., 14m. by 12m., painted for Mr. Brooks, 
 exhibited 1855 — £78 15s-. ; “ Hogarth arrested as a Spy and taken before the Governor of Calais,” by W. P. Frith, R.A., 
 43in. by 6oin., exhibited at the Academy, 1851. This picture was put up at a bid of 1,000 guineas from Mr. Agnew, upon 
 which no advance being made, it was knocked down to him at that price. We believe that 400 guineas was the sum 
 paid to the artist for this picture. “ Modesty,” by W. E. Frost, R.A., I3jin. by iojin., painted for Mr. Brooks — £94 ioj. ; 
 “Wood Nymphs surprised Bathing,” by the same, 27-gin. by 35m., oval, painted for Mr. Brooks — £378; interior of a 
 cottage, with a woman, 8in. by iojin., painted for Mr. Brooks by F. D. Hardy, 1857 — £163 155-. ; “ The Foreign Guest,” 
 by the same, 19m. by 28m., painted for Mr. Brooks, exhibited at the Academy 1859 — £388 ioj. ; “ The Crash,” by the 
 same, 2oiin. by 27gin. — £375 ; interior of a cottage, with a child, by the same and T. Webster, R.A., 1856, 17m. by 14m., 
 painted for Mr. Brooks— £84 ; “Crab Catchers,” by W. Hemsley, i8in. by 15m. — £50 Sj'. ; “A Rustic Artist’s First 
 Attempt,” by the same, i8in. by i4gin. — £69 6s. ; “ The Bird-trap,” by the same, 22m. by i8in., painted for Mr. Brooks — 
 £105 ; “ The Gleaners,” by J. J. Hill, 37m. in diameter, painted for Mr. Brooks — £99 15J. ; “ Santa Cruz, Coimbra,” by 
 J. Holland, 1851, 17m. by 23m., from the collection of Mr. E. Bullock, for whom it was painted — £315 ; “The Rialto, 
 Venice,” by the same, 38m. by|58in. — £1,050 ; “ Landing Salmon,” by J. C. Hook, R.A., 27m. by 42m., exhibited at the 
 Academy 1856, from the collection of Mr. M. Somes — ,£1,050 ; “ The Humming Top,” by W. F. Knight, 19-lin. by 15m., 
 exhibited at the Academy 1854 — £73 ior. ; “ Base Ball,” by the same, I9jin. by 25m., exhibited at the Academy 1854 — 
 ,£136 iojt. ; view off Antwerp, by H. Koekkoek, 1851, 15m. by 2iin. — £68 5r. ; Burn’s “ Twa Dogs,” by Sir E. 
 Landseer, R.A., 1858, i5fin. by 24m. This picture, which represented the heads and shoulders of a Newfoundland and 
 “ the Ploughman’s collie,” was put up at 200 guineas. The biddings hung at 850 guineas, when Mr. Woods created much 
 laughter by saying, “ Gentlemen, you are forgetting the copyright, the picture has never been engraved ; ” after which the 
 biddings broke out with spirit and quickly reached 1,670 guineas, at which the hammer fell to Mr. Cole’s bid — 
 £1,753 ioj. “ Bettws Churchyard,” by B. W. Leader, 1865, 29gin. by 51-gin., painted for Mr. Brooks — ,£294; “The 
 Coast at Saltfleet, Lincolnshire,” by F. R. Lee, R.A., 1832, 27m. by 35-gin . — £262 ioj. ; “ The Silver Pool,” by the same, 
 4oin. by 54m., exhibited at the Academy, 1854 — ,£230 ioj. ; “A Summer Morning,” by the same, with cows, by 
 T. S. Cooper, R.A., 48m. by 72m., exhibited at the Academy, 1848 — £798 ; “ Orpheus and Eurydice,” by Sir F. 
 Leighton, P.R.A., 50m. by 42m., exhibited at the Academy, 1864 — ,£693 ; “The Anglers,” by H. Le Jeune, A.R.A., 
 2iin. by 17m., exhibited at the Academy, 1851 — ,£194 5-f. ; “ The Rush Gatherers,” by the same, i6gin. by 2o|in. — ,£168 ; 
 “The Plough,” by the same, 15m. by 24m. — .£210; “ Asleep,” by the same, i8in. by 29m . — £73 ior. ; “The See-saw,” 
 by the same, 25m. by 30m., exhibited at the Academy, 1855 — .£187 ion; “The Little Anglers,” by the same, 
 8gin. by uin., engraved — ,£162 15J. ; view near Kinsey, by J. Linnell, sen., 1853, I2in. by i6in., from the collection of 
 Mr. E. Hope — ,£302 15c. ; “Shallow Rivers,” by the same, 1853, i2-|in. by 173-in. — .£745 ion ; “Hampstead Heath,” by 
 the same, 1856, i8in. by 24m., from the collection of G. R. Burnett — £903 ; “ The Sere Leaf,” an autumn wood scene, by 
 the same, 27-gin. by 35-0-in., exhibited at the Academy, 1852 — ,£745 ion ; “Noon in the Cornfield,” by the same, 1862, 
 38m. by 54m., painted for Mr. Brooks and never exhibited — ,£1,470 ion ; “The Bathers,” by D. Maclise, R.A., two 
 figures, 23m. by 28-gin. — ,£43 ; “ Interior of a Cottage,” by W. Muller, 7m. by login. — ,£40 19J. ; “ Poppies and Grapes,’ 
 by Miss A. F. Mutrie, 33-i-in. by 36m., exhibited at the Academy, 1865 — £73 ion ; “ Gloire de Dijon, and other Roses,” 
 by the same, 33m. by 26m. — ,£105 ; “ Cactus, &c.” by the same, 12-i-in. by 9jin. — ,£52 ion ; “ Roses and other Flowers,” 
 by Miss M. D. Mutrie, 12-iin. by 9-Jin. — -,£52 ion ; “ Market Day,” by G. B. O’Neill, 1 S 56, 8-gin. by 14m. — ,£105 ; “The 
 Old Fish-market, Norwich,” by E. J.’ Niemann, 45m. by 33m., painted for Mr. Brooks — .£273; “Ho! Ho! Ho! Old 
 Noll,” by J. Pettie, R.A., 31-gin. by 44m., the man chalking a caricature of Cromwell on the wall, exhibited at the 
 Academy — ,£735 15J. ; “The Gipsy Dance,” by J. Phillip, R.A., 41m. by 32gin., oval, painted for Mr. Brooks at Seville 
 in 1857, never exhibited — ,£798 ion ; “ The Strayed Flock,” by R. Redgrave, 1 94 in. by 26-Jin., exhibited at the Academy, 
 i860 — £60 1 8^. ; “The Radish Boy,” by G. Smith, 1853, qiin. by 9m. — ,£89 3s. ; “Bob Cherry,” by the same, 1854, 
 2iin. by 30m., exhibited at the Academy, 1854 — ,£147 ; “The Contrast,” by A. Solomon, an invalid and ladies on the 
 sea-shore, 12m. by i6in. — ,£65 2n ; “The Fox and the Grapes,” two jealous lovers and ladies, by the same, 1858, 
 233-in. by 30m., exhibited at the Academy, 1859 —£262 ion ; “ Contemplation,” by the same, iigin. by ioin. — ,£34 13J. ; 
 “ The Bashful Lover,” by the same, 1854, I2in. by i6in. — ,£162 I5n ; “ Macbeth and the Witches,” by C. Stanfield, R.A., 
 I2in. by iSgin., a fine mountain landscape, with many figures- — ,£157 ion ; “View near St. Malo,” by the same, 1834, 
 i2in. by i8in . — £273 ; “The Grand Canal, Venice, with Church of St. Maria Della Salute,” by David Roberts, R.A., 
 1853, 33-gin. by 46m., exhibited at the Academy, 1854 — ,£504; “The Ruins of Tiberias, on the Sea of Galilee,” by the 
 same, 1854, 2oin. by 50m., painted for Mr. Brooks — ,£430 ion ; “Ysaida,”by the same, 1854, 2oin. by 50m., painted for 
 Mr. Brooks — ,£430 ion ; “Interior of Stable, with Pony and Goats,” by W. Shaver, I9gin. by 233m. — ,£53 nn ; “The 
 Tower of Terracina,” by the same, 1858, i6in. by 14m., painted for Mr. Brooks — £220 ion; “Smooth Water,” by the 
 same, 1861, 15m. by 24m., a calm with ships, bought from the artist— £173 5 n ; “ St. Bernard’s Well,” by the same, 1819, 
 7in. by ioin . — £23 2 n ; “ Old Holland,” by the same, 1858, a small upright sea piece, I3fin. by I3gin., a grand little 
 picture, painted for Mr. Brooks — ,£614 5n ; “ Homeward Bound — La Rochelle,” by the same, 1854, 32m. by 47m., 
 exhibited at the Academy, 1854, with a sunny sky and fine sea — ,£1,050 ; “ Outward Bound,” by the same, 1856, 
 32m. by 47in., vessels at the entrance of the Zuyder Zee, squally weather, with dragging rain clouds, painted for 
 Mr. Brooks — ^£ 1 ,785 ; “ Isola Pescatore,” by C. G. Stanfield, son of the Academician, 1854, 23m. by 35gin., painted for 
 Mr. Brooks — ,£157 ; “ Runkel-on-the I.ahn,” by the same, 1862, 27^'m. by 42gin., exhibited at the Academy, 1862 — £168 ; 
 “ Marie Antoinette, in Prison, listening to her Sentence,” by E. M. Ward, R.A., 30m. by 25m., painted for Mr. Brooks — 
 £378; “The South Sea Bubble,” by the same, 1855, 2oin. by 29gin., a study for the large picture in the National 
 Gallery, painted for Mr. Brooks— £399. Total, ,£37,680. 
 
1879.] 
 
 MR. J. S. VIRTUE'S PICTURES . 
 
 289 
 
 MR. J. S. VIRTUE’S PICTURES. 
 
 (“ The Times,” March 3, 1879.) 
 
 The collection of water-colour drawings and oil paintings, chiefly by English and Scotch artists, belonging to 
 Mr. James S. Virtue, sold on Saturday last by Messrs. Christie, Manson and Woods, attracted considerable popular 
 interest while exhibited during the week, and the sale was very fully attended. Many of the pictures had been selected 
 as suitable illustrations for the Art Journal , and had been engraved in that publication from time to time, although these 
 were not in every case the original pictures, but simply replicas of smaller dimensions, as will be observed by the 
 approximate measurements given below. The prices obtained were considered to be good, and, in some instances, as in 
 the four little pictures by Creswick, rather remarkable. 
 
 Of the 47 water-colour drawings may be noticed “In the Highlands,” by R. Carrick — ,£35 14^. ; “The Convalescent,” 
 by Birket Foster — ,£94 ior. ; “ The Wooden Bridge,” by the same, £92 8r. ; “The Scanty Meal,” by Frederick Goodall, 
 R.A. — ,£96 12 s. ; and “Arrest of a Peasant Royalist in Brittany,” by the same — ^105. Nine drawings by John Leech, 
 framed together — “Rather Suspicious,” “Paterfamilias at the Pantomime,” &c. — sold for six guineas. “The Inquisition,” 
 by J. D. Linton — £74 iu. ; and “ Coriolanus,” ,£55 131-. ; “The Ghost Story,” by J. E. Millais, R.A. — ,£27 6s. ; “The 
 Maypole,” by J. Nash — £36 1 5^. ; “Weary,” by E. Radford — £76 13^. ; “Adoration,” by Ary Scheffer — £27 6s.; 
 “ Crossing the Brook,” by F. W. Topham — ,£55 1 ir. ; “ Joseph’s Coat brought to Jacob,” by Henry Warren, a large work 
 — IAS 3 s - > “Russian Peasants at a Shrine,” by A. Yvon — £43. There were 1 19 oil paintings, of which “The Strawberry 
 Girl,” by P. Ueconinck, sold for ,£81 i8r. ; “Lion-hunting in Arabia,” by C. A. de la Fosse, 1863, a large picture — 
 £77) ioj. ; “ Winding the Skeins,” by J. L. Hamon — ^74 iu. “ The Jester,” by Lambron — ^38 17s. ; “ Van de Velde’s 
 Studio,” by E. Le Poittevin — £41 ior. ; “ La Syrienne,” by C. L. Muller — £7g 6s. ; “ Gold,” an alchemist’s laboratory, by 
 A. H. Tourrier — £67,. Seven small pictures, views of Eastern cities, by T. Allom, all engraved, sold for £127. “ In the 
 
 Pasture,” by R. Ansdell, R.A., 1864 — ,£94 ioj. ; “Samson in Captivity,” by E. Armitage, R.A., a large work, measuring 
 about 5ft. by 8ft. in length, exhibited at the Academy, 1851, engraved by Greatbach for the Art Union Journal — ^141 1 55. 
 “ The Drowned Lovers,” by Sam Bough, R.S.A . — £77 ioj. ; “ Caller Oysters,” by the same — £91 7s. ; “ Queen Isabella 
 and her Ladies” (“ Richard III.”), by G. H. Boughton, measuring about i6in. by 2oin. — £g6 12s. ; “ The March of Miles 
 Standish,” by the same — £(85 ; “The Judgment of Wouter van Twiller,” from “ Knickerbocker’s History,” &c. — ,£168 ; 
 “ Playmates,” by A. H. Burr — £77 14J. ; “The Return of the Runaway,” by J. Clark — £77 ior. Four small and very 
 highly finished pictures, by T. Creswick, R.A., of his earlier time, measuring only about 7m. by loin., sold for high 
 prices: — “Mount Tom, Connecticut” — ,£92 8s. (Wallis); “Sing-Sing, on the Hudson ” — £78 155-. (Wallis); “Black 
 Mountain, Large George” — ,£131 5 J. (Vokins); “Roger’s Slide, Lake George ” — £126 (Vokins). “Men-of-War off 
 Sheerness,” by H. T. Dawson, jun. — £6g 6s. ; “The Dockyard, Woolwich,” by H. T. Dawson, about 12m. by 14m. — 
 £<7)2 ioj. ; “Simpletons,” by S. Luke Fildes, A.R.A., a replica of the exhibited picture, about i6in. by 27m.— ,£168. “The 
 Old Noblesse in the Conciergerie,” by W. H. Fisk, 1863, a long, narrow picture, about 36m. by 96m., exhibited at the 
 Academy, 1863, £137 ioi'. ; “ Imogen in the Cave,” by T. Graham — £46 ; “The Wayfarers,” by the same, 30m. by 48m., 
 exhibited 1870 — £(141 153-. ; “ The Letter Bag,” by C. Green — £(54 12 s. ; “ Ulysses,” by Heywood Hardy, a small replica, 
 6in. by 12m., of his large picture, exhibited 1874 — £72 gs. ; “ Nine Worthies,” by R. Hillingford — £52 ior. ; “ Pamper’d 
 Menials,” by J. E. Hodgson, A. R.A. ; Two Algerian soldiers and a man begging of them, i6in. by 2oin. —£147 ; “Leaving 
 Home,” by Frank Holt, A.R.A., 24m. by 30m. ; cavalry soldiers and other figures in a railway station — ,£148 ; “ The 
 Covenanter’s Marriage,” by A. Johnston, 1842, 42m. by 6oin. — ^131 55.; “ Tintern Abbey by Moonlight,” by B. W. 
 Leader, 1873, 2oin. by 24m. — £(164 15^. ; An Island on the Llugwy, North Wales, by the same, 30m. by 42m . — £281 8j. ; 
 ‘‘Drift Wreck from the Armada,” by P. R. Morris, A. R.A. , 1867 — £go 6s.; “The Shepherd of Jerusalem,” a large, 
 upright picture, about 9ft. by 4ft. wide — £g4 10s. ; “ The Forest Shrine a single figure of a poor peasant woman with 
 her baby before the wayside shrine, by W. O. Orchardson, R.A., 1868 — ^115 ior. ; “Talbot and the Countess of 
 Auvergne,” from Hettry VI., Act 1, by the same ; exhibited at the Academy, 1867 — £278 5J. ; “ God’s Acre,” by Miss E. 
 Osborn, two little girls in the churchyard, sheltering from the snow under a red umbrella, 36m. by 26m . — £60 12s.; 
 “What d’ye lack, Madam?” from “The Fortunes of Nigel,” by J. Pettie, R.A. — £63; “Accident or Design,” by 
 G. Pope, a lady sketching surprised by a youth reading a book — ,£86 ; “ Hubert and Prince Arthur,” by L. J. Pott, 1S71, 
 i6in. by 22in . — £77 16 s. ; “The Defence of Lathom House,” by the same, 36m. by 42m . — £213 55. ; “Mary Oueen of 
 Scots led to Execution,” by the same, 30m. by 36m. ; exhibited in 1871 — £(84 ; “ Lear and Cordelia,” by Marcus Stone, 
 A. R.A. — £(84 ; “Edward II. and his favourite, Piers Gaveston,” by the same, 24m. by 38m . — £159 12s. ; “Watt’s First 
 Experiment,” by the same ; the little boy Watt trying the force of steam at the spout of the tea-kettle on the breakfast- 
 table, 2oin. by 24m . — £132 5.?. ; “The Duel Interrupted,” by the same, 24m. by 36m. — £(162 15^. ; “How the Egyptians 
 enjoyed themselves Three Thousand Years Ago,” by Alma Tadema, A.R.A., 1863, exhibited at the French Gallery, 1863, 
 38m. by 54in. — £(388 ; “ The Zouave’s Story,” by F. W. Topham — £94 ior. ; “ Found at Naxos,” by H. Wallis ; a small 
 picture of a Greek fisher lad showing a bronze to two red-robed priests — _£8i i8.f. ; “ The Return from Marston Moor,” by 
 the same, exhibited at the Academy, i860, 48m. by 36m . — £32 ior. ; “ Palissy the Potter,” by Mrs. E. M. Ward — £64 ; 
 “A King’s Daughter,” by E. M. Ward, R.A . — £70 1 $s. ; “The Parting,” by J. D. Watson — £73 12 s. ; “The Wooing of 
 Henry V.,” by W. F. Yeames, R.A., 1875, 3 °' n - by 36m . — £71 8s. The statuary sold were an ideal bust of “ Peace,” by 
 J. Durham, A.R.A., 1862 — £30; “Go to Sleep,” and “A Perilous Plaything,” two companion groups of children, 
 respectively £410 5 s. and £71 8s. ; a bust of “the Greek Slave,” by Hiram Powers — £73 10s. ; a seated statue of 
 “ Modesty,” by the Count of Syracuse — £31 ioj. The total of the sale amounted to £9,788 12 s. 
 
 The pictures belonging to the Earl of Lonsdale will be exhibited during the present week at Messrs. Christie’s as 
 well as those of the late Baron Heath’s collection, the sale of all these being held on Saturday next. Lord Lonsdale’s 
 VOL. I. P P 
 
2 go 
 
 ART SALTS. 
 
 [1879. 
 
 pictures consist of nine paintings and four fine large water-colour drawings by De Wint. “ The Laughing Girl,” of 
 Sir Joshua and the Gainsborough “ Horses watering at a trough,” have been recently seen at the Academy Winter 
 Exhibition of 1876. There are besides these a full length of the great Duke of Wellington, by T. Jackson, R.A., and the 
 well-known portrait of George IV. seated on the sofa, by Sir T. Lawrence, both of which were painted for William, Earl 
 of Lonsdale, K.G. Sir Joshua’s “ Robinetta ” is also a well-known picture in this sale. A Claude landscape, a large 
 work of Moucheron, with cattle and figures, by Adrian van de Velde, and two pictures by Pannini, are the other pictures 
 to be sold. 
 
 LORD LONSDALE'S PICTURES , CHINA, &c. 
 
 (“The Times,” March 10, 1879.) 
 
 The sale of Lord Lonsdale’s pictures, china, and decorative furniture, at the rooms of Messrs. Christie, Manson and 
 Woods, on the last four days of the past week, proved to be quite as great a success as was expected. The attendance 
 of amateurs and dealers was very full, and the prices realized by the old Chelsea, Dresden, and Sevres china services and 
 other objects were as high in proportion to the quality as any obtained during the height of the high prices of some five 
 years ago, as will be seen by the sums detailed below. The specially fine old Chelsea tea service painted with exotic 
 birds and deep blue bands, brought nearly poo, the milk jug alone selling for £71 is., which was about five times its 
 weight in gold, while the cups and saucers sold in pairs, varied from 40 to 60 guineas a pair. The old black buhl brought 
 the highest prices in the furniture, a pair of terminal pedestals mounted with ormolu masks and borders selling for ,£681'; 
 while the three days’ sale of china, furniture, &c., made a total of ,£19,336. 
 
 The pictures, which could scarcely be called a collection, were sold on Saturday, preceding the large collection 
 formed by the late Baron Heath ; they consisted only of nine oil paintings and four large water-colour drawings by De 
 Wint, of such excellence that they almost equalled in price the four principal pictures, while the largest of them — a view 
 of Lancaster, with the castle — sold for 50 guineas more than the “ Laughing Girl ” of Sir Joshua, which was knocked 
 down at 1,300 guineas. Four such large and fine drawings by De Wint have never before been seen in an auction-room 
 at one time, although, perhaps, works on a smaller scale of finer quality have been sold on more than one occasion. 
 These were intended by the artist to be some of his chef ct oeuvres, as he was a great favourite at Lowther Castle and was 
 frequently invited there. The view of the castle which was one of the four now sold was among the drawings painted by 
 De Wint while a visitor there. 
 
 The sale commenced with some small hunting and racing pictures of no interest and not in the catalogue, the first 
 lot being “An Interior of the Pantheon at Rome,” by Pannini, measuring 42m. by 36m., which sold for ,£63. A precisely 
 similar picture was in the Leeds Exhibition, contributed by Mr. Heywood Hawkins. It has always been the subject of 
 some discussion on account of the painter having represented the sunlight from the opening at the top of the dome tailing 
 upon the circular walls in a perfect circle. Another work of Pannini, Roman ruins seen through an arch, with figures 
 of the same size — ,£48 6 s. A landscape attributed to Claude, with cows and goats and figures in the foreground, with a 
 town and the coast in the distance, 38m. by 51 in., sold for ,£183 15X. An Italian landscape by Moucheron, with figures 
 by Adrian Van de Velde, an upright picture, 54m. by 46m. The subject, hilly ground on the left, with trees and two 
 tall poplar trees rising nearly to the top of the canvas on the right half of the canvas ; a sunny sky, with a fine middle 
 distance. A peasant woman is riding on a mule, with a shepherd and dog and sheep, a beggar woman and other figures 
 on the road, and a carriage with horsemen attendants entering an avenue on the right middle distance. This fine 
 example of the two masters was put up at a first bid of 100 guineas, quickly rising to 600, and was sold at ,£1,050 to Mr. 
 Annoot, the dealer. The “ Laughing Girl,” by Sir Joshua Reynolds, well known by the engraving, was exhibited at 
 Burlington House in the winter of 1876. It measures 30m. by 25m. Mr. Woods said of this picture and of the 
 “ Robinetta,” which was to follow it, that comparatively little was known, but that probably the “ Laughing Girl ” came 
 direct from the paintei - , and it was known that the “Robinetta” was given by Lord Farnborough to Lord Lonsdale. The 
 “ Laughing Girl” was then put up, when Mr. Woods suggested whether a bidding of four or three thousand guineas would be 
 made, to which, however, there was a response of 1.000 guineas, and advances of fifty guineas followed up to 1,300 guineas 
 (,£1,365), at which sum the picture was knocked down to Mr. Stanhope. The “Robinetta,” which next came upon the 
 easel, is the well-known picture, also engraved, of the girl feeding the robin perched on her shoulder, with rich foliage 
 of trees in the background, and a peep of rural distance in the right corner. The first bidding was 500 guineas, and after 
 advancing by fifties the picture was sold for £(1,050 to Lady C. Had the condition of these two pictures been sounder 
 they would certainly have sold for much higher sums ; but the “Robinetta” presented one of those sad cases in Sir 
 Joshua’s work in which the paint has actually slid down in waves and rucks, from the method of using wax and asphaltum 
 as a vehicle for colour. A ruck of this nature had formed across the neck and shoulder of Robinetta. The two pictures were 
 probably painted about the time — 1773 — of the “Muscipula,” in Lord Lansdowne’s collection, and the “Dorinda” crying over 
 her pet bird, which is still, we believe, at Lowther Castle. The “ Horses Watering at a Stone Trough,” by Gainsborough, 
 an upright picture, 485m. by 39m., with a man on a gray horse, and a brown one drinking, while a dog laps the water 
 close by. A gleam of warm light strikes across upon the horses and the road, while a high marly bank and rich foliage 
 
1879.] LORD LONSDALE'S PICTURES , CHINA , &c. 
 
 291 
 
 form the dark background, the sky being seen only at the left side, where a valley and distant hills, with a village church 
 fill up the picture. It was received with applause and a bid of 500 guineas, but the slow advances soon showed that this 
 was not accepted as one of the painter’s masterpieces, and eventually it was knocked down at ,£1,350 t0 Mr. Ellis. This 
 picture is named in Fulcher’s Life of Gainsborough as belonging formerly to the collections of Sir John Leicester and 
 Mr. J. L. Parker, from whom it was purchased about five and twenty years ago by William, Earl of Lonsdale, K.G. The 
 “Portrait of George IV.” on the sofa, by Sir T. Lawrence, P.R.A., painted for the Earl of Lonsdale, K.G., sold for 
 15J. The full-length portrait of the great Duke of Wellington, by J. Jackson, R.A., representing him in blue uniform 
 holding his cocked hat by his side, standing near a gun with the colours across it, a dark sky background, with a battle 
 ir. the left distance, sold for ,£157 ioj. to Colnaghi. 
 
 The first of the fine water-colours by De Wint was the “ Lancaster,” showing the castle in the middle ground under 
 a passing shadow from the clouds above, a wide reach of water and hills rising beyond, with cattle and drovers passing 
 over the bridge in the immediate foreground, and other figures. This magnificent drawing, which measured 29^in. by 
 5 1 in., was put up at a bidding of 500 guineas, and after a sharp competition fell to Mr. Vokins for£ji,4i7 ioj. This was 
 the highest price ever brought by a drawing of De Wint’s. The “ Christchurch,” of the Ellison collection, sold in 1874 
 for ,£966; the “Torksey Castle,” for ,£682 ior. ; the “Gloucester,” for ,£640 ioj. ; and the “Lincoln,” a drawing 27m. 
 by 40m., for £377 io.r. — four very fine examples in the same collection. The “ Tewkesbury Abbey,” 35m. by 24-gin., with 
 cattle and sheep passing over a bridge in the foreground, and trees on the right and left, sold for £630 to Mr. Agnew ; 
 “Whitehaven,” about the same size, a very fine view of the town and harbour, for £733 ; “ Lowther Castle,” with high 
 fir trees and figures in the foreground, a drawing 29m. by 39m., for £6 77 5 -r- The last two drawings were said to have 
 been bought in, though, considering the prices of the Ellison sale, the sums now bid can hardly be said to be below their 
 value, and it ma^ be remarked that one of the Ellison drawings — the “ Lincoln,” a very fine work — when put up at 
 Christie’s in March, 1876, was bought in at ,£498 1 5-f. only. The total of the pictures amounted to ,£8,860.* 
 
 Of the valuable china belonging to Lord Lonsdale, the following were the most important and interesting objects : — 
 A pair of Celadon green bottles formed as double fish, 9|in. high — .£100. A similar pair, 9fin. high — £90. Had these 
 been mounted in old Louis XV. ormolu of rushes and leaves, they would have brought much higher prices. An old 
 Dresden dinner service, fluted and basket borders, of 174 pieces — £278 ; a ditto painted with birds and insects — .£110 ; 
 a Dresden tea service, painted with garden scenes — ,£131 ; a Dresden dessert service— ,£85 ; an old Dresden dinner 
 service, painted with tigers, birds, and foliage in oriental style, with basket borders — .£395 l 5 s - > a white Sevres dinner 
 service — ,£105 ; a ditto dessert— ,£53 ; a pair of Campana-shape vases of gros bleu S6vres, with figures of infants in chased 
 ormolu — ,£152 5-r. ; a Rose du Barri Sevres cabaret, pastoral figures, in medallions, of eight pieces only, of exceedingly 
 fine quality — ,£845 5.J. ; an old Chelsea tea service of 22 pieces, painted with exotic birds and blue bands, sold separately 
 at from ,£40 to ,£130 each, giving a total of ,£841, and being divided between three or four of the principal dealers- 
 Chelsea plates, painted similar, sold at 20 guineas a plate ; a pair with Chinese figures, for ,£74 in. ; another pair for 
 £72 9 s, A fine square-shaped Chelsea vase, deep blue ground, with four large medallions of Chinese figures and eight 
 smaller of exotic birds, richly gilt, 21 in. high — ,£566. A pair of tall vases and covers with white and gold scroll handles, 
 deep blue ground, groups of exotic birds and flowers in gold, 20jin. high — £^441. This was sadly broken and not well 
 mended, otherwise it would have sold for a far higher price. A Crown Derby dessert service, with dark blue and gold 
 jewelled edges, painted with landscapes, in blue and gold borders, a set of exceptional beauty and excellence in quality 
 £269 17s. The Worcester porcelain was nearly all of the interesting pieces marked with the Dresden crossed swords, 
 as was the practice of that manufacture at one time, and, though none were of large and important size and painting, they 
 brought good prices— from ,£10 to £30. 
 
 Of the decorative furniture, which was chiefly in the old French style, an oblong casket of old black buhl, mounted in 
 ormolu, sold for £295 ; a writing slope of the same, £137 ioj. ; a clock of buhl on pedestal, £367 105. ; a Marguerite 
 writing-table, 6ft. long. £105 ; a Louis XV. settee, covered in Genoa velvet, ,£89 5^. ; a pair of black buhl pedestals, mounted 
 with ormulu masks, &c. — ,£183 15J. ; another pair, .£651 ; a Louis XV. writing table, £126 ; the companion, £126 ; a 
 Louis XV. cartonni^re of tulip and king wood, with cabinet of the same, and ormolu mountings — £168 ; a fine Louis 
 XIV. library table of black buhl mounted in ormolu, 6ft. by 3ft. qin. — £420 ; a Louis XIV. buhl commode, with ormolu 
 mounts — ,£89 5J. ; a Louis XIV. cartonni6re, with drawers and looking-glass fronts, clock in ormulu, and figures of Diana 
 and groups at the sides — £j 1 73 5^. ; a cub silk pile carpet, yellow and black ground and border, 32ft. 6in. by 24ft. 6in. — £j 1 73 
 5^. A casket of tortoiseshell, inlaid with figures and flowers in mother-of-pearl and gold piqud work, on tortoise feet, 
 19m. long — £273. An old Venetian carved table, with glazed rising top — £j 1 1 1 6s. Set of eight carved chairs, gilt, in 
 Genoa velvet — £94 ioj. A Louis XVI. carved gilt settee — £j 1 73 The total realized by the china and furniture 
 amounted to £1 9,336, making a grand total of ,£28,196. 
 
 * I have since learnt that neither the two Sir Joshuas nor the Gainsborough were sold, nor the two De Wints. — G.R. 
 
292 
 
 4RT SALES. 
 
 [1879. 
 
 E. M WARD , R.A.— REMAINING WORKS. 
 
 (“The Times,” March 29, 1879.) 
 
 The pictures of the late Mr. E. M. Ward, R.A., which amounted in all to more than 100, inclusive of the studies and 
 sketches, were considered to have sold remarkably well, but the principal work, “ The Antechamber at Whitehall during 
 the Last Moments of Charles II.,” was understood not to have reached the reserve price, though it was knocked down at 
 the considerable sum of ^945. Of the studies in chalk those which brought the highest prices were, “ Defoe offering the 
 M.S. of ! Robinson Crusoe ’ for sale,” which sold for £7 17s.6d.-y “Dr. Johnson in Lord Chesterfield’s Ante-room” — 
 £7 17s. 6d. ; “Louis XVI. and Marie Antoinette in the Temple” — £6 16 s. 6 d. The less important water-colour drawings 
 sold at from two to ten guineas. “The Hall at Kebworth” selling for ^15 15^. ; “Jour Maigre, Caen,” exhibited 1876 — 
 D 1 gs. ; “ Being Sketched,” Dinan, 1876 — ^42 ; sketch of Gounod, the composer — £2 3s. The oil studies brought from 
 5 to 12 guineas each — “ Robespierre and his Dog,” a small study for the picture of Charlotte Corday led to execution — 
 £23 ; “ Isaak Walton Fishing,” a small sketchy work — ,£64. The portraits of literary men in their studies, which are 
 quite unique and singularly interesting as characteristic portraits, were objects of very spirited competition, and sold for 
 good prices, considering that they were all small pictures and not pretending to be more than truthful sketches. 
 Unfortunately the picture of Dickens could not be found up to the time of the sale, and this was consequently not sold. 
 The portrait of Lord Mahon in his study at Grosvenor Place Houses, May, 1854, was bought by Lord Stanhope for 
 £110 51-. ; Lord Macaulay in his study at the Albany, 1853, exhibited at the National Portrait Exhibityon, 1868 — £65, to 
 Mr. Agnew ; Lord Lytton in his study at Knebworth, August, 1854 — £7 3 ioj. (Agnew) ; Hallam in his study at Wilton 
 Crescent, 1858, exhibited at the National Portrait Exhibition, 1868 — £32 in. (Lord Leven) ; Thackeray in his study, 
 1844, exhibited at the Academy, 1864 — £73 12 s. (Agnew) ; a portrait of Daniel Maclise, R.A., 1846, engraved, £7 17s. 6 d. 
 (Mr. Scharf). “Juliet and the Friar,” replica of the picture — £16 ; “The First Offer” — £26 5.?. ; “A Summer’s 
 Morning,” exhibited 1876 — £25; “Queen Louisa of Prussia,” finished sketch of the picture — £22-, “Louis XIII., 
 Cinq Mars, and Richelieu,” original study — £32 ioj. ; “The Escape of Charles II. and Jane Lane,” study for the 
 fresco in the House of Commons — £48 6s. ; “William III. at Windsor,” exhibited 1877 — £101 7s. ; “The Last 
 Interview between Napoleon I. and Queen Louisa of Prussia at Tilsit, 1807,” exhibited 1877 — ,£199 ioj. ; “Anne 
 Boleyn at the Queen’s Stairs, Tower,” exhibited 1871, retouched 1878 — £472 ioj. ; “The Orphan of the Temple, 
 Marie Therese, daughter of Louis XVI., sketching the tower of her prison,” exhibited 1875 — £199 ion; “Lady 
 Teazle playing her father to sleep, School for Scandal ” — ,£51 9 s. ; “Enid’s first parasol” — £34; “The landing of 
 Charles II. at Dover” — £63 ; “ Cimabue and Giotto,” exhibited 1839 — £64 ; “ Home Thoughts” — £50 8n ; “The Ante- 
 chamber at Whitehall,” exhibited at the Academy 1861, and at the International 1862, retouched and exhibited at the 
 Paris Exhibition, 1867 — ,£945; “Frederick the Great encouraging an argument between Voltaire and Maupertius,” the 
 last work of the artist, unfinished — £37 i6n ; the finished sketch of this picture — £73 ion The total amounted to £3,560. 
 
 MR. JOSEPH ARDEN’S COLLECTION. 
 
 (“The Times,” April 28, 1879.) 
 
 The sale of the collection of modern pictures formed by the late Mr. Joseph Arden, of Rickmansworth Park, on 
 Saturday last was attended with much interest, and during the week the exhibition of the pictures had attracted many 
 visitors to the rooms of Messrs. Christie chiefly to see the well-known work of Mr. Millais, “ The Order of Release,” 
 which, though rendered so familiar by the engraving, has not been seen in any of the great exhibitions since it took its 
 place in the Academy Exhibition of 1853, and created such a sensation as the picture of the year. It would be 
 superfluous to say anything as to the subject and the great merits of this work of the painter in his prime, but it is 
 especially satisfactory to observe that it had lost none of its original brilliancy and force, and had even acquired 
 something of the rich and mellowed beauty of colouring which pictures soundly painted and properly taken care of 
 are found to gain by time. The interest of this sale centred in this picture, although there was also another remarkable 
 work of Mr. Millais’ — “The Rescue” — which was exhibited two years afterwards, and was certainly as a sensational 
 picture without a rival in its year, for it represented with the utmost vividness that paint and colouring could, a fireman 
 carrying a child from the flames, and the mother, bending in an agony of fear, eager to clasp her darling in her arms. 
 Two pictures of such mark and of such opposite styles by the same painter have rarely, if ever, been seen together, and 
 much speculation was excited as to the prices they would fetch. At the sale the crowded audience were impatient to 
 arrive at these lots, which, with the exception of two or three good works of E. W. Cooke, R.A., were preceded by a 
 number of comparatively commonplace pictures. At length “The Order of Release” came upon the easel, to be 
 received with a very hearty round of applause, immediately followed by a bid of 1,200 guineas, advancing quickly to 
 2,000, and then by fifties and hundreds up to 2,700 guineas (,£2,835), at which sum the hammer fell to Mr. Agnew’s 
 bidding. The picture when at the Academy Exhibition in 1853 rewarded the then young painter with the price of 400 
 
1879 .] 
 
 MR. JOSEPH ARDEN'S COLLECTION. 
 
 293 
 
 guineas, which in those days was considered as nearly the highest price paid for modern pictures. “ The Rescue ” came 
 next, and, as the auctioneer stated, not having been engraved, the copyright would pass to the purchaser. Mr. Woods 
 also referred to the singular condition of this picture, so different from that of “ The Order of Release,” in having the 
 surface covered with minute specks, arising, it was thought, from defect in the preparation of the canvas. Mr. Millais 
 had seen this and had offered to remedy it, which he was sure he could promise to do in a very short time, but the 
 executors of Mr. Arden, after due consideration, preferred to sell the picture as it was. The biddings then commenced 
 with 500 guineas, and after a somewhat tardy advance the picture was knocked down to Mr. Agnew at 1,250 guineas 
 (£1,312 10 s.). Proceeding with the pictures in the order of the sale catalogue, and noticing only those in the 84 lots 
 which brought the higher prices, “A Woody Landscape,” by John Crome, i6in. by 2iin., from the Dawson Turner 
 collection, sold for £84 ; “A Fine Day in February,” by j. Middleton, 1851 — £98 14J. ; “A Fine Day in August, Isle 
 of Arran,” by the same — £105 ; “ Head of a Scotch Girl,” oval, 8|in. by 6|in., by J. E. Millais, R.A. — £48 6s. ; “ A Girl 
 with Violets,” by the same, loin, by 8in. — £63; a Landscape, with a Girl at a Stile, i2fin. by 9|in., by the same — 
 £34 13J. ; “Bolton Abbey,” by R. Redgrave, R.A., 1847, from Mr.'S. Rucker’s collection — £60 i8j. ; “St. Peter's, 
 looking back on Rome,” by David Roberts, R.A., 1856, n^in. by 29|in. — £168; “At Ambleteuse,” by G. C 
 Stanfield, 1848, 2oin. by 29m. — £81 iSj. ; “The Valentine,” by T. Webster, R.A., 15m. by 13m. — £84; “Sea 
 View off Dover,” by J. Wilson, junior, 1852, 23m. by 42m. — £84 ; “ Coast of Normandy,” by J. Wilson, 
 senior, nin. by 15m. — -£46 4-y. ; “The Cavalier and the Puritan,” by W. S. Burton, 1856, 343in. by 40m. ; this picture 
 had been regarded with considerable interest while the collection was “ on view ’’ as a work very minutely painted 
 in the pre-Raphaelite manner, representing a wounded knight supported by a Sister of Mercy, a Puritan standing 
 gravely looking on, the broken sword sticking in the back of a tree, as if the knight had missed his antagonist and 
 received his death wound, while a butterfly has settled on the blade and a pack of cards lie under the brambles of a 
 thick wood forming the background. It had been said that the painter was dead, but Mr. Woods stated that he had 
 just received a letter contradicting this, and informing him that the picture had been sent to the Academy in 1856 
 without any title, and was consequently placed among the rejected pictures, but that Mr. Cope, R.A., having noticed 
 it, brought it forward at the last moment and proposed its being hung, making a place for it by removing one of his own 
 pictures. This was done, and the picture, without the title it bears now, was exhibited and attracted great interest. It 
 was now put up at 100 guineas, and was bought by Mr. Agnew for £451 ioj. “ Venice, Riva dei Schiavoni,” by E. W. 
 Cooke, R.A., 1853, 15m. by 26m. — £210 ; “The Port of Delfzijl on the Dollart, Holland,” by the same, 1856, 26Jin. by 
 4i^in. — £346 icxf. ; “ Venice,” by the same, 1851, 26Mn. by 42m. — £850 ior. ; “ Consolation,” by C. W. Cope, R.A., 1855, 
 27m. by 2 1 in., a weeping mother and child — £ 66 ; “ Chequered Shade,” by T. Creswick, R.A., 1848, an upright picture 
 of an avenue of trees, 35 in. by 27m. — £388 ; “ The Greenwood Stream,” by the same, 1848, 27m. by 35m. — £409 lew. ; 
 “ The Falls of the Conway,” by F. Danby, A.R.A., 29m. by 38m. — £35 145. ; “ The Haggis Feast,” by A. Fraser, R.S.A., 
 35m. by 47m . — £73 1 2s. ; “ Old Mortality,” the Laird of Milnwood’s dinner interrupted by Claverhouse’s Dragoons, 48m. 
 by 72m. — £105 ; “A Dance of Nymphs and Satyrs,” by S. A. Hart, R.A., a large gallery work, with life-size figures, 
 exhibited 1849 — £47 5s. ; “ The Watering Place,” by F. R. Lee, R.A., 1847, 45m. by 6oin. — £110 5-y. ; “ Bellinzona,” by 
 W. Linton, 48m. by 72m. — £262 ios. ; “Temples of Paestum,” by the same, 30m. by 46m. — £105 ; “The Order of 
 Release,” by J. E. Millais, R.A., 4o|in. by 29m. — ,£2,835 > “ The Rescue,” by the same, 46m. by 33in., not engraved, 
 exhibited 1855 — ,£1,312 icxr. ; “ Santa Maria della Salute, Venice,” by David Roberts, R.A., 1858, painted for Mr. Arden, 
 24m. by 48m. — £7 87 ioj-. ; “ San Giorgio Maggiore, Venice,” the companion picture — £756 ; a street scene in Cairo, by 
 the same, 1842, 55m. by 43m., an upright picture, painted for Mr. Knott and retouched for Mr. Arden — ,£945 ; “A 
 Recollection of Spain,” by the same, exhibited 1847-, 55jin. by 43m. ; an interior, with the tomb of Ferdinand and 
 Isabella at Grenada, part of the splendid choir of Toledo Cathedral, and the high altar of Seville Cathedral introduced in 
 the composition, painted for Mr. Arden — £ 79 % ; “ Ruins of the Great Temple of Karnak,” by the same, a large and fine 
 work painted for Mr. Arden, exhibited 1845 — £S °4 ! “ H Ponte Rotto, Rome,” by C. Stanfield, R.A., 1846, retouched 
 1854, exhibited at Burlington House 1870, 37m. by 32m. — ,£840 ; “The Old, Old Story,” by F. Stone, A.R.A., 1854, the 
 engraved picture, 42m. by 33m. — ,£420; “The Shakespeare Characters,” by T. Stothard, R.A., the engraved picture, 
 30m. by 6oin. — ,£49 7s. ; “ The last Parting of Marie Antoinette and her Son,” by E. M. Ward, R.A., 1856, 48m. by 68in. 
 — £997 10s. ; “Midday,” by W. F. Witherington, R.A., 1858 — £70. The following were water-colour 'drawings: — A 
 street scene in Normandy, 15m. by ioin., by S. Prout — £65; “The Domo cl’Ossola,” by the same, 17^-in. by 23m. — 
 £110 5 j. ; “ The Harem of a Memlook Bey,” a large work, 35m. by 53m., by J. F. Lewis, R.A., painted for Mr. Arden 
 at Cairo, exhibited at the old Water Colour Society, 1850 — £7 24 ioj. ; sculpture, by J. Durham, A.R.A., “ L’ Allegro ” 
 and “ Penseroso,” companion busts — £7 8 15J. ; bust of the Oueen, — £ 37 16 s. ; “Go to sleep,” group of a child with a 
 dog — .£126. By P. Macdowell, R.A. — “The Day Dream,” life size, partly draped female figure, exhibited 1858 — ,£178 lay. 
 The total, including five old pictures of the Dutch school, amounted to ,£17,251. 
 
 After the sale of Mr. Arden’s collection, some pictures belonging to a “ lady of rank” were sold, among which were a 
 good example of Teniers, an interior of a guard-room, with soldiers gambling with cards, and other figures, painted on 
 copper and signed, measuring about i8in. by 24m., which sold to Mr. Nieuwenhuys for ,£546. A Dutch Village, with 
 peasant on a raft and fishermen in a boat, by M. Hobbdma, signed and dated 1663 — .£218 8r., and a large picture by C. 
 R. Leslie, R.A., painted in 1830, the “ Merry Wives of Windsor; The Dinner at Page’s House,” exhibited 1831, and at 
 the International of 1862, as contributed by Lady Lawley. The following pictures were also sold, belonging to the late 
 Mr. Joseph Ridgway, of Blandford, Goudhurst : — “ Hastings Beach,” by T. Creswick — ,£189 ; “ The Grand Canal, Venice,” 
 by F. Guardi — .£246 15^. ; “ The Approach to Venice,” the companion picture — ,£210 ; “ St. Mark’s Place,” by the same 
 — £210 ; “ The Piazetta of St. Mark, Venice,” by the same — £237 5*. These brought the total of the day’s sale up to 
 £20,160. 
 
294 
 
 ART SALTS. 
 
 [1879. 
 
 SALES OF PICTURES BY THE OLD MASTERS. 
 
 (“The Times,” May 12, 1879.) 
 
 The sale of pictures on Saturday last at the rooms of Messrs. Christie, Manson and Woods, was the most interesting 
 and important one as regards works of the Old Masters of the Dutch school, more particularly, that has occurred this 
 season. There were a few works of the Italian painters, though none of any decided mark, and the more modern pictures 
 were by deceased painters of the English school, of which one only was remarkable— a large and beautiful picture by 
 William Collins, R.A., a view of Dartmouth Harbour, which sold for the highest price in the sale — viz., ^1,575. The 
 next highest price — £840 — was obtained for a finq landscape by Rubens, one of the pictures sold belonging to the collec- 
 tion of the late Mr. Fuller Maitland, from which a selection was recently made, according to that gentleman’s will, for 
 the National Gallery. Of the other pictures now sold, belonging to this collection, there was none of any very distinguished 
 merit, and it is well known that the choicest pictures of the Stanstead-hall Gallery are those which belong to the nation 
 and those which are still in the possession of the family. There were only 39 of the pictures in the present sale, and most 
 of these were by painters of the English school. Besides the pictures above referred to there were 49, chiefly of the 
 Dutch school, belonging to the late Mr. John Warded, of Rathgar, Dublin, among which were a very excellent little picture 
 by Wouvermans, of well-known repute ; an equally good work of William Mieris ; a fine interior of a cathedral, by 
 De Lorme, with figures by Terburg ; and a very interesting portrait, attributed to Rembrandt, said to be of his wife, 
 which, with the Wouvermans and the Mieris, had been sold within the last three years at Christie’s, and consequently 
 much speculation was excited as to the prices they would bring now. Of the remaining 41 pictures forming the sale, four 
 belonged to the late Mr. George Faulkner, of Crumpsall, near Manchester, of which the Ostade and the “Karel du 
 Jardin ” were good examples, the others being from different properties having no name given. 
 
 MR. WARD ELMS PICTURES. 
 
 The sale commenced with Mr. Wardell’s pictures, of which an Italian scene, with soldiers near a fortress, i8in. by 22in., 
 sold for ^25 4-f. ; “The Duet,” by Cornelius Bega, 14m. by I2in. — ^42 ; “Adoration of the Magi,” by Velvet Breughel, 
 loin, by 13m., on copper — ^33 12^. ; Italian river scene, an upright picture, with high rocks on the right and sunny sky, 
 with muleteers, 47^in. by 44m., canvas — ^183 ijx. ; “The Cardplayers,” by A. Brauwer, iajin. by ib^in. — ^283 ios. 
 (sold last in Mr. Delafield’s sale for £162 ) ; “The Duet,” by Gonzales Coquez, lady and gentleman playing the guitar, 
 from the Wynn Ellis collection, 15m. by 22-|in. — ,£162 15J. ; “The Return of the Prodigal,” a palace interior, by Van 
 Delen and Van Harp, 22m. by ssJin. — /173 5-f. ; Interior with figures, by J. le Due, 15M11. by i8|in . — £99 15J., (sold in 
 Mr. H. Farrer’s sale for ^51) ; “Jacob’s Dream,” by C. Van Eckhout, 49m. by 40m., signed and dated 1669 — ^36 15.1. ; 
 Dogs and Dead Game, by Jan Fyt, 32m. by 44lin . — £73 io.!. ; Ruins, with figures, by Guardi, 7|-in. by 5-jin., ^35 14 s . ; 
 Interior of a Cathedral, by A. de Lorme, with figures, by Terburg, an upright picture, 43m. by 42m., panel, signed, and 
 dated, 1655, sunlight striking on the columns — £ 420 ; flower piece, with Diana and Endymion enclosed, by Maria di 
 Fiori and Carlo Maratti, 62m. by 47m. — £37 16s. ; “The Farmyard,” by Jan Miel, 13m. by i6in. — £32 in. ; “The 
 Guitar Player,” by W. Mieris, 1 iin. by 9m., panel, signed and dated 1705 , a gentleman on a balcony near a garden, with 
 an attendant, and landscape seen on the left of spectator; exhibited at Burlington-house, 1875 — ^514 ion This little 
 picture was sold in Mr. Albert Levy’s sale, 1S76, for ^483. Interior, with peasants dancing, by Molinaer, 22in. by 29m. — 
 ^40 19 s. ; Gardens of a Palace, with figures, by A. Van de Welde, 14m. by 13m. — ,£304 ion ; St. Joseph with the Infant 
 Saviour in his Arms, 49m. by 37m., from King Louis Philippe’s Collection — ^94 ion ; Interior of Church, by P. Neefs, 
 figures by Francks, 19m. by 25m. — ^48 6n ; portrait of a lady in white satin and blue bodice, near a fountain in a 
 garden, full length — 33m. by 26m. (G. Netscher) — 1 68 ; interior, with two peasants seated at a fire smoking, one holding 
 a grey-de-flandres jug, 14m. by 1 1 Tin -, by Adrian Ostade — £121 16 s. ; portrait of a lady in red under-dress, with pearl 
 bracelet and earrings, her right hand raised pulling a string, the left resting on a ledge in front, said to be a portrait of 
 Rembrandt’s wife, by himself, 34m. by 25m., canvas — £666 15J. Sold in the collection of the late Mr. Graham White 
 last year at Christie’s for £\72. Interior of a Gothic church during mass, by H. Steenwyck, the figures by Francks, 2oin. 
 by 28in. — ,£54 12.1. ; “The Visit,” by Eglon van der Neer, an interior, with a lady and gentleman and a lady nursing an 
 infant on her lap, a servant bringing a chair in the background, the dresses and lace painted with extraordinary minute- 
 ness and delicacy in the manner of the painter, signed and dated 1664, 25m. by 22m., panel (mentioned in Smith’s 
 Catalogue, page 176, No. 22) — ^304 ioj. This picture was sold in Mr. C. Cope’s collection a few years ago for £ 230 . 
 A Hawking party, by Philip Wouvermans, 12m. by i6in., panel, painted for Elizabeth de Bourbon, wife of Philip IV. of 
 Spain, whose arms are on the back of the panel (see Smith’s Catalogue, Vol. I. p. 3 37) ; exhibited at Burlington-house, 
 1872 — £787 los - This beautiful little picture was last sold in the collection of Mr. Albert Levy at Christie’s, 1876, for 
 £924. The gardens of a Palace, by Jan Wynants, with figures by Lingerbach — ,£105; “The Sand Girl,” a life-size 
 figure in a landscape, by Barker, of Bath ; exhibited at the Academy 1797 — £46 4J. ; a landscape, with figures at an inn 
 door and donkeys, by C. Morland, 1794, 39m. by sain. — £336. This was last sold in Mr. J. Nicholson’s collection for 
 £210. 
 
1879.] MR. FULLER MAITLAND'S COLLECTION. 
 
 295 
 
 MR. G. FAULKNER'S COLLECTION. 
 
 FROM a portion of the late Mr. G. Faulkner’s collection : — An Adoration of the Kings, by Baldassare Peruzzi, 371’n. 
 by 44m., panel — £38 17J. ; a landscape, with figures of two men and dogs, effect of rainclouds, signed and dated 1669, 
 19m. by 25m., canvas ; exhibited at Burlington-house this year — £315 ; Boors carousing, five half-length figures looking 
 out of a window, one holding a long glass, another with a flute, nin. by 9m., panel, etched by the painter, exhibited at 
 Burlington House this year, mentioned in “ Smith” — £420 ; an Italian landscape, with a woman and a boy standing in a 
 pool, a donkey, ox, and dog, and a white ox with sheep near and trees, the whole in a brilliant effect of afternoon sun, 
 i6|in. by I9jin., panel, mentioned in Smith’s catalogue, vol. V., p. 267, signed and dated 1662 — £252. From a different 
 property and without name. — “ Moses brought to Pharaoh’s Daughter,” by G. B. Tiepolo, a large upright picture — 
 £33 \2s. ; “ Kilgarran Castle,” by J. M. W. Turner, R.A., 23m. by 29m. — £220 10 s. This picture was in the Gillott 
 collection, at the sale of which, in 1872, it brought £600. The other picture of Kilgarran in the same collection was a 
 much finer work, with figures of bathers in the river, measuring 36m. by 48m., and it sold for £2,700 ; it was said at the 
 time to have been bought for the museum at New York. The picture now sold passed from the Gillott sale to the 
 collection of the late Mr. Wilson, of Brussels ; it was afterwards sold in Paris in M. Durand Ruel’s sale, 1874, for 33,ooofi, 
 so that, after reaching in Paris considerably more than double the price in the Gillott sale, it has fallen now to a sixth of 
 the price at which it was last sold by auction. The fine picture of Dartmouth Harbour, by William Collins, painted for the 
 late Mr. Phillimore Hicks in 1821 and exhibited the same year, as mentioned in the life of the painter, measuring about 
 36m. by 48m., was put up at a bid of 500 guineas, and, rising quickly to 1,400 guineas, was knocked down to Mr. Agnew at 
 1,500 guineas (.£1,575). This is not the highest price paid for a work of Collins, as the famous “ Cromer Sands,” a 
 picture of about the same size, in the Gillott collection, sold for .£3,780, and the “ Barmouth Sands ” for £1,700, while so 
 long ago as 1863, at the Bicknell sale, the “Selling Fish” brought £1,228. A portrait of Mrs. Burrell, by Sir Joshua 
 Reynolds — £210 ; the new mills at Norwich, by Crome, about 14m. by i6in., exhibited at Burlington-house, 1878, etched 
 by the painter — £199 ioj. : “ Cymocles and Phaedra on the idle lake,” by W. Etty, R.A., 1835, a small work — £525 ; 
 Dante, “ Voilh celui qui va en enfer et en revient,” by J. L. Gerome, H.F.A., &c. the original of the engraving by J. G. 
 Levasseur— £535 ior. 
 
 MR. FULLER MAITLAND'S COLLECTION. 
 
 The following were from the collection of the late Mr. Fuller Maitland, of Stanstead-hall, Essex : — A land- 
 scape, with cattle, by Sir David Wilkie, R.A., nin. by i8in. — £60 i8r. ; an interior of a cottage, by Wilkie, 
 toin. by i8in.— £43 ; “Nearing Home,” a sea-piece, by G. Chambers, 1835, 23m. by 32m. — £173 8s.; “The 
 Vale of Dedham, on the Stour,” by J. Constable, R.A., 1811, signed, mentioned in Leslie’s life of the painter, 
 29m. by 49m., panel — £315; “Weymouth Bay,” by the same — a ske:ch for the large work now in the Louvre, 
 2iin. by 29m. — £157 ioj. ; a river scene, with cattle, by the same, 13m. by 17m. — £59 17s . ; landscape, with sheep, 14m. 
 by 17m. — £68 5s. ; coast scene, the tide coming in, by G. W. Cooke, R.A., i860, ioin. by 2oin. — £131 5J. ; a mountainous 
 landscape, by D. Cox, 14m. by i6in. — £52 io^. ; “Harlech Castle,” by the same — 12m. by 17m. — £84. By Crome. — 
 “Oaks in Kimberley-park,” 46m. by 36m., exhibited at Burlington-house and South Kensington — £210; “Group of 
 Oaks, with white heifer,” 31m. by 47m., panel — £357; “A Thistle, with poppies and weeds,” 26in. by 2oin. — £47; 
 “Road to Barracks at Norwich” — £73 ioj. ; a barge, with wounded soldiers and other figures, 13m. by 19m. — £168 ; 
 “Barges on a Broad in a Mist,” by J. C. Cotman, exhibited at Burlington House 1872 — £178 ioj\ ; “ Mountain Scene,” 
 by Copley Fielding, 17m. by 22m. — £178 lost ; “View near Tunbridge,” by Patrick Nasmyth, 9m. by I2in. — £98 14s-. ; 
 “Totness,” by J. W. M. Turner, 8in. by I2in. — £84; “Entrance to Havre Harbour,” by same, 9m. by lain. — £115; 
 “View off S. Valery-sur-Somme,” 12m. by 15m. — £294 ; “The Chateau of the Duchess de Berri on the Garonne,” 14m. 
 by 2oin., by the same — £325 ; “View of Tivoli,” by R. Wilson, R.A., — £99 15.J. ; “ View of L’Arricia,” by G. Poussin, 
 15m. by 19m. — £29 8.r. ; the companion picture— £26 51-. ; a large landscape, by Rubens, meadow scenery, with river 
 and pollard willows, figures dancing, and a lady seated, with lady and gentleman and child holding two greyhounds, the 
 sky cloudy, with the sun breaking through, 34^in. by 5 i£in., panel, exhibited at Burlington Blouse, 1 87 5 — £840 ; “ View 
 Skevening,” by Solomon Ruysdael, 1662— £85 ; view on the edge of a forest, by Rembrandt, 13m. by 17m. — £57 15s-. ; 
 winter scene, with barns and cottages, and man dragging a boat, by Van der Capella, signed D. V. C., 15m. by 17m. — 
 £210 ; “ On the Scheldt,” with shipping and figures, by the same, 1 Sin. by 25m. — £73 lost ; the edge of a wood, with 
 figures and sheep, by Jacob Ruysdael, i6in. by 2iin. — £288 icw. ; sea piece, with fishing boat in a squall, a grey picture, 
 9 in. by 13m. — £29 8^. ; portrait of Frans. Acoltus, by Domenico Ghirlandajo — £25 iu. ; “Labourers in the Vineyard,” 
 by A. del Sarto, 36m. by 45m. — £42; the companion picture — £63 ; “The Madonna and Child,” with two angels, in 
 landscape, with balustrade in front, i2in. by ioin., by F. Francia — £278 5-s\ ; “The Virgin Rising from the Tomb,” with 
 St. Bonaventura and St. Francis in adoration, by Fra Angelico, on a triple-arched panel, 66in. by 7 5 : n . , from the Ottley 
 collection, exhibited at Burlington House— £152 5-r. ; St. Wilgifortis, with SS. John Baptist, Dominic, Jerome, &c., by 
 Cosimo Roselli, wrongly described in Crowe and Cavalcaselle’s “ History of Painting” and Dr. Waagen as “ Christ on 
 
296 
 
 ART SALES. 
 
 [1879. 
 
 the Cross,” the Saint having her arms stretched out in the form of a cross, on panel 79m. by 72m., exhibited at Manchester, 
 1857 — £78 15J. The following were from other proprietors: — “Head of Christ, on the Sacred Cloth,” attributed to 
 Murillo — £22. “ Lucretia,” a small whole-length nude figure holding the dagger, said in the catalogue to be the picture 
 
 referred to as by Titian in the MS. list of pictures of Charles I. preserved in the Ashmolean Museum — £(44. This picture 
 was among the pictures sold by the Earl of Malmesbury at Christie’s in 1876, when it was knocked down at £47 ; a river 
 scene, by J. Ruysdael, from Lord Suffolk’s collection, 24m., oval, £107 ; portrait of a lady, supposed to be Queen Mary 
 (Tudor), by Sir Antonio More, a half-length to knees, standing, the head three-quarters to the right, 38m. by 28m., panel 
 £7 8 15 j-. (it was contributed to the Burlington House Exhibition this year by Mrs. Willian Beckford) ; portrait of Henry, 
 Prince of Wales, as a youth, whole length, by Zucchero, £43. By H. Fuseli, R.A. — “The Nursery of Shakespeare 
 Shakespeare between Tragedy and Comedy, a large work — £2 12 s. 6 d. ; scene from King John: Queen Constance, 
 Prince Arthur, and Salisbury, about the same size — £2 ; “ Ulysses Meeting the Ghost of Ajax in Hades,” same size — 
 ioj'. 6 d. By Hogarth — A family group in a garden, a large picture — £72 ios-. By J. F. Herring, 1850 — “The Flying 
 Dutchman,” with Marlow riding him. a large picture — £(136 ioj. The total of the day’s sale amounted to ,£16,000. 
 
 MR. C. DICK/NS’S COLLECTION OF PORCELAIN. 
 
 ( May 21, 1S79?) 
 
 The Collection of Dresden, Chelsea, Sevres, and Worcester china formed by Mr. Charles Dickins, of Sunnyside, 
 Wimbledon, sold by Messrs. Christie on Wednesday and Thursday, was altogether one of the most select and complete 
 that has been seen in these rooms for some time past, and the high prices obtained showed that the taste for really fine 
 specimens is as strong as ever. One group of the well-known Dresden figures sold for 300 guineas ; another of Madame 
 de Pompadour dancing the minuet with Louis XV., for ,£215, and another for £260 ; while a set of three small Chelsea 
 vases brought £(1,365, a set of three Worcester vases £(650, and a Sevres “ Lyre Clock” £(590. The following were 
 other noticeable pieces : — 
 
 Old Dresden. — A Marcolini cup and saucer, deep-blue ground, painted with views — £(13 13J. ; another cup, cover, 
 and saucer, painted with heads of Abdlard and Hdloise — £(13 13^.; a cup and saucer, with bouquets of flowers and profile 
 portraits — £(11 iu. ; a pair of two-handled cups and saucers, deep-blue ground — £17 1 7s. ; an oval stand, painted with a 
 landscape in pink — £(14 3s. 6J. ; and the companion, £(14 iqr. ; an oval-shaped sucrier and cover, painted with Watteau 
 figures and flowers — £16 5^. 6d. ; a fluted coffee-cup and saucer, painted with Watteau figures — £(15 4^. 6 d. ; a fluted 
 coffee-cup and saucer, gold ground, with Watteau figures — £17 17s. ; another — £(19 19^. ; a large oval-shaped basin, 
 similar — £(23 ; an old Dresden tea service, canary ground, painted with river scenes, landscapes, and figures in 
 medallions, consisting of 18 cups and saucers and five other pieces — £155 ; a pair of square-shaped white and gold vases, 
 with festoons of foliage in relief — £(35 ; a rose-water ewer and dish, with festoons of roses and cherubs’ heads in relief — 
 £29 ; a pair of beakers, deep-blue ground, painted with groups of Chinese figures — £(42 ; a white and gold teapot, with 
 figure handle, from the Marryat collection — £26 5 s. ; an dcuelle, cover and stand, with Watteau figures — £(40 19J. ; a pair 
 of oviform vases, canary ground, painted with Chinese figures in medallion — £(15 7 ioi-.; a fine square-shaped vase, with 
 openwork neck, with Watteau figures, in blue scale borders — £(169 15J. ; a clock in white and gold, of scroll design and a 
 seated figure of Venus on the top— £(90 ; a pair of white and gold candlesticks, painted with flowers — £(51 ; a group of a 
 shepherdess with a guitar — £(28 ; a pair of seated figures, with white and gold baskets — £28 ; a paff of figures of Atlas bearing 
 the celestial and terrestrial globes — £26 ; a pair of Chinese figures, richly gilt dresses, painted with flowers— £(41 ; a group of 
 two lovers in a bosquet — £(54 12^. ; a pair of groups of children, emblematic of the quarters of the globe — £36 ; a pair of 
 seated figures holding branches for two lights each — £(45 ; a pair of figures in oriental costume, richly gilt and coloured — 
 £(57 ; group of Europa and two nymphs — £(78 ; a pair of large figures of a shepherd with bagpipes and shepherdess 
 dancing — £37 ; a pair of seated figures with baskets of vegetables — £63 ; a group of a gentleman and lady with hooped 
 petticoat — £61 ; a group of Count Bruhl’s tailor on a goat — £80 ; Spring and Summer, a pair of beautiful figures — ,£60 ; 
 a group of a lady and gentleman, with Cupid — £(51 ; a group of Venus and Cupid in a car, supported by three Tritons — 
 £17 S ; a pair of groups of two children, holding a fish, and forming candlesticks — £(84 ; a fine group of a lady in hooped 
 dress, seated, with a gentleman standing by her side, and a female pedlar offering wares, and a boy behind — £260 ; a 
 group of Venus and Cupid in a car drawn by two seahorses, and Neptune, the companion group — £(336 5J. ; Juno in a 
 car drawn by two swans — £(65 ; a pair of large figures of a warrior with a shield and quiver of arrows — £99 ; a pair of 
 busts of Count Bruhl’s children, on pedestals — ,£75. 
 
 Vienna Porcelain. — A chocolate pot and cover, deep-blue ground— £(19 19J. ; a fine oval plateau, painted with three 
 nymphs and Cupid in a car — £23 ; a cabaret with richly gilt borders, painted with figures and flowers — £21. 
 
 Italian Porcelain. — A Novi vase and cover, the handles formed as female figures, painted with scenes from Roman 
 history — £(50; a Capo di Monte figure of Winter — _£io ; a figure of Summer — £9 9s. ; a Buen Retiro coffee-cup and 
 saucer, painted with Moorish horsemen — £(18 i8j. ; an oval-shaped Dresden snuff-box, painted with seaports in white 
 and canary— £(54; another, pale green, with river scenes, landscapes, and figures in medallions — £(42 ; a Dresden circular 
 bonbonniere, painted with landscapes and figures, and the inside with flowers and cupids — £63 2 s. ; an oval-shaped snuff- 
 
1879.J 
 
 MR. W. B. WHITE'S COLLECTION. 
 
 297 
 
 box, painted with views of Dresden — ,£50 ; a small triangular-shaped box, with a pug dog on the lid, painted with figure 
 of a female — ,£50 ; an oval-shaped snuff-box, painted after Watteau — ,£42 ; an Arras French cup and saucer, deep blue 
 and white ground — ,£13 13^. ; the companion — ,£14 3s-. 6 d. ; a Menecy group of two children— ,£13 ion ; and another — ,£18. 
 
 Old Sevres. — A teapot and cover, rose du Barri ground — ,£26 5J. ; a pair of cups and saucers, gros-bleu and gold 
 borders — ,£27 6n ; a large white and gold Trembleuse cup and saucer, painted with exotic birds — ,£23 is. ; a pair of old 
 Sevres biscuit groups, each with three nymphs and children with flowers and grapes — ,£85 ; a gros-bleu Sevres lyre clock, 
 mounted with a mask of Apollo, and ornaments of chased ormolu, with enamelled dial and pendulum set with pastes — 
 ,£590 ; a two-handled Derby cup, cover, and saucer, yellow ground — ,£24. 
 
 Old Chelsea. — A pair of candlesticks, formed as a group of wild animals — £31 ion ; a large two-handled cup and 
 cover, deep-blue ground — £74 lit ; a vase, with long neck and white and gold scroll handles, deep-blue ground — £1 15 ; 
 a pair of vases, en suite, with coloured Satyr’s mask handles, on deep-blue ground— ,£199 ; a pair of flat, heart-shaped 
 vases, turquoise, white and gold — ,£45 ; a pair of square vases, each side painted with groups of Chinese figures and 
 small medallions of birds in deep-blue and gold borders — ,£320 ; a fine turquoise vase, with openwork neck and cover 
 painted with figures and animals in a landscape— ,£470 ; a large beaker-shaped vase, brilliant deep-blue ground, painted 
 with large medallions of exotic birds in richly gilt borders — ,£504; a set of three vases, about loin, high, of flat oval 
 shape, deep-blue ground, richly gilt, each finely painted with two children in medallion, and group of birds— ,£1,365 ; a 
 set of three Worcester vases, each painted with medallion of horsemen and figures in the style of Wouvermans, with 
 medallions of flowers on the necks, deep-blue ground and gilt — ,£650 ; another set'of three Worcester vases, with flowers 
 in colours and deep-blue, white, and gold bands — ,£30 ; a pair of Chelsea jardinieres and covers, deep-blue, white, and 
 gold, painted with classical subjects — ,£61 lgs. ; a needle-case, the top formed as a basket of flowers — £ 2 3. Total, 
 ,£6,148. 
 
 MR. W. B. WHITE’S COLLECTION. 
 
 (“The Times,” May 28, 1879.) 
 
 The large stock of pictures belonging to the late Mr. W. Benoni White, who was the last of an old family of picture- 
 dealers for many years established in Brownlow Street, Holborn, where the pictures have remained for the last 16 years 
 since his retirement from business, was sold by Messrs. Christie, Manson and Woods on Friday and Saturday last. The 
 sale was by order of the High Court of Justice, Probate Division, “Re Bull v. Clarke,” and consisted of 290 lots of 
 drawings and oil paintings, nearly all of which were by English artists of the older school, a considerable number, 
 however, being sold without the name of the painter. In a miscellaneous accumulation of this kind, representing what 
 might be called the back stock of three generations of picture-dealers, to be turned into money, it was not to be expected 
 that there would be many very fine examples left on hand. The majority were but commonplace. There were, however, some 
 exceptions to the general mediocrity, and these were pictures which Mr. White had purchased at considerable prices 
 more than 20 years ago and which he chose to keep for his own enjoyment. Had he troubled himself much about the sale 
 of such pictures as the two Turner sea-pieces, the Gainsborough landscape, and the Morland “ Nut Gatherers,” there can be 
 no doubt purchasers would readily have been found for such excellent examples of the masters. These fine pictures, 
 however, along with all the picture lumber of his old stock, had been stowed away in London dust and dirt, losing the 
 beneficial influence of fresh air and the light of day for the last 16 years at least. The great interest of the sale was in 
 the two Turners, as these were well-known examples of his boldest and most vigorous work in sea painting, painted in 
 1802 and 1804, immediately preceding the grand “ Shipwreck” in the National Gallery, which, it will be remembered, 
 was exchanged by its owner, Sir J. F. Leicester, afterwards Lord de Tabley, with Turner, for the “ Sun Rising in Mist,” 
 the picture which became famous for having been repurchased by Turner for 1,000 guineas at Lord de Tabley’s sale in 
 1827, with the intention of being bequeathed by the great painter to the nation on condition that it, along with his “ Dido 
 building Carthage,” should remain for ever placed between the two masterpieces of Claude — “ The Seaport ” and “ The 
 Mill.” The pictures now sold were exhibited at the Academy, and are named in the catalogue of 1802, “ Fishermen on a 
 lee-shore in squally weather,” and in 1804, “ Boats carrying out anchors and cables to Dutch men-of-war in 1665.” They 
 both remained in Lord Delamere’s collection till 1855 when, as now stated by Mr. Woods, they were placed in the hands 
 of Messrs. Colnaghi, of Pall-Mall, for sale, where they remained for a year without meeting with a purchaser. In the 
 following year they were sent to Christie’s to be sold. It is also known that the late Mr. White saw them before the sale, 
 and made an offer of 2,500 guineas for them, which was accepted, and it was afterwards announced that the pictures were 
 withdrawn from the sale. On the day of sale, however, Mr. Pennell, a well-known dealer, since dead, demanded that the 
 pictures should be put up for sale, and Mr. Christie at length acceding to this, they were placed before the audience, and 
 the biddings commenced at 2,500 guineas, advancing to 3,000 guineas, at which price the hammer fell, and Mr. White 
 thus became the purchaser. Very large sums had been named as the probable price, while these two fine pictures were 
 on the walls of Messrs. Christie’s gallery, one on each side of the beautiful evening picture by Gainsborough ; but these 
 expectations were not realized in the sale, the first, named in the catalogue, “ Fishermen on a lee-shore in squally 
 weather,” 36m. by 48m., being put up at a bid of 500 guineas from Mr. Agnew, who was the purchaser at 2,300 guineas 
 (,£2,415) ; and the next, “ Boats carrying out anchors to Dutch men-of-war,” 40m. by 51 in., being put up at 300 guineas, 
 
 VOL. I. Q Q 
 
298 
 
 ART SALTS. 
 
 [ 1879 . 
 
 fell to Mr. White for 1,500 guineas (£1,575). It was generally felt that these prices were low compared with those given 
 so recently as the Monro sale last year, when the “ Van Tromp’s Shallop ” brought £5,460, and the “ Rome from the 
 Aventine ” £6,142. The landscape by Gainsborough called “ Evening ” was also in Saturday’s sale. It is a brilliant 
 golden effect of evening sunlight striking low from the left over distant hills and woodland vale upon a church tower in 
 the middle distance, with a large tree bending over the road in the right foreground, where a ploughboy rides a tired white 
 horse, with a companion brown one by its side, and at the opposite corner is a woodman going home from his work, 
 under the deep shadow of the pollard tree that strikes dark against the bright sky. The picture is on canvas measuring 
 39m. by 49m , and bears on the back of the frame a ticket saying that it was painted at Bath about 1760 for Samuel 
 Kilderbee, Esq. This interesting work had created much admiration while it was “ on view,” for its fine poetic feeling, 
 the richness of the tone of colour, the masterly handling of the execution, and its very pure state of preservation, which 
 was in all probability due mainly to the back of the canvas having been painted over, as it had not been lined. There 
 was a rumour that the picture would be bought for the National Gallery, as it was an example of the painter’s style 
 different from the “ Market Cart,” the “ Watering Place,” and the large wood scene in his early manner recently acquired. 
 This supposition, however, was soon set at rest when it was seen that Mr. Burton, the Director of the Gallery, who was 
 present, did not bid for the picture, which was knocked down to Mr. Agnew for £761 5^. The picture by G. Morland, 
 the “Nut Gatherers,” was a large and fine example of the painter, and it sold for the considerable sum of £588 to 
 Mr. Vokins. Other pictures of interest in the sale which may be mentioned were — A vase of flowers and bird’s nest, by 
 P. T. van Brussel, 1792 — £79 i6r. ; the companion picture, of fruit and flowers — £79 gs. ; Hercules and Dejanira, by 
 Albert Differ, dated 1517 — £70 7s. ; the Madonna and Child enthroned, with monk kneeling and saints — £116 us. ; 
 View of Venice, with the procession of the marriage of the Adriatic — £210 ; a portrait of a gentleman, in crimson dress 
 and furred cloak, holding his gloves, by Holbein, signed and dated 1534 — £50 8r. ; Portrait of Charles II. in armour, by 
 Lefevre — £73 ioi'. ; a battle piece, by Andrea Mantegna — £79 i6r. ; “St. Mark’s Place, Venice,” by Marieschi — 
 £35 14^. ; Fruit and game, by G. Van Os — £48 6s. ; view near a village, with rustic bridge, by J. Ruysdael — £225 15 s. ; 
 a rocky river scene, by the same — £120 15^. ; a fete cbampetre, near a fountain, by A. Watteau — £126 ; “The Grand 
 Canal, Venice,” by R. P. Bonington — £105 ; “View of East Cowes, from West Cowes Ferry,” by John Burnet, 1823— 
 £325 ior. ; a river scene, with cows, and fishermen in boats, by James Burnet — £117 I2f. ; “ A Lugger in a Squall off 
 Whitby,” by G. Chambers, 1836 — .£168 ; a mountain scene, with cattle and sheep, by Sidney Cooper, R.A . — £257 5^. ; 
 fruit and gold vessels on Turkey carpet, by G. Lance — £52 lew. ; a spaniel and despatch bags, by Sir Edwin 
 Landseer, R.A. — £43 : this was an interesting and curious picture, being cut out of a picture of the battle of Edgehill, by 
 Charles Landseer, R.A., into which it had been introduced by Sir Edwin, and made into a fresh picture by being placed 
 on a new canvas and having a landscape background painted to it. “ Belshazzar’s Feast,” by John Martin, the engraved 
 picture — £2g 8r. ; a woody river scene, with figures, by J. A. O’Connor, 1830 — £110 $s. ; “Sluice-gate on the river 
 Wensum,” by A. Stannard, a pupil of Crome, 1828 — £330 ; “ Cadmore End, near Wycombe,” by J. Stark — £178 tor. ; 
 the “Young Bull,” by James Ward, R.A., about 40m. by 6oin., from Mr. Broderip’s collection — £32 iij. ; an Italian lake 
 scene, by R. Wilson, R.A., 1788, from the Redleaf collection — £64. The total amounted to ,£8,379. 
 
 MR. ANDERDOlV’S COLLECTION. 
 
 (“The Times,” June 2, 1S79.) 
 
 The sale of the large collection of the late Mr. Anderdon on Friday and Saturday last was interesting chiefly for the 
 portraits and unfinished pictures by Romney, and some by Stothard, which had been recently exhibited at Burlington 
 House, with others belonging to the collection. There were also a great number of small pictures of a certain merit by 
 some of the old masters, and many of the English school which Mr. Anderdon in his long life as an amateur and 
 collector had got together during more than half a century, making altogether a gallery of no less than 279 pictures, 
 including a few water-colour drawings. It will be remembered that Hogarth’s “ Sigismunda,” which was seen at 
 Burlington House, was bequeathed to the National Gallery by Mr. Anderdon, and this important work has now taken its 
 place in the Gallery. The trustees have now done the graceful act of purchasing several pictures at this sale, the most 
 important of which were “The Parson’s Daughter,” by Romney, and “ Narcissus,” a small but brilliant picture by 
 Stothard. These, with others named below, were purchased by Mr. Burton, the Director of the National Gallery, who 
 was present at the sale with Mr. W. Russell and Sir W. Gregory two of the trustees. 
 
 Of the pictures by Old Masters, “The Ford,” by Jan Asselings, from Lady Camden’s sale, 1843, i6jin. by i8in., 
 panel, sold for £g gs. ; the Madonna and Child, with monk and nun, by J. Bellini, from the poet Rogers’s sale — 
 ,£46 145. 6 d.\ “The Hurdy-gurdy Player,” by F. Boucher, signed, i8in. by 14m. canvas — £162 15^.; “St. George of 
 Cappadocia, ’ by Cima di Conegliano, from the collection of Dr. Faccioli, 26in. by I7^in. — ,£28 9J. ; A. Cuyp, portrait of 
 himself, 14m. by io^in. — £99 s. ; portrait of Queen Elizabeth, by Lucas De Heere — £6 6s. ; the Madonna with infant 
 Christ sleeping, by G. Di Ferrara — £43 u. ; a girl drawing, by Greuze — £199 ; head of child by the same — £38 17J. ; “The 
 Grand Canal, Venice,” by F. Guardi — £25 4.?. ; portrait of Martin Luther, by Holbein — £63, for the National Gallery; 
 Geronimo Diodati, holding his gloves and bouquet, Burlington House, 1878 — £84 ; a monk with a bowl of milk, by 
 Mending, Manchester, 1857, 9m. by 6H11. — £34 13J. ; “The Cavalier,” by G. Metzu, i8in. by 19m., panel — £14 3^. 6 d. ; 
 
1879 .] 
 
 MR. ANDERDON'S COLLECTION. 
 
 99 
 
 interior, lady in a white satin dress at a table, a cavalier by her side, by F. Mieris, from the collection of the late 
 J. Winstanley, loin, by Sin. panel — ^204 15J. ; “ Fete Champetre,” a composition of seven figures, by J. B. Pater — £21 ; 
 a ditto, with Cupid, by same, from the collection of John Cochrane, i8in. by 2iin. — £ 262 ioj. ; a female head, 9Jin., 
 circular, by S. Del Piombo — ^4 14J. 6 d. ; “Tobit and the Angel,” by C. Poelemberg, 6|in. by 9m. panel — £7 17s. 6 d. ; 
 “A young Soldier lighting his Pipe,” by G. Schalcken, 12m. by 15m. — ^19 19J. ; interior, with figures smokmg round a 
 fire, by D. Teniers, loin, by 14m. — £63; G. Terburg, portrait of himself at his easel, from Dr. Wellesley’s collection, 8in. 
 by 7in., panel — ^17 17J. ; “A Nymph,” by Titian — £27 6s. ; “ Milking-time,” by A. Vander Velde, from the Emmerson 
 collection, 1853 — -£26 5 s. ; a river scene with boats and fishermen drawing a net, by J. Van Goyen, an upright picture 
 I2in. by io^in. — ,£215 5J. ; “The Rehearsal,” by Watteau, i6in. by 2oin . — £17 17s. Pictures of the English School. — 
 Portrait of Gay by Aikman, from Lady Webster’s collection, 1866 — £^7 155., for the National Gallery ; a landscape, with 
 a waggon, by G. Barrett, R.A., from the collection of the late Sir J. Swinburne — £22 ; a landscape with figures, a sketch 
 by R. P. Bonington — £25 4J. ; “The Wreckers,” a sketch by same, bought at Christie’s, 1829, i8in. by 22m. — ^71 8j. ; 
 river scene, by C. Brooking, Burlington-house, 1872 — ,£40 19.?. ; a sea piece, by G. Chambers, from the artist’s sale, 1841 
 — ^15 4s. 6d. ; homestead with figures, a sketch by W. Collins, R.A . — £26 5J. ; Cromer Sands, with children, by same, 
 etched by the painter, from Mr. Vine’s collection, 9m. by I2in. — ^162 15J. A cornfield with figures, a sketch, by 
 J. Constable, R.A., 12m. by i8in . — £27 6s., for the National Gallery ; a brook scene, by same, from the collection of 
 C. R. Leslie, R.A. — ^124 igs. ; “Barnes Common,” by same, from the collection of Mr. J. Garle — £37 16s., for the 
 National Gallery ; “ Lock on the Stour, near Flatford Mill,” by same, from the collection of C. R. Leslie, R.A., i860 — 
 ^84; “Malvern Flail, Warwickshire,” by same, 1809, Burlington Flouse, 1878 — £gg 15 s. ; “Death of the Earl of 
 Chatham,” by J. S. Copley, R.A., from Lord Lyndhurst’s sale, 1864 — ^31 ioj. ; a ditto, from the collection of the 
 Rev. H. S. Trimmer, i860 — £32 10s. ; a sea view by J. S. Cotman, Burlington House, 1878 — ^173 5J. ; landscape with 
 peasants and donkey, by D. Cox, 1850, from the collection of Mr. W. Roberts, 1867 — £87 3 s. ; a rustic scene, with old 
 pollard near a pond and cottage, by J. Crome, from the collection of Dawson Turner, 1856, 8in. by loin — ^47 55.; 
 “Peasant Driving Cattle,” by the same, I2in. by 1 5 in. — ^21 ; “An Old Beech Tree,” study from nature, by J. Crome — 
 £2 1 ; “An Old Mill on the Yare,” by same, from the collection of Dawson Turner, 1852 — £120 15J. ; “ Skirts of the 
 Forest,” by same, exhibited at Burlington House, 1872, 41m. by 31m.— ^194 5-f. ; “ View on Mousehold Heath, Norwich,” 
 by same, from the collection of Rev. Mr. Daniell, 1845, 21 in- by 31m. — ^189 5J. ; a country lane, by J. Crome, sen. — ^84 ; 
 a gipsy scene, by T. Gainsborough, R.A., from the collection of the Rev. H. S. Trimmer, exhibited at Burlington House, 
 1878, uiin. by 14m . — £37 i6j. ; “The Poultry-Seller,” by R. Heighway— ,£47 5.1. ; portrait of Sarah Malcolm, executed 
 for murder 1732, by W. Hogarth, exhibited at the Art Treasures, 1857, and at British Institution 1814, 2oin. by 17m., 
 oval canvas — ^14 14^. ; “A Sow and Pigs,” by J. C. Ibbotson, exhibited at Leeds — £27 6s. ; a landscape w th 
 peasants under a pine tree, by John Linnell, sen., 1813, from the collection of Mr. Vine, 1838, 3m. by 10m. — /141 15J. ; 
 a landscape, with old oak, by same, 1824 — £63; “Old Roman Bridge, Worcester,” by W. Marlow, 1760 — £37 16 j. ; 
 a river scene, with cattle, by L. Mignot — ^15 1 5J. ; “A Quarry with Peasants,” by G. Morland, from the collection 
 of Jessie Curling, 1856— ,£42, for the National Gallery; “A Farmer Carrying Pigs to Market,” by the same, from 
 the collection of W. Flower, 1830 — ^110 55. ; landscape, with figures crossing a bridge, by same — £30 2 s. ; a 
 coast scene, fishermen and boats, by same, 1792, from the Cowden collection, 1834 — £73 ioj. ; landscape, 
 with a coach, &c., by same, 1792 — ^42; snow scene, with horses, by the same, from Seguier’s sale, 1844 — £28 7s. ; 
 landscape, with gipsies and dog, by same, from Dr. Frank’s collection, 1840 — £26 5J. ; a girl with a dove, oval, by same, 
 from the collection of Mr. Haskett-Sgriith— ^56 14J. ; a landscape, by W. Muller, with old willows and sheep, from 
 Mr. Gambart’s sale, 1861 — £162 15.1. ; “ Death of James I. of Scotland,” by J. Opie, R.A., exhibited at the Academy of 
 1786 — £12 16 s.; “Portrait of George II.” by R. E. Pine, 17m. by 14m . — £3 13s. 6d. ; “Sir J. Reynolds,” portrait of 
 himself, exhibited at Burlington House, 1879 — Z 8 J 8 -''- 6<Z ; “ Robinetta,” by the same, from Dr. Wellesley’s sale— £7 7s.; 
 “The Hon. Mrs. A. Seymour Darner, Sculptress,” by the same — ^35 14J. ; “A Girl and Dog,” by G. Romney, R.A. — 
 ^14 14.1. ; “Thomas Alfonso, son of W. Hayley,” by the same — £32 ioj. ; Mrs. Tickell, by Romney, in a white dress, 
 straw hat, with black and white feathers, to the waist, Burlington House, 1872—^840; Mrs. Thornhill, by the same, 
 from the collection of the Rev. J. Romney, 1834 — £336; “The Parson’s Daughter,” by the same, bought at Christie’s, 
 1857, exhibited at Burlington House, 1875 — ,£378, for the National Gallery ; head of Miranda, by the same, from the 
 collection of Isaac Slater, 1837, and at Burlington House, 1873— ,£65 2s. ; head of Mrs. Crouch, the actress, by the same, 
 exhibited at National Portrait Exhibition, 1867— ,£263 ; Madame de Genlis, by the same, at Burlington House, 1877 — 
 £262 10 s. ; portrait of Mrs. Trimmer, by the same, from the collection of Rev. H. S. Trimmer — ,£131 ioj. ; “The 
 Haughty Dame,” by the same, exhibited at Burlington House, 1875— /68 5J. ; Mrs. Robinson as Perdita, by the same, 
 bust size, with head upon the right hand, exhibited at Burlington House, 1878 — ,£398 ; Lady Hamilton as Joan of Arc, 
 by same, Manchester, 1857, and Leeds, 1868 — .£43 ij. ; Lady Hamilton as Ariadne, nearly life size, in white dress and 
 straw hat, in a cave by the sea, not from Mr. Anderdon’s collection — /231 ; “Milton dictating to his Daughters,” by 
 H. Singleton, a small work— ,£341 5J. ; “ Cupids sporting with a Dog,” by T. Stothard, R.A . — £37 \6s. ; “ Narcissus,” by 
 the same, from the artist’s sale, 1834, a group of five figures in a forest — ,£110 5J., for the National Gallery ; “ Battle of 
 Zutphen, Sir P. Sidney,” by same — £g gs. 6 d. ; interior, with figures, a small study, by H. Tenkate — £32 m. ; “A 
 Council of Horses,” by J. Ward- -£22 ioj. 1 interior with sportsman, &c., by F. Wheatley, R.A., — ,£31 ioj. ; “ Wilsden 
 Church,” by R. Wilson, R.A . — £60 i8j. ; an Italian river scene, by same, from the Buchanan sale, 1838—^115 ioj. ; a 
 landscape with figures, by the same — £63 2 j. ; a river scene with figures and sheep, by F. Zuccarelli — £26 3s. Total, 
 ^9,611. 
 
ART SALES. 
 
 [ 1879 . 
 
 300 
 
 THE BARKER COLLECTION. 
 
 (The “ Times ,' " J une 2 3> 1879.) 
 
 The whole of the large and interesting collection of pictures, with much decorative furniture and other objects of art, 
 formed by the late Mr. Alexander Barker, of 103, Piccadilly, and Hatfield, near Doncaster, during many years, has now 
 been dispersed under the hammer of Messrs. Christie, the pictures having been sold on Saturday last, and the works ot 
 art, in sculpture, metal work, porcelain, &c., on the two preceding days. It will be remembered that in June, 1874, soon 
 after the death of Mr. Barker, the greater part of his collection of pictures was sold, when some important examples of 
 the earlier Italian masters were acquired for the National Gallery. There were then purchased 13 pictures, at prices 
 which were considered rather high, amounting altogether to a little over ,£10,000. At that time, however, the sale 
 occurred under every advantage, when all prices were much higher, and when the foreign public galleries competed for a 
 share in the treasures of a collector so widely known for his enterprise and taste in the search after old pictures. 
 Considerable as were the prices then paid, it was evident by the loud applause that followed each of the more important 
 purchases from an audience especially well qualified to judge, that the public were glad to approve these valuable 
 additions to the National Gallery. On the present occasion one purchase of interest was made, and this was of two side 
 panels of an altar-piece, from which the centre picture had been taken and sold by Mr. Barker to the National Gallery 
 when under the directorship of the late Sir Charles Eastlake in 1861. This imperfect altar-piece was not included in the 
 former sale, and therefore could not then have been obtained, but it will now appear complete, and it is not easy to 
 understand how it happened that the work ever was suffered to be thus separated. This most desirable acquisition has 
 been made at the almost nominal cost of £34 12J. Probably very few persons were aware of what had become of the 
 missing panel, and it was sold as part of an altar-piece. It appears that in 1861 Sir Charles Eastlake purchased of Mr. 
 Barker three pictures— St. John the Baptist and other Saints, by Filippo Lippi ; St. Sebastian, St. Rock, and St. 
 Demetrius, by L’Ortolano ; and “ The Beato Ferretti,” by Carlo Crivelli, for £2,500. The last-named is the panel 
 belonging to the altar-piece now sold to the National Gallery. It possesses some special interest, as the Beato Ferretti 
 was an ancestor of the late Pope Pius IX., whose name was Giovanni Maria Mastai Ferretti. The two side panels, 
 of St. Peter and St. Nicholas, full-length figures on gold ground, are about 55m. high by 34. (See Sir F. Burton’s letter, 
 p. 302.) 
 
 Among the pictures sold on Saturday were the six pictures by Botticelli which were offered for sale in June, 1874, 
 and at that time “ bought in ” at prices considerably more than double that they have now been sold for. Of the four 
 pictures taken from the story of Nastagio degli Oneste, taken from the “Decameron” of Boccaccio, representing the 
 torments to which ladies who have been cruel to their lovers are condemned in a future state ; “ The Feast in the Woods 
 of Ravenna,” with the naked lady hunted by hounds, and her lover on a white horse, painted on panel, 315m. by 56m., 
 sold for £441. In the former sale it was knocked down at £997 ior. “The Marriage of the Fair Daughter of Paolo di 
 Traversero,” with portraits among the guests of Lorenzo de’ Medici, Filippo Lippi, Bruneleschi, and others, measuring 
 32m. by 54in. — £294~(the former price was £682 ioj.) ; another illustration, “The Horseman and Hound chasing the 
 Lady,” under tall pine trees, and a view of the coast, with four other figures of the same size — £168 (former price, £525) ; 
 another, with variations of the same subject, and of the same size — £183 15J. (former price, £525). These four pictures, 
 are described by Vasari as being in his time in the Casa Pucci. They were painted on the occasion of the marriage of 
 Pier Francesco di Giovanni Bini with Lucrezia Pucci in 1487, and were purchased by Mr. Barker from the head of the 
 Pucci family. It is scarcely necessary to say that these, like most of the pictures which Mr. Barker bought, were rather 
 profusely restored. Of the other two pictures illustrating stories from Boccaccio, “ A Banquet, with Centaurs attending 
 the Guests,” measuring 31 in. by 51 in., sold for £137 ioj. (former price, £420) ; the companion picture, with the Centaurs 
 and their guests fighting — £136 ior. (former price, £420) ; two good copies of Botticelli, the one a portrait of a lady, the 
 other a “ Holy Family with an Angel,” sold for £21 and £23 respectively. A large altar-piece by Carlo Crivelli, with 
 gothic arched top, divided into six gothic compartments, each panel painted with figures of saints and the Virgin and 
 Child, on gold ground, about 75m. by 40m. — £215. By Carlo Crivelli. — “ The Crucifixion,” with two female saints, with 
 landscape background, about 30m. by 2oin. — £100 i6r. ; “Two Saints,” on panels, I2in. by 7in. — £24; “The Virgin 
 Enthroned, with the Infant Saviour,” arched top, about 65m. by 24m. — £22 ior. ; “ A Bishop holding crozier and books,” 
 on gold ground, about 65m. by i8in. — £10 io.f. By Lorenzo di Credi. — “The Holy Family,” with St.John and other 
 figures in a landscape, circular, about 40m. — £53 1 is. ; “A Riposo,” miniature, with a border of flowers and coat of arms, 
 about ioin. by 8in. — £9 gs. By Filippo Lippi. — “ A Roman Army encamped on the Banks of a River,” about i6in. by 
 66m. — £15 15^. ; “ The Virgin and Child, with St. John,” in a landscape, about 30m. by 25m. — £63 ; “ Illustration from 
 the fable of Cupid and Psyche,” panel, 23m. by 70m., from the collection of Cardinal Fesch, and described by Waagen — 
 £126 ; the companion picture — £115 ioj. ; another panel illustrating the same subject, smaller, 6oin. by i6in. — £68 5-f. ; 
 “ The Virgin and Child,” bust size — £52 lor. ; “ The Adoration of the Magi,” with many figures, the kings said to be 
 portraits of the Accajuoli family, for whom the picture was painted, circular panel, 33m. — £230. This was in the former 
 sale, when it brought £315. By Andrea Mantegna. — A scene from Roman history, “ Tarquin and Porsenna,” about 
 48m. square — £21 ; a similar subject, the companion picture— £21 ; another similar, upright, about 36m. by 24m. — 
 £34 I3J 1 . Attributed to Masaccio. — “The Death of Alexander,” about 24m. by i6in. — £12. By Andrea Orcagna. — 
 “The Coronation of the Virgin,” on gold ground, octagon, 22in. by 15 in., exhibited at Leeds — £28 ys. ; “Head of a 
 Saint,” on gold ground, ioin. square — £11 in By Baldassare Peruzzi. — “The Nativity” — £47 7 s. By Antonio 
 Pollajuolo. — “The Virgin seated, holding the Infant Saviour” — £17 1 ys. ; “Tobit and the Angel,” about 42m. square, 
 with arched top, exhibited at Leeds — £17 6 s. ; “ Virgin and Child, with St. John,” river scene and city in the background 
 — £1 1 ; “ Co simo Tura,” portrait of a man, profile — £27 6.r. By Galasso Galassi— .“ The Adoration of the Magi,” panel, 
 
1879.] MR. ALEXANDER BARKER’S COLLECTION. 
 
 301 
 
 25m. by 37m. — £33 1 is. By Dosso Dossi. — “The Flight into Egypt,” about 2oin. by 3oin. — £6 i6.r. By Francia.— 
 Portrait of a youth, with long hair, black cap and dress, blue sky background, bust size — £34 13J. ; “ Saint Francis” and 
 a “Female Saint,” two pictures, about 27m. by 19m. — £(35 14^. Attributed to Raphael. — A portrait of a youth, in profile 
 with long reddish hair, black cap with a badge, supposed to be the architect who accompanied Raphael from Sienna to 
 Florence, panel, about i8in. by i2in. — £(162 15^. In the former sale this brought £(399. Attributed to Giovanni Bellini. 
 — Portrait of a man holding a scroll — £26 55'. By Jacopo Bassano. — A garden scene, with figures gathering fruit, about 
 65m. square, formerly in Sir Culling Eardley’s collection — £31 ior. By Bonifazio. — “An Assembly of the Gods,” a large 
 canvas, unframed, about 6oin. by iooin. — £4 14^. ; a woody landscape, with a white horse and figures — an allegorical 
 subject — about 6oin. by iooin. — £17 iys. By L’Ortolano (G. B. Benvenuti). — St. Demetrius in armour, leaning on his 
 sword, with scarlet cloak, and landscape background, about 84m. by 40m. — ^10 ioj. By Luca Signorelli. — St. George 
 and the Dragon in combat, a woman and figures of horsemen in the background, with dead bodies on the ground, panel, 
 2iin. by 30m. — £(85. (This was bought in at the former sale for £(252.) By II Bacchiacca (Francesco Ubertini). — 
 Porirait of a youth in a red dress playing the mandoline, with Apollo and Daphne in the landscape, and other figures, a 
 glass bottle with a spray of jasmine and an hour glass on a ledge in front, life size to the knees — £162 15J. (This was in 
 the former sale, and brought then £261 i 6 j .) Attributed to Leonardo da Vinci. — “ Leda and the Swan,” with the infants 
 Castor and Pollux issuing from the eggs ; referred to by Dr. Waagen, canvas, 54m. by 36m., exhibited at Leeds — £(84. 
 Attributed to Correggio. — “Juno with the Peacock,” a full-length nude figure in a chamber with red couch and curtain 
 and window at the right, 44m. by 23m. (formerly in the Orleans Gallery, purchased by Mr. Barker from Baron de 
 Rothschild of Paris) — £43. (This brought £(141 15J. in the former sale.) By Carmona. — “ The Wise Virgins,” figures 
 with curious peaked caps, from the collection of King Louis Philippe — £52 ioj. ; “ The Foolish Virgins ” — £47 5J. (In 
 the former sale one of these brought £178 10s., the other £(105.) The following pictures were sold under the general 
 description of early Italian without the name of any master : — A Camp Scene, a long, narrow picture on panel, i6in. by 
 48m. — £16 16s. ; “St. Peter and St. Nicholas,” on gold ground, framed together, the centre panel vacant — £34 12.1.; 
 “ The Virgin and Saints adoring the Infant Saviour,” with the martyrdom of St Christopher and St. Sebastian in the 
 background, panel, 72m. square — £43 ; “The Dead Christ,” with three angels, 30m. by i8in., on gold ground — £\6 i 6 j . ; 
 the Virgin enthroned with four Saints, and angels above — £21 m. ; Predella and two pilasters, parts of an altar-piece, 
 painted in compartments, much decayed — £7 7s. ; a portrait of lady in a rich dress leading a child in a garden, whole 
 length, attributed to Philip de Champagne — £43 (this picture was contributed by Mr. Barker to the Leeds Exhibition, 
 and was then called a portrait of the Countess of Bedford, Lucy Harrington, by Mark Garrard) ; a portrait of a lady as 
 the Magdalene, by P. de Champagne — £22 (this was also at the Leeds Exhibition, and said to be Madame de 
 Longueville). By Rigaud. — A portrait of Louis XIV., in armour — £34 12s. By Largilliere. — Portrait of Miss Frances 
 Stuart, cousin of Charles II., in a curious, broad three-cornered black hat, life-size, full-length, standing, with landscape 
 background — £(99 15J. ; a large miniature of a nymph reclining, with doves — £(38 17s. ; “The Madonna enthroned,” a 
 fine copy on vellum by a modern Italian artist, from a picture by Crivelli — £(19 19J. Mr. Barker being a lover of race- 
 horses as well as the fine arts, had several good portraits of famous horses and jockeys, which were sold for high prices. 
 A set of six hunting pictures, by J. F. Sartorius, painted in 1810, sold for £76 13^. “Lord Strathmore on the Switcher,” 
 by J. F. Herring, sen., an unfinished picture — £14 ; “ Doctor Syntax,” by the same, 1823 — £68 5.?. ; “Allen M‘Donough 
 on Brunette,” “ Tom Oliver on Discount,” and “ Jem Mason on Lottery,” a group by the same, unfinished — £27 16s. ; 
 ‘‘ Emilius,” by the same, 1823 — £70 7s. The total realised by the pictures in this sale amounted to ,£5,600, and the total 
 of the former sale, putting out of account the 14 pictures bought in, was a little over £32,000, the gross sum being 
 £(38,591 for the pictures alone, and with the collection of decorative works of art forming a grand total of ,£65,755 
 in round numbers. These latter, some of which were also bought in in the former sale, represented a sum of £(27,164, 
 but the whole remainder has now been finally disposed of for £7,800, so that altogether the collection proved to be one of 
 the most valuable on record, yielding on a rough calculation about £64,764, more than ,£2,000 above the total of the great 
 Bernal Collection, which realised £(62,690 at Christie’s in 1855. 
 
 The following were the most interesting lots in the sales of the objects of ornamental art : — 
 
 Sevres Porcelain. — Twelve old Sevres plates, with musical trophies and festoons of flowers — ,£131 ; twelve ditto — 
 £136; fourteen Limoges enamel plaques, painted with subjects illustrating the life of Christ — £120; a carving in high 
 relief, in alabaster, of the Resurrection — £(43 ; a pair of fine Chelsea groups of a lady and gentleman, as a shepherd with 
 a dog and a shepherdess with a lamb, 1 iin. high — £(55 ; an old Dresden figure of a camel with trappings — £32 ; a pair 
 of large Sevres vases and covers, painted with birds and figures in a landscape, handles formed as terminal figures of 
 boys, 19m. high — £210 ; a pair of white and gold oviform vases, painted with soldiers and river scenes in medallions, 
 i4|in. high — £34 12s. ; a pair of oval-shaped ecuelles, covers, and stands, green and gold ground, with flowers in 
 medallions — £ 120 ; a small cabinet of blue buhl, chased with ormolu, on claw feet — £116; a Louis XVI. clock, with 
 enamelled dial, in vase-shaped case of bronze and chased ormolu, 271'n. high — £372 15J. ; a Louis XV. cabinet, formed of 
 panels of black lacquer and flowers in gold, mounted with festoons, &c., in ormolu, 62m. wide — £(498 15^., a Louis XVI. 
 cabinet of tulipwood, inlaid with two oval plaques of Sevres porcelain, 57in. wide — £(168; a pair of Louis XIV. black- 
 buhl commodes, on eight legs, mounted with winged figures and rich mouldings of ormolu — £(252 ; a pair of Italian 
 chairs of ebony, backs richly covered with knights’ crests, lions, and foliage, covered with yellow Utrecht velvet, and two 
 other pairs — £210; a pair of ditto — £(80; another pair — £(55. Another pair sold for £80, and others from 25 to 30 
 guineas a chair. 
 
ART SALTS. 
 
 [ 1870 . 
 
 02 
 
 TO THE EDITOR OF THE “TIMES.” 
 
 SIR, — Permit me to correct an error which has crept into the report in the Times of yesterday of the sale of some of 
 the late Mr. Alexander Barker’s pictures on Saturday last. It is there stated that at the sale two panel pictures by Carlo 
 Crivelli were obtained for the National Gallery, and that they serve to complete an altar-piece by that master, the 
 central part of which had been bought from Mr. Barker in 1861 by private contract, under the directorship of Sir 
 Charles Eastlake. The panel by Crivelli thus referred to is the “ Ecstacy of the Beato Ferretti,” numbered 668 in the 
 National Gallery. The above statement rests upon inaccurate information. I am unaware of any evidence to show 
 that the picture bought by Sir Charles Eastlake ever formed part of a larger whole. If it did, it is more likely to have 
 been a side-panel than a centrepiece. In the next place, the pictures purchased on Saturday are not by Crivelli, nor did 
 they bear that ascription in the sale catalogue, where they stand under the vague head of “ Early Italian.” 
 
 The facts of the case are as follow : — Among the purchases made for the National Gallery at the Barker sale, 
 June 8, 1874, was the mid-panel of an altar-piece by Benvenuto di Giovanni of Siena, representing the Madonna and 
 Child enthroned, attended by angels playing on musical instruments. This altar-piece is mentioned by Rosini, who gives 
 an engraving of it as a whole in the atlas to his “ Storia della Pittura Italiana,” tav. lvii. , in illustration of Sienese 
 painting in the fifteenth century. At the sale in 1874 the side panels were not forthcoming, nor was I then aware of 
 their having been in Mr. Barker’s possession. They had, in fact, been stowed away for years and forgotten with other 
 things, and it was not until after the sale that they turned up and came into the hands of Mr. Barker’s heirs. As I 
 thought it likely they would one day come to the hammer, no offer has since been made to get them by private purchase. 
 They have now fortunately been secured, and, as your reporter states, at an almost nominal price in comparison with 
 their real value ; for while they serve to complete an important and interesting work of a school but slenderly represented 
 in our Gallery, they are excellent in their kind and singularly well preserved. 
 
 I am, Sir, your obedient servant, 
 
 National Gallery, June 24, 1879. F. W. BURTON. 
 
 PICTURES FROM VARIOUS COLLECTIONS. 
 
 (“Daily News,” July 2, 1879.) 
 
 Messrs. Christie, Manson and Woods sold several small collections of pictures on Saturday last, belonging to the 
 late Mrs. Bentley, of Sloane Street ; Mr. Thomas Kibble, the late Mr. James Landon, Sir F. L. H. Goodricke, Bart., 
 and others, together with the fine portrait of Rembrandt, by himself, which was contributed to the Exhibition of Old 
 Masters at Burlington House, in 1878, by the Earl of Portarlington. The following were the most interesting pictures: — 
 By J. Le Due, Interior, with figures smoking and drinking — ^85 ; by Hondikoeter, Domestic Poultry — £127 ij. ; by 
 Philip Wouvermans, Defile de Cavalerie, engraved by Beaumont— ,£236 ; by Bronzino, portrait of the celebrated 
 Francisco I. de Medici — £81 8 j. ; by Velasquez, Philip IV. of Spain in Armour, from the Earl of Shrewsbury’s collection 
 — £105 1 by J. Bellini, The Circumcision, from the same collection — £79 i6j. ; by David de Noter, The Interior of a 
 large Kitchen — £58 i6j. ; by A. Schelfhout, a view on the coast near Boulogne — £43 ; by T. C. Schotel, Sea View on 
 the Downs of Scheveningen — £73 ioj. ; by Titian. Tarquin and Lucretia, formerly in the collection of Charles I. and the 
 King of Spain — £273 ; by Jan Steen, an open space, a number of men, with their wives, children, and cattle, have halted 
 — £162 15.?. ; by M. Reekers, 1845, Flowers in a crystal vase, with dead game, &c. — ,£66 3J. ; by Rembrandt, portrait of 
 the artist, signed and dated, 1635, exhibited at Burlington House, 1878 — ^ 1,459 ioj. ; by J. P. Verdussen, two landscapes, 
 with horses and figures — ,£73 ioj. ; by Rubens, the Adoration of the Magi — ,£94 ioj. ; by Van Dyck, portrait of the 
 Duke D’Arenberg, from the collection of the King of Holland — £73 ioj. ; by Van Hagen, a Forest scene on the banks 
 of a river, with figures by Wouvermans — ,£210; by N. Berchem, an Italian landscape — £77, ioj. ; by Van Dyck, a 
 full-length portrait of Ambrosi Doria, Doge of Genoa, from the Balbi Palace, Genoa — ,£63 ; by Velasquez, the Old 
 Alameda of Seville, from the collection of King Louis Philippe — £$6 14J. ; by Canaletti, View of Venice from the Canal 
 — £367 ioj. ; by J. Ruysdael. a Snow Scene — £77 14J. ; View of a Village, by the same — .£84 ; by F. Desportes, Dead 
 Game and Dogs in a Landscape — ,£15 7 ioj. ; the companion — £63 ; by F. Zuccarelli, two Pastoral Scenes, with figures 
 — £78 1 5 -y- In the large collection of Oriental porcelain belonging to the late M. Paul Morren, of Brussels, sold by 
 Messrs. Christie on Wednesday and Thursday, were many very rare and beautiful examples, which brought very high 
 prices. Of the eggshell porcelain, a fluted cup and saucer in blue and green trellis borders, and a green cup and saucer 
 ornamented in yellow and purple — £6 ; a cup and saucer, with dragons on yellow and pink ground, and one with 
 flowers in black, blue, and gold — ,£8 8j. ; two cups and saucers, deep blue ground with poultry and flowers — 
 £8 8s. ; two ditto, with flowers in blue and gold and pink borders, figures and flowers — £12 ; a pink cup and 
 saucer, with landscapes in medallions, and one with figures — ,£17 17J. ; a cup and saucer, with poultry and flowers, 
 and one with butterflies — ,£19 8j. 6 d. ; a ditto, and one with figures and flowers — £22 ; a large cup, cover and 
 saucer, enamelled with European figures in colours — £7 ; a plate, with figures in blue — £26 5J. ; another, with 
 two figures and goats — ,£13; another, with birds and flowers — .£16; a plate, with ruby back, enamelled, with two 
 
1879.] 
 
 VARIOUS COLLECTIONS. 
 
 303 
 
 ladies and children — ,£20 ; another, with a lady and three children in richly - coloured border— ,£31 ; another, 
 painted with a river scene, and figures in black and gold — ,£36 ; a pair of dishes, with female figures in black, 
 blue and pink borders — ,£38 ; a dish, enamelled with a quail and flowers— ,£21 ; another, with bird and flowers — 
 £21 ior. ; a white basin, with gilt borders and flowers in white, and one, with blue edges, and figures in black — 
 £10 ; a pair of oviform jars, enamelled with figures in medallions — £13 1 3 ; a pair of cylindrical bottles with flower 
 and scrolls — £51 9s.; a pilgrim’s bottle, enamelled with figures in colours — £20 9 s. 6 d. ; a flat jug, with ornaments 
 on each side — £32 ; a hexagonal lantern, twelve inches high, mounted wfith ormolu — £53 ; a beautiful lantern, with 
 pierced panels, richly painted, fourteen inches — £85 ; a pair of blue and white bowls and covers, painted with figures — 
 £56 ; an oblong stand on feet, enamelled green and black, the centre painted with a dragon and flowers — £50 ; a pink 
 beaker, wfith flowers in medallions — £29 i8.r. ; a square-shaped pillow, enamelled with birds in green and flowers, and 
 ornaments in purple on yellow ground — £89 55-. ; a pair of large dishes, with figures in the centre, with small medallions 
 of landscape and flowers — £40 19s-. ; a dish, with flowers in colours on black ground — £61 ; a cylindrical bottle, 
 Mazarin blue and gold — £26 ; a globular jar, with ruby neck and foot, enamelled with medallions of poultry and flowers 
 — £48 6s. ; a small-necked vase, with equestrian and other figures in a landscape — £3 7 165-. ; a beaker, with horses and 
 birds, 16 inches higli — £46 ; a set of three jars and covers and a pair of beakers, enamelled with birds and flowers — 
 — ,£115 ioj. ; a hexagonal vase, with raised figures in colours — £37 i6.r, ; a small-necked jar and cover, enamelled with 
 landscapes and flowers, 20 inches high — £50 ; a large round dish, with figures and ladies in a balcony, 21 inches diameter 
 — £61 ; a pair of jars and covers, enamelled with birds and flowers in colours, in leaf-shaped medallions, the ground 
 striped with various colours, 23 inches high — £404 55-. ; a gourd-shaped black vase, with white centre, enamelled with 
 two Kylins, 26 inches high — £131 5-r. ; another with Kylins in slight relief, the centre enamelled with butterflies and 
 flowers, 25 inches — £136 ioj. ; a fountain and oval bowl, pink and green ground, painted with seated figures and festoons 
 of roses — £150 ; a jar and a pair of beakers and covers, enamelled with figures and buildings — £99 ; a pair of beakers, 
 with dragons and flowers in colours on red ground — £195 ; a large jar, powdered-blue ground, with figures and buildings 
 in medallions, 35 inches — £85 ; a cistern similar, 21 inches diameter — £100 ; a fine octagonal jar and cover, enamelled 
 with birds and flowers on red and gold ground, 38 inches high — £200 ; a large jar and cover, enamelled with flowers on 
 white ground, 30 inches high — £76 ; a pair of pagodas, 8ft. 6 inches high, formed of pieces of coloured porcelain, with 
 bells attached — £105 ; a pair of jars and covers, richly enamelled with birds and flowers in colours on white ground, 
 4 ft. high, one repaired — £432 12s. ; a bamboo pattern teapot and cover, with flowers — £15 1 5^. ; a teapot and 
 cover, richly enamelled, and a canister and cover en suite — £15 15^.; a fluted kettle and cover, painted with 
 flowers on red, green, and yellow ground — £16 16s. ; a tall teapot and cover, Mazarin blue ground, enamelled 
 with flowers in medallions — £31 10.J. ; a fluted turquoise vase — £19 191-. ; a large turquoise Kylin, on wood 
 stand — £47 5.1. ; an enamelled figure of a fakir, and one of unglazed ware — £11 ; a purple hawk, and a pair of small 
 turquoise hawks — £40 : a white swan — £3 5-f. ; a negro on leaf-shaped stand, enamelled with landscapes — £33 ; a pair 
 of old Japan octagonal dishes, with flowers in colours — £14 145. ; a pair of small-necked old Japan jars, deep blue 
 ground — £16 i6.r. ; a fine old Japan dish, with a basket of flowers in the centre, and blue and gold border, about 24 inches 
 wide — £17 17s. ; a pair of cylindrical Mazarin blue bottles, mounted with Louis XV. ormolu feet and handles, chased 
 with masks and foliage, 22 inches high — £125 ; a pair of oblong turquoise jardinieres, mounted with ormolu — £70; 
 a pair of gros-bleu vases, with fluted necks and feet of ormolu, 18 inches high — ,£61 ; a Nymphenburg cabaret, with 
 raised flowers in colours, and painted with figures on gold ground — £68 5^. ; a fine Frankenthal group of an Empress and 
 Emperor with attendants — £42 ioj. ; the companion group — ,£39 i8j. ; an old Dresden group of Apollo and the Muses on 
 Mount Parnassus, 24 inches high— £199 ioj. ; the Triumph of Silenus, a large group in old Dresden — £55 13J. ; a 
 pair of Louis XVI. white marble vases, fluted and richly mounted with ormolu, the handles formed as infant Tritons— 
 £250 ; buhl cabinets of architectural design, inlaid with figures and trophies in different coloured metals — £230. The 
 total of the 236 lots amounted to £6,691. 
 
 IMPORTANT PICTURES SOLD RE J. NIELD ; 
 
 IV. FENTON AND JOS. FENTON. 
 
 This sale was on Saturday, May 3, 1879, at Christie’s, and the pictures were so good that much interest was felt and 
 many catalogues were sold for the benefit of the Artists’ Benevolent Fund. In Mr. Nield’s collection, of Dunster Flouse, 
 Rochdale, were 88 pictures, a fine copy of Turner’s “ Liber Studiorum,” (£351 15J.) and nine marble statues. The princi- 
 pal pictures were— J. CONSTABLE, R.A., Stokeby Nayland, £777. The Thames, Westminster, £430. P. FI. CALDERON, 
 R.A., Victory! £1102. F. GOODALL, R.A., Ffagar and Ishmael, £997. J- C. Hook, R.A., Overtaken by the Tide, 
 £\o7\. G. D. Leslie, £1050. Landseer, Sport in Highlands, £1 522. IT. S. Marks, R. A., Capital and Labour, 
 £1102. (See also lists, Vol. II.) In Mr. W. Fenton’s, of Dutton Manor, Ribchester, were 41 pictures, of which may be 
 noticed — G. D. Leslie, Pot Pourri, ,£1213. Josef Israels, La Fete de Jeanne, .£1690. In Mr. Joseph Fenton’s, of Barn- 
 ford Hall, Rochdale, 85 pictures. J. CONSTABLE, R.A., Embarcation of Geo. IV., opening of Waterloo Bridge, £430 : 
 W. Hilton, R.A., Nature blowing bubbles for her Children, £157- ]■ Linnell, Harvest Field, Sunset, ,£840 ; The 
 Harvest Dinner, .£1690. D. Roberts, R.A., Interior of Duomo, Milan, ,£1470. 
 
ART SALTS. 
 
 [1879 
 
 3° 4 
 
 LETTER FROM MR. SCHARF ON PORTRAITS. 
 
 TO THE EDITOR OF THE “TIMES.” 
 
 Sir, — In the interest of pictures bearing reliable data upon them, I ask the favour of your leave to make observations 
 on two or three of the portraits now being exhibited by the Royal Academy at Burlington House. 
 
 Your able critic, in his comprehensive and learned review of pictures associated with Holbein, which appears in 
 The Times of to-day, writes as follows : — 
 
 “ Here are those two interesting and puzzling pictures, the Royal portrait of the Princess Elizabeth at thirteen, and 
 the Queen Mary belonging to the Society of Antiquaries, which seem to be the work of the same hand, but for which the 
 art-archaeologists have not yet succeeded in finding a painter.” 
 
 In the first place, the official catalogue, by which the Royal Academy is rendering valuable service to the literature 
 of art by supplying incidental information, and when not able to contravene the dogmas of owners by at least pointing out 
 discrepancies, justly attributes the picture of “ Queen Mary” (202) to Lucas de Heere, and cites the date 1554, pointing 
 out at the same time the painter’s well-known monogram upon the lower part of the picture. 
 
 This fine portrait suffered great wrong chronologically at the hands of the late Mr. Wornum, who in his “ Life of 
 Holbein,” page 270, unaccountably misrepresented the date, making use of the figures 54 in a very ingenious manner, 
 The picture had previously been seen at the 1866 Portrait Exhibition at South Kensington, and afterwards in 1877, at 
 Burlington House, and most persons who were there will agree that in few other instances upon old pictures are the dates 
 and monograms so clearly intelligible. 
 
 Lucas de Heere sometimes signed his name with a combination of the letters H and F, meaning Heere Fecit, and at 
 other times with the letters H.F.L., meaning Lucas Lleere Fecit. The right-hand half of the monogram, although 
 looking like an E, was in fact merely the letters F and L conjoined. Mr. Wornum, in reproducing this monogram 
 on the Antiquaries’ picture, gratuitously introduced a small “t” which does not exist in the painting, and indeed is not 
 required. 
 
 The best examples of variations in the monograms of the artist will be found in the Royal pictures at Hampton 
 Court, of Queen Elizabeth with the three goddesses who contended for the favour of Paris, dated 1569, and that of 
 Uarnley and his brother, dated 1563. A curious picture of Frances Duchess of Suffolk with Adrian Stoke, formerly 
 at Strawberry Hill, and subsequently purchased by the Rev. Mr. Finch, of Oakham, bears the L.H.F. monogram with 
 the date MDLIX. 
 
 There was also at the Royal Academy, in the Winter Exhibition of last year, No. 212 of the catalogue, a beautiful 
 little portrait of Queen Mary, contributed by Lord Chesham, from his choice collection at Latimer. The panel was 
 attributed to Holbein, but it bore on the upper left-hand corner the H.F. monogram of De Heere, combined with 
 the date 1554. The portrait differed from the one belonging to the Society of Antiquaries, inasmuch as in the Latimer 
 picture the Queen holds a rose besides a pair of gloves, and has a close affinity to the well-known portrait by Sir A. More 
 in the gallery at Madrid. 
 
 With regard to the portrait of the Princess Elizabeth, formerly at Hampton Court, and placed in more recent 
 times among totally dissimilar pictures at St. James’s Palace, there appears to be a great variety of opinion with respect 
 to her age. 
 
 The first mention of this picture occurs in the Royal inventory' taken at Whitehall after the decease of Henry VIII. 
 in 1547, and we look for it in vain in an earlier and very similar inventory of 1542, the year before Holbein’s death. It is 
 described thus : — “ The Ladye Elizabeth her Grace with a booke in her hande, her gowme like crymeson cloth of golde, 
 with workes.” 
 
 The picture is supposed to be the same as that which Heutzner saw remaining at Whitehall in 1598, and describes in 
 his travels as “ Queen Elizabeth at xvi. years old.” The next account of the picture is in the Catalogue of Charles L, 
 which was taken in 1639. The Royal Brand, “C.R.,” still remains on the back of the picture. It is described as follows, 
 — “ The picture of Queen Elizabeth when she was young, to the waist, in a red habit, holding a blue book in both her 
 hands, and another lying upon the table.” Virtue, in printing this catalogue, gratuitously adds, “by H. Holben,” and 
 gives dimensions which do not appear in the original Ashmolean MS. at Oxford. 
 
 There can, however, be little doubt as to the identity of this picture with the entry in the Whitehall Catalogue of 1547. 
 Her age is therefore limited to fourteen. Had Holbein painted it, she could only have been ten years old, and the picture 
 would probably have appeared in Henry’s ow r n inventory. 
 
 During the few years that intervened between the Catalogues of Henry VIII. and Edward VI. there were many 
 skilful painters at work in England. In support of this I w'ould especially point to the gigantic full-length, in red, of 
 the Earl of Surrey at Hampton Court, and also to the very valuable picture in the same collection of Henry VIII., with 
 his Queen, Catherine Parr, and his three children, wherein Prince Edw'ard, as a boy, stands at the king’s knee, and the 
 Princess Elizabeth certainly looks older than in the panel-portrait now at Burlington House. In these pictures a purplish 
 tint pervades the shadows, which are solid, smooth, and well massed. The lights, moreover, are laid on with a full brush. 
 Mrs. Jameson, in describing the Princess Elizabeth’s picture in her “Public Galleries,” assigns twelve or thirteen years 
 for her age, and Henry Shaw, in the text to his “Dresses and Decorations,” says, unhesitatingly, “when in her twelfth 
 year.” None of the earlier official records particularize a date. The latest portraits of Henry VIII. have gray shadows 
 with solid lights. The king is seen in full face, wearing a barred frock, trimmed with fur, and grasping a thick staff. 
 They are attributed to Hornebolt. I am unwilling to trespass further on your valuable space, and will therefore close 
 with a passing note on two pictures in another part of the collection, and of a totally different school. 
 
1880.] COLLECTIONS OF MR. POSNO & MR. L. LAWSON. 
 
 305 
 
 The very fine portrait of Lord Chancellor Camden (No. 13) by Sir Joshua Reynolds, is quite distinct from the 
 Guildhall picture, where he is represented standing. The judge in this Bayham Abbey portrait is majestically seated. 
 It has never been engraved, excepting the head and arm, in stipple for Cadell’s “ Contemporary Portraits ” in 181 1. His 
 daughter-in-law (No. 36) on the opposite wall, is described in your first notice, by an oversight, as “ Miss Elizabeth 
 Molesworth.” Her maiden name was Frances Molesworth. She began her sittings to Sir Joshua in April, 1786, as 
 Mrs. Pratt, and before her picture was finished became in the same year Viscountess Bayham. 
 
 Sir Joshua did not live to see her Marchioness Camden, and that title would therefore be inapplicable to her fine 
 portrait in Lord Spencer’s collection at Althorp. 
 
 I have the honour to be, your very obedient servant, 
 
 Athenaeum Club ,/««. 20, 1880. GEORGE SCHARF. 
 
 COLLECTIONS OF MR. POSNO AND MR. LIONEL LAWSON. 
 
 (“The Times,” February 16, 1880.) 
 
 Two small collections of pictures were sold on Saturday last, by Messrs. Christie, Manson and Woods ; the one 
 belonging to the late Mr. M. Posno, consisting of about 50 pictures, mostly by modern painters of the Dutch, Belgian, 
 and German schools ; the other to the late Mr. Lionel Lawson, in which out of 1 14 lots about half were by old masters. 
 
 The following are the most interesting pictures in Mr. Posno’s collection ; By Josef Israels. — “ The Drowned Fisher- 
 man,” a water-colour drawing — ^69 6s. By H. Bource. — “Consolation” — ,£147. J- H. De Haas. — A Marsh Scene, with 
 cow and calf— ^64. Th. Lad^e. — A fisherman’s family on the look-out — ,£199 10s. L. Lanchow. — “Twilight” — 
 ^54 1 2s. J. Van Lerius. — “ Ondine ” — £674 s. R. Madrazo. — “On the Sands” — ^236. Meyer. — “A Lady with a 
 
 book.” E. Schleich. — “A River Scene in Bavaria ” — £67 4 s. H. Schlesinger. — “The Balcony ” — £69 6s. Marcus 
 Stone, A.R.A. — “ Rejected,” a replica of the picture exhibited at the Academy, 1876 — £99 15J. C. Verlat, 1836. — “A Cat 
 marking birds on a vine” — ^84. A. Waldorp. — A Calm, with state barge saluting, and other boats and figures— ^273. 
 
 From the late Mr. Lawson’s collection Rest in the Hayfield,” by Bateman — ^115 io.r. T. Creswick, R.A. — 
 “A View in the Highlands,” with cottages — £95 us. Eclitler. — “The Blind Beggar” — ^55 \2s. A. Nasmyth. — A 
 Scene near Rome, with temples, peasants, and animals, signed, and dated 1836, from the collection of Mr. R. Nasmyth — 
 ^31 lew. W. Shayer. — “The Gleaner’s Return,” with dog and goats — ^94 ioi. James Webb. — “On the Dort, off 
 Dordrecht” — ,£55 13J. Drawings. — By T. Danby. — “The Saarine, Canton of Freyberg” — .£50 8s. C. Stanfield, R.A.— 
 View of Venice — ^43. Pictures by Old Masters. — By F. Boucher. — “The Mask,” signed, and dated 1734, from the 
 Novar collection — .£157 lew. ; this picture sold for ^115 icw. in the Novar sale. J. Van Kessel. — A Forest Scene, with 
 sportsmen and other figures, by Lingelbach, signed — £80 17s. C. Van Loo. — “Cupid as Mars, addressing an army of 
 Cupids” — ^105 ; this sold in Mr. Anthony’s sale, 1871, for £22 only. H. Meyer. — “The Seasons,” a set of four land- 
 scapes, with buildings and numerous figures, signed, and dated 1795 — ,£147. G. Zocchi. — The Piazza Della Trinita in 
 Florence, with figures, and a scene in front of the Bargello Palace, Florence, the companion, both from the collections ot 
 Count Galli, of Piacenza, and Prince Napoleon — ^425 55. ; these two pictures sold in the collection of Prince Napoleon 
 Jerome, at Christie’s, in 1872, for £257 5J. 
 
 The following were from a different property: Canaletti. — “Greenwich Hospital, from the Thames” — £99 15J. 
 Scott. — A View of Westminster Bridge from the Thames— ^39 i8j. Watteau.— A set of six panels with decorative 
 borders, and single figures in each ^84. J. Israels, 1869. — “ Contemplation,” a lady reclining, in a landscape — £78 15.1. 
 W. Hogarth. — “ The Death of the'Righteous,” and “ The Death of the Wicked,” a pair, 27m. by 24m. — £7 7s. Van 
 Dyck. — “ Andromeda,” from the Wynn-Ellis collection, an upright picture about 6ft. by 4ft. — £39 18s. 
 
 In some good Dresden and Sevres china, with other ornamental objects, sold on Friday by Messrs. Christie, 
 belonging to the late Mr. Posno and other proprietors, were a matrix of amethyst snuff-box, formed as a dog’s head with 
 ruby eyes, the lid carved with a stag— ^58 ; a handsome claret jug of chased Cashmere silver — ^14 ; a silver statuette of the 
 King of Holland, i8in. high — ^21 ioj-. ; a large block of carnelian carved with a group of two fish as a vase and cover — 
 £28 : a handsome ewer, with agate bowl, silver handle, stem and foot chased with figures, and vines enamelled in colours, 
 and pearls — ^40 19s. ; a Louis XVI. cartel clock in ormolu case, surmounted by a bust, £28 ; an upright marqueterie 
 secretaire, with fall-down front, flowers and ornaments, £36 15^. Porcelain : — A large Dresden group of Asia, £32 ; large 
 Chelsea figure of Minerva, ^28 ; “ Britannia,” the companion, ,£28 7s. ; a large Bristol basket and stand of white and 
 gold open work, painted with flowers — £27 6s. ; a Sevres cup and saucer, with ornaments in gold on blue ground — 
 £33 I2.r. From a different property : — A small Sevres sucrier and cover, on oval stand painted with roses — £27 6s. ; an 
 oval plateau, sucrier, and cup and saucer, painted with medallions of flowers on Rose du Barri ground — £10 \os. ; a Rose 
 du Barri cup, cover, and saucer, painted with birds in medallions — £\i IU. ; an oviform turquoise vase and cover, with 
 pierced neck, painted with exotic birds in two medallions, mounted with ormolu — .£267 1 5.?. An old Dresden dessert 
 service, with raised borders painted with groups of flowers in blue and pink, consisting of 166 pieces — ,£3°5 ! a cinque- 
 cento rock crystal swan — £(15 15J. ; a set of five old engraved silver plaques, illustrating a portion of the life of Charles 
 I. at Hampton Court, by Simon de Passe, dated 1623— .£27 6s. ; a Battersea enamel casket, painted with “The Flight 
 into Egypt,” “ Rebecca at the Well,” “The Finding of Moses,” &c. — £60 ; a pair of large Japan jars and covers, painted 
 with landscapes — £26 5 s. ; a Chelsea-Derby cup and saucer, painted with Cupids — ,£31 10s. : a sucrier, cover, and 
 
 VOL. I. R R 
 
ART SALTS. 
 
 [1880. 
 
 3°6 
 
 stand, similar— ,£58 8s. ; an oval plateau, similar — £29 8r. ; a Capo di Monte cabaret, painted with animals, and with 
 inscriptions and ornaments in gold on white ground, said to have been given by the Empress Josephine to Napoleon— 
 ,£10 ior. ; a cabinet of black wood, partly gilt, doors inlaid with porcelain plaques, painted with figures after Boucher, 
 birds and flowers — ,£50 8s. ; a large table-cover, of ancient Spanish embroidery in figures, flowers, and fruits worked in 
 coloured silks and gold on figured-white satin — £51. 
 
 SALT OT MODTRN TNGLISH PICTURTS. 
 
 (“'The Times,” February 23, 1880.) 
 
 The sale of modern pictures of the English school, “ the property of a gentleman near Manchester,” by Messrs. 
 Christie, Manson and Woods, on Saturday last attracted a large audience, and the prices at which some of the most 
 important pictures were “ knocked down ” were considerable. But in more than one case probably these did not reach 
 the reserve put upon them, as in that of the large picture by Turner, “The Brides of Venice,” for which the biddings did 
 not advance beyond 400 guineas. Those pictures, however, which were sold were considered to have brought very good 
 prices. There were in all 158 pictures, of which the following were those which were the most interesting and brought the 
 highest prices: — -By James Webb. — Anglesea, with Beaumaris in the distance — ,£199 ior. H. Helmick. — The 
 Convalescent — ,£80 17s. A. Gilbert. — Welsh Landscape — ,£33 12 s. F. R. Pickersgill, R.A. — Helen and Paris — ,£25 4r. ; 
 and the Arrest of the Duke of Carrara — .£115 ior. H.Weekes. — A pointer and setter — ,£53 nr. Sir A. W. Callcott, R.A. 
 — Storm off the Coast — ,£24 135-. C. Baxter. — Love’s Young Dream — ,£52 ior. W. C. T. Dobson, R.A. — Driving Geese 
 — ,£94 ioj. J. B. Burgess, A.R.A. — An Algerian Beauty— ,£115 10 s. A. E. Mulready. — The Backward Course, a sunny 
 day, a rainy afternoon, and a wintry eve, three small pictures — ,£126. J. S. Cotman. — Boys Fishing — ,£60 i8r. W. C. T. 
 Dobson, R.A. — The Rest by the Way — ,£50 1 3^. G. Cole. — Windsor Castle, from Eton— ,£131 5^. J. B. Crome. — A 
 sea piece — ,£45. Sir A. W. Callcott, R.A. — The Regatta — ,£94 ior. W. Linton. — Landscape — £4 3. T. G. Linnell. — 
 A gipsy camp — ,£113 8r. G. Morland. — Cottages — ,£43. Auguste Bonheur. — Landscape with cattle, evening in 
 Normandy — £70 7 s. T. S. Cooper, R.A. — Cattle piece — £70 7s. ; Canterbury Meadows — ,£43. Copley Fielding. — 
 Landscape, with figures — ,£58 i6r. J. Syer. — A Watermill in Wales — ,£53 11s. James Webb. — Stackland Castle, on the 
 Rhine — £39 17s . ; Scheveningen — £412 7s. J. Holland. — Rouen — £304 10s. A. E. Mulready.— Little Joe — £32 6s.; 
 From Country to Town — £^59 17s. ; Uncared For — £452 5^. J. Wilson, sen. — The Admiral “going Abroad” — ,£59 17 s. 
 F. A. Bridgman. — In the Days of Rameses — ,£162 15^. A Vickers. — Evening near Bettws-y-Coed — ,£45 3J. ; Llanberis 
 — ,£21 ; The Avenue, Shanklin— ,£39 17 Sir John Gilbert, R.A. — Family Card Party — £223 155. H. Dawson, jun. — 
 Pembroke — ,£42. T. S. Cooper, R.A. — Cows in a landscape — £223 15^. E. Carenghi. — The Convalescent — £49 7s. 
 Copley Fielding. — A landscape, with cows — £63. W. Muller. — The Image Boy — ,£39 i8j. Du Penne. — Wolf Hunting 
 — ,£85. T. Gainsborough, R.A. — Three upright landscapes, early works, each 72m. by 6oin., with arched tops, said to 
 have been in the painter’s house in Pall Mall — £74 1 i.r. each. These pictures were sold at Christie’s in 1878. P. Graham, 
 A.R.A. — “ Neevie, Neevie, Nock Nack ” — £\ 26 . F. W. Hulme. — A landscape, Wales — ,£64. Colin Hunter. — Sea Coast 
 and Fisher Boys— ^126. Edwin Hayes, R.PI.A. — Dublin Bay — ,£115 ior. P. Nasmyth. — A lake scene, with man 
 fishing — ,£75 12s. ; a landscape, evening — ,£34 13^. J. Pettie, R.A. — The Hour, exhibited at the Royal Academy — ,£525. 
 Sir David Wilkie, R.A. — Escape of Mary Oueen of Scots from Lochleven Castle, 48m. by 65m. — £73S- In the Gillott 
 collection this picture sold in 1872 for ,£600. T. Faed, R.A. — “ God bless it ! ” single figure in a landscape, about 30m. by 
 coin. — £420. W. Muller — The Old Snuff Mill, Stapleton — £787 ios-. Frank Holl, A.R.A. — The Deserter — ,£346 ior. 
 J. M. W. Turner, R.A. — A coast scene, stormy sky, about I2in. by i6in., from the Farnley Hall collection — £126. 
 E. Frere.— The Proposal — ,£178 ior. P. Nasmyth. — A landscape, about i2in. by 14m. — ,£126. L. Escosura. — The 
 Quarrel, about 6in. by 8in. — ,£84. V. Chavet.— Interior of a Studio, Sin. by 6in. — ,£44 2s. T. Creswick, R.A. — A 
 landscape, about ioin. by lain. — £^50 8r. R. Beavis. — Storm approaching in the Campagna, Rome, about i6in. by 24m. 
 — ,£46 4 s. A. D. Lancaster and F. Goodall, R.A. — Wreck off Etretat, Normandy, a brilliant sunset effect, about 6oin. by 
 78m. — £68 sr. B. W. Leader.— Dinner Time; Harvesting, about iSin. by 24m . — £99 15^. G. Smith. — Gathering 
 Watercress, about ioin. by icin . — £36 14^. F Goodall, R.A. — In the Desert, a Man riding on a Camel, about 26m. by 
 1 Sin. — ,£136 ior. F. A Bridgman. — Evening in the Mountains, Biskza, Algeria, about 12m. by 24m. — ,£94 ior. J. M.W. 
 Turner. — The Brides of Venice, about 42m. by 6oin. — ,£420. W. Muller. — The Baron’s Hall, about I2in. by 14m.— 
 ,£94 ior. Total — ,£10,050 i2r. 
 
 MR. J. TTN TON’S COLLTCTION. 
 
 (“ The Times,” March 2, 1880.) 
 
 The large collection of pictures belonging to Mr. James Fenton, of Norton Hall, Gloucestershire, the sale of which 
 occupied three whole days last week at the rooms of Messrs. Christie, Manson and Woods, was more remarkable for the 
 number than the quality of the pictures. There were nearly 500 pictures, most of which, however, were of small or mode- 
 rate size, and there were many examples among the English pictures of the same painters’ work, though few of any great 
 merit out of about 200 pictures. Those by the old masters were chiefly of the Dutch school, and they formed the rest of 
 
18S0.] DR. SHULDHAM'S BLUE & WHITE PORCELAIN. 
 
 307 
 
 the collection, selling generally for small prices. A good example of Guardi, signed and dated, “ A view of the Rialto,” 
 brought the highest price among the old masters, selling for £430 lew. to Messrs. Colnaghi ; while a Carlo Dolce Assupm- 
 tion of the Virgin, engraved in the Lebrun Gallery, sold for £489. The highest prices in the sale were obtained by the 
 two pictures by J. Linnell, sen., one of which brought £477 15-f., and the other £304, both being rather small works. On 
 the whole it was considered that the prices were fully up to the merit of the pictures, and the total amounted to the con- 
 siderable sum of ,£12,491. 
 
 The more important pictures sold as follows : — R. Wilson, R.A. — View on the Dee — ,£36 1 5 j. ; a view in Osterley 
 park — ,£36 18.?. ; Sion House, on the Thames, the engraved picture— ,£35 14^. ; Tabley House, Cheshire — £ 70 4 r. 
 G. Morland. — A Butcher bargaining with a Farmer, signed and dated 1794, about 2oin. by 25m. — ,£304 ioj. G. Romney. 
 — Portraits of two children, said to be the children of Lord Warwick, life size, half-lengths, about 24m. by 30m. — ,£273 ; 
 this picture was once in the Alton Towers collection, and was sold at Christie’s in May, 1868, for 25 guineas only. Sir 
 Joshua Reynolds. — Portrait of Mrs. Gwyn, in turban and white dress trimmed with ermine, referred to in Malone’s work 
 — £99 laf - > Portrait of Sir Robert Fletcher, oval, in uniform, with a pigtail, 30m. by 24m. — ,£33 12 s. Michael Dahl. — 
 Portrait of Gay, the poet — .£46 4 s. N. Poussin.— A Landscape, with figures, described in Smith’s catalogue No. 312— 
 £78 15 s. ; “Achilles at the Court of Lycomedes,” the companion, both engraved — £78 15^. G. Netscher. — A Girl with a 
 Spaniel — ,£53 iu. G. Berkheyden. — Interior of a Church — ,£40 19^. Jan Steen. — “ The Satyr and Peasant,” about i8in. 
 by 24m . — £78 15J. Rubens. — Helena Forman and her two Children, as the Infant Christ and St. John — ,£168. D. Hals. 
 — An interior, with figures merrymaking — ,£36 15^. J. Ruysdael. — A woody landscape — ,£82 195. W. Van de Velde. — 
 “A Calm” — ,£46 4 s. ; An Engagement between the Dutch and English Fleets — £47 5r. B. Van der Heist. — Portrait of 
 a lady — £68 5-f. Rembrandt. — Portrait of the Artist at the age of 60 — ,£63. J. H. Prims. — A Dutch canal scene, with 
 figures — ,£64. Rubens. — “David and Abigail,” a sketch — ,£52 ior. A. Van der Neer. — A landscape, with sportsman 
 reposing on the bank of a river — .£43. A. Everdingen. — A sea-piece, with man-of-war and boats — £j6i 195. J. B. Weenix. 
 —The Artist and his Family — £45. J. Van der Heyden. — View in a Dutch town — £99 15J. L. Backhuyzen. — “A Man- 
 of-War in a Storm ” — ,£131. G. Cocques .- — “ Portraits of a Dutch Family on a Terrace ” — £99 15^. Rubens. — “ Mercury 
 and Argus ” — ,£168. Van Harpe. — “ The Garden of Love ” — £30 9s. A. Van der Neer. — “ A Dutch Village on a River, 
 signed and dated — ,£57 15J. H. Moore, 1S77. — “The Last of the Light” — ,£98 14s-. R. Dadd. — A set of 14 illustrations 
 to Byron’s “ Manfred,” circles — ,£53 ur. A. L. Egg, R.A. — “Cromwell in his tent before the battle of Naseby,” sketch 
 — £>6 5J. J. M. W. Turner, R.A. — “The Tummel Bridge,” painted 1812, I2in. by i8in. — ,£231 ; this picture, said to 
 have been engraved, was sold at Christie’s in 1852 for ,£105. W. Collins, R.A . — “ Girls of Sorrento” — ,£51 9 s. Sir D. 
 Wilkie, R.A. — “The Errand Boy,” a sketch — £759 15^. P. F. Poole, R.A. — “Job’s Messengers,” ioin. by 14m., study for 
 the large picture — £30. Sir E. Landseer, R.A. — “A Lion preying on a Fawn,” signed and dated 1840, i6in. by I2in. 
 —£183 15s-. W. Etty, R.A. — “ Venus with Cupid and Psyche” — £32 ioj. C. R. Leslie, R. A.— “ Mayday — time of 
 Queen Elizabeth,” from the collection of Alaric Watts — ,£94 ior. James Webb . — “ Clovelly” — ,£71 8.r. D. Maclise,R.A. 
 — “ The Mandolin Player,” i8in. by 14m. — £21. T. S. Cooper, R.A. — A landscape, with three cows — £232. J. B. Pyne. 
 — “Marina Grande, Sorrento,” 14m. by 14m. — ,£94 ior., and “The Blind Beggar of the Lago Lugano” — £220 tor. 
 W. Linnell. — “A Landscape, with a Peasant driving Cattle and Sheep up a Hill”— £494 5-f. ; and “A Landscape, after 
 Rain, with travelling Peasants at a Brook” — £452 5 s. E. W. Cooke, R.A. — “Dutch Draining-mill at Nieuver-Sluys, 
 near Utrecht” — £39 7s. T. Creswick, R.A. — “A Glade in the Forest,” with figures by W. P. Frith, R.A., exhibited at 
 the Academy, 1849 — £^3 1 5. J. Linnell, sen. — “The Isle of Wight, from Lymington” — £304. T. Webster, R.A. 1840.— 
 “The Young Fisherman” — .£246 15^. W. Collins, R.A. — “ Les Causeuses,” exhibited at the Academy, 1830 — £351 I5r. 
 W. Linnell, sen. — “The Sheepfold, evening,” signed and dated, 26m. by 36m. — ,£477 15.J. A. Elmore, R.A. — “ Rienzi in 
 the Forum,” about 66in. by 84m., exhibited at the Academy, 1844, and at Manchester, 1857 — £220 10 s. Turner’s “ Liber 
 Studiorum,” 71 plates, original impressions — -£34 I2r. 
 
 DR. SHULDHAM’S BLUE AND WHITE PORCELAIN. 
 
 Admirers of old blue and white Chinese porcelain had a great opportunity in the sale of Dr. E. B. Shuldham’s col- 
 lection at Christie’s on Tuesday last. There were more than 160 lots, and among them many choice pieces, — no less 
 than seven of the much-sought-after hawthorn jars, some with covers complete, and a fine set of three vases and a pair 
 of beakers. The prices to which these were run up were preposterous beyond all precedent, scarce as these old jars may 
 be, one being knocked down at £620, and another at .£650, in neither case reaching the reserve price. The following 
 were some of the best prices in the sale : — Five small cups and saucers, flowers in white on blue ground — £45. A pair 
 of globular jars and covers, with female figures, 5^in. — £41 m. A pair of bottles, with flowers, 8£in. — £42 I2J. A pair 
 of jars and covers, with female figures, and children, 8in— £45 4s. 6 d. A two-handled bowl, cover, and stand, powdered 
 blue ground — £19 19s-. A bowl, painted with groups of flowers, the inside painted with female figures and ornaments — 
 £40 1 or. A globular hawthorn-pattern jar and cover, about 13m. — £262 ior. Another, with branches of hawthorn on 
 deep marbled blue ground, the cover surmounted by a knob, about 13m. — £37 5-r. A small-necked jar, with hawthorn 
 flowers in white, on marbled blue ground, 7m. — £99 1 5-f. A cylindrical bottle, with groups of flowers and borders of 
 ornaments, I2^in. — £4 14^. A pair of basins, the inside painted with a fish — £19 19^. Another, with birds inside and 
 out — £48 i8j. A pair of long-necked bottles, painted with flowers and ornaments, the lower part with landscapes and 
 figures, 14m. — £30 9 s. Jar and cover, painted with female figures, flowers, and trees, uin. — £44. A globular hawthorn 
 jar, deep blue marbled ground, branches of hawthorn in white, carved wood cover — £232. A dish, with a raised medallion 
 of figures in centre, surrounded by trees and flowers, 14m. diameter — £31 10s. A pair of basins, partly fluted, painted 
 with flowers, horses aqd dragons in compartments — £21. A globular hawthorn pattern jar and cover, about 13m. high— 
 
 R R 2 
 
ART SALTS. 
 
 [ 1880 . 
 
 3°8 
 
 ^410 iij. Another, I3in. — ,£325 icw. A pair of small-necked bottles, with ornaments in pale blue and white, 7m. 
 ^29 ioj. An oviform jar and cover, with groups of flowers and birds, 8in.— ,£45. A cylindrical jar and cover, 7iin.— 
 £ 2 g 8s. A large beaker, with hawthorn blossoms and foliage on blue ground — ^44. A pair of long-necked bottles, with 
 dragons, flowers, and ornaments, ioiin— ,£35 14^ A pair of jars, female figures and vases of flowers in landscapes, 8 £in. 
 
 /,o jgj. a long-necked bottle, with a figure in a landscape, vases of flowers in medallions, iofin. — ^15 15^. A large 
 
 jar and cover, with vases of flowers and birds in medallions, 19m. — ,£28 ys. A cylindrical bottle, with a group of warriors 
 1 Si-in.— .£20 9J. A set of three jars and covers, 1 1 in., and a pair of beakers, painted with female figures, trees, and vases 
 of flowers, necks painted with birds, iojin. — /120. A pair of long-necked bottles, with groups of flowers and bands of 
 ornaments 13m.— £31 ioj. An oviform jar, blue ground, painted with a landscape and figures, I4^in.— £36 16$. A tall 
 jar and cover, numerous figures in compartments. I gin . — £47 5 s. A cylindrical powdered-blue bottle, 17m. — £23. A set 
 of three vases and covers and a pair of beakers, female figures and vases of flowers in compartments, i8in. high — £320. 
 A hawthorn-pattern jar and cover, about 13m. high— ,£620. Another, same height— ^650. A pair of bottles, Mazarine 
 blue ground, enamelled with flowers — £38. A basin and a dish, similar— ,£28 ys. An oviform jar and cover, female 
 figures dancing, ioin. — ,£25. 
 
 MR. C. KURTZ'S COLLECTIONS. 
 
 (“The Times,” March , 1880.) 
 
 The collection of English water-colour drawings and of paintings by artists of the modern foreign schools, belonging 
 to the late Mr. Charles Kurtz, sold by Messrs. Christie on Friday and Saturday last, by direction of the executors, under 
 the order of the Court of Chancery, contained some important pictures and attracted much interest. The prices 
 throughout the sale were considered to be full, and in some instances very high, as in that of the well-known picture by 
 Meissonier called “The Commercial Traveller,” which was exhibited at the French Gallery a few years ago, which sold 
 for /i, 312 ioj. to Mr. Goupil ; and the water-colour drawing by the same eminent artist, “ L’Attente,” which sold for 
 ^£420, to Mr. White. Baron Leys’s “ Martin Luther in his Study,” brought the considerable sum of £1,207 ioj., sold 
 to Mr. Agnew ; while Mile. Rosa Bonheur’s pretty pastoral of “ The Shepherdess,” also called “ The Repose,” a small 
 but very highly-finished picture of two young rustic lovers under the shade of a tree, with sheep and lambs in the 
 meadows, was bought by Mr. Agnew for ,£682. The large picture of “ Christian Martyrs in the reign of Diocletian,” 
 by Gustav Dore, which was for some time in the Dord Gallery, returns again there, having been acquired by Mr. Fairless 
 at the price of ,£798. Several other pictures brought high prices, as will be seen from the detailed list below : — 
 
 Water-colour Drawings : — By B. Foster. — “A Cottage Home,” 5m. by 7m. — £30 19s-. L. Gallait. — “ Coronation of 
 Banderien, Emperor of Constantinople, in 1204,” i4iin. by 26m. — ,£199 ioj-. E. Meissonier. — “L’Attente,” I3^in. by 
 7^in. — £420. T. Tapiro. — “An Interior, Tangier,” 2iin. by 15m. — £gg 15J. Miss E. Thompson. — “The Top of the 
 Hill,” 15m. by 26in. — ^84. J. M. W. Turner, R.A. — “The One Tun Inn,” ioin. by 14m. — ,£57 15 s. E. M. Ward, R.A. 
 — “The Duchess D’Angouleme in Prison,” 33m. by i8in. — £60 iS s. Carl Werner. — “The Bewailing Place of the 
 Jews,” i8in. by 25m. — ,£78 15^ J. W. Whittaker and F. W. Topham. — “A Welsh Landscape,” with figures returning 
 from market, 25m. by 38m. — ,£78 15s'. 
 
 Pictures : — R. Andsell, R.A., and J. Phillip, R.A.— “The Spanish Muleteer,” 2iin. by 24m. — £215 5^. R. Beavis. — 
 “Collecting Wreck on the French Coast,” 24m. by 36m. — ,£152 15^. F. Lee Bridell, i860. — “The Coliseum by 
 Moonlight,” 30m. by 40m. — £210. A. Burr. — “The Mask,” 25m. by 32m. — £152 5 s. T. S. Cooper, R.A. — “On the 
 Banks of the Stour below Canterbury,” 14m. by i8in . — £136 io.r. ; the same painter’s large gallery picture of “The 
 Defeat of Kellerman’s Cuirassiers and Carabineers by Somerset’s cavalry at Waterloo,” 7ft. by 12ft., exhibited at the 
 International, 1862, sold for £630. T. Creswick, R.A., and T. S. Cooper, R.A. — “Good Evening, Autumn,” 36m. by 
 5 1 in. — £530 5.J. Heywood Hardy. — “Washing Horses on the Sea Coast,” y\ in. by 14m. — £63. J. Hardy. — “The 
 Sportsman’s Companions,” 27m. by 36m. — £204 5-f. B. W. Leader, R.A. — An autumn sunset on the Lledr Valley, 
 North Wales, 40m. by 6oin.— £451 ioj. John Martin, K.L. — “The Creation,” 42m. by 68in . — £78 1 5 j. ; and “Marcus 
 Curtins,” 36m. by 48m.— £162 15J. E. Nicol, A.R.A. — “ Flis Legal Adviser,” 31m. by 43m., exhibited at the 
 Academy, 1877 — £598 ioj. ; “ Examine your change before you leave the Counter,” 26in. by 2oin. — £252 ; “The Bane,” 
 8in. by 7m., and “The Antidote,” Sin. by yin., sold together for £120 15^. Briton Riviere, A.R.A., 1872. — “ Warranted 
 quiet to ride or drive ” — £173 S s ■ J- Sant, R.A. — A girl with a mask — £76 13J. Alma Tadema, R.A. — “The Ambush 
 Attack,” 27m. by 39m. — £577 io^. A. Achenbach. — A Torrent in Norway — £230 ios-. O. Achenbach. — Tivoli— £157 ior. 
 Auborzoboke. — A Russian winter scene, 6in. by 9m. — £63. P. Baumgartner, 1872. — “The Cobbler’s Visitors,” 14m. by 
 17m. — £46. L. Bazzani. — “The Broken Vase,” 13m. by ioiin.— £65 2s. ; a Pompeian interior, I2in. by nin . — £77 14s-. 
 Auguste Bonheur. — Cattle on the banks of a river, 39m. by 55m. — £313- Madame Peyrol Bonheur. — “ Sheep Grazing.” 
 — £74 us. Rosa Bonheur. — “The Shepherdess,” painted in 1846, 17m. by 25m.— £682 ioj. W. Bouguereau. — An 
 Italian mother and child — £252. Henriette Browne. — “An Armenian Capmaker,” 45m. by 35m. — ^3 1 5. G. Castiglione. 
 — “The Introduction,” 25m. by 31m. — £136 ioj. E. Castres. — Bohemians crossing the Alps, 28m. by 39m . — £178 10s. 
 V. Chavet. — “The Connoisseurs,” 7|in. by 9^in. — £131 3s. J. Coomans. — “The Two Mothers,” 1868, 2oin. by I5fin. 
 — £100 i6i-. C. Detti, 1876. — “The Garden Party,” i8in. by 26m. — £126. F. Domingo. — “The Ruined Gamester,” 
 6Lin. by 9m. — £451 10s. G. Dore, 1870. — “The Christian Martyrs in the Reign of Diocletian,” 56m. by 90m. — £798: 
 an Alpine scene, 44m. by 67m. — £331. Duverger.— “ The Girls’ School in an Uproar ” — £120 15J. J. Dyckmans, 1837. 
 — “ Paying Accounts,” 31m. by 27m. — £294. L. Escosura. — “ The Singing Lesson,” 32m. by 42m . — £262 ioj. E. Fichel. 
 — “The Connoisseurs,” Sin. by 6in. — £44. E. Frere. — “Dipping Dolly,” 6in. by Sin . — £73 10 s. E. Fromentin. — 
 
1880.1 
 
 SALE AT THE BRITISH MUSEUM . 
 
 309 
 
 “ A Cavalcade of Arabs fording a Stream,” 43m. by 57in. — ^693. L. Gallait.— “ Columbus in Prison,” 6oin. by 43m. 
 — £7^7 1 or. ; “The Neapolitan Flower Girl,” 45m. by 30m. — ,£498 15^.; “The Artist’s Daughter,” i6in. by ioin. — 
 £96 1 2s. J. L. Gdrome. — “ Neapolitan Women,” 35m. by 27in. — £304 tor. C. Jalabert. — “ Christ Walking on the Sea,” 
 2iin. by 40m. — .£99 1 5r. ; “The Entombment,” 19m. by 3oin. — ,£126. A. Jourdain. — “The First Born” — ,£85. 
 W. de Keyser. — “Columbus and his Child in the Convent of Petre Santa,” 63m. by 48m. — ,£315 ; “The Crusader,’ 
 2oin. by 15m. — £70. B. C. Koekkoek. — “A View on the Meuse,” 35m. by 45m. — £ji68 ; “A Winter Scene in Belgium,” 
 2i^in. by 27jin. — ,£315 Sr. H. Koekkoek, sen.— “ Off the Coast of Brittany, strong breeze,” 273m. by 40m . — £99 isr. ; 
 “A Frozen River Scene, Belgium,” I2in. by 6in. £23 2 r. ; “ The Old Pier and River,” i8in. by 30m . — £71 8r. L. Knaus, 
 1852. — “ A Scene during the Rebel War in Germany in the 14th Century,” 43m. by 39m. — ,£640. G. Roller. — “ Faust and 
 Marguerite,” 34m. by 54m. — ,£399 ; “Imploring Pardon,” 26m. by 2oin. — £331 5r. R. Leche. — “Evening, Helsi Lake,” 
 2iin. by 36m. — .£56 I4r. Baron H. Leys. — “Martin Luther in his Study, with his Wife and Friends,” 28m. by 42m. 
 — £1,207 los - J. Van Luppen. — “Souvenirs des Ardennes,” 33m. by 44m. — £88 4.C C. Mariani. — “A Lady Choosing 
 Masks,” i6in. by 13m . — £69 6s% ; Pompeian women, with doves and flowers, 14m. by nin.— £65. E. Meissonier. — 
 “The Commercial Traveller,” a man in a green coat sitting at a table outside an inn, 15m. by 9^in. — ,£1,312 ioj. 
 H. Merle. — “Marguerite trying on the Jewels,” 6oin. by 39m. — £787 ioj. ; “A Mother and Child,” 8in. by 9m. — ,£126 ; 
 “Fairy Tales,” 22in. by i8in. — ,£241 io.y. L. Perrault. — “A Mother and Children,” 40m. by 30m. — ,£8i i8j. ; 
 “ Phillippeau Dancing,” 28in. by 43m . — £223 15.9. A. Piot. — “The Reading Lesson,” 36m. by 38m. — £232. Plassaix. 
 —“The Music Lesson,” 8iin. by nin.— ,£66 3J. ; “Meal Time,” 7^in. by ioiin . — £68 5-r. J. Portaels. — “Maries de 
 Bourg de Batz, Bretagne,” 56m. by 44m. — ,£136 io.r. L. Luiperez. — “The Officers of the Guard,” ioin. by I3tin. — 
 £64 is. Th. Sadee. — “Fishermen’s Wives on the Look-out,” 25m. by 39m. — ,£246 155. J. E. Saintin. — “The Flower 
 of Joy” — ,£136 109. ; “The Wreath of Sorrow,” the companion — £126. Ary Scheffer. — “St. Veronica,” 36m. by 24m. 
 - — £127. Van Schendel. — “A Market Square,” candle and moonlight effect, 32m. by 47m. — £232. P. Van 
 Schendel.— A river scene, moonlight, 2oin. by 28m . — £79 i6j. Ft. Schlesinger. — “The Reprimand” — ,£178 ioj. 
 H. J. Scholten. — “ The Return from the Garden,” 30m. by 22m. — £67 49. E. Slingeneyer. — “ The Death of 
 Field-marshal de Bugnon,” 44m. by 55m. — ,£150. C. Sprenger. — “Street scene in a Dutch Town,” 19m. by i6in. — 
 £115 ioj. M. Tenkate. — “The Swing,” ioin. by 14m . — £32 iu. V. Thirion. — “A Girl Playing with a Doll,” 42m. 
 by 30m. — ,£147. J. Tissot. — “The Abduction,” a picture in the manner of Baron Leys, 23m. by 36m. — ,£199 ior. 
 A. Toulmouche. — “The Secret,” 25m. by 19m . — £220 ioj. C. Troyon. — “La Vallde de la Tocque,” a large upright 
 picture, io2in. by 83m. — £735. Verboeckhoven and J. B. Klombeck, 1865. — “A Hunting Party,” 333m. by 49m. 
 
 — 1 53 6.9. E. Verboeckhoven. — “The Bull at Liberty,” 28m. by 22in. — ,£136 10.9. C. Verlet. — “An Arab and a 
 White Horse,” 2oin. by I7jin. — ,£120 15.9. M. Verschuur. — “The Halt of the Waggon,” i8in. by 22m.— £97 13.9. 
 T. Weber. — “ Flushing ” — £^ 147. F. Willems. — “ The Toilette ” — £223. 
 
 The total amounted to nearly ,£27,000. 
 
 SALE AT THE BRITISH MUSEUM. 
 
 (“The Times,” Febmary 23, 1880.) 
 
 The sale by auction at the British Museum, of a large selection of duplicates, prints and 
 etchings, belonging to the National collection, was an important and highly interesting one, both 
 as regards the fine examples to be disposed of, and as being an event entirely without precedent. 
 No sale of this kind has, we believe, ever before been held in the Museum, and the instances must 
 be rare, if any, in which objects have been sold. There are, indeed, the most stringent rules laid 
 down for the guidance of the trustees against allowing anything in the collection to pass out for 
 the purposes of sale, and therefore it was to obviate this, that the sale was held in the large room, 
 called the committee-room. There was, however, a very excellent reason why, under the 
 circumstances which had arisen in reference to the purchase of the Crace collection of prints, and 
 maps of old London, these duplicates should be turned into money. This Crace collection had 
 been offered last year to the Museum at ,£3000, a sum less than half that at which some years ago 
 it had been offered, and altogether a nominal price for such an invaluable and exceptionally 
 complete historical series. The Trustees approved of the purchase and agreed to it, making 
 application to the Treasury for a special grant for the purpose. The request was not met as 
 expected, and a special grant was pronounced to be impossible, the Trustees being advised by the 
 Treasury that they could pay for the Crace collection by two instalments out of the regular grant 
 of_£i6oo and have £Too each year to spare for other purposes. To avoid such a crippling of their 
 resources as this, the expedient of selling these duplicates was resorted to. 
 
 Accordingly the sale had been duly announced, and the catalogues issued about a month ago, 
 the conduct of the sale being entrusted to the eminent auctioneers of such property, Messrs. 
 Sotheby, Wilkinson & Hodge. Shortly before the sale, a revised catalogue, with many of the 
 remarks as to the condition of the prints omitted, was issued. A more important feature of the 
 
3io 
 
 ART SALTS. 
 
 [ 1880 . 
 
 revision, however, was that no less than eight principal lots were notified as withdrawn from the 
 sale. This was naturally the subject of much comment in the room, and the opinion was pretty 
 generally expressed, that, as these important prints must have been included in the sale catalogue 
 after ample consideration, they should have been at least offered at the auction. A very full 
 attendence of amateurs interested in these rare prints, and all the principal dealers attended, 
 Mr. Hodge being the auctioneer. The 85 lots out of the 93 in catalogue produced ^2141 8s. 
 but as it is admitted that in several instances, the reserve price was not reached, the result of the 
 sale cannot be considered a satisfactory one. 
 
 MR. M. T. SHAW’S COLLECTION. 
 
 (“The Times," March 23, 1880.) 
 
 The collection of pictures and water-colour drawings belonging to Mr. Matthew T. Shaw, sold by Messrs. Christie, 
 Manson and Woods last week, contained some interesting though slight drawings by David Cox and two good drawings 
 by Turner — the “ Dover,” a well-known work, engraved, and “ Wolfe Hope,” a small drawing, 3^in. by 5m. only, which 
 sold for Ii8g. The “ Dover,” which, though it had lost something of its bloom, was still a beautiful example, about 5m. 
 by Sin. wide, sold for £252, a sum not greatly in advance of that given for it some years ago by the late owner. Other 
 noticeable drawings and pictures were : — Drawings. By Vicat Cole, R.A. — “ Wheat Harvest ” — ^59 lys. D. Cox. — a coast 
 scene, unloading fishing boats — £93 iij. ; A landscape, with sheep, near Bamborough Castle — £69 6s. ; A view near 
 Bettws-y-Coed, with figures — ^59 17s. E. Duncan. — “ Off the Mumbles” — ^80 17s. Birket Foster. — A river scene, with 
 church and rustic bridge — ^44 2s. ; a hayfield — ^34 135'. James Holland. — “ Rotterdam, October Morning,” exhibited at 
 Liverpool — £280. W. Leitch.^“ The Lago Maggiore” — ^43. D. Roberts. — “The Pass of Pancorbo” — £74 iij. J. M. W. 
 Turner, R.A. — “Dover” — £252. Wolfe Hope. — “Guy Mannering meeting Meg Merilies on the Mount” — £189. 
 Pictures. H. Bonnington. — “ Early Morning ” — ^42. S. Carter. — “ Uncle Toby and the Widow,” exhibited at the Academy 
 —,£42. G. Chambers. — “ On the Medway,” shipping, boats, and figures — ^43 ; “ Off Margate ” — ^157 ioj. E. W. Cooke, 
 R.A.— “San Pietro in Castello, Venice,” — £60 i8j. T. S. Cooper, R.A.— A sunny landscape, with cows and an old willow 
 — £89 5s. D. Cox. — “The Ford,” with rustic bridge and figures — _£88 4J. T. Creswick, R.A. — “ Watersmeet, on the 
 Lynn ” — ,£52 ioj. ; “ The Bermudas ” — ^35 14J. T. F. Dicksie. — “ Begging his Bread ” — £52 10 s. W. E. Frost. — “ The 
 Alarm” — ^54 12J. F. Goodall, R.A. — “Hunt the Slipper” — £304 ioj. J. D. Harding. — A coast scene, with boats, &c. — 
 ^89 5^. G. Hardy. — Interior of cottage, with figures by W. P. Frith, R.A. — £43. John Linnell, sen. — “The Travellers,” 
 from the collection of Mr. S. H. Hinde — ,£420. J. B. Pyne. — “ The Avon, from Clifton,” circle — ^94 ioj. T. Roberts. — 
 “ The Ship-boy’s Letters ” — ^85 is. A. Solomon. — “ The First Ball,” from Baron Grant’s collection — ^294. T. J. Soper. — 
 “ Bolton Abbey” — ^40 19J. J. M. W. Turner, R.A. — “ Morning After the Wreck,” a sketch for a picture — ^110 55. 
 Verboeckhoven. — Interior of a shed, with sheep, lambs, and poultry — £862 s. James Webb. — “ Boats off St. Michael’s 
 Mount” — ^86 2 s. T. Webster, R.A. — “ The Smile” and “ The Frown,” a pair of finished studies for the engraved pictures, 
 from the collection of Mr. J. Knowles, of Manchester — £93 iij. ; “ The Emigrant’s Letter,” — £72 9 s. 
 
 Sculpture. B. E. Spence. — “Highland Mary,” statue — ^178 ioj. From a different property : Bisson. — “Cupid 
 sharpening his Arrow” — ^74 iu. G. Halse. — “ The Fireman,” exhibited at the Academy, 1874 — ^58 16 s. Bisson. — 
 “Psyche” — £73 10 s. J. Gibson, R A. — “ Venus,” a beautiful statuette, 46m. high — ^294. S. Tadolini. — “Endymion,” 
 45m. high — ,£84. “Cleopatra,” the companion — ^126. Lombardi. — “Spring,” 6oin. high — £173 5J. B. Civiletti. — 
 “ The Young Dante,” 54m. high, exhibited at the Academy, 1876 — ,£143 17s. A. Tomba. — “Bice al Castello Dirosata," 
 66in. high — £93 iij. Francesco Barzaghi. — “Pharaoh’s Daughter,” about 69m. high — ^651. T. Cardwell, of Rome. — 
 “ Diana,” 63m. high, after the statue by R. J. Wyatt, now in the possession of the Queen— ^98 14J. Total £8,399 5 s ■ &d. 
 
 REMAINING PICTURES OF THE NO VAR COLLECTION. 
 
 From the remaining pictures of the Novar collection sold in 1878, were sold a number of unimportant pictures, but 
 among them was one by Bonington, “ Francis I. and his Sister,” an admirable example of the painter, which is engraved, 
 measuring 14m. by nin. This, it appears, could not be found at the time of the former sale. The sketch by Turner for 
 his “ Ancient Italy” was very slight, and merely the first “laying in,” afterwards abandoned. The picture by R. P. 
 Bonington of “Francis I. and his Sister” sold for £267 15J. G. S. Newton, R.A. — “Olivia’s Return,” painted on the 
 engraving — ,£50 8j. ; “The Student” — £6\ 19J. J. Constable, R.A. — A landscape, with church, cattle, and figures — 
 ^38 17J. J. M. W. Turner, R.A. — “ The Grand Canal, Venice,” painted on the engraving — ,£110 5J. R. P. Bonington. 
 — “The Grand Canal, Venice,” sketch for the large picture — ,£105. J. M. W. Turner, R.A. — “Ancient Italy,” a sketch 
 for the engraved picture — £73 ioj. Sir E. Landseer, R.A. — “ Hinds Alarmed,” painted at Novar — £267 ioj. The 
 picture of the “ Madonna dei Candelabri,” which, it will be remembered, was bought in at the former sale at the sum of 
 19,500 guineas, was not included in last week’s sale. 
 
1880.] THE REV. J. M. HEATH’S COLLECTION. 
 
 3i 1 
 
 MR. G. SMITH’S COLLECTION. 
 
 (“The Times,” April 13, 18S0.) 
 
 Two small collections were sold by Messrs. Christie, Manson and Woods on Saturday last, one belonging to 
 Mr. George Smith, of Campden Hill, which contained a few examples of the Dutch and Flemish schools of some 
 interest, and the other several pictures of the early Flemish and German schools, which are very well known through 
 having been described in Dr. Waagen’s work as belonging to the collection of the Rev. J. M. Heath, and from having 
 been exhibited at the Leeds Exhibition and on other occasions. For the best of these, such as “ The Virgin and Child,” 
 by Van der Meere de Gand, the altar-piece by Memling, and the altar-piece with wings by a painter of the school of 
 Roger Van der Weyden, very good prices were obtained. 
 
 In Mr. Smith’s collection the following may be noticed : — By P. Nasmyth. — A rustic landscape, with a peasant and 
 dog on a road, from the Bishop of Ely’s collection, about 6in. by 12m . — £99 155. ; “ Spring Time,” with figures cutting 
 down trees, about 4m. by 8in. — £68 5 s . ; a landscape, with a boy driving cows and a peasant leading a horse, from the 
 Scarisbrick collection, about 8in. by 14m.— £131 io.r. F. Hals.— Portrait of a gentleman in a black dress and white 
 collar, from Sir C. Eastlake’s collection — £42. Van Tol. — Interior, with old woman and boy, from Marryat’s collection 
 — Hi 4-t- Adrian Van de Velde. — A landscape, with goat, sheep and figures, signed and dated — £32 ioj-. Moucheron 
 and Berchem. — A large upright landscape, with figures — £57 15-f. W. Van de Velde. — “A Storm at Sea,” with 
 men-of-war, from the Earl of Ashburnham’s collection, and formerly in Baron Nagel’s (see “Smith’s Catalogue,” p. 307, 
 No. 209 ) — £32 gs. Backhuyzen. — A coast scene, with boats in a breeze — £52 ioj. Terburg. — Portrait of a gentleman 
 in black dress and hat — ,£54 125-. Jan Steen. — The artist’s mother playing a mandolin, signed — £115 io.r. W. Van de 
 Velde.— A coast scene, with a man-of-war, boats, and figures, from the Scarisbrick collection — £59 lys. Backhuyzen. — 
 A sea-piece, with a man-of-war and boats — ,£54 I2.y. W. Van de Velde. — “A Fresh Breeze” — £42. J. Van Os.— A 
 group of flowers and a bird’s nest on a marble slab — ,£63. Van der Neer. — A river scene by moonlight, with windmill, 
 from the Novar collection — £(59 lys. 
 
 THE REV. J. M. HEATH’S COLLECTION. 
 
 The following were from Mr. Heath’s collection : — Jacob Ruysdael. — A landscape, with an old oak near a pool, with 
 swans, described by Dr. Waagen — £(73 ioj. The 20 pictures called of the early German school sold for very small sums, 
 the highest being — “ St. Jerome,” “ St. Anthony,” “ St. Christopher ” and “ St. Francis,” a set of four small whole-lengths, 
 in landscape backgrounds, exhibited at Leeds — £(33 12s. : “ The Marriage of the Virgin ” — £29 8s. ; “ St. Barbara,” in a 
 crimson dress, and green drapery — £25 4-f. ; the Infant Christ enthroned, with figures of the Virgin and St. Elizabeth, 
 saints, and angels — £(63. Of the early Florentine school : — Nicolo Alunno. — A kneeling saint recommending a 
 supplicating family to the Deity, described by Dr. Waagen, Supplement, p. 317 ; exhibited at Leeds — £(52 ior. Jan 
 Mostaert. — “The Entombment,” described by Waagen, Supplement, p. 316 — £16 55. 6d. A picture by a painter of the 
 school of Van Eyck, about 1480. — “The Virgin and Child,” seated in a garden, with landscape, buildings and figures in 
 the background, described by Dr. Waagen, Supplement, p. 316 — £(65 2s. Hans Memling. — The wing of a triptych, with 
 St. John the Baptist and the Donor Jean de Celier and St. George, exhibited at Leeds, 1868 — £(152. Quentin Matsys. — 
 “The Head of the Virgin,” described by Dr. Waagen, and exhibited at Leeds 1868— £(160 io.r. ; portrait of an old 
 woman, described by Dr. Waagen, exhibited at Leeds, 1868 — £162 15^. H. Van der Goes. — “The Virgin and Child 
 Enthroned,” from the collection of Mr. J. Dennistoun — £(52 ioj. Gerard Van der Meere. — “The Virgin and Child,” in 
 a landscape, described by Dr. Waagen — £(58 i6j. ; “ The Virgin Enthroned,” with the Infant on her lap, view of a town 
 in background, described by Dr. Waagen — £(64. Van der Meere de Gand. — “ The Virgin and Child, with St. Elizabeth, 
 seated on a throne, and other saints, with landscape background, about 36m. by 48m., exhibited at Leeds, 1868 
 — £267 15^. Hans Memling.— An altar-piece, with the dead Christ, the wings painted with St. James and St. 
 Christopher, described by Dr. Waagen, exhibited at Leeds — £(246 155. Henry de Bles. — “The Virgin and Child,” 
 seated in a landscape, with two angels holding a crown, described by Dr. Waagen — £23 2s. School of Roger Van der 
 Weyden, the elder. — An altar-piece, with wings, described by Dr. Waagen — £220 ioj. 
 
 From a different property were afterwards sold an altar-piece of the Spanish school, of ebony inlaid with ivory, 
 inclosing small pictures of saints — £(105. By Greuze.— A portrait of Charles X. when a youth, oval — £99 15s-. P. J. 
 de Loutherbourg, R.A. — “ The Falls of the Rhine at Schaffhausen,” a large gallery picture — £32 ioj. Weenix. — “ Interior 
 of a Larder,” with a dead swan — £(64 ij. 
 
 In a miscellaneous collection of pictures and water-colour drawings sold by Messrs. Christie on Friday were : — By 
 Sir Noel Paton, R.S.A. — A scene from the Tempest — £90 6s. J. B. Burgess, A.R. A. — “ Giving Alms ” — £199 10 s. F. 
 Goodall, R.A. — “Age and Infancy” — £103. Water-colour drawings. — D. Cox. — “A Welsh Pass” — £32 ior. F. Tayler. 
 — “Waiting for the Hounds ” — £99 15^. Copley Fielding. — A coast scene, with fishermen and boats — £128 ; a view in 
 Sussex, with cattle and a peasant on a road — £98 14s. ; a coast scene, with shipping — £(99 15.?.; a sea-piece, with 
 men-of-war — £42. W. Hunt. — Head of the artist as a waggoner — £65 2 s. W. Evans, of Eton. — “ Highland Sportsmen 
 reposing” — £39 18 s. J. M. W. Turner, R.A. — “ Brienne” — £67 14^. Samuel Prout. — “ Old Hulks” — £105. 
 
ART SALTS. 
 
 [ 1881 . 
 
 1 2 
 
 MR. E. J. COLEMAN’S PICTURES BY LANDSEER AND 
 STANFIELD , AND “THE PRINCES IN THE TOWER ” BY MILLAIS. 
 
 (“The Times,” May 30, 1881.) 
 
 The sale of four pictures of first-rate importance by Landseer, one of which is considered by many to be his master- 
 piece — the famous picture of the Bears, called “ Man proposes, God disposes” — two of Stanfield’s grandest landscapes, 
 and Mr. Millais’s “Princes in the Tower,” with several other excellent works of the English school, was an event of the 
 highest interest, and attracted a very crowded assemblage to the rooms of Messrs. Christie on Saturday. The pictures 
 had been exhibited during the week, and much curiosity and speculation were shown as to the prices which would be 
 obtained, as it was expected that sums quite unprecedented would be reached when the moment of competition came. 
 This proved to be so, for “ The Bears ” sold for 6,300 guineas, a sum considerably above any auction price ever obtained 
 for a work of Landseer’s, the highest previous sum being 5,6:50 guineas for‘‘ The Otter Hunt ” at the sale of Mr. Albert 
 Grant’s pictures in 1877. The picture was put up at a bidding of 3,000 guineas, and the contest for it appeared to lie 
 between Mr. Agnew, Mr. White, and a “ Mr. Thomas,” to whom in the end it was knocked down amid very considerable 
 excitement. As the same name was given to Mr. Woods, the auctioneer, when the cartoon of “ The Stag pursued by the 
 Hound” was knocked down at 5,000 guineas, and also in the case of the two fine works of Stanfield, as well as “The 
 Princes in the Tower,” belonging to a different collection, the greatest curiosity prevailed and many questions were asked 
 about this new purchaser in the field, and whether the name were not simply a nom de guerre. That this was so became 
 the general conclusion, and it was understood that, whatever the real name of the present owner of these fine works, it is 
 to be kept secret for the present. There were strong surmises that — as in a recent instance — these great examples of our 
 art are destined for America.* If so, the price of them will be still higher, as there will be the duty of 10 per cent, to be 
 paid on their value. 
 
 The six important pictures, four by Landseer and two by Stanfield, belonged to Mr. E. J. Coleman, who is selling the 
 Stoke Park Estate, and for whom “ The Well-bred Sitters,” “ The Bears,” and the cartoon in coloured crayons of the stag 
 and hound were painted by Landseer. The first-named picture, which is well-known by the engraving, was put up with 
 a round of applause, followed by a bid of 1,000 guineas from Mr. Agnew, who became the purchaser at £5,250. “The 
 Bears ” is also well known by the admirable engraving by the brother of the painter, and it was in the International 
 Exhibition at Paris as well as at the Burlington House exhibition of Landseer’s works after his death. It is 3ft. by 8ft. ; 
 as above stated, it sold for ,£6,615. The cartoon is 6ft. by 8ft., the stag and hound full life size, and drawn with extra- 
 ordinary power. It is said to have been done in three or four hours, and that Landseer received 3,000 guineas for it. 
 It was sold with the copyright, and put up at 3,000 guineas, falling to “ Mr. Thomas” at 5,000 guineas. The “ Digging out 
 the Otter” was left unfinished by Landseer, and according to his own suggestion, when he found the task too much for 
 his failing hand was finished by Mr. Millais. It measures 5ft. by 8ft., and was sold in Landseer’s sale for ,£640 ioj., and 
 now, with the copyright, for .£3,09 7 ioj. to Mr. Saunders. Of the two fine works by Stanfield, “ The Battle of Roveredo,” 
 a large gallery picture, 6ft. by 9ft., had been sold in this room before, in Mr. Albert Grant’s sale, and previously in 
 Mr. Mendel’s; it now brought ,£3,465, against the ,£2,520 it brought in 18 77. The “Pic du Midi” was painted for the 
 late Mr. Bicknell (1854) ; it is an upright picture, io8in. by 63m., and it now brought exactly the same price Mr. Vokins 
 gave for it in the Bicknell sale — 2,550 guineas. This closed the sale of the pictures belonging to Mr. Coleman, which 
 thus realized the extraordinary sum of ,£26,355 for six pictures. Mr. Millais’s “ Princes in the Tower” came up for sale 
 after a number of unimportant lots had been disposed of, the name of the owner not being given. It was welcomed with 
 a very hearty round of applause, and was met with a first bid of 1,000 guineas, soon reaching 3,500 guineas, and then 
 rather slowly rising to the 3,800 guineas at which the hammer fell for “ Mr. Thomas ” again. 
 
 The pictures belonging to the late Mr. John Marshall, of Great Barr, Staffordshire, were sold on the same day, and 
 the most interesting were : — By J. Sant, R.A. — “ The Doves,” lady with doves, oval — ,£78 15J. ; C. Stanfield, R.A., i860. 
 Coast scene, with wreck— ,£236 ; J. Linnell, sen. 1861, “ The Woodcutters” — ,£510; C. Cole, a cornfield — ,£283 ior. ; 
 John Philip, R.A., i860, “The Music Lesson, Seville ” —,£525 ; E. M. Ward, R.A., “An Evening at Whitehall,” — ,£168 ; 
 E. W. Cooke, R.A., Bay of Cartagena, Sunset,” 1861 — ,£25? ; T.Creswick, R.A., “ The Trent Side,” exhibited 1861, a 
 large work — ,£2,100 (for this picture the painter was paid 500 guineas, and it was sold to its last owner for 550 guineas) ; 
 David Roberts, R.A., “The Piazzetta of St. Mark, Venice” — ,£304 10s. ; C. W. Cope, R. A., “ Lear recovering at the 
 sound of Cordelia’s voice,” painted in 1850 for the late Mr. Brunei’s Shakespeare Room — .£283 ioj-. ; P. F. Poole, R.A., 
 “Job’s Messengers,” exhibited 1850, measuring about 6oin. by 72m. — £735. 
 
 The small collection of the late Mr. J. W. Marshall, of Patterdale Hall, consisting of sixteen pictures only, and one 
 tolerably good drawing by Copley Fielding, a classical composition, 1833, had but three pictures which deserve mention 
 —by F. R. Lee, R.A., “ The Avenue at Althorp” — £215 ; Sir A. W. Callcott, R.A., “Approach to Verona from the Tyrol” 
 *-£315 > and “ The Cherryseller,” by W. Collins. R.A., a smaller replica, painted in 1824 at the same time as the picture 
 painted for Mr. T. C. Higgins, but never exhibited, and measuring 29m. by 25m., sold for £325. 
 
 * It shortly afterwards became known that the pictures were bought for the Gallery of the Royal Holloway College, which now 
 contains a very fine collection of 77 pictures, several of which are masterpieces of the Modern English School. 
 
1881 .] 
 
 MR. WILLIAM SHARP’S COLLECTION. 
 
 3i3 
 
 COLLECTION OF MR. WILLIAM SHARP . 
 
 (“The Times,” July 12, 1881.) 
 
 The collection of modern pictures of the English school belonging to the late Mr. William Sharp, of Handsworth 
 near Birmingham, sold on Saturday last by Messrs. Christie, Manson and Woods, contained many very good pictures, 
 and some of rather remarkable excellence by W. J. Muller, W. Collins, R.A., Copley Fielding, and J. Linnell, sen., which 
 gave great interest to the sale, and brought very high prices. There were only 80 pictures, but they realized the 
 considerable sum of .£23,000, the landscape by Collins selling for 2,500 guineas, one of the Mullers bringing 2,600 guineas, 
 another 2,250 guineas and the Copley Fielding, “Travellers in a Storm,” the very high price of 3,000 guineas. The 
 following were the most interesting pictures : — F. D. Hardy. — Cottage interior with an old fiddler and other figures, an 
 early and very highly-finished work — .£241 ioj. Of four very charming vignettes in oils, by T. Creswick, R.A., engraved 
 in S. C. Hall’s “ Ireland” ; “ Carrickfergus ” sold for ,£89 5J. ; “ Donegal Castle,” — £94 ioj. ; “ Black Valley, the Gap of 
 Dunloe,” — ,£110 5J. ; and “ Ballymahon,” — .£105. A small river scene in France, with two nuns, an early work by 
 
 J. R. Herbert, R.A., sold for ,£136 ioj. By J. Sant, R.A. — “ Light and Shade,” engraved — £262 ioj. M. Anthony.— 
 Stratford-on-Avon — £346 ioj. J. B. Pyne (1850). — Haweswater, engraved in his lake series — .£273. J. Linnell, sen.— 
 The Hill Farm, i6in. by 23|in., a remarkable example, painted in 1847, — £950 ; the Eve of the Deluge, 25m. by 34m., a 
 smaller replica, varied, of his large picture — £399. T. S. Cooper, R.A., (1852) — Mountain Sheep — £262 ioj. T. Webster, 
 R.A. — “The Pedlar,” engraved — £5 77 ioj. T. Creswick, R.A. — “The King of the Forest,” a forest glade, with a stag 
 and deer by R. Ansdell, R.A., 27m. by 35m., an unusually fresh and brilliant picture by him — £682 ioj. H. Le Jeune, 
 A. R.A. — “Consider the Lilies,” engraved — £273. C. Stanfield, R.A., 1839. — “The Hospital Ship in the Medway” — 
 £577 ioj. P. F. Poole, R.A. — “Scene from The Tempest ,” 36m. by 40m. — £640 ioj. T. S. Cooper, R.A., 1856 — 
 Landscape with sheep and goats — £546. Copley Fielding. — “Travellers in a Storm” ; on the Road near Winchester ; a 
 tilted waggon with figures seen in a ray of bright evening light against a very black sky, measuring 40m. by 49m. — £3,150 
 {see Illustration xiii. L.) This is the highest price ever paid at auction fora work by this painter, and is attributable in great 
 measure to the rarity of his pictures in oil colours, of which this was a large and singularly effective one. The rise in 
 price is enormous, as it was sold to the late Mr. Sharp’s agent for £240 in 1862. W. Collins, R.A. — “ Borrowdale,” with 
 children playing by the brook side, exhibited 1823, and referred to in the life of the painter by his son, W. Wilkie Collins. 
 This very pleasing example, which perfectly retains its original richness and brilliancy of colour, measured 34m. by 44m. 
 and sold for £2,625 t0 Mr. Mason. The highest price reached for a picture by Collins was £3,780 for the “ Cromer 
 Sands,” in the Gillott sale, 1872. J. Constable, R.A. — “ Hampstead Heath” — £5 77 ioj. The portrait J. M. W. Turner, 
 R.A., by J. Linnell, sen., painted about 1837 for Mr. Birch, of Birmingham. This portrait is one of the very few of him 
 that exist, for he never sat but once, to G. Dance in 1800, as he had an odd fancy that if people ever saw his face they 
 would think less of his pictures. It was done from thumbnail sketches by Linnell, at the dinner parties given by 
 Mr. Daniel, and it represents him a very good looking man. It is a small bust size, and is authenticated by a letter from 
 Mr. Linnell to the late Mr. Thornbury, author of the “Life of Turner,” in which he says it was painted about 1837. It 
 sold to Messrs. Agnew for £86. It will be remembered that there is no portrait of Turner in the National Portrait 
 Gallery. A large oil painting by Maclise, about 8ft. by 5ft., of his great fresco of the “ Spirit of Justice,” in the House of 
 Parliament sold for £220 ioj. to Mr. McAlpin. Next to this came the seven pictures by W. Muller, for which 
 Mr. Woods, the auctioneer, stated Mr. Sharp had once refused the offer of £10,000. “A Frosty Morning,” with barges 
 frozen in and figures, the sun shining in the clouds, i8in. by 24m. — £162 15J. ; “High Life,” an interior of a richly 
 furnished house, with two figures of men in old costume near a mullion window, 24m. by 34m. — £110 5J. “A Frost 
 Scene — the Gamekeeper,” a large upright picture, dated 1837, 72m. by 48m., with trees covered with hoar frost — £462 ; 
 “ Arab Shepherds,” a fine mountain landscape with two figures under palm trees and sheep, 33m. by 65m., the upper 
 corners rounded, painted in 1842 for the late Mr. Birch, of Birmingham, sold for £2,730 to Messrs. Agnew ; “The Tomb 
 in the Water, Telmessus, in Lycia,” painted 1845, 30m. by 6oin. — £2,362 ioj. to Mr. Mason. This is a specially 
 interesting picture, as it shows a tomb in form precisely resembling that in the British Museum, which was brought over 
 by Sir C. Fellows, forming such an important example among the Xanthian antiquities. It was one of the five pictures the 
 fruit of Muller’s Xanthian travels, which he sent to the Academy exhibition, and which he says it almost broke his heart to 
 see placed quite out of sight. “ Prayers in the Desert,” was a large lunette-shaped picture, 40m. by 72m., painted in 1843, 
 a group of Eastern figures in the foreground of a landscape, with distant mountains and cloudy sky, engraved in the Art 
 Journal , and as an illustration in the life of the painter by Mr. Solly. This characteristic work sold for £1,890 to 
 Messrs. Agnew. (“The Travellers,” by Copley Fielding, and The Tomb at Telmessus were bought for the Royal 
 Holloway College Gallery). 
 
 We understand that the fine picture by Muller of “ The Arab Shepherds ” was purchased for the public art gallery of 
 Birmingham, the Corporation of that town having voted a considerable part of the sum, and the rest being met by a 
 few private subscriptions. That the Birmingham Gallery should have a fine example of Muller was particularly 
 desirable, as he was first highly appreciated by Mr. Birch and by Mr. Gillott, who had four of his finest works — “The 
 Slave Market,” which sold for £1,585 ioj., “ the Bay of Naples,” — £2,100, “ the Chess Players,” — £3,950 (afterwards sold 
 in Mr. T. Heugh’s collection for £4,052), and “the Dolgarrog Mill,” — £1,350. 
 
 VOL. I. 
 
 S S 
 
314 
 
 ART SALTS. 
 
 [ 1882 . 
 
 MR. HENDERSON'S COLLECTION. 
 
 (“The Times,” February 18, 1882.) 
 
 The modern pictures and water-colour drawings, with a few works of old masters, belonging to the collection of the 
 late Mr. John Henderson, who made such an important bequest of drawings and works of ornamental art to the British 
 Museum in 1878, were sold by Messrs. Christie, Manson and Woods last week. The sale occupied the three last days, 
 and consisted of upwards of 400 lots, most of which were pictures of the English school, the works of old masters being 
 six good examples of Guardi, and the rest chiefly by the Dutch school, numbering thirty-two. Many of the water-colour 
 drawings were unimportant, and there were a great many sketches by Samuel Prout and the late J. H. D’Egville. The 
 following among the drawings were the most interesting : — By G. Cattermole. — “ Saying Grace”— ^89 5J. ; “The Alarm” 
 £1 10 5-f. ; “ The Saucy Page,” exhibited at Paris, 1867 — £77 14J. ; “ The Knotty Point” — ,£120 15^. By W. S. Coleman.— 
 “Repose” — ^94 io.t. David Cox. — Woody landscape, with oxen — £8g 5^. ; forest scene, with castle — ^63; “ Knaresborough 
 Castle, ”1845 — ^54 i2r.; “ Windsor Castle” — ,£6oi8.r.: “Tending the Herd”— ,£131 55. E. Duncan. — A mountain scene, 
 with coach and cattle — .£80 17s. Birket Foster. — “ On the River Mole” — £45 ; a forest scene — £64. Sir J. Gilbert., R.A. — 
 “The Return of the Victor” — ,£115 10s. ; and “Crusaders on the March” — £84. William Hunt. — Black grapes, 
 pomegranates, and chestnuts — £210 ; a hedgebank, with primroses and violets — £115 ioj. Samuel Prout. — “ Durham ” 
 — £110 5-r. ; coast scene, with figures — £63; coast scene, with hulks — £71 ; old hulks near a jetty — £84 ; entrance to a 
 Gothic cathedral — £94 ior. Oil paintings : W. Muller. — “ Prayer in the Desert,” a sketch for the large picture — £1 10 5 r. ; 
 a view at Tivoli, with figures of peasants and goats — £162 ior. E. J. Niemman. — a river scene — £62. J. Holland. — “ The 
 Grand Canal, Venice,” circular picture — £\ 10 5^. ; “ The Grand Canal, Venice, with the Rialto in the distance”— £131 5^.; 
 “ The Port of Genoa ” — £7 5 qr. ; the landing-place of a palace at Venice, with figures, a circular picture — £131 5-r. ; Canal 
 at Venice, with market boats and figures— £131 5^. Pasini. — Figures at the door of a Moorish house — £126. Pictures by Old 
 Masters. F. Guardi.- -The Piazza of San Marco, Venice, exhibited at Burlington House, 1870 — £204 1 5 j. ; the Grand 
 Canal, Venice, with the Dogana and Church of Santa Maria della Salute — £404 55-. ; the Entrance to the Grand Canal, 
 with Church of San Giorgio Maggiore — £210 ; two pictures of the Piazzetta of St. Mark, with figures, and the bridge of 
 the Ducal Palace — ,£40 ; a pair of views of the Rialto — £1 10 5 s. ; a view near the coast, with Roman ruins and figures — 
 ,£173 5J. Nicolas Berghem. — An Italian scene, with peasants and cattle at a ford — £58 i6r. A. Van Goyen. — A village 
 scene with waggons at an inn door — £47 5-f. Philip de Koning and Adrian Vandevelde. — Landscape with bleaching ground, 
 figures, and animals — -,£40 195. Adrian Vandevelde. — River scene with boats and figures — £76 13^. David Teniers. — Two 
 peasants — £45. Rembrandt. — Head of a man with long hair in a brown robe — £105. Adrian Ostade. — Portrait of a gentle- 
 man in a black gown — £78 1 5-t. Jacob Ruysdael. — View of a village, with bleaching ground and a church in the distance 
 — £157 los - J- van de Capella. — A frost piece river scene, with boats and figures — £257 5^. ; a coast scene, with boat at 
 anchor— £105 ; a river scene, with fishermen drawing their nets — £115 ior. Albert Cuyp. — A sunny landscape, with two 
 horsemen and peasants, with cows drinking at a stream — £183 5J. J. Van Os. — Flowers in a sculptured vase, with fruit 
 and birds’-nests — £54 i2r. Jacob Ruysdael. — The edge of a forest, with figures and cattle at a ford — £68. Melchior 
 Hondekoeter— A dead partridge and other birds— £73 10s. ; the gardens of a chateau, with peacock and poultry— £147. 
 Francis Snyders. — “The Larder Invaded”— £236 5.?. Diepenbeck and Snyders.— “The Triumph of the Infant Bacchus” 
 — £131 5 ^ The total of the three days’ sale amounted to ,£10,778 19J. 6 d. The collection of Chinese and Indian 
 carvings in jade, agate, crystal, lapis-lazuli, amber, &c., with Japanese enamel work and lacquer, belonging to the late 
 Mr. Flenderson, sold on the Wednesday previous, brought ,£2,026, none of the articles being of any remarkable 
 excellence. 
 
 COLLECTIONS OF MR. BROOKE , MR. ADAM , and MR. PRATER. 
 
 (“The Times,” March 10, 1882.) 
 
 The collection of modern pictures, chiefly of the English school, belonging to Mr. Charles Prater, consisting of 34 
 oil paintings and 13 water-colour drawings with 30 pictures also by modern English artists, belonging to Mr. John 
 Adam, and 24 pictures from the collection of Mr. Edward Brooke, of Highgate, with others from proprietors whose 
 names were not given, all of which had been exhibited during the week, were put up by Messrs. Christie, Manson and 
 Woods last week. Some of the more important pictures brought full prices, while others were knocked down at sums 
 considerably below those which had been paid for them some years ago. Of the water-colour drawings in Mr. Prater's 
 collection, “Apple Gatherers,” by Samuel Palmer, sold for ,£31 ior. ; farmyard, with figures, by C. Davidson — £27 6s. ; 
 “ The Departure of the Conscript,” by F. Goodall, R.A., 1S54 — ,£64 ; “ The High Altar in St. Augustine’s, Antwerp,” by 
 S. Read, 1861— £39 i8r. ; “A View on the Rhine,” by T. M. Richardson, 1846 — £137 ior. Oil paintings. — “The Vicar 
 of Wakefield,” by A. Solomon, 1842 — ,£38 17s. ; “ Peg Woffington’s visit to Triplet,” by Miss R. Solomon, exhibited at 
 
1882 .] CANOVA'S VENUS.— LADY HAMILTON' S CHINA . 315 
 
 the Academy, 1860, and at Paris, 1867 — ,£54 I2.r. ; “Rounders,” by G. Smith, i860 — ,£105 ; “ Olivia and Sophia,” by 
 C. Baxter, exhibited at the International, 1862 — ^47 5-r. ; Italian lake scene, with figures, an early work of W. Muller, 
 signed and dated 1836 — ,£136 10s. ; “The First of October,” by G. Cole, 1864 — ^157 ioj. ; “Little Red Riding Hood,” 
 by J. Sant, R.A., the engraved picture — ,£141 15J. ; “The Naughty Boy,” by Duverger— ^56 14X. In Mr. Adam’s 
 collection, “A Fairytale,” by F. D. Hardy, sold for ,£99 1 5 j. ; “A Misdeal,” the finished sketch for the picture by 
 
 F. D. Hardy, exhibited at the Academy, 1877 — /100 i6.r. ; “A little Better,” by G. B. O’Neill — .£125 6 s. ; “The 
 Seasons,” by H. Meyer, four views, with figures, signed and dated 1795 — -£ io 5 ; “The Brunette,” by C. Baxter — ^78 1 5^. ; 
 “Get Up,” by G. B. O’Neill, 1880 — ,£215 5J. ; “Hide and Seek,” by F. D. Hardy, 1878 — ,£178 ioj-. ; “At Lodore, 
 Derwentwater,” by B. W. Leader, 1868, retouched 1878 — ,£199 lay. ; “ The Letter,” by R. Madrazo— £299 Sr. ; “Olivia,” 
 by A. L. Vernon— ,£81 i8j. ; “St. Martha’s, near Guildford” — £77 14J. ; “The Wedding Breakfast,” by F. D. Hardy, 
 exhibited at the Royal Academy, 1871 — ,£535 ioj. ; a river scene, with figures and cattle, by T. Creswick. R.A. — 
 £498 15-r. ; “ Le Jour des Morts, All Souls’ Day,” by J. C. Horsley, R.A., 1880 — ,£483; “The Rehearsal,” by 
 
 G. B. O’Neill — ,£215 55. ; “The Miser and his Treasures,” by F. D. Hardy — £126 ; “Woodland Flowers,” by T. Brooks 
 — £162 15J. ; “ A Wood Nymph,” by H. Le Jeune, A.R.A. — £73 ioj. ; “ The Time of Roses,” by Marcus Stone, A. R.A. 
 — £2 73 - From Mr. Brooke’s collection, water-colour drawings. — “A Cloudy Day in Wales,” by E. Duncan — £38 17J. ; 
 “ Plums and Apricots,” by W. Hunt — £58 i6r. The full-sized cartoons, in black chalk, by Maclise, of the Knight and 
 the Minstrel in his fresco of “ Chivalry” in the Houses of Parliament, were knocked down at merely nominal prices. Oil 
 paintings.—" Students of Salamanca,” by J. B. Burgess, A.R.A. — £152 5^ ; “ Night,” by the same artist — £94 ior. ; and 
 “ Love will find out a way,” by the same, painted 1870 — £157 ioj. ; “ Prayer,” by W. P. Frith, R.A., a life-size figure of a 
 lady kneeling, exhibited at the Royal Academy 1874 — £162 15J., the original price having been, it is said, 700 guineas, 
 “Imogen’s prayer,” by the same painter, 1845, a picture about 3ft. by 5ft., representing Imogen lying on a richly-draped 
 couch, the moon shining through the mullioned window — £99 15J., ; “El Puente Viego, Granada,” by R. Ansdell, R.A., 
 1870 — £304 ; “Judge Jefferies and John Baxter,” by E. M. Ward, R.A., exhibited at the Royal Academy, 1870 — £399. 
 Pictures from other collections, the names of the owners not being given : — “The Pet Cow,” by De Haas — £89 5J-. ; canal 
 scene, winter, with figures, by W. Verschuur — £96 12s. ; “ The Toilet,” by T. Faed, R.A., 1874 — £183 15J. ; the Painted 
 Hall, Greenwich Hospital, circular, by James Holland — £48 6s. ; landscape, by F. R. Lee, R.A., with cattle, by 
 T. S. Cooper, R.A. — £88 4 x. ; “ The Standard Bearer,” by Sir John Gilbert, R.A., 1879 — £152 5?. ; “ Squally Weather,” 
 a sea piece, by T. Creswick, R.A. — £220 10 s. ; “The Gipsy Encampment,” by F. Goodall, R.A. — £126 ; “The Fond 
 Mother,” by E. Verboeckhoven, 1851, a cattle piece — £320 ; a land scene, with peasant driving cows, by T. S. Cooper, 
 R.A., 1881 — £120 ; an interior with man playing guitar, by Tito Conti — £78 15X. ; “First Admiration,” by Josef Israels, 
 a little girl looking at white pigeons — £157 ioj. ; a vase of flowers on a marble slab, by H. Reekers, 1853 — £63 ; a 
 landscape, moonlight, by Cecil Lawson — £28 7s. ; a river scene by E. Lambinet — £54 ; Yarmouth by G. Vincent — £63. 
 
 After the sale of the pictures about 30 marble statues, statuettes, busts, and groups were sold, which went for very 
 moderate prices, the only noticeable lots being a group by the late Joseph Durham, A.R.A., called “The First Dip,” 
 exhibited 1872, which brought £210 ; and the fine statue by Canova, “Venus with the Apple,” belonging to Sir Robert 
 Peel, and removed from his house in Whitehall Gardens, which brought £105. 
 
 The fine Dresden groups and the ormolu branches, with seagulls and storks, with the marqueterie furniture belonging 
 to Lady Harriet Hamilton, removed from Macartney House, Greenwich Park, sold at Christie’s on Wednesday, the 1st 
 inst., brought very good prices. The Dresden groups and ormolu branches, with birds, were sold as “ the property of a 
 gentleman.’’ A pair emblematic of Spring and Summer, on ormolu plinths, in the style of Louis XVI., sold for £105. A 
 pair of fine old ormolu branches, with porcelain flowers and large figures of seagulls, for £ 399 . A similar pair, rather 
 smaller, with metal gilt stands and branches for lights, ornamented with porcelain flowers and large figure of a stork in 
 each — £262 ioj. A pair of Sevres tureens and covers, green ground, with medallions of flowers, richly mounted in 
 ormolu, with dragon handles and dolphin feet — £157 ioj. ; a pair of large, old Japan jars and covers, painted with kylins, 
 birds, and flowers in blue and gold, on gilt stands — £73 ioj-. ; a Louis XV. clock in ormolu, with Dresden group of 
 shepherd and shepherdess and two children — £84 ; a pair of old Chelsea vases, with long necks, deep blue ground, 
 pencilled with exotic birds and flowers in gold, and white and gold scroll handles, 24m. high — £189; an old Chelsea 
 vase of the same form as preceding lot, but white, painted with flowers in colours — £31 ioj. Of the decorative furniture 
 belonging to Lady H. Hamilton, a Louis XV. clock in ormolu, with stag and dog at base and numerous flowers — £8g 51-.; 
 a Louis XV. clock, in metal gilt, with Dresden group of two Cupids embracing, and porcelain flowers — £40 ; a Louis XV. 
 commode in marqueterie of flowers in coloured woods, mounted with ormolu, and gray marble slab — £55 13J. ; a small 
 Louis XVI. table, with parqueterie top, inlaid with flowers in coloured woods, and mounted with ormolu — £110 5^. Old 
 Louis XV. furniture formerly in Lord Willoughby’s collection, sold as “the property of a gentleman”: — A Louis X\ . 
 commode of parqueterie, mounted with chased ormolu and pink-veined marble slabs — £183 15-f- ; a pair of Louis XV. 
 parqueterie commodes, with medallions of flowers in coloured woods, ormolu mounts, and white marble slabs— £1 57 ior. ; 
 a pair of Louis XV. commodes, white and gold, carved with masks and ornaments in low relief, and supported by gilt 
 caryatids — £220 ios. ; a pair of beautiful cabinets, each with four circular Wedgwood plaques of classical figures, white 
 on blue ground, richly mounted with chased ormolu in the style of Louis XV., on stands, with marble shelf below £ 5°4 > 
 four interesting groups of children in white marble, the work of Jean Baptiste Pigalle, a French sculptor ot the middle of 
 last century, were sold in pairs, each being a group of two children — a pair emblematic of wine and water sold for 
 .£194 55. ; another of two children with a serpent, and two wrestling, for 1 89 ; a pair of bronze groups, Hercules and a 
 Centaur carrying off a nymph, on white marble plinths — £220 10.1. 
 
 S S 2 
 
ART SALES. 
 
 [ 1882 . 
 
 16 
 
 COLLECTION OF MR. JAMES TASS/E. 
 
 (“The Times,” April 25, 1882.) 
 
 The sale of a very large collection of the copies of antique gems in intaglio and cameo made by James Tassie, one 
 of the most remarkably gifted, self-taught artists in glyptic art that has lived in modern times, excited much interest at the 
 rooms of Messrs. Christie last week. Tassie was a youth of 20 when, about the middle of last century, Robert and 
 Andrew Foulis, of Glasgow, printers, were forming that extraordinary gallery of replicas and copies of famous pictures by 
 the great Italian masters which is now only known by the catalogue, a book rarely met with, and which was intended to 
 found an Academy of Art in Glasgow. In this collection were full-size old copies of such celebrated pictures as “ The 
 School of Athens,” the “Entombment,” the “ Transfiguration,” the “ St. Cecilia,” the “ Galatea” (a copy by Guido), and 
 some of the Holy Families by Raphael, with many similar reproductions highly spoken of as representing other great 
 masters. As to what has become of these very little seems now to be known, although some of the pictures are, we 
 believe, still to be seen in the Corporation Gallery. Tassie, who was apprenticed to a stonemason, was a student of 
 modelling in this so-called Academy of Foulis’s, and his talent led him to London, where in Compton Street, Soho, then 
 the artistic quarter, he established himself. His success in imitating antique gems and in modelling medallion portraits 
 became so wfidely known that he was permitted to take casts from most of the cabinets in Europe, and his catalogue of 
 these, written by R. E. Raspe in English and French, with plates, is really a valuable book of reference. Tassie was 
 engaged with Wedgwood, in various experiments in making ceramic pastes, and many of his medallions w'ere used by 
 Wedgwood, though he kept to his own invention of a peculiar hard composition with a mat surface like fine marble or 
 the shell used for camei. Many of these were to be seen in this collection, which was sold as the property of the late 
 Rev. Mr. Vernon, a relative of William Tassie, the nephew of Old Tassie, who succeeded him, and died in i860 at 
 Kensington. Many were sold last year at the country vicarage of Wooton, in Bedfordshire, attracting no notice and 
 bringing very small prices ; but a fine selection of the Tassie gems was left by will of William Tassie to the National 
 Gallery of Scotland, where they are preserved in the “ Tassie Room.” Another complete collection was supplied to the 
 Emperor of Russia in 1783. James Tassie died in 1799, and almost the last we hear of the Tassies in the art history 
 of the time is that William was the fortunate winner of the chief prize in Boydell’s lottery of his Shakespeare Gallery of 
 pictures, by which he must have realized a considerable sum, as he sold them by auction in January, 1805, in the gallery 
 built by Boydell, where they had been exhibited, and which afterwards became “ The British Institution,” under a 
 committee of noblemen and other gentlemen, patrons of art, who purchased the lease for ,£45,000, but was given up 
 about 1 5 years back, and sold as the site for the present Marlborough Club. 
 
 In the sale of Thursday and Friday last the medallion portraits in the style of Wedgwood brought good prices, from 
 three to five guineas each, the Admiral Lord Duncan for £j ioj., and David Garrick, as Steward of the Stratford Jubilee, 
 ,£13 io.r. (two medallions), Nelson, £ 7 5J. The choicest of the camei and the intaglii, which were set transparent, were 
 very tastefully framed in groups on velvet mounts, and they brought from 1 5 to 40 guineas a frame. Boxes full of glass 
 intaglio seals, with mottos such as were once an article of commerce when it was the fashion to seal letters, containing 
 some hundreds, were sold at from 7 to 10 guineas. There were also an excellent model of the well-known Portland or 
 Barbarini vase, in the British Museum, by Tassie, and many Wedgwood medallions which brought good prices. The 
 finest examples of Tassie’s work were, besides his medallion portraits, the copies of the Hercules and Omphale cameo, 
 the Hercules and Antaeus, and a very remarkable cameo taken from Stubbs’s picture of “ The Frightened Horse.” These 
 and several others that might be noticed are infinitely superior to anything of the kind now being produced by modern 
 glyptic artists in this country. 
 
 SALE OF THE IVY FOLD COURT GALLERY. 
 
 (“The Times,” May 16, 1882.) 
 
 The collection of modern pictures belonging to the late Air. Edward Hermon, M.P. for Preston, called the YVyfold 
 Court Gallery, from the name of that gentleman’s residence at Henley-on-Thames, which was sold by Messis. Christie, 
 Manson and Woods on Saturday last, consisted of 70 oil paintings and a few water-colour drawings, which, however, 
 were of no importance. The collection was well known for some of the best works of the later English school, and 
 especially for the two large pictures by Mr. Edwin Long, R. A. elect — “The Babylonian Marriage Market, and “ 1 he 
 Suppliants,” the former of which was the picture of the year in the Academy Exhibition of 1875, winning for the painter 
 his election as an Associate, far surpassing in originality and power any of his previous works, and generally considered 
 to be his chef d'ceuvre. It had been the centre of attraction among the other very fine pictures exhibited during the 
 week, forming one of those remarkable displays at the famous sale-rooms in King Street which only rarely occur, and 
 which are so valuable and interesting in affording a comparison of the present with the past condition ot modem 
 painting in our own as well as the Continental schools. Some thousands of persons must have visited the gallery 
 
1882.] 
 
 IVY FOLD COURT GALLERY. 
 
 3i7 
 
 during the week, and as the catalogues were sold at 6 d. each, for the benefit of the Artists’ General Benevolent Fund, 
 a very acceptable gift has thus been handed over by Messrs. Christie, who never fail to take advantage of these 
 occasions, when many hundreds of persons come only to enjoy the gratification of seeing the pictures. Much specula- 
 tion had been rife as to the price that would be paid for “The Marriage Market” and “The Suppliants,” but all 
 anticipations were completely surpassed by the extraordinary sums they brought at the sale ; the first-named picture 
 selling for ,£6,615, an< i the other for ,£4,305, prices which are among the very highest that have ever been paid at 
 auction for modern pictures. The name of Mr. Martin was given as the purchaser of these and other important 
 pictures in the sale, but as no one in the habit of attending these sales knew a buyer of that name, it was considered to 
 be merely a nom de guerre for the occasion, just as the “ Mr. Thomas ” was when the great Landseer picture of 
 “The Bears ” was sold for exactly the same high price of 6,300 guineas last May. It was soon shrewdly conjectured 
 that as “ Mr. Thomas ” proved to be Mr. Holloway, it was not improbable that that gentleman was the real purchaser, 
 and has acquired these fine pictures for the splendid gallery which, it is understood, is to be attached to a benevolent 
 institution founded by him. Some very high prices were obtained for the other important pictures, as will be seen 
 detailed below, and of the sale generally it is interesting to know that there were no reserve prices, which is very seldom 
 the case in picture sales. A considerable proportion of the pictures were of no great merit, and accordingly brought 
 very moderate prices, generally under ,£50. The interesting pictures to be mentioned were as follows : — A large river 
 scene, “ On the Dort,” by E. de Schampheleer — ,£378; landscape, “Near Trouville,” by C. Troyon, 26m. by 37m — 
 £420 ; “The Grand Canal, Venice,” by Ziem — £(194 5 j. ; “ Gesuati-Chiesa, Venice,” by J. Holland, 95m. by 2oin.— 
 ,£241 ioj. ; and “ The Barbarigo Palace,” 19m., circular— ,£320 55-. ; “ A Scotch Deerhound,” by Landseer, 15m. by i8in. 
 — £ 99 iS-t- This was sold in the Gillott collection, 1872, for ,£166 19 s. A picture — a river scene — 2oin. by 32m., called 
 “ Eelpots,” attributed to W. Muller, 1841, being put up, Mr. Woods, the auctioneer, stated that some doubts had been 
 expressed as to its authenticity, and that as there was no guarantee of its genuineness, although it had cost Mr. Hermon 
 300 guineas, bidders would form their own opinion. It was soon knocked down at ,£68 5^. A very different reception 
 was given to the next picture, a small replica, or perhaps, earlier work, of Muller’s favourite “Gillingham Church,” 
 painted in 1843, 23-i by 165 in., in brilliant condition, which brought ,£614 5^. “ The Dawn of the First Easter Sunday,” 
 
 by E. Armitage, R.A., 1872, 46m. by 72m. — Mary Magdalene telling Simon Peter and John of the Resurrection 
 — ^juo5J. ; “In the Cloisters at Arles,” by P. H. Calderon, R.A. 1863, two Arlesiennes washing-girls, ,£446 55.; “A 
 Dutch Vessel Aground, ”by E. W. Cooke, R.A., 42 in. by 66in., painted 1865 — .£535 ioj-. This sold in the late Mr. Leaf’s 
 sale for £47,0 ; it was now bought by “ Mr. Martin.” Next came the four oil paintings by David Cox, of one of which 
 the auctioneer, however, had to remark, as in the case of the picture attributed to Muller, that doubts had been cast 
 upon its genuineness since it was exhibited in the room, and therefore, he felt bound to state this ; buyers, therefore, 
 would be guided by their own opinion, although it was due to the late owner to say that he had paid so large a sum as 
 £250 for this picture. Lot 53, “ A Windy Day,” i7jin. by 23iin., was sold for £67 4s. ; “ Changing Pastures,” Lot 52, 
 with its companion, “ Going to the Hayfield,” 55, was one of two very fresh and beautiful pictures of favourite subjects 
 with David Cox. He repeated it in very similar form in water colour, as he did also his “ Peace and War,” the oil 
 picture of which sold for no less than .£3,601 ioj. in the great Gillott sale of 1872. All the three pictures were painted for 
 Mr. Dawes, of Birmingham, from 1846 to 1851, and are almost equally fine in colour and as examples of the style of the 
 master. The “ Changing Pastures,” 23m. by 33m., was now put up at 500 guineas, and soon rose to 1,400 guineas 
 (.£1,470), at which price the hammer fell. The “ Going to the Hayfield,” 23m. by 33m., next sold for ,£1,050, may fairly 
 be compared with “ The Hayfield ’’ of the Ouilter collection, a drawing of about the same size, which sold in 1875 f° r 
 ,£2,950. “ Carrying Vetches,” by David Cox, 14m. by 2iin., bore the title of the subject on the back in the handwriting 
 of the artist, and signed. In stating this Mr. Woods remarked that such evidence as this was always acceptable, and 
 would often settle doubts that sometimes arise ; he would suggest that it would be an excellent thing if the Royal 
 Academy and the Water Colour Societies were to adopt the practice of branding their stamp on the stretcher-frames of 
 all pictures exhibited. This picture was then sold for ,£535. “ Scene in the Anno Santo — Pilgrims in Sight of Rome,” 
 
 by Sir C. L. Eastlake, P.R.A., 1828, 42m. by 64m., the picture engraved by G. Doo, R.A. — ,£273. “ Taking Rest,” by 
 
 T. Faed, R.A., 1858, 33m. by 25m., a cottage woman and her baby — £745 icw. (“ Mr. Martin”). “ Altisidora pretending 
 Love for Don Quixote,” by W. P. Frith, R.A., 1869, 58iin. by 6iin. — .£504. This picture, the auctioneer stated, cost Mr. 
 Hermon 2,oco guineas. “A Spate in the Highlands,” by Peter Graham, R.A., 1872, 27^ in. by 41-jin . — £787 10 s. This 
 was not the picture of the same title which first brought the painter into notice when exhibited at the old Academy 
 Galleries in Trafalgar Square, and was a much larger work, which is now in the collection of Mr. Cunliffe Brooks, 
 having been purchased at Christie’s about ten years ago for 1,300 guineas. “Newgate; Committed for Trial,” by F. 
 Holl, A.R.A., 1878, 6oin. by 82m. — ,£808 10.J. (“ Mr. Martin”). “The Duenna’s Return,” by J.C. Horsley, R.A., 27m. by 
 22in., erroneously called “The Duenna and her Cares,” and not, as stated, exhibited at the Academy — £1 77 io.y. 
 “ Store for the Cabin, Connemara,” 6oin. by 44m., a coast scene with figures, by Colin Hunter — ,£335. “ Poachers Deer- 
 stalking,” by Sir E. Landseer, R.A., 1831, 2oin. by 26m. — ,£840. In the Gillott sale a similar picture brought £(1,345, 
 called “Waiting for the Deer to Rise.” “ Old Brutus,” by Landseer, a white wire-haired bull-terrier dog, 43m. by 55m. 
 — £420. In the sale of Landseer’s remaining works this picture sold for £(630. “Where Deep Seas Moan,” by Peter 
 Graham, R.A., 66in. by 52m., the large upright picture of a rocky cleft, with sea-birds — £798. This was the fine work 
 of the artist exhibited at Burlington House in 1879, under the title of “The Seabirds’ Resting Place.” “The Baby- 
 lonian Marriage Market ” was next placed before the audience at the end of the room, being too large and, being under 
 plate-glass, too heavy to put upon the easel, and was received with a round of applause, soon followed by a bid of 2,000 
 guineas, from which it rose by bids of 500 rapidly to 4,900, at which there was a pause. Then 5,000 was bid in two 
 places, and again the bidding started with fifties, breaking out into hundreds till 6,000 was reached with a round of loud 
 applause ; then another 100, which was met by an advance to 6,150, and at last at 6,300 guineas the hammer fell to this 
 bid from “ Mr. Martin” amid the loudest applause. The picture is too well-remembered in the exhibition of 1875 to need any 
 description. It was sold with the copyright and it has not been engraved. The artist is said to have received 7,100 
 
ART SALTS. 
 
 , i S 
 
 [ 1882 . 
 
 guineas for this fine work. “ The Suppliants, ” the subject taken from “ The History of the Gipsies,” about the same size as 
 The preceding, 72m. by 1 13m., painted in 1872 by Mr. Long, sold also with the copyright for £4,305 (“Mr. Martin”). 
 “ Billeting in Cadiz,” by the same artist, painted 1868, 62m. by 44m., with copyright— £525. “ Moonlight,” by J. Mac 
 
 Whirter, A.R.A., 39m. by 65m., a coast scene— ,£283 ior. (“ Mr. Martin ”). “ Spindrift,” by the same artist, a coast scene 
 
 with carting of seaweed— £315 (“Mr. Martin”). The picture by Mr. Millais, R.A., of a “Deserted Garden” at early 
 morning, with a sun-dial and a hare sitting in her form, exhibited 1875, without a title, but with a verse of Campbell’s — 
 
 “Yet wandering I found in my ruinous walk, 
 
 By the dial-stone aged and green, 
 
 One rose of the wilderness left on its stalk, 
 
 To mark where a garden had been.” 
 
 The picture measures 48m. by 72m.— £945. “ Getting Better,” by the same painter, 1876, 41 in. by 35 in -— ^850. “The 
 
 Bathers Disturbed,” by P. R. Morris, A.R.A., 46m. by 72m., young ladies by a stream frightened by a bull looking over 
 the hedge ; exhibited at the Academy— £32 5. “ The Confessional,” a very unfinished picture, by J ohn Phillip, R. A.— £84. 
 
 “ The Church Porch ; Selling Relics,” by the same painter, a large and important work (6oin. by 84m.), begun in Seville 
 in 1S61 but left unfinished, though with most of the heads and figures showing some of his finest work — £3,937 ior. 
 Great interest attaches to this picture, as it was upon the easel, and the gifted artist was about to work at it, when he 
 was suddenly seized with fatal illness. It was a commission from Messrs. Agnew, and was accepted in the state we see 
 it left, and then passed into the collection of Mr. Sam Mendel, who contributed it to the special exhibition of the painter’s 
 works in 1873 after his death in February, 1867. It was now re-purchased by Messrs. Agnew. “A Highland Lassie 
 Reading,” by J. Phillip, R.A., seated life-size figure, exhibited 1867 — £945. “A State Secret,” by J. Pettie, R.A., 48m. by63 in. 
 exhibited 1874, the picture of a cardinal burning a document in presence of his attendant monk— £1, 050 (“ Mr. Martin ”). 
 “A Suburb of Pompeii during the Eruption of Vesuvius,” by P. F. Poole, R.A., painted 1865, 56m. by 72m. — £183 15^. 
 “Wayfarers,” by the same artist, a countrywoman with her baby — £430 10s. “ Cicero at his Villa at Tusculum,” by J. 
 
 M. W. Turner, R.A., exhibited at the Academy, 1839, and formerly in the Novar collection, from which it was sold by 
 Mr. Munro a few years before he died. It is a fine picture, of the same period as the splendid works sold for such high 
 prices in the Novar sale, but is obviously not in the same fine condition that made them so admirable. It measures 36m. 
 by 48m., and after being put up at 1,000 guineas, advanced rather languidly to ,£1,890, at which sum it was sold. “The 
 Return of Louis XVI. to Paris,” by E. M. Ward, R.A., the large picture (43m. by 5 1 in.) representing the Royal party 
 seated in their carriage, insulted by the mob — £325 ior. This was the last picture of importance in this very interesting 
 sale, which realised the large sum of £37,116 4J. 6 d. The total was generally considered to be very much beyond any 
 that would probably be reached, but the three principal pictures together brought £14,857. 
 
1882.] THE HAMILTON PALACE COLLECTION. 
 
 3i9 
 
 THE HAMILTON PALACE COLLECTION. 
 
 (“The Times,” February 6, 1882.) 
 
 The Duke of Hamilton has determined that the noble collection of pictures, statues and 
 splendid decorative furniture of this ancient ducal mansion, with the exception of the family 
 portraits and articles possessing a purely family interest, shall be disposed of about the same time 
 with the Library * of which we recently gave a brief preliminary notice. It is intended we under- 
 stand that the sale, which will form one more of the many important dispersions of Art Treasures 
 which have made the galleries of Messrs. Christie famous in the annals of Art Sales for more than 
 a century, shall take place during the coming summer. Hamilton Palace dates back to times as 
 early as the old kings of Scotland, having got its name of Palace long before the Lords of Hamilton 
 of olden times became possessed of it as the appanage of their possessions at Hamilton, now grown 
 into a busy town of trade and manufacture. Enclosed within the domain is the Moat Hill, an 
 ancient seat of Justice, with a Runic cross near it and an old gateway. Cadzow Castle and 
 Chatelherault are other interesting relics of the ancient Dukes of Chatelherault, created by 
 Henri II. of France in the Hamilton family. The present mansion, however, retains nothing of 
 the ancient palace, and is a stone edifice of vast size built in the debased classic style of the 17th 
 century, with parts added at the wings, forming the Beckford Library at one side, and the new 
 state rooms built in 1838 on the other, presenting a front by no means imposing, but rather heavy 
 and gloomy in appearance, with indifferent approaches. Having a souterrain of vast mineral wealth, 
 it has suffered like many other great residences in the North from the encroaching spread of coal 
 and iron works, and numerous mills and factories, the tall chimneys pouring forth their perpetual 
 fumes of smoke and noxious vapours in every direction, and rendering it every year more and more 
 unsuitable as a residence for a great nobleman. It may be described as quadrangular in plan with 
 a central block about 264 feet long, flanked by wings enclosing a courtyard open to the south with 
 the entrance door in the middle of the central fagade, under a fine portico of columns 25ft. high 
 each, of a single block from the Dalserf quarries, and on the model of those of the Temple of Jupiter 
 Stator at Rome. The main front of the building faces the garden, and looks north, the Beckford 
 Library standing out on the west wing, the new state apartments on the east. A remarkable 
 feature in the massive structure is the entrance hall, which is a hall of columns placed in five rows, 
 and supporting a groined stone ceiling, lit by windows on the garden front, and ornamented with 
 busts on pedestals, among which are prominently placed those of Peter the Great and the Empress 
 Catherine, which remind the visitor that Duke Alexander was ambassador to Russia. It is to this 
 Duke that is due the merit of having formed the extraordinary assemblage of works of Art as well 
 as the Library distinguished by his name from the Beckford Library. He appears indeed to have 
 been a virtuoso of heroic mould, for he not only surrounded himself with all this magnificence of 
 Art while he lived, but he built for himself a sepulchral monument or mausoleum, and here he rests 
 in the ancient Egyptian sarcophagus enclosed within it. This structure is like an ancient Egyptian 
 tomb in its extraordinary massiveness ; it stands in the Park, and is seen from afar, being no 
 less than 120ft, high, with grand flights of steps, fine bronze doors copied from those of Ghiberti, 
 and a basement of vaulted tombs, intended to be occupied by the future Dukes of Hamilton. 
 
 The pictures and statues are arranged in the grand suite of apartments forming the principal 
 part of the Palace, extending over the hall of columns and to the wings at each side. This grand 
 tier is reached by a staircase entirely made of black marble entered by a doorway at the right hand 
 corner of the hall. On the staircase is the large altarpiece by Girolamo dei Libri of the Virgin 
 and Child, with Saint Augustin and another saint under a tree with landscape background, the 
 largest and one of the finest of the works of this florid painter of the Veronese school. Here also 
 is a very fine antique statue in Parian marble of the Venus of the Capitol, and busts in red Egyptian 
 porphyry of Augustus and Tiberius and of Vespasian in black basalt, with draperies in jasper. 
 The marble hall, entered from the stairs, is a very imposing apartment, as here are the heroic 
 bronze statues of the Diana of the Louvre (Diane a la Biche), the flighting Gladiator, the Apollo 
 
 * The splendid library was sold by Messrs. Sothcby, Wilkinson and Hodge; the Beckford section in 1SS2 
 and 1883 ; the Hamilton in 1884. 
 
320 
 
 ART SALTS. 
 
 [1882. 
 
 Belvedere, the Antinous of the Vatican and the group of Hercules and Telephus. These are 
 important bronzes and of great historic interest, for they were cast in Rome for Francis I. 
 and once adorned his “Chateau de Ville Roy.” Some rare specimens of Rouen ware are other 
 noticeable objects in this hall ; four busts of heroic figures representing the Seasons painted au 
 naturel with pedestals of the same fabrique. The large altar-piece by Botticelli, the Assumption of 
 the Virgin with the zones of Heaven, in which are ranged the patriarchs, prophets, apostles, 
 evangelists, martyrs, &c., which will be remembered in the Burlington House Exhibition of Old 
 Masters in 1873, is a remarkable picture, painted as Vasari relates, for Matteo Palmien, a learned 
 Florentine, who gave the scheme to the painter, and had the mortification of being charged with 
 heresy and seeing his picture interdicted and covered up from the public view.* This picture 
 hangs above a most beautiful Renaissance mantelpiece of Florentine work of the 15th century in 
 black limestone, in front of which is a superb specimen of Florentine mosaic in a table of large size. 
 The long gallery, which may be entered from this marble hall, is principally filled with portraits, 
 among which is the fine Vandyck of the Earl of Denbigh in an eastern hunting dress with his gun, 
 and a boy in Persian dress, with a landscape background. But the great feature in this gallery is 
 the large picture by Rubens of Daniel in the Lions’ Den, of which the great painter spoke in his 
 letter to Sir Dudley Carleton, published in Mr. Carpenter’s pictorial notices, as having been entirely 
 painted by his own hand.t There are nine lions and lionesses full life-size, painted with all the 
 amazing power and spirit of the master such as we see displayed in the wonderful lion now exhibited 
 at Burlington House, belonging to Lord Normanton. This is a picture of unique interest, being 
 one of the Charles L Collection, and known to have been presented to him by Lord Dorchester. It 
 was engraved by Bloteling, and more recently by James Ward in mezzotint. Another work by 
 Rubens of great beauty is the landscape with the figures of Centaurs, known as “ The Loves of the 
 Centaurs.” 
 
 The state dining saloon which is between the Hamilton and the Beckford Libraries, and 
 adjoins the Tribune at the end of the Long Gallery, contains some extremely fine full-length 
 portraits, among which is that of Philip IV. by Velasquez,! wearing the Order of the Golden 
 Fleece, which according to Stirling was a spoil of the Peninsular War taken from the palace at 
 Madrid by General Dessolee. The equestrian portrait of Charles the First by Vandyck in this 
 room is a fine replica of the famous Windsor Castle picture, but with variations. Here are also 
 the portrait of Henrietta Maria ; a whole length of Charles the First in a crimson slashed dress 
 with the Order of the Garter ; the Duchess of Richmond full length in a white dress, with her son 
 as Cupid, in a landscape with buildings : a picture of striking elegance and beauty in brilliant tone 
 of colour. The portrait of Henrietta Princess of Phalsburg, is a full length mentioned in the 
 catalogue of Charles I. Collection, and engraved by Vois. A remarkable portrait in this stately 
 dining room is the full-length life-size one of Napoleon the Great by David ; whom the Emperor 
 especially favoured although he had been one of the most frantic revolutionists of ’92, and who 
 painted the well-known picture of Napoleon crossing the Alps. This full-length portrait was 
 painted expressly for the Duke of Hamilton, and is a very fine work by this eminent painter of the 
 French school. The large bronze of the Laocoon, which was in the Stowe Collection, stands at 
 the top of the room, and other fine pieces of statuary are a bust of a Venus, which Dr. Waagen 
 considered to be the work of a Greek chisel, and comparable in style with the Venus of Milo, and 
 earlier than the Venus de’ Medici ; a bust in red porphyry of the Dying Alexander, taken from the 
 Florence marble, and wonderfully executed in this hard stone, and a magnificent tripod in giallo 
 antico of the most costly and beautiful work. The rooms on the east side of the marble hall, 
 consisting of drawing rooms, music rooms, boudoirs and private apartments, and the new state 
 rooms, have the walls hung with fine tapestry ; that in the new state rooms being Gobelins work 
 by Nouzou bearing the date 1735. It would be impossible however, by any account which our 
 limits permit, to describe the extraordinary collection of the most costly and rare works of Art 
 which form the ameublemcnt of this grand ducal palace. There are cabinets of old Florentine mosaic 
 and pietra-dura work, one of which is said to have been designed by Michel Angelo ; another of the 
 finest Milanese work of the 16th century in iron elaborately chiselled and damascened with arabesques 
 
 * This most interesting work of the master was purchased at the sale, for the National Gallery for ^4,777 iaf - 
 
 t See quotation p. 326. 
 
 J Purchased at the sale for the National Gallery for ,£6,300. 
 
1882.] THE HAMILTON PALACE COLLECTION. 
 
 321 
 
 in gold, which excited no much admiration in the Loan Collection at South Kensington in 1862 ; with 
 a chess-table of similar Milanese work from the famous Soltikoff and De Bruges Dumesnil collections. 
 The old French furniture is considered to be quite unique of its kind, especially the suite of marquetrie 
 designed and made by Reisener in 1790 for Marie Antoinette, consisting of a secretaire, an etagere, 
 and cabinet, beautifully inlaid with wreaths of natural flowers, festoons and trophies with ormolu 
 medallions and mounts by the greatest ciseleur of the time, Gouthiere. These were described by 
 Mr. J. C. Robinson in the South Kensington catalogue as “ probably the most beautiful work of 
 its kind produced in the age of Louis XVI.” We have besides these the Duke de Choiseul’s 
 writing-table and Cantonniere with clock, with other fine specimens of the style of Louis XIV., 
 and a set of four large candelabra by Gouthiere of unusual excellence. The specimens of Buhl 
 work include a pair of splendid armoires once in the Louvre ; * the D’Artois cabinet, and various 
 other pieces, among which is a large sarcophagus by Buhl in his finest style. There are state 
 bedsteads, sofas and fauteuils, which once belonged to the Palace of Versailles, covered with 
 Beauvais tapestry. Besides those pictures which have been already named as holding a prominent 
 place on the walls of the different rooms, there are many others of the highest interest to which 
 attention must be drawn in taking a general survey of the collection. Among the Italian pictures 
 are some works of importance. By Andrea Mantegna there are six examples, the two fine half- 
 length portraits of the Duke Gonzaga and the Duchess of Mantua, his great patrons, mentioned by 
 Vasari, and the engravings of which will be found in the portfolios of the collection, though 
 Dr. Waagen while praising the fine colour and animated expression, thought them not refined 
 enough for this great master. Next two small panels with full-length figures of St. Sebastian and 
 St. George exquisitely painted in colours and which probably once formed the wings of a triptych. 
 Two similar panels in monochrome with two figures of vestals are equally remarkable for high 
 finish and the perfect preservation of the pictures.t By Botticelli there is an “ Adoration of the 
 Magi,”f a picture painted like a miniature with many small figures admirably drawn and grouped, 
 in a landscape, which Dr. Waagen pronounced to be a “gem by Fillipo Lippi erroneously called a 
 Botticelli.” By the rare master Antonello da Messina, the Italian pupil of Van Eyck in learning 
 his invention of oil painting, there is a portrait § dated 1474 inscribed Antonellus Messaneus me 
 fecit ; by Leonardo, the “ Boy with a horn-book,” a picture often spoken of as having been in the 
 famous Arundel collection and bequeathed by Lady Betty Germaine to Sir W. Hamilton. || There 
 are many other pictures of various schools besides those we have pointed out as remarkable 
 examples, which make the collection as varied and complete in the illustration of pictorial art as 
 it is distinguished especially by works in statuary of bronze and marble, by mosaic and pietra-dura 
 work of the highest excellence, and by decorative objects of every kind upon a scale of great 
 magnificence and extraordinary beauty. In these respects the sale will certainly surpass in interest 
 the celebrated sales of Stowe, Strawberry Hill, and the Bernal collection, as it will the San Donato, 
 and other great continental collections dispersed in recent times. 
 
 %* 1 hrough the very obliging consideration and co-operation of the proprietors of the admirable “ Revue 
 bimensuellef L’ A rt, I am enabled to give some of the engravings of the most interesting objects in this remarkable sale , 
 which appeared in the Illustrated Catalogue containing the prices of every lot and the ?iames of the purchasers , 
 published at the tinie at the “ Libraii-ie de L’Art,” 29, Cite d’Aniin, Paris. 
 
 (“The Times,” pine 13, r882.) 
 
 The sale of the great collection of pictures, statues and various works of art, with all the 
 magnificent decorative furniture of Hamilton Palace, of which a general description appeared in 
 the Times of February 6th, is now about to be entered upon in the rooms of Messrs. Christie. 
 
 * These sold for the enormous price of ,£12,075, J n the sale, see illustration, p. 332. 
 + Purchased at the sale, for the National Gallery for ,£1,785. 
 
 X Also bought for the National Gallery for ,£1,627 ioj-. 
 
 § Purchased at the sale, for the Louvre, for £514 100 
 || Purchased at the sale for ,£2,205, hy Mr. Winckworth. 
 
 VOL. I. 
 
 T T 
 
ART SALES. 
 
 [ 1882 . 
 
 3 22 
 
 The first portion, which consists of the Dutch and Flemish pictures, some fine oriental porcelain 
 and lacquer work, many ornamental objects and the famous Marie Antoinette furniture, is arranged 
 for a special private view (by ticket only) to-day and afterwards during the week, the sale 
 commencing on Saturday and being continued on the Monday and Tuesday. This order is to be 
 followed in each succeeding week with the other four sections into which the sale is divided, 
 bringing the whole to a conclusion on July 20th with the antique gems and coins. There will 
 accordingly be seventeen days occupied with the dispersion of this remarkable collection, which is 
 rather more than half the time taken in the disposal of Mr. Bernal’s collection in 1855, by the same 
 auctioneers, and much less than the Strawberry Hill sale by George Robins in 1842, the Stowe 
 sale in 1848, and the sale at Fonthill Abbey in 1823, with which this has its associations in the 
 numerous works of Art that belonged to Mr. Beckford’s Treasures and passed with the famous 
 library that bears his name to his daughter the Duchess of Hamilton, wife of the Duke Alexander, 
 to whose fine taste and culture is due the formation of this extraordinary collection possessed 
 intact for half a century. That it should now be torn from all the old associations and from the 
 splendid surroundings of a palatial interior and brought under the fierce light upon the bare 
 boards of an auction room, is to be regretted for many reasons, however cogent may have been 
 the necessity to give every facility to those purchasers from the great foreign museums and others 
 from abroad who are certain to make their impression upon the hard-cash estimate of these long 
 cherished treasures of Art. It was originally intended to hold the sale in the palace, and this for 
 lovers of art would have been a consummation devoutly to be wished, as it would have given great 
 historic eclat to the sale, with possibly an amount of enthusiasm that would have told upon the 
 material result. But practical considerations outweighed even the risk and enormous cost of 
 removing such objects as the bronze Laokoon of the full size, the two immense porphyry and 
 ormolu tables, and other most importable things, and it was decided to abide by the prospects of 
 the auction room. The public at any rate will benefit by the display of many such works of Art 
 as have never before been seen, and there is this to be said, that even to those who have had the 
 privilege of a visit to the galleries of Hamilton Palace there will be many revelations, for pictures 
 of the greatest interest will be perfectly seen now, which as they hung on the walls of the palace 
 were utterly unknown. The picture of “ Ceres and Autumn,” by Mantegna, is one of those which 
 will now be admired for its astonishing beauty and wonderful state of preservation. Another is 
 the little Ostade of a peasant interior which Dr. Waagen on his visit found placed too high to give 
 an opinion upon, but which we may now venture to say will be pronounced a most charming 
 picture. Then there is the great picture of “ Daniel in the Lions’ Den,” by Rubens which could 
 only be seen properly by a special arrangement of lamps and reflectors in the Long Gallery of the 
 Palace, but which is now shown to the greatest advantage on the side-wall of the gallery in 
 King Street. This fine work of the master is nearly 11 feet long by 8 feet high, and will be 
 remembered in the Burlington House Winter Exhibition as one of those lent by the Duke of 
 Hamilton in 1S73. A smaller but not less remarkable picture by Rubens, which comes in the 
 first section of the sale, is that called “ The Loves of the Centaurs,” a beautiful landscape with 
 male and female Centaurs embracing, and another pair sporting in the middle distance, painted 
 with astonishing power and wonderful conception of the wild grace and beauty of these strange 
 mythical creatures of the Greeks. Rubens dominates completely in the gallery, and even 
 throughout the collection there is not a portrait that can surpass that of Isabella Brandt, his first 
 wife when she was thirty, as inscribed upon the picture, which is painted in his earlier and less 
 dashing style. The portrait of Philip IV., said co be a copy by Rubens from a picture by Velasquez 
 while he was at the court of Spain, and the one mentioned in the catalogue of his effects, is 
 interesting, but not as a characteristic work of the master. The small sketch portrait in grisaille 
 of Duke d'Olivarez, done for the engraver Pontius, and the beautiful design in the same style, for 
 a large salver, of “ The Birth of Venus,” are extremely fine examples of the master’s power and 
 facility of hand, and will be specially appreciated by amateurs for the pearly purity of the colouring 
 and all the charm of touch which delight the artistic eye. Vandyck is certainly not to be seen 
 at his best in any of the portraits; the Charles I. on his grey charger is less than life-size and 
 obviously by some prentice hand, while the Duchess of Richmond and her son as Cupid, a fuil 
 length, can only claim the head as the work of the master. The Princess of Phalsburg, sister to 
 the Duke of Lorraine, which was no doubt one of the Orleans pictures that came from the 
 collection of Charles I., and is mentioned in the Royal catalogue, is a very noble portrait, though 
 
1882.] THE HAMILTON PALACE COLLECTION. 
 
 3 2 3 
 
 the lady was not so comely but that the painter tried to set her off with the negro page at her 
 side. A half-length of Queen Henrietta Maria, in profile with pearls in the hair, is attractive in 
 the expression of sadness and tenderness given to the head with that masterly impulse that is so 
 fascinating in some of Gainsborough’s happiest portraits. 
 
 The Rembrandt portraits will probably give rise to no small amount of discussion among the 
 great judges. His portrait of himself is a striking work, and the signature is upon the background. 
 The other two pictures, which are portraits of a lady and a woman, cannot be accepted as decisive 
 and unquestionable, indeed the latter has much of the manner and colouring of Nicolas Maas. Of the 
 Holbeins also it must be admitted that, though good pictures, they do not carry conviction with 
 them at once as Holbein's portraits generally do. The Edward VI., full-length, seems to resemble 
 more the work of Lucas de Heere, though it is certainly a very truthful and interesting portrait, 
 whoever may be the painter. The background bears a label on which is written, probably by the 
 hand of the painter, “ Kinge Edward 6.” The one work of Hobbema — a water-mill with a fine 
 afternoon sky glowing with light, spreading beautiful reflections over the stream, is an admirable 
 example. 
 
 The little Ostade, is a picture as full of his humour and character as any he ever painted, and 
 for richness of tone and colour is a match for most of his best works. Brauwer, though coarse 
 and clumsy by the side of Ostade, is seen at his very best in a picture of a grimy boor playing a 
 guitar to a hideous old crone who grins at the joke of the song, while her cat licks out the kettle 
 at her feet. The small and very beautifully painted portrait of Albert Diirer, which bears his 
 monogram and date 1507, and is considered to be by his hand, though Dr. Waagen regarded it as 
 an old copy, is unquestionably a work of serious pretensions to authenticity, and as a painting 
 it is remarkable for the delicate work in the handling of the hair and beard, which however 
 indicates a younger man than Albert would have been at this date when he was in his 36th year. 
 The other portrait, said to be one of Diirer, by himself, is the picture which was exhibited as 
 “a portrait unknown,” at Burlington House in 1873. It is rather larger than life, and painted 
 almost in monochrome, with very black hair and beard minutely painted, although the grain of the 
 canvas shows through all over the picture in a manner curiously dry and hard, as if to give the 
 effect of tempera painting, in which possibly the picture, except the background on which it has 
 been mounted, has been executed. There are some other examples of this kind of work attributed 
 to Albert Diirer in the Vienna Gallery. These are the principal pictures of the Dutch and Flemish 
 schools, which on the whole, are not of first-rate importance, and would not sustain the high 
 reputation of the collection without those surpassingly interesting Italian pictures which will come 
 before the public in the two succeeding exhibitions of the next sections of the sale. The climax 
 will be reached with them, and the grand bronze group of the Laokoon which was at Stowe, the 
 antique bust of Niobe in porphyry, the famous Beckford Vase of Greek painted pottery, the rare 
 Persian enamelled glass ware, the Michel Angelo Cabinet, the Henri Deux ware, and many other 
 exceptionally fine works of ornamental art too numerous to be named. Some of the superb pieces 
 of furniture are already placed in the ante-room, such as the two large porphyry tables on their 
 gorgeous ormolu stands, and those of the rare Oriental agate with Breccia borders, which are 
 extremely rich and beautiful. The remarkable busts in porphyry and basalt of the Roman 
 Emperors, with their gilt bronze wreaths and draperies standing in the corner, give a most 
 imposing appearance to the sale room, and the general effect of so many splendid pieces of 
 furniture, magnificent Sevres vases, crystal chandeliers, pietra-dura coffers, and cabinets of the 
 finest French work of the time of Louis XIV., XV., and XVI., is such as has never been seen 
 before even in these rooms, where so many great collections have passed into dissolution. 
 
 (“The Times,” June 15, 1882.) 
 
 The special private view of the objects in the first part of this great sale was a very brilliant 
 affair. The large rooms of Messrs. Christie were crowded all day from the moment the doors v/eie 
 open, and among the earliest visitors were some of the most distinguished noblemen, gentlemen, 
 and ladies interested in Art matters. We noticed the Duke of Westminster, Lord Granville, the 
 
 T T 2 
 
ART SALTS. 
 
 [ 1882 . 
 
 324 
 
 Duke of St. Albans, Lord Northbrook, Lord Wimborne, Sir Nathaniel de Rothschild, Baron 
 Edward de Rothschild, Mr. Alfred de Rothschild, and Mr. Leopold de Rothschild ; the Marquis 
 of Tweeddale, the Marchioness of Ailesbury, Lord and Lady Dudley, Lady Loyd-Lindsay, the 
 Countess of Jersey, the Duchess of Cleveland, the Countess of Wharncliffe, Lady Eastlake, Lady 
 Rawlinson, Lord Normanton, Mr. Edward Baring, Mr. F. W. Burton, Mr. Scharf, Mr. J. C. 
 
 Fig 1— WRITING TABLE OF QUEEN MARIE ANTOINETTE 
 
 Robinson, and others, with man) who were evidently foreigners. The Marie Antoinette furniture 
 seemed to be the greatest attraction, especially the little writing-table which bears her cipher, and is 
 branded as belonging to the “ Garde-Meuble de la Reine.” (Fig. 1.) This, like the large secretaire 
 and commode, is of the most exquisite Marqueterie work, in wreaths of flowers, fruit, and trellis-pattern 
 inlay of coloured woods, designed and made by Reissener and signed by him, “ Rcissener fecit 1791-’ 
 The ormolu mountings are of equal beauty, chiselled by the most famous artist of his time, 
 Gouthiere, forming pendants of roses and lilies of the valley, and vine-like wreaths modelled with 
 the most charming naturalness and freedom. The prices talked of as likely to be bid for the 
 unique specimens of this beautiful style of cabinet work, so interesting also in the historical 
 
1882.] THE HAMILTON PALACE COLLECTION. 
 
 325 
 
 associations attaching to them, are perfectly fabulous : from 7000 to 10,000 guineas for the little 
 writing-table alone. A gorgeously ornamented ebony coffer of Italian work, the lid profusely 
 adorned with fruits in old Florentine pietra-dura work in the round, came in for a large share of 
 admiration, as it occupied the centre of the room. The secretaire which once belonged to Madame 
 Du Barry, was another object around which there was a constant crowd, interested more out of 
 curiosity than admiration for the work, which is fantastically ornamented with drawings of figures 
 surrounded with imitation of white lace, and in the centre panel of the door a pastel portrait of a 
 young girl. On each side of this cabinet were placed the splendid Mandarin vases, which are white, 
 with raised white flowers and gold foliage in large leaf-shaped medallions, with gilt and enamelled 
 Kylins on the covers. A Louis XVI. cabinet of ebony, with panels of old Japan lacquer and ormolu 
 fronts, with a fine slab of antique Egyptian granite, bearing upon it the superb Sevres china lyre 
 clock, and the two companion vases in bleu du Roi, formed a group in the large room which was much 
 admired. Various cabinets, coffers of old lacquer, ebony chairs, and fine Oriental vases, arranged 
 round the sides of the rooms, with the smaller pictures interspersed, made up a display such as is 
 rarely seen. The important pictures of the Flemish and Dutch schools only were hung in the 
 great room ; Rubens’s magnificent “ Daniel in the Lions’ Den,” forming the central object on the 
 left wall ; the beautiful portrait of Isabella Brandt, the first wife of Rubens, on the opposite side, 
 flanked by “ The Loves of the Centaurs ” and the Hobbema landscape. The equestrian portrait 
 of Charles the First was at the top of the room, and the other Vandyck full-lengths on each side at 
 the angles. 
 
 It may give some idea of the great interest taken in the sale to say that the 700 copies of the 
 illustrated catalogue printed, have been sold at one guinea each and the demand for them goes on ; 
 while of the ordinary sectional shilling catalogue great numbers are being sold, as well as of the 
 complete catalogue without illustrations. To-day the admission is without tickets. 
 
 (“The Times I June 19, 1882.) 
 
 The first act in the final dispersion of this famous collection, which has attracted the amateurs 
 and dealers of all Europe and America to contend for its treasures, has now passed with the sale 
 of the pictures of the Dutch and Flemish schools on Saturday last at Christie’s. On no previous 
 occasion has there been so large a number of persons at a sale here. 
 
 Mr. Woods opened the sale with a few remarks as to the unprecedented interest shown in the 
 collection, which has such great associations in being formed by two such distinguished men of 
 taste as Mr. Beckford and the Duke Alexander of Hamilton, who had purchased their treasures at 
 a time when they were not so much sought after, and through whose care they had been preserved 
 in the remarkably perfect condition in which they are now. He gave expression to the opinion 
 which had -been so frequently pressed upon him during the exhibition of these fine works of Art, 
 that some of the pictures should find a place in the National Gallery ; and he would state that he 
 had received offers from two gentlemen to subscribe £100 each to purchase the great work of 
 Rubens, the “ Daniel in the Lions’ Den,” for the nation. After a round of applause the sale com- 
 menced. The following were the most interesting pictures amongst those mentioned, which with 
 others are in the lists, Vol. II. Portrait of the Princess of Phalsburg, by Vandyck. This excellent 
 picture was, after some competition, knocked down to Mr. Davis, who, it was understood, was 
 agent for Lord Rosebery, at £2100 ; Duke d’Olivarez, by Rubens, in grisaille, in an oval decorated 
 with palms and trophies, and two angels, £472 10s. (Winckworth). This was the portrait done for 
 the well-known engraving by Pontius. Portrait of Albert Diirer, by himself, signed with his 
 monogram and dated 1507 —wearing a white cap and brown cloak — £409 10s. (Pollen); portrait of 
 Edward VI., attributed in the catalogue to Holbein, but obviously it could not be by that great 
 painter,* as he died in 1543, when the prince was in his sixth year only. 1 his most interesting 
 
 * This portrait was generally considered to be the work of Guillim Streetes who was painter to the young 
 
 king. 
 
ART SALTS. 
 
 [ 1882 . 
 
 326 
 
 portrait, the authenticity of which was quite accepted, sold for £798 (Whitehead). We have since 
 learnt that it was purchased by direction of Mr. J. C. Robinson, under a command from the 
 Queen, for the Royal Gallery at Windsor Castle. “The Birth of Venus” (or “Triumph of 
 Galatea”), oval grisaille by Rubens, as a design for a silver salver. For this beautiful and unique 
 example there was a great contest between M. Gauchez and Mr. Denison, the latter obtaining it at 
 the high price of 1600 guineas (£1680). “ The Loves of the Centaurs,” by Rubens, 20 in. by 28m., on 
 
 panel, was put up at a bid of 500 guineas, and very quickly rose to £1500, being soon knocked down 
 at £2100 to “ Mr. Stewart,” a name that was admitted to be a nom de guerre. This picture brought 
 the sale to the grand work of Rubens, “ Daniel in the Den of Lions,” which had been covered up 
 at the end of the room behind the rostrum, and was now uncovered amidst a round of applause, 
 after which Mr. Woods remarked that he hoped it might be seen in the National Gallery, and that 
 there was a time when gentlemen clubbed together to purchase in that room fine pictures and 
 present them to the nation, as they had done with the “ Holy Family ” by Sir Joshua Reynolds, 
 and “ The Cornfield” by Constable, so much admired in the National Collection. The picture was 
 then put up at a bid of 1000 guineas, followed immediately by one of 2000, advancing by bids of 
 500 to 4000 guineas, when there was a short pause, and the biddings, which only came from two 
 quarters, advanced by 100 up to 4900, when, after repeating this sum three times, the hammer fell, 
 and Mr. Denison was announced to be the purchaser. The picture was exhibited at Burlington 
 House in 1873, and is thus described : “ The prophet is represented sitting naked in the middle of 
 the den, his hands clasped, and his countenance directed upwards with an expression of earnest 
 prayer. Nine lions are prowling round him.” To this it may be added, that Rubens, in a letter 
 to Sir Dudley Carleton, June 1, 1618, names in the margin this picture, with others he wishes to 
 sell, — “Daniel,” “The Leopards,” “The Hunt,” “St. Peter, Susanna, St. Sebastien,” “Pro- 
 metheus,” “ Leda,” “ Sara and Agar.” In the Italian letter referring expressly to the “ Daniel,” 
 he puts the price in the margin, 600 fiorini, and his actual words are, “ Daniel fra molti leoni cavati 
 dal naturale originale tutto da’ mia mano.” 
 
 We may now say what was known to a few persons before the sale, that another “ Daniel ” 
 exists, which is pronounced to be a picture of high excellence, and which for many years has been, 
 and is now, the altar-piece in the parish church of Godshill, near Ryde, in the Isle of Wight. This 
 was presented to the church by the late Sir Richard Worsley, of Appuldercomb, in the Island, the 
 distinguished antiquarian, who had a fine collection of Greek marbles, and it had been in the 
 possession of his father, Sir Thomas, before him. It corresponds with the picture now sold, and 
 measures with the frame lift. 9m. by 8ft. 6in. high. Whether this frame is the “ black gilded 
 frame ” described in the Royal catalogue is a point that remains to be cleared up. 
 
 (“The Times,” June 20, 1882.) 
 
 The sale of the fine porcelain, old Japan lacquer work, jade carvings, and decorative 
 furniture commenced yesterday at Christie’s, attracting almost as crowded an assemblage as the 
 sale of the pictures. Mr. Christie conducted the sale, beginning with the very numerous lots of 
 Chinese and Japanese plates, which, considering their very moderate pretensions, brought very 
 high prices. A small Chinese teapot, prettily painted with flowers, and mounted with silver-gilt 
 spout, lid and handle, said to have been a favourite used by Mr. Beckford, brought £38 6r. 6 d. 
 
 Among the articles of furniture the most remarkable were : A pair of cabinets, of ebony and 
 mahogany, with panels of lacquer and small medallions, painted by Angust, 4ft. nin. high, £1029. 
 The d’Artois cabinet, a Louis XIV. commode of ebony inlaid, ornaments of ormolu chased in 
 relief, the monogram C.A. and the arms of France, 5ft. 4m. by 2ft. 2in. — £766 10s. A large Italian 
 coffer, of ebony, with masks, scrolls, fruit, and flowers in old Florentine mosaic, in high relief, 
 2ft. 6in. by ift. 8in., 2ft. high, from Fonthill, — £952 js. 
 
1882.] THE HAMILTON PALACE COLLECTION. 
 
 3 2 7 
 
 (“The Times,” June 21, 1882.) 
 
 The sale of yesterday included many lots of old Japan and Chinese porcelain plates, and 
 some Kagu ware basins, and several very excellent vases, all of which brought prices fully up to the 
 commercial value of such objects. Among the old Japan lacquer boxes, two little boxes in the 
 form of geese, with their feathers all modelled in gold lac, about 2jin. long, sold for 43 guineas. 
 A small cabinet of gold lacquer, with flowers and foliage in relief in mother-of-pearl and silver, with 
 nest of drawers, measuring only 6|in. by 3^in., brought no less than 255 guineas. 
 
 The most important of the porcelain vases were a pair of very line old China porcelain flat- 
 shaped Celadon green vases, with ornaments in slight relief, mounted in ormolu handles of boys 
 holding festoons, and the border of shells, and scroll ornaments in ormolu — finest work of the 
 time of Louis XV., 12m. high — £850 xos. Among the clocks was a Louis XVI. clock, with 
 enamelled dial showing the days of the month and phases of the moon — £661 10s. 
 
 After a cabinet, painted in colours on gold ground, in the taste of Venus Martin, had been 
 sold for £777, and a secretaire, formerly the property of Madame du Barry, for £430 10s., came 
 three beautiful pieces of Marie Antoinette marqueterie furniture, of which the little writing-table 
 was taken first and placed before the crowded audience with a round of applause. It is described 
 in the catalogue as an oblong writing-table, en suite, with draw fitted with inkstand, writing-slide, 
 and shelf beneath, an oval medallion of a trophy and flowers on the top, and trophies with foui 
 medallions round the sides; stamped J. Reisener, and branded beneath with the cipher of Marie 
 Antoinette and “ Garde Meuble de la Reine.” These specimens were executed for Marie 
 Antoinette. In both the wood and metal work the utmost perfection of design and execution is 
 displayed at the culminating period of French decorative art, and in all probability the suite of 
 furniture, as a whole, is the most important and beautiful work of its kind produced in the reign of 
 Louis XVI. (See Fig. 1 and Catalogue of S. Kensn. Loan Exhibition, 1862, where they were 
 exhibited.) The first bid was 3000 guineas, the next 4000, and then 4500 guineas, after which 
 the biddings advanced by hundreds up to £575°) an d then by fifties to £6000, at which sum the 
 hammer fell to Mr. Wertheimer’s bid. The next piece was a Louis XVI. upright secretaire, made 
 for Marie Antoinette by Reisener, signed by him and dated 1790. On the front is an ormolu 
 chasing in ormolu by Gouthiere, of doves, with a quiver of arrows and flowers in a shield-shaped 
 panel of marqueterie, and wreaths of flowers in coloured woods ; baskets of flowers, fruit, and 
 ornaments, with borders of flowers and trellis pattern in parqueterie ; the ormolu ornaments of 
 flowers and mouldings elaborately chased and finely executed by Gouthiere, the most famous 
 ciseleur of his time. It is branded on the back with the cipher of Marie Antoinette and Gaide 
 Meuble de la Reine,” and measures 4ft. gin. high by 3ft. 6in. wide. Put up at 1500 guineas it 
 speedily reached 4400 guineas, at which sum it was knocked down to Mr. Boore s bid. 1 he 
 commode en suite, also made by Reisener, and signed by him with the date 179L one y ear later, 
 was put up at the bid of 1000 guineas, and, advancing with the same spirit, biddings from the great 
 dealers present, paused for a moment at 4000 guineas, when Mr. Stettiner bid 4100 guineas and 
 was declared the purchaser. Thus, in less than ten minutes, these exquisite and unique specimens 
 of old French furniture, which had been companions in the palace of the Prench Queen, and had 
 remained so many years preserved in the palace of the Hamiltons, weie separated, piobably nevei 
 to be brought together again. The three pieces brought altogether -£14,925. 
 
 (“The Times,” 26 June, 1882.) 
 
 It was well known that the wish of the trustees of the National Gallery had been met with a 
 liberal and substantial grant, and all the lively expectation that had been expressed dui ing the 
 exhibition of the pictures was at once confirmed when in front of the crowded audience weie to 
 be seen Mr. Burton, the Director, in company with Mr. G. Howard, M.l ., and Sir V . Giegory, 
 two of the trustees of the National Gallery. Near to them, however, weie to be observed two 
 
ART SALTS. 
 
 [ 1882 . 
 
 328 
 
 formidable opponents as agents expressly commissioned* by the Director of the Louvre — 
 M. Gauchez and M. Courajsch — who, it is now a matter of high congratulation to know, did not 
 prevail against the Director in any one instance, as every picture which was desired for the 
 National Collection was obtained, and at a very moderate expenditure. The great contest was of 
 course over the large work of Botticelli, “ The Assumption of the Virgin,” which was acquired by 
 the trustees for £4 777 10s. The other pictures bought by Mr. Burton were “ The Adoration of 
 the Magi,” by Botticelli — 1550 guineas ; the Andrea Mantegna monochrome, “ Summer and 
 Autumn” — 1700 guineas; the Giorgione, “ Story of Myrrha,” for 1350 guineas; the small portrait 
 attributed to Leonardo, No. 344 in the catalogue — £525 ; and the large work of Tintoretto, 
 “ Christ Washing the Disciples’ Feet,” for 150 guineas, a price which gives no idea of the value of 
 this magnificent picture, than which, as we believe, no such important example of the Venetian 
 school has ever been obtained for our National Gallery since the large picture of Paolo Veronese, 
 “ Darius and his Family at the Feet of Alexander,” was bought by authority of the Treasury in 
 1857 of Count Pisani, for whose family it was painted, at the large price of £13,650. We may 
 now safely say that our National Gallery possesses two of the finest pictures of any public gallery 
 in the world by these great masters of the school, and if economy is worth thinking about, this 
 Tintoretto is about the cheapest picture that ever was sold. Thus for £10,299 I0S - six invaluable 
 examples have been added to the National Collection. 
 
 That the public will appreciate the great importance of these pictures was indicated by the 
 rounds of applause that were given as the purchase of each picture was announced at the sale. 
 The National Gallery of Ireland has also been fortunate in acquiring a very fair example of 
 Francia, a Madonna and Child with two other figures, at the very moderate price of 256 guineas. 
 Mr. Doyle, the Director of the Dublin Gallery, was present at the sale, and we noticed in the 
 numerous assembly of amateurs the Earl of Coventry, the Earl of Crawford, Lord Leconfield, the 
 Earl of Powerscourt, Lady Ashburton, Mr. Holford, Mr. Malcolm of Poltallock, Mr. C. Nugent 
 Banks, Mr. William Graham, Mr. Jerningham, M.P., Professor Sidney Colvin, Mr. Cyril Flower, 
 Mr. E. M. Blood, Mr. Agnew, M.P., and Mr. Bohn, the veteran collector of pictures and 
 bibliophile, who is now in his 86th year, and who mainly assisted the Duke Alexander of Hamilton 
 in the formation of the famous library soon about to be sold at Sotheby's. 
 
 The sale commenced with some rather questionable pictures, attributed to various great 
 masters. At the first lot of the 102 pictures in the day’s sale, Mr. Woods made some apology by 
 remarking that it was considered better to adhere to the Hamilton Palace catalogue than to attempt 
 any renaming of the pictures. (Here followed some unimportant pictures.) A portrait of a 
 gentleman in a black dress and cap, full face, with the hair cut straight across the forehead, 
 attributed to Leonardo da Vinci, I2in. by gin., panel, in an ebony and tortoiseshell frame — £525 
 (National Gallery) ; “ Christ Washing the Disciples’ Feet,” a large gallery work by Tintoretto, 
 containing many figures the full size of life, the figure of Christ in the centre kneeling before one of 
 the disciples, a very grand figure standing on the right at the side of the composition, painted on 
 canvas, 79m. by i6oin., joined across the middle horizontally, the seam being open, and the surface 
 of the picture generally obscured by chilled and darkened varnish, but substantially in a sound 
 condition, and showing all ' the vigorous stamp of the master who boasted that he followed the 
 design of Michelangelo and the colouring of Titian. Fortunately for the National Gallery this 
 magnificent picture attracted the notice of few but those who were practically skilled in detecting 
 a fine picture under a dense cloud of dirt. It was hung upon the wall being too large for the 
 easel, and when uncovered so little was thought of it by most of those present that it was speedily 
 knocked down at the bidding of 150 guineas from Mr. E. M. Blood, who, as we were afterwards 
 informed by Mr. Burton, had undertaken to act for him, and thus obviate the competition from 
 foreign dealers which would probably have arisen had it been seen that the National Gallery 
 authorities were bidding for it. Mr. Burton was warmly congratulated after the sale upon his 
 success in obtaining this t and the other important pictures above referred to. Heads of the 
 Virgin and the announcing angel by Fra Angelico, on separate panels, iq^in. by ioin., painted in 
 tempera. The Virgin is looking down, holding a book, her hands crossed on her breast, the face 
 
 * This was only a conjecture at the time, and it was afterwards denied that any commission was given by 
 the Louvre authorities. 
 
 t This picture has been in the hands of the restorer, and is now hung No. 1130. 
 
1882.] THE HAMILTON PALACE COLLECTION. 
 
 329 
 
 three quarters, with yellow hair, and a gilt aureole. The size of the head of the Virgin is 4m. to 
 top of the hair, and of the angel 3Jin. Both figures have the hands shown. These beautiful 
 examples of a master rarely seen in this perfect condition were put up at the bid of 300 guineas 
 and soon rose to 1250 guineas (£1,312 105.), at which sum Mr. Winckworth was the purchaser. 
 “ St. Sebastian and St. George,” a pair of small panels joined, having probably been the wings of 
 a triptych, 14m. by loin., the figures stand full length in arches painted in pink, with spandrils 
 having cherubs, one at each side, holding palms. This beautifully painted picture, which was 
 attributed in the catalogue to Andrea Mantegna, brought £441 (Mr. J. E. Taylor). The most 
 decisive and characteristic work of Mantegna was 398, the two figures on separate panels in 
 brownish monochrome, erroneously called vestals in the catalogue, but properly a female figure in 
 classic drapery, with the attributes of Ceres above her, holding a corn sieve, with a background 
 painted elaborately in imitation of agate, personifying Summer, the other figure being in similar 
 drapery, standing under an olive tree drinking from a wine cup, as personifying Autumn, the 
 background also an imitation of agate. The minutely finished painting of this picture is quite 
 marvellous, more delicate and exact in drawing than even the masterpieces of finish in the Dutch 
 and Flemish masters. What enhances the artistic value of this rare example of a rare master is 
 the extraordinary perfect state in which it is, without crack or blemish of any kind. This 
 picture, which is on panel of about half an inch in thickness of sycamore or chesnut, and 
 measures 28m. by i8in. was bought for the National Gallery for £1785, and the importance of its 
 acquisition was shown by the round of applause which followed the announcement. The portraits 
 on the same panel of Mantegna’s great patron Luigi Gonzaga, sixth Lord and second Marquis of 
 Mantua, with his wife Barbara, of Brandenburg, separated by a column standing on the table in 
 front of them, upon which the coat of arms is suspended, did not satisfy connoisseurs as to its 
 authorship. It is engraved by Andrea, and such a picture is mentioned by Vasari, but this picture 
 is considered generally to be of a much later period, and is possibly by the hand of Francesco, 
 the son of Andrea. It measured 27m. by 40m., and was bought for £210 by M. Cernuschi of Paris. 
 “ The Four Fathers of the Church,” by Pietro della Vecchia, 66in. by 78m., canvas, life size, 
 half-length figures — £472 10s. (Mr. Mainwaring). There w 7 ere three pictures by Marcello Venusti, 
 which attracted much notice during the week preceding the sale, and this interest was well 
 sustained by the high prices they brought. The first of these was described in the catalogue as a 
 “ Madonna and Child with St. Elizabeth and St. John,” but the figure of “St. Elizabeth” was 
 observed to be a bearded man, holding his hand to his mouth as the prophet Jeremiah does in the 
 well-known figure on the ceiling of the Sistine Chapel. The subject rather would appear to be 
 one representing the future of the Saviour, with St. John as the foreteller of Christianity on one 
 side, and a prophet of the old dispensation, or St. Joseph, on the other. This picture is in the 
 most astonishingly perfect condition, and the head of the Virgin is from the same model as that 
 painted in the famous Holy Family in the Uffizi. It came from the Borghese Gallery, and appears 
 to have been brought to this country by Woodburn, who sold it to the Duke Alexander. It is 
 mentioned by Mariette and Bottari as being designed by Michelangelo, and distinguished by the 
 figure of the young Jesus, who is not represented as an infant, but as a grown boy lying across the 
 lap of the Madonna with his arm dangling down (con braccio ciondoloni). It is an upright 
 picture, nin. by 17m. — £430 10s. (Bought by Messrs. Agnew for Lord Windsor.) “ Christ driving 
 out the Money-changers ” was another exceedingly interesting picture by Venusti, after the 
 design of Michelangelo, from the Borghese Gallery, and collection of Sir Thomas Lawrence, the 
 drawing of it being in the Lawrence Collection belonging to the Oxford University. This is on 
 panel, 23m. by i5jin., and in a perfect state. After a brisk competition it was knocked down to 
 Mr. Mainwaring for £1428.* “ The Adoration of the Magi,” by the same painter, formerly in the 
 
 Aldobrandini Gallery and Fonthill Collection, 2oin. by 13m., panel, arched top — £1218 (Mr. 
 Mainwaring). A much more important picture was “ The Adoration of the Magi,” by Botticelli. 
 It is on panel, 22in. by 33m., painted in tempera, with the exquisite finish of a miniature in the 
 drawing and expression of the heads. The landscape also is remarkable for minute detail, and for 
 the small figures forming the procession of kings and pilgrims coming over the hills in the middle 
 distance. This perfectly preserved and admirable example was purchased for the National Gallery 
 for £1627 10s. “ The Madonna with the Infant Christ in her Lap,” holding a bird, in a landscape 
 
 * Afterwards sold in the late Mr. C. B. Denison’s Collection, and purchased for the National Gallery. 
 
 VOL. I. 
 
 U U 
 
330 
 
 ART SALTS. 
 
 [ 1882 . 
 
 with a clear sunny sky, and a shepherd and sheep, with a city on the hill, by G. B. Cima, “ II 
 Conegliano.” It came from the Nuncio di Verona at Venice in 1770, as inscribed on the back, 
 and was one of the pictures bought back by Mr. Beckford at the Fonthill sale. It measures 13m. 
 by ioin., panel, in a remarkably good state — £651 (Agnew). A pair of upright pictures by Bassano, 
 representing the journey of the Israelites, 33m. by 15m., panel, from Fonthill — £609 (Agnew): 
 portrait of Leonora di Toledo, wife of Cosmo de’ Medici, with her son by her side, half length, by 
 Bronzino. For this much-admired portrait there was a sharp contest between M. Gauchez and 
 Mr. Vokins, in which the latter was the winner at the price of £1837 I0S * The Madonna, her 
 hands clasped in prayer, by Perugino, 19m. by nin.— £504 (Radley). A girl carrying on her head 
 a basket of fruit, a portrait study of Titian’s daughter, by Titian, life size, half length, 39m. by 
 ’oin., canvas, in a magnificent carved frame — £73 5 (Whitehead). “ The Circumcision,” by Giulio 
 Romano, a large gallery work on thick panel, 6ft. by 9m. — £73 10s. (Nathan). Portrait of an 
 admiral in armour, with crimson scarf, holding baton, by Tintoretto, life size, 54m. by 43m., a very 
 fine example — £1155 (P. & D. Colnaglii) ; a Venetian general, in half armour and trunk hose, life 
 size, standing, attributed to Giorgione, on canvas— £530 (Davis) ; a large drawing in pen and 
 bistre by Sansovino, the famous architect, for the decorations of the church of Santa Maria del 
 Fiore, Florence, at the visit made by Pope Leo X., 1514; from the Lawrence Collection, 145-in. 
 by 25m. — £315 (Thibeaudeau) ; “ The Holy Family, with the Magdalen,” 48m. by 30m., canvas — 
 £451 10s. (Lord Leconfield) ; “The Story of Myrrha,” by Giorgione, absurdly called by Waagen 
 “ Hippomenes and Atalanta.” This picture, which had created the utmost admiration, and which 
 now belongs to the National Collection, was placed upon the easel with a round of applause as a 
 tribute to the splendour and beauty of this superb picture, which is painted with all the true 
 “ fuoco Giorgionesco,” and is in a marvellously perfect state, after probably more than 400 years. 
 It is on panel, 31m. by 52m. The first bid was 300 guineas, and it was soon seen to the satis- 
 faction of most of the audience, that Mr. Burton was bidding, but this time not against 
 M. Gauchez. After a few advances the picture was knocked down to him at £1417 10s., a price 
 which is very considerably below even its commercial value, for had it not been known that the 
 National Gallery authorities wished to purchase it, the picture would have been sold for four or five 
 times the sum now paid for it. We heard of one commission to give 5000 guineas being declined 
 by Messrs. Agnew, because that firm had been informed of the intention of the trustees. The 
 great work of Botticelli came as the last lot in the sale, and was uncovered amidst a round of 
 applause. It represents the Assumption of the Virgin : below are the apostles round the tomb of 
 the Virgin, with the Donor and his wife ; above is the coronation of the Virgin, below that are 
 three circles in the sky, each circle formed of three rows of figures, the patriarchs, prophets, 
 apostles, evangelists, martyrs, confessors, doctors, virgins, and hierarchs. The landscape exhibits 
 views of Florence and Pistoia. It was painted for the church of San Pietro Maggiore, Florence, 
 on the commission of Matteo Palmieri, who gave the whole scheme for the work. Vasari, speaking 
 in the highest terms of commendation, says, “ envious detractors of the painter charged him and 
 his patron with heresy, and the work was interdicted and covered from view.” It is on very thick 
 planks, 1475m. by Spin., and was bought by the Duke Alexander from Woodburn, the great dealer 
 of that day. The first bid was 1000 guineas, and by advances of fifties the biddings stood at 2300 
 guineas, when Mr. Burton entered the field at 2350 guineas, and was anxiously watched, as he was 
 soon met by M. Gauchez, and with scarcely any other competitors the contest went on with 
 alternate advances from these two bidders up to 4400 guineas from the agent of the Louvre (as it 
 was thought) when there was a very serious pause, and some doubt felt until Mr. Burton again 
 advanced to 4450 guineas with a hearty round of applause from the audience, but still another 
 advance of 50 guineas from M. Gauchez, which brought the sum to 4500 guineas, but at the next 
 bid of 4550 guineas by Mr. Burton, slowly repeated by the auctioneer, the hammer fell with such 
 enthusiastic applause as has never been heard before in the great sale room. It is of much interest 
 to learn from M. Gauchez himself that he exceeded his commission by 50 guineas, and he did this 
 entirely on his own judgment, relying upon the high estimation in which the picture was held by 
 the authorities of the Louvre. The total of the day realised by this most interesting sale of the 
 Italian pictures in the second portion amounted to £26,802 10s. 
 
1882.] THE HAMILTON PALACE COLLECTION. 
 
 33i 
 
 (“The Times,” 28 June , 1882.) 
 
 Sevres and Chinese cups and saucers of only fair pretensions were contended for at quite 
 fancy prices, and cabinets sold for thousands, which, on ordinary occasions, would be well sold for 
 hundreds. Among the objects carved in precious stones and finely mounted in gold and enamel, 
 an oval tazza of bloodstone, 4|in. by 2in. high, sold for £420 (Davis) ; another similar, of green 
 agate, for £330 (Davis) ; an oval barrelled-shaped vessel, in rock crystal, on four feet, with bands 
 of gold enamelled, and the crystal engraved beautifully with Arabesques and views, gin. long by 
 3in. across — £955 (Wertheimer) ; circular vase of rock crystal, ancient work, finely carved, with 
 foliage, 4m. diameter, gin. high — £580 (Mr. Pollen) ; a large oval bloodstone cup, on silver-gilt stem, 
 formed as a group of dolphins, the pedestal with panels of bloodstone, mounted in silver-gilt, 7-fin. 
 by 5in., from the Beckford Collection — £555 (Davis) ; a fine vase of Oriental agate, the handles 
 formed as satyrs’ heads, the sides carved with foliage and grapes, the rim mounted with gold, 7m. 
 high, from the Beckford Collection — £1764 (Wertheimer) ; a jug with handle carved out of the 
 rarest Aventurine jasper, mounted in gold in scrolls of the time of Louis XV. ; on the top of the 
 handle is a goat, and on the cover a Cupid, the mounting having the Paris hall-mark of the letter S 
 crowned and a boar’s head. This jasper ewer is of Byzantine work, of 8th or gth cent. ; height 
 iz|in. — £246 7 10s. (Wertheimer) ; an oval plateau of old Sevres, painted with the life of Ulysses, 
 gros-bleu festoons and medallions, imitating moss agate, with gold chasings and enamel jewels, 
 njin. by 8|in. — £430 (Mr. Mainwaring) ; a nymph at the bath, in old Sevres, after Falconnet, with 
 pink drapery and foliage in green, 14m. high, on stand fluted in green, white and gold, with the 
 companion figure ; a nymph in blue drapery, with bulrushes — £30 7 10s. (Davis) ; an old Sevres 
 vase and cover, turquoise ground with white and gold bands and festoons of foliage, a peasant 
 woman and children with a cat painted in an oval medallion, I3|-in. high — £1585 (Wertheimer) ; 
 a Louis XV. commode, with panels of parqueterie, festoons of foliage, and ornaments in high 
 relief, the royal cypher over the keyhole, 4ft. 4m. wide. This fine cabinet bore on the back the 
 figures of the number in the sale of the furniture sold out of Versailles Palace by the Convention— 
 £3213 (Joseph) ; a Louis XVI. upright secretaire of marqueterie, with figure of Silence in a 
 medallion, 3ft. 8in. by ift. sin., 4ft. 8in. high — £1575 (Wertheimer) ; the Laokoon, a fine reduced 
 copy in bronze, on Egyptian granite plinth, mounted with ormolu — £850 (Boore) ; Louis commode 
 of parqueterie, with a vase of flowers of coloured marqueterie in the centre — £2310 (Wertheimer) ; 
 a Louis XVI. clock in ormolu, formed as a vase, with snakes to point to the revolving enamelled dials 
 — £9 0 3 (Boore) ; a bronze bust of Voltaire, by Pigalle, signed — 350 guineas ; an oblong table of 
 old Florentine pietra dura mosaic, with border of verde antique, on stand of richly chased ormolu, 
 the legs formed as terminal figures of boys, on stand with stretcher, 5ft. qin. by 4ft. ijin. — £630 ; 
 marble bust of Napoleon I. crowned with bay, by Thorwaldsen, supported on the back of an 
 Imperial eagle, No. 542 Illustrated Catalogue — £640 (Mr. Greenshields). Total £30,301. 
 
 On the following day the chief objects which excited the emulation of the great dealers and 
 amateur purchasers were the other specimens of Oriental work in jade and agate, and especially 
 the beautiful old silver-gilt cups, bottles, tazzas, ewers, &c., some of which were of rare excellence. 
 Among these were the ewer and salver of silver gilt, bearing the royal Stuart Arms of the Cardinal 
 of York. They were now purchased by the Earl of Moray at the high price of 1220 guineas, a sum 
 which amounts tp about £75 per ounce. The Art-work upon these was of course not of so much 
 interest as the historical associations, which to Lord Moray must be specially dear. 
 
 The superb pair of Buhl cabinets which stood at the angles of the great room when the 
 pictures were exhibited, and are acknowledged to be the grandest works of the kind ever seen for 
 public sale, and probably two of the finest examples known, were the last lots in this day’s sale, 
 and they brought it to a close with the extraordinary price of 11,500 guineas (£12,075). They were 
 started by a bid of 4000 guineas, and were bought by Mr. Wertheimer of Bond Street. An oval- 
 shaped rose-water dish, of silver gilt, the centre engraved with the arms of the Cardinal of York, 
 20^in. by i6Jin. — £787 10s. ; a silver standing cup and cover, cylindrical centre, ornamented with 
 medallions of classical subjects of most minute and elaborate work ; on the cover are six bosses of 
 an eagle, ostrich, and other birds ; on the border a fox, hare and hounds, on the cover a statuette 
 of Jupiter. The cup is on a stem of rams’ heads and flowers : the trefoil-shaped foot has a border 
 
 u u 2 
 
332 
 
 ART SALES. 
 
 [1882 
 
 Fi$. 2.— LOUIS XIV, ARMOIRE OF BUHL WORK IN EBONY AND TORTOISESHELL INLAID. 
 
 9 feet 6 inche9 -high- 
 
1882.] THE HAMILTON PALACE COLLECTION. 
 
 of animals ; underneath is a beautiful medallion, with profile portrait of a man, with inscription, 
 “ Georgen Roemer, aho 1580,” height iifin.— £3244 10s. (Baron C. M. de Rothschild). A silver- 
 gilt cup and cover, surmounted by a statuette of a Roman soldier — £740 5 s. (Baron C. M. de 
 Rothschild) ; St. George and the Dragon, a group in silver, chased in high relief, the horse- 
 trappings set with coloured stones — £168 ; a pair of Louis XVI. candelabra of ormolu, with 
 branches for five lights, each chased with foliage and surmounted with flames, on stands of tall 
 vases enamelled deep blue, with bronze handles formed as mermaids, 4ft. 6in. high — £2362 10s. 
 (Edwards) ; a pair of similar Louis XVI. candelabra — £2782 10s. (Edwards) ; two grand Louis 
 XIV. armoires, by Buhl, from the design of Le Brun, the frame of ebony inlaid with brass, panels 
 of tortoiseshell inlaid with trophies and ornaments of engraved brass of fine design, figures, Cupids 
 and masks, chased in high relief in ormolu on the doors, gft. 6in. high, formerly in the Louvre, 
 from the collection of the Due d’Aumont and Fonthill (672 Illustrated Catalogue and Fig. 2) — 
 £12,075 (Wertheimer). 
 
 The total of the day was £31,532. 
 
 (“The Times,” July 3, 1882.) 
 
 There were at least four highly important pictures which had been during the week 
 universally admired and pointed to as those which should be purchased for the National Gallery. 
 There were, first of all, in unquestionable rank as a masterpiece, the noble work of Luca Signorelli, 
 “ The Circumcision ; ” next the wonderful little picture of “ The Last Supper,” catalogued as a 
 work of Masaccio ; the portrait of a youth, by the rare and most interesting Antonello da Messina, 
 bearing his authentic signature, and dated on a cartellino “ 1474, Antonellus Messanus me pinxit 
 and the celebrated “ Laughing Boy,” or “ Boy with a Horn-book,” or toy, of the famous Arundel 
 Collection, by Leonardo da Vinci — the precious gem of the Fonthill pictures, which was purchased 
 and repurchased by Beckford himself to be secured, as he thought, for ever among the treasures of 
 Hamilton Palace. This picture, so remarkable for its exquisite technical beauties, its associations 
 and pedigree, as well as for its astonishingly perfect condition, we regret to say was not one of the 
 four selected by the Director of the National Gallery; neither was the Antonello portrait, 
 although, of course, the large work of Signorelli was. And with this have been purchased “ An 
 Allegory,” by Pontormo ; A portrait, said to be of the great sanitarian and author of the “ Discorsi 
 della vita sobria,” Luigi Cornaro, in his 100th year ; and the beautiful little picture of “ The Last 
 Supper ” above referred to. The prices paid for these new acquisitions to the Gallery were 
 extremely moderate, 3000 guineas for the Signorelli altar-piece, 600 guineas for “ The Last 
 Supper,” 300 guineas for the Pontormo, and 320 guineas for the portrait. The Leonardo 
 “ Laughing Boy” was bought by Mr. Winkworth for 2100 guineas, and the portrait by Antonello 
 da Messina is carried off to Paris by M. Sedelmeyer, as a very great bargain at 490 guineas. 
 Mr. Doyle bought for the National Gallery of Ireland a portrait of a gentleman ascribed to 
 Leonardo da Vinci for 205 guineas, and a large work of Bonifazio, “ The Resurrection,” for 220 
 guineas. The Trustees of the National Gallery were represented by Sir William Gregory and Mr- 
 Howard, who, however, was compelled with other members of Parliament present to leave for duty 
 at the continuous sitting before the important events had come off. Mr. Burton was present, and 
 had again to meet his French opponent, M. Gauchez, in the contest for the great prize of the sale 
 — the Luca Signorelli. In this competition for the Signorelli, and the few other distinguished 
 examples that have now been sold, we are assured that no direct commission has been given by 
 the Louvre authorities to M. Gauchez or any other agent. 
 
 The Portrait of a gentleman in crimson dress bordered with gold, landscape background, 
 inscribed “ Alessander Oliverius V.,” by Leonardo da Vinci, 27m. by 22in. — £215 5s. (the National 
 Gallery of Ireland) ; the Madonna seated in a landscape, with the Infant Saviour in her lap, St. James 
 in adoration, and St. Lucy behind, 39m. by 28m., canvas, from Fonthill — £483 (Taylor) ; a portrait 
 of Lodovico Cornaro of Venice, in crimson robe and white sleeves, his hands resting on an open 
 book before him, standing, full-faced with long white beard, inscribed Alt. Succ 100, 1566, 
 23m. by i8|-in., canvas. The catalogue stated this to be by Titian, but Mr. Woods said when the 
 
334 
 
 ART SALTS. 
 
 [1882. 
 
 picture was put up that it had been pronounced to be the work of Domenico Theotocopuli, called 
 “ II Greco.” This painter, however, who is well known as a disciple and imitator of Titian, and 
 who accompanied him to Madrid, and passed the greater part of his life in Spain, and painted some 
 good pictures, would have been about eighteen if he painted this picture of old Cornaro, according 
 to the received date of his birth (1548), and in 1577 he was settled at Toledo at work upon his great 
 picture in the Cathedral, “The Parting of Christ’s Raiment.” When the picture was knocked 
 down at 320 guineas it was announced that it was bought for the National Gallery. The portrait 
 of a youth, by Antonello da Messina, on panel, lain, by ioin. Mr. Woods said this was one of the 
 few pictures by that rare master, and well worthy a place in the National Collection. It is referred 
 
 Fig. 3.— A LAUGHING- BOY; OR. BOY WITH A HORNBOOK, By Leonardo da Vinci. 1S£ x 13. 
 
 to in the National Gallery catalogue, and he hoped that, as the late Sir Charles Eastlake, when 
 Director of the Gallery, had bid for the portrait by Antonello (then purchased against him by the 
 Louvre), this would be secured. (490 guineas.) Everyone expected to hear that it was bought for the 
 Gallery, and when the announcement was made that Mr. Sedelmeyer, of Paris, was the purchaser it 
 was received with ominous silence. “ The Last Supper,” attributed in the catalogue to Masaccio, 
 but, as Mr. Woods suggested, obviously by some other great master. This marvellous little picture, 
 which, it may be remembered, was so admired in the Winter Exhibition at Burlington House in 
 1873, is painted with the utmost delicacy in every detail of the splendid architectural interior, and 
 the heads of Christ and the disciples are touched with fine expression : 600 guineas, purchased for 
 the National Gallery, amid rounds of applause. The next picture was “ The Laughing Boy ” (Fig. 3), 
 which was also received with most marked interest, while the auctioneer read from the catalogue 
 that it was formerly in the Arundel Collection, and was inherited by Lady Betty Germaine, who 
 bequeathed it to Sir William Hamilton ; it was purchased for Mr. Beckford at his (Sir William 
 
 0 
 
1882.] THE HAMILTON PALACE COLLECTION. 
 
 335 
 
 Hamilton’s) sale at Christie’s in March, 1801, and was afterwards sold by order of a Mr. Farquhar, 
 the owner of the estate, and was again purchased for Mr. Beckford by Mr. Hume at that sale on 
 October 14, 1823, and has been at Hamilton Palace ever since. The first bid was 2000 guineas, 
 and there being but one or two advances, it was knocked down at 2100 guineas, when everyone 
 expected to hear it was bought for the nation ; but the name of Mr. Winckworth was given as that 
 of the purchaser. We may add to Buchanan’s account of this picture, quoted in the catalogue, 
 which notices the two drawings of the same boy in Leonardo’s sketch-book in the Ambrosian 
 Library at Milan, that Mr. Beckford first paid £1365 for it, buying it back afterwards at £1034 5 s., 
 which in those days was a very high price. Few pictures are ever seen in such a perfect state, 
 and this may be due to its being painted upon a thin soft wood panel, the back of which has been 
 preserved from worms and damp by some strong paint. It measures only i5^in. by 13m. 
 An allegory, with numerous figures, by Pontormo — £315 (the National Gallery). Dr. Waagen 
 pronounces this picture to be by Francisco Ubertini, a Florentine, who filled his pictures with 
 small figures, and had the uncomplimentary nick-name of Bacchiacca. Portrait of a Venetian 
 admiral in armour, by Titian, half length, standing, life size — £619 10s. (P. & D. Colnaghi). “ The 
 Resurrection,” a large gallery work, by Bonifazio, 7ft. by 6ft., canvas — £231 (the National Gallery 
 of Ireland). After this came the great work of Luca Signorelli, which was the last picture in the 
 sale, “ The Circumcision,” an altar-piece, on planks which joined crosswise, 8ft. 6in. by 6ft., with 
 ten figures, life size, the high priest in the centre of the group before the arched apse of the altar. 
 The strong sunlight that fell upon this grand picture as it was uncovered on the wall brought it 
 out with splendid effect of rich colour, and raised a spontaneous burst of applause ; after which the 
 biddings started with 500 guineas, soon reaching 2000, when M. Gauchez began, and went on 
 steadily, as it appeared, with no other bidder against the auctioneer’s advances, and watched with 
 no small anxiety by the crowded audience until he shook his head as Mr. Woods called 3000 
 guineas, beyond which there was no advance, and almost as the hammer fell a round of 
 enthusiastic applause expressed the satisfaction of the audience that this noble example was bought 
 for the Nation. The total of the day amounted to £19,785 3s. 
 
 (“The Times,” 4 Inly, 1882.) 
 
 The sensation of the day was the Due de Choiseul’s writing-table and cartonniere, which is 
 a fine specimen of parqueterie, with a clock in ormolu surmounting the large cartonniere at the 
 end of the table. A very determined contest arose over this interesting piece of French furniture 
 between Mr. Wertheimer and Messrs. P. and D. Colnaghi. In the end it was purchased by 
 Messrs. Colnaghi for the enormous price of 5300 guineas (£ 55 ^ 5 )- If was reported afterwards in 
 the room that the Due d’Aumale was the purchaser. Another price of extraordinary amount, 
 considering the fragile nr.ture of the object, was that paid for the small Venetian or ancient glass 
 ewer, enamelled with figures and gilt, only 7m. high, which brought £2730 (Hart). (Fig. 4.) 
 
 The Beckford vase, an Etruscan CEnochoe, of globular form, with tall narrow neck and handle, 
 painted with a procession with a man on a camel, on which a man rides sideways, and other 
 figures in black, touched with gilt work, and ornaments in red and gilt on black ground, gin. high 
 — £168 (Rollin). 
 
 “ The Rape of Proserpine,” a statuette bronze group by Giovanni di Bologna, on Louis XVI. 
 ormolu plinth, with “ The Rape of Helen,” a companion— £1428 (Mr. Denison). The Laokoon 
 bronze group ; of the size of the antique original, executed in Paris by Crozatier, under direction of 
 Mr. Alexis Delahante, and intended for Mr. Watson Taylor’s gallery, but in consequence of his 
 affairs being involved, this fine work found its way to Fonthill Abbey, and was included in the 
 sale, being at that time purchased by the Duke of Buckingham, and afterwards sold at Stowe for 
 £567, was now sold for £504 (Wareham). 
 
 The total amount of the day was £17,496, bringing the grand total at present to £218,000. 
 

 33 ^ ART SALTS. [ 1882 . 
 
 (“The Times,” 5 July , 1882.) 
 
 The splendid enamels, the two pieces of the rare Henri Deux ware, the Milanese damascened 
 metal-work in caskets, coffers and tables, in yesterday’s sale, completely rivalled the old French 
 parqueterie furniture in the prices obtained. The two beautiful little pieces of Henri Deux 
 ware, or Oiron faience, from the place in France where it was made, did not quite realize the high 
 
 Fig. 4.— EWER OF ANCIENT ORIENTAL GLASS. 
 
 Enamelled and Gilt, with projecting Tongues round the Neck and Body. 7 inches high 
 
 price anticipated, though together they brought 1960 guineas. But, being bought by different 
 persons, they are now separated, after having been together since they were purchased by the late 
 duke in 1859 : the tazza for £280, and the salt-cellar for £80. The hexagonal salt-cellar, qin. high, 
 3fin. width. It forms a raised pedestal with columns, and in each of the panels of the hexagon a 
 kind of alcove, in which are figures of three Cupids seated back to back with their arms joined. 
 The whole surface is elaborately incised, and filled in with Arabesques in fine brown lines, and 
 masks in relief — £840 (Attenborough). A tazza, height qin., width 5iin., of the same beautiful 
 work, with masks, shells, and terminal figures, dolphins and foliage, and the usual devices of the 
 three crescents interlaced found on this rare kind of ware, and supposed to refer to Diane de 
 Poictiers — £1218 (Rollin). An enamel triptych, in brilliant colours, date about 1490, by Nardon 
 Penicaud (977 Cat.), from Fonthill, where it sold for only £42, now brought the large sum of 
 
1882.] THE HAMILTON PALACE COLLECTION. 
 
 337 
 
 £1760 (Attenborough) ; a square chess-table of cinque-cento work, in damascened iron : the table 
 is inlaid with panels and cartouches of elaborate gold and silver damascene work, and with slabs 
 of lapis lazuli ; every part of the column supporting the table is covered with Arabesques of 
 exquisite design in gold and silver, and relievo ornaments in gilt-bronze, with figures in the round 
 Milanese work, circa 1540 ; reputed to have been presented by a Duke of Milan to a Prince of 
 Savoy. From the Soltykoff and Debruge-Dumesnil Collections. A great contest occurred for this 
 extraordinary table between Mr. Loewenstein and Mr. Denison, the latter gentleman being the 
 purchaser at £3150. An Italian cabinet of the 16th century, inlaid all over with slabs of rare 
 agates (996 Cat.), said to have been designed by Michel Angelo — £1176 (Clarke). “ The Seasons,” 
 a set of four emblematical busts of the size of life of old Rouen fciicncs, by Vavasseur, the great 
 potter, on terminal pedestals of the same style, 54m. high — £2646 (Edwards). 
 
 (“The Times,” 10 July , 1882.) 
 
 The tenth day completed the dispersion of the pictures, with the remainder of those by 
 Dutch and Flemish painters, including one good example of Claude, and eight pictures catalogued 
 as of the Spanish School, but of which one important portrait- piece, attributed to Pantoja, 
 proved to be wrongly named, and is probably the work of Mark Gheeraedts, the well-known 
 painter of the time of Queen Elizabeth, who settled in England. This was an interesting and 
 important picture from a national point of view, representing the council of English and Spanish 
 Royal Commissioners for the treaty of 1604, and containing portraits of the Earls of Dorset, 
 Nottingham, Devonshire, Northampton, and Robert Cecil, afterwards Earl of Salisbury and 
 Lord High Treasurer. It is most satisfactory to say at once that it was purchased by Mr. 
 Scharf for the National Portrait Gallery at the moderate price of £2520. The full-length 
 portrait of Philip IV. of Spain, by Velasquez, was also bought for the National Collection, 
 but at the enormously high price of 6000 guineas (£6300), a sum which stands among the 
 highest ever paid for a picture in the National Gallery, and the highest ever paid for any 
 portrait by Velasquez. The fine bust-size portrait, by Velasquez, of Philip IV. in the National 
 Gallery, purchased in 1865, cost, with a landscape by Ruysdael — £ 1200 ; the “Orlando Muerto” 
 — £1549; the “Adoration of the Shepherds” — £2050; and the large work of “Philip IV. 
 Hunting ” — £2200, making altogether a sum about equal to the price now paid for this one full- 
 length of the king. This heroic price, however, it should be remembered, is still considerably 
 below some that we have seen paid at these very auction rooms within recent years for fine 
 portraits by Gainsborough. The only other purchase made by Mr. Burton was a small picture 
 by Steenwyck, with figures by F. Francks, which was acquired for £204 15s. 
 
 For the National Gallery of Ireland another acceptable example was acquired in the 
 “Entombment,” by Nicolas Poussin, for £504. There were no other pictures in the sale at all 
 desirable for the National Gallery, and not more than two or three of first-rate merit, the majority 
 being of doubtful authenticity and poor pictures, notwithstanding the absurdly high prices paid for 
 them. These extravagant prices were in a great measure accounted for by the enthusiastic 
 biddings of Mr. M. H. Arnot,* an American gentleman, who, as will be seen by the details below 
 was the principal buyer, and who, as well as M. Gauchez, contended for the great prize of the 
 sale against Mr. Burton. 
 
 After this came the portrait of Philip IV. by Velasquez, a life-size whole-length, standing, in 
 black dress trimmed with silver, full trunk hose, with white stockings and black shoes, holding a 
 paper inscribed with the name of Velasquez. The catalogue states that it was taken from the 
 palace at Madrid during the war by the French General Dessolle, from whose daughter it was 
 purchased by Mr. Woodbum, and was afterwards at Fonthill. When it was placed before the 
 audience on the side table, Mr. Woods said that he was instructed by a gentleman to make a first 
 
 * Mr. Arnot bought the Claude, “ Bacchus and Ariadne ” — ^840, and the Murillo, “ Infant Saviour 
 Sleeping” — ^2415. 
 
 VOL. I. 
 
 X X 
 
33 § 
 
 ART SALTS. 
 
 [ 1882 . 
 
 bid of 3000 guineas for it, and from this the biddings quickly advanced by one hundred each to 
 5000 guineas, coming apparently from Mr. Burton, Mr. Arnot, and M. Gauchez ; but, after 5500 
 guineas, the contest lay, as we have before seen, between the last-named gentleman and Mr. 
 Burton on behalf of the National Gallery, each alternately surpassing the other by bids of 50 
 guineas till 6000 guineas was reached as Mr. Burton’s bidding, beyond which his French 
 antagonist declined to advance, and the picture thus became the property of the nation, and was 
 received with loud applause. 
 
 The last picture in the sale was the large portrait-piece, erroneously said to be the work of 
 |uan Pantoxa, but, as Mr. Woods stated, the supposed signature of that painter upon the picture 
 was now proved to have been falsified by the date, which is 1594 ; whereas in Stowe’s Chronicle, 
 it is distinctly stated that the council was held in 1604, and in old Somerset House, an apartment 
 of which was, no doubt, represented in the picture. The biddings then started at 500 guineas ; 
 again M. Gauchez was in the field against Mr. Scharf, and he pressed him so closely up to 2300 
 guineas that the audience began to fear he would gain the victory, when there was a pause and a 
 brief consultation between the Director of the Portrait Gallery and the Director of the National 
 Gallery, who seemed to be offering to come to the rescue, and then Mr. Scharf, rising with his hat 
 off, said, “ I bid 2400 guineas for the National Portrait Gallery,” and was immediately met with a 
 round of hearty applause, and there being no further advance from M. Gauchez, this important 
 picture was knocked down at that sum (£2520). The picture is 6ft. gin. by 8ft. 9m., the members 
 of the council being seated on each side of a long table — the Duke de Frias, Count Villarmediana, 
 Alexander Rouldio, Count d'Arenberg, Verreykin, the Earls of Dosset (so spelt), Nottingham, 
 Densier (Devonshire), Northampton, and Robert Cecil. Stowe’s account will be found on page 
 846 of his Chronicle, where he names all these English nobles, and other commissioners for the 
 most renowned King of Great Britain, giving the date “ At London, 18 August, after the olde 
 stile, in the yeere of Our Lord 1604.” Mr. Scharf, who first pointed out the error in the 
 inscription on the picture, has expressed an opinion that it was painted by Gheeraedts, painter of 
 the well-known engraved picture of the “ Procession of Queen Elizabeth to Hunsdon House.” 
 
 The total of the day’s sale was £33,562 4 s., bringing up the grand total to £280,000. 
 
 (“The Times,” ii July , 1882.) 
 
 The sale of the splendid old French furniture that bore the monograms of Marie Antoinette, 
 more than sustained the interest that has, from the first, been excited in this wonderful dispersion 
 of Art Treasures. A Louis XVI. cabinet of ebony, inlaid with slabs of black and gold lacquer 
 ormolu mountings, by Gouthiere ; an oval plaque, with subject, “ A Sacrifice to Cupid,” on the 
 door, terminal figures of Victory at the angles, 5ft. 6in. by ift. 5m., 5ft. iin. high — £5460 
 (Wertheimer). A Louis XVI. secretaire in ebony, inlaid with black and gold lacquer, mounted by 
 Gouthiere, with monogram of Marie Antoinette, 3ft. 7m. by ift. qin., 4ft. gin. high. (Lig. 5.) A very 
 determined fight was made for this beautiful piece of furniture, chiefly between Mr. Boore and 
 Mr. Davis, the latter being the conqueror at the tremendous figure of £9450. A Louis XVI. 
 commode of ebony, inlaid with panels of lacquer, birds and plants in gold, mounted with ormolu 
 by Gouthiere, and the monogram of Marie Antoinette, 4ft. qin. by 2ft. Lor this again the same 
 dealers had to contend, and Mr. Davis was again the victor, at the same high price of £9450. 
 Such prices took even the dealers by surprise, and entirely surpassed all expectation formed before 
 the sale ; and, indeed, this is not to be wondered at, for they are the highest ever paid for a piece 
 of furniture at any sale. The little writing-table of Marie Antoinette, it will be remembered, 
 brought only £6000, which, at that point of the sale, was considered an extraordinary price, but 
 this secretaire and commode of ebony and lac are generally admitted to be far more elegant and 
 beautiful as works of ornamental Art in this form, to say nothing of the extreme rarity now of such 
 fine specimens of old lacquer work. The other fine cabinet, of ebony and lac, was a very beautiful 
 piece, and by many persons it was preferred, but of course it had not the cachet conferred by the 
 monograms of Marie Antoinette. 
 
 These excessive prices brought the total of the day up to £36,103 17s. 6 d. 
 
1882.] THE HAMILTON PALACE COLLECTION. 
 
 339 
 
 Fig. 5. (Lot 1297.) — LOUIS XVI. SECBETAIKE OF EBONY, 
 
 Inlaid with Black and Gold, Lacquer, with Monogram of Marie Antoinette in the Frieze, entwined 
 in Flowere. Branded ^Garde Meuble de la Heine." 4 feet 9 inches high. 
 
 X X 2 
 
340 
 
 ART SALTS. 
 
 [ 1882 . 
 
 Fig. 6.— STATUETTE OF VOLTAIRE. By Houdcn. 
 "White Marble on Sienna Pedestal, 18 inches high. 
 
 (“The Times,” 19 July , 1882.) 
 
 The large collection of miniature portraits consisted of about 200, painted on vellum, card, 
 and ivory, with others in oils, on panels, and several fine works in enamel. 
 
 As examples of a style of portraiture and a special art, which has unfortunately been almost 
 extinguished by the general use of photography, so varied and excellent, and abounding with 
 historical associations, these miniatures had created the greatest interest, attracting quite as many 
 visitors as the fine pictures and the splendid furniture. Though there was no work of Holbein, 
 as great a master in' miniature as in his large portraits, there was an admirable miniature by 
 Nicolas Hilliard of Janies the First, which brought the large sum of 2700 guineas, and others 
 by the same eminent painter of Lady Anne Hunsdon and Lady Arabella Stuart, which 
 
 sold for high prices. There were many portraits of the Stuarts, but by artists unknown, 
 
 and of later date, all of which sold well, and some at very high prices. The most 
 
 important of the early miniatures was a set, framed together, of six small whole-lengths 
 
 by the great French artist Franyois Clouet, called “Janet” (b. 1510; d. 1574), of the great 
 personages of the Valois family, Henri II. and III., Charles IX., Catherine de’ Medicis, the 
 Dauphin, and Claude de France. This set of miniatures, Mr. Woods stated, was purchased by 
 
1882.] THE HAMILTON PALACE COLLECTION. 
 
 34i 
 
 the Duke Alexander from M. Rattier, the well-known collector, who had rescued them 
 during the troublous times of the French Revolution in Paris from a perfumer’s shop. 
 These were much admired for the perfection of the drawing of the heads and figures, 
 and the exquisite delicacy of the painting, which had retained the original beauty of the 
 colouring, and showed but little trace of decay, except in the backgrounds, in which there 
 were some slight spots where the paint was raised and peeling off, but on the whole they 
 were considered to be in a marvellously good state after between 300 and 400 years. This 
 beautiful set sold for 1675 guineas, a price that was certainly not at all beyond their artistic value 
 alone. The interesting portrait of Montaigne, the famous essayist, with his arms on the 
 background, a faded but possibly authentic portrait, representing him bald, with the remains of 
 light brown hair, and close-clipped reddish beard, brought £126. There were one or two good 
 examples of John Hoskins, the successor of the English miniaturists of the 16th century. But of 
 the two Olivers, father and son, the son, Peter, alone was represented by some good miniatures, 
 and by one especially interesting work, which was a copy made for King Charles I. of the famous 
 little picture of St. George, which was painted by Raphael for the Duke of Urbino, to be presented 
 to Henry VII. on his coronation, and brought over by the ambassador, Count Baldassare 
 Castiglione. The picture remained in the Royal Collection until it was sold with the other 
 treasures belonging to Charles I., and eventually found its way to the Hermitage at St. Petersburg, 
 where it now is. This was a very accurate copy of the picture, and very well preserved, and it 
 was purchased by Mr. Holmes, the Queen’s librarian, for the small sum of £28 js. The 
 miniatures by Jean Petitot, which were large, and not in enamel, of the Due de Bourgoyne, of 
 Colbert, and of Madame de Maintenon, brought high prices; the equestrian portrait of the 
 Dauphin bringing 630 guineas. Of Samuel Cooper, the leading miniaturist of the time of the 
 Commonwealth, there were only three, but these were all good — that of the Earl of Sandwich 
 selling for £267 15s. The collection was not so remarkable as several which might be named in 
 this country for choice works of the great masters of the art of miniature portraiture, though it 
 contained an unusual number of fine miniatures, some few of special interest, and some copies. 
 Compared with other great sales of miniatures the prices obtained showed that the value of these 
 choice works of art has risen enormously. In the Stowe sale two days were occupied with the 
 miniatures, and the proceeds only amounted to £1000. In the Strawberry Hill sale 100 miniatures 
 sold in one day for £1745 ; while we have now 200 bringing in round numbers no less than 
 £13,349, very few of them going for less than £20 to £30 each. Those which possessed some 
 special interest as portraits or from their high artistic merit, were a portrait of Frederick III., 
 Emperor of Austria, father of Maximilian (erroneously described as “ a gentleman ” under No. 
 1467 of the sale catalogue), painted in oils on panel, Sin. by sin., in armour with crimson and gold 
 surcoat and feather in cap, with jewelled badge in the manner of Memling — £94 10s. ; Ferdinand, 
 brother of Charles V., from Sir Thomas Lawrence’s Collection — £46 4s. ; a lady in black dress, 
 with pink riband in her hair, by R. Cosway — £194 ; another of the same lady — £204 5 s. ; a lady in 
 white with tjlack ribands — £147. These remarkable prices for the works of Cosway show how his 
 beautiful works are now prized. They are generally on ivory, and though some of them were done 
 a century ago, they are as fresh and pure as the day they were painted. Cosway was elected 
 Academician in 1771, and lived to be 81. Prince Charles Edward in armour, with blue riband, 
 gold monogram, and crown — £210; Serjeant Maynard, by J. Hoskins, signed J. H., 1657 — £231. 
 This miniature was given to Horace Walpole by Sir E. Faulkner, and was sold in the Strawberry 
 Hill Sale, in 1842, for £22 10s. James I., by Hilliard, bare-headed, to the waist, in lilac gold 
 brocade with blue riband, in the original locket case, enamelled on the back with the royal “ R” 
 in diamonds, and set with large stones. This very beautiful miniature was put up at a first bid of 
 1000 guineas, and after a spirited competition between Mr. King and Mr. Joseph fell to the latter 
 at 2700 guineas. Equestrian portrait of Louis the Dauphin Due de Bourgoyne, by J. Petitot, 
 signed, loin, by 7-Jin., on vellum, inscribed on the back in P'rench as having come from the cabinet 
 of Louis XVI. ; it represents the Dauphin on a bay charger, with a battle forming the background 
 — £682 10s. 
 
 The old French furniture again bore off the palm of excellence and price, the fine Louis XV. 
 commode, with bold ormolu oak foliage, bringing the sensation price of £6247 10s., notwithstanding 
 that there was some difference of opinion as to whether it was a work of French or German art. 
 The magnificent Gobelins tapestry, the beautiful pieces of Spanish silk tapestry, and the splendid old 
 
342 
 
 ART SALTS. 
 
 [ 1882 . 
 
 Louis XVI. bedstead, which had for the past week covered the walls and converted the sale rooms 
 into a suite of gorgeous apartments, also added largely to the interest of the sale, and raised the 
 enormous total to a sum close upon £400,000. A Louis XVI. upright secretaire of mahogany and 
 parqueterie, with head of Apollo in the centre, mounted with borders and gallery of ormolu, white 
 marble slab — £1407. A pair of ebony commodes, each with eight drawers, inlaid with engraved 
 brass and white metal, the fronts of the drawers and ends of plaques of old lacquer work in black* 
 and gold, 3ft. iiin., by 2ft. gin. — £3150. A very fine Louis XV. parqueterie commode, with shaped 
 front and ends, mounted with extremely bold ormolu chasings and figures (No. 1806 in catalogue). 
 (Fig. 7.) This remarkable piece of furniture was put up at 1000 guineas, and rose in three bids to 3000 
 
 
 
 
 
 
 
 
 
 Fig- 7. — A LOUIS XV COMMODE. Mounted with massive Ormolu Chasing of Oak Branches and Figures of Boys. 
 
 With Slab of Brocatella Marble. About 5 feet wide. 
 
 guineas, Mr. Wertheimer and Mr. Boore being antagonists up to 5900, when the former advanced 
 another 50 guineas, and at this extraordinary price of £6247 10s. became the purchaser. The 
 bronze busts of Peter the Great and the Empress Catherine II. — The former sold for £1060 10s., 
 the empress for £210 5s. A very large Louis XVI. sofa, with settees at the ends, covered in fine 
 old Gobelins tapestry of flowers on rose-coloured ground, the frame beautifully carved, with 
 flowers and trophies of arrows in high relief, from Versailles, 13ft. long (Fig. 8) — £1176. A set of six 
 Louis XVI. carved and gilt fauteuils, covered with similar tapestry, en suite — £441; a set of 12 
 Louis XV. fauteuils carved and gilt, the seats, backs, and arms covered with Gobelins tapestry 
 with baskets of flowers — £892 10s. ; a large oblong piece of Gobelins tapestry, subject from 
 “ Jerusalem Delivered,” by Nouzon, signed and dated 1735, 12ft. by 20ft., in gilt frame — £488 5s. ; 
 another large panel, by Ferloni, 12ft. by 19ft. 4m. — £348 15s. ; an oblong piece, 12ft. by 2i^ft. — 
 £882. 
 
1882.] THE HAMILTON PALACE COLLECTION. 
 
 ^ A 'J 
 
 o4 j 
 
 (“The Times,” July 21, 1882.) 
 
 The final dispersion of the famous Hamilton Palace Collection of pictures and works of Art 
 of every description was accomplished yesterday with the seventeenth day’s sale, which embraced 
 the fine Greek and Roman gold and silver coins, many antique intaglii and camei, with numerous 
 objects of curious and beautiful work in ornamental Art, such as the “ Cruikstone Dollar ” — struck 
 on the marriage of Mary Queen of Scots with Darnley, set in a frame made of the wood of the yew 
 tree under which they are said to have sat. It was presented to the Duke of Sussex by Sir J. 
 Maxwell, of Pollock. The frame inscribed — 
 
 “ When Harie met Marie under this yew tree, 
 
 What Harie did to Marie I’ll no tell to thee.” 
 
 It was bought by Lord Moray for £168. The Stuart watch, in gold, enamelled with portraits of 
 the Stuart family, was another interesting historical relic : purchased by Lord Moray for £514 10s. 
 The five magnificent bronzes of the full-size of the celebrated antiques, from which they were cast 
 by order of Francis I. early in the 16th century, and the splendid rock crystal, agate, and lapis 
 lazuli tazzas, were the most beautiful objects in the preceding day’s sale, and seemed to keep up 
 to the last the great interest that has all along been felt in this most remarkable sale of our time. 
 
 The most noticeable lots in the two closing days of the sale were a spherical case of silver- 
 gilt, chased with a lion’s mask, heads, children, vases, and birds, containing two minute carvings 
 
344 
 
 ART SALTS. 
 
 [1882. 
 
 in wood of “ Death” and the “ Last Judgment” — £483 ; an oval tortoiseshell box, with chased 
 gold trophy, and miniature of Prince Charles Edward Stuart inside — £294 {Earl of Moray) ; an 
 oval Louis XVI. box, black and gold lacquer panels, figures in landscapes, with gold cage mount- 
 ings — £399 { Dur lacker ) ; a circular bonboniere of tortoiseshell, with gold pique work, and enamel 
 portrait by Petitot — £399 {Williams) ; seven oblong boxes of Battersea enamel, landscapes and 
 figures, with gilt scroll borders — £372 15s. {Wareham) ; a large oviform vase of rock crystal, 
 engraved, mounted in ormolu — £215 5s. ; an oblong casket, of five slabs of agate, mounted with 
 gold, and Corinthian columns at the angles, 6 in. by 4 in. and 5 in. high — £315 {Radley) ; a small 
 square jewel casket, dated 1551, covered with leather elaborately tooled and gilt — £105 {Joseph) ; 
 an oblong gold snuff-box, beautifully chased and enamelled with six medallions of seaports and 
 numerous figures — £535 10 s. ; a large oblong gold box, enamelled with slabs of agate forming the 
 lid and bottom, sfin. by 3-Jin. — £189 {Boore) ; a circular medallion in wax coloured, of 
 Titian, in a richly embroidered dress trimmed with fur, holding a framed portrait of his son, 
 inscribed “ Titiani Piet, et Filii Effigies,” 5m. in diameter — £325 10s. ; an oval cup of rock 
 crystal, (Cat. No. 2027), finely carved, enamelled and mounted in gold — £1207 10s. { Durlacher ) ; 
 an oval-shaped fluted cup and cover of lapis lazuli on stem and foot of the same, mounted with silver 
 gilt bird’s-head and serpent handles, finely chased, gin. high (No. 2028, Illustrated Catalogue) — 
 £787 10s. {Hon. Mr. M ainwaring) ; a cup of rock crystal, of tall, oval shape, with straight sides 
 finely ornamented with a figure in high relief of a double-tailed mermaid, with wings instead of 
 arms, and two bands of engraved work round the body of the cup and lower edge, mounted with 
 silver gilt foot, chased and set with turquoises and carbuncles en cabochon, 8i-in. high (No. 2,030, 
 Illustrated Catalogue) ; this superb piece came from the Royal collection of France, and was also 
 one of the Fonthill treasures ; as a specimen of glyptic art it is remarkable — £840 {Boore) ; a circular 
 cup and cover of agate, on stem, with two balls of the same, studded with polished rubies, mounted 
 in silver gilt, chased, 5-Jin. by g^in. high (from the Beckford collection) — £535 10s. {Whitehead). 
 
 The fine bronze statues, which could not without great difficulty and risk be carried up into 
 the sale-room, were sold in the gallery belonging to Mr. Davis in Pall Mall, where Mr. Christie 
 adjourned, to sell them with the large tripod tazza in giallo antico, also too heavy to be easily 
 moved. These statues were cast in Italy by order of Francis I., for the decoration of his palace 
 at Villeroi. Special moulds were made from the famous antique originals, and were afterwards 
 acquired by Nicolas Neuville, Secretary of State. They were removed during the French 
 Revolution, and were eventually purchased by Alexander, tenth Duke of Hamilton, and placed in 
 Hamilton Palace. The Apollo Belvedere, on black marble pedestal, sold for £561 15s. ; the 
 Belvedere Antinous, on similar pedestal — £483 {Stettiner) ; the Diana of Versailles (in the Louvre) 
 on a similar pedestal — £323 {Stettiner) ; the Borghese Gladiator (in the Louvre) on a similar pedestal 
 — £561 15s. {Stettiner) ; the Hercules and Tellus, on a similar pedestal — £477 15s. {Stettiner) ; the 
 large tazza in giallo antico — £236 5 s. ( Wareham). The Greek and Roman coins, which were in an 
 extraordinary fine state, brought full prices. A fine Syracuse electrum, with head of Apollo, very 
 rare — £31 10s. ; Arsinoe, octodrachm, veiled head, s. 8, and in perfect condition — £10 ; others of 
 Faustina, Hadrian, and Antoninus Pius sold at prices from £3 to £6, a Caracalla bringing £12, and 
 Agathocles, fine Sicilian art, in perfect state, £16 ; the camei and intaglii, some of which were 
 mounted as rings, brought very high prices ; a cameo of a Bacchante seated, holding a thyrsus, an 
 onyx of two strata, white on brown, a fine fragment— £141 15s. {Davies) ; the cameo in onyx, of the 
 Emperor Tiberius, crowned with laurel, mounted in gold, enamelled pendant, with tree on the 
 back, and the inscription AEI 0AAE2S — £882 ( Whitehead.) 
 
 At the conclusion of this extraordinary sale, which has realized about £100,000 more than 
 was anticipated by those best qualified to judge, some astonishing results came out in making a 
 summary of the prices paid for the most important pieces of furniture and the pictures. Thus, of 
 the splendid Buhl, marqueterie, and other exceptionally fine furniture, ten lots brought 
 £63,172 ios., which is an average of rather more than 6000 guineas each. Of the pictures, ten of 
 those which brought the highest prices amounted to £36,965, giving an average of nearly £4000. 
 Then taking a selection from the highest priced lots, we find that eighty-four brought £206,916 15s. 
 Of the beautiful enamels, silver-gilt cups, and rock crystal, and other precious materials, ten lots 
 brought £21,514 10s. The grand total of the sale amounts to £397,562, which distributed over the 
 2213 lots, gives an average all through the sale of about £180 per lot. 
 
 Thus ended this wonderful sale, which has created a sensation for the past month quite 
 
1882.] 
 
 THE BALE COLLECTION. 
 
 345 
 
 beyond precedent, and may be considered to be altogether by far the most important as regards 
 money value that has ever been known, 'to say nothing of the surpassing excellence of many of the 
 works of Art. The Stowe Sale, of forty days, gave a total of £75,562 ; the Strawberry Hill Sale, 
 of ten days, only realized about £40,000 ; the Bernal Sale — £62,691 ; so that this Hamilton Sale 
 exceeds these by more than five times the amount. 
 
 THE BALE COLLECTION. 
 
 This very large collection of pictures by the old masters and some modern painters, water-colour drawings, 
 etchings and engravings, miniatures and works of art in ceramics, enamel, lacquer work, carvings in hard stones, medals, 
 coins, bronzes, jewels, furniture, &c., was formed by Mr. Charles Sackville Bale during many years, and, after his death 
 was sold at Christie’s, the sale beginning May 13, 1881, continuing at intervals for eighteen days, in six portions. 
 Mr. Bale had a reputation for his good taste, and was a liberal purchaser at Christie’s, where he was a well-known figure 
 at all the sales during his long life. His collection was distinguished by many works of art of the highest excellence, 
 which he was always ready to lend for exhibition on occasions of public interest, and when these came to be sold they 
 fully justified his connoisseurship in the high prices obtained. The pictures and drawings formed the first portion. The 
 important works will be found in the lists Vol. II., but some may be noticed here, as the De Wint drawings. — 
 “Kenilworth” — £409; Grand Landscape, river scene — £420. T. Girtin. — Mountain Landscape — £136; “ The River 
 Exe”— £161 ; “Durham” — £141. The Turner drawings. — 24 of these were small, of which “St. Gothard,” in sepia 
 8J by 10 — £131 ; “Burning of the Houses of Parliament,” vignette, engraved — £210; “ Guard-ship at the Nore,” sepia, 
 by ioj, in the Liber — £94 ; “ View in Switzerland,” 9-g- by 1 1^ — £220 ; “ Rye,” 5f by 9j, engraved- -£357 ; “ Lyme 
 Regis from the Sea,” 5 § by 8f, engraved — £672; “ Weymouth,” engraved, 5! by 8f — £546; “Hastings from the Sea,’’ 
 I5§ by 23^-, engraved — £1,102; “Fall of the Tees,” engraved — £1,270; “Chain Bridge over the Tees,” engraved — 
 £1,102; “ Ingleborough from Hornby Castle,” 1 14 by i6|, engraved — £2,310. Old Masters: Berchem. — L andscape, 
 with figures, 12 by 14! — £472. Claude. — “Mercury and Argus,” 23 by 29 — £640 ; Landscape with herdsman, 16 by 21 
 — £420. A. Ostade. — -“The Lawyer,” n by 8| — £682; Interior of a Cabaret, peasants, 11J by ioj — £1,008. 
 
 W. Van de Velde. — “A Gentle Breeze,” 13 by 14-j, from Redleaf Collection — £483. P. Wouwermann. — A Hilly 
 Sandbank, horses and figures, ~]\ by 11, from Clewer Manor Collection — £315. Velazquez. — Portrait, “Don Balthazar, 
 Infante,” 20J by 15I, from Colonel Baillie Collection — £871. Fra ANGELICO. — “The Virgin and Child, enthroned, with 
 Angels,” from S. Rogers’ Collection, iif by 85 — £378. G. Bellini. — Portrait of a Lady, 13 by 1 1, from Charles I. 
 Collection — £231. F. Lippi. — “Virgin and Child, St. John and Angels in a garden,” 265 by 19! — -£215. P. Pollaiuolo. 
 — “Head of Infant St.John,” 11 by 9, from Bentivoglio Collection — £178. Amongst the fine miniatures sold in the second 
 portion: “Queen Elizabeth,” by N. Hilliard on card, oval — £262; “ Richard, 3rd Earl of Dorset,” by Isaac Oliver, 
 full-length standing, a magnificent miniature, on card — £800. A beautiful oval locket of gold, chased and enamelled, the 
 back of glass inlaid with arabesques in enamel — £2,126. The Italian Medals by medallists of the 14th, 15th, and 16th 
 centuries, were a small but choice collection sold in the fifth portion. “J. F. Gonzaga,” by Pisano, 4m. diam. — £105 ; 
 “ Sigismund of Este,” by Sperandio, 3^in. diam. — £182; “Virgil Malvezzi,” by Sperandio, 3j>-in. diam. — £159; 
 “ P. Maselano,” by G. Boldu, 2fin. diam. — £173 ; “Prisciano,” by Sperandio, 4m. diam. — £236 ; “ Victor Pavonius,” by 
 Sperandio (?), 3jin. diam., a splendid medal — £372 ; Male, unknown, bust to left dividing A — F, oblong, 2J by — 
 £215. The drawings by old masters , engravings , etchings , &r*c. : Sixth portion, sold June 9th to 14th inclusive. It was 
 this part of tlie collection that excited the greatest interest, and each day around the long table were assembled all the. 
 principal dealers of the Continent — MM. Clement, Danlos, Hecht, Davidsohn, to contend with our MM. Colnaghi, White- 
 head, Thibaudeau, Noseda, &c., while amongst the amateurs present were Mr. Malcolm, of Poltalloch, Mr. Mitchell, 
 Mr. Seymour Haden, Mr. Salting, Mr. James Knowles, Mr. J. C. Robinson, Mr. Butler, Mr. Reid of the British Museum, 
 Lord Mayo, &c., &c. Drawings by old masters . — The most interesting were A. Baldovinetti. — Portrait of Dante, 
 with MS. notes by Barnard and Walpole— £14 14J. A. Botticelli. — “T he Calumny of Apelles,” studies for the picture 
 in the Uffizi— £54. Of the nine drawings by Albert Durer— A Stag-beetle, water-colours, 1505— £79; Head of a 
 Young man, black chalk, signed and dated 1520 — £189; Head of a Child, chalk, on green paper — £39. Of the 27 
 drawings by Claude, all of which had been in great collections, the highest were — Landscape with goats, Esdaile 
 Collection, 10 by 14 — £54 ; A Woody Landscape — £52 ; Landscape, with “The Choice of Paris,” 1676, signed, 5 by 8, 
 from Lord Halifax and Richardson’s — £59. Of the five by Raphael only one was of much importance — I he Maries, 
 and two other figures, pen drawing, g§ by 6£, for the Pieth, engraved by M. Antonio, from Dr. Mead’s and Barnard’s 
 Collections — £535 (Mr. Malcolm). On the back of this was a drawing of ornament in red chalk, which shows 
 through. Of 26 by Rembrandt — S tudy of seven figures, from Esdaile and Legroy Collections — £33 ; “ The 
 
 Annunciation,” in bistre with black and white, from Hudson, Reynolds, Lawrence, Esdaile Collections — £63 ; A River 
 scene — £38 ; Landscape, with cottages and figures, on vellum, with sketch on the back, from Esdaile Collection — £189. 
 Of 15 by Titian — Landscape, 15 by 12— £44; Philip 1 1 ., half-length in armour, profile, pen, circular, 6 inches— £46 ; 
 “Assumption of Virgin,” 15 by 8, for the altar-piece at St. Andrea, Verona — £45 ; “Martyrdom of St. Peter,” pen, for 
 the famous picture — £71 ; Study of trees for the St. Peter Martyr, from Esdaile Collection — £44 ; Landscape, pen, from 
 Beckford, Esdaile, and Lawrence Collections — £38. Of the five by L. DA Vinci two were ot special beauty — A 
 Study of a Child, a fragment, chalk on grey paper, 16 by 10, from the Lely and S. Rogers Collections — £309 ; and 
 A female head, chalk on grey paper, from the Wellesley Collection — £204. Engravings and Etchings. — M. Antonio. 
 
 VOL. I. Y Y 
 
346 
 
 ART SALTS. 
 
 [ 1882 . 
 
 — “The Last Supper” (B. 26) — ,£52; St. Cecilia (B. 116) — £41 ; Dance of Cupids (B. 217), from Mariette 
 Collection — .£241 ; “La Femme Pensive” (B. 460) — .£51. MOCETTO. — Frieze with Tritons (B. 8) — ,£38. Of the 50 
 Rembrandts some brought very high prices — “Christ Healing ” (W. 78), second state, india paper — £75; The Three 
 Trees (W. 207), from De Non Collection — £101 ( Danlos ) ; Cottage with white pales (W. 229), second state — £157 
 {Meder). VANDYCK. — Erasmus (D. 4), first state — £24; F. Snyders (D. u), first state — £26) Justus Sustermans 
 (D. 12), first state — £27 ; Lucas Vostermans (D. 13), first state — £57; J. van den Wouver (D. 23), first state— £450 
 {Clement), purchased for Baron Rothschild. Albert Durer.— “ The Crucifixion” (B. 24) — £21-, “La Vierge au 
 Singe” (B. 42) — £30. The other five went for small sums. J. van Meeken. — F oliage (B. 205) — £46. M. Schon- 
 GAUER.— “ Christ Appearing to the Magdalene” (B. 26), from Esclaile Collection — £ 105 ; St. Agnes (B. 62), cut at the 
 t0 p — £38; The Virgin on a Throne (B. 71), from H. Hawkins’ Collection — £34. The proofs of Turner’s “Liber 
 Studiorum” brought high prices — “St. Gothard,” etching, engraver’s proof — £86 ; “London from Greenwich,” ditto — ,£86; 
 “Norham Castle,” with remarks in Turner’s hand — £ 73 ; “ CEsacus and Hesperie,” first state — ,£89; “Ben Arthur,” 
 engraver’s proof before letter “ M.” — ,£210; “ Glaucus and Scylla,” touched by the painter— .£102 ; Barges in the 
 Medway, Moonlight, engraver’s proof— ,£73. The rest went from 15 to 40 guineas each. The total of the collection 
 amounted to ,£70,699. 
 
 NEJV PICTURE AT THE NATIONAL PORTRAIT GALLERY * 
 
 (“The Times, " J U C 2 9> 1882.) 
 
 There is one custom of our forefathers which we might do well to honour in the observance, and that is to record 
 on canvas some of the political transactions of the period in which the actors are eminent personages. It must be 
 admitted that the suggestion, calling to mind pictures of Royal marriages, ceremonies, and also certain congresses, may 
 at first glance in most quarters be met by a decided negative. However, anyone familiar with the old historical portrait 
 pictures will recognize that the aims of their painters and those of most of the artists who undertake similar subjects in 
 modern times are distinctly different. It would almost seem that the last thing the modern painter thinks about is to 
 represent the personages as they actually appear ; while it is equally evident that the old painter’s end and aim was to 
 make the most faithful likenesses it was in his power to portray, the result in the latter case being that they have left 
 works profoundly interesting to succeeding generations, and especially to the historian and student of manners of the 
 highest value. Even when the personages are engaged in no solemn political act, but are merely the wardens of a guild, 
 seated in council or receiving a charter from the head of the State, they are still records that cannot be too highly prized. 
 The mention of these will call to the minds of those who have visited the town-halls of the cities of the Netherlands the 
 series of large canvases, known as “ Regent ” and “ Doelen ” (Shooting Gallery) pictures. There we see the guildmasters 
 or the governors of hospitals, dressed in the ruffs or broad collars and doublets and gowns of the 1 6th and 17th centuries 
 seated in conclave round the council table ; or in the Shooter pieces the officers and men of the trainbands either going 
 to the practice-grounds, drawn out in array, or banqueting after the exercise has been gone through. They arrest 
 attention, even when the painters’ names may not be known beyond the walls of their native Haarlem or Leyden. But 
 when the heads are animated by the vivacious expression of Frans Hals and the breastplates and scarves flash with the 
 lightning strokes of his brush, we stand before canvases worthy to rank with the masterpieces of painting. The same 
 subjects furnished the motives for yet one step higher in the hierarchy of art. This was attained by Rembrandt in his 
 “ Night Watch,” and his “ Syndics of the Clothworkers’ Company,” both in the Museum of Amsterdam. 
 
 The paucity of native talent at the period when the Dutch were covering the walls of their guildhouses and town- 
 halls with works of the above class, may account for our possessing so few in England. Some we have, however, by 
 foreign artists, and of a high class, as, for example, the members of the Barber-Surgeons’ Company in the presence of 
 Henry VIII., in the hall of the Company. This is a very noble type of the historical portrait picture, and worthy of its 
 high estimation among lovers of art. A custodian used to tell how the late Sir Robert Peel, when Prime Minister, would 
 come down and stand before it by the hour together. A picture, however, more nearly related to our last purchase is 
 “The Peace of Munster,” by Terburg, presented to the National Gallery by Sir Richard Wallace. Always be it 
 understood, the relation is that of motive and intellectual conception, not of artistic treatment. Terburg, who had served 
 his country as a diplomatist, was one of the finest humorists and keenest observers of mankind who ever practised 
 painting, and his manipulation is perhaps the most subtle work to be found in art. So exquisite is the modulation of his 
 tints, that they scarcely appear to be the work of mortal hands, but rather seem to have been breathed upon the surface 
 of his panels. 
 
 The acquisition from the Hamilton sale cannot for a moment, from a technical point of view, be compared with the 
 consummate art of Terburg. Nevertheless, it is a good average specimen of the skilled work of the early 17th century. 
 Perfectly sincere and honest, it is entirely unpretentious ; nothing is slurred or scamped ; we feel that the painter had too 
 much self-respect to indulge in pictorial pyrotechnics on an occasion which demanded simple, natural truth. The 
 
 * The Ratification of the Treaty of Peace and Commerce between England, Spain, and Austria, 1604. 
 
1882 .] 
 
 NEW PICTURE. 
 
 347 
 
 likenesses bear the impress of individual character, and the accessories have an undoubted air of verisimilitude. In the 
 sale catalogue the picture was attributed to Juan Pantoxa ; indeed, it is signed “Juan Pantoxa de la +. f. 1594.” But it 
 was pointed out by the learned Keeper of the National Portrait Gallery that the signature is evidently a forgery. There 
 was no historical conference in the year 1594 ; moreover, the titles given to the English nobles in the list painted on the 
 picture were not conferred till some time afterwards. Again, the local colour indicates that the picture was painted in 
 England ; Pantoja de la Cruz never visited this country. The more probable painter is Marc Gheeraedts (often written 
 Mark Gerards), who came to England from Bruges towards the end of the 16th century, and was much employed by the 
 English Court and nobility. The Commissioners are represented seated on either side of a long table seen endways, 
 neither end of the table being occupied. The Eastern rug which serves for table-cloth supplies a fine mass of red for the 
 centre of the picture, and harmonises with the black dresses of the figures, and gives value to the greys of the flesh tones. 
 The transaction takes place in a tapestried chamber (the tapestries being dated 1560), at the end of which is a large 
 square window, its small panes of glass set in a leaden casement. Beyond are seen the red roofs and tall chimneys of 
 the buildings in a court-yard. A plant with large leaves breaks the formality of the casement. On the table is an 
 inkstand, and an official paper lies open before Cecil, the Secretary of State. An opposite figure (Richardot) holds in his 
 hand another paper inscribed “ Altezz. Seren.” The Commissioners sit on high-backed chairs ; the floor is strewn with 
 rushes. The scene is supposed to represent a chamber in Somerset-house, and, only regarded from an archaeological 
 point of view, is of the utmost interest from its placing before our eyes, exactly as it stood, one of the stately apartments 
 of an Elizabethan mansion of the time of Shakespeare. As the eye wanders over the picture we realise many a graphic 
 touch of description or casual allusion with which we are familiar in his works and those of the other Elizabethan writers. 
 
 A particular account of the Conference and the articles of the Treaty agreed upon will be found in Stow’s Annals 
 under the date of August, 1604, page 846 (ed. 1631). The names of the Commissioners given in Stow are, for the English 
 (1) Thomas, Earl of Dorset, (2) Charles, Earl of Nottingham, (3) Charles, Earl of Devonshire, (4) Henry, Earl of 
 Northampton, (5) Robert, Lord Viscount Cranbourne, the Principal Secretary. These are all ranged on one side of the 
 table, on the spectator’s right ; to the left, facing them, are the Foreign Commissioners. They are (1) John de Velasco, 
 Constable of Castile ; (2) John Baptista de Tassis, Earl of Villa Medina ; (3) Alexander Rovidius, Professor of Law. 
 These are the Spaniards. For the Archdukes are (4) Charles, Prince of Aremberg ; (5) John Richardot, President of the 
 Privy Council ; and (6) Lodovic Verreiken, Principal Secretary and Audienciary. The numbers correspond to the figures 
 as they are ranged, commencing from the window. Stow describes the arrival of the foreign Commissioners at Dover on 
 the 1st of August, 1604, “ accompanied with marquesses, earls, barons, knights, and gentlemen to the number of 100 
 persons, where, according to the King’s express commandments, they were honourably and kindly entertained by the 
 nobility and gentry of Kent. The King’s barges brought them from Gravesend to Somerset-house, where the Spanish 
 Commissioners kept residence ; the Archduke’s Commissioners remained at Durham-house.” 
 
 The formality in the arrangement of the personages in the picture needs no defence for those who can appreciate its 
 qualities of truth and sincerity. Rather, its quaintness and uncompromising presentment will impart an added zest to 
 their enjoyment of it. We all believe we can obtain some clue to a man’s character by studying his face, and though 
 diplomatists are said to use their tongues to conceal their thoughts, yet the features often reveal what the tongue would 
 fain attempt to hide. And certainly, standing before these grave and sedate portraits, we fancy we obtain an insight into 
 17th century statesmanship, in its more intimate relationship, accentuating and supplementing what may be learnt 
 from the written records. The world waited many centuries for Frans Hals, Rembrandt, and Velasquez, and may wait 
 many more for the advent of painters of equal genius, but the faculties of accurate observation and truthful representa- 
 tion can be cultivated in all times. It is these qualities which give value to the picture before us, and the same qualities 
 would not fail to make similar subjects belonging to our own century equally precious. 
 
 \ 
 
 Y Y 2 
 
348 
 
 ART SALES. 
 
 [ 1882 . 
 
 THE BECKFORD VAN DYCKS. 
 
 (“The Times,” 15 July , 1882.) 
 
 The magnificent set of engraved portraits known as the “ Iconographie de Vandyck,” 
 contained in three large folio volumes, all mounted on thick paper, and the whole bound in Russia 
 extra, with old French tooling, was sold by Messrs. Sotheby, Wilkinson and Hodge in the Hamilton 
 Library Sale for £"2850 to Mr. Thibaudeau. The series, although not complete, is considered to 
 be the finest and the most complete ever formed, comprising, as it does, upwards of 500 portraits, 
 each represented by three or four of the earliest states of the print, and in many instances 
 preceded by a proof before any letters, besides a great number of pieces by Vandyck’s own hand 
 in several states. In bringing forward this important lot, Mr. Hodge read an interesting letter 
 which he had received from a gentleman referring to these Vandyck portraits, stating, that in the 
 second volume of the memoirs of Beckford, by Cyrus Redding, he says that an artistic friend of 
 his visited the old virtuoso at Bath, when he was eighty-two, and he particularly noticed these 
 three large volumes of Vandyck portraits, which had been bought for Beckford at the sale of 
 Count Fries of Amsterdam, for 1200 guilders (less than £100). “These,” said Beckford, “are 
 Vandycks to fall down and worship ; such glorious impressions are nowhere to be found ; let’s try 
 a volume ! ” The biddings then commenced at one of 1000 guineas from Mr. Ellis, who was 
 opposed by Mr. Thibaudeau up to 2500 guineas, when he retired, and Mr. Molini, acting for 
 Mr. Bain, took up the contest and bid to 2800, leaving Mr. Thibaudeau to pass him at the next 
 bid of £2850. 
 
 There are in this collection some portraits which are extremely rare, and at least one which 
 proves to be an unknown and undescribed state, erroneously described in the sale catalogue. 
 This very interesting print is the portrait of Jan de Wael, which is now pronounced by experts 
 to be an undescribed first state, i.e., the background is white — the arm and sleeve are etched in, 
 but have been erased, and afterwards etched again in a different manner. To connoisseurs this 
 remarkable variation, showing the careful pentimento of the great artist, gives the greatest interest 
 to this unique piece. One of the other very rare works was the Waverius portrait, a first-rate 
 pure etching of great delicacy, and touched upon with bistre by the master’s own hand for the 
 guidance of the engraver. This gave it a value in the eyes of the collectors beyond the merit of 
 being even a more beautiful and richer toned etching than the one of the same person, which was 
 sold last season in the Bale Collection at Christie’s as an unique example, at the high price of 
 £450, and which, as we recorded at the time, was the subject of a great contest between the 
 British Museum and the agent of Baron Edmund de Rothschild, who won this prize in that 
 collection, and it is conjectured is probably again the ultimate purchaser of this unrivalled set of 
 the Vandyck portraits. This particular etching of Jan Waverius, or Van der Wauver, was in the 
 Collection of the famous Crozat, and was sold in 1742 with his cabinet of drawings, being then 
 purchased by G. Huquier, whose private mark it bears as well as Crozat’s. The pure etching of 
 Paul du Pont (first state) before the background, was another choice example ; so was the Snyders, 
 second state, which has the inscription “ Franciscus Snyders . . . fortij that is generally cut 
 
 off; and the Paul de Vos, first state, with the head and frill only finished, the figure not even 
 indicated. Another extremely interesting etching was the Titian and his Mistress, which is 
 touched on with bistre by Vandyck, the only other impression known up to the present time being 
 the one in the British Museum. This noble Collection contained also the equestrian portraits by 
 Vandyck, including Charles I. and Cromwell, as well as the set of “ Beauties ” by Lombart. The 
 price obtained is considered to be quite within its value, as the unique prints of the Waverius and 
 the De Wael would alone be worth a very large sum. 
 
1883.] 
 
 MR. IV. ANGERSTEIN’S COLLECTION. 
 
 349 
 
 THE SEASON 1883 AT CHRISTIE'S. 
 
 (“The Times I February 26, 1883.) 
 
 The season at Christie’s only really warms into its wonted life and activity with the meeting of Parliament although 
 sales more or less dreary begin at the famous rooms in November, and are continued every week, without presenting 
 much that can be expected to have any very vivid attractions for any but the regular marchand de bric-a-brac , whose love 
 of art lies in the nutshell of his pocket. Whatever of higher interest for amateurs there may be in the hands of the great 
 art auctioneers is naturally reserved for the sunny days of spring and summer, when the swallows of art and fashion have 
 come back to their favourite haunts in King Street, St. James’s. There has, therefore, been nothing of any moment 
 to record of the sales which have passed unless it were simply to mention that some interesting early drawings 
 and pictures by Mr. A. W. Hunt were sold at moderate prices the week before last, and one rather large landscape of 
 Mr. B. W. Leader’s, the new-elected associate of the Academy, which brought 400 guineas ; also four pictures by the late 
 Mr. Cooke, R.A., of his earlier time, which did not bring prices quite up to the mark of his more accomplished pencil. 
 In the past week, besides the pictures detailed below, there was a sale of antique gems and early Christian and Gnostic 
 camei and intaglii, which deservedly attracted considerable attention from those who study this recherche form of ancient 
 art. There was, however, nothing quite of the first water in this large collection, and none of the antiques brought more 
 than 20 guineas, while the greater number sold at prices from two to five. As to the prospects of the season there are 
 already several interesting announcements in the collection of the late Dowager Countess of Essex, consisting chiefly of 
 fine old French decorative furniture and Sevres china, in the water-colour drawings and pictures belonging to the late 
 Mr. James Morris, and the remaining works of the eminent water-colour artist, Edward Duncan, whose sketches are 
 certain to be remarkable. But a- sale of special interest which commences with the present week is that of the remaining 
 works of Flaxman, including all his sketches, with his MS. poem of the “ Knight of the Blazing Cross,” illustrated by 
 himself and dedicated to his wife on her birthday, and the “ Songs of Innocence and Experience,” coloured by Blake 
 expressly for Flaxman. The remaining works of the late Dante Rossetti will follow soon after Easter. We hear also of 
 an important collection of drawings by the old masters, which promises a rare opportunity for the cognoscenti in this 
 direction. So that though the season cannot be expected to approach the last brilliant one, made so memorable by the 
 Hamilton sale, it will not be without its attractions. 
 
 MR. IV. ANGERSTEIN’S COLLECTION. 
 
 (“The Times,” February 26, 1883.) 
 
 The collection of pictures by the old masters, antique marbles, bronzes, and a variety of works of decorative ar 
 belonging to Mr. W. Angerstein, of Stratton Street, Piccadilly, formed the principal part of the sales on Friday and 
 Saturday last at Christie’s, the pictures, as usual, coming on Saturday, with several smaller collections, among which 
 were a few from Sir Henry Englefield’s, the other proprietors not being named The collection of Mr. Angerstein must 
 not be supposed to have anything more than the family name in connection with the famous gallery that was formed by 
 Mr. John Julius Angerstein, who was, we believe, the father of the present gentleman, and whose collection became the 
 nucleus of our National Gallery by purchase in 1824 of a selection of 24 pictures, for which ,£57,000 was paid by the 
 Treasury. As, however, there was no place then to receive these pictures, they remained in the house of Mr. Angerstein 
 in Pall Mall, which was then opened as a public gallery. In the collection now sold, which consisted of 61 pictures, 
 there are none of the 38 that made up the entire collection as represented in Young’s illustrated catalogue published in 
 1823. They were not all works of the old masters, 18 being pictures of the older English school, among which were good 
 examples by Richard Wilson, Morland, J. Ward, R.A., G. Barret, R.A., and S. Gilpin, R.A., which sold at improved 
 prices, showing that collectors are more alive to the merits of those painters. The old masters brought but very moderate 
 prices, and in several instances were knocked down at sums which 20 years ago would have been considered ridiculous 
 for an example of the meanest pretensions. It is true there were no pictures of first-rate excellence and unquestionable 
 authenticity in this collection, still there were many good and interesting works of the different schools, which sold for 
 insignificant sums, some of which, however, were probably “ bought in,” while others were undoubtedly good bargains. 
 The following are those which brought the highest prices, with some which are noticeable for the opposite reason : — 
 “ The Madonna and Child,” by J. de Mabuse — .£35 145. ; “A Portrait of Louise de Bourbon,” in black dress and ruff, in 
 landscape background, three-quarter length — £^131 5-r. ; “ Portrait of a Gentleman,” in black, his hand on a globe, whole 
 length, by Vandyck — ,£43; “The Ascension of the Virgin,” by Vandyck, a large, upright picture, about 7ft. by 5ft. — 
 ,£89 5J. ; “ A Lady playing a Guitar,” the bosom nude, with pearl necklace and jewelled bracelets, Cupid holding the 
 music-book, by Paris Bordone — £13 2 s. ; “St. Jerome,” in a landscape, by Titian, 36m. by 42m. — £,'10 io.r. ; “The 
 Entombment,” by Schiavone, from the Coventry House collection— ,£81 i8j. ; “ The Virgin and Child,” with two saints, 
 
350 
 
 ART SALTS. 
 
 [ 1883 . 
 
 ascribed to Fra Bartolomeo, life-size, half length, from the Coventry House collection— ^36 15J. ; “The Entombment,” 
 
 by Garofalo ^40 19J. ; “ The Marriage of St. Catherine,” by Parmegiano, from the Uvedale Price and Sir Robert Price’s 
 
 collections — £ 24 3.?. ; “ Cleopatra,” attributed to Correggio, bust size, larger than life, the head wreathed with bays, on 
 
 thick panel ^10 ios'. ; two pictures of heads of children, by Correggio, colossal in size, and resembling the two works of 
 
 a similar kind in the National Gallery, which were purchased in the Angerstein collection— £22 ; “ The Entombment,” 
 by Daniel di Volterra, contributed to the Manchester Art Treasures, 1857, by Mr. W. Angerstein, imported by Mr. Solly 
 from Florence — ^52 ioj-. ; “ Portrait of Cardinal Alessandro Farnese, aet. 59,” life-size, seated, by Sebastian del Piombo — 
 £22 ; “ Portrait of the Emperor Charles V,” in armour, with figure of Victory, and a boy holding a globe, exhibited at 
 Manchester Art Treasures, 6ft. by 4ft. — ,£49 7s . ; “Achilles at the Court of Lycomedes,” by Paolo Veronese, a large work, 
 about 8ft. by 14ft. — ^294. After this came the English pictures: — “The Sand Carrier,” and “ The Water Carrier,” a 
 pair, by Gainsborough, measuring about 24m. by 36m. — £32 ioj. ; a woody landscape, with cows and figures, by 
 Gainsborough — £73 io.y. ; “ Huntsman and Hounds at a Village Inn,” by F. Ward, R.A., 1796 — ^109 4*. ; “ Lake 
 Avernus,” by Richard Wilson, R.A. — ^115 ioj-. ; figures putting a calf into a cart, by G. Morland, 1765, 36m. by 48m. — 
 /101 17^. ; “ Langdale Pikes,” with horsemen and figures at the ferry, by G. Barret, R.A., a large work, from Sir W. 
 Stanley’s collection — ^99 15^. ; “ Virginia Water,” with the Duke of Cumberland in his carriage in the foreground, from 
 Lord Albemarle’s collection — ^194 5 -f. ; “The Long Walk, Windsor Park,” with the Duke of Cumberland’s brood mares 
 and foals, including the famous horse Eclipse, by G. Barret, R.A., and S. Gilpin, R.A., from the same collection— ^330 
 (Whitehead) ; “ Phaeton,” a grand landscape, in emulation of Claude, with figures introduced by Pompeo Battoni, 
 engraved by Woollett — ^60 i8j. ; “ Gulliver and the Houyhnhnms,” by S. Gilpin, R. A., engraved by V. Green — £99 15*. ; 
 the companion picture by the same artist, and also from Lord Albemarle’s collection, brought the same price. Of the 
 following pictures, which belonged to other proprietors, may be noticed — Portrait of Salaino, the Milanese painter of the 
 school of Leonardo, by himself, life-size, seated, half-length, holding portecrayon, and wearing a gold medal, signed with 
 his name — ^52 ioj-. ; the gardens of a palace, by J. Wynants, with figures by Linglebach, signed and dated 1670, about 
 48m. by 6oin. — ^94 ioj. ; “ Apres le Bal Masque,” by P. Longhi — ^52 ioj-. ; portrait of a Venetian General in armour, by 
 Tintoretto — £50 8s. ; “ The Presentation in the Temple,” by the same painter, from the Hamilton collection, in the sale 
 of which last year it sold for ^31 ioj., and now for £3 3 12 s. There were only five pictures from the late Sir H. 
 Englefield’s collection, of which a forest scene, with figures, by Patrick Nasmyth, about i8in. by 24m., sold for £236 5 s. ; 
 an interior, with lady in white satin, and attendant and page presenting a ewer and basin — ^157 ioj. ; portrait of a lady 
 as the Magdalen, holding a missal, by Memling, on panel, i8in. by I2in.— ,£54 12 s. From a different property. — “The 
 Dead Christ with the Maries,” by Roger de Bruges, on panel, 15m. by I2in. — £100 16 s. ; “Preparing for Market,” 
 figures, with a cart and poultry, by Jan Steen, an upright picture, about 26m. by i8in. — ,£110 5-f. ; a family group, by 
 Gonzales Coques, about 36m. by 45m. — ^46 45. ; “ The Virgin and Child,” with two angels behind holding inscribed 
 scroll, on gold background, by Matteo di Giovanni da Siena, who painted 1462-91, on panel, 23m. by 17-i-in., exhibited at 
 Burlington House in 1881 by Mr. A. T. Taylor — £37 15J. 
 
 ANTIQ UE ST A TUTS. 
 
 Among the antique marbles belonging to Mr. Angerstein, the only examples of any importance were a statue called 
 an Apollo in the catalogue, an ancient Roman copy of the well-known Adonis of the Vatican, much broken and mended, 
 from the Stowe collection — ^194 5-f. ; a seated figure of Ariadne, small, life-size, antique Roman work, restored by 
 Nollekens, from the Shuckburg collection — ^105 ; a bronze bust of Antoninus, life-size, with silver eyes and marble 
 drapery, sold with the companion bust of Faustina for ^44 ; an antique bust of Cicero in marble — £26 3s. ; antique bronze 
 bust of Nero as an infant, with marble drapery — ^55 ioj. ; an oviform vase of marble, carved with figures in low relief 
 and dolphin handles, by Clodion, signed 1766, with marble pedestal — ^94 ioj. 
 
1883 .] 
 
 MR. JAMES MORRIS’S COLLECTION. 
 
 35i 
 
 WORMS OF EDWARD DUNCAN. 
 
 (“The Times,” March 6, 1883.) 
 
 The remaining works of Edward Duncan, the highly-esteemed water-colour painter of marine subjects, an old 
 member of the Society of Painters in Water-colour, who died in the spring of last year, are now exhibited in the spacious 
 rooms of Messrs. Christie, Manson and Woods, previous to the sale, which commences on Friday, and will occupy the 
 following Saturday and Monday. These works, which consist mostly of studies and sketches, though there are a few fine 
 finished drawings and several oil paintings, form a most interesting display of his whole career, from those careful early 
 studies of nature he made when learning his art under Robert Havell, the aquatinter with whom he was till 1845, t0 those 
 masterpieces, such as the “ Launching of the Lifeboat,” and the shipwreck of the “ Brig on the rocks of Dunbar,” which 
 are prized among the choicest pictures of the sea that English artists have produced. Subjects of this kind he continued 
 to paint almost to the last year of his life, and there are many studies of coast scenery and magnificent rocks among these 
 sketches which bear the date of his later years. Nothing more masterly in execution or more direct and sincere in the 
 study of nature has ever been done in water-colour than any of these most truthful and beautiful sketches, which to those 
 who love the inspiration of a sketch afford more genuine delight than the most elaborately worked-up pictures. Perhaps 
 one of the most remarkable and interesting of his early sketches for delicate and accurate study is No. 674, the breaking 
 up of an old ship on the banks of the Thames at Greenwich, with a beautiful distant view of the hospital and shipping 
 painted in 1835. After this time there are many equally close and true to the objects he delighted to paint— old boats 
 and wreckage, timbers lying bleaching on the sands, as 654, at Hastings, 1859, the Mumbles, 1870, and again 683-686, in 
 which there is a boldness of execution with a larger style and finer feeling for the grand and imposing scenery of our 
 rockbound shores. A particularly brilliant and most truthful sketch, painted in 1863, is “ Tantallon Castle, Berwick” 
 (352). His power as a subject painter is well displayed in his lifeboat on the Goodwins (372), and the brig on the rocks 
 (375) — a drawing of great spirit, in which he has with great effect painted the rocket fired from the shore gleaming in the 
 air, while the silver moon shines calm and bright above the stormy mass of clouds. Of his oil pictures the strongest will 
 be considered to be that of “The Worm’s Head, coast of Gower” (384), but of these, as with the works of all water-colour 
 painters, with the notable exception of Turner, it must be said that the manner and method of the practised water-colour 
 completely overlays and enfeebles the hand, however vigorous the intention of the artist. The number and great variety 
 of these sketches, which it must be remembered are only those from his own portfolio, tell of the extraordinary activity of 
 his mind and the thorough love of his art that sustained him without a sign of failing to the last. There are several 
 hundreds in this collection, and there must be some hundreds more of finished drawings in the various private and public 
 galleries. These embrace not only the sea and coast scenery, in which line Duncan was the leading water-colour painter 
 of his day, but many capital landscapes and pastoral scenes of rural life, which he painted as deftly and with the nicest 
 feeling for all that is picturesque as he did his more characteristic sea pieces. In these his pencil is apt to lapse into 
 softness of work and a luscious sweetness of colour noticeable in his later drawings. A study of forest trees with 
 tangled roots in a crumbling bank (649) at Penshurst, should be noticed as remarkable for masterly sketching of tree form 
 of this character. As a representative collection of one man’s style and work, few more interesting exhibitions of the 
 kind have ever been seen in the gallery of Messrs. Christie, and as the widow of the artist survives him it will be a pleasure 
 to see that his remaining works, soon to be sold by direction of his will, meet with all the appreciation they so richly 
 deserve. 
 
 MR. JAMES MORRIS'S COLLECTION. 
 
 (“The Times,” March 6, 1883.) 
 
 The collection of the late Mr. James Morris, of Cadogan Place, which had been exhibited during the week and had 
 been viewed with considerable interest, formed the chief part of the sale of Saturday last at Christie’s, some pictures 
 from other owners being added. The most interesting pictures were the large water-colour drawings by Varley, Robson, 
 G. Barret, R.A., one of the first members of the Academy, Copley Fielding, Samuel Prout, and P. De Wint. These were all 
 remarkable examples of the work of these early masters of the English school of water colours, and had once been among their 
 finest works, but from exposure to the baneful influences of light and air had become the mere ghosts of their former beautiful 
 selves. Such an unfortunate result, though chiefly due to the want of proper protection by so simple a thing as covering 
 up the drawings when not to be looked at, is partly due to the large size of his work, which the water-colour artist in an 
 ambitious moment adopts, and which necessarily prevents the drawing being kept in a portfolio. These large drawings 
 painted in rivalry with the painter in oils, are treated as his pictures are, being hung upon walls and constantly exposed 
 to the light, with the inevitable consequence of such destruction of their beauties as we had to lament in the drawings 
 now sold at prices very much below the value they would have had if they had been preserved with reasonable care. 
 Another point may be noticed as being specially prominent in these instances, which is, that while the colour had 
 
352 
 
 ART SALES. 
 
 [1883. 
 
 throughout become faded and more or less bleached, the blue had vanished almost entirely, being the vegetable indigo blue 
 so much in favour in those days, leaving the light reds and warm browns ; so that what was once airy and gray was rusty 
 and crude, throwing the picture out of harmony and keeping. Copley Fielding’s fine dark-gray stormy sky in “ Off the 
 Eddystone,” was thus transformed into masses of tawny red clouds ; and in Barret’s sunset landscape with gray ruins, 
 the shady trees had changed from their solemn tone into a lively red, giving an effect accidental and not intended, yet not 
 altogether unnatural. The Copley Fielding sea-piece “ Off the Eddystone : effect of Storm,” was signed and dated 1826. 
 A cutter is running in the near water, and a large three-master is beating up, heeling over under a sudden gust, and the 
 men taking in topsails. The drawing of this ship is wonderfully good, with every rope and stay straining to the gale, 
 and touched as finely as Vandevelde. It measured 24m. by 34m., and sold for the comparatively low price of ,£157 ion 
 This once fine drawing had been sold at Christie’s in 1861 for ,£98 14J., which was at that time considered a full price, 
 though Copley Fielding had been dead five years. The drawing by Barret was much smaller, being I7jin. by 29m. ; a 
 classical composition, with the sun setting in a glowing sky over ruins and figures — ,£89 5n A drawing by Prout, of the 
 largest size he ever painted, of the Hotel de Ville, Louvain, with numerous figures, measured 4 5 Jin. by 34jin. upright, and 
 brought ,£189. This drawing was sold in the collection of Mrs. Haldimand at Christie’s in 1861 for .£131 55-. on the same 
 day that the Copley Fielding was sold. The very fine drawing by De Wint, “A Grand View of Lincoln from the Brayford,” 
 which came next in the sale, also belonged to Mrs. Haldimand. It closely resembles in subject the drawing of the Ellison 
 collection, sold in 1874 for £377 ion, and is of the same length (40m.), but 25m. in height. It was sold in the collection 
 of Mrs. Edward Romilly at Christie’s in 1878, for £761 to Mr. Vokins, who was now again the purchaser at £687 15J. 
 It has not suffered in the way that the other drawings had from exposure, and has kept up its auction value rather better 
 than the Ellison drawing did, which fell some £70 at its second sale in 1876. The “View in Cumberland, with a harvest 
 field,” by De Wint, which measured i6jin. by 31 in., was a less interesting work, and had suffered from fading ; the effect 
 of a summer storm passing over, with a double rainbow and sea-gulls flying about — £178 ion The largest of all these 
 large drawings was a view of Loch Avon in the Highlands, by G. F. Robson, who died 1833, a fine piece of rock and 
 mountain painting, but the sky entirely gone or possibly never finished. This drawing, which is 29m. by 53m., was sold 
 at Christie’s in 1861 for 31 guineas, and now for £63. It is said to have been painted for Mrs. Haldimand, for whom 
 Robson made an album collection of drawings by the best water-colour painters of his day, which was also sold in one 
 lot at her sale in 1861 — a collection that has been lost sight of, but if it happens to have been kept together in any private 
 portfolio would possess much interest as an illustration of the English water-colour school. A series of small and very 
 careful drawings (nin. by 1 Sin.), by Robson, views of London, Edinburgh, and Dublin 60 years ago, with others of 
 scenery in Scotland and Wales, brought good prices, from 15 to 30 guineas each. A view near Bonneville, Savoy, by 
 J. Varley, 1838, 24m. by 26m., sold for/17 1 7s. The Grand Canal, Venice, by W. Callow, 1842, 1 sin. by 24m. — £33 11s . ; 
 Vevay, Lake of Geneva, by the same, 1842 — £54 12 s. Of the 54 oil paintings, those which were of interest were a 
 farmyard, by G. Morland, with peasants and animals — £126 ; a view of Tivoli, by R. Wilson, R.A., 48m. by 6oin. — £107 ; 
 a very good copy of Sir Joshua Reynolds’s pretty picture of the little country girl, called “ Simplicity” — ,£115 ion ; a 
 landscape, with distant view of Edinburgh, by Nasymth, 2 sin. by 33m., very minutely painted — £178 ion ; two full- 
 lengths of George III. and Queen Charlotte, in their robes, by Allan Ramsay — £52 ion ; a full-size copy, painted some 
 years back, of the fine full-length portrait by Sir Joshua Reynolds, of Mrs. Lloyd, inscribing her name on a tree, the 
 well-known picture formerly in the possession of Mrs. Archedeckne, and now in the collection of Baron Rothschild — 
 ,£39 i8n ; a seaport on the Mediterranean, by Joseph Vernet, signed 1781, from Mrs. Haldimand’s collection — £33 12 s. ; 
 the Village Inn, with peasants and a waggon with a white horse and a man baiting a horse in the foreground, by Isaac 
 Ostade, exhibited at Manchester Art Treasures Exhibition, 1857, contributed by Mr. R. Sanderson. This picture was 
 sold at Christie’s in 1848 for 116 guineas. It is on panel, 32m. by 38-Jin. ; now sold for £556 ion The other pictures in 
 Mr. Morris’s collection sold for small sums. 
 
 Three interesting portraits of great musicians, belonging to the late Sacred Harmonic Society, were afterwards sold. 
 A portrait of Dr. Arne, Doctor of Music, the well-known composer, a thin spare man, in a gray wig, blue velvet 
 waistcoat, and drab coat, seated, to waist, by J. Zoffany, R.A. — £115 ion ; portrait of Handel, by Denner, presented by 
 him to John Christopher Smith — £110 5n ; portrait of Joah Bates, conductor of the Handel Commemoration in 
 Westminster Abbey in 1784, and his wife, presenting to her a statuette of Cupid, by F. Cotes, R.A. — £73 ion These 
 portraits were all in the National Portrait Exhibition at South Kensington in 1868. 
 
 From different collections were next sold — an open landscape with cattle and figures, by Patrick Nasmyth — £173 5 - f -> a 
 woody landscape, with figures, by the same painter, signed and dated 1824, an excellent example — £236 5.?.; a woody land- 
 scape with a lake in the distance, signed and dated 1827, by the same — £152 S- 5 '- > Lake Nemi, by R. Wilson, R.A., 24m. 
 by 30m.— £61 19 5. ; the Wreckers, by G. Morland— £42 ; a landscape, with gipsies, by the same — £44 ; a winter scene, 
 paying for the dram, by the same, 30m. by 36m. — £147 ; a farmyard, with figures, gray horse and sheep, by the same, 
 30m. by 36m. — ,£115 ion , a woody landscape, with figures, by G. Vincent — £42 ; several portraits of famous racehorses, 
 by J. F. Herring, senior. Beeswing, Memnon, 1825, Grimston, 1846, Princess, 1844, sold well at from 10 to 17 guineas; a 
 view of old Somerset House from the river, by Canaletti, about 24m. by 36m . — £162 155. ; portrait of David Teniers, by 
 himself, signed on the sketch in the background of the picture — £110 5J. ; a hawker and a ballad singer, a pair of small 
 figures in landscape backgrounds — £6 7 45. ; a moonlight river scene, by A. Van der Neer — £176 8 s. Total of the day’s 
 sale — ,£6,086. 
 
1883.1 
 
 THE ASTON TO WANT GALLERY. 
 
 THE ASTON ROW ANT GALLERY. 
 
 (“The Times,” April 30, 1883.) 
 
 The sale of the collection of modern pictures belonging' to Mr. Thomas Taylor, the well-known cotton manufacturer 
 of Wigan, called the Aston Rowant Gallery, from the name of that gentleman’s place in Oxfordshire, near to Prince’s 
 Risborough, has been attended with much interest, the exhibition of the pictures during the week at the rooms of Messrs. 
 Christie having attracted large numbers of visitors. The collection was remarkable for some of the finest examples of 
 the later English school in landscape and figure subjects, and more especially for some of those which were pictures of 
 the year in the Burlington-house exhibition, and are among the most notable works of the painters, such as Mr. Horsley’s 
 “ The Banker’s Private Room,” Mr. Long’s “ The Gods and their Makers,’’ and “ A Question of Propriety ; ” Mr. Burgess s 
 (A.R. A. )“ Licensing the Spanish Beggars,’’ and Mr. Luke Fildes’ (A.R.A.) “ The Widower,” and “Applicants for the 
 Casual Ward ’’ There were others which added great interest to the sale, and also brought very high prices — higher, 
 indeed, than any that have been reached for works of the artists sold by auction. These high prices were significant 
 because in most cases the pictures had been purchased by Mr. Taylor direct from the artists, and consequently were not 
 handicapped by the usual profit of the middleman between artist and amateur. The sale, therefore, was regarded with a 
 certain prejudice by the principal picture-dealers, but this seems to have had but very small effect, as they were neces- 
 sarily obliged to compete for pictures of such decided mark, which had created a sensation in the exhibitions, and which 
 retained their high favour in popular esteem. The result was that the artist’s price originally paid at first hand was often 
 exceeded by double and even treble the amounts. This was, at any rate, very gratifying and encouraging to the artists, as it 
 obviously puts up their price. On the other hand, there were some good pictures, which did not realise the sum paid for 
 them at auction or to the artist, as will be seen in the details below. The principal purchaser of the best pictures was 
 Mr. Martin, who astonished the room by giving 2, 500 guineas for the picture by Briton Riviere, A.R. A., called “ Sympathy” 
 — a little girl with her dog — for which the artist is said to have received £800. The same gentleman, it will be 
 remembered, bought “ The Babylonian Marriage Market,” by E. Long, R. A., last year at Christie’s for the unprecedented 
 price of 6,300 guineas, and it is exceedingly interesting to learn that it, as well as the fine pictures bought on this occasion, 
 are to form the gallery attached to the noble institution built and endowed by Mr. Holloway for which Mr. Martin is a 
 trustee. 
 
 Passing now to the other pictures in the order of the catalogue, the most important were “ Shakespeare and his 
 Contemporaries,” a small study for Mr. John Faed’s large work, now in New York — £210 ; “ After the Victory,” by the 
 same artist — £393 15-f. ; “ Lugano,” by G. E. Herring, exhibited at the Academy, 1855, 42m. by 72m. — £210 ; “A Flaw 
 in the Title,” by E. Blair Leighton— £162 15J. ; “The Fishermen,” by John Linnell, sen., 1869-72, 28m. by 39m.— a 
 river scene with cloud-flecked blue sky — £693; “The Travellers,” by the same artist, 1873, 30m. by 40m., landscape 
 with lurid sky and thunder-clouds— £966 ; “Upland,” by J. T. Linnell, 1874, a Surrey vale — £451 ioj. ; and “Way- 
 farers,” by the same — £425 55. ; “Valentine’s Day,” by G. B. O’Neill, i8in. by 14m. — £273; “Apollo and Marsyas,” 
 by J. M. Strudwick, a large work in the style of Rossetti, exhibited at the Grosvenor Gallery — £215 5^. ; “Home?” by 
 S. E. Waller, a deserted Hall, with deer nibbling the roses by the door — £420 ; “ The Siege of Lathom House,” by Mrs. 
 E. M. Ward — £147 ; “ Bude Sands,” by J. Brett, A.RA.— £330 15s-., and “ Etna from the heights of Taormina,” 33m. by 
 48m., exhibited 1870 — £472 ioj. ; “ Licensing the Beggars,” Spain, by J. B. Burgess, A.R. A., 1877, 48m. by 75m., 
 many figures — £1,165 lew. (Mr. Martin) ; “The rush for water during the Ramadan in Morocco,” by the same artist 
 1873, 45m. by 66in.— £341 5r. ; “The Presentation,” English ladies and children in a Moorish house, 44m. by 6oin., by 
 the same, 1874— £420 ; “The Widower,” by Luke Fildes, A.R. A., a navvy nursing his dying child, 68in. by 98m. 
 exhibited 1876, sold with the copyright, for £ 2,100 ; “The Lady of the Woods,” by J Macwhirter, A.R. A., 6oin. by 40m. 
 upright, a woody landscape, with a silver birch tree — £640 icn. ; “ The Doubtful Sixpence,” by Erskine Nicol, A.R.A. 
 1873, a man biting the old woman’s sixpence — £472 ioj - ; “ Le Roi est mort ! Vive le Roi ! ” by Marcus Stone, A.R.A. 
 1873— £430 icn. ; “The Cotter’s Revenge,” by R. Ansdell, — £236 5.?. ; “Autumn Solitude,” R.A., by Vicat Cole, R.A. 
 1870, a woody river scene, 38m. by 6oin . — £735 ; “A Dairy Farm,” by Sidney Cooper, R.A., 1871, 48m. by 78in., a bull, 
 cows, and sheep— £598 105. ; “ Reconnoitring,” by W. H. B. Davis, R.A., 1877, 27m. by 48m., a white heifer and horses 
 at a hedge — £619 ion ; “Waiting for the Ferry,” by T. Faed, R.A., 1873, angle figure of a Scotch girl — £325 io^. ; 
 “ Gabrielle d’Estrdes,” by W. P. Frith, R.A.— £236 55. ; “A Rainy Day,” by P. Graham, R. A., exhibited 1871— £661 lor. ; 
 “Returning the Salute,” by J. E. Hodgson, R.A., 1874, Moorish soldiers firing an old gun from the fort— ,£336 ; 
 “ Relatives in Bond,” by the same artist, 1877, Moorish prisoners fed through the prison-bars — £556 ictf- (Mr. Martin) ; 
 “ The Banker’s Private Room,” by J. C. Horsley, R.A., the picture exhibited at Burlington-house 1870, of a pretty Spanish 
 lady wheedling the banker out of a loan, her Duenna seated by the table ; one of the happiest works of the painter— 
 £850 (Mr. Martin). Probably this is about the price paid originally to the painter, but it is considerably below the sum 
 which the picture was sold for at Christie’s in 1877 in Mr. Fox’s collection, which was £1,223 5 - f - Leaving at Low 
 Water, Scilly Isles,” by J. C. Hook, R.A., 27m. by 42m., exhibited at the Academy, 1863, a very pleasing picture of a 
 woman who has just paddled through the water from her husband’s boat, and is putting on her shoes, her child seated on 
 the sands — ,£1,365 (Mr. Martin). This picture brought more than it sold for at Christie’s in 1878 in Mr. I urner’s sale, 
 for £1,186 ioj-. “ The Gods and their Makers,” the large and important picture of Mr. Long, R.A., exhibited in 187S. 
 representing ancient Egyptian girls modelling from a white cat held by a female slave, his third great work after “ 1 he 
 Babylonian Marriage Market” of 1875. It was received with applause and a bid of 1,000 guineas, from which it soon 
 rose to 2,500 guineas, and was knocked down at that price (£2,625), which included the copyright. “ A Question of 
 Propriety,” another large picture, by Mr. Long, representing a Spanish dancing-girl displaying her steps before the 
 members of the Inquisition, taken from the annals of the Inquisition, Seville, 1627, exhibited at the Academy 1871, and 
 engraved, sold for £1,260 (The Dord Gallery). “ A Street in Cairo,” by David Roberts, R. A., 1846, 30m. by 25m., upright— 
 
 VOL. I. z z 
 
354 
 
 ART SALES. 
 
 [1883. 
 
 £(745 ioj\ (Mr. Martin); “Dr. Goldsmith,” by E. M. Ward, R.A., 1871— £(178 ior. ; “Blanche,” a charming portrait 
 study, by Mr. Watts, R.A., of a fair young lady with her violin, exhibited 1875 — £267 15^. ; “ The Wreck Ashore,” bv 
 T. Webster, R.A., 1874 — boys swimming their boats in a tub under the pump — £430 ior. ; and “ Waiting for the Bone, 
 by the same artist, 1S75— £(498 15^; “The Impenitent,” by the same, a single figure painted in 1842— £(367 ior. ; 
 “ Sympathy,” by Briton Riviere, A.R.A., 1878 — a little girl in some disgrace, seated on the carpeted steps of a room with 
 her pet white terrier licking her cheek; a picture well-known by the engraving. This was put up at 1,000 guineas, 
 advancing quickly to 2,500 guineas (,£2,625), at which large price it became Mr. Martin’s. Next came the large picture 
 by Mr. Luke Fildes, A.R.A., of the “ Applicants for Admission to the Casual Ward,” those “ dumb, wet, silent horrors” ; 
 described by Dickens in a letter to his biographer, Mr. Forster, waiting outside the walls of St. Martin’s workhouse. This 
 will be remembered in the exhibition of 1874 as one of the most striking pictures, and the first which brought the artist 
 into repute. It was now sold with the copyright for £(2,100 (Mr. Martin). This was the last of the pictures by English 
 artists, after which came a landscape with cow and calf, “ Early Morning in the Pyrenees,” by Rosa Bonheur, 26m. by 
 32-Mn., which sold for £(1,575 — a price considerably below that paid for it by Mr. Taylor, which is known to have been 
 1,750 guineas. By the same eminent artist, “ Taking Horses to Water,” 37m. by 5 1 in., an early work — £(315. “ In the 
 
 Cellar,” by Tito Conti, a small picture — £(126. “An Interior, with Peasants,” by Duverger — £(173 5-f. “Preparing 
 Breakfast,” by Edouard Frere, 1861 — £(231. This picture was sold in Mr. Turner’s collection at Christie’s in 1878 for 
 £ 357 • “The New Frock,” by the same artist, 1871 — £120 15^.; “Faith,” by Louis Gallait, 1870, a mother with two 
 infants in her arms before a shrine — £(409 ior. “ The Burial of Themistocles,” by Hector Leroux, a frieze-like compo- 
 sition of many figures, 42m. by 98m. — £(115 ior. ; “ Returning from the Common,” by E. Verboeckhoven, 1870, 36m. by 
 6oin., a landscape with sheep and figures — £(341 5-f. There were a few others which brought much lower prices. The 
 whole collection of 94 pictures, 71 of which were by English artists, brought £(34,500 i6r. 
 
 PICTURES AT CHRISTIES. 
 
 (“The Times,” May 7, 1883.) 
 
 The sales of modem pictures by English artists, which Messrs. Christie arrange to come off about the time of the 
 opening of the Academy Exhibition, are specially intended to be the best of the season. We have had for the last 
 fortnight an exhibition at the famous auction galleries in King Street which may fairly be said to represent the essence of 
 many Academy Exhibitions, setting before us examples of distinction by Turner, Patrick Nasmyth, Linnell, Sir A. W. 
 Callcott, C. R. Leslie, David Roberts, and Clarkson Stanfield — the great painters of the past school — side by side with 
 those pictures, so remarkable for originality and artistic power, which first made the reputation of artists who are now 
 among the leading painters of the day. Those which we noticed last week as forming the Aston Rowant Gallery were 
 especially interesting, particularly as a collection ; and those which we have now to speak of, though coming from no less 
 than seven different collections or owners, are certainly of equal, if not surpassing importance. To name some of the 
 prominent pictures in the sale of Saturday last, there were Turner’s “ Van Tromp’s Shallop at the entrance of the 
 Scheldt,” one of the four he painted about the same time, 1831-33, illustrating the prowess of the bold Dutch Admiral 
 which brought the largest price of the sale — £(3,675, and was bought by Mr. Martin, who, as will be seen, was again a 
 leading bidder ; a large upright landscape, by Sir A. W. Callcott, R.A., with cattle, finished by Landseer ; a fine coast 
 scene, by Stanfield ; Maclise’s “ Peter the Great working in Deptford Dockyard ; ” Leslie’s “ Reading the Will,” from 
 “Roderick Random;” and Mr. Millais’s most interesting early works, “Isabella,” familiarly known as “The Kick 
 picture,” and “ Mariana,” of Tennyson’s “ Moated Grange.” Prices again ran very high, and the competition for all the 
 good pictures was kept up with great spirit throughout a long sale, rendered unavoidably dull at times by the common- 
 place pictures which had to be got through before the fine Turner, the Callcott, and the Stanfield which were the last lots 
 in the sale. 
 
 MRS. GIBBONS COLLECTION. 
 
 The pictures selected from the well-known collection of Mrs. Gibbons, of Hanover Terrace, Regent’s Park, came 
 first in the catalogue ; among them were many of no importance, but the following may be mentioned as interesting 
 examples of the painters: — A portrait of General Wolfe, by Gainsborough — £(225 1 5w. ; a landscape by Gainsborough 
 with a ruined abbey on a hill, a glowing evening sky, and peasants with donkeys ; this was an engraved picture 
 25^in. by 24m., from the Duke of Marlborough, at White Knights — £(315 ; Milking Time, by Old Linnell, 1830, upright, 
 i6in. by 12m. — £320 5-r. ; The Smithy, by W. Mulready, R.A., about ioin. by I2in. — £147 ; Harrow Weald Common, by 
 P. Nasmyth, i8in. by 2oin. — £36 7 ior. ; a Lane near Eton, with pond and boats, by W. Collins, R.A., i8in. by i2in., an 
 evening effect — £(92 8j>. ; Charles Dickens as Captain Bobadil, by C. R. Leslie, R.A., exhibited at Burlington House 
 1870 — £105 ; Arcadian Shepherds, by Old Linnell, 24m. by 30m., an olive grove, with brilliant effect of sunset — 
 £430 ior. ; on the Zuyder Zee, by C. Stanfield, R.A., 1845, painted for Mr. Gibbons, 1845, i8in. by 26 in. — £73 5 ; the 
 companion picture, Dordrecht, also painted for Mr. Gibbons — £733- Stanfield’s price for pictures of this size was 120 
 guineas. Scene from “Roderick Random,” “Reading the Will,” by C. R. Leslie, R.A., painted in 1847 for Mr. Gibbons, 
 about 36m. by 54m. — £(525. 
 

N 
 
PICTURES BY MILLAIS. 
 
 3 55 
 
 1883.] 
 
 PICTURES BY MILLAIS . 
 
 From the collection of the late Mr. J. M. Dunlop, of Holehird, Windermere, the most important picture was the 
 “ Mariana,” painted by Mr. Millais, R.A., in 1851, and exhibited that year at the Academy, where it was the sensation 
 picture of the exhibition along with the “ Woodman’s Daughter.” It will be remembered in the recent exhibition at the 
 rooms at the Fine Art Society in Bond Street as a small picture of a lady in deep blue velvet standing before her 
 embroidery at an open window, painted in colours of the utmost brilliancy. It was originally purchased by Mr. Windus 
 of Tottenham, and was sold in his collection at Christie’s in 1862 for £(383 5^., it now brought £(850 ior. (Agnew) ; the 
 “ Isabella’’ did not belong to Mr. Dunlop, but came on for sale afterwards among a miscellaneous collection from various 
 owners. This picture, taken from Keats’s poem, represents a family party at a long table, and was also in the Millais 
 Exhibition in Bond Street, when it was sold for a considerable sum. It was also originally purchased by Mr. Windus 
 and was eventually sold at Christie’s, in his sale in 1868, for £ 672 ioj., passing into Mr. T. Woolner’s, R.A., possession 
 to be afterwards sold in his collection at Christie’s for £(892 ioj-., in 1875, and it now brought ,£1,102 ior. “A View on 
 the Stour,” with boats and figures, by J. Constable, R.A., about 36m. by 54m., a large study for the fine work of the 
 painter in the collection of Mr. Miller, of Preston — ,£1,249 ios. (Mr. Martin) ; from the Glasgow Institute of Fine Arts 
 a “Flattering Likeness,” by A. C. Gow, A.R.A. — £(162 15s. ; the “Fair beauty and the dark one,” by J. Archer — 
 £(136 ios. ; “The Herring Fishery,” by W. L. Wyllie — £(141 15^.; “Gipsy school boys and girls going to vespers, 
 Andalusia,” by E. Long, R.A., 1868, about 54m. by 90m. — £(1,050 ; “ Early Spring,” by J. W. Oakes, A.R.A. — £346 10s. ; 
 “The First sense of sorrow,” by J. Sant, R.A., young Steele and his mother by the deathbed of his father — £141 15J. ; 
 “ La Reine Malheureuse,” by W. F. Yeames, R.A. — ,£100 i6r. ; from various other collections a water-colour drawing, by 
 E. H. Wehnert, 1848, Sebastian Gomez found painting in Murillo’s studio, 24m. by 36m. — -£(105 ; “ Mavourneen,” a drawing 
 by F. W. Topham — £78 15.?. ; interior of an Irish cabin, by the same — £86 ; “ Faults on Both Sides,” by T. Faed, 1861 
 the engraved picture — £630 ; “An Easter Vigil in a Cathedral at Seville,” by E. Long, R.A., 48m. by 76m. —£1,163 los -> 
 this picture was sold in 1881 at Christie’s for ,£682 ; coast scene with figures, by W. Shayer, 30m. by 25m., upright 
 - — £8g 5.5 ; “ The Timber Waggon,” by the same, 26m. by 23m., upright — £126 5-r. ; “ The Departure of the Diligence at 
 Biarritz,” by A. Solomon, his last work, about 36m. by 46m. — £431 ior. (Mr. Martin); “ Contadini waiting for the 
 Blessing of the Pope,” Rome, by Keeley Halswelle, R.S.A. — £1,730 ; “Say Yes,” by the same artist, a Roman girl and 
 her lover — £304 ioj-. ; two small pictures by Mr. Holl, R.A., one of a poor peasant mother and child, called “Hush !” and 
 “ Hushed,” sold for £84 and £(126 55'. ; “ A Bogged Pony,” the engraved picture, by R. Ansdell, R.A., 1847, of a white pony 
 fallen with his load of the dead stag and the gillie shouting for help, a very large work — £(35 1 15.?.; “The Highland 
 Garrison,” by Briton Riviere, R.A., 2oin. by 15m., a collie dog and two terriers — £378 ; “ Mid-day Rest,” by Old Linnel] 
 1865, retouched in 1875, was a replica of the fine picture of reapers resting under the ripe corn-sheaves called “Noon in 
 the Harvest Field,” about 38m. by 54m.— £(1,585 ioj. ; “With Wind and Tide,” by Colin Hunter — £320 ; “Just Caught,” 
 by R. Ansdell, R.A. , a fox with a duck, engraved — £152 3 s. ; “Pilgrims approaching Jerusalem,” by David Roberts, R.A., 
 about 4oin. by 84m., the large work painted for Lord Monson, and mentioned in the biography of the artist — £(388 ior. 
 (Mr. Martin); “The Bridge and Castle of St. Angelo, Rome,” by David Roberts, ioin. by 26m. — £(85; “The Young 
 Trout Fisher,’’ by E. Nicol, A.R.A., a small figure — £(94 ior. ; Highland cattle in a stream, by Peter Graham, R.A., 
 54m. by 3§in., upright — £304 ; landscape, with figures, by Cecil Lawson, I2in. by ioin. — £(89 5.1. ; a view from Lymington 
 Quay, Isle of Wight, by Old Linnell, ioin. by I2in. — £(409 ios. ; a river scene, with cattle, and boys fishing, red sunset 
 effect, by the same painter, 12m. by i8in. — £126 51-. ; “ Les Premieres Roses,” by C. Chaplin, young girl with roses, a half- 
 nude figure, the engraved picture — £(336 ; a collection of about seventy miniature landscapes in oils, by J. B. Pyne, painted 
 on a table top — £14 7 ; a landscape, with the river between Dolgelly and Barmouth, Cader Idris in the distance, evening 
 by Richard Wilson, R.A., 36m. by 54m. — £340 ; “ Scandal from the Housetop,” a Syrian subject, by A. Elmore, R.A., 
 exhibited 1867 — £(210 ; “ A Greek Ode,” by the same, two figures of a youth reciting to a girl near the sea — £262 1 os 
 
 MR. H. WOODS'S COLLECTION \ 
 
 The following were the property of the late Mr. Henry Woods, and were sold by the administratrix, under the order of 
 the Court of Chancery : — A view on the south coast, by R. P. Bonington — £(105 ; “ Children at a Toyshop, Winter,” by 
 Edouard Frere, i860 — £(150 ; “Boys Snowballing,” by the same artist — £\ 70 ; “The Outcast, ”by H. Merle, 1865 — £(160; 
 Dutch trawlers off Scheveningen, by E. W. Cooke, R.A., about 36m. by 54m. — £233 ; an English landscape, river scene 
 with cattle, finished by Sir Edwin Landseer, by Sir. A. W. Callcott, R.A., an upright picture about 72m. by 54m., with 
 arched top, a well-known work of the master, painted 1842, which was formerly in Mr. Knott’s collection, and was sold 
 at Christie’s for 1,000 guineas, passing into the famous gallery of Mr. Bicknell, in which it sold in 1863 for £(3,097 ioj. 
 and afterwards in Mr. Duncan Fletcher’s collection at Christie’s for £2,000 — this fine example of the master’s powers now 
 brought only £(1,470 ; a view on the coast of Normandy, near Gonvillc, by C. Stanfield, R.A., exhibited in 1837, about 
 72m. by 54m., upright — £(945 ; “ Peter the Great Working as a Shipwright in Deptford Dockyard,” by 1). Maclise, R.A., 
 exhibited 1857, about 6oin. by 96m., with many figures— £(388 Jos'. (Mr. Martin) ; “ Van l romp’s Shallop at the entrance 
 
 Z Z 2 
 
35 & 
 
 ART SALTS. 
 
 [ 1883 . 
 
 of the Scheldt,” by J. M. W. Turner, R.A., exhibited at the Academy 1832, about 30m. by 37m. — £(3,675 (Mr. Martin). 
 This fine picture must not be confounded with another which belonged to the faipous Novar or Munro collection, the 
 title of which in the Academy catalogue of 1831 is “Admiral Van Tromp’s Barge at the entrance of the Texel, 1645,” 
 though in the Novar sale catalogue it became “ Van Tromp’s shallop” instead of barge. The Novar picture sold for 
 £(5,460 (1877). In 1833 Turner painted another— “ Van Tromp returning after the Battle off the Dogger Bank,” and in 
 1844 another, “ Van Tromp going about ships a sea, and gets a good wetting.” The total amount of the sale was between 
 £(30,000 and £(40,000. 
 
 ENGLISH MINIATURES. TURNER'S “LIBER” PROOFS. 
 
 The sale of the interesting collection of old English miniatures formed by Mr. S. Addington attracted all the 
 amateurs of these recherche works of art to the rooms of Messrs. Christie last week, as the collection was one well known, 
 from having been among the contributions to the important exhibition of historical portrait miniatures at South 
 Kensington Museum in 1865. The sale catalogue, however, showed that several then exhibited were not included in this 
 sale, of which may be mentioned th q grisaille enamels by Petitot of John Hampden, with one of Oliver Cromwell on the 
 back of it, the charming portrait of Mrs. Robinson, the famous “Perdita,” by Cosway, and the Queen Elizabeth by 
 Hilliard. Other good miniatures, however, added to the collection since 1865, were now to be disposed of, which gave 
 unusual interest to the sale, and brought high prices. There were in all thirty-five miniatures, several of which were in 
 the old original setting of gold and enamel work. Besides Mr. Addington’s miniatures, there were about thirty other 
 miniatures from a different collection sold, in which some by Cosway brought high prices, although the names of the 
 portraits were not known. On the same day was sold the choice collection of proofs belonging to Turner’s “ Liber 
 Studiorum,” formed by Mr. Addington during many years of selection. These being mostly of the rarest engravers’ 
 proofs, and in fine condition, brought very high prices. “ Mount St. Gothard” (No. 9) engraver’s proof, brought £(34 3^. 
 the Egremont sea-piece (No. 10), engraver’s proof — ,£53 in. ; landscape, with bridge in distance, engraver’s proof (No. 13) 
 — £(31 \os. ; “Little Devil’s Bridge,” first state, engraver’s proof — £(43; “ Dunstanburgh Castle” (No. 14), from C. 
 Turner’s collection — £(16 5^. 6 d.\ “ Morpeth,” engraver’s proof from the same and the Mendel collections — £ 21 ; “London 
 from Greenwich,” engraver’s proof (No. 26) — £(49 7s. ; windmill and lock, engraver’s proof, from collection ofW. Say 
 (No. 27) — £80 17s. ; “Junction of the Severn and Wye,” engraver’s proof— £43 ; “ Near Blair Athol,” engraver’s proof — 
 £43 ; “ Inverary Pier, Loch Fyne,” engraver’s proof — £42 ; “ Procris and Cephalus,” engraver’s proof — £51 gs.; “ Solway 
 Moss,” engraver’s proof — £64; “Watercress Gatherers,” engraver’s proof — £47 5 s.; “Twickenham,” first state — - 
 0)33 1 2^. ; “Inverary Castle and Town,” engraver’s proof — £(45 3s-.; “LEsacus and Hesperia,” first state — £(79 i6j. ; 
 “ Isis ” (No. 68), engraver’s proof, from collection of W. Say — £(106 ; “ Ben Arthur,” engraver’s proof, from Sir W. Tite’s 
 collection — £84 ; interior of a church (No. 70), engraver’s proof — £37 16s. ; “ Apuleia in search of Apuleius,” engravers 
 proof — £6g 6 s. ; “ Glaucus and Scylla,” engraver’s proof — £(39 i8j. ; “Sheep-washing, Windsor Castle” (No. 74) — 
 £31 ioj. ; “Dumbarton Rock,” engraver’s proof — ,£23; “Temple of Jupiter,” engraver’s proof — £71 8r. The 
 sums fetched by these valuable prints and the miniatures of Mr. Addington’s collection amounted to ,£3,364 14s-. 6 d. 
 
 DR. GRIFFITHS 1 COLLECTION OF PRINTS. 
 
 The Rev. John Griffiths, D.D., Professor at Wadham College, Oxford, formed this choice collection under good advice, 
 at sales in London, such as those of M. Delessert, M. de Bammeville and Mr. Maberly about 25 years ago, also from 
 Sir C. Price’s, Mr. Hawkins’s, Lord Aylesford’s and others at the rooms of Messrs. Sotheby where the present sale took 
 place, May 9 and 10th, 1883. It was said that an offer of £(4,000 for the collection en bloc had been made and 
 declined. It now sold for £(6,948, for 257 lots nearly all single. Much interest was felt in the sale, M. Clement 
 and M. Danlos of Paris, Mr. Meder of Berlin and other foreign dealers being present, besides many English amateurs, 
 amongst whom were Mr. Fisher, Mr. Seymour Haden, Mr. Dent, Mr. Russell, O.C., Mr. Addington, &c. Some 
 very high prices were paid, viz.: A. Diirer — “ Adam and Eve,” — specially fine impression from the Verstolk collection 
 — £igo. “The Master, E.S. 1466.” — Circular design for a patent 5^ in. — £(350. “Alart du Hameel.” — Battle piece 
 (1 ijx i6§) from Delessert Collection — £(37 r. Rembrandt — “ Christ healing ” (2nd state) — £(305. Three trees. — £(125. 
 Landscape, mill tower and clear foreground (W. 220 1st state)- — £(308. This once belonged to Six. Van Tolling, W. 286, 
 from the Rechberger, De Fries and Six Collections. It was contended for by M. Clement and Mr. Addington who 
 bid £(1,500, but was surpassed by M. Cle'ment’s £(1,510, the final price, and the highest ever paid for any print. It passed 
 now into the collection of M. Dutuit of Rouen. Portrait of Six (2nd state) — £(505 ; Robetta ; Virgin and Child in 
 landscape (B. 12) undescribed, without the rays in halo and right leg of Virgin unfinished — £(135. (See articles in the 
 Times and in the Standard of this date, too long for extract.) 
 
1883.] THE LATE D. G. ROSSETTI'S DRAWINGS. 
 
 357 
 
 THE LATE D. G. ROSSETTI'S DRAWINGS. 
 
 (“The Times,” May 8, 1883.) 
 
 “The remarkable collection of drawings by the late Dante Gabriel Rossetti which will be sold at Messrs. Christie 
 Manson and Woods sale-rooms on Saturday, and may be viewed from to-day till the sale, is likely to throw some new 
 light on the artist’s genius even after the exhibitions of his works at the Academy and the Burlington Club, which have 
 only recently closed their doors. The present collection, of which only a few specimens have been seen in public, 
 comprises no less than 21 1 drawings in crayon, coloured chalks, pen-and-ink, sepia, and pencil, besides one or two oil 
 paintings. It has been alleged by certain critics that Rossetti, although supreme as a colourist, was deficient as a 
 draughtsman, and that he neglected the preparatory studies for his pictures, trusting exclusively to the magic power of 
 his brush. The present collection will considerably modify such an opinion. There are here the most careful drawings 
 from nature of heads, hands, feet, figures, draperies ; we can trace the gradual growth of compositions from the rough sketch 
 to the highly-finished design— compositions frequently altered many times, laid by, perhaps, for a number of years and 
 resumed when the artist’s style and workmanship had undergone many changes. It is, for example, highly interesting to 
 compare with this view Nos. 196 and 80 of the catalogue, both illustrating the ‘ Death of Lady Macbeth.’ The former is 
 an elaborate and beautiful pencil drawing quite finished enough one would think to serve as the basis of an oil picture ; 
 but not satisfied with this Rossetti once more returned to the subject in the pen and ink drawing (No. 80) above referred 
 to, much less finished than the earlier conception, but infinitely grander and more concentrated as regards composition 
 and dramatic impressiveness. Another Shakespearian subject treated con amove by the painter is that known as 
 ‘ Desdemona’s Death-song.’ Of this there are Nos. 14, 15, 16, 17, 33, and 34 in chalk, and 78 in pen and ink, showing 
 important modifications of the grouping, careful studies for the figure of Desdemona, and drawings of her head. It is a 
 matter of regret that the picture for which all these designs were intended remains in a very embryonic condition. In 
 this, as in so many cases, the ready demand which Rossetti found for his single figures, and finally his premature death 
 prevented him from carrying out the lofty designs of his earlier period. A study for another unfinished picture, named 
 ‘ Aspecta Medusa’ (2), and showing Perseus as he exhibits to Andromeda the head of Medusa mirrored in a tank, may 
 also be mentioned in this connection. ‘Aspasia teaching Socrates to dance ’ (109), the sole design of Orpheus and 
 Eurydice (180), comprising the figures of Orpheus as he fatally looks back on the fading figure of his wife, also Pluto and 
 Proserpine, and the ‘ Sphinx ’ (197) are further embodiments of Rossetti’s classical feeling. The last-named, an elaborate 
 pencil drawing, is of a symbolic kind. It represents the Sphinx as the emblem of the mystery of Life and Death 
 questioned by Youth, Manhood and Old Age. The youth sinks down before the Sphinx before he has had time to put 
 his question. The design was executed in memory of a young friend who died in his 20th year, leaving pictorial and 
 poetic work of high promise behind him. A few days before his own death Rossetti wrote two sonnets in illustration of 
 his design — the last verses that fell from his pen. To return to the tenacity with which the artist clung as it were to a 
 subject or to a face we may refer to the drawings — more than 30 in number — of his wife, to be found in this collection. She 
 is shown in every conceivable attitude, plaiting her hair, reposing in illness, employed in domestic duties, and working at 
 her easel. Other interesting portrait sketches are those of Mr. Swinburne (142), Mrs. Burne Jones (153), Miss Christina 
 Rossetti (40), Mrs. Dalrymple (208), and Mrs. Stillman, (7, 13, 50). In the catalogue the drawings are arranged in 
 strictly chronological order, thus enabling the student to follow the artist’s development from the earliest beginnings 
 almost to The day of his death. The three original designs for Tennyson’s poems (85), dating back as far as 1856, a still 
 earlier pen-and-ink drawing for the picture ‘ Found,’ which remained unfinished at his death, and others, may be taken 
 as specimens of his first or so-called pre-Raphaelite manner. The second or transition period is represented by the 
 designs for ‘ Burd-Alane’ (148), the Llandaff triptych (160), and the three drawings (69) intended for an illustrated title- 
 page of Rossetti’s translation of ‘ The Early Italian Poets.’ His last manner is amply illustrated by the numerous 
 sketches for the ‘ Blessed Damozel,’ ‘ Dante’s Dream,’ the ‘ Salutation of Beatrice ’ (a lovely head, 25), and other 
 pictures which have been seen at the Royal Academy. Altogether it may be said that Rossetti, in these drawings, 
 especially in those of the earlier period, shows a degree of inventive genius which those who only know his finished 
 pictures would scarcely give him credit for. Detailed criticism of the artist’s work has not been our present purpose. 
 All that need be said of his individual gift and of the position he is likely to occupy in the history of English painting 
 has already been discussed in connection with the exhibitions of his works in the early part of the year. What we wish 
 to do in this notice is to draw the attention of Rossetti’s admirers to this interesting collection before it is finally dispersed 
 by the auctioneer’s hammer.” 
 
 (“The Times,” May 14, 1883.) 
 
 The remaining works of the late Mr. Dante Gabriel Rossetti, consisting almost entirely of his sketches and studies 
 for pictures, which we recently noticed when exhibited previous to the sale, were sold on Saturday by Messrs. Christie, 
 Manson and Woods, bringing generally very high prices, considering that in most cases the work was unfinished, while 
 those of the paintings in oil and water-colours which were considered to be finished brought the highest prices in the sale. 
 The “ Beata Beatrix,” a replica of the picture exhibited in the Burlington House winter exhibition, painted in 1880- sold 
 for _£66i ioj. (the Hon. H. Wyndham) ; “Joan of Arc kissing the Consecrated Sword,” the last picture upon which 
 Rossetti ever worked, painted in 1882 — ^367 io.r. ; “The Boat of Love,” painted in grisaille about the year 1874, a 
 composition of 18 figures illustrating a sonnet by Dante, intended to be carried out on a large scale, but the project was 
 not executed — ^126; “Risen at Dawn,” unfinished, 1880, figure of a young woman — ^73 ioj. ; “ Domizia Scaligera,” a 
 head and hand only painted and left without the glazings, 1876 — ,£18 i8.r. ; “The Lady of Pity,” head and hands only 
 intended for a new version from Dante, 1878 — £ey 5-f. ; “ Head of a Lady,” 1879 — ^42. The one water-colour of their 
 subject drawing was “ Giotto painting the portrait of Dante,” suggested by the discovery of the portrait of the poet by 
 
353 
 
 ART SALTS. 
 
 [ 1883 . 
 
 Giotto on the wall of the chapel of the Bargello, Florence, and intended to present the life and work of Dante in a triple 
 
 relation the youthful Dante, his love for Beatrice, who is seen in the procession passing below the scaffolding on which 
 
 Giotto and Dante are seated with Guinicelli, Guido Cavalcanti, and Cimabue, in allusion to the well-known verse in the 
 “ Puro-atorio,” painted September, 1852 — ,£430 IOJ - The fine drawings in coloured chalks, red and black, were works 
 which brought prices next in value to the paintings. “La Donna della Finestra,” 1870— ^53 iij. ; “Beatrice Dead,” 
 
 1 §7! £ 22 is. ; “ Aurea Catena,” a lady with a gold neckchain, seated at a parapet, with foliage and hilly background, in 
 
 black chalk, about ^1872, life size— ,£210 (Mr. Cyril Flower ) ; “ Ricordati di me,” seated figure of a lady, 1873— ,£34 13.?. 
 (Mr. Brough) ; “Fleurs de Marie,” study for the head in the picture of “The Flower Maiden,” 1874 — £27 6s. (Mr. 
 Knowles) ; “ Venus Astarte,” bust figure, full face, life size, with profusion of dark hair— ,£126 ; “ Mnemosyne,” study for 
 the head, 1876 — ,£63 ; study for the figure of the boy angel, with the towel, from “ La Bella Mano,” 1877 — .£63 (Mr. 
 Flower) ; “ Fiammetta,” study of the head from Mrs. Stillman, 1877 — £32 1 is.; “ Pandora ” (this design was his last 
 for the subject, and differs from the oil picture), 1878 — £120 1 5s. ; “Mary Magdalene,” study for the picture, 1878 — 
 .£48 6n (Mr. Knowles) ; “ Sancta Lilias,” half figure, the head only finished, in red chalks, 1879 — £57 15 s. (Mr. Brough). 
 Of the drawings in black chalks, of which there were 34, “ Aspecta Medusa,” a study intended for a large picture, which 
 was only sketched on the canvas, 1863, of Perseus showing Andromeda the head of Medusa mirrored in a tank, see the 
 line, “ Aspecta Medusa ,” in Rossetti’s poems — ,£25 4n (Mr. Ionides) ; “ Beatrice dead, with Love kissing her lips,” 1871 — 
 /15 1 5w. ; one of the pall-bearing ladies in Dante’s dream, a study from Mrs. Stillman, 1871 — ,£ii (Mr. Brough); 
 t< Desdemona’s Death Song,” design for a picture, Desdemona singing the willow song, while Emilia combs her hair out, 
 
 jSyj £23 4j. (Mr. Brough) ; “Venus Astarte,” three studies for the Venus and two attendant spirits, the heads only — 
 
 £37 !6j-. (Mr. Flower); study for the two angels in the “Blessed Damozel,” 1875 — ^25 4 s. (Mr. Wyndham) ; design 
 for the predella of the “ Blessed Damozel” — the lover on earth rapt in vision of the Damozel in Heaven, 1875 — ,£18 i8n ; 
 “ Gretchen,” study of a head for the “ Risen at Dawn,” which was begun for a Gretchen in her chamber with her jewels 
 
 /,3 135-.; “ Dante Narrating his Dream,” design for the second predella in the picture belonging to Mr. Graham — 
 
 £26 55. ; “The Day Dream,” full-length study for the oil picture, 1879 — ,£31 ion (Mr. Flower) ; pen-and-ink drawings 
 —design for the oil picture “ Found” — £60 i8n ; “ Cat’s-Cradle,” two lovers— ,£14 14 s.; “Fazio’s Mistress,” design for 
 the water-colour drawing — ,£16 16s. ; three designs of two lovers kissing, intended for a title-page for Rossetti’s “Early 
 Italian Poets,” 1861, afterwards carried out as water-colour drawing called “The Rose Garden”— ,£28 7s. (Mr. Carr) ; 
 « -phe Deathbed of Lady Macbeth ” — she is still endeavouring to rub the bloodstain from her hand — with four figures at 
 the bedside, 1875 — £17 1 7s. In Indian ink and sepia. — Miss Siddal” (afterwards Mrs. Dante Rossetti, full length, near 
 a window, 1854 — £32 ion ; three designs for the “ Illustrated Tennyson,” drawn from Miss Siddal — ,£35 14^. ; “Queen 
 Guinevere,” study for the figure in the Union Building, Oxford, head only finished, Oxford, 1858 — £23 (Mr. Doyle) ; from 
 the Llandaff triptych — “King David,” 1862 — ,£15 15s-. The numerous pencil-drawings of Miss Siddal brought prices 
 from three to eight guineas. “Signor Maenza,” an old friend of Rossetti’s — ,£5 5 s. ; “Algernon Charles Swinburne,” 
 
 j86o £26 $s. ; “Lachesis,” 1861 — £ 22 ; female head biting cherries — £12 ; “Orpheus and Eurydice,” a design not 
 
 repeated as a picture, 1868— ,£28 7s.; a lady holding a spray of rose-leaf, profile, bust size, 1870— ,£32 in.; a lady 
 reading, three-quarter length — £28 7s. ; “ Desdemona,” full length, seated on the floor by a couch, 1870 — ,£44 4n (Mr. 
 Rossetti) ; “The Death of Lady Macbeth” (196), with other figures, 1873 — £31 ion ; “ The Question, or the Sphinx,” a 
 design in pencil, very boldly sketched out, representing the mystery of life and death in the Sphinx being questioned by 
 youth, manhood, and old age. The Youth, a nude figure, falls dying of exhaustion before he can put his question. No 
 picture has been painted from this. Rossetti a few days before his death wrote two sonnets to illustrate the subject of 
 this design — £(33 13W Two designs for the groups of lovers in the “ Blessed Damozel,” similar to two others in the 
 collection, 1875 — £26 5 .s'. Another of the same groups, 1875 — £83 I 3 - y - A “Vision of Fiammetta,” a small but tolerably 
 finished drawing in pencil for the oil picture — £27 6s. There were nearly 100 of these pencil drawings more or less 
 finished and varying in size, mostly executed with a broad soft pencil, and with masterly freedom, which brought good 
 prices, from two or three guineas to fifteen. The sale was a most interesting one, and, although there were so many 
 drawings of the same subject, and of the same heads of the painter’s favourite type, yet the interest was kept up to the 
 last by the spirited competition among the many amateurs present who were the principal purchasers, except Messrs- 
 Agnew, who bought the “ Giotto painting Dante,” the “ Boat of Love,” and other works. The result was that the 
 handsome sum of ,£4,692 was realised. 
 
 MR. WILLIAM LEE'S COLLECTION. 
 
 (“The Times,” May 28, 1883.) 
 
 The large collection of pictures and water-colour drawings chiefly by artists of the English school, belonging to Mr. 
 William Lee, had been exhibited during the week at the rooms of Messrs. Christie, Manson and M oods, and the sales 
 commenced on Saturday with the oil-paintings, of which 77 were by English and Scottish artists, and the rest of the 100 
 lots by foreign painters. The water-colour drawings numbered 100, and were reserved for Monday’s sale. There were 
 several pictures of distinction in the collection, and one fine example of historic incident painting by the late Alfred Elmore, 
 R.A., — “The Emperor Charles V. at the Convent of Yuste,”— painted nearly 30 years ago, and one of the most striking 
 pictures of the year 1 S 56 in the Academy Exhibition. It was in the International collection of 1862, contributed by 
 Mr. T. Barker, afterwards passed into Mr. Mendel’s gallery, and was sold in Baron Albert Grant’s collection in 1877 at 
 Christie’s for 1,200 guineas. It was now purchased for the great picture gallery of Mr. Holloway's Institution by 
 Mr. Martin, one of the trustees, for ^1,417 ion, with other pictures to the amount of nearly ^10,000, representing in fact, 
 the pick of the collection. The presence of late of an amateur buyer with apparently unlimited means at command, has 
 created no small excitement on the great Fine Art Exchange in King Street, and quite a flutter among the artists, who 
 
1883.] 
 
 MR. WILLIAM LEE'S COLLECTION. 
 
 359 
 
 never could have dreamt of such prices for their pictures. Such an impetus has been given to the commercial value of 
 good pictures as has not been seen since the memorable Gillott sale ten years ago, but the artists must observe that it is 
 only pictures of first-rate merit that command these high prices. The indifferent good, the “pot-boilers” and the “poor 
 things” remain where they were, for Mr. Martin does not contend for them. It v/as remarkable in this sale that only in 
 one instance did he give way to the professional buyer, and that was in the fight for Muller’s beautiful little picture of 
 “ Gillingham Church,” in which Mr. Vokins won with his spirited bid of £1,018 ioj. Muller painted his favourite 
 Gillingham many times, at least six of which have passed in review at Christie’s, one of which sold for £2,152 ioj. in 
 1878, the others from 400 to 900 guineas. Whether the picture now sold is that once in the Bicknell collection, called 
 “Village of Gillingham,” sold in 1863 for £409 ioj., Mr. Woods, the auctioneer, would not decide, but it resembles it and 
 corresponds closely in size. The Bicknell picture was sold in the late Mr. F. T. Turner’s collection at Christie’s in 1878 
 for £945 to Messrs. Agnew. Notwithstanding the high prices that were obtained, it was understood that in a considerable 
 proportion of the pictures the reserve price was above the biddings made, which represented a total of ,£28,757 i 8 j. 6ff. 
 for 98 lots. Proceeding now with the more important pictures in the catalogue : — “ Carting Sand,” by David Cox, a 
 small but brilliant little oil painting, 7|in. by 8Jin. — ,£294; “The Way Post,” by the same, oils, ioin. by 14m. — ,£199; 
 “ River Scene,” by Keeley Halswelle — ,£378 ; “ Snowdon,” by F. W. Hulme, 41m. by 6oin. — ,£199 ioj. ; “River Scene 
 North Wales,” by J. Linnell, senior, i6in. by 2oin. — ,£325 ioj.; “ Wayfarers,” by the same, 1849-66, 27m. by 36m., a 
 wooded landscape, evening, with figures on a road — ,£819 (Mr. Martin); “Gillingham Church,” by W. Muller, 1841, 
 3oin. by 25m., upright, the church in the middle distance, a group of trees in left foreground with water-mill, and two 
 children by the stream — ,£1018 ioj. ; “ Coombe Wood,” by Patrick Nasmyth, 9m. by i2in. — ,£236 5J. ; landscape with 
 oak trees, a church in distance, by the same, 1830, u^in. by i5fin., a remarkable little picture in the feeling of Ruysdael 
 — .£483 (Mr. Martin) ; “ Hampstead Heath,” by the same 8-Jin. by 12m. — ,£183 1 5 j. ; A Common in Surrey,” by the same, 
 1 of in. by 15m. — ,£162 15J. ; “ On the South Coast,” by J. B. Pyne, 1848, 24m. by 34m. — ,£105 : “ The Use of the Fan,” 
 by A. Solomon, sketch for the large picture — £120 15J. ; three very clever sketches on the Cornish coast, by John Brett, 
 A.R.A., 1877, 7in. by 14m. — ,£43 to .£48 each ; “ Carnarvon Bay,” by the same, 14m. by 24m., exhibited 1878 — ,£136 5J. ; 
 “ Carthillion Cliffs,” by the same, i8in. by 26m. — ,£273 (Mr. Martin) ; “ Streatley-on-Thames,’’ by B. W. Leader, A.R.A., 
 9in. by 30m. — £168 ; “ On the Lledr,” by the same, 19m. by join. — .£141 1 5 j. ; “Autumn in Switzerland,” by the same, 
 34m. by 48m., exhibited 1878 — ,£357 ; “ Mountain Solitude,” by the same, 36m. by 6oin., 1873 — £(535 ioj. ; “ The Valley 
 of Slaughter, Skye,” by J. Mac-Whirter, A.R.A. — .£220 ioj. ; “ The Valley by the Sea,” by the same, 48m. by 73m., 
 exhibited 1879— £(1,155 > “The First Course,” by Alma-Tadema, R.A., 7jin. by i7jin. — ,£808 ioj. ; “The Siesta,” by the 
 same, 6fin. by i8in — £(451 ioj. This picture sold for £(315 in Mr. Turner’s sale, 1878. “ The Wine,” by the same, 6fin. 
 
 by 14m. — £(504, sold for £(283 ioj. in the Turner sale ; “ A Kitchen Garden,” by the same, 8Jin. by 14m. — £(498 15J. 
 All these four were in the recent Grosvenor Gallery special exhibition. “A Welsh Valley,” by Vicat Cole, R.A., 1859, 
 4oin. by 6oin. — £(341 5J. ; “ A Sunny Meadow Scene, with cows,” by T. Sidney Cooper, R.A., 29m. by 42m.— £(498 15J. ; 
 “The First Glimpse of the Sea,” by T. Creswick, R.A., 40m. by 6oin., a windmill in the right foreground, distant hills 
 and cliffs by the sea, a woman and children by a stream and sheep ; the figures painted by P. F. Poole, R.A., the sheep 
 by R. Ansdell, R.A., exhibited in 1850 — £(1,312 ioj. (Mr. Martin); sold for £(1,102 ioj. in Baron Grant’s sale, 1878; 
 ‘‘Tobias and the Angel.” by W. T. C. Dobson, R.A., 40m. by 30m. — £(155 ; “ The Emperor Charles V. at the Convent of 
 Yuste,” by A. Elmore, R.A., 1856, 47m. by 655m., the Emperor in mourning seated looking at the portrait of the Empress, 
 with many figures of monks and attendants — £(1,417 ioj. (Mr. Martin) ; “Sleep,” by W. P. Frith, R.A., 1873, a lady in 
 brown velvet lying on brown velvet cushions, life-size — £262 ioj.; “Swift and Vanessa,” by the same, 49m. by 36m. 
 exhibited in 1881 — £545 ; “ The Syrens,” by W. E. Frost, R.A., a small replica uin. by 15m. of the picture in the 
 Queen’s collection — £152 5J., sold for £294 in the Bicknell sale and for £210 in Mr. Turner’s, 1878 ; “The Day of Palm 
 Offering,” by F. Goodall, R.A., 1875 ; two figures nearly life-size — £525 ; “ The Storm,” by Peter Graham, R.A., 1873 
 24m. by 36m.— £504 ; “ Passing Showers,” by the same, 28in. by 42m. — £435 IS- 5 '- > “A Highland Croft,” by the same, a 
 large work with group of calves in the foreground, 48m. by 72m.— £630 (Mr. Martin), sold for £640 ioj. in Baron Grant’s 
 sale; “A Levantine Lady in Turkish Dress, Constantinople,” 1841, by J. F. Lewis, R.A., 34m. by 43m., an unfinished 
 picture — £199 ioj. ; “ St. Martin’s Summer,” an upright landscape, by J. E. Millais, R.A., 60m. by 40m., exhibited 1878 
 — £1,365 ; “A Spanish Venta,” by J. Phillip, R.A., 32m. by 40m., an unfinished picture from the Artist’s sale — £126 ; 
 “Genius Loci,” a sleeping lion, life-size, by Briton Riviere, R.A., exhibited 1874 — £845 ; “An Anxious Moment,” the 
 picture of white geese frightened at an old black hat, by Briton Riviere, R.A., which was so much admired in the Exhibition of 
 1878. This was welcomed with a round of applause as it came upon the easel, and a bid of Soo guineas quickly advanced 
 to 1,550 guineas, at which sum — £1,627 ioj. — the hammer fell to Mr. Martin’s bid. It is said that Messrs. Agnew paid the 
 artist 550 guineas for the picture. This was the last of the pictures by English artists. “ In the Forest of Fontainebleau,” 
 by Rosa Bonheur, 1879, a red deer in the forest, late autumn, 24m. by 2oin., upright — £1,060 ioj. ; “Leisure Moments,” 
 by Tito Conti, 14m. by ioin., £178 ioj. ; “Watching the Boats,” by Josef Israels, 17m. by 14m. — £157 ioj. : “The Dog 
 Cart,” a woman and child with the dog-cart in Schevening Wood — £367 ioj. ; “The Return from the Ball,” a dancing 
 girl, by Madraze — £320 5J. ; a grand winter landscape, sunset, with figures, by L. Munthe, 1873, 50m. by 8iin. — £451 ioj. 
 For this the artist is said to have received £900. “A Cavalier,” by F. Roybet, 23m. by 17m. — £136 ioj. and the 
 companion figure — £126 ; a market scene by moonlight and candlelight effect, by Van Schendel — £44 ; the companion 
 picture (both engraved) — £36 15J. ; “A peasant woman driving home her geese,” a brilliant little picture, by C. Troyon, 
 14m. by ioin. — £483 (Messrs. Agnew); Cattle piece, by the same eminent painter— a man driving cows and sheep, 
 evening effect, 25m. by 31m. — £1,995 (Mr. Martin). These are very high prices, although it is admitted that to obtain 
 any example of Troyon, the French Cuyp, is now very difficult, and we believe the late owner of the picture now sold paid 
 £1,400 for it some years back. The collection of water-colour drawings, though containing no examples of first-rate 
 interest, has several good sketchy drawings by David Cox, some by Copley Fielding, and five by Turner, among which is 
 the “ Tintagel Castle ” and “ The Sea, the Sea ! ” vignette, with a sketch, and “ The Valley of the Var,” from the Novar or 
 Munro collection. 
 
ART SALTS. 
 
 [ 1883 . 
 
 360 
 
 THE STOURHEAD HEIRLOOMS. 
 
 The collection of pictures by the Old Masters and some remarkable drawings by Canaletti, with some early drawings 
 by Turner, long at Stourhead, Wilts, the seat of the Hoare family, was sold by Messrs. Christie by order of Sir Henry 
 Hoare, Bart., June 2, 1883. Of the 34 works of the Old Masters the most important were, P. Veronese, A boy with a 
 black and white hound, 30 in. square — £147. “ Mary washing the feet of Jesus,” from the Durazzo Collection, 14 in. by 
 
 21 in . — ■ Fra Bartolommeo, “ Riposo,” — £220. Carlo Dolce, “Daughter of Herodias,” 47 in. by 37 in. — £483. 
 Claude, Landscape with figures and cattle, engraved by T. Mason. — £262. N. Poussin, “ Rape of the Sabines,” 60 in. 
 by 84 in. — £357. Rembrandt, Landscape, night scene, 12 in. by i8in. — £514. “Elisha raising the Widow’s Son,” 
 engraved byEaslom, 62 k in. by 49 in. — £210. English School: T. Gainsborough, R.A., “Peasants and Colliers going 
 to market.” — £2835. J. Northcote, R.A., “The Dumb Alphabet,” 30 in. by 24m. — £111. J. M. W. Turner, R.A., 
 “ Lake Avernus, TEneas and the Sibyl, 30m. by 37m. — £498. Eight water-colour drawings of Salisbury Cathedral, 
 early works of Turner, brought £1165. Sold separately, “The Chapter House Interior, 1799,” sold for £252 — the 
 highest price. Ten fine drawings by Canaletti engraved by him and G Brustoloni, brought £1431, sold separately. 
 The highest being £267, for “The Feast iai the Palace of St. Mark on Holy Thursday.” Total £11,000. The objects 
 of ornamental art, amongst which were some good Chelsea and Worcester vases, old cabinets, and a marble statuette 
 of the Youthful Bacchus, by Rysback, 46m. high (£62), brought ,£2,254. 
 
 THE BLENHEIM ENAMELS. 
 
 This collection of upwards of eighty pieces, the works of the greatest masters, which had long been at Blenheim 
 Palace, was sold at Christie’s, June 14, 1883, in 67 lots, of which only those of “The Emperors” and “The Apostles” 
 consisted of more than one enamel. There were remarkably fine examples of the work of Susanne de Court, Jean 
 Courtois, J. Laudin, F. Limousin, L. Limousin, Jean Penicaud, and Pierre Reymond. A catalogue was issued with 
 seventy-seven excellent photographs, some representing the ornament on the backs of the pieces which were very 
 beautiful and in perfect preservation. There was also a photograph of the small table with Sevres porcelain top and 
 sides, and ormolu mounting, which formerly belonged to Queen Marie Antoinette. This was similar in style to the 
 table sold for the large sum of £6000 in the Hamilton Palace sale, it was now “ bought in ” at the same price, £6000. 
 The small oval of two cupids watering a tree, by S. Court, 3 f x 2J, sold for ,£112. Four small oblong plaques, with 
 combats of Roman horsemen, from ,£68 to £73 each. The fine plates by J. Courtois and others, from ,£115 to £162. 
 A hexagonal saltcellar, 2J high — ,£105. Another — .£178 10 s. A. Tazza, with marriage of Cupid and Psyche, in 
 grisa lie and flesh colour, 8f diam., 3$ high — £315. A plaque, by L. Limousin, 1536, the Crucifixion, 9^x8 — £315 lew. 
 An oval plaque, a warrior on white horse, Limoges, translucent enamel, ioJrX 7! — £304 ioj. A circular dish, Samson, by 
 P. Reymond, 11 in. diam. — £273. An oval dish, Vision of St. John, by J. Courtois, 20 ttXi 5-| — £1092. An oval dish, 
 Battle of Kings, by P. Reymond, 2o§x 15^ — £945. A ewer, Triumph of Ceres, and Moses striking the Rock, signed, 
 Susanne de Court, 12 in. high — £945. Total ; enamels, £8173. 
 
 THE SUNDERLAND COLLECTION OF DRAWINGS BY 
 
 OLD MASTERS. 
 
 These were sold on the day after the enamels. They had been kept bound in four volumes, and were bought of 
 the Bonfiglio family of Bologna, by Procurator Sagredo, in 1734. Consul Udny bought them in Venice in 1763, and 
 brought them to England. The volumes were now broken up for this sale. The more important were — miniature on 
 vellum of a Doge and two other persons, in profile, style of Bellini — £144. Two early Flemish drawings, a wedding, 
 and a baptism, silver point — £132. A series of architectural drawings, 15th Century, Venetian (16) — £472. The 
 Nativity — £126. Groups of soldiers fighting — £282. A tempera painting in grisaille on canvas, Samson and Delilah, 
 iSJf x 14^ — £2362 ioj. Bought for the National Gallery. 
 
 MR. W. CODING'S COLLECTION. 
 
 Mr. Goding was a frequenter of Christie’s for many years, and was well-known as a connoisseur in Sevres, Dresden, 
 and Chelsea porcelain. After his death, his collection, which included some good pictures of the French school, was 
 sold by the executors at Christie’s, June 19, 1883, occupying five days. A pair of Dresden groups of birds with insects — 
 £120. A Sevres dish, pink, with birds and flowers — £121. A pair of Louis XVI. table candlesticks, or-molu, the stems 
 female busts — £202. A hexagonal vase and cover, deep blue oriental porcelain mounted in or-molu — £265. A tur- 
 quoise crackle cat, on or molu plinth. — £100. A pair of purple parrots, on turquoise stands with or molu branches — 
 £200. A pair of Chelsea vases, maroon ground, figures in medallions, 14 in. high — £135. Pictures : BOUCHER. — Pas- 
 toral scenes, a pair — £220. Fragonard.— “ Danseuse,” and “Girl with flowers,” two — £194. Pater. — Pastoral scene 
 — £183^ A pair of camp scenes — £336. “A Lion hunt,” — £115. “ The Swing,” eight figures, circular — £126. “A Fete 
 Champetre,” six figures — £462. Total £17,061. The pictures, £2,678. 
 
LEIGH COURT COLLECT 
 
1884 .] 
 
 THE LEIGH COURT COLLECTION. 
 
 361 
 
 THE LEIGH COURT COLLECTION. 
 
 (“The Times, ” J une l ^-> I SS4.) 
 
 It has been known for some time past that Sir Philip Miles contemplated disposing of the fine collection of pictures 
 at his beautiful place near the village of Leigh, about five miles westward beyond Bristol and Clifton, where he recently 
 entertained the Prince of Wales. Leigh Court is one of the handsomest of the more modern seats of Somersetshire, 
 built most substantially of Bath stone on a spot near the old house, surrounded by the pretty woods of Leigh, in the neo- 
 classic style followed in the early years of the present century, with a massive Ionic portico and fine entrance hall with 
 marble columns. It was the grandfather of the present baronet, Mr. Philip Miles, a Bristol merchant, and afterwards 
 banker of repute, who built this mansion, about 1816, and who had the good taste to adorn it with these splendid 
 pictures. He did not, however, form the collection, as he purchased most of the pictures at one time from his friend, 
 Mr. Richard Hart Davis (or Davies) then M.P. for Bristol, who was a connoisseur of some pretensions, and acquainted 
 with M. Delahante, Mr. Harris, and Mr. Day, who, like Gavin Hamilton, Buchanan, and others, were constantly at 
 work in Italy and France, in those revolutionary days, when hundreds of fine pictures were brought to this country, 
 among them many in this collection. After this first purchase, various other pictures were added, chiefly from the 
 collection of Mr. Henry Hope, the well-known amateur of that time. Since then, the Leigh Court Gallery became known 
 as one of the show places in the West of England, and a very good catalogue, with engravings of all the pictures, was 
 compiled by Mr. J. Young, and published in 1822, describing the pictures as they hang in the various dwelling rooms of 
 the house. 
 
 The necessary legal steps having been taken, in such cases, it has been directed by the High Court of Justice that 
 the sale of the Leigh Court pictures shall be proceeded with, and accordingly the usual advertisement appears stating that 
 Messrs. Christie, Manson and Woods will offer them at auction on the 28th of this month. Thus one more of the great 
 private galleries of England is doomed to follow the fate of dispersion that seems to wait upon all these treasuries of art 
 acquired so eagerly by the wealth and taste of ancestors, a fate which, during the last 50 years only, we have seen accom- 
 plished in so many instances. The same Nemesis is threatening the famous Marlborough pictures that has already swept 
 through the Palace of the Dukes of Hamilton, and the seal of the auctioneer has been set upon the marvellous gems of 
 the Fountaine collection. Looking back over such once hallowed spots as Strawberry Hill, Stowe, Saltmarsh, Thirlstane 
 House (Lord Northwick), Novar (Monro), Clewer Manor, and other less splendid deserted homes of art among us which 
 have passed into history, we can only foregather what must happen to those that remain as yet intact, but which, since 
 the way has been found by law, will assuredly some day join the majority, and find a heaven, it is to be hoped, in the great 
 national collections. There they will be safe in calm security to work their refining influence alike over rich and poor. 
 Happily there is in the breaking up of these chosen collections the satisfaction that these are the nation’s opportunities, 
 and the State, not being affected with the auri sacra fames or driven by dire necessity, can hardly perform a worthier or 
 more ennobling function than in casting her aegis over some masterpieces of genius such as we see in this Leigh Court 
 collection and in the Blenheim gallery. That two such collections should be to choose from at the same time is the 
 most extraordinary opportunity that has happened in our time, and all the world is looking with intense interest to the 
 choice that will be made. 
 
 The Leigh Court pictures are not of such surpassing interest as the Blenheim, with the Raphael altarpiece, the two 
 Rubens portrait pieces, and the Vandyck Charles I. ; but the collection is not without its masterpiece by “ the Emperor 
 of painters ” in one of the most splendid flights of his audacious genius that he ever took — “ The Miraculous Conversion 
 of Saul.” Before this amazing picture, in which the painter evidently matched himself with the greatest of all painters — 
 Raphael in the cartoon of the “Death of Ananias” — all beholders must tremble, so terrible is this vision of the 
 Almighty smiting as with a whirlwind of fire from above and crushing down Saul in helpless abasement with all his men 
 and horses affrighted into the dust. Though not so remarkable for the painter’s power as a colourist, of which the 
 collection has a splendid example in the beautiful “ Holy Family with St. Francis,” this “ Conversion of Saul ” holds its 
 place among the greatest works of its kind by the master, such as the other and different picture of the same subject in 
 the Munich Gallery, with the companion pictures, the “ Battle of the Amazons,” “ The Lion Hunt,” and the “ Castor and 
 Pollux carrying off the daughters of Leucippus ” in the same gallery. All these are works of his finest time (1610-30), 
 but none are more distinguished by grandeur of conception and that Titan-like energy in the tremendous action of the 
 figures than this. In these points of magnificent artistic power in design and execution it will compare with anything 
 that painting has produced. The picture is on a grand scale — 8ft. high by lift. 6in. wide. It must be well known by 
 Bolswert’s engraving, and it will be remembered in the Winter Exhibiton at Burlington Flouse, 1875, where, indeed, all 
 the principal pictures of the collection have been seen in recent years, particularly when Sir Philip Miles supported the 
 memorable first effort of the Academy in 1870 with a contribution of seven fine pictures, including the exquisite little 
 predella picture by Raphael, the Rubens “ Holy Family with St. Francis,” and the glorious “ Sacrifice to Apollo” — one 
 of the two famous Claudes of the Altieri Gallery which have long been such an ornament of Leigh Court. The “ Saul ” 
 is eminently a picture for a great public gallery, and rich as our national collection is in the works of Rubens, there is 
 nothing which shows him so inspired with the feu sacre in the full sway of his majestic hand. The picture has fine 
 credentials, having belonged to Montesquieu, and was selected by the Commissaries of the Revolutionary Government for 
 the nation, but restored to his family. It was eventually sold to Delahante, and afterwards to Mr. R. H. Davis, who gave 
 ^4,000 for it. Another very fine work of Rubens is “ The Woman taken in Adultery,” rendered especially interesting by 
 the painter having made the heads of the accusers portraits, the one of Luther, the other of Calvin as a Jewish Rabbi 
 with a thin, long-bearded face and the phylactery on his forehead. With pardonable conceit lie has obviously studied the 
 
 VOL. I. 3 A 
 
362 
 
 ART SALES. 
 
 [1884. 
 
 head of Christ from his own, and close to him is the fine old head of his master, Otho Venius, with the handsome face of 
 his young pupil, Vandyck, looking over the woman’s shoulder. It was painted for the Knuyf family, at Antwerp, and sold 
 about 1816 to Mr. Henry Hope, of Amsterdam and London, through whom it came to this collection. It was at 
 Burlington House in 1877. 
 
 Quite equal to these works of the great Flemish master and as masterpieces of poetic landscape are the two Altieri 
 Claudes — “The Sacrifice to Apollo ” and “The Landing of HLneas in Italy” — pictures of his finest time and loftiest 
 aspirations, that take rank with the famous Bouillon Claudes the “Reine de Saba,” “The Marriage of Isaac and 
 Rebecca,” and the “St. Ursula” of the Barberini collection, all of which have long been the glory of our National 
 Gallery, and with those grand examples of him in the Bridgwater Gallery — the “ Demosthenes ” and “ Moses beholding 
 the Burning Bush” — the splendid one at Petworth (Lord Leconfield’s), or the celebrated “Enchanted Castle” in the 
 Overstone collection. With the most vivid impressions derived from a recent sight of all these we should pay a high 
 tribute to this “ Sacrifice to Apollo,” than which nothing can be more beautiful in the glorious radiance and freshness of 
 “ incense breathing morn,” spreading over a richly wooded valley spanned by a bridge, with a distant bay of the sea and 
 hills beyond, and striking through the trees upon the classic temples and the graceful figures moving towards the shrine 
 of the Sun God in the foreground, where peaceful herds are browsing on the dewy grass. This picture is signed and dated 
 (Rome, 1668), just 20 years after Claude painted the Bouillon and the Barberini pictures, and when he was verging upon his 
 70th year, so that, like Titian and Turner, he retained a wonderful vigour of poetic fancy to the last. But the companion 
 picture in the collection, the “ HLneas,” was actually a work of some seven years later, if the date upon it is correctly read, 
 which says, “ Romae, 1675,” only seven years before his death at the patriarchal age of 82. The “Hineas” is a fine 
 picture, but somewhat marred by the lanky Trojans, for which Claude was never responsible, as they were generally the 
 handiwork of Filippo Lauri or Jacques Courtois. These two splendid pictures have escaped some narrow chances in 
 their course from the Palace of Prince Altieri in the hands of Mr. Fagan, who had to conceal them at Naples, and only 
 succeeded in getting them shipped on board an English man-of-war during some popular entente. From the want of 
 proper advices they were left unclaimed and lost for a length of time in the Custom House stores of a port on the West 
 Coast, and they were actually put up for sale by auction to pay the dues upon them, and sold for £ 1,200. At length 
 the rightful owners heard of it, and claimed the pictures, which were afterwards sold, it would appear, to Mr. Beckford, 
 and passed into his famous Fonthill collection, which it will be remembered, was afterwards dispersed ; and eventually 
 they were purchased by Mr. R. PL Davis for the sum of ,£12,000, and then soon after went to the Leigh Court Gallery. 
 A smaller picture of a pastoral scene of a herdsman driving cattle is a work of well-known pedigree, and one from which 
 Claude made an etching. It was formerly in the collections of those eminent connoisseurs of their day, John Barnard 
 and Walsh Porter. Next in importance as a work of landscape art, and by another of the greatest men the French 
 school can boast, comes the fine upright landscape by Gaspar Poussin, the “Calling of Abraham” — a picture which is 
 certainly a masterpiece of the painter, finer far than his “ Sacrifice of Isaac ” or “ The Land Storm ” in the National 
 Gallery, with which it compares advantageously ; for it represents the effect of wind sweeping over the land and making 
 the trees bow down before the majesty of Heaven as the angel descends to Abraham. It is an extremely noble and 
 impressive picture, and one of great beauty as a work of poetic composition. It was formerly in the Colonna Palace, 
 Rome, where it was long the rival of the “ Rinaldo and Armida,” by the same painter, in the Corsini Palace. It was sold 
 at the time of the numerous confiscations and deportations arising out of the French Revolution to the Chevalier Rossi, 
 the dramatic writer and author of the “ Life of Angelica Kauffman,” and through him it passed to the Fonthill collection, 
 and afterwards into the possession of Mr. R. H. Davis, and so to the Leigh Court collection. There are three other good 
 pictures by Gaspar, but they are completely overshadowed by the grandeur of this “ Calling of Abraham.” By Nicolas 
 Poussin, the master of Gaspar, and from whom he got the name as a pupil, there is an important, though not a very 
 pleasant, picture, as it represents the horrors of “ The Plague at Athens.” 
 
 For a gallery to possess even one true picture by the hand of Raphael is enough to give it a distinguished reputation, 
 and we have one here which has always attracted the pilgrims of art to Leigh Court. It is the small panel of a predella 
 painted in 1505 along with the grand altarpiece for the Convent of the Nuns of St. Antonio of Padua at Perugia, which was 
 sold in 1678 by the nuns to Count Bigazzini at Rome for 2,000 scudi and a copy of the altarpiece and lunette to take the 
 place of the original. The work of Raphael was afterwards transferred to the Colonna Gallery, Rome, and about the end of 
 last century became the property of the King of Naples. When Italy became united under Victor Emmanuel, the ex-King 
 of Naples is said to have either sold or presented, in consideration of services rendered, this Raphael altarpiece to the 
 Due di Ripalda, and shortly afterwards it made its appearance in the gallery of the Louvre, being offered “on approval” 
 to the French Government. It was subsequently, about eight or ten years back, placed with the same intention in our 
 National Gallery, the sum of ,£40,000 having been named as the price. It was removed after a time, but has since been 
 allowed to be left in the safe keeping of the National Gallery Trustees, though it is not exhibited to the public, as it is not 
 the property of the nation. The panel of the predella now about to be sold is one of five which in 1663 were sold by the 
 Nuns to Queen Christina of Sweden for 601 scudi, and came into possession of the Duke of Orleans. They were all 
 sold in London in 1798, and this of “ Christ Bearing His Cross” is stated by Buchanan to have been bought by 
 Mr. G. Hibbert for 150 guineas. The others are all known. The “ Christ Praying on the Mount ” is in the collection of 
 the Baroness Burdett-Coutts ; the “ Pieta with Saints” is at Barron Hall, Derbyshire (Mr. Whyte) ; and two small upright 
 panels, 9^in. by 5-ldn. with the figures of St. Francis and St. Anthony of Padua, are in the Dulwich Gallery. 
 
 There are three other pictures attributed to Raphael in the collection— a “ Madonna with Infant Jesus,” a portrait 
 of Pope Julius II., and a curious copy with a landscape background, of the well-known “ Madonna del Divino Amore” 
 in the Naples Gallery. The last is a picture of no moment, but of the other two much interesting speculation will arise, 
 for the “ Madonna ” agrees, as far as it goes, with the lost Loreto “ Madonna ” once in the Church of S. Maria del Popolo 
 at Rome, along with a portrait also by Raphael, of Julius II., seen there by Sandrart in 1675. The “ Madonna ” is 
 so-called because it was given by Girolamo Lottorio to the shrine of Loreto in 1717, but its whereabouts now is still a 
 mystery. In this Leigh Court picture the figure of St. Joseph is wanting, which is in the Loreto picture that was carried 
 
1884.] 
 
 THE LEIGH COURT COLLECTION. 
 
 363 
 
 off to Paris by General Colli to the Musde Napoleon but which we do not find in the catalogue of those pictures taken 
 there as the “ Glorieux trophees de la Victoire” in 1815. However, we may accept the learned Ur. Waagen’s opinion of 
 it that it is the best of all that he had seen, and far finer than the early copy purchased in the collection of Charles I. for 
 the Louvre, now No. 389 in the Louvre Catalogue, engraved by Richomme and by F. Muller. Dr. Waagen says, “ the child 
 is of the greatest beauty, and has all the peculiarities of Raphael — the greatest vivacity, the delicately felt drawing, and the 
 reddish extremities.” We must await the opportunity of seeing the picture in a better light than it has in the Leigh Court 
 rooms, in the meantime giving it the general commendation of being a fine picture. The portrait of Julius II. is also 
 highly spoken of by Waagen, but it hangs in an unfavourable position for exact appreciation. As to the predella picture, 
 it breathes in every line the tender grace and beauty of expression of the painter in his young-minded feeling, before his 
 transcendent genius had developed with the mastery of his art. The group of women round the fainting Virgin is 
 specially beautiful in composition and expression, and suggests comparison with the much grander ideal of the Borghese 
 “ Entombment,” painted some two years later. 
 
 There is but one Titian in the collection, and this a fine replica of the “Venus and Adonis'’ in the Madrid Gallery 
 and in the National Gallery. It has been pronounced “ a good school copy” by Dr. Waagen, and by Messrs. Crowe and 
 Cavalcaselle, the authors of “ The Life and Times of Titian,” “ a copy by some old Venetian follower of Titian.” But it 
 is easier to say this than to decide which out of the at least 1 1 pictures known of the subject is the pure work of the 
 master and has been copied as alleged. If it be the Madrid picture, painted 1556, which Titian himself names in his list 
 sent to the minister of the King of Spain, it is remarkable that none of the copies correspond precisely with it either in details 
 of the subject or in dimensions. There are variations in all of them. The pictures which resemble each other in size and 
 subject are the Madrid one, the National Gallery one, this Leigh Court work, Lord Normanton’s at Somerly, recently 
 lent to the Burlington House Exhibition (1882), and the now lost one, painted for Cardinal Farnese in 1546. This last is 
 described in the Parma inventory of 1680, is engraved by Sadeler and by Strange, and was seen by Mrs. Jameson 
 who considered it to be the original, in the Naples Museum so late as 1842. The size of these five varies slightly between 
 45m. by 72m. and 70m. by 8oin., which is the measure of this Leigh Court picture. The other six we know of are all 
 much smaller. The fine sketch in the Alnwick Gallery is 30m. by 40m., and Adonis wears the winged cap or “ petasus” 
 of Mercury as he does in the Dulwich Gallery picture and in that at the Venice Academy. The winged cap seems to 
 suggest the question whether the picture was not intended for “ Cephalus and Procris,” in allusion to Cephalus being the 
 son of Hermes, and bearing the magic unerring spear, the gift, with a hound, of Artemis. But then it is difficult to explain 
 the incident of the boar attacking Adonis seen in the landscape beyond, as in the Duke of Northumberland’s picture, and 
 so very distinctly painted in the picture before us ; while in the National Gallery picture it is not visible now, if it ever 
 was there, and in place of Apollo it is Venus in her dove-drawn car who rides across the sky, while Amor sleeps without 
 a dove and holds an arrow in his hand. Unfortunately, this has never been noticed in the National Gallery catalogues, 
 though we may expect to see it in the new one, whenever that long-delayed publication makes its appearance to replace 
 the only catalogue to be had for the last six years, which gives little more than the names and dates on the frames. The 
 Madrid catalogue is equally defective in proper description, and the Burlington House catalogue omitted to say that in 
 Lord Normanton’s “Venus and Adonis” there is no representation of the death of Adonis in the background, though it 
 states that “Jupiter” appears in the sky, who may have been mistaken for Apollo. Messrs. Crowe and Cavalcaselle also 
 make an error in saying of this Leigh Court Titian that Adonis holds two dogs, when he has three , and these 
 magnificently painted as no other hand than Titian’s could paint, and that Amor sleeps with a dove in his hands, whereas 
 the bird of Venus is pecking the ground near his foot. These writers appear never to have heard of Lord Normanton’s 
 picture which came from the famous Orleans collection and is highly lauded by Waagen. One more large “ Venus and 
 Adonis” is mentioned by Mrs. Jameson in a note to her “ Public Galleries,” as belonging to Mr. Fitzhugh of Bannisters, 
 near Southampton, in 1842. This picture was, we believe, sold at Christie’s some years back, but its whereabouts at 
 present we are unable to state. Lord Darnley’s “ Venus and Adonis ” at Cobham Hall has the figures, which are fewer in 
 number, about half life-size, and there is a rainbow in the sky. The Belvedere picture at Vienna is small and insignificant, 
 being patched and painted all over. As to the picture we are now interested in and which will soon speak for itself, the 
 conclusion will probably be that it is one of several painted under the master’s eye, and touched as it progressed by his 
 own hand, of which there are unmistakeable passages of masterly handling. The heads have been cleaned out of 
 harmony, for the picture doctor invariably flies at the face and thus generally leaves his indelible scar, though it may in 
 some cases, as possibly in this, be remedied by judicious “toning.” 
 
 There are other very fine pictures, upon the merits of which we could enlarge did space permit. But these we can 
 only name, reserving for another occasion, when they are exhibited, any remarks that may occur. The most interesting 
 of these are the four Murillos, two of which, though not masterpieces, are fine examples from such esteemed sources as 
 the collections of M. de Calonne and “ Citizen” Robit, two capital Bassanos, and a picture by Annibale Caracci — Diana 
 and Actaeon, by far the most beautiful we ever remember to have seen by this generally too Academic and severe 
 scholiast. The group of the goddess and her attendant nymphs surprised is finely conceived, with a feeling for grace of 
 line and beauty of composition, to say nothing of the lovely landscape and brilliant colour of the picture, rarely attained 
 by Annibale. It is perhaps to be regretted that as a collection of such considerable renown in the history of our private 
 galleries, three of the pictures were allowed to be selected by a private purchaser last year — the Velasquez, a small 
 equestrian portrait of Philip IV., exhibited at Burlington House, 1870, which has, we believe, passed into Baron 
 Rothschild’s collection ; a Rembrandt portrait of a Rabbi, not an undoubted work ; and a Gerard Douw, “ The Water 
 Doctor,” also of doubtful authenticity. As the Leigh Court gallery stands, however, it will command universal admiration, 
 and give great eclat to a fine-art-sale season that has never been surpassed in interest. 
 
 (G. R.) 
 
 3 A 2 
 
3 6 4 
 
 ART SALES. 
 
 [1884. 
 
 TO THE EDITOR OF “THE TIMES.” 
 
 Sir It might be inferred from the notice of the above-named collection in your impression of the 1 6 th inst. that 
 
 there is some difficulty in deciding which of the replicas of Titian’s “ Venus and Adonis” is entitled to be called “the pure 
 work of the master.” There is no difficulty in establishing this much. The “ Venus and Adonis ” of Titian in the Madrid 
 Museum is probably that of which the Prince of Spain acknowledged the receipt in a published letter of December 6, 1554. 
 In this letter the Prince expresses his regret that the canvas should be disfigured by a fold which runs right along the 
 middle of the picture. The trace of this fold and the repairs which it made necessary will be found in the Madrid 
 example. The absence of all trace of the kind in the Leigh Court example * shows that it cannot be that of which the 
 Prince acknowledged the receipt. 
 
 That Crowe and Cavalcaselle should have said in their “ Life of Titian ” that the Adonis in the Leigh Court picture 
 holds two dogs when he holds three is due to an error of correction, which they regret that the printer committed. 
 
 The question of replicas is not confined to the “ Venus and Adonis.” It recurs in reference to the Loretto Madonna 
 and Julius II., of Raphael, of which there are versions in the Leigh Court collection. It has been known for a long time 
 that the originals of those pictures were lost. But errors are still current about them, which I regret to find in the notice 
 in The Times. The writer supposes that Raphael’s Virgin of Loretto was called by that name because it was given by 
 Girolamo Lottorio to the sanctuary of Loretto in 1717, after having been in Santa Maria del Popolo at Rome, where it 
 was seen by Sandrart in 1575. Now there is no evidence that the picture bequeathed by Lottorio to the Church of 
 Loretto was a Raphael at all. Sandrart could not see the picture in Santa Maria del Popolo in 1 575, because he was not 
 born till 1606. He could not have seen it after 1606 at Santa Maria del Popolo, because it had been taken away from 
 that Church by Cardinal Sfondrato in 1591. 
 
 I am, Sir, yours obediently, 
 
 Paris, June 19. J. A. CROWE. 
 
 Sir, — I have only just seen, in your notice of the sale of this collection in The Times of the 30th June, that 
 Mr. Woods is reported to have stated that Messrs. Crowe and Cavalcaselle, in their “ Life and Times of Titian,” had 
 written a description of the “Venus and Adonis” ascribed to Titian “ without having seen it.” I am informed that 
 Mr. Woods added that Mr. Cavalcaselle had told Sir Philip Miles that the picture was a genuine Titian. In the name of 
 both Crowe and Cavalcaselle I beg to observe that Sir Philip Miles was aware before that statement was made that 
 Mr. Cavalcaselle had repeated in a letter the opinion of the “ Venus and Adonis” which is contained in the “ Life of 
 Titian.” That opinion was founded on an examination of the picture made critically and conscientiously several years 
 ago, when those judgments were formed of the Leigh Court pictures which are contained in the “ History of Italian 
 Painting,” and the “ Life of Raphael.” 
 
 I am, Sir, your obedient servant, 
 
 July 2, 1884. J. A. CROWE. 
 
 (“The Times, "June 30, 1SS4.) 
 
 This collection was brought to auction on Saturday at the rooms of Messrs. Christie, Manson, and Woods, before 
 a very large assemblage interested in the fine arts, among whom were Sir Frederick Burton, the Director of the National 
 Gallery ; Mr. G. Howard, M.P. and Sir W. Gregory, Trustees of the National Gallery ; Mr. Doyle, Director of the 
 National Gallery of Ireland ; Dr. Bode, Assistant Director of the Berlin Museum ; Mr. J. C. Robinson, Surveyor of 
 Her Majesty’s pictures ; Lord Wharncliffe, Lord Powerscourt, Lord Normanton, Lord Crawford, Lord Windsor, and 
 Sir Philip Miles, the owner of the collection. 
 
 Five pictures were purchased for the National Gallery — the grand upright landscape by Gaspar Poussin, “ The 
 Calling of Abraham “The Adoration of the Magi,” by Bellini ; the two Hogarths, portrait of Miss Fenton, afterwards 
 Duchess of Bolton, as “ Polly Peachum,” and “ The Shrimp Girl ; ” and Stothard’s “ Canterbury Pilgrims.” The 
 advantageous prices paid for these most interesting pictures will be noticed below, the total being .£3,943 i6x. Next 
 in interest comes the disposal of the two Altieri Claudes, which were the great feature of the sale and about which so 
 much lively expectation had arisen, as it had been said that these noble works, which rank with the greatest of the 
 master, would probably go out of the country. This, at any rate for the present, has not happened, for they were 
 purchased by Messrs. Agnevv at prices worthy the high renown of these beautiful examples of “heroic landscape” — the 
 “Apollo Sacrifice,” for 5,800 guineas ; and the “ Landing of 7 Eneas,” for 3,800 guineas, while the lovely little picture of 
 the “ Herdsman at the Ford,” was bought by the same firm for 1,950 guineas, and the Murillo “ Holy Family ” (No. 41) 
 for 3,000 guineas. The little predella panel, by Raphael — “ Christ bearing His Cross to Calvary,” was also purchased 
 by Messrs. Agnew, for 560 guineas, and has passed into the collection of Lord Windsor. Thus we have accounted for 
 the disposition of those pictures which may be regarded as the choicest of the collection ; but it remains to be said, and 
 this was quite patent at the sale, that several important pictures were “ bought in ” at the prices at which they were 
 knocked down. The chief of these were the large work of Domenichino “ St. John Evangelist in a Vision,” the Nicholas 
 Poussin “ Plague at Athens,” the Rubens “Holy Family” (at 5,000 guineas), “The Woman taken in Adulter}',” “The 
 Conversion of Saul,” and the Titian “Venus and Adonis;” so that the final dispersion of the Leigh Court Gallery 
 
 * Sir P. Miles wrote next day to The limes that this fold was distinctly visible in his picture. This I had previously observed on 
 examining it. — (G. R. ) 
 
1884.] 
 
 THE LEIGH COURT COLLECTION. 
 
 3 6 5 
 
 remains, as was the case with the Saltmarshe Gallery and some others, to be accomplished in a second act. But to 
 proceed with the lots as in the catalogue. Bassano, “The Circumcision,” canvas 29m. by 34m. — £(126 (Phillips); 
 “Christ healing in the Temple,” same size — £(110 5J. (Phillips). Both these pictures were from the Borghese Palace, 
 Rome. Giovanni Bellini, “Adoration of the Magi,” panel I2in. by 33m. Waagen thinks this a predella picture and 
 delicately executed in clear yellowish fresh tones— £(383 55. (Waters), for the National Gallery. P. Campana, “Christ 
 Preaching in the Temple,” panel 12m. by 24m. A curious picture, in which are introduced portraits of Solyman the 
 Magnificent, Francis I., Charles V., Cardinal Bembo, Titian, Giorgione, Bellini, Henry VIII., and Anne Boleyn, and 
 Queen Elizabeth when a little girl— £(199 ioj. (Richter) for the Berlin Museum. Annibale Caracci, “Diana and Actaeon,” 
 canvas, 44m. by 62m. In a fine landscape, the beautiful goddess, with a crescent on her head, is bathing, seated on the 
 rocky ledge of a waterfall below trees, while two attendant nymphs try to hide her from Actaeon. Another nymph stands 
 near a tree reaching down some drapery. Purchased by Mr. Hope for his Gallery at Haarlem, from a French nobleman 
 in Paris, and afterwards sold with his collection, from which several other pictures came to the Leigh Court Gallery — 
 £(462 (Dyer). “ St. John,” by Ludovico Caracci, canvas, 48m. by 36m .— £222 155. (Mr. Denison). Matteo Cerezo, “ The 
 Virgin or Saint in Adoration,” canvas 59m. by 69. A life sized draped figure kneeling on one knee with outstretched 
 hands, very fine in expression and rich in colour, formerly attributed in this collection to Velazquez. Cerezo was a 
 second-rate painter at Madrid at the end of the 17th century, of the school of Carreno. This picture seems too good for 
 him ; — £(682 10 s. (Phillips). Carlo Dolce, “ The Virgin,” bust-size, oval, copper, 13m. by 1 1 in., from Mr. Hope’s collection 
 in 1816 — £(383 5-r. (Aird). Domenichino (Domenico Zampieri, of Bologna, 17th century), “St. John Evangelist in a 
 vision,” seated with an eagle at his feet, and two boy angels standing holding books at each side, the figures much larger 
 than life, canvas 103m. by 8oin. In the Giustiniani gallery, Rome, previous to the French Rovolution, and sold to 
 Delahante, and eventually came through Mr. Hart Davis to Mr. Miles, who is said to have given the enormously high 
 price of 12,000 guineas for it, now brought £(735 (Phillips). Sasso Ferrato, “ Virgin and Child,” 24m. by i8in. — ,£94 ioj. 
 (Davis). F. Guardi, “The Procession of the Doge at Venice,” canvas, 24m. by 27m., £(425 5 s. (Messrs. Agnew). “The 
 Rialto,” same size, £(230 ioj-. (Phillips). W. Hogarth, portrait of Miss Fenton, afterwards Duchess of Bolton as Polly 
 Peachum in The Beggar’s Opera , oval, canvas, 29m. by 23m., engraved by C. Apostool. This picture was sold in 
 Ireland’s sale, 1801, for £(5 7s. 6d., and again in 1S32, in Mr. G. Watson Taylor’s collection, for £(52 ioj. This was 
 much applauded when on the easel — £(840 (Messrs. Agnew, for the National Gallery). “The Shrimp Girl,” by the same, 
 fine spirited sketch in oils, canvas, 25m. by 2oin., engraved by Bartolozzi, also in Mr. Watson Taylor’s sale, when it sold 
 for £44. is. — £(262 ioj. (Messrs. Agnew, for the National Gallery). Holbein (?), called in the sale catalogue “William 
 Tell,” an imaginary portrait, panel, 30m. by 24m., a standing figure, quite nude to the hips, holding a bow in one hand 
 and an arrow in the other, a wonderfully lifelike picture, no doubt intended as a Saint Sebastian, and a work of the 
 German School, perhaps by Cranach — £(162 15J. (Gosling). Gerard Lairesse (17th century), “Jupiter and Antiope,” c. 
 42m. by 54in., a very favourable example of this second-rate painter, £(136 ioj. (Hastie). Claude (Claude Gelde or 
 Gillde, de Lorraine), “The Sacrifice to Apollo,” c. 69m. by 89m. — inscribed “ II Tempio di Apollo, Claudio Gille inven, 
 fecit, Rom., 1668,” painted for Signor Angelino, engraved by Woollett, Pardone, and Frederick Gwellin, known with the 
 companion picture, “The Landing of ZEneas,” as “The Altieri Claudes ’’from having belonged to Prince Altieri, of 
 Rome, from whom they were bought by Mr. Fagan for 9,000 scudi, and sold afterwards to Mr. Beckford, with four other 
 pictures, for £10,000 ; they were for some time in the Fonthill Collection, and when that was sold Mr. H. Hart Davis 
 bought them for £(12,000 and they passed to the Leigh Court Collection. Put up with loud applause at 1,000 guineas, 
 rising quickly to ,£5,000 and then, by bids of 100 between Messrs. Agnew and Mr. Banting, to 5,800 guineas, at which 
 sum the hammer fell to Messrs. Agnew’s bid, £(6,090. “ The Landing of ZEneas in Italy,” c. 69m. by 89m. — inscribed 
 “Claudio Gille, inv. fecit, Romas, 1675.” This companion picture was put up at 2,000 guineas, and was bought by 
 Messrs. Agnew at £(3,990. Claude, “A Herdsman driving cattle through a river,” c. 23m. by 34m. — painted in 1670 for 
 Signor F. Piapiera, Counsellor at Ratisbon, engraved by Vivares, and there is a beautiful etching very similar, by 
 Claude, known as “ Le Gud” (The Ford) ; formerly belonged to John Barnard, and afterwards to Mr. Walsh Porter — 
 £(2,047 ioj. (Messrs. Agnew). These three fine Claudes were, we are informed, not purchased on commission. “ A 
 Seaport : Evening,” by Claude, c. 23m. by 36m., from Mr. Hope’s collection, £(525 (Wertheimer). “A Seaport,” by the 
 same, c. 39m. by 54m., £(525 (Phillips). Murillo — “Holy Family,” c. 48m. by 36m. ; the Virgin with the Infant asleep 
 on her lap, St. Joseph standing under a tree on the right. From the collection of M. de Calonne, and sold with the rest 
 of his fine pictures in London, by Skinner and Dyke, auctioneers, in Spring-gardens, March 27, 1795, for 205 guineas, 
 afterwards in Mr. Hope’s collection in 1816. Put up at 1,000 guineas, with much applause — £(3,150 (Messrs. Agnew). 
 “ Repose of the Holy Family,” by Murillo, canvas, 50m. by 67m. — £(761 5J. (Prankerd) ; “Martyrdom of St. Andrew,” 
 by the same, canvas, 5 1 in. by 66in. — £(388 ioj. (Phillips); Paul Potter, three cows at pasture, panel i6in. by 1 5 Tin. 
 signed and dated 1652 — £(451 ioj. (Wertheimer) ; Caspar Poussin, “The Calling of Abraham,” the Angel and Abraham 
 in a landscape, with effect of stormy wind, canvas, 8iin. by 6iin. This grand picture was formerly in the Colonna 
 Palace, Rome, and was sold to the Chevalier Rossi, becoming afterwards the property of Mr. Beckford, and then, 
 through Mr. R. H. Davis, to the Leigh Court Collection — it was put up at 500 guineas, and bought for 1,900 guineas 
 (£( 1 ,995) by Messrs. Agnew for the National Gallery. Landscape, with figures by Poussin, canvas, 25m. by 30m — 
 £(378 (Messrs. Agnew); “ Cascatellas of Tivoli,” by the same, canvas, 54m. by 36m., purchased in Paris by Mr. 
 Beckford, and sold, with the next one, to Mr. H. Davis — £(472 ioj. (Messrs. Agnew) ; cascade at Tivoli, formed by the 
 Anio below the grand fall, canvas 54m. by 40m. — £(420 (Messrs. Agnew) ; Nicholas Poussin, “The Plague at Athens,” 
 canvas, 48m. by 68in., engraved by Fittler, in Mr. Hope’s collection, 1816 — £(420 (Phillips) ; Raphael, “ Christ bearing 
 His Cross,” panel, ioin. by 34m. formerly the centre piece of the predella to the altarpiece painted for the nuns of 
 St. Antonio of Padua, at Perugia in 1505 ; the altarpiece was formerly in the Royal Palace at Naples, and has since 
 been exhibited in the Louvre and in the National Gallery, where it still is, having been offered for sale at the price of 
 £(40,000 and declined. This panel is engraved by Larmessin, and was once in the Orleans Gallery -£(588 (Messrs. 
 Agnew); “ The Virgin with the Infant Jesus,” panel 39m. by 3 3 i n . , resembles the lost Loretto Madonna, but without 
 
3 66 
 
 ART SALTS. 
 
 [ 1884 . 
 
 the St. Joseph — ,£630 (Phillips) ; Rubens, “The Holy Family,” with St. Francis of Assisi, canvas, 68in. by 79m. This 
 fine picture was put up at a bid of 2,000 guineas from Messrs. Agnew, who bid against the reserve up to 4,950 guineas, 
 and then left it to be knocked down at 5,000 guineas unsold. “ The woman taken in Adultery,” by the same, panel 
 56m. by 88in., a composition of 12 figures, half-length life size, of which the two chief accusers are said to be portraits 
 intended for Luther and Calvin, with others of Vandyck, Otho Venius, and Rubens himself. It was in the Knuyf 
 collection at Antwerp, 1780, and afterwards in Mr. Hope’s, 1816 — ,£1,785 (Phillips). “The Conversion of Saul,” canvas, 
 96m. by 138m., engraved by Bolswert, formerly belonged to M. de Montesquieu, from whose family it was purchased by 
 Delahante, then in 1806 to Mr. Elwyn, from whom Mr. R. H. Davis bought it for 4,000 guineas. It was exhibited at 
 Burlington House in 1875. It was now knocked down at 3,300 guineas unsold. Schidone, “ The Virgin teaching the 
 Infant Jesus,” 13m. by ioin., from Mr. Hope’s collection — ,£294 (Harvey). T. Stothard, R.A., “The Procession of 
 Chaucer’s Pilgrims to Canterbury,” panel inn. by 38m., the engraved picture. Much applause welcomed this charming 
 picture upon the easel, and it was bought by Messrs Agnew for the National Gallery for £(463 is. Titian, “Venus and 
 Adonis,” canvas, 70m by Soin. When this picture came up, Mr. Woods stated that Messrs. Crowe and Cavalcaselle, the 
 authors of “The Life and Times of Titian,” had made some serious errors in their description and account of this fine 
 picture, written without having seen it. It was knocked down at 1,680 guineas unsold. “The Three Graces,” attributed 
 to Titian in the catalogue, panel 46m. by 47m., but by Waagen to Nicolo dell’ Abate — £ 220 ioj. (Mr. Denison). 
 Vandyck, Virgin and Child, 22m. by 29m. — .£157 10s. (Banting). Joseph Vernet, harbour scene, effect of misty morning, 
 canvas, 28m. by 22m. — £210 (Wertheimer). Paolo Veronese, Christ’s Entry into Jerusalem, I2in. by ioin.— ,£115 lor. 
 (Phillips). Leonardo da Vinci, St. John, oak panel, 34m. by i8in.— ,£210 (Lesser). “Creator Mundi,” by the same, 
 canvas, 38m. by 32m., Christ holding a crystal globe, the right hand raised ; rather larger than life, engraved by Hollar — 
 ,£525 (Lesser). This was the last lot (No. 75) in the sale. The total amounted to ,£44,296 17.J. 
 
 To this may be added, that there were some other pictures sold for smaller prices, amongst which was a 
 “ Crucifixion,” on panel, i Sin. by 14m., attributed to M. Angelo, but perhaps by M. Venusti, which sold for £(78 151-. 
 (Weston). It should also be recorded that Sir Philip Miles attended the sale with his Lady and friends, occupying 
 raised seats set apart in the corner of the room, where Sir Philip bid openly for his own pictures. The name of 
 “ Phillips ” was given to those lots so bought in. 
 
 In reference to the letters of Mr. J. A. Crowe to The Times , I may say that I wrote to the Editor, as the writer of 
 the article on the Leigh Court Collection, pointing out that the fold in the canvas, alleged as a proof of the authenticity 
 and identity of the Madrid picture of “Venus and Adonis,” was also to be found in the Leigh Court picture, now at 
 Christie’s, as could be seen by anyone, and that this was an incorrect statement which could not be attributed to the 
 printers, like that of the two dogs instead of three. 
 

 turner 
 
 CLAUDE 
 
 CASTLE 
 
1884 .] 
 
 THE DENT COLLECTION OF PRINTS. 
 
 367 
 
 THE DENT COLLECTION OF PRINTS. 
 
 (“The Times,” March 26 th, 1884.) 
 
 The collection of engravings and etchings formed by the late Mr. St. John Dent, an amateur distinguished for his great 
 taste and most accomplished study of the whole subject, is one of the most remarkable for choice and rare examples that 
 have ever been formed in this country. It may be said, indeed, to be the result of many years of rigorous selection from 
 all the great sales— the Woodburn, Buckingham, Sykes, Beckford, Wellesley, Hawkins, and other historic dispersions— 
 so that scarcely a print in the collection is without some name of high degree that stamps it with aristocratic descent. 
 Many have passed from time to time through the famous cabinets of Mariette, Dumesnil, De Fries, De Bammeville 
 Durazzo, Verstolk, and other great foreign collectors. That this fine collection is about to be dispersed by auction at 
 Sotheby’s rooms in the course of the next ten days is only what was to be expected as the common fate of collections, in 
 this country at least, for the example recently set by M. Schoelcher in giving the whole of his superb collection of prints 
 to the Paris Ecole des Beaux Arts is one only too rarely followed by our wealthy possessors of art treasures. The money 
 value of these properties in art is of course large, as it must be in the case of Mr. Dent’s prints, but it may be observed 
 that M. Schoelcher’s gift is valued at about ;£ 10,000, and yet this has not been a consideration in his disposition of his 
 collection for the benefit of the public. Our British Museum, not being generally favoured by the generosity of our 
 wealthy collectors, will have, as usual, to enter into competition for the possession of some of the finest examples in this 
 Dent collection, all of which have, we believe, already made the tour of the foreign museums, that nothing may be left 
 to bring the price up to the very highest figure. All this is, of course, simply the business of those who have to sell, and 
 it remains to be seen whether the authorities of the British Museum will be able to compete as successfully as they ought 
 to do against private buyers and the foreign museums. It is in this case not a cjuestion of merely adding duplicates that 
 may afterwards have to be sold to get back the money, but of acquiring examples of masters not represented in the 
 portfolios of the Museum and of such invaluable impressions of the most perfect condition known of certain of the rarest 
 early Italian prints, such as “ The Assumption of the Virgin ” by Botticelli, a print absolutely unique in the perfection 
 and beauty of the work, and in many respects far finer than the one in the Museum. This print is on two large sheets of 
 thick paper, 16b inches by 22%, with slight margin at the top, bottom, and sides, the print being intended to be joined at 
 the middle, and the subject continued from one sheet to the other. This beautiful specimen of early Florentine engraving 
 is quite a thing to see, when the collection is on view, as it will be to-day and to-morrow. The prints of Robetta, 
 Girolamo Mocetto, Nicoletto da Modena, and Andrea Mantegna, contemporary engravers of the 15th century, are all of 
 the finest impressions. There are four by Robetta which are most desirable for the Museum ; and the Mocetto “ Baptism 
 of our Saviour,” as a most interesting print, showing the artist’s own corrections and improvements in his work, would 
 be equally important ; while the Nicoletto da Modena “ Nativity,” a perfect and early impression, would be far preferable 
 to the poor print, very much injured, which now alone represents him in the British Museum. The Mantegna “ Entomb- 
 ment” is admitted to be the finest in this country, as an early impression, of which Mr. Fisher’s rare one is the only 
 other, and that is not perfect. There are other impressions, but these have, no doubt, been taken from the plate in after 
 years, comparatively recently, as it is known to have been preserved, and are all more or less imperfect. The eight 
 tarocchi cards attributed to Baccio Baldini, circa 147°? 2-re most interesting', and thoug'h they vary in quality, some are 
 quite perfect, which is an extremely rare thing to meet with. The complete set of the tarocchi is in five divisions of ten 
 prints each, but the only perfect set in existence is that belonging to the Duke of Devonshire at Chatsworth, which is a 
 very beautiful set all mounted on card. These eight now to be sold are considered by Bartsch to be the original set, 
 though the date is given as 1488, whereas, according to Zani and other authorities, it was ten years earlier, and the work 
 probably of a Venetian engraver, and not from the designs of Botticelli, as supposed by Ottley. They have each a figure 
 of a muse — Erato, Polimnia, Thalia, Melpomene, Euterpe, Clio, Loica (Logica), and Astrologia — framed in a ribbon 
 border, about 8in. by 5m. in size ; in the bottom corner are the serial letters and numerals and the name of the figure. 
 Other important Italian prints which should be noticed in the collection are the “Saint Peter, Head of the Church,” by 
 Giovanni de Brescia, a print which, though described by Bartsch, was not attributed to the master by him, but such was 
 the discrimination of Mr. Dent, that he first identified it on comparison with known works of the master whose work it 
 is now acknowledged to be. “The Music Party,” by Domenico Campagnola, an engraver of the 1 6th century, son of 
 Giulio, who copied Mocetto’s drawing of which the engraving is in this sale, is remarkably fine, the landscape being said 
 to be by Giorgione. It is specially interesting also from being on a whole sheet of paper, the plate being octagonal in 
 form. The Jacopo Francia “Bacchus” is a print which is not in the Museum in this fine early state before being- 
 retouched. The works of the German engravers, especially Albrecht Diirer, form a very important feature in the 
 collection. There are 56 by Diirer, not one of which is even of second-rate order, and the “Nativity” is what the 
 connoisseurs call a “ lovely print,” the whole forming a collection most remarkable for fine quality and completeness. 
 There is a fine “ St. Christopher” by Cranach in chiaroscuro, and a “ St. John” woodcut with the chiaroscuro. In this 
 form also there is a curious and rare print by Hans Burgmair (40 Bartsch), a maiden lamenting her lover trampled down 
 by death. The exceedingly rare print, by A. du Hamel, of Constantine the Great and the vision of the Cross, is another 
 noticeable example, and of a print undescribed by Bartsch. The collection of the works of the “ little masters ” Alde- 
 grever, Altdorf, Bartel, and Sebald Beham, &c. — is remarkable for excellent impressions, and some of the works of 
 Binck — “The Madonna and Child with Saints” — have never been seen in a sale before, this particular print being 
 unknown to Bartsch or Passavant. Among the Dutch school there is a “ David” nearly as fine as the British Museum 
 print, which has been pronounced the very finest in the world, by Lucas van Leyden. Of the Flemish school, brought to 
 
ART SALTS. 
 
 [ 1884 . 
 
 368 
 
 perfection under the eye of Rubens himself, there are many superb prints, the works of the two Bolswerts being 
 especially remarkable. The Rembrandt etchings, though not a very extensive or complete collection, are singularly 
 interesting to connoisseurs from peculiarities in the “ states,” and there is a fine second state of the hundred guilder 
 piece, which was in the Buckingham collection. The splendid portraits of English Royal and noble personages, by 
 Faithorne and Hollar, and the curious anonymous prints of Henry VIII., Queen Elizabeth, and Mary Queen of Scots, 
 besides early engravings by R. Collins, R. Cooper, F. Delaram, Reginald Elstrache, C. de Passe, and W. Rogers of 
 Queen Elizabeth, with the lines beginning “ The admired Empress through the world applauded,” seem to offer several 
 opportunities of adding appropriately to the National Portrait Gallery. These appear to be the salient points in this 
 great sale, though there are many prints in the thousand and more lots which might well be pointed out for their rarity 
 and excellence, The sale, which commences on Friday next, will occupy the greater part of the following week at the 
 rooms of Messrs. Sotheby, Wilkinson, and Hodge in Wellington Street, Strand. 
 
 The opening day yesterday attracted a very good attendance at the rooms of Messrs. Sotheby, 
 Wilkinson & Hodge, of most of the principal dealers of London and the Continent, with several 
 distinguished amateurs and collectors, among whom were Prof. Sidney Colvin, Mr. Loftie, 
 M. Silvy, of Paris, Mr. Mitchell, Mr. S. Addington, Mr. Beckett Denison, Dr. Riggall, and others. 
 The prints in this day’s sale were not of first-rate interest, being mostly of the little masters, and 
 the total only amounted to £580. 
 
 (“The Times,” March 31 st, 18S4.) 
 
 The great event of this important sale of engravings, which has created such widespread interest among all the 
 collectors, came off in the second day’s sale on Saturday last at Sotheby’s, when, after some fifty or sixty lots had been 
 sold, the famous print of “ The- Assumption of the Virgin,” attributed to the hand of the great painter Sandro Botticelli, 
 came before the crowded audience. It had already been viewed by great numbers of persons, and had been universally 
 admired for the great beauty of the design and the marvellous condition in which it has been preserved for more than 
 four hundred years. The paper of the two large sheets, each 16I by 22 J. inches, and taken from separate copperplates, is 
 almost without a blemish, having only two or three small cracks at the edges without the loss of the smallest bit of the 
 substance, and it is remarkably thick and solid, and fairly white. The ink is equally remarkable for impasto and richness 
 of colour. It is not necessary to describe the print, as this has been so fully done by various writers, but it may be as well 
 to say that the composition differs entirely from that of the celebrated picture, the “ Palmieri Assumption,” by Botticelli, 
 which is now in the National Gallery, and was the principal purchase made from the Hamilton collection for .£4,777 ior. 
 There are no circular rows or cycles of figures of prophets, martyrs, &c., in the sky, but simply the Virgin, with angels 
 and saints, the Apostles being in the lower half, except the figure of one, which is partly on the upper sheet, which was 
 intended to be joined on to the lower. The print is regarded as one of the most important of the early examples of 
 engraving in Italy, and must always hold a fascinating spell over those who are interested in the works of Botticelli as a 
 pcintre-graveur. It is the treasured example of its kind in the British Museum, the Paris Bibliotheque Nationale, and 
 the Berlin Museum, and there is one of it in the cabinet of M. de Rothschild, of Paris, which was formerly in the great 
 Durazzo collection, and was sold in that at Stuttgart in 1S76 for a little over £'420. The print now sold has passed through 
 a distinguished career, first noticed in the Paignon Dijonval sale, then in the collections of Sir Joshua Reynolds, Lloyd, 
 Sir M. Sykes, Ottley, the Duke of Buckingham, and Mr. Nuns. It does not seem to be known precisely when or at what 
 price the late Mr. Dent became possessed of it, but it was probably about 25 years back, and at a price which, though 
 high at that date, is now become quite insignificant. It is, however, on record that this identical print was sold by 
 auction at Mr. Ottley’s sale for £22 ; in Mr. Lloyd’s for ,£33 12^. ; and in Sir Martin Sykes’s for £42. For beauty and 
 perfection as a print it has been considered to be equal, if not superior, to any of its rivals, and, its value was estimated 
 at some figure considerably higher than had been reached in the Durazzo sale. When it came up to be contended for it 
 was placed before the audience mounted upon a large cloth-covered board at the end of the long table, around which the 
 anxious bidders were assembled in solemn admiration. The first bidding was ,£250 from M. Thibaudeau, who was at 
 once opposed by M. Clement, and these two, who were the only bidders, kept advancing one against the other, M. 
 Thibaudeau continuing to lead his Paris antagonist up to £Soo, at which there was a pause, after which M. Clement again 
 advanced to his last bid of ,£850, but upon this M. Thibaudeau bid ,£860, and the hammer fell. The beautiful print has, 
 we understand, passed now into a most worthy collection which has long held a high reputation among the best in 
 England — that of Mr. Malcolm of Poltalloch, who is to be congratulated on his invaluable acquisition, and upon having 
 retained this most covetable example among the art treasures of this country. M. Clement was, we believe, acting on 
 behalf of that eminent collector, M. Dutuit, of Rouen, who has more than once been victorious in these dispersions of 
 English collections, as will be remembered, when he carried off the Rembrandt “ hundred guilder ” piece at the heroic 
 price of £1,100 from Mr. Palmer’s sale in 1868. 
 
 The eight “ tarocchi,” belonging to the series of 50 which we recently noticed as attributed by Ottley to Baccio 
 Baldini, who, according to Vasari, engraved many designs of Botticelli, did not find that favour with the experts that 
 the catalogue seemed to indicate. It was certainly difficult to believe that if Baccio Baldini did these figures he also is 
 to be credited with the masterly work of the Assumption of the Virgin, which is as firm in the drawing as the line of a 
 crayon in a master’s hand, and in the expression of the heads so distinctive of Botticelli. The six from the Sykes and 
 Storck collections were admitted to be inferior, and accordingly they went from 30*. to 3§r. only each. The two, “ Loica” 
 
1884 .] 
 
 THE DENT COLLECTION OF PRINTS . 
 
 369 
 
 and “ Astrologia,” from the De Bammeville collection, brought ,£4 6.y. and £4 4^. All but one were bought by Mr. 
 Lauser, the German dealer, the last by Dr. Riggall. Three prints of Jacob Binck, a German engraver of the 16th century, 
 “The Adoration of the Magi,” with the “Madonna crowned by Angels,” and six small medallions of subjects in the life of the 
 Madonna, undescribed, by Bartsch, a small print about 6in. by 4m . — £22 105. (Clement) ; “The Descent from the Cross,” a 
 similar print, not described by Bartsch — ,£30 (Danlos) ; “The Madonna and Child,” with six medallions round the sides, 
 not described by Bartsch or Passavant, about 6in. by 4m.— ,£35 ioj. (Mr. Mitchell); the “ Madonna seated on a bank 
 holding an apple,” by Binck, about 3 -gin. by 2^in. (B. 24) — ^15 (Thibaudeau) ; portrait, said to be of Binck (B. 95), holding 
 a skull, wearing a broad hat — £5 (Thibaudeau). By Abraham Blootelingh — Portrait of P. S. Muylman, proof before 
 name or letters — £5 5s-. ; Catherine of Braganza, after Lely, undescribed proof — £14 (Noseda) ; the Duchess of Ports- 
 mouth, proof before the border round the oval — £15 (Noseda). By Franz von Bocholt, early 16th century German. — 
 The Judgment of Solomon (B. 2), a rare early state before the plate was re-worked, a small print, about Sin. by 6in., 
 brought the high price of ,£350 (Thibaudeau). The Annunciation, a print of the same size, was contested with almost 
 equal spirit, and brought £210 (Thibaudeau). The Bolswerts sold exceedingly well. The Marriage of the Virgin, after 
 Rubens, by S. A. Bolswert, proof before all letters — £5 ; Christ crowned, with address of Vanden Enden — £5 ; Christ on 
 the Cross, after Vandyck, first state — £6 6s. (Clement) ; set of nine landscapes after Rubens, proofs b.l. — £15 ion (Mr. 
 Denison). By Gian Antonio da Brescia, 15th century. — The St. Peter declared head of the Church — the print identified 
 by Mr. Dent, called an early impression in the catalogue — was pronounced not to be so by those present at the sale, and 
 consequently sold for £1 i2n only ; the Hercules and the Nemaean Lion(B. 11), a fine early state, inscribed 10 . AN. BX. 
 — about ioin. by lain., margin slight — £25 (Danlos). By Hans Brosamer, German, 16th century. — The Crucifixion — ^10 
 (Meder, of Berlin); The Guitar Player — £9 (Meder). Hans Burghmair, 15th century. — Young Woman with Death 
 Trampling on her Lover — £10 ion (Gutekunst, of Leipsic). By Domenico Campagnola, 16th century. — Assumption of 
 the Virgin — £5 (Danlos); The Music Party, landscape by Giorgione (B. 9) — £42 (Danlos). Giulio Campagnola, early 
 1 6th century. Christ and Woman of Samaria — £11 (Gutekunst); St.John Baptist, copied from the print by Mocetto 
 (B. 3), from the Fesch and De Bammeville collections — £16 (Gutekunst). The prints by Agostino Caracci sold at from 
 three to five guineas each. By the Master of the Crab or Crawfish. — The Nativity (B. 2), from the De Fries, Wilson, 
 Esdaile, and Bromley collections — £35 (Gutekunst). By Alart Claas. — Female seated with a winged dragon, circular — 
 £20 1 2s. (Gutekunst). The interesting portraits by Francis Delaram, an English engraver contemporary with the De 
 Passes and Elstracke in the early 17th century, sold well. The Queen Mary, holding the supplication of Thomas Hongar, 
 inscribed “ Fran. Delaram sc., Compton Holland excud.,” first state, before the plate was altered into an oval — £4 10 s. 
 (Thibaudeau) ; Queen Elizabeth, in a rich dress, with orb and sceptre, with lines, “ Havinge reformed religion, established 
 peace,” &c., two impressions, one worn — £4 4J. (Fawcett) ; Princesse Francis, Duchess of Richmond and Lenox, in 
 coronation robes, illustrated oval — £5 (Jackson) ; The Ladie Francis, Countess of Hertford, oval, a rare print — £4 ion 
 (Fawcett). James I., an equestrian portrait, bareheaded, and holding the reins ; beneath the horse is a view of London 
 Bridge, inscribed with four lines, beginning, “ Behold the shadow of Great Britaine’s King ; ” this exceedingly rare print 
 brought ,£65 (Colnaghi). The total of the day amounted to £2,160 4n The fine collection of Albert Diirers forms the 
 chief feature in this day’s sale (Monday). 
 
 (“The Times,” April 8t/i.) 
 
 THIS fine collection of engravings, the sale of which had kept the attention of all the print-loving virtuosi alive for 
 the previous ten days, was finally disposed of by Messrs. Sotheby on Friday, with the general result of very high prices 
 for all the rarer prints, giving a total for the 1,156 lots of £9,089 6n 6zf., a sum nearly double that for which the 
 collection of the Rev. Dr. Griffiths sold in May last year. That collection was remarkable for its small but select 
 number of very rare prints, and of these the Rembrandt etchings were exceptionally fine, one alone being enough to 
 distinguish it — the portrait of Van Thollinck or Van Thol, which brought the unprecedented price of ,£1,510, a sum 
 far in advance of that obtained for a very fine one in Sir Abraham Hume’s sale at Christie’s in 1876, when the Van Thol 
 of the Lord Aylesford’s cabinet brought £(500. There was nothing to compare with these Rembrandts in this Dent 
 collection, but there was in the Botticelli print a feature of the highest interest to distinguish it in the annals of print 
 sales ; and the high price paid for this unique work, together with other proportionally high prices given for the early 
 Italian prints, shows the increasing interest in the study and the warm appreciation of these beautiful examples of the 
 art practised as it was by the great masters and before it lapsed into the hands of copyists or such able repetiteurs as 
 Marc Antonio. The price of ,£325 paid for the Mocetto “ Baptism” showed how highly it was valued, and £68 for the 
 “Judith ” was almost equally remarkable for a print which in the Griffiths sale brought only £13, though for an inferior 
 one. The examples of Andrea Mantegna were few and not good, while the one we noticed as a copy was admitted to be 
 so and sold for the small price of £2 19 s. (Danlos). The early German masters brought similarly high prices, though 
 not so high as the Italians, yet £(141 for the “ Pyramus and Thisbe” of Johann Wechtelin, and the good prices paid for 
 three other works of his in the sale, show how eagerly these are now sought by collectors. Following our report of the 
 first four days, the prints which remain to be noticed are : — By Benedetto Montagna, a peintre-gravcur of the earlier 
 Venetian School — 1500 to 1533 — “The Saviour on the Mount of Olives ” (B. 4), first state — £66 (CIchnent) ; “Vulcan, 
 Mercury, and Cupid ” (B. 24) — £3. The works of Raphael Morghen, of which there were 15, all proofs, sold from a few 
 shillings to £8 or £10. One — “ The Transfiguration ” after Raphael, proof with the white book, bringing £70 (Fawcett). 
 By Na Dat, the master who marked his prints with a mouse-trap, or as it was once called a rat-trap, and the Abbe Zani 
 calls him “ Natalis Dati,” a German engraver of the early 1 6th century about whom there is much speculation, as his 
 works are exceedingly rare. This print was specially interesting, it was that of “ dhe I wo Armies in Order of Battle 
 (B. 2), and a first state before the scroll was enlarged and the date 1530 was added, as it was in the few after-impressions 
 
 3 B 
 
 VOL. I. 
 
370 
 
 ART SALES. 
 
 [_ 1884 . 
 
 known. It was a perfect and clean proof, much finer than the one in the British Museum, and it sold for £ 46 
 (Thibaudeau). By Wenzel von Olmiitz, “The Man of Sorrows,” copied from Schongauer— ^21 (Meder) ; “Martyrdom 
 of St. Andrew ” — ^11 11$. By Adrian Ostade, a set of 55, in early states — £65 (Colnaghi). Of the works of Crispyn 
 and his sons, Simon de Passe and Wilhelm, the “ Queen Elizabeth,” by the former, after Isaac Oliver’s miniature, in the 
 dress she wore when she went to St. Paul’s to return thanks for the defeat of the Spanish Armada — ,£15 155-. (Colnaghi) ; 
 “ Henry, Prince of Wales, exercising with a Lance,” the large print— ,£31 io.y. (Colnaghi) ; “James I. and his Son,” by 
 Wilhelm de Passe, signed and dated 1621. This was a first state, the king seated, holding an orb, which was changed 
 into a skull in the second state— ^55 (Colnaghi). Equestrian portrait of George Villiers, Duke of Buckingham, by the 
 same, dated 1625 — £3 1 ij. Engravings by George Pencz and Paul Pontius brought small prices, from a few shillings to 
 three guineas as the highest. By Paul Potter, eight subjects of cows and oxen, called the “ Bullbookproofs ” — £30 
 (Thibaudeau) ; the set of five horses — ,£23 ior. (Thibaudeau) ; “ Cows descending a Hill,” the large uncut plate dated 
 1643, and the cut-plate with altered date of 1649, two prints — ,£65 (Colnaghi). The works of Marc Antonio Raimondi, of 
 which there were only five, did not bring high prices, and it was remarked that his prints are rather losing favour with 
 collectors. These were none of them as fine as those in Dr. Griffiths’s sale, which sold as high as .£50 and £60 ; “The 
 Last Supper,” after Raphael, now brought’ ,£9 5-r. ; “ Paul Preaching ”—£ 10 ; “ La Vierge au Berceau ”—£7 ; “ Naked 
 man holding a column” — £ 6 ; “Madonna and Child,” a copy from Albert Diirer — £18 ioj. After these came the 
 Rembrandts, of which there were 32 etchings, among which, however, the only portraits were the six of Rembrandt 
 himself, which brought small prices, from £3 to £4, the one of him in an oval (W. 23) bringing £15 15J. The portraits 
 in the Griffiths sale were of the highest importance ; “ besides the ‘ Van Thol ’ there was the ‘ Jan Six,’ which, though 
 second state, brought £303, an extraordinary rise from the price this identical impression sold for in the Maberly sale, 
 [851 — viz., £82. This increased value of Rembrandt etchings of the last 30 years, however, has been accompanied with 
 a very much better discrimination between the good and the poor qualities of impressions, and thus it was found in this 
 sale that the indifferent ones brought but small prices, the ‘ Hundred Guilder’ piece, second state, being so feeble that 
 it sold for only £16 10s., a fine one selling in the Griffiths sale for £305, the identical impression which in 1851 brought 
 only £71 in the Maberly sale. Of this famous print it is not generally known that the plate was worked till it was all but 
 destroyed, and these worn-out impressions are occasionally met with, one in the Palmer sale bringing 28^. The copper 
 came into the hands of Captain Baillie, the etcher, and he retouched it, and an impression from this was sold in the Palmer 
 sale for £3 5s. ‘The Three Trees ’ was the finest print, having the peculiar charm for connoisseurs of being ‘ full of 
 burr,’ or, as we say of a picture, a rich impasto.” It came from the Buckingham and Beckford Collections, and sold now 
 for £121 (Meder) ; a similar one sold for £125 in the Griffiths sale and £120 in Sir Abraham Hume’s at Christie’s, 1876. 
 “The Angel appearing to the Shepherds,” a good third state— £70 (Colnaghi) ; “Christ and the Woman of Samaria,” 
 first state— £36 (Thibaudeau); “Christ before Pilate,” second state— £27 (Colnaghi); “Abraham entertaining the 
 Angels”— £22 ; “Baptism of the Eunuch,” first state— £24 10s. (Clement). By Jacob Ruysdael, “The Little Bridge,” 
 first state— £16; “The Travellers,” first state before the clouds, very rare— £86 (Colnaghi) ; “ Cornfield,” first state— 
 £33 (Meder). The Master E. S., 1466, “The Pentecost ”—£30 (Gutekunst). Martin Schongauer, “ The Nativity”— 
 £68 (Thibaudeau) ; “ Baptism of Christ”— ,£42 (Thibaudeau) ; “The Crucifixion 90 (Mr. Addington). By William 
 Sherwin, “Barbara, Duchess of Cleveland, as a Shepherdess,” proof before the painter’s name— £30 ioj. (Noseda). By 
 Franz Stoss, an early German engraver of the 15th century, supposed by Mr. Strutt to be earlier than Schongauer, “The 
 Raising of Lazarus,” a very rare print, not in the British Museum — £182 (Meder). 1 he three finest works of that expert 
 early line engraver Cornelis Visscher, “ The Pancake Woman,” “ The Rat Killer,” and “ The Bohemian Woman,” his 
 own designs, brought good prices— seven, ten, and sixteen guineas ; his portraits of “ Gellius”and “ William de Ryck,” in 
 the second and third states, bringing six-and-half and eight guineas respectively. Prints by Jan Visscher, the brother, 
 went for less than half these prices. The mezzotint portraits of William Ward, A.R.A., brother of the distinguished 
 lames Ward, the animal painter, brought rather high prices, from about three to eight and nine guineas ; one of 
 “ Mrs. Bcnwell,” after Hopner, an open letter proof, selling for £20 10 s. (Harvey). By Johann Wechterlin, “ The Virgin 
 seated in a Garden ”■ — £39 (Thibaudeau) ; “ Pyramus and Thisbe,” a very fine print, undescribed state, before the building 
 and distance and the moon were altered, the last to a crescent, brought £141 (Thibaudeau); “Alcon, in the Isle of 
 Crete” (B. 9) — £31 (Thibaudeau); “The Knight and Halberdier” (B. 10) — £46 (Thibaudeau). The engravings by 
 those expert line engravers the brothers Wierix and the French artist J. G. Wille sold extremely well, few going for less 
 than five guineas and several for more, “ L’Instruction Paternelle,” after Terburg, by Wille — £20 (Gutekunst), and “La 
 Tricoteuse,” after Mieris — £14. By the engraver of the monogram L.C.Z., “ Christ’s entry into Jerusalem” brought £81 
 (Danlos). By Martin Zasinger, called also Zagel, an early German engraver, whose works bear the date 1500, “ Solomon 
 adoring Idols” — £4 I2r. ; “The Couple Embracing ”—£12 ; “The Grand Ball” — £7. By Ludwig Krug, another early 
 German, “The Nativity” — £6. By Zwoll, called the master of the Navette, “The Betrayal of Christ” — £26 ior. 
 (Gutekunst) ; an impression of this master sold in the Griffiths sale for £48. This was the last lot in this very interesting 
 dispersion of a collection that was formed by the late Mr. Dent, who was, we believe, a retired military officer, and 
 afforded him the favourite pursuit of the last 30 years of his life, and this with an expenditure of money which has turned 
 out to be very profitable, for it is said not to have exceeded one-third of the sum now realised. As to the present 
 possessors of the many rare prints, no doubt the foreign museums and private collections have obtained some important 
 examples, but it may be confidently stated that the British Museum has acquired those which were specially wanted, 
 while others besides the one great prize of the Botticelli print have passed into the collections of English amateurs. The 
 Mocetto “ Baptism,” for which there was such a vigorous contest, we are now assured, was not, as was conjectured at the 
 time, purchased for Baron de Rothschild. 
 
1884.] NATIONAL GALLERY & ENGLISH COLLECTIONS. 
 
 THE NATIONAL GALLERY AND ENGLISH COLLECTIONS . 
 
 (“The Times,” March i, 1884.) 
 
 VARIOUS and contradictory reports have lately been circulated respecting the forthcoming sale of the Blenheim 
 Collection. It has been stated that our own and foreign governments have made overtures for its purchase. Without 
 for the present discussing these unauthorised and conflicting accounts, it is undoubtedly necessary that the general 
 question of the retention in the country of its art treasures be no longer shirked. The time has come for us to make up 
 our minds whether, as these works of art come into the market, we are to secure them for the national museums, or are 
 to allow them to be purchased by foreign galleries. In the latter case they will be of course lost to the country for 
 ever. We acquired these works by the taste and knowledge of the upper classes of the past and preceding centuries. 
 Many also found their way here at the upheaval on the Continent after the French Revolution. Of late years, however, 
 the tide has set in a contrary direction, not as yet in overwhelming force ; but unless we make some immediate and 
 decided efforts to place our masterpieces, as they are detached from their present resting-places, in the safe shelter of 
 the National Gallery, they will very quickly be swept beyond our reach. It must not be supposed that danger is to be 
 apprehended from the directors of German museums alone. Competitors far more enterprising, and with deeper purses, 
 are to be found elsewhere. Last year a foreign expert, with an American commission, visited and estimated a celebrated 
 English gallery, whose owner most persons would have supposed to have been as likely to entertain an offer for the 
 bones of his ancestors as to part with the family collection to a foreigner. There is not only, however, the danger of 
 galleries being bought en bloc j the Continental directors are always on the alert to secure picked specimens from minor 
 collections. As one passes through the foreign galleries it is possible to point out masterpieces that only lately were 
 hanging on the walls of English houses. At sales, also, the foreign dealers manage to carry off the choicest examples. 
 Recently a well-known dealer at a foreign capital had a magnificent Rembrandt in his rooms. On being asked where he 
 found it, he replied, “In England he added that he took over modern works and brought away old masters — an 
 exchange of old lamps for new which was certainly not to our advantage. 
 
 Can any means be found to stop this constant drain? It is unfortunately evident the country cannot rely on 
 the patriotism of the present owners, even when they are the inheritors of great historic names. Whether the owners of 
 these world-famous galleries appreciate their contents is a question we need not consider, though there are still some 
 remaining who certainly do so. There is no doubt, however, that large classes find enjoyment in the study of paintings. 
 Not only the educated and professional men, but the artisans flock to the national museums, and in yearly increasing 
 numbers. If, as is likely to be the case, with the spread of education comes a still more general taste for art, what will 
 these people whom we are educating say when they find that we of this generation have allowed to pass away the 
 masterpieces of art that our forefathers with patient toil gathered together? For ourselves, have we become so apathetic 
 that we permit the foreignor to filch away our treasures before our eyes ? Individual effort in an emergency like this can 
 do little further than assist in demanding immediate action by the Government. What means may be the most efficient 
 to arrest the disaster can surely be determined without unnecessary delay. To be effectual they must needs be stringent, 
 without at the same time partaking of confiscation. The absolute right of an individual over a work of art is a nice 
 question. The “ bonanza,” who lately at Paris deliberately smashed with his heel a picture by Meissonier had the legal 
 right to do so, since he had paid 7o,ooofr. for the panel. That he had the moral right to commit such an act of atrocious 
 Vandalism the public opinion of Paris emphatically denies. A private person here may shut up his Raphaels and 
 Titians ; has he the right to deprive the country of them for ever ? It would seem that he is so far bound to respect 
 public opinion as to give the nation the opportunity of acquiring them if he himself, for any cause, feels compelled to 
 part with them. In Italy the government can prohibit the exportation of ancient art, even when it refuses to purchase. 
 But there would be no injustice in ordering a register of the paintings of the old masters in private hands, and forbidding 
 them to be sold out of the country until they had been offered to and refused by the national museums. Some such 
 scheme would meet the requirements of our own case, and would assuredly receive the assent of public opinion. 
 
 It is necessary, also, that the Government should display a more liberal spirit in dealing with the National Gallery. 
 Its misplaced parsimony in this instance does not represent the feeling of the country. When, previous to the Hamilton 
 sale, a memorial was presented to the Prime Minister praying for a generous grant, it received the signatures not only of 
 peers and members of Parliament, the wealthy and cultivated, but also of the leaders of the working men ; and in a case 
 like this their wishes ought especially to be regarded. The working classes contribute largely to the revenue ; by no 
 possibility can they ever become possessed of a fine picture ; the more reason they should have access to galleries where 
 such pictures can be seen. Taking London alone, it would not be unreasonable for them to demand additional galleries. 
 Why should not the East-end possess its picture gallery as well as the West-end ? South London has the nucleus of an 
 important museum at Dulwich, but it receives no increase. Even the National Gallery itself, fine works as there are in 
 it, but inadequately represents the various schools of painting, and is totally unworthy of the richest capital in the world. 
 If it is safe to ignore the demands of English artists, still the right of the English public to a gallery of British art can 
 scarcely be denied. The whole subject is too comprehensive to be treated in a single article. It will be lamentable if it 
 does not receive the attention of Parliament this session. A tithe of the time already spent in barren discussion might 
 have solved the difficulty. 
 
 3 B 2 
 
372 
 
 ART SALES. 
 
 [1884. 
 
 SALE OF DRAWINGS BY TURNER. 
 
 (“The Times,” March n, 1884.) 
 
 The sale of the four beautiful water-colour drawings by Turner attracted a full company of amateurs and dealers at 
 Christie’s last Friday, exciting something of interest in a season which has hitherto been singularly tame. These 
 drawings were made by Turner in the years 1821 — 23 for “Whitaker’s History of Richmondshire,” and were engraved in 
 that work ; consequently they are so far well known in that form, though they have been little seen until the present 
 exhibition of them previous to the sale. They had been, in fact, carefully preserved ir. a portfolio by the late Mr. Orme, 
 who probably became possessed of them many years ago in connexion with his business as a member of the great 
 publishing firm of Longmans, and they had never passed into any other hands. They are all, as nearly as possible, of 
 the same size, viz., iisin. by i6fin. “ The Crook of Lune” is generally admitted to be the finest of the set, and has been 
 highly eulogised by Mr. Ruskin. It represents a wide expanse of hill and vale, with the river Lune winding through the 
 distance and bending into a “crook” around the nearer hills, and it is seen rushing along deep below the foreground hills, 
 the shadows of which are cast upon the shoulder of those in the middle ground with wonderfully fine effect of light and 
 brilliancy. In the extreme distance is seen Hornby Castle, with bright, silvery sunlight streaming down from a sky of 
 early summer. The drawing is well engraved by W. Radclyffe, but without giving much suggestion of the marvellous 
 light and colour that the master hand conferred upon his creation. Since the famous Novar drawings and pictures sold 
 here in 1878, the Quilter collection in 1875, and the Gillott collection in 1872, there have been no such drawings as these 
 in the auction-room, and had they come up for public competition in those days of enthusiastic prices, no doubt they would 
 have brought higher prices than they did. “ The Crook of Lune” was the first to be put upon the easel, with a bid of 500 
 guineas from Mr. Vokins and an immediate advance from Mr. Agnew, who was the only other bidder, and to whom, in 
 the end, it was knocked down at ^1,155. “The Wycliffe, near Rokeby,” engraved by John Pye, was contended for by 
 the same two competitors, and sold for ,£619 to Messrs. Agnew. For “ The Kirkby Lonsdale Churchyard,” engraved by 
 C. Heath, there was a more spirited contest, Messrs. Dominic Colnaghi entering the field, but again the hammer fell to 
 Messrs. Agnew’s bid of 820 guineas (£861). “ The Simmer Lake, near Askrigg,” engraved by Le Keux, was also obtained 
 by Messrs. Agnew at £661 ioj. Thus the four drawings brought ,£3,297, just ten guineas less than one drawing, though 
 a larger one — “ Bamborough Castle” — sold for in the Gillott sale, and which, with the equally fine “Heidelberg” 
 (.£2,782 10s.) and “Windermere” (,£2,047 ioj.), at that time passed into the collection of Lord Dudley. Other Turner 
 drawings which brought very high prices in the Quilter sale were “Heidelberg,” £1,922 10 s., and “Oberwesel,” 
 ,£1,627 ioj., both of which are also in Lord Dudley’s collection. In the Novar sale “ The Zurich ’’sold for £1,260, 
 “ The Knaresborough,” for ,£1,218, and “The Chain Bridge over the Tees,” the same size and of the same fine quality as 
 these Richmondshire drawings, for ,£1,491. It is said that the late Mr. Orme refused an offer of 4,000 guineas for his 
 four drawings some years ago, and by a dealer ; the falling-off, however, is not considered to be attributable to any fading 
 of Turner’s repute, but rather to the “badness of the times,” as the dealers say. Among other drawings sold in 
 Mr. Orme’s collection was a good work of G. Barret’s, one of his classical river scenes, about 15m. by 19m., which 
 brought £28 3 ioj.. a very high price in these times ; a river scene, with bridge and tower, by Samuel Prout, an upright 
 drawing, 15m. by I2in. — £34 13 s. ; a lake scene, with figure and cattle, by Copley Fielding, about Sin. by 1 1 in. — ,£96 12s . ; 
 a pair of small oil paintings, 6in. square, on panel, by T. Creswick, R.A., of Waterford and the Cove of Cork, both 
 engraved — £63 14J. ; an interesting portrait of Sir Walter Scott, by Leslie, R.A., on panel, I2in. by ioin., being an 
 engraved portrait, representing him seated, holding his hat and stick, with light brown hair turning gray, and blue eyes — 
 ,£44 ; five rather large pictures, about 5ft. by 4ft., by W. Hamilton, R.A., 1703, all engraved, went for small prices — the 
 highest, ,£38 17s., the lowest five guineas. The pictures sold on the same day belonging to the late Sir Frederick Adair 
 Roe and the late General Sir Hastings Doyle were not of any importance. A portrait of George Villiers, Duke of 
 Buckingham, with his wife and two children, with landscape background, from Sir F. A. Roe’s collection, by Mireveldt 
 was the only interesting picture, and it sold for £S6. Another interesting portrait, which had once been supposed to be 
 Queen Elizabeth when it hung in the little country church of Queen Camel, Somerset, but is now known to represent 
 Lady Arabella Stuart, came from “a different property,” and was stated to have been bought at the sale of the aged 
 Incumbent’s effects. It was a seated three-quarter length full face, in a white jewelled and embroidered dress and 
 head-dress, on panel, 38m. by 29m. It had been very closely cleaned recently. Sold for £94 io.r. 
 
1884.] MR. E. CROMPTON POTTER'S COLLECTION. 
 
 373 
 
 MR. E. CROMPTON POTTER'S COLLECTION. 
 
 (“The Times,” March 24, 1884.) 
 
 The sale of the interesting collection of modern pictures belonging to the late Mr. Edmund Crompton Potter, on 
 Saturday last, at the rooms of Messrs. Christie, Manson and Woods, to which we recently drew attention, was a 
 success even greater than had been anticipated. The large gallery was densely packed in every part, the audience 
 standing three deep on the raised steps round the room, and the floor of the house as closely filled by those who were 
 early enough to get chairs. This was only what was expected from the continual crowds that kept passing in and 
 out during this week while the pictures were exhibited on the walls. The chief interest lay in the remarkable works of 
 Mr. Briton Riviere, R.A., which so completely meet the taste of the British public for the lion as the king of beasts 
 and the chosen emblem of the national nobleness and power. There was the large life-size picture of the two huge 
 lions roaring after their prey at nightfall in the desert ; the “ Persepolis,” with lions prowling in the moonlight among 
 the ruins of the courts where Jamshyd gloried ; and the Daniel in the lion’s den, which won the loudest applause, and 
 brought almost the highest price in the sale — 2,500 guineas. Besides these lion pictures there were two magnificent life- 
 size sketches in charcoal by Landseer of “ The Monarch of the Jungle,” and “ An African Lion,” which sold for £54 12J. 
 and £56 14J. respectively. There were in all 11 pictures by Mr. Riviere, a larger number of any one painter’s works than 
 we remember being sold at auction during his lifetime, and bringing an amount never equalled before — ,£10,909 10 s., 
 thus averaging very close upon ,£1,000 each. As these were the striking features in the sale, we may leave the order 
 of the catalogue and give the prices at once. The first to come upon the easel was the humorous picture of the boy 
 with the market pig struggling to get away, with the cord on his leg tight round a post, called “ A Double Entendre ; ” 
 it sold for £304 ioj. “ Let Sleeping Dogs Lie ” — a navvy asleep on a beershop bench with his bull pup in his lap, 
 painted 1880, 26Jin. by 34J in., exhibited and engraved — ,£1,102 ioj. ; “ Cupboard Love” — painted 1881, 56m. by 44m., 
 sold with the copyright — ,£1,050 (Mr. Dale). “Come Back,” painted 1871, 37m. by 29jin. — £710 (Mr. Rhodes). This 
 picture was originally sold in the exhibition for ,£250. “A Midsummer Night’s Dream,” painted 1869-70, 57^in. by 
 39m. ■ — ,£378 (White) ; two lions roaring, painted 1876, and exhibited, 57m. by 91m. — .£892 ioj. (Mr Passmore Edwards, 
 M.P.) ; “ Pallas Athene and the Herdsman’s Dogs,” from the Odyssey, painted 1876, and exhibited, 47m. by 70m., — 
 £572 10s. ; “Daniel in the Den of Lions,” painted 1872, and engraved, 38m. by 59m., exhibited at the Paris Universal 
 Exhibition, 1878 — ,£2,625 (Messrs. Agnew). This picture, we are told, has been three times before purchased by Messrs. 
 Agnew, and, as a necessary consequence, sold each time at a higher price. “ Persepolis,” painted 1878, exhibited and 
 engraved, 30m. by 53m.— .£1,050 ; “All that was Left of the Homeward Bound,” a young woman lashed with her dog to 
 a floating mast, painted 1883, exhibited and engraved, 36m. by 50m. — £(1,155 ; “A Legend of St. Patrick,” the saint 
 carrying in his arms a young fawn, with the mother following him, painted 1877, 56m. by 48^in. — £(976 ioj. With the 
 exception of four pictures, as stated above, Messrs. Agnew were the purchasers. 
 
 The oil pictures by David Cox gave great interest to the sale, and the large prices they brought well sustained the high 
 repute of this eminent landscapist of our school. Even the small sketchy works sold well. “Throwing Stones,” — £168 ; 
 “Rhyl Sands” — £94 io.y. ; “Dudley Castle” — £178 ioi-. ; “Going to the Hayfield” — £231 ; but the important pictures 
 showed a still rising price. “The Church at Bettws-y-Coed,” painted 1857, 3ilfin. by 435m., was received with a round 
 of applause and a bid of 1,000 guineas, creating a spirited contest between Messrs. Agnew and Mr. Vokins, which went 
 on till at length the hammer fell at 2,550 guineas (£2,677 io.y.), Messrs. Agnew being the purchasers. This beautiful 
 picture, which brought the highest price in the sale, was once in the collection of Mr. Norman Wilkinson, and afterwards 
 in that of Mr. Levy, in whose sale in 1867 it sold for £2,205. “The Skirts of the Wood,” with gipsies, 29m. by 36m., 
 formerly in the Gillott collection, painted 1843 — £1,417 io.f. This picture sold in the Gillott sale, 1872, for £2,315 5J.. 
 showing a very considerable fall, which is probably attributable to the enthusiasm excited by that great sale, and the 
 prevailing high prices of that prosperous time of picture sales. In this case, however, the picture is now admitted to 
 be a little “leathery” in tone, and not so brilliant as the Bettws Church. “ The Coming Storm,” painted 1850, 23m. by 
 33m. — £315 ; “ Darley Dale Churchyard,” painted 1850, 19m. by 25m. — £483. Following the order of the sale after the 
 pictures by David Cox, a small work attributed to Old Crome, “A Norfolk Lane,” said to have been presented by 
 Crome to Dr. Pretyman, prebend of Norwich Cathedral, sold for £157 ioi'. By William Etty, R.A., “Venus and 
 Adonis,” a small-size copy of the picture by Titian in the National Gallery, 28m. by 36m. — £115 ioj. ; this was sold in 
 the Novar collection at Christie’s, 1878, for £231. “The Good Samaritan,” by the same, also from the Novar o r 
 Monro collection, £126 ; “ Diana and Endymion,” by Etty, exhibited 1839, 31 in. by 28m. — £309 15J. ; in the Novar sale 
 it brought £315. “The Three Graces,” also by Etty, and from the Novar collection, 2iin. by 3 1 in. — £162 15^. (in the 
 Novar sale it brought £178 io.r.) ; a finished study by Mr. Firth, R.A., for the lady in his picture of Claude Duval — 
 £94 ioj-. ; “The Lady of Shalott,” by Atkinson Grimshaw, 24m. by 36m. — £246 15J. ; “ Nearing Home,” by the same 
 — £13610.?.; “Wise Saws,” by J. C. Hook, R.A., the river scene with the raven and the cows, painted 1S75 and 
 exhibited, 31m. by 55m., was put up with a round of applause at 800 guineas, and, after a somewhat languid advance, 
 fell to Mr. White for £1,260 ; “A Cornish Gift,” by the same painter, i8in. by 28m., exhibited at the Academy and at 
 Leeds National Exhibition, 1868, from Colonel Holds worth’s collection at that time — this capital work was put up at 
 500 guineas and sold for £892 ioj., just 50 guineas more than it fetched in Colonel Holdsworth’s sale in 1SS1 at 
 Christie’s ; a rocky river scene, by Sir E. Landseer, R.A., loin, by 14m., a charming open-air study, which in the sale 
 of the painter’s works in 1874, after his death, brought £1 73 5?., now sold for £110 5.?. ; “The Mermaid,” by Sir F. 
 Leighton, P.R.A., a mermaid embracing a youth, painted for Signor Mario, the famous tenor, and exhibited at the 
 International Exhibition of 1871, 26vrin. by iqLin.— £357 ; “ Electra at the Tomb of Agamemnon,” exhibited 1871, by Sir 
 F. Leighton, 6oin. by 30m. — £945 ; a landscape with a gleaner, by J. Linnell, sen., a rich-toned evening effect, 1 tin. by 
 
374 
 
 ART SALTS. 
 
 [1884. 
 
 13m. — £173 5 s. ; “The Watchers,” by H. S. Marks, R.A., three cranes— £105 : the two portrait studies by Mr. Millais, 
 R. A., of “ Stella” and “ Vanessa,” painted and exhibited at the Academy in 1868, were three-quarter length figures, life-size, 
 in old English dress, most elaborately painted, both of which have been engraved by Mr. Atkinson. A round of 
 applause greeted “ Stella,” which was followed by a bid of 1,000 guineas, and the picture was sold to Messrs. Agnew at 
 .£1,470. The “Vanessa,” which had quite as many admirers, did not quite reach the same high figure, bringing only 
 .£1,365. “The Bathers,” by W. Mulready, R.A., i8in. by 14m. — £105 (bought by Mr. Woolner, R.A.) ; “The Bathers 
 Surprised,” a more important work of Mulready, which was formerly in the collection of Mr. Thomas Baring, and was 
 in the Art Treasures Exhibition of 1857 at Manchester, 24^in. by i8Jin. — sold for £315 ; a small and very beautiful 
 landscape by Patrick Nasmyth, 1828, Iiin. by 15m., sold for £378; the two unfinished pictures by John Philip, R.A., 
 which had been sold in the dispersion of his sketches and unfinished works, did not realise anything like the price 
 they did at that time, when the interest felt at the loss of this great painter of Spanish life and character was so keen : 
 “ Finding the Text” brought £91 js., its former price being £215 5^. ; and “The Sisters” only £84, when it had sold 
 for £315 in the artist’s sale; “The Maid and the Magpie,” by R. F. Poole, R.A., 1855, a circular picture, 24m. in 
 diameter, sold for £71 8 s. ; “The Mountain Spring,” by the same, 1 5 Jin. by 12 Jin. — £236 55-. (in Colonel Holdsworth’s 
 sale it went for £315) ; “ Lady Hamilton as the Comic Muse,” by G. Romney, R.A., an oval canvas, 32m. by 27m., well 
 known to have been cut from a picture of a full-length figure, sold for £556 ioj., a very high price under the circum- 
 stances : the fine portrait of Mrs. Jordan, by Romney, which had been miscalled in the catalogue “ Lady Hamilton,” 
 representing her in much the same dress and character as “ The Romp,” which was so admired at Burlington House this 
 year, sold for £735 ; “ Helen of Troy,” by F. Sandys, bust size — £147 ; portrait of a lady, in the style of Rubens, by 
 G. A. Storey, A.R.A., 1878, exhibited — £131 5-t. This was the last of the English pictures, after which came the works 
 of foreign artists, which brought good prices, though, with the exception of the large “ Sappho ” of M. Mengin, they had 
 not the same pretensions as capital works of the painters. “The Church Door, Seville,” by G. Dord, 1868, sold for 
 £157 10.?. ; “ Spanish Peasants,” by the same — £68 5-r. ; “ The Wood-carrier,” by E. Frere — £94 ioi-. ; “In the Fields,” 
 by the same — £42. The “ Columbus in Prison,” by Louis Gallait, 1865, a fine work of the kind, which had sold in the 
 Mendel collection for £892 ioj-., now brought less than half that price — viz., £420. The “ Sappho,” by A. Mengin, 1877, 
 full length, larger than life, standing, half draped in black, by the rock, holding her lyre, sold for £44. “ Le Sanglier 
 
 Mort,” a winter scene in a forest, by E. Michel, 1878, 5 5 Jin. by 78m. — £215 5^. ; and “ Les Cicognes,” by the same, a 
 large landscape, 5 5 in. by 68in. — £378. Ary Scheffer’s “Hebe,” an engraved picture, which had sold for no less than 
 £1,438 ioj., in Baron Albert Grant’s sale, now brought only £556 ios-. “The Horse Tamer,” by A. Schreyer — £215 5^. 
 The four very spirited and clever pictures of F. Vinea brought excellent prices, “Soldiers Drinking in a Wine-shop” — 
 £346 ioj. ; “ Gossip at the Cantina ” — £346 ioj. ; “ Interior of an Inn,” with a soldier and monk playing chess, and a girl 
 pouring out wine — £367 10s. ; “The Page” — £189. The total of the 84 pictures amounted to £32,501 14 s. Besides this 
 large sum invested in pictures by a Manchester man, who unfortunately died in his prime, and whose father, the late 
 Mr. Edmund Potter, the great calico printer, rendered excellent service to art many years ago as a member of the executive 
 of the famous Art Treasures Exhibition of Manchester, 1857, Mr. Potter had formed a very large and fine collection 
 of Chinese enamels and Oriental china, which were sold at Christie’s on Friday, adding £5,116 15J. 6 d., and making a 
 grand total of £37,618 9J. 6 d. 
 
 (“Ti-ie Times,” March 29, 1884.) 
 
 The Late Mr. Crompton Potter. — The Rev. Charles Beard writes, as one of the oldest friends of the late 
 Mr. E. Crompton Potter : “ He was not a millionnaire, though his expenditure on paintings and other works of art was large. 
 The main point is that that expenditure was under the control of a cultivated taste. His object was not to amass, under 
 the direction and with the help of dealers, costly things, but to surround himself and his family with what he deliberately 
 judged to be beautiful and refining. I venture to submit that the collection showed this. Many fashionable artists were 
 unrepresented in it. No one who was anxious to have a routine collection would have bought so many RiviJres. You 
 yourself say that Sir F. Leighton’s ‘ Electra ’ was ‘ too tragic for the dining room of an ordinary comfortable millionnaire. 
 But it hung over Mr. Potter’s dining-room mantel-piece.” Mr. Beard concludes by saying that those who knew 
 Mr. Crompton Potter and the efforts which he made for art education in Manchester are best aware of how great was his 
 public spirit and how unfailing his liberality. 
 
1884.] 
 
 MRS. MORRISON’S COLLECTION. 
 
 375 
 
 MRS. MORRISON'S COLLECTION. 
 
 (“The Times,” April 2, 1884.) 
 
 The collections of water-colour drawings belonging to the late Mrs Morrison, of Mountblairy House, and of 
 Mr. Edward Sibeth, sold by Messrs. Christie, Manson and Woods, on Friday and Saturday last, contained many good 
 examples of the English school, particularly of Copley Fielding, William Hunt, the fruit and birds’-egg painter, Carl 
 Haag, the painter of picturesque Eastern figures and scenes, F. W. Topham, W. W. Deane, and others. Those which 
 were the most interesting and brought the highest prices were : — Copley Fielding. — “ View of Raby Castle,” 1836 — £ 70 75. 
 De Wint. — “Matlock High Tor ” — £32 115. W. Collingwood Smith.— “ The Bay of Uri, Lake Lucerne” — £102 185. 
 T. M. Richardson, 1855. — “Loch Morlich” — £147 (from Mrs. Morrison’s collection). From Mr. Sibeth’s. — Guido Bach, 
 1868, “Ave Maria” — £715 105. G. Barret. — “Harvest Time” — ,£52 105. R. P. Bonnington. — “On the French Coast,” 
 6|in. by 9-Jdn.— ,£63. C. Davidson. — “Leafy June” — ,£6645. W. W. Deane, 1867. — “ The Bull-ring, Seville” — 
 
 ,£73 105.; “Horse Fair, Seville” — ,£105. P. de Wint. — “A Roadside Inn,” 13m. by i7|in., from the Cafe collection — 
 £478 105. E. Duncan, 1863. — “ On the Thames by Moonlight,” 13-jpn. by 2oin., Cafe collection — £126 ; “ Dutch Fishing 
 Boats — a Gale,” 1872, 15m. by 28in. — ,£94 105. Birket Foster. — “Greta Bridge,” — £g2 8s. ; “Linlithgow,” 5111. by 71m 
 — .£65 2 s. Alfred Fripp, 1865. — “A Dorset Woodman” — £42. George Fripp, i860. — “Market Place, Novara” — 
 £94 105. ; “At Shiplake,” 1864, 9m. by 2iin . — £71 85. ; “In Mar Forest,” 13m. by 19m. — £89 53-. A. C. Gow, A.R.A., 
 1870. — “Reconnoitring,” loin, by 14m. — £110 55. ; “Old Comrades,” — £141. Carl Haag, 1858. — “Tyrolese Huntsman 
 and Mountain Girl,” 46in. by 30m. — ,£420 ; sold for £525 in Quilter collection, 1875 ; “ High Priest at Nablous,” 47m. 
 by 30m. — £504; “ Allahu Akbar ! ” 1873 — £598 ioj. ; “Mash Allah!” head of an Arab, 1870 — £110 55. ; “A Sabine 
 Woman” — £89 3s. ; “ A Wandering Arab Family,” 1866, 2oin. by 14m . — £336 ; “ Temple of Jupiter, Forum at Rome,” 
 19m. by 14m., 1852 — £99 13s. ; “The Coblentz Maid,” 1853 — £141 15s-. Louis Haghe, 1843. — “ Cromwell and Ireton ” 
 - — £7 3 1 os. William Hunt. — “Purple and White Grapes and Sprig of Holly,” 9m. by 13m. from the Wade collection — 
 £372 105. ; “Three Quinces and Hips,” oval, ioin. by 12m . — £283 105.; basket of plums, blue and white jar, with rose 
 and lobelia, nin. by 8in. from Wade collection — £278 55. ; mossy bank, with black grapes, strawberries, and ivy, yin. by 
 7in. — £94 10.?. ; lilacs and bird’s nest, 9m. by I3^in., from Mr. James’s collection — £315 ; magnum bonum plums, 7m. by 
 9m . — £ 1 20 155. These are extraordinary prices, though not quite equal to those which Hunt’s highly finished drawings 
 have brought in years back, when as much as £787 was paid at auction for “The Eavesdropper,’’ and the same price for 
 the boy blowing his porridge, “Too Hot.” By Josef Israels. — “The Orphan Home,” water-colour drawing, 19m. by 13m. 
 — £174. E. Lundgren. — “The Jew and the Chess Player,” 7m. by loin. — £85; “The Arab Girl,” 15m. by lain.— 
 £136 105. J. Mogford. — “ De Periculo Maris,” Mont St. Michel, Normandy, 17m. by 32m. — £157 105. C. Stanfield, 
 R.A. — “ Lago Maggiore” — £126. F. W. Topham. — Italian peasants at a fountain (1859), 2oin. by 17m. — £6g. R. 
 Thorne Waite (1876). — “Midday Rest,” hop-pickers — ^115 105.; “Evening in the Fens,” — £78 15 5. Carl Werner. — 
 “Temple of Isis, Philae,” 2iin. by i6in . — £74 m H. B. Willis (1866), “Early morning in the Highlands’’ — £^84. 
 From other collections were sold on the same days, G. Barret: — “The Statue,” landscape, 2iin. by 14m . — £73 12 s. ; 
 a classical landscape, evening, i 6 in. by I 2 in . — £73 105. ; landscape, with figures and cattle, I 2 in. by 9m. — £42 ; a sunny 
 landscape, classical composition, ioin. by 7m. — £45 3s-. Some small sketchy drawings by David Cox sold from £28 to 
 £43, and several similar works by De Wint went for sums from 8 guineas to 38 guineas. By Copley Fielding. — “ Loch 
 Awe,” mists clearing, ioin. by 7m. — £50 85. ; “ Loch Lomond,” ioin. by 7m. — £49 7s. ; landscape with cattle, ioin. by 
 7m. — £6g 6s. ; “ Loch Katrine,” lain, by Sin. — £84, four other small drawings going for about half these prices. By 
 James Holland. — “View of Cintra,” i6in. by ioin. — £78 165.; “Market-place, Venice,” 13m. by 9m. — £84. Three 
 drawings by S. Prout, ioin. by Sin. , brought from 35 guineas to 38 guineas. G. F. Robson — “ Rydal Water,” ioin. by 
 7in . — £26 3 s. ; “Loch Lomond,” 17m. by nin . — £33 12 s. Copley Fielding — landscape with figures — £72 gs. ; coast 
 scene, with castle — ,£60185. P. F. Poole. — “At the Spring ,” — £30 85. W. Hunt. — “The First Cigar — the Aspirant,” 
 and “ Used up,” a pair — £232. By J. M. W. Turner. — “ Fluelen,” a water-colour drawing, about 14m. by i8in.— ,£420. 
 H. G. Hine. — “ Beechy Head,” 1883 — ,£99 155.; “The Downs, Eastbourne,” 1878 — £99 155. F. W. Burton. — “The 
 Rendezvous”— £78 165. In the Quilter collection this drawing sold for £178 105. in 1875. From the collection of the 
 late Mr. St. John Dent, the following drawings were sold last week: — Sidney Cooper, R.A. — “Canterbury Meadows,” 
 cows and sheep — £153 6s. ; “ Cows Watering,” i860 — £1 1 5 105. Copley Fielding.- — “ Brougham Castle, Westmoreland ” 
 — £44 25.; and “ Lindfield, Sussex” — ,£42. P. de Wint. — “The Dimple, Harvest-time, Derbyshire” — £462 155.; 
 “Waltham Abbey, Haymaking ” — £223 155. David Cox. — “ Going to Market, North Wales,” 1836 — .£136 105. 
 
 Some good pieces of Dresden, Worcester, and old Sevres porcelain were sold during the week at Christie’s, of which 
 may be mentioned a pair of candelabra, incrusted with Dresden flowers, 1 Sin. high — £60 ; a set of four groups of the 
 Seasons, Dresden, ioin. high — £66 ; a Worcester tea service — ,£63 ; a cup and saucer, Sevres, Rose du Barri — £36 45. ; 
 a Sevres cabaret, gros bleu, jewelled borders, painted with portraits of artists, ormolu mountings — £84 ; a pair of Buen 
 Retiro Seaux grapes in relief, ormolu mountings of branches for lights — .£100 ; a pair of old Chelsea vases, square, with 
 panels painted — £168 ; a pair of Chelsea vases, with long necks, coloured satyrs, grapes, and foliage in relief, a deep blue 
 ground — ,£89 55. ; a pair of old Worcester hexagonal vases and covers, painted with birds and flowers, on deep blue, 
 i6in. high — ,£163 165. ; a pair of vases in Persiera marble — £100 16 s. ; a large ivory group of Venus and Cupid 
 ,£54 125 . ; a rock crystal ewer, with figure of a boy on dolphin and stem formed as a mermaid, in silver — ,£54 125. ; a 
 pair of bronze groups, Pluto and Proserpine and Boreas and Orithya — £262 10 5. ; a figure of Apollo, in Chelsea china, on 
 pedestal — ,£50 85. ; Polymnia, similar — £68 55. ; Clio, similar — £71 85. ; a pair of Wedgwood vases and urns, bell shape, 
 with children and infant satyrs in relief, in white on pale blue ground — £68 55. 
 
ART SALTS. 
 
 [ 1884 . 
 
 'y n 
 
 0 / 
 
 6 
 
 MR. ALBERT LEVY’S COLLECTION. 
 
 (“The Times,’’ May 12, 1884.) 
 
 The collection of the late Mr. Albert Levy, sold on Saturday by Messrs. Christie, Manson and Woods, consisted of 
 59 pictures and drawings, the most important of which were works of the old Dutch and Flemish masters. The rest were 
 second-rate drawings by David Cox, three pictures by the same artist of similar merit, a good picture by Crome, 
 “Hautbois Common,” and a portrait by G. Romney, said to be Mrs. Robinson, the “ Perdita ” of her day, which was 
 exhibited at Burlington House in 1878 by its owner, the late Mr. Anderdon. It was sold next year at Christie’s for 
 3S0 guineas, and now brought the much higher price of ,£514 ioj. The Crome landscape, which is known as “The 
 Clump of Trees,” 25m. by 35m., was sold among some pictures belonging to Mr. Levy, at Christie’s, in 1876, for ,£404 5^., 
 and now brought ,£435 i 5 - y - “The Hayfield,” a small oil picture by D. Cox, which sold in the collection of Mr. Nield, 
 1S79, for £241 io.r., now brought only £157 ioj. Of the Dutch and Flemish pictures, a landscape by Solomon Ruysdael — 
 £115 ioj. “The Meeting of Jacob and Esau,” by Rubens, a sketch, 19m. by i6in. — £299 55. ; for this Mr. Levy paid 
 £, 3 2 5 laf - ' n the Novar sale, 1878. An interior, with woman dressing a child’s hair, and two other children, 24m. by 
 iSin., by N. Maes — £320 5 J - > this picture was also sold in the Novar sale for £472 ioj. A sunny landscape, with a 
 miller’s wagon, 13m. by 19-jin., by A. Cuyp — £378 ; sold in the Novar sale for £451 ioj. A sea view with boats and 
 men-of-war, 27m. by 36m., by Jacob Ruysdael, which had sold in the Novar sale for £1,470, now brought only £397. 
 These are instances of a serious falling-off in prices ; but, on the other hand, “The Sick Lady,” by Jan Steen, sold for 
 £ 33 ° having been knocked down at £204 15.1. in the sale of Mr. Levy’s pictures in 1876. “ The Proposal,” by Jan 
 
 Steen, from the Van Loon collection— £304 io.r. A portrait of Rembrandt, in a black dress and cap, with a gold chain, 
 by himself, 24m. by 19m., on panel, signed and dated 1635, very bright and strong in colour ; this picture, which was in 
 Lord Portarlington’s collection, and contributed by him to the Burlington House Exhibition of 1878, when some difference 
 of opinion arose as to its being the work of the master, now seemed to satisfy some of the judges, for it brought the high 
 price of ,£1,890. Vosmaer, the exhaustive writer upon Rembrandt and his works, appears never to have heard of this 
 picture, though he records no less than 31 of him by himself of nearly all dates except 1635. A snow scene, with figures, 
 1 bin. square, by Van der Capella — ,£189 ; a landscape, with waterfall and bridge, by Jacob Ruysdael — £357. This was 
 the last in this collection, after which came a number of pictures from several different proprietors, the majority of which 
 were very poor examples, but some few had sufficient merit to be worth mentioning. A river scene, with windmill, by 
 A. Cuyp, about ioin. by 14m., panel — ,£315 ; “ Grooms Watering Horses,” about 12m. by 14m., panel, by Wouvermann— 
 £ 262 ioj. ; “The Tric-Trac Players,” 24m. by 27m., by Jan Steen, No. 60 in Smith’s catalogue raisonne , from the 
 Clewer Manor collection — .£420, a price little more than half that which it sold for in the Clewer Manor sale 
 (Mr. Foster’s) in 1876 (,£757) ; a river scene, with farm buildings, windmill, and peasants shooting and fishing — ,£126 ; 
 two views of Florence, from the Gerini collection, about 30m. by 25m., by Canaletti, apparently by Bernardo Canaletti, 
 sold for £273 and £236 respectively ; “ Elisha Raising the Widow’s Son,” a large upright picture, 62m. by 49m., from 
 the Stourhead collection, in which it was sold last season, described as a work of Rembrandt in Smith’s catalogue, 
 Vol. VII., page 11, and engraved as such by Earlom, was now sold for the trifling sum of ,£68 5 .s'., having brought in the 
 Stourhead sale ,£210. The reason of this was readily understood when it was pronounced by common consent to be the 
 work of Eckhout, whose pictures have frequently been dignified with the name of the great master, notably in the flagrant 
 case of the large picture in the National Gallery of “ Christ Blessing the Little Children,” for which the enormous sum of 
 £7,000 was paid. A very fine portrait of Edward VI., bust size, resembling precisely the full-length picture in the 
 Hamilton collection, which was purchased for the Royal collection and is now in Windsor Castle, in black dress richly 
 embroidered and set with jewels, black cap and feathers jewelled also, inscribed in capitals — edwardus dei gratia 
 REX ANGLIE FRANCIE ET HIBERNIE ET zETATIS StEE XIII. AN. DOMINE MDL, SEPTEMBRIS XXIX., on panel about 
 24m. by i8in. The portrait has long been known and comes from Rushton Hall. It now sold for ,£493 ioj. “ Interior 
 with Peasants and a Milkmaid,” by D. Teniers — ,£252. Italian landscape, by J. Both, 24m. by 30m. canvas — ,£336. 
 “ The Four Elements,” by Breighel, Van Balen and Van Kessel — ,£194 5-f. Madonna, with infant St. John in adoration 
 of the infant Saviour lying on the ground, a circular panel of 30m., by Botticelli — ,£178 ioj. The last four pictures were 
 from the collection of a nobleman. An interesting portrait by Jansen of Milton when a boy of ten years old, which had 
 long been in possession of Mr. T. Hollis, who purchased it in 1760, who had it engraved by Cipriani at the time, and it 
 was also engraved by Boydell in 1794, and appears as frontispiece in Masson’s Life of Milton. It was bought by 
 Mr. Stanhope of the executors of the poet’s widow for 20 guineas, and is no doubt the one referred to by Aubrey. It is 
 full face, the figure seen to the waist, and life size — ,£346 icm A series of pictures by Canaletti, painted while he was in 
 London from 1754-60, of “Old Westminster Bridge,” “The Rotunda at Ranelagh Gardens,” “St. Paul’s,” “The 
 Banqueting House, Whitehall,” and “Walton Bridge,” with some of Rome and Milan, altogether nine pictures, sold for 
 prices from 60 to 120 guineas, which were very high considering the poor quality and condition of them. A River Scene, 
 by Constable — ^388. A full-length life-size portrait, by Gainsborough, of Mr. Beaufoy, M.P., in breeches and top boots, 
 in landscape — ,£787 ioj. “ Landscape near Dolgelly,” by R. Wilson, R.A. — .£399 ; portrait of Mrs. Gostling, by Sir Joshua 
 Reynolds, bust size — ,£299 5.1. ; portrait of Miss Linley, the famous “St. Cecilia” of Sir Joshua’s picture and afterwards 
 wife of Sheridan, by Gainsborough — £2.(07 1 5 -S'- ; portrait of Thomas Linley, the musician, by Gainsborough — ,£78 15.1. 
 
1884.] LORD LONDESBOROUGH’S COLLECTION. 
 
 377 
 
 (“Daily News,” May, 1884.) 
 
 Important Sale of Modern Pictures. — The collection of Mr. Albert Levy, which is to be sold by Messrs. 
 Christie, Manson and Woods to-day and to-morrow, is remarkable for the fine examples of David Cox and William 
 Miiller, besides containing many excellent works by nearly all the best painters of the English school. The pictures in 
 oil by David Cox form quite a feature in the collection, and are especially interesting as showing how this great 
 landscapist, generally a water-colour painter, could apply his strong and expressive manner in the more robust form of 
 painting. These works are all in the sale of Saturday, and may therefore be seen upon the walls of the gallery any time 
 before that day. Particularly to be noticed are — No. 253, “ Bettys-y-Coed Church;” 254, “ Caer Cennen Castle, 
 Wales,” a large upright picture ; 250, “ Counting the Flock,” painted 1852 ; 249, “Solitude” a grand mountain ravine, 
 with two herons ; 248, “Wind, Rain, and Sunshine;” “The Hayfield,” painted 1852, and different from his well-known 
 drawing of a similar subject ; 252, “ Rhyl Sands,” exhibited at the Royal Academy Winter Exhibition last year. Such 
 an assemblage of oil paintings by David Cox has probably never before been seen in any exhibition, and certainly 
 never before offered for sale at auction. Amongst the drawings are the celebrated “ Changing Pasture,” well-known 
 by having been sent to several exhibitions; the “ Skylark,” at the Art Treasures, Manchester, 1857; “The Ulverston 
 Sands,” a work of the painter’s finest time, and altogether one of the most beautiful of its kind ; “ The Old Mill on the 
 Moor,” from the Ouilter collection, and many smaller drawings of great interest. The pictures by Muller are to be sold 
 this day (Friday). The fine landscape “Whitchurch” and the smaller one of “Gillingham” are notable examples of 
 his great power, and there is the well-known “ Slave Market at Cairo,” which ranks, perhaps, next to his famous “ Chess- 
 players ” for splendour of colouring and spirited touching of the figures. “ The Good Samaritan,” another well-known 
 picture, is more remarkable for the rich Titian-like effects of colour in the landscape. One superb figure of a Spanish 
 belle, by John Phillip, “ The Pride of Seville,” must, we think, be admitted to be unrivalled as a feat of brilliant 
 colouring and masterly handling ; it is a life-size figure, standing half-length, with the foliage of an orange tree as 
 background, and a part of Seville seen in the distance. Some good water-colour drawings by De Wint and Turner 
 wind up the sale of Saturday, and in the following week, on Thursday, the 6th April, Mr. Levy’s equally fine cabinet of 
 pictures of the Dutch old masters is to be sold. These are extremely well worth a visit, as they are, several of them, 
 pictures of note by the masters, and may not improbably pass once more into foreign collections. 
 
 LORD LONDESBOROUGH’S COLLECTION. 
 
 (“The Times,” May 12, 1884.) 
 
 The sale of the late Lord Londesborough’s pictures and large collection of antiquities and works of ornamental art 
 at Christie’s, which has attracted all the art-world to the well-known rooms during the past week, was rendered 
 remarkable above most sales of pictures by the one great masterpiece of Landseer, “The Monarch of the Glen,” a picture 
 of which the nation may well be proud as one of the grandest examples of art in the presentment of wild animal nature 
 in all its majestic beauty. The picture has not been seen since it was in the old rooms of the Academy in Trafalgar- 
 square, as it was not obtained for the special exhibition of Landseer’s works after his death, formed at Burlington-house 
 in 1874. But it is so well known by the masterly engraving by Landseer’s brother Thomas that scarcely a word is wanted 
 to describe the beautiful subject. It is enough to say that a noble stag, crowned with his 12 tines, stands among the 
 clouds on his throne of rock and heather, proudly rearing his head in the mountain air, breathing defiance to all rivals 
 and all enemies. His quick ear has caught a sound, and he seems with those wide open nostrils to scent some danger 
 from afar. The picture was painted (in 1851) with all the fire of Landseer’s best moments, and he did it as a test piece of 
 his powers, for it was intended to fill a panel, which explains its square form, on the walls of the House of Lords, in those 
 days when it was thought feasible to find pictures by English artists worthy to decorate the National Senate House, and 
 when our leading painters were invited to offer works suitable for the purpose. It was sent “ on approval” to the 
 Committee of Fine Arts, but, extraordinary as it seems, it was returned to the painter with a business-like official letter 
 from a clerk informing him that it was declined with thanks. Landseer was furious, but he soon had his revenge when 
 “The Monarch of the Glen ” commanded the admiration of all beholders at the Academy Exhibition. It was sold, 
 however, we believe, before the opening of the exhibition to the late Lord Londesborough for 350 guineas, a price that 
 now seems ridiculous by the side of the ,£6,510 it was sold for on Saturday, when Mr. Eaton, M.P., who bid for himself 
 and led a most gallant contest with Messrs. Agnew, the all-powerful and most enterprising picture-dealers probably in the 
 world, won the victory amid the loud plaudits of the fullest room the season has yet seen at Christie’s. The picture, as 
 we have said, is square, but as the catalogue omitted to give the exact size, we are driven to guess it at about 5ft. 6in. It 
 is in as brilliant condition so far as colour goes as the day it was painted, but substantially it is covered with those serious 
 expanding cracks inevitable to the method which Landseer persisted with many other painters of his time in using. As 
 to the price now obtained for it, it is interesting to recall former great prices of which this is a very close rival. The 
 famous “Otter Hunt” sold in Baron Albert Grant’s sale, 1877, for .£5,932 io.r. The chalk drawing or cartoon of a Stag 
 
 VOL. I. 3 C 
 
ART SALES. 
 
 [ 1884 . 
 
 pursued by a Hound, in Mr. Coleman’s sale, for, .£5,250, and the “ Well-bred Sitters,” .£5,250. The Bears in the same 
 sale brought £6,6x5, the highest paid at auction for a Landseer, but not the highest paid, for we know that Lord 
 Brownlow’s famous “ Titania,” so beautifully engraved by Cousens, was recently sold through Messrs. Agnew for 7,000 
 guineas to Mr. Ouilter. As much as eight or ten thousand had been named as the probable price of “ The Monarch ” 
 before the sale, and it has since become known that Mr. Eaton was prepared to advance very considerably above the sum 
 he has now given for the picture. 
 
 There were only ten pictures in the collection, and of these only three others were of importance. A fine large sea- 
 piece, by E. W. Cooke, R.A., of Chioggian fishing vessels running into the lagune of Venice on the approach of a 
 “borasco”in the Adriatic, painted and exhibited 1856, and an admirable work, sold for £336. The Grand Canal, 
 Venice, by David Roberts, R.A., about 40m. by 72m., exhibited at the Academy, 1853, and at Paris — and certainly one of 
 the finest of his open-air pictures — was the subject of a spirited competition between Mr. Eaton and Messrs. Agnew 
 before the Landseer came upon the easel, but in this the dealer beat the amateur, having, however, to pay the not 
 inconsiderable price of £987. More than double this sum, however, was paid for a very fine work of Stanfield’s — a 
 “ Guarda Costa” riding out a gale off Fuentarabia at the mouth of the Bidassoa, Basque Provinces, exhibited at the 
 Academy, 1856. This was put up at a bid of 700 guineas, and was knocked down to Messrs. Agnew at £1,995. A large, 
 but not fine picture, of an English homestead, with a gray horse, by J. F. Herring, senr., 1852, sold for £362 ior., and a 
 large oblong picture of oxen yoked to carts on the road to Seville, by R. Ansdell, 1857, brought £199 ioj. These were 
 the pictures late the property of the Lady Otho Fitzgerald, and sold under the trusts of the will of the late Lord 
 Londesborough. There were no important pieces of sculpture in the collection, and the objects of ornamental art in 
 Sevres china, and various personal ornaments of gold work, rings, and antique fibulae, did not bring very high prices, very 
 few selling for more than 50 guineas, and most of them for small sums of a few guineas. A watch, with gold case and 
 outer one of mother-of-pearl, studded with flowers of diamonds, &c., £96 12s. ; a silver pomander, from the Bernal 
 collection, £71 8 s. ; a Sevres china cabaret, turquoise ground, £178 ior. ; a pair of Sevres china candlesticks, £52 ior. ; 
 a gold episcopal ring, £34 ; a gold torque, £56 I4r. 
 
 After the sale of the Londesborough pictures, some good modern pictures of the English and Continental schools 
 were sold, of which may be noticed, “Coming Summer,” by T. Creswick, R.A., with figures by Mr. Frith, R.A., and 
 “ Cattle,” by Mr. Cooper, R.A., a large but not very pleasing work which had evidently seen its best days, but it 
 sold well at £787 ior. “Reading the Bible” was a remarkable picture, by Mr. T. Faed, R.A., resembling somewhat 
 in composition the well-known work of his “From Dawn to Sunset,” though a smaller picture. It was sold, with the 
 copyright, for £1,732 iox-. A large picture, called “Versailles, October 6, 1789,” with the king and family awaiting the 
 entrance of the mob, by a German artist, named Benczur — £514 10.x. From the collection of the late Mr. Joseph 
 Harrison, of Blackburn, a beautiful little picture by Rosa Bonheur of a Brittany shepherd and sheep, about ioin. by i2in., 
 sold for £535 ior. “Loch Katrine,” by H. M‘Culloch, R.S.A., a large and very finely painted picture — £451 ior. 
 From different collections, “An Offering to Hymen,” by E. Burne Jones — £94 ior. ; “Music Lessons,” by the same, two 
 female figures, about 24m. by i8in., upright — £299 ; “ Pi'oserpina,” by D. G. Rossetti, 1878, single figure, about 30m. by 
 i8in. — £252 ; and “ The Two Mothers,” by the same — £105 ; “The Highland Auction,” by J. M'Whirter, A.R.A. — £84 ; 
 “ Dunstanborough Castle — morning after a storm,” by Turner, engraved in the Liber — £945. This picture was considered 
 to be “ bought in,” as when it was last sold in this room it brought £2,200. 
 
 PICTURES FROM VARIOUS COLLECTIONS. 
 
 (“The Times,” May 19, 1884.) 
 
 The sale at Christie’s on Saturday was an interesting one, not so much as regards the merit of the pictures, though 
 this was something more than respectable, and in two or three cases quite of the first order, as in showing that the 
 picture market is as sensitive as stocks and shares. There were pictures of undeniable excellence by popular painters 
 of the day, for which very large sums had been paid to the artists, that on this occasion either could not be sold at all, or, 
 if sold, it was at a price about half the cost of the picture. It is rather in kindness than in cruelty that we should simply 
 give voice to the remarks that pass in the sale-room among those who stand outside the charmed circle, and say that 
 certain modern painters of well-recognized ability and promise have in their successes put their figures so high that when 
 the moment of a forced sale comes, they have the mortification of seeing the mercury fall almost to zero. Probably none 
 but the first painters, the men who may be called masters, can stand the test of an auction at a time of some such 
 commercial panic as just now hangs over the monetary world, and even they, it will be observed, have to succumb. 
 The pictures the prices of which we are about to record did not form any one collection, and no names of proprietors 
 were given, while some of the pictures, it was very well known, had never belonged to any one but the artist himself. 
 Some 60 lots had been disposed of at small prices, when a charming little picture by old Linnell came up — “ A View of 
 the Isle of Wight from Lymington Quay ’’ — which sold for £220 xo.x. This was very similar to one sold last year for 
 
1884.] MR. ROBERT H ANBURY'S COLLECTION. 
 
 379 
 
 £ 4°9 ior. It was about I2in. by i6in., on panel, which unfortunately showed several cracks. “Byland Abbey, York- 
 shire,” by Copley Fielding, an oil painting— £99 15J. ; “The Palm Offering,” by F. Goodall, R.A., sketch for the larger 
 picture — £115 ioj. ; “Waiting for the Fishing Boats,” by Peter Graham, R.A. — £430 ioj. ; “Sheep descending the 
 Mountains,” by S. Cooper, R.A., 1868 — £360 5^. ; “The Wedding Breakfast,” by F. D. Hardy, 1871 — £283 ioj. ; 
 “ Le Jour des Morts ” dressing the graves with flowers — by J, C. Horsley, R.A., an important work, exhibited at the 
 Academy, 1880, when it was sold, we understand, for 840 guineas, now brought £147 ; “A Rough Sea on the Scotch 
 Coast,” by P. Graham, R.A., 1868, about 36m. by 48m. — £183 15s-. ; “ Welsh Dragons,” by J. Brett, A.R.A., a sea-piece, 
 about 36m. by 72m., exhibited at the Academy last year — £492 ioj. ; “ The Stronghold of the Seison and the Camp of 
 the Kittiwake,” by the same artist, a piece about the same size, said to be a view of Carnarvon Castle from the sea, 
 painted and exhibited 1879 — £304 ios. As the artist declined to take 1,200 guineas for either of these pictures when in 
 the exhibition, it must be concluded that this was the reserve price on this occasion, and consequently the pictures were 
 not sold. “ The Return from Inkermann,” the well-known engraved picture by Mrs. Butler (Miss Elizabeth Thompson) 
 — £682 ios. ; “ The Remnants of an Army,” by the same artist, exhibited 1879 — .£556 ior. ; “ The Island Harvest,” by 
 Colin Hunter, A. R.A. — £457 ior. ; “ The Messenger and Job,” by P. F. Poole, R.A., painted and exhibited 1850, and in 
 the special exhibition of the painter’s works at Burlington House this year, contributed by Mrs. Marshall, 55m. by 8iin. 
 — £162 15s., a sum no doubt very considerably below the reserve ; “ Sonning Weii,” by G. A. Fripp, in water colours 
 15m. by 2oin. — £62 ; “Wild Flowers,” a figure-piece by W. C. T. Dobson, R.A., 1864— £92 ; “The Young Warreners,” 
 by H. Le Jeune, A.R.A.— £147; “Highland Shepherd,” by R. Andsell, R.A., 1864 — £194 5^. ; “Kelp Burners, 
 Shetland,” by J. C. Hook, R.A., exhibited 1874, about 28m. by 36m., women tending the fire by the sea — £997 10 j. ; 
 “The Fishing Haven,” by the same, 1873, about 30m. by 38m. — £99 7 ion ; “Song and Accompaniment,” by the same, 
 about 24m. by 36m., a girl sitting on the sands nursing a little child as she watches her fishing line — £ 9 45 ; “ A Beck 
 where the Trout lie,” by T. Creswick, R.A., about 40m. by 4810. — ,£504 ; a sunny landscape, with sheep and cows, 
 about 4oin. by 48m., by Sidney Cooper, R.A., 1867 — ,£304 ion The above seven pictures belonged to the same 
 proprietor. 
 
 The following were a different property : — “ Devotion,” by L. Fildes, A.R.A., a country girl in a bright green dress, 
 painted in 1882 — £ 29 4 ; a girl in white, by the same — .£199 ion ; a girl washing, by T. Faed, R.A., 1873, about half life- 
 size figure, with landscape background — £336 ; “ A Chat round the Brasero,” by John Phillip, R.A. (this was not the 
 famous picture of its year (1866) in the great east room of the old Academy, which has long been in Mr. John Fowler’s 
 collection, but a small finished and spirited sketch of great beauty, measuring about i8in. by 24m.) £1,363; “Barley 
 Harvesting,” by J. Linnell, senior, 1847, about 36m. by 46m— £1,008 ; “ Changing Pastures,” by David Cox, 1850, an 
 oil painting, about 24m. by 28m. — ,£1,260. This beautiful picture was sold in the collection of the late Mr. Hermon, 
 M.P., at Christie’s in 1882 for £1,470, showing, therefore, a rather remarkable drop for a work of admitted excellence, 
 only to be accounted for by the difference in the times. “ Going to the Hayfield,” another fine example of David Cox as 
 an oil painter, of the date 1849, and the same size, was knocked down at £2,04 7 ioj-., which is much less than it was 
 bought in at last year — viz. £2,423 10s. “ Scheveningen Beach, the first sail,” by Josef Israels, about 24m. by 36m. — 
 £430 10s. For this picture, it was said, the owner had paid no less than ,£1,000. “ La Coquette,” by J. Bastien Lepage 
 
 — .£11° 5s. ; “A Roman Chariot Race,” by J. L. Gerorne — ,£55 13J. ; “ The First Sale,” by J. Israels — ,£126 ; “ Interior 
 of a Cabaret,” by Domingo, 1876— ,£141 15J. ; “ Italian Acrobats,” by R. Ribera, 1873— ,£147 ; “A Neapolitan Peasant 
 Girl,” by L. Knaus, 1874 — ,£210; “Washing Day,” by B. J. Blommers— ,£152 5s. ; “The Flax Spinner,” by V. Thirion 
 — ,£147 J “Jugglers in a Country Inn,” by R. Epp — ,£128. 
 
 MR. ROBERT HANBURY'S COLLECTION. 
 
 THE water-colour drawings and engravings sold at Christie’s May 13, 1884, belonging to the late Mr. Robert 
 Hanbury, of Poles, Ware, contained some noticeable works of the English school, the principal of which were 
 “Temple of Minerva, Rome,” by S. Prout, i6in. by loiin. — £73 12.1. ; a river scene, with peasants and cattle, Somerset, 
 13m. by l8in., by George Barrett— £178 lor. ; “ Loch Maree,” by G. F. Robson, I2in. by i8in. — £42 ; four drawings by 
 Turner, for his “ Rivers of France,” all engraved, 5Jin. by 7^in., sold at from £23 to £27 each ; “ The Road Home,” by 
 David Cox, 1836, nin. by i6in. — £88 4r. ; three good drawings by W. Hunt — “Boy Blowing Bubbles,” “The Cut 
 Finger,” and “Grapes,” &c. — brought from 25 to 35 guineas each ; “Bolton Abbey, Summer Eve,” by J. D. Harding, 
 22in. by 42 in. — £178 ior. ; “King’s House, Black Mount, and Glen Etwe,” by A. P. Newton, 1870 — £53 nr. ; “Loch 
 Tulla,” with Ben Donvan in the distance, 24m. by 35m., by G. A. Fripp, 1854 — £136 ior. ; and “Mountains on Rannock 
 Moor,” by the same, 2oin. by 28m. — £83. A fine large seapiece, Scarborough, by Copley F'ielding, an unusually good 
 work of his later time, 1849, 25m. by 38m., proved the quality of the master by bringing £483, being purchased by 
 Messrs. Vokins. 
 
3 8 ° 
 
 ART SALES, 
 
 [ 1884 . 
 
 WORKS OF THE LATE R. B. WILLIS. 
 
 {May, 1884.) 
 
 The remaining works of the late Mr. Brittan Willis, an eminent cattle painter of the old Water Colour Society, 
 may be said to have brought good prices, considering the large number to be disposed of, many being very slight. 
 The landscape studies sold especially well, some bringing as much as 72 guineas, and those in oils were so good that 
 it seemed, with all the painter’s success in water colours, he would have made a higher mark in the more robust method. 
 One of these, “ Horses and Cattle in the Essex Marshes,” sold for ^262 10s. The whole, with a few drawings and 
 pictures by brother artists, realised ,£1,643 IO -t* 
 
 THE HON. W. ASHLEY'S MINIATURES. 
 
 (“The Times,” 1884.) 
 
 The late Hon. W. Ashley’s fine collection of historical miniature portraits, 39 in number, sold at Christie’s on 
 Thursday, attracted much attention, and brought high prices, Portrait of Ruysdael, the great painter, and his wife, 
 inscribed and dated, in oils on copper, sold for ^36 ; Sir Nicholas Throgmorton (two), by Isaac Oliver — ^27 6.r., and 
 Lady Throgmorton, by the same — ^27 6 s. ; Richard Frost, Earl of Cork, by Nicholas Hilliard — ,£63 ; Lucy Percy, 
 Countess of Carlisle, by S. Cooper, signed — £100 i6.r. ; Mrs. Vanderbank, enamel by Zincke — ,£35 14J. ; Marie 
 Antoinette — ^38 lys. the Prince of Wales, by Cosway, whole-length miniature in pencil — £7 1 8s. ; and the Duke of 
 York as Bishop of Osnaburg, also by Cosway, in the same style, the companion drawing — £31 jos. Some very 
 fine Dresden and Chelsea china from the same collection was much admired, and brought high prices. A pair 
 of Dresden canary colour vases, painted with medallions of landscapes and figures, and finely mounted in ormolu— 
 ^105 ; a pair of Dresden camels, with pink housings, &c. — ^205, these were once in the Duchesse de Berri’s 
 collection ; an exceptionally fine bosquet group of Chelsea china, shepherd and shepherdess, 17m. high — £362 5 s. ; 
 a pair of Chelsea figures — ^105 ; Cupid and Psyche, holding branches for lights — ^132 6s. ; the old French clocks and 
 candelabra also sold high, from 150 to 200 guineas, and a pair of black buhl cabinets — ^31 5 . 
 
 MR. C. SKIPPERS COLLECTION. 
 
 (“The Times,” May 26, 1884.) 
 
 The collection belonging to the late Mr. Charles Skipper, of Russell-square, which was sold byMessrs. Christie, 
 Manson and Woods on Saturday last, may be taken as one fairly well representing the modern English schools in oils and 
 water-colour, though without being distinguished by any great masterpiece. There were 104 pictures and drawings and 
 some pieces of modern sculpture, of which the “ Flora,” by Spence, and the “ Psyche,” were the only works of any mark. 
 As a sale coming immediately after that which we noticed last week as one made up of contributions from various owners 
 who were not named in the catalogue, some of whom were known to be the artists themselves, this one “ by order of the 
 executors” offered precisely the same results as regards prices, only that they were arrived at from a different side. In 
 the “ omnium-gatherum ” sale the principal pictures were put forward to feel the market, as it were, more or less each 
 handicapped and obliged to carry weight as having been high winners on former occasions. How far they failed we saw, 
 though, perhaps, a wholesome moral was enforced upon both artists and buyers. In this case of executors obliged to turn 
 a picture estate into money, it was no experiment upon the chances of a full room at Christie’s, but a determined matter 
 of business to realise ; but it will be seen there was a parallel result. It remains to be observed of these two interesting 
 sales that in the former the holders mostly preferred to stand upon the chance of better days, while in the latter a sacrifice 
 was accepted, and, no doubt, wisely. Still, it has to be said on the side of art, pure and simple, that the fine things 
 remain, with untarnished reputation, commanding the admiration of all amateurs and defying all these chances and 
 changes in mere money value. Take, for example, Turner’s “ Rosenau,” which we saw sold in the great days of the Gillott 
 sale (1872) for 1,850 guineas ; this was now sold for considerably less than half that sum — 880 guineas. Yet nobody who 
 knows would pretend to depreciate the beauty of this picture— it is simply that buyers are never in the mood when 
 “things” are “down” in the City. Turner himself sat in Christie’s room to see his lovely picture “The Sun Rising in 
 Mist” sold in Lord de Tabley’s sale, and bought it himself for less than he had been paid for it. If we remember rightly 
 the sum was £200, and Turner kept the picture to present it to the nation at his death. Could it be sold now it would 
 
1884 .] 
 
 MR. C. SKIPPER'S COLLECTION. 
 
 33i 
 
 bring some thousands. Another instance of difference in price was in the beautiful picture by Landseer of two grand old 
 hunters, a dark bay and a gray, turned out, starting at the horn of the huntsman and the cry of the hounds, called 
 “Pensioners,” a small work painted with astonishing vigour (15m. by 23m.), which sold in 1873 in Mr. Hargreaves’ 
 collection for £(1,680, now brought only £(1,312 ioj. A fine work of Stanfield’s, “ Mazorbo and Torcello, in the Gulf of 
 Venice,” 33 Jin. by 50m., painted with great delicacy and in beautiful effect of pearly light in the sky, sold for about half 
 the sum it brought in the Hargreaves sale, viz. — £(765 ioj. A capital picture by William Collins, R.A., a coast scene 
 with a lovely afternoon sky, “ Selling Fish,” 32jin. by 45-Jin., which belonged to the late Mr. Bicknell, for whom it was 
 painted, sold in his sale (1863) for ,£1,228 ioj., now brought ,£892 ioj. An important picture by Sir Charles Eastlake, 
 P.R. A., “ A Contadina Family taken prisoners with Banditti,” also once in the famous Bicknell collection, in which it 
 sold for £619 ioj., now brought only £99 10 j., a depreciation which only shows that the artist’s repute as a writer upon 
 art will long outlive his merits as a painter. These were the most glaring instances of the depression just now passing 
 over the picture world, but that it will give place to a more buoyant atmosphere we may well conclude when we see that 
 the good pictures are bought by Messrs. Agnew, Messrs. Vokins, Mr. McLean, and others who seem to be quite content to 
 keep them as stock, and not unprofitable stock either. In this sale the total realised was £(16,253, out of which we find 
 that Messrs. Agnew alone purchased £1 1,500 worth, and Messrs. Vokins about ,£2,000 worth, and of these purchases the 
 proportion of commissions was exceedingly small, so that if it were not for “ the trade,” and prices were left to the amateur 
 alone, the fall would be still more startling. Proceeding now with the other pictures which deserve recording, we notice 
 a small Claude, an oval, 9m. by I2in., once in the collection of the great French virtuoso Crozat, and afterwards in that 
 of Mr. Ralph Fietcher, the subject being a bay with ships and figures in brilliant evening sunlight — £63 (Vokins) ; 
 “ Convent Hospitality,’’ by G. Cattermole, 30m. by 26m. — £162 15s. (Vokins) ; “ Brough Castle, near Kendal,” by David 
 Cox, 23m. by 33m. — ,£273 (Messrs. Agnew) ; “ The South Downs,” by Copley Fielding, 23m. by 38Jin. — £283 ioj. 
 (Messrs. Agnew) ; “ The Porch of St. Maclou, Rouen,” a very fine example of Samuel Prout, 28m. by 2iin., an upright 
 drawing— £(32 5 ioj. (Vokins). These prices for drawings were certainly not under the mark. “ The Victor,” by R. Ansdell, 
 R.A., 58m. by 96m. — ,£472 ioj. (Messrs. Agnew) ; “ Abbeville, ”by R. P. Bonnington, 14m. by nin. — £93 (Messrs. Agnew) ; 
 “ Procession to the Temple of ALsculapius, Rome,” 50m. by 31m., by Sir. A. W. Callcott, R.A . — £37 15J. ; “ Dutch Fish- 
 ing Boats running foul in a heavy sea,” 68in. by 96m., by the same — .£640 ioj. (McLean) ; “Hastings Beach,” by William 
 Collins, R.A. (1824), a beautiful little picture, as fresh and pure as the day it was painted, being on panel, 9jin. by i2jin. — 
 £178 ioj. (Agnew) ; “The Cottage Door,” by the same, and the same size — ,£65 (Agnew) ; “ Selling Fish,” by the same 
 — £892 ioj. (Agnew) ; “Venice,” by E. W. Cooke — £(115 ioj. (Agnew) ; “ Scheveningen Beach,” by the same (1852)— 
 £231 ; “Highland Scene,” by Sidney Cooper, R.A. (1849), 24m. by 36m. — £231 (Agnew); “Over the Sands’ by T. 
 Creswick, R.A. (1865), red sunset, 38m. by 50m. — ,£420 (Agnew) ; “The Road through the Park, old fir-tree avenue,” by 
 the same, 24m. by 17m., upright — £111 6s. (Vokins) ; “ Hereford,” by the same, a vignette (1837) — £78 1 5J. (Agnew) ; 
 “Preston,” the companion — £(84 (Agnew) ; “The Raid of Ruthven,” by John Faed, R.S.A., 19m. by 26m. — £194 5s. 
 (Vokins) ; “ The Lay of the Last Minstrel,” by the same, 1 1 in. by 14m. — .£162 15J. (Agnew) ; “ Peggy,” from “ The Gentle 
 Shepherd,” by the same, 2oin. by i6in. — £294 (Agnew); “The Dame School,” by Edouard Frere, 2oin. by 25m. — 
 £199 ioj. (Agnew) ; “ Dream of the Future,” by W. P. Frith, R.A. (1865) — £j 199 ioj. ; “ The Pets,” by the same, portrait 
 of a lady, the animals by Ansdell and the landscape by Creswick — £92 8s. ; “ The School of Sultan Hassan, Cairo,” by 
 F. Goodall, R.A., a highly finished little picture, 14m. by 2iin. — £241 ioj. (Permain) ; “Cottage interior, with figures,” 
 by the same, 8in. by ioin. — ,£46 4J. ; “Villa Franca, near Nice,” by G. E. Herring, 26m. by 45m. — £72 9 j. ; “ Milk for 
 the Schooner,” by J. C. Hook, R.A., fisherboys tying the legs of a goat to carry her on board, 27m. by 42m. — ,£640 ioj. 
 (Agnew); “Pensioners,” by Landseer — ,£1,312 ioj. (Agnew), the highest price in the sale ; “Contemplation,” a wooded 
 vale in autumn, by J. Linnell, Sen., 28m. by 43m. — £472 ioj. (Agnew) ; “ Maternal Affection,” by Hugues Merle, 1862, 
 15m. by I2in. — £34 12s. (Agnew); “Little Waders,” by W. Muller, 1843, children playing in a pond under trees, an 
 excellent work of the painter, 35m. by 27m., upright — ,£420 (Agnew) ; “ An English Landscape,” by W. Mulready, RA., 
 14m. by 19-Jin. — £199 ioj. (Agnew); “A View in Hampshire,” with horseman and other figures, near a cottage, by 
 P. Nasmyth, 1822, I9jin. by 28m., a picture of unusually fine quality — £462 (Vokins); “The Promenade,” by John 
 Phillip, R.A., a Spanish lady, and gentleman saluting her, 30m. by 22in. — .£535 ioj. ; “ Pick-a-back,” by P. F. Poole, R.A., 
 1854, 36m. by 28m., a woman with her baby, in a landscape — £231 (Agnew); “A Legend of St. Patrick,” by Briton 
 Riviere, R.A., study for the large picture, i6in. by 19m. — ,£147 (Agnew) ; “ The High Altar, S.S. Giovanni and Paolo, 
 Venice,” by David Roberts, R. A., 1858, 55m. by 42m., upright — £323 ioj. (Agnew) ; “Coast scene, with figures,” by 
 W. Shayer, 40m. by 62m. — ,£162 15J. (Nathan); “The Holland’s Diep,” by C. Stanfield, R. A., 1858, 26m. by 42m. — 
 £997 ioj. (Agnew) ; “ Mazorbo, Gulf of Venice,” by the same, 33m. by 50m. — £766 ioj. (Agnew) ; “ Rosenau,” by 
 Turner, the seat of H.R.H. the Prince Consort — £(924 (Agnew) ; “James II. receiving the news of the landing of the 
 Prince of Orange,” by E. M. Ward, R.A., 2oin. by 30m., finished sketch for the large work — ,£105. If modern pictures 
 may be falling in price, it would seem that fine old Sevres china keeps up its value, and is as good as bank notes in the 
 right quarter. Some pieces belonging to the late Dowager Lady Sandwich sold on Wednesday at Christie’s brought high 
 prices. A pair of gros-bleu vases and covers, 16J inches high, painted medallions of Cupids, the covers spirally fluted 
 and on ormolu plinths — ,£850 ioj. ; a Louis XVI. clock, in vase-shaped case of gros-bleu Sevres, 18 inches high, ormolu 
 mounts— _£i 50 ; a pair of blue Sdvres bottles, mounted in ormolu, 11 inches high, ,£84. From a different property, on 
 the same day, an old Sdvres ewer and bowl, rose du Barri ground, with medallions of flowers — £420 ; a pair of old 
 Sevres jardinieres, with curved fronts, rose du Barri, with festoons of green and gold, each painted with medallion of sea- 
 ports after Teniers by Dodin — £(1,627 ioj. ; a set of three old Chelsea vases, lake ground gilt, painted with pastoral 
 figures and flowers — £303 ; a beautiful picqud-work dcuelle cover, and stand of tortoiseshell and mother-of-pearl, sdver 
 gilt knife, fork, and spoons, with handles of tortoiseshell picqud — .£300 ; an old Sdvres jardinidre, curved front, rose du 
 Barri, marbled with blue and gold, and painted with medallion of fruit — £619 ioj. ; this was presented to Tippoo 
 Sultan by Louis XV. in 1782, and taken as loot from the Palace of Seringapatam in 1799 ; two fine large panels of 
 Beauvais tapestry, 14ft. by 1 6ft., made for the Due de Bourbon — £760. 
 
ART SALES. 
 
 [ 1884 . 
 
 38 
 
 
 CONCLUDING ARTICLE ON THE ROYAL ACADEMY 
 
 EXHIBITION. 
 
 The following, from the “ Times,” May 30, 1884, is interesting in reference to the sales of pictures : — 
 
 “ There is little to add to the review which we have now concluded. The Academy exhibition of 1884 is, as we said at 
 starting, an average exhibition. It will not rank high in the annals of English art, but there is no reason to suppose it 
 much worse than those which have immediately preceded it. Its most conspicuous failures have been from the hands of 
 men who have failed a dozen times before, but who still claim the letter of the bond which gives them a right to their 
 place ‘ on the line,’ to the exclusion of better painters than themselves. There are other artists, however, whose work 
 this year gives ground for anxiety ; for they are at the period in their career when much may depend on the turn they now 
 take. Mr. Briton Riviere, for example, is at such a period ; so is Mr. Wyllie ; so are many more. Mr. Rividre, almost 
 at his best in ‘ Actseon,’ is at his worst in the picture of the knight confronting two impossible tigers. Mr. Wyllie has 
 done too much during the year ; his pictures show rather a falling back than an advance. It is said — and the accounts 
 which we have lately printed of sales at Christie’s seem to give ground for it — that the picture market is entering upon a 
 period of depression, and that prices are falling and will fall. Perhaps this is not altogether to be regretted. Extravagant 
 prices are not by any means the best thing for art ; they stimulate the supply unduly, and lead fashionable painters to 
 work much too fast and too carelessly. Possibly a short spell of ‘ bad times ’ will have a stimulating effect of another 
 kind, and lead artists to give more time and thought to the work to which they attach their names. Perhaps, too, it may 
 tend to limit the output of pictures, and thus to give a better chance to those painters who have a real vocation. The 
 number of pictures in the Academy is large ; in the Salon it is more than twice as great — and the pictures there, under 
 the pernicious influence of State patronage, grow to a size of which we in London have fortunately no experience — but in 
 neither case is the number hung to be compared with the number rejected. While this is so, the ‘bitter cry’ of which 
 Sir Frederic Leighton spoke must continue to go up to heaven. Something, however, might be done to lessen it were the 
 Academicians to really resolve upon that self-denying ordinance of which we have heard so much, but which seems as 
 far as ever from becoming a reality ; were they to greatly lower the limit of the number of works to be exhibited by them- 
 selves, and were they to show a marked preference for pictures which tell their story without any of that prodigious waste 
 of canvas to which so many modern painters of the second and third order seem addicted. The present exhibition, again, 
 has lost immensely in the estimation of the public through the badness of the hanging. No doubt there is no task more 
 difficult than to hang a thousand pictures well, especially if two or three hundred of them have a legal right to the best 
 places ; and complaints will always be heard, however carefully the task has been performed. But this year the mistakes 
 have been so many as to prove that there must be something radically wrong in the constitution of the committee. Why, 
 for example, are some of the Associates not made members of it, and why is there no guarantee that landscape should be 
 duly represented upon it ? It is at least curious that on the opoosite side of Piccadilly, at the Institute, a thousand 
 drawings should have been admirably hung, while the Academy, with all its greater wisdom and experience, should have 
 contrived an exhibition where, without much industrious search and much keenness of eye, many of the best pictures 
 cannot be seen at all.” 
 
V, V 
 
 
 
 tqs | 
 
 i '*" Jii 
 
 
1884.] 
 
 THE FOUNTAINE COLLECTION. 
 
 3S3 
 
 THE FOUNTAINE COLLECTION. 
 
 (“The Times,” June 16, 1884.) 
 
 To-day, at Messrs. Christie’s Rooms, begins the sale of this celebrated collection of the rarest 
 and most beautiful works of cinque cento ceramic art ever produced, of Limoges painted enamels and 
 other fine examples of decorative art. The importance of the collection as illustrating the history, 
 style, and other technical qualities of two such splendid developments of ornamental art long since 
 abandoned and, it may be said, lost for ever, have been set forth in the interesting letters of Mr. 
 Robinson, which have recently appeared in The Times. The number of the wonderful specimens of 
 art which surround us in the great room at Christie’s is completely bewildering in the profusion of 
 the display of beautiful things that represent the choice of the most fastidious collectors, sustained 
 with extraordinary taste and devoted love of art over the best part of 200 years, and during times 
 when fine things were to be found for the seeking as they are no longer. Those who have followed 
 Mr. Robinson’s letters should now, catalogue in hand, find out the gems which to the untaught eye 
 are not so easily recognized. 
 
 It may help if we point out some of the pieces which are most remarkable. First, as examples 
 of Raphael ware, so called — No. 59, an Urbino dish painted with a nymph reclining, Apollo and 
 Marsyas, and Feast of the Gods, the figures superbly drawn with that vigorous native freedom of 
 line which is so distinct a quality in these ceramic artists, and withal decorated in the most 
 delightful fancy with arabesques on a rich deep blue ground, and a delicate bordering of the style 
 called “ sopra bianco,” in which the design is relieved by white upon less white, giving a pearl-like 
 beauty, charmingly modest and suggestive. No. 60 is another fine piece, probably of Castel 
 Durante ware, with the subject of the Conversion of Saul, after Raphael. This piece has a special 
 interest, too, from bearing the initials L. V. as the monogram of the artist, at present unknown, 
 unless it may be for “ Lombardo Urbinatus.” The great master-work of this style is the grand 
 Urbino dish, No. 211, 264in. by 2o|in., painted with the Manna gathering, surrounded by the most 
 wonderful arabesques and compartments of beautiful forms, set off with masks in relief, modelled 
 with amazing gusto in the finest style of art. To say that this is priceless as an example for our 
 technical schools is only too practical a view of its transcendent beauty as an example of conception 
 and executive power. It is a work which may stand at the head of ceramic ornamental art as 
 Raphael’s pictures do in pictorial art. Nos. 205, 206, 207, and 208 are all noticeable pieces of this 
 style, especially the last, which is finely painted with the Siege of Troy after Raphael, and bears 
 both name and date — “ fatto in Venezia in Chastello, 1546.” Two pilgrim’s bottles (223-4) are very 
 fine in design, having at each side horned masks terminating in bold scrolls of raised beads of light 
 blue, decorated with arabesques on white and medallion heads of a Roman Emperor and Empress. 
 The numerous noble ewers, with every fantastic form and device that animal and floral life could 
 suggest, will speak for themselves of the infinite fancy and rich invention of these giants of their 
 art. But few names of these great workers are known to us, though we find initials and dates yet 
 to be identified on several pieces here. The lustred ware is finely represented in the collection, 
 and, as Mr. Robinson has pointed out, by one of the earliest, if not the earliest known, with a date 
 presumed, from the portraits upon it (No. 46), of Giovanni Sforza, of Pesaro, and Camilla da Marzana, 
 to be about 1480-96 — thus proving the invention of the famous lustre as far back as the end, and 
 perhaps even the beginning of the 15th century. This Pesaro dish bears also a scroll which Sir 
 Andrew Fountaine thought represented the edict granted by this Sforza in i486 for the protection 
 of this manufacture at Pesaro. On the back of the plate is a paper written upon, giving the 
 history of this rare piece and the conjectures as to its relations. 
 
 Next in interest, and much finer as an example of artistic work, is “ The Three Graces ” (372). 
 a Gubbio dish of lustre gold and ruby, by the great Maestro Giorgio, with his monogram and date, 
 1:525, written in ruby letters. It is taken from the print by Marc Antonio, and is considered to be 
 the finest example in existence by the master. It cost Mr. Fountaine many years cfgo £450. 
 Another splendid dish by Maestro Giorgio is 374, lustred with a pearly tint as well as the ruby and 
 gold iridescence. This is signed with his monogram “ M. G., 1525 ; ” it is painted with five 
 figures and a child with a bird in its hand, in a landscape representing “ the stream of life,” and 
 taken from a print by the rare old Italian engraver Robetta. This, we regret to say, was once 
 
3 § 4 
 
 ART SALTS. 
 
 [ 1884 . 
 
 actually bought in the Bernal sale for South Kensington Museum at the price of £80, which was 
 thought so extravagant at the time that the Treasury declined to ratify the purchase, and the result 
 was that Mr. Fountaine took it off the hands of the South Kensington Museum. It is described in 
 Marryatt, and by a much older writer, the Abbe Passeri of Pesaro, who wrote about 1750. Several 
 very fine plates, by Fra Xanto of Urbino, a rival master of Giorgio, will be found under 
 Nos. 363-4-5-6, and an especially good example of his lustre in 324, a dish with Cephalus and 
 Procris, the back of which is finely ornamented in lustre colour, and signed with description and 
 date 1533. This was in the Bernal collection. It may be observed that the backs of these plates 
 frequently bear ornament, apparently dashed off without much care, but always touched with the 
 charm of artistic frolic and fancy indulged in with a natural feeling for grace of line and symmetry of 
 composition. Of the work of Bernard Palissy, so original in its fancy for his rustiques figulines of 
 snakes and lizards and frogs and flowers and pretty forms of nature, all modelled to the life and 
 painted an naturel, there is here a collection quite as complete and excellent as the majolica, 
 containing several pieces which are unique — as, for example, the oblong plaque (241) of a seated 
 water nymph ; a circular dish with Diana and her stag and hounds (239), and capital specimens of 
 his snakes and reptiles and shells, in 238, 251, 253; 98, a pair of beautiful ewers; 99, a pair of 
 candlesticks ; and 92, a charming daisy dish with pierced border. A tall candlestick in form of a 
 Corinthian column, the base ornamented with masks, is another unique specimen of great 
 excellence, and the two superb cisterns so finely decorated with masks, festoons, and every kind of 
 fruit and flower, all tinted with the most brilliant coloured glazes, are above all remarkable. If the 
 ceramics are beyond compare, the enamels by the famous school of Limoges form a series of them- 
 selves, unquestionably the most beautiful and the most perfect as to preservation that have ever 
 been got together. The one great masterpiece of Lionard (453) painted with a supper of the gods 
 after Raphael (through Marc Antonio), in which homage is paid by the artist to his patron 
 Henry II., whom he represents as the Jupiter Olympus with his lawful and unlawful favourites 
 Catherine de Medicis and Diane de Poictiers, one on each side of him, Constable Montmorency as 
 Hercules with his wife and child as Venus and Cupid, and other thus treated portraits of celebrities 
 of the Court. On the brim of the dish or plateau are groups of Amorini most beautifully painted 
 with wreaths of flowers and fruits, standing out like the cameos of the glyptic artist, such is the 
 perfection of the shading. The back of this unique piece is also splendidly painted with masks and 
 arabesques a grisaille and gold scrolls. It bears date and signature 1555, and is altogether a price- 
 less work, and is regarded as the great prize of the sale, being put last in the catalogue. A large 
 fountain with a triangular base (283) is a prominent and quite unique piece, the work of Lionard 
 Limosin, and one on which he evidently bestowed all the art he knew, for it was made for Diane 
 Duchesse de Valentinois. It is profusely painted with figure subjects of various mythological 
 stories, the inside of the basin being painted with Mount Parnassus, a little after Raphael, and a 
 profusion of arabesques. It is 2oin. high, and besides the initials and date 1552, bears the cypher 
 of Diane and her crescent. The ewers and plateaux by Jacques Courtois and Susanne Court, cups 
 by Pierre Remond, and others by the later artists of the school, the Laudins and Nouailliers, are all 
 choice examples of their kind. The three pieces of the rare Henri Deux faience, or as it is now 
 known to be “ faience d’Oiron ” where it was made, have long been known in the Fountaine cabinet 
 and have unlike the other treasures been exhibited at South Kensington, so that they have had their 
 full share of admiration already. Exquisite as they are as specimens of the neatest and most 
 elegant design and work, they are rather overshadowed by the grand forms and splendid painting of 
 the enamels and the majolica. Thus we have now for these three days before us for the last time a 
 collection that surpasses all to be seen in the Hotel Cluny, the Dresden Green Vaults, and our own 
 British Museum and South Kensington. It is impossible to look round this gorgeous array of 
 ornamental art brought together by an English gentleman of high historic name and not feel that 
 the National collections ought to contend against the world for such possessions as these. 
 
 The catalogue was prefaced with the following: — Sir Andrew Fountaine, to whose love of art 
 the present collection owes its origin, was the eldest son of Andrew Fountaine, Esq., of Brookmans, 
 county Hertford, and Narford, county Norfolk, by Sarah his wife, daughter of Sir Thomas 
 Chicheley, Master of the Ordnance, and was born in 1676. For his classical attainments he w^as 
 knighted by King William III. at Hampton Court in 1699, and was one of the gentlemen who 
 accompanied Lord Macclesfield to Hanover to announce to the Elector the Act of Accession passed 
 by the British Parliament in 1701. From Hanover Sir Andrew Fountaine went to Italy, passing 
 
1884 .] 
 
 • THE FOUNTAINE COLLECTION. 
 
 335 
 
 through Munich and buying anything scarce and curious which was brought to his notice. He 
 succeeded to Narford on the death of his father in 1707. In 1714 he made a long sojourn at Paris, 
 and went from thence again to Italy, spending nearly three years at Rome and Florence where he 
 became intimate with Cosmo III., Grand Duke of Tuscany. After his return to England he was 
 made Vice-Chamberlain to the Princess of Wales in 1725; was proxy for Prince William, after- 
 wards Duke of Cumberland, at the revival of the Order of the Bath ; and in 1727 succeeded Sir 
 Isaac Newton as Master of the Mint. The improvements made by him to his house at Narford 
 necessitated the sale of a portion of his collection, and he disposed of his medals to the Earl of 
 Pembroke, the Duke of Devonshire, and the Venetian Ambassador Cornaro. In 1732 he 
 determined to retire to his country seat and to remove his collection to Narford. Unfortunately a 
 portion of it was destroyed by fire at White’s Chocolate House, where he stayed after he gave up 
 his house in St. James’s Place. The late Mr. Andrew Fountaine, who died in 1873, inherited from 
 his ancestor the same taste for art ; arranged the collection in his house with great care, and added 
 to it some of the choicest specimens of majolica from the collections soM during his lifetime. The 
 present Catalogue is taken almost verbatim from his private list, and shows the intelligent interest 
 he took in the collection. 
 
 (“Illustrated London News I June , 1884.) 
 
 “The sale of this celebrated collection of majolica, Henri II. ware, Palissy ware, Nevers ware, Limoges enamels, 
 carved ivory, and other ornamental art- work, originally formed by Sir Andrew Fountaine, a courtier of the time of King 
 William III., Vice-Chamberlain to the Princess of Wales in 1725, and successor to Sir Isaac Newton, as Master of the 
 Mint in 1727, commenced on Monday in King Street, St. James’s. Mr. Christie, the auctioneer, stated that there was no 
 doubt as to the authenticity of the various morceaux of the collection. No attempt had been made to repair any of the 
 pieces, although some required such attention. They were offered just as they were received from the great china closet 
 at Narford, in Norfolk. The sale derived additional interest from the proceedings of the ‘ Syndicate’ which had been 
 formed at the instance of Mr. J. C. Robinson, Sir W. Gregory, a trustee of the National Gallery, Mr. Fisher, the well- 
 known collector of engravings, and other gentlemen, for the purpose of purchasing certain masterpieces, and then offering 
 them, at the price paid, to the government. A considerable sum had in this way been got together, exceeding ,£12,000, 
 and upon the wall of the ante-room at Christie’s was a list of names in which many persons had subscribed from ,£100 to 
 .£1,000 each, as a guarantee fund. We learn that several of the finest objects have thus been purchased by the 
 ‘ Syndicate,’ the most important being the two candlesticks by Bernard Palissy, for which the price paid was £1,510, and 
 a cistern by the same artist for 1050 guineas, while £1911 was given for the companion cistern. The enthusiastic 
 applause of these purchases showed a hearty public approval of the spirited efforts of the ‘ Syndicate.’ The first day’s 
 sale included a selection of majolica, then Palissy ware, and after this enamels, and this order was followed in the two 
 next days. The Briot ewer, from a design by Benvenuto Cellini, represented in one of our Illustrations, was sold for 
 £1365 ; the flambeau of Henri Deux ware, also shown in our drawings, went for the enormous price of £3675, to 
 M. Clement, of Paris ; a grand Urbino oval dish, with a design of |the ‘Children of Israel Gathering Manna,’ for £1333, 
 to the Syndicate ; the mortier k cire, Henri Deux, for £1575 ; and the biheron, for £1006, to foreign purchasers ; a pair 
 of candlesticks, elaborately modelled with open-worked stems, for £15 10 ; the Urbino dish, with Raphael’s ‘ Feast of the 
 Gods,’ for £252 ; a candlestick in the form of a Corinthian column, for £640 ; and a ewer of Limoges enamel, for £1312. 
 The total proceeds of the first day’s sale were £24,340, and about the same on Tuesday.” To this it may be added that 
 the whole of the objects purchased by the syndicate were afterwards taken to by the Government for the Museum of 
 South Kensington. 
 
 THE FOUNTAINE COLLECTION OF PRINTS AND DRAWINGS. 
 
 (“The Times,” July 10, 1884.) 
 
 The sale of this large collection is now going on at Christie’s, but without any of the excitement created by the 
 wonderful majolica and enamels, though it is by no means without interest for those who understand the subject. 
 Considering that there are no fewer than 870 lots, occupying four days in selling, and that these represent some 
 thousands of prints, few of which are of a date later than the 16th century, it is such a mass of curious material of the 
 kind as has rarely been accumulated. In this immense heap there arc many good examples to be found, but seldom in 
 perfect condition, and of those fine “first states” which the connoisseur prizes so highly as indispensable to the 
 completeness of any representative collection. Sir Andrew Fountaine and his successor were evidently not learned in 
 prints ; indeed, in those days there were scarcely half a dozen men in Europe who were ; but they had the instincts 
 of the virtuoso , and so they bought old prints right and left, and stored them away pasted into guard books, as they 
 were found when this dispersion had to be provided for. The whole have now been properly sorted and mounted and 
 catalogued under the masters’ names and dates as far as it is possible to do so, with the aid of Bartsch, Passavant, and 
 
 VOL. I. 3 d 
 
3 86 
 
 ART SALTS. 
 
 [1884. 
 
 the specialists who have devoted their labours to exhaustive monographs upon certain masters ; and this sale catalogue 
 is really a valuable contribution for the instruction of collectors. Perhaps Vandyck prints are the most important feature 
 in the collection, and among them are several pronounced “ magnificent impressions,” and one, the well-known portrait 
 of himself (No. 4 in Wibiral’s “ Iconography of Van Dyck ”), is said to be probably the finest known. The Paul Pontius 
 (second state) and the Snyders etching are also unusually fine. These Vandycks were purchased in Italy by Sir 
 Andrew. They occupied a great part of yesterday’s sale, with an almost complete set of Hogarth’s works and a good 
 many of Hollar’s. The old master drawings are not remarkable, few being by Italian masters, and mostly by German 
 and Flemish artists who cannot be identified. These come to-day. The sale has attracted all the foreign dealers — 
 M. CHment and M. Danlos, of Paris, M. Meder, of Berlin, M. Gudekunst, of Vienna — besides several amateurs from 
 abroad and all our London dealers and collectors. The works of the “ little masters ” Aldegrever and Altdorfer were 
 very numerous in the first day’s sale, with many of the masters known only by their monograms, some of which brought 
 extraordinary prices, while most of them went for a few shillings. John Van Leyden (B. 182) — ,£19 15J. ; Altdorfer, cup 
 with the shells (B. 81) — £ 12 ; J. Androuet du Cerceau, the famous architect, 54 designs for vases — £21 (Thibaudeau) ; 20 
 for cups — £(31 10s. (Thibaudeau). The high price which these old designs bring was still more remarkable in the case 
 of some by an anonymous French master of the 16th century. Three engraved designs for four-post state bedsteads, 
 with full margin, sold for £99, purchased by M. Foule of Paris, who had to contend for this and the others by the same 
 artist against M. Danlos ; a design for a Renaissance cabinet — ,£14 ioj\ (M. Foule) ; two architectural designs — 
 £10 10s. (M. Foule) ; two smaller for similar buildings — £25 (M. Foule). All the designs for various ornamental objects 
 by anonymous German masters sold well, varying from £1 to as much as £19 each. By an anonymous Italian master 
 of the date 1515, the equestrian statue (B. 18), fine impression with full margin and perfect — £21 (Danlos); five 
 Corinthian capitals (B. 23), fine — ,£10 lew. (Meder) ; Corinthian entablature (B. 24), equally fine — £10 loi'. (Meder) ; five 
 capitals, undescribed— £j 10 155-. (Meder) ; Baccio Baldini, “ The Prophets” (B. 1-24), 16 prints only— ,£10 15J. These, 
 however, were not the originals by Baldini according to Passavant, but copies by some other hand ; they are stated by 
 Bartsch as the originals. The Behams (Barthel and Sebald), of which there were a great number and few without some 
 slight defect, sold at good prices, generally over £1, some going up to from £2 to £4 for two prints ; Regulus (B. 71) — 
 £7 15^-. ; portrait of an Emperor (Maximilian), profile, crowned, a small circular print about ijr-in. diameter, from the 
 collection of Sir Peter Lely, and very rare— £15 io.r. (Meder). The 223 lots in the first day brought £707 iij. In the 
 second day’s sale, the Sebald Behams were continued — three vases (B. 239-41) — £12 12s. (Meder). The Binck prints 
 brought moderate prices, only one lot going as high as £13 iox. — two prints, portraits of Francis I. and his wife, 
 Claude (B. 90-91) ; portrait of Charles V., undescribed, brought £10 ioj. (Thibaudeau) ; Baux v. Bocholt, St. Michael 
 (B. 30) — ,£19 10s. (Meder) ; Hans Brosamer, book of designs for cups, with frontispiece, woodcuts — £50 (Danlos) ; Hans 
 Burgkmair, woodcut, “ Sts. Peter and Paul,” with the Santa Veronica, undescribed— £25 (Thibaudeau) ; Jacques Callot, 
 “Prodigal Son,” 11 — £25 (Thibaudeau). The Italian chiaroscuri, which were some of them very fine, sold in lots 
 of three and four for £3 to £5 each lot. Lucas Cranach, Riposo, “St. Christopher,” and “Christ with the little 
 Children” — £14 14J. (Meder). Of the large collection of Albert Diirer prints, the “Adam and Eve,” first state — £97 
 (Gudekunst); “Nativity” — £ 2 3 (Meder); “Crucifix” (B. 23), a small circular print, about ij-in. in diameter, fine 
 impression— £24 io.r. (Meder) ; the same, without margin— £13 ; “ Christ Expiring” (B. 24), rare, with margin— £35 ; 
 “St. Hubert”— £40 (Clement); “St. Jerome” (B. 60)— £15 ioj. (Thibaudeau); “ Melancholy”— £25 ; “ Le Petit 
 Courier” (B. 80)— £12 (Colnaghi) ; “ Hostess and the Cook” (B. 84)— £19 (Meder) ; “The Family of the Satyr” (B. 69) 
 — £15 (Thibaudeau'. The to^al of the second day was .£1,082 13^ 6 d. 
 
 (“The Times,” July 14, 1884.) 
 
 The sale of the Albert Diirer prints was continued on the third day, and though generally they were inferior to most 
 of those in the recent Dent Collection sale, one or two were better impressions and brought higher prices. Thus the 
 “ Knight and Death” was a very fine one and it sold for 50 guineas (Colnaghi & Co.), while the print in the Dent sale, 
 though it had been in Mariette’s Collection in 1661, brought only 13 guineas. Another impression, stated in the 
 catalogue to be equally fine, went for £14. So much do opinions appear to differ as to what is really first-rate in quality, 
 notwithstanding the question whether Diirer prints are not losing something of their prestige. The Arms with a Skull 
 (B. 101), called a brilliant impression — £31 ior. (Colnaghi & Co.) ; of this there was no impression in the Dent sale. 
 The Melancthon portrait (B. 105)— £10 (Colnaghi) went for only two guineas in the Dent sale. Some of the Diirer 
 woodcuts were very rare, as, for example, the “Judgment of Paris” (B. 134) — £45 (Thibaudeau) ; “Ulrich Varnbuler’ 
 (B. 155), in chiaroscuro of three colours, very fine — £17 10.?. (Gutekunst). The interesting collection of Vandyck prints, 
 especially those portraits which he himself etched either entirely or in chief, fully sustained the high repute of the great 
 portraitist, and they had, most of them, the rare charm for the connoisseurs of having full margins. “Jean Breughel” 
 (Wibiral 1), second state— £14 (Thibaudeau) ; “ Pierre Breughel” (W. 2), first state— £20 (Colnaghi) ; the well-known 
 fine etching of the painter by himself, unfinished (W. 4), considered to be probably the finest known — £51 (Meder) ; 
 “ F. Franck,” second state, beautiful impression — £27, (Colnaghi); “Josse de Momper ’ (W. 7), first state — £ 2 8 
 (Colnaghi) ; “A. Van Noort,” third state— £18 ; “ Paul Pontius” (W. 9), second state, before the plate was reduced, 
 styled “a magnificent impression” — £(54 (Thibaudeau) ; “Jean Snellinx,” first state, with the inscription written on it in 
 ink — £29 (Colnaghi) ; “Juste Suttermans ” (W. 12), first state — £ 2 5 (Meder) ; “ Lucas Vosterman” (W. 14), first state 
 — £60 (Colnaghi) ; “Jean de Wael” (VV. 17), first state— £28 (Colnaghi) ; “ Philippe le Roy,” first state, with the acid 
 stain, full margin — £77 (Meder) ; an undescribed print by the Master E. S., 1466, of a Franciscan Saint — £\9 (Danlos) ; 
 Hans Baldung Grun, 16th century, “ Adam and Eve” (B. 3), chiaroscuro, fine — ,£23 (Meder) ; “Christ on the Cross, 
 
1884 .] 
 
 THE FOUNTA/NE COLLECTION. 
 
 387 
 
 with Saints,” undescribed chiaroscuro, especially fine example— ,£91 (Meder) ; “The Sorceress” (B. 55)— /16 ioj. The 
 set of Hogarth engravings, 32 in number, but not quite complete, with the copy of the prospectus issued by Mrs. Hogarth 
 in 1767, three years after his death, only brought £11. The Hollar prints sold for comparatively small prices of shillings 
 mostly, one rare piece— an undescribed proof of a plate with small portraits of Charles I. and Henrietta Maria (on the 
 same plate), and so rare as to be considered “ probably unique,” brought £20 (Mr. Addington). 
 
 The fourth and last day’s sale contained many interesting prints, and completed the dispersion of this famous old 
 collection. The two prints of Girolamo Mocetto, the early Italian engraver, bore the address of Salamanca, the 
 ‘‘ Calumnia ” of Apelles (Pass. 11) and “ The Sleeping Nymph,” a composition of five figures, on a plate about i6in. by 
 I2in., which sold for .£13 (Gutekunst). The “ Calumny” only brought 5^., and was not worth more as a poor print. In 
 the Dent Collection the “Judith of Mocetto sold for .£68, and “ The Baptism of the Saviour,” a print with variations by 
 the artist’s own hand, for the enhanced price of £325. The one print by the scarce artist Benedetto Montagna of the 
 early Venetian School, the young man with an arrow (B. 33), was remarkably fine and rich in quality, but having one 
 corner slightly damaged, it went for 10 guineas (Gutekunst). Two Italian nielli “ Pyramus and Thisbe”— ,£10 
 (Thibaudeau) ; “ Leda and the Swan,” slightly injured— £(20 (Thibaudeau). These nielli , it should be understood, were 
 the impressions from the engraved plates, not the metal plate. Pollajuolo, “ The Gladiators ” (B. 2), slightly stained and 
 damaged — £13 ioi-. (Murray). The Marc Antonio prints were some of them very fine, and sold high. The five Saints 
 (B. 1 13) with the monogram added in pen and ink— £(26 (Colnaghi) ; “St. Cecilia” (B. 116), fine, with full margin— ,£45 
 (Clement); the Satyr with a child (B. 281), and Faun with a child (296), both fine— ,£30 (Colnaghi) ; young woman 
 watering a plant (B. 383), very fine, and young man with a lantern and a sheep (two prints)— £(55 (Colnaghi) ; “The 
 Guitar Player” (B. 469)— ^12 ior. (Colnaghi). The few prints of Martin Schongauer sold high, the shields of arms 
 (B. 97-105), eight in number and small— ^61 (Meder) ; “ The Crozier ” (B. 106), the upper part or crook only of this rare 
 print— 715 ; “The Incense Burner” (B. 107), a fine and perfect impression of this extraordinary piece of engraving, but 
 with the paper cut at the corners, as is almost always the case— £26 (Meder); a rare portrait of Oliver Cromwell, by Van 
 de Velde, not the marine-painter, but “ John ” born at Leyden, engraved and aquatinted, a half-length in armour, the 
 
 head bare, oval in a square border, with the letters P. R. at the top corners, and O. C. at the bottom corners £23 
 
 (Thibaudeau). The Master W., “ The Incense Burner” (B. 20), beautiful impression of this extremely rare print, in 
 perfect condition, showing the mark of the plate all round. The design is Gothic, with several pinnacles. There was a 
 very sharp competition between Mr. Thibaudeau and Mr. Meder for this, the latter obtaining it at the high price 
 °f £H 5 I- Johann Wechtlin, “The Skull” (B. 6), a very rare chiaroscuro, bearing the initials Io. V., which Bartsch says 
 are wanting, torn right across, but nevertheless it sold for £50 (Meder) ; another chiaroscuro, by the same, “ Alcon in 
 Crete ” (B. 9)— £36 (Lausser) ; Zwott, the Master with the Shuttle, “ The Virgin ” (Pass. 75), treading upon a dragon, the 
 
 paper cut at the top, but the print is intact and in perfect condition — £46 (Meder) ; two men with a centaur (P. 77) 
 
 £12 10s. (Gutekunst). 
 
 The drawings by old masters proved much more important as regards value than had been anticipated, such was the 
 competition that arose over the best of them between the German and French dealers present, and Mr. Thibaudeau 
 who, it was supposed in some cases was acting for the British Museum, with one or two amateurs who were anxious to 
 possess some of those of the Flemish School, 15th century, which were the most interesting, as they appeared to be 
 extremely careful studies with “ silver point,” for a picture by some great master, perhaps Roger Van der Weyden. 
 These brought very high prices. Two studies — a female head and an infant Christ — in silver point— £125 (Thibaudeau) ; 
 
 a similar study, larger, of the same woman — £32 nx. (Thibaudeau) ; a study for the Virgin in Prayer, the same style 
 
 £41 ; four studies for the Apostles, on three sheets of paper — £16 ; a very highly finished small study of a woman holding 
 a piece of linen, extremely delicate in the work and fine in expression — £210 (Mr. Salting) ; two heads of women asleep, 
 on separate pieces of paper, about 3m. square, in silver point — £180 (Thibaudeau) ; two similar studies of female heads, 
 but not at all equal to the preceding — £48 (Thibaudeau) ; a portrait of a man, inscribed “ I orig. seld Goldschmid, 1491,43, 
 IARALT,” silver point, on prepared paper, German School — £140 (Meder) ; three pen drawings, washed with gold colour 
 and touched with gold, of ornamental cups, German 16th century work — £100 (Thibaudeau) ; “St. George and the Dragon,’’ 
 pen-and-ink, design for a glass window, washed with colour, attributed to Albert Diirer — £3 1 io.f. (Thibaudeau) ; portrait 
 of a young man, Italian, Paduan School, 16th century, in pen-and-ink, washed — £21 : “ The Master Z.,” head of a boy, 
 with monogram “ Z.,” and dated 1520, black chalk — £31 (Meder) ; portrait of a man, life-size, black chalk, attributed to 
 Albert Diirer — £30 (Mr. J. C. Robinson) ; Theodore Helmbrecher, portrait of a young man, red chalk — £21 (Meder) ; 
 Altdorfer, Virgin with Infant, crowned and seated on a crescent, with cherubs above, pen-and-ink, dated 1524 — £19 
 (Colnaghi) ; German School, two drawings, “ Adoration of the Magi ” and a lady in white, on brown paper, signed 
 “ F. H. B.,” 1518 — £20 (Meder) ; Mair of Landshut (?), a woman, with group of lovers and other figures, in white, on 
 black paper — £16 (Gutekunst). The total of the four days amounted to .£5,166 u., which swells the grand total of the 
 Fountaine Collection to £(96,278 iSj. 
 
 3 D 2 
 
3 88 
 
 ART SALES. 
 
 [ 1884 . 
 
 DEATH OF MR. H. G. BOHN. 
 
 (“ Pall Mall Gazette,” 1884.) 
 
 Mr. Henry George Bohn, the veteran bookseller of York Street, Covent Garden, died at Twickenham on Friday 
 last, in his eighty-ninth year of mere old age, retaining his faculties till the last. Mr. Bohn, who was born of German 
 parentage, was busily engaged in the book trade before any living publisher, even including Mr. Murray, was born, and 
 he has outlived all his competitors. So far back as 1815 he was German traveller to his father, and was attending an 
 auction sale at Leipsic while the battle of Waterloo was being fought. He retired from active business in 1865, when he 
 sold the “Libraries” to the present publishers of them, Messrs. George Bell and Sons. This stock, with other literary 
 property disposed of later to various London houses, realized little short of £400,000. Since 1865 he lived in retirement 
 at Twickenham, and became widely known of recent years by his collection of works of art. About seven years ago — to 
 make room for more miniatures and pictures — he sold his china at Christie’s for £(25,000. It is understood that his 
 pictures and miniatures, together with a valuable assembly of fine -art books, are destined for sale at Christie’s. 
 Mr. Bohn was not content with employing some of the best pens of the day in the production of his classical, antiquarian, 
 scientific, ecclesiastical, historical, and philosophical libraries ; but he figured also as the author of a “ Handbook of 
 Games,” a “ Handbook of Geography,” a “ Handbook of Proverbs,” and as the editor of “ Lowndes’s Bibliographer’s 
 Manual,” of “Bibliotheca Parriana,” and of “Addison’s Works.” He was also an active member of the Society of 
 Antiquaries. He largely assisted both Mr. Beckford and the late Duke of Hamilton in the collection of the treasures of 
 their libraries. Mr. Bohn married a daughter of the late Mr. Simpkin, who survives him. 
 
 SALE OF REMBRANDT ETCHLNGS. 
 
 In the large and fine collection of prints and drawings formed by the late Mr. Edward Cheney, of Badger Hall, 
 Shropshire, the sale of which has attracted all the great dealers of the Continent to the rooms of Messrs. Sotheby during 
 the past six days, the etchings by Rembrandt were of unusual excellence and brought high prices. “ Christ healing the 
 Sick,” second state, on Japan paper — £(74 ; “ The Crucifixion,” first state, from Barnard’s Collection — £425 ; the “Ecce 
 Homo ” (W. 82), the rare and curious state, with the man with a long arm — £78 ; “ The Descent from the Cross,” second 
 state — £2,7', “The Entombment,” first state — £45; “St. Jerome Reading,” second state — £(20; “St. Francis,” second 
 state — £25 ; “Jason and Creusa,” first state (W. 1 16), from the Sheepshanks Collection — £42 ; “The Spanish Gipsy” — ■ 
 £27 ; two Beggars, man and woman (W. 162), the five states — £30 ; a Beggar in a slashed cloak, first and second states 
 — £25 10s.; “Six’s Bridge,” second state — £49 ios-. ; “View of Omval” — £38; “The Three Trees” — £405 ; “The 
 Three Cottages,” third state — £60 ; Village, with a square tower, arched, second state — £20 ; Landscape, with man 
 sketching (W. 216) — £39; Landscape, with a vista, third state — £(40; Landscape, with hay barn (W. 222) — £ 57 ; 
 Cottage, with white pales, second state — £20; “The Goldweigher’s Field ” (W. 231) — £34; “ Renier Ansloo,” second 
 state — ,£25 ; “ Clement de Jonge,” first state — £21 ; “Young Haaring,” second state — £60 ; “John Lutma” (W. 278) — 
 this was an impression of the first state which was drawn upon by Rembrandt, and was well known as from the Aylesford 
 Collection and unique — £429 (Colnaghi) ; another of this first state on India paper — £401 (Colnaghi) ; “ John Asselyn” 
 (W. 279), a faint impression of the first state, and drawn upon by Rembrandt, unique, from the Aylesford Collection — 
 £94-, another, second state — £38; “Ephraim Bonus” (W. 280) — £69; “J. Cornelius Sylvius” (W. 282) — £38; the 
 large Coppenol, third state — £(50 ; the Burgomaster Six, remarkably fine third state, from the Utterson Collection — £203 
 (Clement, of Paris). Of the drawings by old masters — some brought high prices — “A Holy Family,” school of Raphael 
 — £36 i “View of Tivoli,” by Claude — £31 jos. ; a small one in colours, by Albrecht Diirer, a miller and his overshot 
 mill — £465 (Colnaghi); Landscape and figures, by Watteau — .£42; “Portrait of Laurence Sterne,” by Carmontelle — 
 £61 (Colnaghi). Of the large collection of mezzotint portraits of the English School, after Reynolds, “ Dr. Johnson,” by 
 Doughty, realised £46 ; “ Lady Bampfylde,” by Watson — £45 ; and several others brought high prices, from 10 to 25 
 guineas, the total amounting to ,£5,824. 
 
1884.] 
 
 MR. W. RUSSELL’S COLLECTION. 
 
 389 
 
 SALE OF DRAWINGS BY ROWLANDSON, ETCHINGS BY 
 REMBRANDT, ENGRAVINGS BY MARC ANTONIO, &c. 
 
 ( K D ece1n ^ ,er H 1884.) 
 
 An interesting collection of original water-colour drawings by the clever caricaturist Rowlandson, prints after Bunbury 
 of the same kind, and many good mezzotint portraits, with etchings by Rembrandt, and engravings by Marc Antonio and 
 Raphael Morghen, was sold by Messrs. Sotheby, Wilkinson, and Hodge, occupying three days, last week. This 
 collection had been formed many years ago, and had been in an old country mansion in Hertfordshire. There were 
 nearly 800 lots, of which may be noticed, among the portraits, Christopher, Duke of Albemarle, by Isaac Beckett, second 
 state — .£3 ior. ; Barbara, Duchess of Cleveland, first state — ioj. ; Louisa, Duchess of Portsmouth, small reverse, 
 without engraver’s or publisher’s names — .£3. Of Bunbury’s prints there were about a hundred lots. — Going to Market, 
 proof — £2 5j. ; Gleaners, a pair — .£4 6s. ; Carlton-house-gardens, with the Neapolitan singers, damaged — ,£4 6s. 
 Portraits by John Faber, jun. — Lady Dorothy Boyle, before any letters — £4 i6j. ; Mrs. Cibber, first state, of which only 
 four are known — ,£5 12s. 6 d. ; Isabel, Countess of Cromartie, first state — ,£5 ; Oliver Cromwell, first state — £\ 4s. ; 
 Lavinia Fenton, first state — ,£5 io.r. ; George Frederick Handel, fine proof — £2 5^. ; Anastasia Robinson, first state 
 touched — £6 2s. 6 d. ; Ethelreda, Lady Townshend, first state, only two known — £4 i6j. ; Margaret Woffington, first 
 state, £6 1 7s. 6 d. ; second state — ,£3. By Valentine Green. — Emily Mary, Countess of Salisbury, first state — £46. A 
 large number of Hogarth brought smaller prices. By J. M. Moreau. — Illustrations for “ Les Annales de Marie Ther^se, 
 and some portraits by him — £2.6. By W. Pether. — A Jew Rabbi (39), first state — £4 i6r. By Rembrandt. — Joseph 
 telling his Dream (W. 41), first state, and a copy of Jacob in lamentation (W. 42) — ,£13 13^. ; Christ in the Garden of 
 Olives (W. 79), from the Astley collection — £41 155. ; The Ecce Homo, third state — £41 ; The Three Trees (W. 209), 
 cut close and torn — £49; The Gold-weigher, third state — £9 ior. By Auguste de St. Aubin. — Le Bal Part?, and 
 Le Concert, by Duclos, beautiful impressions — £49 ioj. By John Smith. — Queen Anne, first state, only four known — 
 £(5 ; The Marquis of Annandale, first state, only five known — £8 ior. ; Isaac Beckett, first state — £5 5^. ; Elizabeth 
 Brownlowe — £(5 i8.y. ; Mrs. Carter — £(5 ; Sarah Chicheley, first state — £5 Js. ; Lady Mary Douglas, first state— 
 £6 12 s. 6 d. ; Sarah, Duchess of Marlborough, and another (165 and 166 ) — £6 10 s. ; Sophia Dorothea, Princess Royal of 
 Prussia (106), undescribed proof — £7 2 s. 6 d. ; another (207), before letters — £6 2 s. 6 d. ; Christopher Rawlinson, first 
 state — £40 2s. 6 d. ; Anne Boydhouse — £(5 2s. 6d. ; Prince James Stuart and Princess Louisa Maria — £(8 : Charles XII. 
 of Sweden, proof before letters — £7 15.C. Water-colour drawings by Rowlandson. — Death Coming in at the Window, 
 and Wounded Sailors (two), £4 6s. ; Mr. Batchelor and Married Man — £7 5 j. ; the farrier’s shop and horses running 
 (two) — £(5 ; French barracks, signed and dated 1786, engraved — £20 ; a van with drivers chatting with countrywomen— 
 £10 ; Hertford market-place, with figures — £22 ior. ; a Coffee-house — £20 ; view near the entrance to Spring-Gardens, 
 St. James’s Park, many figures — £27 15^. By Paul Sandby. — Pencil drawing — a woman reading, and the Tipsy Dog in 
 water-colours, signed — £4 2s. 6d. Total of the four days’ sale, ,£1,250 6s. 
 
 MR. W. RUSSELL'S COLLECTION. 
 
 ( December 10, 1884.) 
 
 The sales of the past week have been more interesting than usual at this season, offering a good deal of variety, 
 though, perhaps, without much that could be considered of marked importance. The collection of pictures and drawings 
 by the old masters formed by the late Mr. William Russell, so long a trustee of the National Gallery, and so highly 
 esteemed as an accomplished amateur of the fine arts, was the chief attraction at Christie’s, his books and illustrations 
 relating to art occupying three days, followed by the pictures, sold on Friday and Saturday, leaving the old master 
 drawings and engravings for three days in the present week, with an excellent selection of works of ornamental art in old 
 Worcester, Chelsea, Dresden, Wedgwood, majolica, and old French faience, and numerous specimens of decorative 
 furniture, and a curious assortment of fancy walking-sticks of various fashions. As to the pictures some disappointment 
 was felt at the general mediocrity of the collection, and some amusement at the small prices obtained for the works 
 attributed to the hands of the great masters. High names were certainly rather too liberally bestowed upon copies the 
 most obvious, and upon other pictures so disguised by the restorers as to pass for almost any old master that the possessor 
 might prefer within the limits of date and school. Some few good things there were, and of these two, we are glad to 
 say, were purchased for the National Gallery — a Portrait of a Jesuit, by W. Van der Vliet, signed and dated 1631, which 
 was exhibited at the Winter Exhibition at Burlington House, representing a mild-featured man seated in a crimson chair 
 at a table on which are a crucifix and books. Messrs. Agnew were commissioned to buy this, and the price paid for it 
 was £(241 ior. As there was no work of this painter in the national collection it will be acceptable as an example of the 
 highly-finished style in which Michael Mireveldt was pre-eminent, and of whose school this painter, W. Van der Vliet, 
 
390 
 
 ART SALTS. 
 
 [ 1884 . 
 
 came as his contemporary. The other picture was a work of our clever painter Opie, and an interesting portrait as being 
 that of Mrs. Wollstonecraft, nie Mary Ismay, who afterwards married W. Godwin in 1797. She is in this portrait a 
 woman over forty, with large grey eyes and thick curly hair, seated, with a book in the right hand. For this the price was 
 £231. The portrait was exhibited in the National Portrait Exhibition of 1867, and as there is no portrait of her in the 
 National Portrait Gallery, it may be hoped that this will find its appropriate place there eventually, although at present it 
 is said the funds at command in this important institution are so low that it could not be purchased. 
 
 Proceeding now with the other pictures of the sale, there were, among the water-colour drawings, a study for use in 
 figure composition, of a Pine Stump in the Tyrol, by Sir F. Burton — £9 19 s. 6 d. (Vokins) ; by J. Cristall, the Lifeboat 
 going out — £16 i6j. ; by E. Burne Jones, 1861, Cupid and Delight, from Chaucer — .£147 (Benson); oil painting, 
 ptarmigan in the snow, by J. Wolf, i860 — £ 26 51-. ; an owl and an eagle (two), by the same — £52 ioj. (Vokins) ; Mercy 
 interceding for the Vanquished, a very spirited sketch in oils by W. Etty, R.A., for his great work in the Edinburgh 
 National Gallery — £6 6s . ; a copy, by D. Maclise, R.A., of the picture by Giorgione in the National Gallery of a Knight 
 in Armour — £2 155. ; Old Flouses at Westminster, by W. Mulready, R.A., 1805, engraved — £21 ioj. 6 d. (Loyd) ; a 
 landscape with swans, an admirable little work of James Ward, R.A. — ,£24 3J. (Mr. Briton Riviere, R.A.) ; a copy of 
 the figure Temperance, by Giorgione, painted by H. Le Jeune, A.R.A., in the Academy Schools, 1840, life size, full length 
 — £\\ iij. (Messrs. Agnew) ; Sir David Wilkie, R.A., Christ and Disciples at Emmaus, painted at Jerusalem, from the 
 artist’s sale — £7 7s. (Graves) ; G. Romney, a family group — £(38 17s. ; the infant Shakespeare attended by the Passions, 
 a sketch in oils — ,£14 14J. A more important work was the portrait of Lady William Russell, seated, in a white dress, 
 which brought £367 ioj. (Thibaudeau). There were 15 more or less finished pictures by T. Stothard, R.A., all of which 
 went for very small prices, the highest being the Triumph of Amphitrite, £21 14J., the others going for from two to five 
 guineas. A portrait of General Washington standing by his horse, engraved — £7 7s. (Graves), and four long friezes in 
 brown grisaille, from Hafod — £12 12 s. The series of 18 portrait heads of the great poets of the world from Homer to 
 Voltaire, painted by W. Blake in grisaille with ornamental accessories as decorative panels, which were exhibited at the 
 Burlington Fine Arts Club in 1876, brought but small prices, Shakespeare fetching the highest — ,£13 2 s. 6 d., the others 
 from five to nine guineas each. A portrait of Sir Walter Scott as a youth, by Sir H. Raeburn, R.A., which once belonged 
 to Mr. Campbell, the sculptor, sold for ,£157 10 s. (Messrs. Agnew); portrait of Warren Hastings, by Raeburn — ,£21 
 (Vokins) ; a portrait of Lord Nelson, by Lemuel Abbott, a pupil of Hayman, who died in 1803 — ,£31 ioj. (Messrs. 
 Agnew) ; Boucher, a Fete Champetre — ,£53 iij. ; Berchem, studies of heads of cattle, on one large canvas — ,£13 2 s. 6 d. 
 Terberg, portrait of a gentleman, small, whole length — £1 is. ; Teniers, peasants regaling — £9 9 s . ; Cuyp, landscape with 
 man holding black horse, and another small — £(13 13J. ; J. Fyt, a spaniel, with woodcock and partridges in a landscape 
 large — £29 8s. ; J. Patenier, Madonna and Child in a landscape, small — £31 10 s. (Martin Colnaghi) ; Bernard van Orley. 
 a lady as the Magdalen, small — £32 iij. (Lesser) ; Lucas van Leyden, the Maries with St. John mourning over the body 
 of Christ, panel, 20 in. by 18 in . — £32 iij. (Lesser) ; School of Van Eyck, the Entombment, on gold ground, panel, 54 in. 
 by 36 in . —£3 13J. 6d. ; Albrecht Diirer, portrait of a divine, small life size — ,£24 3 s. ; Rubens, equestrian portrait of the 
 Duke of Buckingham — i8iin. by 23m., the large work is in Lord Jersey’s collection — ,£11 iij.; The Disclosing of 
 Religious Truth — an allegory, similar to the sketch in the Belvedere Gallery, Vienna, 26m. by 36m . — £6 6s. ; The Legend 
 of St. Roch, 25m. by 19m . — £3 15J. 6 d. The prices of these pictures may be taken as some indication of their 
 authenticity, and they were by no means bad as clever imitations or studies by such expert hands as Diepenbeck and 
 Dietrich. The same applies to the Vandycks, of which the Descent from the Cross and Crucifixion, in grisaille, sold for 
 £3 15J. ; a small, whole-length of an officer in armour, seven and a half guineas ; a head of a woman — 12J. An allegorical 
 portrait of Napoleon I., by Appiani, engraved by I. R. Smith, 1800, said to have been painted from life at Milan after the 
 portrait of a Doge, large, exhibited at Burlington-house, 1878 — ,£10 ioj. ; Raphael, the Procession to Calvary 
 corresponding with the predella panel sold recently at Christie’s in the Leigh Court collection for ,£588, but much darker 
 in tone and more solid in the painting — panel loin, by 33m., which is a trifle less in length than the Leigh Court picture, 
 sold for £23 2 s. (Frazer) ; Michael Angelo, Hercules and other nude figures, panel, 22in. by i6in. — £2 ioj. (Parsons) ; 
 Marcello Venusti, Madonna and Child, with St. Elizabeth and St. John, panel, 1 7^in. by iijin., corresponding with the 
 picture sold for ,£430 10s. in the Hamilton Palace collection — ,£11 ; A. del Sarto, portrait of Lucrezia de Fede, his wife, 
 larger than life, exhibited at Burlington-house, 1878 — £3 3s . ; School of Da Vinci, St. Sebastian, a half-length nude figure, 
 exhibited at Burlington-house — £7-, D. Domenici, portrait of an artist, with view of Treviso, signed and dated 1512, 
 larger than life, to waist — £16. Bellini, Head of Pico de la Mirandola — ioj. 6 d. He was assassinated in 1321. Bellini 
 died in 1516. Tommaso di Modena, Crucifixion, with Saints, gold ground — £19 19J. ; Christofano dell’ Altissimo, pupil 
 of Bronzino, portrait of Ezzelino di Ferrara, Tyrant of Padua, in armour, 25m. by i8in. — .£63 ; Portrait of Boccaccio — 
 £3 ; Paolo Uccello, The Angel with Tobit, panel, i5^in. by n^in., from the Woodburn collection — £69 6s. ; Baldassare 
 Peruzzi, Adoration of the Magi, 14m. by I2in. — _£i8 i8j. ; and another of the same subject, 42m. by 30m. — £7 15 s. ; 
 Ugolino da Siena, Tobit and the Angel — £6 10 s. ; Umbrian School, St. Michael holding a balance, long upright panel 
 — £S > A. Pollajuolo, Narcissus, Sin. by 6in., panel — ,£46 4 j. (Sir W. Gregory) ; Alonzo Cano, St. Francis, life size, 
 
 whole length — £2 ioj. ; Sir H. Raeburn, R.A., Portrait of Lord William Russell, who was murdered by his valet 
 Courvoisier — £30 8s. ; W. Owen, R.A., Lady Wriothesley Russell, as a little girl, seated on the ground with a 
 ambourine, in a landscape, engraved, 30m. by 25m . — £220 10s. (Messrs. Agnew) ; Sir Joshua Reynolds, Portrait of 
 Mr. James, standing to knees, life size — £39 1 8 s. (Lesser) ; Study for the equestrian portrait of Lord Ligonier, small — 
 £22 (Messrs. Agnew) ; “Simplicity,” the little girl seated with flowers in her lap, his grand-niece Miss Gwatkin, much 
 repainted by some restorer, but apparently originally from the hand of Sir Joshua — ,£168 (Messrs. Agnew). The total of 
 the 250 pictures and water-colours amounted to ,£3,655 15J. 
 
1884.] 
 
 MR. W. RUSSELL'S COLLECTION. 
 
 3 9i 
 
 (“The Times,” Decetnber 17, 1884.) 
 
 The late Mr. Russell’s large collection of drawings by the old masters and engravings mostly modem, with a few 
 water-colour drawings, occupied three days in selling at Christie’s last week. The drawings by the old masters were the 
 most interesting to amateurs, and the opportunity of obtaining these now scarcer and scarcer treasures was one not often 
 to be met with. Nearly all the important drawings, it will be remembered, were contributed to the very interesting 
 exhibition of old masters’ drawings which Sir Coutts Lindsay took so much pains to bring together at the Grosvenor 
 Gallery in the winter of 1877-8. But we miss some few which were admired in that exhibition, and conclude, therefore, 
 that some of the Michel Angelo and Leonardo drawings and the Fra Bartolommeo study of three figures had been selected 
 from the collection before this public sale. If these have found an honourable place in the British Museum it is a matter 
 of congratulation, and nothing could be more appropriate than to permit such a choice for the Museum, though naturally 
 it deprived the sale of some interest. There were, however, between 200 and 300 drawings, many of which were good, 
 and some of high merit, and these did not fail to attract the attention of collectors, bringing generally adequate prices, but 
 in many instances going for small sums. The large collection of studies in water-colour by the famous flower painter, 
 J. Van Huysum, about 150 in number, all admirable for truth to nature, though now a little faded, was quite a feature in 
 the sale. They sold at prices varying from one guinea to four per lot of several, the highest bringing ,£8 for seven 
 drawings. The following may be noted as the most interesting of the old master drawings : — 
 
 Baccio Bandinelli, study of a man holding a drapery, probably for the Michel Angelo Entombment, now in the 
 National Gallery, pen and ink — £2 1 55-. ; Michel Angelo Buonarotti, study of a female sleeping, black chalk — ,£57 15J. 
 (Thibaudeau) ; whole length figure of a man, pen and ink, with a contemporary copy, from the Denon Collection, and 
 an engraving after the original by Fabbri (3) — ,£47 5J. (Thibaudeau) ; torso of a man, apparently a study for one of the 
 Richelieu figures now in the Louvre, black chalk, from the Lagoy Collection — £(13 13s-. (Mr. J. C. Robinson) ; Correggio, 
 the Virgin and Child, red chalk, from the Cosway Collection— .£25 qj-. (Mr. Knowles) ; The Holy Family, black chalk — 
 £\ lew. (Wagner) ; Cupid carrying a basket of flowers, and another figure of Cupid, from the Richardson and Barnard 
 Collections — ,£4 lew. (Fraser) ; Vandvck, The Crucifixion, in bistre — £5 (Thibaudeau) ; Rinaldo and Armida, surrounded 
 by Cupids, from the Knight Collection — ,£5 5-r. (Mr. Knowles) ; Holbein, three heads of priests, from the Uvedale Price 
 Myles Collections — £8 (Thibaudeau) ; Giorgione, warrior in armour — ,£5 (Whitehead) ; J. Van Huysum, vases with 
 flowers, water-colours — £17 (Fawcett) ; N. Poussin, Administering the extreme unction, and Christ delivering the keys to 
 Peter, pen and bistre — £8 8s. (Mr. J. C. Robinson) ; Sebastian del Piombo, studies of draped figures, black chalk — 
 £3 10s. ; Raphael, Lucretia, a variation of the well-known print, by Marc Antonio — £(15 15J. (Mr. Knowles) ; Lot and his 
 family leaving Sodom, pen and bistre — £12 12s.; A. Del Sarto, Madonna and Child, with saints — £6 (Haig); Luca 
 Signorelli, a small folio volume containing 39 drawings by or after the master, with a preface by the Padre Resta — £7 
 (Mr. J. C. Robinson) ; Giovanni da Udine, two fine studies of mural decoration, with groteschi — £9 (Whitehead) ; 
 Venetian school, piping herdsman in a woody landscape, black chalk — £5 (Fraser) ; Domenichino (after Raphael), The 
 Three Graces, with Cupid, from the ceiling of the Farnesina, red and black chalk — £5 1 5-f. 6 d . ; Battista Franco, 1 he Raising 
 of Lazarus, etching of the painter, partly by Leonardo da Vinci, studies of horses, pen and ink, in four frames — £6 6s. ; 
 Raphael, A Papal Procession, composition from the “ Heliodorus,” black and coloured chalk, about 14m. square — £(105 
 (Mr. J. C. Robinson) ; The Virgin, Child, and St. Anne, a small cartoon, 27m. by 24m., black chalk — £10 ioj. ; Giulio 
 Romano, The Battle of Constantine (after Raphael), in water-colours, about 54m. by 23m . — £7 17s. 6 d. ; head of a young 
 man, full face — £\6 5J. 6d. (Mr. Knowles); Ruben’s Jupiter and Cupid, from Raphael’s fresco on the ceiling of the 
 Farnesina, red chalk — £10 lew. (Mr. Knowles); A. Vandyck, Samson and Delilah, water-colours — ,£16 5 j\ 6 c /. 
 (Thibaudeau) ; Titian, landscape with sheep and herdsman piping, pen and bistre, 22m. by 36m., twice engraved— 
 £12 is. 6 d. ; figures seen by lamplight, pen and bistre, from the Reveley Collection — £6 6s. The chiaroscuri and 
 woodcuts brought fair prices : — The Procession of a Doge, Venetian — £\ 1 ; A Feast at Venice— £6 ; David slaying 
 Goliath (after Raphael) — ,£11 ; Albert Diirer, two designs for lace (B. 144-5) — E- Drawings by Flaxman sold at from 
 three to 1 1 guineas, some going for less. Landseer’s Stag at Bay, artist’s proof engraving, with autograph of the painter— 
 ,£58 i6i-. A large collection of Mr. Seymour Haden’s etchings sold at from two to five guineas, the Agamemnon (128, 
 second state), bringing £6 10s. An album of G. Cruikshank’s etchings and drawings, ,£55 13^. The total of the three 
 days was £2,7,06 6s., and of the two days’ sale of china, &c., >£2,547 41. 
 
392 
 
 ART SALTS. 
 
 [ 1885 . 
 
 JAN VAN DER ALTER OT DELTT. 
 
 TO THE EDITOR OF “THE TIMES.” 
 
 Sir, — I notice in your remarks on the recent purchases for the National Gallery that you say that there are only two 
 pictures known in the United Kingdom by Jan Van der Meer of Delft, one being in the possession of Her Majesty the 
 Queen, and the other in my collection. I beg to say that there is one other picture by this most remarkable master, 
 belonging to Mr. Bischoffsheim, at Bute House, South Audley Street. Mr. Holmes showed me Her Majesty’s picture 
 some years ago, at Windsor Castle, where it was hung so high that it was difficult to examine it closely. It is now hung, 
 I believe, on the line, where it deserves to be. My picture came from the collection of Mr. Vernon, of Hatley Park, 
 where it was attributed to Metsu. It was photographed by Mr. Wallis after I purchased it. 
 
 Yours faithfully, 
 
 The Burlington Fine Arts Club, 17, Savile Row, W., Jan. 2, 1885. POWERSCOURT. 
 
 THE ALLEGED PORTRAIT OE MARY WOLLSTONECRAFT IN 
 
 THE NA FIONA L G A LEER Y. 
 
 ( January 2, 1885.) 
 
 TO THE EDITOR OF “THE TIMES.” 
 
 Sir, — In reference to your notice of the portrait recently purchased for the National Gallery from the collection of 
 the late Mr. William Russell, and alleged to be that of Mary Wollstonecraft by Opie, you will perhaps allow me to make 
 a few remarks. 
 
 When 1 was engaged a year or two since in editing a new edition of Mary Wollstonecraft’s “ Letters to Imlay,” Sir 
 Percy Shelley and Mr. William Russell both kindly allowed me to have etchings made from the two portraits bearing her 
 name. The portrait in Sir Percy Shelley’s possession is beyond all doubt that painted by Opie for Godwin during the few 
 months of his marriage with Mary Wollstonecraft and very shortly before her death. Sir Percy Shelley inherited it 
 directly from his grandfather William Godwin. The hair in this portrait is a bright auburn, and corresponds with that 
 cut from Mary Wollstonecraft’s head after death. A considerable quantity of this hair is in existence ; a lock of it is in 
 my possession. The features of the portrait correspond in every degree with the cast taken from the face after death, 
 and show that the likeness must have been striking. It was first engraved, as by Opie, by Heath in 1798, and was 
 published by Johnson, Mary Wollstonecraft’s publisher and intimate friend. 
 
 The second portrait, that now acquired for the National Gallery, was sold to Mr. William Russell — as he informed 
 me — about 25 years since, as by Northcote, but was immediately pronounced by him to be by Opie. It is, however, I 
 think, certainly not a portrait of Mary Wollstonecraft. The face is much older, though there is some likeness to the 
 other portrait. The hair is gray, or powdered, the first being impossible in Mary’s case, the second unlikely. It was 
 engraved, as by Opie, by Ridley, and published by Bellamy for the proprietors of the Monthly Mirror in 1796 with the 
 name Mrs. Wollstonecraft — that is to say, in Mary Wollstonecraft’s lifetime, and it does not seem that any doubt was 
 then thrown upon it. It is, however, clear from an article in the Monthly Mirror that the print was issued without 
 authority, and it may be that, failing to obtain an authentic portrait for an article to the publication of which Mary 
 Wollstonecraft objected, the proprietors of the Monthly Mirror took any that came to hand. 
 
 As I have before said in a note on the two etchings, there is in the matter a great difficulty, for the authenticity of 
 the portrait in Sir Percy Shelley’s possession is indisputable, and though painted within a few months of Mary 
 Wollstonecraft’s death is the portrait of a far younger looking woman than that now bought for the National Gallery. 
 
 I am, Sir, yours faithfully, 
 
 38, Ashburn Place, S.W. 
 
 C. KEGAN PAUL. 
 
18S5.] VARIOUS COLLECTIONS, MINIATURES, &c. 
 
 93 
 
 SALE OF DRAWINGS BY BLAKE. 
 
 (“The Times,” February 3 , 1885 .) 
 
 • The collection of water-colour drawings of the early English School, drawings by Blake, with some etchings and 
 engraving’s, belonging to the late Mr. Alfred Aspland, of St. Helen’s Field, Dukinfield, Cheshire, sold last week by 
 Messrs. Sotheby, Wilkinson, and Hodge, contained many examples that were good as artistic work of the time, and more 
 especially interesting as representing the feeling and style of William Blake. These works of that extravagant and 
 fanciful artist formed quite a feature in the collection, as they embraced some of the best of those which were brought 
 together as a special collection by the Burlington Fine Arts Club in 1876, and in the Grosvenor Gallery, 1877 viz., 12 
 illustrations to “ Paradise Lost,” the set of eight illustrations to the “ Comus,” with several other separate drawings and 
 sketches, most of which are included in the numbered list given by Mr. Gilchrist in his ‘ Life and Works of Blake. 
 There were also two small pictures in tempera of “Christ blessing Little Children” (Gilchrist A 1, n), about 12m. by 
 i6in., and “The Fall of the Rebel Angels,” in tempera on copper, about i6in. by 14m. (Gilchrist A 1, 232). The picture 
 of “ Christ blessing Little Children” might at the first glance have been easily mistaken for a work of Mr. Burne Jones, 
 from the severe transcendental expression of the countenance of the Christ and the studied pose of the figures of the 
 mothers, as well as from the general grey tone of colour in the landscape, which is of what is the classic order, 
 
 systematically composed with a tree in the centre of the foreground under which the Christ is seated. But here all 
 comparison between the ill-regulated design of Blake and the well-ordered, careful grace of our modern artist of feeling 
 and sentiment ends, for the little children are the oddest doll-like creatures imaginable, two being closely held in the 
 folded arms of the Saviour, while others of larger growth stand about in statuesque attitudes like little Academy models, 
 or gambol on the ground like the progeny of river gods. For this picture, upon which Blake had evidently bestowed 
 all the efforts of his genius with great technical labour, only £16 was obtained. “ The Fall of the Rebel Angels ’ was 
 a far wilder flight. In this there were hundreds of little nude figures tumbling out of the darkness like so many ruddy 
 acrobats down towards a blue sphere, to represent the earth perhaps. For this curious fancy £6 was obtained. For 
 the “Flight into Egypt,” another tempera painting (G. A 1, lot — ijro ; the 12 illustrations to “Paradise Lost, pen 
 drawings, washed with Indian ink, sold better, bringing from ^5 to £7 — two selling for ^10, “ Satan Watching the 
 Endearments of Adam and Eve” and “Raphael warning Adam against Transgression.” These were purchased by 
 Mr. Gray, who also bought the three pictures referred to. The rest of the set of “ Paradise Lost” were bought by 
 Mr. Pincott. The set of eight illustrations to “Comus” were drawn in pen, shaded with Indian ink, and slightly 
 tinted with pale colour in places. They are described in Gilchrist (D. 230), and were in the Burlington Fine Arts 
 Collection, 1876. They brought from four guineas to five guineas each, one selling for ,£5 17s. 6 d., “Comus with the 
 Lady Spellbound,” which was bought by Dr. Riggall, his other seven being bought by Messrs. Colnaghi. Of the other 
 drawings, “The Morning after the Battle,” sold for ,£4 qr. ; “Death on the Pale Horse, tinted — £$ ior. ; “ The 
 Laocoon,” a drawing made by Blake, in the Royal Academy, Somerset House, for an engraving in the Encyclopaedia, to 
 an article by Flaxman — £2 2 s. Many others brought only a few shillings, and some only ir. 
 
 VARIOUS COLLECTIONS, MINIATURES, &c. 
 
 (“The Times,” February 17 , 1885 .) 
 
 The two rather large collections of miniatures sold by Messrs. Christie, Manson and Woods on Friday last brought 
 good prices, the interest in the sale of these examples of a beautiful art that has unfortunately fallen into comparative 
 neglect by modern artists showing that there is no lack of appreciation on the part of amateurs and collectors. Many of 
 these charming portraits were the work of English miniaturists, which makes it all the more to be regretted that a style 
 capable of such exquisite beauty of its kind should for a moment have suftered depreciation through the prevalence ol 
 photographic portraiture, which however accurate and exact in details, so very seldom satisfies the high ideal ot portrait. 
 Among these miniatures were several by English artists not represented in the great collection brought together at South 
 Kensington Museum just 20 years ago. The following maybe noticed as the most important in this sale: Sterne s 
 
 Maria, by Shelley (Samuel Shelley, contemporary with Cosway in the present century) — £6 15J. ; Nymph and Cupid, by 
 by the same — £s ; Cupid Bound, a large miniature in a silver frame, by the same — £1 5 ; Miss E. Ward, by H. Millet 
 ^10; Miss Brook, by the same — ^8 15J. ; a Lady in a straw hat and white dress, by the same £10 10s'. ; portiait ot 
 George Romney, by some unknown miniaturist — £10; Lady Anne Spencer, artist unknown — £13 13.C ; Lady Sandby, by 
 Stump — ,£5 ; Madame Guimart, by C. H. Oliver, 179b perhaps a descendant of the famous Isaac and I eter Olivei ot 
 the 16th and 17th centuries — £7 ; a lady, by G. Engleheart — £6 ior. ; portrait of Macklin the actor as Mrs. Cole, 
 artist unknown — £6 10s. ; Charlotte Duchess of Somerset, by Henry Edridge, A.R.A. (died 1821), in a locket ^23 2 s. ; 
 Mrs. C. J. Fox and child, after Sir Joshua Reynolds, by Ozias Humphrey, R.A. (1742-1810) in a locket £28 7 s. ; fanny 
 Kemble, by C. Hayter— £\2 I2J. ; a lady, artist unknown— ^13 13s. ; a lady, artist unknown, in gold frame and pearls— 
 
 VOL. I. 3 E 
 
394 
 
 ART SALTS. 
 
 [ 1885 . 
 
 ^53 iu. ; a lady, artist unknown, in gold locket — £6o i8.r. The setting of so many of these miniatures in gold, often 
 with jewels and enamel work, shows the high value in which they were held. Several other miniatures of persons and 
 artists unknown brought considerable prices. Maria Cosway, the miniature painter and beautiful wife of Richard 
 Cosway, R.A., the greatest miniaturist of his day, whether by herself or her husband is not determined — £27 6s. ; 
 Miss Linley, artist unknown — ^15 55. 6 d. ; a lady, by Andrew Plimer, English artist, middle of 1 8th century, in a gold 
 frame, set with pearls, a beautiful work — ^125 ; portrait of a youth, unknown, and by Andrew Plimer, in gold frame and 
 pearls — _£6o ; a lady, by A. Plimer, in gold locket with hair — ^30 9s. ; the Princess Royal, daughter of George 111 ., by 
 A. Plimer — £23 12s. 6 d. ; a lady, by A. Plimer — ^29 8 j. ; Mrs. Jordan, by the same artist — ^18 i8j. Two or three 
 other miniatures by Plimer sold for rather lower prices. Portrait of Mrs Siddons, by H. Hone, dated 1784, not to be 
 confounded with Nathaniel Hone, R.A., the caricaturist (who died 1784)— £\2 ; the Countess of Shaftesbury, by Sir 
 William Ross, R.A. — £g 9 s. ; portrait of a lady, by A. Weitsch, 1791 — £7 7s. ; Napoleon, by Isabey, from the collection 
 of the King of Spain — £23 2 s. ; portrait of H. Rigaud, oval enamel — £17 6s. 6 d. portrait of Marie Antoinette — ,£14 14^. 
 From the smaller collection. — Sir Godfrey Webster, 4th baronet, artist unknown — £12 I2.r. ; Lady Langford, by Dun — 
 £11 ; Lady Anne Hyde, oval enamel — ^13 2s. 6 d. ; Charles Edwin, enamel, by Zincke, signed and dated 1723 — £9 ; a 
 lady and two children, a large miniature by Samuel Shelley, 1786 — ^16 5-f. 6 d. : Miss Fothergill, signed H. E. (Henry 
 Edridge?) — £16 i6j. ; portrait of Milton, miniature in oils, formerly belonging to Richard Cumberland — £1 4 14s. A 
 propos of miniatures, there is about to be sold at Christie’s, early in next month, the very large collection of more than 
 600, including many examples of enamel painting by the Bones and some of the ancient missal miniatures, belonging to 
 the late Mr. H. Bohn, so many years an enthusiastic collector of works of art of every kind. Among some small bronzes 
 sold after the miniatures noticed above were — The Venus of Milo — ,£15 ; The Mercury of Giovanni di Bologna — £8\ 
 a female slave, marble statuette, by R. Monti — £\g 19J. ; a carved powder horn— £1 1 ; a pair of ivory statuettes, Venus 
 de’ Medici and Apollo — ^15 ior. 
 
 The collection of pictures by the Old Masters, with some by modern painters and a few water-colour drawings, 
 belonging to the late Mr. John Harding, of Tattenhall-lodge, Leamington, and formerly of Manchester, were sold by order 
 of the executors under the will, at Christie’s on Saturday. The works of the Old Masters were not of first-rate interest, 
 though there were some respectable examples, and prices generally were low. Albert Cuyp, poultry in a landscape, sold 
 for £\7 5-s\ ; Sasso Ferrato, Virgin and Child with St. John — £6 15J. ; Rose di Tivoli, herdsmen with cattle, a pair 
 — £$ I 5 S - ; Albert Cuyp, the painter’s horse, a dark brown, tied to a tree, on the beach at Scheveningen, about 36m- 
 
 by 6oin. — £273-, P. da Cortona, Adoration of the Shepherds — £3 13s. 61/.; Quentin Matsys, The Misers — ^(11 111. ; 
 F. Mille, large landscape with figures — £10 io.f. : A. Caracci, Venus sacrificing at the Statue of Adonis, large - — £6 155-. ; 
 Albert Cuyp, the Prince of Orange with a pony and dog — £102 i 8 j. ; I. and A. Both, landscape with hawking party — 
 £16 16s. ; Drogsloot, Beggars at a Convent, with St. Martin dividing his cloak — £21 ; M. Hobbema, landscape £23 2 s. ; 
 Sasso Ferrato, Virgin and Child— ,£17 17.?. ; A. Ostade, Boors drinking — £13 155. ; Carlo Dolce, Virgin and Child — 
 £7 7s. ; A. Mignon, flower-piece with bird’s nest — ,£31 io.r. ; D. Teniers, kitchen interior — £31 ioj. ; Wynants, 
 landscape, with figures — £&,2 ; Isaac Ostade, winter landscape, with figures — £30 8 s. ; P. Van Lae r , an Italian inn and 
 market people — £27 6s. ; Guercino, Supper at Emmaus— ^14 14 s . ; Jacob Ruysdael and Van der Velde, landscape 
 with ruins, cattle, and figures — /189 ; J. B. Weenix, a seaport, with shipping and figures — ^91 7s. ; C. Poelemberg, the 
 Death of Procris — £22 ; Philip Wouvermann, river scene — £13 155-. ; Canaletti, ruins and figures near Rome — 
 £33 m. ; L. Backhuysen, Christ in the Storm — £2\ ; A. Van der Neer, a frozen river scene, with figures, about i6in. 
 by 2oin . — £100 i6j. ; Isaac Ostade, village scene — £17 17s. : Guercino, Holy Family, about 54m. by 36m . — £3 15^. 6 d . ; 
 Francks, Solomon’s Idolatry — £\6 5^. 6 d. ; Rembrandt, head of a young warrior, from Mr. Hardman’s collection — 
 £37 16 s. ; L. Caracci, the Entombment — £\ \ ns. : A. Van der Neer, river scene, moonlight — £\2 12s. ; P. de Hooge, a 
 hawking party in the gardens of a palace — £86 2 s . ; G. Poussin, river scene, with classical figures, from Mr. Hardman’s 
 collection — £9 19J. 6 d. ; James de Koning, river scene, with cattle, — ^36 155-. (this de Koning was a pupil of Adrian Van 
 der Velde ; Philip of the same name was a scholar of Rembrandt's) ; N. Berchem, river scene, with ruins and cattle 
 — £ 1 7 i 7 s - By English artists. — G. Morland, figures, with sheep — ^37 5 s. 6 d. ; Richard Wilson, R.A., Pembroke 
 Castle — £8 8s. ; a river scene, with figures — £21 10 s. ; Ralston, Old Blackfriars-bridge, Manchester, over the river 
 Irwell — £6 16 s. 6 d . ; Richard Westall, R.A., the Death of James II . — £13 2 s. 6 d. Water-colour drawings. — W. Callow, 
 Tintern — ^5 5J. ; the Rialto — £7 7s. ; J. J. Jenkins, peasants, crossing a bridge — £3 5^. ; S. P. Jackson, Land’s End, 
 Cornwall, 1874 — £2\ io.f. 6d. ; tollingwood Smith, R.W.S., Sulzano — £13 2s. 6 d. ; old watermill, Rossthwaite — 
 £12 is. 6 d. ; J. Burgess, street scene, Vitry — £12 12 s. : cathedral and old houses, Beauvais, 1864 — £\\ 3s. 6d. ; Belfry 
 and Corn Exchange, Honfleur — £9 19s. 6 d ; Collingwood Smith, R.W.S., Varenna-Como, 1868 — £23 4^. ; the Borromean 
 Islands and Lago Maggiore, sunrise, 1870, a large work — ^52 10s. ; E. A. Goodall, R.W.S., Venice, evening, 1869 — 
 £34 13^. ; S. P. Jackson, Wrecks on the North Coast — £12 12s. The total of Mr. Harding’s collection, 109 pictures and 
 drawings, amounted to £2,131. The remaining works of the late Mr. Jopling, the water-colour painter, which were 
 chiefly sketches and unfinished drawings, sold for very moderate prices, realizing a total of £220. The collection of 
 modern pictures belonging to the late Mrs. George Vaughan, in which there are many works of Stothard, forms the sale 
 of Saturday next. 
 
395 
 
 1885.] MRS. GEORGE VAUGHAN'S COLLECTION. 
 
 MRS. GEORGE VAUGHANS COLLECTION. 
 
 (“The Times "March 3, 1885.) 
 
 The collection of modern pictures, water-colour drawings, and engravings belonging to the late Mrs. George 
 Vaughan, of Westbourne-terrace, just sold by Messrs. Christie, Manson and Woods, consisted of nearly 200, all of which 
 were of cabinet size and by English artists, with two or three exceptions of no importance. As a collection it possessed 
 some interest as representing the popular taste for small and pretty pictures 50 years ago, and more especially for the 
 minor works of that very facile and graceful composer of pictures and book illustrations, Thomas Stothard, R. A., by whom 
 there were no less than 33 small pictures and sketches for pictures. These were, in fact, the chief attraction of the sale, 
 and though none could be said to represent Stothard at all at his best, they found favour with his admirers and 
 were easily acquired, without any very vigorous contesting on the part of the dealers present, and consequently at very 
 moderate and, in several cases, very low prices. It should be understood, however, that most of these little pictures were 
 very much cracked from the use of asphaltum or some vehicle of that nature. Those which brought the highest prices 
 were — Boccaccio reading his “ Decameron” to the Court at Florence, a water-colour drawing — ^5 5^. (Vokins) ; interior 
 with figures taking tea — £2 (Mr. J. C. Robinson) ; The Lesson — £4. (Parker) ; The Cottage Door — £4 4^. (Mr. H. 
 Ouilter) ; Bottom with the Fairies — £2 15^. (Crossman) ; illustrations to “ Tom Jones ” — £2 (Parker) ; The “Rape of the 
 Lock ” — £2 8s. (Mr. H. Ouilter) ; “ The Elopement ” — £g gs. (Shepherd) ; a set of three illustrations to Shakespeare — £1 1 
 (Permain) ; Paul before Felix — £2 i6.r. 6 d. (Parsons); The Field of the Cloth of Gold— ,£5 15J. 6d. (Parker); The 
 Reconciliation of the Houses of Burgundy and Orleans — £4 14J. 6 d. (Mr. J. C. Robinson); five illustrations to 
 Shakespeare, in one frame — £g 195-. 6 d. (Colnaghi) ; five similar illustrations — £\ 1 us. (Mr. H. Quilter) ; an illustration to 
 “Comus ” — £2 13J. 6 d. (Mr. H. Ouilter); Scene in Henry V. — £1 ioj. (Mr. Ouilter); The Poet’s Dream — £1 u. 
 (Mr. J. C. Robinson) ; The Scaramouche— £4 43-. (Mr. Ouilter) ; The Discovery of Romulus and Remus— ,£5 i6.r. 6 d. 
 (Mr. Quilter) ; The Adoration of the Shepherds — £2 12s. 6 d. (Mr. Quilter). A small picture of boys gambling, which 
 was named in the catalogue as by Stothard, was pronounced to be the work of Kidd, a clever painter of the time, and it 
 sold for £ \ 5 15J. (Vokins). Of the drawings in water-colours, a small landscape, with figures, by Copley Fielding, sold 
 for ^28 7-r.; St. Mark’s Place, by Guardi— .£14 ; Cromwell Reproved by his Daughter, by L. Hicks — £2 15s-.; King’s 
 College Chapel, by F. Mackenzie, a small highly-finished drawing — £4 14^. 6 d. ; Reading Gateway, by the same— 
 .£16 5J-. 6 d. ; view of a town, by S. Prout— ,£16 5^. 6 d. ; and river scene, by the same — £6 6s. ; sea piece, by T. S. Robins 
 —.£3 5 s -; an Eastern view, by C. Stanfield, R.A., small — £4 4 s. ; Millbank, by John Varley, framed, with two other 
 small drawings by artists unknown — £1 7 ; six large drawings in black chalk, three of which were illustrations to Macbeth , 
 by G. Cattermole — £\\. Of the oil paintings, a landscape, by R. P. Bonington, certified by an autograph letter of the 
 painter’s father on the back — ,£11 ; coast scene, by the same — £4 14J. 6 d. ; and balcony scene, Venice, with figures, by 
 the same — £\o ioj. ; The Charge of the Life Guards at Waterloo, by Luke Clennell, about 24m. by 36m. — £8g $s. ; The 
 Lock, by J. Constable, R.A., not the well-known upright picture, but an oblong about 25m. by 33m. — ,£367 ioj. ; a view 
 of Venice, sunset, by E. W. Cooke, R.A. — £2 3 12 s. 6 d. ; A Quiet Pool, by T. Creswick, R.A.— £74 1 ir. ; a landscape, 
 bird’s-eye view, with cornfield in the foreground, by J. Crome — £44 2 s. ; a woody river scene, with horses and figures, by 
 the same — ,£12; view of Ben Slarive, from the foot of Ben Cruachan, by Copley Fielding — £22 2 s.\ sheep dog and 
 terriers, by C. Hancock— ,£15 15J. ; On the Vouga, Portugal, by James Holland— £\o icw. ; The Ghost Story, by 
 H. Lieversege, 1829 — ,£18 i8j. ; landscape, with figures, by G. Morland — £27 6s. ; woody river scene, with soldiers 
 crossing a bridge, by the same— £22 15 . ; “ Pero,” a dog given as a pup, by Colonel Thornton, to Morland— ,£32 iu. ; 
 rocky river scene, with fine trees, sketch, by W. Muller, small — ,£34 13^. ; woody landscape, with horse and figures on a 
 road, by P. Nasmyth — £4g 7s. ; In Dalmeny Park, by Alexander Nasmyth, 1843, not the father of Patrick Nasmyth— 
 £24 ; and St. Peter’s, Rome, by the same, 1835 — ,£34 13J. ; a road scene, with peasants and donkey, by Jane Nasmyth— 
 £22 io.r. There were also a lake scene, by Anne Nasmyth, 1838, and a road scene by Charlotte, another of the daughters 
 of Patrick, which brought smaller prices ; a view on the Dargle, by J. A. O’Connor, 1837 — ,£15 1 5^-. ; view of Amiens, by 
 S. Prout— £(52 lew. ; Tintern Abbey, by J. B. Pyne, 1840 — £21 ; The Ferry, by W. F. Witherington, R.A., about 36m. by 
 48m., exhibited at the Art Treasures, Manchester, 1857, and considered the best picture he ever painted — £226 5r. ; a 
 road scene, with buildings and figures, by J. Ruysdael — £j8 17^. The total of the sale amounted to ,£2,039 3 J - 
 
 3 E 2 
 
396 
 
 ART SALES. 
 
 [ 1885 . 
 
 MR. H. COOPER'S COLLECTION. 
 
 (“The Times,” March , 1885.) 
 
 The collection of modern pictures of the later English school belonging to the late Mr. Henry Cooper, of the 
 Haunch, near Birmingham, sold by Messrs. Christie on Saturday last, consisted of 54 pictures, among which there were 
 several good examples. There was a full room, but the biddings were not remarkable for spirit, and prices generally 
 showed some falling off, several of the more important pictures in the day’s sale failing to reach the reserve, more 
 particularly in the two large works of the recently deceased French artist, M. Bastien Lepage — “ Pas Meche,” and 
 “ Le Pere Jacques” — both of which were a good deal talked about in the exhibitions of the Salons, Paris, a few years 
 back, and were known to have been sold for very much larger sums than were bid for them on this occasion. The “ Pas 
 M£che ” was knocked down at £441, and “ Le P&re Jacques,” exhibited 1881, at £(540 155-. These did not belong to the 
 Birmingham collection. The following were the principal pictures in Mr. Cooper’s collection : — W. Muller. — Chess 
 Players, i6in. by 22in. — £(346 ios-. This, it should be understood, was not “The Chess Players,” the famous work of 
 the great Birmingham gallery of the late Mr. Gillott, which sold in 1872 for ,£3,950, and again in Mr. J. Heugh’s sale 
 1878, for £(4,052, and which measures 23^ by 32I. Interior of a Welsh cottage, 25m. by 2oin. — £(99 5-r. ; Llanberis, 24m. 
 by 36m. — £(246 1 55. ; Venice, 23m. by 37m. — £(141 15J. ; the Bay of Naples, 36m. by 48m. — £(325. This differs in 
 size from two other bays of Naples, one of which in the Gillott sale, 42m. by 70m., brought £(2,100 ; another, 37^in. by 
 62m., in 1874, sold for £(1,627 ids:, this difference of size, however, not accounting for that of price. J. B. Pyne. — 
 Landscape, 30m. by 43m. — £(69 6s.. W. Shayer.— Gipsy Encampment, 28m. by 38m. — £6 7. Sir A. Callcott, R.A. — 
 “The Bird Trap,” 19m. by 29m. — £(71 8^. W. Collins, R.A. — Keeper’s Boy with dogs and game, min. by 1 5m. — £(68 5 ^- 
 T. Sidney Cooper, R. A.— Landscape and cattle, 1834, 33m. by 45m. — £(154 ~js. ; “Crossing the Ford,” 1836, 19m. by 
 28m. — £(178 ioj. ; landscape and cattle, 1842, 28m. by 36m. — £(172 4^. ; landscape and cattle, 1843, 30m. by 40m. — 
 £(351 15J. ; goats in landscape, 1847, 19m. by 35m. — £(78 15^. T. Creswick, R.A. — Landscape with figures, 26m. by 
 36m. — £(194 5J. ; W. P. Frith, R.A. — “ Sweet Anne Page,” 17m. by min. — £(696 s.; “Kate Nickleby,” 27m. by 17m. — 
 £(58 16.?. ; “ Dolly Varden,” 2iin. by 17m., on millboard — £(225 15J. A letter of the painter was shown with this picture, 
 showing that it was the original from the head of which the two others were painted by Mr. Frith and at his request for 
 permission so to repeat the picture in order that Mr. Creswick, R.A., might have one, and a friend of Charles Dickens 
 the other to present to him. The latter was sold in the Dickens sale for £(1,050. P. F. Poole, R.A., “ Bo-peep,” 26m. by 
 22in. — £(124 19^. ; W. F. Witherington, R.A., “The Dancing Bear,” 33m. by 45m. — £(74 iu. The total of Mr. Cooper’s 
 collection amounted to £(3,569. The other pictures sold afterwards were : Cohn Hunter, A.R.A., “After the Gale,” 25m. 
 by 48m. — £(141 15.?. ; Edwin Ellis, A Coast Scene, 30m. by 50m . — £252 ; PI. Schlesinger, “ La Belle Espagnole,” — £(43 ; 
 E. J. Niemann, Cliefden-on-Thames, 42m. by 72m. — £(225 15J. ; J. E. Hodgson, R.A., “The Church Afloat,” 42m. by 
 88in. — £(157 ioj. ; Henry Woods, A.R.A., “ Haymakers” — £(136 ioj. ; L. J. Pott, Time of French Revolution — £(57 15.J. : 
 Heywood Hardy, “ Morning Ride on the Sands” — £(58 i6j. ; Th. Weber, “Off Dunkirk,” — £(38 iys. ; J. Van Beers, 
 “Carlotta” — ^39 18^. ; Ernest Parton, “Moonrise” — £(65 2s. ; “November” — £68 5^. ; Walter Shaw, Crossing the 
 Bar” — £60 18 s. ; J. MacWhirter, A. R.A. “A Highland Home”- — £(94 10s. ; “On the Grand Canal, Venice” — £60 i8.r. ; 
 T. Creswick, R.A. , and W. P. Frith, R.A., “ The Mid-day Meal” — £131 S s - > W. Collins, R.A., “ The Decoy Pond, 
 Hendon” — £(57 155-. ; David Cox, “ Bettws-y-Coed ” — £(95 in.; G. Cole, “In the Combe, Hants ” — £73 10 s. ; 
 T. Webster, R.A., “ The Emigrant’s Letter” — £47 5 j. ; W. D. Sadler, “More Haste less Speed” — £(78 15J. ; T. Faed, 
 R.A., “The First Break in the Family ” — £178 10s. ; G. H. Boughton, A. R.A. ,“ Spring” — £76 13 s. ; J. Pettie, R.A., 
 ‘ Mary Seaton” — £136 10s. ; “ Before his Peers,” 1881— £(315 ; G. Jacquet, “ Lucretia £(93 9 s. ; R. Sorbi, “The Bowl 
 Players” — £8g 5 s. ; “The Delf Tile Painter,” by E. Van Hove — £60 18 s. ; Ph. Sadde, “Returning from the Boats” — 
 £(173 55. : Carl Heffner, “In the Gloaming” — £(141 15-f. ; Garcia-y- Ramos, “At Seville ” — £89 5^. ; B. J. Blommers, 
 “ Happy Hours” — £(115 10 s. ; A. Guillon, “ Fishing off Concarneau ”• — £(68 5^. ; D. A. C. Artz, “ Near Scheveningen ” — 
 £116 in.; F Roybet, “A Collector of Arms,” time Louis XIII. — £(141 15.?. ; Benjamin Constant, “Presents for the 
 Ameer ” — £(294. The following were sold from the collection of the late Mr. J. T. Mott of Barningham Hall, Norfolk : — 
 Drawings by J. S. Cotman. — View near Norwich — £6 6s. ; Woody Landscape — £8 1 8s. 6 d. ; Market Place — £9 19J. 6 d. ; 
 Landscape — £12 12 s. ; 40 landscapes and sea pieces in colours and sepia, mounted in a volume, by Cotman- — £(215 S-*- > 
 Pictures. — C. Madou, 1864, Interior of an Inn, with figures — £(51 19J. ; J. Veyrassat, “ The Ferry Boat” — £32 in.; 
 W. Verschur, 1865, Peasants with waggon and dogs — £(84 ; Vicat Cole, R.A., Harvest Field, Surrey, 1864 — £(84 ; J. Phillip, 
 R. A., 1864, “A Mountain Daisy” — £(162 15J. 
 
 A very good reduced replica in marble, by John Gibson, R.A., of his “Venus,” was sold at the rooms of Messrs. 
 Foster in Pall Mall last week for £(180, a very high price for a reduced copy of a statue. 
 
 The large and very interesting collection of the remaining works of the late Mr. Harry Johnson, member of the 
 Institute of Water Colour Painters and a very able painter in oils, embracing a large number of excellent sketches made 
 in Asia Minor and Greece in company with W. Muller many years ago, is now exhibited in the galleries of Messrs. 
 Christie, previous to the sale, which begins to-day, and will occupy the two following days. 
 
1885.] VOTE OF £83,520 FOR THE NATIONAL GALLERY. 
 
 397 
 
 ON THE VOTE OF £83,520 FOR THE NATIONAL GALLERY. 
 
 (“The Times,” March 6, 1885.) 
 
 “The Chancellor of the Exchequer would not say many words on this subject. The simple narrative of the whole 
 transaction was that the National Gallery was avowedly deficient in the highest examples of Raphael, and the result 
 was that while at the Louvre, at Madrid, at Dresden, at Florence, at the Hermitage, and elsewhere there were great and 
 worthy examples of Raphael, there was in the National Gallery nothing approaching to what this country ought to have 
 if it desired to have a gallery of the great masters fairly emulating the galleries abroad. (Hear, hear !) Therefore, when 
 the proposal for the sale of the Blenheim Collection was made to them, he confessed the sympathies of the Government 
 were strongly in favour of purchasing one or two great works, provided, of course, that they could make the purchase on 
 terms which appeared to them reasonable, having regard to the price of great pictures at the time. (Hear, hear !) The 
 Ansidei Madonna was a picture of a most remarkable character in connection with the life of Raphael, and the three 
 different styles through which his paintings passed ; and he thought everyone who knew anything of the subject would 
 agree with him when he said that it was an example of extreme value, and one which, if it could be secured at a 
 reasonable price, this country ought to secure. (Hear, hear !) The Government were asked in the first instance, if he 
 remembered aright, to give for this picture about /i 6 o,ooo. It was valued to them by Sir Frederick Burton at 110,000 
 guineas, and the Government came to the conclusion, after carefully considering what had been paid, not in former 
 years, but of late years for great works of art, and the great increase in their value — having carefully considered the 
 question, knowing something about what was going on with respect to purchases elsewhere, and knowing that some offers 
 were being made by other persons, the Government arrived at the conclusion that they might offer £70,000, and having 
 decided to make that offer they never departed from it. (Hear, hear 1 ) They made the offer in the first instance on the 
 6 th of June. The Duke of Marlborough persisted on his terms until early in August, and then, finding the Government 
 were firm, accepted their offer. They could not have got the picture for less, and the question therefore was whether 
 they should offer £70,000 for an example of Raphael such as there was no chance of ever again getting for this country, 
 or allow it to go to one of the great collections on the Continent. (Hear, hear !) The Government made the offer subject 
 to the approval of the House, so that if the House rejected it the Duke of Marlborough had no complaint to make. 
 (Hear, hear!) They thought they had made a fair offer, and they had no hesitation in asking the House to agree to 
 it now. (Hear, hear !) 
 
 “ Mr. Agnew expressed his surprise and regret at seeing the right hon. member for West Surrey (Mr. Cubitt) 
 placing himself in front of the opposition to this vote. The right hon. gentleman was a distinct connoisseur in art ; he 
 was in possession of artistic heirlooms, and was himself a collector of works of art of no mean distinction. (Laughter.) 
 He did not, however, gather from the speech of the right hon. gentleman that he objected to the purchase of this picture 
 in any circumstances, but rather, judging from the tone of his remarks, that he objected to the price to be paid. 
 (‘ Hear, hear ! ’ from Mr. Biggar.) There were two points before the committee — first, was the Government justified in 
 seeking to acquire those precious examples of Raphael and Vandyck? If so, was the price which the Government 
 proposed to give more than they were worth ? He believed that no government in any civilized country would have done 
 other than depart from its true and proper function if it had permitted, without making an effort to acquire them, such 
 works to be deported. (Hear, hear !) Since he had had the honour of a seat in the House, he had not given a vote with 
 greater pleasure and satisfaction than the vote he should give in favour of this purchase. (Hear, hear !) Why was this ? 
 Because he believed that the country was getting more than value for its money. In reference to what had been said 
 regarding private individuals buying the pictures, he knew, as a matter of fact, that many persons were prepared to 
 negociate for their purchase. He might tell the House without any breach of confidence that, on behalf of a 
 distinguished American, the firm with which he was connected had been invited to enter into negociations for the 
 purchase of this picture; and he took no credit to himself for having shown ‘ the cold shoulder’ to his friend. He 
 believed the pictures to be worth a considerably larger sum, and if they were offered in any auction room in Europe they 
 would bring a larger sum than that now asked for them. A great deal of stress had been laid on the fact that the 
 Soult Murillo had been got for £24,000, but what were the facts of the case ? His right hon. friend knew well enough 
 that within the last twenty-five years the value of high-class art had quintupled. Within this period high-class pictures 
 might have been obtained with comparative ease ; but what was the case to-day? It was found that important cities 
 like Manchester and Glasgow devoted large sums of money to the acquisition of pictures. National galleries had been 
 established in our colonies ; Boston, St. Louis, New York had all formed national galleries ; and did hon. members for a 
 moment suppose that those who were interested in the formation of those galleries were indifferent to the acquisition 
 of works of this high class? (Hear, hear !) In truth, however, there was a great gulf, in point of educational value, 
 between a Raphael and a Murillo. He desired to take that opportunity of expressing his opinion that the administration 
 of the National Gallery had been an eminent success. (Hear, hear !) The director and trustees were no more 
 immaculate than other men, but, at the same time, he believed that in no department of government had the nation s 
 interests been better safe-guarded than in the National Gallery. Sir F. Burton, the Director of the National Gallery, 
 was, of course, not an appraiser ; but the nation had certainly every right to be satisfied with his administration. When 
 these two pictures were placed in the National Gallery no gallery in Europe would be in a prouder position than our own. 
 The Raphael was a large picture of a quality quite unsurpassed by anything in the world. (Hear!) It was certainly 
 twice as valuable as any picture in the United Kingdom, and there was not another picture in Europe by the 
 same master in the same state of perfection. With the exception of the ‘Madonna di San Sisto ’ at Dresden, there 
 was no picture that could be compared with it in point of quality or value. (Hear, hear !) He was sorry the House 
 should be divided on this matter, but he felt sure the House would confirm the purchase of these two great works. 
 (Hear, hear !) ” 
 
39S 
 
 ART SALTS. 
 
 [ 1885 . 
 
 TLIE REV. J. FULLER RUSSELL’S COLLECTLON. 
 
 (“The Times,” April 23, 1885.) 
 
 The collection of pictures of the early Italian, Flemish, and German schools formed many years ago by the 
 late Rev. J. Fuller Russell, which had long been known as one of the most important of its kind in this country, 
 was sold last week by Messrs. Christie, Manson and Woods. In stating this, however, it must be said of this 
 exceedingly interesting collection that the one great gem had been picked out some time ago in the exquisite work of 
 Mending, which attracted universal admiration in the Art Treasures Exhibition, Manchester, 1857, and in the Exhibition 
 of Old Masters at Burlington ldouse in 18 77. The occasion was an atractive one to students, and there were present 
 Sir Frederick Burton, Director of the National Gallery, Mr. Mundella, Mr. J. C. Robinson, Mr. Malcolm of Poltalloch, 
 Mr. Mitchell, Mr. C. Butler, the Rev. Dr. Ash, and others. Nearly all the pictures were in the old Italian frames, of 
 architectural forms. Early pictures of the Siena school of the fourteenth century — “The Death of the Virgin,” by Sano 
 di Pietro, or one of the 14th century masters, from Mr. Blayd’s collection, in tempera on gold, about i6in. by 24m. 
 £31 ioj. ; Four Saints before an Emperor, on gold ground, about 30m. by 2oin., by Berna di Siena, according to 
 Waagen, exhibited at Burlington House, 1878 — ^23 2s. (Mr. C. Butler) ; St. Michael with Saints Augustine and 
 Ambrose, three angels above, in three Gothic arched and crocheted compartments, on gold ground, Blayd’s collection, 
 about 30m. by 40m. — ^24 3^. (Mr. C. Butler) ; “ Coronation of the Virgin,” school of Giotto, on gold, in Gothic arch 
 with spiral columns, about 36m. by 2oin., exhibited 1877 at Burlington House — ^33 I2.r. ; and “Adoration of the Magi,” 
 by Bartolo di Fredi, Florence, 14th century, gold ground, about 1 sin. by 2oin., exhibited at Manchester Art Treasures 
 Exhibition, 1857, and at Burlington House, 1878 — resembles the wall pictures in San Geminiano, according 
 to Waagen — ^21. Next came the 13 panels, all parts of an altar-piece, which Vasari states was painted by Ugolino da 
 Siena for the high altar of Santa Croce, Florence. These all sold for very moderate prices. An altar picture, by 
 Spinello Aretino, a painter of the Tuscan school, who died in 1410, representing the Crucifixion in the central and large 
 panel with figures of saints in two canopies at each side, and five small circular frames in the entablature below, in 
 tempera on gold ground, on wood, 42-Mn. by 33|in., inclosed in an elaborately ornamented old Italian frame, gilt, with 
 projecting canopy, and the picture containing upwards of 50 figures, formerly in the Fonthill collection (Mr. Beckford’s), 
 exhibited in 1877 at Burlington House — ^252 (the Rev. Dr. Ash) ; this was an admirable example of this rare master, of 
 whom there is an equally good one in the National Gallery, an altar-piece of large size and well authenticated, purchased 
 in 1857 in the Lombardi Baldi collection; a fine miniature on vellum, by Don Silvestro Calnaldolense, 15th century, 
 igin. by i2-|in., from the Ottley collection, and one of the best examples known, for which he then gave £100, the subject 
 being the death and glorification of the Virgin — £162 1 5.?. (Martin Colnaghi) ; a miniature of the school of Giotto, on 
 vellum, 19m. by iejrin., from the Ottley collection — ^53 1 ij. ; another with the letter G., of the same style — ^53 12s. 
 (Whitehead); and “The Virgin and Child,” by Quentin Matsys, in oil, on panel, 24m. by i8in. — ^38 17s. Early 
 German pictures — “ Christ taking Leave of His Mother before the Passion,” by Albrecht Altdorfer, 16th century, in oil, 
 on panel, 53m. by 42m. ; this is supposed to be the only work of Altdorfer, a scholar and imitator of Albrecht Dtirer, 
 in England ; it was purchased at Berlin in 1851 and was exhibited in 1877 at Burlington House — ^24 3-r. (Wilkins) ; and 
 “The Crucifixion,” by Michael Wolgemuth, 15th century, in oil, on panel, 58m. by 56m. ; it bears the well-known 
 monogram of Albrecht Diirer, and was formerly attributed to him, having been bought as his work at the sale of the 
 collection of Dr. Frederick Campe, of Nuremberg, at Christie’s about 30 years back — ^82 195. (Bodley). 
 
 The collection of pictures belonging to the late Sir Edward Marwood Elton, of Wid worthy Court, H oniton, which were 
 sold on the same day as the collection above noticed, consisted of 61 pictures which belonged to the grandfather of 
 the late baronet from 1770 to 1790. There were very few, however, of any excellence, and these were — “ The Ford,” by N. 
 Berghem — £yj i6r. ; landscape, with travellers at an inn door, by Ruysdael — £94 10.?. ; peasants and cattle in land- 
 scape, by J. B. Weenix — ^32 1 is. ; “The Flower Girl,” by Le Prince, lifesize in a landscape, 66in. by 54m. — 
 £94 ioj. ; “View of London from the Thames, St. Paul’s in the distance,” by W. Marlow, 36m. by 6oin. — £105; “A 
 Visit to Grandfather,” by J R. Smith, 25m. by2oin., engraved by W. Ward — ,£110 5^. ; “The Disaster,” by F. Wheatley, 
 R.A., engraved by W. Ward, 25m. by 2oin. — £63 ; a pair of landscapes, by F. Zucarelli, R.A., 2oin. by 24m. — 
 £32 ii *- 
 
1885 .] WORKERS AND THEIR WORK— CHRIS TIE'S. 
 
 399 
 
 WORKERS AND THEIR WORK.— CHRISTIE’S. 
 
 (“Daily News,” May 15, 1S85.) 
 
 “OUR new gallery,” observes Mr. Christie, of the famous firm of Christie, Manson and Woods, “is what we have 
 long wanted. We have been crippled for want of space. Now there is more chance of clients and visitors seeing the 
 pretty things we are often called upon to exhibit.” 
 
 “ Many of these are recurrent, 1 take it. I seem to recollect numerous pictures and pots from the Strawberry Hill, 
 Bernal, Hamilton, Fountaine, Mendel, Grant, and Bohn collections which appear to pay you periodical visits ? ” 
 
 “ Some are quite old friends, and a sort of annuity to the firm.” 
 
 “ There have, of course, come under your notice many remarkable fluctuations in pictures and other works of art. 
 Some have gone up, others down ? ” 
 
 “ Despite fluctuations, two great movements have been in force since the Strawberry Hill and Bernal sales. The 
 best things have gone on increasing enormously in value, the moderate have suffered considerable depression ; the 
 inferior have become almost valueless. For instance, great disappointment is often felt at the poor prices realised by the 
 majority of the Italian pictures accumulated in country houses and recently sold off. Yet the reason is plain. Buyers 
 know much more about art than they did fifty years ago, and the Italian pictures bought by noblemen and gentlemen on 
 the grand tour as they called it — the Virgins, saints, and martyrs with great painter’s names attached to them — cannot 
 find a purchaser. Some painters, too, ha^e gone down very much in value. It is hard to make anyone believe what you 
 and I know to be a fact, that some twenty-five years ago a peer just dead offered a deceased duke ,£10,000 for a Carlo 
 Dolce and was refused. To us now this seems impossible, so greatly has the later Italian art depreciated. When this 
 has happened to pictures of undoubted authenticity, is it to be wondered at that school pictures, copies, and imitations 
 hardly tempt people to carry them away? And of this rubbish many country houses are full, with Sir Joshuas, 
 Gainsboroughs, and Romneys of great value, or admirable Dutch pictures, to leaven the mass.” 
 
 “ Does not this arise from a distaste to the conventional mode of treating religious subjects?” 
 
 “Not in the least. If a picture be authentic, a fine specimen of a great master, and in fine condition, it will 
 command a high price whatever the subject may be.” 
 
 “It is true that some critics hold that the subject of a picture, whether it be the Cross on Calvary or the gibbet at 
 Tyburn, is quite immaterial to its value qua work of art. But is this view widely accepted ?” 
 
 “ It is becoming more amply accepted every day. It is only the vulgar mind which is caught by a clap-trap on 
 canvas. Knowledge of technique and of the essentials of art is becoming very widely distributed.” 
 
 “This growing indifference to the subject of a picture reminds me that a very convenient subject was found and 
 frequently treated by the Italian school. If it was wanted for an altar-piece or the gallery of an orthodox prelate it was 
 called ‘ The Martyrdom of St. Bartholomew if for an agnostic, ‘ Marsyas flayed by Apollo.’ I need not say that it was 
 substantially the same picture.” 
 
 “All that is now cared for is the perfect work of a master, the value of which it is extremely difficult to forecast. 
 I have known (he keenest experts thousands of pounds wrong in estimating what a really fine picture would bring.’ 
 
 “ It should hardly be so difficult to those who know the tone of the market.” 
 
 “ It would be easier if the figures were not so big. Referring for the moment to prices obtained by private contract, 
 who could have predicted that the Duke of Marlborough would have got ,£70,000 for the Ansidei Raffaelle, more than 
 fifty thousand guineas for the tw'o great Rubens ‘family pictures,’ or twenty-five thousand guineas for the ‘Hesperides,’ 
 which we bought of him for a client of ours ?” 
 
 “What would the wonderful Holbein of ‘ Henry VIII. giving their charter to the Barber-Surgeons,’ now at Barbers 
 Hall, fetch if sold at your rooms ?” 
 
 “ An immense price ; but how much it is impossible to guess. It is an unique picture, the finest Holbein in the 
 world. Now, if you bear in mind the report that £10,000 was given for the three-quarter-length Hibbert Gainsborough, 
 that as much is said to have been given for an Albert Diirer, and that the Mabuse recently shown at the Royal Academy 
 has been valued at fabulous sums, you will see at once that it is a sheer impossibility to estimate the value of the large, 
 magnificent, and undoubtedly authentic Holbein you mention. It is one of the great pictures of the world, and might 
 bring any sum. I agree with you it is a fitting picture for the nation to buy. It is quite out of the way where it is.” 
 
 “Your records, which I know extend over scores of volumes, must tell of curious variations in price ; for you have 
 sold many things over and over again, as you will shortly sell again, Mr, Christopher Beckett Denison s purchases at the 
 great Hamilton sale.” 
 
 “They come once, twice, and again, and the best, as I have already said, nearly always increasing in price. There 
 are many pictures of Turner’s out of which we have had far more by way of commission than I urner got for his 
 wonderful work. Turner rarely got more than ,£200 for a picture. Mr. Munro, his executor, sold two Ostend and 
 ‘The Grand Canal, Venice’— in i860 for £4,252 ioj., which, Mr. Munro told us, was as much as he had paid Turner for all 
 of his work that he had procured, and which realised after Mr. Munro’s death no less than ,£88,(85 ioj. I he history of 
 one of Mr. Munro’s most famous Turner’s is curious. ‘Modern Italy,’ sold May 11, 1867, to Mr. Fallows for ,£3,467, was 
 sold after his death to Mr. Butler Johnstone, on May 23, 1868, for £2,961, a notable falling oil ; but ten years later, on 
 April 5th, 1878, it was resold by Mr. Butler Johnstone to Mr. David Price for £ 5 > 2 5 °- At l ' ie resa l e °* P art °f Mr. 
 Munro’s Turners in 1878 the prices realised were immense. The price of ‘ Modern Italy ’ has already been mentioned, 
 and ‘Ancient Italy’ brought a like sum. ‘ Modern Rome’ brought £4,672 ; ‘St. Marks Square, Venice, £5,46°; and 
 ‘Van Tromp’s Shallop’ also £5,460. The highest priced picture of the lot was the famous Rome horn Mount Aventine, 
 which brought £6,142. The total result of all the oil paintings sold, nine in number, being £38,702. A still more 
 
400 
 
 ART SALES. 
 
 [ 1885 . 
 
 remarkable instance of the advance of Turners in the market is shown in ‘ The Grand Canal, Venice,’ I spoke of just 
 now. This picture, painted in 1834, and engraved by W. Miller, was sold to Gambart by Mr. Munro on March 24, i860, 
 for 2,400 guineas. It was subsequently sold by Mr. Mendel in April, 1875, to Mr. Agnew for 7,000 guineas. 
 
 “ The water-colour drawings also realised high prices, did they not ? ” 
 
 “ In June, 18 77, fourteen drawings of ‘ England and Wales ’ brought £9,92 7, and thirty-nine vignettes ,£10,526.” 
 
 “In pottery also the prices of the best have gone up, I think?” 
 
 “ Porcelain and pottery are more variable than really first-class pictures such as Landseers, but old Sevres is the 
 steadiest of all. There is not much of the best pate tendre thrown on the market. There was not, in fact, a great deal 
 made of the finest kind, and it will never be made again. As you know, the old Royal Manufactory was not carried on 
 to pay its way. The articles were made irrespective of cost. Hence its value increases — that is, for the very fine pieces. 
 People stared at the Bernal sale when they saw a pair of vases fetch thirteen or fourteen hundred guineas, but they were still 
 more startled when the late Lord Dudley gave 10,000 guineas for the Coventry garniture de cheminee. Yet this last is of 
 Rose Pompadour or Dubarry, and probably unique. Wherefore it is of any value you may be pleased to put upon it. It 
 has the two great qualities, excessive rarity and absolute beauty and perfection.” 
 
 “ The celebrated Marquis of Hertford, who made the Royal collection and that of Sir Richard Wallace, said to his 
 dealer, ‘ I never want anything because it is clever or rare. Do not bring me anything that is not beautiful.’” 
 
 “ His taste is not universal. Not in the case of the prices brought by the faience d'Oiron — ‘ Henri Deux Ware,’ as it 
 is called. It is quite a matter of opinion whether it is beautiful or not. But it is very rare, this incised, inlaid, or 
 damascened ware. Less than sixty pieces are in existence, so that it always brings an immense price in the market.” 
 “Touching Oriental porcelain?” 
 
 “It fluctuates. There is so much of it that is bad, indifferent, or downright forgery. I know that everything is 
 forged, but in the case of Oriental china the fraud is often too glaringly insolent. There is much beauty in Chinese, 
 Japanese, and other of the best work, but there is so much that is bad in the market that it affects the price of the good. 
 Majolica, too, is not all of the highest merit. A fine piece of Gabbio is as much prized as ever, and the large pieces 
 command tremendous prices ; but the run first on English, and then on the blue and white, have somewhat taken the 
 wind out of the sails of the ordinary majolica.” 
 
 “ The furniture went well at the Hamilton sale ! ” 
 
 “Very well. That is to say, the Riesener, the old Boule and Italian cabinets, and the old Japanese lacquer. But in 
 this, as in pictures, the buyer is grown very knowing. He only cares for the very best, such as the Gouthibre pieces of 
 the Hamilton collection, and such wonderful specimens as those in Windsor Castle. As in other things, too, the wealthy 
 buyer, who takes nothing but the very best, fares the best. Riesener and Gouthi^re work is like Sevres pate tendre. It 
 cost an enormous sum to make, and will never be made again. The world grows richer, or at least expends more of its 
 riches on such things, every day, and the quantity of articles cannot be increased. It is like a fine etching, of which the 
 plate is really destroyed, without the risk of photographic interpretation at a cheap rate.” 
 
 “This has always been a fashionable lounge as well as a large place of business?” 
 
 “Always, I think, since it was founded by the first Mr. Christie in 1767, when it became the fashion at once. It 
 was mentioned by Horace Walpole, and there is a caricature of the appearance in Christie’s rooms of the ‘old Lord 
 Derby,’ who founded the race at Epsom, with his wife, sometime Miss Farren, the actress, who was painted by 
 Lawrence, and became the mother-in-law of ‘ attenuated Wilton,’ as Mr. Bernal Osborne, in ‘ The Chaunt of Achilles,’ 
 called ‘the wicked earl,’ and grandmother of the late and of the present Lord Wilton. It was always fashionable, and if 
 not quite ‘thick with dukes,’ like Newmarket Heath, has plenty of clients among celebrities, noble, gentle, literary, and 
 artistic. Everybody seems to gravitate to this old place. On any day you may see the Baroness Burdett-Coutts,* the 
 Duke of St. Albans, Mr. Stacy Marks, R.A., Sir Frederick Leighton, Mr. Browning, and others too numerous to mention. 
 It is a haunt of collectors, painters, dealers of course, and fashionable folk. We have, in the course of the century 
 intervening between the sale of the famous Nankin dinner services and punch bowds belonging to Colonel O’Kelly, the 
 owner of Eclipse, and that of the Doha Isabel de Borbon, sometime Queen of Spain’s jewels, succeeded in retaining the 
 favour of connoisseurs and of the great public.” 
 
 “You have made enormous sums of money, of course?” 
 
 Mr. Woods replies — “ Pray do not confound the capital sums paid to and by us with the commission ! Only the 
 latter, less expenses, belongs to Christie, Manson and Woods.’’ 
 
 * Very seldom the Baroness or Browning. I never saw the poet there in all my experience of forty years. — G. R. 
 
1885.] 
 
 SIR W. KNIGHTON’S COLLECTION. 
 
 401 
 
 SIR IV. KNIGHTON’S COLLECTION. 
 
 (“The Times,” May 25, 1885.) 
 
 The large collection of pictures, water-colour drawings, engravings, and various ornamental objects belonging to the 
 iate Sir William W. Knighton was sold by Messrs. Christie, Manson and Woods on the three last days of the past week. 
 There were some good pictures by the old masters in the collection, and many very interesting pictures and studies for 
 pictures by Sir David Wilkie, who was a great friend of Sir W. Knighton, and had frequently presented his sketches to 
 him. Sir William having been for a considerable time Court physician to George IV. had much to do with the 
 purchasing of pictures for the Prince Regent, which are still in the royal collections at Windsor and Buckingham Palace, 
 and at the same time he appears to have been a pretty constant attendant upon the sales of pictures in the old days of 
 Christie’s rooms. This is known by several sale catalogues in his library, which have his notes, with the prices, to certain 
 pictures, bought for the Prince Regent. His opportunities for obtaining good pictures, however, did not lead to any very 
 remarkable acquisitions for himself, although there were in the sale several works attributed to Rembrandt, two fair 
 examples of Jacob Ruysdael, a Vandevelde calm, a Madonna of Luini, and an Ecce Hofno of Titian, with a portrait of 
 the Infant Don Balthazar by Velasquez. Of the English school, besides the interesting works of Wilkie, there were the 
 Mrs. Collier as Celia, with her sparrow, by Sir Joshua Reynolds, which brought the highest price in the sale (£420), two 
 rather large pictures by Gainsborough of rustic children in landscapes, and a small whole length, seated in a landscape, 
 of the Duke of Cumberland by him. Of the pictures by Wilkie, an admirable little sketch in oils for the well-known 
 picture “ Reading the Will,” 7vin. by ioin., sold for £31 ioj. His student copies, in little, of the great pictures by Titian, 
 “Bacchus and Ariadne” and “Ganymede” in the National Gallery, brought smaller prices; a Spanish Girl, signed 
 Madrid, 1828 — £84 ; a fine study for “ The Penny Wedding” in the royal collectiou, signed and dated, 1830, 8in. by 14m. 
 — £147 ; a very spirited little picture illustrating “ Old Mortality,” nin. by I7?rin., which is engraved — £84 : a portrait of 
 Sir Walter Scott, small, seated, half length — £115 ioj. ; the Duke of York, by Wilkie, small, seated, whole length, in 
 uniform, reading dispatches, 9^in. by 8iin. — £ 22 is. ; Washington Irving searching the Archives for the Life of Columbus, 
 by Wilkie, 48m. by 48m. — £75 12 s. ; a portrait of Wilkie, by himself, when a young man, holding portcrayon and sketch- 
 book, life size — £115 ioj. ; the Spanish Mother and Child, life size, by Wilkie — ,£120 i6j. ; by George Stubbs, R.A., a 
 lion attacking a horse — £22 2s. ; J. Ward, R. A. , “ Gipsies near a Gamp Fire,” an upright picture in the manner of 
 Morland, signed 1809, 35m. by 27m. — £84 ; Sir Thomas Lawrence, P.R.A., portrait of George IV. — £45 35-. ; another — 
 £27 1 5-r. ; Sir Joshua Reynolds, Mrs. Collier as Celia, life size, seated, half length, engraved by Watson and 
 S. W. Reynolds, exhibited at the Grosvenor Gallery Reynolds Exhibition last year — £420 ; T. Gainsborough, R.A., 
 portrait of the Duke of Cumberland, reclining, half length, small, in landscape, 36m. by 28m. — £241 ioj.; Cottage Children 
 by the Fire, Morning, exhibited at Burlington House, 1883, 58m. by 46m. — £152 5J. ; A Child with a Cat, Evening, also 
 exhibited 1883, companion picture — £320 55. The water-colour drawings were nine works of S. Prout, which had once 
 been excellent but had most of them suffered seriously by mildew, notwithstanding which, however, they brought as much 
 as 40 and 50 guineas, each frame containing two or three. By Turner there were two small drawings of the Southern 
 Coast series — Plymouth Dock, 6|;in. by 9^in., with group of trees in foreground — £88 4 s., and Torbay from Brixham, the 
 same size — £199 10$. ; W. Kidd, The coach dinner at the Inn, i8in. by 14m., engraved — £26 5s. The pictures by the 
 old masters which were the most interestigg were- — Van Goyen, river scene, 19m. by 25m. — £65 2s. ; De Hooghe, interior, 
 with lady and gentleman — £105 ; P. de Koning, extensive landscape, 35m. by 43m.— £94 ioj. ; Isaac Ostade, large 
 landscape, with figures at an inn door, 41 in. by 6oin. — £131 5J. ; Rembrandt, portrait of the artist’s father, life size, 
 bareheaded, with rough hair, seated, to waist, signed — £162 15J. ; portrait of an old man with long hair, in a black hat 
 and white collar, life size to waist, left unfinished — £210 ; The Student, a young man seated near a window in a room, 
 exhibited at Burlington House, 1883, 24m. by 28m. — £325 ioj. ; a Jewish bride, life size, half figure — £84; Jacob 
 Ruysdael, a river scene with cascade and charcoal burners in a wood, 23m. by 26in., exhibited at Burlington House, 1883 
 — £ 3 2 5 IOS ■ ; a snow scene, with peasants, I4^in. by i6|in. — £84 ; A. Vander Neer, view in a city, winter, figures and 
 sledges on ice, moonlight, 17m. by 24m. — £84; D. Teniers, a laboratory with the alchemist and assistants — £63; 
 W. Van de Velde, A Calm, with men-of-war and fishing-boats, with figures, 2oin. by 25m., exhibited at Burlington House, 
 1883 — £241 ioj. ; A Storm at Sea, with men-of-war and boats, 17m. by 24^in. — ,£88 4J. ; Philip Wouvermans, landscape, 
 with gray horse and figures, 1 5m. by i6Lin. — ,£131 5-f. ; a winter river scene, figures sledging, I3^in. by i8£in. — ,£115 ioj.; 
 Albert Durer, The Virgin crowned by two angels, with the engraving — ,£36 15J. ; Bernardo Luini, The Madonna and 
 Child, 25m. by 19m., on thick panel — £89 5s. ; Titian, “Ecce Homo,” life size, half-length figure, 28in. by 22in., exhibited 
 at Burlington House, 1883 — ,£60 i8j. ; Bassano, The Doge Venerio and his Family, 6iin. by 44m., exhibited at Burlington 
 House, 1883 — £32 iij. ; Velazquez, The Infant Don Balthazar, son of Philip IV. of Spain, standing in a landscape, 
 loading his gun, under a tree, 56m. by 42m. — .£162 15J. ; the Infanta Marguerite, daughter of Philip IV., i8iin. by I4iin. 
 — £66 3 s . ; Murillo, child angels weeping, 19m. by 26m.— £30 9J. The total of the pictures and drawings amounted to 
 £6,700. 
 
 3 F 
 
 VOL. I, 
 
402 
 
 ART SALTS. 
 
 [ 1885 . 
 
 LORD STAFFORD'S COLLECTLON OF ARMOUR , OLD FRENCH 
 
 FURNLTURE AND PICTURES. 
 
 (“ The Times,” June i, 1885.) 
 
 The collection of ancient armour and arms at Stafford Castle and Costessy Hall, Norfolk, the seats of the Lords 
 Stafford, has long been known to antiquaries as next in importance to the famous collection of the late Sir Samuel Rush 
 Meyrick at Goodrich Castle, in Herefordshire, which, however, was the most complete historical private collection ever 
 formed. The present collection is now sold by Messrs. Christie, together with the old furniture and pictures, by order 
 of the executors of the late Lord Stafford. The armour and arms had the great merit of being mostly preserved in 
 their original state, without the meddlesome furbishing up and restoring of the modern antiquity-provider. To the 
 unskilled eye they looked a heap of rusty old helmets and breast-plates, with here and there a complete suit, such as the 
 fine one of the time of Henry VIII. and the studded suits of the time of Charles I., of which there were several more or 
 less complete. The prices obtained for this collection were unusually high, the 104 lots bringing ^2,098 13^. The fine 
 fluted suit of the time of Henry VIII. alone sold for ^504. It was purchased by the Baron de Cosson, a well-known 
 collector, who recently figured at the artists’ costume ball in a suit of his own armour. The Charles I. suits varied in 
 price according to ornament and completeness ; the best sold for ^61, another for ^29, another for ^34 14^., and one 
 with gorget, close helmet, and garde-reins for ^42. A Gothic chamfrein sold for ^28 js. ; a 15th-century tilting-heaume, 
 £ ll 7 I2.f. ; a very finely chased and gilt shield, with bands of arabesques, Italian work, ^283 ioj. (Mr. Currie). The old 
 tapestry which so appropriately accompanies a collection of ancient armour and arms brought good prices. A panel with 
 five female figures in a landscape, 8ft. ioin. by 13ft., realised ^30 ; a similar one, with Mercury and nymphs in a land- 
 scape, with border, 7ft. 6in. by 13ft. 3m., ^65 ; a large panel of early work, with the Crucifixion, 8ft. 6in. by 1 8ft. 3m., 
 ^31 ioj. ; a fine piece of Brussels tapestry, with the Triumph of Alexander, after Le Brun’s design, 14ft. 8in. by 
 23ft. 8in., ,£199 ioj. ; an upright panel, a wounded warrior, of the same style, ,£52 io.f. ; another, a horseman crossing a 
 river, 14ft. 4m. by 10ft. 9m., ^105 io.r. ; another, a battle piece, same size, ^68 5-r. : another battle scene, same size — 
 £101 1 7jt. These high prices show that good tapestry is more in demand than it has been for some years. There were 
 many good pieces of old decorative furniture in marqueterie and carved work, mostly French of the time of Louis XIV. 
 and XIII., which brought moderate prices only. An Indian (Persian) casket of ebony, inlaid with ivory engraved, with 
 drawers, and on stand — ^33 12s. ; a fire-screen, with a panel of old tapestry, Teniers subject — £yj i6j. ; a marqueterie 
 cabinet, inlaid with birds and flowers, on stand — £J> 17s. ; a Louis XIV. clock, black Buhl, on stand — £63 ; a pair of 
 bellows of carved wood, with masks, figures, and arabesques, partly gilt, good Venetian wmrk — ,£40 19J. ; an altar-piece 
 formed of seven carvings in high relief in alabaster, representing the Life of Christ, in carved v'ood frame, gilt partly, 
 Italian work — £78 15J. ; a pair of Louis XV. encoigneurs, ormolu scroll ornaments and Breccia marble slabs — ^74 iij. 
 
 The large collection of old china contained some very fine examples of Oriental and English porcelain and some 
 excellent majolica. Two sea-green Chinese vases — £21 ; two sea-green cisterns, with Kylins in blue and brown on w r avy 
 ground — £61 ; an octagonal jar and cover, enamelled with birds, flowers, and insects in panels, with green bamboo- 
 pattern borders, the neck and foot with flowers on black ground, the cover surmounted with a Kylin, about 30m. high — 
 ^90 ; a very handsome pair of vases and covers, black ground with coloured chrysanthemums and green foliage, and 
 medallions of flowers on white ground, about 26m. high — £126 ; a set of three Japan jars and covers, flowers in red and 
 gold on dark blue, with landscapes in medallions — ^90 6 s. ; a set of three Japan jars and covers, octagonal, and two 
 beakers — ^63 ; another set of three, with two beakers, pale blue, with Kylins — £72 ; 26 Dresden plates, painted with 
 birds, basket pattern borders, from the King of Holland’s service — ^50 ; a Sevres cabaret, the tray painted with figure 
 of Fame, and the celebrated men of France, an imitation of a cameo — ^31 ioj. ; a pair of fine, large, old Chelsea vases, 
 deep blue ground, with medallions of figures and birds, white and gold scroll handles, about 26m. high — ,£180 ; a large 
 brown ware dish, by Thomas Toft, with the Royal arms in relief— ,£26 15.?. 6 d . ; a large Delft jar and cover, Chinese 
 figures in blue — ^13 ioj. The majolica plates brought from £2 15^. to £3 13s. A flat bowl, majolica, with Perseus 
 and Andromeda — £11 ; another, similar, with Jacob’s Dream — ; a tazza of Urbino ware, dated 1541, horsemen at 
 the gate of a city — ^42 ; a large dish, similar, dated 1541, with Pluto and Proserpine in Hades — £31 ior. ; a lustred 
 tazza, horsmen and figures at gates of a town, inscribed on the back — ^43 is. ; a pair of fine round dishes, about 15m. 
 diameter, with raised centres, bearing the arms and hat of a Cardinal, and painted with arabesques of Castel Durante 
 ware, inscribed on the backs “A. di. xxvi. Marzo MDCIX. in Castel Dte fu fatto nella botega di Mro. Cro. Compo. lo 
 pinse Giovan Paulo Savini” — ,£102. 
 
 The pictures which formed the sale of Saturday were a very curious collection of old portraits all more or less 
 restored, but retaining some of the original work which made them interesting. The only works of any importance 
 among the subject pictures by the old masters, of which there were about twenty, were the two pictures by Alsloot, which 
 have been long known at Stafford Castle as “ The Kenilworth Pageant,” though for what reason it is difficult to say, for 
 they certainly do not represent any of the famous pageants got up at Kenilworth Castle. These two canvasses originally, 
 it is said, formed one picture representing a pageant in honour of Saint Gudule at Brussels, of wffiich place she was the 
 patron saint. The scene is in the grand Place, with the houses decorated with green boughs and the windows filled 
 with ladies in full dress all minutely painted, and little banners or shields hanging out bearing the date 1601-4-7. 
 The street is occupied with the procession of soldiers, moving in three lines, headed by officers and standard-bearers, 
 some firing their matchlocks, others marching, and among those numerous figures are groups representing in one place 
 a gigantic St. Christopher with the child Christ on his shoulders, in another the Archangel Michael and the Evil One 
 
1885 .] 
 
 LORD STAFFORD’S COLLECTION. 
 
 403 
 
 as a huge hairy fiend. The legend of the saint is represented in the pageant by a figure of her with her lantern, and 
 the Devil trying to blow out the light. There must be many hundreds of figures, and each one is painted with 
 extraordinary exactness in every detail of costume and arms, so that the pictures are of the highest interest on this 
 account. It is most satisfactory, therefore, to know that they have been purchased for the South Kensington Museum, 
 through Messrs. Agnew, for ^262 ior. Very little seems to be known about the painter, Denis van Ausloot, but this 
 must have been a capital work of his, for he appears to have been twice employed to repeat it, as there are not only 
 two similar pictures in the Museum at Brussels, but two also in the Madrid Gallery (Museo del Prado), where there is 
 another work by him. The date of his birth or death is at present undecided, but this picture shows that he was 
 painting in the early years of the 17th century. The sizes of these interesting pictures are 44m. by 73m. and 47m. by 
 67m. 
 
 Of the other pictures, an old copy of the Vandyck Charles I. on horseback, now in the National Gallery, about 
 one-third the full size — ^44 2 s. : a portrait of Canning, by Sir T. Lawrence — ^15 7 ior. ; “A Nobleman of the Time of 
 Charles I.,” whole length — ,£86 2 s. ; “Charles, Prince of Wales” — ,£30 9^. ; “Blanche, daughter of Henry IV.”— £28 ; 
 “The Young Pretender” — ,£54 12 s. ; “ King James II.” — £45 35. ; “Henry Duke of Gloucester,” son of Charles I., in 
 armour — ,£50 8r. ; “King Charles I.” in armour, whole length — ,£92 8r. ; “Queen Mary holding a rose ” — ,£30 9r. ; 
 “Mrs. Spelman, daughter of Sir Thomas Yallope, temp. Queen Anne ”—,£442 s. Considering that the names of the 
 painters were unknown, and the pictures in poor condition, these were good prices. The total of the pictures was 
 £ 1,632 nr., and the grand total £7,079 8,r, bd. 
 
 J 
 
404 
 
 ART SALTS . 
 
 [1885. 
 
 MR. BECKE TT-DE NISON' S COLLECTION. 
 
 ( Leading Article , “The Times,” June, 5. 1885.) 
 
 “ The great ‘art sale’ of the season begins to-morrow at Messrs. Christie and Manson's, and will be continued, with 
 short intervals of repose, till the middle of July. The sale of so large and fine a collection as this of the late Mr. 
 Beckett-Denison would at any time excite the world of amateurs ; but the peculiar circumstances of its formation and of 
 its premature dispersion lend a special interest to the coming contest. Those to whom the shifting values of works of 
 art are of high commercial importance, the speculators in bric-a-brac and the large fraternity of dealers all over the world, 
 are eager to see whether the treasures which Mr. Beckett-Denison bought at high prices at the Hamilton sale have 
 suffered any serious depreciation. This is undoubtedly the dominant feeling of the great English, French, and German 
 buyers who have been haunting the rooms in King Street all the week. But the moralist, too has had his opportunity. 
 He has been repeating vanitas vanitatum to his heart’s content. He has been asking whether some new Holbein 
 ought not to arise to add a new figure to the Dance of Death, — the figure of Death lurking in the auction-room and 
 striking down the passionate collector at the very moment of his triumph. For this was the fate of Mr. Beckett- 
 Denison. A man scarcely past middle life, handsome, tall, and seemingly strong and healthy, he came to London with 
 an ample fortune, which he devoted to surrounding himself with all the rarest and most beauti'ul objects that he could 
 find. He built himself a fine house near Hyde Park, [No, this is not so ; he lived in a small house, and had a large 
 one, 41, Upper Grosvenor Street, crammed with these things (G. R.),] and just when it was finished there occurred the 
 famous Hamilton sale. Mr. Beckett-Denison saw his opportunity, was a constant attendant at the sale, and bought with 
 a courage that might almost be called reckless. Generally he bid for himself ; but often he employed an agent, and in 
 neither case did he seem to care the least what price he paid, so long as he obtained what he wanted. In the end, he 
 found himself the purchaser of a full quarter of the Hamilton collection, his outlay having amounted to something like 
 ;£ioo,ooo [much more, ,£250,000]. This, however, was not nearly all. He was a buyer at every important English sale 
 of recent years ; and pictures, furniture, bronzes, and china from Leigh Court, from Stourhead, from Mr. Bale’s, Mr. 
 Fountaine’s, Mr. Coding’s, and all the other great collections, found their way into his possession. He was omnivorous, 
 and therefore not as fastidious as he might have been, buying anything that took his somewhat untrained fancy ; and he 
 accumulated an enormous mass of works of art, many of them extremely fine and many of less excellence. The house 
 was ready and was furnished with all these treasures ; but we doubt whether Mr. Beckett-Denison ever inhabited it. 
 Instead, his destiny was to be the domus exilis Plutonia. Travelling in Ireland, last autumn, he was taken suddenly ill 
 and died after a very few days, far away from all his friends. There was no one to keep together the treasures so 
 zealously acquired. All is to go, and for the next six weeks the amateurs of all the capitals of Europe, as well as of New 
 York and Baltimore will contend over the spoil. 
 
 “Viewed merely as a show, the objects now on view at Messrs. Christie’s — which include only the first of the three 
 parts into which the collection is divided — lose a good deal in attractiveness from the fact that so many of them have 
 been seen a short time ago. It is only three years since the break-up of Hamilton Palace, and three years is too short 
 a period for the memory to have lost the impression of what was then so striking and so new. Half the charm of the 
 Hamilton collection lay in the fact that it was quite unknown. Few even of the pictures had been seen by the public ; 
 and the furniture and other works of art had become a matter of legend. It was known that they were first-rate ; that 
 Beckford and the tenth Duke had collected most of them ; that not a few of the objects were among the finest of the 
 salvage from the Revolution. All this stimulated curiosity, and the result was the unheard-of prices that were brought 
 by good, bad, and indifferent objects alike. That curiosity is no longer felt ; and, again, times are even harder than they 
 were in 1882. The amateurs, or the bulk of them, have less money ; the dealers have less hope. On the other hand, 
 whenever first-rate objects, whether pictures or pieces of furniture or books, have come into the market of late, there has 
 always been someone found to give as high a price as ever for them. The little world of amateurs and of shrewd 
 speculators of taste is firmly convinced that the supply of these old works of art is limited, that the demand for them will 
 not die out, and that the French, whose predilections rule the market, will always be patriotic enough to buy the works 
 of their own great age at any cost. Furniture by Boule and Riesener, chasings by Gouthiere, Sevres vases adorned by 
 Morin, will always, it would seem, command a high figure. The question is whether in this coming sale the figure will be 
 quite as high as it was in 1882 ; and to this question it may probably be answered that the self-interest of those who hold 
 large quantities of this kind of stock will probably prevent the price falling very much lower. But whether this is so or 
 not, the exhibition now being held in King Street is full of interest to those who care for art in all its forms, just as the 
 sale will be full of interest to all those who view these things in any sense from the commercial stand-point. Of pictures 
 there are to be seen the famous “ Daniel in the Lions’ Den,” a very genuine, very forcible, and, it must be owned, very 
 ugly picture by Rubens ; the same painter’s grisaille study for a salver, with the design of the Birth of Venus ; a lovely 
 little William Van de Velde and two Adrian Ostades of the highest quality, together with a few Italian pictures of 
 less value, a grand portrait of Luther by Holbein or one of his scholars, and one of the most interesting, if not one of 
 the most characteristic, of the early works of Turner. The Renaissance work includes two celebrated examples of 
 Milanese iron, especially the Soltykoff chess-table, a miracle of fine inlaying, some noble bronzes by John of Bologna, 
 and some examples of majolica, including the “Three Graces” which we saw at the Fountaine sale, and which is very 
 generally thought to be the masterpiece of Maestro Giorgio. The old French furniture, too, is very fine in its way ; it 
 includes the Artois commode, the Boule cabinet matching the pair in the Salle d’Apollon in the Louvre, and many others 
 of the best pieces from Hamilton Palace. As we said above, Mr. Beckett-Denison’s taste was far from faultless, and 
 there is a good deal in the collection of the second and third order ; but the first-rate pieces are numerous enough to 
 give celebrity to the Beckett-Denison sale, even in these days when general depression and Settled Land Acts are doing 
 so much to secure the popularity and the prosperity of the auction-room.” 
 
1885 .] 
 
 MR. BECKETT- DENISON'S COLLECTION. 
 
 405 
 
 (“The Times,” June 9, 1885.) 
 
 The sale of the fine ornamental objects and old furniture commenced according to announcement yesterday with a 
 very full room, but the biddings went on without any of the life and spirit infused into the Hamilton sale by one such 
 amateur as Mr. Denison. There was, in fact, but very moderate competition among the numerous dealers who principally 
 formed the company present. The prices generally were lower than those obtained previously, though in two or three 
 instances, as will be observed, they were considerably higher. The first lot was an oblong stand, on scroll feet, engraved 
 with foliage and insects, in colours, on trellis ground — .£25. in the Hamilton sale this brought 35 guineas. A pair of 
 quartre-foil shape black-and-gold boxes, painted with river scenes and buildings, on slender stands of the same, about 
 8m. high in all— ,£9 15s-., sold for 25 guineas in the Hamilton sale; an oblong box, black-and-gold, with figure in a 
 landscape, about i8in. long — .£30, sold for 66 guineas in the Hamilton sale ; a beautiful little cabinet of gold lacquer, 
 flowers and foliage in relief of mother-o’-pearl and silver, about 8in. by 4m. and 3m. wide— .£68 55., for this choice example 
 Mr. Denison gave no less than 255 guineas in the Hamilton sale ; an Indian casket of silver inlaid with polished agates 
 and Mocha stones, formerly belonged to Warren Hastings— ^47 5^ ; a casket with Mocha stone panels, gold mounted— 
 1-5 ; the other carvings in hard stones, from the Wells collection, brought only moderate prices, from .£2 to ,£14 14E 
 There was nothing at all remarkable in the Oriental china sold in this portion. A pair of hawks, ioiin. high, sold for 
 /i 1 11.?.; a pair of hexagonal jars and covers, figures and landscapes in brown medallions, with chequered pink borders, 
 Kylin covers, 22in. high, from the Stourhead collection — ,£35 14J. ; these sold before for .£50 8.?. Among the old Sevres 
 there were many pretty pieces, but none of any note. A gros bleu and gold dcuelle, cover and stand painted with vases 
 of flowers and fruits, and bird in medallions — £37 i6j. A large jug, of the rare yellow ground, painted with exotic birds 
 in landscape, ioin. high — £32. Another jug, bleu de Vincennes, with medallion of birds — ,£45 3.?. The Dresden china 
 sold well. A pair of groups of satyrs and nymphs, 12m. high— ,£32 IIS'. A group of a jay and squirrel on the trunk of a 
 tree, i6in. high — ,£27 6s. A pair of green parrots on stumps of trees, with insects and foliage in relief, 14-lin. high — .£42. 
 A barrel, lake colour, on a stand, with three children at the corners, painted with landscapes, about i6in. high— ,£42. 
 Another painted yellow and gilt, on stand, with figures at angles— ,£45 ; a pair of groups, each of two allegorical figures, 
 summer and winter, holding oval medallions with landscapes, on white and gold pedestals, I3^in. high — ,£35 14?. ; a pair 
 of candelabra, the stems formed as two boys with a fish and two with a palm tree, on ormolu plinths, chased with foliage 
 12m. high— ,£57 ; a handsome old Dresden clock painted with Chinese subjects and flowers in gilt borders, with two 
 female figures, and figures of boys at the corners, surmounted by an eagle, on pedestal painted in similar style, mounted 
 with engraved and chased metal gilt, 22m. high— ,£140 ; a pair of Louis XIV. table candlesticks, of ormolu chased, 
 engraved with the Royal arms of France on the foot, from Mr. W. Goding’s collection — .£39 18.?. ; a pair of Louis XVI. 
 candelabra, with bronze female figures bearing chased ormolu branches for three lights, on white marble pedestals— 
 ^48 6s. ; a Louis XVI. lyre clock, with frame of gros-bleu Sevres, mounted with leaves of foliage and festoons of flowers 
 in chased ormolu, surmounted by mask of Apollo, the dial enamelled and the movement by Finable— .£105 ; a pair of 
 red marble vases and covers, mounted in ormolu, handles of figures as infant satyrs, 13m. high— .£36 15J. ; an oval vase 
 of serpentine marble, Louis XVI. style, with masks in chased ormolu, and plinth of white marble — .£36 15J. ; a fine 
 Louis XV. clock by Vandercruse, of Paris, of ormolu chased, two kneeling Oriental figures supporting the cases, on plinth 
 boldly chased, 2iin. high — ,£215 5 s. ; a Louis XV. hanging barometer of black buhl — ,£53 iu. ; a clock by Garrigues, in 
 a lyre-shaped case of gros-bleu Sevres, mounted with festoons and ornaments of ormolu, the pendulum enamelled with 
 the zodiac on marble plinth — £257 5 ?. ; a pair of ormolu wall lights, scrolls and sunflowers, for two lights each— ,£99 1 5 j. ; 
 12 Italian carved wood chairs, the backs and seats covered with embroidery — .£53 m. ; a Louis XV. marqueterie 
 commode, with shaped front and two drawers mounted with handles and borders of chased ormolu, with Breccia marble 
 slab— ,£173 5 s - 5 a very fine Louis XV. commode of parqueterie, with carved front, richly mounted with ormolu and 
 handles formed as festoons of foliage suspended from ribands, with Breccia marble slab, from Lady Essex’s collection — 
 /404 5?. ; this was a very considerable advance upon the price in Lady Essex’s sale, which was £35 7. The total of the 
 day amounted to £3,382 19 s. 
 
 With the sale of the second batch of pictures on Saturday we may say that the best of this extraordinary collection 
 of good, bad, and indifferent pictures have been seen. In these two sales there have been disposed of 198 pictures, and 
 in the sale to come on next Saturday, there remain a few water-colour drawings of the English school, more than 100 
 pictures, among which are some works of Sir Joshua Reynolds and Gainsborough ; and several good decorative panels of 
 the Boucher and Van Loo school. The sale of the important pictures of real mark and artistic interest, such as the great 
 Rubens’ “ Daniel,” the masterly sketch by the same giant hand for a design to be executed in silver repousse, the Bronzino 
 portrait of a young Medici, the studies by Marcello Venusti for pictures after the design of his master, Michael Angelo 
 the little Vandevelde and the Ostade, with Turner’s noble effort at rivalry with Titian — the Venus and Adonis — gave 
 abundant interest to atone for the pitiable specimens which formed the pictorial padding and rubble that covered the 
 walls of Messrs. Christie’s galleries. It was to this terrible diluting of the essence that is to be largely attributed the 
 falling off in price shown in these sales. The very same pictures which shone well among the splendours of Hamilton 
 Palace, and deservedly contributed to excite the enthusiastic admiration that went a little too near fever heat, have had 
 to suffer the depreciation which inevitably follows all encores. All who have observed anything of the physiology of 
 picture auctions must have noticed the fact that there is always a moment, as for example immediately after the death of 
 a great painter or a great collector, when the very highest prices are paid. But when once this Rubicon has been passed 
 in recent years, it has very rarely been reached again, although, in point of art merit, there was nothing to account for 
 this. Speaking roundly, it may be said of the pictures from Hamilton Palace now before us, not one of them has realised 
 half the price it brought in that memorable dispersion. The great Rubens brings only £ 2 ,\oo, where it sold fur ,£5,150 
 in the Hamilton sale three years back ; and'flt may be questioned if it would have brought this sum now, had not the 
 
406 
 
 ART SALTS. 
 
 [ 1885 . 
 
 Duke of Hamilton himself stepped in as a buyer, and thus did the very happy and graceful act of restoring to his 
 ancestral palace one of its most prominent glories. Then there is the beautiful Rubens design in grisaille, Acis and 
 Galatea (not the “ Birth of Venus ” as it has long been so absurdly called), for which Mr. Denison, in a spirit of admiration 
 every lover of art will sympathise with, paid ,£1,680, which now sells for £640, and fortunately it is never to be sold again, 
 for it has been added to the treasures of the National Gallery, where, as an example of the great painter’s power in 
 ornamental design, it will be valued above all price. Another instance may be noticed, and that also, it is extremely 
 satisfactory to say, concerns the advancement of the interests of the National Gallery, in the purchase of the little picture 
 by Marcello Venusti from the design of Michael Angelo — “ Christ driving out the Money-changers from the Temple,” for 
 £966, the former price of it in the Hamilton sale being £1,428. The picture has an excellent pedigree, coming from the 
 Borghese Gallery, Rome, and the collection of Sir Thomas Lawrence, and was much admired at the time of the Hamilton 
 sale as the large price paid for it proved. It is an acquisition of considerable interest to the national collection, as it is 
 the only work of the painter as yet obtained. Two other pictures were bought for the Gallery on this occasion — small 
 studies for large altar-pieces by that facile decorator of the later (18th century) Venetian School, Giovanni Battista 
 Tiepolo. The one represents the Supper at Emmaus, the other the Adoration of the Magi. The price for the two was 
 £162 15.?. It remains to be said in reference to the considerable fall in price which this sale has shown, that something 
 is to be attributed to the existing general depression and the cloudy look of the political horizon, which make the richest 
 of our picture buyers hesitate to add to their treasures. Notwithstanding this, however, it is well known that pictures of 
 the highest class do not fall in value, but, on the contrary, have risen to higher prices and have been recently sold by 
 private contract for such sums as were never dreamt of twenty years ago. 
 
 Proceeding now with the details of the sale, which attracted a very full and distinguished assemblage, among whom 
 were Sir Frederick Burton, Director of the National Gallery; Mr. Doyle, C.B., Director of the National Gallery of 
 Ireland ; Mr. J. C. Robinson, Surveyor of Her Majesty’s Pictures ; Sir W. Gregory and Mr. G. Howard, M.P., Trustees 
 of the National Gallery; the Duke of St. Albans, Lord Normanton, Lord Carysfort, &c. The pictures of the 
 Dutch and Flemish schools which may be noticed were — Philip Wouvermann, landscape, water-mill and peasants with 
 horses, 15m. by 2iin. — £1 13 8 s. J. Wynants, river scene, with sportsman and other figures by Lingelbach, 2oin. by 24m. 
 — £71 8j. Several other pictures attributed to Wynants brought lower prices, from £20 to £50. Of the Spanish 
 pictures, “The Coronation of the Virgin,” with a great number of small figures and angels, attributed to Murillo, about 
 6oin. by 30m. — £37 i6j. ; a large gallery picture of St. Martin dividing his cloak with the beggar, attributed to Velazquez, 
 98m. by 72m. — £17 6 s. 6 d. To the same great painter was given a picture of a lady and children, with dog and bird 
 49m. by 5 1 in. — £60 i8j. Of the Italian pictures — Sandro Botticelli, The Madonna and Child standing on a ledge before 
 her holding a pomegranate in front of a throne, 38m. by 25m., on thick wood, from the collection of Mr. A. Montgomery 
 — £252. Antonio Canaletto, “The Piazza of St. Mark,” 18m. by 30m. — £178 io.n ; Walton Bridge on the Thames, 
 painted in 1754, i8|-in. by 29|in. — £246 15J. Ludovico Caracci, St. John, 48m. by 36m., from the Leigh Court Gallery 
 (Sir P. Miles,) — £126. In the Leigh Court sale this brought £225 155-. Luca Giordano, Flora, 42m. by 45m. — £61 19J. 
 Two pictures by Guardi, views in Venice, 2oin. by 28m. — £63. Guido, Flora, a large gallery picture, the figure of heroic 
 size, nearly nude, with floating red drapery, sky background, plucking flowers from a vase ; well known from the fine line 
 engraving by Sir R. Strange, and formerly in the collections of the Marquis Somariva, Comte Montcalm, and Lord 
 Normanton. This was a very fine work, but from its large size, and, perhaps, the subject, it only brought £48 6s. 
 Innocenza da Imola, “The Marriage of St. Catherine,” 21 in. by 25m. — £77 14J. This picture was contributed to the 
 Art Treasures Exhibition, Manchester, 1857, by Mr. Wynn Ellis, and was sold in his collection in 1876 for £36 15J., so 
 that this is an instance of an increase of more than double the price. Salvator Rosa, Diogenes, 42m. by 32m., with the 
 engraving — £51 9-r. G. B. Tiepolo, a pair of studies for altar-pieces, 23m. by I2fin. — £162 15^. (Messrs. Agnew, for the 
 National Gallery). Titian, “The Graces,” a group of three life-size, perfectly nude figures, standing before a green 
 drapery and green cassone, with a white cat at the right corner ; from the Leigh Court Gallery, and before that in the 
 collection of Mr. H. Hope — £67 45-. In the Leigh Court sale last year this picture sold for £210. J. M. W. Turner, R.A., 
 “The Departure of Adonis for the Chase,” painted about 1806, but not exhibited in the Royal Academy till 1849 ; the 
 figures, with three hounds under trees in a landscape, with cupids in the air above ; an upright picture, 6oin. by 48m., from 
 the Novar collection — £1,522 icw. (Messrs. Agnew). A round of applause greeted this fine work, which had been sold in 
 the Novar sale , 1878, for £1,874. The following pictures all came from the Hamilton Palace sale: — A pair of small 
 pictures of exotic birds, 14m. by 1 Sin. — £75 12 s., a price nearly three times that they brought in the Hamilton sale— viz., 
 £24. N. Largilliere, portraits of James, Prince of Wales, and his sister, as children, in the gardens of St. Germain’s, and 
 the engraving, 76m. by 59m. — £210. This picture sold for £882 before. Angelo Bronzino, portrait of Garcia de Medici, 
 as a youth. There was a sharp competition for this fine picture, in which it was said the National Gallery bid up to 
 800 guineas, but it went to £945. In the Hamilton sale, however, it brought £1,785. Ludovico Caracci, the Sibylla 
 Lybica, a long frieze- like picture, with other figures larger than life, 9ft. 4m. by 4ft., formerly in the Marquis of 
 Lansdowne’s collection, and at Fonthill (Mr. Beckford’s) — £105, sold before for £283 ioj. Garofalo, The Madonna and 
 Child holding a pink, I2in. by 9m. — £110 5J. Titian, The Holy Family, with St. John and another saint, life-size, half 
 figures, 32m. by 41 in., a good old copy of the well-known picture at the Belvedere Gallery, Vienna. Marcello Venusti, 
 “Christ driving out the Money-changers,” 23m. by i5^in. — £966 (Messrs. Agnew, for the National Gallery), sold before 
 for £1,428; “The Adoration of the Magi,” by the same, 2oin. by 13m., from the Aldobrandini Palace and Fonthill — 
 £250. This sold in the Hamilton sale for £1,218. Pietro della Vecchia, “ The Four Fathers of the Church,” life-size 
 figures, half length, 5ft. by 6ft. 6in. — £63 ; brought before £450. Berkheyden, a view in Haarlem, 16m. by 14m. — 
 £i 73 5 -^- ! SC, W for £200 before. Vandyck, portraits of the Duchess of Richmond and her son as Cupid, life-size, full 
 length standing, 78m. by 5 1 in., mentioned in Smith's catalogue — £892 icw. For this picture £2,047 1 os. was paid by 
 Mr. Denison. It had, however, been relined and very much over-cleaned since that time. P. Ferg, a fair in a town, 
 8in. by nin. — £105 ; Hans van Asper, portrait of a gentleman in black cloak and cap, with view of town and lake in 
 background, 19m. by 13m., panel — £75 12 s. ; Rembrandt, The Magdalen reclining on the bank of a river under rocks, 
 
1885 .] 
 
 MR. B EC KETT-DE NISON'S COLLECTION. 
 
 407 
 
 34in. by 26m . — £78 15J. ; H. Steenwyck, church interior, 9in. by 14m., on copper — ^14115^. ; J. Wynants, a sunny river, 
 scene, with a large thistle under trees in foreground, 3 1 in. by 26m. — £(105 ; Adrian Ostade, interior of a cabaret, with 
 peasants, a peasant with his pipe taking down a shutter from the window, signed and dated 1656, 15m. by 13m. — £945, 
 This was a very good example of the master, and it brought before .£1,837 ioj. W. Van de Velde, a calm, with 
 man-of-war saluting in the distance, other vessels and figures, with a stranded boat in foreground, signed, 1 Sin. by 14m., 
 from the collection of M. de la Hante — ,£829 ioj. This was another very good picture, which brought before the much 
 higher price of ,£1,385. Rubens, Acis and Galatea, sketch in grisaille, oval, 23m. by 30m., a design most probably made 
 for a salver to be executed for Charles I., as mentioned in Smith’s Catalogue raisonnti, vol. ii. , p. 250 — ,£640 (Messrs. 
 Agnew for the National Gallery) ; Daniel in the Den of Lions, 7ft. 6in. by 10ft. loin., d scribed in Smith’s catalogue and 
 in Carpenter’s pictorial notices, engraved in the Hamilton Palace illustrated catalogue — £(2,100 (Mr. Jamieson, for 
 the Duke of Hamilton). This brought the total of the sale, including the works of art sold during the week, up to 
 £ 47,795 r 4 J - 6<4 
 
 In this sale yesterday the Chinese carvings in jade from the Wells collection, the old Sevres porcelain, and numerous 
 Dresden figures, with many decorative objects such as clocks and stands, and a few pieces of old marqueterie furniture 
 were the chief attractions. There was nothing very remarkable among the jade carvings, and the prices obtained were 
 considerably lower than would have been paid for such things a few years ago. A large fluted bowl of gray jade, with 
 enamelled silver handle formed as a griffin, and silver foot, 6fin. diameter— £31 ioj. ; an oval cup of green jade carved as 
 a lotus flower — £(29 8 s. ; a set of three square-shaped altar ornaments of dark green jade, with ring handles and carving 
 in relief — £26 ioj. ; a matchpot of dark green jade pierced and carved with flowers, 5m. by 6in.— £(24 ; an incense 
 burner, dark green jade, with upright handles, carved with ornaments, iojin. high — £42 ; a matchpot formed as a group 
 of finger-citrons in dark green jade, 5^in. high — £44 ; this was in the late Mr. Bale’s collection in which it sold for £(85. 
 The Oriental porcelain brought generally very moderate prices, few going above ,£10 or £(15. A pair of large white 
 vases, engraved with foliage, and mounted in ormolu handles, rims and feet forming ewers, 31 in. high — £(78 15.?. Of the 
 old Sevres porcelain, a teapot, sucrier, milk jug, and two cups and saucers, lavender and gold, with red lines — £24 3 j. ; a 
 coffee cup and saucer, gros-bleu marbled with gold, painted with a boy in landscape in two medallions — £32 iu. 6 d. ; a 
 pair of small seaux, gros-bleu, bouquets of flowers — £(26 ; an oviform vase and cover, gros-bleu, with openwork white 
 handles gilt, painted with landscapes and figures in two medallions — £60 1 8j. ; a pink and gold oval dish, bouquets and 
 birds in medallions — £27 6s. Dresden China. — A group of lady and gentleman, and servant handing tray with cups, 
 ioiin. high — £42 ; a Louis XV. clock, in barrel-shaped case of old Dresden, ormolu stand, chased, with two large figures 
 of pug dogs in Dresden china, the whole surmounted by a small pug dog, I2in. high — £(58 ; a pair of Dresden candelabra 
 with figures of birds on stumps of trees, with metal-gilt branches for three lights and coloured porcelain flowers, 17m. high 
 — £3° 9 s ■ > a Louis XV. clock, by Perache, in ormolu case, with scroll plinth and branches, mounted with two old 
 Dresden figures and coloured porcelain flowers, 17m. high — £(44 2s. ; a Louis XV. ormolu stand, with nozzles for two. 
 lights, and old Dresden group of two Chinese figures — £39 i8j. ; a clock by Etienne Le Noir, in barrel-shaped case of 
 ormolu, scroll design, chased with flowers and group of shepherdess and sheep and a piping figure of old Dresden, and 
 porcelain flowers, surmounted by figure of a boy, 23m. high — ,£241 ioj. ; a pair of Dresden candelabra, with figures of 
 birds, and ormolu branches, with coloured porcelain flowers, on ormolu plinths, 17m. high — £(42 ; a pair of ormolu 
 andirons, with boys and scrolls — £(42. These were in the sale of Lady Essex’s collection, where they sold for £63. A 
 pair of Louis XV. wall lights, of scroll design, in ormolu, with branches for two lights, also from Lady Essex’s sale, in 
 which they brought £4 3, now sold for £(34 13J. ; a Louis XV. inkstand of ormolu, with black and gold lacquer plateau, 
 fitted with three vases, and branches for two lights, of ormolu — £31 ioj. ; a Louis XVI. clock, in white marble case with 
 a seated figure of Cupid writing, and a dove by his side, carved by Pigalle and signed by him with the date 1783, on 
 chased ormolu plinth, i8in. high — £(189 ; a clock by Gilles l’Ain£, Paris, and a thermometer enclosed in an upright 
 hanging case of tulipwood richly mounted with ormolu chased in scrolls, foliage, and a trophy — £136 ioj. This was in 
 the sale of Lady Essex’s collection, and was bought by Mr. Beckett-Denison for £(241 ioj. A small Louis XV. 
 marqueterie table of tulipwood, inlaid with flowers and landscape with figures, ormolu mounts — £(1 1 ; a pair of Louis XV L 
 wall lights of ormolu chased with lion masks, and scroll foliage and festoons of laurel, with tripod vases, branches for 
 three lights — £94 ioj. A similar pair sold for the same price, and another pair similar for £(105 ; they were said to have 
 come from the Palace in Madrid. A Louis XIV. black buhl library table, with drawers, ornamented with masks, foliage, 
 and borders of ormolu chased, and female heads at the corners, 5ft. ioin. long — £(46 4J. ; a large Louis XV. commode of 
 rosewood, mounted with ormolu, and with griotte marble slab — £28 7s. ; a Louis XV. commode, with drawers, mounted 
 with ormolu and carved wood foliage, and griotte marble slab — £46 4J. Total of the day, £(3,026 5J. 6 d. The sale to-day 
 contains some more interesting objects, more especially some fine cinquecento bronzes and some good Sevres china. 
 
 (“The Times,” June 22, 1885.) 
 
 The second portion of this large collection was entered upon on Saturday, with more pictures, a few watercolour 
 drawings, and several rather good decorative panels of the Watteau and Boucher school, the whole forming another 
 strange medley, similar but inferior in quality to the two which have preceded it, and scarcely relieved by a single good 
 picture. Nothwithstanding this, however, there was a tolerably full room, and it was generally felt that the prices 
 obtained fairly represented the artistic value of the pictures, but these were low enough, and, as will be observed, 
 generally largely below those paid by Mr. Denison at previous auctions. There were 1 50 lots, and they realized £(3,273 i6j., 
 which would give an average of a little over 20 guineas a piece, and this, considering what they were, was undoubtedly 
 what would be called well sold. There were no less than seven pictures given to the great name of Sir Joshua 
 
4o8 
 
 ART SALES. 
 
 [ 1885 . 
 
 Reynolds, but only one of these brought 20 guineas, while the others went for half that sum or less. The one that sold 
 for the 20 guineas professed to be a replica of the portrait of Joseph Baretli, the Italian friend of Dr. Johnson, who 
 obtained him the appointment of foreign secretary to the Royal Academy of Arts. The well-known portrait of Baretti 
 reading a book held close to his eyes, as he was very nearsighted, is in the collection of Lady Holland. The picture now 
 sold was stated in the catalogue to have been formerly in the possession of a family of the name of Salisbury, near 
 Denbigh, who were relations of Mrs. Piozzi, the friend of Dr. Johnson ; but this was about as much as could be said in 
 favour of its authenticity. A small portrait (17m. by 14m.) of Mrs. Robinson, in a hat and feathers, sold for io£ guineas, 
 which may be taken to show its title to being the work of the master. Another portrait, said to be Mrs. Robinson, was 
 certainly not her, and the portrait of Miss Ridge was amply paid for at eight guineas. Another portrait of a lady, 
 attributed to Sir Joshua, brought eight and a-half guineas, which had once sold in this room for ,£157 io^., but this was 
 probably before it had been skinned by the pictorial taxidermist. The two portraits by Romney had much better 
 pretensions, and they brought good prices. The one of a handsome, fair lady, nearly profile, seated in a crimson chair, 
 three-quarter size — ^304 io.r. ; the other, Lady Hamilton, an oval — £77 14J. ; a so-called Gainsborough portrait of a 
 lady brought £ 21 , and a wood scene with figures — ,£ro 10s., prices which sufficiently indicate their merits. Five pictures 
 supposed to be by G. Morland brought the prices of poor copies, a little over £10 each. A picture attributed to Hogarth 
 of the Duchess of Kingston (Elizabeth Chudleigh) playing backgammon with a gentleman supposed to be Frederick 
 Prince of Wales, purchased at Thoresby Park in 1773, sold for ^49 7s. Among the few modern pictures of the English 
 school which call for notice were the large decorative picture called the “ Flight of Helen,” by W. E. F. Britten, which 
 may be remembered in the Grosvenor Gallery exhibition, 12ft. 6in. long by 6ft. 8in., and which was bought in 
 Mr. Hermon’s collection at Christie’s for ^96 12 s., and now brought £30 8j., and a large cartoon in black and white by 
 Mr. Knighton Warren, “Judith,” also in Mr. Hermon’s sale, when it brought ,£115 ioj., which now sold for ^58 i6.s-. Of 
 those by foreign modern painters, H. Koekkoek, 1846, Dutch coast scene, 24m. by 33m. — ^35 145-. ; C. Springer, a town 
 in Holland, 29m. by 35m . — £65 2s. ; Eugene Verboeckhoven, 1850, river scene, with figures and animals, 17m. by 22§in. 
 — ^42 ; this sold before in these rooms for ,£105. The French pictures, such as they were, brought prices from ten to 
 20 guineas, some few bringing higher sums. A copy of the portrait of Madame du Barry by Drouais, in the Louvre — 
 £32 iu. ; a small picture, by M. de Garay, a party of ladies frightened at a mouse, 8in. by nin. — ,£82 19*. ; portrait of 
 Mdlle. Gausin, a singer, by Greuze — ^24 3J. ; a head of a boy by the same painter — ,£33 I2.r. ; a fete champetre and the 
 companion picture, by Halle, lain, by 14m. — ^48 6 j. These were bought in the sale of Lord Exmouth’s collection at 
 Christie’s for ,£199 ioj. A fete champetre, by Lancret — £32 1 is-. ; a portrait of Madame de Pompadour as a vestal, by 
 J. B. van Loo, life size, seated — ,£205. This brought, in the sale of Lady Essex’s collection, £ 27 8 5s. A basket of fruit, 
 with fish, birds, frogs, and insects, by Mignon, signed, 38m. by 295m., from the Hutcheson collection — ^58 16s. ; a pair 
 of pictures of a fete champetre, attributed to Watteau, which had been bought in the sale of Mr. Wheeler’s collection at 
 Christie’s, July, 1882, for ,£8i 18s., now only realized ^11 us. The decorative panels were, most of them, very common- 
 place work, and brought proportionally small prices, varying from £7 to £\o each ; a set of four in grisaille, groups of 
 boys as the Seasons, by Van Loo — £68 5 s. The best were a set of five upright panels on canvas, painted very elegantly 
 with Watteau figures and ornamental borders, two of which are engraved and the prints sold with them. These 
 measured 70m. by 32-|in., and they brought the highest price in the day’s sale — £37 2 15^. It was understood, however, 
 that they had cost Mr. Denison no less than 1,200 guineas. Three large upright panels, on canvas, river scene and two 
 landscapes, with figures, nearly 10ft. high and 6ft. wide — ^162 15J. The total of this day, which was the last of the 
 pictures, amounted to £3,273 i6j. The sale of the numerous ornamental objects in enamel, Dresden and Sevres 
 porcelain, and old French furniture, proceeds to-day and every day during the week except Saturday, which is reserved 
 for pictures from other collections. 
 
 As the end of this extraordinary sale approaches, the result, anticipated from the first, becomes more and more evident 
 — namely, that there will be a very large loss upon the whole. Nevertheless this has been somewhat counterbalanced by 
 enhanced prices obtained in some few instances, which proves that any works of decorative art especially possessing 
 exceptional qualities as art work or curious rarity of some sort will command surprisingly high prices even at the worst of 
 times. The circumstances surrounding this sale have been singularly unfavourable, and with these there has all along 
 been the inevitable drag of such an immense quantity thrown at once upon the market, for most of which extravagant 
 prices had been paid. 
 
 The following may be noticed in the sales of the past week : — Among the numerous snuff-boxes, etuis, &c., an oval 
 Louis XVI. chased gold box, enamelled, and with miniature of Venus and Cupid — ^41 ; a large oblong box of Dresden 
 china, painted with figures, and portrait of Augustus of Saxony, and set with gold and diamonds — £86 2 s. This box was 
 in the collection of the late Mr. Napier, of Glasgow, and was contributed by him to the Art Treasures, Manchester, 1857. 
 Of the Dresden china the value seems to be well kept up, though the large group of figures — Hercules, Victory, and other 
 allegorical figures — upon a rock encrusted with foliage, and on ormolu plinth, 2oin. high, No. 1,351 in illustrated catalogue, 
 only brought £7g 16s. A group of a man in red cap and a peasant girl, 9^in. high — £\6 4 s. ; a clock in white and gold, 
 scroll case, painted with figures in medallions, and with figure on the top — ^84 ; a cabaret, painted with wreaths of flowers 
 on white, and wide green borders, consisting of 13 pieces — £ no 5_r. Among the other kinds of European porcelain, a pair 
 of Buen Retiro flower pots, white and gold, with foliage in relief, and coloured flowers in relief, mounted in ormolu, 27m. 
 high — ,£50 ; an oblong plateau of Vienna porcelain, with border of metal gilt, the painting of flowers and blue ribands — £41. 
 The highest prices were obtained for the fine specimens of Oriental porcelain, of which the most remarkable were the pair 
 of celadon green — flat-shaped vases, ornamented with objects in low relief, and very handsomely mounted in ormolu, with 
 handles of figures of boys holding festoons of flowers, and borders of shells and scrolls, in the best work of the time of 
 Louis XV., on stands of the same, i2in. high. These were in the Hamilton Palace collection, and are No. 1,478 ' n 
 illustrated catalogue — ,£813 15J. They sold in the Hamilton sale for 810 guineas. A pair of oviform vases and covers, 
 black ground, with deep ruby-coloured borders, enamelled with flowers, and with medallions of landscape and flowers on 
 
1885.] MR. BECKETT-DE NISON’S COLLECTION. 
 
 409 
 
 white ground, I7jin. high, also from Hamilton Palace — ,£288 15s-. These sold before for 400 guineas. A pair of 
 Mandarin jars and covers, enamelled with Chinese figures in landscapes, in gold and colours on white, with animals in 
 gold, and medallions in trellis borders, from Hamilton Palace, No. 1,480 in illustrated catalogue, about 36m. high — 
 .£278 5.r. Sold before for 575 guineas. The Chelsea and Bristol china, of both of which there were some very pretty figures 
 especially good in style and quality, sold exceedingly well. A Chelsea vase, green and gold, with pieced neck and cover, 
 and with flowers in white in relief, and painted with Cupids in pink, lain, high, and a pair smaller, en suite , sold for 
 £65 2 s. ; a dark blue and gold vase of Chelsea china, painted with a garden scene, with figures on one side and poultry 
 on the other, in medallions, with scroll handles, richly gilt all over, 13m. high — £315 ; a pair of candelabra, figures of 
 Cupid and Psyche, each holding branches, white and gold, about ioin. high — £ 71 8.r. ; a large figure of Apollo, lain, 
 high, on white and gold pedestal, painted with butterflies — ,£47 5J. ; a figure of Apollo, 1 i^in. high, on pedestal, painted 
 with flowers and gilt scroll feet, No. 1,669 in illustrated catalogue, from Dr. Michael’s collection — £52 ioj. ; Urania, 
 companion figure, from the same collection — £70 js. ; Thalia — £34 13J. ; Melpomene — £46 7s. ; Euterpe — ,£68 5^.; and 
 Polyhymnia — £52 ioj. The set of four figures representing Europe, Asia, Africa, and America, very excellent examples of 
 Bristol porcelain, from Dr. Michael’s collection, 12-iin. high, were sold together for £162 15J. A large oviform vase and 
 cover of Chelsea Derby porcelain, ornamented with gilt stripes on white and dark blue and gold neck and stem, with 
 band of lion masks on shoulder in relief, the body painted with medallions of allegorical figures and a naval battle in 
 monochrome, the handles formed of figures of Victory, in white biscuit, about i6in. high — ,£126. The last-named object 
 was from Hamilton Palace. Some Worcester china also brought good prices. A pair of vases, green, painted with 
 exotic birds and butterflies, in gilt scroll borders, in ormolu mounts, 8Hn. high— ,£44 2.T. Of the numerous carvings in 
 hard stone chiefly Oriental work, there were several which brought high prices — a fine vase and cover of brown jasper, 
 with elephant’s head and ring handles, and a matchpot at the side, carved elaborately with animals, birds, foliage, and 
 the cover having a kylin, uin. high — £ 27 5 5^. ; a triple vase of amber, with elephant’s head handles and reliefs of fruits 
 and foliage, 6jin. high — £170 2 s. ; a double matchpot, as trunk of a tree, in hard stone — £81 io.f. ; a cup in rock crystal, 
 carved as a lotus flower, on green ivory stand — £47 1 5 j. 6 d. ; a beautiful vase of rock crystal, with an amethystine tint, 
 carved with arabesques and kylins in flat relief, 5fin. high, from the Wells collection— ,£530 5^. This was one of the 
 things which showed a very considerable increase in value, for it only brought 160 guineas in the Wells sale, 1883. A 
 vase carved out of a matrix of amethyst, in the shape of a lotus flower, with foliage and birds, in relief, 6|in. high, with 
 ivory stand — ,£183 iS-f- 5 an incense burner, of dark green jade, finely carved, with lotus flowers on cover — ,£63 ; a flat 
 shaped vase, of green jade, 9jin. high — ,£85 : a green glass tankard, with bosses, and inscribed with date 1663, and silver 
 gilt cover, with medal of Van Tromp inlaid — .£43. The miniatures, of which there were about forty, chiefly from the 
 Hamilton Palace collection, brought good average prices. The large enamel, 155m. by i8in., by H. Bone, R.A., 1811, of 
 the famous Titian, in the National Gallery, Bacchus and Ariadne — ,£116 iij. This sold before for £236 5^. Of the 
 decorative objects and furniture in the last day’s sale, a fine clock, in an ormolu case, as a group of two children, on plinth, 
 with enamelled dial, and a lizard pointing the hour, on an old buhl stand, signed “ H. de Gref Anverpiensis fecit,” from 
 Lady Essex’s collection, No. 1,865 i n illustrated catalogue — ,£645 15J. This was a considerable advance upon the former 
 price of ,£455. An upright Louis XIII. cabinet, of red buhl and marqueterie, No. 1,868, illustrated catalogue — ,£210. 
 This sold before in Mr. Popham’s sale for .£355. A pair of pier tables, with slabs of antique green porphyry, ormolu 
 mounts, 3ft. pin. by ift. 7m., from Hamilton Palace — £210. Sold before for ,£157 io.f. A Louis XIV. ebony cabinet, by 
 Buhl, ormolu mounts— ^£131 5-t. ; a Louis XIV. chandelier of ormolu — £162 15^. ; a rock crystal chandelier, for eight 
 lights, with large centre drop — £162 155-. The total up to the end of the second portion amounted to ,£66,274 2S - 6 d., to 
 which will have to be added the proceeds of the third and last portion, which includes a quantity of old and modern plate, 
 more china and furniture, and tapestries, to be sold during the present week at Christie’s, besides the contents of the house 
 41, Upper Grosvenor Street, sold on the premises, which will bring this enormous collection to a close on the 15th of July. 
 
 * 
 
 3 Q 
 
 VOL. I. 
 
4io 
 
 ART SALTS. 
 
 [ 1885 . 
 
 THE DUDLEY RAPHAEL -THE THREE GRACES. 
 
 (“The Times,” December 15, 1885.) 
 
 Another of the chief art treasures of England has just changed hands, and unfortunately it has gone out of the 
 country. The exquisite little picture by Raphael, formerly the chief ornament of the late Lord Dudley’s collection, has just 
 been sold to his Royal Highness the Duke d’Aumale for the relatively enormous sum of ,£25,000. Considering that the little 
 gem is only just seven inches square, it may perhaps be safely said that never before was so enormous a price paid for 
 any work of art of dimensions so restricted. Mr. A. W. Thibaudeau, the well-known expert of Green Street, St. Martin’s 
 Place, is the agent who has acted for the duke in the matter. It is understood that the picture was on the point of being 
 sold to the duke upwards of a year ago, but it was then found that there were legal impediments in the way. These have 
 now been removed by the agency of the Court of Chancery, and we believe that the picture has already left our shores. 
 It is a moot point whether this picture or the beautiful little work in the National Gallery, the “Vision of a Knight,” is 
 the more exquisite production ; both are virtually miniatures and of much the same dimensions. The “ Three Graces ” is 
 believed to have been painted in 1506, while the “Vision of a Knight” is probably three or four years earlier in date ; 
 both rank among the rather juvenile productions of the great master, and yet they are alike distinguished by charms 
 of style never afterwards surpassed. Both these pictures at one time belonged to Sir Thomas Lawrence, who originally 
 purchased them for a few hundreds each. 
 
 SALE OF DRAWINGS FOR BOOK ILLUSTRATIONS. 
 
 A VERY large collection, belonging to Marcus Ward and Co., of about 2,000 drawings in black and white and 
 water-colour, many of which have been published as Christmas cards and book illustrations and in chromolith, was 
 sold by Messrs. Foster, Pall-mall, which brought good prices. By Kate Greenaway. — Mildred’s Mistake — ,£5 ior. 
 illustrations to “Topo” (20) — ,£36 15J.; Three Innocents— .£12 I2r.; Fairy Children — £12; Adieu — ;£io ior. ; 
 Little Darlings — ,£13 13^. ; My Lady and her Page — ,£24 3s . ; On the Road to the Ball — ,£28; Wonderland (4) 
 — Dl 1 7 s - By W. Morgan. — The Prodigal — ,£5 15J. ; the Sower and others — £7 7 s. By Mrs. Coleman Angell. — 
 Fruit — £10 ior.; Currants and Raspberries — ;£ii nr. By J. G. Sowerby and T. Crane. — “At Home,” picture- 
 book — £309 s. The Four Seasons, by Walter Crane — ,£16 5-f. ; Perilous Situation, by S. T. Dadd — £12 12 s.; Cottage 
 Homes, by Patty Townshend — ,£15 4.?. 6 d. “ Abroad,” child’s picture-book, by T. Crane and Ellen Houghton (13)— 
 
 £37 i 6 r. ; TEsop’s Fables, by W. J. Morgan (23) — £'24 35. The 592 lots realized ,£1,798 I2r. 
 


 
 
 
 
 
 
 
 
 
 
 
 
1885.] 
 
 THE BLENHEIM COLLECTION. 
 
 4i 1 
 
 THE BLENHEIM COLLECTION. 
 
 (“The Times,” Feb. 23, 1885.) 
 
 Parliamentary papers were issued on Saturday relating to the proposed purchase for the 
 National Gallery of certain of the Blenheim Palace pictures. In these papers the history of the 
 acquisition to the national collection of two of the chefs d’ oeuvres of the Marlborough Galleries — the 
 “ Ansidei ” Raphael and the equestrian portrait of Charles I. by Van Dyck — at the figure of 
 ,£87,500, is clearly laid before us. The matter first took practical shape by Sir Frederic Leighton, 
 on April 23, 1884, forwarding to Mr. Gladstone a memorial on behalf of the Royal Academy. It 
 expressed the strong feeling of the artistic community in this country with regard to the rumoured 
 approaching sale of the pictures, which had hitherto been the honour of Blenheim Palace, and 
 among which were counted works unique in their excellence and beauty. The memorial urged that 
 such inestimable possessions should not be lost to the country. Alluding to a few of the pictures, 
 not only because of their surpassing merit, but as corresponding to definite and most regrettable 
 wants in our national collection, the Academicians observed with regard to the subjects above 
 named : — “ In the first rank is the large Holy Family, by Raphael, a work produced in that happy 
 period in which the reverent purity and the serene grace of the master’s earliest work are already 
 mellowing into the fuller dignity of his middle style. Hardly less important is the equestrian 
 portrait of Charles I. by Van Dyck. This picture of an English King painted by an artist, whose 
 name is so intimately connected with the English people, and from whose hand our gallery does 
 not boast a single full-length portrait, will not, we feel assured, be suffered to leave this country.” 
 Other memorials in a similar sense were sent to Mr. Gladstone about the same time by the Board 
 of the National Gallery, and on behalf of an influential body of painters and patrons well known to 
 art. The trustees and director of the National Gallery ascertained that the Duke of Marlborough 
 was prepared to part with a group of twelve pictures, including the “Ansidei” Raphael, the Van 
 Dyck of Charles I., six masterpieces by Rubens, and a picture of rare beauty by Sebastian del 
 Piombo, for 400,000 guineas. Or his Grace was willing to dispose of a group of six, also including 
 the Raphael and the Van Dyck, for 165,000 guineas. Sir F. Burton, the director of the National 
 Gallery, in a communication to the Prime Minister, admitted that the price demanded for the first 
 group was unquestionably high, and, in so far as he was aware, unprecedented, but he nevertheless 
 had no hesitation in declaring his opinion that in accepting them at that price the nation would in 
 the end be the gainer. 
 
 The Treasury, however, were not prepared to indorse Sir Frederick Burton’s view, for, on 
 May 13, they plainly told the trustees and director of the National Gallery that the scale of prices 
 was “ so excessive as to preclude them altogether from entertaining the recommendation to acquire 
 the works now in question.” Mr. Eastlake, the secretary of the National Gallery, pointed out in 
 reply, that the Board’s memorandum contained no recommendation on the part of the Board to 
 purchase the pictures in question at the price demanded by the Duke of Marlborough. Mr. 
 Courtney, on behalf of the Treasury, regretted the misunderstanding, and having expressed the 
 willingness of their Lordships to consider with care any definite proposal on the subject, invited the 
 trustees to name the sum at which they valued the pictures that they considered it specially 
 desirable to acquire for the National Gallery. In response to this invitation Sir Frederick Burton 
 made the following report to the trustees of the National Gallery : — 
 
 “National Gallery, 9, 1884. 
 
 “ My Lords and Gentlemen, — The Lords Commissioners of Her Majesty’s Treasury having requested the Board 
 of the National Gallery to name the sum at which they value the pictures which they consider that it is specially desirable 
 to acquire for the National Gallery out of the collection at Blenheim Palace, and the duty of making the estimate 
 devolving upon me, as director, I beg leave to furnish what I conceive to be the probable prices at which those pictures 
 would sell if exposed to general public competition. 
 
 “ The price which I have affixed to each work is, in most instances, a large one. But it was necessary to take into 
 account both the undoubted high rank of almost all of the pictures in question, and the celebrity they enjoy as well 
 abroad as at home. 
 
 “You are already aware that I have endeavoured to obtain from the Duke of Marlborough the concession of either 
 a larger number of pictures at the price demanded by his Grace, or of a smaller number at a price proportionally lower ; 
 but my efforts have proved unsuccessful. I enclose a copy of the letter which I received from the Duke’s agent, together 
 
 3 G 2 
 
412 
 
 ART SALES. 
 
 [1885. 
 
 with a copy of the Duke’s communication to Mr. Davis, from which you will see that his Grace positively declines to 
 treat for the sale of more or less than the 1 1 pictures included in the list we at first prepared, and for these pictures he 
 requires the sum of 350,000 guineas. I subjoin that list with the prices I have attached to the pictures severally : — 
 Raphael, “ Madonna degli Ansidei ” — 1 10,000 guineas ; Van Dyck, “ Equestrian portrait of Charles I.” — 30,000 guineas ; 
 Rubens, “ The Graces or Hesperides” — 40,000 guineas ; “ Portraits of Rubens’ wife and child,” “ Portrait of his second 
 wife,” “Venus and Adonis,” “Andromeda,” “Distribution of the Rosary”; Sebastian del Piombo, “ Female portrait”; Jan 
 Mytens, “ Portrait of the second Duke of Hamilton” ; Weenix or Braedel, “ Spanish seaport ” — 83,000 guineas. Total f 
 263,500 guineas. 
 
 “These prices, united, fall considerably short of the amount which the Duke of Marlborough demands for the whole. 
 But it will be for Her Majesty’s Government to consider whether, this discrepancy notwithstanding, the associations 
 connected with most of the works named in the list, and far more the fact that they are in this country, and that a feeling, 
 strong and universal, prevails that they should, if at all possible, be retained in it. would not justify the acceptance of 
 the terms offered by the Duke of Marlborough, rather than that these invaluable works of art should be lost to the 
 present and future generations in England. “ I have, &c., 
 
 “Fred. W. Burton.” 
 
 The Duke of Marlborough through his agent, Mr. F. Davis, now made a formal offer of the 
 eleven pictures set forth in Sir F. Burton’s report for the sum of 350,000 guineas. His Grace 
 added, in a letter to his agent, dated from Paris, that this offer of his “ could not be of indefinite 
 duration, and that he had other persons who were awaiting the decision of the Government to 
 treat with him on the same terms.” Exactly a week after the receipt of this offer, Mr. Courtney 
 wrote to the trustees intimating that the Lords of the Treasury would not consent to any purchase 
 of the pictures en bloc at such a price, being, as it was, £86,500 above Sir F. Burton’s valuation. 
 Mr. Gladstone himself then wrote to Mr. Howard, M.P., as follows : — 
 
 “ 10, Downing Street, Whitehall, June 26, 1884. 
 
 “ My dear Mr. Howard, — I revert to the question of the Blenheim pictures. 
 
 “You are aware of the terms of the Treasury reply to the Duke of Marlborough’s offer forwarded to us by the 
 trustees and director of the National Gallery. 
 
 “The Government felt that they had no alternative but to decline to purchase the 11 pictures e?i bloc on so 
 unprecedented a scale of prices, especially as those prices largely exceeded the confessedly high valuation of Sir 
 Frederick Burton. 
 
 “We are, however, prepared to stretch a point to secure, if possible, the Raphael, and perhaps the Van Dyck 
 together with the first on the list of the Rubens’ (‘ The Garden of the Hesperides’) and I am in a position to authorize the 
 trustees to make an offer of £70,000 for the Raphael, or of £100,000 for the three pictures, subject of course to the 
 sanction of Parliament. “Believe me, &c., 
 
 “ W. E. Gladstone.” 
 
 Mr. Gladstone’s offer on the part of the Treasury was in due course communicated to the 
 agent of the Duke of Marlborough. Mr. Davis, instructed by the Duke, replied that his Grace 
 had reason to believe that there were other purchasers for these pictures who estimated their value 
 at a higher figure considerably than Mr. Gladstone, and that he was unable to accept a figure 
 which, in his and the trustees of the Blenheim Estates opinion, was below the marketable value 
 which these pictures would realize elsewhere. His Grace was, however, willing to take for the 
 three pictures named by Mr. Gladstone 200,000 guineas. 
 
 This was clearly a departure from the principle of selling the pictures only en bloc , and the 
 Treasury accordingly considered the matter once more. The result, as set forth by Mr. Courtney 
 in a communication to the National Gallery trustees, was this : — 
 
 “Their lordships desire me to state that Her Majesty’s Government are willing to propose to Parliament that 
 £ 100,000 should be given for the three pictures, or £70,000 for the Raphael, as already notified to you, and I am to add 
 that having regard to the offer of the Duke of Marlborough to sell the Raphael and Van Dyck alone, their lordships 
 would be prepared to submit a vote for ,£85,000 for the purchase of these two paintings.” 
 
 About the 9th of August, the Duke of Marlborough, who was then travelling in Switzerland, 
 telegraphed to Mr. Davis accepting £70,000 for the “Ansidei Raphael,” but his Grace declined to 
 part with the portrait of Charles for £15,000. He asked £20,000 for it, but shortly afterwards 
 modified his terms to £17,500. This figure the Treasury agreed to give for the Van Dyck, which 
 was purchased by the Great Duke himself at Munich. The Treasury will accordingly propose 
 votes in the course of the present session of Parliament for the purchase of these two great 
 pictures. 
 
1886 .] 
 
 THE BLENHEIM COLLECTION. 
 
 4i3 
 
 SALE OF THE BLENHEIM COLLECTION. 
 
 (“The Times,” July 22, 1886.) 
 
 The great Blenheim Gallery sale, which will long stand among the most remarkable of all the famous sales of 
 private collections recorded in the annals of Christie’s, began with the disposal of the first and the most important 
 portion of the pictures on Saturday, before an assembly of amateurs and dealers such as is never brought together but 
 on these great occasions of the dispersion of a famous historic collection. It must be admitted, however, that the 
 representative buyers for the various National Galleries of Europe were not present in such force as they were when the 
 renowned Hamilton Palace collection came under the hammer in 1882 ; in fact, they were conspicuously absent. There 
 was no M. Gauchez, the great dealer of Paris and procuratore for the American millionnaires, to run our National Gallery 
 up to 4,550 guineas for the great Botticelli picture ; neither was there such an enthusiastic amateur as the late Mr. Denison 
 to contest with Mr. Agnew for the possession of the famous Rubens “ Daniel in the Lions’ Den,” and win it at 4,900 
 guineas. Neither the Louvre, the Berlin Gallery, the Vienna, nor the New York Museum put in an official appearance, 
 although Dr. Bode and Dr. Meyer, of Berlin, were present, as were Sir Frederick Button and Mr. Doyle, the director of 
 the National Gallery of Ireland. This was obviously explained by the well-known circumstance of the sale of several of 
 the Duke of Marlborough’s more important pictures by private contract, as we have already previously stated, and at 
 prices which may not now be pronounced tremendously high compared with the auction prices we are about to record. 
 The great public galleries of Europe had had their choice, and so had Baron Alphonse de Rothschild, but still there 
 remained those magnificent works of Rubens whose equals have never been displayed upon the walls of this celebrated 
 sale room, as Mr. Woods, the auctioneer, was proud to declare in opening the sale. These splendid pictures it is to our 
 credit as a nation possessing the finest private collections in the world, have not been allowed to pass from the country 
 after having so long done honour to the national taste as the art trophies of the great Duke of Marlborough, for they have 
 been bought either directly for the collections of English amateurs or by Mr. Agnew, from whom they will most likely 
 pass into private galleries. None out of several pictures in the sale has been acquired for our National Gallery, the 
 authorities of which, as Mr. Woods took occasion to remark in selling the large Weenix, “ seemed to be so unhappily 
 placed, having made such a handsome purchase of the Vandyck equestrian portrait of Charles I. and the Ansidei Raphael, 
 as not to be permitted to repeat the experiment.” This sally of the able auctioneer was received with a round of Homeric 
 laughter that encouraged him to follow it up with another expressing his wish “ that some of us could get into Parliament 
 and vote money to buy fine pictures for the national collection” — a wish that was echoed with the loudest applause. But 
 in relating this as one of the interesting incidents of the sale, we must not omit to notice the more practical and business- 
 like statement made by Mr. Woods in opening the sale, that although the sale could not be said to be entirely without 
 reserve, the protection placed upon the pictures was so small as only to prevent actual sacrifice. The first of the pictures 
 of the Dutch and Flemish schools were then proceeded with. A Backhuysen sea-piece sold for ,£52 ioj. (Boore). Van 
 Balen, two nymphs, with Cupid and satyr, 41 by 57m . — £21 (Harvey). This was thought to be the work of an Italian 
 painter. Breughel, “ Orpheus,” loin, by 13m. — ,£29 8s. (Shepherd) attributed to Roland Savery by Dr. Waagen ; “ The 
 Destruction of Troy,” ALneas and Anchises, i8in. by 31m . — £16 i6.y. (Banting). P. Brill, small landscape, stag-hunt, 
 6|in. by 8jin., panel — £17 17s. (Murray). Gonzales Coques, interior, with portraits of a Dutch family, 2oin. by 29m., 
 a terrace seen at the side, with Atlantis figures and landscape. A curious thing which sometimes occurs was that this 
 picture was knocked down at 150 guineas which was disputed by another bidder, and it was put up again, when it rose to 
 510 guineas and was bought by M. Sedelmeyer. Albert Cuyp, travellers halting at an inn on the banks of a river, 245m. 
 by 38Hn., on canvas ; a fresh and brilliant picture in fine condition, a white horse held by a boy at the door of the White 
 Swan, a horseman riding away, another mounting, a third pulling on his boots, a girl holding a pewter jug with a glass of 
 ale, signed close to the lower edge. Put up at 500 guineas, this very pleasing example was contended for by Mr. Vokins 
 and Mr. Martin Colnaghi, who obtained it for ,£1,837 ioj. Portrait of a Dutch lady, 27^'m. by 24m. — ,£13 ior. (Agnews) 
 D. Van Delen, 1655, church interior, with colonnade, a monument on the right similar in style to those in St. Peter's 
 Rome, with small figures, a woman kneeling before a portable altar, 21 ^in. by 34m., panel, a highly finished and well 
 drawn picture— ,£94 10.?. (Murray). Vandyck, Time, or Saturn, clipping the wings of Cupid ; a skull, the capital of a 
 column, and the scythe are accessories, 66*in. by 44m., canvas, engraved in mezzotint by M’Ardell and Valentine Green, 
 No. 262 in Smith’s Catalogue. It hung in the dining room at Blenheim, and is a remarkably fine example of the 
 painter’s knowledge of the nude figure. It was this that attracted the admiration of Sir John Millais, who purchased it 
 through Mr. Agnew for ,£241 105. Virgin and Child, life-size figures, the Virgin looking upwards, the Infant looking to 
 the right ; similar to pictures by the master at the Munich Gallery and at Marbury Hall, in which the Virgin looks down 
 to the “Agnus Dei,” inscribed by the Infant Baptist, 49m. by 45m., canvas, engraved by Pontius, Carmona, Finden, and 
 Salvador, No. 263 in Smith’s Catalogue — ,£525 (Agnews). A small repetition of the above, slightly varied, 17m. by 14m. 
 — ,£52 ior. (Agnews). St. Sebastian, a small full-length standing figure, nude, except a white cloth at the loins, painted 
 with full impasto and in rich colour, 37jin. by i8jin., canvas — ,£56 14^. (Mr. Doyle, for the National Gallery of Ireland). 
 Ferg (Paul Francis), small landscape with figures, very highly finished, 64m. by Sin. , copper, signed “V. F.” — ,£35 14J. 
 (Weston) ; the companion picture, with horses and men and a canon in a cart and other figures — ,£42 (Millns) ; 
 F. Franck (“ old Francks ”), Passage of the Israelites and destruction of Pharaoh’s host in the Red Sea, with the bones ol 
 Joseph in a sarcophagus, signed, and dated 1621, 2oin. by 28),in., panel — ,£58 16s. (Buck) ; another of the same subject, 
 the figures rather larger, signed, and dated 1630, 26m. by 43m., panel — ,£33 12J. ; Heemskirk, three men seated at a tabic, 
 I3^in. by 23^in. — £44 2 s. (Kennard) ; Hughtenberg, battle-piece, oval, on paper, in oils — £19 19J. (Vokins) ; Generals on 
 horseback, 24m. by 30m., oval — £22 2 s. (Vokins) ; Huysman of Mechlin or Houseman (Cornelius, 1648-1727), landscape 
 with brilliant effect of evening light in the sky on bright yellow-white clouds, trees, and elaborately-painted foreground, 
 painted in the poetic feeling of Artois and Caspar Poussin, 1 qiin. by 27m., canvas — ,£283 10 s. (Mr. Gosling); Jacob 
 
4 i4 
 
 ART SALES. 
 
 [ 1886 . 
 
 Jordaens, The Deposition, a large composition of eight figures, life-size (this picture is mentioned in Smith’s Catalogue in 
 connection with the works of Rubens as the great master whose style Jordaens attempted, and is named as a chef- 
 cCcEuvre; a singular thing is that no part of the cross is shown, although there is a ladder), 8oin. by 74m., canvas — ^105 
 (Dr. Meyer) ; The Death of Adonis, similar in composition to a picture by Schut in the Vienna Gallery of the Death of 
 Leander, 52-^in. by 6oiin. — ^)i8 i8r. (Polak) ; D. Maes, a view of Althorp, Lord Spencer’s seat, with numerous figures, 
 some on horseback, 31m. by 40m . — £gg 15J. (Noseda) ; H. van Minderhout, A Quay on the Scheldt, giving a view of 
 Antwerp at the date signed on the picture, 1678, 64m. by 94m., canvas — £78 15J. (Colnaghi and Co.) ; P. Neefs, interior 
 of a church, I9|in. by 31m. — ,£147 (Vokins) ; Van der Neer, landscape with a windmill, highly finished and brilliant 
 9in. by 13m., panel — _£i68 (Warneck) ; landscape with a sunny sky, and a group of birdcatchers, trees, and buildings, 
 39m. by 52m., on canvas, signed “A. V. D. N.” — ^304 ios-. (Mr. Salting) ; Palamedes, an interior with a family party of 
 six figures of ladies and gentlemen in Flemish dresses, ipjrin. by 26m., panel — ,£89 5.?. (Banting). It was stated by 
 Mr. Woods that this picture had been pronounced to be by a painter named Cornelius Pott, by whom there was a 
 portrait of Charles I. in the Louvre collection signed in full. Rembrandt School. — A small upright picture of two men 
 supporting a dying figure on the ground, clothed in white, 2oin. by i6in. — £57 15^. (Noseda). Rembrandt. — The Woman 
 taken in Adultery, a rather large picture, with the Saviour standing with clasped hands and the woman before Him, 
 while a man in a Phrygian cap is lifting the veil from the woman’s head, 45m. by 54m., canvas — ^231 (Lesser). This 
 picture was considered to be a work of Eckhout, the painter of the large work, “ Christ blessing Little Children,” in the 
 National Gallery, purchased as a work of Rembrandt for £7,000 in 1866. Isaac blessing Jacob, a picture rather smaller 
 than the above (coin, by i6in.), with three figures only, mentioned in Smith, No. 11 of Rembrandt’s works, but neverthe- 
 less generally considered to be by Ferdinand Bol ; a similar picture was recently sold for a small sum in this room, and 
 another, with variations in the composition, is in the Dulwich Gallery, attributed to Rembrandt, but which, Mrs. Jameson 
 says, is of his school, perhaps by Jan Victor — £535 1 os. (Banks). Of the six pictures by Rottenhamer, which were all 
 good examples of a poor and mannered master of the style he chose to follow, the largest upright panel of The Seasons, 
 wreathing garlands of fruit and flowers, with satyrs, and a pretty landscape with Ceres in the clouds, offering gifts to the 
 gods of Olympus, on panel, 36m. by ioin., sold for /168 (Agnews) ; a Holy Family in a wreath of flowers (No. 40), i6in. 
 by 2iin., on copper — ^105 (Agnews) ; Mars and Venus, with Vulcan, and the Olympian deities, i8in. by 26m., copper — 
 £24 3 j. (Radcliffe) ; Feasting the Gods, i8in. by 26m., copper — ^36 15s-. (Corbett) ; another of the same subject, 2iin. 
 by 28in., panel — £22 is. (Abrahams ) ; a Holy Family in a wreath of flowers, similar to No. 40, i6^in. by 2iin., copper — 
 £136 ior. (Agnews) ; J. Ruysdael, landscape, with figures, 19m. by 13m., panel — ^84 (Weston) ; Snyders, a white dog 
 seizing a young wild boar, 29|in. by 42m. — ,£141 1 5-f. (Mr. Salting); two wild boars, one fronting the spectator, the 
 other, younger, rushing away, same size as preceding — ^157 io.r. (M. Colnaghi); Teniers, landscape, with figures of 
 gipsy, telling a man’s fortune, 14m. by 24m., panel — £73 10 s. (Samuels) ; an interior with some figures, lit by an open 
 window above, a man in a red jacket playing cards with one in blue, the others watching the game as they smoke and 
 drink, 9-^in. by i2in., copper (this was a picture painted in his finest style, the expression of the heads remarkable for 
 character, and the colouring and condition wonderfully well preserved) — £577 ioj. (M. Colnaghi) ; a caricature picture 
 of three monkeys as monks, 7in. by qiin., panel— ,£94 ios-. (Banting). J. B. Weenix— a seaport in Spain, with figures of 
 a merchant, his wife, and children in the foreground, 58m. by 72m., canvas. There are many other figures of people 
 engaged in the business of the port, and a Customs officer examining and weighing bales of goods. A stone or marble 
 group of a lion attacking a horse has a prominent position in the picture. This was one of the pictures selected for the 
 National Gallery to purchase. It was much admired and gave occasion to the remarks above noted from the auctioneer. 
 It sold for £546 (Agnew). It is said to have figured for no less a sum than £3,000 in the estimate made for the National 
 Gallery. The painter of this picture was the father of the well-known Jan W eenix, of dead game celebrity, and his works 
 are rare, one being in the Louvre, another at Stafford House, and one in the Leuchtenberg Gallery. It is named in 
 Nagler’s Lexicon, and he thought it to be the same as one Descamps considered to be the painter’s masterpiece, then in 
 Van Linden collection at Dort in 1750. The monogram of Peter van Bredael, a painter of no repute, is on a bale in the 
 foreground, but this, if it be so, signified only that he assisted in the details of this kind introduced. This led to some 
 doubt about the authorship, but on examining the picture after the sale the signature of Giovanni Battista was found in 
 delicately pencilled letters in light colour. A fine example of the son’s work at his best followed in the picture of a dead 
 swan and smaller birds in a landscape, which sold for ,£147 (Agnew). P. Wouvermann— a skirmish of cavalry on the 
 slope of a hill, stated by Smith to be in his first manner, described No 89, p. 169., signed with the initials P. H. W., 42m. 
 by 54m., an unusually large work of the master, the sky considerably overcleaned — .£325 IOi '- (Murray) ; a still larger 
 picture, 53m. by 73m., canvas, the storming of a town and cavalry sortie, is signed in full P. H. Wouvermann, Ao. 1646, 
 consequently in his 26th year, No. 86, Smith’s Supplement— ,£472 ioj. (Lord Ardilaun) ; a small brownish landscape, 
 with waggon and horses, sold for £77 14s-. (Permain) ; a picture by Adrian de Pape, a pupil of Gerard Douw, of an old 
 woman spinning and a man near, signed by him (not in the catalogue), sold for £252 (Johnson). 
 
 The pictures by Rubens came next, and Mr. Woods stated that he believed all of them were either presented to the 
 great Duke of Malborough or were purchased by him abroad, as the famous Vandyck now in the National Gallery was. 
 There were 18 pictures, seven of which were large gallery works. Rubens’s “ Madonna and Child,” the Virgin seen to 
 the knees, standing and supporting the Infant, who stands upon a parapet in front, 41 in. by 30m., panel. No. 836, Smith’s 
 Catalogue, and engraved by Mechel while in the Dusseldorf collection, 1776. There is a repetition of this picture in the 
 Munich Gallery, and a very similar work was sold in the Clevver Manor collection at Christie’s, 1876, for ,£4,200, now in 
 Lord Rothschild’s collection.— ,£1,428 (Davis). “ Holy Family,” with St. Elizabeth and St. Joseph— the infant Saviour 
 stands in the lap of the Virgin, who holds his one foot, 45iin. by 34m., canvas — £4 83 (Lord Ardilaun). “ The Adoration 
 of the Magi ” a replica of the magnificent picture in the Louvre, which, however, is a few inches larger, the figures in both 
 being full life-size. This is on canvas, 99m. by 82m., and is mentioned in Smith, No. 840. Dr. Waagen pro- 
 nounced it to be in better preservation than the Louvre picture, and showing the hand of the master in many parts. The 
 first bid for this beautiful picture was 1,000 guineas, and it was bought by Lord Ardilaun for 1,500 guineas — ,£i,575- 
 
1886 .] 
 
 THE BLENHEIM COLLECTION. 
 
 4i5 
 
 “ Meleager presenting the wild boar to Atalanta,” an upright picture on panel, 52^in. by 41 in., No. 841, Smith’s Catalogue, 
 engraved by C. Bloemart in line the reverse way of the composition — £546 (Mr. Cavendish-Bentinck). “ The Return 
 of the Holy family from Egypt.” The group of the Virgin and St. Joseph, who holds the ass, walking with the young 
 Saviour under a palm tree in a landscape. The Virgin wearing a broad-brimmed hat and white veil and leading the 
 Saviour by the hand, d his was a remarkably brilliant picture, of which there are several varied repetitions, one of 
 different size at Holkham (Lord Leicester’s), the figures being the size of life, 90m. by 59m., canvas stretched upon panel, 
 engraved by Vosterman in 1620 and by M'Ardell, No. 830, Smith’s Catalogue— £(1,575 (Murray). This and the other 
 purchases of the Rubens pictures to which this name appears were, we understand, made for Mr. C. Butler, who thus 
 adds to his already fine collection three excellent examples of Rubens and probably one of Vandyck. “A Holy Family,” 
 the infant Saviour seated on a white cushion in the mother’s lap, while Joseph, seen in profile, completes the group, 4iin. 
 by 30m., on panel, No. 835, Smith’s Catalogue — ,£1,050 (Agnew). “Suffer little children to come unto me.” The 
 Saviour, seated on a stone slab, blessing the eldest of four children presented by their parents, evidently portraits, while 
 three apostles stand near the Saviour ; 52m. by 77 * n -> canvas ; No. 845 in Smith’s Catalogue, who, however, attributes it to 
 Diepenbeck, a very clever imitator of Rubens, while Dr. Waagen was satisfied with its authenticity, but it was now pretty 
 generally admitted to be an early work of Vandyck, as stated by Mr. Woods. It was certainly a fine composition and 
 painted with great vigour and in brilliant colouring — £(840 (Murray). “ The Departure of Lot and his family from 
 Sodom,” a large gallery work, with figures rather larger than life, an angel is the principal figure, urging Lot onwards as 
 he turns to look back towards his wife ; another angel is seen behind, and the composition is finely varied by spiral 
 columns. The scheme of colour in this picture is remarkably rich and harmonious, the draperies being shot with varied 
 tints. It was presented by the city of Antwerp to the Great Duke. It measures 85m. by 96m. canvas. It was among 
 the splendid pictures contributed to the Winter Exhibition at Burlington-house last year — ,£1,942 ion (Murray, for Mr. 
 Butler). The Holy Family, in an apartment, the Virgin seated in the centre of the group, holding the Infant ; Joseph, 
 Elizabeth, and St. John are the other figures, which are all life size, 87m. by 58-|in. ; canvas stretched on boards, engraved 
 by Vosterman in reverse, dated 1620— ,£1,260 (Murray). The infant Saviour caressing a lamb kneeling to him, with the 
 youthful St. John, in a landscape 24m. by 31m. canvas— ,£52 10s. (Lord Ardilaun). “The Distribution of the Rosary,” 
 a finished sketch or study for a large altar-piece, 26m. by 2oin. panel. This beautiful work which was never carried out 
 on the large scale intended for Don Ferdinand, represents the Madonna enthroned with the infant Saviour handing the 
 rosary to St. Dominic and other personages, with Don Ferdinand kneeling to receive it from the patron saint of Spain, 
 St. James of Compostella. From the date of the institution of the Rosary, and that of the death of the Archduke Albert, 
 in 1621, it is conjectured that the picture was painted in this year. The picture was universally admired, during the week 
 of exhibition, for the extraordinary brilliancy of the colouring and splendour of the whole composition, and it received an 
 ovation of applause when placed on the easel- It was bought at the moderate price of £(1,585 ioj\ by Mr. Agnew. The 
 portrait of a fat man, in a fur cap and red dress in a landscape and sky background, a bust-size figure, 30m. by 21 in., 
 panel, called Paracelsus, was thought to be a copy of some portrait by Jan de Mabuse. It is described No. 827 in Smith’s 
 Catalogue of the works of Rubens, and is engraved in Velly Villaret’s “ Histoire de France” — £(131 5^. (Sedelmeyer) ; 
 Portrait of Rubens, copied from the well-known one by himself in the Royal Collection at Windsor Castle, 30m. by 24m., 
 canvas — £(115 10 s. (Colnaghi), Portrait of Anne of Austria — this magnificent life-size portrait to the knees, seated, was 
 exhibited in the place of honour in the great room of the Academy, Burlington-house last year. In a large lace ruff of 
 fan shape, black dress in a state chair, in a splendid apartment, probably the Salle des Caryatides of the Louvre, the 
 background being a rich blue silk damask curtain, embroidered with the fleur de lys, in gold, 59m. by 46-lin. This 
 superb portrait which is as grand as the famous one of Jeanne d’Arragon, in the Louvre, always attributed to Raphael, 
 was expected to bring a very large sum, but this it can hardly be said to have realized, for it was put up at a bid of 1,000 
 guineas, and though it rose in five more bids to 3,000, it did not get beyond the 3,700 guineas bid by Mr. Agnew, who was 
 the purchaser at that price (£(3,885). “ Filial Piety ” was the new name bestowed upon the subject which has always been 
 
 called “Roman Charity,” as representing the ancient story, of the father starving in prison saved by the suckling of his 
 daughter’s breast, to which Byron devotes some stanzas in Childe Harold. The picture is large, with figures the full life 
 size, 79m. by 72m., canvas, described by Smith, No. 842 — £(1,260 (Dr. Meyer). A Bacchanalian subject, with Silenus, 
 and a female satyr lying in the foreground with twin satyr cubs, 76m. by 78m., canvas — £95 1 ir. (Bond). Venus and 
 Adonis. — This was placed last in the sale as the one picture of surpassing beauty, and it brought the highest price in the 
 sale — 7,200 guineas (£(7, 560). It was received with a round of enthusiastic applause, and the biddings began at 1,000 
 guineas, rising to 5,000 in four bids, and quickly to 7,000, after which the advance was slow to 7,100, and last to 7,200, at 
 which the hammer fell to the bid of Mr. Agnew. Large as is this price, it has given some disappointment, for it has been 
 said double this sum had been refused for it. However this may be, considering the existing times of depression and 
 doubt, this is a price that may be said fairly to represent its value under what must be called the forced sale of an 
 auction room. If it did not reach the highest price prophesied for it, it must be observed that many of the pictures which 
 had no merit but that of having dwelt near the rose brought prices ten times their real auction value had they come in 
 any other sale than that of the renowned Blenheim collection. The handsome total of £(34,834 ur. was reached for this 
 first portion of 75 pictures. 
 
 (“Pall Mall Gazette,” July 23, 1886.) 
 
 The noble collection of pictures so celebrated in the art annals of this country, and so long 
 the glory of the magnificent palace with which the nation commemorated and rewarded the 
 services of the great Duke of Marlborough, is now brought to the verge of its final dispersion. 
 The beautiful pictures that adorned the palace of Blenheim are to-day on the walls of the auction- 
 room, once more telling of the inevitable fate of all art treasuries, from which neither ducal nor 
 
416 
 
 ART SALTS. 
 
 [ 1886 . 
 
 even royal palaces can escape. Two of the choicest pictures have passed from the palatial gallery 
 of Blenheim to the most honourable apotheosis they could enjoy, among the masterpieces of art 
 that shed their beneficent influence upon all classes and masses under the safe keeping of our 
 National Gallery. Other of the gems from the art coronet of Blenheim have been parted with to 
 add lustre — for a time, shall we say ? — to the splendid collections of the millionnaires ; while the 
 rest will have their brief hour of display in those renowned galleries where so recently shone for 
 the last time that other famous ducal collection of Hamilton Palace. Here they will bring 
 together the whole world of art upon this historic ground, where the value and the destiny of 
 many of the finest pictures of the world have so often been cast upon the fall of the potent 
 hammer of Mr. Christie. Before all this comes to be settled, however, it is interesting to recall 
 what has transpired since the Duke determined upon the sale under the Act of 1882. In May, 
 r88q, the matter came before the Court of Chancery, and, with becoming consideration, certain 
 of the finest pictures were put together, to the number of twenty-five, the money value of which 
 was officially stated at £400,000, and these were offered to the National Gallery in the first place. 
 The director, Sir Frederick Burton, made his inspection of these, and selected eleven, which he 
 estimated to be worth £350,000, and recommended for purchase by the Government. This 
 tremendous price, although powerfully backed by other authorities besides Sir F. Burton, was 
 not found acceptable financially by the Government, and was declined. Subsequently the 
 purchase of the Ansidei Raphael and the grand Vandyck equestrian portrait of Charles I. was 
 urged, and finally agreed to at the heroic prices of £70,000 for the Raphael and £15,000 for the 
 Vandyck. Thus, for the moment, ended the transaction with the National Gallery authorities, and 
 then began the negociations for the sale of some of the selected pictures to private galleries, which 
 resulted in the two superb portrait pieces of Rubens and his wife and child, by himself, being sold 
 to Baron Alphonse de Rothschild for £55,000; while others of the chosen pictures passed into 
 different private hands, six of these being “ The Garden of the Hesperides” and “ The Andromeda,” 
 by Rubens, the so-called “ Fornarina,” formerly attributed to Raphael, but now to Sebastian del 
 Piombo, and some others. After this the Duke decided to dispose of the remaining part of the 
 collection by public competition. In carrying out this intention, necessarily by the order of the 
 Court of Chancery, the sale has been officially ordered to be under the direction and with the 
 advice of Mr. William Agnew as art referee. This is an arrangement which cannot but be 
 satisfactory on every hand, and especially on the side of the nation ; for Mr. Agnew’s disinterested 
 zeal in promoting the interests of the national collection has often been of service on these 
 occasions, and it is important to observe that there are in the sale about to take place several 
 of the pictures which were included in the selection made by Sir F. Burton as desirable 
 acquisitions for the Gallery. It will, therefore, soon be seen whether the Government decided 
 wisely in waiting for the opportunity that is now at hand of competing, and let us hope it will be 
 with public spirit and success, in obtaining some of the finest examples at just and reasonable prices. 
 
 The catalogue of the pictures and other works of art which are to be sold during the next 
 fortnight contains very full descriptions and notes taken from the private Blenheim catalogue 
 written by Mr. Scharf, C.B., F.S.A., with all the information and critical knowledge for which he 
 is so distinguished. But it omits the historical introduction, from which we learn that the 
 Blenheim collection really was created by the Great Duke of Marlborough, who was not a great 
 soldier only, but a man of taste who filled the measure of his accomplishments with the fine arts, 
 and so mindful was he of beauty, that though immersed in the stirring exigencies of war, he 
 acquired and sent home some of the finest pictures in the collection by Rubens and Vandyck, 
 the splendid equestrian portrait of Charles I. among them, which he purchased at Munich. It 
 was his fine taste as a lover of art that led the cities of Brussels and Antwerp to present him with 
 such magnificent gifts as the Rubens portrait now in Baron Alphonse de Rothschild’s collection. 
 His example was worthily followed by his successors and family when Lord Robert Spencer in 
 1764 bought the Ansidei Raphael in Italy. But the Blenheim collection was always more spoken 
 of for its Rubens and Reynolds pictures than for its one great Raphael. Rubens reigned at 
 Blenheim, the emperor of painting that he was, wilful and glorious even in his ambitious failures, 
 which were finer than most men’s successes. So does he dominate over everything now on the walls 
 of Christie’s, whether it is in presenting us to the stately Anne of Austria, in all the dignity and 
 refinement of queenly culture, her face still beautiful and benign, and her lovely arms and hands 
 the admiration of all Europe, or in his masterful mood of mythical fancy, as in the “ Venus and 
 
1886 .] 
 
 THE BLENHEIM COLLECTION. 
 
 4*7 
 
 Adonis,” than which perhaps he never painted anything more splendid in its audacious power 
 and luxuriant colour. Then, if he is to be viewed as a master painter and designer, there is that 
 amazing sketch for a grand altarpiece of “ The Distribution of the Rosary,” touched with the 
 most exquisite finesse in the details and rich as gems in colour, while as a composition it 
 amply suggests the splendid conception of the picture he had in his mind’s eye, but which, it is to 
 be regretted, he never carried out. Perhaps, however, like many other first thoughts of a great 
 work, it remains in its actual state, more full of the fire divine that first inspires the poet and the 
 painter. A fine example of his treatment of a subject of religious legend is the “ Lot and his 
 Family leaving Sodom ” — a grand work, in the style of the famous series in the Duke of 
 Westminster’s gallery. This was presented to the Great Duke by the city of Antwerp, and is 
 engraved by Vosterman. With this may be mentioned the extremely brilliant picture of “ The 
 Return of the Holy Family from Egypt,” the figures the size of life, and the Virgin wearing a 
 broad-brimmed hat with a veil, in the style of a Flemish lady travelling ; but yet, with all this 
 incongruity, a picture that silences all carping critics at once with its originality and splendid 
 artistic faculty. The Meleager and Atalanta is another of his mythological fancies, abounding 
 in fine passages. The portrait of Rubens is not to be named in comparison with the one in the 
 Florence Gallery of Painters, nor with the splendid replica in the Royal collection at Windsor. 
 The Vandyck portraits are not so remarkable for him, good as they are, but one, that of Henrietta 
 Maria in white satin, half-length, is a very lovely and fascinating portrait, grey and silver in colour, 
 and the expression of the head wonderfully natural. It is a similar picture to one at Windsor 
 Castle, but has a blue-curtain background instead of green. The portrait of Charles is feeble 
 compared with this of his Queen. Three remarkably fine full-length portraits by Mytens are 
 pictures that will place him higher than he is generally held, and as we have no example of him, 
 and they represent persons who have been important figures in history, such as George Villiers, 
 Duke of Buckingham, the second Duke of Hamilton, and Henry Rich, Earl of Holland, they 
 deserve the notice of the National Gallery authorities. But perhaps there is no picture of its kind 
 now in the collection which would be more acceptable in the National Gallery than the large 
 seaport with figures by J. B. Weenix, not the well-known painter of dead game, but his father, a 
 much rarer master. It is an exceedingly fine example of this style, and the only thing to be said 
 in the way of questioning is that the monogram of another painter, P. van Bredael, is upon one 
 of the bales of goods on the quay. This is explained by the conjecture that perhaps he assisted 
 Weenix, for he was only a painter of small pictures in the manner of Breughel. Of the Italian 
 pictures, the famous “ Madonna colie Stelle ” by Carlo Dolci is noticeable as of great esteem in 
 days gone by, when anything of Carlo Dolci or Guido was raved about and brought the highest 
 prices of the auction rooms, but now viewed in a somewhat better balanced estimate among 
 critics. The late Lord Dudley, it is said, once offered the late Duke £20,000 for this picture. It 
 is an exceedingly pleasing and fine picture of the Madonna, in a dark blue mantle, looking upwards 
 with a beautiful expression, with the eight stars upon the nimbus which have given the name to 
 the picture. The engraving by Mandel (1848) is familiar to most people. The series of 120 
 paintings by Teniers of the picture gallery of the Archduke Leopold, which have been exhibited 
 in London for some time, form the sale on the Monday following the first day (to-morrow), in 
 which come all the fine works of Rubens. The sale then proceeds with pictures on Saturday, the 
 31st, porcelain on Tuesday, August 3, pictures of the Italian schools on Saturday, August 7, ending 
 with the miniatures on Tuesday, August 10, making in all eight days’ sale. 
 
 (“The Times,” August, 1886.) 
 
 The second act of this great sale could not be expected to be equal in interest to the opening scene with that 
 magnificent array of masterly works of Rubens for the last time seen in company as the glories of Blenheim. They had 
 to pass through the ordeal of the auction, and, like Rome, were knocked down to the Didius Julianus of the hour for 
 infinitely less than their value in all art estimation. It has transpired since the sale that the grand portrait of Anne of 
 Austria and the splendid Venus and Adonis which were knocked down at the respective sums of £3,885 and £7,560, 
 were bought in, and are probably destined to go back to Blenheim. Whether it was wise not to submit to the decision 
 of the hammer in these cases as well as in the others, time will show. As a matter of experience, however, Messrs. 
 Christie would tell us that pictures once bought in are generally doomed to be sold eventually for less than 
 the reserve price. Perhaps these two fine works of Rubens deserve and may have a more honourable fate in store for 
 VOL. I. 3 H 
 
4 1 S 
 
 ART SALTS. 
 
 [ 1886 . 
 
 them. The Vandyck portraits, and those by Mytens, quite a third-rate painter, which gave importance to the sale of 
 Saturday last, must be considered to have sold much better than the fine Rubens pictures. Although the lovely portrait 
 of Henrietta Maria only brought 700 guineas, and the full length of the Duchess of Richmond 1,150 guineas, these were 
 prices much nearer the mark than 1,850 guineas for the Lot and his Family, or 1,500 for the Adoration of the Magi, 
 replica as it is. Then as to the Mytens portraits, which undoubtedly were most excellent for him, such prices as .£1,000 
 and ^735 are quite beyond all precedent. There was a portrait, and one that we may justly be proud of as the work of 
 Gainsborough, which held its own even in presence of Vandyck, and we are glad to say has been acquired by our 
 National Portrait Gallery — a bust-size portrait of John Russell, fourth Duke of Bedford, Iv.G., who died in 1772. The 
 price of 600 guineas was a most moderate one for an example of portraiture, to say nothing of the man, unsurpassed, if 
 ever equalled, in the exquisite delicacy of the work and fine perception of character by any master of any school. Had 
 this remarkable portrait not been obtained for the Portrait Gallery, we are informed it would have been acquired for the 
 National Gallery, Sir F. Burton in these cases of portraits always giving the choice to Mr. Scharf. Another purchase 
 upon which we have to congratulate our art directors was that of the large portrait piece by William Dobson, described 
 below, which Mr. Doyle was so fortunate as to obtain as a great bargain at £22 for the National Gallery of Ireland. 
 
 Turning now to the rank and file of the collection, which, truth to tell, were rather Falstaffian in their pretensions 
 and their names, we have to notice pictures which brought small prices, but require to be named as in an old collection 
 of such importance. A small, round landscape, called Claude, sold for 11 guineas; another given to the same great 
 name for 30 guineas ; a copy of the famous Marriage at Cana, by Veronese, in the Louvre, much smaller than the 
 original and irretrievably dark — £27 6s. ; a Lancret, Fete Champetre, £27 6s. ; another by the same, £11 ; a fair 
 example of Pater, a feast and merrymaking in the open air — .£199 ioj. ; a very capital study by Sir Joshua Reynolds 
 from an angel head of Correggio, seven guineas, and another by him after Caracci, of an old man’s head, 4! guineas. 
 Watteau, Le Bal Champetre, groups of figures in a large arched vestibule with a garden, landscape seen beyond, two 
 figures, of a lady and gentleman dancing ; a similar picture is engraved by Scoti, and a repetition of that is in the 
 Dulwich Gallery; while another, which Mr. Scharf’s catalogue of the Blenheim pictures pronounces “of the highest 
 quality,” is at Wroxton Abbey; 2o|in. by 25m., canvas — £11 11s. Small picture by Pater, called Watteau, in the 
 catalogue, with six figures, a harlequin with a guitar and a lady with little boy seated, i7-|in. by 14m., canvas — .£54 12s. ; 
 a similar picture, attributed to Watteau, with a lady holding a music-book seated between two gentlemen playing a 
 fife and guitar, I7iin. by 14m., canvas — ,£35 14J. ; La Troupe Italienne, 13m. by 1 iin. — £12 12 s. ; another with figures — 
 £17 17s. John Wootton, two lads with game, one seated with a gun, the other bringing in a buck ; the figures life size, 
 and as well painted as Synders or Fyt, 78m. by 103m., canvas — £(48 6 j. Van Leen, a flower piece, 26m. by 2iin. — £(33 12 s . ; 
 fruit piece — £26 5^. W. Dobson, large family group of seven figures, life size to the knees, a lady dressed in blue, 
 
 nursing a naked infant, the father leaning on a globe holding compasses, the grandfather behind, and other figures ; 
 
 Vert saw this picture at the Duke’s house at St. James’s about 1713, and Horace Walpole, who says of it, “ I have seen 
 nothing of Dobson perferable, there is the utmost truth in it,” and conjectures that the man is Francis Carter, architect 
 and scholar of Inigo Jones, and his deputy, but remarks that the face resembles Lilly, the astrologer, of whom there is a 
 portrait in the Ashmolean Museum, Oxford — £22 ir. (Mr. Doyle). 
 
 Of the ten pictures by Vandyck or of his school, a full-length, life-size portrait of Queen Henrietta Maria, in blue 
 with black ermine trimmed mantle, yellow curtain background, was sold as a school picture for £7,67 10s. (Agnews) ; 
 Catherine, Countess of Chesterfield, daughter of Francis, Lord Hastings, an oval picture, life-size, in a large black hat 
 and dress of crimson and orange, 29m. by 24m., No. 259, Smith’s Catalogue — ,£28 7s. (Brooking) ; Thomas Wentworth, 
 Earl of Strafford, and Sir Philip Mainwaring, his secretary, seated, three-quarter length figures, 51m. by 57m. ; 
 Mr. Scharf says of this, “ the excellent condition distinguishes it from the numerous repetitions. It is more minutely 
 finished than the original, which is now at Wentworth House ; ” we conclude, therefore, that it is admitted to be a copy, 
 
 and perhaps by Henry Heskett, who was, as Mr. Scharf informs us, “ much employed for the family in copying 
 
 Vandyck portraits” — .£735 (Miller), a price that seems, at any rate, to show that some one believed in its being the 
 work of Vandyck. Marie de Medicis, representing her at a somewhat advanced age and very different from the pictures 
 of her by Rubens in his great decorative pictures in the Luxembourg ; this picture was once in the collection of 
 Charles I., and agrees with the one in that catalogue described as “ The Queen’s mother of France, sitting in a chair in 
 a black habit holding in her right hand a handful of roses, half a figure so big as the life size ; ” notwithstanding this, 
 however, the picture is carried off to Paris by M. Sedelmeyer at the insignificant price of .£89 5 c. Charles I., in black 
 satin, wearing the George suspended by a blue ribbon, half length, standing, 42m. by 32|in., No. 256, Smith’s Catalogue, 
 but not considered now to be by the hand of Vandyck, though a well painted portrait — £141 15-r. (Whitehead). Queen 
 Henrietta Maria, half-length, life size, standing, dressed in white satin with coral-red ribands on the dress, turned to the 
 left, features more fresh and youthful than in most of her portraits. She takes up some roses on a table, and the crown 
 is placed on a window-sill near. This beautiful portrait, which had been universally admired during the week, was much 
 applauded, but the biddings did not advance beyond 700 guineas, at which price (£735) it was knocked down to 
 Mr. Agnew. The portrait at Windsor Castle, which is closely like this, has a green curtain ; this has a blue one. It 
 hung in the dining-room at Blenheim with the Charles I., and Waller the poet has recorded his seeing this portrait in 
 his lines addressed to the Queen, which are quoted in the catalogue, beginning 
 
 “ Well fare the hand which to our humble sight 
 Presents that beauty which the dazzling light 
 Of royal splendour hides from weaker eyes, 
 
 And all access, save by this art denies.” 
 
 Genevieve d’Urfd, Marquise d’Havre, widow of the Due de Croy, seated in a red chair, life size, engraved by P. de Jode 
 omitting the left hand. She was maid of honour to Marie de’ Medicis, and was thrice married — to the Due de Croy, the 
 Marquis de Havrech, and the Comte de Madly— £336 (Dr. Meyer). Penelope Naunton, Countess of Pembroke, life size, 
 
1886 .] 
 
 THE BLENHEIM COLLECTION. 
 
 419 
 
 half-length — ,£53 nr. Mary, Duchess of Richmond, daughter of George Villiers, Duke of Buckingham, full length, life 
 size, standing, receiving a pair of gloves from a salver held to her by Mrs. Gibson, her dwarf attendant, with landscape 
 background at the side — interesting for the two portraits, as Mrs. Gibson was a good artist, and so was her husband, also 
 a dwarf, who painted portraits of Cromwell. They were only 36 inches high. This fine picture was put up at a bid of 
 500 guineas, and was bought for £ 1,217 ior. (Miller). Gainsborough, portrait of John Russell, fourth Duke of Bedford, 
 K.G., life size, full face, representing him after middle life, in a scarlet coat; signed in full “ Thomas Gainsborough.” 
 This picture was highly praised by Passavant in his “ Kunstreise durch England,” 1833 — .£630 (Agnews), for the National 
 Portrait Gallery. He was Lord Lieutenant of Ireland in 1756, Lord Privy Seal 1761, signed the treaty of Fontainebleau 
 as Minister Plenipotentiary to France 1762, Lord President of the Council 1763, and died 1771. Mark Gheeraedts, or, as 
 he has been called, Garrard and Gerards, a portrait painter of the early 17th century in England, full length, life-size 
 portrait of Frances Howard, Countess of Essex and Somerset — the infamous countess implicated in the poisoning of Sir 
 Thomas Overbury. She is standing, dressed in green satin with white mantle, wearing a chain of red beads with yellow 
 bows, and the lace of her ruff and cuffs dyed of a deep yellow, according to the fashion of the day, which went out when 
 Mrs. Turner, one of the accomplices in the murder, was hung at Tyburn-gate in lace of the same colour, and the hangman 
 wore bands and cuffs coloured with yellow starch- ,£357 (Messrs. Colnaghi). A portrait of George I., which was, in the 
 catalogue, by a most unaccountable mistake stated to be by a painter unknown to fame or book — one H. de Quiltery — 
 was withdrawn. A portrait of a young man, attributed to Holbein, in black hat, n£in. by 9jin. , panel — ,£35 14J. 
 (Sedelmeyer). Portrait of Edward VI., full length, standing, with gray stockings and white shoes, life size, 6iin. by 34m., 
 panely attributed to Holbein as another of the amusing impossibilities which make painters paint after they are in their 
 coffins — ^63 (Lesser). A similar picture of the youthful King was attributed to Holbein in the Hamilton Palace sale, 
 afterwards agreed to be by Gwillim Streets. Gerard Honthorst’s portrait of the Infanta Clara Eugenia, daughter of 
 Philip II., and Governess of the Low Countries, seated, life-size to knees, in black, with an enormous ruff, wearing a 
 medallion of the Virgin and Child— ,£210 (Alexander). A good portrait, vigorously painted, and probably from the larger 
 picture by Rubens, an extremely fine work in the Madrid Gallery, No. 1,605, with landscape background by Breughel. 
 Baroccio, a portrait of a boy, life size, standing, in the white robes of the Order of Santiago of Spain, with a crimson 
 background, 54m. by 41m., canvas — ,£36 7 ioj. (Agnew). Sir G. Kneller, portrait of the Duke of Gloucester, son of 
 Queen Anne, full length, in Roman costume, as a boy — £26 5^. (Davis). Sir Peter Lely, Lord Romney, in brown dress, 
 i8in. by 13m. — £14. 14 s. (Mr. Milward) ; and Mr. Sidney by the same — £23 2 s. (Mr. Milward) Lady Plenrietta Boyle, 
 Countess of Rochester, a fair-haired lady, half-length, standing, in blue, with landscape background, a replica of one at 
 Hampton Court of one of King Charles’s beauties, 47m. by 39m. — £126 (Davis) ; Anne, Duchess of York, first wife of 
 James II., seated, in amber satin, similar to one at Hampton Court — £49 Js. (Waters); James, Duke of Monmouth 
 — £$7 I 5 - r - (Messrs. Colnaghi). M. J. Mirevelt, portrait of a lady in a ruff and head-dress, time of James L, inscribed 
 “ the Duchess of Southampton,” 34jin. by 27m. — £6 7 4s. (Miller). D. Mytens, portrait of Henry Rich, first Earl of 
 Holland, full length, standing, in rich brown and gold dress with white boots and high heels. The friend of the Duke of 
 Buckingham, and sent with him to the French Court, 1623, 86in. by 5 i-gin., canvas — £1,008. This fine portrait was 
 bought, we understand, by a descendant of the Earl, which may account for the high price paid for it. Portrait of George 
 Villiers, Duke of Buckingham, K.G., full length, life size, standing, dressed in white, his hat and feathers laid aside on a 
 crimson cloth table, his right hand holding his stick and a letter bearing his name, with a landscape background, 84m. by 
 5i-|in., canvas. This picture corresponds with the one in Vanderdort’s catalogue of King Charles I.’s pictures ; a similar 
 one is at Milton House — £73$ (Whitehead) ; William second Duke of Hamilton, K.G., killed at the battle of Worcester, 
 1651, full length, life-size, standing, in a landscape, with peculiar soles to the boots, also probably the picture in the 
 collection of Charles I., 82m. by 5 1 ^in., canvas, very much decayed and patched at the back with pieces of cloth soaked in 
 wax — ,£546 (Messrs. Colnaghi). This was the portrait wanted for the National Gallery, but the price proved beyond the 
 present means at the command of the Trustees. A portrait, said to be the Infanta Isabella Clara Eugenia, of whom there 
 was a portrait previously sold. It was attributed to the Spanish painter Pantoja de la Cruz, but it was certainly neither by 
 him, nor was it a portrait of the Infanta Governess of the Netherlands, in fact it has been recognized as a Countess of Derby. 
 She stands by a table, and one hand, holding a glove, is in a sling. The dress is red, with sprigs of silver, and a mantle 
 of green satin with red facings, 75m. by 41m., canvas — £3 7 155-. (Messrs Colnaghi). Sir Joshua Reynolds, the Marquis 
 of Tavistock, seated, in crimson velvet coat, with a table on which are papers and a bronze statuette of Hercules, a yellow 
 brown curtain and sky seen at the side. A fine portrait, though painted in a cold gray tone, 50m. by 40m., engraved by 
 S. W. Reynolds — .£1,039 Iaf - (Miller). P. van Somer, portrait of Henry, Prince of Wales, son of James I., full length, in 
 brown dress and crimson leggings, wearing the George, a dark curtain and column with landscape scene beyond, 75m. by 
 41m. — ^173 5 -t- (Messrs. Colnaghi). To Titian was attributed a full-length portrait of Philip II. of Spain, as a repetition 
 of the celebrated picture in the Studji at Naples, which is engraved in the “ Museo Borbonico,” yoin. by 35 in., on canvas 
 stretched upon wood — £99 15s 1 . (Martin Colnaghi). A portrait of a sculptor, with a figure of a goddess descending with 
 a cornucopia held to him, seen to the knees, life size, with landscape and sky at the side, and bronze torso on the ground, 
 5oin. by 40m. a work of the Venetian school — £36 1.5 s. (Graves). J. van Wyck, equestrian portrait of William III. at 
 the battle of the Boyne, on a white charger, galloping, with landscape, and cavalry crossing the river, 27-iin. by 32-iin. — 
 £77 14^. (Messrs. Colnaghi). Portrait of Sir T. Isham, by Carlo Maratti, seated, holding a miniature, life size — £30 8s. 
 (Butler). A portrait of Cardinal Fleury, life size, bust, sold for ,£13 134. (Colnaghi). Some few other pictures and 
 portraits sold for small sums, and the total of this third portion of the pictures amounted to £10,401 lor. 
 
 The sale of the fine blue and white porcelain extends over to-morrow and next day. There are many 
 exceptionally fine pieces among the blue and white smaller vases and bottles, and one pair of very fine blue and white 
 powdered, with medallions of figures, 42 inches high. 
 
420 
 
 ART SALTS. 
 
 [ 1886 . 
 
 (“The Times,” August 9, 1886.) 
 
 The dispersal of the famous gallery of Blenheim Palace, which for the last two years may be said to have occupied 
 the attention of the whole world of art, was completed by the sale at Christie’s on Saturday last. But it has to be 
 particularly observed that the very high prices which have been paid for some of the pictures were those obtained by 
 private contract, and not the auction prices. These have, in fact, been generally considerably below that standard. In 
 the few instances in which they approached it, as in the case of the “Venus and Adonis” (,£7,560), the “Anne of 
 Austria” (,£3,885) by Rubens, and the Carlo Dolci “ Madonna colie Stelle ” (.£6,935), a sale was not affected, and the 
 pictures return to their old places at Blenheim, for a time at any rate. We are now, therefore, enabled to arrive at 
 something like an approximate result of this great art sale, always admitting, however, that the exact sums paid for the 
 pictures sold privately have not been precisely made known, though they have been no doubt pretty closely ascertained. 
 It will be remembered that under the orders of the Court of Chancery 25 pictures were named for sale at a valuation 
 of £400,000. These were first offered to be selected from by the Director of the National Gallery, and 11 pictures were 
 chosen as desirable, the value of which was estimated at ,£350,000. That sale did not come off to that amount, but the 
 Ansidei Raphael, at £70,000, and the Vandyck King Charles, at £17,500, were, as we know, sold to the nation. After 
 this the negotiations for private sales were entered into, and the results, so far as they are known, were that the portrait 
 called “The Fornarina,” attributed to Raphael or Sebastian del Piombo, was sold to the Berlin Gallery for about 
 10,000 guineas ; “ The Garden of the Hesperides” (or the Graces), by Rubens, for about £25,000, to Baron Rothschild ; 
 the two magnificent portrait pieces of Rubens and his wives, by himself, for £55,000, to Baron Alphonse de Rothschild ; 
 the Vandyck portrait piece of the Duke of Buckingham and family, with the “ Lot and his Daughters” by Rubens, to 
 M. Sedelmeyer, the well-known dealer of Paris, for a sum variously stated at £15,090 and £20,000, and the “ Andromeda ” 
 by Rubens is said to have been sold for about the same sum. To these has to be added the charming picture by Sir 
 Joshua Reynolds of “ The Fortune Teller,” for which 5,000 guineas is said to have been paid by an English gentleman. 
 It would probably not be far from the mark if these sales were put down in round numbers at £220,000. One more fine 
 Vandyck picture has to be added which was named among the pictures to be sold at Christie’s — the Lady Morton and 
 Mrs. Killigrew, two celebrated beauties, of which a similar picture is in the collection of Lord Pembroke at Wilton-house, 
 near Salisbury. This picture was also sold before the auction came off for a large sum. The sale at Christie’s, after being 
 fixed to take place at the height of the season in June, was suddenly obliged to be postponed on account of the elections, 
 but it is not generally considered that the late period at which it has been brought off has at all seriously interfered with 
 the success of the sale. All the finest pictures were in the first day’s sale, which, as it included all the great works of 
 Rubens, yielded a total of £34,834, from which has to be deducted the rather heavy sum of £11,445 for the Rubens 
 “ Venus and Adonis” and “ Anne of Austria” retires. The 120 little Teniers copies gave £2,031 ; the pictures in the 
 next Saturday sale followed with £10,401 ioj., and now we have the last day of the pictures adding £11,411 ur. 6 d., 
 out of which, however, has to be taken the £6,935 at which the Carlo Dolci “ Madonna ” was bought in. The china will 
 give a very good amount to the total, already having brought close upon £6,000, with another day to come, besides the 
 miniatures. The whole sale, therefore, may be roughly stated to represent a fine arts property of over £350,000, 
 including the £35,000 for which the celebrated Marlborough gems were sold at a single bid in 1875 at Christie’s, and the 
 enamels and old drawings sold in 1883, also at Christie’s. The total realized by the other great ducal property in fine 
 arts— the Hamilton Palace collection— amounted to £397,562. Considering that the original cost of these treasures was 
 something utterly insignificant compared with their present value, we cannot wonder that owners who are not enthusiastic 
 lovers of art prefer to realize upon them as a luxury that can be dispensed with when the time comes. 
 
 The sale of Saturday last, like that of the preceding portion, contained many pictures which do not appear in the 
 Blenheim Palace private catalogue. Without counting the family portraits and the “Corame” or stamped leather 
 paintings representing the loves of the gods, which were all burnt in the Titian Room of Blenheim on February 5, 1861, 
 there are 130 pictures. Of these 11 appear to have been sold by private negotiation, leaving 1 1 9 ; but in the sale 
 catalogue of Christie’s there are no less than 277 pictures, so that we must conclude that the Duke determined to have a 
 great clearance sale, and this will account for the number of queer things in the shape of old masters which had to be sold in 
 such fine company as Rubens and Vandyck. The pictures to be noticed in this last day’s sale of them were F. Albano, 
 Cupid overpowering Pan, with two nymphs, a pretty little picture, similar to the well-known etching by Agostino Carracci, 
 3^in. by 6|in., on wood— £11 iu, (Stewart); Albertinelli, Holy Family, figures life size, 48m. by 30m., panel— £8 8s. 
 Martin Colnaghi) ; Bassano, A Patriot welcomed by his People, 58m. by 84m. — £27 6^. (M. Colnaghi) ; Bonifazio, Holy 
 Family and Saints, 64m. by 90m.— £25 4s. (M. Colnaghi); II Campidoglio, fruit-piece, with figure of a girl, 47m. by 63m. 
 — £60 18.?. (Davis) ; Ludovico Carracci, Holy Family, 1 sin. by 7in., arched top, panel— £16 16*. (Mr. G. Vivian ) ; the 
 Virgin and Child under a tree, with a female saint, 13m. by iiin., panel — £15 15 -f- (Mr. G. Vivian); Agostino Carracci, 
 Madonna and Child and St. Joseph, etched by him— £21 (Mr. G. Vivian) ; Ludovico Carracci, St. Dominic kneeling at 
 the Altar, above which are the Virgin with angels in clouds, I2^in. by 9iin., on copper, a very highly finished picture, in 
 fine condition— £86 2.?. (Lady Egerton of Tatton ; Correggio, the angel in the picture of the “ Agony in the Garden,” in 
 the collection of the Duke of Wellington, 9m. diameter, circle, canvas — £17 17s. (Boore) ; Carlo Dolci, the Adoration of 
 the Magi, a small and beautifully painted picture, of which there is a corresponding work in size and colouring at Althorp 
 by him of the Marriage of St. Catherine, painted with all the minute study and richness of colour seen in the old Flemish 
 school of Van Eyck, 28m. by 22^in. canvas — £987 (Agnew) ; two heads, of the Infant Saviour and St. John, on separate 
 canvasses, 14m. by I2in.— £48 6s. (Agnew). “La Madonna colie Stelle ’’—this was the picture which had long been 
 regarded as one of the gems of the Blenheim collection, when it hung in the centre place below the great picture by 
 Rubens of the Departure of Lot and his family presented to the great Duke of Marlborough by the city of Antwerp. 
 The picture has now been placed under glass, and looked extremely bright, receiving a round of applause as it came 
 before the audience. Mr. Woods stated that the late Duke had often been pressed by large offers to part with it, Lord 
 Dudley having once offered 20,000 guineas for it, but had always declined. It is much praised by Dr. Waagen and 
 
1886 .] 
 
 THE BLENHEIM COLLECTION. 
 
 421 
 
 Ur. Passavant, and has been engraved by Edouardo Mandel of Berlin, in line, in 1848. It is on an octagon canvas, the 
 figure being life size, in blue mantle, looking up, with a nimbus or glory and eight golden stars around her head, her 
 hands outstretched and painted with marvellous finish ; 41-Hn. by 38m. on canvas. It was put up at a bid of 1,000 
 guineas, and rose in six biddings to 4,000 guineas from Mr. Vokins, then advancing by bids of 100 guineas up to 6,600 
 guineas, at which the hammer fell to Mr. Agnew’s bid with loud applause. It was afterwards said in the room that the 
 picture was not sold. This was the most important picture in the day’s sale, and it was quite anticipated that it would 
 bring a very large price. II Prete Genovese (Bernardo Strozzi, died 1644) — St. Lawrence of Giustiniani, Venice, 
 distributing his goods in charity during a famine, 48m. by 6oin., canvas — £22 is. ; Luca Giordano, Adoration of the 
 Shepherds, 41 in. by 32m. — £6^ (Boore) ; the companion picture by the same master — £27 6.r. (Murray) ; the Nativity or 
 Adoration of the Shepherds, 43m. by 56m . — £52 10 s. (Davis) ; the Death of Seneca, a large gallery work, by Luca 
 Giordano representing the Stoic philosopher sitting quite nude, surrounded by attendants and young disciples, writing 
 down his last words as he faints from the opened veins in his feet, which are placed in a silver bath — a hideous subject, 
 but painted with considerable power, with strong light and shade and colour — £64. Giorgione, or Venetian school, the 
 Virgin and Child, with figure of a female saint and St. George in armour, with his banner, life size, half-length figures, 
 36m. by 46m., canvas mounted on wood— ^52 ioj. (Martin Colnaghi) ; Carlo Maratti, The Triumph of Christ over Sin, 
 the Virgin standing on a globe with her foot on a serpent which the infant pierces with the cross, 89m. by 6oiin., life 
 size, full-length figures — ,£84 (Meyer) ; F. Mola, landscape, with shepherd and shepherdess, the clouds lit by the evening 
 sun, 61 in. by 93m., canvas — £21 (Shepherd) ; Nogari, two small pictures of an old man and woman. 5 in. by 4m., canvas 
 — £SA 1 2s. (Wardmell). I hree pictures of ruins by Pannini went for small sums. The same maybe said of some 
 tolerably good old copies of Raphael’s Holy Families, the best ol which was one of the Belle Jardiniere of the Louvre, 
 which brought ,£100 1 6s. (Agnew) ; Marco Ricci, landscape, river scene with figures, coin, by 26m — £147 (Millward) ; 
 another landscape by him, same size — ,£84 ; another £89 ; two landscapes with cattle, sold together, same size — 
 ,£136 15J. ; a moonlight scene with the Holy Family, by the same, ujin. by I3^in.— .£13 2 s. 6 d. (Sir H. Holland) ; 
 Saraceno, the Death of the Virgin, an elaborately painted picture, in brilliant colouring, 17m. by 1 1 in. ; Mr. Scharf’snote 
 says probably the picture sold in Sir Peter Lely’s sale, No. 27, the size of which was the same — ,£157 ioj. (Agnew) ; 
 Tassi, a seaport, with figures and boats — £yj i6.r. (Sir C. Russell) ; Tempesta, a large tall landscape, with figures, 96m. 
 by 6oin.— ,£21 (Davis) ; the companion picture, same size, but finer scene, with a water mill and fishermen — £27 6s. 
 (Davis) ; Tintoretto, or school of, The Madonna on clouds, 2oin. by 15m.— ,£14 14J. (Legge) ; the companion picture, by 
 the same — £26 5-r. (M. Colnaghi) ; Titian, St. Sebastian, a whole-length, life-size figure standing against a tree, the right 
 arm bent over the head, transfixed with arrows, 65m. by 45m., from the Michieli collection — £79 16s. (Brooks); St. 
 Nicholas of Bari and St. Catherine, two figures from the celebrated altarpiece, called “ La Gloria,” now in the picture 
 gallery of the Vatican, 51 in. by 39m., canvas — £5 7 15^. (Sir C. Russell). Alesandro Turchi, called Orbetto, The Raising 
 of Lazarus, a large composition, painted on black marble, 66in. by i2fin. ; this picture was formerly in the chapel of 
 Blenheim Palace — ,£94 io.r. (Agnew). Giorgio Vasari, St. Jerome, a life-size figure seated writing in a book on his knee, 
 nearly nude, his lion at the side and a skull upon a low stone with another book, the background a dark green curtain, 
 57in. by 42m., panel ; an exceedingly well painted picture and in a perfect state — £22 is., Mr. Doyle for the National 
 Gallery of Ireland, where it will be most interesting as a work of the great biographer of the Italian painters, who, by the 
 way, is not yet represented in our gallery. Paolo Veronese, Europa, a long landscape with Europa mounting the bull, 
 and Cupid near with other figures, 51 in. by 74m. — £86 2 s. (Murray). A small study for a picture of this subject is in 
 the National Gallery. Esther before Ahasuerus, 66in. by 84m . — £90 6s. ; a pair of Views in Venice, by a painter of the 
 Canaletto school — ,£8i i8r. (Hecken) ; a similar pair — £60 iSj. (Sir C. Russell). The total of the day amounted to 
 £1 1,41 1 ns. 6d. The sale of the porcelain is continued to-day. 
 
 (“The Times,” August 12, 18S6.) 
 
 The sale of the large collection of Old Chinese, Japanese, and Chelsea porcelain was begun on Tuesday at Messrs. 
 Christie, Manson, and Wood’s rooms, the china having been exhibited during the preceding weeks while the pictures 
 have been sold. The collection is rather remarkable for good and perfect specimens of old Nankin blue and white, 
 and it possesses considerable interest from being one of the few formed so long ago as to contain many rare old forms 
 and patterns of ornament such as have not since been imitated and reproduced by the clever Chinese and Japanese 
 makers to meet the demands of the modern taste for bi'ic-a-brac in this direction. The collection, however, was not 
 formed by any Duke of Malborough, but was presented to Blenheim by a Mr. Spalding, “ on certain conditions as an 
 appendant to Blenheim.” So says Britton in his account given in his “ Beauties of England and Wales,” published in 
 1813 ; and he speaks of it as a “ superb assortment,” placed in a special building near the Home Lodge designed for 
 the purpose, with the lighting obtained from skylights. There are no such beautiful rich blue and white mayflower vases 
 in the sale as were sold for 500 or 600 guineas in Sir Henry Thompson’s collection at Christie’s a few years back, and 
 this is accounted for by the fact that the fancy for these did not exist when this collection was formed ; but there are 
 many pieces quite as rare and as old as those in that fine collection. Some pieces in this and in Mr. Orrocks’s collection 
 are known by the mark, or at least are considered by Mr. A. W. Franks and other experts to be as old as the early 
 years of the 15th century. Mr. Orrocks’s collection, which was a model of its kind, was, it will be remembered, purchased 
 for the South Kensington Museum after having been contributed on loan lor some time. 
 
 The sale proved a very successful one, although there were no very high prices that could be called at all sensational, 
 while the average, which was about 5 guineas per lot, showed the general merit of the collection. The following were 
 the lots which brought the highest prices : — A pair of hexagonal bottles, with long necks, blue and white, with fan-shaped 
 medallions — £28 7s. ; a pair of hawthorn pattern cups on feet — ,£24 3^. ; a gobular jar of marbled blue, with sprays of 
 hawthorn — ,£136 ioj. (Duveen.) — this was a good price, as it had no cover ; a pair of old Japan bottles, flowers in colours in 
 
422 
 
 ART SALES. 
 
 [ 1886 . 
 
 sunk medallions, with birds modelled— £33 12s. 6 d . ; a pair of gourd-shaped bottles— ^22 6j. ; a pair of small jars and cover 
 and pair of beakers— ^24 3s. ; a basin, cover, and stand, with flowers in colours— ^22 is. ; a pair of large square bottles 
 with flowers— ^44 2s. ; a pair of Delft globular bottles, painted with birds and flowers— £10 io.y. ; an oval dish— ,£10 ioj. ; 
 a double gourd-shaped bottle, with figures and buildings in compartments— £19 19J. ; a pair of globular bottles with long 
 necks, painted with flowers and figures — £28 js. ; a pair of double gourd-shaped bottles— .£26 5-s\ ; an octagonal dish in 
 blue and white, with openwork sides and landscape centre— ,£26 5J. Chinese enamelled Porcelain in colours.— A dish with 
 figure of a horseman— ,£43 is. ; a pair of small oviform jars and covers, flowers in compartments— ,£30 gs. ; a pair of 
 ja°rs and covers, with utensils and plants in medallions— ,£40 19^.; a coffee-pot and cover, with openwork panels and 
 flowers in green, and a pair of small bottles— ,£35 14J. ; a hexagonal teapot, with pierced medallions of plants on green 
 
 and a pierced ball ,£32 6.?. ; a set of three bamboo pattern vases and covers, two bottles, on openwork stands — £3 1 gs. ; 
 
 a dish, with three female figures and children— ^31 io.r. ; a pair of large dishes, enamelled with buildings and figures, and 
 chequered red borders— ^28 7s. ; three dishes with pink hawthorn and foliage in green and blue— ,£19 io^. 6 d. ; seven 
 dishes with scalloped borders— £30 9.J. ; a pair of fluted beakers and three jars, birds and plants with butterflies — 
 £17 17s. ; a pair of jars and covers with female figures and flowers in alternate compartments — ,£14 14.S. ; a pair of fluted 
 beakers, with birds, animals and flowers — £11 ; a pair of cylindrical bottles, painted with figures of warriors in armour — 
 £8 8s. Old Chelsea Porcelain. — An elegant vase with scroll handles and feet, painted with flowers in colours on gold 
 ground, and with openwork marone and white and gold neck without cover, I2in. high— ^157 ioj-. (Boore) ; a pair of 
 seated figures of a gardener, with a basket, and a lady in a flowered dress, on white and gold plinths encrusted with 
 flowers, 1 1 in. high— ^68 55. (Grindlay). An Old Chelsea service, with gilt scroll-pattern borders, painted with exotic 
 and birds fruits, was sold in separate lots : — A large oval dish— ^12 12 s. ; a pair of oval dishes— .£19 8s. 6 d. ; four 
 smaller dishes — £18 7s. 6d. ; six ditto— ^23 ioj. 6 d. ; two round dishes— ,£11 nr. ; two smaller — £11 in. ; 12 plates— 
 £41 gs. 6 d. Four other lots of similar plates sold for about the same prices. The total amounted to £2,326 8r. 
 
1886 .] 
 
 MR. W. W. WARREN’S COLLECTION. 
 
 423 
 
 COLONEL ALEXANDER R1DG WAY’S COLLECTION. 
 
 (“The Times,” January 19, 1886.) 
 
 The winter season at Christie’s, which had been delayed till after Christmas in consequence of the distraction arising 
 out of the elections, is now in full swing, but there has been nothing to call for notice until the sale on Thursday, Friday, 
 and Saturday last of the large collection of historical portraits and other pictures formed by Colonel Alexander Ridgway, 
 removed from Sheplegh Court, Devon, and sold by order of the trustee in bankruptcy. As a collection it was more 
 remarkable for the extraordinary number of very questionable presentments in the shape of historical portraits than 
 for artistic merit and interest. There were hundreds of portraits, some attributed to Holbein, several to Sir Joshua 
 Reynolds, Gainsborough, and even Hogarth, with more or less authenticity, and several undoubtedly to Sir Thomas 
 Lawrence, but none could be allowed to have any pretensions to be representative works of the high names bestowed 
 upon them so liberally. The prices obtained were, of course, generally insignificant, except as indicating the quality of 
 the collection, the total value of which was, summed up — £1,634 8.y. 6 d. for 440 pictures. The few pictures that 
 may be recorded were: — J. Hoppner, R.A. — a lady in a white dress — ^24 13J. 6 d . Sir Thomas Lawrence, P.R. A. — 
 portrait of a lady, sketch — £29 8^. ; eight small whole lengths of gentlemen, unfinished — £17 6s. 6 d. Sir Joshua Reynolds 
 — Lady Fortescue, much faded — _^2i ioj. 6 d. ; portrait of Gibbon — £10 ; a gentleman in uniform, oval — £22 111. 6 d . 
 G. Berkneyde — the great church at Haarlem, with figures, signed and dated 1665 — ,£299 5-f. (Colnaghi). J. Bylaert — the 
 Prodigal Feasting, signed from Lord Ducie’s collection — ^18 7s. 6 d. Cuyp — portrait of a boy, dated 1640 — ^(35 3s-. 6 d. 
 (Martin Colnaghi) ; a girl in a black dress — ,£11 (Thibaudeau) ; portrait of a lady in black and ruff — ^45 3^. (Speyer). - 
 Van Goyen — landscape with buildings and figures on a road — ^35 14^. (M. Colnaghi). Frank Hals — portrait of a lady 
 in ruff and lace cap — ,£15 4-r. 6 d. (M. Colnaghi). G. K. Heda — a glass of hock and still life, signed and dated 1630 — 
 ^78 1 55. (Thibaudeau). Guillaume Klaasz Heda, by whom there were two other pictures of less merit, painted in the 
 style of De Heem, and died a very old man about 1678. W. Honthorst, a lady in black dress and lace ruffs and jewels — 
 ^45 3s. (M. Colnaghi); Janet, lady in black with slashed sleeves and gold chain — ^5 3s. (Rutley) ; Nicholas Maas, a 
 family group — £98 14J. (M. Colnaghi) ; Otho Masseus, a pair of landscapes, with animals, birds, and insects — £12 12 s. 
 (Grindlay). The real name of this Dutch painter is said to be Snuffelaer, but he called himself Marcellis when in Italy, 
 and signed his pictures O. Masseus ; he died 1673. Netscher, portraits of Anna and Cornelia de Beaufort, a pair, with 
 arms on the back — £30 9s. (Thibaudeau) ; Palamedes, a musical party — ^34 13^. ; Interior, with a lady — £17 6s. 6 d. ; 
 Platzer, A Sportsman Betrayed — £36 4s. 6 d. ; D. Puligo, portrait of a gentleman in black dress and cap — ^5 15^. 6 d. 
 Domenico Puligo was a Florentine of the school of Ghirlandajo, not generally known ; he died 1527. Rembrandt, an 
 old man, seated — ^105 (Lesser) ; Seghers and C. Schut, Mutius Scaevola putting his hand in the fire, in a garland of 
 flowers and fruit — ^44 2s. (Wilson) ; Jan Steen, The Marriage Contract — £32 ioj. (Lesser) ; A. Storck, Amsterdam, with 
 shipping — £37 16 s. (Speyer) ; Teniers, two boors — £21 (Lesser) ; interior, with three boors near a fireplace — £23 2 s. 
 (Murray) ; Lucas de Heere, portrait of a lady, with coat of arms and two shields of the Van Braam and Suija families on 
 the back of the panel, life size to waist — ^105 (Samuel) ; Holbein, head of Thomas Cromwell, Earl of Essex, nearly 
 profile — ^147 (Samuel). This was sold in Lord Northwick’s collection in 1859 for ^5. W. Honthorst, portrait of Maria 
 of Austria, daughter of the Emperor Charles V. — £31 10s. ; Ouintin Matsys, a youth holding a letter dated 1531 
 — /£ n 5 I 9 J - (Samuel); Sandro Botticelli, The Madonna and Child with two angels, on a circular panel — £33 I2.y. 
 (Willett). 
 
 MR. W. W. WARREN’S COLLECTION. 
 
 (“The Times,” January 24, 1886.) 
 
 The large collection of pictures, majolica, porcelain of various kinds, ivory and wood carvings, Wedgwood ware, and 
 miniatures formed by Mr. W. W. Warren, which was sold by Messrs. Christie, Manson and Woods during five days 
 ending on Monday in the present week was more remarkable as an instance of the propensity to collect than for the 
 choice of the selection. There were in the 782 lots certainly some thousands of objects, the good things being few and 
 far between, and it was rather amusing to see how the ingenuity of the auctioneers was put to in disposing of the 
 miniatures, which were so numerous and so nameless that they had to be packed like strawberries with the good ones at 
 the top. Thus, Mary, Queen of Scots, sets off “four others,” the Right Honourable B. D’lsraeli “seven others,” the Poet 
 Gray “ four others,” so that “ the others ” made up some very speculative lots. Among them was one of Camoens, set in 
 a diamond ring — ^13 5.?. ; a pendant with medallion of King John of Portugal, the diamonds of which made it sell for 
 £27. But perhaps the best things in the sale were the oil paintings by Mr. Warren himself, who was evidently an 
 amateur artist of considerable ability in the style of James Holland, who was his master and particular friend, with whom 
 he travelled in Italy, and made numerous sketches at Venice, many of which were now sold, and at very fair prices. The 
 highest of these were “The Rialto ” — £38 17s.; “The Rialto and Grand Canal ” — £30 9 s. There were four small oil 
 
424 
 
 ART SALTS. 
 
 [ 1886 . 
 
 sketches by James Holland in his well-known manner, though not of his best. “ Mid-day, Venice,” 1859, sold for ,£105 ; 
 “ A Street Scene, Venice,” 1847 — .£54 I2r. Of the other pictures by English artists may be noticed a pair of small landscapes 
 by Philip Reinagle, R.A., 1822— /12 12s. ; a view on the Mersey, by R. Tonge, 1853 — £32 1 is. ; sheep, by James Ward, 
 R.A . — £16 \ landscape, by F. Watts — £20 gs. 6 d. Among the pictures by old masters there was an interesting one 
 attributed to the important master of the earlier Venetian School, Vittore Carpaccio, whose works are rarely to be seen 
 out of Venice, This, however, could not be accepted without question, as an example of him, though it may be Italian 
 work, and by many it was pronounced to be by the hand of some painter of the early German school. The picture was 
 an equestrian portrait of a personage of importance riding a brown jennet richly caparisoned, in a landscape, with several 
 small figures of soldiers, and a bird like a goldfinch prominent in the foreground, which had the flowers and weeds rather 
 minutely painted. The name given to the portrait in the catalogue was “ The Grand Duke of Brunswick,” and the 
 picture is painted on a thick pine wood panel, about 19m. by 24m., strong in colour though showing some loss from 
 injury to parts. It was knocked down at ^42, but was, we believe, not sold. But some additional interest attaches to 
 this picture in connection with the sale of one it resembled in style which may be remembered in the Bohn collection 
 dispersed last year at these rooms. That was called a Giorgione, with still higher assumption of title, though it had in a 
 previous sale (Mr. White’s, 1872) been absurdly attributed to Raphael. The subject was Solomon and attendants in a 
 landscape, with animals and birds, size 24m. by 19m., on thick pine panel, from the Aldobrandini Palace, Rome. The 
 merit of this picture was attested by its selling in White’s sale for £73 io^., and in Bohn’s for ,£115 ior. As we recognise 
 the similarity in style it would be interesting to discover whether the two pictures are by the same painter, and, as they 
 are upon the same kind of panel, whether they were not originally one picture, or belonged to some retable or cassone. 
 Another picture of some interest was an old copy on a small scale (about 4ft. by 5ft. 6in.) of the Miraculous Draught of 
 Fishes in Raphael’s well-known cartoon. This was the work of some late Roman painter such as Raphael Mengs, and 
 by no means a bad picture, besides being uncommon. It was knocked down at £23 2 s., but like the so-called Carpaccio, 
 was not sold. 
 
 There were a good many curious objects collected in Cyprus, and some painted antique Greek vases, with numerous 
 carvings in ivory, of which a pair of statuettes of dancing boys, 8|in. high, sold for £12 1 5 s., and three long ivory horns 
 carved with Oriental figures which sold for £g 55., besides snuff-boxes and personal ornaments, and wax medallions, all 
 of which went for very small prices. Most of the majolica plates sold at from three to five guineas, one Abruzzo plate, 
 painted with the Death of Abel with a good border of masks, cherubs, and flowers, for £8 1 5 j. A pair of Chelsea vases 
 fetched ^13, a Wedgwood early copy of the Portland vase — £6 ioj. ; a fine oblong Wedgwood plaque, Triumph of 
 Bacchus, white on pale blue ground, 12 figures, 21 in. long by 6in. high, but mended, was bought in at £32 ior. ; another, 
 Sacrifice to Ceres, white on deep blue, 13m. long by 4fin., sold for £26 ; a bronze, David, sold for ^25 45-. ; and the 
 whole collection amounted to £3,337 12s. 
 
 MR. H. E. GREEN’S COLLECTION. 
 
 (“The Times,” February 8, 1886.) 
 
 It is not often that the stock of a picture-dealer comes under the hammer of Messrs. Christie, Manson and Woods, 
 the happy hunting-ground in King-street being generally well stocked from private preserves, and “the trade” are chary 
 of displaying their purchases which have hung on hand. The stock of modern pictures and water-colour drawings sold 
 by order of the executors of the late Mr. H. E. Green, of Grosvenor-house Gallery, Bristol, on Saturday, was unusually 
 good for a provincial city to have at its disposal, and considering the hard times that are nowhere more grievously 
 complained of than among those who depend upon the fine arts, the prices obtained were by no means discouraging. Of 
 the 30 water-colour drawings disposed of, there may be mentioned “An Autumn Twilight,” by J. Macwhirter, A.R.A., 
 £30 8j. ; and “ A Mountain Torrent,” /18 i8r. ; “Christopher Sly and the Hostess,” the engraved drawing, by Sir John 
 Gilbert, R. A., £22 : “A Highland River Scene,” by Copley Fielding, ^24 3^. ; “October — Pheasant Shooting,” by J. 
 Hardy, 1880, £87 3s. There were rather less than a hundred oil paintings, nearly all of which were by artists of the 
 English school. Of these “ Under the Trees,” by C. E. Johnson, sold for ^35 ; “ The Coquette,” by E. de Blaas, £3 17s. ; 
 “The Bridge of Cannick, Inverness-shire,” by J. Macwhirter, A.R.A., £22 ; “Breezy England,” by P. R. Morris, A.R.A., 
 £43 3s. ; “ The Wounded Fawn,” £ 120 15^. ; “The Widow’s Croft,” ,£60 i8.r. ; and “The Little Mother,” exhibited at 
 the Academy last year, ,£74 iu., all by the same artist ; “ The Coral Necklace,” by G. Storey, A.R.A., ^35 14^. ; “The 
 Young Nurse,” by F. D. Hardy, £21 io.r. 6 d. ; “ Bridlington Quay, Yorkshire,” by J. B. Pyne, ,£53 ur. ; “A Grey Day,” 
 by H. Moore, A.R.A., ^14 ; “The Fisher Boy,” by W. O. Orchardson, R.A., ^48 ; “ In the Highlands Driving Sheep,” 
 by C. E. Johnson, £2g 8j. ; “ A Landscape with Ruined Castle,” by Sam Bough, R.S.A., £28 7s. ; “ Entrance to the Grand 
 Canal, Venice,” by H. Woods, A.R.A., painted 1878, £38 17s. ; “ La Festa di Lido,” by Val Prinsep, A.R.A., £63 ; “ A 
 Sweet Companion,” by A. de Lobbe, /50 8r. ; “A Coast Scene with Boats and Figures,” by J. W. Oakes, A.R.A., 
 £7g 16 s. ; “ St. John taking the Virgin to his Own Home after the Crucifixion,” by Edward Armitage, R.A., ,£91 7s . ; 
 “ Palm Sunday in Paris,” by Edouard Frere, painted 1865, ^40 19J. ; “ Love’s Messenger,” by E. Long, R.A., £218 8r. ; 
 “Summer Time,” by B. W. Leader, A.R.A., painted 1873, £232; and “ David Cox’s Craig at Bettws-y-Coed,” by the 
 same, £63 ; and “ Near Capel Curig, North Wales,” £46 14^. The set of five finished small replicas of the pictures called 
 
1886.] 
 
 COLONEL J. J. ELLIS’S COLLECTION. 
 
 425 
 
 The Road to Ruin, by W. P. Frith, R.A., exhibited at the Royal Academy in 1878, separately named “ College,” 
 “Ascot,” “ Arrest,” Struggles,” “The End,” ,£325 ioj. ; “The Timber Waggon,” by Sir John Gilbert, R.A., ,£37 i6r. ; 
 “ Canterbury Meadows,” cows and sheep, a fine work of Sidney Cooper, R.A., painted in 1853, ^556 lew. ; and a “ Winter 
 Scene with Sheep,” a small work by the same painter, ,£40 19J. ; “ The Dowie Uens o’ Yarrow,” by Sir Noel Paton, P.R.S.A., 
 ,£141 15J. ; Prince Charming, by J. Pettie, R.A., .£48 6 s. ; “The Young Bedouin and his Flock,” by F. Goodall, R.A., 
 I6g 6s. ; and “ Pilgrims on the Road to Mecca,” by the same painter, £92 8r. ; “ A Day’s Sport,” by J. S. Noble, £137 ; 
 and “ Full Cry,” by the same artist, £134 ; “ On Guard,” by J. Hardy, £100 ; A Rocky River Scene,” by F. R. Lee, R.A.’ 
 with cattle painted by Sidney Cooper, R.A., £4 2 2s. After the sale of the above-named pictures a small private collection 
 was sold in which were several works of James Ward, R.A., the animal painter, some by the late E. M. Ward, R.A., 
 among which were the original picture of “Juliet and the Friar,” and “ Queen Victoria Visiting the Tomb of Napoleon I.,” 
 and Mrs. E. M. Ward’s picture of “ Palissy the Potter,” exhibited at the Academy in 1866. These however were, we 
 believe, bought in at prices below the reserve put upon them. 
 
 COLONEL J. J. ELLIS’S COLLECTION. 
 
 (“The Times,” February 23, 1886.) 
 
 THERE was a much fuller room than has been seen this season at Messrs. Christie’s on Saturday, when the collection 
 of modern pictures belonging to the late Colonel J. J. Ellis, of Ellistown, Leicestershire, and Portland-place, London, was 
 sold by order of the executor, Mr. Ruthven Pym. There were some rather important pictures by English artists in the 
 collection, and particularly the series of five pictures by Mr. Frith, R.A., called “ The Road to Ruin,” of which a set of 
 small replicas was sold a fortnight back at Christie’s ; Mr. Hook’s charming picture of “ The Coral Fisher,” and two 
 good landscapes by old Linnell. Some considerable prices were obtained for these, and among the other pictures the 
 following were the most interesting : — By Edouard Fr£re. — Winter, “ The Young Water-carrier,” 1877 — £63. By H. G, 
 Glindoni. — “ The Quack ” — £48 6s. ; “ Your Very Good Health ” — £1 5 1 55. By H. Helmick. — “ A Wayward Daughter ” 
 — IS 1 1 9 s - 6rf. ; Winnowing in Galway — £36 13s. Several other pictures by this artist and by P. Pavy sold for smaller 
 sums. “ One of the last days of Robert Burns,” by Mrs. E. M. Ward, exhibited at the Royal Academy 1878 — £49 js. ; 
 “The Sketcher,” by W. P. Frith, R.A., small oval — £21 ; “At the Bullfight,” by W. Holyoake, 1869 — £34 ; A cavalier 
 on a white horse saluting two ladies ; by three artists — the horse by Herring, senior, the figures by C. Baxter, and the 
 landscape and castle by H. Bright — about 54m. by 42m. upright, painted 1855 — £107 2 s. ; “The Letter-writers, 
 Rome,” by Keeley Halswelle — £45 3s., and “Via Consolazione, market-day, Rome,” small, by the same — £53 13J. Three 
 frieze-like pictures by Hans Makart, replicas from his large work, about 30m. by 114m., “Procession of Artists” — 
 £126 (Messrs. Colnaghi) ; “Procession of Merchants £131 5-f. (Koekoek) ; “Procession of Slaughterers” — 
 £131 S s - (Koekoek); “Harvest Time,” by W Linnell, about 30m. by 40m. — £131 5-r. ; “Lowlands,” a large 
 landscape by James Webb, painted and exhibited in 1879 — £105 ; A Winter’s Tale, by G. H. Boughton, A.R.A., 
 a beggar-man and a rich fur-clad gentleman on a terrace in deep snow — £95 1 ij. ; A Spanish flower-girl, 
 by J. R. Burgess, A.R.A., engraved — £33 14s.; “The Rosebud,” by T. Faed, R.A. — £95 iij. ; A Sussex Cottage, 
 with sheep, by Sidney Cooper, R.A., and T. Creswick, R.A., about 24m. by 30m. — £162 1 5 x. ; Iona Shore, by 
 Colin Hunter, A.R. A. — £147; Badminton, by Sir Edwin Landseer, R.A. — £299 5-f. ; “The Coral Fisher, Amalfi,” by 
 J. C. Hook, R.A., this picture was exhibited at the Royal Academy, 1878, the coral fisher lying on the sands, and 
 two pretty Amalfi girls — £850 lew. (Tooth) ; River Scene, Devonshire, by F. R. Lee, R.A., and Sidney Cooper, R.A., 
 1866 — £199 ior. ; Sheep, by Sidney Cooper, R.A., 1873 — £215 5^. (Messrs. Agnew) ; “Over the Hills,” by J. Linnell, 
 senior, 1872, about 30m. by 40m . — £60 3 15 s. (M‘Lean) ; “ The Harvest Waggon,” by the same, 1862, 19m. by 27-i-in., from 
 Mr. Hargreaves’s collection — £483 (Howe), this picture sold for £777 in Mr. Hargreaves’s collection in 1873 ; “When 
 there’s nothing else to do,” by E. Nicol, A.R.A. ; an old Scotchman knitting — £237 5-f. ; “ Donnybrook Fair,” by the 
 same — £199 ior. ; “Amour ou Patrie,” by Marcus Stone, A.R.A. — £294 ; and “ Summer Time,” by the same — £93 19^. 
 The set of five pictures by Mr. Frith, R.A., each 28iin. by 36m., representing the career of a young spendthrift, called 
 “ The Road to Ruin,” which will be remembered in the Academy Exhibition of 1878, entitled “ College, Ascot, Arrest, 
 Struggles, The End,” were now put up, only one, however, being placed on the easel, the others being hung upon the 
 wall. They have been engraved, and it was said at the time of the exhibition that £6,000 was the sum paid by Colonel 
 Ellis for them, a price which, it is to be presumed, included the copyright. Mr. Woods now remarked that no doubt a 
 considerable profit might be made by the purchaser if these pictures were exhibited in the provinces and the colonies. 
 After a very languid course of bids they were knocked down at 1,500 guineas (£1,575) (Walker). Three more pictures 
 by Mr. Frith followed. A scene from “ The Vicar of Wakefield,” Squire Thornhill teaching the daughters picquet, a 
 picture about 36m. by 56m., exhibited 1876, sold for £441 (Howe); “Below the Doge’s Palace, Venice, 1460,” a monk 
 outside a prison grating listening to the confession of a girl in despair, painted 1876 and exhibited at Paris Universal 
 Exhibition, 1878 — £262 10 s. (Potter) ; a Tenby fishwoman carrying a basket of prawns, painted and exhibited 1880, a 
 small whole-length figure — £99 15J. There were altogether 89 pictures in the collection, which realized ,£8,621 is. 6 d. 
 
 3 1 
 
 VOL. I. 
 
426 
 
 ART SALTS. 
 
 [ 1886 . 
 
 PORTRAITS FROM MOXHULL HALL. 
 
 In the collection of pictures removed from Moxhull Hall, Warwickshire, late the seat of Mr. B. P. G. C. Noel, sold 
 by order of trustees on Thursday at Christie’s, there were a good many historical portraits which deserve mention. 
 Portrait of Lady Amelia Hacket, daughter of Francis, sixth Earl of Moray — £(14 145. ; Andrew Hacket, son of Sir 
 Andrew Hacket — £(8 i8j. 6 d. ; John Addyes, of Moor Hall — ,£8 ; Dr. Hacket, Bishop of Lichfield and Coventry, who 
 restored the cathedral in the time of Charles II., engraved by Faithorne — £17 17J. ; Sir William Thorold, in armour — 
 /to ior. ; John, Lord Roos, Marquis of Granby, second Duke of Rutland, son of the first duke and Catherine Noel — 
 £12 12s . ; John Hacket, D.D., Vice-Master of Trinity College, Cambridge, by Sir Godfrey Kneller — £16 5s-. 6 d.\ 
 Elizabeth Noel, wife of Charles, Earl of Berkeley — £(68 5.?.; Katherine Noel, Duchess of Rutland — £\2 12 s. ; Lady 
 Hodgson, daughter of Sir W. Thorold, by Kneller — £(18 7 s. 6 d . ; Elizabeth, daughter of James I., holding battledore and 
 shuttlecock, by D. Mytens — £22 is. ; Elizabeth, Queen of Bohemia, in coronation robes and crowned, in a circle, by 
 Honthorst — £141 15J. (bought by Lord Moray). 
 
 From a different property were sold on the same day, among a number of indifferent pictures, a river scene, with 
 ferry boat and tower, by Van Goyen — £(54 icr. ; and Mouth of a river, with boats, by the same — £(54 i2.y. ; portrait of 
 Lady Popham, playing a harp, by G. Romney— £21 ; portrait of Miss Long, afterwards Mrs. Palmer, by Sir J. Reynolds 
 — -£63; p 0r trait of David Garrick, by Sir J. Reynolds, with the engraving by Laurier — £19 19^. ; portrait of a lady 
 unknown, by Van Loo, black dress, pearl necklace, holding a fan— £(43 ; portrait of a lady, by V. der Heslt, dated 1636 
 — 1,37 i6j. 
 
 MISS GAMBLER LACE PRESENTED TO GIRTON COLLEGE. 
 
 The sale of the late Miss Gamble’s beautiful old lace and Jewels realized exceedingly well, and will add nearly 
 £(4,000 to the funds of Girton College. The lace flounce and Berthe of old point de Venise in relief, with figures, coats 
 of arms, and M.A. worked in it, said to have been worn by Marie Antoinette on her wedding dress, sold for £(236 5^. 
 (Joseph); an old Spanish point apron — £27 6s.: an old point de Genes flounce, about 3^yds. long by 25m. wide — 
 £22 1 ij. 6 d. ; a single collet brilliant necklace of 46 graduated diamonds, £820 ; a necklace of 25 square graduated 
 emeralds and 26 brilliants brought £ 940 . 
 
 The large collection of the works in oils and water-colour by the late Mr. John Mogford, of the Institute, so long 
 known for his brilliant sunset sea pieces and every variety of studies from Nature, is now exhibited previous to the sale on 
 the three last days of the week. 
 
 SALE OF COLONEL T. J. ELLIS’S COLLECTION. 
 
 (“ Daily News,” February , 1886.) 
 
 The late Colonel Ellis, of Ellistowne, Leicestershire, and Portland Place, London, was formerly known as Mr. JoeL 
 and was the purchaser of Mr. Frith’s series of pictures called “The Road to Ruin” when they were exhibited at 
 Burlington House in 1878, for, it was said at the time, the very considerable sum of 6,000 guineas. These pictures, 
 which are well known from the engravings, were the most important lot in the sale, and they were knocked down, 
 though it is not stated they were sold, at the sum of 1,500 guineas (^1,575). There were four other works of Mr. frith 
 in the collection and several important pictures by other artists, of which the following may be noticed : Sir Edwin 
 Landseer, R.A. : Badminton, £299 5J. — Connell. J. C. Hook, R.A. : The Coral Fisher, Amalfi (the exhibited picture, 
 1878), £(850 ior. — Tooth. F. R. Lee, R.A., and T. S. Cooper, R.A. : A River Scene in Devonshire, with Cattl 
 and Sheep, ,£199 ioj. — McLean. T. S. Cooper, R.A. : Sheep, ,£215 55'. — Agnew. J. Linnell, senior: Over the 
 Hills, £60 3 1 5-f. — McLean. The Harvest Waggon, from the collection of the late Mr. Hargreaves, £(483 Hone. 
 E. Nicol, A.R.A. : When there’s Nothing Else to Do, £>57 5s— Richardson. Donnybrook Fair, by the same, £199 
 1 os. — McLean. Marcus Stone, A.R.A. : Summer Time, ,£93 19J. — Ricketts. Amour ou Patrie, by the same, ,£294 
 Hone. W. P. Frith, R.A. : The Road to Ruin, the engraved series of five pictures exhibited at the Royal Academy 
 1878, .£1,575 — Walker. Scene from the Vicar of Wakefield, £441 — Hone. Below the Doges’ Palace, \ enice, £262 io^ 
 — Potter. A Tenby Fishwoman, £99 15J. Total of sale, £(8,621 ij. 6 d. 
 
1886 .] 
 
 MR. M'CONNEL’S COLLECTION. 
 
 42 7 
 
 MR. MEONNEL'S COLLECTION. 
 
 (“The Times,” March 29, 1886.) 
 
 The sale of the collection of modern pictures belonging to the late Mr. Henry M'Connel, of Cressbrook, in 
 Derbyshire, on Saturday last, was the most interesting of its kind that has occurred since the famous dispersions of Mr. 
 Gillott’s collection in 1872, Mr. Mendel’s in 1875, and Mr. Albert Grant’s in 1877, the last-named having derived its 
 chief pictures from the Mendel sale. Mr. M‘Connel, who died about twelve years ago, was a Manchester man, and had 
 his extensive cotton mills at Cressbrook. He had been a well-known buyer of modern pictures for many years, even 
 before he began to form the collection we have just seen sold by order of his executors after the recent death of his 
 widow. It appears from a brief statement made by Mr. Woods in opening the sale that Mr. M‘Connel many years ago 
 had to go to America on business and decided to sell his collection before starting, the purchaser being Mr. Naylor, of 
 Liverpool, who has since enriched his fine collection with other important pictures. The formation of the collection 
 before us was begun in later years, and chiefly under the advice of Mr. W. Agnew, but it has remained for the last twenty 
 years complete, as it has been viewed during the past week with so much interest, the last additions being the grand 
 work of John Phillip, the “ Murillo ” and the “ Horse Fair,” a smaller replica by Rosa Bonheur of her celebrated picture. 
 Besides these capital works there was one of the gems of the Bicknell collection sold in 1863, “The Campo Santo, 
 Venice,” by Turner, a lovely little picture sparkling with the sunlight that only Turner can paint, which sold to Mr. 
 Agnew in that great sale for ,£2,000, and has now again vindicated the great painter by bringing 2,500 guineas — ,£2,625. 
 This picture has now passed to another and newer collection — that of Mr. Keiller, of Dundee, along with the great work 
 of Phillip and the noble picture by Constable, each a masterpiece alone fit to create a reputation for any gallery. It was 
 around these pictures that the great interest of the sale circled as regards the price, and there was a good deal of 
 applause as the prizes were awarded at high figures certainly, considering the political tension and financial exigencies of 
 the time, but scarcely up to the mark of those halcyon days of the great sales we have alluded to. It is known, indeed, 
 that upon some pictures there was a very serious falling-off in price, but this was perhaps more than compensated by the 
 profit upon the three Phillip pictures, which alone brought ,£4,425 to the good, and the William Collins’ “ Morning 
 Bath,” which was a commission at 200 guineas, and which sold for 850 guineas. Some instances of remarkable fall in 
 value will be observed in the course of the sale. But before entering upon the details of the prices we must notice what 
 was a rather important incident of the sale, arising out of the auctioneer’s allusion when about to sell the fine picture 
 “ The Dell,” by Constable, to the gift just made to the National Gallery by Mr. Vaughan of “ The Haywain,” by the 
 same master. Mr. Woods remarked that he wondered such great works of the English school were so rarely bought to 
 be presented to the National collection, especially when it was well known that there was in existence a very large fund 
 accumulated for this direct purpose, but which had lain idle for a great many years. At this a gentleman near the 
 rostrum said that the amount of the sum in the hands of the Trustees of the British Institution was over ,£35,000. It will 
 be remembered that attention was drawn to this matter in The Times about two years ago. 
 
 In recording the prices of the eighty pictures forming the collection, and which were sold without any reserve, some 
 twenty-five may be passed over, but the small replica (8in. by I2in.) of the well-known engraved picture of the “ Death of 
 Chatterton” by H. Wallis, reminds us that the original picture, in which the figure is nearly life-size, was bought in the 
 Royal Academy Exhibition of 1856 by Mr. Egg, the Academician, in admiration of the young artist then unknown, for 
 100 guineas, and he kept it as he did the “ Claudio and Isabella” by Holman Hunt, for which he also gave 100 guineas 
 from the same kindly motive. The former picture was sold after Egg’s death in 1863 for ,£813 15^., the latter for 
 ,£640 ioj. The little replica sold in the Mendel collection for no less than ,£273, but now it only brought ,£52 ioj. There 
 was an exceedingly fine finished study by A. Elmore, R.A., of his large historical picture “ Charles V. at the Monastery 
 of Yuste,” which many thought better than the large work, and it proved this by bringing the considerable price of 
 £267 15^. The large work sold in Mr. Albert Grant’s sale for ,£1,260. The two small replicas by the late E. M. Ward, 
 R.A., of his pictures “ The Last Sleep of Argyle ” and “ Marie Antoinette in the Temple Prison,” sold for ,£94 ioj. and 
 ,£65. The very small replicas by Mulready of his “ Choosing the Wedding Gown,” which sold after his death, in his 
 remanets, for ,£178 ioj., now brought ,£64 ; the “ Burchell and Sophia,” £>5 4s— (these were in size only 4-iin. by 3iin.). 
 The fine work of Mulready, “ Idle Boys,” painted in 1815 in the style of Wilkie, and which gained him his Associateship 
 in the Academy, on panel, 31m. by 26in., sold for ,£1,585 ioi-. (Agnew). “ The Heiress,” by C. R. Leslie, R.A., 33m. by 
 28m., the interior said to be a room in the mansion at Petworth — ,£288 1 5 -f- This picture sold in the Bicknell collection, 
 1863, at Christie’s, for ,£1,260. “The Smile ’’and “ The Frown,” 1 iiin. by 24m., a pair, by T. Webster, R. A., sold together 
 for £1,627 ioj. (Agnew). These very popular pictures of schoolboys are well known by the engravings ; they brought 
 just 50 guineas more in the Bicknell sale. The two pictures by the late Sir C. Eastlake, P.R.A., were among those which 
 did not maintain their price, whatever may be felt as to their artistic merits. They were “ Christ Blessing Little 
 Children,” 30m. by 40m., engraved— ,£220 105., and “ The Ransom,” a large picture, 45m. by 70m., painted for Mr. 
 M‘Connel, the commission being 600 guineas, sold for ,£105. “The Firstborn,” by F. Goodall, R.A., 5oin. by 38m. — 
 ,£236 5-f. The one charming coast scene, “ Low Tide on French Coast,” by Bonington, 17m. by 2 1 in ., brought .£472 10 s. 
 (Agnew). This picture had a ticket at the back, which said that it was purchased of the artist by Sir G Warrender ; 
 it was bought in Paris of the Marquis Maison. “A River Scene,” 14m. by 17m., by P. Nasmyth— .£210 (Lesser); 
 “ L’ Allegro,” by W. E. Frost, R.A., 15m. by 23m., with arched top, painted 1859— ,£141 1 5-f. ; “The Brow of the Hill,” 
 by J. Linnell, 27m. by 38m., painted 1866— ,£640 (Agnew) ; “Conquered, but not Subdued,” by T. Faed, R.A., 25m. by 
 35in., the engraved picture exhibited 1856 — ,£1,155 (S. White) ; “ Pilgrims to St. Paul’s,” by Sir J. E. Millais, R.A., an 
 upright picture of two Greenwich pensioners, one of whom has two wooden legs, before the tomb of Nelson in the crypt 
 of St. Paul’s, the lighting being from a candle-lantern on the sarcophagus, 56m. by 44m., exhibited 1868— ,£420 (M'Lean). 
 There were three pictures by Madame Henriette Browne, the most important being a rather large work called “ Visit to 
 
 3 1 
 
 O 
 
428 
 
 ART SALTS. 
 
 [ 1886 . 
 
 the Harem,” with several figures in long loose robes of pale blues and pinks — a very elaborately finished picture — 34m. 
 by 45m.— -£(1,312 ior. (Agnew). “The Abbess” was a small picture, nin. by 8in. — £(85 (Agnew), and the third was a 
 group of children looking at dead pheasants and game hung up, 15m. by loin. — £(95 iu. (Agnew). By Rosa Bonheur 
 there was a small picture of an old grey mare with her bay foal at her side in the green meadows, 13m. by i8in., which 
 brought the high price of £(903 (Agnew), and the “Horse Fair,” so well-known by the engraving, a replica, 48m. by 
 iooin., painted by Mdlle. Rosa for Mr. M'Connel. When this picture came upon the easel it was honoured with a round 
 of applause and a first bid of r,ooo guineas from Mr. Agnew, who became the purchaser at £(3,150. This sum is, we 
 believe, a little under the commission figure, which it is said was about 4,000 guineas.* It should be understood that 
 there are at least three “ Horse Fairs.” The original work is 1 8ft. long and was exhibited in London before going to New 
 York, where it remains ; the one painted for Mr. Jacob Bell, and bequeathed to the National Gallery, which is the size of 
 the picture now sold, making the third.' Another celebrated picture, “ Paolo and Francesca da Rimini,” with Dante and 
 Virgil, by Ary Scheffer, was here represented by a small replica (i2^in. by i8in.) of the original, which is a large canvas 
 with figures the size of life, long in the gallery of Manchester House, having been bought by the late Marquis of Hertford 
 for 110,000/. This replica was now sold for ,£189 (Agnew). The two pictures by Constable differed about as much as 
 they well could to be the work of the same hand, the “ Flatford Mill” being almost black and white from the greens 
 having changed, while the “ Dell in Helmingham Park” retains the rich browns and blue greys, and is altogether a very 
 bold and vigorous work, finely thrown upon the canvas in his most masterly style. It is nearly square, being 44m. by 
 5 1 in. It was when this picture came before the audience that Mr. Woods took the opportunity of referring to the 
 British Institution Trust Fund, after which the first bid of 500 guineas was made, and a sharp contest between young 
 Mr. Agnew and Mr. Silver White ended in the last-named being the purchaser at £1,627 ior., the picture being bought 
 with others for Mr. Keiller. “The Morning Bath,” by William Collins, R.A., was one of his freshest and happiest 
 pictures of a subject so commonplace as a town-bred mamma giving her plump baby to the bathing-woman by the 
 seaside, perhaps a view at Cromer. It was painted in 1831, and purchased in the Exhibition of that year for 200 guineas 
 by Mr. M'Connel, and is engraved in “The Literary Souvenir.” The first bid was 500 guineas, and it soon rose to 
 £(892 ion (Agnew). Two pictures by Sir A. Callcott — views of Ghent, and the Gulf of Salerno near Amalfi — each 28m. 
 by 40m., painted for Mr. M‘Connel, brought £840 the first, and ^735 the last-named (Agnew). “A Syrian Dance,” by 
 W. Muller, 15m. by 24m., the figures left unfinished — £(310 (Mr. T. Johnson). “ Hawking in the Olden Time,” by Sir E. 
 Landseer, R.A.,was the large picture, 72m. by 6oin., engraved by Lewis, in which the hawk and the stricken heron are falling 
 to the ground, painted as Landseer only could with his living pencil. It was originally, Mr. Woods stated, painted for 
 Mr. Samuel Cartwright, the great dentist of his day, and was sold to Mr. Naylor, who exchanged it for the well-known 
 picture by Landseer, “There’s Life in the Old Dog yet,” then Mr. M'Connel’s. It was sold at the very low price of 
 £(472 ior. (Agnew), and must have cost at least double this sum. The pair of amusing crayon pictures by Landseer, 
 called “Free Trade” and “ Protection,” sold for £210 (Agnew). The magnificent sea piece by Stanfield — “ Port na 
 Spania, near the Giants’ Causeway,” 48m. by 76m., painted for Mr. J. Houldsworth, of Glasgow, and sold in the sale of 
 his collection at Glasgow in i860 for £(1,300 — now brought ,£1,417 ioj. (Agnew). There were three pictures by Turner, 
 each remarkable as an example of his wonderfully various imaginative style — “ The Bathers,” a brilliant evening effect, 
 with light spreading through the picture, shadowy forms of bathers on the wet sands, and a weird tree in an impossible 
 place, yet a beautiful picture, about 25m. by 3 1 in., which sold for ,£1,134 ; the “ Campo Santo, Venice,” with a sky full 
 of glistening fleecy clouds, boats rich with colour on the water, the Campo Santo gleaming in rosy hues in the middle 
 distance, brilliant against the deep blue of the water beyond, altogether a lovely picture, 24m. by 36m., painted for Mr. 
 Bicknell, and exhibited 1842. It was put up at 1,000 guineas and quickly went to ,£2,625, at which the hammer fell, Mr. 
 S. White being the buyer for Mr. Keiller. The next Turner was in his fantastic vein, with strange yet marvellous effects 
 of “ Rockets and blue-lights warning ships off shoal water, Calais,” 35m. by 47m.— £(745 ion (Agnew). After these came 
 the three pictures by Phillip — “ The Volunteer,” a young Spaniard taking a last embrace from his lover, while her father 
 stands by holding his musket, an upright picture, 25m. by 2oin., which brought ,£1,575 (S. White) ; “The Water 
 Drinkers,” 34m. by 44m., painted 1862, has, we believe, not been engraved, but it must be tolerably well known as the 
 companion picture to the “Wine Drinker,” which is in the collection of Mr. R. Brocklebank, both exhibited at Leeds in 
 1868, and Manchester, 1878. In this the beautiful Spanish lady in her splendid shawl and mantilla is about to take the 
 glass, the rough water-seller smoking his cigarette, the duenna waiting at her side. This splendid picture brought 
 £2,572 1 or. (Mr. T. Johnson, of Manchester). The great prize of the sale was next uncovered on the wall, amid the 
 loudest applause — “The Early Career of Murillo, 1634,” 6oin. by 98m., which the catalogue styled “the celebrated chef- 
 d'oeuvre .” It has never been engraved, and was sold with the copyright. The first bid was £(1,000 guineas from Mr. 
 Agnew, but as the advances went on it soon became evident that Mr. Keiller, through his agent, Mr. Silver White, was 
 a determined competitor for it, and, as we have said, the noble picture now belongs to him at the price of ,£3,990. It 
 was originally bought from the painter by Mr. William Agnew and sold to Mr. M‘Connel for £(2,825. This brought 
 the total of the sale up to £(35,242 rqx. 6 d. In the Academy catalogue of the year, when this fine work was the great 
 attraction of the exhibition, a long quotation was given from “Stirling’s Annals,” vol. ii., from which the painter took 
 his subject : — “Murillo was reduced to earn his bread by painting coarse and hasty pictures for the Fena, a weekly fair, 
 held in front of the old church ; ” a gipsy woman, with her brown baby, is looking at one of these little pictures, held by 
 some priests who are admiring it. with a motley crowd of market people, forming altogether a picture which will uphold 
 the merits of the English school under any comparison that may be made, and one that was eminently worthy the 
 notice of the Trustees of the National Gallery. 
 
 The collection of the late Mr. W. Graham, consisting of numerous important works of Mr. Burne-Jones, A.R.A., and 
 of the late Mr. Rossetti, with some fine works of the old masters, will be exhibited on Tuesday and during the week, the 
 sale beginning on Friday next. 
 
 * Mr. Lefevre, who gave the commission to Rosa, told me on Tuesday that the exact sum was 2500 gs., so that the picture brought £525 
 more than this sunn 
 
1S86.] 
 
 THE ART SALES SEASON. 
 
 429 
 
 THE ART SALES SEASON 
 
 (“The Times,” April 1, 1886.) 
 
 In spite of the depression of trade, of the Royal Commission thereon, and of all the other signs of the times, the 
 production and dispersion of works of art still go on. Men are no longer making fortunes, they say ; but pictures are 
 painted in greater abundance than ever, and if they are good ones they are bought. Never were artists so multitudinous ; 
 never were exhibitions so constant or so rapid in their succession. Just now, too, the sale season is beginning to 
 approach its height. King Street is unusually busy. The great mart there, the momentary resting-place of so much art 
 that is good, so much that is mediocre, is at this moment, as it was last week, one of the sights of London. Not now 
 is it the happy hunting-ground of the humble collector, in search of masterpieces which no one will discover but himself. 
 Those chances come mostly in the dark days of November and January ; while from the end of March onwards the 
 walls are commonly given up to great collections that every one has heard of, and that attract the long purses. Such 
 was Mr. McConnel’s collection, from Cressbrook, which was dispersed last Saturday ; such, still more, are the wonderful 
 possessions of the late Mr. William Graham, the modern portion of which is now on view, to be followed by the old 
 pictures next week. The Cressbrook pictures were good of their kind, and, as we have already recorded, the prices at 
 which they were sold proved conclusively that there are buyers among us still, who are not to be restrained. The great 
 Constable, damaged as it was, brought a high price ; the best of the Turners marked an advance of one-fourth upon 
 what it had commanded in the Bicknell sale ; the pictures of Mulready, Collins, and Callcott, charming examples of the 
 painters, sold extremely well. But the buyers reserved their great efforts for the “Horse Fair” of Rosa Bonheur — a 
 replica of the picture belonging to the nation — and for the three pictures of the late John Phillip. Why this painter of 
 Spanish scenes should rank where he does with the average wealthy picture buyer we have never been able to discover ; 
 but the fact is there. If a sufficient number of people are deternined to regard him as a great colourist, as a master of 
 composition, and as a painter endowed with a sense of beauty, his canvasses will continue to bring their thousands. 
 The fastidious must be content to stand aside and wondgr. 
 
 A very different collection from the good but rather miscellaneous gathering from Cressbrook is that which is now 
 displayed on Messrs. Christie’s walls. Mr. William Graham was a man of great taste and knowledge, as was implied in 
 the fact that he was a Trustee of the National Gallery. A devoted and passionate admirer of the art of the Italians of 
 the great age, a collector of old Florentine and old Venetian pictures such as were very few of his contemporaries, he 
 was also an eager buyer of the work of such modern English painters as seemed to him to have inherited the serious 
 spirit of the Italians. His old pictures, as we have said, are not yet on view ; next week will come the turn of 
 Ghirlandajo and Titian. At present the rooms contain such a gathering of the works of Mr. Burne Jones, Sir Everett 
 Millais in his early period, the late Frederick Walker, and Dante Rossetti as has never been seen there before, and as 
 probably will never be seen there again. Visitors to the Millais exhibition have missed, among the early works, two of 
 those which are best remembered by the admirers of the pre-Raphaelite movement — “Apple Blossoms” and the 
 exquisite “Vale of Rest.” Had Mr. Graham lived, no doubt they would have found a place there, for he was always one 
 of the most generous of lenders ; but this was not to be, and now, with “The Blind Girl,” another interesting work of 
 1856, they are awaiting the fall of Messrs. Christie’s hammer. Their fate is the subject of much speculation, but we 
 shall be surprised indeed, if “The Vale of Rest ” does not prove to be in the estimation of the public what it surely is, 
 one of the most precious existing works of the English school. There is sure, too, to be fierce competition for the three 
 pictures and the numerous drawings of Frederick Walker, who, besides being one of the most admirable of our artists, 
 happens by a curious chance to be just now one of the most fashionable. Mr. Graham bought the unfinished “ Sunny 
 Thames,” “The Vagrants ” (1868), and, above all, the fine picture called “ The Bathers,” which was exhibited in 1864. 
 It was “ skied ” at the Academy, but Walker soon had his revenge, and the price that will be paid on Friday for this 
 group of lads by the pond-side will show what is thought of him now. But the feature of the sale more interesting still 
 is the large number of the works of Rossetti and Mr. Burne Jones which will be included in it — a thing quite unprece- 
 dented in the annals of King Street. It will be curious to see whether the interest which Rossetti’s art aroused when 
 his works were exhibited two years ago is still maintained, and if there will still be found a crowd of persons anxious to 
 possess these full-lipped, long-haired damsels, with their “ intensity ” and their really lovely colour. There is no such 
 doubt as regards the pictures of Mr. Burne Jones, some of the very noblest of which are here displayed — “ 1 he Days of 
 Creation,” “ Le Chant d’Amour,” “ Laus Veneris,” besides a multitude of smaller pictures and drawings, one more 
 beautiful in colour than another. It is sometimes said that Mr. Burne Jones is only the painter of a clique, that his 
 fanciful allegories and somewhat sickly maidens appeal but to a few, and those not the healthiest of mankind. It may 
 be so ; but those who have watched the course of taste, even among the ordinary amateurs, during the last ten years 
 are inclined to think differently. This sale will probably prove that a good many people who are neither critics nor 
 sentimentalists, are anxious to possess works so sincere, so full of the spirit of beauty, and so unapproachable in colour 
 as these. 
 
 Meantime the new pictures and statues are finding their way to Burlington House and the Grosvenor Gallery and 
 the Water Colour Exhibitions. The rooms will be as full as ever, though it would appear that the most famous artists 
 are likely to be represented by less important works than usual. Perhaps we ought not to say this of the President, 
 for a fine statue must rank quite as high as a fine picture, and if “The Sluggard ’ is as good as people say, it will not 
 cause us to regret “ Cyrnon and Iphigenia.” Another of Sir Frederick Leighton’s works is to be the decoration of a 
 ceiling, destined for the house of an American millionnaire. Mr. Burne Jones exhibits this year for the first time as an 
 A.R.A. There is to be no lack of portraits by men whose fame is established, and by newer candidates for public favour. 
 Mr. Holl is to send seven or eight to the two galleries, including Mr. Chamberlain, Sir Everett Millais, and the new Head 
 
430 
 
 ART SALTS. 
 
 [188G. 
 
 Master of Eton ; while Mr. Ouless, among several others, will exhibit the portrait of Mr. Scharf, which, we are glad to 
 learn, is destined for the National Portrait Gallery, which he directs so well. Mr. Pettie, encouraged by his recent 
 successes, promises two more portraits this year, as does Mr. Poynter. From the hand of Mr. Alma Tadema we are to 
 have three or four pictures, one of which, called for the perplexity of the unlearned “ An Apodyterium,” is among the 
 most perfect of this artist’s smaller works. Mr. Watts has one picture in each gallery ; Mr. Gregory, the quantity of 
 whose production never satisfies his admirers, is to exhibit only one, but that promises extremely well. Mr. Briton 
 Riviere has been industrious ; the Academy is to have four of his pictures, one of them a grim and powerful rendering 
 of the tragic story of Rizpah. For landscape we are promised some large works of Mr. Peter Graham, a fine view 
 of Dunstanborough by Mr. Alfred Hunt, and, for the Grosvenor Gallery, the most important picture yet produced by the 
 most rising of our younger landscape painters, Mr. Alfred Parsons. Mr. Boughton has gone to the history of New York 
 for a pair of amusing subjects, which we may be sure that he has treated with humour and artistic skill. From Mr. Marks 
 we are to expect four pictures, from Mr. Gow a Cromwellian scene, from Mr. Prinsep a scene of Hindoo ritual, and 
 from Mr. Fildes two Venetian figures. The Sculpture Gallery will, as we have said, be adorned by the statue on which 
 the President has been so long working, by a life-size figure of “ The Sower,” by Mr. Hamo Thornycroft, and — not to 
 mention other and older men — by something, we hope, from the accomplished hand of Mr. Alfred Gilbert. This makes 
 altogether a respectable list, and it must be remembered that we have named but a few out of many painters and 
 sculptors of distinction. The displays at the Royal Water Colour Society, at the Institute, and at the new Marlborough 
 Gallery at Pall Mall are expected to be very good. A week or two hence the public will be able to judge for 
 themselves. 
 
 THE GRAHAM COLLECTION. 
 
 (“The Times,” April 3, 1886.) 
 
 The sale of this remarkable collection, which has excited the greatest interest and attracted large crowds of visitors 
 to the galleries of Messrs. Christie, Manson and Woods this week, began yesterday with the water-colour drawings, and 
 the important pictures by Mr. Watts, R.A., the late Frederick Walker, A.R.A., and the three early works of Sir John E. 
 Millais, R.A. — “The Vale of Rest,” “Apple Blossoms,” and “The Blind Girl.” These, together with the specially 
 interesting pictures by Mr. Burne Jones and the late Mr. Dante Rossetti which are to be sold this day, gave great interest 
 to the sale and brought a full, though not such a closely-crowded assembly as has often been seen in these rooms. It 
 had been rumoured that the National Gallery Director and Trustees were going to purchase one of the pictures by the late 
 Frederick Walker, A.R.A., who, it will be remembered, died some 10 or 12 years ago in the prime of his career, soon after 
 having painted the pictures which sold yesterday at very large prices. Rumours varied as to whether “The Bathers” 
 was the picture to be added to the National Collection, or “The Vagrants,” but at the close of the sale Mr. Christie 
 announced that the choice had fallen upon the latter, and this was received with a hearty round of applause. The picture 
 will be remembered by the charming etching of it by Waltner, and it was exhibited at the Academy in 1868. The subject 
 is a party of gipsies in a wild rural spot, making their fire, painted with a glowing pencil, and full of splendid colour, with 
 figures charmingly natural and picturesque. It cannot fail to be universally admired and valued far higher than the 
 price of 1,770 guineas at which it has now been acquired. “ The Bathers,” which is a larger and more elaborately 
 designed work, containing many figures of boys and youths bathing, brought a considerably larger price (as it was sold 
 with the copyright), reaching 2,500 guineas — .£2,625. Both were bought by Messrs. Agnew, who acted for the National 
 Gallery on this occasion. “ The Sunny Thames ” by the same artist, which is a brilliant picture of a group of girls and 
 boys on a marly bank, with one boy fishing in the clear pool below, sold for £1,218 (Agnew). Sir John Millais’ “ Vale 
 of Rest” received quite an ovation when it was placed before the audience, and it soon justified this by scoring the highest 
 figure of the sale — 3,000 guineas. It was bought by Mr. Deschamps, the picture dealer, and is, we are assured, not to go to 
 New York, as it was at first conjectured, but will pass into the collection of an English gentleman. The “Apple 
 Blossoms,” by the same eminent painter, which was painted in 1859 and exhibited at the Academy Gallery, then in 
 Trafalgar Square, was sold at a single bid of 1,000 guineas from Mr. E. T. White, the well-known dealer, there being no 
 advance upon this. “The Blind Girl,” also by Sir John Millais, was exhibited three years before, and in the same 
 exhibition as the “Autumn Leaves.” It sold for £871 ioj. (Agnew). These were the pictures which brought the 
 highest prices in the sale, but the fine works of Mr. Watts, R.A., which appeal to a different sentiment, well sustained the 
 high reputation of that distinguished painter. “ The First Whisper of Love” sold for £325 ; “The Sunflower,” a half- 
 figure of a nymph yearning towards the flower, for £315 ; a Venetian Nobleman, a bust portrait study in profile, for 
 £252. But when the beautiful Diana and Endymion came upon the easel it was welcomed with a loud burst of applause. 
 It is a small work, only 20 by 25, but has been admired, it might be said, by the whole world, for it was selected for the 
 Exhibition at Philadelphia, was in the special exhibition of the painter’s works at the Grosvenor Gallery, and has only 
 recently been in the loan collection at the Birmingham Institute of Fine Arts. It sold for £913 ioj. (Agnew). The two 
 small replicas of pictures by Mr. Holman Hunt — “ The Scapegoat ” and “ The Light of the World,” both of which are 
 now in the special exhibition of the artist’s works — sold for very high prices. The first-named, which differs from the 
 picture in having a bright rainbow, sold for ,£525 (Agnew) ; “ The Light of the World,” which measures i 81 dn. by 9|in., 
 brought the large price of £787 IO - f - (Agnew). These were the most important features in the sale, but there were some 
 others which have to be noticed, more especially the extraordinary price obtained by the charming little water-colour 
 drawing by F. Walker, A.R.A., called “The Lilies,” only I2in. by i6in., and only a pretty, graceful lady watering her 
 
1886.] 
 
 THE GRAHAM COLLECTION. 
 
 43i 
 
 flowers by the garden path close by a row of Virgin lilies. This beautiful drawing excited a very warm contest, in which 
 Mr. Agnew won the prize at the heroic price of ,£1,365 — the highest price ever paid for a work of one of the little masters of 
 the art. Another drawing by the same artist — “ Stobhall Garden,” a lady in a brown dress seated on the lawn with her 
 dog — brought ,£567. There were several drawings by Mr. J. W. North, of the Royal Society of Water Colour Painters, 
 which brought fair prices, and one, “ The Woodcart,” sold for ,£136 ion By Mr. G. D. Leslie, R.A., “ The Terrace,” an oil 
 painting, sold for ,£78 I5n, and “ Willow, Willow,” a lady seated by the riverside near the willows, for £126. Sir Frederick 
 Leighton’s “ Roman Lady,” a fine life-size figure, sold for ,£120 15J. (McLean). The small copy of Sir John Millais’ 
 “Christ in the House of His Parents,” familiarly known as “ The Carpenter’s Shop,” and in the Grosvenor Gallery 
 collection, by Miss Solomon, sold for £44 2 s. (Agnew). The two smaller replicas by Ary Scheffer of his pictures “ Christ 
 and the Maries” (21m. by i8in.) and “The Temptation,” 29m. by 2iin., sold well, the first for ,£173 5J. (Wagner), and 
 the last for £126 5-f. A sea piece by Old Crome, 2oin. by 26m., sold for ,£210, and a landscape by Sir Joshua Reynolds 
 — view from Richmond Hill — for£78 1 $s. (Permain). A large work by J. Van Lerius called “The Golden Age,” two 
 figures seated by a brook, sold for £(84. The total realized by this first day’s sale of 89 drawings and pictures amounted 
 to ,£18.659. 
 
 (“ The Times,” April 5, 1886.) 
 
 The interest in the dispersion of this great representative collection reached its climax in the sale of the important 
 works of Mr. E. Burne Jones, A.R..A., and the late Mr. Dante Rossetti on Saturday, when there assembled at Christie’s 
 such a number of enthusiastic admirers of the modern aesthetic school as has never been known in that room. Such was 
 the earnest competition raised by the numerous private buyers who bid personally against the Messrs. Agnew and other 
 buyers on commission that prices rose to fever heat, coming to the highest point in the contest for the beautiful picture, 
 “ Chant d’Amour,” by Mr. Burne Jones. When this picture came before the audience it was received with enthusiastic 
 applause, and after a brief, but sharp, fire of bids, beginning at 1,000 guineas, it rose quickly to 3,000 guineas, when there 
 was a burst of applause, followed by an advance of another 100 guineas against Mr. Agnew, who, however, was not to be 
 daunted, and met it at once with his 3,150 guineas, and silenced his opponent with this noble price, at which the hammer 
 fell, amid loud applause. It is, we believe, the highest price as yet ever paid either privately or at auction for a work of 
 Mr. Burne Jones, and it will deservedly enhance the value of the fine picture the painter contributes for the first time to 
 the Royal Academy Exhibition as marking his election as Associate. Between the “ Chant d’Amour” and the “ Laus 
 Veneris,” opinions differed as to which would bring the highest price, both w-ere so beautiful, though perhaps the “ Chant 
 d’Amour ” was the favourite for its splendid Giorgionesque colour and lovely expression. Both pictures attracted the 
 warmest admiration when they were exhibited in the Grosvenor Gallery together in 1878, when they were purchased by 
 Mr. Graham. The “ Laus Veneris,” however, in the sale yielded the palm of price, as it sold for £2,677 ioj. (Agnew), 
 In both cases it is said that these two pictures have sold for nearly three times the price originally paid for them, and 
 probably much the same is to be said of the other pictures which preceded them in the course of the sale, all bringing very 
 considerable sums. 
 
 The pictures and drawings by the late Mr. Rossetti, most of which were contributed by Mr. Graham to the special 
 exhibition at Burlington House in 1883 after the death of the artist, though not bringing such very large prices as those 
 by Mr. Burne Jones, surpassed the expectations of many, especially some of the smaller works. But perhaps the most 
 interesting event of the sale was the purchase of the beautiful early work of Rossetti — the “ Ecce Ancilla Domini ” — for the 
 National Gallery at the handsome price of 800 guineas, and the hearty round of applause that was given when Mr. Agnew, 
 standing up, took off his hat to announce this to the audience, showed in the most gratifying manner the cordial sanction 
 and the sympathy of the public with this acquisition of so admirable an example of the pre-Raphaelite school at its earliest 
 and best. The picture, which measures 28|in. by 17m., represents the Annunciation — the angel Gabriel, draped in a white 
 vestment, standing on flames, holding a lily, appears to the Virgin rising from her couch, near which is an embroidery 
 frame. It is signed “ D.G.R., i85o,”andwas firstexhibited ina miscellaneouscollection of picturesrejected from the Academy 
 and others in a large gallery near Hyde Park Corner, which had been left vacant after an exhibition of Chinese art and 
 manufacture, and afterwards at the Portland Gallery Free Exhibition. The pictures, however, which were characteristic 
 of Rossetti’s fully developed art and his strongly pronounced style and method were those which had a more special 
 interest, and they brought the highest prices. The large work, “ Dante at the Bier of Beatrice,” is a picture 6oin. by 78m , 
 with two quasi-predella panels below (14m. by 30m.) which are not in the still larger work belonging to the collection of 
 the Corporation of Liverpool, which was lent for the Burlington House special exhibition, and was painted ten years 
 before the picture now sold, being signed and dated 1870. The subject is Dante in his dream on the day of the death of 
 Beatrice Portinari— in a chamber of dreams strewn with poppies, with Beatrice lying fallen back in death, the winged 
 figure of Love leading Dante, with figures of ladies holding a mayflower pall. The predella subjects are Dante crying out 
 in his dream, and Dante recounting his dream. These two subordinate pictures added great interest to the work, which 
 is perhaps the masterpiece of the artist. It was now sold for ,£1,050 (Agnew). The other picture in which Beatrice is 
 the subject, called “ Beata Beatrix,” was of somewhat similar form, having a predella with two panels inscribed “ Veni 
 Sponsa di Libano, Mart. 31, 1300.” It represents Beatrice in a trance seated at a gallery overlooking Florence, with a 
 sun-dial pointing to the hour of her departure ; Dante and the Angel of Love are seen watching in the background. The 
 figure is half-length life size. The picture is dated 1872. This picture brought more than the Dante — selling for 
 £1,207 lew. (Mr. Mackenzie), the highest price of all the pictures by Rossetti. Another picture which has to be named 
 among the highest was “ La Ghirlandata,” which met with much applause. Though not one of the painter’s great subject 
 pictures, it was a beautiful picture of a girl in a green dress, seated, surrounded with flowers, playing a musical 
 instrument, angels’ heads being seen on either side. The figure is life size, and the picture, 45 iin. by 34iin., signed and 
 dated 1877. It was put up at a bid of 300 guineas, and soon rose to ,£1,050 (Agnew). The picture called simply 
 
432 
 
 ART SALES. 
 
 [ 1886 . 
 
 “ Found,” which came next afterwards in the sale, was that pathetic rendering of an “o’er true tale” of the poor lost girl 
 found by her old love, a young countryman, crouching under the shelter of a wall of a London bridge at early dawn. It 
 will be remembered in the exhibition at Burlington House in 1883, and it was admired then, as it was again on this 
 occasion, when it drew forth a generous cheer of applause. It sold for £756 (Agnew). 
 
 In all there were 30 works of Rossetti, counting the small crayon drawings. Of these there remain to be mentioned. 
 —A study of a female head— £32 iu.; a full-length study of a female figure — £57 15.1; “The Blessed Damozel red 
 chalk study for the principal figure in the picture which was exhibited in the special exhibition at Burlington House in 
 1883, contributed by Mr. Graham, but which was not in the collection now sold. This study brought £147 2s. 
 (Mr. Vipan) ; “ Beatrice,” a study in red chalk for the figure in the picture above-mentioned, “Beata Beatrix” — £215 5.?. 
 (Mr. Harrison) ; “Pandora,” study in red chalk (38m. by 26m ) for the picture of Pandora, on panel, 51-gin. by 31m. 
 contributed by Mr. Graham to the special exhibition, but now included in this sale — £115 (Mr. C. Butler); “Venus 
 Verticordia,” study in red chalk for the picture (lot 112) — £130 4^. ; “Proserpine,” chalk study — £154 7s. (Agnew); 
 “Love’s Greeting,” on panel — £90 6s. (Mr. Leyland) ; “The Meeting of Guinevere and Lancelot at the tomb of King 
 Arthur,” in water-colours, 1854 — £90 6s. (Agnew); “The Rose Garden,” in water-colours, 13-gin. by I3gin., signed and 
 dated 1864, exhibited at the special exhibition — £262 10s. (Lawrie) ; “ Fra Pace,” in water-colours, 14m. by 13m., signed 
 1883 and dated 1856, exhibited at the special exhibition, a small full-length of a monk kneeling and painting a missal, 
 behind him a boy tickling a sleeping cat — £157 ioj. (Agnew); “Morning Music,” in water-colours, u|in. by io|-in. 
 signed and dated i860, a small half figure of a girl seated and her maid brushing her golden hair, on the left a youth 
 playing on an instrument — £210 (Agnew); “How They Met Themselves,” water-colours, n|in. by 9gin., signed and 
 dated 1864. Two lovers walking in a wood suddenly meet semblances of themselves ; the lady falls pleading mercy, the 
 lover draws his sword — £105 (Agnew) ; “Beatrice in Paradise,” water-colours, an early drawing — £74 iij. (Agnew); 
 “The First Madness of Ophelia,” in water colours, ibgin. by 12m., signed 1864; Horatio leading Ophelia away while 
 the king and queen look on — £236 5r. (Agnew) ; “ The Loving Cup,” on panel, 26m. by i8in., signed 1867 : small half 
 figure of a lady in red about to drink from a gold cup — £430 io.r. (Mr. Vipan); “Francesca da Rimini,” a small 
 drawing in water-colours, about 15m. square, dated 1861 — Paolo and Francesca kissing near a window. This was much 
 applauded, and it brought the large price of £404 5.1. (Agnew) ; “ Bella e Buona,” on panel, i8in. by I4|in., signed and 
 dated 1885, and inscribed in the corner “ II Ramoscello,” exhibited at the special exhibition, Burlington House : a bust- 
 size figure of a girl, in gray dress, with sprig of ilex in her hand, nearly profile — £378 (Mr. Vipan) ; “ Venus Verticordia,” 
 on panel, 26Hn. by 23m. : a small half-length nude figure of a girl with long auburn hair holding an apple on which a 
 butterfly has settled, and in her left hand a dart to which another butterfly clings, surrounded by roses and honeysuckles 
 signed and dated 1868, exhibited at the special exhibition— £325 1 or. (Agnew) ; “Marigolds,” life-size figure to the 
 
 knees of a girl in a blue dress lifting a vase of flowers, painted 1874 — £546 (Lady D ) ; “ Mariana,” from Measure 
 
 for Measure , act 4, scene 1 : a three-quarter figure of a lady in a blue robe seated at her embroidery, a page beside her 
 playing a lute and singing the song — 
 
 “Take, O take those lips away, 
 
 That so sweetly were forsworn.” 
 
 Signed and dated 1870, on canvas, 43m. by 35m., exhibited at the special exhibition — £661 ior. (Mr. Buxton). This was 
 the last of the pictures by Dante Rossetti, which alone brought close upon ,£10,000. 
 
 After these had been disposed of, there were as an interlude some water-colour drawings which preceded the pictures 
 by Mr. Burne Jones. The first of these happened to be the one solitary drawing by Mr. Whistler, a nocturne, and it 
 chanced also to have the notoriety of being the identical production which was exhibited in court at the great trial for 
 damages brought by the artist against Mr. Ruskin for his critical remarks upon his works. When this lot came up there 
 was a slight attempt at an ironical cheer, which, being mistaken for serious applause, was instantly suppressed by an 
 angry hiss all round, such as has never been heard before in these solemn precincts. The incident was enlivening and 
 did not damage the sale of the drawing, for it brought the respectable price of 60 guineas, and was bought by Mr. 
 Harrison. Among the other drawings were a small one on gray paper by Turner, of the Lake of Lucerne, and a Swiss 
 lake, i2in. by 15m., which would serve well to settle the question just now in dispute whether water-colour drawings do 
 really fade — this sold for 200 guineas. 
 
 The sale next proceeded with the works of Mr. Burne Jones, which were 33 in number. The pencil drawing, “ Head 
 of a Girl,” sold for £14 14s-. ; “ The Princess Sabra,” also a pencil drawing of a lady walking by a wood-side reading, 
 14m. by 9m. — 42 ; “The Sibyl of Tibur,” a water-colour drawing, 1878 — £42 ; “A Lament,” two figures, painted 1864 — 
 £105 (Agnew) ; “ Fair Rosamond,” in water-colours, 1862 — £78 15J. (Mr. Clifford) ; “A Landscape,” in water-colours, 
 i860 — £50 8r. (Agnew) ; “A Sibyl,” or Medea — £57 15s-. (Mr. Clifford); “The Sorceress” — £78 15s-. (Mr. Clifford); 
 “ Zephyrus and Psyche,” in water-colours, 1863 — £ I2 ° 15J. (Mr. Clifford) ; “The Choristers,” in water-colours, 1864 — 
 £194 5 s-. (Mr. Rathbone) ; “King Rend’s Honeymoon,” 1861 — £210 (Mr. Clifford); “The Garland,” three separate 
 figures, framed together, life-size, standing, sketches for the stained glass windows of the refreshment room at South 
 Kensington Museum — £115 ioj. (Agnew) ; the companion set of three — £73 (Agnew) ; “ The King’s Wedding,” painted 
 on vellum, about 14m. by ioin. — £162 15.1. (Agnew); “St. Cecilia,” in water-colours, 1870 — £189 (Agnew); 
 ‘‘ Pygmalion,” standing before a marble group of the Graces coming to life, signed and dated 1871 — £325 ior. 
 (Mr. Clifford); “Cupid and Pysche,” in water-colours, 26fin. by i8iin., painted 1865, Cupid in blue flying drapery 
 descending upon Psyche lying asleep, a very charming drawing — £315 (Agnew) ; “ Chaucer’s Vision of Good Women,’’ 
 in water-colours, about 22in. by 17m., with numerous small figures in the landscape background — £189 (Agnew) : “An 
 Angel,” in water-colours, a full life-size standing figure, draped in the deepest blue and crimson — £262 ion (Agnew) ; 
 “ The Song of Solomon,” a cartoon in water-colour, outline in blue, slightly shaded, a large upright piece within a broad 
 border of flower pattern — £162 15J. (Agnew) ; “The Garden of the Hesperides,” in water-colour, three figures dancing, 
 47jrin. by 38|in. — £367 ioj. (Agnew) ; “Chant d’Amour,” the first design, 2i|in. by 3oJin., in water-colours, for the 
 
1886.] 
 
 THE GRAHAM COLLECTION. 
 
 433 
 
 picture (lot 163) — ,£609 (Mr. Clifford) ; “Love disguised as Reason,” in water-colours — ,£735 (Mr. Clifford) ; “ Danae’s 
 Tower,” on panel, 1870, 6fin. by ioin. — ,£220 ior. (Agnew) ; “ St. Agnes, St. Dorothea, and St. Barbara,” 33m. by 33m., 
 full-length figures — £(315 (Mr. Gray Hill) ; “St. George,” full-length figure, in armour, 6oin. by 2iin. — ,£585 (Grindlay) ; 
 “Green Summer,” six figures of girls seated on the grass — 1 525 (Agnew) ; “Venus’s Mirror,” the first design for the 
 large picture exhibited at the Grosvenor Gallery, 1877, 3oJin. by 47 Jin. : this picture received a round of applause, and 
 brought the goodly price of £(819 (Mr. C. Butler) ; “The Feast of Peleus,” on panel, 15m. by 44m., many figures, with a 
 landscape background — a picture which was much admired before the sale, and now, after the plaudits that it once 
 more called forth, was put up at a bid of 500 guineas and sold for ,£945 (Agnew). The beautiful decorative set of six 
 panels, each 39jin. by 13-Jin., filled with angelic figures holding crystal spheres, representing the six days of Creation, 
 which was extremely well seen on the side wall of the room in its fine ornamental frame, came next, before the “ Laus 
 Veneris ” and the “ Chant d’Amour,” and led the chorus of continued applause which broke from the audience as these last 
 pictures in the sale came before them. It was put up at a bidding of 1,000 guineas and soon reached the £1,72,2 10 s., at 
 which it was bought by Messrs. Agnew. This large and important work was in the remarkable exhibition with which 
 the Grosvenor Gallery inaugurated its highly successful career in 1877. The large cartoon in colour for the picture of 
 “ King Cophetua and the Beggar Maid” was the last in the sale. It measures 114m. by 52m., and is the same size, we 
 believe, as the fine picture which was exhibited at the Grosvenor Gallery last year, and has since passed into the 
 collection of the Earl of Wharncliffe. This sold for £766 io.y. (Agnew). The sale closed with the grand piano, 
 decorated by Miss Kate Faulkner, on the model of the one painted by Mr. Burne Jones in the exhibition of musical 
 instruments last year. This was knocked down at £99 1 5^., but it was bought in. The amount of the day’s sale, 
 resulting almost entirely from the works of two painters only, was £(27,100, making a total for the first part of ,£45,759. 
 
 The fine collection of works of the Old Masters is to be exhibited on Tuesday, the sale commencing on Thursday 
 and being continued on Friday and Saturday. It will be gratifying to know that by the plan of selling the catalogues at 
 6 d. each, which Messrs. Christie are so considerate as to adopt for the benefit of the Artists’ General Benevolent Society, 
 a sum of over £60 has been added to the funds of that institution. 
 
 GRAHAM COLLECTION.— PICTURES BY OLD MASTERS. 
 
 (“The Times,” April 12, 1886.) 
 
 The sale of the large collection of pictures by the Old Masters at Christie’s on Thursday, Friday, and Saturday last 
 was in its way quite as interesting as that of the modern pictures, and the considerable prices obtained for the more 
 important examples showed that the grand old painters from whom Mr. Burne Jones took so much of his poetic 
 inspiration and something of their method, continue to hold their sway over the taste of amateur: and art critics. Not- 
 withstanding that Mr. Graham’s pictures had passed through the furnace of the restorers, they had in some cases 
 escaped with the blemishes of over-cleaning, though in most instances the repainting had obscured the original work and 
 destroyed the proper identity of the master. The attributions to such rare masters as Squarcione, Cimabue, Benozzo 
 Gozzoli, and others, were of course to be taken cum grano, and the pictures were often bought, not for the master named, 
 but for some other to which the buyer was satisfied they really belonged. Hence the good prices generally paid, and the 
 successful commercial disposal of the collection, which resulted in a total for the 322 old masters of £(23,409 3J. This, 
 added to the sum obtained chiefly for the works of Mr. Burne Jones, Sir John Millais, and the late Mr. F. Walker, gives 
 the large total of ,£69,168 3J. for the whole collection. Many of the pictures had been contributed to the winter exhibitions 
 of works by the Old Masters at Burlington House, and the late Mr. Graham was most liberal in lending also to provincial 
 exhibitions, some of his pictures having come direct from the Nottingham Exhibition to Christie’s. There was no 
 mention of any picture of the Old Masters having been bought for the National Gallery, but as the interesting picture 
 attributed to Fra Angelico and one by the Spanish painter Juan de Valdez were purchased by Mr. Doyle, the director of 
 the National Gallery of Ireland, it may be concluded they will pass into that national collection. The following may be 
 recorded as the most interesting pictures: — By Ambrogio Borgognone, portrait of P. Beroaldus — £(115 ior. (Murray); 
 Lorenzo Costa, portrait of a youth— £(115 ioj. (Donaldson); Cosimo Tura, “The Flight into Egypt” — £(57 15^. 
 (M. Colnaghi) ; German School, “ Holy Family” — £12 3 i8j. (Mr. F. Rathbone) ; Piero Cosimo, “The Triumph of 
 Chastity,” about 6oin. by 72m. — £(273 (Mr. Colnaghi) ; School of D. Ghirlandajo, scenes from the life of $t. Joh n Baptist, 
 a long narrow picture, arcades and landscape — ,£142 i6.r. (Mr. F. Rathbone) ; School of Mantegna, in tempfra, I2in. by 
 14m. — ,£157 io.r. (Carrington) ; Baccio Bandiscelli, portrait of Macchiavelli standing, to knees, life size — £(21 (Agnew) ; 
 Bart. Vivarini, Virgin and Child — £73 io-s\ (Laurie) ; School of Benozzo Gozzoli, “The Adoration,” with embossed halos 
 and gilt, 42m. by io8in . — £\\o 5 s. (M. Colnaghi) ; Gasparde Crayer, “A Pieta,” three figures, about 36m. square— 
 £(241 ioj. (Laurie); Dom. Beccafumi, three subjects for a predella, exhibited at Burlington House, 1884 — £(54 12J. 
 (Agnew) ; Girolamo de Santa Croce, “ Holy Family,” Burlington House, 1885 — £(110 5J. (Murray) ; Bastiano Mainardi, 
 Virgin and Child with St. John and angels, upright panel — £(42 (Agnew) ; G. Pacchiarotti, Venus with Cupids — ,£84 
 (Agnew); Lorenzo di Credi, Virgin and Child, with angels — £267 1 5.?. (Lesser); Domenico Ghirlandajo, altar piece, 
 Virgin and Child with two saints and bishops, 48m. square — ,£215 5.1. (Mr. F. Rathbone) ; Antonio Polajuolo, portrait of 
 Clarice Orsini, inscribed with her name, peculiar head dress, Burlington House, 1879 — £(136 ioj. (M. Colnaghi) ; 
 Masaccio, Virgin and Child, with six saints, Burlington House, 1884 — £(52 ioj. (Agnew) ; Bernardisno Fungai da Siena, 
 Virgin and Child, with cherubs, seated in landscape, in which is the Nativity and the journey of the Kings, circular panel, 
 VOL. I. 3 K 
 
434 
 
 ART SALTS . 
 
 [1886. 
 
 4oin., exhibited at Leeds, 1868, and Burlington House, 1879 — £430 ioj . (Laurie) ; Bart. Vivarini, “ Death of the Virgin,” 
 on wood, about 78m. by 65m., with label inscribed “ Opvs factvm Venetiis per R. Bartholomevm Vivarinvm de Mvrano 
 1480,” exhibited at Burlington House, 1885 — £ 220 ioj . (Murray) ; Fr. Francia, “St. Francis,” fresco, blue ground 
 exhibited at Burlington House, 1879 — £(136 ioj . (Agnew) ; Filippo Lippi, Virgin and Child and two angels, with gold 
 embossed ground, 28Jin. by 2i£in., exhibited in Burlington House, 1875 — £661 ioj . (Murray) ; Pietro della Francesca, 
 portrait of a woman, profile to left, with coral necklace, said to be La Bella Simonetta, bust size, in architectural frame, 
 exhibited in Burlington House, 1879 — £(525 (Donaldson) ; Domenico Ghirlandajo, portrait of Count Sassettoand his son, 
 landscape background, on wood, 294m. by 20^in., exhibited in Burlington House, 1875 — ^535 ioj . (M. Colnaghi) ; by the 
 same master, the Virgin and Child, with infant St. John and two angels, the infant taking a pomegranate from an angel, 
 on wood, 54in. by 39m., the sides rounded, exhibited in Burlington House, 1879 — £777 (M. Colnaghi). This was the 
 most important picture in the first day’s sale and was the last of 100 pictures, which sold for ,£7,802 iu. In the second 
 day the most interesting pictures were — J. Palma il Giovane, “ The Adoration of the Shepherds ” — £278 5J. (Mr. C. 
 Butler) ; Jacopo Bassano, “St. John the Baptist” — £78 1 5J. (M. Colnaghi) ; A. Baldorinetti, Virgin and Child with St. 
 John and angels — £71 8j. (Agnew) ; Benedetto Montagna, “The Annunciation,” the angel in crimson robe with eagle’s 
 wings, in a landscape panel, 14m. by nin., exhibited in Burlington Flouse, 1877 — ,£54 I2J. (Agnew) ; Taddeo Gaddi, 
 “Descent from the Cross,” on wood, gold ground, i8in. square — £21 (Agnew) ; Cimabue, “The Resurrection,” a lunette 
 shaped picture, 6oin. — £44 2 s. (Mr. Clifford) ; A. Baldovinetti, Virgin and Child St. John, angels, on wood, 36m. by 24m., 
 exhibited in Burlington House, 1879 — £(283 los - (Hon. Percy Wyndham) ; unknown, “The Annunciation” — ,£126 
 (Wagner) ; Massaccio, Madonna and Child, Virgin seated before a brocaded curtain, exhibited in Burlington House, 1884 
 — ,£117 12 s. (Agnew) ; B. Buttinone, Virgin and Child with angels, 6oin. by 30m., exhibited in Burlington House, 1885— 
 £94 ioj . (Agnew) ; Cimo da Conegliano, scenes from the life of the Virgin, in three compartments, 15m. by 6oin. — ,£84 
 (Agnew) ; Carlo Crivelli, Virgin and Child, on gold ground, 36m. by i8in. — ,£131 5 s. (M. Colnaghi) ; Squarcione, Virgin 
 and Child, exhibited in Burlington House, 1879— £(23 2s. (Agnew) ; Gentile da Fabriano, “Adoration of the Magi,” 
 I2in. by 24m. — £(89 5J. (Agnew) ; Giotto, St. John and another saint, in gothic frame, part of an altarpiece, i8in. by 
 coin. — £(48 6s. (Grindlay) ; Fra Angelico, “The Martyrdom of St. Cosmo and St. Damian,” on panel, I2in. by 15m., 
 Burlington House, 1877 — £(73 ioj . (Mr. Doyle) ; Filippo Lippi, Virgin and Child with angels, on wood, 30m. by 2oin. — 
 £189 (M. Colnaghi); Lorenzo Costa, “Entombment,” 2oin. by 24m., with blue ground — £(109 4J. (M. Colnaghi); 
 Benozzo Gozzoli, Virgin and Child with saints and angels, on gold ground, 66in. by 36m. — ,£204 1 35-. (Wagner) ; 
 Rembrandt, “ Philip baptising the Eunuch,” 42m. by 36m., the engraved picture — £(54 I2J. (Mr. Benson) ; Ouentin 
 Matsys, “A Roman Crowd,” a small, narrow picture, with the heads only, 8in. by i8in., Burlington House, 1884 — 
 £(157 10 s. (Donaldson); Dom. Ghirlandajo, Portrait of a Lady, bust size, with red hair — £(230 (Murray). II Greco, 
 Portrait of the artist’s daughter, the head only in profile, in a circular frame. A surprising contest for this pretty picture 
 arose, beginning at 10 guineas, between Mr. Vokms and Mr. Smith, and rising to the high price of £7,04 ioj ., at which 
 Mr. Vokins bought it. Palma Vecchio, Virgin and Child, i8in. by 24m. — £(153 6s. (Grindlay) ; Mario da Oggione, 
 Virgin and Child, St. John and St. Joseph, in a garden, about 48m. square — £78 13s-. (Sir James Graham) ; Bernardino 
 Luini, three cherubs, standing in adoration, i8in. by 26m., panel — £178 10s. (Mr. Cyril Flower); “The Celestial 
 Minstrel,” angel seated playing the mandolin, 26m. by 1 Sin. — £86 2s. (Agnew) ; Salaino “ La Bella,” half figure, nude, 
 leafy background, life-size, Burlington House, 1879 — £168 (Agnew); Bernardino Luini, Virgin and Child, on wood. 
 23m. by 19m., in rich architectural frame, Burlington House, 1884 — ££315 (Bibby) ; Murillo, landscape with figures, i8in. 
 by 24m. — £77 ioj . (Parsons) ; Nicolas Poussin, landscape, 36m. by 75m. — £(304 ioj . (Messrs. Colnaghi) ; Claude, 
 “ Mount Helicon, with the Muses,” Burlington House, 1879 — £a °9 ioj . (Grindlay). This ended the second day of the 
 old masters, in which 1 12 pictures sold for £(6,685 !8 j. 6 d. On the last day, Palma Vecchio, a lady crowned with bay, an 
 Italian poetess, life-size, seated, holding a curtain, with landscape beyond — £(84 (Messrs. Colnaghi) ; Juan de Valdez, 
 “Assumption of the Virgin” — £(44 2J. (Mr. Doyle); Pordenone, portrait of the Duchess of Modena and Family — 
 — £107 2 s. (Speyer); Dosso Dossi, “ Circe and her Lovers,” in a landscape, about 40m. by 6oin. (M. Colnaghi); 
 Garofalo, “The Augustine Sibyl,” panel, 26m. by 15m., arched top, Burlington House, 1877 — ,£130 (Agnew) ; Venetian 
 School, Citizens in a market place, a fragment, 36m. by 24m. — £(120 15J. (Carrington) ; Titian, head of a girl, bust size, 
 I2in. by loin. — £67 (Agnew) ; Giovanni Bellini, head of a monk — £(78 1 5J. (Lowther) ; Bronzino, portrait of Marchese 
 Salviati, life size, seated — £126 ; G. Bellini, portrait of a nobleman, bust size, 1 3^in. by nin., in a black cap with bushy 
 hair — £277 (Carrington) ; Giorgione, portrait of a lawyer seated — £(106 (M. Colnaghi) ; and the Virgin and Child with 
 St. Sebastian and donors, landscape, life-size figures, 40m. by 48m. — £178 ioj . (Freshfield) ; Tintoretto, “ The Raising of 
 Lazarus,” 40m. by 48m. — £(120 15J. (Gibbs), and “The Finding of Moses,” — £173 5J. (Dr. de Noe Walker); “The 
 Deposition from the Cross,” landscape background, 48m. by 36m. — £(99 15s. (Murray) ; “Jupiter nursed by the Melian 
 Nymphs,” canvas, 14m. by 34m., Burlington House, 1875 — £(420 (Agnew); G. Bellini, “Scenes in the Life of St. 
 Hospitallier,” 52m. by 25m. — £131 5J. (Agnew) ; Vittore Carpaccio, “ The Garden of Souls,” 12m. by 26m. — £204 15J. 
 (Agnew); Paolo Veronese, “The Magdalen Reading” — £168 (Agnew); Palma Vecchio, “Adoration of the 
 Shepherds,” i8in. by 26m. — £(15 7 ioj . (Agnew); Dosso Dossi, “Scene from Orlando Furioso? panel, 48m. by 6oin., 
 Burlington House, 1875 — £ 262 ioj . (Clifford) ; Bonifazio, Virgin and Child, with saints, canvas, 48m. by 72m. — £273 
 (Murray) ; a similar work by the same, 36m. by 48m. — £378 (Hastie) ; “The Garden of Love,” I2in. by 36m. — £(168 
 (Agnew); Morando, “The Astronomer,” portrait, life-size, seated — £(257 5J. (Agnew); Titian, “Narcissus.” youth by 
 a fountain in landscape — £241 ioj . (Mackenzie) ; “The Triumph of Love,” Cupid on a lion, in landscape, circle, 36m. — 
 £241 ioj . (Agnew) ; G. Bellini— Virgin and Child, with donors, 36m. by 42m. — £(168 (Carrington) ; the Virgin and 
 Child, with saints, 39m. by 6oin., Burlington House, 1879 — £743 ioj . (M. Colnaghi). This picture was in the Wynn Ellis 
 collection, and sold in 1876 for £(483. With this was concluded tins interesting sale, of which the pictures by the Old 
 Masters brought £(23,409 3J., and those by the modern artists, sold in the previous week, £(45,759, making a total for the 
 whole collection of £(69,168 3J. By the sale of catalogues at 6 d. each, the handsome sum of £90 14J. 6 d. has been handed 
 to the Artists’ General Benevolent Institution. 
 
1886 .] 
 
 MR. BERESFORD -HOPE’S COLLECTION. 
 
 435 
 
 PICTURES FROM VARIOUS COLLECTIONS. 
 
 (“The Times,” May ic, 1886.) 
 
 A very miscellaneous collection of modern pictures formed the sale of Saturday last at Christie’s. They belonged 
 to several different owners, the chief of whom were the late Mr. Kemp Welch, the late Mr. Robert Corbett, of Leamington, 
 and Mr. Edmund Harrison, also deceased. It was, however, among the pictures catalogued without the names of any 
 owners, under the convenient phrase of the auctioneers — “ a different property,” — that the most important and interesting 
 pictures were to be found, and prominent above all was the well-known early work (1850) of Sir J. E. Millais, familiarly 
 called “ The Carpenter’s Shop,” recently in the special exhibition of the painter’s works at the Grosvenor Gallery, to 
 which it was contributed by Mr. F. A. Beer. This was the third time that this picture has been in a sale at Christie’s : 
 first in 1862, when it was knocked down at £551 5s.; next in 1878, when in the sale of Mr. J. Heugh’s collection it brought 
 £472 ior. ; and now, when it was knocked down at £892 ior. Another picture to which interest of a different kind 
 attaches was “ The Mermaid,” by Sir Frederick Leighton, P.R.A., which was painted for Mario, the famous tenor of the 
 opera, and was exhibited at the International Exhibition of 1871. It is a small work, about 26m. by 19m., representing 
 a beautiful mermaid clinging to a dark-skinned youth, and painted with Sir Frederick’s most glowing pencil. It was sold 
 at Christie’s in the collection of the late Mr. Potter, of Manchester, in 1884 for £357, and it now sold for £215 5^. One 
 of Mr. Vicat Cole’s finest landscapes, called “ Summer Rain,” a work of large size, brought £892 ior. ; “ The Fen Farm,” 
 by R. W. Macbeth, A.R.A., a large picture with a single figure of a woman calling the calves, sold for £320 5.J. to Messrs. 
 Agnew, who are about to publish an etching by the painter of his picture. “Fete day, going to the bull fight at San Roque, 
 Gibraltar,” by R. Ansdell, R.A. — £409 ioj. ; “ Thisbe,” a single figure, by Edwin Long, R. A., exhibited 1884 — £882; 
 “ Cupid’s Hunting-ground,” by E. Burne Jones, A.R.A., the curious piece of fantastic work in the Japanesque style which 
 was a good deal discussed when exhibited at the Grosvenor Gallery three years ago, combining modelling in relief with 
 gilding and colour, was sold for £278 5 s. ; “ St. Agatha,” a three-quarter standing figure by the same artist, sold for 
 £44 2 s. ; “Honeymooning in Switzerland,” by W. P. Frith, R.A. — £ 71 i8r. ; “ Simpletons,” by Luke Fildes, A.R.A., 
 exhibited 1873 — £215 5r. A much more important work by this artist was reserved for the last lot in the sale, when it 
 came in the collection of the late Mr. Harrison ; this was “The Village Wedding,” a large and most elaborately composed 
 picture of many figures, painted in the brightest colours of summer sunshine, which sold for the highest price in the sale 
 — £1,102 ior. (M‘Lean). There were several excellent works of C. E. Johnson in the same collection, which brought 
 considerable prices. “ Waes me for Prince Charlie,” a view of Glen Finnon, with the monument to Prince Charles 
 Edward, exhibited last year at the Academy — £162 15J. ; “The Slopes of Ben Nevis” — £178 ior. ; “ Charnwood 
 Forest” — £97 13^. ; “The Wye and the Severn,” view above Chepstow — £215 5r. (Tooth) ; “The Fallen Tree” — £126; 
 “ Her Last Moorings ” — £52 ior. A capital Alpine landscape by our distinguished amateur Lord Monkswell, better known 
 as Sir Robert Collier, called “ A Glacier Stream,” painted in the style of his master, Mr. Leader, A.R.A., deserved a better 
 price than the 26 guineas at which it was sold. By J. MacWhirter, A.R.A., there was in the same collection a large 
 picture of “ The Track of a Hurricane,” a scene of destruction lately to be seen in the fir plantation of Arran, which sold 
 for ,£315 (Agnew). The large picture of the lions and their cubs by S. Carter, called “A Nubian Royal Family,” sold 
 for £84 (M‘Oueen). 
 
 * 
 
 MR. BERESFORD - HOPE E COLLECTION. 
 
 The collection formed by the Rt. Hon. A. J. B. Beresford-Hope, M.P., who was a distinguished amateur of mediaeval 
 and renaissance art, and had also some remarkable jewels of rare value, was sold at Christie’s after his death, May 12 — 15th, 
 beginning with the jewels, which sold for large sums. The “ Saphir Merveilleux,” of 74 grains, for £700. A very large 
 pearl 2 by 4 inches, weight 3 ounces — £600. A very large catseye set with rubies, £357 ; in all 147 lots amounted to 
 ,£5,552. The famous pectoral cross of cloissonne enamel, a small object in gold, though injured shows the crucified figure 
 with saints. It belonged once to the De Bruges Dumesnil collection, and has frequently been lent to public exhibitions. 
 It sold now for £300 ( Whitehead J. A chasse of Champlevd enamel — £380 (Davis). A pair of Limoges enamel plates, 
 gold camaieu on black, the Last Supper and the Betrayal — £160 ( Brauer ). A ewer carved in buckhorn, Diana and 
 Actaeon, 1673 — £325 ( Wertheimer ). An ivory bonbonni6re in the shape of a bambino — £155 ( Wertheimer ). This 
 section of the collection sold for £4644. Amongst the decorative objects were some fine pieces. A Battersea enamel 
 casket — £246 (Willson). A Louis XV. clock with Dresden figures — ,£152. A pair of Louis XVI. candelabra, or-molu 
 — £892 (Innes). A vase of verde antique and or-molu — £189 (Wertheimer). A pair of Louis XVI. Candelabra, with 
 bronze female figures — ,£735 (Wertheimer). A pair of Cabinets, of buhl — £536. Total of the above — £15,868. The 
 pictures were not distinguished by any fine examples, and the only work of importance was a small picture by J. Van 
 Eyck, formerly in the collection of the King of Holland — Madonna and Child in a Gothic niche with Saints — inscribed 
 above with “ Domus Dei est et porta coeli,” and below “ Ipsa est quam preparavit Domus filio Dni” — 2ofin. by 1 1 in., on wood 
 — £315 (Lesser). The early German work of the Cologne School, an altar-piece with wings, a triptych, Christ in the 
 Sepulchre, with Angels in centre, the Saviour and Virgin enthroned on the wings, 1 3! in. by 25|in. — £336 (Davis). 
 Madonna and Child, by H. Van der Goes, with landscape background, 21 in. by I2in., on wood — £94 (Gibbs). The 
 Adoration of the Magi, by Filippo Lippi — £168 (Willett). The other pictures by the old masters went for very small 
 sums. The large picture by F. Overbeck, “ The Incredulity of St. Thomas,” ioSin. by 6oin., upright, life-size figures — 
 £105. The 41 pictures realized £1,566, and the whole collection, £ 1 7,434. 
 
 3 K 2 
 
43 ^ 
 
 ART SALTS. 
 
 [ 1886 . 
 
 MR. SAMUEL ADDINGTON'S COLLECTION. 
 
 (“The Times,” May 24, 1886.) 
 
 The collection of pictures and water-colour drawings formed by the late Mr. Samuel Addington, was sold on Saturday 
 by Messrs. Christie, Manson and Woods. In addition to Mr. Addington’s pictures, there were six fine pictures from the 
 late Lord Dudley’s collection, and the beautiful picture by Lawrence of the two children so well-known by the engraving 
 called “ Nature,” with the exceedingly interesting portrait of Sir Walter Scott, by Landseer, known as the Rhymer’s Glen 
 picture, in which Scott is seated with the favourite companions of his walks, the deerhound “ Maida ” and his Dandy 
 Dinmonts. It was painted for Mr. Wells, of Redleaf, and was exhibited at the Academy in 1833. It passed from the 
 Redleaf collection, and belonged to Mr. Jacob Burnett, with whose pictures it was sold at Christie’s in 1876 for 
 £3,202 lay., but the name of the vendor on the present occasion was not given. There was not much competition for 
 it now, and it only brought the moderate price of £2,047 ior. (M'Grath). There was a much more characteristic work of 
 our great animal painter, which was the chief picture among those selected from Lord Dudley’s collection. This was the 
 picture so well-known, engraved by Landseer, as “ The Deer Family,” though it was originally called simply “ Red Deer,” 
 when it was painted for Mr. Wells, of Redleaf. It sold in the Redleaf collection, 1852, for the then full price of £682 ior., 
 and remained for some years in the possession of Mr. Bashall at his country house near Bristol, being eventually disposed 
 of privately with other pictures to Messrs. Agnew, through whom it passed into the Manley Hall collection (Mr. S. 
 Mendel’s) in the sale of which, at Christie’s, in 1875, Lord Dudley bid for it himself against Mr. Agnew and bought it for 
 ,£3,045. Mr. Agnew now again contended for the possession of this beautiful picture, but this time against a less 
 vulnerable antagonist than Lord Dudley in Mr. Wertheimer, who bid 3,050 guineas, and got the picture at just £157 10 s. 
 more than the earl paid for it. And besides this Landseer, there was a large and masterly work of Sidney Cooper’s — 
 “A Sunny Afternoon in Autumn” (48m. by 77m.), which Lord Dudley bought out of the Academy Exhibition of 1859 
 for 450 guineas, and which now sold for ,£535 ior. (Agnew), and a very fine Hondekoeter, with geese and ducks, in a 
 river scene (49m. by 6iin.), which cost him 400, now sold for 850 guineas — ,£892 tor. (Martin Colnaghi). A small 
 picture in oils by David Cox of Dudley Castle (iiin. by i6in.), brought £346 ioy. (Sutton); “The Convent Dole,” by 
 R. Lehmann (38m. circular) — £120 15^. ; and a small early work of Sidney Cooper’s called “Spring,” with a group of 
 sheep lying down — ,£95 nr. The interest of the sale culminated with these pictures, which accordingly deserve notice 
 first, though they came at the end of a very long sale. 
 
 Returning to the Addington collection, which consisted of 59 water-colour drawings and 51 oil paintings, among the 
 water-colours there were several capital examples. Nuremburg, by S. Prout, a remarkable drawing, with numerous 
 figures of washerwomen at work on the banks of the stream between the houses, which was much applauded (21 in. by 
 28in.) — .£640 lor. (Agnew). For this Mr. Addington gave close upon ,£1,000. By J. M. W. Turner. — Quai Conti, 
 vignette engraved— ,£53 iu. (Permain) ; Lake Leman, 6in. by 9m. — £97 13J. (M'Grath) ; for this Mr. Addington paid 
 £283 ior. ; Lake Lucerne, 9m. by 14m., sketch — £2 73 (Agnew) ; Carew Castle, I2in. by i Sin., a very beautiful drawing 
 of the England and Wales series — ,£745 10 s. (Agnew) ; Saltash, 1 iin. by i6in., also from the England and Wales series — 
 £204 15J. (Vokins). Street scene at Cookham, with figures and a flock of geese, by F. Walker, A.R.A., 9|in. by I3fin. 
 There was an extraordinary contest over this pretty little drawing which ran it up to the somewhat preposterous price of 
 £903 (Vokins). It was bought in the sale of Mr. Leaf’s collection by Mr. Addington for £472 ior., which was then 
 considered a most extreme price. Of the oil paintings, a portrait of a lady as Evelina, with dark dishevelled hair against 
 a sky background, life-size to waist, by Sir W. Beechey, R.A., which had been universally admired during the week, was 
 the subject of a sharp contest between Mr. Joseph and Messrs. Colnaghi, which resulted in its bringing the very high 
 price of £945 (Messrs. Colnaghi). The Royal Mule, a small work by Rosa Bonheur, I2in. by ioin. — £304 ior. (Vokins) ; 
 Going to the Harvestfield, by David Cox, an oil painting, 1S53, 13m. by 19m. — ,£535 ior. ; Mary Queen of Scots, in black 
 velvet, leaning her head upon her hand, on a balcony, by W. P. Frith, R.A., 1867, 24m. by 2oin.— ,£99 15 s. (Beckett). 
 This finely-painted, very pleasing, and picturesque fancy portrait belonged to John Phillip, R.A., and was sold at Christie’s 
 after his death in his collection for ,£481 ior. to Mr. Addington. The St. Bernard Dogs, by Sir E. Landseer, R.A., the 
 engraved picture, 1 Sin. by 24m. — .£462 (Agnew) ; this was in the Gillott collection, and it sold in 1872 for £1,827. 
 Turner’s Hill, East Grin stead, by Patrick Nasmyth, evening, with a yellow sky, 26m. by 34m., was a good deal applauded, 
 and brought the large price of £987 (Colnaghi and Co.), a very remarkable rise, since it was sold in the Novar sale of 
 1867 for £191 2S. Portrait of Sir Joshua Reynolds, by himself, in spectacles, the head only, 14m. by 12m., in crayons, 
 framed with the mahogany palette which he gave to Cribb, his framemaker, and bought from Cribb’s sale — £157 ioj. 
 (Martin Colnaghi). Portrait of Lady Hamilton, by Romney, with a white muslin veil on her head and shoulders — 
 £115 ior. (Agnew). A landscape, by Hobbema, with trees, a cottage, and figures of a man and dog and others in middle 
 ground, 2iin. by 28jin., from the collections of Mr. Brind and Mr. Delafield, and exhibited at Burlington House, 1880. 
 This very excellent example of the master, in a fine state, was much applauded, and it sold for £1,543 ior. (Martin 
 Colnaghi). It sold in the Delafield sale, 1870, for £1,659 to Mr. Addington. The Dutch pictures fetched fair 
 prices, and brought the total to £16,810 5s. 6 d. 
 
 The charming picture of the two children of Mr. C. B. Calmady, by Sir Thomas Lawrence, was from the 
 different property in which the Landseer portrait of Scott was. It measures 30m. by 30m., being on a square 
 canvas, but painted in a circle. It was exhibited at the Academy in 1824, and, though apparently it 
 has been much exposed to strong light and never varnished, it retains its original beauty and lifelike 
 
1886 .] 
 
 MR. JOHN BENTLEY'S COLLECTION. 
 
 4 37 
 
 expression, though unquestionably it would be the better for the proper protection that it needs so much. It was 
 knocked down, after a rather languid round of bids, at i,8oo guineas — £1,890 (Vincent). From the same property 
 came three extremely fine and spirited sketches on a large scale, by Mr. Frith, R.A., representing with numerous 
 figures, London streets at morning, noon, and night, painted in 1862, 15m. by 26m. They were sold in one lot for 
 ^315 (A& new )) and were purchased, we understand, for Mr. Wentworth Beaumont. The total of the day amounted to 
 .£26,581. 
 
 N-B. — This article was very much curtailed, and in doing so some important pictures of Mr. Addington’s were cut 
 out, viz. J. Holland.— Piazzetta S. Marco— £325 (Vokins) ; The Thames— £420 (Harrison); G. Morland.— The 
 Recruit £320 (M. Colnaghi) ; J. Phillip — La Fuente — £351 (M‘Lean) ; A. Ostade — Tric-Trac players, 13m. by uin., 
 panel £7 56 (M. Colnaghi) ; J. Steen — The Guitar Lesson — £315 (Davis) ; W. Vandevelde — Sea-piece, I2in. by 15m. — 
 £320 (Agnew). 
 
 MR. JOHN BENTLEY'S COLLECTION. 
 
 (“The Times,” May , 1886.) 
 
 The collection of modern pictures belonging to the late Mr. John Bentley, of Portland-place and Birch-house, 
 Lancashire, a well-known connoisseur, was sold May 15. Mr. Bentley’s collection was once graced by the possession 
 of one of Sir Joshua’s most happy fancy portraits, that of Mrs. Hartley as a nymph carrying an infant Bacchus on her 
 shoulders, a different picture from Lord Northbrook’s, which was seen in the special Reynolds exhibition at the Grosvenor 
 Gallery ; but this gem had passed some years ago into the fine collection of Mr. Naylor. There were, however, still left 
 several very interesting pictures by the best painters of the older masters of the English school which' gave considerable 
 interest to the sale, although there was nothing of first-rate order, such as the famous Reynolds alluded to. The one 
 picture by him was the Dionysius Areopagita, a fine pathetic head of the early convert of St. Paul, with hands clasped on 
 his breast, looking upwards, nearly profile, painted in 1775, and evidently from the same model as the Count Ugolino in 
 the picture painted and exhibited two years before. The picture measures 30m. by 25m., and is engraved by J. Johner. 
 When it came upon the easel it was received with applause, and this was followed by a bid of 500 "guineas, upon which, 
 however, there was no advance, and the picture was knocked down at this price. “ The Cottage Door,” by Gainsborough, ' 
 a river scene with cottage children, mentioned in Fulcher’s life of the painter, and engraved, 29Jin. by 244-in., was also 
 sold at one bidding of 200 guineas (Agnew). By G. Romney, a lady reading, a portrait of Mrs. Brown, of Tallantyne- 
 hall, Cumberland, 30m. by 25m.— £315 (Agnew) ; an upright landscape by Patrick Nasmyth, with fine trees and a view 
 across meadows, a pathway with rustic children, one in a red cloak, and the tower of St. Albans Abbey appearing in the 
 distance, brilliant and fresh in colour, signed and dated 1810, i8in. by 15m., found numerous admirers and such compe- 
 tition that it brought no less than 420 guineas (Montague) ; “A View of Pont Aber, Glas Lyn, North Wales,” by J. C. 
 Ibbetson, signed and dated 1792, 40m. by 49^11.-^178 ioj. (M. Colnaghi). By Wright, of Derby, an interesting picture 
 called “The Maid of Corinth,” the daughter of Dibutades, the potter, drawing the shadow of her lover’s face upon the 
 wall, which was painted for Josiah Wedgwood as illustrating the origin of design, and for which Mr. Bentley paid £40 at 
 a sale at Christie’s in 1859, now only brought £22. The finest of the landscapes was one by Richard Wilson, R.A., an 
 Italian river scene, with a temple, and Apollo, seated, with his lyre, playing to the Seasons, a group of four graceful 
 nymphs dancing in the foreground. The picture is engraved by Woollett and Pouncy, with a dedication to Lord Dartrey, 
 and the catalogue stated it was once in the collection of the poet Rogers. There were four pictures by Wilson in the 
 Rogers sale in 1856, but none that corresponds with this, which measures 41 in. by 51 in. This fine example of Wilson 
 sold for £425 3s. (Agnew). “The Grand Canal, Venice,” by Canaletti, 17m. by 49m. — £48 6s. From a different 
 property were two other pictures by Canaletti, which had formerly been in the collection of Sir Richard Neave, “ The 
 Church of the Redeemer, Venice,” misnamed in the catalogue, “ Church of Sta. Maria ,” — £\ 10 55., and “ The Bridge of 
 Sighs” — £78 15^. Both were bought by Mr. Cavendish Bentinck. A landscape by Gainsborough, about 28m. by 42m., 
 also from Sir R. Neave’s collection, and painted for him, with figures of a milkmaid and her cows, with a rustic swain 
 under an old withered oak, the effect of evening with clouds lit up by the setting sun. This sold for £3 51 15J. (Nelson). 
 A portrait piece by Gainsborough of Miss Dehany and Mrs. Lawrence as children with a lamb and garlands, in a land- 
 scape, and a white cockatoo, sold for ,£110 5J. (Litchfield) ; two large portrait pictures by Angelica Kauffmann, R.A., one 
 a group of a lady with her three girls, sold for £173 5^. ; the other of a gentleman with his three sons, for £63 (McLean ). 
 After these came a large collection of modern pictures belonging to the late Mr. Henry Barton of Manchester, of which 
 the only pictures of any interest were, “The Statute Fair,” by J. Faed — ,£95 1 ij. (Tooth) ; “A Village Festival,” a small 
 highly finished replica, about I2in. by i6in., by F. Goodall, R.A.— £141 15J. (Permain) ; a cottage interior, and an Arab, 
 by the same artist sold each for 26 guineas. “ Blonde and Brunette,” by W. P. Frith, R.A. — £22 191-. ; “ Coming Events,” 
 by T. Faed, R.A. — £37 15.J. ; “ Punch,” by T. Webster, R.A.— ,£147 (Agnew) ; cattle in a meadow, by Sidney Cooper, 
 R.A. — £\73 5-v. ; “The Schoolmaster,” by E. Nicol, A.R.A., 1866 — £294 (Agnew) ; “Collin’s Farm, Hampstead,” by 
 J. Linnell, sen., 1831 — £(199 ich. (Colnaghi and Co.) ; “The Sheepfold,” by the same artist — £73 io.c. (Tooth) ; “A High- 
 land Fair,” by John Phillip, R.A., a small work — ,£168 (McLean) ; and by the same, a Highland cottage with mother and 
 child — £117 12s. (Agnew) ; “Going to the Mill,” by David Cox, 1851 — £69 6s. (McLean); a coast scene, by Copley 
 Fielding— £94 ioj. (Agnew); a lane scene, by J. Stark, — £79 i6j. (Brunning) ; a landscape with cottages, by P. Nasmyth 
 — £75 12s - (Vokins) ; landscape with gravel cart and figures, by J. Constable, R.A. — £117 12s. (M. Colnaghi) ; a large 
 
43 § 
 
 ART SALTS. 
 
 [ 1886 . 
 
 picture by G. Morland, travellers at wayside inn, with horses, and pigs, about 45m. by 72m.— ^320 15^ (Mr. Wentworth 
 Beaumont). At the close of the sale it became known with no small disappointment that, notwithstanding the great 
 flourish of trumpets announcing the sale of the celebrated masterpiece of Sir Joshua Reynolds, “The Three Ladies 
 Waldegrave,” formerly at Strawberry-hill, to come off with the other important pictures on Saturday next, this fine picture 
 was withdrawn from the sale. As everybody knows, it belongs to Lord Carlingford, and was contributed by him to the 
 Reynolds Exhibition at the Grosvenor Gallery, and has been in the market for some time past. It would have been, as 
 to price, the most interesting event of the picture sales at Christie’s this season, and there was a good deal of speculation 
 as to whether it would bring at auction anything approaching the price recently paid for the celebrated picture “ Garrick 
 between Tragedy and Comedy,” by Messrs. Agnew, which rumour says was over £ 20,000 . The picture of the Ladies 
 Waldegrave was bought in at the Strawberry-hill sale for £5 77 ior. only, but those were the dark ages of picture selling. 
 En revanche , however, for this disappointment we shall have that exquisite piece of child nature by Sir Thomas Lawrence, 
 “ The Calmady Children,” which will be the delight of all mothers and fathers who go to Christie’s. Lord Dudley’s 
 S&vres and other china will be another great attraction as a collection of exceptional beauty, although the famous garniture 
 de cheminde in rose Du Barry, which was Lord Coventry’s, and for which Lord Dudley paid such a fabulous sum, is not 
 included in this sale. 
 
 false Limitations of old enamels and crystals. 
 
 The remarkable collection to which we called attention, now being sold at Messrs. Sotheby’s, has already realized 
 nearly £2,000. Lot 89 enamel ewer and salver, sold for £60 (Frankenheim) ; a pair of “ noble” Vienna porcelain vases 
 30 inches high, elaborately ornamented with patines of gold and painted with subjects from the Trojan war — ,£28 ; 
 another pair, “of exquisite design,” painted with Alexander cutting the Gordian knot, Scipio giving up the bride of 
 Allucio, &c. — £12 ; a pair of “ lofty” Sevres vases, turquoise sernee with fleurs de lis — £15 ior. ; rare Limoges enamels 
 with portraits of Henri II. and Marie de’ Medicis, or Diane de Poictiers, went for eight or nine guineas ; the Cornucopia, 
 of similar work, for £27 ; and the Mace, nearly three feet long, enamelled and with gilt statuettes of Hercules and the 
 Nemaean Lion, the whole set with emeralds, topaz, pearls, and garnets, for ^38 15.L (Heigham). The crystals and the 
 wonderful “ Nef ” are in the sale of Tuesday. 
 
 SALE OF LORD DUDLEY'S SEVRES CHINA. 
 
 (“Daily News,” May 21, 1886.) 
 
 The sale of this splendid collection of SLvres, Dresden, and Chelsea porcelain at Messrs. Christie’s, which has 
 attracted crowds of visitors since it has been on view, comes oft' to-day, and is regarded as the great event of the season, 
 so far at least as extravagant prices go. Those who are curious in matters of taste will have a rare opportunity of 
 observing the extremes of opulent fancy and fashion in which the late earl distanced all competitors, contending for these 
 objets de luxe against all the Rothschilds and winning the prize, with his ten thousand guineas for a garniture de 
 cheminee , and nearly seven thousand pounds for two small flower vases of rare shape and colour. He delighted in huge 
 prices as he did in either winning or losing huge bets, never playing for less than a ten thousand guinea stake. In 
 pictures he showed himself much the same kind of buyer when he bid at Christie’s 6,500 guineas for the Turner Venice 
 in the Mendel sale, and then in a fright gave in to Mr. Agnew, who bid 7,000 guineas, and the earl was fain to pay not 
 only this, but Mr. Agnew’s 10 per cent, advance, that he might possess the picture. Most of the Sevres has been 
 acquired at this prodigious estimate of his, and whether in these hard times the money will ever be seen again is the 
 question we shall see decided this afternoon under Mr. Christie’s irresistible hammer. The famous Vaisseau a Mat and 
 side vases is not in the sale. Probably it has already found a purchaser in the one who was baulked when Lord 
 Coventry had it sold at Christie’s in 1874. The vaisseau that is to be sold is not nearly so choice a garniture in the eyes 
 of the dilettanti, as it is apple-green and not rose du Barry, and only painted with birds. But the set is a superb one, and 
 will no doubt draw the Sevres fanatici. Then there are the four largest Chelsea vases ever made, one of which Lord 
 Dudley’s offer tempted the Foundling Hospital to part with for the sake of the handsome addition to the charity fund of 
 something like 3,000 guineas, and the four cost over £10,000. We shall probably see that there are enthusiasts quite up 
 to this blood-heat in the bric-a-bric thermometer. They are to be sold as two pairs, and as examples of fine English art 
 work they are certainly of much more interest to us than the finest Sevres, and ought to have a place in our National 
 Ceramic Museum at South Kensington. Of Sevres vases, it may be said that the nation already possesses the collection 
 which our grande monarque George IV. purchased at tolerably lavish expenditure in his day, much of it from Louis XVI. 
 service, and which is always to be seen in the cabinets of Buckingham Palace and Windsor Castle, and much more 
 beautiful than anything in this collection of Lord Dudley’s. There is also in Lord Hillingdon s collection a rose du 
 Barry (or Rose Pompadour more properly) Vaisseau h Mat, beautifully painted with cupids and flowers, shown at South 
 Kensington in 1862, which is as exquisite as the ten thousand guinea set of Lord Dudley’s ; and Sir Richard Wallace 
 possesses the lovely pair of Rose Pompadour vases, painted with cupids in clouds, for which the Marquis of Hertford 
 gave nearly 2,000 guineas in the famous Bernal sale in 1856, and which if to be sold now would bring a price not far 
 short of ten thousand guineas, which has become the standard for the very loveliest of the lovely Sevres. 
 
1886.] LORD DUDLEY'S COLLECTION OF PORCELAIN 
 
 439 
 
 LORD DUDLEY'S COLLECTION OF PORCELAIN. 
 
 (“The Times,” May 22, 1S86.) 
 
 The sale of this wonderful collection, which has been the attraction of the town during the week at the galleries of 
 Messrs. Christie, where the splendid Sevres vases were most tastefully displayed in company with the fine pictures of the 
 late Mr. Addington’s collection, brought together a densely crowded company yesterday, and the greatest interest was 
 shown in the beautiful objects as they came before the audience, frequently receiving a round of applause. The general 
 result of the sale seems to be pronounced satisfactory, so far as the less costly purchases of the late earl are concerned, 
 though the unique set of four Chelsea vases did not find any lover of old china quite enthusiastic enough to bid the sums 
 that had been given for them, and they were consequently bought in, though at the very considerable sums of 2,000 
 guineas for each pair. The fine pair of Sevres vases of rare form for which the earl paid £6,825, were also, we believe, 
 bought in at the price bid — viz., 2,500 guineas. The Vaisseau a Mat and two companion vases excited a good deal of 
 applause, and they were sold at what seems to be a good price — ,£2,787 ior. The best sold set of the collection was the 
 Sevres service in deep green from Prince Torlonia’s, which brought £3,437 iij. Many of the smaller objects sold for 
 more than they cost Lord Dudley. 
 
 The following were the most important pieces in the various sections : — Dresden Porcelain : Count Bruhl’s tailor, 
 riding on a goat, 84 in., from the Due de Forli’s collection— £30 9*. ; sold before for ,£17. A girl with a child, and a 
 harlequin, 7m. high, from the Due de Forli’s collection— ,£89 5J. A lady with a large hooped petticoat and two pug- 
 dogs, on white and gold pedestal, 1 i|in. high, No. 18, illustrated catalogue— £ 168 ; sold before for ,£205. Old Chelsea : 
 A tea-service, from the Earl of Lonsdale’s collection, with deep blue bands richly gilt, and painted with exotic birds on 
 white ground— the teapot and stand, ,£50 8j. ; sucrier , ,£48 6s. ; basin, ,£23 2 s. ; milk-jug, ,£29 8j. ; an ecuelle cover and 
 stand, ,£84 ; eight plates brought over £13 a piece ; pairs of coffee cups and saucers, from 42 to 52 guineas ; six very 
 pretty pairs of cups and saucers, some painted with Watteau children and others with Chinese figures, from 40 to 52 
 guineas ; the whole service bringing £829 1 is. Sevres : A cup and saucer, turquoise ground, with the letter E in centre, 
 formed of flowers, and numbered II. interlaced, an Imperial crown with palm and laurel, medallions in cameo portraits 
 and antique gems on jasper ground, and two narrow borders of white, with flowers and rich gilding, signed by Dodin, 
 Tandart, Boulanger, and Vincent, date 1778. The magnificent service of which this formed part was made at Sevres for 
 the Czarina Catherine of Russia about 1778; 160 pieces were brought to England, but were re-purchased, with the 
 exception of a few smaller pieces, by the Czar Nicholas shortly before the Crimean War, from the collection 
 of S. Rucker, in which it sold for £85 — ,£131 5-y. ( Joseph ). A cup and saucer of the same set — £117 12s. ; a 
 plate of the same — ,£113 8 j. (Davis); a deep plate of the same — .£131 6s. ( Grindlay ), this sold for £162 before; 
 the companion plate — ,£148 (Grindlay), both from the Shandon collection (Mr. R. Napier’s). The last 
 sold for ,£158 in the Napier sale. The dcuelle cover and stand, gros bleu, with white and gold handles, exquisitely 
 painted with peasants in six medallions, by Leguay from the Marchioness of Ely’s collection — ,£196 7s. (Davis). A 
 gros bleu cup and saucer, with rich gold scroll leaf borders, the cup exquisitely painted by Dodin with a youth stealing 
 a basket of fruit from a sleeping girl, and the saucer with two girls tying a letter round a dove’s neck, date 1765, from 
 Mr. S. Rucker’s collection — £246 15^. (Davis); sold before for ,£288. A cup and saucer, turquoise, ceil-de-perdrix 
 painted with blind man’s buff and a man decking a girl’s head with flowers, by Dodin, from Lord Lonsdale’s and Mr. 
 S. Rucker’s collection — ,£157 lew. (Boore). This sold before for £200. A trembleuse chocolate cup, cover, and saucer, 
 gros bleu, painted with sailors, by Morin, from Mr. Rucker’s collection — ,£99 i5r. ; sold before for ,£130. Dinner 
 service of Sevres feuille de choux pattern, sold separately in 20 lots, made a total of £712. A Sevres service of apple 
 green ground, painted with flowers in medallions, formerly the property of Prince Torlonia, also sold in 27 lots, gave a 
 total of ,£3,437 IIJ. A service of white ground, painted with groups and wreaths of fruits and flowers in colours, 
 between deep blue and gold bands — ,£178 ior. A dessert service of old Sevres, gros bleu, painted with the arms of the 
 Hope family, classical heads in grisaille, wreaths and bouquets of flowers, presented by Louis XVI. to Mr. Hope, 
 of Amsterdam, and sold with the effects of the late Mr. W. W. Hope, of Paris, and Rushton-hall, Northampton — ■ 
 £1,995. A commode-shaped jardiniere of the largest model, 7\ in. high, scroll handles and feet in relief, chintz pattern 
 decoration in gold and colour, and festoons of flowers, No. 174, illustrated catalogue— £640 lost A pair of square 
 jardinieres , gros bleu, marbled with gold, bouquets of flowers, date 1755 — £294 (Davis). These sold in Mr. Wigram’s sale 
 for £367. A pair of eventail jardinieres of largest model perforated stands, painted with green ribands, and with cupids on 
 clouds and trophies on the reverse, pastoral trophies on the ends, date 1757, No. 176, illustrated catalogue — £1,428 (Boore). 
 A pair smaller, en suite , from the collection of Mr. R. Sneyd and Sir F. Adair Roe, No. 177, illustrated catalogue— £630 
 ( Davis). An eventail jardiniere and stand, largest model, painted with cupids and trophies in eight medallions, in borders 
 of gros bleu and gold, 8fin high, No. 178, illustrated catalogue — £525. A set of three eventail jardinieres, largest model, 
 green ground, exquisitely painted with exotic birds in medallions and flowers in smaller medallions by Alonde, No. 179, 
 illustrated catalogue, from Lord Otho Fitzgerald’s collection— £1,732 ioj\ These sold in Lord Fitzgerald’s sale for £1,995. 
 An eventail jardiniere painted with children and flowers in two medallions, turquoise borders, with bands of white, Slin. high, 
 No. 180, illustrated catalogue— £220 ior. Eventail jardiniere turquoise ground, painted with shepherd and shepherdess, 
 and flowers in seven medallions, 7m. high, from Mr. Coding’s collection— £420. Sold in the Coding sale for £682. A 
 pair of oviform vases, gros bleu, scroll handles, painted with hunting subjects and flowers in medallions by Leguay, on 
 chased or-molu stands, io|in. high, No. 185, illustrated catalogue— £808 ior. Oviform vase and cover of unusually fine 
 turquoise, with gilt cords in relief, exquisitely painted by Morin, with a seaport and figures in large medallions on the 
 front and on the reverse a naval trophy, 14m. high, from Lady Londonderry’s collection, No. 186, illustrated catalogue 
 — £735. This brought £902. A fine large vase and cover of elegant form, with festoons of gilt foliage in relief, sus- 
 
440 
 
 ART SALTS. 
 
 [1886. 
 
 pended from the neck through the handles, exquisitely painted with Venus, Adonis, and Cupid in front and bouquets on 
 the reverse, i6|in. high ; from the Bernal collection and Mr. Rucker’s, originally part of the Royal service at Windsor ; 
 No. 187, illustrated catalogue — £861 (Goode). This sold before for £945. An oviform two-handled vase, gros bleu, 
 pencilled with vines in gold, and with white and gold spiral flutings, painted with “The Stirrup Cup,” after Wouvermans, 
 and bouquet of flowers, 15m. high, No. 188, illustrated catalogue — £635. A pair of oviform vases, gros bleu, pencilled 
 with vines in gold, with goat’s head handles and skins forming festoons, in white and gold in relief, painted with sports- 
 men and flowers in medallions, n|in. high, No. 189, illustrated catalogue — £ 997 iol A similar pair, painted with 
 seaports, by Morin, I7iin. high — £945. A pair smaller, 135m. high, No. 191, illustrated catalogue — £614. A pair of 
 oviform vases and covers, gros bleu, with pierced necks and white and gold handles, painted with seaports and flowers, 
 by Morin, 1 5m. high, No. 192, illustrated catalogue — £798. A garniture de cheminee , consisting of a vase and cover, 
 formed as the vaisseau tl mdt (the arms of the City of Paris), I7^in. high, and a pair of tulip-shaped vases, 13m. high, en 
 suite , painted with exotic birds in colours, in large medallions, in borders of apple-green and gros bleu, on chased or-molu 
 stands ; the ship is engraved as a coloured illustration to Marryat’s work ; formerly the property of Mr. Auriol, afterwards 
 of the Hon. G. Byng, M.P. ; purchased from the late Mr. A. Barker ; No. 193, illustrated catalogue. These were put up 
 at 1,000 guineas, and were now sold to Mr. Boore at .£2,787 ioj. A pair of vases, with covers and stands, forming 
 jardinieres , of very rare and beautiful form, the sides fluted in six compartments, green ground, with rose du Barry 
 foliage, exquisitely painted with subjects of Chinese figures and flowers in medallions, the necks and covers of open-work 
 gros bleu, green, and rose du Barry, surmounted by incrustations of flowers in colours, the stands green, rose du Barry, 
 and gros bleu, iijin. high, from the collections of the Duchess of Cleveland and Mr. William Goding ; exhibited at South 
 Kensington Museum, 1862 ; No. 194, illustrated catalogue. Put up at a bid of 2,000 guineas, and, after short and not at 
 all animated biddings, were knocked down at 2,500 guineas, it being generally conjectured they were bought in. 
 
 Old Chelsea Vases : A vase of rare form, with open-work neck and cover, deep blue, white and gold handles, on 
 pedestal of the same, painted with subjects from Ovid, in six medallions, 17m. high, No. 196, illustrated catalogue — £945. 
 A pair of vases, with open-work necks and covers, painted with large Watteau subjects, in deep blue borders, i6in. high, 
 No. 197, illustrated catalogue, put up at a bid of 900 guineas, and sold for£i,o7i (Wertheimer). A set of three vases, 
 with open-work necks and covers, deep blue and gold, scroll handles, in relief, incrustations of flowers, painted with exotic 
 birds on gold ground, centre vase i6j-in. high, side vases 14m., No. 198, illustrated catalogue — £745 io^. A pair of ovi- 
 form vases and covers of extraordinary size, deep blue ground, very richly gilt, with scroll pattern handles of white and 
 gold in high relief, each painted with a large subject of figures, after Boucher, in colours, with exotic birds on the 
 reverse, 24m. high, No. 199, illustrated catalogue. The vase with the bagpiper was presented by the Rev. Dr. Gamier 
 to the Foundling Hospital in 1763, not by the Chelsea manufactory owners as is stated in the catalogue, where it re- 
 mained until 1868 when it was purchased by the Earl of Dudley. Engraved in Marryat’s work, and exhibited at the Art 
 Treasures Exhibition, Manchester, 1857. The companion vase was purchased from the late Earl of Chesterfield when 
 exhibited at the Leeds Exhibition in 1868. Put up at a bid of 500 guineas, they quickly ran to 2,000 guineas, at which 
 price they were knocked down. A pair of vases and covers, of the same size and form, nearly similar in decoration, 
 painted with subjects after Boucher and exotic birds in medallions, 24m. high, purchased from the late Hon. P. J. Locke 
 King, M.P. ; No. 200, illustrated catalogue. These were also knocked down at 2,000 guineas, but it was considered that 
 neither of the pairs was sold. 
 
 LORD BREA. DA L BA NE A COLLECTION OF DRA ICINGS 
 
 BY OLD MASTERS. 
 
 Though not a large collection, there were a few drawings of first-rate interest, and they were sold on the same day 
 with other similar collections, at Christie’s, June 4, 1886. The noticeable drawings were : — H. Aldegrever. — Portrait, 
 John of Leyden, the Anabaptist, black chalk for the engraving, (B. 182), from S. Rogers collection — £20. Albert 
 Durer. — Head of a weeping child, black chalk with white on prepared paper, s . and d . 1521, from Rogers collection — 
 £85. A. Watteau. — Portrait of an Abbd, black and red chalks, with note on back “ dessein que Watteau a laiss£ en 
 mourant h moy, son ami Caylus, Juillet, 1721,” from Rogers collection — £28. A. Del Sarto. — A man kneeling and 
 another standing, from Rogers collection, red chalk — £125. Michelangelo. — Four sketches for David slaying 
 Goliath, black chalk, from Reynolds’ collection — £205. Leonardo da Vinci. — There were nine different sheets ; 
 three were caricatures which sold for from 4 guineas to 8 guineas ; a drawing of a stream with water-wheels, and MS. 
 notes — £46; a nativity, pen and ink, from Woodburn, and Lawrence collections — £180; allegorical composition of 
 figures, pen and ink, a female figure, in silver point , with studies on the reverse, from Woodburn collection — £210 ; 
 sketches of figures, and handles of keys — £175. Johan FOUQUET. — A knight in armour, with others ; the Deity above 
 and Hell below : one of the set of Brentano minatures at Frankfort — £101. From a different collection was afterwards 
 sold a fine Breviary in MS., in the style of the Grimani Missal, on vellum, 8| by 6f, 176 miniatures — £7 35 (Jamieson). 
 
1886 .] 
 
 MISCELLANEOUS COLLECTIONS. 
 
 441 
 
 THE WORKS OF RICHARD DOYLE. 
 
 (June 7, 1886.) 
 
 After the death of this favourite artist of Fairy subjects, a large number of his water-colour 
 drawings and sketches in pen and pencil, many being for Punch, were sold at Christie’s, Tune 7, 1886, 
 bringing good prices. A Portrait of Thackeray, from life, sold for £13 (Mr. Sidney Colvin). The 
 Knight and the Spectre, water-colour drawing — £11 (Mr. Sidney Colvin). The Stolen Kiss— 
 £4 14s. 6 d. (Mr. Sidney Colvin). A Child’s Day-dream of Fairy Tales— £15 15s. (M. Williams). 
 On the Hills and on the Sea, water-colour — £16 16s. (Agnew). The Altar Cup (Fairy Mythology) 
 IN I 8s. (Agnew). Mothers and Children — £23 (Agnew). Under the Dockleaves, autumn 
 evening dream, water-colour— £50 (Colvin). The Fairies and the Goats, water-colour drawing— 
 £35 I 4 S * (Ellis). The Triumphal Entry of the Queen, “Now she is coming! ” — £60 18s. (Agnew). 
 A Comic Alphabet £30 (Sutherland) . The Royal Academy Catalogue 1850, a book illustrated 
 £ 2 3 (Sw F . Leighton, P.R.A.). Jack the Giant-Killer, a book illustrated — £23 (Tuer), with many 
 others, giving a total of £934. ~ 
 
 PICTURES BELONGING TO LORD CHOLMONDELEY, 
 
 LORD BAND ON, SIR G. BURRARD, 
 
 MR. MONTAGUE CHAMBERS, Q.C., REV. W. J. THOMAS. 
 
 (“The Times,” July, 1886.) 
 
 Some interesting pictures by the Old Masters of all schools, from several private collections in England, were 
 included in the sales of Friday and Saturday last at Christie’s. The only names of owners given were those of the 
 Marquis of Cholmondeley, from whose collection came two good portraits of ladies by Sir Peter Lely and a fine land- 
 scape by Philip de Koning ; the Earl of Bandon, who sent his large picture by Teniers — “ The Archers — and some 
 other good pictures from Castle Bernard ; Sir George Burrard, deceased, from whose collection came a good Lely 
 portrait of a lady, a small Rembrandt portrait, and an interesting crayon portrait of Mrs. Fielding, wife of Fielding, the 
 author ; the late Montague Chambers, to whose estate belonged the interesting portrait piece by Rigaud of Sir W. 
 Chambers, the architect, showing his plans to Sir Joshua Reynolds and J. Bacon, the sculptor, with another picture, a 
 portrait by Sir Joshua of Lady Chambers, wife of the architect. Some other good pictures came from the collection of 
 the Rev. W. Jones 1 homas, of Llanthomas, Hay, Brecon. There were altogether between 200 and 300 pictures, which 
 cov red all the walls of the galleries when exhibited during the week. The sales were but very sparsely attended, and 
 prices, as the commercial phrase goes, ruled decidedly low, though in one or two instances quite as decidedly high, 
 considering that the examples were by no means of first-rate excellence. Those which deserve recording were — a portrait 
 of Anne Boleyn, inscribed and dated 1 5 54 ? which sold for £14 io^. A picture from the same collection, the name of the 
 owner not being given, so closely resembled the imaginary portrait of William Tell attributed to Holbein in the Leigh Court 
 sales as to be easily mistaken for it, but it is not that picture, and it differs from it in having a band of dark colour right 
 across the lower border of the canvas, apparently added since the picture was painted. This picture which corresponds so 
 closely with the other which was exhibited twice at Burlington House — 1875 and 1880— was now called an Albert Differ, to 
 which authorship it is probably as rightly entitled as the other was to be a work of Holbein’s. Both are on thin oak panel, 
 the Leigh Court picture measuring 31m. by 26m., this being about the same. To call these pictures William Tell as an 
 archer entirely nude is sufficiently absurd, as they were intended to represent St. Sebastian holding the implements of his 
 martyrdom. Which was the original, or whether they are not both copies or replicas of a third remains a question ; but 
 the remarkable thing was that, while the Leigh Court picture brought the respectable price of £162 15J., this one passed 
 for the trifling sum of four guineas. Among other pictures of merit which went for very small prices may be 
 mentioned a Madonna, attributed to D. Ghirlandajo — £11 ; portraits of the children of the Duke of Bedford, bv Sir 
 Joshua Reynolds. — £16 16 s. \ the second Duke of Richmond, by G. Romney — £18 i8j. ; “The Little Wayfarer,” by 
 J. Opie— £10 ioj. ; portrait of a lady, by Bronzino — £10 ioj. ; portrait of De Witte, called a Rembrandt — £6 6 s. ; 
 portrait of a general in armour, by Vandyck or Rubens, life-size to knees — £8 i8.y. 6 d. ; The Madonna, with the Child 
 holding cherries, by Leonardo da Vinci — £79 16 s. ; these were all from unnamed vendors. The two pictures of interest 
 among those belonging to the late Montague Chambers above referred to were both exhibited in 1879 at Burlington 
 House. The large portrait piece by J. F. Rigaud, R. A., with half-length seated figures at a table, signed and dated 1782, 
 sold for £252 (Wertheimer). The portrait of Lady Chambers by Sir Joshua is a very charming picture still, though much 
 VOL. I. 3 L 
 
ART SALTS. 
 
 [ 1886 . 
 
 442 
 
 cracked, and represents her in a black silk mantle, white straw hat lined with pale blue and blue ribands, the shadow of the 
 hat coming over the forehead, and with a sky background, as will be remembered by the engravings so often repeated. 
 The portrait was painted in Paris in 1752, when Reynolds had been studying in Italy. There was a spirited contest for 
 this pretty picture, and it brought the considerable price of ^551 55-. (Wertheimer). 
 
 Of the pictures belonging to the late Rev. Mr. Thomas, “ The Guitar Player,” by F. Mieris, sold for £69 6s. 
 (M. Colnaghi) ; a Lady with a nautilus cup, at a window, by Slingelandt — £7 5 12 s. ; a Woman scouring a kettle, by 
 G. Metzu — £'172, 5 -t- (M. Colnaghi); Interior, by De Hooghe, cavalier and lady — £52 ioj. ; another, with a lady 
 feeding her infant, and a servant — ^131 5J. (M. Colnaghi) ; “The Angel appearing to the Shepherds,” by P. Wouver- 
 mans, i6in. by i3oin., panel — £44 2 s. (Lesser). This picture was the same size as the one of the same subject sold 
 recently in Mr. Addington’s collection for .£199 ioj. A Gentleman leading horse into a blacksmith’s shop, by G. Metzu, 
 about 2oin. by 25m., panel — £399 (Mr. Salting) ; Landscape, with muleteers and cattle, by J. and A. Both — ,£199 15J. 
 (M. Colnaghi) ; Holy Family and a nun, by Luini — ,£33 I2.T. (Colnaghi & Co.). From a different property. — “The 
 Madonna and Child,” Raphael, an old copy or replica of the well-known Panshanger picture, stated in the catalogue to 
 have been bequeathed to Maria, Duchess of St. Albans, by Colonel Cunningham, in 1816, was withdrawn from the sale. 
 “ The Judgment of Paris,” an oblong picture on wood, the subject in two groups, attributed to Andrea Orcagna, sold for 
 £31 ior. (Colnaghi). This was an interesting picture by some painter of the late 15th century in the feeling of 
 Botticelli. Portrait of Savonarola, by A. del Sarto — £30 7s. (Ellis) ; portrait of a gentleman, by Mireveldt — £70 7s. 
 (Dyer) ; portrait of a lady and gentleman, by N. Maes, signed, and dated 1670 — £71 Sr. (M. Colnaghi) ; vase of flowers 
 with fruits and insects, by J. Van Huysum — ,£173 5s. (M. Colnaghi). The following were the property of a nobleman.— 
 “Edge of a Forest,” by J. Ruysdael — .£136 ioj. (M. Colnaghi) ; “ Scheveningen Shore,” by De Vlieger — £63 (Grant) ; 
 “ Porcupine attacked by Dogs,” by Snyders, a large work, engraved, 66in. by iaoin . — £294 (Wertheimer) ; View at 
 Venice, by Canaletti — ,£105 (Ashton) ; View of an Italian City, by the same — £147 (M. Colnaghi). From Lord Bandon’s 
 Collection. — “ The Archers,” ten peasants shooting at a mark, landscape with the painter’s chateau, a canvas 47m. by 
 117m., by D. Teniers — £477 I5J\ (M. Colnaghi); this was obviously a work of old Teniers. “St. Jerome,” with his 
 hand on a skull, attributed to Albert Differ — £34 12 s. (Bell) : “ Ecce Homo,” by L. da Vinci — .£52 ioj. (Bell) ; portrait of 
 a Venetian with his son, life size to knees, by Titian— ,£99 15J. (M. Colnaghi) ; “ The Garden of Love,” Titian, an old 
 copy of the famous picture in the Madrid Gallery, the full size, 66in. by 72m . — £13 2 s. 6 d. From Lord Cholmondeley’s 
 Collection. — Portrait of Ann, daughter of_Sir Henry Lee, of Ditchley, 1680 (Lady Wharton), by Sir P. Lely, engraved in 
 the Houghton Gallery — £273 (Wertheimer) ; portrait of Mrs. Jenny Deering, by Sir P. Lely, engraved in Houghton 
 Gallery — £(435 1 5^- (Wertheimer); a birdseye view over a river, with peasants and animals, by P. de Koning, 
 about 6oin. square — £472 10s. (Colnaghi) ; Sketch by Rubens of Marriage of Henry IV. and Marie de Medici, 
 about 26m. by 2oin. — panel — £34 12 s. From the Collection of the Rev. Sir George Burrard, deceased. — Crayon portrait 
 of Mrs. Fielding — ,£53 ur. (Noseda) ; portrait of Lady Dutton Colt — £77 14 s. (Graves); a Rabbi, by Rembrandt, 
 smaller than life — £409 (M. Colnaghi). 
 
 Some good pictures form the sale of next Saturday, belonging to the late Mr. C. J. Nieuwenhuys, for many years the 
 well-known and much respected dealer in London and the Continent. These are now exhibited. 
 
 MR. NIEUWENHUYS ’ COLLECTION. 
 
 (“The Times,” July 15, 1886.) 
 
 It is many years since so choice a collection of old Dutch pictures was offered for sale in London as that which is 
 now on view at Messrs. Christie and Manson’s, and which will be brought to the hammer on Saturday next. It consists 
 of the works which at the time of his death remained in the possession of the late Mr. C. J. Nieuwenhuys, the eminent 
 expert, who died at Wimbledom in 1883, at the age of 84- Mr. Nieuwenhuys, with his brother Francois, stood in the 
 .very first rank among the judges of Dutch and Flemish art, and it was to him that many of the great English and 
 foreign collections owed either their origin or many of their choicest treasures. He had much to do with buying for Sir 
 Robert Peel, and he may be said to have formed the famous collection of the King of Holland. In the obituary notice 
 which we published at the time of his death we gave an account of one of the most curious episodes of his career — his 
 sale of some parts of the great Van Eyck altar-piece to the Berlin Government, and his subsequent discovery of the 
 copies by Michael Coxie which the authorities of the church at Ghent were so glad to buy. There is nothing so romantic 
 in the history of any of the pictures now at Christie’s, but none the less they are very remarkable, and will no doubt 
 excite much ardour of competition on Saturday. There are some modern works of the schools of Holland and Belgium, 
 and a few old Italian and French pictures, but the strength of the collection is in its old Dutch and Flemish pictures. 
 Of these, following the order of the catalogue, we may mention a few. There are three rather celebrated Berchems, 
 described in Smith’s “Catalogue Raisonnd ; ” and a charming Berkheyden, a “ View of Haarlem, with numerous figures 
 and animals. The two Cuyps are of excellent quality, though the composition of the larger is lather awkward. Dietricy, 
 in a pair of large “ Fetes Champetres ” (63, 64), shows how near he could come to Watteau, as many other pictures of his 
 in various collections show how this cleverest and most versatile of imitators could approach to a score of other painters 
 
1886.] MR. C. J. NIEUWENHUYS’ COLLECTION. 
 
 443 
 
 of many schools. No. 67 is said to be a portrait of Van Eyck by himself ; it is certainly a very interesting little picture 
 of the period. By Hondekoeter there is a grand garden scene (70), and by Hoogstraaten one of those portrait groups in 
 which even the second-rate Dutchmen reached so high a standard. A pair of small single figures are all that come from 
 the hand of Adrian van Ostade (84, 85), but they are of remarkable quality. Rembrandt, again, is only represented by 
 one picture, and that, though it has been in several good collections and has never been questioned, is not of the highest 
 interest. There are four works of Rubens, including the “ Neptune and Amphitrite,” which was bought in 1858 from 
 Lord Lyttelton, and the fine “ Portrait of Brigida Spinola Doria,” painted by Rubens in Genoa in 1606. Of the three 
 Ruysdaels, one, of small size, is of the highest quality; it is the beautiful “View of a Ruin,” which belonged to 
 Mr. Watson Taylor (96). The largest Jan Steen is the least attractive, but two of the smaller ones, “The Wedding 
 Party” (98) and “ Twelfth Night,” are admirable in every way, and belong to that charming period of the artist s career 
 when he painted so many of his best pictures, such as Her Majesty’s “ Card Party” at Buckingham Palace. There are 
 several Teniers of no great value, and one, the “ Interior of a Guard Room,” which he seldom surpassed in brilliancy and 
 beauty of colour. This picture may be compared to a very similar subject in Sir Richard Wallace’s Collection, and as 
 for pedigree, it can be traced back through the collections of Lady Lawley, Praslin, Le Bceuf (1782), to that of 
 M. de Verhulst at Brussels and M. Johan van Schulenberg at the Hague at the beginning of the last century. Three 
 important pictures of Wouvermans, with the sort of history that wealthy collectors like, may be added to the list of Dutch 
 pictures. We may mention, too, Titian’s “Tarquin and Lucretia ” (53), which was formerly in the collections of 
 Charles I., the King of Spain, and Joseph Bonaparte ; a beautiful little Madonna by Raffaellino del Garbo ; a “ Cupid” 
 by Clodion ; and some fine bric-a-brac of various kinds. 
 
 (“The Times,” July 19, 1886.) 
 
 The pictures belonging to the late Mr. C. J. Nieuwenhuys sold by Messrs. Christie, Manson, and Woods on 
 Saturday were the remainder of his stock, or rather part of it, for some important pictures of his collection were sold 
 at Brussels in 1883. There were 120 pictures, of which about 35 were by modern painters of the Dutch and Flemish 
 Schools, the rest being chiefly by the old masters of the same schools, with some half-dozen of the Italian and French, 
 and one fine work by Titian — the “Tarquin and Lucretia.” The pictures generally brought their full value, though in 
 some instances the prices were considerably below those of former sales. Of the modern pictures there was little to 
 notice, unless it be the small picture of an old woman at prayer by J. Dyckmans, which sold for ^ 1 68, and the farm scene 
 by Verboeckhoven, which brought ,£241 105. ; the others selling for small sums. Of the pictures of the French School, 
 a shepherdess in a landscape decorating a lamb with roses, 23m. by 56m., sold for ^220 105. ; a small oval picture by 
 Claude, 13m. by i6in., a sunrise, engraved by Canot — Oa 7 > portrait of Madame Favart, by Van Loo ? ,oval — £52 ioj. 
 Italian pictures : — “ The Vision of St. Roch,” by A. Carracci, an altar-piece, painted for the church of St. Eustache, 
 Paris, but bought by the Regent Orleans — £231 ; “Madonna and Child,” by Sassoferrato — £47 55. ; another, similar — 
 £34 1 3 j. ; “Raphael and the Fornarina,” by Francesco Penni, small seated figures, 27m. by i8jin. — £14 145. (this 
 picture was called a Raphael when sold with some of Lord Northwick’s pictures in 1838); Madonna and Child in a 
 landscape, by Perugino, 2oin. by 15m., from Lord Northwick’s Thirlestane House Collection, sold in 1859 — ^193 45. ; 
 “The Virgin and Child,” by Raffaelino del Garbo, 32m. by 22m. — ,£199 ioj. (this picture was bought by Mr. Nieuwenhuys 
 in the Alton Towers sale, Lord Shrewsbury’s, 1857, for ^288 155., and was put up and “ bought in” in a sale at Christie’s 
 in 1873 at £gg7 ior.). The “Tarquin and Lucretia,” by Titian, 73m. by 56-Jin., engraved by Cornelius Cort in 1571, was 
 said in the catalogue to be the picture formerly in Charles I.’s Collection, purchased for the King of Spain, and 
 subsequently carried away by Joseph Bonaparte, and brought to London. It was sold in the Scarisbrick Collection, and 
 afterwards in Mr. Coningham’s at Christie’s in 1849, when it sold for ,£525, an d it now brought ^430 ioj. The Dutch 
 and Flemish pictures : — Soldiers with baggage waggons, 37m. by 50m., from Cardinal Fesch’s Collection, and 
 M. Sabatier, No. 142, Smith’s Catalogue — ^40 195. ; “The Jocund Peasants,” by the same, 9m. by 12m., engraved, 
 No. 64, Smith — £48 65. ; “View of Haarlem,” by Backheyden, i6in. by 25m. — £107 ; landscape, with grey horse, by 
 A. Cuyp, 36-Jin. by 38fin. — .£435 155. (Noseda) ; “ Milking Time,” girl milking a red cow, by the same, 35 Jin. by 45-Jin. — 
 ^525 (Meyer, of Berlin); Dietricy, a “Fete Champetre,” 43m. by 55m. — ^168 ; the companion picture — £99 1 5 j. ; 
 J. Van Eyck, portrait of himself, in red fur-trimmed robe and red headdress, holding letter in right hand, 1 iin. by Sin. — 
 ^399 (Sedelmeyer) ; Hondekoeter, dead partridge and other birds, 23m. by 19m. — £i6S (M. Colnaghi) ; grand garden 
 scene with peacocks, 82m. by 66in. — ,£441 (Loyd) ; Van Huysum, flower piece and bird’s-nest, 31m. by 23m., on panel — 
 ^404 55. (M. Colnaghi) ; interior with figures, N. Maes — ,£42 ; interior, by Van Musscher — ,£147 ; “ A Card Party,” by 
 G. Netscher — £278 55. (M. Colnaghi) ; “The Madonna and Child,” holding cherries, landscape background, attributed 
 to Van Orley — ,£152 5 s. (this w'as a very similar picture to that sold last week as by Leonardo da Vinci). By Adrian 
 Ostade, An old peasant, 9m. by 7jin.— 288 151-. (M. Colnaghi) ; a Dutch boor, 1 1 in. by 9 Jin.— - ^60 iSr. (Lesser). A large 
 Italian landscape, by Pynacker, 59 Jin. by 82m., from Lord Berwick’s Collection— ^44 25. ; “ Rembrandt's Cook,” a 
 half-length figure, life size, holding a knife, 29m. by 35jin.— /173 55. (Sedelmeyer). This picture, which is mentioned in 
 Smith’s Catalogue of Rembrandt’s works and was in Lord Radstock’s and Mrs. Martineau’s Collection, it was stated by 
 Mr. Woods, was bought in this room for 300 guineas by Mr. Nieuwenhuys. 1 he falling off is no doubt due to the 
 doubts that have been expressed as to its authenticity, as it has been attributed to Nicholas Maes. Rubens, Portrait of 
 Brigida Doria, life-size below the knees, 59-Jin. by 32m., painted when Rubens was visiting at the Doria Palace, Genoa — 
 Z304 105. (Wertheimer) ; “Neptune and Amphitrite,” 8oin. by 64m., from Lord Lyttelton’s Collection, and mentioned in 
 Smith’s Catalogue, No. 1,097, but, notwithstanding, obviously a good school copy, as was testified by the price of £252 
 
 3 L 2 
 
444 
 
 ART SALTS. 
 
 [1886. 
 
 which it brought* J. Ruysdael, River Scene, 13111. by 2oin.— £105 ; View in Norway, with waterfall, 40m. by 36m.— 
 ^430 (Robson); landscape, with ruins and water, 24m. by 25^in., canvas, No. 282 Smith’s Catalogue— ^55 1 5-f. 
 (M. Colnaghi) ; P. Van Slingelandt, a lady on a terrace with a dog, 14m. by Il^in., panel— ^80 17J. (Mr. Doyle, for the 
 National Gallery of Ireland). Two other very interesting and excellent examples of the little masters of the great Dutch 
 and Flemish Schools were acquired by Mr. Doyle — a pair of small landscapes, with figures, by Vadder and Bout (both 
 of Brussels), beautifully pure and fresh in colour— ^32 1 ir. ; and a small figure subject, by H. M. Zorg, called “ La 
 Collation,” very highly finished in the style of Ostade. Zorg, meaning “ the careful,” is the name given to H. Martin 
 Rokes, a Dutchman who died in 1682. This picture brought the good price of ^131 5-r., but with the others so cheaply 
 acquired it will be a valuable addition to the Dublin Collection. The four pictures by Jan Steen were by no means worthy 
 of his vigorous though vulgar pencil. “The Wedding Party” sold for ,£147 (Sedelmeyer) ; “A Village Fair,” large and 
 of dubious authenticity, though named in Smith— ,£73 ; “The Philistines and Samson,” 5 2in. by 78m., also in Smith— 
 j£j 1 57 16s.; and “Twelfth Night,” one of his many repetitions and the best of the pictures now sold — ,£215 5-r. (Mr. Salting). 
 Of the five pictures by Teniers only one could be accepted with satisfaction — “ The Guard Room,” i8£in. by 25m., on 
 copper, and this, though not mentioned by Smith, is stated in the catalogue to have been in several great collections, 
 notably the Choiseul Praslin in 1806, and it proved its merit by bringing the highest price in the sale — ,£861 (Vokins) ; 
 “ Le Coup de Canon,” by W. Van de Velde, i^in. by 25-iin.— £(315 (Rutley) ; J. B. Weenix, large upright landscape, 
 with portrait figure and game and bear hunt in the background, signed and dated 1700, 71 in. by 5 sin. — £787 ior. 
 (M. Colnaghi); Phillip Wouwerman, “ Le Ddpart pour la Chasse,” engraved, i8in. by 24m., panel, from the Orleans 
 Gallery — £551 ior. This was bought by Mr. Nieuwenhuys in the Bredel sale for £609 ; “ Halte de Cavalerie,” I2in. by 
 1 7|in., engraved, No. 381, Smith — £388 ior. (Meyer). In the sale of the Redleaf Collection (Mr. Wells) this picture 
 sold for £346 10s. “La Barraque de Pecheurs,” engraved, 19-^in. by 25|in., canvas, No. 202, Smith — £225 15*. 
 (Wertheimer) ; J. Wynants and Lingelbach, a sunny river scene, the figures by Lingelbach, 36fin. by 45fin.— ^346 lor. 
 (Freeman). The total of the pictures amounted to £14,865 2 s. 6d. 
 
 The pictures belonging to the Blenheim Collection, the first portion of which is to be sold on Saturday next, will 
 be placed on view in the galleries of Messrs. Christie on Tuesday. 
 
 l * See Letter from Mr. Gladstone, p. 445. 
 
1887.] 
 
 LETTER FROM MR. GLADSTONE. 
 
 445 
 
 LETTER FROM THE RIGHT HON. IV. E. GLADSTONE, M.P. 
 
 The following letter, written by the distinguished statesman, which is most 
 interesting in every respect and specially valuable as approving the purpose of 
 these volumes, refers to the varying estimate of a picture, according to price. 
 The picture in question was a large work by Rubens, and was twice “put up” 
 at Christie’s ; the first time it was knocked down to the expert dealer who had 
 purchased it privately, and the second time it was sold for a little above half the 
 sum he had paid for it. 
 
 Haw arden, January 8, 1887. 
 
 Dear Sir, — I thank you very much for the work * which I have this day received, and 
 which I hope very speedily to examine. 
 
 I must break my rule against subscribing forthcoming books, for it has long been an object 
 of desire with me to see a history of Christie’s Auction Room, which I doubt not you will give 
 pretty fully with other matter. 
 
 You may like the following anecdote as a case of art vicissitude. 
 
 A quarter of a century ago or more, my brother-in-law Lord Lyttelton had at Hagley a 
 Rubens of a staring character which he did not like and determined to sell. It was genuine ; I 
 think a blowsy rather coarse river god. He sent it to my house in Carlton House Terrace, that 
 it might be seen by a purchaser. Mr. Nieuwenhuys came to see it and paid into my hands — £525. 
 I asked no questions but supposed it to be on commission. It was hardly I think so much as three 
 years afterwards when I recognized the picture on Christie’s walls. Being interested about it I 
 watched the sale, and saw it knocked down to Nieuwenhuys for I think about £ 60 or £65. Some 
 time after I saw Nieuwenhuys, who told me that both times he bought it on his own account. 
 
 I remain, Dear Sir, Faithfully yours, 
 
 George Redford, Esq. (Signed) W. E. Gladstone. 
 
 The sequel will be found in the list of pictures by Rubens (Vol. II.), where the 
 “ Neptune and Amphitrite ” so aptly described by Mr. Gladstone as a “blowsy 
 River God,” and no doubt the identical picture, stands as sold in the collection 
 of the late Mr. Nieuwenhuys, in 1886 for £252, M. Sedelmeyer being the purchaser. 
 The former sale is not recorded, as it then sold for so much under the limit of £100. 
 
 On referring to the sale catalogue, it is stated that the picture was once called 
 the “ Marriage of Neptune and Cybele,” and was at Hagley Park till 1858, when 
 it was sold to Mr. Nieuwenhuys. It is in Smith’s Cat., Part II., p. 203. My 
 own note at the time of sale says it is an ancient copy. 
 
 * This was not the “Art Sales,” but “ The Manual of Ancient Sculpture.’’ 
 

1887.] 
 
 COLLECTION OF MR. KAYE KNOWLES. 
 
 447 
 
 were also some important pictures by Rosa Bonheur, Baron Leys, and J. L. Gerome, so that altogether this collection 
 was a good representative one, and it well sustained its reputation in the very high prices obtained.” Referring to the 
 sale of the Gainsborough, which was now again bought by Mr. Agnew “making the first bid of 5,000 guineas, his spirited 
 start being encouraged by a round of applause from the crowded audience. There seemed to be only one competitor 
 against him, but he was a resolute one, not to be shaken off by spurts of 500 guineas, which Mr. Agnew made 
 more than once, until there was a pause at 9,000, from which his opponent made a last effort to 9,050, promptly met with 
 9,500 from Mr. Agnew, which settled this exciting contest.” * * * “ Next in interest was the Turner seapiece ‘Antwerp,’ 
 ‘ Van Goyen going about to choose a subject,’ 3 5m. by 47m., a lovely picture, full of life and light, over sea and sky pure and 
 fresh as the day it was painted, more than half a century ago, for it was exhibited in 1833. When it came upon the easel, 
 a burst of applause welcomed it, and the biddings were started at 1,500 guineas, next 3,000, then 4,500, and quickly on by 
 500 guineas to 6,000 guineas, then Mr. Agnew bid 6,500 guineas, and was the purchaser. A gentleman in the audience, who 
 was we are told, the grandson of Mr. Bicknell, addressed the auctioneer saying that the picture was bought of Turner by 
 Mr. Bicknell for ,£300. It was sold for ,£2,635 ioj-. in the Bicknell collection in 1863, together with nine other Turner’s 
 bringing ,£17,366 ioi'., and has remained in Mr. Graham’s collection till now, when it has nearly trebled its price. The 
 other pictures by Turner were, ‘ Mercury and Argus,’ an upright picture exhibited in 1856, 59m. by 43m. engraved by 
 F. Wilmore. This was put up at 1,500 guineas, and was sold to Mr. Laurie for ^3,780. This picture soon after it was 
 exhibited in 1836, was purchased by the late Mr. Birch of Harborne near Birmingham, and was sold to Mr. Naylor from 
 whose collection it passed through Messrs. Agnew to the late Mr. Graham. An Italian Landscape, 34m. by 46m. was a 
 picture painted at the beginning of Turner’s romantic colour style — ,£1055 (Agnew) ; ‘The Wreck Buoy,’ 37m. by 48m. 
 exhibited in 1849, a rather extravagant picture with dark stormy sky and a double rainbow, and a barge with a bright red 
 sail — ,£1050 (Agnew). The one picture by Sir Joshua, ‘The Masters Gawler,’ the one boy has dark hair, the other 
 auburn, with a Newfoundland dog, in a landscape with thick foliage above. A fine rich toned picture, and it is not easy 
 to see why it should ever have sold for such a much lower price as ,£5 77 in 1873, as it now brought ,£2,415 (Agnew).” 
 The prices of the other pictures were also given, of which the most important were : — P. Nasmyth. — Falls of Shirra, 26m. 
 by 38m. — ,£1,270 10 s. (Agnew). E. FrLre. — “The Snail,” 1 5+in. by I2in. — ,£336 (McLean). P. Delaroche. — “A 
 Christian Martyr,” 2iin. by I7^in., small replica — ,£577 ioj. (Agnew). Ary Sheffer. — “Magdalen” — ,£651 (Agnew) ; 
 St. John at Patmos, 37m. by 24m. — ,£609. H. Leys. — Antwerp, 2oin. by 8oin., on panel, snow scene — ,£1,470 (Laurie). 
 Gerome. — “The Nile Boat,” 17m. by 29m. — ,£1,575 (Henson). Rosa Bonheur.— “In Fontainebleau Forest,” 175m. by 
 26^in — ,£850 (Wass); “Highland Raid,” 46m. by 78m. — ,£4,095. Sir E. Landseer. — “The Shepherd’s Bible,” 22in. by 27m. 
 — ,£1,071 ( IVass). A. W. Callcott. — Gulf of Spezzia, 2iin. by 41m. — ,£577 (Agnew). Holman Hunt.— “ The Finding 
 of the Saviour,” i8in. by 28m. — ,£1,260. J. Linnell, Senr. — “ Edge of the Wood,” i8in. by 24m. — ,£577 (Agnew)- “ Christ 
 and the Woman of Samaria,” 45m. by 50m. — ,£598 ( IVass) ; “ Under the Hawthorn,” 39m. by 53m. — £i,oyi ( IVass ) ; “ The 
 Sheep Drove,” 36m. by 50m.— ,£1,942 (McLean) - “Return of Ulysses,” 48^in. by 72m. — £1,470 (Agnew). Sir J. E. 
 Millais. — Sir Isumbras at the Ford, 66in. by 84m. — ,£1,365 (Agnew). C. Stanfield. — Moonlight, Holland, 31m. by 
 47m. — ,£735. D. G. Rossetti. — “Venus Verticordia,” 32m. by 27m . — £472 (Vokins) ; “Pandora,” 51-jin. by 31m. — ,£577 
 (Butler). E. Burne-Jones. — “Fides,” in tempera, 70m. by 24m. — ,£462 (Agnew) ; “ Sperantia,” in tempera, 70m. by 
 24m . — £672 (Agnew). Sir D. Wilkie. — “The School,” 41m. by 63m. 071 panel, engraved — ,£1,732 (White). T. S. 
 Cooper, R.A. “Drovers halting on the Fells,” 56m. by 92m. — ^504 (McLean). Birket Foster. — “ Land’s End, fishing- 
 boats in trouble,” 36m. by 6oin. — ,£283. Total of the collection, £62,297 17s., the very high average of about ,£650 a 
 picture. The total of Mr. W. Graham’s collection was for 486 pictures and a few water-colours — ,£69,168. 
 
 THE COLLECTION OF MR. KAYE KNOWLES. 
 
 (“The Times,” May 18, 1887.) 
 
 The collection belonging to the late Mr. Kaye Knowles, sold by order of his executors at Christie’s on Saturday, was 
 one of the many which prosperous men of business in these days are induced to bring together in the decorative display 
 of their mansions in town or country. More wealth than taste or knowledge of pictures is generally concerned in the 
 formation of these collections, and in this instance no doubt rumour is correct as to the large sum expended, more 
 especially upon the pictures by foreign artists which formed more than half the collection. There were about 40 
 water-colour drawings, chiefly of the English School, and none important, while there was one by Meissonier of his 
 well-known figure “ The Smoker,” I3«in. by g^in^and by no means remarkable as an example of his high finish and good 
 colour, though full of his admirable character and exactness of delineation. This brought the considerable price of 500 
 guineas. Many of the oil paintings went for very considerable sums, but some brought high prices, and the beautiful 
 landscape “Over the Hills and Far Away,” by Sir John Millais, eclipsed all the eminent painter’s successes as to price, 
 for it brought no less than 5000 guineas — a price that has never been approached by any work of his, either subject 
 picture, portrait, or landscape. The purchaser who thus set all the great dealers at naught was Mr. G. E. Clayton, and 
 as the picture has not yet been etched or otherwise reproduced, probably that gentleman is not far out in his high estimate 
 of the property, to say nothing of the artistic merits of the picture. It will be interesting on this occasion to recall tin 
 
ART SALTS. 
 
 [ 1887 . 
 
 448 
 
 prices paid at Christie’s for some of Sir John Millais’s landscapes. His masterpiece in this line — “Chill October’’ — 
 sold for ,£3,255 in the Mendel sale, 1875 ; “Scotch Firs,” for ,£1,837 icm ; and “Winter Fuel”— £1,785 in Baron Grant’s 
 sale, 1877 ; “Flowing to the River” — £4,590 ; “The Cuckoo ”—£1,995. These are most remarkable prices even for 
 any professed landscape painter. The highest prices for the subject pictures were £3, 990 for the “ Jephthah ” and the 
 same large sum for “The Princes in the Tower,” the first-named being bought by Sir William Armstrong, the last for 
 Holloway College Gallery. Turner stands in landscape upon a pinnacle of his own, and near him are David Cox with 
 his “ Peace and War” — ,£3,601, and “ Bettvvs Church” — £2,677 Stanfield with “ Morning of the Wreck” — ,£2,940, and 
 “ Roveredo ” — ,£3,465. Linnell has more than once passed £ 4 , 600, so has William Collins in his “ Borrowdale ; ” 
 Constable has touched ,£2,400, still rising; Creswick, in his “Trentside” — £ 4 , 100; Copley Fielding, “Travellers” — 
 £3,150. No modern school of landscape can show prices to compare with these. Turning to the pictures before us in 
 this sale we find some creditable prices for the English School : — “ Driving Home the Herd,” by Peter Graham, R.A., 
 I7iin. by 26iin. — £336 (Agnew) ; “A Summer Afternoon,” by H. W. B. Davis, R.A., a large cattle piece, painted 1873 
 — £525 (Vokins) ; and “The Panic,” another large work painted the year before and which won for the artist his election 
 to the Academy — £735 (Agnew) ; “The Land of the Mountain and Flood,” by J. Macwhirter, A.R.A., 52m. by 84m.— 
 £378 (Agnew); “ Fordwich Meadow,” sunset, with cows, by Sidney Cooper, R.A., 1850 — £294 (Agnew); “A 
 Bacchante,” by L. Alma Tadema, R.A., loin, by 7fin., engraved by Blanchard — £577 10s. (Agnew); by E. Nicol, 
 A. R. A. ,“ Looking Out for a Safe Investment,” engraved by Simmons — £651 (Henson); and “ Stainte,” “Health to 
 You,” with “ Lord Help Me,” a pair, 14-Jdn. by iojin. — £336 (Agnew). The most interesting of the pictures by foreign 
 artists were — “ Calvary,” by E. Detaille, 5m. by 7m. — £105 (Tooth) ; “ Right Way,” by Hugues Merle, 74-Jdn. by 46m.— 
 £367 io.r. (Tooth) ; “ Interior of a Smithy,” by E. A. Schmidt — £236 5^. (Wallis) ; “An Arab Stable,” by A. Schreyer — 
 £320 5 s. (Agnew); “ Castel Fusano, near Rome,” by C. Heffner — £141 1 5^. (Agnew) ; “ Le Ddjeuner,” by E. Frere — 
 £152 5-f. (Agnew) ; “A Princess in a Harem, Algiers,” by F. Roybet, 58m. by 44m. — £52 ior. (Hollender) ; “ Sur le 
 Tapis,” by J. Domingo, 22m. by 28m. — £273 (M. Colnaghi) ; “ Le Sommeil,” by J. L. Meissonier, a small picture of a 
 cavalry soldier of the 17th century seated asleep with his hands clasped, in the open air against a wall, 5fin. by 4^in. — 
 £472 1 os. (Wallis) ; “ Interior of a Farm Stable,” by Rosa Bonheur, 1875, a grey horse and a dark bay, i6in. by 25|in.— 
 £483 (Agnew). There were 1 1 pictures by Decamps, of which “ A Bullock Waggon,” 13m. by i8in., sold for £1 15 ioj. 
 (Obach) ; “A Shepherd and Flock,” 1 1 in. by 15m.— £231 (Agnew); “Samson and the Philistines,” I2^in. by I7^in.— 
 £231 (Agnew); “A Farmyard,” tein. by 1 Sin. — £120 15^. (Baker); “View in Sicily,” i8in. by 29m. — £262 ioj. 
 (Agnew); a rocky landscape, 19m. by 24m.— £215 5*. (M. Colnaghi). The 12 pictures by G. de Nittis, nine of which 
 were rather large street views of London for which very high prices had been paid, it was said in the room as much as 
 £1,000 for some of them, brought less than a fourth of this sum each, and several much less. “ Piccadilly,” 27m. by 41m. 
 — £15°; “The National Gallery” — £168; “Trafalgar Square”— £220 ioj. ; “The Lake, St. James’s Park” — £152; 
 “ Bank of England and Mansion House ” — £226 ; “ Cannon Street Railway Bridge”— £56 ; “ Paris, vu du Pont Royal ” 
 — £ 1 57 ioj. By J. J. Tissot — “Picnic on the Thames” — £69; “Afternoon Tea” — £52 ior. ; “ Chislehurst ” — £54. 
 By Munkacsy, “ The Hero of the Village,” a large work, 62m. by 89m., a man about to fight with a mountebank in a wine 
 shop, and many other figures — £966 (Koekkoek). By C. Seiller, “ Les Adieux ” — £157 ior. The total amounted to 
 £18,415 Ss. 
 
 MR. ROUP ELL'S COLLECTION. 
 
 Mr. Robert Prioleau Roupell, Q.C., was an amateur of some repute and had a considerable number of pictures, 
 drawings by the old masters and other works of art, which were sold at Christie’s, July 1887, occupying seven days. 
 The drawings by the old masters were the most interesting, amongst them being many attributed to Rembrandt, some 
 of which were genuine, but none brought very high prices. The Lion Reposing — £24. An Academy Study of a Man, 
 and four sketches of heads, two lots sold together — £61. A Mother and Child, and six heads of men on one sheet 
 fjo. The 23 drawings attributed to Rubens, several from the Lawrence and \V oodburn collections went for small prices ; 
 and of the 25 attributed to Vandyck, the highest was Portrait of Stalbent— £1 5. The whole of the drawings only 
 amounted to £1,600. 
 
1887 .] THE DUKE OF BUCCLEUCH'S COLLECTION. 
 
 449 
 
 PORTRAITS BY GAINSBOROUGH AND RAEBURN. 
 
 {July, 1887.) 
 
 Some important portraits, especially one very fine one by Gainsborough of the Hon. Mrs. Henry Fane, were sold at 
 Christie’s, with other pictures from several different properties, July 9, 1887. The Gainsborough portrait belonged to a 
 small collection of no interest from Fulbeck Hall, near Grantham, sold re H. J. Fane, in bankruptcy, in the High Court 
 of Justice, Chancery Division, Waddell v. Fane. This lady was painted in a Vandyck black dress with lace and pearls, 
 a black hat and feathers, holding a feather in her right hand, 36m. by 28m., painted soon after her marriage in 1777. She 
 was Miss Annie Batson. There was a great contest for this beautiful picture between Mr. Agnew and Md Vokins, and 
 it brought the large price of £5,092 los -, Mr. Agnew being the purchaser. The three Raeburn portraits were of himself, 
 his wife, and his young son on a grey pony, which belonged to Sir W. Patrick Andrew, C.I.E., and was sold by order of 
 his executors. The portrait of Sir H. Raeburn, R.A. — £535 {Agnew) ; Lady Raeburn— £850 {Agnew)-, Henry 
 Raeburn — £330 {Agnew). From other properties were sold — four good pictures by T. Webster, R.A. : “ The Dirty Boy” 
 — £152 {Tooth) ; “ The Impertinent” — £137 ; “ The Wreck Ashore” — £157 ; “Waiting for the Bone” — £157. P. I. de 
 Loutherbourg, R.A., “ The Skaters,” portraits of Mr. and Mrs. Loutherbourg ; Mr. Picot, who engraved this picture ; 
 Noverre, a dancing-master; and Webber, who went with Captain Cook round the world; dated 1776 — £84 {Vokins). 
 H. Leys, “Interior of a Cabaret” — £183 {Polak). F. Guardi, “Grand Canal, Venice” — £273. A. SOLOMON, “An 
 Awkward Position” — Goldsmith in White Conduit House Gardens — £133 {Tooth). 
 
 THE DUKE OF BUCCLEUCH’S COLLECTION OF ENGRAVINGS. 
 
 This very fine collection contained a very complete series from the pictures by Sir J oshua Reynolds, Sir David Wilkie, 
 Sir E. Landseer, and Turner’s “ Liber Studiorum,” besides a remarkable collection of etchings and engravings by ihe Old 
 Masters, of which the Rembrandt etchings formed a nearly complete series chiefly in the finest and rarest states. These 
 were those which had been purchased by Mr. Wilson, the author of the catalogue of Rembrandt's etchings, from the 
 executors of M. Denon through Woodburn, and can be traced to Rembrandt himself, having been purchased of him by 
 Zomer, a contemporary artist and print collector, and by Denon at Zomer’s sale. The Christie catalogue gave, in some 
 copies, a facsimile of the agreement between Denon’s executors and Woodburn, with the engraved title of the Zomer sale 
 catalogue. Woodburn obtained the collection from Wilson as part-payment of a debt. Many were sold to Lord 
 Aylesford, others to Baron Verstolk. Eventually the greater portion of the prints passed into the hands of Mr. John 
 Heywood Hawkins. At the sales of the Maberly, and Verstolk collections, Mr. Hawkins bought largely, and a few years 
 afterwards, sold the entire series to Messrs. Colnaghi & Co., from whom the late Duke of Buccleuch bought it. The whole 
 collection was formed under the advice of Messrs. Colnaghi during the past forty years by the late Duke. The sale 
 created the greatest interest, all the principal dealers of the Continent being present, with a full assemblage of amateurs, 
 beginning March 8, 1887, with the works of Landseer, and continuing for seven more days as the first part, which with 
 the “Liber Veritatis” and “Gould’s Ornithology” sold for ,£13,145. For these modern engravings of Landseer’s works, 
 some high prices were paid by the Trade : “ Hunters at Grass,” by C. G. Lewis, artist proof — ,£131 5-r. ; “ Laying down the 
 Law,” by T. Landseer, engraver’s proof — .£50 8s. ; “The Monarch of the Glen,” by T. Landseer, artist proof — £78 15J. ; 
 “ Night and Morning,” by the same— ,£64 ; “ Stag at Bay,” by the same, artist proof - — £73 ioj-. Of the Sir Joshua portraits : 
 “ Mrs. Abington as the Comic Muse,” first state — ,£68 5.?. ; Lady Bamfylde, second state, before title — £131 5-r. ; Mrs. 
 Beresford with Lady Townshend and Mrs. Gardiner, first state — £71 8r. ; Lady Carlisle, first state — £74 nr. ; Mrs. 
 Carnac, second state, before title — ,£107; Lady Catherine Pelham Clinton, first state, open letters — £110 5 r. ; Lady 
 Elizabeth Compton, first state before title — ,£131 5-r. ; Lady Crosbie, first state before title — ,£94 ; Lady Betty Delmd, first 
 state, damaged — ,£84 ; Georgiana, Duchess of Devonshire — ,£115 icw. ; Lady Louisa Manners, first state, — £102 18 s. ; 
 Mrs. Pelham, feeding chickens, by W. Dickinson, fine impression of the only state known — £136 ioj. {Vokins) ; The 
 Duchess of Rutland, first state before title — £131 5J. {Vokins) ; Mrs. Siddons, by F. Haward, first state before title, &c. — 
 £73 10 s. ; The Three Ladies Waldegrave, by V. Green, first state — £262 io.f. {Agnew). 
 
 The sale of the second portion began April 19 to three following days. Amongst the portraits on the first day was 
 a collection called Baziliologia of 32 plates of Kings and Queens since the conquest, by Elstracke, S. Passe and others, 
 with celebrities from the “ Heroologia,” of which it was stated “no such collection of the works of Passe, Delaram, 
 Elstracke, &c., has been offered, since Mr. Christie sold the famous Delabere collection of 152 portraits, March 29, 1811, 
 when the prints sold separately, amounting to £601 8 s. The portfolios now offered contain 288 engravings, and were 
 collected by Messrs. Colnaghi for the late Earl of Gosford, repurchased by them, and finally sold to the late Duke of 
 Buccleuch. They were now knocked down at £200, but it was conjectured were “bought in.” The Albert Durer prints 
 were not all of high quality, and the prices were not remarkable. A volume of woodcuts by Durer, and the six designs 
 for embroidery, &c., and the Car of Maximilian sold for £130 ( Gutskunst ) ; A volume of the entire works of the Hoppers 
 
 VOL. I. 3 M 
 
450 
 
 ART SALES. 
 
 [1887 
 
 — £135 ( Meder ) ; The Rembrandt etchings occupied the greater part of three days in selling, and attracted many connois- 
 seurs, amongst whom were Dr. Lippmann, Director of the Print Collection of Berlin Museum, Dr. Dohme, and M. Silvy of 
 Paris. The following extract from the account in The Times of the incidents at the sale will be read with interest : — 
 “ The portraits of the master by himself : Rembrandt with moustaches, second state — £21 ; holding a bird of prey — £15 
 ( Lauser ) ; bust in fur cap, first state — £18 ( Bouillon , successor to M. Clement) ; in a turned-up hat, third state — £25 
 ( Thibaudeau ) ; another in fifth state— £42 ( Danlos ) ; when young, second state — £43 {Danlos) ; in a cap and feather 
 — £8 ior. ; a bust resembling him, first state — £14 14^. {Meder) ; Rembrandt leaning on a stone sill, first state, from 
 the Pole Carew, Verstolk, and Hawkins collections — ,£135 ( Colnaghi ) ; Rembrandt drawing, sixth state — £80 {Colnaghi) ; 
 Rembrandt in an oval, second state — £46 ( Thibaudeau ) ; Rembrandt in an octagon, 31, Wilson — £27 ( Gutskunst ) ; 
 “Abraham and Isaac,” 38 W. — £19 {Thibaudeau) ; four prints for a Spanish book, first state, 40 W. — £55 
 {Danlos) ; “ Joseph relating his Dream,” 41 W. — £16 {Gutskunst.) Total of the second day, £1,168. “The Triumph 
 of Mordecai,” early impression — £39 i8r. {Colnaghi)-, “Angels appearing to the Shepherds,” third state, — £85 
 {Colnaghi) ; “ The presentation in the Vaulted Temple,” first state, with Simeon’s head uncovered — £30 {Danlos) ; 
 “ The Presentation,” in his dark manner, early with bur — £42 {Danlos) ; “ Flight into Egypt,” a night piece, first state, 
 58 W. — £48 {Thibaudeau) ; another, third state — £2 ior. {Cobiaghi ) ; “ The Flight into Egypt,” in the style of Elsheimer, 
 first state, 61 W., on vellum, before the trees were put in and other details — £115 {Thibaudeau) ; the same subject, 
 second state, with trees finished — £100 {Danlos) ; another impression, third state, the clouds drawn in — £13 {Bouillon ) ; 
 “The Rest in Egypt,” in a wood, 62 W., first state without the ass — £17 {Meder) ; “ Christ Preaching,” 71 W., second 
 state according to Wilson, but stated in the catalogue to be “really the first state, the impression in Paris being a fraud ” 
 — £31 {Colnaghi)-, “Jesus and the Samaritan Woman,” arched, 74 W., second state — £20 {Gutskunst)-, “The 
 Resurrection of Lazarus,” the large print, 77 W., third state — £135 {Colnaghi). Next to this came “The Hundred Guilder,” 
 so called from the price Rembrandt had for it, which is about ,£8. This was the great prize of the sale. It was a fine 
 impression on thick Japan paper, with an inscription on the back in the handwriting of the distinguished connoisseur 
 J. Barnard. It has a special interest for the curious, and was expected to surpass in price all previous sales of this 
 famous and rare print. Only eight impressions of it are in existence.* The first bid was £500, by Mr. Meder, who 
 led throughout the contest with his opponents, Messrs. Bouillon, Colnaghi and Danlos, and distanced them all with his 
 ,£1,300 on behalf of the Berlin Museum. At the side of Mr. Meder sat Dr. Lippmann, the keeper of the prints and 
 drawings in the Berlin Museum, and behind him was Dr. R. Dohme, the private librarian of the Emperor of Germany, 
 whose presence showed the great interest taken in the sale. “Our Lord in the Garden of Olives,” 79 W . — £16 
 {Gutskunst) ; “ Our Lord before Pilate,” first state on Japan paper, 80 W., in which the building on the right is without 
 shadow — ,£1,150 ( Wunderliche ), this was a price about five times the ordinary value; another, in fifth state — ,£75 
 {Colnaghi)-, “Our Lord Crucified,” first state, 81 W. before the name and date — .£290; another, third state — ,£39 
 {Gutskunst ) ; “ The Ecce Homo,” 82 W., second state, according to Wilson, before diagonal lines across a head above the 
 man with the reed — £70 {Gutskunst)-, “Descent from the Cross,” second state — ,£30 {Wunderliche)-, “The Virgin 
 Mourning the Death of Our Lord,” 90 W., first state— ,£33 {Colnaghi) ; “ Christ Entombed,” first state — £27 6 s. {Colnaghi ) ; 
 “ The Good Samaritan,” first state — £60 {Meder) ; St. Jerome before an old tree, 108 W., first state — ,£55 {Gutskunst) ; 
 “St. Jerome,” first state, with the lion, 109 W. the large unfinished plate — ,£124 {Thibaudeau)-, another impression, 
 second state— ,£16 {Colnaghi)-, St. Francis praying, first state, on vellum, 112 W., background nearly white — ,£110 
 {Colnaghi) ; another impression, second state — ,£100 {Colnaghi) ; “ The Demolition of the Statue of Alva,” 1 14 W. — ,£35 
 {Danlos ) ; “Marriage of Jason and Creusa,” first state — £3 2 {Colnaghi) ; three Oriental figures, first state — £37 {Meder); 
 “The Spanish Gipsy,” 124 W . — £60 {Gutskunst); “The Onion Woman,” second state — ,£15 ( Wunderliche ); another 
 impression — ,£19 {Colnaghi) ; A skater, 153 W. — £ 2 9 {Colnaghi); a hog, 154 W., first state — ,£28 {Gutskunst) ; “The 
 Shell,” 158 W., first state with white background -£185 {Wunderliche), this print sold in the collection of Sir Abraham 
 Hume at Christie’s 1876, for ,£200 ; “The Shell,” second state, the background shaded — ,£40 {Gutskunst) ; a man and 
 woman, 162 W., first state — ,£19 {Danlos); “Lazarus Klap ” 168 W., first state before the plate was reduced — £20 
 {Colnaghi) ; an old beggar, 172 W. — £25 {Gutskunst) ; beggars at a door, 173 W. — ,£29 {Colnaghi) ; “ Ledikant, or the 
 French Bed,” 183 W., second state — .£58 i6r. {Colnaghi ) ; “The Friar in the Cornfield” — £35 {Colnaghi) ; “ The Flute- 
 player,” first state, 185 W.— £60 {Meder) ; another, fourth state — £13 {Colnaghi) ; A woman sitting before a stove, 194 
 W., third state— £44 {Meder); another, fifth state — £17 {Thibaudeau). A woman dressing, first state, 196 W. — £62 
 {Colnaghi ) ; Woman holding an arrow, first state — £50 {Colnaghi). The landscapes, of which there were several very fine 
 impressions of these most charming works of the master, brought prices hitherto never approached in all the frenzied 
 competitions of Rembrandt worshippers. This was accountable, no doubt, from the Berlin Museum being in the field, and 
 Dr. Lippmann was evidently determined not to miss the opportunity of making up the admitted deficiencies of the collection 
 in the representation of Rembrandt in this branch of his art. He had at least three vigorous opponents, however, in M. 
 Danlos, M. Bouillon, and Mr. Thibaudeau, on behalf of the French collectors. “The Six’s Bridge,” second state, sold for 
 £35 {Wunderliche , for America ; “ Omval,” early state — £44 {Colnaghi) ; “The Sportsman,” first state, — £65 {Danlos) ; 
 “The Three Trees” — £165 {Meder) another, with a copy (2)— £120 {Danlos ) ; A peasant carrying milk-pails, first state, before 
 the mountains — £205 {Meder) ; another with the mountains — £7 1 5-f. ; “ The Coach,” landscape, 212 W.- — £75 {Jepherson) ; 
 village, near the high road, arched, second state— £275 {Bouillon). This print sold in the Carew sale, 1835, for £65 only. 
 V illage, with a square tower, arched, first state— £295 ( Thibaudeau) ; “ The Canal ”— £ 1 20 {Colnaghi); Landscape, with a vista, 
 third state — £140 {Gutskunst ) ; Landscape with a ruined tower, first state — £260 {Meder) ; An arched landscape, with flock 
 
 * This impression came through the Pond, Hudson, Aylesford and Barnard collections, and on the occasion when one was sold in 
 Sir C. Price’s collection at Sotheby's in 1867 it brought £1,180, the purchaser being the late Mr. Palmer, who was at the time on his 
 death-bed, but determined to possess it, if but for an hour. Soon after his death it was sold again at Sotheby’s, and then it was bought 
 for M. Dutuit, of Rouen, for £1,100, and is now in the Museum of Rouen, to which the late M. Dutuit bequeathed his collection. I 
 have seen a priced catalogue of a sale of J. Barnard’s collection of prints, by Mr. T. Phillips, in Warrick Street, Golden Square, 
 London, April, 1798, in which there were two prints of this subject, one sold for £9 14?., the other for £3 ir. 6 d. 
 
1887.] THE DUKE OE BUCCLEUCH’S COLLECTION. 
 
 45i 
 
 of sheep, first state — £180 ( Meder ) ; Large landscape, with a cottage and barn, with a counter proof — £75 ( Meder); Land- 
 scape, with obelisk, first state, 224 W. — £255 ( Meder ). This was the identical print which sold in Barnard’s collection, 1796 
 for £ 2 gs. ; Cottage, with white pales, first state— £100 ( Colnaghi ) ; “The Goldweighers’ Field,” 231 W., on Japan paper 
 — £ 2I ° ( Meder ) ; Landscape, with canal and swans, first state — £125 {Meder) ; landscape with cow drinking, first state — 
 £i 35 {Meder). The portraits were a very fine collection and the average price was very high ; in one instance, that of the 
 Uytenbogaert, first state, largely exceeding any recorded of that print — viz., £1,280. The contest for this lay between the 
 Berlin Museum and Mr. Thibaudeau, who succeeded against his powerful antagonist. It was whispered that this fine print 
 has now passed into the rich cabinet of Baron Edmond de Rothschild. The Coppenol, large plate, second state, was 
 another portrait expected to bring a large sum, and this it certainly did, for though Berlin did bid high for it Paris went 
 higher, and M. Danlos carried it off at ,£1,190. Another of this “ Coppenol,” third state— £130 {Gutskunst) ; and another, 
 lourth state — £80 {Gutskunst). The “ Van Tolling,” which was called a second state, 286 W., but which was thought to 
 be an undescribed print from not having certain lines on the chest found in other impressions— .£800 ( Wunderliche). It 
 was a first state of this plate which sold in Dr. Griffiths’s collection in 1883, for ,£1,510, the highest on record of any 
 etching, to the late M. Clement for M. Dutuit, of Rouen. “ The Burgomaster Six,” second state— £500 {Danlos.) This 
 state in Dr. Griffiths’s sale brought £505 to the same buyer. Abram Franz, second state -£510 {Meder) ; Old Haaring 
 —£70 {Colnaghi) ; Young Haaring, first state— £105 {Colnaghi) ; John Lutma— £176 ( Danlos ) ; Jan Asselyn, first state, 
 £105 {Colnaghi) ; Ephraim Bonus, second state— £120 {Colnaghi) ; Cornelius Sylvius, the impression that belonged to 
 him, and very fine— ,£125 {Meder) ; “The Goldweigher,” first state, the face blank — ,£160 {Colnaghi) ; another, second 
 state — ,£110; Coppenol, the small plate, first state — £320 (Meder); the great “Jewish Bride,” first state — £150 
 (Colnaghi) ; another, second state— £260 (Meder) ; a volume of Van Dyck etchings, with Carpenter’s catalogue— £350 
 (Meder). Total amount of this second portion, £19,756 8^., making with the first, £32,863.* 
 
 * It is well known that the whole collection was acquired for less than one fourth of the sum now obtained, the prints in the 
 second portion containing the Rembrandts having cost the Duke about £4000. 
 
 3 M 2 
 
45 
 
 ART SALTS, 
 
 [1888 
 
 THE MARTON HALL GALLERY. 
 
 (“The Times,” May 7, 1888.) 
 
 The great sale of the season — the collection of modern pictures formed by the late Mr. Bolckow, M.P. — came off on 
 Saturday, with a success in high prices and with such enthusiastic interest on the part of the public who follow these 
 events of the fine art world, as quite came up to the expectations created by the exhibition during the week of so many 
 pictures of first-rate importance. The ante-room was filled for an hour before the time by a crowd of ladies and gentlemen 
 eager for the opening of the door of the large sale room, and in a few minutes the room was densely packed, and an over- 
 flow reached beyond the entrance. The auctioneer, Mr. Woods, in opening the sale stated that the pictures about to be 
 offered did not fully represent the splendid collection Mr. Bolckow had made, but only that part of it which was at Marton 
 Hall, in Yorkshire, the other part being at the residence in London and left to Mrs. Bolckow during her lifetime. The 
 trustees in following the directions to sell these pictures had decided to take something less than the very liberal 
 prices at which they had been acquired. To this it may be added, that the late Mr. Bolckow, though himself an excellent 
 judge of a picture, with that native instinct which some practical men like himself and the late Mr. Gillott are gifted with, 
 constantly relied upon the advice of Mr. William Agnew in adding such great masterpieces to the Marton Hall gallery as 
 the Millais “North-West Passage,” the Landseer “Braemar,” the Rosa Bonheur “Denizens of the Highlands” and 
 “The Long Rocks;’’ and the Muller “Tombs in Lycia.” These five pictures brought 19,990 guineas — ,£20,989 ror. — an 
 average of over ,£4,000 each, and the average on the whole collection of 70 pictures was above 1 ,000 guineas each, the total 
 amounting to ,£71,387 8 s. This stands as the highest on record, beating the great one of the old masters, chiefly of the 
 Dutch and Flemish schools, in the Bredel collection of thirty-seven pictures, in 1875, which came to ,£32,402. In justice 
 to the old Dutch painters, however, it must be said that their thirty works alone in the Bredel collection gave a higher average 
 than has now been reached by the moderns ; and still more it must not be forgotten that the 16 pictures of the Clewer 
 Manor collection sold in June, 1876, at Christie’s all Dutch and Flemish but one by Greuze (6,000 guineas), made a total of 
 ,£34,465 — considerably over 2,000 average. We proceed now with the pictures of the Continental schools, of which there 
 were twenty-five, with which the sale commenced H. Merle, “Holy Family,” 14m. by 17m. — ,£325 ios-. {Agnews); 
 “ Hagar and Ishmael,” a large upright picture — ,£304 iox. {Gooden). L. Knaus, “A Cup of Coffee” — ,£819 {Wallis)- 
 Verboeckhoven, “Sheep in a Stable,” 26m. by 40m. — ,£315 {Morris); “Sheep under Trees” — large — ,£378 {Permain). 
 E. Fr£re, “The Reprimand,” i6in. by 13m. — ,£220 ior. {Graves) ; “Winter, gathering faggots,” i8in. by 15m. — ,£320 5J. 
 {Graves) ; “ A Child’s Party ” — .£388 ioj. ( Vokins) ; “ The Girls’ school,” 36m. by 28m. — .£525 {Raphael) ; Louis Gallait, 
 “ Art and Liberty,” 44m. by 32m. — -,£472 ioj {Agnews). W. Bouguereau, “A Day Dream” — ^388 ior. {Agnews.) 
 Henriette Browne, “A Jewish School at Cairo,” 22in. by 17m., one of her most highly finished works — ,£693 {Vokins). 
 J. L. Gdrome, “Eastern Women,” i8in. by 13m. — ^441 {Vokins); “Prayer in the East,” 2oin. by 32m. — ,£745 ior. 
 {Gottpil). C. Troyon, “ The Water Cart,” 2iin. by 27m. on panel; this charming work, painted in 1856, was received 
 with loud applause and a bid of 1,000 guineas from Mr. Agnew, to whom it fell at 2,000 guineas. We are told that it was 
 purchased originally of the painter by Mr. Wallis, of the French Gallery, for £40. J. L. Meissonier, “Refreshment,” 9m. 
 by 7in., painted 1865, a little gem, with a traveller holding his old white horse at the inn door, where stands the landlady 
 — ,£1,068 ioj. Rosa Bonheur, “ Return from Pasture ; Scene in the Pyrenees,” 32m. by 5 1 i n. — ,£2,152 ior. ( Vokins ) ; 
 “ Deer crossing the summit of the Long Rocks in the Forest, Fontainebleau,” 54m. by 126m. This beautiful picture was 
 much applauded, but it did not seem to excite much competition, and was knocked down at 1,740 guineas, and as no 
 name was given it was pretty generally considered to have been bought in, as it was known to have cost Mr. Bolckow a 
 very large sum. Next came the much smaller, but as most people thought by far the most masterly and grand picture 
 called simply “ Denizens of the Highlands,” a group of rough, wild cattle, with a stormy sky above the mountains, 37in. by 
 39m., nearly square, engraved by Thomas Landseer, A.R.A. It was loudly applauded, and put up at a bid of 1,000 
 guineas from Mr. Agnew, who had to fight a very warm battle for it with Mr. Vokins, who won it at last at the glorious 
 figure of 5,550 guineas (,£5,827 io.r.). A. Schreyer, “ Abandoned,” a waggon with two of the three hordes lying dead on 
 the heath — £525 (The City of Manchester Art Gallery). Josef Israels, “ Waiting for the Herring-boats,” a large work — 
 ,£630 (Craves). This was the last of the 25 pictures of the Continenal school. The English pictures followed in 
 alphabetical order. R. Ansdell, R.A., “The Rescue” — ,£483 (Wynne) ; “A Highland Lot for Sale, Skye,” a brown bull 
 and cows— ,£514 ioj. (Mason). P. H. Calderon, R.A., “ An Incident of the War in La Vendde,” 33m. by 43m., painted 
 1862 — ,£108 1 os. (Graves). W. Collins, R. A., “ The Skittle Players,” 14m. by 44m. — .£1,585 ioj. (Tooth) ; this capital 
 picture was exhibited when it was painted in 1832, but remained in the painter’s hands for 12 years when it was sold to 
 Mr. Young for 400 guineas, and at his sale in 1866 it brought ,£1,207 i°J- It was sold again in the Manley-hall collection 
 (Mr. Mendel’s) in 1875 f° r ^ 3 ) 4 > 5 - E. W. Cooke, R.A., “ On the Scheldt” — ,£336 (Thomas) ; “The Church of S. Maria 
 Salute, Venice,” — ,£745 (Brown); “The Piazzetta, Venice,” 31 in. by 26|in. — ^630 (Vokins) ; “The Piazzetta with the 
 Campanile” — ,£630 (Vokins). T. Sidney Cooper, R.A.,“ Cattle and Sheep” 43m. by 57m.— ,£430 10 s. (Agnew). “ A Summer’s 
 Day in Kent,” 48m. by 72m. — £383 (Tooth). David Cox, “Counting the Flock,” 23m. by 33m. This was the beautiful 
 picture in oils sold in the collection of the late Mr. Albert Levy in 1876 for ,£2,415. It was now put up at a bid of 1,000 
 guineas from Mr. Agnew, who was the purchaser at ,£2,079. “Driving Home the Flock” was a companion picture of 
 the same size, but did not equal it in interest or price, only bring ,£1,365 (Graves). T. Creswick, R.A., “Old 
 England,” a large and fine work exhibited in 1857 and several times since — ,£1,050 (Vokins). A. L. Egg, R.A., “ Pepys 
 Introduced to Nell Gwynne,” 34^in. by 44m. — .£420 (Mappin). T. Faed, R.A., “The Silken Gown,” 37^in. by 30m. the 
 original work exhibited 1863— ,£1,522 ior. (Agnew) ; “ Baith Faither and Mither,” 26fin. by 35^in., exhibited at the Academy 
 in 1884, engraved by Simmons — ,£1,417 ior. (Agnew) ; W. P. Frith, R.A., “ Mr. Honeywood introducing the Bailiffs to 
 Miss Richards as his friends,” from Goldsmith’s “ Good-natured Man,” 28in. by 41m. The catalogue stated it was the 
 
1888.] 
 
 THE GATT ON HALL GALLERY. 
 
 453 
 
 picture in the Academy Exhibition, 1850, but this was corrected, as it was bought afterwards — £(462 (Vokins). F. 
 Goodall, R. A., “ Rebecca at the Well,’’ Mr. Eton, M.P., a large work exhibited 1867 — £ 808 ioj. ; “The Subsiding of the 
 Nile,” a large and beautiful picture exhibited at Burlington House, 1873, and, perhaps, the finest work of the painter’s 
 Eastern landscapes — ,£1,522 ioj. (Agnews). Sir E. Landseer, R.A., “ Intruding Puppies,” painted 1821, engraved by 
 T. Landseer, 28m. by 35m. ; Two Terrier Pups eating the Monkey’s Dinner— ,£1,050 (Martin Colnaghi) ; “ Braemar,” 
 307m. by 99m. This was the large picture of a stag and hinds with a white hare sitting up, engraved by T. Landseer. 
 It was much applauded, and Mr. Agnew made the first bid of 3,000 guineas, and had again to meet Mr. Vokins, when 
 the contest went on by advances of 100, there was a pause at Mr. Vokins’s bid of 4,909 guineas, but Mr. Agnew advanced 
 to 4,950, and the hammer fell to this sum— ,£5,197 ioj. The picture was sold in the collection of Mr. E. L. Betts in 1868 
 for £(4,200 to Mr. Agnew. “ Taking a Buck 67m. by 84m.— ,£1,047 103. (Mason). J. Linnell, “ Noonday Rest,” 26m. 
 by 39m., reapers in the cornfield— £(1,795 (Agnews). D. Maclise, R.A., “The Eve of St. Agnes,” 50m. by 40m., exhibited 
 at Burlington House, 1875— £(409 103. (Hunt). Sir J. E. Millais, R.A., “ Love of James I. of Scotland,” painted 1859— 
 £(472 193. (McLean) ; “ The North-west Passage,” 70m. by 88in., “ It might be done and England should do it,” painted 
 and exhibited at the special exhibition of the painter’s works, contributed by Mr. Bolckow. This interesting work was 
 put up at 2,000 guineas, and was bought by Mr. Agnew at 4,000 guineas (£(4,200). The price originally paid for it by 
 Mr. Bolckow was, we believe, 4,700 guineas. G. Morland, “ The Horse Fair” — £(430 103. (Agnews) ; “Robbing the 
 Orchard ”—£79% (Agnews). W. Muller, “ Prayer in the Desert,” 1 5m. by 27m., arched— £(367 ioj. ; “ Ancient Tombs and 
 Dwellings in Lycia,” painted 1844, 40m. by 76m. This noble work of the painter, who travelled as artist with the 
 exploring expedition under Sir C. Fellows, was much applauded, and was put up at 1,000 guineas, exciting a spirited 
 contest, in which Mr. Vokins was the victor at the considerable price of 3,750 guineas. “The Bay of Naples,” 37in. by 
 65m. — £(945 (Mason). Patrick Nasmyth, “the Meeting of the Avon and the Severn,” 1826, 28m. by 37m.— £(1,575 
 (Agnews). Erskine Nichol, A.R.A., “Both Puzzled,” 38-|in. by 29m.— £(703 ioj. (Tooth); John Phillip, R.A., “A 
 Castagnette Player of Seville,” 25m. by 17m. — £(235 15J. (Tooth); “Highland Lasses Washing,” 15m. by loin. — £(157 ioj. 
 (Permain) ; “ In the Garden of Alcazar at Seville,” 21 in. by i6£in., two gaily dressed Spanish ladies — £(388 103. (Grattan). 
 P. F. Poole, R.A., “The Sisters,” small — £77 143. (Agnews) ; “The Song of the Troubadour,” a large work with several 
 figures, 53m. by 75m., exhibited at the Academy, 1854 — £(1,564 ioj. (Agnews). C. Stanfield, R.A., “Tronsberg, in the 
 Tyrol,” I2in. by 17m. — £(82 17s. (Polak) ; “La Chasse Maree,” English Channel, 38^in. by 50m., exhibited at the Academy, 
 1838, a fine early work — £(1,837 ioj. (Vokins). J. M. W. Turner, R.A., “ Old London Bridge,” from Billingsgate, 39iin. 
 by 5oin. — £(2,840 (Messrs. Colnaghi & Co.). T. Webster, R.A., “The Grandmother,” i8in. by 24m. — £(220 ioj. (Tooth) ; 
 “ The Fruits of Intemperance,” loin, by 42m. — £(546 (Morris). The picture of “ Roast Pig,” by Webster, for which Mr. 
 Bolckow paid the sensation price of £(3,722 ioj. in the Gillott Sale, 1872, was not included in the sale. The sale of 
 catalogues at 6 d. each for the benefit of the Artists’ Orphan Fund gave the sum of £(40 to that institution. 
 
 THE G A ETON HALL GALLERY. 
 
 {May, 1888.) 
 
 The collection of pictures formed early in the present century by the late Lord Monson (Frederick John) at Gatton 
 Park, near Reigate, Surrey, was sold at Christie’s, May 12, 1888, by order of Viscount Oxenbridge. The auction 
 catalogue styled it “ the celebrated collection,” but this it could hardly be called, since there was only one picture of 
 celebrity, viz. “ La Vierge au Bas relief,” from the part of a relief seen at the lower corner, engraved in line by Forster 
 as a masterpiece of Leonardo da Vinci, but never entirely accepted by the critics, as the principal group has been also 
 painted by Cesare da Cesto, and there is a picture in the Hermitage, St. Petersburg, resembling it in composition 
 but with a St. Catherine in place of Zacharias the bearded figure. This picture is 35x275 on wood, | of an inch in 
 thickness, and in good preservation. The catalogue stated it was originally at Mantua and was brought to England by 
 Mr. Crawley of Luton, Bedfordshire, and once belonged to Mr. Dimsdale. It was bought of Woodburn by Lord Monson, 
 so Waagen states, for £(4,000. It is known that it was offered to the Berlin Museum some years ago and declined at 
 the price of 12,000 guineas. It was now sold for £(2,520 to Mr. Davis. Another picture which created a good deal of 
 interest was “The Card Players,” which was purchased for the National Gallery as a work of Nicholas Maas, for £(1,375 ioj. 
 It is described in the N. G. catalogue as “Two life-size figures seen at three-quarter length, a boy and girl, seated at table 
 playing cards,” on canvas 49x40. Doubts were expressed as to the attribution of this fine picture and the name of 
 Fabricius* was mentioned as the painter. He was born 1624 and had distinguished himself as a young man, but was 
 killed in the explosion of a powder magazine at Delft in 1654. The portrait of Endymion Porter, by W. Dobson, 58 x 48, 
 holding a gun, with a page, a dog, and a dead hare, was also bought for the National Gallery — £(420. The beautiful 
 portrait by Sir Joshua Reynolds, of Mrs. Payne Gallwey, carrying her baby boy picaback, exhibited at the Royal 
 
 * Carl Faber, Latinized as Fabricius, a pupil of Rembrandt. Mr. Woods, when the picture was before the audience, expressed 
 his opinion that it was the work of Rembrandt himself. Mr. Agnew bid against Mr. Lesser for the picture, and purchased it lor the 
 National Gallery, the Director, Sir F. Burton, being present. 
 
454 
 
 ART SALTS. 
 
 [ 1888 . 
 
 Academy 1779, 30 x 25, brought the highest price — ,£4,305 {Agnew). Next highest in price was the portrait of the Countess 
 of Dysart, by Sir T. Lawrence, whole length in white at the steps of a garden terrace, with landscape background, 99 x 61 
 — £$77 ( Davis ). “ Frances, Countess of Essex,” by Sir Joshua Reynolds, 29x24 — ,£299 {Ellis). “ Sarah, Countess of 
 
 Mexborough,” 29 x 24 — £\\ 5 {Shepherd). Besides the above there were 14 other pictures, making 21 in all, of which 
 Rembrandt, “ Death of Lucretia,” 66 X 86, five figures, stated to have been bought in Venice in 1838 and formerly in the 
 Farsetti family there — £267 {Deacon). Scheltema and Vosmaer mention a large picture of the subject in the collection 
 of A. Wijs, ad Sara de Potter, 1658. J. WYNANTS, “ View over Flat Country,” 20x24 — £326 {Davis). Rubens and 
 Snyders, “Vertumnus and Pomona,” 65x83 — ,£152 {Shepherd). Steenwyck, “The Fishmonger,” 44x79 — ^183 
 {Wilson). G. Bellini, “St. Jerome,” 18^x14^, signed and dated 1505 — ,£189 {Murray). Titian, “Entombment,” 
 54x82^, an old copy of the Louvre picture — ,£136 {Deacon). The Doge N. Marcello, 56x42, belonged to the Grimaldi 
 and Orlandini, Venice— ,£136. S. del Piombo, Portrait Lor. de’ Medici, 52x38, from Lord Aberdeen’s collection — ,£99 
 {Martin Colnaghi). Total, ^ 1 1,439. 
 
 THE MARQUIS OF EXETER'S PICTURES , &c. 
 
 The exhibition of the pictures and other works of art in porcelain and fine old plate from Burghley House during 
 the week before the sale attracted all the world of art and fashion to the rooms of Messrs. Christie, and on the day of 
 sale, June 9, 1888, a very full assemblage filled the room. There were only forty pictures, scarcely more than one of 
 which could by any critical indulgence be allowed to take rank amongst the works of the great masters whose names they 
 bore in the catalogue. But to the one picture of the sale due homage was paid by every lover of art — the little Van Eyck 
 of the Virgin with Infant Saviour — only 8-J- in. by 6in. on panel, and the merits of this gem, though above all price, 
 were well asserted by the price of 2500 guineas which it brought. It was supposed, and was so stated at the time, that 
 Mr. Fairfax Murray who was the purchaser, had acted for Mr. Butler, but it transpired afterwards that he had been com- 
 missioned by the Berlin Museum. This marvellous picture is painted with extraordinary minuteness and finish, and is in 
 a perfect state. The Virgin in a blue and crimson dress and long crimson robe, holds the infant in the act of blessing and 
 with the orb in the left hand ; an Abbot kneeling is presented by S. Margaret, having her tower, and in the background, 
 a city and landscape seen through gothic arches. Following the order of the catalogue — A. Kauffman, R.A. — Port., 
 Miss Harrod, afterwards Mrs. Bates, a singer with lyre, 56m. by 47m.— ,£378 {Donaldson). C. de Jongh, Old London 
 Bridge, 2oin. by 66in., dated 1630, not 1639, as i n catalogue — ,£525 {Agnew). Hobbema.— The Ford, 25m. by 32m. — ,£336 
 {Lesser). Velazquez. — An Advocate — pale student in a gown, 28Jin. by 22m.— ,£367 {Donaldson). A. Altdorfer, 
 The Nativity, I3^in. by 9-Mn. — £162 {Messrs. Colnaghi). A. Durer. — ' The Virgin with the Infant holding an apple, and 
 angels, landscape, I2in. by 8|in.— £210 {Butler). H. Van der Goes. — Life of St. Augustin — altar-piece, 53m. by 58£in. 
 —£315 {Murray). C. DA Conegliano (?) A female Saint seated in a balcony ; with coast scene, 30m. by 2oin. — £141. 
 Mazzolino di Ferrara. — “Tribute Money” — 18 figures, n|in. by 8in. — £189 {Mond.) Bronzino. — Don Garcia de’ 
 Medici, 27m. by 2iin. in white dress, with crimson surcoat, holding flowers — £945 {Agnew). P. Veronese. — Gentle- 
 man in armour holding gloves, 44-Jin. by 27^'m., exhibited at Leeds, 1868 — £525 {Agnew). Titian. — The Madonna 
 seated with Infant Saviour, in a landscape, i8in. by 21J, on wood — £110 {Benson). The finding of Moses, thirteen 
 figures, in a landscape, 1 5 Jin. by 27-Jin., on wood — /no {Mond.) Bonifacio. — Riposo, with SS. Elizabeth and 
 Catherine, 45m. by 66in. — £556 {Donaldson). — Total, ,£9224. The objects of ornamental art which were sold on the two 
 preceding days brought large prices. Two silver-gilt toilet services bringing about a 1000 guineas each, the pieces being 
 sold separately. A pair of blue and white Chinese vases — £472. A tall Japan vase, 24m., painted with landscapes, in 
 medallions — £231 {Boore). A cylindrical bottle, hawthorn branches, with flowers, birds, and insects in colours on black 
 ground, 17-Jin. — £323 {Salting). A Nevers ware vessel in shape of a shoe — £385. A Limoges tazza, by J. Courtois, 
 “ Moses striking the Rock,” ioin. — £535. A Limoges casket, painted with the life of Joseph, iojin. high by iojin. long — 
 ,£288. A silver-gilt tazza, by Verhaer — ,£1200 {Wertheimer). An Elizabethan ewer and dish, formed of a bottle of old 
 Chinese blue-and- white porcelain, mounted in old silver-gilt work — £2047 {Agnew). A basin similar, mounted in silver- 
 gilt, mark 1573 — 1620 — £504 {Agnew). A larger bowl, similar — £630 {Agnew). A Louis XIV. coffer by Boulle, with 
 stand, designed as a vestibule, of Boulle work, 34m. by 2iin., from the late Lord Gwydir’s of Grimsthorpe Castle — £1322 
 {Davis). A Louis XIV. clock in case of red Boulle, 8 feet high, from the late Lord Gwydir’s — £1737 {Davis). 
 Total, ,£20,837. 
 
 After the sale of the Burghley-house collection, some interesting pictures were sold from different old family 
 properties, chiefly portraits ; but one especially important picture was the portrait of Rubens and his wife, by himself, he 
 carrying on his shoulders a dead fawn and she bearing a basket of fruit on her head, which accessories are considered 
 to be by the hand of his eminent pupil Snyders. This fine work has been well known for many years in the collection of 
 Lord Aylesford at Packington-hall, and was engraved in line by Summerfield many years ago. It was one of the chief 
 works illustrating Rubens, selected for the great Art Treasures Exhibition at Manchester in 1857. The figures are life- 
 size to the knees, Rubens seen nearly in profile with his head bare, painted with much of the force and splendour of the 
 famous portrait of the Earl of Warwick, by the master. The wife, standing behind, is seen full face. In form the canvas 
 must be nearly square, about 48m. in measure. It was greatly admired, and brought the considerable sum of £2,625 
 {Agnews). Another Rubens was a large gallery picture, “ the property of a nobleman,” of Mars and Venus, with nymphs 
 
1888.] PORTRAITS , &c. t FROM VARIOUS COLLECTIONS. 455 
 
 and cupids, a composition of many figures very grandly conceived, but unfortunately left unfinished and probably exposed 
 to damp at some time. Mr. Woods stated that it was said to have been among the pictures presented to the great Duke 
 of Marlborough. This was sold after a sharp contest for iSj. to Mr. M. Colnaghi. From the collection of another 
 
 nobleman were sold a full-length portrait by Vandyck of James Stuart, Duke of Richmond and Lennox, with his favourite 
 hound — ,£115 \os. (Hunter). Portraits of Frederick, King of Bohemia, and Elizabeth, his Queen, by Honthorst, sold 
 together for ,£162 15 s. {Hunter)-, a portrait of Oliver Cromwell, attended by a page, by R. Walker — ,£108 (Philpot) ; 
 “Sir Cloudesley Shovel,” by M. Dahl, whole length, standing — £99 15s-. [Agnews). Other portraits were — Mrs. Joseph 
 Franks, by Sir Joshua Reynolds, bust size— £157 ioj. [Davis), and Mrs. Moses Franks, oval— ,£157 105. (Davis) ; an 
 equestrian portrait of Warren Hastings, by Sir Joshua, the horse by G. Stubbs, R.A., small— ,£273 (Agnews) ; a portrait 
 called “ Diane de I’oictiers,” in a rich dress, was not her, but Catherine de’ Medici, the monogram embroidered on the 
 dress having been mistaken for that of the belle Diane ; this sold for £\ 10 5*. (Messrs. Colnaghi & Co.). Of the pictures 
 belonging to the late Captain Hon. F. Maude, R.N.— “ Poultry,” by Cuyp, sold for ^79 16s. ; view of a town on a river, by 
 Van Goyen— ,£105 (Messrs. Colnaghi ) ; a fortress on a river, by Solomon Ruysdael— £\ 57 10.9. (Messrs. Colnaghi). From 
 the collection of a baronet— a pair of pretty pictures, by J. B. Pater, sold for ,£525 to M. Colnaghi ; a portrait of George 
 IV., in his coronation robes, full-length, standing, by Sir T. Lawrence, P.R.A. — £48 6s. (Bullock) ; portraits of the 
 Archduchess Clara Eugenia, whole length, and of the Archduke Albert, by A. S. Coello, sold together for ,£399 ( Messrs . 
 Colnaghi). 
 
INDEX OF SALES 
 
 *** This Index refers to sales by various Auctioneers , whose names are in Italics , most of them being by Messrs. Christie. 
 
 When noticed in the text they can be found by the page-number. 
 
 NAME. 
 
 OBJECTS. 
 
 DATE. 
 
 aucR- 
 
 PAGE 
 
 Abroad, From . 
 
 Ital. & Dutch Piet. April . . . 
 
 1766 Owen . . 
 
 
 1 i 
 
 ,, 
 
 . Mar. . . . 
 
 1776 Langford 
 
 
 > f 
 
 Pictures . . . 
 
 . Feb. . . . 
 
 1870 Christie . 
 
 
 99 * 
 
 99 ... 
 
 . June 28 . . 
 
 1814 .... 
 
 
 Adair, R. . . . 
 
 99 ... 
 
 
 1790 .... 
 
 
 Addington, S. . 
 
 China . . . . 
 
 . Mar. 8 . . 
 
 1865 .... 
 
 
 99 
 
 Engravings, &c. 
 
 . April 26 . . 
 
 1883 .... 
 
 . 356 
 
 >i . 
 
 Pictures . . . 
 
 . May . . . 
 
 1886 .... 
 
 . 436 
 
 Agar, W. E. . . 
 
 
 
 1806 .... 
 
 . 93 
 
 Agg-Gardner, J. T. Porcelain . . 
 
 . March 16 . 
 
 1887 .... 
 
 
 Agli£, Count . . 
 
 Pictures . . . 
 
 . May 22 . . 
 
 1830 .... 
 
 
 Agremont, P. . 
 
 9 9 ... 
 
 . April . . . 
 
 1802 .... 
 
 
 Ainslie, Sir Robt. 
 
 99 ... 
 
 . Mar. 10 . . 
 
 1809 .... 
 
 
 Alcock, Sir Rthfd. 
 
 Enamels . . 
 
 . May 27 . . 
 
 1872 .... 
 
 
 Alexander . . 
 
 Drawings . . 
 
 . Mar. 19 . . 
 
 1852 .... 
 
 
 Alexander, Robt. 
 
 Pictures . . . 
 
 . Mar. 31 . . 
 
 1775. . . . 
 
 
 Alt, W. J. . . 
 
 99 ... 
 
 . Mar. 2 . . 
 
 1878 .... 
 
 . 281 
 
 ,, ... 
 
 Japanese Art , 
 
 . Mar. 4 . . 
 
 1878 .... 
 
 
 Alt, Baron . . . 
 
 Pictures . . . 
 
 . April 23 . 
 
 1770. . . . 
 
 
 Alton Towers . 
 
 
 . July 6 . . 
 
 1857 .... 
 
 . 154 
 
 An Amateur . . . 
 
 Pictures . . . 
 
 . May ri . . 
 
 1850 .... 
 
 
 Ancient Gems . 
 
 
 , May 22 . . 
 
 1861 .... 
 
 
 Andrews, G. T, . . 
 
 Pictures . . . 
 
 . May 31 . . 
 
 1851 .... 
 
 
 Anderdon, John P. 
 
 ,, ... 
 
 . May 15 . . 
 
 1847 .... 
 
 
 „ 
 
 99 ... 
 
 . May 24 . . 
 
 1815 .... 
 
 
 Anderdon, J. H. . 
 
 O. & M, Piet. . 
 
 . May 30 . . 
 
 1879 .... 
 
 . 298 
 
 Anderson, John . . 
 
 Pictures . . . 
 
 . March 4 . . 
 
 1774. . . . 
 
 
 Anderson, A. B. 
 
 Drawings . . 
 
 . May 20 . . 
 
 1869 .... 
 
 
 )> * * 
 
 Pictures . . . 
 
 . Nov. 18 . . 
 
 1871 .... 
 
 
 Anderson, W. H. . 
 
 Pictures, &c. 
 
 . Feb. 7 , 8 . 
 
 1876 .... 
 
 
 Anderson, W. . . 
 
 Jade Carvings . 
 
 . Mar. 24 . . 
 
 1884 .... 
 
 
 Angerstein, W. 
 
 Porcelain . . 
 
 . May 12 . . 
 
 1856 .... 
 
 
 
 Virtu .... 
 
 • July 3 . . 
 
 1860. . . . 
 
 
 
 
 .July 3 . . 
 
 1861 .... 
 
 
 
 Porcelain . . . 
 
 . June 27 . . 
 
 1873. • . . 
 
 
 
 » 9 
 
 • July 4 • • 
 
 1873 .... 
 
 
 
 Pictures, 0. M. 
 
 . June 20 . . 
 
 1874 .... 
 
 
 
 99 
 
 • July 3 ° • • 
 
 1875 .... 
 
 
 
 99 
 
 . Feb. 23 . . 
 
 1883 .... 
 
 . 349 
 
 
 99 
 
 .July . . . 
 
 1884 .... 
 
 
 Ansell, Rob. . . . 
 
 Pictures . . . 
 
 . Feb. 9 . . 
 
 1770 .... 
 
 
 99 . . * 
 
 99 ... 
 
 Feb. 15 to 18 
 
 1771 .... 
 
 
 Ansley, J. B. . . . 
 
 9 9 ... 
 
 
 
 
 Anthony, Exors. 
 
 99 ... 
 
 . Feb. 3 . . 
 
 1870 .... 
 
 
 M 99 
 
 China . . . 
 
 . Mar. 2 . . 
 
 1871 .... 
 
 
 Antique Statues . 
 
 
 
 1793 .... 
 
 51 
 
 Antrobus, Edmund . 
 
 Pictures . . . 
 
 . Mar. 12 . 
 
 1788 .... 
 
 
 Arbuthnot, Col. . 
 
 Dec. O. Pic. Eng. 
 
 . May 4 , 6 , 23 
 
 1882 .... 
 
 
 99 99 
 
 Draw. & Por. . 
 
 . Jun. 2 i,July 3 
 
 1884 .... 
 
 
 Arden, Joseph . . 
 
 Mod. Pic. & Sclp. April 26 . . 
 
 1879 .... 
 
 292 
 
 Argyll, D. of (John) Pictures, O. M. 
 
 . May 25 , 26 
 
 1798 Phillips . 
 
 67 
 
 Argyll, Duke of . 
 
 Pictures . . . 
 
 . Mar. 17 . . 
 
 1855 Christie . 
 
 
 Artis, Richd. . . . 
 
 99 ... 
 
 . May 17 . . 
 
 1851 .... 
 
 
 VOL. I. 
 
 NAME. 
 
 OBJECTS. 
 
 DATE. AUCR- 
 
 PAGE 
 
 Ashburton, Lord . 
 
 China . . . 
 
 . Feb. 24 . 
 
 1869 Christie . 
 
 
 99 99 
 
 Pictures . . . 
 
 . June 3 . 
 
 1871 .... 
 
 
 9 9 1 t 
 
 99 ... 
 
 . June 8 . 
 
 1872 .... 
 
 
 Ashburnham, Lord 
 
 . July 20 . 
 
 1850 .... 
 
 . 146 
 
 Ashburnham, P. . 
 
 
 
 1860 .... 
 
 . 161 
 
 Ashley, Hon. Mrs 
 
 Porcelain . . 
 
 • July 3° • 
 
 1874 .... 
 
 
 99 99 
 
 Miniatures, &c. 
 
 
 1884. . . . 
 
 . 380 
 
 Ashley, Hon. W. . 
 
 Porcelain . . 
 
 . May 21 . 
 
 1873. . . . 
 
 
 >9 99 
 
 99 ... 
 
 .July 4 . 
 
 1873 .... 
 
 
 99 9 9 • 
 
 99 ... 
 
 . Mar. 13 . 
 
 1884 .... 
 
 . 380 
 
 Astle, Edward . . 
 
 Pictures . . . 
 
 . April 25 . 
 
 1817 .... 
 
 
 Astley, Sir John . 
 
 ,, ... 
 
 . May . . 
 
 1772 .... 
 
 
 Astley, John . . 
 
 99 ... 
 
 . May 2 . 
 
 1777. . . . 
 
 
 Aston Rowant Gal. Mod. Piet. . . 
 
 . Ap. 28 . 
 
 1883 .... 
 
 . 353 
 
 Atkinson, Mrs. . . 
 
 Pictures . . 
 
 • July 14 • 
 
 1845 .... 
 
 
 Auldjo, Miss. . . 
 
 Antiquities . . 
 
 • July 14 • 
 
 1859 .... 
 
 
 Aumale, Due d’ . . 
 
 Pictures . . . 
 
 .July 10 . 
 
 1857 .... 
 
 
 Austen, Sir. J. . . 
 
 99 ... 
 
 Jan. 9 & 10 1755 Prestage 
 
 . 27 
 
 Aylesford, Earl of Books & Eng. . 
 
 ■ Aug. 5 . 
 
 1879 Christie . 
 
 
 99 
 
 Jewels & Pictures 
 
 June 2 , 4 
 
 1881 .... 
 
 
 Bacon, T. Sclater 
 
 Pictures, &c. . 
 
 . May 17 . 
 
 1737 Cock '. . 
 
 . 27 
 
 Bacon 
 
 
 
 1825 Christie . 
 
 
 Bacon, George 
 
 Pictures . . . 
 
 . June 4 . 
 
 1850 .... 
 
 
 Bagnall, R. S. . . 
 
 >* . . 
 
 . June 1 . 
 
 1872 .... 
 
 
 Bagot, Sir Charles . 
 
 ,, . 
 
 June 17 . 
 
 1836 .... 
 
 
 Baillie, Col. . 
 
 Prints and Books 
 
 Mar. 15 & 16 1811 .... 
 
 
 ,, . 
 
 Pictures . . . 
 
 If 
 
 1824 .... 
 
 
 
 ,, ... 
 
 
 1826 .... 
 
 
 Baillie, Cel. . . . 
 
 , , ... 
 
 May 13 . 
 
 1858 .... 
 
 
 
 ,, ... 
 
 Jan. 26 . 
 
 1867 .... 
 
 
 Baillie, W. . . . 
 
 
 
 1811 .... 
 
 
 Bale, C. Sackville. 
 
 Pictures & Draw. 
 
 May 13 . 
 
 1881 .... 
 
 . 345 
 
 ,, 
 
 Porcelain. . . 
 
 May 17 . 
 
 1881 .... 
 
 
 , , 
 
 Plate and Jewels 
 
 May 20 . 
 
 1881 .... 
 
 
 II 
 
 Antiquities, Coins 
 
 May 25 . 
 
 1881 .... 
 
 
 M 
 
 Old Draw. & Eng. 
 
 June 9 . 
 
 1881 .... 
 
 
 Bammeville, E. J. de Pictures . . . 
 
 June 12 . 
 
 1854 .... 
 
 . 147 
 
 Banbury, W. . . . 
 
 
 May 10 , 31 
 
 1873 .... 
 
 
 Barberini Pal. . . 
 
 Pictures . . . 
 
 March . 
 
 1805 .... 
 
 . 91 
 
 Barker, ALExExors. 
 
 Pictures, &c. . . 
 
 . June 6 - 8 . 
 
 1874 .... 
 
 . 196 
 
 »» 
 
 Works of Art . 
 
 . June 19 . 
 
 1879 .... 
 
 . 300 
 
 Baring, Sir T. . . 
 
 Pictures . . . 
 
 June 2 . 
 
 1818 .... 
 
 . 141 
 
 Barlow, Sami. . . 
 
 If ... 
 
 June 19 . 
 
 1876 .... 
 
 
 1 * . . 
 
 If ... 
 
 June 8 . 
 
 1883 .... 
 
 
 Barnard, J. . . . 
 
 
 
 1798 .... 
 
 
 Barraud, Hy. . . 
 
 Works . . . 
 
 June 24 . 
 
 1875 .... 
 
 
 Barrett . . . . 
 
 Pictures . . . 
 
 Jan. or Feb. 
 
 4 1769 .... 
 
 
 Barrett, Exors.. . 
 
 If ... 
 
 May 28 . 
 
 1859 .... 
 
 
 Barrington. Mrs. . 
 
 Piet. Cameos, &c. 
 
 Dec. 6 . 
 
 1755 Langford 
 
 
 ( The Singer). 
 
 
 
 
 
 Barry, James. . . 
 
 Pictures . . . 
 
 April 10 . 
 
 1807 Christie . 
 
 . 95 
 
 Bartolozzi . . . 
 
 Prints 
 
 
 1797. . . . 
 
 
 3 N 
 
45§ 
 
 ART SALTS. 
 
 NAME. OBJECTS. DATE. 
 
 Barton, Samuel . . Pictures .... May 2 . . 
 
 Bassf.tt, A 
 
 Bates, Joshua . . ,, ... .Aprils • • 
 
 Bateman May 27 . . 
 
 Bath, Marquis of . Virtu June 2 4 • • 
 
 Barham, Rev. C. H. Pictures, &c. . . Dec. 6, 7 . 
 
 Batthyany, Prince . Plate and Piet. . . July 4 . . 
 
 Bayley, N. . . . Pictures .... May 31 . . 
 
 Bayntun, J April 8 . . 
 
 Baxter, Chas., dec. Porcelain. . . . March n . 
 
 ,, . Pictures .... March 15 . 
 
 Beaconsfield, Earl. Pictures, &c. . . July 13 . . 
 
 Beauchamp, Earl of . Porcelain . . .June 16 . . 
 
 ,, . Pictures .... June 17 . . 
 
 ,, . Porcelain. . . . April 25 . . 
 
 Beaumarchais, M. . 
 
 Beaumont, W. B. . Furniture . . . June 24 . . 
 
 Bute, Earl of . . . Pictures .... March 19 . 
 
 Bearcroft, Ed. . . Piet., Bronzes, &c 
 
 Becker, Baron von . Pictures 
 
 Beckford Jan. 23 . . 
 
 Feb. 23 . . 
 
 Bedford, Duke of . ,, .... May . . . 
 
 „ ....... June 30 
 
 Bedingfield, Sir H May 2s 
 
 Beef Steak Club . Furniture, &c. . . April 7 
 
 Belleville, Mar. de Pictures . . . . June 13 
 
 Bloc as Portraits .... June 10 
 
 Benfield, Paul . . Pictures .... June 21 
 
 .. July 2 
 
 Bentley, J .... May. 
 
 Benzon, E. L. S. . ,, .... June 13 
 
 ,, May 1 
 
 Bernal, R. , Exors. . Collection . . . Mar. 5 
 
 auck. 
 
 PAGE 
 
 1850 Christie . 
 
 
 1876 .... 
 
 . 236 
 
 1845 .... 
 
 
 1882 .... 
 
 
 1859 .... 
 
 
 1878. . . . 
 
 
 1883 .... 
 
 
 1799 .... 
 
 . 77 
 
 1853 .... 
 
 
 1879 .... 
 
 
 1879 .... 
 
 
 1881 .... 
 
 
 1876 .... 
 
 
 1876 .... 
 
 
 1864 .... 
 
 
 1789 .... 
 
 
 1861 .... 
 
 
 1796 .... 
 
 
 1797 .... 
 
 
 1834 .... 
 
 
 1789 .... 
 
 
 1802 .... 
 
 . 84 
 
 1796 .... 
 
 
 1800 .... 
 
 
 1827 .... 
 
 
 1872 .... 
 
 
 1869 .... 
 
 
 1825 .... 
 
 
 1876 .... 
 
 
 1799 .... 
 
 . 77 
 
 1799 .... 
 
 
 1886 .... 
 
 . 437 
 
 1874 .... 
 
 
 1880 .... 
 
 
 1855 .... 
 
 . 149 
 
 ,, ,, .... April 17 . . 1855. . . . 
 
 Bernal, Mrs April 17 . . 1855 .... 
 
 Bernarq, Sir Robt. Pictures, coins, &c. May 9 . . 1789 .... 
 
 Bernard, Sir F. . ,, 1771 .... 
 
 ,, . . 1783. . . . 
 
 Bernard, R. M June 29 . . 1872 .... 
 
 Bertels, John Jan. 31 . . 1793. . . . 
 
 ,, . . Engravings . . . Feb. 6 . . 1793 .... 
 
 Berwick, Lady . . China Feb. 3 & 20. 1858 .... 
 
 Berwick, Lord . . Pictures .... Feb. 8 . . 1862 .... 
 
 ,, . .China July 21 . . 1862. . . . 
 
 ,, . . Pictures .... Feb. 6 . . 1864 .... 
 
 Besborough, Earl of Feb. & Mar. 1801. . . . 
 
 ,, ,, April 1 . . 1848 .... 
 
 Betts, E. S. . . . Pictures .... May 30 . . 1868 .... 
 
 ,, .... Library .... June 1 . . 1868 • .. . . 
 
 Bexley, Lord . . . W. of A. & effects . May 1 . . 1876 .... 
 
 ,, ... Books July 13 . . 1876. . . . 
 
 ,, ... Plate June 9 . . 1876 .... 
 
 Bianchetti . . . Pictures .... May 28 . . 1824 .... 
 
 Bianchetti, Count May 22 . . 1826 .... 
 
 Bicknell, Ex. of E April 25 . . 1863 .... 
 
 ,, ,, . Drawings . . . April 29 . . 1863. . . . 
 
 ,, ,, . Engravings . . . May 7 . . 1863 . . . . 
 
 Bicknell, H. S. . . Pictures & Draw. . April 7 . . 1881 . . . . 
 
 Biddulph .... Pictures .... June . . . 1798 . . . . 
 
 Bindley, Jas. . . . Eng. Brit. Portrts. Jan. 25, Fb. 6. 1819 So the by . 
 
 Biondi ..... ,, .... Feb. 2r . . 1777 Christie. 
 
 Birch, Charles June 14 . . 1828 . . . . 
 
 ,, . . W. C. Drawings . July 7 . . 1853 . . . . 
 
 Blackwood, John . Pictures .... Feb. 20 . . 1778 . . . . 
 
 Belgiosio, Count 1782 . . . . 
 
 Bladen, Thos. . . Pictures .... March 10 . 1775 . . . . 
 
 Blackburn, T March 13 . 1865 . . . . 
 
 Blaizel ... . May 17 . . 1872 . . . 
 
 Blackden, B. . . June 3 . . 1803. . . . 
 
 Blandford, Mar. of Engravings . . . Dec. 13 . . 1881 . . . . 
 
 Blayds, Thos. . . „ .... Mar. 23&30 1849 . . . 
 
 82, 83 
 
 166-7 
 
 67 
 
 NAME. 
 
 Blenheim Coll. . 
 Boddington, S. . 
 
 Boothby, Sir B. . 
 Boustead, J ohn. 
 
 Bohn, Henry G. . 
 
 OBJECTS. 
 
 . Enamels .... 
 
 . Old Drawings . . 
 
 . Pictures and China 
 Engravings 
 , Pictures . 
 
 . Drawings 
 Piet, and Sculpture 
 Porcelain 
 
 . . Pictures, &c 
 
 Boileau, Sir Fras. . Porcelain. 
 Bolckow, H. W. F. Pictures . 
 
 Bonaparte, C. L. 
 Bone, H. P. . . 
 
 Enamels 
 
 DATE. 
 
 June 14 . . 
 
 June 15 . . 
 
 June 8 . . 
 
 May 22 . . 
 
 May 1 . 
 May 29 . 
 May 23 . 
 March 15 
 June 16 . 
 March 21 
 May 29 . 
 March 19 
 March 26 
 March 19 
 July 21 
 June 9 
 May . 
 March 12 
 Feb. 6 
 
 Bonington's Sale. Drawings 
 
 . . May 21 . . 
 
 (Sold at same time') ,, 
 
 . . May 21 . . 
 
 Boteler Coll. . . Miniatures . 
 
 . . June 22 . . 
 
 Bottomley, F., Sen. Pictures . . 
 
 . . May 17 . . 
 
 Bouchier 
 
 
 Boutfats, John 
 
 . . Feb. 28 . . 
 
 Bowles, Sir Chas. . ,, . . 
 
 . . Feb. 23 . . 
 
 Bowman, John. . . ,, . . 
 
 . . Jan. 28 . . 
 
 , , . . Art and Virtu 
 
 . . Feb. 22 . 
 
 Brackenbury, SirJ. Pictures . . 
 
 . . May 26 . . 
 
 Brackenbury, E. F. ,, . . 
 
 
 Bradshaw, James . LibraryChinaDraw 
 
 Brandenburgh . . Pictures . . 
 
 . . Jan. 24 . . 
 
 Brassey, Sir T 
 
 . . March 18 . 
 
 Brayley, Edward . Racing Cups 
 
 . . July 16 . . 
 
 ,, . . Pictures . . 
 
 . . July 19 . . 
 
 Breadalbane, Lord Old Drawings 
 
 . . June . . . 
 
 Bredel, Miss . . . Porcelain . . 
 
 . . April 29 . . 
 
 ,, ... O. Pictures . 
 
 . . May 1 . . 
 
 Brett, J Pictures . . 
 
 . . Jan. 26 . . 
 
 Bridell, F. Lee. . Sketches & Pictures Feb. 26 . . 
 Bridgewater, 
 
 Duchess of . . . Pictures . . 
 
 . June 1 . . 
 
 Brigg, H. R 
 
 . . April 25 . . 
 
 Brind, Charles . . ,, . . 
 
 . . May 10 . . 
 
 Bristol, Bishop of 
 
 
 Bristol, Earl of 
 
 
 BRODERlP,W.J.,E'arori 
 
 . . June 18 . . 
 
 ,, . . Wedgwood . 
 
 . . June 13 . . 
 
 Broderip, F., Exors. Pictures . . 
 
 . . April 5 . . 
 
 ,, . . Collection 
 
 . . Feb. 6 . . 
 
 Broderip, W. . . Drawings. . 
 
 . . May 1 . . 
 
 Brocky, C ..Exors.. . . 
 
 
 Brogden, Alex. . . Pictures . . 
 
 . . May 4 . . 
 
 Bromley, Rev. W. D 
 
 . . June 12 . . 
 
 Brooke, Rev. S. . . Liber Studiorum . April 2 . . 
 
 Brooke, Lord . . Pictures . . 
 
 . . July 24 . . 
 
 Brooks, A 
 
 
 Brooks, J. , Esq. . . Drawings 
 
 • • July 3 • • 
 
 Broughton, Rev. C. Pictures . . 
 
 . . July 3 . . 
 
 Browne, Joseph . . Coins . . . 
 
 
 Bruce, Sir H. . . . Pictures . . 
 
 . . June 29 . . 
 
 Bruhl, Count. . . ,, . . 
 
 
 Brunel, J. K. . . Pictures, &c. 
 
 . . April 20 . . 
 
 Bryan 
 
 
 
 
 Bryan, M. Assigs. of Pictures . . 
 
 . . May 25 . . 
 
 Buccleuch, Duke of Engravings . 
 
 . . April . . . 
 
 Buchanan. ... „ . . 
 
 . . May 1 7 . . 
 
 Budd .. • • 
 
 . . May 25 . . 
 
 »» •* 
 
 . . June 1 . . 
 
 aucR- 
 
 PAGE 
 
 1883 Christie . 
 
 . 360 
 
 1883 .... 
 
 . 360 
 
 1866 .... 
 
 
 1877. . . . 
 
 
 1886 . . . . 
 
 411-22 
 
 1866 . . . . 
 
 
 1880 . . . . 
 
 
 1880 . . . . 
 
 
 1875 . . . . 
 
 
 1875 .... 
 
 
 1876 . . . . 
 
 . 239 
 
 1876 . . . . 
 
 
 1877 . . . . 
 
 
 1878 . . . . 
 
 . 283 
 
 1885 . . . . 
 
 
 1881 . . . . 
 
 
 1877 . . . . 
 
 
 1888 . . . . 
 
 . 452 
 
 1853 . . . . 
 
 . 146 
 
 1856 . . . . 
 
 
 1834 . . . . 
 
 
 1834 . . . . 
 1868 . . . . 
 
 
 1884 . . . . 
 
 
 1829 . . . . 
 
 
 1755 Langford 
 1770 Christie . 
 1876 . . . . 
 
 
 1876 . . . . 
 1848 . . . . 
 
 
 1874. . . . 
 
 
 1798 . . . . 
 
 
 1774. . . . 
 
 
 1882 . . . . 
 
 
 1879 . . . . 
 
 
 1879 . . . . 
 
 
 1886 . . . . 
 
 . 448 
 
 1875 . . . . 
 
 . 209 
 
 1875 . . . 
 
 209, 11 
 
 1867 . . . . 
 
 
 1864 . . . . 
 
 
 1778 . . . . 
 
 
 1844 . . . . 
 
 
 1849 . . . . 
 
 
 1794 . . . . 
 
 
 1812 . . . . 
 
 
 1853 . . . . 
 
 
 1859 . . . . 
 
 
 1862 . . . . 
 
 
 1872 . . . . 
 
 
 1866 . . . . 
 
 
 1855 . . . . 
 
 
 1878 . . . . 
 
 
 1863 . . . . 
 
 
 1884 . . . . 
 
 
 1876 . . . . 
 
 
 1879 . . . . 
 
 . 287 
 
 1872 . . . . 
 
 
 1875 . . . . 
 
 
 1762 Prestage. 
 
 
 1849 . . . . 
 
 
 1770 Christie . 
 
 . 38 
 
 1860 .... 
 
 
 1795 Savile Row . 68 
 
 1804 Coxe.Burreil 
 
 1810 Christie . 
 
 
 1887 . . . . 
 
 . 449 
 
 1806 . . . . 
 
 
 1845 .... 
 
 
 1846 . . . . 
 
 
 1833 . . . . 
 
 
 1883 . . . . 
 
 
INDEX OF SALES. 459 
 
 NAME. OBJECTS. 
 
 DATE. 
 
 aucR- 
 
 PAGE 
 
 NAME. OBJECTS. 
 
 DATE. 
 
 auc r - 
 
 PAGE 
 
 Bullock, E. . . . Pictures . . . 
 
 . March 28 . 
 
 1870 Christie . 
 
 . 180 
 
 Chesterfield, E. of 
 
 
 1782 Christie . 
 
 
 Bullord, J. . . . „ . . . 
 
 . Sept. . . 
 
 1690 Bullord . 
 
 
 Cholmondeley, R. Pictures . . . . 
 
 May 2 . . 
 
 1874 .... 
 
 
 Bulteel, J. . . . China .... 
 
 
 1870 Christie . 
 
 
 1 p . ,, . 
 
 June 24 . . 
 
 1876 .... 
 
 
 Bulwer, Sir H. L. . Pictures . . . 
 
 
 1854 .... 
 
 
 Churchill, Mr. . . Persian Ware . . 
 
 March 15 . 
 
 1883 .... 
 
 
 Burchett, Jos. . . ,, ... 
 
 . Apr 6 . . 
 
 1747 Cock . . 
 
 
 Clarendon, Earl of Library . . . . 
 
 Feb. 14 . . 
 
 1877 .... 
 
 
 Burdett, Francis 
 
 
 1791 Christie . 
 
 
 Clarges, Sir T 
 
 
 1783 .... 
 
 
 ,, Sir Robert 
 
 
 1794 .... 
 
 
 Clarke, Sir S., and 
 
 
 
 
 Burrell, Sir C. . . Pictures . . . 
 
 . May 21 . . 
 
 1808 .... 
 
 
 G. Hibbert, . . Pictures . . . . 
 
 May 14 . . 
 
 1802 .... 
 
 . 86 
 
 Burgess & Suffolk 
 
 . June 9 . . 
 
 1877. . . . 
 
 
 Clarke, Sir Sim. H. Books 
 
 April 27 . . 
 
 1840 .... 
 
 
 Burke, Edmund 
 
 .Junes . . 
 
 1812 .... 
 
 
 ,, . . Pictures . . . . 
 
 May 8 . . 
 
 1840 .... 
 
 
 Burnett, J. H. . . ,, . . . 
 
 . June 19 . 
 
 1869 .... 
 
 
 Clarkson, Wm 
 
 
 1852 .... 
 
 
 Burnett, G. R 
 
 . Mar. 24 . 
 
 1860 .... 
 
 
 Cleveley'sSale,£^ 
 
 March 3 . . 
 
 1810 .... 
 
 
 ,, 
 
 . Feb. 13 . . 
 
 1875 .... 
 
 
 Clifford, Ad., Sir A. Drawings, &c. &c. 
 
 Mar. 12 , 16,28 
 
 1877 .... 
 
 
 M ••»»••• 
 
 . Mar. 18 . . 
 
 1882 .... 
 
 
 ,, . . Library . . . . 
 
 May 23 . . 
 
 1877 .... 
 
 
 Burr, John. . . . Sketches . 
 
 . April 23 . . 
 
 1803 .... 
 
 
 Clint, Alfred du . . Works . . . . 
 
 Feb. 23 . . 
 
 1884 ..... 
 
 
 Burrowes .... Pictures . . . 
 
 . March n . 
 
 1786 .... 
 
 
 Clopton, Boothy 
 
 
 1801 .... 
 
 
 Bury, Mrs Drawings . . 
 
 . May 6 . 
 
 1872 .... 
 
 
 Clutter buck T. . Pictures . . . . 
 
 
 1837 .... 
 
 
 Busk, Hans . . . Pictures, &c. . 
 
 . Jan. 20 . . 
 
 1866 .... 
 
 
 Cockerell, Sir C. . ,, . . . . 
 
 
 1827 .... 
 
 
 Bute, Earl of (the 
 
 
 
 
 Codrington, Sir B. ,, . . . . 
 
 May 12 . 
 
 1843 .... 
 
 
 Highcliffe Coll.) 
 
 . May 19 . . 
 
 1796 .... 
 
 . 59 
 
 COESVELT, W. G. . ,, ... 
 
 May 26 . . 
 
 1820 .... 
 
 . 130 
 
 Butler, Lord James 
 
 . April 27 . . 
 
 1860 .... 
 
 
 ,, . . 
 
 April 26 . . 
 
 1834 .... 
 
 
 Butler -J ohnstone (See Munro and 
 
 Novar) . . . 
 
 
 
 ,, 
 
 July 5 ■ • 
 
 1839 .... 
 
 
 Byng, Hon. F. . . Pictures . . . 
 
 . July 1 . . 
 
 1871 .... 
 
 
 J> . . ,, . . , . 
 
 June 13 . . 
 
 1840 .... 
 
 
 Byron, Lord ... ,, . . . 
 
 . Mar. . . . 
 
 1772 .... 
 
 
 Coke, Thos. . . . LibraryPictures,&c. Feb. 12 , 19 1727-8 Cooper . 
 
 
 Byshe, Sir Edw. . . Books on Art . 
 
 
 1679 ~t J . Dunmorc 
 
 Cole, George . . Works . . . . 
 
 Mar. 1 . . 
 
 1884 Christie . 
 
 
 
 
 
 
 Colebrooke, Sir. G. Pictures . . . . 
 
 
 1769 .... 
 
 . 39 
 
 Cadogan, Earl of . Pictures, &c. . 
 
 . Feb. 14 
 
 1726-7 Cock . . 
 
 . 27 
 
 55 J» 
 
 April 22 . . 
 
 1774 .... 
 
 
 Cagliostro, Count. Effects . . . 
 
 
 1787 Christie . 
 
 
 55 55 
 
 Feb. 20 . . 
 
 1777. . . . 
 
 
 Callcott, Exors. . Drawings . . 
 
 . May 8 . . 
 
 1845 .... 
 
 
 Coleman, E. J. . . ,, . . . . 
 
 June 13 . . 
 
 1868 .... 
 
 
 ,, Pictures . . . 
 
 
 1853 . . • . 
 
 
 t» ... 99 • 
 
 June s . . 
 
 1875 .... 
 
 
 Callcott, Sir A. . Sketches . . . 
 
 . June 22 . 
 
 1863 .... 
 
 
 •» ... 99 * ‘ • 
 
 May 28 . 
 
 1881 .... 
 
 
 Calcott, N. J. . . ,, ... 
 
 . Dec. 16 . . 
 
 1871 .... 
 
 
 „ ... Decor. Objects . . 
 
 June 30 . 
 
 1881 .... 
 
 
 Calonne, M. de . . Pictures . . . 
 
 
 1795 Skinner &? Dyke 
 
 M ... 9 ) • 
 
 Mar. 1 . . 
 
 1882 . . ■ . 
 
 
 
 
 56, 57, 58 
 
 5» ... 9, . . 
 
 Mar. 27 . . 
 
 1884 .... 
 
 
 Camden, Marquis 
 
 . June 12 . . 
 
 1845 Christie . 
 
 
 ,, ... Pictures . . 
 
 May 1 , 10 . 
 
 1884 .... 
 
 
 Campbell, Sir H. . Drawings . . 
 
 . Mar. 24 . . 
 
 1865 .... 
 
 
 ,, ... Decor. Objects. 
 
 May 14 . 
 
 1885 .... 
 
 
 ,, . . Pictures . . . 
 
 . Mar. 15 . . 
 
 1867 .... 
 
 
 ,, ... Pictures . . . . 
 
 July 25 . . 
 
 1885 .... 
 
 
 5 5 * 55 
 
 . May 25 . . 
 
 1867 .... 
 
 
 Coleraine, Lord . ,, . . . . 
 
 Mar. 13 , 14 , 
 
 1754 Langford 
 
 . 27 
 
 >5 * 55 * 
 
 . June 8 . . 
 
 1872 .... 
 
 
 Coll, of Pictures . Pictures & Maj. 
 
 Mar. 17 , 18 , 
 
 1757 ,, 
 
 
 55 
 
 . May 2 . . 
 
 1874 .... 
 
 
 Colonna Plce. from Pictures . . . . 
 
 
 1801 Christie . 
 
 . 78 
 
 ,, . . Porcelain . . 
 
 . June 12 . . 
 
 1874 .... 
 
 
 Comyns, Wm 
 
 May 6 
 
 1815 .... 
 
 
 ,, . . Pictures . . . 
 
 . June 3 . . 
 
 1876 .... 
 
 
 Conyngham, W. ,, ... 
 
 April 25 . 
 
 1844 .... 
 
 . 142 
 
 Campbell, R., Cadiz. ,, . . . 
 
 • July 9 • • 
 
 1814 .... 
 
 
 it • * 55 
 
 April 12 . . 
 
 1849 .... 
 
 
 Campion .... ,, . . . 
 
 
 1810 Phillips . 
 
 
 tt • • 51 
 
 April 12 . . 
 
 1851 .... 
 
 
 Cankrein, J. C 
 
 . June 4 . . 
 
 1853 Christie . 
 
 
 Constable, G, . . „ ... 
 
 Mar. 2 . . 
 
 1866 .... 
 
 
 Canning, Earl . . Effects . . . 
 
 . Mar. 16 . . 
 
 1863 .... 
 
 
 Conway .... ,, ... 
 
 
 1788 .... 
 
 
 Capron, T. . . . Pictures . . . 
 
 . May 3 . . 
 
 1851 .... 
 
 
 Cook, R., r.a. . . Pictures, &c. . 
 
 June 1 . . 
 
 1857 .... 
 
 
 9 1 .... ,, . . . 
 
 . Nov. 27 . . 
 
 1852 .... 
 
 
 Cooke, E. W.,r.a. . Decor. Objects . 
 
 May 21 , 22 
 
 1880 .... 
 
 
 
 . Mar. 4 . . 
 
 1854 .... 
 
 
 ,, Venetian Glass . 
 
 June 15 . . 
 
 1880 .... 
 
 
 Carignan, Prince, ,, . . . 
 
 . Feb. 26 . . 
 
 1765 .... 
 
 
 ,, Pictures . . . . 
 
 Mar. ii . . 
 
 1880 .... 
 
 
 (Due deValentinois.) 
 
 
 
 
 ,, Sketches . . . . 
 
 June 26 . . 
 
 1863 .... 
 
 
 Carlisle, D., Ldy. . ,, 
 
 
 1779. . . . 
 
 
 Cooper, Bransby . . Pictures . . . 
 
 
 1854 .... 
 
 
 Carmichael, J. . .Sketches. . . 
 
 . Nov. 22 . 
 
 1870 .... 
 
 
 Cooper, H 
 
 
 1885 .... 
 
 . 396 
 
 Carpenter, W. Exs. Pictures . . . 
 
 . Feb. 16 . . 
 
 1867 .... 
 
 
 Corbet, A. J. S. . . Pictures, &c. 
 
 Feb. 11 , 15 
 
 1879 .... 
 
 
 Carr-Standish, W. Library . . . 
 
 . Dec. . , . 
 
 1880 .... 
 
 
 Cornwall, Mrs. . Pictures . . . 
 
 
 1851 .... 
 
 
 Cartwright, S. Exs. Effects . . . 
 
 .July 27 . . 
 
 1864 .... 
 
 
 Cornwallis, Lord 
 
 
 1768 .... 
 
 
 ,, Pictures, &c. . 
 
 . Feb. 25 , 27 , 28 1865 .... 
 
 
 COSTA, Sir Michael . Bijouterie, &c. . 
 
 July 23 . . 
 
 1884 .... 
 
 
 Carysford, Lord . Pictures . . . 
 
 
 1788 .... 
 
 
 Cosway, Richard . Pictures . . . . 
 
 Mar. 2 . . 
 
 1792 .... 
 
 
 Carysfort, Lord . ,, . . . 
 
 Fjune 14 . . 
 
 1828 .... 
 
 . 123 
 
 Cotton, Sir R. . . Pictures, &c. . 
 
 April 18 . . 
 
 1733 Cock . . 
 
 
 Cassell & Co. . . W. C. Drawings . June 25 . . 
 
 1880 .... 
 
 
 Coulson, Edward . Pictures and Vases May 7 . . 
 
 1830 Christie . 
 
 
 Castelruiz, Vis. de. Pictures . . . 
 
 ■ May s . . 
 
 1848 .... 
 
 
 Cousins, S. . . Engravings . . 
 
 May 15 . . 
 
 1872 .... 
 
 
 Cattermole, G. . . ,, . . . 
 
 . March 8 . . 
 
 1869 .... 
 
 
 Coventry, Lord 
 
 Feb. . . . 
 
 1810 .... 
 
 
 Cave, John ... ,, . . . 
 
 . May 6 . 
 
 1843 .... 
 
 
 ,, . Sevres . . . . 
 
 June 12 . 
 
 1874 .... 
 
 . 193 
 
 Cave, Wm. ... ,, . . . 
 
 . June 29 . . 
 
 1854 .... 
 
 
 Cowley, Lord . . Pictures . . . . 
 
 July 18 . . 
 
 1885 .... 
 
 
 Cazenove, James . ,, . . . 
 
 
 1833 .... 
 
 
 Cox, David. . . . Drawings . . 
 
 May 3 . . 
 
 1873 .... 
 
 
 Chalon, Exors. . . Drawings . . 
 
 . March 11 . 
 
 1861 .... 
 
 
 Coxe, Edward . . Pictures . . . 
 
 April 23 . . 
 
 1S07 Peter Coxe 
 
 . 99 
 
 Chambers, Sir Wm. Pictures . . . 
 
 . April 6 . 
 
 1799 .... 
 
 
 COSENS, A., Exors. Drawings . . 
 
 March 31 
 
 1787 Christie . 
 
 
 Champernowne, A. ,, . . . 
 
 . June 29 . . 
 
 1820 .... 
 
 . 118 
 
 Craig, General . . Pictures . . . 
 
 April 18 . . 
 
 1812 .... 
 
 
 Chandos, (Jas.,D.of) Pictures, &c. . . 
 
 . May 6 . . 
 
 1747 Cock . . 
 
 
 Craufurd, Quintin 
 
 
 1780 .... 
 
 
 Ch ANDOS, Duchess of 
 
 
 1778 Christie . 
 
 
 5 » M • • • 
 
 Jan. 27 . . 
 
 1786 .... 
 
 
 Chantrey, Lady . Pictures . . . 
 
 . June 15 . . 
 
 1861 .... 
 
 
 Craufurd, Rv. C. H. ,, ... 
 
 Feb. 27 . 
 
 1864 .... 
 
 
 Charlton, D r. , Bath ,, . . . 
 
 . March 5 . . 
 
 1790. . . . 
 
 
 Cressingiiam, J. . ,, ... 
 
 June 27 . . 
 
 1874 .... 
 
 
 • • t t . . . 
 
 . March 5 . . 
 
 1791 .... 
 
 
 ,, ... Drawings . . 
 
 May 18 . . 
 
 1875 .... 
 
 
 
460 
 
 ART SALES. 
 
 NAME. 
 
 Creswick, T., r.a. 
 
 OBJECTS. 
 
 Works . . 
 
 DATE. 
 
 . . . May 6 . . 
 
 1870 
 
 Crichton, Sir A. . 
 
 Pictures . . 
 
 
 
 1851 
 
 Cross, Thos. . . . 
 
 Engravings . 
 
 . . June 3 . 
 
 
 1852 
 
 Crossley, }. . . . 
 
 Pictures . . 
 
 . . June 16 . 
 
 
 1877 
 
 Cruikshank, Geo. . 
 
 Works . . 
 
 . . May 1,5 . 
 
 
 1878 
 
 ,, . • 
 
 11 • . 
 
 . . Dec. 11 . 
 
 
 1878 
 
 »# . 
 
 II . 
 
 . . July 8 . 
 
 
 1879 
 
 Cunningham, J. K. 
 
 Porcelain . . 
 
 . , April 7 . 
 
 
 1873 
 
 II . 
 
 • -July 23 . 
 
 
 1873 
 
 • • 
 
 11 . 
 
 . . Nov. 20 . 
 
 
 1873 
 
 » * • • 
 
 Bronzes & Enamels Dec. 10 . 
 
 
 1873 
 
 Curtis, Sir Wm. . . 
 
 Pictures . . 
 
 
 
 1847 
 
 D'Alberg, Due . . 
 
 Pictures . . 
 
 . . June 13 . 
 
 
 1817 
 
 Dalling, Lord E. . 
 
 II . 
 
 . . Feb. 21 . 
 
 
 1873 
 
 D'Almadour, Marg. 
 
 
 
 
 1779 
 
 Dalrymple, Alex. . 
 
 Pictures . . 
 
 . . March 17 
 
 
 1809 
 
 Dalton 
 
 11 . 
 
 . . April 11 . 
 
 
 1791 
 
 Dan by, James. . . 
 
 Piet, and Sketches . March 18 
 
 
 1876 
 
 Daniel, E. J. . . . 
 
 Pictures . . 
 
 . . March 16 
 
 
 1843 
 
 Danish Ambassador 
 
 
 
 
 1802 
 
 Darnley, Lord . . 
 
 Pictures . . 
 
 . . May . . 
 
 
 1802 
 
 ,, ,, 
 
 II • 
 
 . . July 12 . 
 
 
 1862 
 
 >» ,, . 
 
 
 
 
 1864 
 
 Dartmouth, Earl of Engravings . 
 
 . . July 1 . 
 
 
 1874 
 
 D'Arveley . . . . 
 
 
 
 
 1795 
 
 Dasent, Dr. . . . 
 
 Old Plate 
 
 . .June . . 
 
 
 1875 
 
 Daulby's . . . . 
 
 Rembrandt Etchgs. May . . 
 
 
 1800 
 
 Davenport, J ohn . 
 
 Pictures . . 
 
 
 
 1800 
 
 II . 
 
 . . Feb. 20 . 
 
 
 1801 
 
 Davenport . . . 
 
 
 
 
 1846 
 
 David 
 
 II . 
 
 . . July 17 . 
 
 
 1819 
 
 
 
 
 
 
 1820 
 
 Day, Alex. . . . 
 
 
 
 
 1833 
 
 Day, Mr 
 
 
 
 
 1801 
 
 Dayrolles, Sol. 
 
 II . 
 
 . . May 11 . 
 
 
 1786 
 
 D’Azeglio, Marqs. . 
 
 Pictures, &c. 
 
 . . March 5 
 
 
 1868 
 
 Debourg . . . . 
 
 Pictures . . 
 
 . . March 11 
 
 
 1768 
 
 De Calonne . . . 
 
 
 
 
 1795 
 
 De Clifford . . . 
 
 Pictures, &c. 
 
 . . J uly 28 Sc 29 
 
 1882 
 
 Defoe, Daniel . . 
 
 Library . . 
 
 . . Nov. 15 . 
 
 
 1731 
 
 De Hagen, C. . . . 
 
 Pictures . . 
 
 
 
 1803 
 
 De Horsey . . . 
 
 Porcelain . . 
 
 . . April 2 . 
 
 
 1873 
 
 Delafield, W. . . 
 
 Pictures . . 
 
 . . April 29 Sc 30 
 
 1870 
 
 Delafield, G. T. . 
 
 ll . 
 
 . . March 11 
 
 
 1876 
 
 ,, . 
 
 II . 
 
 . .June 3 . 
 
 
 1876 
 
 ,, 
 
 ll . 
 
 .... 9 • 
 
 
 1877 
 
 Demidoff, Prince . 
 
 Engravings . 
 
 . . May 29 . 
 
 
 1863 
 
 Denison, C. Beckett 
 
 Pictures, & r c. 
 
 . . June 6 . 
 
 
 1885 
 
 II 11 
 
 Books and Engrs. . July 20 . 
 
 
 1885 
 
 Denman, Ex. of Miss Flaxman models . April 9 & 10 
 
 1862 
 
 Denman, Rev. A. 
 
 Flaxman drawgs. . Feb. 26 . 
 
 
 1883 
 
 Dennistoun, J. . . 
 
 Pictures . . 
 
 . . June 14 . 
 
 
 1855 
 
 Dent, J 
 
 • 1 • 
 
 . . April 28 . 
 
 
 1827 
 
 Dent, St. John . . 
 
 Prints . . . 
 
 . . Mar. . . 
 
 
 1884 
 
 D'Eon, Chevalier 
 
 Jewels, &c. . 
 
 • • July 30 . 
 
 
 1784 
 
 Derby, Lady . . . 
 
 
 
 
 1780 
 
 De Noailles, M. . 
 
 
 
 
 1778 
 
 De Ryck * . . . 
 
 Piet. , Draw., 
 
 Prints June . . 
 
 
 1690 
 
 Desenfans . . . 
 
 Pictures . . 
 
 
 
 1781 
 
 1 1 . 
 
 
 
 
 1784 
 
 11 
 
 it . 
 
 . . May 11 . 
 
 
 1785 
 
 • » . 
 
 II . 
 
 . . April 8 . 
 
 
 1786 
 
 11 . . . 
 
 II • • 
 
 • ■ July 13 • 
 
 
 1786 
 
 ii . 
 
 II . 
 
 
 
 1788 
 
 11 . . . 
 
 II . . 
 
 
 
 1789 
 
 De Tabley, Lord . 
 
 It . 
 
 • • July 7 • 
 
 
 1827 
 
 Dezoete, S. Herman Pictures, See. 
 
 . . May 6 & 8 
 
 
 18S5 
 
 117 
 
 237 
 
 Dyke 
 
 81 
 
 56 
 
 . 393 
 404-9 
 
 367 
 
 42 
 
 45 
 
 DATE. 
 
 • July 9 
 
 . April 9 
 . May 21 
 . March 1 
 . March 4 
 
 * This is the first picture sale in which the owner's name is given. I suppose the 
 auctioneers were the owners before. 
 
 NAME. OBJECTS, 
 
 Dickens, Chs., Exrs. Pictures, &c. 
 
 ,, . . Porcelain 
 
 Dickins, C . . 
 
 Dickenson, Samuel . Pictures . . 
 
 Dighton, G. . . . Sketches . 
 
 Dillon, Hon. Chas. Pictures and China Feb. 10 
 Disraeli, Ralph . MSS. (Novels) .July 13 
 Dobree, Harry H. . Pictures .... June 17 
 
 Dobree 
 
 Dodd, Joseph . . Pictures, & c, 
 
 ,, . . Pictures 
 
 Domville .... ,, 
 
 Donegal, Lord 
 
 Dgrrington 
 
 Dresden, Reed, from Pictures 
 Drummond, Sir H. . ,, 
 
 Dubarry, La, Com. Jewels 
 
 Duckett, Sir Geo. 
 Dudley, Earl of 
 
 Pictures 
 
 Porcelain 
 
 Pictures 
 
 Dudley, Earl of, Exs. 
 Duncan, Edw., dec. 
 
 Pictures, Porcel 
 Pictures, &c. 
 
 Dundas, Sir Lawrence Pictures 
 Dunmore, Earl of . Pictures, &c. 
 
 Dupr 6 . 
 Durham, 
 
 Bishop of 
 
 . May 31 
 
 • July 4. S. 
 
 • July 5 
 
 . May 25 
 
 7 
 
 . June 26 
 . Feb. 19 
 . May 19 
 . May 1 
 . April 7 
 
 • May 3 
 
 ,n . . . 
 
 . March 9 
 . March 1 
 . May 29 
 . March 13, 14 
 
 • June s 
 . March 1 
 
 aucR. page 
 
 1870 Christie . . 181 
 
 1873 
 
 1879 296 
 
 1774 
 
 1872 
 
 1775 
 
 1881 
 
 1842 
 
 1873 
 
 1877 
 
 1879 
 
 1850 
 
 1781 
 
 1842 . . . 
 
 1824 . . . 
 
 1795 . . . 
 
 1832 . . . 
 
 1874 . . . 
 
 1876 . . . 
 
 1884 . . . 
 
 1886 . . . 
 
 1883 . . . 
 
 1885 
 
 1794 Greenwood 54, 55 
 
 1874 Christie . . 
 
 1875 
 
 1877 
 
 1802 
 
 438 
 
 351 
 
 paling; . . . . 
 
 Durham, J., A. R.A. 
 
 Works and Coll. 
 
 March 18 . 
 
 ■WO/ 
 
 1878 
 
 Duroveray, Franc. . 
 
 Gems and Bronzes March 26 . 
 
 1849 
 
 ll 
 
 Antique Gems . 
 
 June 26 . . 
 
 1849 
 
 11 . 
 
 Drawings . . . 
 
 Feb. 22 . 
 
 1850 
 
 ii . . 
 
 Pictures . . . . 
 
 March 1 . . 
 
 1850 
 
 Durrant, G. . . . 
 
 Pictures, &c. . . 
 
 Feb. 10 & 14 
 
 1870 
 
 DOsseldorfCollctn. Copies . . . 
 
 May . . . 
 
 1795 
 
 Dymoke (Champion) Pictures, &c. . 
 
 July 17 & 20 
 
 1877 
 
 Dyneley, Capt. . . 
 
 >1 . . . 
 
 Feb. 6, 9, 13 
 
 1865 
 
 Eardley, Sir C. E . 
 
 Pictures . . . . 
 
 June 30 . . 
 
 1860 
 
 Earle, George . 
 
 51 . . . . 
 
 Feb. 4, 6, 8 
 
 1875 
 
 Easti.ake, Lady 
 
 Contents of Studio Dec. 14 
 
 1868 
 
 Edwards, Mrs. M. . 
 
 Pictures . . . . 
 
 May 9 & 28 
 
 1746 Cock . . . 
 
 Egrf.mont, Earl of . 
 
 
 
 1785 Christie . . 
 
 Ellis, W. S. . . . 
 
 Pictures . . . 
 
 Mar. 10 . . 
 
 1877 
 
 . . . 
 
 Drawings . . . 
 
 
 1877 
 
 Ellis, Wynn . . . 
 
 II . . . . 
 
 May 29 . . 
 
 1855 
 
 
 51 . . . . 
 
 March 27 . 
 
 1858 
 
 
 Virtu 
 
 June 8 . . 
 
 1859 
 
 
 Pictures . . . . 
 
 June 6 . . 
 
 1864 
 
 
 
 June 22 . . 
 
 1867 
 
 
 
 May 27 . . 
 
 1873 
 
 
 Mod. & Old Pic. See. 
 
 May 5, 6, 27 
 
 1876,.. . . .219 
 
 
 11 
 
 June 17 . . 
 
 1876 ..... 
 
 
 11 
 
 July 15 . . 
 
 1876 
 
 Elliott . . . . 
 
 Pictures, O. M. 
 
 Jan. 25 . . 
 
 1798 Phillips . . 
 
 Elmore, A. dec. . . 
 
 Pictures . . . . 
 
 May 5 . . 
 
 1883 Christie . 
 
 Elton, Sir E. M. . 
 
 Pictures, &c. . . 
 
 Ap. 17, 18, 24 
 
 1884 
 
 Emerson . . . 
 
 
 
 1829 
 
 Emmerson, T. . . 
 
 Pictures . . . . 
 
 
 1822 
 
 . . . 
 
 ll . . . 
 
 May 27 
 
 1854 
 
 
 
 
 Feb. 17 
 
 1855 
 
 
 11 * * 
 
 May 21 . . 
 
 1856 
 
 51 * * 
 
 Objects of Art . . 
 
 Dec. 18 . . 
 
 1869 
 
 Erard, Sebastien 
 
 Pictures . . . . 
 
 June 22 . 
 
 1833 
 
 Esdaile, Wm. . . 
 
 II * 
 
 Mar. 15, 22 
 
 1838 
 
 Essex, Earl of . . 
 
 II * 
 
 Jan. 31 . . 
 
 1777 
 
 
 
 
 1789 . . . . 
 
 Esterhazy, Prince . 
 
 Jewels . . . . 
 
 Mar. 29 . . 
 
 1867 
 
 58 
 
 267 
 
 267 
 
 130 
 
INDEX OF SALES. 
 
 461 
 
 NAME. OBJECTS. 
 
 DATE. 
 
 aucR- 
 
 PAGE 
 
 Etty, Exors. . . . Pictures . . . 
 
 . May 6 . . 
 
 1850 Christie . 
 
 
 
 European Museum ,, ... 
 
 
 1791 .... 
 
 
 
 JJ 
 
 
 1809 .... 
 
 
 
 Evans ,, ... 
 
 
 1782 .... 
 
 
 
 5) » ... 
 
 
 1804 .... 
 
 
 
 Ewer, J 
 
 
 1832 .... 
 
 
 129 
 
 Exeter, Earl of . . ,, ... 
 
 
 1796 .... 
 
 
 
 Exeter, Marquis . Pictures, &c. 
 
 . June . . . 
 
 1888 .... 
 
 
 454 
 
 Eyre, F Pictures . . . 
 
 < 
 
 
 1798 G. Robins 
 
 
 
 Faccioli, Gaetano, Pictures . . . 
 
 . June 10 . . 
 
 1852 Christie . 
 
 
 
 Faed,J., r.s.a. . . Pictures, &c. 
 
 . June 11 . . 
 
 1880. . . . 
 
 
 
 Fairfax, Bryan . . ,, ... 
 
 . Ap. 6 , 7 . 
 
 1756 Prestage 
 
 
 
 Fairrie, Adam . . ,, ... 
 
 . Mar. 16 . . 
 
 1861 Christie . 
 
 
 
 Fairrie, John . . ,, ... 
 
 . Ap. 20 , 22 . 
 
 1861 .... 
 
 
 
 Falcke, D., Exors. Art & Virtu . . 
 
 . Mar. 6 . . 
 
 1867. . . . 
 
 
 
 Flemming, G. F. . Pictures . . . 
 
 . Mar. 21 . . 
 
 1777. . . . 
 
 
 
 Farmer, Rogers . . Japanese Coll. . 
 
 . Nov. 7 . . 
 
 1871 .... 
 
 
 
 Farrer, H., Exors. . Pictures . . . 
 
 . June 12 . 
 
 1866 .... 
 
 
 
 ,, Pictures, &c. . 
 
 . April 6 , 9 . 
 
 1867 .... 
 
 
 
 Farthing, J. J. . . „ ... 
 
 . Jan. 12 to 28 
 
 1874 .... 
 
 
 
 Fauntleroy ... ... 
 
 
 1825 .... 
 
 
 
 Fauquier .... ,, ... 
 
 . Jan. 30 . . 
 
 1789 .... 
 
 
 
 Fielden, Sir W. H. ,, ... 
 
 . Mar. 3 . . 
 
 1877 .... 
 
 
 266 
 
 Fenton, S. G. . . ,, ... 
 
 . Feb. 13 to 20 
 
 1864 .... 
 
 
 
 Fenton, Joseph . . ,, ... 
 
 . May s . . 
 
 1879 .... 
 
 
 303 
 
 Fenton, William . ,, ... 
 
 ■ May s . . 
 
 1879 .... 
 
 
 
 Fenton, James . . ,, ... 
 
 . Feb. 26 . 
 
 1880. . . . 
 
 
 
 Ferrers, Lord . . ,, ... 
 
 . June 2 . . 
 
 1779 .... 
 
 
 
 Ferrieres, Baron de ,, ... 
 
 . July 8 . . 
 
 1876 .... 
 
 
 
 Fiennes, Hon. J. F. Dresden, &c. . 
 
 . Mar. 24 . . 
 
 1881 .... 
 
 
 
 Fitzgerald, L ady . Dec., Pic., &c. 
 
 . Mar. 8 , 10 . 
 
 1884 .... 
 
 
 
 (Late Ld. Londesborough.) 
 
 Fitzhugh .... Marbles . . . 
 
 . April 16 
 
 1785 .... 
 
 
 
 ,, .... Pictures . 
 
 
 1843 .... 
 
 
 
 Flaxman, J. dec. 
 
 Wedg. Models 
 
 &c. April 26 . 
 
 1876 . 
 
 
 
 Flaxman Drawings . 
 
 Models, &c. 
 
 . April 9 . 
 
 1862 . 
 
 
 
 (Rev. A. Denman.) 
 
 Drawings 
 
 . Feb. 26 . . 
 
 1883 . 
 
 
 
 Fletcher, Ralph . 
 
 Pictures . 
 
 . June 9 . . 
 
 1838 . 
 
 
 
 ,, 
 
 JJ ‘ ’ 
 
 . June 28 . . 
 
 1851 . 
 
 
 
 Fonthill, Coll n - . 
 
 J J * 
 
 . June 28 . . 
 
 1802 . 
 
 
 . 84 
 
 ,, . . 
 
 
 
 1823 Phillips . 
 
 . 121 
 
 Fordham, J. E. . . 
 
 Drawings 
 
 
 1860 Christie . 
 
 
 JJ . . 
 
 Claude Picture 
 
 . Jan 15 . . 
 
 1862 . 
 
 
 
 J J * 
 
 Pictures . 
 
 . June 14, 16 . 
 
 1862 . 
 
 
 
 J J * 
 
 Engravings . 
 
 • July IS • • 
 
 1873 . 
 
 
 
 J J * 
 
 Pictures . . 
 
 . May 29 . . 
 
 1875 . 
 
 
 
 J J * 
 
 , , . 
 
 . June 5 . . 
 
 1875 . 
 
 
 
 Forli, Due . . . 
 
 Porcelain . . 
 
 
 1877 . 
 
 
 . 266 
 
 Fortescue, Lord . 
 
 
 
 1802 . 
 
 
 
 Fortune, R. . . . 
 
 China, &c. . . . Feb. 4 . . 
 
 (Frequent up to 1864 .,/ 
 
 1856 . 
 
 
 
 Foster, R. . . . 
 
 Clewer Manor, 
 
 Pic. June 3 . . 
 
 1876 . 
 
 
 . 247 
 
 Fountaine . . . 
 
 Pictures . . 
 
 . . April 4 . 
 
 1873 . 
 
 
 
 Fountaine, Sir. A. 
 
 Collection, Ma- . June 16-19 . 
 jolica, Enamels, &c. 
 
 1884 . 
 
 
 . 383 
 
 ” 
 
 Eng. & Draw. 
 
 by Did Masters. 
 
 • J^'y 7 • • 
 
 1884 . 
 
 
 . 385 
 
 Fox, General . . . 
 
 Pictures . . 
 
 • July 4 ■ • 
 
 1874 . 
 
 
 
 Freeling, Sir F. 
 
 >• 
 
 . April 14 . . 
 
 1837 . 
 
 
 
 Freeling, J. Clayton 
 
 JJ 
 
 
 1854 . 
 
 
 
 French Nobleman 
 
 JJ * * 
 
 
 1789 . 
 
 
 
 ,, 
 
 J J * 
 
 
 1790 . 
 
 
 
 French, C. Mrs. 
 
 JJ 
 
 . Mar. 11 . . 
 
 1797 . 
 
 
 
 Fries, Count . . . 
 
 J J * 
 
 
 1824 . 
 
 
 
 Fripp, E. B. . . . 
 
 J J * • 
 
 . April 20 . . 
 
 1855 . 
 
 
 
 Frith, W. P., r.a. 
 
 J J * 
 
 . June 14 . . 
 
 1884 . 
 
 
 
 Frost, W. E., r.a. 
 
 Eng. & Piets. 
 
 . Mar. 14 . . 
 
 1878 . 
 
 
 
 Froward . . . . 
 
 
 
 1807 Phillips . 
 
 
 Fulham Factory. Velvet, Woollen 
 
 .Jan. . . . 
 
 1756 Langford 
 
 
 Gainsborough, T. . 
 
 Pictures . . 
 
 . . May 10 . . 
 
 1792 Christie . 
 
 48, 49 
 
 Executors. 
 
 NAME. 
 
 OBJECTS. 
 
 DATE 
 
 aucR- 
 
 PAGE 
 
 Gainsborough, Dupont Pictures . 
 
 . April 10 . . 
 
 1797 Christie . 
 
 
 60 
 
 Gambarini, Chas. . 
 
 JJ ... 
 
 . Mar. 30 . . 
 
 1770. . . . 
 
 
 
 Gambart . . . . 
 
 
 
 1852 .... 
 
 
 
 Gansell, General . 
 
 JJ ... 
 
 . Feb. 24 . 
 
 1775 .... 
 
 
 
 Gardner, J. Dunne Pictures, &c. 
 
 . June 3 , 22 . 
 
 1876 .... 
 
 
 147 
 
 Garrick, Mrs. Dav. 
 
 Pictures . 
 
 . June 23 . 
 
 1823. . . . 
 
 
 
 Gasc, A 
 
 »> ... 
 
 . Jan. 15 . . 
 
 1862 .... 
 
 
 
 Gascoigne, Gen. F. 
 
 ,, ... 
 
 . April q, 8 . 
 
 1884 .... 
 
 
 
 Gatton Park, From 
 
 
 
 1800 .... 
 
 
 
 Geddes, A. . . . 
 
 Piet, and Draw. 
 
 . April 8 . . 
 
 1845 .... 
 
 
 
 Gibbs, A 
 
 Pictures . . . 
 
 
 1850 .... 
 
 
 
 Gibbons, Mrs. . . 
 
 
 
 1883 .... 
 
 
 355 
 
 Gilliflower . . . 
 
 Piet. , Draw. , Prints May . . . 
 
 1689 Gilliflower 
 
 
 
 ,, . . . 
 
 Pictures, &c. 
 
 . June . . . 
 
 1689 
 
 
 
 > 1 . . . 
 
 Piet. Prints (2 sales) July . . . 
 
 1689 
 
 
 
 ,, . . . 
 
 I» . 
 
 . Aug. . . . 
 
 1689 
 
 
 
 ,, . . . 
 
 »» . 
 
 . Nov. . . . 
 
 1689 
 
 
 
 > ) . . . 
 
 ,, (3 sales) Dec. . . . 
 
 1689 
 
 
 
 GlLLOTT, J. , Exors. . 
 
 Pictures, &c. 
 
 . April 19 , 29 . 
 
 1872 Christie . 
 
 184-9 
 
 Gilpin, Sawrey . . 
 
 Piet, and Draw. 
 
 . June 1 . . 
 
 1803 .... 
 
 
 
 Gladstone, W. E. . 
 
 China .... 
 
 . May 6 . 
 
 1863 .... 
 
 
 
 JJ 
 
 Art & Virtu . . 
 
 . June 23 . . 
 
 1875 .... 
 
 
 203 
 
 Glover, Edmund . 
 
 Pictures . . . 
 
 . Mar. 16-19 • 
 
 Ford . 
 
 
 
 Gloucester , Dukeof 
 
 JJ ... 
 
 . May 17 . . 
 
 1806 Christie . 
 
 
 
 Godolphin, Earl of 
 
 JJ ... 
 
 . J une 6 . . 
 
 1803 .... 
 
 
 
 Goldschmidt, Otto 
 
 , , ... 
 
 . June 13 . . 
 
 1874 .... 
 
 
 
 Goodall . . . . 
 
 JJ ... 
 
 . April 8 . . 
 
 1772. . . . 
 
 
 
 Goodall, E. . . . 
 
 Engravings . 
 
 . June 24 . . 
 
 1864 .... 
 
 
 
 Goodall, F., r.a. . 
 
 Porcelain . . 
 
 . May 3 . . 
 
 1881 .... 
 
 
 
 Gordon, Mrs. . . 
 
 Pictures . . . 
 
 . April . . . 
 
 1808 .... 
 
 
 
 Gordon, Sir Robert. 
 
 >1 ... 
 
 . Feb. 28 . . 
 
 1846 .... 
 
 
 
 JJ • 
 
 ,, ... 
 
 • May 5 . . 
 
 1848 .... 
 
 
 
 Gostling - Murray 
 
 
 
 
 
 
 Collection . . . 
 
 Pictures, &c. 
 
 . June 23 , 25 . 
 
 1883 .... 
 
 
 
 ,, 
 
 Library . . . 
 
 ■ July 17 . . 
 
 1883 .... 
 
 
 
 J J 
 
 Eng. and Draw. 
 
 . Aug. 1 . . 
 
 1883 .... 
 
 
 
 Got deGrote, Baron Pictures . . . 
 
 . Mar. 29 . . 
 
 1776 .... 
 
 
 
 Gott, Sir FI. T. . . 
 
 1 } ... 
 
 . Feb. 24 . . 
 
 1810 .... 
 
 
 102 
 
 Gower, Lord Ronald 
 
 J J ... 
 
 . Feb. 14 . . 
 
 1874 .... 
 
 
 
 Gower, A. Leveson . 
 
 Clocks . . . 
 
 ■July 25 . . 
 
 1884 .... 
 
 
 
 Graham, W. . . . 
 
 Pictures . . . 
 
 . April . . . 
 
 1886 .... 
 
 
 430 
 
 Graham, J. . . . 
 
 JJ ... 
 
 . April . . . 
 
 1887 .... 
 
 
 452 
 
 Grant, Alexander . 
 
 JJ ... 
 
 . June 24 . . 
 
 1854 .... 
 
 
 
 Grant, A.W., Exors. 
 
 Sketches . . . 
 
 . July 13 . . 
 
 1866 .... 
 
 
 
 Grant, Albert. . . 
 
 Pictures . . . 
 
 . June 20 . . 
 
 1868 .... 
 
 
 
 JJ * 
 
 >> ... 
 
 . April 27 . . 
 
 1877 .... 
 
 253-7 
 
 j f . . . 
 
 Engravings, &c. 
 
 . May 22 , 25 . 
 
 1877 .... 
 
 
 
 JJ * 
 
 ,, 
 
 ■ July 7 • • 
 
 1877 .... 
 
 
 
 JJ * 
 
 Porcelain. . . 
 
 . May 14 . . 
 
 1878 .... 
 
 
 
 » J ... 
 
 Coins .... 
 
 . July 28 . . 
 
 1880 .... 
 
 
 
 ,, . 
 
 Plate .... 
 
 . July 6 , 22 . 
 
 1880 .... 
 
 
 
 jj . . . 
 
 Pictures . . . 
 
 • July 25 . . 
 
 1885 .... 
 
 
 
 Grant, Sir Francis, 
 
 
 
 
 
 
 P.R.A., dec. . . . 
 
 Portraits & Sketches Mar. 28 . . 
 
 1879 .... 
 
 
 
 Graves, George . . 
 
 Pictures . . . 
 
 . Jan. . . . 
 
 1803 .... 
 
 
 87 
 
 J J * 
 
 ,, ... 
 
 . May 6 . . 
 
 1854 .... 
 
 
 
 Granville, Earl. . 
 
 JJ ... 
 
 . June 21 . . 
 
 1845 .... 
 
 
 
 Green, J ohn . . . 
 
 J * ... 
 
 . April 23 . . 
 
 1830 .... 
 
 
 
 Green, G. P. Everett 
 
 Drawings . . 
 
 . Feb. 18 . . 
 
 1875 .... 
 
 
 
 Green (Paddy) . . 
 
 Portraits . . . 
 
 . July 22 . 
 
 1871 .... 
 
 
 
 Greenwood . . . 
 
 Pictures . . . 
 
 . Feb. 22 . . 
 
 1773. . . . 
 
 
 
 ,, . . . 
 
 ,, ... 
 
 . April . . . 
 
 1773. . . . 
 
 
 
 Green wood, T homas 
 
 JJ ... 
 
 . April . . . 
 
 1878 .... 
 
 
 284 
 
 Greville, Brook 
 
 ,, ... 
 
 . April 30 . 
 
 1836 .... 
 
 
 
 Greville, C. . . . 
 
 Library . . . 
 
 . May 9 , 10 . 
 
 1865 .... 
 
 
 
 Greville, C. F. . . 
 
 Piet, and Sculp. 
 
 . Mar. 31 . . 
 
 1810 .... 
 
 
 105 
 
 Greville, Fulk . . 
 
 Pictures . . . 
 
 . Mar. 29 . . 
 
 1776. . . . 
 
 
 
 J * ' 
 
 » « ... 
 
 . Nov. 18 . . 
 
 1794 .... 
 
 
 
 Grey, Hon. W. Booth 
 
 ,, ... 
 
 . June 15 . . 
 
 1836 .... 
 
 
 
 Griffiths, Dr. . . 
 
 Prints . . . 
 
 . Mar. 9 . . 
 
 1883 Sothcbys . 
 
 
 356 
 
 Grignion . . . . 
 
 Pictures . . . 
 
 
 1809 Christie . 
 
 
 
 Grissell, T. , Exors. 
 
 »J ... 
 
 . July 18 . . 
 
 1874 .... 
 
 
 
 Gritten, Mrs. . . 
 
 M ... 
 
 
 1852 .... 
 
 
 
462 
 
 ART SALTS. 
 
 NAME. 
 
 OBJECTS. 
 
 DATE. 
 
 aucR- page 
 
 Grose, Francis . . 
 
 Draw. , Prints . 
 
 . J une 20 . 
 
 
 1791 J. Egerton . 
 
 Grote, G., Exors. . 
 
 Pictures . . . 
 
 . Mar. 2 . 
 
 
 1872 Christie . . 
 
 Grundy 
 
 ... 
 
 . Feb. 27 . 
 
 
 1852 
 
 „ 
 
 Engravings . . 
 
 . Mar. 3 . 
 
 
 1853 
 
 Guest, Sir Ivor . . 
 
 Porcelain. . . 
 
 . June 24 . 
 
 
 1873 
 
 Gullick, T. J. . . 
 
 Pictures . . . 
 
 1 Dec. 20 . 
 
 
 1873 
 
 
 .July 18 . 
 
 
 1874 
 
 ?> • 
 
 1 . ... 
 
 . July 21 . 
 
 
 1875 
 
 Gunthorpe, Captain 
 
 , f ... 
 
 . Mar. 5 . 
 
 
 1853 
 
 Gurney, C., Estate. 
 
 Piet, and China 
 
 . Feb. 13 . 
 
 
 1874 
 
 Gurney, George . . 
 
 Drawings . . 
 
 . Mar. 17 . 
 
 
 1883 
 
 Gurney, Russell . . 
 
 Pictures . . . 
 
 . May 13 . 
 
 
 1870 
 
 5 * ' 
 
 V ... 
 
 . Mar. 3 . 
 
 
 1883 
 
 Gunthrope, Mat. . 
 
 ,, ... 
 
 . April 22 . 
 
 
 1842 
 
 GW ATKIN, J. R. . . 
 
 Drawings . . 
 
 . April 28 . 
 
 
 1873 
 
 Gwydir, Lord . . 
 
 Furniture & Piet. 
 
 . Mar. 10 to 20 
 
 1829 
 
 Haden, F. Seymour Porcelain . . 
 
 , June 6 . . 
 
 1878 
 
 
 ,, . . ,, 
 
 . April 28 . . 
 
 1882 
 
 
 Haghe, Louis . . Sketches . . . 
 
 • Ju>y 3 • • 
 
 1885 
 
 
 Haines, G. . . . Pictures, &c. . 
 
 . Mar. 27 & 29 
 
 1867 
 
 
 Halford, A. D. . . Pictures . . . 
 
 . March 21 . 
 
 1874 
 
 
 Halifax, Earl of . ,, . . . 
 
 . April 19 . . 
 
 1782 
 
 
 ,, . . ,, ... 
 
 . April 3 . . 
 
 1789 
 
 
 Halse, Richard . ,, . . . 
 
 . March 21 . 
 
 1806 
 
 
 Hamilton, Charles 
 
 . March 14 . 
 
 1783 
 
 
 Hamilton, Duke of Hamilton PalaceCol. June 17 . . 
 
 1882 
 
 . . . 319-45 
 
 Hamilton, W. R. . Pictures, & c. 
 
 
 1852 
 
 
 Hamilton, Dr. . . Drawings . . 
 
 . March 27 . 
 
 1872 
 
 
 Hamilton, Sir W. . Pictures . . . 
 
 
 1801 
 
 . . . . 79-S0 
 
 ,, . ,, ... 
 
 
 1803 
 
 
 Hammersley ... ... 
 
 
 1806 
 
 
 Hampden, Lord . . ,, ... 
 
 
 1784 
 
 
 Hampden, Lady. . ,, ... 
 
 
 1834 
 
 
 Han bury, Thomas . Art & Virtu . 
 
 . March 26 . 
 
 1858 
 
 
 Hancock, Mrs. C. . Pictures, &c. 
 
 . ]an. 27 . . 
 
 1881 
 
 
 Hankey, T. . . . Pictures . . . 
 
 . June 7 . . 
 
 1799 
 
 
 Handel, .... Portrait of . . 
 
 
 1797 Phillips . . 61 
 
 Harding, Exors. . Drawings, &c. . 
 
 . June 16 , 18,27 
 
 1862 Christie . . 
 
 Hardy, James, Jun. . Sketches . . . 
 
 . March 9 . . 
 
 1878 
 
 
 Harewood, Earl of . Pictures . . . 
 
 . May 1 . . 
 
 1858 
 
 
 Harford, C. R 
 
 
 1867 
 
 
 ,, ... it . . . 
 
 
 1868 
 
 
 Harman, Jeremiah 
 
 . May 17 . . 
 
 1844 
 
 
 Harper, Edward 
 
 . April 16 . . 
 
 1853 
 
 
 Harrington, Lord 
 
 . March 30 . 
 
 1781 
 
 
 Harris's, Included ia 
 Mrs 
 
 
 1810 
 
 
 ,, . . ,, . 
 
 . Feb. 1 . . 
 
 1811 
 
 
 Hart, Sol., A. R. A. . Dec., Piet. &Sketch. July 29 . . 
 
 1881 
 
 
 ,, . . Art and Effects 
 
 . Aug. 2 & 4 . 
 
 1881 
 
 
 H ASTI NGS, Dr., Exors Drawings . . 
 
 . Feb. 22 . . 
 
 1875 
 
 
 FIastings, Edward . Pictures . . . 
 
 . March 10 . 
 
 1854 
 
 
 Hawkins, M. Rohde Ivories . . . 
 
 . July 22 . . 
 
 1885 
 
 
 Hawkins, Rev.W. B. Watches . . . 
 
 . May 18 . 
 
 1876 
 
 
 Hawley, Sir Joseph Pictures . . . 
 
 . May 14 . 
 
 1858 
 
 
 •1 . 11 ... 
 
 
 1876 
 
 
 ,, . . Porcelain. . . 
 
 . April 3 . . 
 
 1876 
 
 
 ,, . . Plate .... 
 
 .July 9 . . 
 
 1877 
 
 
 HAWTREY, Dr., iLtWI 
 
 . April s . . 
 
 1862 
 
 
 ,, Plate . . . . 
 
 . J une 27 . . 
 
 1862 
 
 
 Hay, Andrew . . . Pictures . . . 
 
 . Feb. . . . 
 
 172 s 
 
 Cock . . . 
 
 ,, ... Pictures, &c. . 
 
 . May 4 & 5 . 
 
 1789 
 
 
 Hayllar, J. . . . Pictures . . . 
 
 . May 29 . . 
 
 1873 Christie . . 
 
 . May 18 . . 
 
 1878 
 
 
 H A yter, Sir George. ,, . * . 
 
 . May 3 . . 
 
 1845 
 
 
 Hayward .... Statues . . . 
 
 . March . . 
 
 1783 
 
 
 Healy Pictures . . . 
 
 . Dec. . . . 
 
 1798 
 
 
 ft ,, ... 
 
 . Jan. & Mar. 
 
 1799 
 
 
 Heath, Rev. J. M. . Old Pictures 
 
 . April 10 . . 
 
 1880 
 
 
 Heath, Baron . . Pictures, &c. 
 
 . March 8 , 11 
 
 1879 
 
 
 Heathcote, Robert Pictures, 0 . M. 
 
 . April 11 . . 
 
 1807 Phillips . 
 
 NAME. OBJECTS. 
 
 DATE. 
 
 auc r - 
 
 PAGE 
 
 Henderson, J. . . Pictures . . _ . 
 
 Feb. 16 . . 
 
 1882 Christie . 
 
 . 314 
 
 Henfrey.J. ... 
 
 March 30 . 
 
 1855 .... 
 
 
 Herbert, W. , Exors. Pictures, &c. . . 
 
 April 23 . . 
 
 1864 .... 
 
 
 Heritage, Edwin . Pictures . . . . 
 
 Feb. 28 . . 
 
 1874. . . . 
 
 
 ,, . . ,, . 
 
 March 4 . . 
 
 1876 .... 
 
 
 11 . ,, . . . . 
 
 Feb. 15 . . 
 
 1879 .... 
 
 
 Hermon, Edward 
 
 May 13 . . 
 
 1882 .... 
 
 316-18 
 
 Herries, Lord . . Pictures, &c. . . 
 
 March 1 & 3 
 
 1873 .... 
 
 
 ,, ... Engravings . . 
 
 July 22 . . 
 
 1873 .... 
 
 
 Herring, G. E. . . Works . . . . 
 
 May 7 . . 
 
 1880 .... 
 
 
 11 ... ,, . . * . 
 
 April 25 . . 
 
 1881 .... 
 
 
 Herring, J.F., Exors Pictures, &c. . . 
 
 Feb. 1 & 3 . 
 
 1866 .... 
 
 
 Hertford, Marq. of Pictures . . . . 
 
 May 1 . . 
 
 1875 .... 
 
 
 HEUGH.John 
 
 April 27 . . 
 
 1860 .... 
 
 
 1 . ... ,, . . . . 
 
 May 31 . . 
 
 1873 .... 
 
 
 „ ... Plate 
 
 June 20 . . 
 
 1873 .... 
 
 
 ,, ... Piet, and Drawings April 24 . . 
 
 1874 .... 
 
 
 „ ... Pictures . . . 
 
 June 20 . . 
 
 1876 .... 
 
 
 1 * ... ,| . . . . 
 
 July 29 . . 
 
 1876 .... 
 
 
 ii ... ,, . 
 
 March 17 
 
 1877 .... 
 
 
 ,, ... Engravings . . 
 
 April 30 . . 
 
 1878 . . . . 
 
 
 ,, ... Pictures, &c. . 
 
 May 3 , 8 , 9,10 
 
 1878 .... 
 
 
 ,, ... Art and Effects 
 
 Feb. 26 . . 
 
 1879 .... 
 
 
 ,, ... Plate .... 
 
 March 19 . 
 
 1879 .... 
 
 
 ,, ... Books. . . . 
 
 April 17 . . 
 
 1879 .... 
 
 
 ,, ... Objects of Art . 
 
 June 13 . 
 
 1879 .... 
 
 
 ,, ... Pictures . . . 
 
 March 20 . 
 
 1880 .... 
 
 
 Hibbert, George . ,, ... 
 
 June 13 . . 
 
 1829 .... 
 
 
 Hibbert, George ( See Clarke). 
 
 ,, . . Drawings . . 
 
 May 2 . . 
 
 1860 .... 
 
 
 ,, . . China .... 
 
 March 27 . 
 
 1868 . . . . 
 
 
 Hickman, John . . Pictures . . . 
 
 March 20 . 
 
 1847 .... 
 
 
 Higgins, Thomas C 
 
 April 16 . . 
 
 1853 . . . . 
 
 
 Higginson, Edmund „ ... 
 
 June 4 . . 
 
 1846 . . . . 
 
 . 136 
 
 Hill, J. J Works . . . 
 
 April 3 . . 
 
 1882 .... 
 
 
 Hii.l, Philip 
 
 Jan. 26 . . 
 
 1811 . . . . 
 
 
 ,, .... Pictures . . . 
 
 .July 3 . . 
 
 1811. . . . 
 
 
 Hill, Hon. W. . . ,, ... 
 
 Nov. 30 . . 
 
 1827 . . . . 
 
 
 Hill, Viscount . . Miniatures . . 
 
 April 26 . . 
 
 1883. . . . 
 
 
 ,, . . Porcelain. . . 
 
 May 17 . . 
 
 1883 . . . . 
 
 
 ,, . . Pictures, &c. 
 
 . June 1 , 2 , 25 
 
 1883 . . . . 
 
 
 Hinde, Jacob . . . Pictures . . . 
 
 . Jan. 28 . . 
 
 1785 . . . . 
 
 
 Hippesley, Sir John Engravings . . 
 
 . June 3 . . 
 
 1857 . . . . 
 
 
 Hirschstaad . . Pictures . . . 
 
 
 1780 . . . . 
 
 
 Hoare, Roake 
 
 July 4 . . 
 
 1851 . . . . 
 
 
 Hoare, Sir Henry .StourheadHeirlms. 
 
 . June 1 & 2 . 
 
 1883 . . . . 
 
 
 Hogarth, W. . . Pictures . . . . 
 
 Feb. . . . 
 
 1745 .... 
 
 31-35 
 
 ,, Marriage a la Mode . 
 
 
 1797 . . . . 
 
 . 61 
 
 Holderness, Lady . Pictures . . . 
 
 March 6 . . 
 
 1802 . . . . 
 
 . 87 
 
 Houlditch, Richard 
 
 . March 5 & 6 
 
 1760 Langford 
 
 
 Holford, R. . . . Pictures . . . 
 
 
 1844 Christie . 
 
 
 Holford .... Drawings . . 
 
 June 24 . . 
 
 1861 . . . . 
 
 
 Holland, Lady . . Pictures . . . 
 
 . April 22 . . 
 
 1826 . . . . 
 
 
 Holland, Jas. .■fijrctt'.t Works . . . 
 
 May 26 . . 
 
 1870 . . . . 
 
 
 Holland, King of Pictures . . . 
 
 Aug. . . . 
 
 1850 at Amsterdam 
 
 Holloway, M 
 
 . June 14 . . 
 
 1873 Christie . 
 
 143-5 
 
 Honeywood, Filmer ,, O. M. 
 
 
 1798 Robins . 
 
 . 65 
 
 Hope, Henry 
 
 June 27 . . 
 
 1816 Christie . 
 
 . 117 
 
 HOPE.jMr. Beresford ,, ... 
 
 . May . . . 
 
 1886 . . . . 
 
 . 435 
 
 Hope, W. Williams . ,, ... 
 
 June 14 . . 
 
 1849 . . . . 
 
 . 142 
 
 Hoskins, G. A., Exors ,, ... 
 
 .June 17 . . 
 
 1864 . . . . 
 
 
 Houghton, A. Boyd, 
 
 dec Pictures, &c. . 
 
 March 17 . 
 
 1876 . . . . 
 
 
 Houston, J. A. .dec. . Sketches . . . 
 
 April 15 . . 
 
 1885 . . . . 
 
 
 Howard de Wal- 
 den, Lady . . . Plate, &c. . . 
 
 . May 21 & 22 
 
 1878 . . . . 
 
 
 ,, ... it ... 
 
 May 7 & 23 . 
 
 1878 . . . . 
 
 
 . . . Porcelain . . 
 
 June 25 . . 
 
 1878 . . . . 
 
 
 Hudson, Thomas . Pictures . . . 
 
 . Jan. 28 . . 
 
 1785 . . . . 
 
 
 Hughes, J. N. . . ,, ... 
 
 April 14 . . 
 
 1848 . . . . 
 
 . 141 
 
 Huish, M. B. . . ’ ,, ... 
 
 . Jan. 23 . . 
 
 1874 . . . . 
 
 
 Hulme, F. W., dec . Sketches . . . 
 
 . March 14 . 
 
 1885 . . . . 
 
 
INDEX OF SALES. 
 
 463 
 
 NAME. OBJECTS. 
 
 DATE. 
 
 aucR- 
 
 PAGE 
 
 Hulse, Richard . . Pictures . . . 
 
 
 1806 Christie . 
 
 . 92 
 
 Hume, Sir Abr. . . Etchings . . . 
 
 . June 1 . . 
 
 1876 .... 
 
 . 248 
 
 Humble, John . . Pictures . . . 
 
 . April 11 . . 
 
 1812 .... 
 
 
 Hunt's, Henry, sale 
 after death . . . Pictures, &c. . 
 
 
 1848 .... 
 
 
 Hunt, W. , Exors. . Sketches . . . 
 
 . May 16 . 
 
 1864 .... 
 
 
 Hunter, John . . Pictures . . . 
 
 . Jan. 29 . 
 
 1794 .... 
 
 . 56 
 
 Huntley, Marquis of Porcelain . . 
 
 . July 14 . . 
 
 1876 .... 
 
 
 Plate, &c. . . 
 
 . March 29 . 
 
 1882. . . . 
 
 
 Huth, Louis . . . Pictures . . . 
 
 . Feb. 22 . . 
 
 1862 .... 
 
 
 , , ... , , ... 
 
 . June 18 . 
 
 1870 .... 
 
 
 ... ,, ... 
 
 . March 2 . . 
 
 1872 .... 
 
 
 
 
 . April 6 . . 
 
 1881 .... 
 
 
 Impey, Miss . . . Pictures . . . 
 
 
 1844 .... 
 
 
 Imported .... ,, ... 
 
 
 1800 .... 
 
 
 James, J., Exors. . . Pictures, &c. . 
 
 . May 13 , 17 . 
 
 1873. . . . 
 
 
 .... Snuff-boxes, &c. 
 
 . May 22 . . 
 
 1873 .... 
 
 
 ,, .... Pictures . . . 
 
 . July 19 . . 
 
 1873 .... 
 
 
 Jarman, J. B. . . . Pictures, &c. . 
 
 . May 17 . . 
 
 1859 .... 
 
 
 ,, ... Portraits, &c. . 
 
 . June 30 . . 
 
 1864 .... 
 
 
 ,, ... Porcelain. . . 
 
 . July 4 . . 
 
 1864 .... 
 
 
 Jarnac, Comte de . ,, ... 
 
 . June 25 . . 
 
 1876 .... 
 
 
 Jarvis, Charles . . Pictures, &c. . 
 
 . Mar. 11 , 24 . 
 
 ITU 
 
 1 *40 * 
 
 . 27 
 
 Jelfs, John . . . Pictures . . . 
 
 . Mar. 26 . . 
 
 1773. . . . 
 
 
 Jemineau, Isaac . . ,, ... 
 
 . Feb. 26 . 
 
 1791 .... 
 
 
 Jennens, Wm. . . ,, ... 
 
 . May 24 . . 
 
 1799 .... 
 
 
 Johnson .... ,, ... 
 
 
 1785 .... 
 
 
 Johnson, Harry, dec. Sketches . . . 
 
 . Mar. 5 . . 
 
 1885. . . . 
 
 
 JOHNSON, Dr. Samuel Library . . . 
 
 . Feb. . . . 
 
 1785 .... 
 
 
 Johnston, M. G. . Engravings . . 
 
 . April . . 
 
 1860 Sothebys . 
 
 . 160 
 
 Johnstone, Miss, dec. 
 
 (late Lady Essex) . Pictures, &c. . 
 
 . Mar. 6 . . 
 
 1883 Christie . 
 
 
 ,, Library . . . 
 
 . April 9 . . 
 
 1883. . . . 
 
 
 Jolley Pictures . . . 
 
 
 1853 .... 
 
 
 JONES, Rev. Price . ,, ... 
 
 . Feb. 26 . . 
 
 1791 .... 
 
 
 Jones, W., of Clytha ,, ... 
 
 . May 8 . . 
 
 1852 .... 
 
 
 josi Engs, by Hollar 
 
 . Mr. 3 o& 2 dys. 
 
 1829. . . . 
 
 
 Joy, J. M., Exors. . ,, ... 
 
 . June 18 . . 
 
 1866 .... 
 
 
 JUNOT, Marshal 
 
 . May 4 . . 
 
 1818 .... 
 
 
 JUPP, E. B Drawings . . 
 
 . Aug. 1 . . 
 
 1884 .... 
 
 
 ,, .... Library . . . 
 
 . May 6 
 
 1884 .... 
 
 
 ,, .... Draw. & Eng. . 
 
 . Feb. 21 - 23 , 2 5 
 
 1878 .... 
 
 
 Jutsum, H., Exors. . Sketches . . . 
 
 . Feb. 19 . . 
 
 1870 .... 
 
 
 Kagineck .... Pictures . . . 
 
 . June . . . 
 
 1785 .... 
 
 
 Keats ,, ... 
 
 
 1776 .... 
 
 
 Keene, Mrs. J. . . ,, ... 
 
 
 1839 Christie . 
 
 
 Kelly, Ld. C. Baron 
 Sir Fitzroy . . . Plate .... 
 
 • July 21 . . 
 
 1882 .... 
 
 
 Kelway, John . . Pictures . . . 
 
 . Nov. 29 . . 
 
 1782 .... 
 
 
 Kennedy, Dr. . . Pictures, Books 
 
 . April 30 . . 
 
 1760 .... 
 
 
 ,, .... Coins .... 
 
 . May 8 , 9 
 
 ,, P re stage . 
 
 
 Kennedy, ].D. Exors. Works, &c. . . 
 
 •July jo . . 
 
 1865 Christie . 
 
 
 Kerrison, Sir E. . Pictures . . . 
 
 •July 3 • • 
 
 1875 .... 
 
 
 Kilmorey, Lord. . China, &c. . . 
 
 . April 7 . . 
 
 1856 .... 
 
 
 King Pictures . . . 
 
 
 1841 .... 
 
 
 King, William . . Pictures, &c. . 
 
 . July 18 , 19 . 
 
 1884 .... 
 
 
 Knight, Robert . . Pictures . . . 
 
 . Feb. 7 . 
 
 1744 Cock . . 
 
 
 Kingston, Dchss. of Pictures? . . 
 
 . May . . 
 
 1789 Christie . 
 
 
 Kirkman, J 
 
 . Feb. . . . 
 
 1793. . . . 
 
 
 Knight, J. P. R.A. d. Sketches . . . 
 
 . July 2 . . 
 
 1881 .... 
 
 
 ,, ... Books . . . 
 
 . Aug. 4 . . 
 
 1881 .... 
 
 
 Knighton, S ir W.W. Pictures . . . 
 
 . May 21 . . 
 
 1847. . . . 
 
 
 Plate, Pictures, &c. May 21 . . 
 
 1885 . . . • 
 
 . 401 
 
 Kinnaird, Ld. . . Pictures . . . 
 
 . May 21 . . 
 
 1811 Phillips . 
 
 . 109 
 
 Knott (or Nott), G. ,, ... 
 
 . April 26 . 
 
 1845 Christie . 
 
 
 Knowles, C. H 
 
 . Mar. 4 . . 
 
 1864 .... 
 
 
 Knowles, J. ... ,, ... 
 
 . May 3 . 
 
 1862 .... 
 
 
 ,, ... Drawings . . 
 
 . May 19 . . 
 
 1877. . . . 
 
 . 261 
 
 ,, . . Eng. and Draw. 
 
 • June 3 . . 
 
 1880 .... 
 
 
 NAME. 
 
 OBJECTS. 
 
 DATE. 
 
 AUCR- page 
 
 Lafitte, Mme. . . 
 
 Porcelain 
 
 . March 12 . 
 
 1872 Christie . . 
 
 
 Lafontaine . . . 
 
 pictures . . . 
 
 . June 13 . 
 
 1807 
 
 98 
 
 ,, . 
 
 j, ... 
 
 . June 12 . . 
 
 1811 
 
 99 
 
 Lake, E. W. . . . 
 
 1 » ... 
 
 . May 6 . 
 
 1842 
 
 
 Lansdowne, Marqs. 
 
 5) ... 
 
 . March 20 . 
 
 1806 Coxe & Co. . 
 
 92 
 
 Landseer, C. r.a. d. 
 
 Pictures, &c. 
 
 . April 14 . 
 
 1880 Christie . . 
 
 105 
 
 Landseer, S irE.A'arr. 
 
 ,, 
 
 . May 8 . . 
 
 1874 
 
 
 ,, 
 
 Engravings . . 
 
 • July 30 • ■ 
 
 1874 
 
 
 Landseer, T., a. r.a. 
 
 Pictures, &c. . 
 
 . April 14 . 
 
 1880 
 
 
 dec. 
 
 Lance, G. , Exors. . 
 
 Pictures . . 
 
 . May 27 . . 
 
 1873 
 
 
 Lansdowne, Dr. M. 
 
 11 ... 
 
 
 1834 
 
 
 Larkins, Capt. . . 
 
 Pictures, &c. 
 
 
 1827 
 
 
 Lawrence, Sir. T. . 
 
 Pictures . . . 
 
 . June 18 . . 
 
 1831 .... 124-7 
 
 >» 
 
 ,, . . . 
 
 . Feb. 7 . . 
 
 1876 
 
 
 Laws, J., Mississippi 
 
 ,, ... 
 
 . Feb. 16 . . 
 
 1782 
 
 
 Leader, J. T. . . 
 
 11 ... 
 
 . March 18 . 
 
 1843 
 
 
 Leaf, W., Exors. . 
 
 Drawings 
 
 . May 6 . 
 
 1875 
 
 202 
 
 Le Brun of Paris 
 
 Pictures . . . 
 
 . March 8 
 
 1774 
 
 
 ,, * * 
 
 11 • • 
 
 . March 18 . 
 
 1785 
 
 
 ,, • • 
 
 11 . . . 
 
 . April 2 . . 
 
 1785 
 
 
 Lee, Hon. Col. 
 
 Pictures, &c. . 
 
 . Jan. 21 to 23 
 
 1730 Miller . . 
 
 
 Lee, W 
 
 Pictures . . . 
 
 . May 26 . . 
 
 1883 Christie 
 
 359 
 
 Leech, (., Exors. . 
 
 Sketches . . . 
 
 . April 25 . . 
 
 1865 .... 169-71 
 
 Leech, Miss . . . 
 
 11 • . . 
 
 . June 27 . . 
 
 1866 
 
 
 Leicester, F. . . 
 
 Pictures . . . 
 
 . May . . . 
 
 1860 
 
 161 
 
 Leigh Court Gall. 
 
 Pictures, Old . 
 
 . June 28 . 
 
 1884 .... 361-66 
 
 Leigh, Exors. . . 
 
 Sketches . . . 
 
 . June 25 . 
 
 1860 
 
 
 Leitch, W. L., dec. 
 
 Works . . . 
 
 . March 13 . 
 
 1884 
 
 
 Le Maistre, P. . . 
 
 Lenthall, John, of 
 
 Pictures . . . 
 
 . Feb. 20 . . 
 
 1755 Langford . 
 
 
 Burford. 
 
 Portraits . . . 
 
 . May 21 . . 
 
 1808 Christie . . 
 
 100 
 
 Levien, John, Exors. 
 
 Art & Virtu . . 
 
 . Feb. 16 . 
 
 1875 
 
 
 Levy, Albert . . . 
 
 Pictures . . . 
 
 . July 4 . . 
 
 1874 
 
 
 ,, . . . 
 
 Pictures, Mod. . 
 
 . April 6 . . 
 
 1876 
 
 241 
 
 ,, . . 
 
 Pictures, Old . 
 
 . June 16 , 17 . 
 
 1876 
 
 244 
 
 ,, . . . 
 
 Pictures . . . 
 
 . May 3 . . 
 
 1884 
 
 376 
 
 Lewis, C. G. . . . 
 
 Engravings . . 
 
 . July 30 . . 
 
 1874 
 
 
 5# * 
 
 11 * * 
 
 . April 24 . 
 
 1876 
 
 
 „ . . . 
 
 11 • * 
 
 . Feb. 4 . . 
 
 1879 
 
 
 Lewis. J. F. . . . 
 
 Pictures . . . 
 
 • July 5 • • 
 
 1855 
 
 
 Lewis, J. F., dec. . 
 
 Works . . . 
 
 . May 4 . . 
 
 1877 
 
 
 Lichterveldt . . 
 
 Pictures . . . 
 
 . May 29 . . 
 
 1801 
 
 
 Linton, W. . . . 
 
 » » ... 
 
 . March 29 . 
 
 1860 
 
 
 J) * 
 
 Sketches . . . 
 
 . April 28 . . 
 
 1865 
 
 
 
 Drawings . . 
 
 . Feb. 13 . . 
 
 1877 
 
 
 Liotard . . . . 
 
 
 
 1776 
 
 
 Liphart Coll n - 
 
 
 
 1876 Leipsic . . 
 
 233 
 
 LlSS of Antwerp . . 
 
 Pictures . . . 
 
 . Feb. 26 . . 
 
 1796 Christie . . 
 
 
 Littlehales, M. . 
 
 11 . . . 
 
 . March 2 . . 
 
 1804 
 
 
 Liverpool, Earl of . 
 
 11 * 
 
 . March 25 . 
 
 1829 
 
 
 , , 
 
 Books . . . 
 
 . Nov. 29 . . 
 
 1829 
 
 
 LONDESBOROUGIlLd. 
 
 Pictures, &c. 
 
 . May 8 to 10 
 
 1884 
 
 377 
 
 Londonderry, Lord 
 
 
 
 1791 
 
 
 Londonderry 
 
 
 .July . . . 
 
 1823 
 
 
 Londonderry, Lady China . . . 
 
 . April 16 . 
 
 1869 
 
 
 Londonderry, Dow. 
 
 Porcelain . . 
 
 . March 20 . 
 
 1873 
 
 
 Long, Col. S. . . . 
 
 Engravings, &c. 
 
 . Feb. 10 to 21 
 
 18S2 
 
 
 . . . 
 
 Pictures, &c. . 
 
 . Mar. 7 to 11 
 
 1882 
 
 
 Lonsdale, Earl of . 
 
 11 * 
 
 . Mar. 5 to 8 
 
 1879 
 
 290 
 
 
 Diamonds . . 
 
 ■ July 16 . . 
 
 1879 
 
 
 Louden . . . . 
 
 Pictures . . . 
 
 
 1816 
 
 
 Louis Philippe . . 
 
 Pictures, &c. 
 
 
 1853 
 
 146 
 
 (King) 
 
 China, &c. . . 
 
 . June 16 . . 
 
 1857 
 
 
 Louyrette, M. . . 
 
 China . . . . 
 
 
 187£ 
 
 
 Lowther, Capt. 
 
 Pictures, &c. . 
 
 . Feb. 6 , 7 
 
 1874 
 
 
 . 
 
 Porcelain . . 
 
 . March 24 . 
 
 1876 
 
 
 LUCAS, John, Exors. 
 
 Pictures, &c. 
 
 . Feb. 25 . . 
 
 1875 
 
 
 Lucca, Duke of 
 
 Pictures . . . 
 
 
 1841 Phillips . . 
 
 
 Lucy, Chas. , Exors. 
 
 11 * * 
 
 . March 4 
 
 1875 Chi is tie . 
 
 
 Lucy, Rev. J . Exors. 
 
 Porcelain . . 
 
 . April 29 . . 
 
 1875 
 
 212 
 
 11 
 
 Pictures, Old . 
 
 . May i . . 
 
 1875 
 
 
464 
 
 ART SALTS. 
 
 NAME. OBJECTS. 
 
 DATE. 
 
 AUCR- 
 
 PAGE 
 
 Ludgate, John . . Pictures . . . 
 
 . June 29 . . 
 
 1833 Christie . 
 
 
 Lupton, T. , Exors. Engravings . . 
 
 . March 25 . 
 
 1874 .... 
 
 
 Lygon, Gent. . . . Art .... 
 
 . April 29 . . 
 
 1873 . . . . 
 
 
 ,, ... Plate and China 
 
 . May 11 . . 
 
 1873 . . . . 
 
 
 Lyndhurst, Lord . „ 
 
 . Feb. 22 to 26 
 
 1864 .... 
 
 
 ,, . . Pictures . . . 
 
 . March 5 . . 
 
 1864 .... 
 
 
 Lyte, J. Maxwell . Porcelain . . 
 
 . Nov. 27 . 
 
 1873 .... 
 
 
 Lyte, Henry . . . Pictures . . . 
 
 . Mar. 9 . 
 
 1792 .... 
 
 
 McConnel. . . . Pictures . . . 
 
 . Mar. 29 . . 
 
 1886 .... 
 
 . 427 
 
 McCracken, F. . . ,, ... 
 
 
 
 
 Macdonald, Edmd. ,, ... 
 
 
 
 
 McGillivray, Sim. ,, ... 
 
 
 
 
 Mackinlay,J.2Lw',s. Collection . . 
 
 . Mar. 7 . . 
 
 1866 .... 
 
 
 ,, ... Plate and China 
 
 . May 28 , 29 . 
 
 1875 . . . . 
 
 
 „ ... Drawings. . 
 
 . June 24 . . 
 
 1879 .... 
 
 
 McLean, E. . . . Pictures . . . 
 
 
 
 
 Maci.ise.D. R.a.Exs. Last Works 
 
 . June 24 . . 
 
 1870 . . . . 
 
 . 183 
 
 Macready, W.-Zlyit. Library . . . 
 
 .July 8 . . 
 
 1873 .... 
 
 
 Maitland, John. . Pictures . . . 
 
 • July 3° • • 
 
 1831 . . . . 
 
 
 Maitland, W. Fuller 
 
 . May 10 . . 
 
 1879 .... 
 
 . 295 
 
 Malmesbury, E. of. Art and Virtu . 
 
 . Mar. 1 . . 
 
 1858 .... 
 
 
 ,, ... Pictures . . . 
 
 • July 1 . . 
 
 1876 .... 
 
 . 249 
 
 Manley, George. . ,, ... 
 
 . Mar. 29 . 
 
 1794 .... 
 
 
 MarieAmelie, Queen China . . . 
 
 • July 18 . . 
 
 1866 .... 
 
 
 MarieAntoinette.Q. Pictures . . 
 
 . Feb. 9 . . 
 
 1798 Phillips . 
 
 
 Marlborough, D.of Gems .... 
 
 . June 28 . 
 
 1875 Christie . 
 
 . 196 
 
 Marochetti, Baron Contents of Studio May 7 . . 
 
 1868 .... 
 
 
 Marryat, Mrs. Exrs. Pictures . 
 
 . March 30 . 
 
 1855 .... 
 
 
 Marryat, Jos. . . Coll"- of Ceramics Feb. 8 , 9 , 11 
 
 1867 .... 
 
 . 173 
 
 Marsland, Joseph . Pictures . . . 
 
 . June 6 . . 
 
 1840 .... 
 
 
 Martin, Dr., Dean 
 
 
 
 
 of Worcester . . ,, ... 
 
 . April 10 . . 
 
 1779 .... 
 
 
 Martyn, M 
 
 . Feb. . . . 
 
 1792 .... 
 
 
 Mawson, S. M. . . Pictures . . . 
 
 . May 19 . . 
 
 1855 .... 
 
 
 Mazarin, Cardinal . ,, ... 
 
 . Feb. 26 . . 
 
 1675 Prestage . 
 
 
 Mead, H 
 
 . May . . . 
 
 1792. . . . 
 
 
 Mead, Dr. Rd. . . ,, ... 
 
 . Mar. 20 , 21, 22 
 
 1754 .... 
 
 36-7-8 
 
 Meigh, Charles . . ,, ... 
 
 . June 20 . 
 
 1850 .... 
 
 
 Meigham, Christr. . Coins .... 
 
 . April 18 , 19 . 
 
 1764 Prestage . 
 
 
 Melbourne, Lord . Pictures . . . 
 
 
 1809 Christie . 
 
 
 Mellish, Wm. . . ,, ... 
 
 . Mar. 16 . . 
 
 1839 .... 
 
 
 Mello, Arnold 
 
 
 1810 .... 
 
 
 Mendel, Sam. . . Effects . . . 
 
 . Mar. 16 . . 
 
 1875 .... 
 
 . 200 
 
 ,, .... Pictures, &c. 
 
 . April 14 , 23 . 
 
 1875 .... 
 
 . 201 
 
 ,, ... .Jewels. . . . 
 
 . May 17 . . 
 
 1878 .... 
 
 
 
 . June 24 . . 
 
 1880 .... 
 
 
 ,, .... Plate .... 
 
 . Jan. 26 . . 
 
 1882 .... 
 
 
 ,, .... Drawings 
 
 . April 26 . . 
 
 1884 .... 
 
 
 Metcalfe, Henry 
 
 June 15 . . 
 
 1850 .... 
 
 
 Michell, Matthew. Pictures . . . 
 
 Mar. 8 . . 
 
 1819 .... 
 
 
 Middleton, Visct. . ,, ... 
 
 .July 31 . . 
 
 1851 .... 
 
 . 146 
 
 Millington, Ed. . Pictures & Draw. 
 
 . Feb. . . . 
 
 16||t Millington . 
 
 IP . . . ,, 
 
 . Mar. . . . 
 
 1690 Christie . 
 
 
 Pt • • • II 11 
 
 . May . . 
 
 1690 
 
 
 Milsted ? Thos. . . Pictures . . . 
 
 . April 29 . . 
 
 1825 .... 
 
 
 Mitchell, J., Exors. ,, ... 
 
 . Mar. 1 . . 
 
 1875 .... 
 
 
 1 . .... ,, ... 
 
 . July 22 . . 
 
 1875 .... 
 
 
 Monson, Lord . . ,, ... 
 
 . May . . . 
 
 1888. . . . 
 
 . 453 
 
 Montagu, C. , . . Manuscripts. . 
 
 . Nov. 28 . . 
 
 1760 5. Baker 
 
 
 Montague, Duke of 
 
 . April . . . 
 
 1790 Christie . 
 
 
 Montcalm Coll n - . Pictures . . . 
 
 May 4 
 
 1849 .... 
 
 . 142 
 
 Monti, R. Trustees of Sculpture. 
 
 . June 22 . . 
 
 1855 .... 
 
 
 MooN.SirF.G. Pictures, &c. 
 
 . April 12 , 15 . 
 
 1872 .... 
 
 
 ,, .... Engravings . . 
 
 July 15 . . 
 
 1873 .... 
 
 
 Morant, George. . Pictures . . . 
 
 . April 15 . . 
 
 1847 .... 
 
 
 More, Jacob ... ,, ... 
 
 
 1795 .... 
 
 
 Morland’s Works 
 
 
 1798 Denew . 
 
 . 66 
 
 
 
 1801 Christie . 
 
 
 Morland, G. H 
 
 May 9 . . 
 
 1863 . . . 
 
 
 ,, ... Collection . . 
 
 . May 8 . . 
 
 1866 .... 
 
 
 Morley, Earl of . . Pictures . . . 
 
 . April 29 . . 
 
 1876 .... 
 
 
 .. 
 
 June 3 . . 
 
 1876 .... 
 
 
 NAME. OBJECTS. 
 
 DATE 
 
 aucR- page 
 
 Morris, James . . Pictures . . . 
 
 . Mar. 4 . 
 
 1883 Christie . . 
 
 351 
 
 Morrison, Mrs. . . Drawings . . 
 
 . Mar. 30 . 
 
 1884 
 
 375 
 
 Moss 
 
 . May . . 
 
 1783 
 
 
 Mountford, Earl 
 
 
 1776 
 
 
 Mulgrave, Lord . Pictures . . . 
 
 . May 12 . 
 
 1832 
 
 128 
 
 Muller, W. J. . . Drawings. . . 
 
 . April . . 
 
 1846 
 
 
 ,, .... Piet, sale aft. death June 29 . 
 
 1850 
 
 
 Mulready, HI .Exors Pictures, &c. 
 
 . April 28 . 
 
 1864 
 
 
 Munro, Dr. 
 
 
 1794 
 
 
 , , 
 
 . Mar. . . 
 
 1804 
 
 
 ,, 
 
 . May . . 
 
 1808 
 
 
 Munro, H. A. I. . . Pictures . . 
 
 (See Novar) 
 
 . Mar 26 . 
 
 1859 
 
 
 IP .... ,, ... 
 
 . Mar. 24 . 
 
 1800 
 
 
 ,, .... ,, ... 
 
 . Tune 1 , is 
 
 1861 
 
 
 Munro, Exors. . . ,, ... 
 
 . May 11 , 16 
 
 1867 
 
 
 ,, . ,, ... 
 
 . Dec. '14 . 
 
 1867 . ... . 
 
 
 ,, ,, . . Engravings . . 
 
 Murat, Madme. Ex- 
 
 . April 22 . 
 
 1868 
 
 
 Queen of Naples 
 
 
 
 
 Murray, Sir J., sale. Pictures . . . 
 
 
 
 
 Murrieta, Jose de . ,, ... 
 
 . May 23 . 
 
 1873 
 
 
 Murrieta, M. de . ,, ... 
 
 . Mar. 6 . 
 
 1875 
 
 
 Nagel, Baron . . Pictures, &c. . 
 
 . Mar. 18 , 21 
 
 1795 
 
 
 Napier, R. . . . Collection . . 
 
 
 1877 
 
 267 
 
 Napoleon, Prince . ,, . . 
 
 . May 9 . 
 
 1872 
 
 192 
 
 ,, . Furniture . . 
 
 . Aug. 8 . 
 
 1872 
 
 
 Nash, John . . . Pictures . . . 
 
 •July 11 . 
 
 1835 
 
 
 Newcastle, Duke of 
 
 Newton, Dr. 
 
 
 1796 
 
 
 Bishop of Bristol . Pictures . . . 
 
 . April 30 . 
 
 1790 
 
 
 ,, ,, . . . 
 
 . Mar. 23 . 
 
 1794 
 
 
 IP II 
 
 . June 2 . 
 
 1808 
 
 
 IP ip ... 
 
 . Mar. 20 . 
 
 1854 
 
 
 Nichols, R. P. . . ,, ... 
 
 . April 30 . 
 
 1875 
 
 
 Nicol, G. G. . . . Pictures, &c. . 
 
 . May 9 , 19 
 
 1873 
 
 
 Nieuwenhuys . . Pictures . . . 
 
 . May 10 . 
 
 1833 
 
 
 Nobleman, A. . . ,, ... 
 
 
 1772 
 
 
 ip ... ,, ... 
 
 
 1791 
 
 47 
 
 ip ... ,, ... 
 
 
 1827 
 
 
 Nobleman, Emigrant 
 
 . May 12 . 
 
 1794 Coxe’s Gt. 
 Rms. Spring 
 Gardens . . 
 
 
 N. N 
 
 . May 12 . . 
 
 1794 ,, . . 
 
 
 Norfolk, Duke of . Dec.,Obj. . . 
 
 • July .5 • • 
 
 1883 Christie . . 
 
 
 ,, . Porcelain . . 
 
 . Feb. 7 . . 
 
 1884 
 
 
 Normanby, March.of Pictures . . . 
 
 . May 7 . . 
 
 1864 
 
 
 11 ,, 
 
 . Mar. 2 . . 
 
 1872 
 
 
 Normanton, Earl of Porcelain, &c. . 
 
 . June 25 . . 
 
 1878 
 
 
 Northbrook, Earlof Pictures . . . 
 
 . Mar. 6 . . 
 
 1876 
 
 
 ,, Porcelain . . 
 
 . May 25 . . 
 
 1877 
 
 
 , , Pictures . . . 
 
 . June 8 . . 
 
 1878 
 
 
 Northwick, Lord . ,, ... 
 
 . May 12 . . 
 
 1838 
 
 
 ,, 
 
 
 1859 Phillips, at 
 
 
 Thirlstane 
 House 155-157 
 
 Novar Collection, 
 formed by the late 
 
 H. A. J. Munro 
 
 Mod. Pictures . . Dec. 2 . . 
 
 1876 Christie . 
 
 
 Turner Drawings . June 2 . , 
 
 Mod. Pictures and 
 
 1877 . . . . 
 
 . 268 
 
 1 * 
 
 Turner Drawings April 6 . . 
 
 1878 .... 
 
 . 270 
 
 . 
 
 Piets. by Old Masts. June 1 . . 
 
 1878 .... 
 
 . 280 
 
 »> 
 
 Pictures .... Feb. 13 . . 
 Ancient and Mod. 
 
 Pictures, Water 
 Colour Draw- 
 
 1879 .... 
 
 
 Novellari Villa, 
 
 ings. Books, &c. Mar. 19, 22, 23 
 
 1880 .... 
 
 
 Modena, From 
 
 Pictures .... Mar. 3 . . 
 
 1804 .... 
 
 
 Oddie, Charles . . 
 
 ,, . , . . March 18 . 
 
 1854 .... 
 
 
 Ogleby, Miss . . . 
 
 
 1800. . . . 
 
 
INDEX OF SALES. 
 
 4 6 5 
 
 NAME. OBJECTS 
 
 DATE. AUCR- 
 
 PAGE 
 
 NAME. OBJECTS. 
 
 DATE. AUCR. 
 
 Ogilvie, Charles . . Pictures . . 
 
 . Mar. 6 . 
 
 1778 Christie . 
 
 
 Powerscourt, Lord Pictures . 
 
 . April 19 . 
 
 1845 Christie . 
 
 Oldnall, George . ,, . . 
 
 
 . 1847 .... 
 
 
 Powerscourt, V isct. Pictures, &c. . 
 
 . Mar. 3 & 4 
 
 . 1874 .... 
 
 O'Neil, Hy. , a.r.a. Works, &c. . 
 
 . . June 18 , 24 
 
 . 1880 .... 
 
 
 Preston .... Books. . . . 
 
 
 . 1850 .... 
 
 Orford, Earl of . . Pictures, &c. 
 
 . June 26 . 
 
 . 1856 .... 
 
 . 153 
 
 Price, Chari. . . . Pictures . 
 
 . Feb. 13 . 
 
 1778 .... 
 
 Orkney, Lord . . Pictures . . 
 
 . June 15 . 
 
 . 1861 .... 
 
 
 Price, Sir R. ... ,, . . . 
 
 
 1854 .... 
 
 Orleans Coll. . . ,, . . 
 
 
 1798 Coxe . 
 
 69-76 
 
 Prince of Wales 
 
 . June 7 . 
 
 1806 .... 
 
 Obsini, Count, of 
 
 
 
 
 Princess of Wales 
 
 . June 20 . 
 
 1815 .... 
 
 Florence .... ,, . . 
 
 
 1849 Christie . 
 
 
 Prinsep, Val. C., Or. Porcelain . 
 
 . March 3 . 
 
 1881 .... 
 
 Osborn K. B 
 
 . Feb. 11 , 18 
 
 . 1853. . . . 
 
 
 ,, Prints and Drawings. . . 
 
 1791 .... 
 
 Ossory, Earl of . . ,, . . 
 
 . Feb. . . 
 
 1775 .... 
 
 
 Proctor, Henry . . 
 
 
 1821 .... 
 
 ,, 
 
 
 1819 .... 
 
 
 Prout, J. Skinner . Works . . . 
 
 . Feb. 27 . 
 
 1877 . . 
 
 Ossory, Earl of Upper ,, . . 
 
 
 1842 .... 
 
 
 Prout, S. Gillespie . Drawings 
 
 . April 12 . 
 
 1880 .... 
 
 Ottley, W. Y. . . ,, . . 
 
 . May 25 . 
 
 1811 .... 
 
 . Ill 
 
 Publisher, An Emi- 
 
 
 
 
 . Mar. 4 . 
 
 1837 .... 
 
 
 nent Pictures . 
 
 
 1809. . . . 
 
 Ouvry, F 
 
 . Mar. 22 . 
 
 1873 .... 
 
 
 Purrier, John . . ,, . . . 
 
 . April 28 . 
 
 1786 .... 
 
 Owen, H. Bulkeley . Pictures, &c. 
 
 . April 30 . 
 
 1868 .... 
 
 
 Purvis, Thomas . . ,, ... 
 
 . June 1 . 
 
 1S49 .... 
 
 Oxenden, Sir Hen. . Pictures . . 
 
 ■ July S • 
 
 1839 .... 
 
 
 Pye, John, Exors. . Engravings . . 
 
 . May 20 . 
 
 1874 .... 
 
 Oxford, Earl of 
 
 
 
 
 Pyne, J. B., Exors. . Sketches . . . 
 
 . Feb. 25 . 
 
 1871 .... 
 
 (Harley) .... 
 
 . Mar. 8 , 18 . 
 
 1742 Cock . . 
 
 28-30 
 
 
 
 
 
 
 
 
 Quilter, H. . . . Pictures, &c. . 
 
 . June 7 & 8 
 
 1867 .... 
 
 Pann£, P 
 
 
 1811 Christie . 
 
 
 Quilter, Wm. . . Drawings 
 
 . April 8 . 
 
 1875 .... 
 
 ,, Pictures . 
 
 . March 20 
 
 1819 . . . 
 
 
 Quilter, Harry . . Draw., Porcelain 
 
 . April 28 . . 
 
 1876 .... 
 
 Panton, Thomas . ,, . . 
 
 
 1810 .... 
 
 
 
 
 
 Paris, Samuel . . ,, . . 
 
 . Dec. 10 . 
 
 1742 Cock . . 
 
 
 Radstock, Lord. . Pictures . . . 
 
 £ 
 
 P 
 
 to 
 
 1826 .... 
 
 Paris . . 
 
 
 1791 Christie . 
 
 
 Raeburn, Sir Henry, 
 
 
 
 Parke, John ... . . 
 
 
 1836 .... 
 
 
 dec Works and Portraits May 7 . . 
 
 1877 .... 
 
 Parker’s Assignees . ,, . . 
 
 .July 4 . . 
 
 1835 .... 
 
 
 Raikes, J. M. . . . Pictures . . . 
 
 . May 15 . . 
 
 1829 .... 
 
 Parkins .... Majolica . . 
 
 . Nov. 14 . 
 
 1859 .... 
 
 
 Ranelagh, Lord 
 
 . May 15 . . 
 
 1829 .... 
 
 ,, .... Porcelain. . 
 
 . June 4 . . 
 
 1861 .... 
 
 
 Rathbone, F. . . WedgwoodPlaques Dec. i 
 
 1880 .... 
 
 Parr, Wm. . . . Pictures, &c. 
 
 
 1814 .... 
 
 
 Ravensworth, Lord Pictures . . . 
 
 . Dec. . 
 
 1795. . . . 
 
 Patriotic Fund . Drawings 
 
 .July 18 . . 
 
 1855 .... 
 
 
 Ray, Henry B. . . Porcelain, &c. . 
 
 . Tune 17 , 30 . 
 
 1856 .... 
 
 Paul IV. , Pope 
 
 
 1770 .... 
 
 . 39 
 
 ,, ... Pictures, &c. 
 
 • July 4. 5. 23 . 
 
 1856 .... 
 
 Peel, Jonathan . . Pictures . 
 
 . March 11 
 
 1848 .... 
 
 
 , , ... Books .... 
 
 . May 11 . . 
 
 1857 .... 
 
 Peel, Sir R. . . . ,, . . 
 
 . March 24 . 
 
 1860 . . . 
 
 
 Read, Samuel . dec. Works 
 
 . Feb. 29 . . 
 
 1884 .... 
 
 Pembroke, Earl of . Plate, &c. 
 
 . May 5 & 6 . 
 
 1851 .... 
 
 
 Read, C Pictures . 
 
 
 1850 .... 
 
 Pender, John, M.P. ,, . . 
 
 • Jan. 30 . . 
 
 1873 .... 
 
 
 Redeen, Count . . ,, ... 
 
 . June 14 . . 
 
 1794. . . . 
 
 ,, ... Engravings . 
 
 . June s . . 
 
 1883 .... 
 
 
 Redgrave, S., dec. . Pictures, &c. 
 
 . Mar. 23 . 
 
 1877 .... 
 
 Penrice, John . . Pictures . 
 
 . July 6 
 
 1844 .... 
 
 136 
 
 Redleaf .... ... 
 
 
 
 Perkins .... ,, . . 
 
 
 1788 .... 
 
 
 Redpath, L. . . . Furniture. . . 
 
 . Mar. 31 . . 
 
 1857 .... 
 
 PEROTTi.Signa.Ang. ,, . . 
 
 . April . . . 
 
 1777 .... 
 
 
 ,, ... Pictures, &c. 
 
 . May 21 . 
 
 1857 .... 
 
 Perrier, Casimir . ,, . . 
 
 . May s . . 
 
 1848 .... 
 
 141 
 
 Reinagle Pictures . 
 
 . June 18 . 
 
 1834 .... 
 
 Peterborough, E.of'“Pictures, &c. 
 
 . May 16 . . 
 
 1726 No A iw- 
 
 
 Reinagle, G. P ... 
 
 
 1836 .... 
 
 Penley, A., dec. . . Sketches . . 
 
 . April 23 . 
 
 1870 Christie . 
 
 
 Reinagle, Philip 
 
 . April 9 . . 
 
 1821 .... 
 
 Phillip, John, r.a. . Sketches, &c. 
 
 . May 31 . . 
 
 1867 .... 
 
 
 Reinagle's. Sold with P. ,, ... 
 
 
 1834 .... 
 
 Phipps, Hon. Mrs. . Drawings 
 
 . June 29 . . 
 
 1858 .... 
 
 
 Rendlesham, Lord 
 
 . June 20 . . 
 
 1806 P. Coxe . 
 
 ,, . . Pictures . . 
 
 . June 25 . . 
 
 1859 .... 
 
 
 Rennie, G 
 
 . June 4 . . 
 
 1870 .... 
 
 PlCKERSGILL, H. W., 
 
 
 
 
 Reynolds, Sirjoshua Pictures . 
 
 . Mar. 13 , 14 . 
 
 1794 Christie . 
 
 r.a. , Exors. , . . Works, &c. . 
 
 . July 16 . . 
 
 1875 
 
 
 Rhodes, Plenry . . Effects . . . 
 
 . Mar. 24 . . 
 
 1846 .... 
 
 Pictures at R. Academy . . . 
 
 
 1789 
 
 
 Ribblesdale, Lord, Pictures . . . 
 
 . April 6 . 
 
 1867 .... 
 
 , , Pics. & Old Drawings 
 
 1792 
 
 50 
 
 Ricardo .... Drawings . . 
 
 . May 1 . . 
 
 1866 .... 
 
 Pinney 
 
 
 1823 
 
 
 Ricardo, Lady . . Art and Virtu . 
 
 April 8 . 
 
 1867 .... 
 
 Pitt, John. ... ,, . . 
 
 . June 7 . . 
 
 1787 
 
 
 Richardson . . . Pictures, &c. 
 
 July . . . 
 
 1771 .... 
 
 Pitt, Moses . . . Books printed 
 
 at 
 
 
 
 Richardson, J. M. . Sketches . . . 
 
 May 9 . . 
 
 1862 .... 
 
 Oxford . . 
 
 
 167® Pitt . . . 
 
 
 Richardson, E.,dec. Works . . . 
 
 May 23 . 
 
 1875 .... 
 
 Pitt, Wm Pictures . . 
 
 
 1833 Christie . 
 
 
 Richelieu, Due de . Pictures . . . 
 
 
 1848 .... 
 
 Pitt, Wm. Morton . ,, . . 
 
 . J une 1 . . 
 
 1811 
 
 
 Richmond, Duke of . ,, ... 
 
 Jan. 9 . . 
 
 1858 .... 
 
 Pizzetta, Urbino . Bronzes, &c. 
 
 . April 15 . . 
 
 1825 
 
 
 Ricketts, Fred 
 
 May 18 . . 
 
 1850 
 
 Plint, Exors. of T. E 
 
 . March 7 . 
 
 1862 . . . , . 
 
 164 
 
 Ridley, Sir M. W. . ,, ... 
 
 Feb. 6 . . 
 
 1864 
 
 ,, . . ,, . . 
 
 . June 17 . . 
 
 1865 
 
 
 Rigby, Rt. H. Rich 
 
 Jan. 9 . . 
 
 1789 
 
 Polygraphic Socy. Pictures . . 
 
 
 1795 
 
 
 ,, Plate and Jewels 
 
 Feb. ii . 
 
 1789 
 
 Pond, Arthur . . . RembrandtEtchings Mar. 27 — - 
 
 
 
 Risbrack, P. A. , 
 
 
 
 
 April 14 
 
 1760 Langford 
 
 
 (Painter) .... Pictures . . 
 
 May 21-2 . 
 
 1752 Durres. . 
 
 Poniatowski, Prince Library . 
 
 . Aug. 1 . . 
 
 1873 
 
 
 Rivers, Lady ... ,, . . . . 
 
 June . . 
 
 1797 Christie . 
 
 ,, . . Pictures, &c. 
 
 . Feb. 6 & 8 . 
 
 1839 
 
 130 
 
 Roake, George . . ,, . . . . 
 
 April 13 . . 
 
 1850 
 
 ,, . . Gems . . . . 
 
 
 1839 
 
 
 Roberts, Daniel . . 
 
 Mar. 26 . 
 
 1881 
 
 ,, . . Drawings 
 
 . May 27 . . 
 
 1840 
 
 
 Roberts, David, r. a. 
 
 
 
 ,, . . Art and Virtu . 
 
 . May 26 . 
 
 1876 
 
 
 Exors Sketches, &c. . 
 
 May 13 , 20 . 
 
 1865 
 
 Poole, Jas. . . . Pictures . . . 
 
 . Mar. 
 
 1813 P. Coxe 
 
 113 
 
 ,, Drawings 
 
 April 7 
 
 1881 
 
 Poole, P. F. , r.a .dec. Works 
 
 . May 8 . . 
 
 1880 
 
 
 Roberts, John . . Pictures . . . . 
 
 Mar. 10 . 
 
 1816 
 
 PoRTARLlNGTON.E.of Pictures . . . 
 
 . June 28 . 
 
 1879 
 
 
 Robins, T. S. , dec. . Sketches . . . . 
 
 Feb. 25 . . 
 
 1881 ... 
 
 ,, . . Old Drawings . 
 
 . May 2 . 
 
 1884 
 
 
 >» 
 
 F'cb. 23 . 
 
 1882 
 
 Portland Museum .... 
 
 
 1786 Skinner&Co. 
 
 46 
 
 ROE, Sir F Pictures, &c. 
 
 May 25 , 27 . 
 
 1867 
 
 Potter, E. C. . . Pictures, &c. 
 
 . Mar. 21 & 22 
 
 1884 Christie . 
 
 373 
 
 ,, .... Works of Art . . 
 
 June 19 . 
 
 1879 
 
 VOL. I. 30 
 
466 
 
 ART SALTS. 
 
 NAME. OBJECTS. 
 
 DATE. 
 
 aucR- 
 
 PAGE 
 
 Roe, Lady, dec. . . Pictures, &c. 
 
 March 6 
 
 1884 Christie . 
 
 
 Roffey, W. E. J. . Pictures . . . 
 
 July 9 . . 
 
 1875. . . . 
 
 
 Feb. 5 • • 
 
 1876 .... 
 
 
 Rogers, John . . . Pictures, &c. 
 
 Ap. 23 , 24,30 
 
 1847 .... 
 
 
 Rogers, Samuel . . Pictures . . . 
 
 April 28 . 
 
 1856 .... 
 
 150-2 
 
 ,, . . Plate, &c. . . 
 
 May 12 , 20 . 
 
 1856. . . . 
 
 
 Rogers (a) . . . Carvings . . . 
 
 June 9 . . 
 
 1858 .... 
 
 
 J ) • ... 
 
 June 27 . . 
 
 1861 .... 
 
 
 Rome. Sent from . Pictures . . . 
 
 
 1804 .... 
 
 
 Romney, Rev. John ,, ... 
 
 May 8 . . 
 
 1834 .... 
 
 
 Romney, G., Exors. ,, ... 
 
 May . 
 
 1801 .... 
 
 
 >> 
 
 April 27 . 
 
 1807 .... 
 
 
 Rose, J. A. . . . ,, ... 
 
 . March 1 
 
 1861 .... 
 
 
 April 12 , 17 
 
 1862 .... 
 
 
 ,, .... Porcelain . . 
 
 • J^y S, • ■ 
 
 1861 .... 
 
 
 ,, .... Pictures . . . 
 
 March 23 . 
 
 1867 .... 
 
 
 Rosebery, Lord . . Pictures, &c. . 
 
 Dec. . 
 
 1782. . . . 
 
 
 ROSS Pictures . . . 
 
 
 1840 .... 
 
 
 Ross, Sir W. C. . . Miniatures . . 
 
 June 22 . . 
 
 1860 .... 
 
 
 Rossetti, D. G., dec. Works . . . 
 
 May 12 . . 
 
 1883 .... 
 
 . 357 
 
 Rothschild, A. de . Pictures . . . 
 
 July 3 . . 
 
 1875 .... 
 
 
 Roupell, Dr., Exors. „ ... 
 
 Feb. 24 . . 
 
 1855 .... 
 
 
 Roupell, R. . . . ,, ... 
 
 june 27 . . 
 
 1870 .... 
 
 
 Rowbotham, T. dec. Sketches . . . 
 
 April 21 . y 
 
 1876. . . . 
 
 
 Rucker, S. . . . China .... 
 
 April 16 . 
 
 1869 .... 
 
 
 ,, .... Snuffboxes, &c. 
 
 May 22 . 
 
 1872 .... 
 
 
 ,, .... Drawings . . 
 
 March 11 . 
 
 1876 .... 
 
 . 232 
 
 ,, .... Porcelain . . 
 
 Feb. 28 . . 
 
 1884 .... 
 
 
 Rumbold, Sir T. H. Museum . . 
 
 
 1796 .... 
 
 . 59 
 
 Ruskin, John . . . Drawings . . 
 
 April 15 . . 
 
 1869 .... 
 
 
 , | ... ,, . 
 
 June 8 . . 
 
 1S72 . - . . . 
 
 
 ,, ... Pictures . . . 
 
 june 3 . . 
 
 1882. . . . 
 
 «. 
 
 ,, ... Drawings 
 
 July 22 . . 
 
 1882 .... 
 
 
 Russel Pictures . . . 
 
 Feb. n . . 
 
 1769 .... 
 
 
 Russell, Rev. J. F 
 
 April 18 . . 
 
 1885 .... 
 
 . 398 
 
 ,, Miniatures, &c. 
 
 April 20 . . 
 
 1885 .... 
 
 
 Russell, Lady . . China .... 
 
 March 17 . 
 
 1870 .... 
 
 
 Russell, Jesse Watts Pictures, &c. . 
 
 Tuly 2 , 3 , 20 
 
 1875 .... 
 
 . 214 
 
 Russell, M rs. Watts. Porcelain . . 
 
 May 11 . . 
 
 1876. . . . 
 
 ■ 
 
 Russell, William . Pictures, &c. 
 
 March 2 , 6 . 
 
 1863 .... 
 
 
 ,, . . ,, . 
 
 Dec. 2 , 5 , 8,10 
 
 1884 .... 
 
 . 389 
 
 Rutter, Mrs. . . Porcelain . . 
 
 March 19 . 
 
 1874 .... 
 
 
 Ryland .... Prints .... 
 
 Feb 5 & Ap. 
 
 1784 . . . • 
 
 
 RysbrjACK, Michael, Drawings. . . 
 
 (Sculptor.) 
 
 . Feb. . . . 
 
 1774. . . . 
 
 
 ,, Models, &c. . . 
 
 . Jan. 25 . . 
 
 1766 Langford 
 
 
 Sac d -Har c -Society. Portraits . . . 
 
 March 3 . . 
 
 1883 Christie . 
 
 
 St. Helens, Lord . Pictures . . . 
 
 
 1840 .... 
 
 
 Salamanca, Mary of Decorative Objects April 14 . . 
 
 1874. •. . . 
 
 
 Saltmarshe.Colln- Pictures . . . 
 
 . June . . 
 
 1846 .... 
 
 . 136 
 
 Salvador, Joseph . ,, ... 
 
 . Jan. 27 . . 
 
 1773 .... 
 
 
 Sandbach, Exors. . ,, ... 
 
 • July s • • 
 
 1873 .... 
 
 
 ,, ... ,, ... 
 
 . Mar. 4 . 
 
 1874. . . . 
 
 
 >1 ... ,, ... 
 
 . Mar. 21 . 
 
 1874 .... 
 
 
 Sandeman, John . ,, ... 
 
 . June 29 . . 
 
 1883 .... 
 
 
 Sandeman, H. F. . Majolica . . . 
 
 . Mar. 18 . . 
 
 1858 .... 
 
 
 Sanderson, Richd. . Pictures . . . 
 
 . June 17 . . 
 
 1848. . . . 
 
 
 Sanderson, Lady . Piet, and Bronzes 
 
 . April 29 . . 
 
 1780 .... 
 
 
 Sandwich, Earl of . Engravings . . 
 
 . June 14 . . 
 
 1870 .... 
 
 
 Sandwich, D ow.Ldy. Porcelain. . . 
 
 . May 21 . . 
 
 1884 .... 
 
 
 San Pietro, Duca . Pictures . . . 
 
 .June . . . 
 
 1811 .... 
 
 110-16 
 
 Scarborough, Lord 
 
 . June . . . 
 
 17S5 .... 
 
 
 Scarisbrick, Exors. Oak Carvings . 
 
 . Nov. 7 , 26 . 
 
 1860 .... 
 
 
 ,, . Pictures . . . 
 
 . May 11 . . 
 
 1861 .... 
 
 . 162 
 
 ,, . Engravings . . 
 
 . May 13 . . 
 
 1861 . . . . 
 
 
 ,, . Pictures . . . 
 
 . May 17 . . 
 
 1861 .... 
 
 
 ,., . Drawings. . 
 
 . May 20 . . 
 
 1861 .... 
 
 
 ,, . Armour . 
 
 . May 22 . . 
 
 1861 .... 
 
 
 ,, . Pictures . . . 
 
 . May 24 . . 
 
 1861 .... 
 
 
 ,, . Drawings 
 
 . Mar. 25 . . 
 
 1872 .... 
 
 
 ScHAUBE, L. . . . Pictures 
 
 a) Not the Poet. 
 
 1851 .... 
 
 
 NAME. OBJECTS. 
 
 DATE. 
 
 aucR- 
 
 Scheemaker, Sculp. Draw, and Prints. . 
 
 Dec. 10 . . 
 
 1755 Langford 
 
 ,, ,, . Marbles & Models. 
 
 Mar. 10 , 11 
 
 1756 
 
 Schlotel, George . Piet, and Draw. . 
 
 April 25 . . 
 
 1885 Christie . 
 
 ,, .... ,, . . 
 
 April 27 . . 
 
 1885 .... 
 
 Schreiber, Lady . China 
 
 Mar. 12 . 
 
 1872 .... 
 
 ,, .... Porcelain. . . . 
 
 June 12 . 
 
 1874 .... 
 
 Schreiber, Chas. . ,, . . . . 
 
 Mar. 14 . . 
 
 1876 .... 
 
 ,1 .... , , . 
 
 Feb. 20 . . 
 
 1877 .... 
 
 Schuckborough, J 
 
 Mar. 1 . 
 
 1771 .... 
 
 Schulenburgh, Ct. Pictures . . . . 
 
 April 12 . . 
 
 1775 .... 
 
 Scobell, Capt. . . 
 
 
 1845 .... 
 
 1 > .... ,, . 
 
 
 1848 .... 
 
 Scott, Rev. James . ,, . . . . 
 
 May 13 . . 
 
 1815 .... 
 
 Scott, Sami., Exors. His Works . . . 
 
 Jan. 13 . . 
 
 1773 Langford 
 
 (Painter.) 
 
 Seabright, SirThos. Pictures . . . . 
 
 May 17 . . 
 
 1737 Cock . . 
 
 Seaman, Lazarus . Library (b) . 
 
 
 1676 Cooper . 
 
 SEGUIER, W. . . . Pictures . . . 
 
 May 3 . . 
 
 1844 Christie . 
 
 ,, .... Engravings . . . 
 
 April 29 . . 
 
 1844 .... 
 
 Serres, Exors. . . His Pictures . . 
 
 Mar. 13 . . 
 
 1794. . . . 
 
 Serres 
 
 April 18 . . 
 
 1795 .... 
 
 Severn Pictures . . . . 
 
 
 1853 .... 
 
 Seymour, Sir G. H. . Porcelain. . . 
 
 Feb. 28 . . 
 
 1884 .... 
 
 Seymour, H. Danby Rembrandt etch. . 
 
 April 4 . . 
 
 1878 .... 
 
 Shaftesbury, Lord. 
 
 May 15 . . 
 
 1852 .... 
 
 Shakespeare, B. . Pictures . . . . 
 
 
 1805 .... 
 
 Shakespeare Gall 
 
 May . . . 
 
 1805 .- . . . 
 
 Sharp, W. ... 
 
 July . . . 
 
 1881 .... 
 
 Sheppard, Thos 
 
 Feb. 7 . . 
 
 1794 .... 
 
 Shrewsbury, Earl of Old Pictures. . . 
 
 July 6 
 
 1875 .... 
 
 Sibeth, W. E. . . Drawings . . . 
 
 Mar. 29 . . 
 
 1884 .... 
 
 Sibson, Dr. . . . Wedgwood . . . 
 
 Mar. . . . 
 
 1877. . . . 
 
 Sibthorp, Col 
 
 April 9 . . 
 
 1856 . *. . . 
 
 ,, .... Porcelain . . 
 
 Mar. 2 
 
 1S77 .... 
 
 Sichel, Julius . . . Pictures . . . 
 
 May 6 . 
 
 1865 .... 
 
 Sidmouth, Manor of Objects of Art . 
 
 June 13 . . 
 
 1879 .... 
 
 Simon, James . . . Coins 
 
 Dec. 8 . . 
 
 1757 Ford . . 
 
 Sketchley, j.C.Exs. Works . . . 
 
 Feb. 26 . 
 
 1875 Christie . 
 
 Skipper, C. . . . Pictures . . . . 
 
 May 24 . . 
 
 1884 .... 
 
 Slade 
 
 Nov. & Dec. 
 
 1801 .... 
 
 Smith, Joseph . . ,, ... 
 
 May 16 . 
 
 1776 .... 
 
 Smith, Col. Matthew Piet, and Prints 
 
 May 1 . . 
 
 1812 .... 
 
 Smith, Wm., f.r.s.. Pictures 
 
 Feb. 17 . . 
 
 1877 .... 
 
 Smith, York Street 
 
 Sept. . . . 
 
 1690 No Auer . 
 
 Smithers ... 
 
 
 1807 Christie . 
 
 Solly, Edward . . ,, ... 
 
 May 8 . . 
 
 1847 .... 
 
 Solly, R. J. Exors. . Drawings . . 
 
 April 11 . . 
 
 1867 .... 
 
 Solly, Mrs. . . . Pictures . . . 
 
 Nov. 11 . . 
 
 1871 .... 
 
 Somerset, Dowager 
 
 Duchess of . . . Decor. Objects . 
 
 June 30 . . 
 
 18S1 . . . . 
 
 Somes, George . . Pictures . . . 
 
 Mar. 2 . . 
 
 1867 .... 
 
 Somes, F . .■ . 
 
 Mar. 2 . 
 
 1867 .... 
 
 Somes, J. Exors. . . Works of Art . 
 
 Feb. 19 . . 
 
 1872 .... 
 
 Southesk, Lord . . Pictures . . . 
 
 June 23 . . 
 
 1S73 . . . . 
 
 ,, . . Porcelain 
 
 July 2 . . 
 
 1873. . . . 
 
 Spanish Nobleman, Pictures . . . 
 
 
 1810 . . . . 
 
 Spencer, Earl . . Decorative Objects 
 
 17S5 . . . . 
 
 ,, ... Art and Virtu . 
 
 Mar. 1 . 
 
 1858 . . . . 
 
 Spencer, Lord R. . Pictures ... 
 
 
 1799 . . . . 
 
 Sprimont, Nicolas . Chelsea China . 
 
 Feb. 14 . . 
 
 1776 . . . . 
 
 ,, ... Pictures . . . 
 
 Mar. 26 . . 
 
 1771 . . . . 
 
 Stafford, Earl of 
 
 Jan. 25 . . 
 
 1868 . . . . 
 
 ,, . . . Armour, Porcelain 
 
 May 28 . . 
 
 1885 . . . . 
 
 Standish.W. S. Carr Library- . . . 
 
 . Dec. 1 . . 
 
 1880 . . . . 
 
 Stanfield, Clarkson Sketches . . . 
 
 May 8 . . 
 
 1868 . . . . 
 
 Stanfield, G. C. . ,, ... 
 
 . June 2 . . 
 
 1871 . . . . 
 
 ,, ... Pictures . . . 
 
 Feb. 8 . . 
 
 1873 . . . . 
 
 M ... , , ... 
 
 Mar. 23 . . 
 
 1876 
 
 Stanfield, Mrs. . Drawings . . 
 
 . June 28 . . 
 
 1878 . . . . 
 
 Staniforth, John . Porcelain. . . 
 
 . July 6 . . 
 
 1876 .... 
 
 Mar. ib . . 
 
 1877 . . . . 
 
 , , ... 1 1 ... 
 
 . May 25 . . 
 
 1877 . . . . 
 
 (6) The first English Auction Catalogue. 
 
 PAGE 
 
 27 
 
 313 
 
 268 
 
 380 
 
 137 
 
 77 
 
 402 
 
INDEX OF SALES . 
 
 467 
 
 NAME. OBJECTS. 
 
 DATE. 
 
 aucR- 
 
 PAGE 
 
 Staniforth, John . Porcelain . . 
 
 . June 20 
 
 
 1877 Christie . 
 
 
 ,, ... ,, 
 
 . June 19 
 
 
 1878 .... 
 
 
 ,, ... ,, 
 
 . June 25 
 
 
 1878 .... 
 
 
 ,, . . t Plate .... 
 
 • Jniy 23 
 
 
 1884 .... 
 
 
 Steele, Ed. (Painter) Book, MSS. , coins April 12 
 
 27 
 
 1758 S. Paterson 
 
 Steers, J. W. . . . Pictures . . . 
 
 
 
 1826 Christie . 
 
 
 Stephens, Sir P. . ,, ... 
 
 . May 17 
 
 
 1810 .... 
 
 . 108 
 
 Stepney, Lady 
 
 . May 1 
 
 
 1830 .... 
 
 
 Sterbini, Signor Ant. Majolica, &c. . 
 
 . Mar. 13 
 
 
 173§ Cock . . 
 
 
 Stevens, Dr r . 
 
 
 
 1795 Christie . 
 
 
 Stewart, A. B. . . Objects of Art . 
 
 . May 5 
 
 
 1881 .... 
 
 
 ,, ... Pictures . . . 
 
 . May 7 
 
 
 1881 .... 
 
 
 Stewart, James. . ,, ... 
 
 . April 20 
 
 
 1839 .... 
 
 
 Stoke Court, Bucks 
 
 
 
 1851 .... 
 
 
 Stokes, Thos. . . ,, ... 
 
 . May 15 
 
 
 1853 .... 
 
 
 Stolberg Coll n - . ,, ... 
 
 .Nov. 
 
 
 1859 Hanover 
 
 . 158 
 
 Stosch, Baron . . Bronzes from Italy Mar. 21 
 
 
 1764 Langford 
 
 
 Stothard, T. Exors. Pictures , . . 
 
 . June 17 
 
 
 1834 Christie . 
 
 
 Stothard, Thos., 
 
 Second Sale ... ,, ... 
 
 
 
 1845 .... 
 
 
 STOURHEAD . . . Heirlooms . . 
 
 
 
 
 . 360 
 
 ,, .... Pictures . . . 
 
 . June 2 
 
 
 1883. . . . 
 
 
 ,, .... Plate .... 
 
 • July 2 
 
 
 1884 .... 
 
 
 Stowe Collection 
 
 ■ Aug. 
 
 
 1848 . . . 138-141 
 
 Strange, John . . Pictures . . . 
 
 . Mar. 28 
 
 
 1800 .... 
 
 
 Strange, Fr. Gatton ,, ... 
 
 
 
 1799 .... 
 
 
 Strange, Sir R. . . ,, ... 
 
 . Feb. 7 
 
 
 1771 .... 
 
 . 39 
 
 
 
 
 1773 .... 
 
 
 ,, , ... 
 
 ■ May 5 
 
 
 1775. . . . 
 
 
 Strangford, Visct 
 
 . June 17 
 
 
 1864 .... 
 
 
 Strathmore, Earl of ,, . . . • 
 
 . Jan. 1 
 
 
 1777. . . . 
 
 
 ,, * Carvings . . . 
 
 . Dec. 1 
 
 
 1864 .... 
 
 
 Strawberry Hill 
 
 
 
 1842 .... 
 
 131-6 
 
 Street, G. E., r.a. Porcelain . . 
 
 ■ July 14 
 
 
 1876 .... 
 
 
 Stuart, Alex. . . Pictures . . . 
 
 . Feb. 25 
 
 
 1788 .... 
 
 
 Stuart, Sir James . China and Piet. 
 
 . Mar. 11 
 
 
 1836 .... 
 
 
 Stuart, Lady . . Draw, and Piet. 
 
 . May 15 
 
 
 1841 .... 
 
 
 Stuart, James . . China. . . 
 
 . April 13 
 
 
 1850 .... 
 
 
 Suffolk, Earl of 
 
 . June 16 
 
 
 1855 .... 
 
 
 '> * 
 
 . June 9 
 
 
 1877 .... 
 
 
 Sullivan, Sir Richd. Pictures . 
 
 . Mar. 2 
 
 
 1804 .... 
 
 
 Sumner, D.D. Bishop ,, ... 
 
 . Dec. 4 
 
 
 1874 .... 
 
 
 Sunley ',, ... 
 
 
 
 1853 .... 
 
 
 Sussex, Duke of . .Plate , .• . . 
 
 . June 22 
 
 
 1843 .... 
 
 
 ,, ... Pictures . 
 
 . June 24 
 
 
 1843 .... 
 
 
 ,, ... Trinkets . 
 
 . June 28 
 
 
 1843 .... 
 
 
 ,, ... Clocks, &c. . . 
 
 • July 4 
 
 
 1843 .... 
 
 
 ,, ... Pipes, &c. . . 
 
 . July 10 
 
 
 1843 .... 
 
 
 ,, ... Furniture . . 
 
 . July 24 
 
 
 1845 .... 
 
 
 Sutherland, D ukeof Pictures . . . 
 
 . May 19 
 
 
 1866 .... 
 
 
 Swinburne, Sir J. . ,, ... 
 
 . June 15 
 
 
 1861 .... 
 
 
 Sykes „ ... 
 
 . Oct. . 
 
 
 1768 .... 
 
 
 Sykes, Sir M. M. ,, ... 
 
 . May 2 i, 
 
 1824 & 1848 . . 
 
 
 Tarral, Claudius . ,, ... 
 
 . March 26 
 
 
 1847 .... 
 
 . 137 
 
 Tassaert- .... ,, ... 
 
 
 
 1782 .... 
 
 
 Tassie Gems . . . Gems .... 
 
 . April 20 . 
 
 
 1882 .... 
 
 . 316 
 
 Taunton .... Pictures . . . 
 
 
 
 1848 .... 
 
 
 Taylor, G. Watson. ,, ... 
 
 . June 13 . 
 
 
 1823 .... 
 
 . 123 
 
 Taylor, Sir John . ,, ... 
 
 . April 26 . 
 
 
 1787 .... 
 
 
 Taylor, Tom . . Pictures, &c. 
 
 . Mar. 8 , 11,15 
 
 1881 .... 
 
 
 Taylor, Thos. (Aston 
 
 Rowant Gallery) . Modern Pictures 
 
 . April 28 . 
 
 
 1883 .... 
 
 
 Taylor, White . . Pictures . . . 
 
 
 
 1774 .... 
 
 
 Teesdale, J. F. . .Porcelain. . . 
 
 . Feb. 12 . 
 
 
 1874 .... 
 
 
 Teesdale, F. S. . . ,, ... 
 
 . Feb. 12 , 
 
 24 
 
 1874 .... 
 
 
 ,, . . Pictures . 
 
 . March 2 . 
 
 
 1874 .... 
 
 
 Tennant, J., Exors. ,, ... 
 
 . Feb. s . 
 
 
 1875 .... 
 
 
 Tennant, R ... 
 
 . July 16 . 
 
 
 1881 .... 
 
 
 Thackeray, W. M., 
 
 Exors Furniture, &c. . 
 
 . March 16 
 
 
 1864 .... 
 
 
 Thackeray, M rs., Exs. Plate . . . 
 
 . June 15 . 
 
 
 1870 .... 
 
 
 Thanet, Earl of . . Pictures . . . 
 
 May . . 
 
 
 1794. . . . 
 
 
 NAME. 
 
 OBJECTS. 
 
 DATE 
 
 aucr- 
 
 PAGE 
 
 Theobald, Wm. . 
 
 Pictures . . . 
 
 . May 10 . 
 
 1851 Christie . 
 
 
 Thistlewaite, Rob. ,, ... 
 
 . May 20 . . 
 
 1803 . . . . 
 
 . 87 
 
 Thomas,G.H. (estate) Pictures . . . 
 
 . July . . . 
 
 1872 . . . . 
 
 
 Thomond, March, of Drawings. . . 
 
 . May 26 . 
 
 1821 . . . 
 
 . 120 
 
 Thompson, S irHenry, Nankin Porcelain 
 
 . June 1 . . 
 
 1880 .... 
 
 
 Thompson, S irJ.Deas Pictures . . . 
 
 . April 11 . . 
 
 1835 . . . . 
 
 
 Thornhill . . 
 
 Pictures . . . 
 
 . June . . . 
 
 1779 . . . . 
 
 
 Threlfall, J. W. 
 
 ,, ... 
 
 . May 21 . . 
 
 1860 .... 
 
 
 ,, 
 
 Effects . . . 
 
 . April 18 . . 
 
 1864 .... 
 
 
 ,, • 
 
 Pictures . 
 
 . May 13 . . 
 
 1864 .... 
 
 
 Thynne, Lord Chas. Drawings . . 
 
 . June 16 . . 
 
 1873 .... 
 
 
 i> . . 
 
 Porcelain. . . 
 
 . June 12 . _ . 
 
 1874 .... 
 
 
 Tiffin, W. B. , dec. . 
 
 Pictures . . . 
 
 . May 28 . . 
 
 1877 .... 
 
 
 Tilleman, P. (The 
 
 
 
 
 
 Painter) . . . . 
 
 Pictures, &c. 
 
 . April 19 . 
 
 1733 Cock . . 
 
 
 Toller, Thos. . . 
 
 Drawings . . 
 
 . June 25 . . 
 
 1879 Christie . 
 
 
 Topfiam, F. W. , dec. Works and Coll. 
 
 . Mar. 30 . . 
 
 1878 .... 
 
 
 Torrington, Visct. . 
 
 Porcelain. . . 
 
 . July 11 . . 
 
 1884 .... 
 
 
 Towneley, John . 
 
 Works of Hollar, 
 
 
 
 
 
 Prints & Drawings May 26 , 30 
 
 1818 King . . 
 
 
 Towneley, Col. Chs 
 
 Pictures . . . 
 
 . May 26 . . 
 
 1877 Christie . 
 
 
 Townshend, Lord C. 
 
 ii ... 
 
 
 1818 .... 
 
 
 !.» • • 
 
 11 ... 
 
 . June 29 . . 
 
 1849 .... 
 
 
 ,, . . 
 
 * ... 
 
 
 1851 .... 
 
 
 J 1 . 
 
 Pictures, &c. . 
 
 . May 11 , 13 
 
 1854 .... 
 
 
 Townshend, Exors. 
 
 11 . 
 
 . June 17 . 
 
 1864 .... 
 
 
 Trevanion . . 
 
 Pictures . . . 
 
 . Feb. . . . 
 
 1792 .... 
 
 
 Trevor 
 
 
 . April 29 . 
 
 1780 .... 
 
 
 Trevor, C. . . . 
 
 Bronzes, &c. 
 
 . Feb. 22 . . 
 
 1855 .... 
 
 
 Trimmer, Rev. IT S. 
 
 Pictures . . . 
 
 . March 17 . 
 
 1860 .... 
 
 
 Trollope, T. A. 
 
 Majolica . . . 
 
 . June 24 . . 
 
 1857 .... 
 
 
 Trow'ard .... 
 
 Pictures . . . 
 
 . April . . . 
 
 1807 Phillips . 
 
 . 96 
 
 Trumbull, J. . . 
 
 >• ... 
 
 . Feb. 17 . . 
 
 1797 Christie . 
 
 . 62 
 
 Tuer, A. W. . . . 
 
 Engravings . . 
 
 . April 12 . 
 
 1881 .... 
 
 
 ,, . . . . 
 
 II ‘ . • 
 
 . April 22 . . 
 
 1884 .... 
 
 
 Tuffen, J. F. . . . 
 
 Pictures . . . 
 
 April 11 . . 
 
 1818 .... 
 
 . 117 
 
 Turner, Dawson . 
 
 II ... 
 
 May 14 . . 
 
 1852 .... 
 
 
 Turner, Sir G. P. . 
 
 
 
 ante 1813 . . 
 
 
 Turner, J ohn. . 
 
 Pictures . . . 
 
 . May 13 . . 
 
 1842 .... 
 
 
 Turner, of Oxford . 
 
 Sketches . . . 
 
 . March 4 . . 
 
 1862 .... 
 
 
 Turner, J.M. W.Exs. Engravings . . 
 
 . March 24 . 
 
 1873 .... 
 
 
 ,, 
 
 II • • 
 
 . April 23 . 
 
 1873 .... 
 
 
 ,, . . 
 
 11 • • 
 
 . June 24 . . 
 
 1873 .... 
 
 
 ,, . 
 
 II . 
 
 . March 3 . . 
 
 1874 .... 
 
 t. 
 
 ,, . . 
 
 Pictures . . . 
 
 July 23 , 25 . 
 
 1874 .... 
 
 
 ,, . . 
 
 Engravings . . 
 
 . May 27 . 
 
 1874 .... 
 
 
 Turner, Thomas . 
 
 Pictures . . . 
 
 
 1827 .... 
 
 
 Udny, J 
 
 Pictures, &c. 
 
 
 1829 .... 
 
 
 Udny, R 
 
 Piet. & Draw. . 
 
 . A.pril 25 . . 
 
 1806 Bypriv. cou. 
 
 ,, ’ 
 
 
 
 1802 Christie . 
 
 
 ,, . 
 
 11 
 
 
 1804 .... 
 
 
 Urquijo, Marquis . 
 
 Pictures . 
 
 
 1819 .... 
 
 88-90 
 
 Utterson, E. V. . 
 
 Drawings, &c. . 
 
 . Feb. 24 . . 
 
 1857 .... 
 
 
 U WINS, Mrs. . . . 
 
 Pictures . . . 
 
 June 3 . . 
 
 1858. . . . 
 
 
 Uzielli, M. . . . 
 
 Art & Virtu . 
 
 Feb. 11 . . 
 
 1858 .... 
 
 
 ,, . 
 
 Works of Art . 
 
 April 12 . . 
 
 1861 .... 
 
 
 Vallentin, Sir. Jas. 
 
 Antiquities, &c. 
 
 June 7 , 28 . 
 
 1870 .... 
 
 
 >» 
 
 Engravings, &c. 
 
 July 20 , 25,27 
 
 1870 .... 
 
 
 Vane, Lord . . . 
 
 Pictures . . . 
 
 
 1774. . . . 
 
 
 Vander Gucht . . 
 
 )> ... 
 
 
 1776 .... 
 
 
 >> ... 
 
 >, ... 
 
 Jan. . . 
 
 1777 .... 
 
 
 11 ... 
 
 11 . . . . 
 
 
 1788. . . . 
 
 
 11 ... 
 
 ,, ... 
 
 
 1796 .... 
 
 
 Vansittart, Re 
 
 
 
 
 
 (Lord Bexley) . . 
 
 Works of Art . 
 
 May 1 . . 
 
 1876 .... 
 
 
 ,, • • 
 
 Library, &c. 
 
 June 6 , 9 
 
 1876 .... 
 
 
 Varley, Albert, dec. Drawings . . 
 
 Jan. 26 . 
 
 1877 .... 
 
 
 Varley, Cornelius \ 
 
 Works . . . 
 
 July 15 . . 
 
 1875 .... 
 
 
 Vaughan, Mrs. . . 
 
 Pictures . . . . 
 
 Mar. . . . 
 
 1885 .... 
 
 . 395 
 
 Verelst .... 
 
 Works . . . . 
 
 Jan. . . . 
 
 1782 . . . . 
 
 
 Verelst, John . . 
 
 Pictures . . . . 
 
 May . . . 
 
 1725 Cooper 
 
 . 26 
 
468 
 
 ART SALTS. 
 
 NAME. 
 
 OBJECTS. 
 
 
 DATE. 
 
 AUC r . 
 
 PAGE 
 
 NAME. OBJECTS. 
 
 DATE. 
 
 Vergelo . . . . 
 
 Pictures, &c. 
 
 
 March . . 
 
 1792 Christie . 
 
 
 West, J. B. . . . Pictures . . . 
 
 . Mar. 21 . . 
 
 Vernon, Robert . . 
 
 Pictures . . 
 
 
 
 1842 .... 
 
 
 ,, ,1 . . . 
 
 . May 19 . . 
 
 •)■> 
 
 
 
 April . . . 
 
 1877. . . . 
 
 . 267 
 
 ,, ,, . . . 
 
 . May . . . 
 
 Vernon, E. H. . . 
 
 
 
 June 17 . . 
 
 1864 .... 
 
 
 West, James, f.r.s. . Coins and Prints 
 
 . Jan. 19 to 31 
 
 Vernon, Rev. J. R. . 
 
 Tassie Gems 
 
 
 April 20 . . 
 
 1882 .... 
 
 . 316 
 
 Curiosities . . 
 
 . Feb. 27 . . 
 
 Verryck, Ferd. . . 
 
 Pictures . . 
 
 
 June . . . 
 
 1690 Verryck . 
 
 
 ,, Pictures . . . 
 
 . Mar. 31 . . 
 
 Vincent, Lady . . 
 
 . 
 
 
 
 1785 Christie . 
 
 
 Westminster, D. of Piet, and Sculp. 
 
 . May 10 . . 
 
 Virtue, J. S. . . . 
 
 „ . . 
 
 
 Mar. 1 . . 
 
 1879 .... 
 
 . 289 
 
 Wetherell . . . Pictures . . . 
 
 
 Vyvyan, Rev. H. 
 
 Pictures, &c. 
 
 
 Mar. 4 , 6 . 
 
 1876 .... 
 
 
 »i ... ,, • 
 
 
 Vokins 
 
 Pictures . . 
 
 
 
 1853 .... 
 
 
 Wetherhed, W. . ,, . . . 
 
 . Mar. 7 . .. 
 
 
 
 
 
 
 
 Whatman, James . ,, . . . 
 
 . Feb. 20 . . 
 
 Wade, Fld-.Marshll. 
 
 Pictures . . 
 
 
 
 1797. . . . 
 
 
 ' , , .... Porcelain . . . 
 
 . April 28 . . 
 
 Wadmore, James . 
 
 II . 
 
 
 May 5 . . 
 
 1854 .... 
 
 
 Wheeler, S. Exors. Pictures . 
 
 • July 29 . . 
 
 Wadmore, J. F. . . 
 
 
 
 June 1 . . 
 
 1861 .... 
 
 
 Which ELO.J.J.AT rr. Sketches . . 
 
 . April 10 . . 
 
 . . 
 
 
 
 Junes • • 
 
 1863 .... 
 
 
 White, Robert . . Pictures . . , 
 
 . June 11 . . 
 
 Waldegrave, 2 ?.ror.s 
 
 
 
 April . . 
 
 1790 .... 
 
 . 46 
 
 White, T. G. . . ,, . . . 
 
 . Mar. 21 . . 
 
 Earl. 
 
 II . . 
 
 
 April 16 . . 
 
 1795 .... 
 
 
 White, W. B 
 
 
 Walden, Visct. . . 
 
 Tapestry . . 
 
 
 July 27 . . 
 
 1876 .... 
 
 
 Whitefoord, Caleb. „ . . . 
 
 . May 4 . 
 
 Walker . . . . 
 
 Pictures . . 
 
 
 
 1851 .... 
 
 
 Wigram, C. . . . ,, . . . 
 
 
 Walker, Dr. J. 
 
 
 
 
 
 
 Wildeman, Wm. . ,, . . . 
 
 . Jan. 19 . . 
 
 Shadford .... 
 
 Wedgwood . 
 
 
 April 22 . . 
 
 1885 .... 
 
 
 Wilkie, Exors. . . Pictures . . . 
 
 . April 25 . . 
 
 Walker, Richard . 
 
 Pictures . . 
 
 
 Mar. s . . 
 
 1803 .... 
 
 . 86 
 
 
 
 Wallace, Sir R. . . 
 
 Tapestry . . 
 
 
 April 20 . . 
 
 1876 .... 
 
 
 Wilkie, Sir D. Exrs. Sketches . . . 
 
 . June 20 . 
 
 Wallis 
 
 Pictures . . 
 
 
 
 1853 .... 
 
 
 Wilkins, W. . . . Pictures . . . 
 
 . April 7 . . 
 
 Walsh Porter . . 
 
 
 
 
 1803 .... 
 
 . 85 
 
 11 .... ,, . . . 
 
 
 
 
 
 
 1810 .... 
 
 . 103 
 
 Wilkinson ? . . . Drawings & Prints May . . . 
 
 
 
 
 
 1816 .... 
 
 
 Wilkinson, W. . . Pictures, &c. 
 
 . Dec. 6 . . 
 
 
 
 
 
 1826 .... 
 
 
 Willett, A. . . . ,, . . . 
 
 . July 10 . . 
 
 Ward 
 
 Modern Pictures . 
 
 
 1807 .... 
 
 
 Willett, Willett . ,, . . . 
 
 
 Ward, E. M., r.a. . 
 
 Works 
 
 
 March 29 . 
 
 1879 .... 
 
 . 292 
 
 Williams, Penry . ,, . . . 
 
 . May 19 . . 
 
 Ward, T. M. . . . 
 
 Pictures . . 
 
 
 Jan. 3 . . 
 
 1857 .... 
 
 
 Williamson 
 
 
 
 
 
 Feb. 27 . . 
 
 1858 .... 
 
 
 Willis, H. B. Exors. Works . . . 
 
 . May 16 . . 
 
 Wardell, J. . . . 
 
 
 
 July 20 . . 
 
 1872 .... 
 
 
 Wilson, Hen. Exors. Pictures . . . 
 
 . April 26 . . 
 
 
 
 
 May 10 . . 
 
 1879 .... 
 
 . 294 
 
 Windus, B. G. . . ,, . . . 
 
 
 
 
 
 Mar. 18 . . 
 
 1881 .... 
 
 
 11 .... ,, . . . 
 
 . Mar. 26 . . 
 
 ,, . . . 
 
 li . , 
 
 
 May 29 . . 
 
 1880 .... 
 
 
 . . . 
 
 . Feb. 14 . . 
 
 Ware 
 
 
 
 
 1768 .... 
 
 
 Windus, T. Exors. . Antiquities . . 
 
 . Feb. 27 . . 
 
 Warrf.n, Lady . . 
 
 
 
 April . . . 
 
 1772 .... 
 
 
 Winstanley, R.. . Pictures . . . 
 
 . Mar. 15 . . 
 
 Warrender, Sir G. 
 
 
 
 June 2 . . 
 
 1837 .... 
 
 
 Woodburn. ... ,, . . . 
 
 
 Warrender, Sir J. . 
 
 II . 
 
 
 
 1851 .... 
 
 
 11 .... 11 ... 
 
 
 Warwick, Lord . . 
 
 
 
 
 1800 .... 
 
 
 11 .... || ... 
 
 
 Warwick, Earl of . 
 
 
 
 May 13 . . 
 
 1870 .... 
 
 
 
 
 Watkins . . . . 
 
 • i . 
 
 
 
 1791 .... 
 
 
 li .... 11 ... 
 
 . June 24 . 
 
 Watson . . . . 
 
 Drawings 
 
 
 Mar. & May 
 
 1784 .... 
 
 
 11 .... || ... 
 
 . May 15 . 
 
 Watt, James . . . 
 
 Pictures . . 
 
 
 April 16 . . 
 
 1849 .... 
 
 
 ,, .... Engravings . . 
 
 . June s, 16 
 
 Watts, Sir J. . . . 
 
 li • • 
 
 
 May 16 . 
 
 1885 .... 
 
 
 Woodburn, Miss . Pictures, &c. . 
 
 •June 4 , 9 . 
 
 Webb, John . . . 
 
 China . . 
 
 
 Mar. 13 . . 
 
 1856 .... 
 
 
 Woodfall. . . . Prints . . . . 
 
 
 it ... 
 
 Majolica . . 
 
 
 Mar. 18 . . 
 
 1858 .... 
 
 
 Woolner, T., R.A. . Pictures . . . 
 
 . June 12 . . 
 
 ti ... 
 
 Sketches . . 
 
 
 July 8 . . 
 
 1862 .... 
 
 
 ,, .... Engravings . . 
 
 . April s . . 
 
 ti ... 
 
 Pictures . . 
 
 
 Jan. 18 . . 
 
 1867 .... 
 
 
 Wootton, J. (Paint.) Pictures . . . 
 
 . Mar. 12 , 13 . 
 
 it . . . 
 
 Art and Virtu 
 
 
 April 3 . . 
 
 1867 .... 
 
 
 Wornum, R. N. . . Drawings. . . 
 
 . July 28 . . 
 
 ti ... 
 
 Portraits . . 
 
 
 Mar. 20 . . 
 
 1869 .... 
 
 
 Wright, Thos. . . Pictures . . . 
 
 . June 7 . . 
 
 Webber, John, Exrs. 
 
 Draw. & En 
 
 grav 
 
 June 14 . . 
 
 1793 .... 
 
 
 11 1 . . . 
 
 . July 17 . . 
 
 Webster, Lady, Exs. 
 
 China and Piet. 
 
 June 8 ,. . 
 
 1866 .... 
 
 
 W0RTEMBERG, Prince 
 
 
 , , 
 
 Pictures, &c. 
 
 
 June 7 . . 
 
 1867 .... 
 
 
 Paul of ... . 
 
 • July 1 . . . 
 
 Wedgwood and 
 
 
 
 
 
 
 Wyatt Sculpture . . 
 
 . June 22 . . 
 
 Bentley. . . . 
 
 Porcelain. . 
 
 
 Dec. . . . 
 
 1781 .... 
 
 
 Wyatt, J Drawings, &c. . 
 
 . J une 24 . . 
 
 Weekes, Hy., R.A. . 
 
 Sculpture 
 
 
 May 29 . . 
 
 1880 .... 
 
 
 ,1 .... ,1 • • 
 
 . Feb. 17 . . 
 
 W elby-Gr egor Y, Sir 
 
 
 
 
 
 Wyatt, Henry E. . Pictures . . . 
 
 . July 29 . . 
 
 W. E 
 
 Heirlooms . 
 
 
 June 17 . . 
 
 1878 .... 
 
 
 Wynn 
 
 .July . . . 
 
 Wellesley Rev. Dr. Old Draw. & Eng 
 
 Tune 24 . . 
 
 1866 Sothebys . 
 
 . 172 
 
 
 
 
 il . 
 
 
 July 10 . . 
 
 1866 „ 
 
 
 YoNGorYoNGE,SirG. Pictures . . . 
 
 
 Wells, W., Redleaf. 
 
 Pictures . . 
 
 
 May 12 . . 
 
 1848 Christie . 
 
 
 Yonge, Sir G . . . 
 
 . Mar. 25 . . 
 
 , , 
 
 li . 
 
 
 May 20 . . 
 
 1852 .... 
 
 
 Young, G . . . 
 
 . May 19 . . 
 
 , i 
 
 Engravings . 
 
 
 Jan. 21 . . 
 
 1857 .... 
 
 
 >» .... ii * 
 
 . Feb. 3 . . 
 
 ,, 
 
 Pictures . . 
 
 
 April 27 . . 
 
 1860 .... 
 
 
 Y. , S. W „ . . . 
 
 
 
 
 
 June 9 . . 
 
 1877 .... 
 
 
 
 
 Wenlock, Lord, iur. 
 
 Porcelain. . 
 
 
 Nov. 30 . . 
 
 1882 . . . 
 
 
 Zachary, M. M 
 
 
 it . . . . 
 
 Pictures . . 
 
 
 Dec. 2 . . 
 
 1882 .... 
 
 
 Zobel, George . . Engravings . . 
 
 . Feb. 27 . . 
 
 West, Benj., p.r.a. 
 
 II . 
 
 
 Tune 24 . . 
 
 1820 .... 
 
 . 119 
 
 Zoffany . . . Pictures . . . 
 
 
 , • , . . : 
 
 II 
 
 
 May 28 . . 
 
 1824 .... 
 
 
 Zucarelli 
 
 June 3 . . 
 
 AOcR- page 
 1835 Christie . 
 
 1843 ..... 
 
 1852 
 
 1773 Langford . 
 
 1773 „ . . 
 
 1773 „ . . 
 
 1884 Christie . 
 
 1827 
 
 1849 
 
 1856 
 
 1882 
 
 188-2 
 
 1871 
 1886 
 
 1853 
 
 1878 
 
 1879 
 1810 
 1848 
 
 1789 
 
 1842 
 
 1842 
 
 1860 
 
 1838 
 
 1840 
 
 1689 Wilkinson . 
 
 1755 Langford . 
 
 1869 Christie . 
 
 1819 
 
 1876 
 
 1795 
 
 1884 380 
 
 1884 
 
 1853 
 
 1859 
 
 1868 
 
 1855 
 
 1850 
 
 1804 
 
 1805 
 
 1809 
 
 1821 
 
 1853 
 
 1854 
 
 1854 
 
 1860 
 
 1794 
 
 1875 213 
 
 1883 
 
 1761 Langford . 
 
 1869 Christie . . 
 
 1845 
 
 1845 
 
 1848 
 
 1861 
 
 1876 
 
 1883 
 
 1876 
 
 1771 
 
 1832 
 
 1806 92 
 
 1866 
 
 1882 
 
 1779 
 
 1838 
 
 1882 
 
 1772 
 
 1783 
 
 281 
 
 297 
 
 108 
 
 BRADBURY, AGNEW, & CO., PRINTERS, WHITEFRIARS. 
 

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