THE 
 
 GROSVENOR GALLERY. 
 
 Sir COUTTS LINDSAY, Bart., 
 
 Proprietor and Director. 
 
 J. COMYNS CARR and C. E. HALLE, 
 
 Assistant Directors. 
 
 J. W. BECK, 
 
 Secretary. 
 
LONDON : 
 DOHERTY AND CO., PRINTERS, 
 6, GREAT NEWPORT STREET, ST. MARTIN'S LANE, W.C. 
 
 GETTY CENTER LIBRARY 
 
EXHIBITION OF THE WORKS 
 
 OF 
 
 THOMAS GAINSBOROUGH, R.A., 
 
 WITH HISTORICAL NOTES 
 
 BY 
 
 F. G. STEPHENS, 
 
 AUTHOR OF " ENGLISH CHILDREN AS PAINTED BY 
 SIR JOSHUA RKYNOLDS;" 
 
 AND A 
 
 COLLECTION OF DRAWINGS 
 
 BY THE LATE 
 
 RICHARD DOYLE. 
 
NOTICE. 
 
 IR COUTTS LINDSAY and the Directors of the Grosvenor 
 Gallery desire to express their thanks to the owners of works 
 by Thomas Gainsborough for the readiness with which many 
 of the most famous and valued productions of the master 
 'have been entrusted to tliem for the present exhibition. 
 They likewise take this occasion of recording their indebtedness to 
 Mr. Algernon Graves and Mr. McKay, who have assisted them in tracing 
 many of the Artist's works, as well as to Mr. F. G. Stephens, who has 
 kindly supplied the historical and illustrative notes accompanying the 
 catalogue. 
 
 SUMMER EXHIBITION, 1885. 
 Pictures and Drawings are admitted to the Gallery solely on Sir 
 Coutts Lindsay's invitation. Every possible care will be taken of the 
 works sent for exhibition, but Sir Coutts Lindsay cannot hold himself 
 responsible for injury or loss. 
 
6 
 
 Notice. 
 
 Artists can insure their works at the Gallery at the rate of 2s. ^d. per 
 cent. The prices of works to be disposed of should be communicated to 
 the Secretary. A deposit of 25 per cent, must be made at the Gallery 
 when a work is purchased. 
 
 No work can be removed before the close of the Exhibition. 
 
CATALOGUE. 
 
 The Numbers coiiimence in the larger or West Gallery, and continue from left to 
 right. 
 
 The terms " right'' and " left'' in the descriptions of the pictures denote the rigJit 
 and left of the spectator. 
 
 In describing the size of a picture, the first measurement indicates the height, the 
 second the width, of the canvas or panel. 
 
 Portraits are described as of four sizes:— bust," the head and shoulders: "■half- 
 length,'' to the waist; ''three-quarters length," to the knee or a little below ; 
 " whole-length," tJie entire figure. 
 
 WEST GALLERY. 
 
 I. Portrait of the Artist. 
 
 Lent by the Royal Academy of Arts. 
 
 Thomas Gainsborough was born at Sudbury, in Suffolk, in 1727, some time before 
 May the 14th, when he was baptized in the Meeting House of the Independents of 
 that Httle town, on the bank of the East Anglian Stour. The father, John, who was a clothier, 
 
 A 2 
 
8 
 
 JVest Gallery. 
 
 had developed his business in respect to shroud-making, and secured a moderate amount 
 of property. His mother, born Borroughs, belonged to Sudbury. Beginning to draw while 
 yet a child, T. Gainsborough painted in his earliest boyhood, and, among other examples, 
 produced "View of Henny Church," and, somewhat later, " Head of a Man looking over 
 a Wall," which are in this collection. Educated, but imperfectly, in the Grammar School 
 of Sudbury, the lad determined to be an artist, was sent to London in 1741, and placed 
 under Gravelot, one of the best engravers and cleverest designers of book prints of his 
 time. Gainsborough entered the Academy in St. Martin's Lane, a drawing school which 
 preceded the Royal Academy, and, during his sojourn of four years in the metropolis, 
 studied painting under F. Hayman, and lodged in Hatton Garden. 
 
 Returning home in 1744 or '5, he practised portraiture at Ipswich, and, among other 
 instances of his powers in the current exhibition, painted the likeness of "Mrs. 
 Hingeston, when young." In 1745 he married Miss Margaret Burr, see her portrait, 
 and devoted himself to the practice of his art as a painter of landscapes and of the 
 houses of the neighbouring gentry, the faces of their wives and children, as well as their 
 own. After nine years spent thus, he met Mr, P. Thicknesse, Governor of Landguard 
 Fort, at the mouth of the Stour, and was advised by that gentleman, who had a house in 
 the city on the Avon, to migrate to Bath, where a good portrait painter was much in 
 demand. Thus incited, Gainsborough removed to the West in 1760. All the pictures he 
 executed before this date are spoken of as belonging to the Ipswich period of his career. 
 
 Rapidly succeeding in Bath, he, being then thirty-three years of age, secured 
 his position in London by contributing, in 1761, to the Gallery of the Society of 
 Artists of Great Britain, a body which was centred in Spring Gardens, that "Whole- 
 length of a Gentleman " which has been identified as the portrait of " Earl Nugent," 
 lent to this collection by the sitter's descendant. Sir George Nugent, Bart. Gainsborough 
 painted " The Hon. Miss Georgiana Spencer " in 1763, and continued to exhibit pictures 
 with the Society just named, of which he became a member in 1766, until 1768, when, his 
 reputation being advanced, he was nominated a foundation member of the Royal Academy. 
 His first contributions to the gatherings of the new body was a likeness of Isabella, Lady 
 Molyneux (Countess of Sefton), a lady whom Reynolds had painted not long before. With 
 this capital work Gainsborough sent to the Academy a portrait of George Pitt, son of Earl 
 Rivers, "A Boy's Head," and "A large Landscape." To these examples succeeded the 
 " Garrick," lent to this collection by the Corporation of Stratford-on-Avon, " The Hon. 
 Thomas Needham," " The Harvest Waggon," " The Countess of Sussex," and other pic- 
 tures, many of which [the owners have generously lent, such as " The Blue Boy," " Lady 
 Ligonier," " Lord Ligonier," " Mr. Nuthall," and "Captain Wade." He did not contribute 
 to the exhibitions of 1773, '4, '5, and '6. In 1777 he sent whole-lengths of the Duke and 
 Duchess of Cumberland, " Lord Gage," " Mr Abel," other portraits which have not 
 been identified, and " A large Landscape." In the next year he displayed at the 
 
West Gallery. 
 
 9 
 
 Academy the " Duchess of Devonshire,'" " Lord Chesterfield," " Mrs. Dahymple," 
 "Clara Heywood,'" "Mr. Christie," some others not now distinguishable portraits, and two 
 landscapes. In the next year he showed to the world the " Duchess of Cumberland," 
 " Duchess of Gloucester," "Duke of Argyll," " Judge Perrin," "Two Ladies," and "A 
 Landscape." " General Conway," " Mrs. Fossett," " Six Landscapes," " Madame Le 
 Brun," "Dr. Stevens," "Mrs. Beaufoy," "Mr. Bate" (Dudley), "Mr. Coyte," and 
 three anonymous Gentlemen, were all at the Exhibition in 1780. In 1781, " Bishop 
 Hurd," " His Majesty," " Her Majesty," " A Shepherd," and four Landscapes, were 
 contributed. • It was of two of these landscapes Walpole, who went to the Academy, wrote 
 to Mason, May 6, 1781 : "The Exhibition is much inferior to last year's; nobody shines 
 there but Sir Joshua and Gainsborough. The head of the former's Dido is very fine: I do 
 not admire the rest of the piece. His Lord Richard Cavendish is bold and stronger than 
 he ever coloured. The picture of my three nieces is charming. Gainsborough has two 
 pieces with land and sea, so free and natural, that one steps back for feaf of being splashed," 
 Lord R. Cavendish's portrait was here last year. "Z)/<fo" belongs to the Queen. 
 
 The next year produced " Mr. Fane," " Mr. Merlin," " Major St. Leger," " The 
 Prince of Wales," "A Nobleman," "A Girl with Pigs," "A Landscape," "Miss 
 Dalrymple," " Lieut. -Col. Tarleton," "Madame Baccelli," and "A Young Gentleman." 
 1783 was the last year of Gainsborough's contributing to the exhibition, he then produced 
 " Sir Harbord Harbord," " Landscape," " Two Shepherd Boys, with Dogs fighting," 
 " Duke of Northumberland," " Duchess of Devonshire," " The Royal Family," (fifteen 
 persons), " Duke of Newcastle," " Lord Sandwich," " Captain Sir Charles Gould," " Mrs. 
 Sheridan," " A Sea Piece, a Calm," and " Billy Ramus," who was one of the royal pages, 
 and not in the best odour with the people. 
 
 Quarrelling with the Academicians about the unfair manner in which, as he declared, his 
 portraits of the King's daughters had been hung in the Exhibition of 1784, Gainsborough 
 withdrew his contributions from the gallery, ceased to send pictures there, and practically 
 declined to have anything more to do with the body. Living during the summer at 
 Richmond, he painted the small pictures of "Jack Hill," now before us, and continued 
 to flourish as an artist with increase of reputation and fortune. In 1788 he was present 
 at the trial of Warren Hastings in Westminster Hall, and, being exposed to the draught 
 from an open window, experienced the development of what the doctors styled a cancer in 
 the neck ; he died August 2, in the same year, at his town residence, Schomberg House, 
 Pall Mall, and was buried at Kew. 
 
 Presented to the Royal Academy by the painter's elder daughter, with another 
 portrait and a landscape. It was at Leeds in 1868. 
 
 Canvas, 29.^ x 24 inches. 
 
lo IVest Gallery. 
 
 2. Ignatius Sancho. 
 
 Lent by H . Stevenson^ Esq. 
 
 Canvas, 29 X 24 inches. 
 
 3. A Landscape. 
 
 Lent by W, Wells, Esq. 
 
 Three cows compactly grouped on a hillock at the side of a little stream ; trees on our 
 left ; glimpse of open country near the centre. 
 
 Canvas, 13J X nj inches. 
 
 4. Thomas Gainsborough, R.A. 
 
 Lent by the Lord Ronald Gower. 
 
 This picture is mentioned in Fulcher's Life " of the artist, as of the size of a large 
 miniature. It was bought by Mr. McKay, who sold it to the present owner in 
 May, 1879. 
 
 Canvas, 5i X 4^ inches. 
 
 5. John, Second Viscount Bateman, M.P. 
 
 Lent by the Lord Bateman, 
 
 Lord Bateman was the son of the first Viscount of the name, by Anne, only daughter 
 of Charles, Earl of Sunderland ; he succeeded to the title in 1744; was elected M.P. for 
 Woodstock, and became Master of the Buckhounds. Dying without issue, the title 
 became extinct in 1802. His cousin, William Hanbury, Esq., succeeded to the estates of 
 the family, and, in 1837, ^is grandson, another William Bateman, was created Baron 
 Bateman. 
 
 This picture was at the Academy in 1882. 
 
 Bust, turned to the left; wearing a blue jacket and white collar; long hair; 
 signed " T. G." 
 
 Canvas, 20 X 15 inches; oval. 
 
 6. Mrs. Minet. 
 
 Lent by H. L. Bischoffsheini, Esq. 
 
 Canvas, 28^ X 22h inches 
 
IVest Gallery. 
 
 7. David Garrick. 
 
 Lent by the Toiun Council of Stratford-on-Avon. 
 
 David Garrick, the son of Captain Peter Garrick, was born at Hereford in 17 16; partly 
 educated at Lichfield Grammar School, partly by Dr. Johnson, whom he accompanied to 
 London, intending to study law. Turning his attention to the stage, he made his first 
 appearance at Ipswich, in 1741, and on October ig, in the same year, in London, in 
 the character of " Richard the Third *' (in which Hogarth painted him at a later 
 time), with immediate success. Became joint patentee of Drury Lane Theatre, 
 1747-1776, wrote many pieces for the stage, and retained till his death the honour of 
 being the greatest actor of his time. Garrick was an intimate friend of Gainsborough, 
 who painted his portrait at least five times. He also sat to Hudson, Reynolds, 
 B. Wilson, Zoffany, Dance, A. Pond, R. E. Pine, Cochin, and others, and to several of 
 these artists on more than one occasion. 
 
 This work was one of two whole-length portraits of gentlemen which were Nos, 50 
 and 51 in the exhibition of the Society of Artists of Great Britain held in the Great 
 Room, Spring Gardens, 1766. It was at the Academy in 1876. It was presented by Garrick 
 to the Corporation of Stratford-on-Avon, on the occasion of the Shakespeare Jubilee in 
 1769, in commemoration of that event, which Garrick promoted, and when he acted as 
 President. Fulcher, in his " Life of Gainsborough," p. 65, epitomized various anecdotes 
 of Garrick when sitting to Gainsborough : — " Gainsborough, it has been said, was unable 
 to catch Garrick's likeness by reason of the constant change in the expression of the 
 artist's countenance, now squinting like Wilkes, and now appearing as handsome as Lord 
 Townshend, anon his cheeks were dilated, and he puffed and gasped like the leviathan 
 Johnson, and then his features wore the pinched aspect of Sir John Hawkins's, so that the 
 baffled painter was compelled to throw down his brush in despair." The story, however, 
 is considerably exaggerated. Garrick, being on intimate terms with Gainsborough, may 
 occasionally have personated others, as Edwin did when sitting to young Lawrence, more 
 to amuse than annoy. But he had too much regard for Gainsborough and too much 
 vanity to prevent the artist from accomplishing his object. This portrait so 
 far from being a failure, is admirable, not only as a likeness, but as a picture. 
 Mrs. Garrick, indeed, used to say that " it was the best portrait ever painted ©f 
 her Davy," and that Garrick himself thought highly of the work is evident from 
 the fact that he presented it to the Corporation of Stratford-o.-.-Avon. Fulcher 
 continued :—" He is drawn leaning against a pedestal, surmounted by a bust of Shake- 
 speare, which he encircles with his right arm, holding his hat. Trees, in full foliage, 
 o'ershadow the column, and flowers and shrubs entwine its base. In the background, 
 and on the left of Garrick, flows a small stream, arched at the extremity by a small 
 summer-house. The scene is said to represent a favourite haunt in Garrick's retreat at 
 
12 
 
 IVest Gallery. 
 
 Hampton; the principal features of the landscape remain much in the same state now as 
 then." Dance painted Garrick contemplating the Stratford Jubilee Medal ; the picture 
 belongs to the Baroness Burdett-Coutts. Garrick died in 1779. 
 
 This portrait was engraved by Val. Green, and published by Boydell, in 1769. 
 
 Canvas, 91J X 59J inches. 
 
 8. Charles, Third Earl Stanhope. 
 
 Lent by the Earl Stanhope. 
 
 This distinguished statesman and man of science ,was the eldest surviving son of 
 Philip, second Earl Stanhope, and Grizel, daughter of Charles, Lord Binning. He was 
 born August 3, 1753; educated at Eton and Geneva; M.P. for Wycombe; suc- 
 ceeded his father in the earldom in 1786. He opposed the American War, and, 
 subsequently, the war with France ; he approved of the French Revolution, and was 
 described as "Citizen Stanhope." He became known by means of his numerous 
 mechanical experiments and inventions, including an improved printing-press, 
 which bears his name, and stereotype printing; the Stanhope Lens attested his 
 researches into optical laws. Among other applications of science, the steam-engine 
 engaged his attention with considerable advantage ; he developed a calculating- 
 machine, a plan for securing buildings from fire, canal locks, and various electrical 
 apparatus. His studies in electricity were of great merit and value. He married, 
 first, Lady Hester Pitt, daughter of the first Earl of Chatham, by whom his eldest 
 daughter was Lady Hester Stanhope, who retired to Syria, and lived among the 
 Druses ; she died in 1839. The Earl produced several political essays of great 
 weight, and was one of the most energetic men of his time. He died December 15, 
 1816. He was frequently represented in Gillray's caricatures. 
 
 This portrait, begun in 1787, was continued in two sittings, not long after 
 the Earl's accession to the title ; it was left unfinished at Gainsborough's death. It was 
 included in the National Portrait Exhibition, 1867. 
 
 Seated, three-quarters length, in a scarlet ermine-trimmed robe. 
 
 Canvas, 30 X 25 inches. 
 
 g. Thomas Sandby, R.A., and his Wife. 
 
 Lent by the Rev. Archdeacon Bimiey. 
 
 Elder brother of Paul Sandby, R.A.; born at Nottingham, in 172 1 ; kept a school in 
 his native town in company with his brother; developed a new system of perspective; 
 
IVest Gallery. 
 
 became military draughtsman at the Drawing Office in the Tower, and in Scotland ; was at 
 Fort William when the Pretender landed in 1745, and became the first to convey 
 intelligence of that event to the Government ; was, by way of reward for this service, 
 appointed Draughstman to the Duke of Cumberland, and attended that commander in 
 Flanders. Returning home, he studied architecture with success, and applying his ability 
 to decorative gardening, was appointed Deputy Ranger of Windsor Great Park, where he 
 formed Virginia Water. He was one of a committee to found a Royal Academy in 1755 ; 
 became a member of the Society of Artists of Great Britain, and exhibited drawings with them 
 in 1767. A foundation member of the Royal Academy in 1768, he took a prominent part 
 in its affairs, especially in that discussion on the appointment of a Professor of Perspective 
 which led to the temporary resignation of the P. R. A. -ship by Sir Joshua Reynolds in 1789. 
 Built Freemasons' Hall, London, in 1775. Died in the Ranger's House, Windsor, June 
 25, 1798, and was buried at Old Windsor. He was an excellent artist and very amiable 
 and accomplished man. Many of his drawings are at Windsor and the Soane Museum. 
 First Professor of Architecture to the Royal Academy, and as such lectured to the 
 Students. Mentioned as a zealous friend of T. Wilson, R.A., in his poverty. 
 
 This picture having been exhibited at the British Institution, in 1859, as " Portraits of 
 Gainsborough, himself, and Mrs. Gainsborough,'' was at the Royal Academy in 1877, 
 with its present title. " Portraits of Gainsborough and Mrs. Gainsborough in a Land- 
 scape," was sold with the pictures of Mr. G. Watson Taylor, in 1832, for eleven guineas. 
 Zoffany painted T. Sandby among the Royal Academicians assembled. 
 
 Small full-length figures seated on a bench in a landscape among trees ; Mr. Sandby 
 wears a red coat and breeches and a cocked hat ; Mrs. Sandby a pink and white dress, a 
 blue fringed petticoat, and a straw hat. 
 
 Canvas, 28;i X 25 inches. 
 
 ID. Mrs. Fitz-Herbert, born Smythe. 
 
 Lent by the Earl Fortesciie. 
 
 Youngest daughter of Mr. Walter Smythe, of Bambridge, Hampshire, born July 20, 
 1756; married, first, Edward Weld, Esq., of Lulworth Castle, who died within a year, 
 1775; secondly, in 1778, Thomas Fitz-Herbert, Esq., of Swinnerton, Staffordshire, who 
 died in 1781; said to have been married to the Prince of Wales (George IV.), in 1785; 
 died at Brighton, March 27, 1837. 
 
 To the waist; seated to the right, resting her head on her right hand; low dress. 
 
 Canvas, 30 X 25 inches. 
 
IVest Gallery. 
 
 II Mr. Vestris. 
 
 Head and bust, oval. 
 Canvas 23^ X 22^ inches. 
 
 Lent by Louis Hiith^ Esq. 
 
 12. Sir Benjamin Truman. 
 
 Lent by H. Villebois, Esq. 
 
 Father of Mrs. Villebois, No. 186, and Mrs. Meares, No. 166 ; grandfather of the 
 Masters Truman-Villebois, No. 177. Sir Benjamin Truman was the founder of the 
 firm of Truman, Hanbury, Buxton & Co. Mr. Villebois, husband of his daughter, 
 became a partner, and caused this group of portraits to be painted by Gainsborough, and 
 directed that after his death they should remain on the premises of the firm so long as 
 one of its members bore the name of Villebois ; further, he directed that when this was 
 no longer the case the pictures should be sold for the benefit of the heirs of the family. 
 Exhibited at the Royal Academy in 1878. 
 
 Full-length, landscape background. He stands, holding a stick in his right hand, a 
 hat in his left hand, near a piece of water ; wears a brown coat and breeches, a yellow 
 waistcoat. 
 
 Canvas, 93 X 59 inches. 
 
 13. Portrait of William Pitt. 
 
 Lent by W. Wells, Esq. 
 
 Canvas, 13 X 11 inches. 
 
 14. Small Landscape, with River and Bridge. 
 
 Lent by John Rohde, Esq. 
 
 Canvas, 8x11 inches. 
 
 15. A small Landscape. 
 
 Lent by Edward McDerniott, Esq. 
 
 Woody landscape; group of trees on our right; stream crossing the front to the dis- 
 tance; figures on the bank; clear sky, with white clouds. 
 Canvas, 12 X 14 inches. 
 
IVest Gallery. 
 
 15 
 
 16. John, First Earl Spencer. 
 
 Lent by the Earl Spencer^ K.G, 
 
 The only son of the Hon. John Spencer, grandson of the great Duke of Marlborough, 
 and Georgiana Caroline, third daughter of John, Earl Granville. He was born September 
 18, 1734, and, in 1761, created Baron and Viscount Spencer, and, in 1765, Viscount 
 Althorp and Earl Spencer. Married, in 1755' Margaret Georgiana, eldest daughter of 
 the Right Hon. Stephen Poyntz, of Midgham, Berkshire. He was a liberal buyer of 
 pictures, and Walpole noted that " Mr. Spencer gave no less than 2,200/. for the Andrea 
 Sacchi and his Guido" from "Harry Furnese's'' collection, which was sold in 1758. 
 The Althorp Gallery was mainly formed by him. His eldest daughter, Georgiana, 
 married, in 1774, the fourth Duke of Devonshire, and is represented by No. 145; her 
 mother's portrait is that of" Margaret Georgiana, First Countess Spencer" No. 168. 
 
 Mrs. Delany, writing in 1755 to Mrs, Dewes, commented on the marriage of this 
 . gentleman, his character, and his wife's: " I heartily wish that poor young man may live 
 to enjoy it (his great estate) and fulfil his engagement with his present passion; she is too 
 worthy a young woman to be trifled with, and he has not been won by any arts on her 
 side * * She was born a gentlewoman, greatly allied by her mother's side, well 
 educated, a most sensible, generous, delicate mind, and, I think, a very agreeable person; 
 he has rank and an immense estate, and, I hope, good qualities — I never heard of any bad 
 ones." The same writer dilated with admiring zest on the superb trousseau and jewelry 
 of Miss Poyntz, treasures which the lady, when a newly-made wife, displayed. "All these 
 things I have just seen at Mrs. Spencer's, who looked at them with the utmost unconcern, 
 though not insensible of their merit as fine of their kind, and pretty things, but as the 
 least part of her happiness.'" * * * * »4 L^dy Cowper, says he (Mr. 
 Spencer) may spend near thirty thousand a-year without hurting himself." Lady 
 Hervey relates in her memoirs that when the newly married pair went to 
 London from Althorp " in three coaches with six horses and two hundred 
 horsemen, the villages through which they passed were in the greatest alarm, 
 some of the people shutting themselves up in their houses, and others coming out with 
 pitchforks, spits, and spades, crying out, ' The invasion is come ! " believing that the 
 Pretender and the King of France were both come together ; and great relief was 
 experienced when the formidable cavalcade had passed without setting fire to the 
 habitations, or murdering the inhabitants." J. T. Smith's " Antiquarian Rambles in the 
 Streets of London " contains an account by an eye-witness of the magnificent progress of 
 Mr. Spencer and his wife in London : " The bride followed in a new sedan chair, lined 
 with white satin, a black page walking before, and three footmen behind, all in the most 
 superb liveries. The diamonds worn by the newly married pair were presented to Mr. 
 Spencer by Sarah, Duchess of Marlborough, and were worth ^100,000. The shoe 
 
1 6 IVest Gallery, 
 
 buckles of the bridegroom alone were worth £30,000." In 1756, Mrs. Delany met " Mrs. 
 Spencer, one of the finest figures I ever saw, in white and silver, with all her jewels and 
 scarlet decorations ; her modest, unaffected air gives a lustre to all her finery that would 
 be only tinsel without it." 
 
 This picture was at the British Institution in 1859, the National Portrait Exhibition, 
 1867, and at the South Kensington Museum in 1876. 
 
 Bust, looking to our left, wearing a claret-coloured coat and red waistcoat. 
 
 Canvas, 30 X 25 inches. 
 
 17. John Plumpin as a Boy. 
 
 Lent by R. Oliver son ^ Esq, 
 
 Canvas, 30 X 25 inches. 
 
 18. A Gipsy Encampment, an Unfinished Sketch. 
 
 Lent by the Rt. Hon. G. Cavendish-Bentinck, M .P. 
 
 Unfinished, a single oak in the centre of the foreground ; its foliage rises to the top of 
 the canvas; on its trunk is a bright gleam. Figures, some being seated on the earth, are 
 grouped under the boughs. 
 
 Canvas, 24 X ig inches. 
 
 ig. William Markham, Esq., of Becca Hall, Yorkshire. 
 
 Lent by Col. Grant. 
 
 William Markham, born 1760, died 1815, was eldest son of Dr. Markham (whom 
 Reynolds and Romney painted). Preceptor to George III., and Archbishop of York and 
 brother of Admiral John Markham, M.P. for Portsmouth. Mr. Markham was private 
 secretary to Warren Hastings while the latter was Governor-General of India; this picture 
 was painted for himself, and has been passed from father to son. It was exhibited as 
 No. 181, at the British Institution in 1867. 
 
 Canvas, 30 X 25 inches. 
 
IVest Gallery. 
 
 17 
 
 20. AIr. Alexander Fordyce, Banker. 
 
 Lent by the Earl of Craivford and Balcarves. 
 
 A portrait of the husband of Lady Margaret Lindsay, a banker, whose history is 
 partly epitomized in the account of the picture of that lady, No. 160. He is said to have 
 been bred a hosier, of Aberdeen. A memoir of him is given in the " Gentleman's 
 Magazine," vol. xliii., p. 310. "It is lucky that I have had no dealings with Mr. 
 Fordyce," wrote Walpole to the Hon. H. S. Conway, June 22, 1772, "for if he had ruined 
 me, as he has half the world, I could not have run away. I tired myself with walking, 
 on Friday; the gout came, on Saturday, in my foot." * * * 'M/7'o/>os to Mr. Fordyce, 
 here is a passage ridiculously applicable to him, that I met with, yesterday, in the letters of 
 
 Guy Pontin 'II est fils d'un paysan; a ete laquais de son premier metier, et aujour- 
 
 d'hui il n'est plus rien, sinon qu'il lui reste une assez belle femme'"(Lady Margaret 
 Fordyce). 
 
 Canvas, 30 X 25 inches. 
 
 21. Mrs. Carr. 
 
 Lent by R. K. Hodgson, Esq. 
 
 This portrait was exhibited at the Royal Academy in 1S75. 
 Panel, 7^ x 6^ inches. 
 
 22. A Landscape — Evening. 
 
 Lent by John Rohde, Esq. 
 
 Canvas, 8 X 11 inches. 
 
 23. Colonel St. Leger. 
 
 Lejit by H.M. the Queen. 
 
 This picture, one of the best of Gainsborough's productions, was painted as a 
 companion to this artist's similar portrait of the Prince Regent. Col. St. Leger was one 
 of the boon companions of the Prince. It was exhibited at the Academy in 1782, at the 
 British Institution in 1814, and at the same place, with the Carlton House pictures, in 1827. 
 At the Academy in 1882, thus a century after Gainsborough's picture was first seen. Sir 
 Joshua Reynolds's portrait of the Colonel was shown as the property of Baron F. de 
 
i8 
 
 West Gallery. 
 
 Rothschild. Walpole wrote to Sir Horace Mann on the i8th of June, 175 1, and thus 
 described the character of the man before us long before Gainsborough painted 
 him. " The two Miss Gunnings, and a late extravagant dinner at White's, are twenty- 
 times more the subject of conversation than the two brothers (Newcastle and Pelham, 
 powerful and long established ministers who had just fallen) and Lord Granville." 
 * * * u 'j'j^g dinner was a party of seven young men, who bespoke it to the utmost extent 
 of expense ; one article was a tart made of duke-cherries from a hot-house, and another 
 that they tasted but one glass out of each bottle of champagne. The bill of fare is got 
 into print, and with good people has produced the apprehension of another earthquake. 
 Your friend, St. Leger, was the head of these luxurious heroes — he is the hero of all 
 fashions. I never saw more dashing vivacity and absurdity, with some flashes of gusto. 
 He had a cause, the other day, for ducking a sharper, and was going to swear, the judge 
 said to him : ' I see, Sir, you are very ready to take an oath.' ' Yes ! my Lord,' replied 
 St. Leger, ' My father was a judge.' " 
 
 The scandalous chronicles of the Regency are not seldom silent about Colonel 
 St. Leger, yet the most interesting note on his picture is furnished by " Peter Pindar," 
 who, in his Ode IV., " To the Royal Academicians " in 1782, described the pictures by Gains- 
 borough exhibited at Somerset House. 
 
 And now, O Muse, with song so big. 
 
 Turn round to Gainsborough's Girl and Pig, 
 
 Or Pig and Girl, I rather should have said : 
 The pig in white, I must allow. 
 Is really a well-painted Sow : 
 
 I wish to say the same thing of the Maid. 
 
 As for poor St. Leger and Prince, 
 Had I their places I should wince. 
 
 Thus to be gibbeted for weeks on high : 
 Just like your felons after death. 
 On Bagshot, or on Hounslow Heath, 
 
 That force from travellers the pitying sigh. 
 
 Yet Gainsborough has great merit, too. 
 Would he his charming ybr^ subdue — 
 
 To mind his Landscapes have the modest grace — 
 Yet there, sometimes, are Nature's tints despis'd, 
 I wish them more attended to and priz'd. 
 
 Instead of trump'ry that usurps their place." 
 
West Gallery. 
 
 19 
 
 The portrait of the Prince here alluded to as : — 
 
 " gibbeted for weeks on high " 
 
 was intended as a companion to the work before us, and was exhibited with it at the 
 Academy. The " Girl and Pig was the " Girl with Pigs," which Sir Joshua Reynolds 
 bought of Gainsborough, and afterwards generously gave up to the Earl of Carlisle, with an 
 enhanced price for the artist's benefit ; it is now at Castle Howard. 
 
 Walpole made a note on this picture in his catalogue of the Exhibition of 1781, that he 
 thought it was " like, but the lower parts (are) too small in proportion." 
 
 John St. Leger, commonly called " Handsome Jack Sellinger," was born July 23, 
 1756; was of the Doneraile family, whose mother was the Hon. Miss Butler, niece of Lord 
 Lanesborough. He became Colonel of the First Foot Guards in 1782 ; Deputy Adjutant- 
 General ; M.P. for Okehampton ; Groom of the Bedchamber to the Prince of Wales; 
 Major-General, and Commander of the Forces in Ceylon, where he died late in 1799. Is 
 said to have been the founder of the Hell-Fire Club," and to have given his name to the 
 St. Leger Stakes at Doncaster. This picture, and that of the Prince of Wales, which 
 Gainsborough painted at the same period, and exhibited at the same Academy, were 
 intended to be exchanged as tokens of friendship between the subjects. This work, 
 relegated to Hampton Court, remams in the royal possession ; its counterpart still belongs to 
 the St. Leger family. The peasantry of St. Leger's Irish estates are said to believe that 
 his spirit is still driven in a phantom coach, by a headless coachman, drawn by headless 
 horses, and attended by a headless footman. The picture before us was engraved by 
 G. Dupont. 
 
 Canvas, 96 X 70 inches. 
 
 24. A Woodland Scene. 
 
 Lent by the Rt. Hon. G. Cavendish-Bentinck^ M.P. 
 
 Skirt of a wood; on our left three figures are conversing; broken foreground; small 
 building in the middle distance; sunlight from our left. 
 
 Canvas, 13^ X 12 inches. 
 
 25. Anne, Duchess of Cumberland, born Luttrell, after- 
 
 wards HORTON. 
 
 Lent by the Rev. J. Corby White. 
 
 For another portrait of this lady see No. 97, the property of Lord Wenlock. 
 Canvas, 13 x 10.] inches. 
 
PVest Gallery. 
 
 H ENRY Frederick, Duke of Cumberland. 
 
 Lent by the Rev. G. Corby White. 
 
 This picture was at the Academy in 1771. 
 Canvas, 13J x ii inches. 
 
 A Landscape. — A Man with Sheep. 
 
 Le7tt by John Rohde, Esq. 
 
 Woodland view, small oaks near the front, close to which are five sheep, one of which 
 scratches its ear; on our right a shepherd leans on a staff. 
 
 Canvas, 14 X 11 inches. 
 
 Mary, born Montagu, Duchess of Montagu (of the second 
 creation). 
 
 Lent by the Duke of Biiccleuch, K.G. 
 
 This lady was the grand-daughter of the great Duke of Marlborough, and third 
 daughter and co-heiress of John, second Duke of Montagu (of the first creation). She 
 married George Brudenell, fourth Earl of Cardigan, who, on the death of his father-in-law, 
 in 1749, was created Marquis of Monthermer and Duke ol Montagu. After his death, in 
 1799, the dukedom became extinct. Her eldest sister was Isabella, Duchess of Manchester, 
 who married Mr, Hussey (Lord Beaulieu), and was celebrated by Sir C. Hanbury Williams 
 in " Isabella, or the Duchess." The lady here represented was the daughter of another 
 Mary, Duchess of Montagu, born Churchill. 
 
 Walpole reckoned this lady among those friends whose death he deplored. " I have 
 outlived nearly all the persons that were on the stage when I cam.e into the world. My 
 contemporaries seem going too. I have lost three of them very lately, Lady Milton, 
 General Boscawen, and the Duchess of Montagu. I don't believe the latter's death has 
 put the same thoughts into the widovv'er's head as it has into mine : he will think of 
 leaving a young duke before he packs up. The Duchess has given £7,000 a-year to her 
 daughter, the Duchess of Buccleuch, and as much to the Duke of Montagu, yet only for 
 his life ; so perhaps she was not very desirous of his leaving a son and heir " (Walpole to 
 Mann, May 7, 1775). Walpole elsewhere spoke of her as Lady Cardigan, whom I grow 
 every day more in love with ; you may imagine not herperso i, which is far from improved 
 lately " (to the Hon. H. S. Conway, Oct. 6, 1748). See the same to the Earl of Hertford, 
 March 17, 1764. 
 
IVest Gallery. 
 
 21 
 
 This was one of the pictures of which Gainsborough thought highly. It was painted 
 about 1768, when the artist wrote to Garrick : — " I could wish you to call on any pretence 
 at the Duke of Montagu's, because you would see the Duke and Duchess in my last 
 manner; but not as if you thought anything of mine worth that trouble, only to see his 
 Grace's landscape of Rubens, and the four Vand}kes, whole-lengths, in her Grace's 
 dressing room." 
 
 This picture was exhibited at the Royal Academy in 1878, as No. 156. 
 Canvas, 30 x 25 inches. 
 
 29. Justus Ferdinando Tenducci, Tenor Singer. 
 
 Lc]it by Gray Hill, Esq, 
 
 Justus Ferdinando Tenducci was a famous castrato, who was distinguished b)- the 
 vivacity of his manners and charming voice; he came to England and sang at the Rotunda, 
 Vauxhall, the Opera, Pantheon, and theatres. Attained such distinction by singing pieces 
 by Handel, that a portrait of him was engraved representing him in the act of singing, 
 " Waters parted from the Sea," the title of which is written on a roll of music in 
 his left hand. He allowed himself to be styled Count Palatine and Knight of St. 
 John. Smollett described him in Humphrey Clinker, " At Ranelagh, I heard the famous 
 Tenducci, a thing from Italy ; it looks for all the world like a man, though they say it is 
 not. The voice, to be sure, is neither man's nor woman's; but it is more melodious than 
 either, and it warbled so divinely that, while I listened, I really thought myself in 
 Paradise." 
 
 This picture was at the Academy in 1870, as the *' Portrait ot a celebrated Singer.*" 
 A half-length figure, seated, m a grey coat ; turned to our left, looking on a music 
 sheet held by the left hand ; expression of singing w ith parted lips and raised e) e-brows. 
 
 Canvas, 26^ X by 24^ inches. 
 
 30. John (Needham), Tenth Viscount Kilmorey. 
 
 Lent by tJie Earl of Kilmorey. 
 
 Lord Kilmorey was born in January, 1710; entered the army, became colonel; 
 married, in 1738, Anne, daughter of John Hurleston, Esq.,of Newton, Cheshire, and relict of 
 Peter Shakerley, Esq. ; succeeded to the title in 1768, and died May 27, 1791. His eldest 
 son was the Hon. Thomas Needham, whose portrait is No. 60. 
 
22 
 
 IVest Gallery. 
 
 This portrait was at the Academy in 1882. 
 
 Full-length, standing in front view in a landscape, wearing a blue coat and breeches, 
 red waistcoat embroidered with gold ; leans on a stick, held by his right hand, and carries 
 a hat under his left arm. 
 
 Canvas, 91 X 60 inches. 
 
 31. Portrait of Lady Eardley and her Daughter, after- 
 wards Lady Saye and Self. 
 
 Lent by Sir Roht. Loyd-Lindsay. 
 
 Canvas, gi X 60 inches. 
 
 32. Robert Craggs Nugent, Baron Nugent, Viscount Clare, 
 Earl Nugent, Vice-Treasurer of Ireland. 
 
 Lent by the Corporation of Bristol. 
 
 This nobleman was born in 1709, a son of Michael Nugent, Esq., of Carlanstown, 
 Westmeath. He was a poet, Lord of the Treasury, Controller of the Prince's Household, 
 and, by political services, succeeded in obtaining the above honours. He was M.P. for 
 St. Mawe's (1741) and Bristol (1754-74), created Baron Nugent and Viscount Clare in 
 1767, and Earl Nugent in 1776. He married, first, in 1730, Lady Emilia Plunkett, daughter 
 of the fourth Earl of Fingall; secondly, in 1736, Ann (Mrs. Newsham, a widow for the 
 second time), daughter of James Craggs, Esq., Postmaster-General, sister and heir of the 
 Right Hon. James Craggs (the younger son of Pope's friend), and relict of R. Knight, Esq., 
 of Gosfield Hall, Essex (with her Nugent obtained a large fortune) ; and, thirdly, Elizabeth, 
 Countess- Dowager of Berkeley. Walpole called the second-named lady " Nugent's 
 plump wife," and referred to her husband in uncomplimentary terms: "Lord Middlesex 
 is going to be married to Miss Boyle, Lady Shannon's daughter; she has thirty thousand 
 pounds, and may have as much more, if her mother, who is a plump widow, doesn't 
 happen to Nugoitize.''' This gentleman married two widows, as above stated. He was an 
 occasional poet, and, in 1748, repeated to Walpole " 10,000 stanzas and a whole tragedy," 
 as well as a more valuable " Ode to William Pulteney, Esq.," which survives to this day. 
 '* He seems," said Lord Dover, who sarcastically called him a patriot, " to have passed his 
 long life in seeking lucrative places, and courting rich widows, in both of which pursuits 
 he was eminently successful." He is the Mr. Nugent of the " Grenville Papers" and 
 
Pl^esf Gallery. 
 
 23 
 
 similar collections; he was the Lord Clare to whom, in gratitude for a gift, Goldsmith 
 addressed " The Haunch of Venison," a poetical epistle, beginning : — 
 
 Thanks, my Lord, for your Ven'son; nor finer or fatter 
 Ne'er ranged in a forest, or smoked in a platter. 
 
 # # # * « 
 
 as I gazed on the haunch, 
 
 I thought of a friend that was trusty and staunch. 
 So I cut it, and sent it to Reynolds undrest, 
 To paint it, or eat it, just as he liked best. 
 
 " Goldsmith is at Bath with Lord Clare," wrote Johnson to Langton, from Mr. 
 Thrale's, at Streatham, March 20, 177 1. Mr. Robert Knight, mentioned above, was 
 famous, or otherwise, in relation to the South Sea Company, a body to which he acted as 
 Cashier, He absconded in 1721, having, it was said, in his possession, not only 
 considerable wealth, but secrets gravely compromising many leading persons of the period. 
 Some of Lord Clare's verses are re-printed in "The New Foundling Hospital for 
 Wit," and in " Dodsley." 
 
 Fulcher stated that Gainsborough exhibited, in 1761, " an excellent whole-length 
 portrait of Mr. Nugent, afterwards Lord Clare." If there is no error here, the picture 
 cannot be the three-quarters-length portrait before us. Gainsborough's contribution — his 
 first public appearance — to the exhibition of the Society of Artists of Great Britain, in Spring 
 Gardens, is described as " 34, Whole-length of a Gentleman," see below. Lord Clare died 
 in 1788, and was buried at Gosfield. 
 
 This picture was at the National Portrait Exhibition, 1868, and at the Academy in 
 1880. A three-quarters-length figure to the right, seated near a table, on which are various 
 Acts of Parliament, and \\ earing a wig and red coat. The picture is inscribed "Rt. Hon. 
 Robert Nugent, Esq., unanimously re-elected Member for Bristol, December 26th, 1759." 
 See the portrait of the same person. No. 204, the property of Sir George Nugent, Bart., 
 which is, no doubt, the whole-length likeness referred to by Fulcher. No. 138 represents 
 the Hon. Col. Nugent, son of the Earl. 
 
 Canvas, 48 X 38 mches. 
 
 33. The Harvest Waggon. 
 
 Lent by the Lord Tu'eediuoiith. 
 
 A landscape, showing a large waggon halted near some trees, with a distant open 
 view of fields and the sky ; the scene is stated to have been painted near Bath, where 
 Gainsborough lived when this picture was produced. It was given as a present to Mr. 
 
IVest Gallery. 
 
 Wiltshire, the pubhc carrier between London and Bath, who, being a great lover of Gains- 
 borough's art, always refused payment for taking his paintings to London when they 
 were sent to the exhibitions. " Gainsborough, however, was not to be outdone. He pre- 
 sented him (Wiltshire) with several fine paintings, which are still in the possession of 
 his grandson, John Wiltshire, Esq,, a gentleman who does not think it essential to the 
 enjoyment of his treasures that lovers of art should be excluded from seeing them. One 
 of these works is called 'The Return from Harvest;' it represents a picturesque- 
 looking wain passing along a cool sequestered spot at close of day. The driver is in the 
 act of stopping his team that a peasant girl may mount. This girl is a portrait of one of 
 Gainsborough's daughters ; and a figure seated in the waggon is a portrait of the other. 
 The painter has also introduced into the picture a favourite horse given him by Mr. 
 Wiltshire, which served, indeed, as a model on many occasions. There was long extant 
 a remarkably fine study from this animal when, too old to work, it had retired to ease and 
 clover. On presenting the painting to Mr. Wiltshire, Gainsborough said that it pleased 
 him ' more than any he had ever executed.'" — Fulcher, p. 70. 
 
 The younger daughter was Mrs. Fischer ; she is ascending the waggon ; see her 
 portrait in this Gallery. The white horse is that mentioned above, it was given to 
 Gainsborough by Mr. Walter Wiltshire. Mr. John Wiltshire's pictures were sold in 
 1867, when this example fetched ^3,097 los. With it were portraits of Quin, Foote, 
 Orpin, the Clerk of Bradford-on-Avon — now in the National Portrait Gallery — "A Boy and 
 Dog," and two landscapes, one of which realized £1,800. This picture was at the British 
 Institution in 1814. 
 
 Canvas, 48 X 57 inches. 
 
 George III. 
 
 Lent by the Royal Society of Musicians of Great Britain. 
 
 Canvas, gi X 60 inches. 
 
 The Countess of Sussex and Lady Barbara Yelverton. 
 
 Lent by the Lord Donnington. ■ 
 
 Canvas, 88 X 60 inches. 
 
 John Thornton, Esq., of Clapham. 
 
 Lent by John Thornton^ Esq. 
 
 This benevolent gentleman, a rich Russia merchant, of London, was born in 1719, of 
 
IVest Gallery. 
 
 25 
 
 a Yorkshire family. One of his nephews was Samuel Wilberforce. Mr. Thornton was 
 Treasurer of the Marine Society from 1756 till 1783; High Sheriff of Surrey in 1769; 
 promoted the Society for the Propagation of the Gospel, and died at Bath, November 7, 
 1790. 
 
 His three sons were M.P.'s — Samuel for Surrey, Robert for Colchester, and Henry 
 for Southwark ; the last took a leading part in obtaining the abolition of the slave trade, 
 and was known to Dr. Johnson and the Thrales. 
 
 The Marine Society has another version of this portrait, painted by Gains- 
 borough for the society. It was in the British Institution in 1814, at the National 
 Portrait Exhibition in 1867, and was engraved b)- Val Green in 1782. It is a full-length, 
 life-size picture. 
 
 Canvas, 48 x 38 inches. 
 
 37. Sir Harbord Harbord, Bart., M.P., first Lord Suffield. 
 
 Lent by the Corporation of Norwich. 
 
 This gentleman, for many years M.P. for Norwich and an active member of the House 
 of Commons, was born in 1734; he married, in 1760, Mary, daughter of Sir Ralph 
 Assheton, from whom, to Lady Bingham, there is an amusing letter, dated April 8, 1776, 
 in the Selwyn Correspondence, concerning the education of George Selwyn's protegee, 
 Mie Mic,'" dilating on the advantages of certain schools for the child, and other matters. 
 He succeeded his father as second baronet in 1770. Sir Harbord Harbord was created 
 Baron Suffield in August, 1786, and died in 1810. The picture was painted at the cost of 
 some of the M.P.'s supporters in Norwich, " in testimony of their gratitude for his unin- 
 fluenced conduct in Parliament," &c. Fulcher, in his " Life of Gainsborough," remarked 
 that it resembles that of Garrick (?): " his dress is somewhat fanciful, a coat of lively green, 
 trimmed with gold lace, and a waistcoat as red as the far-famed vest of Cobbett," &c. 
 
 The picture was exhibited at the Royal Academy in 1783 as " A Gentleman." It was 
 engraved, and the print published by J. R. Smith, January i, 1783. 
 
 Whole-length, standing, looking downwards towards our left ; right hand holding a 
 long cane next his hip, left elbow on a pedestal, on which is a large vase. 
 
 Canvas, 93 x 60 inches. 
 
 38. John, Fourth Duke of Bedford, K.G. 
 
 Lent by the Duke of Marlborough. 
 
 Second son of Wriothesley, second Duke of Bedford, born September 30, 17 10; 
 
J/Fest Gallery. 
 
 succeeded his brother as fourth duke and eighth earl in 1732 ; First Lord of the Admiralty, 
 1744; Secretaryof State, 1748; Knight of the Garter, 1749 ; Lord Lieutenant of Ireland, 1756 ; 
 Lord Privy Seal, 1761; Minister Plenipotentiary to France, for the Treaty of Paris, 1762; 
 Lord President of the Council, 1763 ; died in Bloomsbury Square, January 15, 1771. His 
 Grace was the chief of those who were satirically assailed as " The Bloomsbury Gang;" 
 he was bitterly denounced by " Junius," and the subject of immense contumely. 
 
 There is another portrait of the Duke, by Gainsborough, at Woburn. This picture 
 was at the Royal Academy in 1882. 
 
 Bust; scarlet coat; ribbon and Star of the Garter; signed " Gainsborough." The 
 signature is very unusual, as the painter seldom signed or dated his works. Life-size, as 
 if seen in an oval frame. 
 
 Canvas, 30J X 25^ inches. 
 
 Sketch of Georgiana, born Spencer, Duchess of 
 Devonshire. 
 
 See " The Hon. Miss Georgiana Spencer." 
 
 Wraxall gave one of the best and clearest descriptions of the person of this lady when, 
 as before us here, in her prime : " The personal charms of the Duchess of Devonshire 
 constituted her smallest pretensions to universal admiration ; nor did her beauty consist, 
 like that of the Gunnings, in regularity of features and faultless formation of limbs and 
 shape ; it lay in the amenity and graces of her deportment, in her irresistible manners, 
 and the seduction of her society. Her hair v/as not without a tinge of red ; and her face, 
 though pleasing, yet, had it not been illuminated by her mind, might have been considered 
 an ordinary countenance." * * * "In addition to the external advantages 
 she had received from nature and fortune, she possessed an ardent temper, susceptible of 
 deep as well as strong impressions ; a cultivated understanding, illuminated by a taste for 
 poetry and the fine arts ; much sensibility, not exempt, perhaps, from vanity and coquetry. 
 To her mother, the Dowager Countess Spencer, she was attached with more than common 
 filial affection." # * * u ^^j. ^j^j display less attachment to her sister, 
 Lady Duncannon." 
 
 Mrs. Walker. 
 
 Lent by Mrs. Eson Wilkinson. 
 
 Canvas, 30 X 25 inches. 
 
27 
 
 Walpole gave a series of charming etchings of the lady before us. " Last night I 
 was at a ball at the Lady's Club. It was all goddesses, instead of being a resurrection of 
 dancing matrons, as usual. The Duchess of Devonshire (who was then twenty years of 
 age) effaces all without being a beauty, but her youth, figure, flowing good nature, sense, 
 and lively modesty, and modest familiarity make her a phenomenon." " Lady Di. Benedick 
 has drawn the portrait of the Duchess of Devonshire, and it has been engraved by 
 Bartolozzi. A Castilian nymph conceived by Sappho, and executed by Myron, would not 
 have had more grace and simplicity ; it is the divinity of Venus piercing her veil of 
 immortality, when, 
 
 rosea cervice refulsit, 
 Ambrosiaeque comas divinum vertice odorem 
 Spiravere. 
 
 The likeness is perfectly preserved, except that the paintress has lent her own expression 
 to the Duchess, which you will allow is very agreeable flattery. What should I go to 
 the Royal Academy for ? I shall see no such chefs d'ceicvre there." 
 
 Of her gambling many stories were told : " The Duchess of Devonshire, in one day, 
 won nine hundred pounds " in the Opera Lottery, so said Walpole to Lady Ossory, 
 December 17, 1780. In July, 1783, the same writer told the same correspondent : " I have 
 been to town to see Lady Chewton, and found her excellent well, and suckling her 
 infanta without mercy. I believe she will be a more staid nurse than the Duchess of 
 Devonshire, who probably will stuff her poor babe into her knotting bag when she wants 
 to play at macao, and forget it." Lady Chewton was one of the three fair Ladies Walde- 
 grave, Walpole's nieces, whose grouped portraits in white, by Reynolds, were among the 
 greatest attractions of last year's Grosvenor Exhibition. The notion of the Duchess 
 neglecting her baby did not occur to Walpole only. In April preceding this last-quoted 
 letter, Rowlandson published a satirical print called " Political Affections," in which, 
 while the young Cavendish lies neglected in a cradle, the buxom mother nurses a hybrid 
 Fox-cub. This is an allusion to her Grace's ardent advocacy of C. J. Fox, in the West- 
 minster election of 1784, when she was brought into contact with Viscount Hood, the 
 subject of Gainsborough's portrait in this Gallery. " The beldams hate him (Fox); but 
 most of the pretty women in London are indefatigable in making interest for him, the 
 Duchess of Devonshire in particular. I am ashamed to say how coarsely she has been 
 received by some worse than tars." These " tars " were three hundred sailors of Lord 
 Hood's squadron, who fought with, and were ignominiously defeated in the streets by, the 
 Irish chairmen retained by Fox's party. 
 
 The " Table Talk " of Samuel Rogers contains several notes illustrating the passion 
 of this lady for the gaming table. " Gaming was the rage during her day ; she indulged in it, 
 and was made miserable by her debts. A faro-table was kept by Martindale, at which the 
 Duchess and other high fashionables used to play. Sheridan said that the Duchess 
 
28 IP^est Gallery. 
 
 and Martindale had agreed that whatever they two won from each other should be sometimes 
 double, sometimes treble, the sum which it was called : and Sheridan assured me that 
 he had handed the Duchess into her carriage when she was literally sobbing at her 
 losses — she perhaps having lost ^1,500 when it was supposed to be only ;^5oo." 
 
 This picture was at the National Portrait Exhibition, 1867. It is nearly jin mono- 
 chrome, and may have been made for the use of an engraver. 
 
 One of the most pathetic tributes to the beauty of the Duchess of Devonshire was 
 offered by -an unexpected hand, that of Dr. Wolcot, or " Peter Pindar," who addressed "A 
 Petition to Time in favour of the Duchess of Devonshire," and implored the Inexorable thus : 
 
 Hurt not the form that all admire — 
 
 Oh, never with white hairs her temple sprinkle — 
 Oh, sacred be her cheek, her lip, her bloom. 
 And do not, in a lovely dimple's room. 
 
 Place a hard mortifying wrinkle. 
 
 Know, should'st thou bid the beauteous duchess fade, 
 Thou, therefore, must thy own delights invade ; 
 And know, 'twill be a long, long while 
 Before thou giv'st her equal to our isle — 
 Then do not with this sweet chef d^ceitvre part, 
 But keep to show the triumph of thy art. 
 
 Full-length, small size ; walking in a landscape, and wearing a large plumed hat. 
 Canvas, 23 x 15 inches. 
 
 41. Sketch of a Boy's Head. 
 
 Lent by F. IV. Newton, Esq. 
 
 This study was painted at Barton Grange, near Taunton, where the present owner 
 lives, and where it has been preserved under the following circumstances, since it 
 was executed by Gainsborough. A village boy was employed to grind colours for the 
 painter, then on a visit at the Grange. Gainsborough, returning suddenly to the 
 room, found the boy assiduously trying to copy something on a piece of board, while 
 looking upwards intensely, as if for artistic inspiration. The artist was so struck by the 
 boy's earnest gaze, that, shouting "Stay as you are!" and catching up a canvas, he 
 immediately dashed off this sketch. 
 
 This picture was at the Academy in 1882. 
 
29 
 
 Bust of a boy to left, looking up, wearing a red waistcoat, holding a palette and 
 brushes in one hand ; brown background. 
 
 Canvas, 23 x 20 inches. 
 
 Miss Linley, afterwards Mrs. Sheridan. 
 
 Lent by the Viscount Clifden. 
 
 Canvas, 23 x 15 inches. 
 
 Ralph Bell, Esq. 
 
 Lent by Reginald Bell, Esq. 
 
 Canvas, 91 X 60 inches, 
 
 Mr. Cox. 
 
 Lent by Miss Cox. 
 
 Canvas, 11 X 9 inches. 
 
 A Rustic Dwelling. 
 
 Lent by Mrs. George Henry. 
 
 Two women and two children are near the door of a cottage ; one ot the women 
 nurses a child ; large trees incline towards the cottage ; one of the trees is nearly 
 devoid of leaves ; a rapid brook flows to the front. 
 
 Canvas, 49 X 39 inches. 
 
 Karl Friedrich Abel, Musician. 
 
 Lent by W . H . Cuniniings, Esq. 
 
 K. F. Abel, a German, came to London about 1761, and distinguished himself 
 by performing on various musical instruments, the best esteemed of which in his 
 hands was the viol-di-gamba. He was Chamber Muscian to Queen Charlotte, and wrote 
 various pieces of music, which were much admired at the time, and long retained popu- 
 larity. He died in London, in 1787. Long and intimately associated with Gainsborough, 
 
West Gallery. 
 
 the anecdotes of their friendship and passion for music are rife in all the hooks which 
 refer to the painter. W. Jackson, the musician of Exeter, thus described the characteristics 
 of this friendship with reference to Giardini, the violinist, see his portrait. No. 156: — 
 " When I first saw Gainsborough, he lived at Bath, where Giardini had been exhibiting 
 his unrivalled powers on the violin. His excellent performance made the painter ena- 
 moured of that instrument ; and he was not satisfied till he possessed it. He next heard 
 Abel on the viol-di gamba. The violin was hung on the willow. Abel's viol-di-gamba 
 was purchased, and the house resounded with melodious thirds and fifths. My friend's 
 passion had now a fresh object — Fischer's hautbois ; but I do not recollect that he 
 deprived Fischer of his instrument; and though he procured a hautbois, I never heard 
 him make the least attempt on it." ****** "The next time I saw 
 Gainsborough it was in the character of King David. He had heard a harper at 
 Bath — the performer was soon left harpless — and now Fischer, Abel, and Giardini were 
 all forgotten — there was nothing but chords and arpeggios. He really stuck to the harp 
 long enough to play several airs with variations, and, in a little time, would nearly have 
 exhausted all the pieces usually performed on an instrument incapable of modulations 
 (this was not a pedal harp), when another visit from Abel brought him back to the 
 viol-di-gamba." Fischer, the hautbois player, married Gainsborough's daughter, Mary, 
 whose portrait, by her father, is in this collection. No. 87. Fischer's portrait, lent by 
 the Queen, is No. 112. 
 
 Walpole thought the portrait of Abel, which was at the Academy in 1777, "very like 
 and well." It was No. 135, a whole-length picture, and, a very uncommon circumstance, 
 the catalogue bore the name of the sitter, "Mr. Abel." Gainsborough painted two 
 portraits of his friend, one of which, in 1856, belonged to Dr. Hoskins, F.R.S., and repre- 
 sented the musician seated in an old-fashioned chair, with a viol-di-gamba between his 
 knees, while intently using the bow with his right hand. For Abel's dog, see "Pome- 
 ranian Dog and Puppy," No. 113. The "Reminiscences" of Henry Angelo, 1830, 
 contains many references to Abel, Gainsborough, and other persons whose portraits are 
 before us, especially one on p. ig, vol. i., which describes meetings of the musicians with 
 S. Bach at the house of the writer's father, when Bartolozzi and Cipriani were of the 
 company. Further, the Mattre d^Armes described a visit of his to Paris in company 
 with Abel, and William and John Cramer (the latter a boy of four years old). "Abel 
 bore," said he, " a tall, big, portly person, with a waistcoat, under which might easily 
 have been buttoned twin brothers, such as my Monsieur Boileau." The last was the 
 miserable tutor, the leanest of men, with whom Angelo was appointed to lodge in the 
 capacity of a pupil. 
 
 " I have before related," said Angelo, as above, p. 190, " how Bach and Abel obtained 
 drawings from these former two artists (Bartolozzi and Cipriani); I may now add, that 
 Abel laid an impost upon the talent of Gainsborough. Doubtless it was in exchange for 
 
IVest Gallery. 
 
 31 
 
 the notes of his viol-di-gamba that he obtained so many drafts upon the genius of the 
 painter, whose prolific crayons supplied him with so many specimens of his art, that on 
 his return home my father found the walls of his apartment covered with them, slightly 
 pinned to the paper hangings. These, many of them the best of his sketches, being 
 executed con amove ^ Abel subsequently parted with, not for filthy lucre, but for the 
 indulgence of that vanity which led many a wiser man than Abel to keep a mistress." * * 
 " Fischer, Gainsborough's son-in-law, though a man of few words, in making a visit there 
 (to Signora Grassi's house in Frith Street, which, on account of the Gainsboroughs 
 hanging there, she called a ' painted Paradise '), objected to this designation, by exclaim- 
 ing, 'Abel, you are a fool ; and mine fader Gainsborough is a plockhead ; for the only 
 painted thing in the house is mine lady's cat-face.' " After Abel's death the pictures were 
 sold at Langford's rooms by his mistress. 
 
 Mrs. Delany described to Mrs. Port, of Ham, a concert performed at Windsor, in 
 October, 1779: — "Indeed, I had two hours' most delightful entertainment; the musick, 
 tho' modern, was excellent in its kind, and well performed; particularly the first fiddle, 
 by William Cramer, Abel on the viol-di-gamba (tho' I don't like the instrument), and 
 a new hautbois, just come from Germany. The room was full of company, all seated, 
 and I had a comfortable corner." 
 
 Canvas, 49 X 39 inches. 
 
 47. Sophia Charlotte, Lady Sheffield, born Digby. 
 
 Lent by Sir Robert Sheffield^ Bart, 
 
 This lady was a daughter of Dr. William Digby, Dean of Durham. She married, 
 April 3, 1784, Sir John Sheffield, second baronet, of Normanby, who died without issue in 
 1815; his widow survived until 1835. She is not to be mistaken for her contemporary, 
 the wife of Gibbon's friend. Lord Sheffield. 
 
 Canvas, 91 X 60 inches. 
 
 48. Waterfall 
 
 Lent by Henry Graves^ Esq, 
 
 Mountain stream, with overhanging trees to the right, a broken road, down which 
 some cows are descending. 
 
 Canvas, 27 x 35 inches. 
 
32 JVest Gallery. 
 
 j-Q. The Milk Girl. 
 
 Lent by Col. Sir Francis Bolton. 
 
 Canvas, 55 X 43 inches. 
 
 ;o. Edward Clive, Earl of Powis, as a Boy. 
 
 Lejit by the Earl of Powis. 
 
 Canvas, 49 X 39 inches. 
 
 1. A Landscape — a Study. 
 
 Lent by J. P. Heseltine, Esq. 
 
 Rough landscape seen in an effect of storm ; on our left an old oak has a mass of large- 
 leaved herbs at its foot. 
 
 Canvas, 11^ x 13J inches. 
 
 2. Welbore Ellis, Lord Mendip. 
 
 Lent by Christ Church College, Oxford. 
 
 Canvas, 49 X 39 inches. 
 
 . Thomas Haviland, Esq. 
 
 Lent by Henry Graves, Esq. 
 
 Canvas, 49 X 39 inches. 
 
 . A Landscape with Figures and Cattle. 
 
 Lent by the Lord TweedmoiitJi. 
 
 This is a view painted near Bath. It belonged to Mr. John Wiltshire, the carrier ot 
 that city, who was a friend of Gainsborough, and is mentioned in the note on " The Harvest 
 Waggon." Sold with that work in 1867, as " A Grand Landscape, with Cattle and 
 Figures, painted at Schockerwick." It realized £1,800. It was at the British Institution 
 in 1814. 
 
West Gallery. 
 
 33 
 
 Rocky view, with open distance in the centre. In front a pool with three cows 
 and a goat. On our right a youth, leaning on a rock, talks to a girl who sits on the bank 
 of the pool. 
 
 Canvas, 48 X 58 inches. 
 
 55. Mr. William Poyntz, of Midgham, Berkshire. 
 
 Lent by the Earl Spencer^ K.G. 
 
 This gentleman was the son of the Right Hon. Stephen Poyntz, of Midgham, Berk- 
 shire, Governor of William, Duke of Cumberland, and Ambassador to Sweden and France. 
 Mr. William Poyntz's mother was Anna Maria, born Mordaunt, Maid of Honour to Queen 
 Caroline, who, on account of her beauty, was celebrated in a poem called " The Fair 
 Circassian," which was written by one of her admirers. Mr. W. Poyntz was the brother 
 of Margaret Georgiana, first Countess Spencer, whose portrait is in this gallery, and uncle 
 to the famous Georgiana, Duchess of Devonshire, of whom there are three portraits here. 
 Mrs. Delany wrote to Mrs. Dewes, March 27, 1756: — " Have you heard anything of Mrs. 
 Poyntz's gold snuff-box, that she lost at Lord Darlington's assembly, which was pocketed 
 by a certain thundering lady who keeps company with Irish Lightning ? " 
 
 This picture was exhibited with the Society of Artists of Great Britain, Spring 
 Gardens, in 1762, as No. 30, "A whole-length of a Gentleman with a Gun," the painter's 
 sole contribution. Mr. Poyntz was living at Bath when Gainsborough painted him 
 thus; he was an active and successful sportsman. The picture was exhibited, in 1859, 
 at the British Institution, and, in 1876, at the South Kensington Museum. 
 
 Life-size, full-length figure, bare-headed, in a shooting dress, carrying a gun, and 
 leaning on one elbow against a tree legs crossed; landscape background. 
 
 Canvas, gi X 60 inches. 
 
 56. Sir Francis Basset, afterwards Baron de Dunstanville, 
 
 OF Tehidy, and Baron Basset, of Stratton, Cornwall. 
 
 Lent by G. L. Basset^ Esq. 
 
 The picture before us was at the Academy in 1S76. 
 
 Three-quarters length, life-size figure, bare-headed, standing near rocks in a land- 
 scape ; blue coat. 
 
 Canvas, 50 X 40 inches 
 
 C 
 
34 
 
 PFest Gallery, 
 
 57. Portrait of a Master in Chancery in a Wig and Robes. 
 
 Lent by the Earl of Ravensworth. 
 
 Canvas, 50 X 40 inches. 
 
 58. A Landscape — A Peasant crossing a Stream. 
 
 Lent by the Rt, Hon, G. Cavendish Bentinck, M.P, 
 
 Open view, with a mass of rocks on our left in sunlight ; a small river extends in curves 
 from the distance on the plains ; a sheep, two asses, a cow and a calf appear with a 
 herdsman in front. 
 
 Canvas, 13 x 14 inches. 
 
 59. Mrs. Frances Susanna Basset, born Coxe, afterwards 
 
 Lady de Dunstanville. 
 
 Lent by G. L, Basset, Esq, 
 
 This lady was a daughter of John Hippisley Coxe, Esq., of Stone-Easton, Somerset; 
 married. May, 1780, to Francis Basset, Esq., of Tehidy, Cornwall, afterwards Lord de 
 Dunstanville, whose portrait is in this Gallery. 
 
 This picture was exhibited at the British Institution in 1814, the property of Lord 
 de Dunstanville; at the International Exhibition, 1862 ; and the Royal Academy in 1876. 
 
 Canvas, 49 X 39 inches. 
 
 60. Earl Camden, Lord Chancellor. 
 
 Lent by the Lord N orthbonrne. 
 
 Son of Lord Chief Justice, Sir John Pratt; born 1713; educated at Eton, and King's 
 College, Cambridge; called to the Bar, 1738; M.P. for Downton; Attorney-General, 1757; 
 Chief Justice of the Common Pleas, i76i,in which office he decided against the legality of 
 the General Warrants directed by the Government of the Duke of Grafton against Wilkes. 
 Baron Camden in 1765 ; was addressed by "Junius ": — " I call upon you, in the name of the 
 English nation, to stand forth in defence of the laws of your country, and to exert, in the 
 cause of truth and justice, those great abilities with which you, were entrusted for the 
 benefit of mankind." * * * " If you decline this honourable office, I fear it will be 
 
JVest Gallery. 
 
 35 
 
 said that for some months past you have kept too much company with the Duke of 
 Grafton." Lord Chancellor, 1766 till 1770. He challenged Lord Mansfield to defend his 
 dicta in favour of the Government, and Lord Mansfield did not reply; he took a dis- 
 tinguished part in denying the legality of the vote of the House of Commons which gave 
 a seat for Middlesex tD Col. Luttrell (brother of Anne, Duchess of Cumberland, for whom 
 see her portrait in this collection), instead of admitting Wilkes, who had a majority of the 
 votes. On account of this denial he was, January 17, 1770, required to resign the Seals; 
 he gave them to the King's own hands on the same evening. Lord President of the 
 Council in 1782-3, and 1784-g; created Earl Camden, 1786; died April 13, 1794; 
 buried at Seal, in Kent. 
 
 Lord Camden was one of those to whom the authorship of the "Letters of Junius" 
 was attributed. 
 
 A print of Lord Hardwicke, by J. Faber, ad vivnm, was, with the face altered, 
 renamed " Lord Camden," and published as a likeness of the latter. 
 
 This picture was exhibited at the British Institution in 1861, and at the Royal 
 Academy in 1872. 
 
 Canvas, 49^ X 37 inches. 
 
 61. Portrait of thk two Misses Cruttenden. 
 
 Lent by Alexr. K. Kennedy Purvis^ Esq. 
 
 Canvas, 44 X 58 inches. 
 
 62. Master Jonathan Buttall, " The Blue Boy." 
 
 Lcjit by the Duke of Westminster^ K G, 
 
 Master Jonathan Buttall was the son of Mr. Jonathan Buttall, an ironmonger in an 
 extensive way of business, living at 31, Greek Street (at the corner of King Street), Soho, 
 between 1728 (if not before) and 1768, when he died. According to the " Book for a 
 Rainy Day," p. 302, he was " an immensely rich man." The younger Buttall continued 
 in the business of his father until 1796, when his effects were sold by Sharpe & Coxe, the 
 -well-known auctioneers. These effects included premises in Soho and the City, a share 
 in Drury Lane Theatre, many drawings by Gainsborough, and pictures by the same hand 
 and others, wine, and musical instruments. It has been asserted that a " Blue Boy " (for 
 there can hardly be a doubt that more than one version of the work exists) was sold on 
 this occasion. Much controversy has been continued over a considerable period, when the 
 
 C 2 
 
36 
 
 IVest Gallery. 
 
 right of this picture to be the original version was discussed. It has been averred 
 that a " Blue Boy " was at the Academy Exhibition in 1770, as No. 85, " Portrait of a 
 Young Gentleman," a whole-length figure which attracted much attention. 
 
 A story has been credited that the " Blue Boy " was produced by Gainsborough to 
 refute a dictum of Sir Joshua Reynolds, delivered in his Eighth Discourse to the Students 
 of the Royal Academy, December 10, 1778 : — " It ought, -in my opinion, to be indis- 
 pensably observed, that the masses of light in a picture be always of a warm, mellow 
 colour, yellow, red, or a yellowish-white ; and that the blue, the grey, or the green colours 
 be kept almost entirely out of these masses, and be used only to support and set off these 
 warm colours ; and for this purpose, a small proportion of cold colours will be sufficient. 
 Let this conduct be reserved ; let the light be cold, and the surrounding colours warm, 
 as we often see in the works of the Roman and Florentine painters, and it will be out of 
 the power of Art, even in the hands of Rubens or Titian, to make a picture splendid and 
 harmonious." 
 
 It is obvious that the Eighth Discourse may have been delivered covertly to depreciate 
 the picture which had been exhibited eight years before, but this is not likely; or it may be 
 assumed that the picture was produced to demonstrate the futility of the President's 
 counsel. Miss Mary Moser, R.A., writing to Fuseli, then in Rome, stated that it is " only 
 telling you what you know already of the Exhibition of 1770, to say that Gainsborough is 
 beyond himself in the ' Portrait of a Gentleman in a Vandyke habit.' " That the " Blue 
 Boy " was thus referred to is more than probable, although the fact is incompatible with 
 the commonly held opinion, that the picture was intended to expose the fallacy of the 
 discourse delivered long after 1770. Fulcher and others, on the contrary, reported that it 
 was probably not till early in 1779 this work was produced. In this Hazlitt, Lawrence, 
 Leslie, and Waagen agree, but they did not apply their attention to other circumstances 
 than the evident antagonism of the artists and the great merit of the painting. The 
 picture is believed to have been in the possession of Hoppner, R.A., as a trust on 
 behalf of the Prince of Wales, or as his own property. See a letter from Hoppner's son, 
 Mr. R. B. Hoppner, stating his belief that the " Blue Boy" he remembered at his father's 
 house, 18, Charles Street, St. James's Square, was the property of the Prince. 
 
 The whole subject of the relative standing of this picture and more than one 
 version of it — to say nothing of what relates to numerous copies — is so very obscure and 
 confused that it cannot be discussed here. The version most favoured in opposition to 
 the present work belonged, it is said, to Mr. Nesbit, of Heston, and passed to the hands 
 of Mr. W. Hall, whose affairs getting into confusion, his effects were, in 1856, sold to Mr, 
 Dawson, who endeavoured, unsuccessfully, to sell the picture to the late Earl Grosvenor. 
 At Hall's sale this version was described as "A Portrait of the Prince of Wales." The 
 example before us is undoubtedly authentic, and was exhibited long before its rival was 
 recognized. 
 
37 
 
 The respective claims of these works were amply discussed in " The Times," " The 
 Queen," and '* Notes and Queries," Fourth Series, vols, iii., iv., v., vi., vii., viii., ix., xi., 
 and xii. The picture now on view is presumed to be that mentioned by E. Edwards in 
 his "Anecdotes," 1808, 140; in Fulcher's " Life of Gainsborough," 1856, 113 and 202; 
 Cunningham's " Lives of the Painters," &c., 1830, i. 353, and Mrs. Jameson's " Companion 
 to the Private Galleries," &c., iii., 276. The last-named writer stated that after Buttall's 
 death the picture was bought "by Mr. Nesbit, and was afterwards in the possession of Mr. 
 Hoppner, who sold it to Earl Grosvenor." Mrs. Jameson doubtless learnt this from the 
 then owner of the picture. Cunningham averred that it had passed through many 
 changes ere it became part of the Grosvenor Gallery and the property of the late 
 Marquis of Westminster, 
 
 It is obvious that Gainsborough might, and probably did, find occasion to illustrate a 
 principle which is apparently opposed to the dictum of Reynolds, without reference to the 
 Eighth Discourse or previous utterance of the P.R.A. Van Dyck repeatedly employed 
 masses of blue in draperies, with results which are at least equal to those of the picture 
 before us. The " Children of Charles the First," at Windsor, is an example of this fact. 
 Leslie, and every practical critic, recognized that Gainsborough had evaded the full and 
 just method of controverting the declaration of Sir Joshua rather than successfully 
 assailed it. 
 
 The picture before us is known to have been exhibited at the British institution with a 
 collection of Gainsborough's works — the first formed independently of the artist and his 
 wife — in 1814, under the title of "Portrait of a Youth," and again, at the same place, in 
 1834, as " 117, A Young Gentleman in a Landscape ; the Picture known as the Boy in Blue." 
 It was at Manchester in 1857; the International Exhibition in 1862; and at the Royal 
 Academy in 1870. The last occasion evoked the discussion above alluded to, when the 
 other " Blue Boy" became promment. The question may be summed up by saying that 
 probably the younger Buttall had a version of his own portrait, while the Prince had 
 another. 
 
 Reynolds, by way, it is said, of supporting his own dictum, produced "A Yellow Boy," 
 in the portrait of Charles, Earl of Dalkeith, with an owl and a dog, which was No. 132 at 
 the Grosvenor Exhibition last year (1884). "A Portrait of a Lady," by Gainsborough, 
 known as " The Blue Lady," was at the British Institution in 1859; "The Pink Boy" 
 (Master Nicholls, grandson of Dr. Mead), by Gainsborough, was at the Academy in 
 1879, No. 39 ; it has been recently sold to a member of the Rothschild family. " The Blue 
 Boy" is in its pathetic motive at once the complement and the antithesis to " Mrs. 
 Graham" (born Cathcart), now in the Scottish National Gallery. 
 
 This picture has been engraved more than once, on the last occasion by M. C. 
 Waltner. 
 
West Gallery. 
 
 A nearly life-size figure, in full view, standing in a Van Dyck dress, bareheaded, with 
 a broad-rimmed and plumed hat held at his side, in his right hand, while his left wrist is 
 doubled against his hip; landscape background, dark cloudy sky. 
 
 Canvas, 70 X 48 inches. 
 
 Madame Le Brun. 
 
 Lent by the Duchess of Montrose. 
 
 This singer, born Francesa Danzi, appeared at the Italian Opera in 1777, and attracted 
 great attention; married in 1780. Prima Donna at the Italian Opera in 1780. 
 
 Life-size, three-quarters length figure, seated in a chair, resting on her left arm ; hair 
 curled and powdered ; white dress trimmed with lace, open at the neck ; light gauze scarf 
 thrown over her shoulders. 
 
 This picture was at the Royal Academy in 1780, as " No. 84, Portrait of a Lady." 
 
 Canvas, 49^ X 39J inches. 
 
 Mr. William Almack, 
 
 Lent by Henry H. Almack, Esq, 
 
 Mr. W. Almack was born in 1714; died January 3, 1781 ; was buried at St. James's, 
 Piccadilly. He married Elizabeth, daughter of Cullen, the celebrated physician. 
 
 Canvas, 50 X 40 inches. 
 
 Forest Scene. 
 
 Lent by the Lord Ronald Gower. 
 
 Rocky view ; a large oak in the centre, near which is a sand pit ; a woman with an ass is 
 close to the pit. 
 
 Canvas, 13 X 14J inches. 
 
 Portrait of Henry, Duke of Montagu. 
 
 Le7it by the Duke of Buccleuch. 
 
 Canvas, 50 X 40 inches. 
 
IVest Gallery. 
 
 39 
 
 James Christie, Esq. 
 
 Lent by George Christie^ Esq, 
 
 Mr. James Christie, the founder of the house which long bore his name, and, under 
 names conjointly with his, has flourished during more than a century and a quarter, was 
 born in 1730; died in Pall Mall, November 8, 1803, and was buried at St. James's, 
 Westminster. He held a commission in the Navy before becoming an auctioneer. He built 
 extensive premises for the conduct of his business at the bottom of the Haymarket. In these 
 " Two New Great Exhibition Rooms " many public exhibitions of pictures were held, in- 
 cluding those of the Free Society of Artists, a body which preceded the Royal Academy, 
 in the years 1767 and 1768. For the next six years the Society occupied premises 
 Mr. Christie had built expressly for the members in Pall Mall, next door to Cumberland 
 House. It was here that Peter Pindar, seizing the occasion for assailing the Academy, 
 wrote the amusing poem of " The Rights of Kings ; or Loyal Odes to Disloyal Acade- 
 micians." Here Mr. Christie appeared daily during the season, and gave to the ready gibing 
 of Peter Pindar an occasion for a caricature which has become extremely curious in 
 contradistinction to the honourable eminence of the subject. Peter Pindar's verses were 
 written to illustrate the alleged subservience of the " Windsor Oracle of Paint," Benjamin 
 West (afterwards P.R.A.), who, in common with Sir Joshua Reynolds, zealously promoted 
 the fulfilment of the King's wish that Mr. (afterwards Sir Thomas) Lawrence " might be 
 added to the R.A.'s." This the Academicians in general hesitated to agree to. " Pindar " 
 compares himself to Speaker Addington, a pattern of self-depreciation, addressing the 
 House of Commons on his election to the chair: 
 
 " I fear I am a most unworthy choice ! 
 Said Mr. Speaker, with a lamb like voice. 
 " I have but one step more," he cried, 
 Keeping his head coquettishly aside. 
 
 How much like Christie, with his hammer rais'd 
 (Christie, a public speaker too, as prais'd), 
 Looking around him, gracefully smiling, and bowing, 
 Then crying, " Gem'men, going, going, going !"' 
 
 There is an interesting view of Christie's auction room in 1796, in Gillray's satirical 
 print " A Peep at Christie's." Dighton engraved satires representing the master of that 
 establishment. Fulcher (" Life of Gainsborough," 1856, p. 110) says that this portrait 
 was a present from the artist to Mr. Christie. It was exhibited at the Royal Academy in 
 1778, as No. 117, " Mr. Christie," with the whole-length likenesses of the Duchess of 
 Devonshire, and Lord Chesterfield, and the half-lengths of " Mrs. Dalrymple " and Clara 
 
40 
 
 West Gallery. 
 
 Heywood ; it was again exhibited at the British Institution in 1817, as the hkeness of 
 " the late Mr. Christie," the property of Mr. James Christie (the second), and at the same 
 place in 1859. It was No. 793 in the National Portrait Exhibition, 1867. 
 
 The founder of the house of "Christie" is frequently confised with his son and 
 namesake, who wrote several excellent works on antiquities, including " An Enquiry into 
 the Ancient Greek Game, supposed to have been invented by Palamedes," " A Disquisi- 
 tion on Etruscan Vases," and " An Enquiry into the Early History of Greek Sculpture." 
 
 Half-length, standing, leaning on a picture, with a paper in his right hand. Painted 
 in 1778. 
 
 Canvas, 50 X40 inches. 
 
 68. Going to Market. 
 
 Lent by the Lord Bateman, 
 
 A landscape, showing a party of men and women riding and walking on a road 
 towards our right; with them is a horse, loaded with vegetables; in front is a small piece 
 of water; cottages and figures are on our left ; two beggars are seated in the foreground. 
 
 This famous picture was long reputed to be one of the very best of Gainsborough's 
 landscapes. It was painted for John, second Viscount Bateman, while the artist was on 
 a visit to Shobdon Court, Herefordshire, and is in its original condition, a circumstance 
 which very much enhances its value. It has never been out of the possession of the 
 family, except when lent to the Royal Academicians in 1881. Lord Bateman has several 
 sketches in sepia, given by Gainsborough to the second Viscount Bateman in 1770, 
 and from which this large picture was evidently painted. Gainsborough's portrait of the 
 second Viscount is in this Exhibition. 
 
 Canvas, 48 X 59 inches. 
 
 69. The Hon. Thomas Needham. 
 
 Lent by the Earl of Kilmorey. 
 
 The eldest son of John, tenth Viscount Kilmorey, see No. 30; born 1744, and died, 
 unmarried, April 19, 1773. 
 
 The picture was at the Academy in 1882. 
 
 Full-length, life-size, standing in a landscape, in the uniform of the Grenadier Guards, 
 holding a pike in his left hand ; his right hand is in the pocket of his waistcoat. 
 
 Canvas, gi X 60 inches. 
 
IVest Gallery. 
 
 41 
 
 70. Portrait of William Pitt. 
 
 Lent by the Hon. Society of Lincoln's Inn. 
 
 Canvas, 50 X 40 inches. 
 
 71. William Stevens, D.D., Rector of Great Snoring St. 
 
 Peter's, Walpole. 
 
 Lent by the Rev, G. Corby White. 
 
 Dr. Stevens was Morning Preacher at Grosvenor House, Lecturer at St. George's, 
 Hanover Square, and Chaplain to Henry Frederick, Duke of Cumberland. 
 
 This picture was at the Royal Academy in 1780, as "No. 121, Portrait of a 
 Gentleman" ; again as No. 220, in 1876. It was at the British Institution in 1814. 
 
 Canvas, 49^ x 39J inches. 
 
 72. A Lady and Child. 
 
 Lent by the Rev. John Mayne St. Clere Raymond, 
 
 a picture by Gainsborough, was at the Academy in 1771, and entitled " A Lady and 
 Child," and, according to the records, " Lady Sussex," i.e. representing Hester, Countess 
 of Sussex, born Hall, who died in 1777, wife of Henry Yelverton, third Earl of Sussex of 
 that creation, and one of her children. See, however, the group lent to this collection by 
 Lord Donnington, entitled, " The Countess of Sussex," No. 35. 
 
 Canvas, 17^ x 15 inches: oval. 
 
 73. Rural Courtship. 
 
 Lent by the Rev. Edward R. Gardiner, 
 
 A forest scene, with a distant view of a church. In the foreground a woman 
 milking a cow. By her side a peasant leaning on a faggot. 
 
 Canvas 50 x 40 inches. 
 
 74. Portrait of Sir John Skynner. 
 
 Lent by the Hon. Society of Lincoln's bin. 
 
 Canvas, 50 X 40 inches. 
 
42 
 
 IVest Gallery. 
 
 75. Lady (Bate) Dudley, born White, 
 
 Lent by J, Oxley Parker^ Esq. 
 
 A sister of Mrs. Hartley, the actress, whose portrait, by Reynolds, was at the 
 Grosvenor Exhibition last year. She was Mary, daughter of James White, Esq., of 
 Berra, Somersetshire ; married the Mr. Henry Bate, afterwards Sir Henry Bate Dudley, 
 Bart., who is represented in No. 171, and survived her husband. 
 
 Full-length, standing, lounging against a pillar in a landscape, with her feet crossed ; 
 left arm resting on the pillar, and supporting her head ; white dress, blue skirt, sash, and 
 bow ; her left hand holds the end of a white scarf, which is thrown over her head. This 
 is the companion portrait to that of the lady's husband, and was probably painted about 
 the same time. It was at the National Portrait Exhibition 1867, and the Royal 
 Academy, 1884. 
 
 Canvas, 88 X 57 inches. 
 
 76. Landscape, with Cattle and Figures. 
 
 Lent by John Rohde, Esq. 
 
 Small version of No. 50. 
 Canvas, 29 X 38 inches. 
 
 77. A Landscape, with Cattle. 
 
 Lent by W. R. M. Thoyts, Esq. 
 
 Eight cows grouped near the front ; on our left a shattered tree leans towards the 
 centre. A herdsman, a woman, and a dog are on our right. 
 
 This picture was exhibited at the Royal Academy in 1876, with the above title. 
 
 Canvas, 49 X 39 inches, 
 
 78. Admiral, and the First Viscount Hood, K.C.B. 
 
 Lent by the Ironmongers'' Company. 
 
 Samuel Hood, the eldest son of the Rev. Samuel Hood, Vicar of Butley and Thorn- 
 combe, Somersetshire, was born December 12, 1724, at the latter place. His brother was 
 Alexander, Viscount Bridport, another famous sea commander. S. Hood entered the 
 
pyest Gallery, 43 
 
 Navy in 1740 ; captured the " Belliqueux," 1757, and the " Bellona," 1759 ; was made a 
 baronet in 1779; in the " Barfleur" commanded the van in Rodney's action, August 12th, 
 1782, when Count de Grasse was defeated ; created Baron Hood, 1782 ; elected M.P. for 
 Westminster, in opposition to Fox, 1784-8, and again in 1790; Lord of the Admiralty, 
 1788; commanded the Mediterranean Fleet, and took Toulon and Corsica, 1793-4; created 
 Viscount Hood, 1796 ; died at Bath, January 27, 1816, aged 92. 
 
 Vice-Admiral Sir Samuel Hood, M.P. for Westminster in 1806, is frequently 
 confounded with his cousin above named ; he died in India, in 1814. 
 
 Gainsborough painted this portrait for the Admiral ; it is one of the most highly 
 finished of his works; it was presented by Hood to the Ironmongers' Company in 
 acknowledgment of his being admitted to its freedom, November 27, 1784, when, 
 attended by thirteen brave captains who had shared his great victory of 1782, he dined 
 with the Company. A copy of this picture was made by Mr. Wood, in 1825, for the Com- 
 missioners of Greenwich Hospital. Abbot, Northcote, and West, painted portraits of this 
 Admiral. Reynolds, in a picture now belonging to Lord Bridport, and engraved by 
 J. Jones in 1783, represented Lord Hood to the knees, as leaning on a rock. This 
 Reynolds is engraved in Lodge's " Portraits." 
 
 Whole-length, in an Admiral's uniform, one arm resting on the fluke of an anchor, 
 and holding a telescope. 
 
 Canvas, 50 X 40 inches. 
 
 79. Small Copy, by Gainsborough, of the Equestrian Portrait 
 OF Charles I. at Blenheim. 
 
 Lent by J. C. Robinson^ Esq. 
 
 Gainsborough, who was famous for his skill in making copies from pictures by the 
 ancient masters, exercised his skill in reproducing landscapes by Wynants, figures by 
 Rembrandt, Titian, Velazquez, and Murillo, and portraits by Van Dyck. Of the last, 
 this is a capital example. The original has been lately acquired from the Duke of Marl- 
 borough for the National Gallery. 
 
 Canvas, 17^ X 14 inches. 
 
 80. Mrs. Gainsborough, born Margaret Burr. 
 
 Lent by Mrs. Sharpe 
 
 Mrs. Gainsborough's birth-name was Margaret Burr ; she is said to have been of 
 
44 
 
 West Gallery. 
 
 Scottish extraction, and to have suddenly appeared to the artist while he was painting a 
 landscape in a Suffolk wood, and, being very beautiful, to have been, without loss of time, 
 represented in the picture. The latter part of this story may be true, but the former is 
 unlikely to be so. She was the sister of a commercial traveller in the employ of Gains- 
 borough's father, the clothier or " shroud maker. " The memory of Miss Burr's extraordinary 
 beauty is still," said Fulcher, in his " Life of Gainsborough," p. 33, " preserved in Sudbury ; 
 and that a beautiful girl should wish to have her portrait painted by her brother's young 
 friend naturally followed as cause and effect. The sittings were numerous and protracted, 
 but the likeness was at last finished, and pronounced by competent judges, perfect. The 
 young lady expressed her warm admiration of the painter's skill, and in doing so, gave 
 him the gentlest possible hint that perhaps in time he might become the possessor of the 
 original. On this hint he spoke, and, after a short courtship, was rewarded by her hand, 
 and with it an annuity of ;£"2oo." She was said to be the natural daughter of one 
 of our exiled princes (the Stuarts); nor was she, when a wife and a mother, desirous of having 
 this circumstance forgotten." She is said to have boasted, " I am a prince's daughter." 
 It is understood that the source of her annuity was mysterious. Thomas Green, of 
 Ipswich, in his " Diary of a Lover of Literature," stated that she was a natural daughter 
 of the Duke of Bedford. As she sat to Gainsborough when eighteen years old, and when 
 he was nineteen, the year of their marriage must have been 1746. vShe may have been a 
 daughter of Wriothesley, third Duke of Bedford, or of John, his brother, the fourth duke, 
 whose portrait, by Gainsborough (lent by the Duke of Marlborough, from Blenheim), is 
 No. 38. A fine half-length portrait of Mrs. Gainsborough was contributed by Mr. 
 William Sharpe to the National Portrait Exhibition, 1868. See Mrs. W. Sharpe's loan to 
 the present exhibition, a portrait of " Mrs. Gainsborough," No. 108. According to 
 Fulcher, p. 209, the same owner had another portrait of the lady, of a later date, 
 and " exquisitely painted : " this was a head. 
 
 Gainsborough more than once painted himself and his wife in a group. Her 
 beauty made so great an impression on their neighbours, that when they arrived 
 at home from London, after marriage, " An old servant of the family was sent by 
 the painter's father to meet the bride and bridegroom. On his return, announcing their 
 near approach, the old man gave it as his opinion that ' Master Tommy's wife was hand- 
 somer than Madame Kedington,' then the belle of the Sudbury neighbourhood " (Fulcher, 34). 
 On p. 155 is a pretty story of the lady and her husband: " Soon angry, he was soon 
 appeased, and, if he was the Jfirst to offend, he was the first to atone. When he spoke 
 crossly to his wife, a remarkably sweet-tempered woman, he would write a note of repent- 
 ance, sign it with the name of his favourite dog, 'Fox,' and address it to his Margaret's 
 pet spaniel, 'Tristram.' Fox would take the note in his mouth and duly deliver it to 
 Tristram. Margaret would then answer : " My own dear Fox, you are always loving and 
 good, and I am a naughty little female ever to worry you, as I too often do ; so we will 
 
fVest Gallery. 
 
 45 
 
 kiss and say no more about it. Your own affectionate ' Tris.' " " Fox " was probably 
 related to K. F. Abel's " Pomeranian Dog and Puppy," see that title in this catalogue, 
 No. 113. 
 
 When Gainsborough died his wife made a collection of his remaining works at their 
 residence, the western wing of Schomberg House, in Pall Mall, March 30, 1779. Those 
 examples which were not sold by this means were dispersed at auction by Mr. Christie, 
 see No. 67, June 2, 1792. Mrs. Gainsborough died December 17, 1798, and was buried in 
 the same grave, in Kew Churchyard, with her husband and his maternal nephew, Gains- 
 borough Dupont, who died January 20, 1797. The plain stone over these graves having 
 become decayed, was restored by E. M. Ward, R.A. For Gainsborough Dupont, see 
 No. 146. 
 
 Canvas, 30 X by 25 inches. 
 
 81. George IV., when Prince of Wales. 
 
 Lent by Wentivorth Blackett Beaumont^ Esq. 
 
 Bought at Mr. S. Mendell's sale. 
 Canvas, 30 X 25 inches: oval 
 
 82. The Wood Gatherers. 
 
 Lent by the Earl of Carnarvon, 
 
 Canvas, 58 X 46 inches. 
 
 83. Portrait of a Lady, probably the Duchess of Gloucester. 
 
 Lent by Edmund H. Turton, Esq, 
 
 Canvas, 50 x 40 inches. 
 
 84. Philip Dormer Stanhope, Fourth Earl of Chester- 
 
 field, K.G. 
 
 Lent by the Earl Stanhope. 
 
 The celebrated statesman, and author of" Letters to his Son," was the eldest son of 
 Philip, third Earl of Chesterfield, and Lady Elizabeth Savile, daughter of the Marquis of 
 
46 
 
 West Gallery. 
 
 Halifax. He was born in London, September 22, 1694; educated at Trinity Hall, Cam- 
 bridge ; was elected M.P. for St. Germains, 17 14, and later for Lostwithiel ; and succeeded 
 to the title in 1726. He was sent as Ambassador to Holland in 1728 and 1745 ; became 
 K.G. and Lord Steward of the Household in 1730; wrote in " The World," and against 
 Walpole in " The Craftsman ; " his " Political Characters " is well known. He was made 
 Lord Lieutenant of Ireland in 1745 ; was Secretary of State from 1746 to 1748 ; and 
 declined a dukedom on finally retiring from office. He was closely connected with Pope, 
 whom he was accustomed to visit for a week at a time at Twickenham. It was in his 
 anteroom Dr. Johnson waited. He married Melusina de Schulemberg (natural daughter 
 of George the First), Countess of Walsingham, died, without legitimate issue, March 
 24, 1773, and was buried at Shelford, Nottinghamshire. 
 
 This painting, the last for which the statesman sat, was included in the National 
 Portrait Exhibition, 1867, and was engraved by E. Bell. Hoare's portrait of the Earl^. 
 which is in the National Portrait Gallery, has been repeatedly engraved ; by its means 
 his appearance is best known. A whole-length portrait, entitled " A Nobleman," by 
 Gainsborough, said to be that of Lord Chesterfield, was No. 1x2 in the Academy 
 Exhibition of 1778, with likenesses of the Duchess of Devonshire, Mrs. Dalrymple, Clara 
 Heywood, Mr. Christie and others, whose names are not known; likewise two landscapes. 
 Several of these examples are in the present collection. 
 
 The Earl is represented in Hogarth's " The Times, Plate II.," which was engraved 
 in 1762, although it was not published till long after. 
 
 In " Maloniana" is a characteristic anecdote. The late Lord ChevSterfield's buns mots 
 were all studied. Dr. Warren, who attended him for some m.onths before his death, told 
 me, says Malone, he had always one ready for him each visit, but never gave him a second 
 on the same day. 
 
 Bust, wearing the ribbon and Star of the Garter; he rests his right hand on a 
 volume inscribed "Cicero de Senectute." The picture bears the words, "Aged 76,. 
 date 1769." This picture was presented by the Earl to Grizel, second Countess Stanhope.. 
 See " Charles, third Earl Stanhope," No. 8. 
 
 Canvas, 30 X 25 inches. 
 
 85. A Lady, Name Unknown, 
 
 Half-length, life-size. 
 Canvas, 30 X 26 inches. 
 
 Lent by Louis Hnthj Esq. 
 
West Gallery, 
 
 47 
 
 86. 
 
 Jack Hill in a Wood. 
 
 Lent by R. K. Hodgson, Esq. 
 
 The history of this picture is given in a note on the companion work, "Jack Hill in 
 his Cottage." No. 95. 
 
 Full-length; the boy stands in a dark wood, holding a cat. 
 The picture was engraved by Gainsborough Dupont. 
 
 Canvas, 14 X 18 inches. 
 
 87. The Painter's Younger Daughter, Mary, afterwards 
 Mrs. Fischer. 
 
 88. Mr. John Firman, of Witham, Essex. 
 
 Lent by George Josselyn, Esq, 
 
 This gentleman was one of the sons of Mr. William Firman, of Wiston, Suffolk 
 died in 1746 ; his sister, Hannah, married Mr. John Josselyn. The picture was bequeathed 
 by Mr. John Firman to his only daughter, Elizabeth, Comtesse de Vendes. In the church 
 of Hatfield Broad-Oak, Essex, is a tablet inscribed : — " To the memory of Mr. John 
 Firman, of Witham, m this county, who died August 31st, 1791, aged 78, a man dignified, 
 whose manners were worn with the simplicity of a patriarch, and whose life exemplified 
 the virtues of a Christian." This picture was at the Royal Academy in 1880. 
 
 Bust, nearly full-face ; brown coat ; dark background. 
 
 Canvas, 29 X 24 inches. 
 
 Lent by Robert Loder, Esq. 
 
 This lady appears in " The Harvest Waggon,'' No. 33. 
 Canvas, 31 X 27^ inches. 
 
 89. 
 
 Mrs. Hingeston. 
 
 Lent by Edicard Milles Nelson, Esq. 
 
 Wife of the Rev. James Hingeston. No. 94. 
 Canvas, 29 x 24 inches. 
 
48 
 
 West Gallery. 
 
 go. A Landscape — Blind Man crossing a Bridge. 
 
 Lent by Sir George Beaumont ^ Bart., M.P. 
 
 a small stream, crossed by a rustic bridge, on which is the figure of a blind man led 
 by a dog; mass of foliage on the right, with light shining through. 
 
 Canvas, 40 X 50 inches. 
 
 91. Portraits of the Painter's Daughters. 
 
 Lent by S. Wliitbread, Esq. 
 
 Canvas, gi X 59 inches. 
 
 92. Portrait of Miss Gainsborough. 
 
 Lent by John Corbett, Esq. 
 
 Canvas, 30 X 25 inches. 
 
 93. John, Fourth Earl of Darnley, b. 1767 ; d. 1831. 
 
 Lent by the Earl of Darnley. 
 
 Canvas, 30 X 25 inches. 
 
 94. The Rev. James Hingeston, Vicar of Raydon, Suffolk. 
 
 Lent by Edward Milles Nelson, Esq. 
 
 This is an example of the earliest stage of Gainsborough's skill, having been, like 
 the other portraits of the Hingeston family, painted for the Rev. James Hingeston himself. 
 Between Gainsborough and this gentleman a life-long friendship was maintained, which 
 extended to all members of the family. The other works in this category are {a) the 
 portrait of Mrs. Hingeston, No. 89; {h) the same when old, No. 120, which is believed 
 to be one of the latest productions of the artist; {c) the portrait of "John Hingeston.,. 
 M.D.," son of the above; and [d) " A Landscape, Suffolk," No. 208. 
 
 Fulcher, in his " Life " of the artist, while describing the early labours of his 
 subject, wrote as follows : — " Gainsborough's pencil was now occasionally employed 
 in sketching the mansions and parks of the country gentlemen, and more frequently 
 
49 
 
 in portraying the persons of their wives and daughters. He was hospitably 
 entertained at their houses, and money began to flow in. Among others, he 
 visited the kindly abode of Mr, Hingeston, a clergyman residing near Southwold. 
 That gentleman's son, in a letter to a friend, observes: 'I remember Gains- 
 borough well, he was a great favorite of my father; indeed, his affable and agreeable 
 manners endeared him to all with whom his profession brought him in contact, either at 
 the cottage or the castle; there was that peculiar bearing which could not fail to leave a 
 pleasing impression. Many houses in Suffolk, as well as in the neighbouring county 
 were always open to him, and their owners thought it an honour to entertain him. I 
 have seen the aged features of the peasantry lit up with a grateful recollection of his 
 many acts of kindness and benevolence. My father's residence bears testimony alike to 
 his skill as a painter, and his kindness as a man ; for the panels of some of the rooms are 
 adorned with the productions of his genius. In one, is a picture of Gainsborough's tw o 
 daughters, when young; they are engaged in chasing a butterfly; the arrangement of the 
 figures, and the landscape introduced in the background, are of the most charming descrip- 
 tion. There are several other drawings, all in good preservation, and delineated in his 
 happiest manner.' A relative of Mr. Hingeston is the fortunate possessor of some of 
 Gainsborough's works. Amongst them are two portraits — one, taken when he commenced 
 painting, the other, executed towards the close of his career ; affording ample means of 
 marking his progress and improvement in the art." 
 
 The portrait now before the reader, and that of Mrs. Hingeston when young, are 
 contemj)orary examples, produced when the painter and his sitters were in the earlier 
 stage of their friendship, as described by Fulcher's correspondent. The pedigrees of these 
 examples are not to be questioned ; the paintings having been in the possession of the 
 family concerned without a break during more than a century. They have never been 
 " restored '" or tampered with. Attached to the portrait of Mrs. Hingeston, when old, is 
 usually a gldss case, containing the identical shawl she wore while being painted. 
 
 Canvas, 30 X 25 inches. 
 
 95. Jack Hill in his Cottage. 
 
 Lent by R. K. Hodgson^ Esq, 
 
 Fulcher, in the " Life of Gainsborough," 1856, thus relates the history of this picture: 
 " During the summer months, Gainsborough had lodgings at Richmond, and spent his 
 mornings and evenings in sketching its picturesque scenery. When in his walks he saw- 
 any peasant children that struck his fancy, he would send them to his painting room,, 
 leaving their parents very substantial proofs of his liberality. On one occasion he met a 
 
50 
 
 West Gallery, 
 
 boy named Jack Hill, on whom nature had bestowed a more than ordinary share of good 
 looks, with intelligence rarely found in a woodman's cottage. Gainsborough looked at 
 the boy with a painter's eye, and, acting as usual from the impulse of the moment, offered 
 to take him home and provide for his future welfare. ' Jack Hill,' as Gainsborough 
 always called him, was at once arrayed in his Sunday best and sent with the gentleman, 
 laden with as many virtuous precepts as would ' have filled a copy-book.' Mrs. 
 Gainsborough was delighted with the boy, and the young ladies equally rejoiced 
 in such a good-looking addition to their establishment. Mrs. Fischer, indeed, 
 talked of adopting him. But whether, like the wild Indian of the prairie. Jack pined for 
 the unrestrained freedom of his native v/oods — the blackberries and the roasted sloes; or, 
 what is more likely, feared chastisement for his many ungrateful doings, after a brief trial 
 he ran away, and though brought back and forgiven by his kind-hearted master, he 
 wilfully threw away a much better chance than Dick Whittington started with. At 
 Gainsborough's death his widow kindly procured for Jack an admission into Christ's 
 Hospital." See the companion picture, "Jack Hill in a Wood," No. 86. This work was 
 engraved by Gainsborough Dupont. 
 
 Full-length ; the boy stands in front of a large fire, extending his hands for its 
 warmth; his sister sits on the floor, eating from a wooden bowl. 
 
 Canvas, 14 X 18 inches. 
 
 96. Lady Mary Bowlby. 
 
 Lent by George Richmond^ Esq.. R.A. 
 
 This lady was the younger daughter of George, third Earl of Cardigan, by Lady 
 Elizabeth Bruce, daughter of Thomas, third Earl of Ailesbury (see " Mary, born Montagu, 
 Duchess of Montagu," No. 28), and sister of George, fourth Earl of Cardigan, who 
 became Duke of Montagu, of the second creation. She married, first, Richard Powys, 
 Esq., of Northamptonshire, by whom she had two daughters, afterwards the Countess of 
 Courtown, and Viscountess Sydney. Lady Mary married, secondly, Thomas Bowlby, 
 Esq., a Commissioner of Excise from 1765 till 1774, and a member of the Dilettanti 
 Society, who sat to Reynolds in 1766. Lady Mary and her husband were much in 
 the world during the third quarter of the last century, so that we have glimpses of them 
 moving with well-known personages. Walpole, going to the Duke of Northumberland 
 at Sion House, which was then " becoming another Mount Palatine," met the Bowlbys 
 in August, 1764, with *'the Primate (Stone), who looks old and broken enough 
 to aspire to the Papacy." At his other " neighbour's," as he called her, Mrs. 
 Anne Pitt, the minister's pensioned sister, the letter-writer, not only saw the 
 
West Gallery. 
 
 51 
 
 Misses Pelham " sit neglected, without being asked to dance " — they fell with the 
 Minister, Duke of Newcastle — but he had a chat with Lady Mary Bowlby, 
 who " gave me a commission, a genealogic one, from my Lady Hertford, which 
 I will execute to the best of my power.'" He then gave one of those satiric touches 
 which charmed his correspondents, but tax our memories ere they are understood. This 
 touch occurred in the next line of the letter to the Earl of Hertford which is here in 
 question, and was given with reference to the pedigree of the Ailesbury family, to which 
 Lady Mary Bowlby belonged. " I am glad," added Walpole, " my part is not to prove 
 eighteen generations of nobility for the Bruces ; I fear they have made some mesalliances 
 since the days of King Robert — at least, the present Scotch nobility are not less apt to go 
 to Lombard Street than the English." Many years after this, Mrs. Delany met Lady Mary 
 and Mr. Bowlby attending upon Lord Brudenell, who was in great distress on account of the 
 death of Lady Anne, his wife, which occurred a week before (January 19, 1786), when the 
 writer addressed Lord Guildford with a sorrowful story. 
 
 This picture was at the British Institution in 1858, and at the Academy in 1872. 
 
 Canva-6, 27 X 24J inches. 
 
 Anne, Duchess of Cumberland, born Luttrell, afterwards 
 
 HORTON. 
 
 Lent by the Lord Wenlock. 
 
 The elder daughter of Simon Luttrell, Baron Irnham, Viscount and Earl of 
 Carhampton, who died in 1787. The lady married, first, Christopher Horton, Esq., of 
 Catton Hall, Derbyshire, and secondly, October 2, 177 1, Henry Frederick, Duke of Cum- 
 berland, brother of George HL She died in 1803. 
 
 Walpole, in "Memoirs of the Reign of George HL," 1845, P- 357' delineated 
 this lady in his best manner. " She was daughter of Simon Luttrell, Lord Irnham, and 
 had married a gentleman of fortune, with whom she had been in love ; and had the 
 misfortune of losing an only child, an infant daughter, and her husband within a fort- 
 night of each other, still covering her grief for the first to conceal the misfortune from the 
 last. She was rather pretty than handsome, and had more the air of a woman of pleasure 
 than of a woman of quality, though she was well made, was graceful, and unexceptionable 
 in her conduct and behaviour. But there was something so bewitching in her languishing 
 eyes, which she could animate to enchantment if she pleased, and her coquetry was so 
 active, so varied, and yet so habitual, that it was difficult not to see through it, 
 and yet as difficult to resist it. She danced divinely, and had a great deal 
 of wit, but of the satiric kind ; and, as she had haughtiness before her rise, 
 
52 
 
 IVest Gallery, 
 
 no wonder she claimed all the observances due to her rank after she became 
 Duchess of Cumberland. It had been believed that she would marry General Smith, 
 a very handsome, well-built young man ; but glory was her passion, and she 
 sacrificed her lover to it, as she had never sacrificed her virtue to her lover. Thus she, 
 in herself, was unexceptionable — at least, superior to the frailty of her sex, if not above 
 its little ambition. From her family, although ancient, she drew many disadvantages. Her 
 ancestors had been noted, and long odious in Ireland, for treachery, villainy, and arrogance. 
 Her father did not retrieve the honour of his blood, and though very brave in his person, and 
 tolerably brutal, had every other failure of his blood." Walpole was irritated because the 
 marriage of Mrs. Horton to the Duke of Cumberland had made the alliance of his own 
 niece. Lady Waldegrave, and the Duke of Gloucester less than ever acceptable to the 
 King. 
 
 This work was in the National Portrait Exhibition, 1867 ; at Leeds in 1868 ; and at 
 the Royal Academy in 1883. For the Duke of Cumberland, see No. 26; for Mr. 
 Christopher Horton, see No. 159. 
 
 The Royal Marriage Act was passed to restrain the alliances of members of the 
 royal family, in consequence of the union of this lady with the Duke. 
 Life-size to the waist, looking to our left, arms crossed, low dress. 
 
 Canvas, 36 X 28 inches. 
 
 •98. The Cottage Door. 
 
 Lent by the Duke of Westminster, K,G, 
 
 This is one of the most admired works of its class by Gainsborough. Fulcher stated 
 that it is one of the artist's latest productions. It was bought by T. Harvey, Esq., of 
 Catton, Norfolk, in 1786 ; sold to Mr. Coppin, of Norwich, in 1807 ; and subsequently to Sir 
 John Leicester, Bart., afterwards Lord de Tabley, at the sale of whose collection, in 1827, 
 it was bought by Earl Grosvenor for 500 guineas. It has been engraved more than once, 
 noteworthily by Scott, in Britton's "Fine Arts of the English School." 
 
 This picture may have been exhibited at the Royal Academy during Gainsborough's 
 life with a ^general title, such as " Landscape; " but it has not been identified in a public 
 exhibition previous to 1834, when, with a selection of pictures from the Grosvenor Gallery, 
 including " The Blue Boy," see No. 62, it appeared at the British Institution; it was in 
 the same place in 1859, at the International Exhibition in 1862, and at the Royal Academy 
 in 1871. 
 
 It represents an old cottage on the bank of a small stream, and closely surrounded by 
 trees; a shattered oak is in front at the side of the canvas; a mother, with a baby in her 
 
l^Fest Gallery. 
 
 53 
 
 arms, stands surrounded by children, five in number, one of whom kneels with his back 
 towards us, while his neighbour, a little boy, feeds himself from ajar with a spoon. 
 
 There are several repetitions of this subject, see " The Cottage Door," No. 192, the 
 property of Mr. Daubuz. The Earl of Normanton lent another to the Royal Academicians 
 in 1882, No. 177, which was hung in the same room with the last named, numbered 172. 
 
 Canvas, 50 X 46 inches. 
 
 99 William, Tenth Baron Cathcart. 
 
 Lent by the Earl Cathcart, 
 
 William Schaw, tenth Baron Cathcart, afterwards first Earl Cathcart, a member of 
 one of the most ancient noble families in Scotland, was the eldest son of Charles, ninth 
 baron, called " Cathcart of Fontenoy," whose portrait with a scarred face, by Reynolds, 
 was No. 137 in this Gallery last year. The tenth baron, born 1755, Major-General 1794, 
 Lieut. -General 1801, was the brother of Gainsborough's beautiful subject, Mary Cathcart, 
 who married Sir Thomas Graham, afterwards Lord Lyndoch ; Mrs. Graham's picture is 
 now in the National Gallery, Edinburgh. The portrait before us was originally finished 
 in a peer's robes, and was returned to the artist to alter the costume to a military uniform, 
 which was dashed in at a sitting, and appears now characteristically unfinished. The 
 matter was overlooked, and the portrait remained in Gainsborough's studio until his 
 death, when it was returned to the family. 
 
 The peer represented in this picture was originally bred to the law ; he never got 
 more than one brief, and that related to a woman who was indicted for murder and was 
 condemned to death. He galloped to London, aod showed cause enough to induce the 
 authorities to grant a reprieve ; ultimately she was saved. Lord Cathcart had no more 
 to do with the law, and devoted himself thenceforward to arms. 
 
 Lord Cathcart was Commander-in-Chief of the expedition to Copenhagen in 1807, 
 and, on his return from the successful performance of that duty, was created Viscount Cath- 
 cait and Baron Greenock. He lived as Ambassador at St. Petersburg during several 
 years. In 1814 he was advanced to the dignity of Earl Cathcart. He was Vice- 
 Admiral of Scotland. His fourth son. General Cathcart. was killed at Inkerman. His 
 sister, Louisa, was Countess of Mansfield, whose portrait, by Romney, is that artist's 
 masterpiece. The Earl died in 1843. 
 
 Canvas, 42 X 52 inches. 
 
54 
 
 100. Rt. Hon. George Canning, as a Young Man. 
 
 Lent by the Marquis of Clanricarde, 
 
 This statesman and orator was born in London, April ii, 1770; his father, who bore 
 the same name, being the eldest son of Stratford Canning, Esq., of Garvagh, County 
 Londonderry, and uncle of George, first Lord Garvagh ; his mother was Miss Mary Anne 
 Costello, of Wigmore Street, London, who survived her husband, and was twice re- 
 married. His father died in 177 1. The above alliance was considered an improvident 
 one, and led to the disinheriting of the bridegroom. The son of this union was educated, 
 first at Hyde Abbey School, afterwards at Eton, where he began to write verses. Soon 
 after leaving Eton, in 1787, this portrait must have been painted. It is therefore among 
 the latest of the works of Gainsborough, who died in 1788. From Eton young Canning 
 went to Christ Church, Oxford, where he became acquainted with Sheridan and Mr. 
 Jenkinson, afterwards Earl of Liverpool, his life-long friend. Entering Parliament in 
 1793, he rapidly rose to be Secretary of State, Ambassador to Portugat, President of the 
 Board of Control, was nominated for the Governor-Generalship of India, and, in 1827, he 
 became First Lord of the Treasury and Chancellor of the Exchequer. Overborne by 
 anxiety and work, he died, August 8, 1827, at Devonshire [House, Chisvvick (where C. 
 J. Fox died), and was buried in Westminster Abbey. 
 
 This portrait was exhibited at the Royal Academy in 1884. 
 
 Half-length, nearly facing the spectator; head slightly to our left; long hair falling 
 over the shoulders; fancy dress ; dark background. 
 
 Canvas, 28 X 23 inches : oval. 
 
 101. Thomas Pennant, Esq., F.R.S. 
 
 Lent by the Earl of Denbigh.. 
 
 The well-known naturalist and antiquary, descended from an ancient Welsh family, 
 was born at Downing, Flintshire, in 1726 ; educated at Wrexham, Fulham, and Queen's 
 and Oriel Colleges, Oxford ; corresponded with Linnaeus and Buffon ; wrote " British 
 Zoology," 1761 ; F.R.S., 1767; published " Synopsis of Quadrupeds," 1771 ; "Tour in 
 Scotland," '* Arctic Zoology," 1784-1787. Collected a considerable number of prints 
 and manuscripts on topography and natural history, of which an illustrated " History of 
 London," now in the Print Room, British Museum, remains of service to topographers. 
 Died, December i6th, 1798. 
 
 This picture was at the National Portrait Exhibition, 1867. 
 
55 
 
 Half-length, to our right, wearing the Windsor uniform ; holding a book under his left 
 
 arm. 
 
 Canvas, 37 x 29 inches. 
 
 102. A SMALL Landscape. 
 
 Lent by the Viscount Clifden. 
 
 A sandy landscape, with a knoll in the middle distance, on it is a thatched cottage; 
 three figures near the foreground, behind them two trees; in the distance, a church 
 with a tower and spire. 
 
 Canvas, 9^ X 12 inches. 
 
 103. Miss Tyler, of Bath. 
 
 Lent by the Lord Bateman. 
 
 This lady, a daughter of Dr. Tyler, Rector of Shobdon, was one of the aunts of 
 Robert Southey, and his autobiography contains, with some amusing matter of the like 
 kind, the following passage respecting her: — "The walls of her drawing-room were 
 covered with a plain green paper, the floor with a Turkey carpet ; there hung her own 
 portrait, by Gainsborough, with a curtain to preserve the frame from flies, and the colours 
 from the sun. She was remarkably beautiful, so far as any face can be called beautiful 
 in which the indications of a violent temper are strongly marked." " No such indications, 
 however," remarked Fulcher, in his " Life of Gainsborough," " appear in Mr. 
 H. Robinson's admirable engraving from Gainsborough's portrait, which illustrates vol. i\-. 
 of Soulhey's ' Life.' " 
 
 Southey lived in childhood at Bath, in the house of this lady, whose habits he de- 
 scribed as of a very eccentric nature, developing into a passion for theatrical performances. 
 This picture was in the Academy in 1881. 
 
 Half-length figure, seated, leaning her head on her left hand, and looking up; wear- 
 ing a pink dress and low bodice ; placed before a red curtain. Fulcher, as above, stated, 
 in 1856, that this picture was in the possession of Mrs. S. E. Browne. 
 
 Canvas, 24 x 29 inches. 
 
 104. The Hon. Mrs. Willl\m Bateman, Wife of The Hon. 
 
 William Bateman, Brother of John, Second Viscount 
 Bateman. 
 
 Lent by the Lord Bateman. 
 
 Canvas, 30 X 25 inches. 
 
56 IVest Gallery. 
 
 105. The Rev. Samuel Raymond. 
 
 Lent by the Rev. John Mayne St, Clere Raymond. 
 
 The Rev. S. Raymond was the grand-nephew of William Raymond, Esq., of 
 Belchamp Hall, near Sudbury, and father of Isabella, Countess of Dundonald, for whom 
 see her portrait. No. 158. 
 
 Canvas, 30 X 25 inches. 
 
 106. The Pack Horse Bridge. 
 
 Lent by T, Hardcastle, Esq. 
 
 Packhorses are passing on a bridge towards a road, and accompanied by two riders; 
 a shattered tree trunk is on our left at the front. 
 A well-known work of this artist. 
 Pack horses and figures crossing a stream. 
 Exhibited at the Royal Academy in 1883. 
 
 Canvas, 11^ x 132 inches. 
 
 107. William Pearce, Esq. 
 
 Lent by J. Rubens Powell^ Esq, 
 
 Mr. Pearce was an intimate friend of Gainsborough, and when the former was 
 married the artist painted his portrait as a wedding present. Mr. Pearce lived till he was 
 more than ninety years of age ; at his death this picture passed to his only daughter, who 
 married a Mr. Luck ; after her death her husband sold it to the present owner. 
 
 Mr. Pearce was a particular friend of Gainsborough ; this artist wrote to him a letter, 
 printed in Fulcher's "Life," p. 128, stating that {c. 1783) "I don't know if I told you that 
 I'm going with a Suffolk friend to visit the Lakes in Cumberland and Westmoreland, and 
 purpose, when I come back, to show you that your Grays and Dr. Browne were tawdry fan- 
 painters. I propose to mount all the Lakes at the next Exhibition, in the great style — and you 
 know if the people don't like them, 'tis only jumping into one of the deepest of them from 
 off a wooded Island, and my reputation would be fixed for ever." Before the Exhibition 
 of 1784 was [opened to the public, Gainsborough quarrelled with the Academicians, and 
 exhibited pictures with them no longer. Dr. Brown was, according to Fulcher, said to 
 have been the first person who directed public attention to the beauty of the Lakes ; he was 
 the author of "An Estimate," and many other works. Gainsborough was one of the first 
 to visit the Lakes with the feelings of a true painter for their picturesque elements. 
 
JVest Gallery. 
 
 57 
 
 To Mr. Pearce the artist wrote that which, so far as we now know, was his latest 
 letter. It refers to enquiries made by the recipient and his wife during the painter's 
 illness which proved the last: — "Wed. morning. My dear Pearce, — I am extremely 
 obliged to you and Mrs. Pearce for your kind enquiries ; I hope I am getting better, as the 
 swelling is considerably increased and more painful. We have just received some cheeses 
 from Bath, and beg the favour of you to accept two of them. My dear Pearce, Ever yours 
 sincerely, Thos. Gainsborough." Such is the letter, as quoted by Fulcher, p. 147, without 
 a date, except a statement that it must have been written as above. 
 
 This is probably the Mr. Pearce, of Bath, to whom Sir C. Hanbury William addressed 
 "A grateful Ode," acknowledging the "extraordinary kindness and humanity he had 
 shown to the writer and his daughter, afterwards Countess of Essex, the lady whose 
 portrait, by Reynolds, was in the Grosvenor Exhibition last year. Mr. Pearce was a 
 surgeon or physician; Sir C. H. Williams styled him the " well-natur'd Pearce." 
 
 Canvas, 24I x 2of inches. 
 
 108. Miss Margaret Burr, afterwards Mrs. Gainsborough. 
 
 Lent by Mrs. Shavpe. 
 
 Canvas, 29 x 24-, inches. 
 
 109. A Woodland Scene. 
 
 Lent by the Right Hon, G. Cavendish Bentinck. 
 
 Edge of an oak shaw, in a sandy landscape ; oaks rise in a group from a bank on our 
 left, where a gleam of sunlight falls. A withered trunk, which has never been finished, is 
 in front on our right. 
 
 Canvas, 13J X 11^ inches. 
 
 110. Mrs. Grace Elliott, born Dalrymple. 
 
 Lent by the Duke of Portland, 
 
 Grace Dalrymple was born in Scotland, the youngest of the three daughters of Mr. 
 Hew Dalrymple, said to have been related to the Stair family, Attorney-General in the 
 Grenadas, and one of the barristers in the celebrated Douglas and Hamilton case. She 
 was educated in France, and when very young married Dr. John Elliott, afterwards a 
 baronet, a distinguished physician, who was much older than herself. She yielded to 
 temptation, was convicted of adultery, divorced, and her seducer condemned to pay heavy 
 
58 
 
 West Gallery, 
 
 damages. Having been taken to France, she returned to England with Lord Chohnondeley ; 
 met the Prince of Wales, had a daughter (? Georgina Augusta Frederica Seymour) who, 
 in 1808, married Lord Charles Bentinck, son of the third Duke of Portland, and died in 
 1813. About 1786, Mrs. Elliott againt went to France, where she met the Duke of Orleans,, 
 whose-mistress she became. She wrote an account of the events of the period, which was 
 published in 1859 as " Journal of my Life during the French Revolution," with a portrait 
 of the writer, engraved after Cosway. 
 
 Walpole gave a glimpse of this lady to Sir H. Mann, June 8, 1774 : — " I am sorry to 
 tell Mrs. (Anne) Pitt that her house at Knightsbridge has been led astray, the moment 
 she turned her back; see what it is to live in a bad neighbourhood! Pittsburgh, the 
 Temple of Vesta, is as naughty as Villa Kingstoniana; not that Dr. Elliott's pretty wife 
 has married another husband in his lifetime, but she has eloped with my Lord Valentia, 
 who has another wife (daughter of George, Lord Lyttelton) and some half-a-dozen 
 children. The sages of Doctors' Commons are to be applied to." Walpole added the 
 following note to this passage: — " Miss Dalrymple, wife of Sir John Elliott, the physician, 
 from whom she was divorced for many adulteries, and became a celebrated courtezan, 
 known by the name of Dolly the Tall. Sir John Elliott had bought Mrs. Anne Pitt's 
 villa at Knightsbridge, where the Duchess of Kingston (' Iphigenia ') and the Duke of 
 Rutland's mistress had villas also." Mrs. Elliott died at Ville d'Avray before 1830. 
 
 Her portrait, by Gainsborough, was engraved by J. Dean, and published by him, in 
 1779, as that of "Mrs. Elliott;" it is, therefore, not that "Portrait of a Lady," No. 115 
 in the Academy Exhibition of 1778, which is recorded to represent " Mrs. Dalrymple." 
 Fulcher says a portrait of "Miss Dalrymple" was at the Academy in 1782, and this is 
 confirmed by the records. The picture before us was at the British Institution in 
 i860, and at the International Exhibition, 1862. The Marquis of Cholmondeley has 
 another portrait of Mrs. Elliott, by Gainsborough, probably that which Dean engraved. 
 
 Whole-length, standing, directed to the front, facing the spectator, and looking to 
 our right; hair dressed high ; low dress; right hand holding her robe; left hand to her 
 breast. 
 
 Canvas, 29 X 25 inches. 
 
 III. William Jones, Esq. 
 
 Lent by J, W, North, Esq. 
 
 This portrait has been described as that of" W. Jones, Esq., great-uncle of the late 
 Miss Warre, of HestercombeTark, Taunton," The present owner bought it from the 
 Hestercombe Collection in 1872. 
 
 Canvas, 29 x 24 inches. 
 
IVest Gallery. 
 
 112. Fischer the Musician. 
 
 Lent by H.M. tJie Queen. 
 
 Johann Christian Fischer, a famous musician and speciaHst on the hautbois, became 
 acquainted with Gainsborough at Bath, during the prolonged residence of both in that city, 
 see " K. F. Abel," and "Felice di Giardini," as represented in this gallery; he frequented 
 Gainsborough's house during several years, and clandestinely married, in February, 1780, 
 this painter's younger daughter, Mary, whose portrait, by her father, is in this collection. 
 She was a woman of considerable personal attractions and somewhat wilful, irritable 
 temper; the pair separated after a sojourn together of no great length of time; she died in 
 1826. Fischer is reported to have dropped down dead while performing in a concert 
 before the queen, in 1800. 
 
 This portrait is said to have been painted for the composer about 1767-8. E. Edwards, 
 in "Anecdotes of the Painters," 1808, stated that "Fischer's portrait was for several months 
 exposed for sale in a shop of a picture-dealer in Catherine Street, Strand ; the painting 
 before us is, however, said to have been given to the Prince of Wales by Mrs. F'ischer, 
 after her husband's death. 
 
 F^ull-length, standing, resting on his right leg, the left leg crossed before the other ; 
 leaning on his elbow on a square pianoforte. He is turned to the right, his face almost in 
 complete profile ; the eyes upturned ; crimson coat of velvet, white stockings. In front of 
 him are an open music book and a hautbois, behind him, on a chair, a violin. On the 
 piano is the maker's name on a tablet, Merlin, Londoiii fecit.'''' Merlin's portrait was 
 among the latest exhibited works of Gainsborough, see " Thomas Gainsborough, R.A.," 
 No. I. 
 
 Mr. Hipkins has kindly supplied the following note on a man whom Gainsborough 
 painted, and who worked for F'ischer : — "Joseph Merlin was a pianoforte maker and a 
 mechanician of remarkable ingenuity. According to Dr. Busby he contrived skates to 
 run on wheels, and at a masquerade given by Mrs. Conellys, at Carlisle House, Soho, 
 he, while thus mounted, had the bad luck to run against a mirror of great value, 
 smashing it and his violin to pieces, and wounding himself severely. He had, in 
 Princes' Street, Hanover Square, a museum of musical instruments and various inventions, 
 which was known as " Merlin's Cave." Messrs. Broadwood & Co. still possess a square 
 piano, combined with an organ, made by him. Merlin was born in 1735, at Huy, on the 
 Meuse. After living in Paris he came to London, in 1760, in the suite of the Spanish 
 Ambassador, with whom he lived for some time in Soho Square. In 1768 he became 
 Director of Cox's Museum in Spring Gardens. 
 
 F\ilcher, in his " Life of Gainsborough," and Angelo, in his " Reminiscences," 
 repeatedly mention Fischer, and describe his actions, character, and career. This picture 
 was exhibited at the Academy in 1877. 
 
 Canvas, 8g X 56^ inches. 
 
6o 
 
 West Gallery. 
 
 113. A Pomeranian Dog and Puppy. 
 
 Lent by W. R. M. Thoyts, Esq. 
 
 Portraits of C. F. Abel's favourites ; the picture belonged to Gainsborough, and is 
 alluded to in " Nollekens and his Times," by J. T. Smith, 1828, i., p. 185. One Sunday 
 morning NoUekens and Smith called upon Gainsborough, at Schomberg House, Pall MalU 
 and found the artist listening to a violin. " He held up his finger to Mr. Nollekens as a 
 request for silence. Colonel Hamilton was playing to him in so exquisite a style, that 
 Gainsborough exclaimed, ' Now, my dear Colonel, if you will but go on, I will give you 
 that picture of the Boy at a Stile, which you have so often wished to purchase of me." 
 Mr. Gainsborough, not knowing how long Nollekens would hold his tongue, gave him a 
 book of sketches to choose two from, which he had promised him." * * "After he 
 had given Mr. Nollekens the two drawings he had selected, he requested him to look at 
 a model of an ass's head, which he had just made. Nollekens : 'You should model more 
 with your thumb ; thumb it about till you get it into shape.' " "What," said Gainsborough^ 
 " in this manner? " having taken up a bit of clay ; and looking at Abel's Pomeranian Dog, 
 which hung over the chimney-piece — " this way ?" " Yes," said Nollekens, " you'll do a 
 good deal more with your thumbs." Gainsborough turned to J. T. Smith, and handed the 
 model to him as a gift. The picture is before the reader. For Abel, see " K. F. Abel," 
 No. 46. 
 
 The picture was at the Royal Academy in 1876. 
 Canvas, 32 X 43 inches. 
 
 This lady was a daughter of Peter Johnson, Esq., Recorder of York. She married, as 
 his second wife, Sir John Eden, of Windlestone Hall, Durham. 
 This picture was at the Academy in 1878. 
 
 Half-length figure, seated, to our right, arms crossed; hair turned back and powdered ; 
 low lilac dress, with white trimming ; scarf over her shoulder. 
 
 Canvas, 2gJ X 24 inches. 
 
 115. Lord Frederick Campbell, Lord Clerk-Register of Scotland. 
 
 Lent by Major -General R. Mackenzie. 
 
 Lord Frederick Campbell was the third son of John, fourth Duke of Argyll, by the 
 beautiful Mary Bellenden, daughter of John, Lord Bellenden : 
 
 114. Dorothy, Lady Eden, born Johnson. 
 
IVest Gallery. 
 
 6r 
 
 smiling Mary, soft and fair as down. 
 
 She is mentioned otherwise, as by Gay : 
 
 Bellenden we needs must praise. 
 
 Who, as down the stairs she jumps. 
 Sings " Over the hills and far away," 
 Despising doleful dumps. 
 She, according to Walpole, " was never afterwards mentioned by her contemporaries, 
 but as the most perfect creattire they had ever known." Her son, who was born in 1733, 
 was M.P. for Glasgow and Ayrshire; Chief Secretary to Lord Townshend, when Lord 
 Lieutenant of Ireland in 1767; M.P.* for St. Canice ; Lord Clerk-Register of Scotland; 
 and holder of other offices. He died June 8, 1816. He married Mary, born Meredith, 
 widow of Lawrence, fourth Earl Ferrers, who was hanged at Tyburn in January, 1760. 
 Lady F. Campbell was burnt to death at Comb Bank, Kent, in 1807. 
 
 This picture was engraved by Gainsborough Dupont, the painter's nephew and pupil. 
 Half-length figure, facing the spectator, looking to our left ; holding his robe across his 
 breast with his right hand. 
 
 Canvas, 26 X 18 inches. 
 
 116. The Right Hon. Sir Charles Morgan, Bart. 
 
 Lent by the Equitable Assurance Society, 
 
 The Right Hon. Sir Charles Morgan, Bart., born in 1724, was Judge Advocate- 
 General from 1768 till 1806, and, for thirty-three years. President of the Equitable Life 
 Assurance Society, for whom this portrait was painted in 1783. Sir Charles was an 
 LL.D., M.P. for Brecon County in six Parliaments, created a baronet in 1792 ; he died 
 at Tredegar, December 7th, 1806. 
 
 This picture was in the National Portrait Exhibition, 1876. 
 
 Full-length, standing; hat in right hand. 
 
 Canvas, go X 60 inches. 
 
 117. A SMALL Landscape. 
 
 Lent by C. T. Praedy Esq. 
 
 A piece of waste land, at the edge of a shaw ; near it a pack horse ; a man sits on 
 the ground near the animal. 
 
 Canvas, 14 X 12^ inches. 
 
62 
 
 IVest Gallery. 
 
 Ii8. Elizabeth, Viscountess Bateman (when young), Wife of 
 John, 2nd Viscountess Bateman. 
 
 Lent by the Lord Bateman, 
 
 Canvas, 21 X 16 inches. 
 
 iig. Portrait of Dr. Johnson. 
 
 Lent by Sir Robert Loyd Lindsay, 
 
 Canvas, 29 X 24 inches. 
 
 120. Mrs. Hingeston. 
 
 Lent by Edward Milles Nelson^ Esq. 
 
 For a general history of this picture, which is believed to be one of the latest of 
 Gainsborough's portraits, see the account of the likeness of her husband, " The Rev. 
 James Hingeston," No. 94. She sat to Gainsborough many years before the work now 
 in question was executed ; see " Mrs. Hingeston, when Young," No. 8g. She died about 
 the same date as the artist. Attached to the frame of the work before us is usually a 
 case containing the shawl in which the lady was painted on this occasion. See the 
 portrait ot the lady's son, "John Hingeston, M.D.," No. 147. 
 
 This picture was exhibited at the Royal Academy in 1877, ^ ^^an from the present 
 owner. 
 
 A life-size figure, wearing an Indian shawl with green sprigs and a red border ; dress 
 confined in front with three black bands with steel buckles ; white cap. 
 
 Canvas, X 24J inches. 
 
EAST GALLERY. 
 
 121. Hen and Chickens. 
 
 Lent by the Rev. Edward R. Gardiner. 
 
 Canvas, 23I X 25 inches. 
 
 122. Portrait of a Gentleman. 
 
 Lent by the Rev. Sir Talbot H. B. Baker ^ Bart. 
 
 Canvas, 28^ X 23J inches. 
 
 123. Portrait of a favourite Dog of Sir George Beaumont, 
 
 Bart. 
 
 Lent by Sir G. Beaumont, Bart. 
 
 Canvas, 17^ X 24 inches. 
 
 124. A Landscape, with Cows, &c. 
 
 Lent by the Trustees of the Duke of Newcastle. 
 
 A woodland glade, where cows, sheep, and goats are grouped, attended by a boy; two 
 milkmaids and a boy are in front; two dogs fighting in the foreground. 
 
 Canvas, 46J x 27 inches. 
 
64 
 
 East Gallery. 
 
 125. Portrait of Isabella Howland. 
 
 Lent by Sir G. Beaumont, Bart. 
 
 Canvas, 29 x 24 inches. 
 
 126. A Landscape — Possibly a copy from a Dutch Master. 
 
 Lent by Sir Robert G. W. Herbert, K.C.B. 
 
 Canvas, 40 X 50 inches. 
 
 127. Miss Susan Gardiner. 
 
 Lent by the Rev. Edward R. Gardiner. 
 
 Canvas, 24 X 21^ inches. 
 
 128. A Landscape. 
 
 Lent by William Agnew, Esq., M.P. 
 
 The brow of a hill, with broken woodland on right and left; in the centre a road, with 
 horse and cart, attended by peasants ; village in distance. 
 
 Canvas, 17 X 35 inches. 
 
 129. A View in Shropshire. 
 
 Lent by J. S, Morgan^ Esq. 
 
 A stream in the foreground of a richly illuminated landscape ; on the further bank are 
 two cows and a goat in the shadow of a mass of trees. In the distance is a conical hill ; 
 in the mid-distance a wooded country appears. 
 
 Canvas, 48 X 58 inches. 
 
 130. Boys and Fighting Dogs. 
 
 Lent by the Lord Bateman. 
 
 Canvas, 76 X 64 inches. 
 
East Gallery. 
 
 65 
 
 131. The Pembroke Family, after Van Dyck. 
 
 Lent by the Viscount Clifden. 
 
 A reduced study from the picture at Wilton. 
 Canvas, 35 x inches. 
 
 132. Edward R. Gardiner. 
 
 Lent by the Rev. Edivard R. Gardiner. 
 
 Canvas, 24 X 20 inches: oval. 
 
 133. Landscape, with Horses Ploughing. 
 
 Lent by the Baroness North. 
 
 A heath view, with a mill on a bank; a man ploughing, with a white horse in front, 
 accompanied by a a boy ; large white clouds rising in the sky. 
 
 Canvas, 17 x 21^ inches. 
 
 134. A Landscape. 
 
 Lent by the Lord Penryhn. 
 
 A woodland landscape, with an open glade in the distance, where a man drives a 
 flock of sheep ; in the foreground a group of asses and a dog approach the spectator; a 
 cart, in which are a woman and child, is on the road, going away from the front. 
 
 Canvas, 55 X 74 inches. 
 
 135. Elizabeth, Viscountess Bateman, Wife of John, Second 
 
 Viscount. 
 
 Lent by the Lord Bateman. 
 
 Canvas, 30 X 26 inches. 
 
 135a. Portrait of Sir Robert Palmer, aged 68 : painted 
 
 1783- 
 
 Lent by Sir Reginald P. BeaucJiamp, Bart. 
 
 Canvas, go X 58 inches. 
 
66 
 
 East Gallery, 
 
 136, Landscape, with Figures at a Pond. 
 
 Loit by the Rt. Hon. G. Cavendish Bentinck, M.P. 
 
 A boy, mounted on a white pony, and a cow, are about to cross a stream ; the boy 
 speaks to a girl recHning on the nearer bank. The trunk of a large tree, denuded of 
 nearly all its branches, is on our left. On the further side of the stream is a mass of 
 foliage. In the distance a meadow, trees, and, on the horizon, a conical hill. 
 
 Canvas, 37 X 29 inches. 
 
 Fisherman pulling a net to the shore of a piece of water, near a rocky bank, on which 
 stands an ancient ruined building, with a background of trees. Two sailing boats and 
 smaller craft float in the mid-distance ; on our left in front a boat is drawn up, near it is 
 large anchor. 
 
 Canvas, 41 X 50J inches. 
 
 138. The Hon. Lieut. -Col. Edmund Nugent, Grenadier Guards. 
 
 Le7tt by Sir George Nugent^ Bart. 
 
 This able soldier was the eldest son of Robert Craggs Nugent, afterwards Earl Nugent, 
 see No. 32, by his first wife. Lady Emilia Plunkett, daughter of the fourth Earl of Fingall. 
 He died, unmarried, at Bath, in 1771. The portrait was exhibited with the Society of 
 Artists of Great Britain, in 1765, as No. 34, " An Officer, whole-length." Gainsborough 
 was then living at Bath. The picture was given to Field Marshal, Sir G. Nugent, Bart., 
 by Mary, Marchioness of Buckingham, elder daughter of the above-named Earl Nugent 
 by his third wife, Elizabeth, Countess Dowager of Berkeley. It is referred to by Fulcher 
 in the " Life of Gainsborough," 1856, p. 64. 
 
 137. A Seaside Landscape. 
 
 Lent by Mrs. Clarke Kennedy. 
 
 Full-length figure. 
 Canvas, gi X 59 inches. 
 
 139. Study of the Heads of Two Monks. 
 
 the Viscount 
 
 This study was at the British Institution in 1858, 
 Canvas, 34 X 31 inches. 
 
East Gallery. 67 
 
 140. Lady Littleton, of Tyddesley Hall, Staffordshire. 
 
 Lent by the Rev. Sir George Wilmot Horton, Bart, 
 
 Daughter of Christopher Horton, Esq., of Catton, Derbyshire, and sister of Christopher 
 Horton, Esq., who married Anne, born Luttrell, afterwards Duchess of Cumberland ; see 
 the portraits of the latter two persons in this collection. 
 
 Miss Horton married Sir Edsvard Littleton, Bart., of Tyddesley, Staffordshire, and 
 died in 1781. 
 
 Canvas, 31 x 26 inches. 
 
 141. Claudius Amyand, Esq. 
 
 Lent by the Rev. Sir George H. Corneivally Bart. 
 
 This gentleman was the second son of Claudius Amyand, Principal Surgeon to George 
 the Second ; educated at Westminster School and Oxford ; Keeper of the King's Library, 
 1745; M.P. for Tregony, 1747, and Sandwich, 1754. He became a Commissioner of 
 Customs, 1756 ; Receiver-General of the Land Tax, Middlesex, 1765; Under-Secretary 
 of State in 175 1, under the Duke of Newcastle and successive ministers. He married 
 Frances, born Payne, and, secondly, Frances, Dowager Countess of Northampton. Mr. 
 Amyand was that " newest and, consequently, most polite of the Commissioners," by 
 whose means Walpole sought to mitigate the rigours of the Custom House in respect to 
 goods belonging to the Countess of Ossory. " You will rejoice to hear that your friend, 
 Mr. Amyand is going to marry the Dowager Lady Northampton ; she has two thousand 
 a-year, and twenty thousand in money." He died April i, 1774, and was buried at 
 Abbot's Langley, Hertfordshire, where his widow erected a monument. 
 
 Mr. Amyand's father was mentioned by C. Churchill in " The Ghost;" see "Works," 
 p. 210. 
 
 Canvas, 31 X 26 inches. 
 
 142. Portrait of John Henderson, Actor. 
 
 Lent by Andrew M'Kay^ Esq. 
 
 This famous actor and felicitous mimic was born in London, in 1747, and was said to 
 be the son of an Irish factor, or dealer in provisions. He appeared on the stage at Bath, 
 in 1772, and thus became acquainted with Gainsborough, who was charmed by his 
 vivacity and hurnorous gifts, and, having seen hirn on the stage, invited the actor to his 
 
 D 2, 
 
 \ 
 
68 
 
 East Gallery. 
 
 house in the Circus, Bath, where he had been living since his arrival in that city twelve 
 years previously. Gainsborough painted this portrait of his young friend, and gave it to 
 him. When Henderson removed to London, the artist continued his good offices and 
 warm friendliness for a man twenty years younger than himself, and about to enter the 
 race for fortune which Gainsborough had run already. 
 
 John Ireland published letters from the painter to the actor, containing a good deal of 
 excellent worldly advice. In these epistles, which are dated 1773, the writer warmly 
 commended to his friend's admiration the manner and acting of Garrick as 
 models of the highest value ; see the notes in this catalogue on the portrait of 
 Felice de Giardini, where special mention of John Henderson will be found. The 
 " Recollections of Coleridge," by Cottle, and the " Letters " of Hannah More, con- 
 tains reference to this performer. A likeness of the actor was one of those " Portraits of 
 Gentlemen " Gainsborough exhibited at the Academy in 1780, with the pictures of Dr. 
 Stevens, Madame Le Brun, Sir H. Bate Dudley, now in this gallery, besides other works. 
 A portrait of Henderson, by Gainsborough, was at the British Institution in 1815; it is 
 not certain that it is the one now before us. Gainsborough painted more than one likeness 
 of his friend. A mezzotint of one of these pictures was engraved by J. Jones, as a half- 
 length, turned slightly to our left, looking to our right, holding a book in the left hand, and 
 elevating the right forefinger, as if in the act of rehearsing his part for the stage; this print 
 was published in 1783. Henderson died November 25, 1785. 
 
 Canvas, 24 X 22 inches. 
 
 143. Portrait of an Old Man and Dog. 
 
 Lent by Sir George Beaumont^ Bart, 
 
 Canvas, 24 x 22 inches. 
 
 144. Mr. Humphry Gainsborough, Brother of the Painter. 
 
 Lent by W. A. Sharpe, Esq, 
 
 Canvas, 24 X 20 inches. 
 
 145. Georgiana, Duchess of Devonshire, born Spencer, full- 
 
 length Figure. 
 
 Lent by the Earl Spencer, K.G. 
 
 for earlier portraits of this lady sge *'The Hon. Miss. GeQrgi.ana Spencer," in which 
 
East Gallery. 
 
 69 
 
 she appears as a child, and " The Duchess of Devonshire," where she is in the prime ot 
 vitality and beauty (a sketch in monochrome, the property of Viscount Clifden). An 
 abundance of records deal with the actions and aspect of this distinguished lady, and include 
 data of all kinds, notes of diarists and letter-writers, and the satirical drawings of Row- 
 landson. These notes include all sorts of circumstances, domestic, amorous, festive, social, 
 and political, besides the graceful records of Madame D'Arblay, who, in 1791, visited her at 
 Bath, and, with a pencil as light as it was clear, marked the shadow of her home. This 
 was while distinguishing the tones of Lady Spencer's voice when the writer was introduced 
 to the Duchess : "Presently followed two ladies; Lady Spencer, with a look and manner 
 warmly announcing pleasure in what she was doing, then introduced me to the first of them, 
 saying, ' Duchess of Devonshire, Miss Burncy.'' She made me a very civil compliment upon 
 hoping my health was recovering; and Lady Spencer then, slightly, and as if unavoidably, 
 said, ^ Lady Elizabeth Foster.''''' Lady Elizabeth Foster was the "alluring" widow, 
 daughter of the Earl of Bristol, of whom Gibbon asserted that " no man could withstand 
 her, and that, if she chose to beckon the Lord Chancellor from his woolsack, in full sight 
 of the world, he could not resist obedience!" Three years after the death of the Duchess 
 Georgiana, the Duke of Devonshire married Lady Elizabeth, whose portrait, by Reynolds, 
 showing a dark-eyed, fair-skinned, and highly intelligent woman in the prime of her 
 beauty, and smiling, as someone said, "like Circe,"' was No. 150 in the Grosvenor 
 Exhibition last year. Lady Elizabeth sat to Reynolds four years before Madame 
 d'Arblay was introduced to her by the mother of h.er alleged rival. Countess Spencer's 
 portrait is in this Exhibition. 
 
 The satirical prints of the Duchess of l^evonshire, by Rowlandson and others, repre- 
 sent her at the same florid stage of life in which Gainsborough painted her large and 
 exuberant person, as before us. In 1784, with Lady Duncannon, her sister, the Duchess 
 ardently took part in securing the election of Charles James Fox for Westminster. Rowland- 
 son always made the Duchess graceful and handsome, but his contemporaries did not 
 hesitate to censure her conduct, and even her maternal honour. Some of the verses pub- 
 lished at this date describe the effect of her advocacy of Fox, and satirize the efforts 
 of ladies of the other side in politics who vainly strove to charm the shopkeepers and 
 craftsmen of Westminster. The rival canvassers were the Duchess of Gordon, Lady 
 Buckinghamshire, and others, some of whom were hardly less liberal in their blandish- 
 ments for the electors than their more lovely antagonists. The Duchess and Lady 
 Buckinghamshire were ridiculed in comparison, thus: — 
 
 A certain lady I won't name 
 
 Must take an active part. Sir, 
 To show that Devon's beauteous dame 
 
 Should not engage each heart, Sir. 
 
70 
 
 East Gallery. 
 
 She canvass'd all, both great and small, 
 
 And thunder'd at each door, Sir; 
 She rummaged every shop and stall — 
 
 The Duchess was still before her. 
 
 Sam Marrowbones had shut up shop, 
 
 And just had lit his pipe. Sir, 
 When in the lady needs must pop, 
 
 Exceeding plump and ripe, Sir. 
 " Good zounds !" says he, " how late you be ! 
 For votes you come to bore me ; 
 ***** 
 ***** 
 ***** 
 
 However courtiers take offence. 
 
 And cits and prudes may join. Sir, 
 Beauty will ever influence 
 
 The free and generous mind. Sir. 
 Fair Devon, like the rising sun. 
 
 Proceeds in her full splendour, 
 Whilst Madame's duller art must own 
 
 The Duchess moves before her. 
 
 The speaker is the butcher to whom the Duchess was alleged to have given a kiss as 
 the price of his vote for C J. Fox. " I could light my pipe at her eyes," cried an Irish 
 elector, much moved by the vivacity of the noble canvasser. She was then twenty-seven 
 years of age, and had been married ten years. 
 
 Coarse and uncharitable satires on this lady were rife, and not a few of them 
 scandalized society. With better grace, Rowlandson made "Juno Devon, all sublime," 
 one of the rival goddesses, and opposed to the Graces of Gordon and Rutland, before 
 that modern Paris, the Prince of Wales. Otherwise the satirist showed her at Vauxhall 
 with personages whose portraits are about us here, in " Parson Bate," " P'ischer, the 
 Hautbois Player," " Doctor Johnson," and others. 
 
 On May 29, 1783, about the date of this picture, Walpole wrote to Mann : " The 
 Duchess of Devonshire, the empress of fashion, is no beauty at all. She was a very fine 
 woman, with all the freshness of youth and health, but verges fast to a coarseness." 
 
 W. W. Barney engraved a likeness of the Duchess which is presumably the Gains- 
 borough before us. 
 
 This picture was at the Royal Academy in 1778 as " No. iii. Portrait of a Lady," a 
 
East Gallery. 
 
 whole-length, which Horace Walpole thought " bad and washy." Allan Cunningham 
 supposed that work was the picture thus exhibited , concerning which it was said that Gains- 
 borough " drew his wet pencil across a mouth all thought exquisitely lovely," saying, 
 " Her Grace is too hard for me." Gainsborough never, we may be sure, exhibited a 
 picture he did not approve of. At the Academy, in 1778, were the portraits of Lord 
 Chesterfield and " Mrs. Dalrymple " (Grace Elliott?). The portrait before us was at 
 the South Kensington Museum, in 1876, with Reynolds's large whole-length picture 
 of the same lady, and Gainsborough's portrait of her as a child, which is in this Gallery. 
 
 Large, whole-length, life-size figure, face looking down ; wearing a white dress ; her 
 right elbow on the base of a column, a scarf in both hands, her right leg crossed before 
 the left ; hair piled high ; landscape background. 
 
 Canvas, 91 X 58 inches. 
 
 146. Mr. Gainsborough Dupont. 
 
 Lent by George Riclunond, Esq., R.A. 
 
 Nephew and pupil of the artist. 
 Canvas, 21 x 16 inches. 
 
 147. John IIingeston, M.D., the Younger. 
 
 Lent by Edn'cini Milles Melson, Esq. 
 
 For a general history of this picture see the account of the portrait of the father of 
 the subject, under "The Rev. James Hingeston," No. 94; see likewise the portraits of 
 Dr. Hingeston's mother, "Mrs. Hingeston, when Young," No. 89, and the same, when 
 Old, No. 120. 
 
 Canvas, 31 X 25 inches. 
 
 148. Anne, born Witham, afterwards Mrs. Howard, of Corby. 
 
 Lent by P. J. C. Hoicard, Esq. 
 
 The eldest daughter of Henry Witham, Esq., of Cliffe, Yorkshire. She married 
 Philip Howard, Esq., of Corby Castle, in 1754, and died at Bath, in 1794. 
 
 Bust ; full-face ; dark hnir bound with pearls ; low dress, trimmed with ermine. 
 
 Canvas, 29.J X 24^ inches. 
 
72 
 
 East Gallery. 
 
 149. Portrait of Mr. Burrough. 
 
 Lent by Miss Josephine Savile. 
 
 Canvas, 30 X 24 inches. 
 
 150. John Purling. 
 
 Lent by Hastings N. Middleton, Esq. 
 
 Canvas, 30 X 24 inches : oval. 
 
 151. Mr. John Gainsborough, Brother of the Painter. 
 
 Lent by Henry Graves, Esq. 
 
 Canvas, 30 X 24 inches. 
 
 152. A Coast Scene. 
 
 Lent by the Duke of Westminster^ K.G. 
 
 The sea shore ; near a white cHff on the beach are three figures ; two saiHng boats 
 are in the distance, heehng over to the wind ; on our left a boat has been pulled on the 
 beach. 
 
 Canvas, 41 X 50^ inches. 
 
 153. Bernard Edward Howard, Esq., afterwards I2Th Duke of 
 Norfolk, K.G. 
 
 Lent by the Duke of Norfolk, E.M. 
 
 This peer was born November 21, 1765. He was the eldest son of Henry Howard, 
 Esq., of Glossop, descended from Henry Frederick, Earl of Arundel, who died in 1652. 
 The twelfth duke succeeded to the chief honours of his family on the death of his cousin, 
 Charles, eleventh Duke of Norfolk, December 16, 1815. He married, April, 1789, Lady 
 Elizabeth Bellasye, from whom he was divorced in 1794. His grace died March i6th, 
 1842 ; one of the last surviving sitters to Gainsborough. 
 
 This portrait was exhibited at the Royal Academy in 1880. It was engraved by J. 
 K. Sherwin, in 1790. 
 
Bast Gallery. 73 
 
 Full-length, standing, nearly full-face; black dress, breeches, and cloak ; black hat, 
 with white feather, in his right hand ; landscape background. 
 
 Canvas, 88 X 54 inches. 
 
 Portrait of Mr. Burrough. 
 
 Lent by Miss Josephine Savile. 
 
 Canvas, 30 X 24 inches. 
 
 Sir Francis Basset, afterwards Baron de'Dunstanville of 
 Tehidy, and Baron Basset, of Stratton, Cornwall. 
 
 Lent by Sir John St. Aubyn, Bart. 
 
 Eldest son of Francis Basset, Esq., of Tehidy, Cornwall, a representative of one 01 
 the most ancient families in England, w hose members claim descent from companions 
 of the Conqueror ; from Thomas and Alan Basset, barons who signed Magna Charta; 
 and from a numerous category of officers of State and territorial magnates who gave 
 their names to various towns and villages, e.g., Wootton-Basset and Drayton-Basset. 
 Francis Basset, Esq., the leading member of the Cornish branch of the family, was born 
 at Walcot, in Oxfordshire, in 1757; created a baronet, November 24, 1779 ; M.P. for 
 Penrhyn, 1780; created Baron de Dunstanville, June 17, 1796; died February 5, 1835. 
 
 He was an ardent politician, and so proud of his name that when his relation, Mrs. 
 Delany's Groinio, or, Mr. A. Pendarves, offered to settle on him the whole of a great 
 estate if he would take the name of Pendarves, Mr. Basset refused to comply with that 
 condition, and lost the lands. " Gromio," as she called him, was, much against her will, 
 married to Miss Mary Granville, who is belter known by the name of her second 
 husband. Dr. Delany, Dean of Down. Of Sir F. Basset this lady long afterwards heard 
 from Mrs. Boscawen : " Your turbulent ncpliciv, Sir Francis Basset, has failed on his 
 first petition, and our friend, Mr. Hawkins, of Trevethen, is declared duly elected for 
 Mitchell (St. Michael's, Cornwall), in preference to Mr. R. Wilbraham, one of Sir 
 Francis's movable candidates, for he set him up at Truro too, and has presented a 
 petition there too, and another at Tregony, where our friends had a majority of 21 ! " 
 
 This work was at the Academy in 1876. There is another portrait of Lord de 
 Dunstanville, by Gainsborough, in this gallery, the property of J. F. Basset, Esq. A 
 third portrait, by Jackson, was at the Academy with the work now before U3. 
 
 Canvas 29^ X 24^ inches. 
 
East Gallery. 
 
 Felice de Giardini, Violinist. 
 
 Lent by John Chapman Walker^ Esq. 
 
 This eminent musician was born at Turin, in 1716, and came to England in 1750; at 
 one period he was manager of the Itahan Opera, and in that capacity was repeatedly 
 mentioned in the correspondence of Walpole, Mason, and others. He went to Russia, 
 and died there, in 1796. He published "Sonatas" in 1765. 
 
 For notices of Gainsborough's connections with Giardini, see the memoranda on 
 the portrait of " K. F. Abel," No. 46. Gainsborough wrote to John Henderson, the 
 actor, see his portrait, No. 142, from Bath, July 18, 1773, as quoted in Fulcher's life of 
 the painter, counselling him to look to Garrick as a model in acting :" Garrick is the 
 greatest creature living, m every respect ; he is worth studying in every action." * * * 
 " Look upon him, Henderson, with your imitative eyes, for when he drops, you'll have 
 nothing but poor old Nature's book to look in." " Why, Sir," he continued in another 
 letter, referring compendiously to several of the friends whose likenesses he had painted, 
 portraits which are included in this Exhibition, " in all but eating, stick to Garrick ; in that, 
 let him stick to you." * * * " Why, Sir, what makes the difference between man and 
 man is real performance [i.e., sincerity), and not genius or conception. There are a 
 thousand Garricks, a thousand Giardinis, and Fischers, and Abels. Why only one 
 Garrick, with Garrick's eyes, voice, &c.? One Giardini's fingers, &c. ? But one 
 Fischer, with Fischer's dexterity, quickness, &c.? Or more than one Abel, with Abel's 
 feeling upon the instrument? All the lest of the world are mere hearers and see'rs.'^ 
 
 Walpole described a sumptuous garden party, given at Esher in May, 1763, by Miss 
 Pelham when a considerable body of fashionables attended. " In short, it was Parnassus, 
 as Watteau would have painted it. Here (in a wood, at the mouth of a cave, overhung 
 with woodbines, lilacs, and laburnums, and dignified by tall, shapely cypresses) we had a 
 rural syllabub, and part of the company returned to town, but were replaced by Giardini 
 and Onofrio, who, with Nivernois (the French Ambassador) on the violin, and Lord Pem- 
 broke on the bass, accompanied Miss Pelham, Lady Rockingham, and the Duchess of 
 Grafton, who sang." "I blush again," continued Walpole, " for I danced, but was kept 
 in countenance by Nivernois, who has one wrinkle more than I have." 
 
 As to subscribing to the opera, then under the management of Giardini, Walpole pro- 
 tested to the Hon. H. S. Conway, August g, 1763 : — " No, Sir, no, I shall not come, nor am 
 I in a humour to do anything else you desire ; indeed, without your provoking me, I could 
 not have come into the proposal of paying Giardini. W^e have been duped and cheated 
 every winter for these twenty years by the undertakers of operas, and I will never pay a 
 farthing more till the last moment, nor can I be terrified at their puffs ; I am astonished 
 you are. So far from frightening me, the kindest thing they could do would be not to let 
 
East Gallery. 75 
 
 one have a box to hear their old threadbare voices and frippery thefts; and, as for 
 Giardini himself, I would not cross the room to hear him play to eternity. I should think 
 he could frighten nobody but Lady Bingley by a lefusal." Lady Bingley was previously 
 Mrs. George Lane Fox, whom Hogarth painted in the toilette scene of the " Marriage a la 
 Mode " series, where, in a white dress, she sits in the middle of the picture, swinging her 
 body forward, and keeping time to the voice of Carestini, the castrate, who sings from a 
 music book. 
 
 Goldsmith said to Doctor Johnson when they were discussing the remuneration of 
 artists, "The greatest musical performers have but small emoluments; Giardini, I am 
 told, does not get above seven hundred a year." Johnson replied : " That is indeed but 
 little for a man to get who does best that which so many endeavour to do. There is 
 nothing, I think, in which the power of art is shown so much as in plac ing on the fiddle." 
 
 Mr. A. J. Hipkins has favoured us with an extract from an old book of Messrs. 
 Broadwood's establishment, containing a curious record of the friendship of Gainsborough 
 and Giardini : — " 1774, March 5. — Messrs. Dashwood and Gardine bought a harpsichord, 
 No. 708, for Mr. Gainsborough, Painter, in the Circle, Bath." It was sent on March 11 
 following, and would bear on the name-board above the keys, " Burkat Schudi et 
 Johannes Broadwood," which was then the style of the firm, Schudi being Broadwood's 
 father-in-law, and the founder, c. 1732, of the house which still bears the name of 
 Broadwood. 
 
 Half-length ; weiring a wig, red-laced coat, and ruffles ; right hand in the breast of 
 his coat, hat under his arm ; brown background. 
 
 Canvas, 28^ X 24] inches. 
 
 157. A Landscape, with Figures against a Tree. 
 
 Lent by G. B. Smith, Esq. 
 
 The hollow trunk of a large oak occupies the middle of the picture, close to it are a 
 man and a woman ; in the mid-distance is a post ; beyond a rough bank surmounted by 
 trees. 
 
 Canvas, 25 X 30 inches. 
 
 158. Isabella, Countess of Dundonald, born Raymond. 
 
 Lent by the Rev. John Mayne St. Clere Raymond. 
 
 This lady was the daughter of Samuel Raymond, Esq., of Belchanip Hall, near 
 
76 
 
 East Gallery. 
 
 Sudbury. She, as his second wife, married Archibald, ninth Earl of Dundonald, 
 distinguished as a man of science, April 12th, 1788; she died, without issue, in 1808. 
 Before her marriage to the Earl she was the widow of John Mayne, Esq., of Telfont, 
 Wiltshire. Her father's portrait is " The Rev. S. Raymond," No. 105. This picture was 
 at the National Portrait Exhibition, 1867. 
 
 Bust on left, low, reddish dress. 
 
 Canvas, 25 X 30 inches. 
 
 159. Christopher Horton, Esq., of Catton Hall, Derbyshire. 
 
 Lent by the Rev. Sir George^ Wilmot Horton^ Bart. 
 
 Son of Christopher Horton, of Catton Hall, and first husband of Anne, afterwards 
 Duchess of Cumberland, born Luttrell, whose portrait is in this collection. He was born 
 in 1741, and died in 1768. Lady Littleton was his sister; see her portrait here. 
 
 Canvas, 30X25 inches. 
 
 160. Lady Margaret Lindsay, afterwards Fordyceand Burges. 
 
 Lent by the Earl of Crawford and Balcarres. 
 
 The second daughter of James, fifth Earl of Balcarres, by Anne, daughter 
 of Sir Robert Dalrymple. She married, first, Alexander Ford}ce, the leading 
 member of the banking firm of Threadneedle Street, whose catastrophe on " Black 
 Monday " — i.e., June 10, 1772— " brought Britannia, Queen of the Indies, to the precipice 
 of bankruptcy." See Walpole to the Hon. H. S. Conway, June 22, 1772 and, to Mann, Jul}' 
 I, 1772. Likewise (" Leonidas") Glover to Earl Temple, in the " Grenville Papers," iv., p. 
 559) J"^y ^2, 1772. These and similar records give terrible accounts of the deluge of 
 bankruptcy which occurred in this instance, and they indicate the ruin of thousands. 
 Innocent of all this, however, as we read In the " Town and Country Magazine," 
 Lady Margaret Fordyce was one of the gayest of the revellers assembled at the wild 
 masquerade which took place at the Pantheon on the 30th of April immediately pre- 
 ceding the crash of the great house of Neal, Jones, Fordyce & Co. She danced as 
 Queen Elizabeth ; Goldsmith, Reynolds, and scores of his and Gainsborough's sitters 
 were present. A party of Macaroni escorted Mrs. Baddeley into the assembly room 
 under an arch of glittering swords, and thus defied the patronesses, who denied ad- 
 mittance to ladies of questionable character. The Duchess of Ancaster, Lady Mel- 
 
East Gallery. 
 
 77 
 
 bourne, and Mrs. Darner wore male dominoes ; among the company were Goldsmith's 
 " Jessamy Bride," and " Little Comedy," as well as Lady Margaret's elder sister. 
 
 Lady Ann Lindsay wrote " Auld Robin Gray." After the death of Fordyce, Lady 
 Margaret, in 1812, married Sir James Bland Burges, Bart., — " who had been an early 
 admirer, but had married twice in the interim." Lady Margaret died in 1814. Reynolds 
 painted members of the Fordyce family. This picture was at the Academy in 1883; 
 another portrait of this lady, by Gainsborough, was lent by Lady Stuart de Rothsay to 
 the British Institution in 1866. 
 
 Full-length, life-size, standing in a landscape, arms crossed in front ; black dress. 
 
 Cartvas, 95 X 59i inches. 
 
 161. Thomas Gainsborough, R.A. 
 
 Lent by Gcovf^e Riclimond, Esq., R.A, 
 
 This portrait was painted in two sittings, just before Gainsborough's marriage, in 
 1754, aged 28. 
 
 Canvas, 24 X 23 inches. 
 
 162. Miss Juliet Mott (aged 12 years). 
 
 Lent by Eduiund Backhouse, Esq, 
 
 This picture was given by Gainsborough to the child's father as a token of gratitude 
 after the artist had been nursed in a dangerous illness when on a visit at Mr. Mott's house. 
 She married C. Smith, Esq., of Coniston, who bequeathed the portrait to the late -Mrs. 
 Charles Fox of Trebah, Falmouth. 
 
 In front are two men, one filling a sack with sand while the other holds it. A pit at 
 the base of a knoll in the wood, two donkeys standing near; a man and some sheep are 
 on our left. 
 
 This picture was at the Royal Academy in 1883. 
 Canvas, 24J X igi inches. 
 
 Canvas, 24 X 23 inches. 
 
 163. 
 
 The Sand Getters. 
 
 Lent by T. Hardcastle, Esq. 
 
78 
 
 East Gallery. 
 
 164. Sir John Eden, Fourth Baronet, of Windlestone Hall, 
 
 Durham. 
 
 Lent by Mrs. Eden Kaye Greville. 
 
 This gentleman was born September 16, 1740 ; succeeded his father in the title in 
 1755; M.P. for the county of Durham ; married first, Catherine, born Thompson, of Kirby 
 Hall, Yorkshire ; second, Dorothy (whose portrait 'is in this collection) daughter of 
 Peter Johnson, Esq., Recorder of York. Sir John Eden died in 1812. 
 
 This picture was at the Academy in 1878. 
 
 Bust, small oval, to right ; wig red coat, white waistcoat, and cravat. 
 Canvas, 29 X 24 inches. 
 
 165. Mrs. Hippisley. 
 
 Lent by H. Hippisley^ Esq. 
 
 Sister of Lady de Dunstanville, whose portrait is in this Gallery. 
 Canvas, 30 X 24 inches. 
 
 166. Mrs. Meares. 
 
 Lent by H . Villebois, Esq. 
 
 This lady was a daughter of Sir Benjamin Truman, see No. 12, sister of Mrs. 
 Villebois, see No. 186, and aunt of the Masters Truman-Villebois, No. 177. This picture 
 was exhibited at the Royal Academy in 1878, for its history see " Sir B. Truman," No. 12. 
 
 A full-length, figure, standing ; leaning with one arm against a pedestal surmounted 
 by an urn ; lofty head-dress of flowers. She holds her lilac dress in her left hand; has a 
 white petticoat and shoes. Companion picture to that of Mrs. Villebois. 
 
 Canvas, 88 X 55 inches. 
 
 167. Two FAVOURITE DoGS OF SiR GeORGE BeAUMONT. 
 
 Lent by Sir George Beaumont , Bart. 
 
 Canvas, 32 X 29 inches. 
 
 168. Margaret Georgiana, born Poyntz, First Countess 
 
 Spencer. 
 
 Lent by the Earl Spencer^ K.G. 
 
 This lady was the eldest daughter of the Right Hon. Stephen Poyntz, of Midgham, 
 
East Gallery. 
 
 Berkshire. She was born in 1737 ; married the Hon. John Spencer, afterwards, 
 1765, Viscount Althorp and Earl Spencer ; died 1814. She was painted by 
 Battoni, at Rome, in 1764, and more than once by Reynolds. In his account of 
 the coronation of George III., Walpole, when writing to Montagu, September 24th, 
 176 1, grouped Countess, then Lady, Spencer among the beautiful women who were 
 present; " Lady Spencer, Lady Sutherland, and Lady Northampton, very pretty figures." 
 She was among the highest groups of fashionables of the period present at Almack's, at 
 masquerades, pic-nics, feasts, &c. " When the Bedfordshire election is over," wrote 
 Walpole to the Countess of Upper Ossory, September 12th, 1780, in reference to a 
 memorable contest for that county, " and LaHy Spencer has been chaired at St. Alban's, 
 I shall be ready to steal to Ampthill, Madam." This Countess Spencer was the mother 
 of the beautiful Duchess of Devonshire, see "The Hon. Miss G. Spencer," No. 184. 
 
 This picture was at the British Institution, 1859, and at the National Portrait Exhi- 
 bition, 1867, It was at the South Kensington Museum in 1876. 
 
 To the waist, seated ; wearing a riding dress, hands crossed. 
 
 Canvas, 30 x 25 inches. 
 
 169. A Landscape, with Cows and a Bridge. 
 
 Lent by Thomas Thompson, Esq. 
 
 A rustic bridge crosses the deep bed of a narrow stream, in which three cows ^re 
 standing ; near them is a boy on a horse ; a girl. 
 
 Canvas, 24J X 2oi inches. 
 
 170. William Pitt. 
 
 Loit by the Earl Stanhope. 
 
 Second son of the first Earl of Chatham, born at Hayes, Kent, May 28, 1759; 
 educated at home and at Pembroke College, Cambridge ; entered at Lincoln's Inn ; 
 called to the bar, going on the Western Circuit, 1780; M.P. for Appleby, and afterwards 
 for Cambridge University ; opposed Lord North's Administration, and first spoke in 
 support of Burke's plan of " Economical Reform ;" Chancellor of the Exchequer in Lord 
 Shelburne's Administration, 1782 ; opposed the Coalition Cabinet ; First Lord of the 
 Treasury and Chancellor of the Exchequer, December, 1783 ; promoted the India Bill, 
 1784 ; the New Sinking Fund ; the Commercial Treaty with France ; the Consolidation 
 of Customs Act, 1786; the Regency Bill, 178S ; Acts for the Relief of Roman Catholics, 
 
East Gallery, 
 
 1791-2, and the Union with Ireland, 1799. At the head of affairs during the French Revolu- 
 tion and the War with Napoleon until 1801, when Mr. Addington became First Minister; 
 succeeded Mr, Addington, 1804; united Russia and Austria against Napoleon, an alliance 
 dissolved by the Battle of Austerlitz ; died, January 23rd, 1804. The portrait before us 
 was bought, in 1845, by Lord Mahon from Lord Canterbury. 
 
 There are several portraits of Pitt by Gainsborough, including those belonging to the 
 late Mr. E. V. Kenealy, a bust in an oval ; the Earl of Harrowby, half-length ; and the 
 Fitzwilliam Museum at Cambridge, a head. Three-quarters length figures belong 
 severally to the Duke of Richmond, Earl Bathurst, the Earl of Normanton, Sir R. Peel, 
 and the Hon. Society of Lincoln's Inn. This picture was at the British Institution 
 in 1862. 
 
 Bartolozzi and J. K. Sherwin severally engraved Pitt's portrait in an oval by Gains- 
 borough ; Gainsborough Dupont (see his portrait by his uncle, lent by Mr. Richmond, No. 
 146) painted Pitt, and Bartolozzi engraved the work. 
 
 Canvas, 30 X 25 inches. 
 
 The Rev. Sir Henry Bate Dudley, Bart., ''Parson Bate." 
 
 Lent by J. Oxley Parker, Esq. 
 
 This gentleman was the son of the Rev. Henry Bate, born at Fenny-Compton, 
 August 25, 1745; educated for the Church, he took orders, and, going to London, became 
 intimate with Garrick, Sheridan, and the Prince of Wales. He established the "Morning 
 Post," and afterwards, to oppose it, the "Morning Herald"; was involved in several 
 duels, and was distinguished as a genial athlete. He was known as " Parson Bate." 
 He wrote dramatic pieces, including Henry and Enuna, The Rival Candidates, and The 
 Black-a-vwor Washed White. He became Rector of Bradwell, in Essex, in 1761, an ', 
 settling himself there, gave all his energies to public duties as a magistrate, agriculturist, 
 and parson ; he received two gold medals from the Society of Arts for reclaiming land 
 from the sea; took the name of Dudley, in addition to his own, in 1784; was created a 
 Baronet in 1812; Canon of Ely in 1816; and was thanked by the Government for his 
 exertions in abating an insurrection in the Isle of Ely. Died February i, 1824. 
 
 Angelo, in " Reminiscences," 1830, gives an illustration of the sort of chivalry which 
 procured for Bate the title of the " Fighting Parson ":— " Mr. Parson Bate, as magnificent 
 a piece of humanity, perhaps, as ever walked arm in arm with a fashionable beauty in the 
 illuminated groves of Vauxhall, was promenading and chatting with the celebrated Mrs. 
 Hartley, her Woodstock glove gently rubbing against his sable sleeve ; when the said Mr. 
 Fitzgerald (a scandalous ruffian, called ' Fighting Fitzgerald,' who was hanged for murder), 
 
8r 
 
 in company with Lord Lyttelton ('Wild Thomas Lyttelton') and Captain O'Bourne 
 (? Crofts), most ungallantly gave offence to the lady and to her protector, by severally 
 turning round short upon her, and, with the most marked rudeness, staring in her face." 
 In the event Mrs. Hartley burst into tears, and Bate interposed and chastised one or more 
 of the intruders on the spot. This led to a most extraordinary discussion. Bate declined 
 to be sheltered by his status as a clergyman ; and when Fitzgerald threatened to use his 
 fists, Bate retaliated and bade him take care, for he, too, could box, A Captain Miles 
 challenged Bate to box, and the men actually fought in that manner at a tavern, the others 
 standing by as seconds and spectators. Miles's face was " severely pounded," and he was 
 rendered so helpless, that Fitzgerald took him away in a coach, while Bate, asked to dine by 
 Lord Lyttelton, feasted with him the next day, and was appointed his chaplain. Mrs. 
 Hartley's portrait, by Sir Joshua, was in the Grosvenor Exhibition last year. See the 
 " London Magazine," 1773. Bate married her sister, see " Lady (Bate) Dudley," No. 75. 
 
 Another characteristic glimpse of Bate in life was given by Walpole in a letter to 
 Lady Ossory, November 13, 1776, in respect to his promoting the " Morning Herald:" 
 " Yesterday, just after I arrived, I heard drums and trumpets in Piccadilly. I looked out 
 of the window, and saw a procession with streamers flying. At first I thought it a press- 
 gang, but, seeing the corps so well dressed, like Hussars, in yellow, with blue waistcoats 
 and breeches, and high caps, I concluded it was some new body of our allies (Hessian 
 mercenaries), or a regiment newly raised, and with new regimentals for distinction, I 
 was not totally mistaken, for the colonel is a new ally. In short, this was a procession 
 set forth by Mr. Bate, Lord Lyttelton's chaplain, and author of the old ' Morning Post,' 
 and meant as an appeal to the town against his antagonist, the new one. I did not per- 
 ceive it, but the musicians had masks. On their caps was ^written ' The Morning Post,' 
 and they distributed hand-bills. I am sure there were at least between thirty and forty, 
 and this mummery must have cost a great deal of money. Are not we quite distracted, 
 reprobate, absurd beyond all people that ever lived ? The new * Morning Post,' I am 
 told, for I never take in either, exceeds all the outrageous Billingsgate that ever was heard 
 of," &c. The new "Morning Post" was, of course, the " Morning Herald." 
 
 Bate was, on account of remarks in the " Morning Post " supposed to reflect on 
 Lady Strathmore, involved in a duel (its history is not without a suspicion of doubt) 
 with Mr. Robinson Stoney, who married the lady and took the name of Bowes. Bate 
 afterwards quarrelled with his co-proprietors of the " Post," and, in a duel, wounded 
 Joseph Richardson, who was one of them, and, as above stated, set up the " Morning 
 Herald " to destroy the journal he had helped to found. Boswell discussed Bate with 
 Johnson, and the doctor said, " Sir, I will not allow this man to have merit." 
 
 This picture, which was painted at Bradwell, in 1785-6, was at the British Institution 
 in 1817, lent by Sir H. B. Dudley himself; Mr. J. Oxley Parker lent it to the National 
 Portrait Exhibition in 1867, and to the Royal Academy in 1884. Fulcher says, "Gains- 
 
82 East Gallery. 
 
 borough painted two portraits of Bate, one of which was at the Academy in 1780. Of that 
 before us it was said that a poHtical opponent of Dudley remarked that "the man 
 wanted execution, and the dog wanted hanging." This is the companion portrait to that 
 of Lady (Bate) Dudley. 
 
 The history of this remarkable picture was very nearly brought to an untimely end 
 soon after its removal from the National Portrait Exhibition, 1867. With many other 
 examples it was deposited in the warehouses of Messrs. Graves & Co., Pall Mall, 
 when, December 4th, 1867, the works stood on the floor ready to be sent to their owners. 
 An alarm of fire having been given, Mr. Algernon Graves managed, single-handed, to turn 
 a certain number of the paintings on their sides and thus drag them to a place of safety, 
 endangering his own life, and being half suffocated in the act. The admirable portrait of 
 Lady Ligonier, one of Gainsborough's best productions, was thus rescued at the cost of a 
 hole in the background ; " The Earl of Sandwich," from Greenwich Hospital, was with- 
 out its frame when Mr. A. Graves seized the picture and, taking another under his arm, 
 rushed out of the burning room and saved them at the cost of a bad tumble for himself 
 and a hole through the former picture ; " Welbore Ellis, Lord Mendip," from Oxford, 
 which is now safe in the present exhibition, was in dire peril until a " muscular 
 stranger " ran gallantly to the rescue and brought out the canvas. 
 
 Full-length, standing, looking over his right shoulder to the front, with a three- 
 cornered hat in his left hand, cane in his right hand ; small dog on his left ; landscape 
 background. 
 
 Canvas, 88 X 57 inches. 
 
 172. A Landscape. 
 
 Lent by D. B. Preston^ Esq. 
 
 This picture came into the possession of the Coyte family (of Ipswich) from the 
 hands of the artist. About the year 1781, the late Mr. John Tolver acquired it through 
 his connexion, by marriage, with the Coytes. It has always belonged to the Tolver 
 family. On the decease of Mr. Samuel Tolver, of Great Yarmouth, m 1865, it came into 
 the hands of his daughter's husband, the present owner, and it has never before been 
 exhibited. 
 
 Canvas, 48 X 58 inches. 
 
 173. The Cottage Girl. 
 
 Lent by G. L, Basset, Esq. 
 
 On this admirable work, Leslie, in his " Handbook for Young Painters," thus 
 
East Gallery, 
 
 83 
 
 sympathetically commented : " Gainsborough's barefoot child on her way to the well, 
 with her little dog under her arm, is unequalled by anything of the kind in the world. 
 I recollect it in the British Gallery (British Institution) forming part of a very noble 
 collection of pictures, and I could scarcely look at or think of anything else in the rooms. 
 This inimitable work is a portrait, not of a peasant child, but of a young lady, who 
 appears also in his picture of the ' Girl with Pigs,' which Sir Joshua purchased." Lord 
 de Dunstanville i.e. Sir Francis Basset, whose portrait by Gainsborough is in this gallery, 
 bought the picture of the artist ; it was commended by Hazlitt as " a general favourite," 
 while, he added, " The little dog is certainly admirable ; his hair looks as if it had been just 
 washed and combed." " The Girl with Pigs " is now at Castle Howard. 
 
 This picture was exhibited at the British Institution in 1814, as " Girl going to the 
 Well," by Lord de Dunstanville, the original purchaser. It was at the Academy in 1876, a 
 loan from the present owner. 
 
 Engraved by Whessell in 1806. 
 
 Canvas, 70 X 50 inches. 
 
 174. Sketch for the Harvest Waggon. 
 
 Lent by Sir George Beaumont, Bart. 
 
 Canvas, 27 x 35 inches. 
 
 175. The Painter's Wife, born Margaret Burr. 
 
 Lent by Robert Loder, Esq. 
 
 Canvas, 29 X 24 inches: oval. 
 
 176. Whole-length Portraits of Mr. and Mrs. Dehany and 
 
 THEIR Daughter. 
 
 Lent by L. Lesser., Esq. 
 
 Members of a family who were formerly owners of Hayes Place, Kent. 
 Canvas, 91 X 61 inches. 
 
 177. The Masters (William and John) Truman-Villebois. 
 
 Lent by H. Villebois, Esq. 
 
 Two boys, sons of Mrs. Villebois, No. 186, nephews of Mrs. Meares, No. 166, grand- 
 
 E 2 
 
84 
 
 East Gallery, 
 
 sons of Sir Benjamin Truman, No. 12, to which refer for the history of the portraits. 
 Exhibited at the Royal Academy in 1878. 
 
 In a letter to Mrs. Gibbon, quoted by Fulcher, in his " Life of Gainsborough," the 
 artist makes triumphant mention of ' Miss Read, ' Sir B. Truman's grand-daughter, ] 
 *' coming out of Wiltshire on purpose to sit, yet he is afraid he shall never be out of 
 business." 
 
 They are seated, life-size, building a card house near the base of a pillar in a ' 
 garden; they wear drab suits, with wide collars open at the necks, their hats are on the 
 ground beside them 
 
 Canvas, 61 x 51 inches. 
 
 178. View at the Mouth of the Thames. 
 
 Lent by Sir Reginald P. Beanchmnp, Bart^ 
 
 An extended view of the river and banks, with boats under sail. In the foreground, a 
 group of figures round a boat drawn up by the shore to a pier, an anchor and the hull ot 
 an old boat are near. 
 
 Canvas, 62 X 75 inches. 
 
 Daughter of the celebrated physician who attended Gainsborough at his death. It 
 was painted by Gainsborough, and given to the lady's father. She married the Rev.. 
 S. Jenyns, of Bottisham Hall, Cambridgeshire. 
 
 Canvas, 29 X 24 inches : oval. 
 
 180 River Scene, ¥/ith Cattle. 
 
 Lent by R. K. Hodgson^ Esq.. 
 
 On a raised bank, to the left, two peasant women are tending a herd of cows; to the 
 right, two fishing smacks, from which men, in smaller boats, are landing fish. 
 
 Canvas, 25^ x 31 inches. 
 
 179. 
 
 Mrs. Heberden. 
 
 Lent by the Rev. F. G. Jenyns^ 
 
East Gallery. 
 
 85 
 
 181. Lord Mulgrave. 
 
 Lent by Bingham Mildmay^ Esq. 
 
 Constantine John Phipps, second Baron Mulgrave, was the eldest son of Constantine 
 Phipps, first Baron, by Lepell, born Hervey, daughter of John, Lord Hervey, and " the 
 beautiful Molly Lepell," whose charms half-a-score of poets celebrated. Lord Hervey 
 was " Hervey the Handsome," much abused by Pope. The second baron was born in 
 1744; he entered the Navy and rapidly rose to distinction; was made Captain in 1765; 
 and attempted, in 1773, to discover the North- West Passage by means of an expedition of 
 considerable importance, to describe which, he wrote " A Voyage to the Arctic Regions," 
 containing, with much valuable matter, statements many of his contemporaries refused to 
 credit. On this account the imaginary Baron Munchausen was made to say that he had 
 laken part in the Arctic voyage of Captain Phipps. This officer commanded the 
 *' Courageux " in Keppel's action of 1778; was created Baron Mulgrave, of Mulgrave, 
 Yorkshire, in 1790, and died in 1792. He was a Lord of the Admiralty whom Reynolds 
 painted in the " Dilettante Picture, No. i," which was at the Grosvenor Exhibition last year, 
 where he appears holding a glass. Lord Mulgrave was a member of the brightest circle 
 of that day, and a dilettante in a sense not now implied by that term, 'or approved by the 
 Society ; he knew Reynolds, Burke, Goldsmith, Selwyn, Johnson, Captain Cook, and all 
 the able and energetic men of his time. Johnson described him to Boswell at Mrs. 
 Thrale's table ; and Fanny Burney, no bad judge in such a matter, repeatedly spoke of 
 him in her most audacious English as " a man of the gayest wit in society I almost ever 
 knew." She wrote to the same effect of him more than a hundred years ago, and 
 delighted to write about him. Reynolds told Keppel how the mob had broken Lord 
 Mulgrave's windows (at the Admiralty), and said it was not unlikely that William Pitt threw 
 stones at them ; Rogers boasted that he had helped to pull down the Admiralty gates. 
 This was, doubtless, a feat like one of those of the famous worthy who vaunted that, in 
 his wild youth, " he could have crept through an alderman's thumb-ring." 
 
 There is a fine whole-length portrait by Gainsborough of this peer at Mulgrave 
 Castle, Whitby, showing him in a naval dress laced with gold, and leaning against a 
 table. Gainsborough painted other members of the family. 
 
 Canvas, 91 X 61 inches. 
 
 182. A Girl with a Lamb ; a Family Portrait. 
 
 Lent by Lieut, -Col, W. Honywood. 
 
 Canvas, 50 x 40 inches. 
 
86 
 
 East Gallery, 
 
 183, Lady Anne Elizabeth Rawdon, afterwards Countess of 
 
 AlLESBURY. 
 
 This lady was the eldest daughter of John, first Earl of Moira, and sister of Francis, 
 second Earl, and first Marquis of Hastings, a famous statesman — "the Timon of the present 
 age" — and Governor-General of India. She married, February 14, 1788, being the second 
 wife, Thomas Bruce Brudenell, previously Lord Bruce, first Earl of Ailesbury; became 
 Lady of the Bedchamber to Queen Charlotte, and died in 1813. On the iSth January, 
 1788, Mrs. Delany wrote to Mrs. F. Hamilton : — " I have just heard that Lord Aylesbury 
 (Ailesbury) has made proposals to Lady Anne Rawdon — a match approved of by every- 
 body." The lady had a conspicuous part in a very remarkable transaction, which is thus 
 characteristically described by Walpole in a letter to one of his favourites, the Misses 
 Berry, May ig, 1791: — "Within these two days the Pope has been burnt in Paris; 
 Madame du Barry, mistress of Louis Quinze, has dined with the Lord Mayor of London 
 (Boydell); and the Pretender's widow is presented to the Queen of Great Britain! She 
 is to be introduced by her great-grandfather's niece, the young Countess of Ailesbury. 
 That curiosity should bring her hither I do not wonder." 
 
 This portrait was exhibited at the Royal Academy in 1881. 
 
 Three-quarters-length, standing, full face, resting right elbow on a pedestal; hands 
 crossed; black dress; yellow scarf ; inscribed with her name in the left corner of the 
 canvas. 
 
 Canvas, 61 x 39 inches. 
 
 184. The Hon. Miss Georgiana Spencer, afterwards Duchess 
 OF Devonshire, as a Child. 
 
 This is, perhaps, the earliest portrait of the celebrated beauty and accomplished lady, 
 who was distinguished in later life by her ardent political efforts in behalf of Fox and the 
 Liberal party. She was the eldest daughter of John, first Earl of Spencer, whose portrait 
 is in this gallery; she was born June 5, 1757; married, as his first wife, to William, fifth 
 Duke of Devonshire, June 5, 1774; and died March 30, 1806. Her mother was Margaret 
 Georgiana, born Poyntz, Countess Spencer, see her portrait. No. 168, and that of Mr. 
 William Poyntz, No. 55. Of Countess Spencer, Madame D'Arblay gave an excellent 
 study in words, under the date 1791, in her " Diary and Letters." Sir Joshua Reynolds 
 
 Lent by the Margins of Ailesbtiry. 
 
87 
 
 painted, in 1769, the Countess and her daughter in a group, showing the latter as a child 
 standing on a table, at her mother's side, and at nearly the period of this portrait by 
 Gainsborough. The group by Reynolds belongs to Earl Spencer, who lent it to the 
 Grosvenor Exhibition last year. No. 157. Reynolds likewise painted the lady whose 
 portrait, as a child, is before us, at a time when she had, in turn, become a mother and 
 danced her lively baby on her knee ; this baby became Countess of Carlisle. This second 
 group was No. 81 in the Grosvenor Exhibition last year, a loan from the Duke of 
 Devonshire. 
 
 It was this duchess who wrote " The Sylph," a novel, and the beautiful poem on the 
 " Passage over Mount St. Gothard,"' on account of which Coleridge addressed her as — 
 
 Splendour's fondly fostered child ! 
 And did you hail the platform wild 
 
 Where once the Austrian fell 
 
 Beneath the shaft of Tell ? 
 O lady, nursed in pomp and pleasure ! 
 Whence learn'd you that heroic measure ? 
 
 Becoming a mother, her sympathies increased, so that, according to Coleridge — 
 
 Thenceforth your soul rejoiced to see 
 
 The shrine of social Liberty ! 
 
 O beautiful! O Nature's child! 
 
 'Twas thence you hailed the' platform wild 
 
 Whence once the Austrian fell 
 
 Beneath the shaft of Tell! 
 O lady, nursed in pomp and pleasure ! 
 Thence learn'd you that heroic measure. 
 
 This portrait was painted when the lady was a.bout six )ears old. It was at the 
 British Institution in 1859; at the National Portrait Exhibition, 1867; and at the South 
 Kensington Museum, 1876. 
 
 To the waist, hands folded before her ; wearing a cap, and a white low frock, trimmed 
 with pink ribbons. 
 
 Canvas, 30 X 25 inches. 
 
 Thomas Gainsborough, R.A. 
 
 Lent by the Earl of Leicester. 
 
 See "Thomas Gainsborough, R.A.,'' No. i, which describes the picture lent by the 
 Royal Academy. 
 
 Canvas, 30 X 25 inches. 
 
88 
 
 East Gallery, 
 
 i86. 
 
 Mrs. Villebois. 
 
 Lent by H, Villebois, Esq. 
 
 This lady was a daughter of Sir Benjamin Truman, see No. 12, sister to Mrs. Meares, 
 see No. 156, and mother of the Masters Truman-Villebois, see No. 177. The picture was 
 exhibited at the Royal Academy in 1878; for its history, see " Sir B. Truman," No. 12. 
 
 A full-length figure, standing; hair rolled very high above the forehead, blue dress 
 trimmed with pearls, blue train, white silk petticoat, white satin shoes, and scarf over 
 shoulders; feathers in hair, forming a very conspicuous coiffure. Companion picture to 
 that of Mrs. Meares. 
 
 Canvas, 88 X 57 inches. 
 
 187. Abel Moysey, Esq., M.P. 
 
 Lent by Henry G, Mosey ^ Esq. 
 
 Born in 1745; elected M.P. for Bath in 1774; appointed Deputy-Remembrancer of 
 the Court of Exchequer; died in 183 1. 
 
 This picture was at the Royal Academy in 1882. 
 
 Full-length, in a landscape, standing, front view; claret-coloured clothing; hat in 
 left hand; stick in right hand, held over his shoulder. 
 
 Canvas, 90^ X S5h inches. 
 
 189. Wood Scene, near Corfe, Taunton. 
 
 Lent by Alfred Eales White Esq, 
 
 Believed to be a wood scene near Corfe, Taunton, Somerset, where Gainsborough 
 had a friend, and used often to sketch. Given to the present owner by a gentleman who 
 was born ^at Long Melford, near Sudbury ; at the latter place Gainsborough was born. 
 The gentleman (T. Sparrow) died in April, 1882, at the age of 87, having been for 
 many years in the service of the Royal Family. 
 
 Canvas, 25 x 30 inches. 
 
 188. 
 
 Miss Sackville. 
 
 Lent by the Lord Bateman. 
 
 Canvas, 30 X 25 inches. 
 
89 
 
 igo. A Landscape, with fallen Tree and Cattle. 
 
 Lent by R. Cook, Esq. 
 
 Across the foreground of the picture the stem of a large oak, partly denuded of its 
 bark, is extended. Near the tree are two herdsmen and three cows ; in the distance is a 
 sandy road, beyond the last a village and its church are visible. 
 
 Canvas, 40 X 37 inches. 
 
 191. Miss McGill, afterwards Lady Clanwilliam. 
 
 Lent by the Earl of Darnley. 
 
 Canvas, 58 x 40 inches. 
 
 192. The Cottage Door. 
 
 Lent by John Claude Daiibiiz, Esq, 
 
 Canvas, 56 X 46 inches. 
 
 193. Landscape. 
 
 Lent by Sir Robert Loyd Lindsay. 
 
 An open glade, with a sunlit distance to right; a boy riding a white horse, and leading 
 another to left; a woodman carrying a faggot. 
 
 Canvas, 40 X 50 inches. 
 
 ^94- John Skinner, Student of Christ Church College, 1742. 
 
 Lent by Christ Church, Oxford. 
 
 Canvas, 50 X 40 inches. 
 
 195. Gainsborough and his Wife. 
 
 Lent by the Rev. Edicard R. Gardiner. 
 
 Canvas, 36 X 28 inches. 
 
THIRD ROOM. 
 
 Jacob, Viscount Folkestone, First President of the 
 Society of Arts. 
 
 Lent by the Society of Arts. 
 
 This picture was painted for the Society of Arts in 1876 as a companion to the 
 portrait, by Sir Joshua Reynolds, of Lord Romney, the second President of the Society. 
 It was not painted from life, but from a portrait of Lord Folkestone, by Hudson. 
 Gainsborough received for it one hundred guineas, that being, in the artist's own 
 words, " the price he usually charged for a full-length picture." The portrait seems 
 to have given satisfaction, for, succeeding the order for the payment of one hundred 
 gumeas, is another motion to the effect that " the thanks of the Society be given to 
 Mr. Gainsborough for his excellent execution of the picture of Lord Folkestone, and 
 he be informed that the Society are highly satisfied with his masterly performance." 
 
 The picture is peculiarly interesting as showing how a Hudson bore translation 
 into a Gainsborough. 
 
 Jacob Bouverie, first Viscount Folkestone, first President of the Society of Arts, 
 died in 1771, and was succeeded in that office by Lord Romney. The picture was 
 exhibited at the Royal Academy in 1877. It was engraved by T. K. Sherwin. 
 
 Standing, in peer's robes, left hand holding a scroll, on which is " Plan of the 
 Society," &c. 
 
 Canvas, 93 X 57J inches. 
 
91 
 
 197- John Langston, Esq., of Sarsden, Oxfordshire. 
 
 Lent by the Countess of Diicie. 
 
 Canvas, gi x 58 inches. 
 
 ig8. A Pond and Cattle — a Sketch. 
 
 Lent by the Rt. Hon, G. Cavendish Bentinck^ M.P, 
 
 Canvas, 17 X 28 inches. 
 
 igg. John Ayton, Esq. — " Handsome Jack." 
 
 Lent by Mrs. Burhani Safford. 
 
 He was a frequenter of the " Wits' Coffee House," and met there, it is said, 
 Garrick, Arthur Murphy, Gainsborough, and others. This portrait has descended in 
 the following manner: Mr. John Ayton left it to Mr. John Bobbit, of Bungay, his nephew, 
 who gave it to his sister, Mrs. Anne Barton, and she to her niece, Mrs. Sophie Jermyn 
 (born Bobbit), who, in turn, gave it to her niece, the present owner, of Parkshot, Rich- 
 mond, Surrey. There is, unfortunately, a small piece chipped off the nose ; this damage 
 occurred about twenty years ago, when a country servant, who was dusting the room in 
 which it hung, was seen to go deliberately to the portrait and scrub its face vigorously 
 with a hand-broom, exclaiming, as she did so, in great indignation, "Wherever I go, he 
 w ill keep looking at me, and I ain't going to stand it any longer ! " 
 
 Canvas, 24 x igi inches. 
 
 igg^A Landscape — Evening. 
 
 Lent by John Rohde^ Esq. 
 
 Canvas, 16 X 20 inches. 
 
 200. Mrs. Bell (Anne Conyers). 
 
 Canvas, 91 X 58 inches. 
 
 Lent by Reginald Bell, Esq, 
 
92 
 
 Third Room. 
 
 201. C. J. Fox ADDRESSING THE HoUSE OF CoMMONS DURING THE 
 
 Ministry of Lord North. 
 
 Lent by Major-General Claude Alexander^ M.P. 
 
 The orator and statesman is on the left, standing, and speaking with animation, 
 wearing a blue coat and knee breeches. The scene is the old House of Commons, and 
 distinguishable by its accessories. 
 
 The picture was at the Academy in 1881. 
 
 Canvas, 22J X 3O5 inches. 
 
 202. Gipsies. 
 
 Lent by Henry Graves^ Esq. 
 
 Near an old tree, a party of men and women, gipsies, are groupe dabout a fire, over 
 which a pot is suspended ; a wood in the mid-distance ; beyond, the round white tower of a 
 Suffolk church is illuminated by a gleam of sunlight. 
 
 Canvas, 29 X 24I inches. 
 
 203. Portrait of Surgeon-Major David Middleton. 
 
 Lent by Miss Paton. 
 
 Canvas, 29 x 24 inches. 
 
 .204. Robert Craggs Nugent, Baron Nugent, Viscount Clare, 
 AND Earl Nugent. 
 
 Lent by Sir George Nugent, Bart. 
 
 For the history of this nobleman, see the notes on No. 32, the portrait lent by the Corpo- 
 ration of Bristol. The picture now before us shows the full-length figure referred to in that 
 entry as having been exhibited by the Society of Artists of Great Britain in Spring Gardens 
 in 1761. This exhibition was the third public display of the kind in this country, the 
 first gathering being that which was held at the Great Room of the Society of Arts, in the 
 Strand, in 1760. The artists who contributed to this collection broke into two parties; one 
 
93. 
 
 remained in the Strand, and opened an exhibition on the 27th April, 1761. This was the 
 second gathering of the kind. The other party hung their works in the " Great Room, 
 Spring Gardens," as above stated, and, opening this gallery on the gth May, 1761, formed 
 the third exhibition. Gainsborough, who had not contributed to the first of these gather- 
 ings, sent to the third, " No. 34, Whole-Length of a Gentleman," the picture 
 before the reader, the first publicly exhibited example of his art. See " The Hon. Lieut. - 
 Col. Nugent," No. 138. 
 
 It was bought by Field-Marshal Sir George Nugent, Bart., at the Stowe Sale. 
 
 Full-length figure. 
 
 Canvas, gi X 58 inches. 
 
 205. A Landscape. 
 
 Lent by Mrs. Thomas Sivift Taylor. 
 
 This picture was painted by Gainsborough for Mr. Parker, of Ashbourne, Derbyshire, 
 an early patron, who gave it to Mrs. Oldham, of 24, Lombard Street, in whose room it 
 hung early in the present century ; it was afterwards at Shacklewell, and, on Mrs. Oldham's 
 death, in 1812, became the property of her son, Mr. W. C. Oldham, who took it to 
 Leicester Firth, near Leicester, and bequeathed it to his cousin. Miss E. C. Mackie, now 
 Mrs. T. S. Taylor, with whom it has since remained. Mr. Oldham died in i860. 
 
 On the back of the picture is an inscription to the above effect. 
 
 Cattle in a landscape ; a man playing a flute ; late evening effect. 
 
 Canvas, 38 X 26 inches. 
 
 206. Mrs. Catherine Macaulay, born Sawbridge, afterwards 
 
 Graham. 
 
 Lent by E. P. Roberts^ Esq, 
 
 This lady was a friend of Gainsborough and Dr. Johnson, and attained considerable 
 distinction as a " Republican Historian; " was the daughter of John Sawbridge, Esq., of 
 Olantigh, near Wye, Kent, where she was born in 1733 ; in May, 1760, she married Doctor 
 George Macaulay, Physician and Treasurer to the Brownlow Street Hospital, who died 
 September 16, 1766. She commenced as an authoress with the " History of England 
 from James the First to the Elevation of the House of Hanover," the first volume ot 
 which appeared in 1763 ; the fifth, which only reached the Restoration, was published in 
 1771. At first it attracted much admiration ; Walpole, who liked, or pretended to like, it 
 greatly, wrote to Mason, December 29, 1763 : " Have you read Mrs. Macaulay ? I am 
 
Third Room. 
 
 glad again to have Mr. Gray's opinion to corroborate mine, that it is the most sensible, 
 unaffected, and best History of England that we have had yet," Mason replied with 
 praises of the lady, " I wish you had told me whether she is maid, wife, or widow ; not 
 that I have any intentions of making my addresses to her, but that I might have known 
 whether she was born of English parents, which I am national enough to be very anxious 
 about." What her literary pretensions were, may be judged by a remark of Mrs. Delany 
 in a letter to Mr. Port, June g, 1770: "The great Mrs. M'Caulay (I was told by an 
 intimate friend of hers) hardly knew the meaning of the word Grmmnar till she was near 
 thirty years old, and that now all her productions goto the press uncorrected ! " The 
 demonstrative republicanism of her book commended it to many who did not discover 
 that it would soon pass into the oblivion of waste paper. 
 
 Nevertheless, so great was the admiration for the author of this elaborate crudity 
 and pretentious book, that ?he received extraordinary marks of public esteem. Dr. 
 Wilson, Rector of St. Stephen's, Walbrook, a divine of pronounced convictions, carried 
 his admiration so far that, while the lady was still living, he erected her statue as an 
 emblem of Liberty in the chancel of his church, to the scandal of the devout, the 
 astonishment of the learned, and the disgust of the Royalists among his congregation. 
 His successor promptly removed this unusual decoration of a sacred edifice. Mrs. 
 Macaulay addressed to this courageous admirer a volume in continuation of her " History." 
 In 1778 (December 17) the lady married a second time. Although her spouse was nearly a 
 quarter of a centur}' younger than herself, and not of a high reputation, he was not fortu- 
 nate in being a brother of the notorious Dr. James Graham, of " the Celestial Bed and 
 Temple of Health," an amazing exhibition in Pall Mall. She is referred to by Philip 
 Thicknesse (Gamsborough's persistent and exacting patron) in his " New Bath Guide," 
 1778 : at this time she was in high repute and fashion at Bath. She went to America in 
 1785, returned, and retired to Leicestershire, where she died June 22, 1791. She wrote 
 copiously and frequently on political subjects, including Remarks on " Hobbes's Observa- 
 tions on Burke" and " A Letter to the Earl of Stanhope," whose portrait is in this 
 Gallery. 
 
 The memoirs and anecdotic literature of the period alluded to above abound in 
 references to Mrs. Macaulay. Those of earlier dates express admiration for her achieve- 
 ments, and accept her opinions ; the later lucubrations condemn both, and slight the writer. 
 On June 16, 1768, Walpole's opinions of Mrs. Macaulay had not improved : " I go, to- 
 morrow," he wrote to the Hon. H. S. Conway, " to see ' The Devil upon Two Sticks,' as 
 I did last week, but could not get in. I have now secured a place in my niece 
 Cholmondeley's box, and am to have the additional entertainment of Mrs. Macaulay in the 
 same company ; who goes to see herself represented, and I suppose figures herself very like 
 Socrates." In 1769 Walpole thought it worth while to inform Sir H. Mann : " I am to dine, 
 to-morrow, with the famous Mrs. Macaulay, along with the Due de la Rochefoucault ; she 
 
Third Room. 
 
 is one of the sights that all foreigners are carried to see." Again, to Mann, the same 
 writer stated, October 13, 1769 : " Paoli is sure to approve of her. The Court have art- 
 fully adopted him, and at least crushed one egg on which faction and her brood hen, Mrs. 
 Macaulay, would have been glad to have sat. He prefers being well with the Govern- 
 ment that protects him." " He (Paoli) has just made a tour to Bath, Oxford, &c., and was 
 everywhere received with much distinction ; so Mrs. Macaulay, it seems, has not laid him 
 under an interdict." — November 6, 1769. To Sir D. Dalrymple, deprecating the 
 advanced opinions of this woman, Walpole wrote, January i, 1770 : " Is some Cromwell 
 to trample on us, because Mrs. Macaulay approves the army that turned out the House of 
 Commons, the necessary consequence of such mad notions ? Is eloquence to talk or 
 write us out of ourselves? or is Catiline to save us, but 50 as by fire}'' Twenty years 
 after this he remembered a dispute about reformation he had had with " Dame Macaulay " 
 (Walpole to Lady Ossory, December 9, 1790.) Referring to those who attacked Burke in 
 1790, Walpole denounced them as "abusive," and averred — " Their Amazonian allies, 
 headed by Kate Macaulay, and the Virago Barbauld, whom Mr. Burke calls om poissardes, 
 spit their rage at eighteen-pence a head, and will return to Fleet Ditch more fortunate in 
 being forgotten than their predecessors, immortalized in the ' Dunciad.' " 
 
 Boswell and others name Mrs. Macaulay among the entourage of Johnson. Referring 
 to her " republican" doctrines, he called her a leveller, and startled her by proposing, 
 " Here is a very sensible, civil, well-behaved fellow-citizen, your foOtman; I desire that 
 he may be allowed to sit down and dine with us. I thus. Sir, showed her the absurdit}- 
 of the levelling doctrine," He frequently denounced the " doctrines " of the lady ; and 
 "being last evening of Trinity" (Coll. Cam.), "when, about twelve, he began to be very 
 great (tipsy), stripped poor Mrs. Macaulay to the very skin, then gave her for his toast, 
 and drunk her in two bumpers " (Boswell, March i, 1765). When she was accused of 
 spending much time at her toilette, and even putting on rouge, Johnson averred : " She 
 is better employed at her toilette, than using her pen. It is better she should be reddening 
 her own cheeks, than other people's characters." 
 
 Canvas, 30 X 25 inches. 
 
 207. Portrait of a Lady. 
 
 Lent by the Rev, Sir. Talbot H. B. Baker, Bart. 
 
 Canvas, 28 X 33 inches : oval. 
 
 208. A Landscape — Wayside Cottage, Suffolk. 
 
 Lent by E. Milles Nelson, Esq. 
 
 A cottage, close to a pond ; a woman, with a baby at her breast, and two boys at 
 
96 
 
 Third Room, 
 
 the cottage door ; a girl, with a jar on her head, and followed by a dog, approaches the 
 house. In the distance a man drives cows. 
 
 Canvas, x 24 inches. 
 
 2og. Landscape (unfinished). 
 
 Lent by William Maxted^ Esq, 
 
 This picture was purchased from the last of the Gainsboroughs, in 1874, at the Old 
 Gate House, Sudbury, the house in which the painter was born ; and it is the last land- 
 scape upon which Gainsborough worked. 
 
 Canvas, 30 X 25 inches. 
 
 210. Robert Palmer, Esq. 
 
 Lent by Sir Reginald P. Beauchamp, Bart, 
 
 Canvas, 30 x 25 inches. 
 
 211. Asses in a Landscape. 
 
 Lent by Sir J. Clarke Jervoise, Bart, 
 
 In the centre, reclining on the ground, are two asses, near them a dog. Standing 
 close to this group an old man leans on a staff; cottage is on our left; in the distance 
 the tower of a church. 
 
 Canvas, 23 X 25 inches. 
 
 212. The Cottage Door. 
 
 Lent by Sir George Beaumont, Bart, 
 
 A young man and a woman, with three children, are near the door of a cottage, 
 ensconced among trees. Between the tree-stems open country is distinguishable, with 
 a hill in the distance. 
 
 Canvas, 75 X 61 inches. 
 
l^hird Room. 
 
 97 
 
 213. Bamford, Suffolk. 
 
 Lent by Henry Graves^ Esq. 
 
 A meadow, in which a large willow stands on our right ; a cow appears in the middle 
 of the view, standing and chewing the cud. A cow and a sheep appear behind. 
 
 Canvas, 23 x 36 inches. 
 
 214. Landscape, with Figures. 
 
 Canvas, 26 X 31 inches. 
 
 215. William Pitt. 
 
 Canvas, 29 X 24 inches. 
 
 Lent by Andrew McKay ^ Esq, 
 
 Lent by the Earl Amherst. 
 
 216. A Landscape. 
 
 Lent by the Ven, Archdeacon Burney 
 
 A hollow road, with a group of trees on our left ; a covered waggon on the road, a 
 church in the distance. 
 
 Canvas, ig X 23 inches. 
 
COLLECTION OF THE WORKS 
 
 OF THE LATE 
 
 RICHARD DOYLE. 
 
 FOURTH ROOM. 
 
 The Drawings which are catalogued as belonging to the family of the late 
 R. Doyle are for sale, and the prices can he ascertained by application to the 
 Secretary. 
 
 217. 
 218. 
 
 Story of Tommy — The Little Boy who didn't care, 
 AND WAS Gobbled up by a Lion. A series of Twelve 
 
 jg j drawings in three frames. 
 
 Lent by Miss Doyle. 
 
 220. Designs for the Title Page of Punch, Pen and Ink. 
 
 Lent by Miss Doyle. 
 
Pourth Rdoln. 
 
 221. Design for the Title Page of Punch, Pen and Ink, 
 
 and Political Caricatures, Pencil. 
 
 Lent by Miss Doyle. 
 
 222. Portrait Sketches of Mr. Charles Halle and Signor 
 
 Manuel Garcia playing Chess, and other Drawings. 
 
 Lent by Charles Halle^ Esq. 
 
 223. Henry VHI. and Katherine Parr. 
 
 Lent by Miss Doyle. 
 
 224. Studies of Birds, Water-colours. 
 
 Lent by Miss Doyle. 
 
 225. Four Water-colour Drawings of Women and Children. 
 
 Lent by Miss Doyle. 
 
 226. A Child's Dream of Fairyland, and the Youthful 
 
 Ulysses. 
 
 Lent by Miss Doyle, 
 
 227. Four Water-colour Drawings of Fairies and Witches. 
 
 Lent by Miss Doyle. 
 
 228. Pen and Ink Designs for Book Illustration. 
 
 Lent by Miss Doyle. 
 F 2 
 
100 Fourth Room. 
 
 229. Five Pen and Ink Designs for Book Illustration. 
 
 Lent by Miss Doyle. 
 
 230. Five Designs in Pencil and Pen and Ink for Book 
 
 Illustration. 
 
 Lent by Miss Doyle. 
 
 231. A Child's First Steps, A Portrait Group. 
 
 Lent by Miss Doyle. 
 
 232. An Enchanted Tree. 
 
 Lent by Miss Enmierson-Tennant. 
 
FIFTH ROOM. 
 
 233. The Goat Legend. 
 
 Lent by the Earl Brownlow. 
 
 According to the Welsh legend, the goats have their beards combed by fairies on 
 Saturday nights, to make them decent for Sunday. 
 
 234. The Witch drives her Flock of Young Dragons to 
 
 Market. 
 
 Lejit by Miss Doyle. 
 
 235. Ariel. 
 
 Lent by Mrs. Russell Sturgis, 
 
 236. The Enchanted Forest. 
 
 Lent by Miss Doyle. 
 
 237. Churchyard in Devonshire. 
 
 Lent by Miss Doyle. 
 
 This is the last drawing executed by the artist. 
 
I02 
 
 Fifth Room, 
 
 238. Knights Crossing a Bridge. 
 
 Lent by Miss Doyle. 
 
 239. A Fairy Flight. 
 
 Lent by Miss Mamting. 
 
 240. A Witch and Young Dragons. 
 
 Lent by the Hon, Mrs. Lionel Tennyson. 
 
 241. St. Christopher. 
 
 Lent by Miss Halle. 
 
 242. Beauty and the Beast. 
 
 Lent by Miss Halle. 
 
 243. Castle Howard. 
 
 Lent by Miss Doyle. 
 
 244. Ariel. 
 
 Lent by M^'s. Thackeray Ritchie. 
 
 245. The ''Dame Blanche" of Normandy (see No. 271). 
 
 Lent by the Duke of Norfolk, E.M. 
 
 " She sat upon a wooden bridge, and would not allow any one to pass unless he went 
 on his knees to her." 
 
 246. Miss Blanche Egerton, 
 
 Lent by Miss Doyle, 
 
Fifth Room. 103 
 
 247. Elves and Fairies. 
 
 LcnL by tJic Marquis of Ripuii. 
 
 248. Fish out of Water — Sailors from H.M.S. "Galatea" 
 
 keeping the ground on the entry into London, after their 
 marriage, of the Duke and Duchess of Edinburgh. 
 
 Lent by A. J. Balfour, Esq., M.P. 
 
 249. A Northern Stream. 
 
 Lent by Miss Doyle. 
 
 250. The Triumphal Entry of the Queen — ''Now She's 
 
 Coming." 
 
 Lent by James Doyle, Esq. 
 
 251. Ariel. 
 
 Lent by the Lady Henry Somerset. 
 
 252. The Lady Mary Leveson Gower. 
 
 Lent by the Earl Granville, K.G. 
 
 253. IsEL Hall. 
 
 Lent by Miss Doyle. 
 
 254. The Altar Cup, in Aagerup. 
 
 Lent by James Doyle, Esq, 
 
 See Keightley's " Fairy Mythology." 
 
I04 Fifth Room. 
 
 255. Snails and Fairies. 
 
 Lent by Miss Manning. 
 
 256. Madonna and Child. 
 
 Lent by Charles Halle, Esq. 
 
 257. An Adventure in the History of Athanasius Gasker. 
 
 Lent by the Viscount Powerscoiirt. 
 
 " I have contended with the cranes on the banks of the Scamanda, having nothing to 
 defend myself with but an old cotton umbrella." 
 
 258. The Goat Legend (see No. 237). 
 
 Lent by James Doyle, Esq. 
 
 259. A Moonlight Scene. 
 
 Lent by James Doyle, Esq. 
 
 260. Fairy Rings and Toadstools. 
 
 Lent by Richard Popplewell Pullan, Esq. 
 
 261. Ariel. 
 
 Lefit by Benson Rafhbone, Esq. 
 
 262. Battle of Elves and Frogs. 
 
 Lent by the Lord Car ling ford. 
 
 This event took place, it is supposed, in pre-historic times, or it might have been 
 added to the fifteen decisive battles of the world^ — making sixteen, 
 
Fifth Room. 
 
 263. Hav/orth Rectory: the Home of Charlotte Bronte. 
 
 Lent by Miss Balfour, 
 
 264. Study of Rocks. 
 
 Lent by the Marquis of Ripon. 
 
 265. The Hon. W. E. Leveson-Gower. 
 
 Lent by the Earl Granville^ K.G. 
 
 266. The Princess Plays Chess with the Dragon for her 
 
 Liberty. 
 
 Lent by Miss Manning, 
 
 267. The Toilet of Titania. 
 
 Lent by George Holty Esq. 
 
 268. Battle of Elves and Crows. 
 
 Lent by the Lord Carlingford. 
 
 269. A Ruined Castle. 
 
 Lent by Miss Doyle, 
 
 270. Night in Fairyland. 
 
 Lent by Benson Rathbone^ Esq. 
 
 271. The "Dame Blanche" of Normandy, No. 2, (see No. 245). 
 
 Lent by the Duke of Norfolk, E.M. 
 
 *' The Dame Blanche requires him whom she thus meets to join her in a dance," 
 
io6 
 
 Fifth Room. 
 
 272. The Lady Griselda Ogilvy. 
 
 Lent by the Countess of Airlie. 
 
 273. The Eagle's Bride. 
 
 Lent by Miss Doyle, 
 
 274. The Dragon of Wantley. 
 
 Lent by Miss Doyle, 
 
 275. The Sleep of the Fairy King. 
 
 Lent by Miss Doyle. 
 
 276. The Knight and the Jotun. 
 
 Lent by H. Virtue Tebbs, Esq. 
 
 277. A Mermaid. 
 
 Lent by H. Virtue Tebbs, Esq. 
 
 278. Fairy and Owls. 
 
 Lent by James Doyle ^ Esq. 
 
 279. An Elf Baby. 
 
 Lent by James Doyle, Esq. 
 
 280. Calm Weather. 
 
 Lent by Miss Doyle. 
 
Fifth Room. 
 
 107 
 
 281. 
 
 " According to a recent letter from Darfur, in Africa, the monkeys in that region are 
 inordinately fond of a kind of beer made by the natives, who use the beverage to capture 
 their simial poor relations. Having placed a quantity of the beer where the monkeys can get 
 it, the natives wait till their victims are in various degrees of inebriation, and when they 
 then mingle with then^i, the poor creatures are too much fuddled to recognize the difference 
 between negro and ape. A negro then takes the hand of one, the others follow, holding 
 on to one another, and they are led off into captivity." — Pall Mall Gazette. 
 
 Lent by Sir Julinn Goldsinid, Bart. 
 
 282. A Flight by Night. — Bats and Elves. 
 
 Lent by James Doyle, Esq. 
 
 283. Under the Dock Leaves, an Autumnal Evening's Dream. 
 
 Lent by Miss Doyle. 
 
 284. IsEL Hall. 
 
 Lent by tlie Hon. Mrs. Percy Wyndham. 
 
 285. Through the Trees. 
 
 Lent by Miss Doyle. 
 
 286. The Laddie Bourne," Invergarry, Invernessshire. 
 
 Lent by A. J. Balfour, Esq., M.P. 
 
 287. The Pied Piper of Hamelin. 
 
 Lent by A . H . Christie, Esq. 
 
 288. Peace or War? Elves Inciting Frogs to Fight. 
 
 Lent by Charles Loyd Norman, Esq. 
 
io8 
 
 Fifth Room, 
 
 289. Fairy Rings. 
 
 Lent by Miss Doyle. 
 
 290. The Haunted Park. 
 
 Lent by Lady Goldsmid. 
 
 Two country children passing through an avenue of lime trees leading to an old 
 mansion-house, see the ghosts of former inhabitants enjo}ing a pic-nic in the woods. 
 
 291. A Scottish Loch. 
 
 Lent by Miss Doyle. 
 
 292. An Old Bridge. 
 
 Lent by Miss Doyle. 
 
 293. St. George and the Dragon. 
 
 Lent by Miss Doyle. 
 
 294. The Altar Cup. 
 
 Lent by Sir Julian Goldsmid, Bart. 
 
 " He rode away, with the cup in his hand, over the ploughed field. The trolls gave 
 chase in a body. As he drew near the village he vowed that, if he escaped, he would bestow 
 the cup on the Church, and just as they were on the point of catching hold of the horse 
 he sprang through the farmer's gate, and was safe." — Keightley Fairy Mythology. 
 
 295. The Fairy Chariot. 
 
 Lent by Janus Doyle, Esq. 
 
 296. The Wraith. 
 
 Lent by Miss Doyle, 
 
Fifth Room. 109 
 
 297. Miss Blanche Harriet Egerton. 
 
 Lent by Admiral the Hon. Wilbraham Egerton. 
 
 298. Musical Fairy Giving a Singing Lesson to the Little 
 
 Birds. 
 
 Lent by Charles Halle ^ Esq. 
 
 299. Queen Elizabeth and Melville. 
 
 Lent by Benson Rathbone, Esq. 
 
 300. The Scandinavian God, Thor, Drove all the Dwarfs out 
 
 OF THE Country by Throwing his Hammer at them. 
 
 Lent by Miss Doyle. 
 
 301. The Ruins of Fountains Abbey in the Park, Studley 
 
 Royal. 
 
 Lent by the Marquis of Kipon. 
 
 302. Small Sketch for the Altar Cup. 
 
 Lent by Miss Doyle. 
 
 303. An Intruder. 
 
 Lent by Miss Doyle. 
 
 304. The Good Fairy Returning from the Christening of 
 The Sleeping Beauty." 
 
 Lent by George Holt^ Esq. 
 
i 1 6 Fifth Room. 
 
 305. The Staircase at Dorchester House. 
 
 Lent by the Right Hon. Sir William Har court. 
 
 306. View from Balcarres. 
 
 Lent by Mrs. H. Sedgewick. 
 
 307. Library at Longleat. 
 
 Lent by Miss Doyle. 
 
 308. Landscape, with Rooks. 
 
 Lejit by the Hon, Mrs. Percy Wyndham. 
 
 309. The Fairy Godmother of the Sleeping Beauty." 
 
 Lent by A. H. Christie^ Esq. 
 
 310. Through the Trees. 
 
 311. The Library at Longleat. 
 
 312. Deer Park — Autumn. 
 
 313. IsEL Hall. 
 
 314. The Enchanted Tree. 
 
 Lent by Miss Doyle ^ 
 Lent by Miss Doyle. 
 Lent by Miss Doyle, 
 Lent by Miss Doyle. 
 
 Lent by the Lord Aberdare. 
 
Fifth Room, 
 
 315. Dame Juliana Berners Teachincx her Young Pupils the 
 
 Art of Fishing. 
 
 hent by the Lord Aberdare. 
 
 Dame Juliana Berners was Prioress of the Nunnery of Sopwell, and the authoress of 
 the famous work on fishing pubHshed at St. Albans i486. 
 
 316. The Haunted Park. 
 
 Lent by the Marquis of Ripon. 
 
 317. Isel Hall, from the Derwent — Evening. 
 
 Lent by the Lady Elclio. 
 
 318. " If the Knight drinks from the cup offered him by the * wild 
 
 woman,' he becomes insensible, and is led off into the 
 mountains . ' ' — Fairy Mythology . 
 
 319. A Rocky Path. 
 
 Lent by Miss Doyle. 
 
 320. God Thor Drives his Enemies from Scandinavia by 
 
 Throwing his Hammer at them. 
 
 Lent by the Duchess of Cleveland. 
 
 321. Fairy Rings and Toadstools. 
 
 Lent by F. Stround, Esq. 
 
 322. The Return of the Dragon Slayer. 
 
 Lent by the Lord Egerton of Tat ton. 
 
Fifth Room, 
 
 323. The Devil's Stone, Cortachy. 
 
 Lent by the Countess of Airlie. 
 
 324. Study of Rocks. 
 
 Lent by Miss Doyle. 
 
 325. Raby Castle. 
 
 Lent by Miss Doyle. 
 
 326. In the Park, Studley Royal. 
 
 Lent by Miss Doyle. 
 
 327. Eastnor— Autumn. 
 
 Le7it by the Marchioness of Tavistock. 
 
 328. The Altar Cup. 
 
 Lent by Benson Rathbone, Esq. 
 
 329. The Lady Rita Leveson Gower. 
 
 Lent by the Earl Granville ^ K.G. 
 
 330. Yew Tree — Whittingham. 
 
 Lent by A. J. Balfour, Esq., M.P. 
 
 331. Raby Castle. 
 
 Lent by Miss Doyle. 
 
Fifth Room, 
 
 113 
 
 332. Study for a Larger Picture. 
 
 Lent by Miss Doyle, 
 
 333. Lord Leveson. 
 
 Lent by the Earl Granville , K.G, 
 
 334. The Schwein-General of Nassau. 
 
 Lent by Miss E. Baring, 
 
 335. IsEL Hall. 
 
 Lent by Miss Doyle, 
 
 336. The Home of Charlotte Bronte. 
 
 Lent by R. H . Hodgson, Esq. 
 
 337. The Return of the Dragon Slayer. 
 
 Lent by J. Dykes Campbell ^ Esq. 
 
 338. Witch and Young Dragons. 
 
 Lent by the Lord Coleridge, 
 
FOURTH ROOM 
 
 r\r 
 
 339. Two Portraits. 
 
 Lent by Miss Doyle, 
 
 340. View of Christchurch Bay, from a Gallery. 
 
 Lent by Henry Reeve^ Esq., C.B. 
 
 341. First Steps. 
 
 Lent by Miss Doyle. 
 
 342 " 
 343 
 344 
 
 345- 1^ Series of Twenty Drawings, presenting Humourous 
 346. C Incidents of Greek, Roman, and Saxon History. 
 
 347 
 348 
 
 349- i^^^i Miss Doyle, 
 
Fourth Room. 1 1 5 
 
 350. Two Drawings, Comic Illustrations from the Iliad. 
 
 Lent by Miss Doyle. 
 
 351. Three Sketches at the Manchester Art Treasures 
 
 Exhibition, 1857. 
 
 Lent by Charles Halle ^ Esq. 
 
 352. Six Ornamental Friezes in Caricature. 
 
 Lent by Miss Doyle. 
 
 353. The Irish Famine — The Knight and the Goblin : two Pen 
 
 and Ink Drawings. 
 
 Lent by Miss Doyle. 
 
 354. Portrait of 
 
 Lent by Miss Doyle. 
 
 355. A Sheet of Five Humourous Sketches. 
 
 Le7tt by C. E. Halle, Lsq, 
 
 356. A Window in Cheltenham, and other Sketches. 
 
 Lent by Miss Doyle. 
 
 357. Guy Fawkes, and Five others Sketches : Pen and Ink 
 
 Lent by Miss Doyle. 
 G 2 
 
ii6 Fourth Room. 
 
 358. Contiguous to a Melancholy Ocean," and other 
 Sketches, containing Caricature Portraits of Carlyle, 
 Thackeray, Disraeli, Lord Brougham, &c. 
 
 Lent by Miss Doyle. 
 
 359. Two Designs for Cartoons in Punch. 
 
 Lent by Miss Doyle. 
 
 360. Six Designs for " Punch" — Marshal Pelissier, and others. 
 
 Lent by Miss Doyle, 
 
 361. ^ 
 362. 
 
 363. 
 364. 
 365. 
 366. 
 
 Series of Fanciful Designs, in Pencil and Water Colour. 
 
 Lent by Miss Doyle.. 
 
 367. ^ Eight Drawings, representing scenes in London Life, by 
 
 368. \ an intelligent Japanese. 
 
 Lent by Miss Doyle. 
 
 369. I Designs for Punch " Cartoons. 
 
 370. ^ Lent by Miss Doyle.. 
 
 371. Humourous Sketches. 
 
 Lent by Charles Halle, Esq.. 
 
I 
 
 Fourth Room. 
 
 117 
 
 372 
 373 
 374 
 375 
 376 
 377 
 378 
 
 Seven Frames, containing Twenty-three Water-colour 
 Drawings, humourous illustrations of the History 
 of England, intended to represent the rejected car- 
 toons for Westminster Hall. 
 
 Lent by Miss Doyle. 
 
 379. Leap-Frog. — A Frieze. 
 
 Lent by Miss Doyle. 
 
 380. Fairy Rings. 
 
 Lent by Benson Rathbone, Esq. 
 
 381. Elves and Fairies at Play. 
 
 Lent by Benson Kathbone, Esq. 
 
 382. Edward the Black Prince and the King of France. 
 
 Lent by Miss Doyle 
 
 383. Proof Impression of the Artist's Design for the Title 
 
 Page of Punch." 
 
 Lent by Miss Doyle. 
 
 384. Sketch Portraits of Lord Tennyson, Lord John Rus- 
 sell, &c. 
 
 Lent by Miss Doyle. 
 
ii8 Fourth Room, 
 
 385. Frame of Six Sketches, Illustrations to Sir Walter Scott, 
 
 and Humourous Designs. 
 
 Lent by Miss Doyle. 
 
 386. Four Tinted Illustrations — The Grand Steeplechase of 
 
 June 17th, 1839, at the Hippodrome, Notting Hill. 
 
 Lent by — Mayne, Esq. 
 
 Executed by the Artist at the age of 14. 
 
ON THE TABLES. 
 
 387 " Dick's Journal," being an illustrated journal kept by 
 Richard Doyle, when a boy of sixteen. 
 
 Lent by Miss Doyle. 
 
 388. 
 389. 
 390. 
 
 Lent by Miss Doyle. 
 
 " Dick's Nonsense." Three books of humorous and fan- 
 ciful sketches. 
 
 391. A Treatyse of Fysshynge wyth an Angle, with original 
 
 illustrations by Richard Doyle. 
 
 Lent by Miss Doyle, 
 
 392. An Album, containing original drawings by Richard Doyle. 
 
 Lent by Miss Manning. 
 
 393. Sketch Portrait of the Late W. M. Thackeray. 
 
 Lent by Miss Doyle. 
 
I20 
 
 394' Gainsborough's Camera, together with Twelve Original 
 Paintings by the Artist, on Glass. 
 
 Lent by G. W. Reid, Esq. 
 
 Fulcher, in the " Life of Gainsborough," says of this very curious and valuable relic of 
 the art of the painter, that De Loutherbourg, who, during the year 1782, had been 
 employed by Garrick at Drury Lane Theatre, formed an exhibition of moving pictures, 
 which he called the " Eidophusikon, or Representation of Nature." Though himself 
 nurtured amid the romantic Pyrenees, he maintained that no English landscape painter 
 need travel abroad to collect grand types for study. The Lakes of Cumberland, the rugged 
 scenery of North Wales, and the grandeur of mountainous Scotland, furnished, he said, 
 inexhaustible subjects for the pencil. At that period it was the general opinion that 
 picturesque scenery was confined to the Continent, and the object of De Loutherbourg's 
 exhibition was thus to show the beauty of our own country. Gainsborough's sympathies 
 were so completely enlisted that for a time he talked of nothing else, and he passed a long 
 succession of evenings at the exhibition. He was, indeed, an enthusiastic encourager of 
 every scheme for the improvement of art, and he loved to experimentalize. When Jarvis 
 made an exhibition of stained glass, Gainsborough was so impressed with the beauty of 
 the examples that he immediately began to construct an apparatus that should diffuse 
 splendour on the productions of his own pencil. This ingenious piece of mechanism 
 is described as consisting " of a number of glass panes, which were movable, and 
 were painted by himself, representing various subjects, chiefly landscapes. They 
 were lighted by candles at the back, and viewed through a magnifying lens, by which 
 means the effect produced was truly captivating ; the moonlight pieces, especially, 
 exhibiting the most perfect resemblance to nature." Dr. Monro purchased the relic, and 
 at his death the mechanical apparatus of this work was sold by Mr. Christie to the late 
 Mr. White, of Brownlow Street, Holborn, who bequeathed it to Mr. G. W. Reid, who 
 has kindly lent it to Sir Coutts Lindsay. 
 
 " The Somerset House Gazette and Literary Museum " of April 10, 1824, says of this 
 Camera : — 
 
 " We shall first notice a novelty, which, doubtless, will excite general attraction. Two 
 moonlights, by Gainsborough, exhibited by an artificial light. There is also a landscape, 
 with cows, by the same ingenious hand. We shall here copy the catalogue. 
 
 " ' These extraordinary works by Gainsborough (adapted by him to the peculiar mode 
 of lighting them) represent the effects of nature more powerfully than any picture or draw- 
 ing can possibly do ; they were'painted by this esteemed artist for his own gratification and 
 the amusement of his friends, and were bequeathed to his daughter, from whom the present 
 proprietor. Dr. Monro, purchased them, and who has liberally lent them to this exhibition. 
 
On the Tables, 
 
 121 
 
 " ' ist. The Cottage. — Representing a most powerful effect of fire-light in the 
 interior. The artist has given considerable interest to this subject by introducing the 
 cottager opening the door : the contrast between the light of the cottage and that of the 
 moon excites the most pleasing associations in the mind, and never fails to produce an 
 instantaneous effect of pleasure and approbation. 
 
 "'2nd. Landscape! AND Cows. — A morning scene. The artist has evinced in this 
 subject a fine feeling for the beauties of simple nature ; the colour, depth, and freedom of 
 pencilling have never been surpassed in any of the works of this eminent landscape- 
 painter. 
 
 " ' 3rd. A Moonlight Scene. — The moon has just risen above the hills, and is 
 brilliantly reflected in the rippling stream. A few sheep scattered in the foreground add 
 great beauty to the stillness of the scene. This exquisite work is so finely conceived as to 
 render it doubtful which of the two moonlights deserves the preference in public 
 estimation.' 
 
 " We may add, of our own knowledge, that Gainsborough in his latter years was in 
 the habit of sketching designs for the Showbox Exhibition, from which these transparencies 
 are selected, whilst his intimate friends, who in an evening stroll called upon him, sat and 
 sipped their tea. His acquaintance with De Loutherbourg, the celebrated scene-painter, 
 first led him to these amusing experiments. The Eidophnsikon, of which we have given 
 an elaborate description, delighted the enthusiastic Gainsborough, who, fascinated by the 
 powerful effects of light and shadow displayed in that incomparable exhibition, for a time 
 thought of nothing else in art. Indeed, so possessed was he with the magical richness of 
 transparencies, that he occasionally made studies, and, lighting them from behind, from 
 these emulated their splendour in his pictures. It is owing to this practice that some of 
 his latest works are remarkable for violent contrasts, and wanting in that stillness and 
 harmony which characterised his earlier labours. 
 
 " We were frequently favoured with a peep into the little theatre of transparencies at 
 Dr. Monro's, some years since, and always with new pleasure, for by varying the lamps a 
 great variety of effects could be rendered on the same subject.'' It appears that more 
 than one camera of this nature are in existence; that which is before us is the most 
 complete. 
 
 Gainsborough employed the above aids to memory and reflection, and did not disdain 
 assistance from models and artistic toys of all sorts. Mr. Wilkie Collins described some 
 such things as in the possession of his father, William Collins, R.A., an humble and 
 partially successful follower of Gainsborough : — "Once established in the new locality of 
 his labours; with more of his sketches, his designs, and his relics of Art about him than 
 he had ever been able to range in any former studio — with his painting table that had 
 belonged to Gainsborough ; with his little model of an old woman, dressed by the same 
 great painter's hand ; with the favourite palettes of Lawrence and Wilkie hung up before 
 
122 
 
 On the Tables, 
 
 him" * * "his enjoyment of his new painting room was complete." "Life of W. 
 ColHns, R.A., by his Son," 1848, ii., 244. 
 
 "Mr. Gainsborough was in the habit of making" (so wrote Edward Edwards, in 
 "Anecdotes of Painters," 1808, p. 135) "what might be called models for landscapes, 
 which he effected by laying together stones, bits of looking glass, small boughs of trees, 
 and other suitable objects, which he contrived to arrange so as to furnish him with ideas 
 and subjects for his rural pictures." Upon this practice Sir Joshua very justly observes, 
 that such "methods may be nothing more than mischievous trifling, or they may be aids, 
 according to the general talent of he who uses them." 
 
 Of the Eidoplmsikon, which fully enchanted Gainsborough, we learn from W. H. Pyne 
 that Sir Joshua Reynolds was much fascinated by its highly effective and dramatic mani- 
 festations. There is no doubt that Turner had much advantage in studying its represen- 
 tations, or rather reproductions of nature. The stage by means of which it was produced 
 was but little more than six feet wide, yet within this narrow space De Loutherbourg 
 contrived, by artful arrangements of coloured lights and movable elements of landscape, 
 to produce such impressions on the spectators that during the representation of a storm, 
 which was accompanied by mimic thunder, and flashes of lightning, a lady suddenly looked 
 through the opening overhead which gave air to the exhibition room, and, seeing real 
 lightning play athwart the actual sky, exclaimed aloud in fear. The consternation caused 
 by this discovery induced many persons to retire to the lobby ; some of them, moved by terror 
 or superstition, observed that "the exhibition was presumptuous," and a guilty mockery of 
 the awful mysteries of nature " (see " Wine and Walnuts," ii., chapter xxi.) 
 
 The following pictures in this collection were reproduced in Messrs. Graves and Co.'s 
 " Works of T. Gainsborough, R.A.," which is the most numerous series of prints after the 
 master. W. Almack, Bramford, Master Buttall ("The Blue Boy"), the Duke of 
 Buccleuch, Lord Camden, Cottage Children, Cottage Door, Cottage Girl, Duchess of 
 Cumberland, Duchess of Devonshire, Lady (Bate) Dudley, Sir H. Bate Dudley, Lady de 
 Dunstanville, Lord de Dunstanville, Countess of Dundonold, Lady Eden, J. C. Fischer, 
 Mrs. Fitzherbert, Franklin, Mrs. Gainsborough, Gainsborough, Garrick, George IIL, Sir 
 H. Harbord, T. Haviland, Honywood, Mrs. Howard, Market Cart, Mrs. Minet, Duchess 
 of Montagu, T. Pennant, William Pitt, T. Sandby and his Wife, Countess of Sefton, 
 Sheridan and his Wife, Col. St. Leger, and the Countess of Sussex. 
 
 395. The Head, Painted by Gainsborough, of a Man Looking 
 OVER A Wall. " Tom Peartree." 
 
 Lent by Stephen Jackson^ Esq. 
 
 The history of this picture is thus related by Fulcher, in his " Life o Gainsborough," 
 
On the Tables. 
 
 123 
 
 1856, p. 25 : — " At the back of the house in which Gainsborough was born, there was, as 
 we have observed, a spacious orchard. It was separated only by a slight fence from the 
 public road, and the clusters of ripe fruit had long proved too strong a temptation for some 
 of the passers-by. But no clue could be obtained likely to lead to the detection of the 
 culprits, until one morning young Gainsborough, having risen early, proceeded to a rustic 
 summer-house at the further end of the orchard, and there commenced a sketch of one of the 
 picturesque trees in the enclosure. Whilst thus employed, he observed a man's face peep- 
 ing over the fence, and looking most wistfully at the mellow pears. The youthful portrait 
 painter immediately made a sketch of his features, in which roguery and indolence, hope and 
 fear, were happily blended ; ' I dare not ' evidently waited on ' I would.' After gazing about 
 him, he proceeded to scale the fence and climb the tree, when Gainsborough emerged from his 
 hiding-place, and the man decamped. At breakfast Tom related the story, and laid upon the 
 table a faithful likeness of the marauder, who was immediately known to be a man living 
 in Sudbury. On being sent for, and taxed with the felonious intent, he stoutly denied it 
 till the boy produced the portrait, and showed him how he looked when about to break 
 the eighth commandment. This juvenile effort was preserved for many years, and 
 Gainsborough ultimately made a finished painting of it under the title of ' Tom Pear- 
 tree's Portrait.' " 
 
 In Fulcher's time (1856) the pear-tree in question was said to be still in existence.. 
 The circumstance is thus alluded to in Bernard Barton's poem on " Gainsborough's 
 Haunts ": — 
 
 And for this cause we would enshrine, 
 
 With grateful homage, justly due. 
 Each haunt a memory priz'd as thine, 
 
 Has made no common, vulgar view. 
 
 Giving, in pictured semblance true, 
 
 The house antique where thou wast born — 
 The orchard where thy boyhood drew 
 
 " Tom Peartree " in life's early morn. 
 
 The orchard is still shown in Sudbury. Mr. W. Creighton, in whose possession 
 this picture originally was, was a friend of Gainsborough, and the means of intro- 
 ducing the painter to Governor Thicknesse, of Landguard Fort, the well-meaning, but 
 over weening patron who promoted the fortune of his client in Bath and London. Mr. 
 Creighton was theeditorof the " Ipswich Journal " from 1739 to 1760. From Mr. Creighton, 
 the head passed into the possession of Mr. Stephen Jackson, the great-grandfather of 
 the present proprietor of the " Ipswich Journal," to whom it still belongs. 
 
 Another version of this story states that it was in the garden of the Rev. Mr. Co>te, 
 of Sudbury, a friend of Gainsborough, the thief was detected. 
 
INDEX OF CONTRIBUTORS. 
 
 Queen, Her Majesty, The. 23, 112. 
 
 Aberdare, The Lord. 314, 315. 
 
 Agnew, William, Esq., M.P. 128. 
 
 AiLESBURY, The Marquis of. 183. 
 
 AiRLiE, The Countess of. 272, 323. 
 
 Alexander, Major-General Claud, M.P. 201. 
 
 Almack, H. H., Esq. 64. 
 
 Amherst, The Earl. 215. 
 
 Arts, The Royal Academy of. i. 
 
 Arts, The Society of. 196. 
 
 Backhouse, Edmund, Esq. 162. 
 
 Baker, The Rev. Sir Talbot, Bart. 122, 207. 
 
 Balfour, A. J., Esq., M.P. 248, 286, 330. 
 
 Balfour, Miss. 263. 
 
 Baring, Miss E. 334. 
 
 Basset, G. L., Esq. 56, 59, 173. 
 
 Bateman, The Lord. 5, 68, 103, 104, 118, 130, 135, 188. 
 Beauchamp, Sir Reginald Proctor, Bart. 135a, 178, 210. 
 -Beaumont, Sir George, Bart. 90, 123, 125, 143, 167, 174, 
 
Index of Cont^Hbiitors, 125 
 
 Beaumont, Wentworth Blackett, Esq. 8i. 
 Bell, Reginald, Esq. 43, 200. 
 
 Bentinck, The Right Hon. G. Cavendish. 18, 24, 58, 109, 136, 198. 
 
 bischoffsheim, h. l., esq. 6. 
 
 Bolton, Colonel Sir F. 49. 
 
 Bristol, The Corporation of. 32. 
 
 Brownlow, The Earl. 233. 
 
 BuccLEucH, The Duke of, K.G. 28, 66. 
 
 BuRNEY, The Rev. Archdeacon Charles. 9, 216. 
 
 Campbell, J. Dykes, Esq. 337. 
 Carlingford, The Lord. 262, 268. 
 Carnarvon, The Earl of. 82. 
 Cathcart, The Lord. 99. 
 Christ Church, Oxford. 52, 194. 
 Christie, A. H., Esq. 67, 287, 309. 
 Clanricarde, The Marquis of. 100. 
 Cleveland, The Duchess of. 320. 
 Clifden, The Viscount. 40, 42, 102, 131, 139. 
 Coleridge, The Lord. 338. 
 Cook, R., Esq. 190. 
 CoRBETT, J., Esq., M.P. 92. 
 
 CORNEWALL, ThE ReV. SiR G. H., BaRT. I4I. 
 
 Cox, Miss. 44. 
 
 Crawford and Balcarres, The Earl of. 20, 160. 
 Cummings, W. H., Esq. 46. 
 
 Darnley, The Earl of. 93, 191. 
 Daubuz, John Claude, Esq. 192. 
 Denbigh, The Earl of. ioi. 
 Donington, The Lord. 35. 
 
 Doyle, Miss. 217, 218, 219, 220, 221, 223, 224, 225, 226, 227, 228, 229, 230,. 
 231, 234, 236, 237, 238, 243, 244, 249, 253, 269, 273, 274, 275, 280, 283, 285,. 
 
126 
 
 Index of Contributors. 
 
 289, 291, 292, 293, 296, 300, 302, 303, 307, 310, 31T, 312, 313, 319, 324, 325, 
 
 326, 331, 332, 335' 339' 34I' 342, 343» 344. 345' 34^, 347' 348» 349' 35^' 352, 
 353> 354' 356' 357' 35^, 359' 3^0, 361, 362, 363, 364, 365, 366, 367, 368, 369, 
 37O' 372, 373' 374' 375' 37^, 377' 37^' 379' 382, 383, 384, 385, 387, 388, 389, 
 390> 39i'393- 
 
 Doyle, James, Esq. 250, 254, 258, 259, 278, 279, 282, 295. 
 DuciE, The Countess of. 197. 
 
 Egerton, The Lord (of Tatton). 297, 322. 
 
 Elcho, The Lady. 317. 
 
 Equitable Assurance Society. 166. 
 
 Fortescue, The Earl. 10. 
 
 Gardiner, The Rev. Edward R. 73, 121, 127, 132, 195. 
 GoLDSMiD, Lady. 290. 
 Goldsmid, Sir Julian. 281, 294. 
 GowER, Lord Ronald. 4, 65. 
 Grant, Colonel F. 19. 
 
 Granville, The Earl, K.G. 252,265, 329,333. 
 Graves, Henry, Esq. 48, 53, 151, 202, 213. 
 Greville, Mrs. E. K. 114, 164. 
 
 Hall6, Miss. 41, 42. 
 
 Hall^], Charles, Esq. 222, 256, 298, 351, 355, 371. 
 Harcourt, Sir W. V., M.P. 305. 
 Hardcastle, Thomas, Esq. 106, 163. 
 Henry, Mrs. George. 45. 
 Herbert, Sir Robert, K.C.B. 126. 
 Heseltine, J. P., Esq. 51. 
 Hill, Gray, Esq. 29. 
 Hippisley, Henry, Esq. 165. 
 
 Hodgson, Robert Kirkman, Esq. 2t, 86, 95, 180, 336. 
 -Holt, George, Esq. 267, 304. 
 
Index of Contribittors, 
 
 127 
 
 HoNYwooD, Lieut. -Colonel William. 182. 
 
 HoRTON, The Rev. Sir George Lewis Wilmot, Bart. 140, 159. 
 Howard, J.X., Esq. (of Corby). 148. 
 HuTH, Louis, Esq. ii, 85. 
 
 Ironmongers, The Worshipful Company of. 78. 
 
 Jackson, Stephen, Esq. 395. 
 Jervoise, Sir J. C, Bart. 211. 
 ^ Jenyns, The Rev. F. G. 179. 
 Josselyn, George, Esq. 88. 
 
 Kennedy, Mrs. Clarke. 137. 
 Kilmorey, The Earl of. 30, 69. 
 
 Leicester, The Earl of, K.G. 185. 
 Lesser, L., Esq. 176. 
 
 Lincoln's Inn, The Hon. Society of. 70, 74. 
 Lindsay, Sir Robert James Loyd, M.P. 31, 119, 193. 
 Loder, Robert, Esq. 87, 175. 
 
 MacDermott, Edward, Esq. 15. 
 Mackenzie, Major-Genl. R. 115. 
 McKay, Andrew, Esq. 142, 214, 
 Manning, Miss. 239, 255, 266, 392. 
 Marlborough, The Duke of. 38. 
 Maxted, W., Esq. 209. 
 Mayne, — , Esq. 386. 
 Middleton, H. N. Esq. 150. 
 Mildmay, H. Bingham, Esq. 181. 
 Morgan, J. S., Esq. 129. 
 Moysey, Henry G., Esq. 187. 
 
 Musicians of Great Britain, The Royal Society of. 34. 
 Montrose, The Dowager Duchess of. 63. 
 
128 
 
 Index of Coiitributors, 
 
 Nelson, E. Milles, Esq. 89, 94, 120, 147, 208. 
 
 Newcastle, The Duke of. 124. 
 
 Newton, F. W., Esq. 41. 
 
 Norfolk, The Duke of, E.M. 153, 245, 271. 
 
 Northbourne, Lord. 60. 
 
 North, J. W., Esq. hi. 
 
 Norman, Charles Loyd, Esq. 288. 
 
 Norwich, The Corporation of. 37. 
 
 Nugent, Sir George, Bart. 138, 204. 
 
 North, Baroness. 133. 
 
 Oliverson, R. Esq. 17. 
 
 Parker, J. Oxley, Esq. 75, 171. 
 
 Paton, Miss. 203. 
 
 Penrhyn, The Lord. 134. 
 
 Portland, The Duke of. iio. 
 
 Powell, Joseph Rubens, Esq. 107. 
 
 Powis, The Earl of. 50. 
 
 Praed, C. T., Esq. 117. 
 
 Preston, D. B., Esq. 172. 
 
 Pullan, Richard Popplewell, Esq. 260. 
 
 Purvis, Alexander K. Kennedy, Esq. 61. 
 
 Powerscourt, Viscount. 257. 
 
 Rathbone, Benson, Esq. 261, 270, 299, 328, 380, 381. 
 Ravensworth, The Earl of. 57. 
 
 Raymond, The Rev. John Mayne St. Clere. 72, 105, i 
 
 Reeve, Henry, Esq., C.B. 340. 
 
 Reid, G. Vv ., Esq. 394. 
 
 Richmond, G., Esq., R.A. 96, 146, 161. 
 
 Ripon, The Marquis of, K.G. 247, 264, 301, 316. 
 
 Ritchie, Mrs. Thackeray. 244. 
 
Index of Contributors, 
 
 Roberts, G. P., Esq. 206. 
 
 Robinson, J. C, Esq. 79. 
 
 RoHDE, John, Esq. 14, 22, 27, 76, 199*-, 
 
 Safford, Mrs. Burham. 199. 
 
 St. Aubyn, Sir John, Bart. 155. 
 
 Saville, Miss Josephine 149, 154. 
 
 Sedgewick, Mrs. H. 306. 
 
 Sharpe, William Arthur, Esq. 144. 
 
 Sharpe, Mrs. 80, 108. 
 
 Sheffield, Sir Robert, Bart. 47. 
 
 Smith, G. B., Esq. 157. 
 
 Somerset, Tnii Lady Henry. 257. 
 
 Spencer, The Earl, K.G. 16, 55, 145, 168, 184. 
 
 Stanhope, The Earl. 8, 84, 170. 
 
 Stevenson, H., T.sq. 2. 
 
 Stratford-on-Avon, Thi-: Corporation of. 7. 
 Stround, E., Esq. 321. 
 Sturgis, Mrs. Russell. 235. 
 
 Tavistock, The Marchioness of. 327. 
 Taylor, Mrs. Thomas Swift. 205. 
 Tebbs, H. Virtue, Esq. 276, 277. 
 Tennant, Miss. 232. 
 Tennyson, Hon. Mrs. Lionf.l. 240. 
 Thompson, Thomas, Esq. 169. 
 Thornton, John, Esq. 36. 
 Thoyts, W. R. M., Esq. 77, 113. 
 Turton, Edmund H., Esq. 83. 
 Tweedmouth, Lord. 33, 54. 
 
 Villebois, H., Esq. 12, 166, 177, 186. 
 
 Walker, John Chapman, Esq. 156 
 
I30 
 
 Index of Contributors, 
 
 Wells, William, Esq. 3, 13. 
 Wenlock, Lord. 97. 
 
 Westminster, The Duke of, K.G. 62, g8, 152. 
 
 Whitbread, S., Esq., M.P. 91. 
 
 White, The Rev. J. Cosby. 25, 36, 71. 
 
 White, A. E., Esq. 189. 
 
 Wilkinson, Mrs. Eason. 39. 
 
 Wyndham, The Hon. Mrs. Percy. 284, 308. 
 
INDEX OF THE PICTURES. 
 
 Abel, Karl Friedrich. 46 
 
 AiLESBURY, Countess of (Lady Anne Elizabeth Rawdon). 183. 
 
 Almack, Mr. William. 64. 
 
 Amyand, Claudius, Esq. 141. 
 
 Artist (Portrait of the), i. 
 
 Ayton, John, Esq. (Portrait of). 199. 
 
 Bamford, Suffolk. 213. 
 
 Bateman, John, 2nd Viscount. 5. 
 
 Bateman, The Hon. Mrs. William. 104. 
 
 Bateman, Viscountess (when young). 118. 
 
 Bateman, Viscountess. 135. 
 
 Bedford, 4TH duke of (John Russell). 38. 
 
 Bell, Mrs. (Anne Conyers). 200. 
 
 Bell, Ralph, Esq. 43. 
 
 BowLBY, Lady Mary (Portrait of). 96. 
 
 Boy's Head (Sketch of). 41. 
 
 Boys and Fighting Dogs. 130. 
 
 Brum, Madame Le. 63. 
 
 Burrough, Mr. (Portrait of). 149, 154. 
 
 BuTTALL, Master Jonathan, " The Blue Boy." 62. 
 
132 
 
 Index of the Pictures. 
 
 Camden, Lord (Portrait of). 60. 
 
 Campbell, Lord Frederick (Portrait of). 115. 
 
 Canning, The Right Hon. George. 100. 
 
 Carr, Mrs. (Portrait of). 21. 
 
 Cathcart, William, ioth Baron. 99. 
 
 Charles L (Copy of Equestrian Portrait of). 79. 
 
 Chesterfield, 4TH Earl of (Portrait of Philip Dormer Stanhope). 84. 
 Christie, James, Esq. 67. 
 
 Clanwilliam, Lady (Portrait of Miss McGill). 191. 
 Coast Scene, A. 152. 
 Cox, Mr. 44. 
 
 Cottage Door, The. 98, 192, 212. 
 Cottage Girl, The. 173. 
 
 Cruttenden (Portrait of the Two Misses). 61. 
 Cumberland, Duchess of (Portrait of). 25. 
 Cumberland, Duke of (Portrait of). 26. 
 Cumberland, The Duchess of (Portrait of). 97. 
 
 Darnley, John, 4TH Earl of. 93. 
 
 Dehany and their Daughter, Mr. and Mrs. (Portrait of). 176. 
 
 Dog (Portrait of). 123. 
 
 Dogs, Two Favourite (Portrait of). 167. 
 
 Dog and Puppy, A Pomeranian. 113. 
 
 Duchess of Devonshire, The (Sketch of). 40. 
 
 Duchess of Devonshire, The. 145. 
 
 Dudley, Lady (Portrait of). 75. 
 
 Dudley, Rev. Sir Henry Bate (Portrait of). 171. 
 
 Dundonald, Countess of (Isabella Raymond). 158. 
 
 Dunstanville, Earl de (Sir Francis Basset). 56, 155. 
 
 Dunstanville, Lady de. 59. 
 
 Eardley, Lady, and her Daughter (Portrait of). 31. 
 Eden, Lady Dorothy (Portrait of). 114. 
 
tnaex of the Pictures, 
 
 133 
 
 Eden, Sir John, 4TH Bart. 164. 
 Elliott, Mrs. (Grace Dalrymple). no. 
 
 Firman, Mr. John. 88. 
 Fischer, the Musician. 112. 
 Fitzherbert, Mrs. (Portrait of). 10. 
 Folkestone, Viscount (Jacob Bouverie). 196. 
 FoRDYCE, Mr. 20. 
 Forest Scene. 65. 
 
 Fox addressing the House of Commons. 201. 
 
 Gainsborough du Pont. 146. 
 
 Gainsborough, John. 151. 
 
 Gainsborough, Mrs. 80. 
 
 Gainsborough, Miss (Portrait of). 92. 
 
 Gainsborough and his Wife. 195. 
 
 Gainsborough, Mrs. (Portrait of Margaret Burr). 108. 
 
 Gainsborough, Mr. Humphry. 144. 
 
 Gainsborough, T., R.A. 4, 161, 185. 
 
 Gainsborough's Daughter (Mrs. Fischer). 87.- 
 
 Gainsborough's Daughters (Portraits of). 91. 
 
 Gardiner, Miss Susan. 127. 
 
 Gardiner, Edward R. 132. 
 
 Garrick, David. 7. 
 
 Gentleman, A (Portrait of). 122. 
 
 George HI. (Portrait of). 34. 
 
 George IV. (when Prince of Wales). 81. 
 
 GiARDiNi, Felice de. 156. 
 
 Gipsies. 202. 
 
 Gipsy Encampment, A (an unfinished Sketch). 18. 
 Girl with a Lamb. 182. 
 
 Harbord, Sir Harbord (Portrait of). 37. 
 
134 
 
 Index of the Pictures. 
 
 Harvest Waggon, The. 33. 
 
 Harvest Waggon, Sketch for the. 174* 
 
 Haviland, Thomas, Esq. 53. 
 
 Heads of two Monks, The (Study of). 139. 
 
 Heberden, Mrs. (Portrait of). 179. 
 
 Hen and Chickens. 121. 
 
 Henderson, John (Portrait of). 142. 
 
 Hingeston, The Rev. James. 94. 
 
 HiNGESTON, John, the Younger. 147. 
 
 Hingeston, Mrs. (Portrait of). 89, 120. 
 
 HiPPiSLEY, Mrs. (Portrait of). 165. 
 
 Hood, Viscount. 78. 
 
 HoRTON, Christopher (Portrait of). 159. 
 
 Howard, Mrs. (Annie Witham). 148. 
 
 HowLAND, Isabella (Portrait of). 125. 
 
 Jack Hill in a Wood. 86. 
 Jack Hill in a Cottage. 95. 
 Johnson, Dr. (Portrait of). 119. 
 Jones, William, Esq. (Portrait of), iii. 
 
 KiLMOREY, John, Viscount. 30. 
 
 Lady, A (name unknown). 85. 
 
 Lady and Child, A. 72. 
 
 Lady, A, (Portrait of ). 83,207. 
 
 Landscape (unfinished). 209. 
 
 Landscape, A. 3, 126, 128, 134, 172. 
 
 Landscape, A. 193, 205, 216 
 
 Landscape, A Wayside Cottage, Suffolk. 208. 
 
 Landscape, A (a Study). 51. 
 
 Landscape, with Figures at Pond. 136. 
 
 Landscape, A Sea-Side. 137. 
 
Index of the Pictures. 
 
 135 
 
 Landscape, A Small. 117. 
 
 Landscape, A Small. 102. 
 
 Landscape, A, with Cattle. 77. 
 
 Landscape, A, with Figures. 214. 
 
 Landscape, A, with Figures against a Tree. 157 
 
 Landscape, Small. 15. 
 
 Landscape, Small, with River and Bridge. 14. 
 
 Landscape, Evening. 22, 199^. 
 
 Landscape, Blind Man Crossing a Bridge. 90. 
 
 Landscape, with Fallen Tree and Cattle. 190. 
 
 Landscape, with Cows and a Bridge. 169. 
 
 Landscape, with Cattle and Figures. 76. 
 
 Landscape, a Peasant Crossing a Stream. 58. 
 
 Landscape, a Man with Sheep. 27. 
 
 Landscape, with Asses. 211. 
 
 Landscape, with Cows, &c. 124. 
 
 Landscape, with Figures and Cattle. 54. 
 
 Landscape, with Horses Ploughing. 133. 
 
 Langston, John, Esq. 197. 
 
 LiNLEY, Miss. 42. 
 
 Lindsay, Lady Margaret. 160. 
 
 Littleton, Lady. 140. 
 
 Macaulay, Mrs. Catherine (Portrait of). 206. 
 
 Market, Going to. 68. 
 
 Markham, William, Esq. (Portrait of). 19. 
 
 Master in Chancery, A (Portrait of). 57. 
 
 Meares, Mrs. (Portrait of). 166. 
 
 Mendip, Lord (Welbore Ellis). 52. 
 
 MiDDLEToN, David (Portrait of). 203. 
 
 Milk Girl, The. 49. 
 
 MiNET, Mrs. 6. 
 
 Montagu, Mary, Duchess of. 28. 
 
136 
 
 Index of the Pictures, 
 
 Montagu, Henry, Duke of. 66. 
 
 Morgan, The Right Hon. Sir Charles. 116. 
 
 MoTT, Miss Juliet. 162. 
 
 MoYSEY, Abel, Esq. (Portrait of). 187. 
 
 Mulgrave, Lord (Portrait of). 181. 
 
 Needham, The Hon. Thomas. 69. 
 
 Norfolk, I2th Duke of (Portrait of Bernard Edward Howard). 153. 
 Nugent, Robert, Earl. 32, 204. 
 
 Nugent, The Hon. Lieut. -Colonel (Grenadier Guards). 138. 
 
 Old Man and Dog. 143. 
 
 Painter's Wife, The. 175. 
 
 Packhorse Bridge, The. 106. 
 
 Palmer, Sir Robert (Portrait of). 135a. 
 
 Palmer, Robert, Esq. 210. 
 
 Pearce, William, Esq. (Portrait of). 107. 
 
 Pembroke Family, The. 131. 
 
 Pennant, Thomas, ioi. 
 
 Pitt, William (Portrait of). 13,70, 170, 215. 
 
 Plampin, John, as a Boy. 17. 
 
 Pond and Cattle (a Sketch). 198. 
 
 Powis, Earl of. 50. 
 
 Poyntz, William. 55. 
 
 Purling, John (Portrait of). 150. 
 
 Raymond, The Rev. Samuel. 105. 
 River Scene, with Cattle. 180. 
 Rural Courtship, 73. 
 Rustic Dwelling, A. 45. 
 
 Sackville, Miss. 188. 
 
Index of the Pictures. 
 
 Sancho, Ignatius (Portrait of). 2. 
 Sandby, Thomas, R.A., and his Wife. 9. 
 Sand Getters, The. 163. 
 Sheffield, Lady Charlotte. 47. 
 Skinner, John. 194. 
 
 Skynner, Sir John, Bart. (Portrait of). 74. 
 
 Spencer, Countess (Margaret Georgiana Poyntz). 168. 
 
 Spencer, The Hon. Miss Georgiana. 184. 
 
 Spencer, John, ist Earl. 16. 
 
 Stanhope, 3RD Earl (Portrait of Charles). 8. 
 
 Stevens, William, D.D. (Portrait of). 71. 
 
 St. Leger, Colonel. 23. 
 
 Sussex, Hester, Countess of. 35. 
 
 Tenducci, Justus Ferdinando. 29. 
 Thames, View at the Mouth of the. 17S. 
 Thornton, John, Esq. (of Clapham). 36. 
 Truman, Sir Benjamin (Portrait of). 12. 
 Tyler, Miss. 103. 
 
 Vestris, Mr. ii. 
 
 View in Shropshire, A. 129. 
 
 ViLLEBOis, Mrs. (Portrait of). 186. 
 
 ViLLEBOis, William and John Truman (Portraits of), i 
 
 Walker, Mrs. (Portrait of). 39. 
 
 Waterfall, A. 48. 
 
 Wood Gatherers, The. 82. 
 
 Woodland Scene, A. 24, 109. 
 
 Wood Scene, near Corfe, Taunton. 189. 
 
GETTY CENTER LIBRARY 
 
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