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Roscoe, F.R.S., D.C.L. ^Uusfratcb §afaf0(5uc THE TATE GALLEBY THE ^IflTIOJlflli GflltliERY OF BHITISH ART WITH INTRODUCTION BY DAVID CROAL THOMSON EDITOR OF " THJi ART JOURNAL" LONDON: "THE ART JOURNAL" OFFICE 26, IVY LANE, E.C. 1897 THE NATIONAL GALLERY OF BRITISH ART. I ^HE fulfilment of the ardent wish of every British artist has come about by the munificence of one man, Mr. Henry Tate, who has happily lived to see the public opening of the Gallery he has built and presented to the Nation. For many years it has been the reproach of strangers visiting London that it was not possible to see good repre- sentative specimens of the Art of the present day as it is practised in these islands. Paris has had her famous Luxembourg devoted to living artists' works since the year 1818. The Hague, and many other foreign cities, long ago established similar collections ; and in the provincial towns of England and Scotland modern pictures are settled in public galleries — Liverpool, Manchester, Birmingham, and Glasgow, Dundee, and other cities, containing excellent permanent exhibitions of this character. 4 Mr. Henry Tate heard complaints of this want in London again and again, and having a fine collection of modern pictures, he resolved to present these pictures to the nation, together with a building worthy of the country's acceptance, with accommodation for a representative gather- ing of the works of modern British painters. The result is that w^e now possess one of the best galleries in the world devoted to the Art of the painters living in our own century. Without counting the money value of the sixty-five pictures presented by Mr. Tate to the public, the cost of the building has been well over ;£'ioo,ooo, and this has been borne entirely by this merchant prince. Mr. Tate also announced in his address to the Prince of Wales at the opening ceremony that he has resolved to supplement his already great gift by providing the means to enlarge the picture galleries to about double the size. Such a gift deserves, and has indeed received, the fullest public acknowledgment, and Mr. Tate — who has, it is said, repeatedly declined honours offered to him by Royalty — possesses the satisfaction of knowing that his generosity has been well understood and appreciated. In addition to the sixty-five pictures and two pieces of sculpture forming the Tate Collection there are in the new Galleries three other groups each possessing exceptional merit. There are the ever-increasing works of Art pur- chased by the Royal Academy under the bequest of Francis Chantrey, R.A., an eminent sculptor of his day (1781 — 1875). The arrangement of this bequest is that the money while it is still undisbursed remains in the control of the 5 President and Council of the Royal Academy, but so soon as a work of art, which must have been "executed in Great Britain," is purchased, this picture or piece of sculpture becomes the property of the nation. At the time of the opening of the new British Gallery in 1897 the numbers of these pictures and works in sculpture were seventy-three and twelve respectively. In the two small octagon rooms in this Westminster Gallery are the eighteen pictures painted by George Frederick Watts, R.A., and recently presented by him to the country. These embrace some of the greatest subjects this master has produced, and are variations or duplicate pictures well known through Mr. Hollyer's photographs. Of these in the British Gallery a variation of '* Love and Life " is in the Luxembourg in Paris, and "Love and Death" in the Metropolitan Art Museum, New York. It must be gratifying to the veteran to sec this splendid group of his works so satisfactorily housed in the new Gallery in his native country. Lastly, there are ninety-eight pictures from the modern portion of the National Gallery. Without robbing too severely the collection in Trafalgar Square, these pictures are all of great interest to visitors to the Tate Gallery. From time to time these may be changed for other pictures still at the older gallery, and the Director of the new British Gallery, Mr. Charles Holroyd, may be relied on to see that the present excellent level is never permitted to descend. The Architect of the National Gallery of British Art is Mr. Sidney R. J. Smith, Fellow of the Institute of British Architects, who has successfully designed a building out- ! I 6 wardly worthy of the nation's reception, while the interior sets off the pictures and works in sculpture to full advantage. It may be that the larger salons are somewhat too narrow for their length, and the Watts Room is possibly too confined for the masterpieces now hung therein ; but the light is admirably arranged, and either in summer or winter the illumination from the ceiling can by a judicious use of blinds be made to fall in the proper tone on the paintings. At first sight the Tynecastle tapestry on the walls seems somewhat dark, but there is no doubt it shows off the pictures well, and no brilliancy is lost, while no delicacy is overpowered. In a note supplied by the Architect, Mr. Sidney Smith, he says: **The architectural style of the building is a free classic, with a Greek feeling to the mouldings and ornament. The chief feature of the front elevation is the lofty central portion, with a portico of six Corinthian columns with pedi- ment over : this portion projects some distance beyond the main face of the building and has a flight of steps up to the entrances (which are between the columns), and at the extreme ends are two pavilions which internally are octagons. These pavilions have an order of Corinthian pilasters raised on pedestals and terminating in pediments, — between the pilasters are deep niches with an Ionic order of columns and pilasters supporting entablatures with semicircular arches over. Between the end pavilions and the central portion is a plain ashlar wall to give relief to the surrounding features ; in the centre of this plain part is another niche flanked with Ionic pilasters with a small Doric order between them, with semicircular arch over to form the niche. The Ionic order 7 finishes with a pediment. A rusticated basement, lo feet high, runs entirely round the elevations, supporting a pedestal treatment 6 feet high, from which the various orders of columns and pilasters spring. The length of the front elevation is 290 feet, that of the side, including the projecting central portion, is 140 feet. " There are seven picture galleries, all lighted from the top, three of them 59 feet long by 32 feet wide, the long gallery 93 feet long and 32 feet wide, and the square gallery 32 feet by 32 feet. ''The insides of the flanking pavilions are treated as octagons, 31 feet 6 inches in diameter, and are picture galleries. They are lighted from the top by a glass dome with panelled and ornamental plaster ribs and cornices, the height from floor to apex of dome being about 46 feet." The Gallery was opened by the Prince and Princess of Wales on July 21st, 1897, and the chief representatives of Art were invited, members of the Royal Academy being there in large numbers. Sir William Harcourt, who had proposed the site of Millbank for the Gallery, and Mr. Arthur Balfour, attending on behalf of the Government, made speeches explanatory of the initiation and progress of Mr. Tate's scheme. Mr. Tate's own remarks at the opening are specially worth recording, as they show the generous yet modest character of the man. He said : — 8 "Some years ago I learnt that a great want was felt of some place where works of Modern Art could be seen at any time of the year, and I decided that if I could succeed in obtaining from the Government a suitable plot of land I would build a gallery for the permanent exhibition of British Art. Sir William Harcourt warmly interested himself in my proposal, and chiefly through him the Government liberally placed this site at my disposal. These galleries are already nearly full, and, as it is evident that much more hanging space will be required, I propose to utilize the remainder of the land granted by the Government in building the extension, plans of which may be seen on the corridor walls. The Government has promised to maintain the gallery, and the Trustees of the National Gallery have undertaken the manage- ment of it, which is not only a great satisfaction to me, but is a guarantee to the public for its good government. The designs of the architect, Mr. Sidney Smith, I think, speak for themselves, and they have been excellently carried out by the contractors, Messrs. Higgs and Hill. The pictures have been hung with much care and taste by Sir William Agnew and Sir Edward Poynter, and I am greatly indebted to them for the interest they have taken in the work. To-day your Royal Highness puts the crown on the undertaking by graciously opening this gallery, for which I thank your Royal Highness with all my heart ; and I venture to hope that the event, occurring in this memorable year of the reign of our honoured and beloved Queen, may be taken as a happy augury of its success. I beg to offer to your Royal Highness the deeds conveying my gift to the nation." The Prince of Wales at the close of the proceedings made a speech which showed he had thoroughly mastered the 9 scheme of the new gallery, and he concluded with an expression of thanks which was warmly received by the large audience. The Prince said : — Let me express to Mr. Tate the very great pleasure it has given to me, and the Princess, and other members of my family, to take part in these proceedings. I give way to none in the love and appreciation that I have of Art, and I can assure you all, ladies and gentlemen, that among the many duties I have had to perform this year, and the many cere- monials which I have attended, none of them have given me greater pleasure than the one in which I am taking a part to day. We have indeed every reason to be most grateful to Mr. Tate for his most munificent gift. We all know what large collections of Art there are in this country, and the difficulties of finding the room for them in this admirable building, so well lighted and so well arranged. We have already around us the most beautiful pictures — the 65 which Mr. Tate has presented himself, then the pictures of the Chantrey bequest, some very fine pictures which are the gift of Mr. Watts, and last, but not least, pictures from the National Gallery. It has been alluded to that this site was occupied by Millbank prison. I am glad to think that in its place we have this beautiful Temple of Art instead of a build- ing where unfortunate criminals were undergoing punishment. I am inclined to think that in the gift which Mr. Tate has made to the nation, the nation will take now the place of the gaoler by taking care of all these valuable pictures, which I hope will ever remain within these walls, and to which many more, I hope, may be added. I thank you extremely for having asked me to come here to-day, and may I be bold lO enough to say that in the name of our entire nation we thank you from the bottom of our hearts for this munificent gift." The Tate pictures will probably be the most attractive for a long time to come, for they have not hitherto been seen publicly as a collection. The Chantrey pictures were exhibited at the South Kensington Museum for several years. Of the Tate collection the three splendid Society pictures by Mr. Orchardson are remarkable. ''The Doctor," by Mr. Fildes, is probably the most popular picture painted at the end of this century. Millais' North-West Passage," ''Knight Errant," "Ophelia," and "The Vale of Rest," are all of the finest quality, the last-named being specially successful. Of the Chantrey pictures, besides Mr. Orchardson's "Napoleon on board the Bellerophon," forming with "The Young Duke" the artist's highest achievement, there are Mr. Swan's luscious " Prodigal Son," a work specially to be. studied by the young painter ; Sir Edward Poynter's chef d'oeuvrey "A Visit to ^sculapius ; " Mr. Sargent's "Carna- tion, Lily, Lily, Rose;" and Mr. Clausen's "Girl at the Gate." Only this little need be said of the works exhibited. To the visitor the works themselves speak more vividly than any description, and even to those residing at a distance the illustrations give a fair idea of the contents of the Gallery. This much, however, let me add : no one, with or without a knowledge of the Art of to-day in other countries, need hesitate 1 1 to take the most fastidious connoisseur to see the productions of the nineteenth century in painting and sculpture in Great Britain. With possibly one exception only — that of Holland, where the general level of artistic work is very high at this time — no other school of painting excels the British. France at present is feeble, with a few brilliant exceptions ; Germany has only one or two really good artists ; Italy has perhaps one; while Spain, Belgium, and other countries appear almost barren. Let us rejoice, therefore, in the vitality exhibited by the present British school in this new Gallery, and let us hope that the donor's wish will be fulfilled, and a new era for our own artists date from the day of its successful inauguration. D. C T. NOTICE. HE NATIONAL GALLERY OF BRITISH ART is open to the Public free on Mondays, Tuesdays, Wed- nesdays, and Saturdays, from lo.o a.m. to 6.0 p.m., and on Sundays from April to September, between the hours of 2.0 p.m. and 6.0 p.m. On Students' Days (Thursdays and Fridays) from ii.o a.m. to 5.0 p.m. on payment of Sixpence. JLLUSTRATIONS B 14 Koom III. No. 1533 Uncle Tom and His Wife for Sale. By Sir Edwin Landseer^ R. 4, lioom III. No. 1567.1 Hi.s First Offence. By Mrs. H. M. Stanley. 19 24 26 28 [.Bp permigsion of the "Illustrated London News." The North-West Passage. jioom m. Xo.i.m.i Ry Sir J. E. Millais, Bart. P.R.A. lloom 111. No. 15.37. J Wayside Pra\;er. By Erskine Nicol, A.R.A. 29 Faults on both Sides. By Thomas Faed, R.A. Room 1 1 r. No. l.>26.] ( Koomlll. No. 55.1 Marooning. By E. J. Gregory, A. R. A. Rooiii.111. No. 680.] The Orphans. \By T. B. Kennington. Cl'pid s Spell. if,.H>mii[. N,.ivsi.i By Henry Woods, R.A. 33 34 Room III. No. 1547.] Contemplation, By J, Linnell. 35 The Silken Gown. By Thomas Faed, R.A. Koom HI. No. 1525.] I §()antrce "Request. The Ann L.NcirtTiuN. By Arthiii' acker, A.R.A. Iloom 1. No. 15T0.J Room VII. Xo. 1592.] Morning Glory. Bv M. Ridley Corbet, 38 "Carnation, Lily, Lily, Rose." Room VII. No. 1615. Bv J. S. Sargent, R.A. Room "VI.'^No. 1627. A Hopeless Dawn. By Frank Brantley, A, R.A. Room VII. No. 1603.] Sunset at Sea. By Edwin Hayes. Room I. No. 1685. Ps\CHE. By G. F. Watts, R.A. EoomVII. Mo. 16(»8.) Returning to the Fold. By H. ]V. B. Davis, R.A. 42 43 44 45 47 Room I. No. 1579.] Their Only Harvest. By Colin Hunter, A.R.A. Hudson's Last Voyage. Room VII. No. 1616.] By Hon. John Collier. Room 1. No. 1571.] June in the Austrian Tyrol. By John MacWhirter, R.A. Eooml. No. 1590.] Alleluia ! By T. C. Gotch. Room VII. No. 1048.] In a F'OG. By David Farquharson. By permission of the Royal Institute of Painters in Water-colours. Between Two Fires. iJioom VII. No. imi.] By F. D. Millet. Folly. By E. Onslow Ford, R.At The Nymph of Loch Awe, By F W. Ponieroy. Perseus Rescuing Andromeda, Bv Henry C. Fehr. 56 THE WORKS OF G. F. WATTS, R.A. [Photo, Fredk. Rollyer. For he had great Possessions. By G. F. Watts, R.A. ■ Room VI. No. 1632.] [Photo, Frcdk. BoUyer. Conscience, the Dweller in the Innermost. By G, F, Watts, R.A. VI. No. 1631.] IPhoto, Freclk. HoUyer. Mammon. Room VI. No. 1630.] G. F. Watts, R.A. Room VI. No. 1633.] The Dray Horses, Noon-day Rest. By G. F. Watts, R.A. [Photo, Fredk.Hol'yer 59 62 Boom IV. No. 423.] Malvolio and the Countess. By Daniel Maclise, R.A, The South-Sea Bubble. Room IV. No. 432.1 By E. M. Ward R.A. 6s EoomlV. No. 609.] The Maid and the Magpie. By Sir Edwin Landseer, R.A John Knox Preaching before the Lords of the Congregation. Eoom IV. No. 894.] By Sir David Wilkie, R.A. 67 Room IV. NO.40G.] The Lake of Como. By Clarkson Stanfeld, R.A. Sancho Panza in the Apartment of the Duchess. KoomiT. No. 402.] By C. R. Leslie, R. A. 69 70 Koom IV. No. 921.] Blind Man's Buff. By Sir David Wilkie, R.A. 71 ! 72 CATALOGUE. CATALOGUE. NOS. TITLE. ARTIST. 231. Portrait of Thomas Sir David Wilkie^ R,A. Daniell, R.A. 328. The First Earring . Sir David Wilkie, R.A, 331. Newsmongers . . Sir David WilkiCy R.A, 353. YoRiCK AND the Grisette G. S. Newtofiy R.A. 354. Dutch Girl at a Window G. S, Newton, R.A. 374. The Column of St. Mark, Richard P. Bon- Venice nington 379. Landscape. Two Lycian Peasants seated on the Ground ; Mount Massi- CYTUS in the Distance . William J. Muller 397. Christ Lamenting over Sir Charles L. East- Jerusalem [p. 62) lake, P. R.A. " O Jerusalem, Jerusalem, thou that killest the prophets, and stonest them that are sent unto thee, how often would I have gathered thy children together, even as a hen galhereth her chickens under her wings, and ye would not ! Behold, your house is left unto you desolate." — St. Matthew xxiii. 37, 38. " And as he sat upon the Mount of Olives, the disciples came unto him privately, saying. Tell us, when shall these things be " — -^V. Matthew xxiv. 3. " And he said, When ye shall see Jerusalem com- passed with armies, then know that the desolation thereof is nigh." — St. Luke xxi. 20. " When they shall say peace and safety ; then sudden destruction comeih upon them." — /. Thess. v. 3. 398. Haidee, a Greek Girl . Sir Charles L. East- lake, P. R.A, 399. Escape of the Carrara Family from the Pur- suit OF the Duke of Sir Charles L. East- Milan, 1389 lake, P.R.A, 75 NOS. TITLE. ARTIST. 400. Interior of the Cathedral AT Burgos, North Tran- sept David Roberts^ R. A. 401. Chancel OF the Collegiate Church of St. Paul at Antwerp. . . . David Roberts^ R.. A. 402. Sancho Panza in the Apartment of the Duchess (/. 68) Charles R. Leslie, Don Quixote, p. 2, c. 33. R.A. 403. Uncle Toby and Widow Wadman in the Sentry Charles R. Leslie, Box (/. 69) R.A, "I protest, Madam," said my uncle Toby, "lean see nothing whatever in your eye." " It is not in the white," said Mrs. Wadman. My uncle Toby looked with might and main into the pupil." — Tristram Shandy. 404. Entrance to the Zuyder Clarkson Stanfield, Zee, Texel Island R.A. 405. The Battle of Trafalgar, AND THE Victory of Lord Nelson over the Combined French and Spanish Fleets, October Clarkson Stanfield, 2 1 ST, 1805 R.A. 406. The Lake of Como {p. 67) . Clarkson Stanfield, R.A, " And now the purjile mists Rise like a curtain ; now the sun looks out, Filling, o'erllowing with his glorious light This noble amphitheatre of hills ; And now appear as on a phosphor sea Numberless barks, from Milan, from Pavia ; Some sailing up, some down, and some at rest; Lading, unlading, at that small port-town Under the promontory — its tall tower And long flat roofs, just such as Gaspar drew. Caught by a sunbeam starting through a cloud, A quay-like scene, glittering and full of life, And doubled by reflection." — Roger'' s Italy. 407. The Canal of the Giu- DECCA, AND Church OF Clarkson Startfield, the Jesuits, Venice R.A. 76 NOS, TITLE. ARTIST, 422. The Play Scene in Y^km--- Daniel Machse, LET"(/. 68) R.A. Hamlet to Horatio. " There is a play to-night before the king ; One scene of it comes near the circumstance Which I have told thee, of my father's death]; I prythee, when thou seest that act afoot, Even with the very comment of thy soul Observe my uncle Give him heedful note, For I mine eyes will rivet to his face." 423. Malvolio and THE CouN- Damel Maclise^ TESS 62) R,A. " Olivia : How now, Malvolio ? Malvolio : Sweet lady, ho ! ho ! Olivia God comfort thee, why dost thou smile so, and kiss thy hand so oft ? " 424. Interior of a Jewish Syna- gogue AT the time oy Solomon a. Hart, THE Reading of the Law R.A . " The five books of Moses, here called the Law, con- tained fifty-three sections, so that by reading one on each sabbath, and two in one day, they read through the whole in the course of a year ; finishing at the Feast of Tabernacles (in October), which they called the Rejoicing of the Law." "The Jewish doctors, to show their reverence for the Scriptures, always stood when they read them, but when they taught the people they sat down." Burder's Oriental Customs. 426. Going into School, called Thomas Webster, ALSO "The Truant" 64) R,A. 427. A Dame's School . Thomas Webster^ R.A, *' In every %dllage marked with little spire. Embowered in trees and hardly known to fame, There dwells in lowly shed and mean attire A matron old, whom we schoolmistress name, Who boasts unruly brats with birch to tame ; They, grieven sore, in piteous durance pent. Awed by the power of this relentless dame. And ofttimes on vagaries idly bent, For unkempt hair, or task unconned, are sorely shent." Shenstone. 429. The Pathway to the Thomas Creswick, R.A, Village Church 430. Dr. Johnson in the Ante- room OF Lord Chester- field, Waiting for an Edward Matthew Audience, 1748 71) War d, R.A. 77 NOS. TITLK. ARTIST. 431. The Disgrace of Lord Clarendon, after his LAST Interview with THE King, Whitehall Edward Matthew Palace, 1667 Ward, R.A, 432. The South -Sea Bubble, A Scene in Change Alley Edward Matthezv in 1720 [p. 64) Ward, R.A. " The earth hath bubbles, as the water hath ; And these are of them." — Macbeth. " The crowds were so great within doors that tables with clerks were set in the streets. In this motley throng were blended all ranks, all professions, and all parties — churchmen and dissenters, Whigs and Tories, country gentlemen and brokers. An eager strife of tongues prevailed in this second Babel ; new reports, new sub- scriptions, new transfers flew from mouth to mouth ; and the voice of ladies (for even many ladies had turned gamblers) rose loud and incessant above the general throng." — Lord Mahon's History of England. " Our greatest ladies hither come And ply in chariots daily, Or pawn their jewels for a sum To venture it in Alley." Ballad of the Time. 437. The P^isherman's Houe, Francis Danby, Sunrise A. R.A. 438. Woodcutters . . . John Limiell 439. The Windmill (/. 66) . . John Linnell 442. Red Cap 70) . . . George Lance 443. Fruit : Pineapple, Grapes, AND Melon, etc. . . George Lance 444. Scene from Le Diable Aiigustus L. Egg, BOITEUX" R.A. 446. The Pride of the Village ' 7. C. Horsley, R.A. " She never even mentioned her lover's name, but would • • lay her head on her mother's bosom and weep in silence. In this way she was seated between her parents one Sunday afternoon ; the lattice was thrown open, and the soft air that stole in brought with it the fragrance of the clustering honeysuckle which her own hands had trained round the window. "A tear trembled in her soft blue eye. Was she thinking of her faithless lover } or were her thoughts wandering to that distant churchyard into whose bosom she might soon be gathered } " Washington Irving' s Sketch Book. F 78 NOS. TITLE. ARTIST. 447. Dutch Boats IN A Calm (/.67) E. W, Cooker R.A. 448. The Boat House . . . E, W, Cooke, R.A. 450. A Village Holiday of the Frederick Goodall, Olden Time R.A. " When the merry bells ring round, And the jocund rebecks sound, To many a youth and many a maid, Dancing in the chequered shade ; And young and old come forth to play On a sunshine holiday." — Milton's U Allegro. 451. The Tired Soldier : French Peasants Resting at a Frederick Goodall, Roadside Well R.A. 452. The Frugal Meal . . John F. Herring 563. Jerusalem and the Valley OF Jehoshaphat from THE Hill of Evil Counsel .... Thomas Seddon 608. Alexander and Diogenes. SirE.Landseer^R.A. 609. The Maid and the Magpie {p. 65) ... . SirE.Landseer.R.A. 615. The Derby Day . . . W. P. Frith, R.A, 616. James 11. in his Palace of Whitehall Receiving the News of the Land- ing OF THE Prince of Edward Matthew Orange in 1688 {p. 71) Ward, R.A. He turned pale, and remained motionless ; the letter dropped from his hand ; his past errors, his future dangers rushed at once upon his thoughts ; he strove to conceal his perturbation, but in doing so, betrayed it ; and his courtiers in affecting not to observe him, betrayed that they did." Sir John Dalrymple^ s Memoirs, 620. A River Scene, WITH Cattle i^'^^^^^t:/^ R, Lee, R,A,, and T.Sidney Cooper, R.A . 759. The Remorse of Judas . E. Armitage, R.A, Then Judas which had betrayed him, when he saw that he was condemned, repented himself and brought again the thirty pieces of silver to the chief priests and elders, saying, I have sinned in that I have betrayed . innocent blood. And they said, What is that to us ? see thou to that." — Si. Matthew xxvii. 3, 4. 70 NOS. TITLE. ARTIST. 894. The Preaching of Knox before the lords of THE Congregation, loth Sir David Wilkie, June, 1559 {p. 66) R.A. 898. Lord Byron's Dream. . Sir Charles L, East- lake, P. R.A. " In the last he lay Reposing from the noontide sultriness, Couched among fallen columns in the shade Of ruined walls that had survived the names Of those who reared them ; by his sleeping side Stood camels grazing, and some goodly steeds Were fastened near a fountain ; and a man Clad in a flowing garb did watch the while. While many of his tribe slumbered around." 921. Sketch of Blind Man's Sir David Wilkie^ Buff {p. 70) R.A. 1029. The Temples of P^stum, in Magna Gr^cia . . William Linton 1040. Landscape: a River Scene William J. Miiller 1 09 1. The Vision of Ezekiel . Paul F, Poole, R.A. " And I looked, and, behold a whirlwind came out of the north, a great cloud, and a fire infolding itself, and a brightness was about it, and out of the midst thereof as the colour of amber came the likeness of four hvin;^ creatures." — Ezekiel i. 4, 5. 1 112. Portrait of Mrs. Ann Hawkins .... John Linncll 1 142. The August Moon . . Cecil G. Lawsou 1 182. A Scene from Milton's Charles R. Leslie, "CoMus" R.A. " And wouldst thou seek again to trap me here With liquorish baits fit to ensnare a brute ? Were it a draught for Juno when she banquets, I would not taste thy treasonous ofler." 1 1 84. A Fruit Piece . . . George Lance 1 187. Sketch of Rustic Figures Sir David Wilkie, R.A. 1204. The Valley of the Yare, NEAR Thorpe, Norwich James Stark 1205. The Woods of Sweet Chestnut above Va- renna, Lake Como . Frederick Lee Br idell 8o NOS. , TITLE. ARTIST. 1209. The Vagrants . . . Frederick Walker, A.R.A. 1 2 10. ECCE Ancilla Domini" Gabriel Charles (The Annunciation) Dante Rossetli 1225. Portraits OF the Artist's Thomas Webster, Father and Mother R.A. 1235. View of the House in WHICH THE Artist was John Constable, Born R.A. 1236. The Salt Box, Hampstead John Constable, Heath R.A. 1237. View ON Hampstead Heath John Constable, R.A. 1244. Bridge of Gillingham . Johji Constable, R.A. 1245. Church Porch, Bergholt, John Constable, Suffolk R.A. 1250. Portrait of Charles Daniel Maclise, Dickens, the Novelist R.A. 1253. View of Hyde Park Corner, looking East. James Holland 1276. Harwich: Sea and Light- John Constable, house R.A. i2'](). Beata Beatrix (Subject TAKEN from " ViTA Gabriel Charles NUOVA ") {p. 63) Dante Rossetli 1322. The Eve of the Deluge . IV. B. Scott 1367. Portrait of Sir James COCKRURN, 7 th Bart. . Andrew Morton , 1368. Portrait of the Hon. Marianna Devereux Lady Cockburn . . A ndrew Morton 1370. Portrait of Marianna Augusta, LadyHamilton Andrew Morton 1379. The Ratcatcher . . Thomas Woodward 1385. Beatrix KnightingEsmond A. L. Egg, 7'. A. 8i NOS. TITLE. ARTIST. 1388. The CxVSt Shoe . . . G.PI. Mason, A.R.A, 1389. Chilston Lane, Torquay. G. B. Willcock 1 39 1. The Harbour of Refuge . Frederick Walker, A.R.A, 1392. Cardinal Bourchier Urg- ing THE Widow of Ed- ward IV. TO LET HER SON OUT of Sanctuary . John Zephaniah Bell 1394. Christ Washing St. Peter's Feet ..... Ford Madox Brown 1395. Portrait OF Mrs. Charles Sir Charles L. Easl- H. Bellenden Ker lake, P.R.A. 1405. Edfou : Upper Egypt. . J. F, Lewis, R.A. 1407. Peg WELL Bay, Kent, 1858. Williain Dyce,R.A: 1426. St. John leading the Virgin Mary from the Tomb IVilliavi Dyce,R.jl. 1428 A View at Southampton . R. Hume Lancaster 1463. A Street in Cairo . . William J. Miiller 1474. Dredging ON THE Med vVay. William J. MUller 1477. The Moorland (Dewar Stone) . . . . J. W. Inchbold 1492. Christ AND THE Woman OF Geo. Richmond, R.A. Samaria. ( Picscnted by the Artist's Family.) 1498. Sacking of a Church in J. Prescott L. 52) .... E. Onslow Ford,R. A . 20. Nymph of Loch Awe (/. 53) F. W. Ponieroy 21. An Indian Rhinoceros 54) Robert Star/c INDEX OF ARTISTS S. — Sculpture ; w. — Water-Colour. — CATALOGUE NUMBER. Alma-Tadema, L., R.A. . . Armitage, Edward, R.A. . . Aumonier, J 1523 759 lOIQ Bates, Harry, A. R.A s. 11 Bell, John Z , 1392 Bonington, R. P 374 Boughton, G. H., R.A 1539 Bramley, Frank, A. R.A 1627 Brett, John, A.R.A 1617 Bridell, Frederick Lee . . . . 1205 Brock, Thomas, R.A S. 8 Brown, Ford Madox 1394 Butler, Lady (Miss E.Thompson) 1553 Butler, Miss Mildred A. . . w. 59 Calderon, P. H., R.A 1573 Carter, S 1559 Chantrey, Sir F., R.A 1591 Clark, Joseph . . . . 1593, 1610 Clausen, George, A.R.A 1612 Cockram, George . . . . W. 58 Cole, Vicat, R.A 1599 Collier, Hon. John 1616 Constable, John, R.A.., 1235, 1236, 1237, 1244, 1245, 1276 Cooke, Edward W., R.A. 447, 448 Cooper, T. Sidney, R.A 620 Corbet, M. Ridley 1592 Creswick, Thomas, R.A. . . . . 429 Crome, John 1504 Danby, Francis, A.R.A 437 Davis, H. W. B., R.A. 1528, 1608 Dicksee, Frank, R.A 1587 Dixon, Harry W. 56 Douglas, Edwin 1558 Drury, Alfred S. 18 Dyce, William, R.A. 1407, 1426 Eastlake, Sir Charles L., P.R.A., 397, 398, 399, 898, 1395 Egg, Augustus L., R.A. . . 444, 1385 Faed, Thomas, R.A., 1525, 1526, 1527 Farquharson, David 1648 Farquharson, Joseph . . . . 1626 CATALOGUE NUMBER. Fehr, Henry C Fildes, Luke, R.A. . . Forbes, Stanhope A., A.l Ford, E. Onslow, R.A. Frith, William P., R.A. Gibson, John, R.A. . . Goodall, Frederick, R.A. Goodwin, Albert.. Gotch, T. C Gow, Andrew C, R.A. 1529 Graham, Peter, R.A. . . Gregory, E. J., A.R.A. Hacker, Arthur, A.R.A. Halswelle, Keeley Hart, Solomon A., R.A. Hayes, Edwin Hemy, C. Napier Herkomer, H., R.A. . . Herring, John F. . . s. 10 ■ • 1522 A. . 1544 ;. 14, s. 19 . . 615 . . s. I 450. 451 •• 1550 .. 1590 1530,1588 •• 1524 w. 55 1576 1548 424 1603 1675 1575, 1602 452 Hilton, Wi lliam, R.A. 1499, 1629 Holl, Frank, R.A. . . 1535, 1536 Holland, James 1253 Hook, J. C, R.A. 1512,1513,1514, 1598 Hoppner, John, R.A. Hopwood, H. S Horsley, John Callcott, R.A. Hunt, Alfred Hunt, Walter 1581 Hunter, Colin, A.R.A. . .- . . 1579 1505 w. 57 446 w. 54 Inchbold, J. W... John, W. Goscombe Johnson, C. E. . . Kemp-Welch, Miss Lucy E. . . Kennington, T. B Knight, Joseph Knight, J. Prescott, R.A. Lance, George . . . .442, 443, Lancaster, R. Hume Landseer, Sir Edwin, R.A., 608, 1503, 1532, La Thangue, H. H 1477 s. 16 1606 1674 1560 1622 1498 1184 1428 609, 1533 1605 CATALOGUE NUMBER. CATALOGUE NUMBER. Lawson, Cecil G Leader, B. W., A.R.A. .. Lee, Frederick R., R.A. . . Legros, Alphonse Leighton, Lord, P. R.A. 15] s. Leslie, Charles R., R.A. . . Lewis, John Frederick, R.A Linnell, John 438, 439, 1112,1 Linton, William Logsdail, William Lucas, J. Seymour, A.R.A. .. 1 142 .. 1540 . . 620 .. 1501 [I, I.S74, 402, 403, 1182 • •• 1405 546, 1547 . . 1029 .. 1621 . . 1620 Macallum, H. Hamilton . . . . 1502 Macbeth, R. W., A.R.A 1597 Maclise, Daniel, R.A., 422, 423, 1250 MacWhirter, John, R.A 157 1 Marshall, W. Calder, R.A. . . S. 9 Martineau, Robert B 1500 Mason, George Heming, A.R.A. 1388, 1568 Merritt, Mrs. Anna Lea . , . . 1578 Millais, Sir John Everett, Bart., P.R.A., 1503, 1506, 1507, 1508, 1509, 1510, 1563, 1564, 1584 Millet, F. D 161 1 Moore, Albert 1549 Moore, Henry, R.A 1604 Morton, Andrew . . 1367, 1368, 1370 Miiller, William J. 379, 1040, 1463, 1474. 1565 Murray, David, A.R.A 1614 Newton, Gilbert Stuart, R.A. 353, 354 Nicol, Erskine, A.R.A., 1537, 1538 Nisbet, R. B w. 62 North, J. W., A.R.A 1607 Orchardson, W. Q., R.A. 1519, 1520, 1521, 1601 Osborne, Walter . . . . w. 63 Parsons, Alfred, A.R.A 1589 Parton, Ernest 1628 Pegram, H. A S. 17 Pettie, John, R.A 1582 Phillip, John, R.A 1534 Pomeroy, F. W S. 20 i Poole, Paul Falconer, R.A. . . 1091 1 Poynter, Sir E. J., P.R.A. .. 1586 ' Princep, Val. C, R.A 1570 ' Pyne, J. B 1545 1 Reid, John R i557> 1600 Richmond, George, R.A. . . 1492 Rivers, L w. 61 Riviere, Briton, R.A. 1515, 1516, 1517, 1518, 1566, 1577 Roberts, David, R.A. . . 400, 401 Rooke, T. M 1624 Rossetti, G. C. D. j2io, 1279, 1673 Sadler, Dendy .. .. 1555, 1556 Sargent, J. S., R.A 1615 Scott, William Bell 1322 Seddon, Thomas 563 Small, William 1595 Stanfield, Clarkson, R.A. 404, 405, 406, 407 Stanley, Mrs. H.M. Stark, James Stark, Robert Stokes, Adrian Stone, Marcus, R.A. Strudwick, J. IVL Swan, J. M., A.R.A. Smythe, Lionel . . 1567 1204 s. 21 1623 1583 1625 1569 w. 60 Thompson, Miss E. (Lady Butler) 1553 Thornycroft, Hamo, R.A s. 12 Tuke, Henry S 1613, 1618 Wade, Thomas w. 64 Walker, Frederick, A.R.A. 1209, 1391 Waller, S. E 155 1, 1552 Ward, Edward Matthew, R.A. 430, 431, 432, 616 Waterhouse, J. W., R.A. 1541, 1542, i543> 1576 Waterlow, E. A., A.R.A. .. 1592 Watts, G. F., R.A. 1585, 1630, 1631, 1632, 1633, 1634, 1635, 1636, 1637, 1638, 1639, 1640, 1641, 1642, 1643, 1644, 1645, 1646, 1647 Webster, Thomas, R. A. . . 426, 427, 1225 Wilkie, Sir David, R.A. 231, 328, 331 894, 921, 1187 Willcock, George Barrcll . . . . 1389 Williams, J. Hayncs 1554 Woods, Henry, R.A 1531 Woodward, Thomas 1379 Wyllie, C. W 1594 Wyllie, William L., A.R.A. . . 1580 Yeames, W. F., R.A 1609 PRINTED BY J. S. VIRTUE AND CO., LIMITED, CITY ROAD, LONDON. NEWMAN Jfflr NEWMAN MANUFACTURER OF EVERY ARTICLE FOR THE ARTIST IN WATER COLOURS. THE ARTIST IN OIL COLOURS. THE PHOTOGRAPHIC COLOURIST. OF SUPERIOR QUALITY. 24 SOHO SQUARE, LONDON, W. NEWMAN'S FLAKE WHITE IN OIL. 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