NY.ME1H0P0UTAMI MUSEUM OF ART.
PORTHAITS 6r
LANDSCAPES OF
THE BKmSH SCHOOL. I9ir.

THE METROPOLITAN MUSEUM OF ART
CATALOGUE OF
PORTRAITS & LANDSCAPES
OF THE
BRITISH SCHOOL
LENT BY
JOHN H. McFADDEN

NEW YORK, JUNE TO OCTOBER
MCMXVII

COPYRIGHT, I917
BY
THE METROPOLITAN MUSEUM OF ART

INTRODUCTION
The British School is the youngest in Europe.
Starting with the work of WILLIAM HOGARTH,
it dates from the second quarter of the eighteenth
century. The foreign artists who at various times
had established themselves in England left no last
ing trace on native production until Van Dyck, suc
ceeded by Lely and Kneller, imparted to it a certain
Netherlandish influence. Upon this trend the great
painters, when they came, founded themselves.
But painting in England in the last half of the
seventeenth century and the first quarter of the
eighteenth was at its lowest ebb and it was rather
the pictures in the English noble houses, the Van
Dycks primarily and the excellent landscapes and
genre pictures of the great Dutch painters, that
opened the way to Hogarth, the first in modern
times to show in art the national characteristics,
and to Reynolds and Gainsborough, the two great
est English portrait painters.
SIR JOSHUA REYNOLDS and THOMAS
GAINSBOROUGH were of the same age and time
and their sitters were of the same classes. Their
temperaments, however, were widely different.
Reynolds was a scholar with a large knowledge of
iii

INTRODUCTION
many schools and masters of painting, and this
knowledge he utilized in his own pictures with ex
cellent effect; Gainsborough's, on the contrary, was
a spontaneous and intuitive talent, sensitive to the
particular aspect and qualities of the subject he
was painting. His originality shows even more
distinctly in his landscapes than in his figures: he
was the first to render the English country in its own
character of soft, silvery color, without sharp con
trasts. Gainsborough's two pictures in the McFad-
den Collection, the poetic and tender portrait of
Lady Rodney and the excellent Landscape, are thor
oughly representative of his success in his favorite
fields. GEORGE ROMNEY for a time divided the favor
of the great world of London with Reynolds and
Gainsborough. His art lies somewhere between these
two masters; he was not learned like the first nor
lyrical like the second, but his success as a portraitist
is conspicuous, as is proved by the specimens in this
collection. Besides the likenesses of women, for
which he is chiefly famous, he could also on occasion
express the character of serious men, the head of
John Wesley, the founder of Methodism, being an
example of this ability.
The Scotchman, SIR HENRY RAEBURN, is
also well represented in this group of paintings.
The frequently heard comparison of this artist to
Frans Hals points out at least the direction of his
qualities — sincerity and largeness of vision. He
cared nothing for the masquerade aspect that was
iv

INTRODUCTION
the delight of the fashionables in London, to whom
indeed his work was but little known in his lifetime.
JOHN HOPPNER was as a painter somewhat
similar to Romney and like him was delighted with
the graces of women and winsomeness of children ;
but all the graces and charm and rhetoric of all these
painters found most undiluted expression in the
work of SIR THOMAS LAWRENCE. His suc
cess was enormous. Hoppner was his nearest rival,
but Hoppner's fame was not nearly so widespread.
Delacroix, one of the most competent critics among
modern artists, wrote to his friend Theophile Sil-
vestre in 1858, "Perhaps the impressions of that
day" (he had met Lawrence in 1825) "would now
be somewhat modified. Perhaps I should now find
in Lawrence an exaggeration of means of effect that
would recall too strongly the school of Reynolds,
but the extraordinary subtlety of his drawing, the
life he gave to his women, who have the appearance
of speaking to you, give him as a portraitist a kind
of superiority even over Van Dyck himself."
GEORGE HARLOW was a brilliant and talented
disciple of Lawrence, and SIR JOHN WATSON
GORDON, to whom is due the excellent portrait of
Sir Walter Scott of this collection, may be classed
as a follower of his fellow-countryman, Raeburn.
With their generation the lineage of the great por
trait painters dies out.
The first of the landscapists of note was RICH
ARD WILSON, who in the matter of time was
between Hogarth and Reynolds. His art is in the

INTRODUCTION
"grand style" as laid down in the works of Claude
Lorraine and Gaspard Poussin and practised in Wil
son's day by Joseph Vernet and some artists in
Italy. All of Wilson's pictures, even those of Eng
lish scenes, such as the Westminster Bridge of this
collection, have an Italian aspect.
Wilson's work announces the most astonishing of
English artists, J. M. W. TURNER. Turner, like
Reynolds, prepared himself by careful studies from
the masters and technical analyses of their methods.
It was in his power, as some of his early pictures show,
so to imitate the style of certain great painters that
his work could be mistaken for theirs. As his life ad
vanced, he threw off the influences of the old paint
ers more and more, till, toward the close of his career,
he produced works that are as personal and original
as any of the nineteenth century — renderings of
atmospheric phenomena and strange effects of light,
the like of which no one but he has ever attempted.
The Burning of the Houses of Parliament dates from
the most vigorous time of his fully developed period,
before he fell into the bizarre habits and the exag
gerations that mark some of his latest works.
Gainsborough, as has been said, was the first of
the English naturalists. The revolution he accom
plished was the painting of the English landscape
such as he saw it, without any reference to Italy or
the Alps or any of the grand views and famous sites
for which his countrymen have always had a par
tiality. GEORGE MORLAND, the greatest of
Gainsborough's disciples, applied his remarkable but
vi

INTRODUCTION
wayward talent to scenes of roadside or country inns
or farm life. JOHN CROME, "Old Crome," with
the same ideals as Gainsborough, was influenced by
the vigorous seventeenth-century Dutch landscap-
ists, with whom his rugged character had much in
common, and whose subjects were not dissimilar to
those of his own country.
JOHN CONSTABLE marks the height of real
istic landscape in England. The brown foliage and
the brown foregrounds of -the Classicists had been
considered essential to the proper effect of landscape
pictures. But Gainsborough and Constable discov
ered the fact that the cool greens and transparent
shadows of English nature were also paintable. Con
stable is much the more powerful of the two. It is
on the lines he laid down that modern landscape has
developed and we all, more or less, see nature through
his eyes, even to this day. His influence was pro
found on the art of France, where he is regarded as
the precursor of the Impressionists.
RICHARD PARKES BONINGTON is counted
among the founders of the Romantic School in
France, in which country the greater part of his
short career was spent. He was a friend of Dela
croix and, like him, drew inspiration from the Vene
tian and Flemish pictures in the Louvre, as well as
from the paintings of Constable. With a generous
gift of the grace and distinction that were character
istic of many of his English antecedents and con
temporaries, he combined an equilibrium and clarity
that one associates particularly with the French.
vii

INTRODUCTION
His most famous works are pictures of historical
genre subjects, but he was also a remarkable land-
scapist, as the Coast Scene in this collection shows.
The tradition of the great British painters has
been carried on by certain artists almost into our
own generation, but the vigor of the school seems to
have passed away in the middle of the nineteenth
century at about the time of the death of Turner.
Leaving out an isolated individual like William
Blake, whose eccentric genius could produce no suc
cessors, its greatest accomplishment is in portraiture
and landscape. The important contribution it has
made to the history of art lies in its development of
realism in landscape. With remarkable skill Eng
land has been accustomed to adapt to her own tem
perament what she has borrowed from the foreign
schools; she has produced important individual
artists and a whole fellowship of excellent apostles
of primitive ideals, the Pre-Raphaelite Brotherhood,
but her virile achievements in the fine arts are but
two. One of these is the outgrowth of the Gothic
style, called the Tudor or the Perpendicular; the
other is the invention of modern landscape.
Bryson Burroughs.

vni

PORTRAITS AND LANDSCAPES
OF THE
BRITISH SCHOOL

RICHARD PARKES BONINGTON
1801-1828
1. A COAST SCENE, NORMANDY
Panel, 24 x 33 in.
JOHN CONSTABLE, R.A.
1176-1831
2. THE DELL AT HELMINGHAM
Canvas, 29*4 x tfyi in.
3. HAMPSTEAD HEATH: STORM COMING
UP
Canvas, 23 x 2gyi in.
4. THE LOCK, DEDHAM
Canvas, 55 x 47 in. Painted about 1824-25.
DAVID COX
1783-1859
5. GOING TO THE HAYFIELD
Canvas, 27 x 35 in. Signed and dated 1849.

CATALOGUE
JOHN CROME ("Old Crome")
1768-1 82 i
6. BLACKSMITH'S SHOP, NEAR HINGHAM,
NORFOLK
Canvas, 6o$i x 48 in.
7. LANDSCAPE
Canvas, 22 x i6}4 in.

THOMAS GAINSBOROUGH, R.A.
1727-1788
8. LANDSCAPE
Canvas, 40}^ x 50% in.
9. PORTRAIT OF LADY RODNEY
Anne, daughter of the Hon. Thomas Harley,
third son of Edward, 3d Earl of Oxford, and
Lord Mayor of London; married in 1781 George,
2d Baron Rodney; died in 1840.
Canvas, 49 x 39 in.

SIR JOHN WATSON GORDON, P.R.S.A.
1790-1864
10. PORTRAIT OF SIR WALTER SCOTT
The novelist and poet; born in 1771; died in 1832.
Canvas, 29% x 24]/! in.

CATALOGUE
GEORGE HENRY HARLOW
1787-1819
11. THE MISSES TEMPLE
Canvas, 93 x 57 in.
12. THE TEMPLE LEADER FAMILY
Canvas, 93 x 57 in.
13. MRS. WEDDELL AND CHILDREN
Canvas, 35% x 27% in.

WILLIAM HOGARTH
1697-1764
14. A CONVERSATION AT WANSTEAD
HOUSE
The residence of Sir Richard Child, afterward
discount Castlemain and Earl of Tylney. A
group of twenty-six figures. Sir John Child,
merchant, born in London in 1630, created a
baronet in 1678, and for long Director and
Chairman of the East India Company, bought
(in 1673) the ancient manor of Wanstead Abbey,
Essex, where Evelyn describes him as going "to
prodigious cost in planting walnut trees about
his estate, and making fish-ponds many miles in
circuit." He died in 1699, and was succeeded
by his son, Sir Richard, who pulled down the old
and built, at enormous expense, the new Wan
stead House.
Canvas, 25 x 29% in. Painted about 1729.
Described and illustrated in Art in America,
April, 1913.

CATALOGUE
15. THE FAMILY OF SIR ANDREW FOUN
TAINE
Sir Andrew Fountaine (1676-1753), with his
sister Elizabeth, wife of Colonel Edward Clent,
their daughter, her husband, Captain W. Price,
and the auctioneer, Christopher Cock. Sir
Andrew Fountaine, belonging to an ancient
family of Narford, Norfolk, was knighted in
1699, became Vice-Chamberlain to Princess
(afterward Queen) Caroline in 1725, and Master
of the Mint in succession to Sir Isaac Newton in
1727. He was the friend of Swift, and was
satirised by Pope in the Dunciad. His collec
tion of majolica, Limoges enamels, and Henri II
ware (sold at Christie's in 1883) was one of the
first and finest in England.
Canvas, 18 x 23 in.
Illustrated and described in Art in America,
April, 1913.

JOHN HOPPNER, R.A.
1758-1810
16. PORTRAIT OF MRS. HOPPNER
Phoebe, daughter of Mrs. Patience Wright, the
American modeler in wax; married in 1781 John
Hoppner, the artist; died in 1827.
Canvas, 30 x 25 in. Painted about 1783-84.
Described in the Supplement to W. McKay and
W. Roberts's John Hoppner, R.A., 1914, p. 25.

CATALOGUE
SIR THOMAS LAWRENCE, P.R.A.
1769-1830
17. PORTRAIT OF MISS WEST (afterward Mrs.
W. Woodgate)
Canvas, 30 x 25 in. Painted about 1820.
Engraved by Norman Hirst, 1908.
JOHN LINNELL
1792-1882
18. THE STORM
Canvas, 35 x 56 in. Signed and dated 1853.
GEORGE MORLAND
1763-1804
19. THE COTTAGER'S FAMILY
Canvas, 14 x 18 in.
20. FRUITS OF EARLY INDUSTRY AND
ECONOMY
Canvas, 30 x 24)4 in. Painted about 1789.
21. THE MANCHESTER COACH
Canvas, 34% x 46% in.
SIR HENRY RAEBURN, R.A.
1756-1823
22. PORTRAIT OF LADY BELHAVEN
Penelope, daughter of Ranald Macdonald of
5

CATALOGUE
Clanranald, wife of William (Hamilton), 7th
Baron Belhaven and Stenton; died in 1816.
Canvas, 35 x 27 in.
23. PORTRAIT OF MASTER THOMAS BIS-
LAND
Thomas Bisland afterward entered the Church
and became Rector of Hartley Mandit.
Canvas, 56 x 44 in.
24. PORTRAIT OF MASTER JOHN CAMP
BELL OF SADDELL
Canvas, 49% x 39% in.
25. PORTRAIT OF COLONEL CHARLES
CHRISTIE
Canvas, 29}^ x 24}^ in.
26. PORTRAIT OF LADY ELI BANK
Probably Janet, daughter of John Oliphant of
Bachilton, County Perth, styled Lord Oliphant,
and wife of Alexander (Murray), 8th Baron
Elibank; died in 1836.
Canvas, 34 x 27 in.
27. PORTRAIT OF MR. LAURIE OF
WOODLEA
Canvas, 30 x 25 in.
28. PORTRAIT OF SIR ALEXANDER SHAW
Canvas, 30 x 25 in.
29. PORTRAIT OF A GENTLEMAN IN A
GREEN COAT
Canvas, 30 x 25 in.

CATALOGUE
SIR JOSHUA REYNOLDS, P.R.A.
1723-1792
30. PORTRAIT OF MASTER BUN BURY
Charles John, son of Henry William Bunbury,
amateur artist and caricaturist, second son of
Rev. Sir WiUiam Bunbury, 6th Bart, of Milden-
ball, Suffolk, and of Catherine Horneck (Gold
smith's "Little Comedy"); born in 1772; entered
the army and died in 1798.
Canvas, 29 x 24 in. Painted in 1780-81.
Engraved by Howard, 1781.
31. PORTRAIT OF EDMUND BURKE
The great orator and author; born in 1730; died
in 1797. An intimate friend of the artist.
Canvas, 30 x 25 in.
GEORGE ROMNEY
1734-1802
32. MRS. DOROTHY C. de CRESPIGNY
Daughter of R. Scott; married in 1783 P. C.
de Crespigny; died in 1837.
Canvas, 50 x 40 in. Painted in 1786.
33. PORTRAIT OF MRS. CROUCH
Mary Ann Phillips, the actress; born in 1763;
married Mr. Crouch, a naval officer; died in 1805.
Canvas, 50 x 40 in. Painted in 1787.
Engraved by F. Bartolo^i in 1788.
34. PORTRAIT OF MISS FINCH
Canvas, 37 x 29 in. Painted about 1790.
7

CATALOGUE
35. PORTRAIT OF LADY GRANTHAM
Mary Jemima, daughter of Philip (Yorke), 2d
Earl of Hardwicke; born in 1757; married in
1780 Thomas (Robinson), 2d Baron Grantham;
died in 1830.
Canvas, 46% x 39% in. Painted in 1780-81.
36. HEAD OF LADY HAMILTON
Romney's famous model, Emma Hart; born
about 1761; married Sir William Hamilton,
1791; died in 1815.
Canvas, 17)4 x 15 in.
37. A SKETCH
Canvas, 18 x 15% in. Painted about 1782-83.
38. PORTRAIT OF MRS. TICKELL
Miss Ley, daughter of Captain Ley of the Ber-
rington East- Indiaman; married first, in 1789,
Richard Tickell, pamphleteer and dramatist, and
secondly, in 1796, J. C. Worthington.
Canvas, 24 x 20 in. Painted in 1791^92.
Engraved by J . B. Pratt in 1900.
39. PORTRAIT OF THE REV. JOHN WESLEJ
The founder of Methodism; born in 1703, edu
cated at Christ Church, Oxford; visited America
in 1735-37; died in 1791.
Canvas, 30 x 25 in. Painted in 1788-89, for
Mrs. Tighe.
Engraved by Spilsbury in 1789.
40. LITTLE BO-PEEP
Canvas, 46 x 34 in. 8

CATALOGUE
JAMES STARK
1794-1859
41. CATTLE IN A DELL
Canvas, 16 x 22 in.

GEORGE STUBBS, R.A.
1724-1806
42. LANDSCAPE WITH FIGURES
Canvas, 24 x 41 in. Signed and dated 1767.
The landscape was painted by Amos Green.
JOSEPH MALLORD WILLIAM TURNER, R.A.
'775-'S5i
43. BURNING OF THE HOUSES OF PAR
LIAMENT
Canvas, 36 x 47 in. Painted about 1835.
RICHARD WILSON, R.A.
1713-1782
44. WESTMINSTER BRIDGE, LONDON
Canvas, 30 x 53 in. Signed and dated 1745.

THE LOCK, DEDHAM
BY JOHN CONSTABLE

BLACKSMITH S SHOP NEAR HINGHAM, NORFOLK
BY JOHN CROME

LANDSCAPE
BY THOMAS GAINSBCROUGH

LADY RODNEY
BY THOMAS GAINSBOROUGH

10
SIR WALTER SCOTT
BY SIR JOHN WATSON GORDON

13
MRS. WEDDELL AND CHILDREN
BY GEORGE HENRY HARLOW

'4
A CONVERSATION AT WANSTEAD HOUSE
BY WILLIAM HOGARTH

'7
MISS WEST
BY SIR THOMAS LAWRENCE

'9
THE COTTAGER'S FAMILY
BY GEORGE MORLAND

22

LADY BELHAVEN
BY SIR HENRY RAEBURN

26

LADY ELIBANK
BY SIR HENRY RAEBURN

SIR ALEXANDER SHAW
BY SIR HENRY RAEBURN

3«

MRS. TICKELL
BY GEORGE ROMNEY

39
REV. JOHN WESLEY
BY GEORGE ROMNEY

4o
LITTLE BO-PEEP
BY GEORGE ROMNEY

43
THE BURNING OF THE HOUSES OF PARLIAMENT
BY JOSEPH MALLORD WILLIAM TURNER

OF THIS CATALOGUE
ONE THOUSAND COPIES WERE PRINTED
IN JULY, I917
A SECOND EDITION OF
ONE THOUSAND COPIES PRINTED
IN AUGUST, I917