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YALE
UNIVERSITY LIBRARY

CATALOGUE .
DESCRIPTIVE AND HISTORICAL

OF THE

PICTURES

IN THE

GLASGOW ART GALLERY AND MUSEUM,
KELVINGROVE.

Museums and Art Galleries
OF THE CORPORATION OF GLASGOW.

GLASGOW ART GALLERY AND MUSEUM,
KELVINGROVE.

GREEN BRANCH MUSEUM AND ART
GALLERY (People's Palace), GLASGOW GREEN.

CAMPHILL BRANCH MUSEUM AND ART
GALLERY, QUEEN'S PARK.

TOLLCROSS BRANCH MUSEUM AND ART
GALLERY, TOLLCROSS PARK.

MOSESFIELD BRANCH MUSEUM AND READING
ROOM, SPRINGBURN PARK.

OPEN FREE DAILY.

Certain of the Pictures and other Works of Art enumerated
in this Catalogue are from time to time transferred to and
shown in the various Branch Museums.

Glasgow Art Gallery and Musbvm.

CATALOGUE
DESCRIPTIVE AND HISTORICAL
OF THE
PICTURES

GLASGOW ART GALLERY AND MUSEUM,
KELVINGROVE.

COMPILED BY JAMES PATON,
GENERAL SUPERINTENDENT OP THE CORPORATION MUSEUMS AND
ART GALLERIES.

THIRTEENTH EDITION.

PRINTED BY ROBERT ANDERSON, I42 WEST NILE STREET, GLASGOW.
I9II.

PREFACE.

The Glasgow Galleries of Ait owe their origin to Mr. Archibald
M'Lellan, formerly a Town Councillor and Magistrate of the
City. Much of his time and of his resources he devoted to
the formation of a Collection of Works of Art, which became
the nucleus, and still forms the most considerable proportion
of the contents, of the Galleries. In connection with the
erection of the block of buildings in Sauchiehall Street, in
which the Art Collections of the Corporation were housed up
till their removal to the Art Gallery at Kelvingrove, Mr.
M'Lellan had three saloons expressly constructed in the court
for the reception and display of his treasures. These saloons
and their contents he meant to be a gift to his fellow-citizens,
and while the building was yet in progress, in November, 1853,
he executed a Deed of Bequest, of which the following are
the introductory clauses : — " 1, Archibald M'Lellan, coachbuilder
in Glasgow, considering that 1 have, for thirty years, spent
much of my spare time in making a Collection of Pictures,
illustrative of the characteristics and progress of the various
schools of painting in Italy, Germany, Spain, the Low Countries,
and France, since the revival of Art in the fifteenth century ;
and believing that, imperfect as any such Collection formed
by a private individual must necessarily be, it still may be of
some use to those who are desirous of studying the progress
of Art; and also believing that it may be made to form the
foundation for a more extensive and complete Collection,
through contributions from those who have more means and
better judgment to select fine examples of the respective
schools; and being impressed with the belief that the study
of what are called the ' Fine Arts ' is eminently conducive to
the elevation and refinement of all classes, as well as intimately
connected with the manufacturing and mercantile prosperity
of the community — from these various motives, and on account
of my long connection with Glasgow and its various 'public
bodies, and as a humble testimony of my attachment to its
citizens, and my. desire for their welfare and elevation, so far
as it is in my power to aid in the promotion of these, I have
resolved to devote my said Collection to public use and ex
hibition, and to make the same over, for that purpose, to

PREFACE.

Trustees, who shall have the sole control and management
thereof." On Mr. M'Lellan's premature death in 1854, it was found
that the state of his affairs would not permit of the carrying
into effect of his bequest, and, after considerable discussion,
the Collection of Works of Art and the block of buildings,
together with the three saloons, were acquired by the Town
Council for £44,500— being £29,500 for buildings and £15,000
for the Works of Art.
The M'Lellan Collection was acquired by the Town Council
in May, 1856, and soon thereafter additions to the Art property
of the City began to be made by gifts and bequests, whilst
in recent years numerous purchases have gone to enhance the
value of the Art treasures of the City. Within a few weeks
of the completion of the transaction, Mr. William Euing, in
redemption of a pledge conditional on the acquisition of the
M'Lellan Collection, made a gift of thirty-six pictures, and
that donation was afterwards supplemented by the bequest,
under liberal conditions, of his entire Collection. In 1877,
Mrs. Graham-Gilbert, of Yorkhill, bequeathed to the City the
rich and valuable Cabinet of Pictures formed by her deceased
husband, the eminent artist, John Graham-Gilbert, R.S.A. In
January, 1896, the five sons of the late James Reid, of
Auchterarder, and of Hydepark Locomotive Works, Glasgow,
addressed a letter to the Lord Provost, stating that, in
affectionate and grateful remembrance of their father, who,
at the time of his death, was Lord Dean of Guild for the
City, and President of the Glasgow Institute of Fine Arts,
they offered to present to the City ten of the most valuable
Pictures from the portion of their father's Art Collection formed
by him in his town residence. The sum paid for these Pictures
by Mr. Reid, it was stated, amounted to £22,723, and the
value and significance of the donation were subsequently en
hanced by the gift of the Portrait of Mr. Beid by Sir George
Reid, RS.A. One of the conditions of the gift was that
" the ten Pictures should be hung together in a prominent
position in one of the large rooms, or in a special room set
apart for them in' the Galleries, and that they should be
arranged and catalogued in such a manner as would make it
evident that the works were presented in memory of Mr. Reid."

PREFACE.

In 1898 the City received under the will of the late Mr.
Adam Teacher his entire Gallery of Modern Works, com
prising Pictures, besides other Works of Art. From Mr. Thomas
Graham Young there was received in 1900 a Collection of fifteen
Pictures, seven Engravings, and an Italian Marble Bust, besides
numerous and valuable Art objects and Museum Specimens.
These were given as a memorial of his father, James Young,
LL.D., F.R.S., of Kelly, and subsequently the importance of
the memorial was much enhanced by a gift from his sister,
Mrs. Walker, of Limefield, of the magnificent tondo by Botticelli,
which now adorns the Gallery. Recent additions by gift
included, among other works, the well-known " Danae," by Sir
E. Burne - Jones, Bart., given by Mr. William Connal, Jun. ;
" Dunkirk Harbour," a fine example of the work of Sam Bough,
and " The Forerunner," the latest painting by Sir John E. Millais,
gifts of Sir Charles Tennant, Bart. ; and " Niagara Rapids,"
a large Picture by Colin Hunter, A.R.A., presented by Sir
Donald Currie. In the form of bequests there were received
twenty-one Oil Paintings and thirty-two Modern Water-colours,
besides a Cabinet of Engravings from the estate of Mr. Thomas
D. Smellie, and, under the will of Mrs. Janet Rodger, seven
Highland Landscapes by Horatio M'Culloch. Through the
generous renunciation of his liferent rights on the part of Mr.
Alexander Henderson, two Pictures bequeathed by his brother,
Mr. Archibald R. Henderson, were also added to the Gallery.
The twenty-three Pictures assigned to the Corporation by Mr.
A. G. Macdonald, subject to the liferent of his wife, were
received into the Collection; and the bequest by Mr. James
Gardiner of the well-known Picture, "A Highland Funeral," by
Sir James Guthrie, P.R.S.A., is deserving of grateful recognition.
Since the issue of this Catalogue,, in 1904, contributions to
the Art Collections have continued in unusual abundance and
importance. Under the will of Mr. James Donald, in addition to
valuable objects of industrial art, forty-two pictures were received
into the Collection, comprising capital examples of the works
of Millet, Corot, Daubigny, Troyon, and other masters of the
Barbizon School, besides modern British pictures, and a portrait
of Philip IV. of Spain by Velasquez, &c. The value of this
great bequest was much enhanced from the fact that nearly all
the artists represented in it were new to the Glasgow Gallery.

PREFACE.

The Collections were further enriched by a bequest from Mr.
W. A. Sandby of six pictures (five ' water-colours and one oil
painting), the work of Paul Sandby, one of the eighteenth
century fathers of water-colour painting. Sir Charles Tennant
added to his previous contributions a large and important
painting by John Phillip, and to Mr. James Caldwell the Gallery
owes gratitude for a grand gallery picture by Mr. T. Austen Brown.
Further important and extensive additions to the art
collections were noted in the twelfth edition of the Catalogue,
issued in 1908. Foremost among these benefactions was the
bequest by Mrs. John Elder, LL.D., in which was comprised
twenty-one pictures, including works by Sir Peter Lely, John
Linnell, Marcus Stone, Frederick Goodall, Sidney Cooper, Sam
Bough, Peter Graham, Corot, and Diaz. An important land
scape by Jan Both was also received, under the will of Adam
Birkmyre, and amongst other valuable gifts there fall to be
noted the following : —
Subject. Artist. Presented by
Virgin and Child Enthroned, Montagna, W. G. Cram.
St. Helena— The Last Phase, James Sant, Lord Rosebery.
The Timid Bather, H. Cameron, Col. Hugh Brown.
Moonrise> ¦ J. Reid Murray, Bailie T. Dunlop.
September— Glen Falloeh, A. Brownlie Doeharty, Arohd. Finlayson.
Kildonan, - Jame8 M. Nairn, Thomas Galloway.
While these purchases, gifts, and bequests form the bulk of
the Works included in this Catalogue, numerous other dona
tions and bequests have gone to swell the aggregate extent,
value, and variety of the contents of the Galleries, all of which
are recorded in the Catalogue entries.
The Glasgow International Exhibition of 1888 was promoted
by the Corporation primarily with the hope that from the
undertaking a surplus of receipts would arise which would form
the nucleus of, a fund for the erection of a building in which
to display the art treasures and museum collections belonging
to the City. That hope was not disappointed, for on winding
7a ^ Exhibitio11 undertaking a surplus balance of about
£46,000 remained. But that sum was quite insufficient to
provide an adequate erection, and from the Executive of the
Inhibition an "Association for the Promotion of Art and
Musk," was formed, the object of which was to administer

PREFACE.

the surplus in the interests of the Corporation, and to add
to it by means of public subscriptions and otherwise. The
Association obtained, by subscription, an additional sum of
over £70,000, and with these resources it was resolved to
proceed with the building. As the result of an open com
petition, Messrs. John W. Simpson and Milner Allen were
appointed Architects, and the building was begun in 1893
under the supervision of the Association for the Promotion of
Art and Music. It soon, however, became obvious that the
amount at the disposal of the Association was inadequate for
the work to be done, and the whole undertaking, with the
available fund, was handed over to the Corporation. There
after the work was continued under the direct control of the
Town Council.
The foundation stone of the building was laid, on the 10th
September, 1897, by His Royal Highness the Duke of York (now
H.M. King George V.), who at that ceremony was accompanied
by H.R.H. the Duchess of York (now H.M. the Queen).
The International Exhibition of 1901 was promoted by the
Corporation partly for the inauguration of the Art Gallery
and Museum Building and partly in the hope that a second
financial success would add to the resources of the institution.
In that Exhibition the new building and its contents — Fine
Art and Scottish History and Archaeology — formed a most
prominent feature. In connection with the State Opening of
the Exhibition, on 2nd May, 1901, the building was visited
and formally inaugurated by H.RH. the Duchess of Fife and
His Grace the Duke of Fife. Like its predecessor, the Exhibition
was both a social and financial success, and after serving ita
purpose with every manifestation of public approval, a surplus
of about £40,000 remained, which, according to the Articles
of Association, became available for the development of the
Museums and Art Galleries.
The Corporation Art Galleries, which for well-nigh fifty years
formed the home of the Art treasures of Glasgow, were finally
closed on 20th September, 1902. On the 25th of the following
month the Art Collections, as well as the contents of what was
formerly Kelvingrove Museum, were, under the name of Glasgow
Art Gallery and Museum, formally inaugurated and declared
open by the Lord Provost of the City.

PREFACE-.

Note to the Thirteenth Edition.
It is gratifying to state that the stream of bequests, gifts,
and purchases enriching the art collections of Glasgow
continues to flow with unabated vigour. Since the last issue
of this Catalogue in 1908 many noteworthy contributions have
been received, and now incorporated in this Catalogue. Most
important of all is the collection given by Mr. James Carfrae
Alston, embracing twenty-one separate works, the selection of
which manifests the most delicate and refined artistic per
ception. The following is a list of the Carfrae Alston gift :—
"A Quiet Berth— Morning Glow," by James Maris.
"Storm Cloud— River Scene," by James Maris.
" Children of the Artist," by James Maris.
"Fisher Wives, Scheveningen," by B. J. Blommers.
" Milkmaid— Morning Call," by B. J. Blommers.
" Court House Interior," by J. Bosboom.
" Church Interior," by J. Bosboom.
" Clearing after Rain," by A. Mauve.
"The Herd Wife," by A. Mauve.
"Placid Enjoyment," by D. A. C. Artz.
"A Two-handed Crack," by Albert Neuhuys.
" Garden FSte — The White Horse," by A. Monticelli.
"Antwerp," by Jules Lessore.
" Barncluith," by Alex. Fraser.
"Fairy Lilian," by D. Y. Cameron.
"Crail Harbour," by R. W. Allan.
" South Queensferry," by R. W. Allan.
" Soldiers' Children in Chapel," by Murhman.
" On the Alert — Lioness and Cubs," by John M. Swan.
"Sleepy Hollow — Tigers," by John M. Swan.
" Prowling Panther," Bronze, by John M. Swan.
To the numerous benefactions of the Reid of Hydepark
Family there falls to be added a magnificent example of the
work of Albert Moore, " Reading Aloud," given by Mr.
Andrew T. Reid. Other recent gifts comprise " Heroism and
Humanity," by Sir William Allan, presented by the late
William Strang Steel, of Philiphaugh, and " The Clouded
Moon," by Julius Olsson, presented by James Dickson. Pur
chases also have been numerous, and made principally with
the view of obtaining an adequate representation of the works
of local artists.
The biographical and descriptive notices have been submitted
to a scrupulous revision, and many corrections and expansions
have been incorporated.

January, 1911.

ICTURE

No. I. Italian School.
No. II. Donald Collection.
No. III. Dutch School.
No. IV. Dutch School.
No. V. Flemish School.

Ac... ....... ...,
AB c D — "Art Objects.

No. VI. Modern, Chiefly Scottish.
No VII. Temporary Collection.
No. VIII. British School and French (18th Century),
No. IX. Water Colours, &c.
No. X. British School, Reid Collection, &c.

GLASGOW ART GALLERY AND MUSEUM,
KELVINGROVE.

PICTURES.

Abshoven. Thomas Van Abshoven or Apshoven, 1622-1664.
Flemish School.
Abshoven, a native of Antwerp, was a favourite pupil, imitator, and
copyist of the younger Teniers, whose subjects and manner he reproduced
so successfully that many of ms works have passed for the genuine pro
ductions of that skilful master.
3. The Hearty Welcome. Group of figures, etc., at the
side of a house; a stream, in which a man is fishing; and in
the distance a church. On Panel — height, 5 \ in. ; width, 1\ in.
M'Lellan Collection.
4. Landscape and Figures. A woman at a cottage door,
and a boy approaching; lad sits fishing in a stream close by;
windmill and church, etc., in distance. On Panel — height, *a\ in. ;
width, 7J in. M'Lellan Collection.
Pendant to No. S.

Adam. Joseph Denovan Adam, R.S.A., 1842-1896. Scottish
School. This popular painter of animals, native of Glasgow, was born in
1842; but early in life his parents removed to London, where he
was trained by his father, a landscape painter, examples of whose
work are in this gallery (see Nos. 10 and 11). In 1871 he took up his
residence in Scotland, and quickly attained success as a painter of High
land cattle, depicted amid hilly and moorland surroundings. In 1884 he
was elected an Associate of the Royal Scottish Academy, and in 1892 he
was advanced to the full dignity of Academician. Meanwhile he had, in
1887, estabhshed a school for animal painting at Craigmill, near Stirling,
which, being well stocked with animals, attracted numerous pupils. His
works were well appreciated on the Continent, and in 1894 the French
Government desired to acquire one of his pictures. Mr. Adam died in
Glasgow on 22nd April, 1896. 1

ADAM. AELST.

6. Balmoral, Autumn. A view of the wooded valley of the
Dee, with the Castle of Balmoral in the middle distance. In
the foreground a roadway, bordered on left by Scots fir trees,-
along which a drove of Highland cattle approaches. Signed
"J. Denovan Adam." On Canvas — height, 5 ft. 8 in.; width,
7 ft. 6 in. Purchased, 1896.
7. In Clover. Shore of a Highland loch, with luxuriant vege
tation. Among the long grass, which is plentifully sprinkled
with the flowers of the Dutch clover and ox-eye daisy, a number
of sheep are contentedly feeding. Over the surface of the loch,
sea-gulls are flying and swimming. In the distance are hills,
with cottages nestling at their base. Signed " J. Denovan' Adam,
A.E.S.A., 1885." On Canvas — height, 2 ft. 11£ in.; width,
4 ft. 6 in. Teacher Collection.
Exhibited at Royal Academy, 1885.
Adam. Joseph Adam. Scottish School.
A landscape painter, native of Glasgow, but resident in London in his
later days. He exhibited at the Royal Academy steadily, from 1858 till
1880, his subjects being chiefly Scottish landscape. Joseph Denovan
Adam, R.S.A. (see above), was his son.
10- Overlooking Glendaruel, Kyles op Bute. A heath-
covered knoll, with group of red deer; beyond are the still blue
waters of the Kyles, and in the distance rise the hills of Bute
and Cowal. On Canvas — height, 20 in.; width, 13 in. Teacher
Collection. 11. A Highland Landscape. In the foreground is a wooded
eminence, with two sportsmen (one of whom is just in the act
of firing), a dog and game, overlooking a strath through which
a burn meanders ; hills in the distance. Signed " J. Adam "
and "R. H. Roe." On Canvas— height, 20 in.; width, 13 in.
Teacher Collection.
Aelst. Willem van Aelst, 1620-1679. Dutch School.
One of a group of famous painters of flowers, fruit, and still life — a
department of art created and principally cultivated about his time. He
was born in Delft, enjoyed the instruction of his uncle, Evert van Aelst,
a still-life painter of repute ; he also studied in Italy and France ; was
admitted to St. Luke's Guild, in Delft, in 1643, and finally settled in
Amsterdam, where he died. His faithful and painstaking work was much
appreciated during his lifetime, and still continues to enjoy the favour of
amateurs. 13. Fruit, Glass, etc. A study of glass vessels, cherries.
vegetables, a herring disembowelled, and bread. Signed " Guill
Van Aelst, 1660." On Canvas — height, 19 in.; width, 13A in
Mrs. Douglas of Orbiston Collection.

AITKEN. ALEXANDER.

Aitken. James Alfred Aitken, R.S.W., 1846-1897. Scottish
School. Aitken was born in Edinburgh, his father being a temperance hotel
proprietor in that city. While still a boy the family removed to Dublin,
and there the youth received his early education. Returning to Scotland
when about twenty years of age, he came under the influence of Horatio
M'Culloch, and also obtained some art instruction in Edinburgh. His
work, for the most part, consists of studies of Scottish landscape, which
he rendered with considerable imaginative power. Latterly he travelled
extensively both in America and on the Continent. During the last few
years of his life Mr. Aitken confined himself almost entirely to water-
colour. He was an Associate of the Hibernian Academy, and was one of
the founders of the Royal Scottish Society of Painters in Water-Colour.
He died in Glasgow on the 21st December, 1897.
15. Dunoon. In the foreground a road leading to the village
of Dunoon, beyond is the Firth of Clyde, and in the distance
the Renfrewshire hills. Signed " J. A. Aitken, 1881." Water-
colour — height, 11 J in.; width, 19f in. Smellie Collection.
Albani. Francesco Albani, 1578-1660. Italian-Bolognese
School. Albani, the son of a rich merchant in Bologna, received his art educa
tion under the Carracci, of whom he was one of the most distinguished
followers. His works are chiefly mythological and Scriptural, and he
greatly delighted in introducing the figures of amorini into his landscapes
and allegorical works. He died in his studio,. brush in hand, in his 82nd
year. 1 7. Apollo and Daphne. In a broad valley, with low hills,
Daphne, in light gauzy garments, flies before Apollo, who, bow
in hand, pursues her beseechingly. A winged Cupid, hovering
in the air, has shot an arrow at the breast of Apollo. On
Copper — height, 12 \ in.; width, 17 in. M'Lellan Collection.
Formerly attributed to Domenichino, and called Cephalus and Procris ;
but there is an almost similar composition in the Louvre by Albani ; and
the subject in both pictures is obviously the pursuit of Daphne by Apollo.
18. Cupids at Play. In a green landscape five amorini are
disporting themselves with flowers and baskets of fruit; a lake
is seen in the middle distance. On Copper — height, 2 ft. ; width,
3 ft. 3 in. MTjellan Collection.

Alexander- Edwin Alexander, A. R.S.A. (living artist).
Scottish School.
1 9. Grouse. Two dead grouse lying on the top of a game-
bag. Signed " Edwin Alexander, 1 905." ' Water-colour — height,
1 ft. 5J in.; width, 1 ft.-ll£ ie. Purchased, 1906.

ALLAN.

Allan. David AUan, 1744-1796. Scottish School.
Allan, born at Alloa, was a pupil in the Academy in Glasgow carried
on by the celebrated brothers, Robert and Andrew Foulis. In 1764 he
went to Rome to continue his studies, and there, nine years later he
carried off the gold medal given by the Academy of St Luke ^-the
highest distinction awarded by that artistic body. At that tune he
painted much in the grand or classical manner then fashionable; but his
reputation is based upon the skill and spirit with which he depicted
peasant life and character. After his return to Scotland he devoted
himself principally to the delineation of Scottish manners and customs,
and his engraved works attained great popularity. For the last ten years
of his life Allan was Master of the Trustees' Academy in Edinburgh, and
in that position he exercised a, stimulating influence on the development
of Scottish Art-
20. Evening Amusements — Rome, In an open space or public
garden a group of men and women variously disporting them
selves with music and dancing; fountain behind, and to left
and right arched gateways. Signed " D. Allan, 1769." Tinted
drawing— height, 13 in.; width, 18 in. Purchased, 1896.
21. Evening Amusements — Naples. An open space near the
Bay of Naples, with a group of persons playing musical instru
ments, dancing, eating, drinking, and smoking; city and Mount
Vesuvius in distance. Signed " D. Allan, del. 1770." Tinted
drawing — height, 13 in. ; width, 18 in. Purchased, 1896.
22. A Domestic Scene. In the interior of a cottage an old
man seated with a child on his knee and another standing by
his side; to left a woman stirring the contents of a pot over
an open fire; a lad seated near her playing on a horn; to
right, an old and a young woman receiving a young man who
has just entered, and, in a corner, a boy seated eating out of
a wooden vessel, with a dog in front of him. Tinted drawing —
height, 12| in.; width, 18 in. Purchased, 1903.

Allan. Robert Weir Allan, R.W.S. (living artist). Scottish
School. 23. Home prom the Herring Fishing. The mouth of a
west coast river, in which lie a large fishing boat and some
smaller craft. Down a plank from the large boat fishermen are
sliding baskets of herring; beyond is the blue sunlit sea, show
ing here and there the brown sails of the fishing fleet. Signed
"Robert W. Allan, 1876." On Canvas — height, 2 ft. 9 \ in.;
width, 4 ft. 6 in. Teacher Collection.
Exhibited at Royal Academy, 1876.

ALLAN.

24. On the Berwickshire Coast. A view in a Berwick
shire fishing village, with red-tiled houses overlooking the har
bour, in which are a number of herring boats. In the foreground
is a young girl carrying wooden water buckets. A number of
fishermen are standing about the pier; others lie on the slopes
above. Signed " Robert W. Allan, 1875." On Canvas— height,
17| in.; width, 23 J in. Teacher Collection.
25. A Doorway. The ivy-clad door of a country cottage, with
figures of a woman and young girl. Signed " Robert W. Allan,
1875." On Canvas— height, 15J in.; width, 23J in. Teacher
Collection. 26. Sheltered from the Stormy Sea. Within a sea-wall,
outside of which is a stormy sea, a number of fishing boats
moored. On the wall fisher folk with baskets of fish, etc.
Signed "Robert W. Allan, 1904." On Canvas— height, 4 ft.
OJ in.; width, 6 ft. OJ in. Purchased, 1904.
27. South Queensferry The main street of the village of
South Queensferry, with quaint old houses and square tower,
from which rises a squat polygonal spire; groups of villagers
in the street. Signed " S. Queensferry, Jany., 1880, Robert
W. Allan." Water-colour — height, 20J in.; width, 14J in.
Carfrae Alston Collection, 1909.
28. Crail Harbour. The harbour of Crail, with shipping,
boats beached in foreground, and village beyond. Signed
" Robert W. AUan, '79." On Canvas— height, 20J in. ; width,
14J in. Carfrae Alston Collection, 1909.

Allan. Sir William Allan, P.R.S.A., R.A, 1782-1850. Scottish
School. The son of a macer in the Court of Session, Edinburgh, Allan received
the first part of his art education in that city. He subsequently studied
in the Schools of the Royal Academy in London ; established himself as
a portrait painter in St. Petersburg ; and travelled through a great part of
Eastern Europe, during which journey he collected the materials for some
of his best works. After an absence of ten years he returned to Edin
burgh ; in 1835 he was elected a Royal Academician ; in 1838 he became
President of the Royal Scottish Academy; and in 1842, when he suc
ceeded Sir David Wilkie as Her Majesty's Limner for Scotland, he was
knighted. Among his principal works may be named — "The Death of
Rizzio," " Heroism and Humanity," " The Slave Market in Con
stantinople," and his great picture, "The Battle of Waterloo," which
was purchased by the Duke of Wellington. He died in his studio before
an unfinished picture, " The Battle of Bannockburn," now in the Scottish
National Gallery.

ALTDORFER.

29. The Bride of Abydos. Zuleika, kneeling, offers a rose to
Selim, who stands leaning at a latticed window, looking down on
her — " Still gazed he through the latticed grate,
Pale, mute, and mournfully sedate ;
To him Zuleika's eye was turn'd,

Bin little from his aspect learned." ... , r.
— 13ykon, Bride of Abydos, Canto

u io.

Signed " William Allan, 1836." On Canvas— height, 2 ft. ; width,
1 ft. 6J in. M'Lellan Collection.
30. Heroism and Humanity. An incident in the life of
King Robert the Bruce. In the centre is King Robert in chain
armour, over which is a yellow surcoat, having the Lion of
Scotland embroidered on the breast. His right hand is raised
to heaven in denunciation of the barbarity of those who have
deserted a woman with a new born babe, who lies on the
ground to right supported by a woman, a girl, and a priest.
To left, on horseback, is Edward Bruce, and around are
various soldiers on horseback and on foot ; behind is the main
body of the army; to right is a mountainous landscape,
with figures in the distance. Signed " William Allan, Pinx."
On Panel — height, 4 ft. 2 in. ; width, 6 ft. 5£ in. Presented
by William Strang Steel of Philiphaugh, 1909.
The incident is described in Barbour's poem, The Bruce : —
" The king has hard a woman cry;
He askyt quhat that wes in hy.
' It is the layndar, Schyr,' said ane,
' That hyr child-ill rycht now has tane,
And mon leve now behind ws her :
Tharfor scho makys yone iwill cher.'
The king said, ' Certis, it war pite
That scho in that poynt left suld be ;
For certis I trow thar is na man
That he ne will rew a woman than.'
Hiss ost all thar arestyt he,
And gert a tent sone stentit be,
And gert hyr gang in hastily.
And othyr wemen to be hyr bv,
Quhill scho wes deliuer he bad.
And syne furth on his wayis raid."
The legend is also related by Sir Walter Scott in his Tales of a
Grandfather. Engraved by John Burnet.
Altdorfer. Albrecht Altdorfer, 1480-1538. German School.
Altdorfer was a distinguished follower of the famous Albrecht Durer,
both in painting and engraving. Like most of the early artists, his
talents were principally devoted to Scriptural and religious subjects, but
his most important picture is "The Battle of Arbela," illustrating the
triumph of Alexander the Great over Darius, a large work containing
countless figures, now preserved in the Pinakothek of Munich. He was
an architect as well as a painter, and he was employed on many important
public erections in Ratisbon. Of that city he was an honoured citizen,
holding many important public offices, and there he died in 1538

Amberger.— PORTRAIT OF A LADY.

AMBERGER. amiconi.

31. The Conversion of St. Hubert. In a hilly landscape,
with castellated buildings in the middle distance, the Saint and
his hunting attendants are arrested by the appearance of the stag
with a crucifix; on its forehead. The Saint has descended from
his white horse, and is approaching devoutly to the miraculous
apparition. On Panel — height, 22 in.; width, 16 in. M'Lellan
Collection. "The conception is very curious, the mountainous landscape much
finished, and the colouring of great force" (Waagen's Galleries cmd
Cabinets of Art, p. 461). St. Hubert in his youth was passionatelyfond
of field sports, and addicted to worldly pursuits. During Holy Week,
when all Christians were at their devotions, he; with his retainers,
hunted in the forest of Ardennes, when a milk-white stag, having a
crucifix between his horns, appeared to the astonished huntsman. So
deeply impressed was Hubert by the divine apparition that he abandoned
his former life, and henceforth devoted himself to works of piety and
charity (see Mrs. Jameson's Sacred and Legendary Art, p. 732, vol. ii.,
1891 edition).
" A good picture by this master, fresh and glowing in tone and romantic
in composition, with steep rocks, grand pine trees, and a fine distance,
is now in the Glasgow Museum; it represents St. Hubert adoring the
crucifix on the head of a stag." See note by Translator in History of
Painting, by Woltmann and Woermann, vol. ii., page 162.

Amberger- Christoph Amberger, 1490?-1563. German
School. Amberger was an Augsburg artist, of which important mediaeval city
he was probably a native, and where he died. He was instructed under
Venetian influence, and the master mind of the younger Holbein also
exercised obvious sway over him. Indeed, as in the case of the example
noted below, many of his works have passed as portraits by the more
famous artist, the frauds being helped by means of forged signatures.
32. Portrait of a Lady, Half-length figure of a lady, three-
quarters face, looking to left, with black cap on her head, and
holding a pink in her hand, background green. Signed " H.
Holbein, F." (a forgery). On Panel — height, 21^ in.; width,
17 in. M'Lellan Collection.
Dr. Bode, who points out the similarity of treatment in the known
works of Amberger in the Berlin Gallery, considers this portrait to be
an excellent example of Amberger's work.

Amiconi. Jacopo Amiconi, 1675-1752. Italian -Venetian
School. Amiconi was a late Venetian painter of historical subjects, portraits,
etc. During his life he visited Rome, Munich, England (where he re
mained many years), and Madrid, where he died. He enjoyed a great
reputation during his life, which has not been maintained by the quality
of his works.

ANDRE. ANGUISOLA.

33. Cupids at Play. A group of amorini sharpening arrows,
preparing a bow, and otherwise engaged. The central reclining
figure is asleep. On Canvas — height, 6 in. ; width, 10£ in.
M'Lellan Collection.
34. Infant Fauns and Bacchus. Some of the young fauns
are gathering and pressing the juice from the grapes, while one,
from a skin, ministers to the young Bacchus, whose aspect bears
testimony to the nature and potency of the beverage he drinks.
On Canvas — height, 6 in.; width, 10| in. M'Lellan Collection.
Pendant to No. 88.

Andre. Edmond Marthe Alphonse Andre, died 1877. French
School. A genre and military painter of good reputation, son of the landscape
painter Jules Andre\
35. Awaiting Orders. A French army corps halted on a
heath; arms are piled, and their heavy accoutrements have been
taken off. Some of the men are cooking, whilst others smoke
and chat. On the left a group of officers are holding a
consultation. Signed " Edmond Andre." On Canvas — height,
18£ in.; width, 38 in. Teacher Collection.

Andrews. H. Andrews, died 1868. English School.
Andrews was a painter of genre subjects in the style of Watteau,
whose works he copied and imitated with great success. He exhibited
at the Royal Academy between 1830 and 1838, after which no work of his
was shown at the annual exhibition of that body.
37. The Pet Dove. A young girl in a quaint cap with a
collared pigeon perched on her hand. On Canvas, circular—
diam., 11 in. Euing Collection.
38. The Toilet. Lady in loose dressing-gown putting an
ear-ring into her ear before a mirror. On Canvas, circular—
diam., 11 in. Euing Collection.

Anguisola. Sophonisba Anguisolaor Anguisciola,1535?-1626.
Italian-Lombard School.
This lady, one of the limited number of female artists who have ob:
tained a high reputation, belonged to a patrician family of Cremona.
While still youthful, her fame as a portrait painter induced Philip II.
to invite her to his court, and she remained in Madrid upwards of ten
years. There she married a Sicilian nobleman, after whose death she
became the wife of a Genoese patrician named Lomellini. In 1624

ANRAADT. ARCHER.

Vandyck visited the venerable lady at Palermo, and drew her portrait.
About the same time he painted the portrait group of the Lomellini
Family, now in the Scottish National Gallery. Sophonisba had five
sisters, all endowed with artistic gifts. She died at Palermo.
40- Holy Family. The infant Saviour lies in the arms of
Joseph; the Virgin, seated beside them, offers him flowers from
her lap. On Panel — height, 11 J in.; width, 9 J in. M'Lellan
Collection. The original of this picture, formerly in the possession of Sig. Morelli, is
now in the Gallery at Bergamo. It is signed Sophonisba Anagvssola,
adolescens, p. 1559 ; but there is reason to believe that the signature
is false. Morelli mentions another replica he saw in possession of Count
Varano at Ferrara. This picture was formerly attributed to Mazzola.

Anraadt. Pieter van Anraadt, ... -1681, Dutch School.
The date of the birth of this eminent portrait painter, who was born
at Deventer, is not known. He lived about 1672 in Amsterdam, and
latterly settled at his native place, where he was buried in 1681. It is
probable that he was a pupil of the eminent Gerard Terburg. A number
of important portraits and " regent pieces " by Anraadt exist in Haarlem,
Amsterdam, etc.
42. Portrait or a Musician. Three-quarters length figure
of a gentleman in long hair, with a red cloak over his left arm,
seated, with a lute in his hands. On Canvas — height, 4 ft. 9 in. ;
width, 4 ft. 1 in. Euing Collection.
It has been suggested that this portrait is the work of Vander Heist.
Archer. James Archer, RS.A., 1823-1904. Scottish School.
Archer was born in Edinburgh, the son of a dentist, and received his
art training at the Trustees' Academy. He first exhibited at the Royal
Scottish Academy when he was eighteen years of age, and continued to do
so almost without a break until within a year or two of his death. He
was elected an A.R.S.A. in 1851, and Academician in 1858. In 1862 he
removed to London, where he exhibited regularly in the Royal Academy.
He devoted himself principally to portraiture, history, and ballad subjects,
and for many years his works were exceedingly popular. He died at
Haslemere, Surrey, on the 4th September, 1904. \
44. Classical Subject. A Bacchanal riding on an ass, sup
ported at each side by a faun; the ass is led by a female, pre
ceded by a goat and a young faun. Signed " J. A., 1878." On
Canvas — height, 18 in.; width, 14 in. Teacher Collection.
Exhibited at Royal Academy, 1879, as A Sacrifice of Dionysus.
45. Portrait op John Francis Ure. Half-length, seated,
looking to the right, left hand resting on a table. Signed, in
monogram, " J. A.," and dated 1884. On Camvas— height, 3 ft
8 in.; width, 2 ft. 10 in. Elder Collection.

10 ARMFIELD. ARMITAGE

John Francis Ure (1820-1883), an eminent civil engineer, brother-in-
law of John Elder, was for some time resident engineer of the Clyde
Navigation and Harbour of Glasgow, in which position he rendered
valuable services to the city. His chief claim to eminence, however,
rests on the remarkable works designed by him, and carried out under his
supervision, in connection with the arduous task of deepening and widen
ing the channel of the River Tyne. Later he was senior partner of the
great shipbuilding and engineering firm of John Elder & Co., Govan.

Armfield. George Armfield. English School.
Armfield, whose real name was Smith, was an animal painter of con
siderable repute, who exhibited at the Royal Academy almost every year
between 1840 and 1862. His representation of dogs, etc., was peculiarly
happy, and not unfrequently his small works were passed off by un
scrupulous dealers as the productions of Sir E. Landseer.
46. Dogs. A group of three dogs, of different breeds ; back
ground with various sporting accessories. On Canvas — height,
9 \ in.; width, \\\ in. Euing Collection.
Armitage. Edward Armitage, R.A., 1817-1896. English
School. The art education of this painter was begun in London ; thereafter he
studied in Paris, under the direction of Paul Delaroche, and while so
engaged he exhibited in the Salon of 1842 an ambitious mythological
composition, "Vulcan binding Prometheus with the help of Force and
Violence." After remaining two years in Paris, he returned to London.
Subsequently he resided and studied in Rome, and thence he went during
the Russian War to the Crimea, and there found subjects for two pictures,
"The Cavalry Charge at Balaclava" and "The Battle of Inkerman."
Armitage also worked in Germany for some time. Two of the frescoes
which ornament the upper waiting-hall of the Houses of Parliament are
from his brush. In 1867 he was elected an associate, and in 1872 he
became a full member of the Royal Academy. Armitage was an in
dustrious and fertile painter, his subjects being chiefly Scriptural,
historical, and classical. He died at Tunbridge Wells.
48. The Christian Martyr. The body of a young martyr,
who has been crucified, being received by his male and female
co-religionists— an incident in the Christian persecutions in
Rome during the reign of Nero. Signed " E. Armitage," 1863.
On Canvas— height, 5 ft. ; width, 3 ft. 9 in. Teacher Collection.
Exhibited at Royal Academy, 1863.
49. Hero. Life-size figure of a female, almost nude, with
long flowing hair and drapery thrown over her left shoulder,
standing on the top of a tower. She holds in her hands a
flaming brazier, which she is about to place in a receptacle
?««o » Pinn?fle M » *gMl to Leander. Signed " E. Armitage,
1869. On Oanva^^eight, 8 ft.; width, 5 ft. Elder Collection.
Exhibited at Royal Academy, 1869.

WW

tt,

iKTZ

Artz.— PLACID ENJOYMENT.

ARTH0IS. ASCH. 11

Arthois- Jacques dArthois, or Artois, 1613-after 1684.
Flemish School.
Jacques d' Arthois, or Artois, an eminent landscape painter, was born ¦
in Brussels. He painted chiefly views of his native province, Brabant,
and the figures introduced in his works were usually inserted by brother
artists, principally the elder Teniers and Bouts.
50- Landscape and Figures (figures by David Teniers the
elder). Road skirting a dark wood, with various horsemen,
travellers, market people, and mendicants. In the foreground
a donkey, with heavily laden panniers; open landscape to the
right. On Canvas — height, 1 ft. 9 in.; width, 2 ft. 6J in.
M'Lellan Collection.
51. Woody Landscape with Figures (figures by Teniers the
elder.) In the foreground a road between wooded banks, along
which three peasants are travelling, to right a pond with ducks,
and beyond an open landscape, hills in the distance. On Canvaa
— height, 3 ft. 11 in.; width, 5 ft. 6£ in. Elder Collection.

Artz. David Adolf Constant Artz, 1837-1890. Dutch School.
Artz studied under Royer at the Amsterdam Academy, and sub
sequently under Josef Israels, by whom he was greatly influenced in
method and choice of subject. He was for some time resident in Paris,
where he associated much with the' brothers James and Matthew Maris.
He died at The Hague
52. Placid Enjoyment. In the middle of a field a young
woman amusing a child, who lies on its back on the ground,
another child standing by. In the distance the sea with sail
boats. Signed " Artz." Water-colour — height, 26 in.; width,
19J in. Carfrae Alston Collection, 1909.
53. Coming from Church. A number of fisher-folk with
children coming out of a church to left; cluster of houses near
church; boats to right. Signed " Artz, 1874." On Canvas —
height, 18 in.; width, 29 in. Bequeathed by George Robb,
1909.

Asch. Pieter Jansz. van Asch, 1603-.... Dutch School.
Pieter van Asch, a painter of landscapes, native of Delft, was the son
of a portrait painter. Pieter's works exhibit great delicacy, clearness of
touch, and keen perception, but they are scarce. He was admitted Master
of St. Luke's Guild, Delft, in 1623, and a fine landscape by his hands is
in the Council Hall at Delft. The date of his death is uncertain, but he
lived to a good old age.

12 BACCHIACCA. BAKHUIZEN.

54. Forest Scene and Hawking Partit. On a roadway
which passes into a wood is a gentleman on horseback, with an
attendant, each carrying a hawk, and accompanied with dogs.
In the distance, among the trees, a carriage and several
travellers. On Panel — height, 1 ft. 9 in.; width, 1 ft. 4£ in.
M'Lellan Collection.
Bacchiacca. Francesco Ubertini, 1494-1557. Italian-
Florentine School.
Ubertini, known as Bacchiacca, a native of Florence, studied under
Pietro Perugino, and later under Franciabigio, with whom he probably
worked till that master's death in 1525. In his later days he was
influenced by Andrea del Sarto and by Michael Angelo. He was a
skilful painter of animals, and his works, executed mostly on a small
scale, with figures not more than a span high, consisted chiefly of predella
pieces for altars and panels for cassone or bridal chests. He was, accord
ing to Morelli, "a remarkable painter, who occasionally surprises us by
flashes of genius and by his unatfected grace." Several of his works have
been attributed to Raphael. He died at Florence, 5th October, 1557.
55. Adoration op the Magi. Virgin and Child seated in
an open landscape; Joseph behind. The Wise Men, with two
attendants, offer their gifts; figures, with horses, in distance.
On Panel — height, 8£ in. ; width, 17 in. M'Lellan Collection.
Formerly attributed to Perugino. Mr. Bernhard Berenson regards it
as the work of Andrea del Brescianino (Gazette des Beaux Arts, vol. xvii.,
series 3, p. 65).

Bakhuizen. Ludolph Bakhuizen, 1631-1708. Dutch SchooL
This artist, one of the most eminent of Dutch marine painters, was born
at Emden, and for some time was employed in the office of a merchant
in Amsterdam. After showing great skill both in writing and drawing
with his pen, he abandoned trade, and studied under Everdingen, a well-
known landscape artist, and subsequently with Dubbels, a marine
painter. In his enthusiasm for marine subjects he exposed himself to
great dangers on stormy seas, so that he might properly study their
aspects. Among his patrons was Peter the Great of Russia, who per
sonally took lessons from the painter. He died at Amsterdam.
56. Storm and Wreck. A stormy sea lashing a rocky coast
on which a vessel has gone to wreck; in the distance other
vessels are seen driven ashore. Signed "L.B." On Canvas —
height, 1 ft. 6 in.; width, 2 ft. 1£ in. M'Lellan Collection.
" Of singular truth and masterly execution, in a somewhat dark tone "
(Waagen's Art Treasures, vol. iii., p. 287).
57. A Storm at Sea. A rough sea and stormy skies ; two
vessels in mid distance running before the wind, and others
nearer and on the horizon, on which also are indications of the
Dutch coast. Signed on spar, "L.Bi" On Canvas — height,
12| in.; width, 17| in. Graham-Gilbert Collection.

baker, balen. 13

58. Sea Piece — A Gale. A stormy sea, in which several
vessels and a fishing boat are running before a heavy gale. The
vessels have masts broken and are otherwise suffering. Other
shipping seen faintly on horizon. Signed " L.B.," and dated on
spar, "1686." On Canvas — height, 2 ft. 2 J in.; width, 2 ft.
10 in. M'Lellan Collection.
59. Preparing for the Coming Storm. Under a rising
gale a fishing boat, a barque carrying the Dutch flag, and in the
offing numerous other craft taking in sails, etc. On Canvas —
height, 13 in.; width, 19 £ in. M'Lellan Collection.
60. Shipping in a Gale. A stormy sea crowded with vessels.
In the foreground a Dutch warship with carved and richly
ornamented stern; sailors crowding the rigging. On Canvas —
height, 5 ft. 6 in.; width, 9 ft. 2 in. Presented by the family
of Mrs. John Henderson, of Westbank, 1895.

Baker. Thomas Baker, 1809-1869. English School.
Thomas Baker, known as " Baker of Leamington," was a landscape
artist of much ability, whose works were highly esteemed in the Midland
counties. He was a pupil of John Vincent Barber, of Birmingham. He
occasionally exhibited at the Royal Academy.
62. Landscape and Cattle. A stream flowing between
well wooded banks, with cattle in the water in foreground.
Signed " T. Baker, 1831." On Canvas^height, 15 in.; width,
21^ in. M'Lellan Collection.

Balen. Henrik van Balen, 1560-1632. Flemish School.
Van Balen was born at Antwerp, and, in his youth, studied in Italy.
Returning he settled in his native city, where he was admitted into the
Guild of St. Luke in 1593, and was made dean in 1609. He painted by
preference mythological and fanciful subjects, in which he introduced nude
figures executed with peculiar knowledge and skill. He frequently inserted
the figures in landscapes of Brueghel and others, and he was the first
instructor of Vandyck.
64. A Votive Composition. In the centre is a framed group,
the Virgin and Child, encircled by an array of cherubs. In
the foreground, to right and left, a nobleman and his wife,
portraits, kneel behind desks covered with crimson cloths, on
which are emblazoned their arms; the patron saint of each,
St. Francis and St. Dominic, standing behind. The whole com
position is embraced within the central aisle of a Roman Church,
and across the foreground is the legend — Nobilitas ipsa est virtus.
On Panel — height, 3 ft. 4 in. ; width, 2 ft. 5 \ in. Euing Collection.
1 A

14 barber, barker.

65. The Holy Family. The Virgin, seated, holds the infant
Saviour on her knee ; at their side is St. John astride a lamb, the
head of which rests on the lap of the Virgin; Elizabeth, standing
behind, looks with intent interest on the group. On Copper, oval
— height, 11£ in.; width, 9 \ in. M'Lellan Collection.
Barber. Joseph Vincent Barber, 1787-1838. English School.
Barber was a native of Birmingham, where his father was a teacher of
drawing. Barber spent most of his life as a teacher of art in Birmingham,
and among his pupils were Thomas Creswick, R.A. ; J. T. Willmore,
A.R.A., the well-known engraver; and others who attained eminence.
He was a frequent exhibitor of landscapes at the Royal Academy, in
which branch of art he attained some celebrity, one of his best-known
compositions being " The Golden Age," No. 68 in this Gallery. He died
in Rome from the effects of a. malarial fever caught while sketching m
the Pontine Marshes.
67. Landscape with Cattle. Stream winding through richly
wooded valley; a glow of sunshine on the woody hills; cattle
standing in the water; and a man, with dog, seated on bank of
the stream. On Canvas — height, 13 in.; width, 19 in. M'Lellan
Collection. 68. Landscape, "The Golden Age." An ideal landscape;
a still lake embosomed amid lofty hills wooded to the summit.
From the lake by a small waterfall a stream arises; rich vegeta
tion, grapes, vines, and melons, in foreground; and to the right
a group of goatherds and goats. On Canvas — height, 3 ft. 3 in. ;
width, 4 ft. 10 in. M'Lellan Collection.
Exhibited at the Royal Academy in 1828. Engraved by W. Miller for
" The Republic of Letters " (Glasgow, 1832).

Barker. Thomas Jones Barker, 1815-1882. English School.
Born in 1815, Jones Barker was a son of the well-known artist,
" Barker of Bath" (see below). Jones Barker chiefly distinguished him
self by painting large groups illustrative of contemporary or recent history,
of which " The Relief of Lucknow," No. 70 in this Gallery, is a characteristic
example. These pictures enjoyed much popularity at the time of their
execution, dealing, as they did, with battles and events exciting the public
mind, and with the portraits of prominent personages. Large engravings
were made from many of his pictures, and the prints were verv popular.
He died 29th March, 1882. J r *
70.. The Relief op Lucknow. A representation of the
historical incident, during the great Mutiny, of the meeting of
General Sir Henry Havelock, Sir James Outram, and Sir Colin
Campbell, at the Mess-house of the 32nd Regiment in Lucknow,
in November, 1857. The picture, executed from sketches taken
on the spot by Egron Lundgren, contains a large number of

BARKER. barret. 15

portraits of historical personages, half life-size ; among the most
prominent being Sir Henry Havelock, Sir James Outram, Sir
Colin Campbell (Lord Clyde), Sir John Inglis, Sir David Baird,
Sir Hope Grant, Sir W. R. Mansfield, Sir Robert Napier, the
Hon. Adrian Hope, Colonel Alison (afterwards General Sir Archi
bald Alison), Captain Roberts (now Earl Roberts), Lieut. Hope-
Johnstone, Colonel Metcalfe, Major Anson, etc., etc. The walls,
gates, palaces, and towers of Lucknow are in the background.
Signed " T. Jones Barker, 1859." On Canvas— height, 9 ft.;
width, 15 ft. 10 ,in. Presented by James Baird, Esq., of
Cambusdoon, 1875.
From Manley Hall Collection.
Engraved by C. G. Lewis.
Barker. Thomas Barker, 1769-1847. English School.
Thomas Barker, called " Barker of Bath," was born near Pontypool,
in Monmouthshire. On his family's removal to Bath, the boy's bent
towards art was discovered by Mr. Spackman, a coachbuilder of that
city, who gave him every encouragement and assistance. At the age of
twenty-one he was supplied with the means of visiting Rome, where he
remained for some time studying the old masters. On his return he
settled down to work, and was » frequent exhibitor at the Royal
Academy and the British Institution for about fifty years. He had a
wide range, painting with equal facility historical, landscape, and subject
pictures, and he was for long one of the most popular artists of his time,
many of his subjects being used for the decoration of pottery and textiles.
Two of his pictures are in the National Gallery. He died at Bath in 1847.
72. Smugglers — The Alarm. Within an apartment, half
barn half kitchen, four men are preparing for an expected attack.
One is moving a keg into a cellar, one kneels looking through
the keyhole of a door, an elderly man is examining the priming
of his pistol, whilst the fourth — a powerful sailor, with a pistol
in his bell: — is drawing his cutlass. In the background a woman
clasps her hands in great alarm. On Canvas — height, 21 in.;
width, 17 in. Bequeathed by W. B. Faulds, 1898.
73. .Smugglers — The Attack. Companion to the above.
The door of the apartment has been burst open. Sword in hand,
the leader of the excisemen attacks the sailor, who has fired his
pistol, wounding an official; the elderly man is striking at the
leader with the butt of his pistol; one smuggler is overturned
on the floor, and one kneeling is preparing to discharge his gun.
On Canvas — height, 21 in.; width, 17 in. Bequeathed by W. B.
Faulds, 1898.
Barret. George Barret (the younger), 1774-1842. English
School. The father of this artist — an Irishman— was a landscape painter of high
reputation who established himself in London about 1762. The younger

16 BASSANO. BASSEN.

Barret devoted himself to water-colour painting, and he was one of the
founders of the Water-colour Society, established in 1804. In 1840 he
published a treatise on "The Theory and Practice of Water-colour
Painting." 75. A Coast Scene. Rocky headland, with a boulder-strewn
foreshore,- and, to left, sea with shipping. In foreground two
men, one of them in a boat. Evening sky. Water-colour-
height, 7f in. ; width, 13J in. Presented by James Orrock, R.I.,
1892. 76- London from Surrey Woods. Foreground, a road
passing through a wood, on it a pedestrian with a dog, and
further off two horsemen; in the distance the dome of St. Paul's
and the spires and stalks of London. Water-colour — height,
8| in.; width, 11 in. Presented by James Orrock, R.I., 1892.
77. Landscape with Castle. A stretch of flat, pastoral
country. In the foreground a man driving cattle along a road.
In the left middle distance farmhouses and cornstacks; to the
right, on a rising ground, a castle. Water-colour — height, 5 in. ;
width, T\ in. Smellie Collection.

Bassano. Jacopo da Ponte, 1510-1592. Venetian School.
Jacopo da Ponte, called "II Bassano," after his native city, received
his early training in art from his father, afterwards studying in Venice
under Bonifazio Veneziano. He attained a considerable reputation in
Venice, and painted the portraits of many distinguished men, among
others those of Tasso and Ariosto. On the death of his father he returned
to Bassano, where he remained until his death. With the help of his
four sons, he produced an enormous quantity of work, consisting princi
pally of Biblical subjects that gave opportunity for landscape and animal
painting, such as "The Entry of the Animals into the Ark" fund "The
Adoration of the Shepherds," many versions of which are in existence.
79. Adoration or the Shepherds. In the centre the Virgin
adoring the Holy Child, and grouped around are the shepherds,
a cow, a dog, and other animals. Behind is a pillared build-
ing, and through an opening the city of Jerusalem is seen.
Above are four angels, two bearing a scroll on which is inscribed
— " Glori.. in Altissimis Deo ac in Ter... Pax Homin...." To
the right an open oountry, with hills in the distance. On Canvas
— height, 2 ft. 5 in. ; width, 2 ft. 9J in. Presented by T. Graham
Young in memory of his father, James Young, LL.D., F.R.S., of
Kelly, 1900.
Bassen. Bartholomeus van Bassen, 1 5 ... -1 6 5 2. Dutch School.
Van Bassen, an architect and architectural painter, was admitted as a
stranger into St. Luke's Guild of Delft in 1613. Thence he removed to

BEAL. BE AVIS. 17

the Hague, in the St. Luke's Guild of which city he was registered in
1622, and of it he wa3 elected Deacon in 1627. Subsequently he lived in
England a considerable time, but, returning to the Hague, was appointed
City Architect (Fabrijkmeester) in 1639, and died there in 1652. He
painted by preference the interiors of churches, etc., in the Renaissance
style, the figures being inserted by the younger Francken and others.
80. The Interior of a Church. A richly-decorated church
interior in the Renaissance style, with Corinthian pillars of red
marble. Monks at their devotions. On a oartouche the legend —
Omnia no .. .possimus [sic] omnes; with the signature, " B. V.
Bassen; " and the date, " 1645." On Canvas — height, 3 ft.
2£ in.; width, 4 ft. 2£ in. M'Lellan Collection.
This picture was formerly attributed to Dirk van Deelen.
Beal- Franz de Beal.
81. Interior of a Sheep-House. A farmer feeding sheep
from a barrow-load of grass and other herbage. Poultry
running about. Signed " Franz de Beal." On Canvas —
height, 8£ in. ; width, 13| in. Teacher Collection.
BeaviS. Richard Beavis, R.W.S., 1824-1896. English School.
A native of Exmoutk, Beavis in 1846 became a pupil at the School of
Design in Somerset House, London, and early attained high distinction
as a decorative artist, carrying off first-class honours in that department
in the great Exhibition of 1851, the Paris Exhibition of 1855, and the
International Exhibition of 1862. He exhibited almost regujarly in the
Royal Academy from 1852 to 1896. As a painter of pictures, he devoted
himself to landscape subjects with cattle and figures, and, being a close
observer of nature, his works are distinguished by accuracy, taste, and
skilful execution. He was a successful painter in water colours, and an
honoured member of the Royal Water-Colour Society. He died on 13th
November, 1896.
82. The Midnight Ride of Deloraine. Margaret, Lady of
Branksome, commissioned one of her knights, William of Delo
raine, " a stark moss-trooping Scot," to ride to Melrose Abbey
on St. Michael's night, to watch with "the Monk of St. Mary's
Aisle," by the grave of the Wizard, Michael Scott, and " win the
treasure of the tomb." The artist has chosen that part of the
ride where the bold warrior had to ford the River Aill, a moun
tain torrent swollen by rain.
" 1\ ever heavier man and horse
Stemmed a midnight torrent's force.
The warrior's very plume, I say,
Was daggled by the dashing spray ;
Yet, through good heart and Our Lady's grace,
At length he gained the landing place."
— Scott's Lay ofthe Last Minstrel.
Signed " R. Beavis, 1869." On Canvas— height, 19| in. ; width,
26J in. Teacher Collection.

18 BEGEUN. BELLlNI

Begeijn. Abraham Cornelisz Begeijn, or Bega, 1650-1697.
Dutch School.
Begeijn was a follower and close imitator of Berchem, and there is
reason to believe that many of the pictures in this country ascribed to
that more famous painter were really the work of this artist. He worked
for some time in the Hague, and from 1688 till his death in 1697 he lived
in Berlin, as Court painter to the Elector of Brandenburg.
84. Rocky Landscape and Torrents. A wild mountainous
landscape, with two torrents joining in the foreground. On
the promontory between them a massive old castle, the walls^
of which are lighted by the glow of the evening sun; cowherds,
with dogs, cattle, etc., in foreground. On Canvas — height,
2 ft. 10 in. ; width, 3 ft. 7 in. M'Lellan Collection.

Beijeren. Abraham van Beijeren, 1620-1674? Dutch School.
Native of the Hague, Beijeben was a painter of still life and marine
subjects. He practised principally in his native city, but he is known
to have lived also in Delft, Amsterdam, and Alkmaar.
85. Sea Piece. Near a flat shore, with a town having great
church buildings, a Dutch barque, the sails of which are being
lowered. Signed " R." On Canvas — height, 17£ in.; width,
25J in. Graham-Gilbert Collection.
The signature has been manipulated to make it appear to be that of
Ruysdael, to whom the picture was formerly ascribed. Dr. Bode, how
ever, pronounces it to be a fine work of Van Beijeren. Dr. de Groot, on
the other hand, believes he has discovered a monogram " B.H." on the
vessel, and is, on that account, inclined to attribute the work to Jan
Theunisz Blanckerhof.
86. Still Life. On a table are fish, crabs, lobsters, baskets,
etc.; to the left, through an opening, fishermen are seen, and
beyond is the sea. Signed with monogram, " A. B." On Canvas
—height, 3 ft. 2 in. ; width, 4 ft. Presented by Arthur Kay,
1901. J

Bellini. Giovanni Bellini, 1428?-1516. Italian-Venetian
School. Giovanni Bellini, son of a distinguished painter, brother of one onl?
kss ernment than himself brother-in-law of Andrea Mantegna, the great
Paduan artist and himself the instructor of Giorgione, Titian, and many
others of great merit if less fame, is entitled to be regarded as one of the
most important factors in Venetian art. He was instructed by his father
with whom he worked for some time in Padua, but about 1460 he settled
in Venice, the native city of the Bellini family. His early works were
executed in tempera, but, learning from Antonello da Messina the secret
of oil painting, he adopted and quickly acquired great mastery in that

BELLINI. 19

medium. Throughout his long life he painted with unwearying assiduity
and constantly increasing power and breadth, devoting himself specially
to Scriptural subjects, lofty in conception, seraphically pure in character,
and faultless in drawing. He also painted portraits ; but the services
he rendered to the world by training his great pupils are scarcely less
important than his individual achievements.
88. Virgin and Child Enthroned (Bellini School). The
Virgin is seated with the Holy Child, nude, erect on her right
knee, on a dais in the middle of an open landscape with a
background of hills, trees, buildings, and numerous figures, under
a brilliant evening sky. On the dais steps three angel musicians
seated playing their instruments. To each side of the Virgin
two Saints, those to her right being, with his feet on the steps,
St. John, and on the platform St. Peter; on the left, a Saint
unidentified stands on the steps, and on the platform is St.
Sebastian. A parroquet is perched on the lower step and a quail
is on the platform. On Panel, vertically cut in two — height,
9 ft. 9 in.; width, 12 ft. 9 in. M'Lellan Collection.
This great altar piece was painted for the Venetian family Soranza,
from whom it came by inheritance to the Balbi family, and from that
source it was acquired by Mr. Edward Solly. Its authorship has been
the source of much difference of opinion. Dr. Waagen, who saw it in
Mr. Solly's possession, in attributing it to Giorgione, says : —
*' The capital picture o( the whole collection appears, however, to me to be one painted on
panel, 10 feet high and 12 feet wide, by Giorgione.
" The Virgin with the Child, enthroned under a canopy in the centre, is still in the severer
style of his master. Giovanni Bellini, which may, perhaps, have induced Mr. Solly to ascribe
to him a share in the execution. St. Peter and St. John the Baptist, who stand on the right
hand, St. Sebastian and another saint on the left of the throne, as single figures, so that their
outlines do not intersect each other, have that melancholy, noble gravity in character and
expression, the freedom of the attitudes, fulness of the forms, the breadth of the masses of
drapery, and the execution, so peculiar to Giorgione, by which he is entitled to the same place
in the Venetian School as Leonardo da Vinci, rather earlier in the Florentine and Milanese
Schools — that is to say, the creator of the entirely perfected style of art. Three angels at the
foot of the throne, playing on musical instruments, make an enthusiastic, melancholy impres
sion. The landscape, with the grand mountain forms, the glowing horizon, is one of the finest
of this kind of the Venetian School that I am acquainted with, and proves that Giorgione
served Titian as a model. ^ The flesh is of a brownish warm tone ; the other very harmonious
colours have extraordinary fulness and depth. This picture, which, in the essential parts,
agrees with the few genuine works of Giorgione — for instance, ' St. Mark allaying a Storm,'
in the collection of the Academy of Venice — is, in my opinion, the most important existing
work 0/ this great master. Mr. Solly purchased it of the Balbi family, to whom it had come
by inheritance from the Soranza family in Venice, which was among Giorgione's patrons." —
Works of Art and Artists in England. 183S. Vol. II., page 102.
Crowe and Cavalcasalle simply say it is by an early master of the Venetian
School. Sir Charles Robinson, in his report, remarks —
" 1 am not able to endorse Dr. Waagen's opinion in regard to another prominent and,
indeed, very remarkable work — the great panel representing the Virgin and_ Child enthroned,
with four saints at the sides. Dr. Waagen, following the received attribution, believed this
conspicuous picture also to be the work of Giorgione and of his early time. Eminent foreign
art critics, however, have since dissented from this conclusion, and it has been suggested that
it may be the work of Giovanni Cariani, of Bergamo, a contemporary and imitator of
Giorgione, 1 do not myself think it is by that painter, and the less so from having recently
had the opportunity of studying the works of Cariani in his own town and district. In any
case, the picture, setting aside its vast size, which renders it perhaps the mostimposing oil
picture known ofthe Giorgionesque following, is a work of great intrinsic merit. I am dis
posed, though with some reserve, to ascribe it to one of the Montagna family ; doubtless in
the long run the true authorship will be revealed to us."

20 berchem.

In the Magazine of Art (January, 1890), Mr. (now Sir) Walter
Armstrong writes —
" It appears to me the most important work extant of Nicolo Rondinello, the pupilof
Bellini, who established himself at Ravenna, and whose later style so strongly reflected the
influence of Marco Palmezzano. The rudimentary composition, the heavy impasto, the Cima-
like heads, with their round fat jowls, the peculiar chord of colour, the hang of the draperies,
the open architectural installation— all these point to Rondinello, whose hand I cannot but
think would long ago have been recognised had the panel not suffered so much Irom cleaning
and restoration."
Dr. Frizzoni, judging from a photograph alone, is dissatisfied with any
of these ascriptions —
"The painter," he says, "certainly must have been acquainted with Bellini, and with
Montagna also perhaps. Some figures, chiefly St. John the Baptist and St. Peter, are reminis
cent of Rocco Marconi, probably also a pupil of Bellini in his first time, to whom belongs a
large and beautiful picture, ' The Descent from tlie Cross,' in the Academy of Venice."
In favour of the theory that the hand of Bartolommeo Montagna is
visible in the work is the fact that it agrees very closely in composition
and treatment, especially in Virgin and Child ahd choir figures, with the
great altar piece in the Brera Gallery, Milan, signed Opus Bartholomew
Montagna. 89. Madonna and Child. The Virgin, three-quarters length,
in a red robe, edged with gold embroidery, and blue mantle,
with white veil over her head, guards with her arms the Holy
Child, who, nude, stands on a marble balcony. On Panel —
height, 23£ in. ; width, 18 in. Graham-Gilbert Collection.
The draperies have been coloured by a late hand, probablv Carlo Dolci,
but the flesh and marble are original Venetian work. The figures are
similar in pose and expression to those in the " Holy Family," a signed
picture of Giovanni Bellini in the Louvre, at one time in the possession
of the Prince of Orange, and subsequently owned by Lord Northwick.
Berchem. Claas (Nicolaes) Pietersz Berchem, 162C-1683.
Dutch School.
Claas Pieteksz Bebchem, or Berghem, one of the most distinguished
landscape and animal painters of Holland, was born at Haarlem, and
was trained under Van Goyen, Weenix, and others. He is most favourably
known for his bright, sunny landscapes, the foregrounds of which are
occupied with rustic figures and animals. His subjects were mostly
obtained from impressions of the mountainous regions of Italy, which he
visited early in life, and from which he seems to have derived sufficient
inspiration to occupy his talents, to the exclusion of almost every other
influence. He etched a number of plates, impressions of which are now
rare and valuable. He died at Amsterdam.
91. Landscape, with Cattle, etc. Hilly landscape, with
precipitous rocks to the right hand, and stream winding in fore
ground, in which cattle, sheep, and goats are standing. ' A woman,
in blue gown, on a mule, speaking to another on foot, approaches
to ford the stream, on the opposite side of which is a man with
pack mule. Signed "Berchem." On Canvas — height, 22 in.;
width, 28 in. M'Lellan Collection.
In the opinion of Dr. de Groot this is the work of Michiel Carre\

berchem. 21

92. Landscape (Evening Effect). A mountainous landscape
in the light of the setting sun. The principal figures are a
cowherd, with cattle, and a dog; and a man, on a mule, talking
to another who walks by his side. Signed " Berchem." On
Canvas — height, 20 in.; width, 25 in. M'Lellan Collection.
93. Breaking the Ice on a River. An ice-bound river,
spanned by a dilapidated bridge, at the end of which is a
ruined mill, with water-wheel, and other buildings. Snow-clad
mountains in the distance. Two men, watched by two children,
are engaged in breaking the ice; and on the road, at the river
side, a man on a mule, and a foot traveller in a red cap. On
Panel — height, 11 in.; width, 12 in. M'Lellan Collection.
94. Crossing the Ford (Copy). A hilly scene, with clump
of trees; figures, cattle, sheep, etc., crossing a stream in the
foreground — sunset. On Panel— height, 10J in. ; width, 12J in.
M'Lellan Collection.
95. Landscape, with Figures and Cattle. In the fore
ground a ruined fortress, reached by an archway, on which women
lay out clothes. Various groups of sportsmen, cavaliers, country
people, horse, goats, sheep, etc., with a mountainous landscape,
seen through the arch. Signed " N. Berchem." On Canvas —
height, 2 ft. 4 in. ; width, 3 ft. 2 in. Graham-Gilbert Collection.
96. Landscape — Yiew near Tivoli. The temple of Vesta
is seen on a wooded, rocky height; two females (one milking a
goat) and a male figure, with cows and sheep, occupy the fore
ground of a landscape bounded with distant mountains. Signed
"Berchem." On Canvas — height, 21 in.; width, 25 in.
Graham-Gilbert Collection.
This work is enumerated in Smith's Catalogue Raisonne, and is esteemed
one of the finest of Berchem's productions.
97. Landscape, with Cattle, etc. — " Milking Time." A
wooded landscape; two women, one milking a cow, the other
with a milk-pail on her head ; sheep and cows. Signed " Berghem,
1645." On Panel— height, 22 in.; width, 17 in. Graham-
Gilbert Collection.
Dr. Bode considers this to be the work of Hendrik Mommers, in which
opinion Dr. de Groot coincides.,
98. Landscape, with Cattle, etc. — " Going to Market."
A rocky landscape, with distant lake, chateau, and hills; cattle,
goats, and sheep in foreground, driven by a man on a mule,
accompanied by two other figures. Signed " N. Berchem."
On Canvas — height, 14 in.; width, I7i in. Graham-Gilbert
Collection.

22 BERRETTINI. BL0EMEN.

Berrettini (See Cortona).

Blieck. Daniel de Blieck, or Blicke, died 1673. Dutch
School. Daniel de Blieck, an architect and architectural painter, was pro
bably a native of Middleburg, where he was master of St. Luke's Guild
in 1647-9, and where also he was buried. He was a man of varied
talents, and published translations of Italian poetry in Dutch.
100- Interior of a Church. A view of the interior of the
great Church at Haarlem (?), with escutcheons and monumental
erections against its round white columns. Signed " D. D. Blieck,
A° 1650." On Panel— height, 9£ in. ; width, 12£ in. M'Lellan
Collection. "A good picture, painted on wood, in the taste of Emanuel de Witte"
(Waagen's Art Treasures, vol. iv., p. 458).

Bloemaert. Hendrik Bloemaert, 1593-1647. Dutch School.
Hendeik, the son of a well-known artist — Abraham Bloemaert — was
born in Utrecht, in St. Luke's Guild of which town he was entered in
1630, and of which in 1643, he was elected Deacon. He occupied various
other important offices in his native town, where he continued to reside
throughout his life. He painted historical, scriptural, and familiar scenes
of daily life.
102. St. Joi-ix the Baptist. Nude figure of a young man,
seated under a tree, with a skin thrown over his loins. A lamb
rests under the protection of his right arm. Beyond is a desert
landscape. Signed " H.B., 1635." On Canvas — height, 3 ft.
7 in.; width, 2 ft. 2 in. M'Lellan Collection.

Bloemen. Jan F. van Bloemen, 1662-1740? Flemish School.
Van Bloemen, or Blommen, was born in Antwerp, but apparently at
an early age he repaired to Rome, where he lived and died. He devoted
himself to the painting of landscapes, his style and subjects having con
siderable similarity to those of Gaspard Poussin, and not unfrequently
his works have been mistaken for those of that eminent painter. Owing
to the skill with which he rendered the distances in his landscapes he
received the name Orizonte. Two of his brothers were also artists, one
of whom, known as Standaert, from painting battle-pieces, rose to some
eminence. 104. Italian Landscape. Beyond a stream which forms a
waterfall is a wooded height crowned with buildings. Spires,
etc., of a town in the distance. Foreground, figures and sheep.
Signed " V. Blommen Roma." On Canvas— height, 2 ft. 5 in. ;
width, 3 ft. 2 in. M'Lellan Collection.

blommers. 23

105. Italian Landscape. Beyond a foreground of broken
wall, trees, and figures, a river makes a sharp bend to the right ;
the rising ground of both banks occupied with buildings, and
sheep and cattle are being driven between the river and the wall
which encloses the nearest buildings. Signed " Blommen Roma.
On Canvas — height, 2 ft. 4 in. ; width, 3 ft. \\ in. M'Lellan
Collection. 106. Italian Landscape. In the foreground two women
and a man, other two figures on the banks of a stream, beyond
which are castellated buildings. In the right foreground are tall
trees, and in the distance mountains. On Canvas — height, 2 ft. ;
width, 2 ft. 5 in. Presented by T. Graham Young as a memorial
of his father, James Young, LL.D., F.R.S., of Kelly, 1900.
Blommers. Bernardus Johannes Blommers. Modern Dutch
School. 108. Dutch Fishwives. In the foreground a group of five
women, three seated and two standing, are dividing the fish just
landed from a yawl; further off is a similar group; while to the
left fishermen are tightening the cables with which the boats, are
fastened. Signed "Blommers." On Canvas — height, 10 \ in.;
width, 15 \ in. Teacher Collection.
109. On the Dunes. A barefooted girl, her apron filled
with sticks,, is dragging along the sands a low, four-wheeled
cart, in which is a child; beyond is the sea, with fishing boats
in the distance. Signed " Blommers." Water-colour — height,
12 in. ; width, 1\ in. Smellie Collection.
110. At the Fireside. Girl in white cap, lilac jacket, and
green apron ; seated, with baby in her lap, stirring a hearth fire
with a stick. Signed "Blommers." Water-colour — height,
17| in.; width, 21 in. Donald Collection.
111. Milkmaid — Morning Call. Milkmaid with yoke
hanging from her shoulder, looking in at a cottage door;
two milk stoups on ground. Signed " B. J. Blommers."
Water-colour — height, 18f in. ; width, \Z\ in. Carfrae Alston
Collection, 1909.
112. Fisher Wives — Scheveningen. On the beach groups
of fisherwomen trafficking in fish; in the distance, on the sea,
sailing vessels and boats. Signed "Blommers." On Panel —
height, 10^ in.; width, 14| in. Carfrae Alston Collection,
1909.

24 boddington. bonifazio.

Boddington. Henry John Boddington, 1811-1865. English
School. Boddinoton was one of an artistic family named Williams, several of
the members of which, besides himself, assumed different surnames in
order to prevent confusion arising as to their separate works. He painted,
in a dexterous manner, principally views on the Thames and on Welsh
rivers, exhibiting largely at the Royal Academy and at the Society of
British Artists, of which latter body he was a leading member. He died
at Barnes.113. A Rocky Landscape — View in Wales. A mountain
stream tumbles in several cascades between rocky banks over
hung by trees; in the stream two herons looking for their prey.
Signed "H. J. Boddington, 1847." On Canvas— height, 3 ft.
6 in. ; width, 2 ft. 8| in. Euing Collection.

Boddington. Edwin H. Boddington. English School.
Edwin was a son of the above H. J. Boddington, who also devoted
himself to landscape painting. He exhibited in the Royal Academy
exhibitions from 1854 till 1859. Again in 1866 his name appeared in the
Academy Catalogue for the last time.
114. Landscape — Sunset. A hilly landscape, with a brilliant
sunset sky, in which the crescent moon is seen. A river reflects
the glow of the sky and of a neighbouring clump of trees. A
woman with a child on her back, and a dog are crossing the
Btream on stepping stones. On Canvas — height, 11 J in.; width,
15£ in. Euing Collection.

Bonifazio. Bonifazio Veronese, 14... ?-1540. Italian- Venetian
School. The senior of three artists, natives of Verona, bearing the same name,
who practised in Venice during the 16th century. Bonifazio was a pupil
of Palma Vecchio, and much of his work, from similarity of subject and
treatment, was confounded with that of his master. Among the great
colourists of the Venetian School he was one of the boldest and most
powerful. 115. The Holy Family. The Virgin, seated in front of a
portico, handing, to a knight in full armour (St. George), the
Holy Child. On her right side are St. Catherine and St. John;
the latter, semi-nude, pointing to a lamb resting in the fore
ground, by the side of which is an elongated cross with a scroll
around it. On Panel— height, 2 ft. 10 in.; width, 3 ft. 10 in.
M'Lellan Collection.
Dr. Waagen, who ascribed this picture to Giorgione, remarks on it in his
Art Treasures in Great Britain (vol. iii., p. 289): — "The Virgin and
Child, St. John aud St. Catherine. This picture agrees so much both in

bonington. bordone. 25

glow of colour and in treatment with a Holy Family by this master in the
Louvre that, though more realistic in character, I have no hesitation in
considering it an early work of the master." In previous editions of the
catalogue this work was ascribed to Palma Vecchio. Dr. Bode inclines to
view it as a production of Paris Bordone ; and Dr. Frizzoni also fails to
discover in it the character of Bonifazio. The work came from the
Riccardi Palace in Florence.

Bonington. Richard Parkes Bonington, 1801-1828. English
School. It has been given to few artists to show more of promise and of actual
accomplishment in their early years than was exhibited by Bonington in
his very brief career. Born in the village of Arnold, near Nottingham,
he was trained in Paris, at the Ecole des Beaux Arts, and under Baron
Gros. The second work he exhibited in the French Salon secured for
him the reward of a gold medal. He visited Venice with the view of
mastering the secrets of the great colourists, and there he painted the
picturesque features of the city with remarkable brilliancy. On his return
to England he came under the spell of Constable, and was largely
instrumental in influencing the development of French landscape painting
upon the lines of that artist. Notwithstanding the brevity of his life,
he produced a large amount of work, especially in water-colour, in which
he combined the gorgeous colouring of the great Venetians with remark
able dexterity, rapidity, and breadth of execution. He died in London,
30th September, 1828.
117. In a Venetian Balcony. Three figures (two men and
a woman) in a balcony overlooking the Grand Canal ; the
Campanile and a cupola of St. Mark's in the distance. Water-
colour — height, 6 J in. ; width, 4J in. Presented by James
Orrock, R.I., 1892.

Bordone. Paris Bordone, 1500-1571. Italian- Venetian School.
Bordone, a native of Treviso, was contemporary with and sometime
pupil of Titian, and afterwards of Giorgione. He was an imitator of the
style of the former, and many of his works, portraits especially, have been
confounded with productions of Titian. He exercised his art in connection
with a wide range of subjects, both sacred and secular, and his works
manifest that he was a brilliant colourist who conceived his subjects in a
noble and refined spirit. He practised for some time in Paris, where he
was patronised and knighted by Francis I. He died at Venice.
118. The Holy Family. The Virgin, with the Child and St.
Joseph ; and, in worshipping attitude, St. Jerome and St. Anthony
(Abbe), the latter representing the donor. In the left middle
distance are shepherds and their flocks ; amd, in the background, a
landscape bounded by hilb. Signed, on a scroll, Pariss Bor. ..otms
Taruisianus f. On Panel— height, 1 ft. 11 in.; width, 2 ft.
8 in. Graham-Gilbert Collection.

26 bosboom. both.

Bosboom. Johannes Bosboom, 1817-1891. Dutch School.
Bosboom was born at The Hague on the 18th of February, 1817. He
was a pupil of B. J. Van Br6e, and became a popular painter of archi
tectural works and church interiors, his water-colours Jeing especially
highly esteemed. He gained a third-class medal in the Paris Jixhibition
of 1855, and was created Chevalier of the Orders of the Lion of the
Netherlands and of Leopold of Belgium. He died on the 14th September,
1891. 119. Church Interior. Transept of a Gothic cathedral,
with plain rounded pillars and various figures. Signed." J.
Bosboom." Water-colour— height, 14 in.; width, 19 in.
Donald Collection.
120. Church Interior. The interior of the Church of
Beverwyk, Holland, with people seated at a service. Signed
"J. Bosboom, Beverwyk." Water-colour — height, 15 in.;
width, 20J in. Carfrae Alston Collection, 1909.
121. Court-House Interior. A large apartment, with
huge open fireplace, elaborate mantelpiece above having carved
figures at sides. To right a table with desk, on which are
books and documents, figures seated round; to left a settle,
on which a man is seated, and a doorway with statuary on
top. Signed " J. Bosboom." Water-colour — height, 14£ in.;
width, 21| in. Carfrae Alston Collection, 1909.

Both. Andries Both, 16091-1644? Dutch School.
Andries Both was an elder brother of Jan Both, a famous landscape
painter (see below). Throughout their lives the brothers were very
closely associated. They learned the rudiments of art under their father,
a painter on glass, and together they were placed under the instruc
tion of Abraham Bloemaert. Together they journeyed to France and
Italy, in which latter country Jan became a pupil of Claude Lorrain,
whose style he adopted, and Andries studied the works of Bamboccio.
The brothers worked together, Jan painting bright sunny landscapes,
which Andries enlivened with exquisite figures. In or before 1644
Andries was drowned in a Canal in Venice, whereupon Jan returned to
their native town, Utrecht.
122. The Charity Dinner. A broad archway, with a flight
of steps leading to the door of a monastery, around which a
group of mendicants eat food doled out to them by a monk; the
background is closed with buildings. On Panel — height, 1 ft.
7 in.; width, 2 ft. 3 J in. Graham-Gilbert Collection.
An important picture, with both landscape and figures painted by A.
Both — an unusual circumstance ; but Dr. Bode considers it to be rather
the work of T. Wyck, a Dutch artist, who painted Italian street scenes
about the middle of the seventeenth century.

Bosboom.— CHURCH INTERIOR.

BOTH. BOTTICELLI. 27

Both. Jan Both, about 1610-1662. Dutch School.
Jan Both, who devoted himself to landscape painting, studied,
travelled, and worked with his elder brother, as mentioned above. He
was an exquisite painter of sun-lit Italian landscapes ; but after the
tragic death of his brother, at an early age, he returned to his native
town Utrecht, and thereafter his zeal appears to have died out.
123. Italian Landscape. In foreground a chasm and broken
ground, to right and left trees and rooks. In middle distance
a winding river, and on a road horsemen, dogs, and foot
travellers. In distance a conical hill. Signed " J. Both."
On Canvas — height, 3 ft. 8 in. ; width, 4 ft. 5J in. Bequeathed
by Adam Birkmyre, 1906.
Botticelli. 1444-1510. Italian-Florentine School.
Sandro, or Alessandbo Filipepe, popularly known as Botticelli,
after his first master, a jeweller, was the son of a Florentine tanner. He
became a pupil of Fra Filippo Lippi, and, like his master, painted
Madonnas and religious subjects, and in later life executed mythological
and allegorical pictures, he having been one of the first to attempt the
latter class of subject. He was employed in the decoration of the Sistine
Chapel at Rome, where three of his frescoes still exist. Botticelli's works
are held in very high esteem on account of his wealth of imagination, the
fine drawing of his heads, the lively animation of the figures, and general
dramatic energy of his compositions. He was a man of fine poetic
temperament, and an ardent student of Dante, whose works he illustrated
with a series of famous drawings. He died at Florence in 1510, and, was
buried in the church of the Ognissanti.
124. The Annunciation. Within a vaulted building the
Virgin stands, with head bowed down at the apparition of the
Angel of the Annunciation, who comes flying towards her through
a portico, beyond which is seen a landscape with hills. Rays of
glory are also directed towards the Virgin. On Panel — height,
19£ in. ; width, 23 in. M'Lellan Collection.
" The figures are small in proportion to the architecture, and the colour
ing unusually grey, but otherwise a good picture." (See Waagen's Art
Treasures of Great Britain, supplementary vol., p. 459).
125. Virgin, Child, an'd St. John, with Angels : a Tondo.
The Virgin, in a red dress and blue mantle, edged with sage
green, a veil hanging overhead, round which is a golden nim
bus, holds the Holy Child, who stands on a platform, one foot
on a closed book, embracing St. John, who kneels before Him.
On the right is an angel with long curling hair and a chaplet of
red and white roses. On the left is another angel, in his right
hand an open book of music. Behind is a landscape, with rocks
and trees, and in the middle distance buildings with a tower.
Tempera. On Panel — diameter, 3 ft. 11 in. Presented by Mrs.
Walker, of Limefield, in memory of her father, James Young,
LL.D., F.R.S., of Kelly, 1901.

28 BOUCHER. BOUGH.

Boucher. Frangois Boucher, 1703-1770. French School.
Boucher was a native of Paris, and, excepting a short sojourn in Rome,
with his friend Carle van Loo, he lived, practised, and died in that city.
His period of activity coincided with the era of the gay and dissolute
Court of Louis XV., and Boucher's art was a reflex of his time — brilliant,
dashing, and artificial. In succession to Van Loo he became Court
painter, and received other State appointments. He possessed a lively
imagination and extraordinary facility of execution, it being estimated
that he produced not less than 10,000 works, embracing scriptural,
religious, and mythological subjects, landscapes, animal studies, decorative
and ornamental designs, etc. His art was extremely popular during his
lifetime ; at his death his pictures fell into undue neglect and contempt,
from which they slowly recovered. He died of asthma at his residence in
the Louvre, whilst engaged upon an unfinished picture, Venus at her Toilet.
128. The Muse op Painting. Half-length female figure, with
yellow hair and bare shoulders, palette and brush in her hands,
engaged in painting. On Canvas — height, 21£ in.; width,
16| in. M'Lellan Collection.

Bough. Samuel Bough, R.S.A., 1822-1878. English School.
This popular landscape painter, known as Sam Bough, was born in Carlisle
in 1822, and there he began life as an apprentice in the office of the Town-
Clerk. Bough, however, was determined to be a painter, and after two
years of office work he abandoned the business career, and devoted
himself to art. In 1845 he became a scene painter in the Theatre Royal,
Manchester, later he occupied the same position in Glasgow under Edmond
Glover, and in Edinburgh under W. H. Murray. In 1848 he settled in
Glasgow as a landscape painter, and, after a hard struggle with poverty,
his pluck, unflagging industry, and real ability commanded public recogni
tion. With an established reputation he removed to Edinburgh, and there,
in 1856, he was elected A.R.S.A., becoming R.S.A. in 1875, and there
he died, in November, 1878. Bough's greatest triumphs were secured in
water-colour painting, for the employment of which medium his scene-
painting experience was an excellent training. In easy mastery of his
material, in rapidity and certainty of handling, and in energy of expres
sion, he had few equals.
132. Loch Achray. In the foreground sheep, and near the
margin of the loch a man driving a flock. Beyond the loch,
to left, is the huge mass of Ben Venue, and, to right, the
Trossach Knolls, rising behind which is the peak of Ben A'an;
sunset sky. Signed " Sam Bough, 1869." On Canvas— height,
3 ft. 2 in.; width, 4 ft. 6 in. Elder Collection.
133. By the Lake, Cumberland. A peaceful lake, bathed in
afternoon sunlight, and bounded by distant hills; foreground,
water-lilies and cattle, some in the water; to the right, colt's-foot
plants and trees. Signed " Sam Bough, 1855." On Canvas-
height, 1 ft. 9| in.; width, 2 ft. 11 J in. Bequeathed by Miss
Mary M'Kerracher, 1897. J

BOUGH. 29

134. Cadzow Forest, 1855. A grove of the ancient Cale
donian oaks. Women engaged in barking a huge felled trunk
in foreground; beyond, men with horses, and a timber waggon
being loaded. Signed "Sam Bough, 1855." On Canvas-
height, 1 ft. 9 J in.; width, 2 ft. 11£ in. Bequeathed by Miss
Mary M'Kerracher, 1897.
135. In Glen Massan. A rugged glen, with a broad stream,
tlie Massan, rushing through a rocky chasm in foreground ; cattle
partly in the stream, both banks of which are lined with trees.
A drove of cattle approaching from the distance on the right.
Signed "Sam Bough, 1856." On Canvas— height, 1 ft. 11£ in.;
width, 2 ft. 11 J in. Bequeathed by Miss Mary M'Kerracher,
136. Dutch Lugger entering the Thames. A rough sea
with low coast, and lighthouse tower to the right ; in foreground,
a Dutch lugger with tan-coloured sails, a fishing boat, and a
buoy; two three-masted vessels and several smaller craft in the
distance. Signed " Sam Bough." On Canvas — height, 2 ft. 4|
in. ; width, 3 ft. 3 in. Bequeathed by Miss Mary M'Kerracher,
1897. 137. Peel Castle, Mona. An autumn sunset in the Isle of
Man. In foreground a sandy shore, along which passes a pro
cession of horses and carts, engaged in the unloading of a
yawl. To left are a number of cottages, and beyond is the
sea, with the white sails of several yachts becalmed in the bay.
In the distance, pier and lighthouse and Peel Castle. Inscribed
"Peel Castle, Mona. Sam Bough, 1875." On Canvas — height,
2 ft. 11 in. ; width, 2 ft. 5^ in. Teacher Collection.
138. Landscape. A rolling heath, with cottage and wood in
the distance. Signed " Sam Bough, 1856." Water - colour —
height, 12i in. ; width, 18i in. Teacher Collection.
139. Dunkirk Harbour. The harbour of Dunkirk, with
steam and sailing vessels, fishing boats, etc.; on the quay, to
the left, are a number of fisherwomen, sailors, gendarmes, etc.;
behind the shipping, and continued round the quay, is the town
of Dunkirk ; in the centre a tower with a flagstaff ; and in the
distance rises a lofty tower, frbm which the tricolour flies.
Signed " Sam Bough, 1863." On Canvas— height, 3 ft. 4| in. ;
width, 4 ft. 5 in. Presented by Sir Charles Tennant, Bart., 1901.
140. Early Morning at Sea. A stretch of calm sea under
a wide expanse of cloudy sky in the early morning light; two
vessels in the distance. Signed " Sam Bough, 1877." Water-

30 bough.

colour — height, 9f in. ; width, 14 in. Presented by T. Graham
Young as a memorial of his father, James Young, LL.D., F.R.S.,
of Kelly, 1900.
141. The Hayfield — A Coming Storm. A windswept hay-
field, on which are male and female workers raking hay and
loading it on carts. The sky is becoming overcast with heavy
masses of cloud. Signed " Sam Bough, 19 April, 1878," within
monogram. On Canvas — height, 23^ in. ; width, 35J in. Smellie
Collection. 142. Barncluith. The River Avon, in which are cows and
an angler, flowing between precipitous wooded banks. On the
left bank a mill ; in middle distance a bridge spanning the stream,
beyond which, to the right, is the mansion of Barncluith, the
seat of the Ruthven family. Signed " Sam Bough, 1869."
Water-colour — height, 13^ in. ; width, 18 in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.
143. View prom Dalnottar Hill. In the foreground a
road, on which are a horseman and several pedestrians, leading
to the village of Old Kilpatrick. In the middle distance is the
River Clyde, to the right the Old Kilpatrick hills, and in the
distance Henry Bell's Monument and Dumbarton Rock. Signed
" Sam Bough." Water-colour — height, 13 \ in. ; width, 18 in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.
144. Doune Castle. The River Teith, across which is a
weir with a salmon cruive. In the middle distance Doune Castle
is seen amid trees; sunset sky. Water-colour — height, 6£ in.;
widths 10 in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.
145. Pointhouse Ferry, Govan. The River Clyde, with a
steamer, several boats, etc. On right bank houses, a man on
horseback, and several at work on the bank. On the left bank
the village of Govan, and the spire of the Parish Church rising
from amid trees. At the riverside is the ferry landing-stage,
and ferry boat. Water-colour— height, 13£ in. ; width, 20 in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.
146. View at Cambuslang. In the foreground a field, in
which people are engaged in loading hay, to left a road leading
to the village of Cambuslang. In the distance are the Campsie
and Old Kilpatrick hills. In the gap between the two ranges
Ben Lomond is dimly seen. To the left of the village, on an
eminence, is the spire of the Parish Church. A rain storm is

brangwtn. breenberg. 31

clearing off. Signed "Sam Bough, 1855." Water-colour-
height, 2 ft. 2 in.; width, 3 ft. 4£ in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.
147. Loch Achray. Loch Achray with, on the left bank, a
boat and anglers; in the middle distance the Trossaoh Knolls
and church; Ben Venue to left; sunset sky. Water-colour —
height, 6 J in. ; width, 10 in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.
148. Cadzow Forest. The forest of Cadzow, with gigantic
oak trees. To the right three sportsmen, one on horseback, a
horse saddled, and a dog. Signed " Sam Bough, 1869."
Water-colour — height, 2 ft. 2 in. ; width, 3 ft. 5 in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.
149. Four Water-colour Drawings op Views in Glasgow —
(a) Glasgow Cathedral.
(6) Kelvingrove Park.
(c) Glasgow Bridge.
(d) Victoria Bridge.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.
Brangwyn. Frank Brangwyn, A.R.A. (living artist).
English School.
150- The Burial at Sea. On the deck of a ship in mid
ocean, a group of sailors gathered round a body, sewn up in
canvas, about to be consigned to the deep. The captain is
reading the burial service. On Canvas — height, 5 ft. 1 in. ;
width, 7 ft. 8 in. Purchased, 1904.
Breenberg. Bartholomeus Breenberg, about 1620-.... Dutch
School. Beeenbero or Breenborgh, a landscape painter, was a native of
Utrecht. He spent some time in Italy, many of his subjects being
selected from the neighbourhood of Rome and the ancient ruins of the
city itself. His style was formed under the influence of Elsheimer and
Poelenburgh, and he also was a pupil of P. Bril. The date of his death
is uncertain, but he was alive in 1663.
151. Landscape— "Travellers Enquiring the Way." A
group of pedestrians on a roadway; to the right is a ruined
Gothic tower, near which a flock of sheep is being driven by a
shepherd. On Panel — height, 11 in.; width, 13 in. M'Lellan
Collection. '¦ A very good picture for him. Warm, powerful, and clear " (Waagen's
Art Treasures, vol. iv., p. 458).

32 brekelenkam. bright.

Brekelenkam. Quirin Gerritsz van Brekelenkam, ...-1669?
Dutch School.
This painter was a native of Zwammerdam, near Leyden, the Guild of
which town he joined in 1648. He is said to have been a pupil of Gerard
Dou, but his works are more akin to the luminous productions of P. de
Hooch. Brekelenkam continued to work in Leyden until his death. The
date of both his birth and death are uncertain, but he was painting up
till 1669.
1 52. Dutch Interior. A spacious apartment lighted by two
windows, with lady standing by a table, her hand extended
towards a spaniel, which stands erect on its bind legs. Mantel
piece supported by caryatides, bed with red hangings, pictures
— one by Rubens — on wall, etc. ' On Panel — height, 14| in,;
width, 19| in. Euing Collection.

Bright. Henry Bright, 1814-1873. English School.
Henry Bejght, a native of Saxmundham, Suffolk, was originally
trained for the medical profession, but that path he early deserted for
the more congenial walks of art. He settled in London, and became a
member of the Institution of Painters in Water-colours. In 1843 he first
contributed to the Royal Academy, and thereafter he was an occasional
exhibitor till 1876. Her late Majesty Queen Victoria became possessor of
several of his works. As a landscape painter, in both oil and water-
colours, his work is somewhat conventional, but always skilful and attrac
tive. He died at Ipswich.
153. Sea-Piece — "A Rock-bound Coast." A precipitous sea
cliff, with a stretch of rocky coast, against which a turbulent sea
dashes. The rocks in the foreground are hollowed out into sea
caves, and myriads of gulls and other sea birds career around or
settle on ledges. Signed "H. Bright." On Canvas — height,
1 ft. 3£ in. ; width, 2 ft. 6 \ in. Euing Collection.
154. Rocky Landscape — Val d'Aosta. A mountain gorge
with torrent. On Panel, circular — diameter, 11 in. Euing
Collection. Bril. Paulus Bril, 1556-1626. Flemish School.
This artist was a native of Antwerp, in which town he received the
elements of his art education. He followed his elder brother Matthew to
Rome, and there soon surpassed him as a painter. He was much patron
ised by Pope Gregory XIH. and Clement Vni. Bril is known principally
as a vigorous painter of cool green landscapes, enlivened with well-drawn
figures, mythological groups, and animals. He married (1592) Ottavia
iiarra, became a Roman citizen, and was buried in Sta. Maria della Anima.
155. A Rocky Landscape. A wild mountain scene, with its
rugged precipices occupied with fortified and castellated build
ings. In the foreground are shepherds, a group of pilgrims,

BRISSOT. BROWN. 33

poultry, sheep, etc. A mountain torrent crossed by a bridge,
a mill, and other erections, also form part of the composition.
Signed "Pa. Brilli, 1602." On Copper— height, 1L} in.; width,
15 in. M'Lellan Collection.

Brissot. Frank Brissot.
A picture by this artist was exhibited in the Royal Academy in 1879.
156. Landscape, with Sheep and Figure. In the centre is
a shepherd with his flock; behind him a row of trees and a
homestead with straw ricks, etc.; level foreground; hilly in the
distance. Signed " F. Brissot." On Panel — height, 21^ in. ;
width, 33£ in. Teacher Collection.

Brooking. Charles Brooking, 1723-1759. English School.
Brooking began life as a workman in Deptford Dockyard, where he
acquired that accurate knowledge of ships which became of so much
service in the walk of art — marine painting — which he cultivated. He
was only coming into notice as a bright, crisp, and spirited painter of sea
pieces when he died at the early age of 36. Many of his works have
been engraved.
157. Sea-Piece. An English man-of-war off a low coast, on
which fortifications are seen; in the distance is a Dutch war
frigate. Signed " C. Brooking, P." On Canvas — height, 19| in. ;
width, 17£ in. Euing Collection.
Brown. Alexander Kellock Brown, R.S.A. (living artist).
Scottish School.
158. Springtime. In the foreground a field, with a few sheep ;
to the right, on a rising ground, a clump of trees; beyond is the
sea, and, in the distance, a vessel. Signed "A. K. B." On
Canvas— height, 3 ft. 1\ in. ; width, 2 ft. 9£ in. Purchased, 1898.
159. Landscape. A moorland, through which runs a stream;
several stacks of peats in the left foreground; hill in the distance.
Signed "A. K. B." On Canvas— height, 11 in.; width, 27 in.
Teacher Collection.

Brown. T. Austen Brown, A.R.S.A. (living artist). Scottish
School. 161. A Gipsy Encampment. A number of gipsies encamped
on a moorland are lying about on the ground ; to the left a tall
female stands leaning against a tree playing a violin; behind

34 BROWN. BRUEGHEL.

the tree is a donkey ; evening sky. Signed " T. Austen Brown,
1887." On Canvas— height 3 ft. 10 J in.; width, 7 ft. 4£ in.
Presented by James Caldwell, 1904.
Exhibited in Royal Academy, 1889.
Brown. William Fulton Brown, 1873-1905. Scottish School.
This promising young artist was born in Glasgow on the 2nd June, 1873.
He received his first art training from his uncle, Mr. David Fulton.
Subsequently he studied in the Glasgow School of Art. In 1894 he was
elected a member of the Royal Scottish Society of Painters in Water-
Colours, and in the 1904 Exhibition at Salzburg he was awarded the
State Silver Medal. He worked both in oil and water-colour, and he was
a successful book illustrator. He died in Glasgow on 27th January, 1905.
162. Orpheus. Within a cave Orpheus, seated, wearing a
leopard skin and playing a lyre; lion, hares, and other animals
behind to left. Signed "W. Fulton Brown, R.S.W." Water-
colour— height, 2 ft. 3£ in.; width, 3 ft. 3£ in. Purchased, 1905.

Brueghel. Jan Brueghel, 1568-1625. Flemish School.
This artist, popularly known as Velvet Brueghel (de Fluweelen), from
his partiality for that textile, was an eminent member of a numerous
artistic family, his father being Pieter Brueghel, the painter of peasant
Life. He was the friend and associate of Rubens, the younger Teniers,
and the other principal Flemish painters of his time. He excelled in
painting flowers, fruit, and foliage, all of which he rendered with rare
skill and precision. Rubens himself painted the figures in many land
scapes, garlands, etc., by Brueghel, but his chief collaborateurs were
H. van Balen and Rottenhamer, joint works with whom are very
numerous. He was born in Brussels, studied in Italy, and practised hi
Antwerp, where he died, leaving a large family, one of his daughters
having married the younger Teniers.
_ 164. The Triumph of Bacchus. Bacchus, with a wreath of
vines around his temples and holding aloft a wine-cup, is carried
triumphantly in a procession of bacchanals, nymphs, and amorini.
The procession passes through a wooded glade, and the fore
ground is strewn with wine-cups, tazzi, and other vessels. Figures
by Van Balen. On Copper — height, 11 in.; width, 15A in.
M'Lellan Collection.
165. Bacchanalian Procession. The youthful Bacchus,
mounted on a tiger led in" procession by amorini, and accom
panied by Pan, who carries fruit in his arms. The procession
passes under a grape-vine, the fruit of which is being plucked
and collected with other fruits. To the right a dog goes in front
of the procession towards an open country, through which flows
a river. Figures by Rottenhamer. On Copper— height, 13* in. ;
width, 19 \ in. Euing Collection.

burne-jones. 35

166. Nymphs bringing Offerings to Venus. Venus, nude,
seated in front of a red curtain held up by two flying cherubs;
nymphs and amorini collect and bring to her offerings of flowers,
fruit, and corn, the foreground being strewn with a profusion of
all kinds of fruit. The landscape typifies the seasons, two distant
vistas representing Winter and Autumn respectively. The figures
are by Rottenhamer. On Panel — height, 2 ft. 4 in.; width,
3 ft. 8 in. M'Lellan Collection.

Burne-Jones. Sir Edward Burne-Jones, Bart., 1833-1898.
English School.
Edward Burne-Jones was born in Birmingham on 28th August, 1833,
of parents originally from Wales. His father carried on the various
occupations of carver, gilder, stationer, and printseller. He early dis
played a taste for design ; but it being his father's desire that he should
enter the church, he was sent to study at King Edward's School, and
subsequently at Exeter College, Oxford. There he made the acquaintance
of William Morris, an acquaintance which ripened into a lifelong friendship.
His intercourse with Morris no doubt revived his longing for an artistic
career, and, when 22 years of age, he gave up all idea of the church and
removed to London. There he studied for some time with Dante Gabriel
Rossetti, who largely influenced the direction of his artistic development.
In 1860, along with Rossetti and Messrs. Powell, of Whitefriars, he
executed the magnificent designs illustrating the life of St. Frideswide for
the east window of the Latin Chapel in Oxford Cathedral. His reputation
as a designer rapidly increased, and his activity was correspondingly great.
In addition to numerous designs for stained glass windows, he collaborated
with William Morris in designing tapestries. In 1859 Burne-Jones went
to Italy, accompanied by John Ruskin, where he was so strongly attracted
by the art of the Florentine and Lombard Masters of the 15th century
that their influence is noticeable in all his subsequent work. For a
number of years he led a very retired life, during which he was hard at work
upon those masterpieces which were finally to establish his reputation
as a great and original artist. These works include the series of " The
Briar Rose," "The Days of Creation," "Chant d' Amour," "The Golden
Stairs," and his allegorical and legendary paintings, " Virtues," " Seasons,"
"Pygmalion," "The Mirror of Venus," and others, which formed the
principal attractions of the exhibition of 1877 in the Grosvenor Gallery.
In 1891 he was made a D.C.L. of Oxford ; in 1885 he was elected an
Associate of » the Royal Academy, but resigned in 1893. In 1889 his
"King Cophetua" won the great gold medal at the Paris International
Exhibition. He obtained the ribbon of the Legion of Honour in 1890, and
in 1894 he was created a baronet. His health was never robust, and he
died suddenly of angina pectoris in London on the 18th June, 1898.
167- Danae; or, The Tower, of Brass.
" King Acrisius having dreamed that he should be slain by the son of
his daughter, Danae, built a brazen tower in which to imprison her as
long as she lived, thinking so to escape his fate."
Danae, in a red mantle over a purple gown, standing in front
of a tree, and looking through an open door at workmen on a
scaffold engaged in building the brazen tower ; near the tower are
stairs leading to a castellated building, about which are a number

36 BURNET. BURR.

of soldiers, etc. ; in a paved courtyard is a well ; to the left of Danae
is a staircase, and in the foreground are white and blue irises
and harebells. On Canvas — height, 7 ft. 7 in. ; width, 3 ft. 8J in.
Presented by William Connal, Jun., 1901.
Exhibited at first exhibition, New Gallery, Regent Street, London,
1888 ; Glasgow Institute of the Fine Arts, 1889 ; and Glasgow Inter
national Exhibition, 1901.
Burnet. John Burnet, F.R.S., 1784-1868. Scottish School.
John Burnet, a native of Edinburgh, the friend and fellow-student of
Sir David Wilkie, is much better known as a line engraver than in his
capacity of painter. His most popular and best engravings are after
Wilkie, whose humour and spirit he transcribed with admirable fidelity.
He occasionally exhibited pictures at the Royal Academy, and in 1837 he
painted, for the Duke of Wellington, "Pensioners celebrating, the Battle
of Waterloo," as a companion piece to Wilkie's "Chelsea Pensioners."
Burnet was also the author of several well-appreciated works on practical
art, besides numerous essays on art subjects. He died at Stoke
Newington.

168. Tam o' Shanter.
•' The landlady and Tam grew gracious,
Wi' favours secret, sweet, and precious ;
The Souter tauld his queerest stories,
The landlord's laugh was ready chorus."
On Panel — height, 8| in.; width, 11| in. Euing Collection.
Burr. Alexander Hohenlohe Burr, 1835-1899. Scottish
School. Alexander was the younger brother of John Burr (see below), and
along with him received his art instruction at the Trustees' Academy, and
first exhibited at the Royal Scottish Academy in 1856. He removed to
London with his brother in 1861, but continued to exhibit at the R.S.A.
until 1869. He exhibited in the Royal Academy first in 1860, and his last
exhibited work was shown in 1888.
169. Shuttlecock. An open space in a village; father and
children playing the game of battledore and shuttlecock; near
them a dog and some poultry are running about. Signed " A. H.
Burr." On Canvas — height, 19| in.; width, 29 in. Teacher
Collection. Burr. John Burr, A.R.W.S., 1831-1893. Scottish School.
John Burr, the elder brother of Alexander H. Burr, was born in
Edinburgh in 1831. He received his training at the Trustees' Academy,
and he first exhibited at the Royal Scottish Academy in 1856. In 1861 the
two brothers removed to London, where they exhibited at the Royal
Academy, the British Institution, and elsewhere. In 1875 John was
elected a member of the Royal Society of British Artists, and was for
some time President of that body. In 1883 he was elected an Associate of
the Society of Painters in Water-colours. He died on 8th February, 1893.

D. Y. Cameron.— FAIRY LILIAN.

CALCKER. CAMERON. 37

170. The Dominie's Visit. The interior of a cottage in
which is a schoolmaster seated examining a little boy who is
crying. His mother looks sympathetically at him from behind
a table. Trees are seen through the open door. Signed " John
Burr, — 79." On Canvas — height, 9 { in.; width, 13£ in.
Smellie Collection.
171. The Fifth op November. The interior of a cottage,
where an old and a young woman, the young woman having a
child in her lap, are seated at a table on which are teacups,
etc. A man has just risen from a chair, and they all look with
amusement at the entrance of two children, a boy and a girl,
with fantastic head-dresses, the boy carrying a wooden sword.
Other children are looking in at the doorway, through which
houses are seen. Signed "John Burr, 1871." On Canvas —
height, 4 ft; width, 6 ft. Presented by Thomas Mason, 1902.
Exhibited in Royal Academy, 1871.

Calcker. Jan Stephanus van Calcker, about 1499-1546.
Italian- Venetian School.
Calcker, so called after his native place in the Duchy of Cleves, was
a pupil of Titian. As a portrait painter he is deemed worthy to occupy
the same platform as his great master, but his authentic works are very
few. He designed the figures for the anatomical works of Vesalius. He
died at Naples in 1546.
172. Portrait op a Young Man. Three-quarters length
figure, erect, holding in his right hand a letter, the left resting
on his side. On the stone of his finger-ring are three poppy
heads and the initials " M.V.B." On Canvas — height, 3 ft. \\ in. ;
width, 2 ft. 6£ in. Graham-Gilbert Collection.
This portrait is a replica of the picture preserved in the Louvre, in
which the shield of the family, Del Bucmo of Venice, is seen on the column
to the right.

Caliari (see Veronese).

Cameron. David Young Cameron, A.R.S.A. (living artist).
Scottish School.
1 73- Fairy Lilian. A girl with loose golden hair, wearing
a jewelled chaplet and dressed in a red robe, over which is a
lace scarf; round her waist is a belt, with gold clasp and
pendant. In her left hand she carries a satchel. Signed
" Fairy Lilian, D. T. Cameron." On .Canvas — height, 3 ft.
10£ in. ; width, 1 ft. IIJ in. Carfrae Alston Collection, 1909.

38 CAMERON. CAMUCCINI.

Cameron. Hugh Cameron, R.S.A. (living artist). Scottish
School. 1 74. The Timid Bather. A stretch of calm sea ; in fore
ground, two young girls bathing, encouraging a younger girl,
who is timidly entering the water. To right, on a rock, is a
young woman seated, with a child on her knee; in the disitanioe
a sail boat. Signed " Hugh Cameron, 1898-00." On Canvas —
height, 2 ft.; width, 4 ft. 2 in. Presented by Colonel Walter
Brown, 1906.
175. The Spinning Lesson. Interior of a Scottish cottage;
old lady, wearing a " mutch," spinning at her wheel, whilst a red-
haired, bare-footed lassie looks on attentively. Signed "Hugh
Cameron, 1885." On Canvas — height, 25 in.; width, 20 in.
Teacher Collection.

Campagnola. Domenico Campagnola, about 1482-15....
Italian-Venetian School.
A native of Padua, Campagnola was a pupil of Titian, and he became an
artist not unworthy of his great teacher. More than any of the painters
of the period, he was imbued with the spirit of Giorgione, and no other
so successfully mastered the secret of that lofty artist's glowing colour.
Campagnola was a very skilful draughtsman, and many of his drawings
have been attributed to Titian. He also attained a high reputation as an
engraver. 176- The Musicians. Seated in a meadow two men— one in
red turban, with violin; the other bareheaded, with violoncello
— making music. Background — dark trees to left; open land
scape, with houses on horizon line, to right. The figures have
been supposed to be portraits of Titian and Giorgione. On
Panel — height, 21| in.; width, 16| in. Graham - Gilbert
Collection. The attribution of this picture to Campagnola is due to Dr. Gronau (see
Gazette des Beaux Arts, November, 1894).
Camuccini. Vincenzo Camuccini, 1773-1844. Modern Roman
School. Camuccini, a native of Rome, where also he died, in his early days
devoted much attention to the study of the great works of the Italian
artists with which his native city abounds. Impelled by the example of
the French artist David, he early began to paint subjects from ancient
Roman history— the Death of Julius Caesar, No. 177 in this Gallery, of
which a replica exists in the Palazzo Reale, Naples, having been painted
at the age of 24. He attained eminence also as a portrait painter, having
had many prominent sitters. While in composition and design Camuccini
was happy and successful, his colouring is crude and inharmonious.

CANALETTO. 39

177- Death of Julius Cesar. The Emperor, attacked in
the Senate by a group of Conspirators, including Brutus, Cassius,
and many of the Senators, falls under their daggers at the base
of the statue of Pompey. The spectators show symptoms of the
liveliest horror and amazement. Niches in the wall are occupied
with statuary figures. On Canvas — height, 2 ft. 5 in.; width,
4 ft. 3 in. Bequeathed by Mrs. Douglas, of Orbiston, 1862.
178. Roman Ladies bringing Gifts into the Treasury.
Within a classical building a number of Roman matrons hand
over to patrician citizens their jewellery and personal ornaments
for the defence of the state. One mother encourages her little
daughter to deprive herself of her earrings for the same patriotic
object. On Canvas — height, 2 ft. 5 in. ; width, 4 ft. 3 in.
Bequeathed by Mrs. Douglas, of Orbiston, 1862.
Canaletto. Antonio Canale, called Canaletto. Italian-
Venetian School, 1697-1768.
Canaletto was born in Venice, the son of a scene painter, and he at
first followed his father's branch of the profession. Removing to Rome
he there devoted himself assiduously to architectural subjects, and re
turning to Venice made himself famous by his studies of the picturesque
features of his native city — its canals, palaces, and churches, the figures in
which were usually painted by Tiepolo. It is almost exclusively through
such pictures that his great fame was established. He died at Venice.
1 79- A View in Venice. An open space with buildings and
shops on two sides, and in front a church with a dome and a
tall spire. In the centre of the open space is a fountain, and a
number of persons are standing or walking about. On Canvas
— height, 1 ft. 6 J in.; width, 2 ft. 4£ in. Presented by
T. Graham Young as a memorial of his father, James Young,
LL.D., F.R.S., of Kelly, 1900.
180. An Architectural Composition. In the foreground
massive remains of classical architecture and monumental sculp
tures, including a lion, etc., which are being examined by various
persons; the city, with its spires, etc., in middle distance; and
beyond, the sea. On Canvas — height, 1 ft. 9 in. ; width, 2 ft.
4| in. M'Lellan Collection.
A similar composition is No. 135 in the National Gallery, London, and
there is another in the Fitzwilliam Museum, Cambridge.
181. Grand Canal, Venice. The Grand Canal, with gon
dolas and other vessels ; on the right the church of San Giorgio,
into which is entering a procession of ecclesiastics. On th© left
side of the canal a line of buildings., the Ducal PaJlaoe and. the
Campanile of St. Mark's being prominent. On Canvais — height,
2 ft. 6 in.; width, 4 ft. 2 in. Elder Collection.

40 CANTARINI. CARLAW.

Cantarini. Simone Cantarini, 1612-1648. Italian-Bolognese
School. Cantarini, known also as II Pesarese, having been born at Oropezza,
near Pesaro, devoted himself to the study and imitation of the works of
Guido. He was an industrious worker, and, although he died at Verona
at the early age of 36, his pictures are numerous, and he etched many
spirited plates. His principal subjects are scriptural.
182. Virgin and Child, with St. Ann. The Holy Child,
nude, seated on a wooden couch, stretches out his hand for two
cherries which St. Ann offers; the Virgin, dressed in a red robe,
with a white striped neckerchief, and a green cloak, regards him
intently; St. Ann has a yellow cloak, the hood of which is
drawn over her head. On Canvas — height, 3 ft. 1 in.; width,
4 ft. 4 in. M'Lellan Collection.

Cappelle. J. Van de Cappelle, about 1624-1679. Dutch
School. This eminent marine artist, a pupil of Rembrandt, was a contemporary
of Vandevelde the Younger and Bakhuizen, and equally with them a great
painter of marine subjects. The son of a dyer, he succeeded to his father's
business, in which he amassed great wealth. He acquired a very valuable
collection of pictures, drawings, and other art objects, chiefly the works of
his illustrious friends and contemporaries. He was married in his native
city, Amsterdam, in 1653, on which occasion he received the freedom of
the town ; he bought a house there in 1661 ; and continued to paint there
or at Haarlem up to the date of his death, which occurred in Amsterdam
on 22nd September, 1679.
183. Vessels in a Calm. The mouth of a Dutch river
showing both shores, and the sea in the distance. In foreground,
a rowing boat manned and a sloop lowering sail ; another craft
and a small boat are close to the right shore. On Panel — height,
13| in.; width, 17£ in. M'Lellan Collection.
Carlaw. John Carlaw (living artist). Scottish School.
184. Evening on the Moor. In the foreground a marshy
loch, by the side of which wind-blown trees and cattle; cloudy
sky. Signed "J. Carlaw." Water-colour — height, 9£ in.;
width, 13|- in. Teacher Collection.
185. Expectation. A kennel with pointers, etc. Signed
"John Carlaw." Water - colour — height, 5 ft.; width, 3 ft.
Teacher Collection.
Carlaw. William Carlaw, R.S.W., 1847-1889. Scottish
School. This accomplished artist was born in Glasgow in 1847. From his early
childhood he was fond of drawing, and the pencil was rarely out of his

CARPI0NI. CATENA. 41

hands. After a course of study in the Glasgow School of Art he was
employed as a draughtsman in Messrs. Maclure & Macdonald's litho
graphic establishment, where he remained for eleven years. During that
time nearly all his spare hours were occupied in water-colour drawing,
and he received so much encouragement that he resolved to give up his
situation and devote himself entirely to Art. He was most successful as
a painter of the sea, which he delineated with much sympathy, truth,
and refinement of execution.
186. Coast Scene. An open sea, with a ledge of rock jutting
out from the beach, near which is a boat with two fishermen.
In the distance are boats under sail. Signed " Wm. Carlaw,
1876." Water-colour— height, 9| in.; width, 19£ in. Smellie
Collection.

Carpioni. Giulio Carpioni, 1611-1674. Italian -Venetian
School. Carpioni was a native of Venice, and as an artist is reckoned among
the decadent followers of the majestic Paolo Veronese. He painted
historical, mythological, and bacchanalian subjects, and portrayed the
human figure with much accuracy, vigour, and power of expression. He
died at Verona.
188. Marine Mythological Group. Venus, attended by
Cupid with his torch, is borne aloft by Neptune and Nereids;
./Eolus under a rock; Triton blowing his horn; a satyr and
various goddesses are also represented in the group. On Canvas
—height, 2 ft. 4 in.; width, 2 ft. 10 \ in. M'Lellan Collection.
Carracci- Annibale Carracci, 1560-1609. Italian-Bolognese
School. Anntbale Carracci, a native of Bologna, aided by his brother Agostino
and his cousin Lodovico, was founder of the famous school of the Carracci
— whence the so-called Eclectics sprang — among whom are embraced
Domenichino, Guido, Albani, Guercino, etc. He studied the works of
Correggio, Titian, Paolo Veronese, and other great masters, and the
influence of their various manners are clearly traceable in his productions.
About eight years of his life were devoted to painting the frescoes in the
Farnese Palace in Rome ; and these works are esteemed amongst the
most successful of that decorative branch of art. He died at Rome, and
was buried near Raphael in the Pantheon.
190. The Agony in the Garden. The Saviour, in a red
robe, with a blue cloak, in a fainting attitude, is supported by
an angel, who in his right hand holds a cup. On Copper —
height, 6 in.; width, 9 in. M'Lellan Collection.
Catena. Vincenzo di Biagio, called Catena, 14... 1531?
Italian- Venetian School.
Catena, a native of Treviso, first emerges in 1495 in the capacity of
an assistant to Giovanni Bellini and Luigi Vivarini in the decoration of

42 cattermole.

the Council Hall of the Ducal Palace in Venice. He was obviously
strongly influenced by Giovanni Bellini, and many of his works have been
attributed to that much greater and more famous artist. In addition to
scriptural subjects, he painted historical pictures and portraits.
192. Virgin with the Holy Child, the Magdalene, and
Saint. The three female figures half-length: the Virgin in the
centre, with white head-dress tied under her chin, blue mantle
and red robe under. The Magdalene, with three plaits of yellow
hair, olive mantle, and dark robe. The Saint has a yellow head
dress, with myrtle wreath and rich jewelled stomacher. The
Holy Child is nude on the Virgin's knee. On Panel — height,
1 ft. 11 in.; width, 2 ft. 9 in. M'Lellan Collection.
An excellent example of early Venetian work,- showing great pre
cision of detail and richness of colour. The picture has been ascribed to
Cima de Conegliano, of which attribution Dr. Waagen remarks, "All I
can say is that the picture belongs to the School of Giovanni Bellini."
The figures of the Virgin and Child are, however, the same as in a signed
picture in the Ducal Palace, Venice. A similar picture, signed, is in the
Royal Institution Collection of Liverpool, now in the Walker Gallery of
that City.
Cattermole. George Cattermole, 1800-1868. English School.
This distinguished painter in water-colours was born in the Norfolk
village of Dickleborough, and at an early age devoted himself to the study
and delineation of the architectural and other antiquities of his native
county. With increasing experience his studies took a wider range, and,
in addition to the production of a great variety of historical drawings,
he devoted his talents to book illustration, his work for the Waverley
Novels, and later for the writings of Dickens, being well known. Till
1850 he was a steady supporter of the Water-colour Society, and exhibited
but raiely in his early years at the Royal Academy. He died at Clapham
Common. 194. The Refectory op the Monastery. The interior of
the refectory of a monastic establishment, with the brethren
seated at a meal. A female mendicant, with a child in her
arms, and three others around her, receiving alms from the
superior. Signed " G. C, 1852." Water-colour— height, 11 in.;
width, 1 ft. 11 in. Presented by James Orrock, R.I., 1892.
Reproduced in Cassell's History of ihe Church of England, London,
1897-8. ini i
195. Interior of a Cathedral. The interior of a vast
Gothic Cathedral, in which a number of persons stand and kneel
before a shrine; others are moving about the building. Water-
colour— height, 9£ in.; width, 6 \ in. Smellie Collection.
196. Cavalier and Lady. The interior of a castle. A
cavalier, dressed in a yellow jacket over which is a sash, green

CESARI. CHALMERS. 43

velvet breeches, and shoes with rosettes, and holding a plumed
hat in his right hand, looks down upon a lady seated on a chair
with an infant in her arms. On a staircase are two men talking,
and another is seen in the arched recess of a window. Signed
with monogram. Water-colour — height, 9| in.; width, 7 in.
Smellie Collection.
Cesari. Giuseppe Cesari, 1568 ?-l 640. Italian-Neapolitan
School. Cesari, called also H Cavaliere d'Arpino, from his father's birthplace,
was born and died at Rome. He attained a great reputation early in his
career, and became the acknowledged rival of the Carracci and Carra-
vaggio. He visited Paris, where he was patronised by Cardinal
Richelieu, and where he was created Chevalier of the Order of St. Michael
by Louis XIH. He painted scriptural, ecclesiastical, and historical sub
jects, some of his fresco work being on a very large scale.
199. The Arch-Angel Michael Subduing Evil Spirits.
The Arch-Angel, in military helmet, with sword and shield,
hurls the rebellious Spirits through the air; writhing dragons
and demons are seizing the bodies. On Copper — height, 22£
in.; width, 16 in. M'Lellan Collection.
Chalmers. George Paul Chalmers, R.S.A, . 1833-1878.
Scottish School.
George Paul Chalmers, R.S.A., was born in Montrose on 12th
November, 1836, in surroundings of a humble order. His father, a sea
faring man, however, was successful, and, rising to be captain of a
coasting brig, the family lived far above discomfort till his death, which
occurred in December, 1848. Young Chalmers began life as apprentice
to a ship chandler, but from his tenth year onwards he ceaselessly
experimented in art, drawing portraits and the like. His earliest oil
portrait is dated 1851. After a long struggle Chalmers scraped together all
the money he could make out of painting a few portraits and a sub
scription sale of his works, and, on 16th November. 1853, left Montrose
for Edinburgh. On that day he entered' the class of Robert Scott Lauder,
master of the Trustees' Academy ; and he made his last appearance there
on 30th June, 1856. He first exhibited in the R.S.A. in 1855, and down to
1872 was a fairly regular exhibitor of portraits and works in genre. Tn
that year he first exhibited landscape, although from boyhood he had
practised every branch of art, painting landscapes from memory, or "out
of his head," and improving himself in portraiture in front of a mirror.
After 1863 his reputation rapidly increased, and down to his death, in
1878 (by accident or violence is not known), his life was one of ceaseless
activity. In 1867 he was elected Associate of the Royal Scottish
Academy, and he was made a full member in 1871. He was so con
scientious a workman that for the M'Gavin portrait, in this gallery, he
had more than ninety sittings. Chalmers was a born colourist, the most
subtle Scotland has produced, as Philip was the most brilliant.^ His
more important landscapes— such as "The End of the Harvest and
" Running Water "—are in private collections. " The Legend his chief
work in genre— unfinished after fourteen years intermittent labour— is in
the National Gallery, Edinburgh.

44 CHALMERS. CHRISTIE.

200. Portrait op John M'Gavin. Half-length, full face, life
size, seated. Signed "G. Paul Chalmers, 1875." On Canvas —
height, 3 ft. 5 \ in. ; width, 2 ft. 7 in. Presented by the benefi
ciaries under the will of Janet M'Gavin, 1893.
John M'Gavin, a native of Kilwinning, was for about 35 years an
extensive miller and grain merchant in Glasgow. He took a keen and
generous interest in art and artists, and he formed a very valuable private
collection of pictures. He besides acted as treasurer to the Institute of
the Fine Arts, to which corporation he bequeathed £5,000 ; and' he further
bequeathed tb this gallery the picture, (tA Coming Storm," by John
Linnell. Mr. M'Gavin was deeply interested in the cause of temperance
and in the promotion of other social and philanthropic movements.

Chalmers- Hector Chalmers (living artist). Scottish School.
204. The Fair. A country village, with church, etc. The
streets are covered by shows and " sweetie " and toy stands,
round which the villagers throng. Signed " Hector Chalmers."
On Canvas — height, 4 ft. 7 in. ; width, 3 ft. 1 in. Teacher
Collection. 205. A Turnip Field. A field with turnips, pulled and
dressed, lying ready for pitting. Homestead with ricks behind,
and near them the figure of a man. Signed " Hector Chalmers."
On Canvas — height, 13| in.; width, 10 in. Teacher Collection.
206. Landscape. Woody landscape, with figure. Signed
" Hector Chalmers." On Canvas — height, 9^ in. ; width, 13| in.
Teacher Collection.

Chattel. Frederick Jacobus van Rossum du Chattel. Modern
Dutch School.
208. Dutch Landscape. A low-lying country, with a sluggish
stream bordered with rushes, near the left bank of which are
two men in a boat; beyond are houses in the midst of a clump
of trees, and, in the distance, are two windmills. Signed " Fred.
J. du Chattel." On Canvas — height, 13| in.; width, 19f in.
Smellie Collection.

Christie. James Elder Christie (living artist). Scottish
School. 210. Vanity Fair. An allegorical work in which a booth
fairy in gauzy garments on a platform, with drum and Pan's
pipe, etc., is blowing from a plate irridescent soap bubbles over

CIARDI. CLINT. 45

a crowd of figures below, some of whom seek eagerly to grasp
the insubstantial and evanescent globes which float towards
them. Signed "J. E. Christie." On Canvas— height, 4 ft. 10
in.; width, 6 ft. 6 in. Purchased, 1895.

Ciardi. Professor Guglielmo Ciardi (living artist). Italian
School. 211- October in the Venetian Campagna. A flock of sheep
led by a shepherd, travelling along a road bordered by trees;
a pond to right. Signed " Go. Ciardi." On Canvas — height,
2 ft. 2 in. ; width, 3 ft. 8 in. Purchased, 1904.

Cignani. Carlo Cignani, 1628-1719. Italian - Bolognese
School. One of the latest artists of the Italian school in the period of its
decadence, Cignani was born at Bologna. He was a pupil of F. Albani,
but he also made a study of the works of Guido, the Carracci, Correggio,
Titian, and others. He attained considerable reputation during his life
time, and was, under the patronage of Pope Clement XL, appointed
Principal of the Academy of Bologna. He died at Forli.
212. The Madonna of St. Jerome — " Il Giorno." Correggio's
famous Altar-piece at Parma, copied by Cignani (see Correggio).
213. Death op Cleopatra. Figure three-quarters length,
nude body. She presses one hand against the breast which the
asp is in the act of biting. On Canvas — height, 4 ft. 1^ in. ;
width, 3 ft. M'Lellan Collection.
Clausen. George Clausen, R.A. (living artist). English
School. 214. La Pensee. Portrait ot a young lady, full length,
seated in a pensive attitude. Costume, fur tippet and bonnet
of black, with small bunch of violets in her hand. Signed
"G. Clausen, 1880." On Canvas— height, 4 ft. 1 in.; width.
2 ft. 5 in. Presented by Bailie Robert Murdoch, 1895.
Clint. George Clint, A.R.A., 1770-1854. English School.
Clint, the son of a hairdresser, was born in Brownlow Street Hospital,
London, on April 12th, 1770. He began life as an apprentice to a fish
monger, then he was for some time employed in an attorney's office,
subsequently he tried house painting, from which he advanced to
miniature painting and mezzotint engraving, and finally adopted oil
painting as his profession. Becoming acquainted with the principal

46 clouet. constable.

members of the theatrical profession, he painted the valuable series of
dramatic pictures comprising all the celebrated actors of the time m their
favourite parts, and also various groups from stage scenes, upon which
his fame chiefly rests. He died at his house in Kensington in the spring
of 1854.
215. Falstaff and Mrs. Ford. A room in Ford's house,
into which Falstaff is entering. Mrs. Ford is seated within,
and Mrs. Page is hastening to conceal herself. On Canvas —
height, 2 ft. 5 in.; width, 2 ft. Lent by the National
Gallery. Falstaff— " Have I caught thee, my heavenly jewel? Why, now let
me die, for I have lived long enough ; this is the period of my ambition.
O, this blessed hour ! "
Mrs. Ford — " 0^ sweet Sir John ! "
— Merry Wives of Windsor, Act iii., s. 3.
Clouet Francois Clouet, about 1516-1573? French School.
Francois Clouet, called also Jehannet, Jannet, and Janet, is sup
posed to have been bom at Tours, some time between 1516 and 1520.
His father, a Fleming, held the double offices of painter and valet-de-
chambre to Francis I., -to which offices Frangois succeeded in 1541, and
continued to hold them under Francis II. and Charles IX. He painted
the portraits of many distinguished people, and at least three portraits
of Mary Queen of Scots are known to be by him. »
216. Mary Queen op Scots (Old Copy.) Bust portrait,
three-quarter face, turned to right, in lace cap and ruff, black
bodice with white yoke. A cross is suspended from her neck.
On Canvas — height, 2 ft. 5 in. ; width, 1 ft. 9 in. Bequeathed
by Mrs. Galbraith, 1904.

Coleman. W. S. Coleman. English School.
217. A Naiad. Partly-draped figure of a young girl standing
on the steps of a sea wall. Signed "W. S. Coleman." On
Canvas — height, 28J in.; width, 13 in. Teacher Collection.
Constable. John Constable, R.A., 1776-1837. English
School. John Constable was the son of a wealthy mill-owner at East Bergholt,
in Suffolk. His father desired him to enter the church, but the youth's
likings lay in quite another direction. Declining a clerical career, he was
employed in his father's mills and counting-house ; but his spare moments
were eagerly devoted to sketching from nature and the study of such
works as he could obtain. In 1799 he was admitted a student at the Royal
Academy School, and thenceforward he devoted himself exclusively to art.
His abilities soon attracted favourable notice, and he received friendly
encouragement and advice from Sir Benjamin West, then President of
the Academy and the most influential of artists. From his early days

cooper. 47

Constable shaped an art career for himself. Perceiving that " truth only
will last, and can only have just claims on posterity," he concluded
there was " room enough for a natural painter," and he governed himself
accordingly. As a landscape painter he early obtained a modest and
moderate success, a reputation which grew slowly, but which at the
present moment continues vital and expansive. In 1819 he was elected
Associate of the Royal Academy, and full Academician ten years later.
Meanwhile he had sold to a French collector his two pictures, " The Hay
Wain" and "A Lock on the Stour," and these their owner exhibited at
the Paris Salon in 1824. The exhibition of these works caused in France
not only a sensation, but it determined an artistic revolution. Never
before had " so much pure nature been set forth in art." Up to the time
of his comparatively early death, in 1837, Constable was better under
stood and appreciated in France than in his native country; but his
position as the great master of naturalistic landscape is now conceded and
established. 218. Hampstead Heath. In foreground, Hampstead Hill
with clumps of trees rising to the left, pools and two donkeys in
centre; and beyond, an undulating expanse of landscape; London
in the distance, the dome and towers of St. Paul's being seen on
the horizon line. Sky lowering. On Canvas — height, 2 ft. 1 in. ;
width, 3 ft. 2 in. The gift of the sons of James Reid, of Auchter
arder and Hydepark Locomotive Works, 1896.
219. House by the Road. To right, trees by a winding road;
facing a pool a two-storey red-tiled house in enclosed garden ; to
left, fields, a shed, and hillock with three trees. On Panel —
height, 9 in.; width, 13^ in. Donald Collection.

Cooper. Thomas Sidney Cooper, R.A., 1803-1902. English
School. This eminent cattle painter was born at Canterbury of parents in very
poor circumstances. His earliest attempts at art were efforts to sketch
the cathedral and other local buildings upon his school slate. It was, how
ever, imperative that he should be early sent to work, and, at the age of
thirteen, he was employed by a local coachbuilder to paint carriage panels.
Three years afterwards he was engaged as scene painter at the theatre
When twenty years of age a relative in London offered to provide for him
in order that he might study in the Royal Academy schools. A visit to
Brussels, where he met with Verbockhoven, the famous animal painter,
decided the future bent of his art. He first exhibited at the Royal
Academy in 1833, and from that time till the year of his death he was con
tinuously represented in the annual exhibitions of that Institution, of
which he was elected an Associate in 1845, and a full member in 1868.
He frequently collaborated with F. R. Lee, R.A. He died at Canterbury
on 7th February, 1902.
220. Landscape with Cattle. In foreground a pool in
which three cows are standing; two more on the right bank.
To left a river, and in the middle distance another group of

48 COPE. COROT.

cowb on a piece of meadow; in the distance a village, with a
church spire. Signed " T. Sid. Cooper, A.R.A., 1852." On
Canvas— height, 2 ft. 6 in. ; width, 3 ft. 6 in. Elder CoDeotion.
221. Canterbury Meadows. A group of seven cows — one
drinking — on the margin of the River Stour; hills in the
distance. Signed " T. Sidney Cooper, R.A. 1879." On Canvas
—height, 12f in.; width, 21 in. Smellie Collection.
222. Landscape with Sheep. A flock of sheep grazing in a
meadow, through which a road leads to farm-houses in the
distance. Signed " T. Sidney Cooper, 1864." On Canvas^-
height, 2 ft. 6 in.; width, 3 ft. 6 in. Elder Collection.
Cope. Alexander S. Cope, R.A. (living artist). English
School. 223. Portrait op Sir John Ure Primrose, Bart., Lord
Provost of Glasgow and Lord Lieutenant of the County of the
City of Glasigow, 1902-1905. Life size, seated, looking to the
front, in official robes and chain of office. Signed " A. S. Cope,
1906." On Canvas^-height, 8 ft.; width, 4 ft. 2 in. Painted
for the Corporation.

Corot. Jean Baptiste Camille Corot, 1796-1875. French
School. Corot was the son of industrious and well-to-do bourgeois parents in
Paris ; his father, at first a barber, having become Court Modiste in the
regime of the first Napoleon. The youth was well educated, and for eight
years he was employed as a linen-draper. When 27 years of age, at his
earnest solicitation, his father consented to his becoming an artist, and
endowed him with a yearly allowance of 1,200 francs. He was trained in
the barren school of classical landscape, and at first his progress and
success were distressingly slow. It was not till he was' about 40 years of
age that he shook off his hard, dry manner, and discovered his true,
tender, and poetical powers of landscape interpretation. From that time
onward throughout his long life he maintained his quiet, orderly, and sober
ways with ever-increasing reputation, and a growing love for the subtle
aspects of nature. On the morning of his death, which took place at
Paris on 22nd February, 1875, he dreamt, and was heard to murmur,
" Dear God, how beautiful that is ; the most lovely landscape I have ever
seen." Few painters were ever more revered than Corot, and few had a
more serene and peaceful end.
224. Woody Landscape. A group of trees by the side of a
pool. On the right bank a woman and a cow; houses are seen
through the tree®, and, in the distance, a sheet of water, with
sail boats. Signed "Corot." On Canvas — height, 12f in.;
width, 18 in. Elder Collection.

correggio. 49
 \

225. Evenin«. In foreground two figures behind a clump of
trees ; to right a lake and a chateau. Signed " Corot." On
Canvas — height, 13 in. ; width, 23 in. Donald Collection.
226. The Woodcutter. A lake, with trees on banks; village
on rising ground to right; in centre foreground a man engaged
cutting wood; on rising ground to left two figures, seated;
morning sky. On Canvas — height, 18^ in. ; width, 25 in.
Donald Collection.
227- The Crayfisher. Man with a red cap fishing in a pool;
clump of trees, rising ground to left; in the distance to right a
lake. Signed "Corot." On Canvas — height, 3 ft. 4 in.; width,
2 ft. 6 in. Donald Collection.
228. The Lake. In foreground a woman leading an ox
which is moving along the margin of a lake; trees right and
left of lake ; low hills in distance. Signed " Corot." On Canvas
— height, 9^ in. ; width, 14 in. Donald Collection.
229. Pastorale — Souvenir dTtalie. An ideal landscape,
with bushy stem of a huge poplar rising in the centre and
another to the right side ; beyond, to the left, a lake, from which
the ridge of a hill, with castellated building, slopes up towards
the right. In the arch-like space between the trees in the fore
ground three nymphs dancing, another approaching them with
dancing motion; to right, one reclining on outspread rug; and
to left, a fantastic figure, in hairy girdle, clanging cymbals.
Signed "Corot." On Canvas — height, 5 ft. 7 in.; width, 4 ft.
8 in. The gift of the sons of James Reid, of Auchterarder and
Hydepark Locomotive Works, 1896.

Correggio- Antonio Allegri, 1494-1534. Italian-Lombard
School. Antonio Allegri, popularly known as Correggio, that being the
name of his birthplace, was one of the most skilful and accomplished of all
Italian painters. In luminous harmony of colour, in foreshortening and
modelling figures, and in arranging light and shade, he attained a skill
and power unrivalled by any artist before or since his day. He
is especially famous for the grace and sweetness of his female figures;
but he is so delighted to display his peculiar powers that many of his
compositions are seriously injured by affectation and mannerisms. His
figures are occasionally strained in attitude, and in the expression of
countenance there is more of earthly beauty than of divine grace. In
addition to the great frescoes he painted in Parma, his few works are
confined to scriptural and mythological subjects. He died on 5th March,
1534, and was buried in the Franciscan Church, Correggio.
2

50 CORTONA. COVENTRY.

230- The Madonna op St. Jerome— " Il Giorno." An
excellent copy of the very famous picture so called, preserved in
the Museum at Parma. This work, esteemed Correggio's master
piece, embraces figures of the Virgin and Child, Mary Magdalene
bending forward to kiss the foot of the infant Saviour, St.
Jerome, St. John, and others. This copy was executed by Carlo
Cignani (see Cignani). On Panel — height, 5 ft. 11 in.; width,
4 ft. 2 in. M'Lellan Collection.
231. Virgin with the Rabbit— La Zingarella (Copy). The
Virgin, with a turban on her head, seated on the ground, bending
over the sleeping Child; a white rabbit in the left corner.
On Canvas^-height, 20 in. ; width, 14J in. M'Lellan Collection.
Original in Naples Museum.
232. Head op an Angel. Portion of a fresco from the ruined
apse of the Church of St. John at Parma, in which Correggio
painted the great fresco, "The Vision of St. John." Height,
23 in.; width, 13A in. M'Lellan Collection.

Cortona. Pietro Berrettini, called da Cortona, 1596-1669.
Roman School.
Berrettini was the son of a tailor in Cortona in Tuscany. He received
his early instruction from his uncle Filippo Berrettini, and from a
Florentine painter, Andrea Comodi, then living in Cortona. With
Comodi he went to Florence, where he entered the studio of Baccio
Ciarpi, devoting himself to the study of the antique and the works of
Raphael and Michelangelo. While still young he settled in Rome, where
he resided for many years, and where his chief work was accomplished—
the frescoes of the Palazzo Barberini — which occupied him for about
12 years. He died at Rome on 4th May, 1669, and was buried in the
Church of SS. Martina e Luca, which he himself had built, and to which
he bequeathed £20,000.
233. Holy Family. The Virgin with the Holy Child on her
knee, His hand raised in blessing Mary Magdalene, who kneels
in the act of kissing His foot ; to right is St. Joseph leaning on a
staff, and a cherub leaning on a bench ; to left are three cherubs,
one approaching on foot with a crown, one flying holding a
palm frond, and one looking out from clouds. On Canvas —
height, 5 ft. 2£ in. ; width, 7 ft. 1\ in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.
Coventry- Robert M. G. Coventry, A.R.S.A. (living artist).
Scottish School.
234. The Haven. The harbour of a fishing village, in
which are boats newly arrived. On the pier fisher folk, horses

cox. 51

and carts, fish boxes, &o. ; houses to right, hilly country in
distance. Signed " R. M. G. Coventry." On Canvas —
height, 3 ft. 4 in.; width, 4 ft. 1£ in. Purchased, 1908.
Cox. David Cox, 1783-1859. English School.
Cox, the son of a whitesmith, was born in the neighbourhood of Bir
mingham, and, being a delicate lad, he was apprenticed to a maker of
Birmingham jewellery. That occupation he early abandoned, and found
employment as an assistant scene painter, first in Birmingham and subse
quently in London. Theatrical life did not harmonise with his quiet,
homely disposition, and he found a more congenial sphere in the teaching
of drawing, eking out his scanty earnings by the sale of his own works.
His masterly powers soon made themselves felt, and his circumstances and
position steadily improved. In his later years he resided in the neigh
bourhood of Birmingham, but he spent much of his time in Wales —
Bettws-y-Coed and its inn, " The Royal Oak," have been made famous by
his connection with them. Cox painted with a remarkably vigorous and
facile brush, both in oil and water colours, but it was in the latter medium
that he attained his greatest triumphs. He died ' at Harborne, near
Birmingham, on 7th June, 1859.
235. The Mill Sluice. An old half-timbered house having,
to the right, a gable with three Elizabethan chimney tops ; to the
left, a farm outhouse. In the foreground a man raising a water
sluice, the water flowing away to the right. Water-colour —
height, 10J in.; width, 13| in. Presented by James Orrock,
R.I., 1892.
236. The Watering Trough. By a rustic wayside a stone
trough, out of which a man drinks, while another sits on its
brink. Behind, trees and a female seated on a ledge of rock;
and beyond, a house in bright sunlight. Lofty hills in the
background. Signed " David Cox, 1845." Water-colour —
height, 8£ in.; width, 11 J in. Presented by James Orrock,
R.I., 1892.
237. A Moorland Scene. A wide stretch of bare country,
rising towards the back, with a house in the middle distance.
Approaching the foreground, a party of two men on horseback
and two on foot, with dogs. Water-colour — height, 1\ in. ;
width 12 in. Presented by James Orrock, R.I., 1S92.
238. Welsh Ruins. In the right foreground the gable and
part of the walls of an old church; in the centre, a shed, cows,
and sheep; to the left, a wall, enclosing trees, near which a man
and woman are talking ; mountains in the distance. Signed
"David Cox, 1853." Water-colour— height, 7f in.; width,
12 in. Smellie Collection.

52 COXIE. COYPEL.

239. Caer-Cennen Castle. In the middle distance, on a
precipitous height, the Castle of Caer-Cennen; the surrounding
country rugged and desolate. In the foreground is a woman
walking along a road. Signed "David Cox, 1847." Water-
colour — height, 10J in.; width, 14| in. Smellie Collection.
240. A Welsh Stream. Stream flowing towardsi the fore
ground and bending to the right. On left middle distance, trees,
steep bushy bank, and rising ground behind. Water-colour-
height, 14 \ in.; width, 21 in. Presented by James Orrock,
R.I., 1892.

Coxie. Michiel van Coxie, or Coxcie, 1499-1592. Flemish
School. This artist was born at Mechlin, and received his first art instruction
from his father. Afterwards he studied at Brussels under Van Orley, in
whose company he went to Rome. There lie was so much influenced by
the works of Raphael, and imitated that artist so closely, that he was
named the Flemish Raphael. He returned to Mechlin in 1539, where he
was received into the Guild of St. Luke, and where he died. He
executed many works for churches in Brussels and Antwerp, and also for
the Emperor Charles V. and for Philip H. of Spain, by whom he was
made Court painter.
241. Madonna and Child. The Virgin with the Holy Child
in the midst of luminous clouds, the right foot of the Virgin
resting on a cherub's head- On Canvas — height, 4 ft. 8 in.;
width, 3 ft. 5 in. M'Lellan Collection.
M. Henri Hymans, to whom the above ascription is due, points out
that the composition is borrowed from the Foligno Virgin of Raphael in
the Vatican.
Formerly catalogued as Italian School.

Coypel. Antoine Coypel, 1661-1722. French School.
Cotpel was born in Paris, the son of Noel Coypel, also an artist.
He received his first instruction from his father, who took him to Rome
at the age of eleven. Returning to Paris at the age of eighteen, he
rapidly acquired popularity. In 1716 he was made chief painter to the
King, and was largely employed in decorating the Royal Palaces. He
died in Paris in 1722.
242. Leda and the Swan. Leda, semi-recumbent, on; blue and
yellow draperies, almost nude, pearls binding her yellow hair,
clasps the swan in her arms. On Canvas — height, 2 ft. 4 in.;
width, 3 ft. 2 in. M'Lellan Collection.
Waagen, who attributed this picture to Boucher, remarks regarding
it—" Feeble and disagreeable in sentiment, though skilfully modelled in a
silvery tone" (Waagen's Art Treasures, vol. iv., p. 462).

CRAIG. CRAYER. 53

Craig. Alexander Craig, died 1878. Scottish School.
A portrait painter who lived and practised in Glasgow during the
earlier half of the last century.
243. The Poet, Thomas Campbell. (See Catalogue of
Sculpture.) A three-quarter length portrait of the poet, stand
ing, with his left hand resting on a writing table. On Canvas —
height, 4 ft. IJ in.; width, 3 ft. 3 J in.
Crawford. Robert C. Crawford (living artist). Scottish School.
244. Portrait op ex-Bailie Walter Paton, J.P., D.L.
(1838-1906). Three-quarters length, seated; three-quarters face
looking to the front, roll of papers in left hand, right hand rest
ing on chair, Magistrate's robes to left. Signed " R. C. C, 1905."
On Canvas — height, 4 ft. 1\ in.; width, 3 ft. 8J in.
"Presented by the Citizens of Glasgow in grateful recognition of his
twenty years' service as Councillor and Magistrate, and specially for his
invaluable labours as Convener of the Corporation Tramways Committee
during the municipalisation of the system and its conversion from horse
to electric haulage."
245. Storm at Porttncross. Stormy sea breaking on a
rocky shore; in right distance, vessel scudding under reduced
sail. On Canvas — height, 4 ft. 4 in. ; width, 7 ft. 4 in. Signed
" R. C. C." Presented by George J. Kidston, of Finlaystone,
1907. 245a. The Water Stoup. Near a pool a rustic maiden, in a
blue-striped wrapper, carrying a water stoup in her right hand,
and with her left plucking a bunch of berries from a rowan tree ;
background, trees ; to right, cultivated fields ; and, in distance,
hills. Signed "R. C. C, 1892." On Canvas— height, 5 ft.;
width, 3 ft. 8 in. Presented by an anonymous donor, 1907.
See also No. 403.

Crayer. Gaspard de Crayer, 1582-1669. Flemish School.
This artist was a native of Antwerp, and a contemporary and friend of
Rubens and Vandyck. He studied in Brussels, under Raphael Van Coxie,
and to the churches of that town and its neighbourhood he contributed a
great number of religious paintings. Late in his life he settled in Ghent,
where he died, after a life of great productive activity, at the advanced
age of 88 years.
246- Virgin and Child Enthroned. The Virgin, with the
Child in her lap, elevated on an overarched balcony, being
orowned by a cherub and attendant musical angels and saints.
On Canvas— height, 2 ft. Z\ in.; width, 1 ft. 4 in. M'Lellan
Collection.

54 creswick. cuyp.

Creswick. Thomas Creswick, R.A., 1811-1869. ; English
School. Creswick, who was a native of Sheffield, received his earliest art
instruction from J. V. Barber, of Birmingham. He devoted himself
exclusively to landscape painting, and delighted in the picturesque features
of his native country. In 1842 he was elected an Associate of the Royal
Academy, and he was elevated to the full membership in 1850. He died
in London, and was buried in Kensal Green Cemetery.
247. Sea-beach Scene. A sandy beach, with groups of fisher
men; to the right, steep cliffs; and, in the middle distance,
a seaport or fishing village. Signed "T.C." On Canvas —
height, 1 ft. 6 in.; width, 2 ft. 5 J in. Euing Collection.
248. Coast Scene. A sea beach, on which boats are drawn
up. In the foreground a fisherman and a woman are walking
towards the beach. To the left are sandy hillocks. On Canvas
— height, 9£ in.; width, 13^ in. Smellie Collection.
$|Cuylenborch. Abraham van Cuylenborch, middle of 17 th
century. Dutch School.
Cuylenborch was a landscape painter, probably a native of Utrecht,
into the St. Luke's Guild of which he was admitted in 1639. His favourite
subjects were landscapes of an Italian cast, into which he introduced
cattle, shepherdesses, fragments of classical statuary, etc. He painted
in a clear, golden tone, and as his works possess much similarity of
character to those of Poelenburgh and Breenberg, they are frequently
passed under one or other of these names. The date of his death is
unknown, but his name appears in the records of St. Luke's Guild in 1660.
249. Interior of a Cave. A lofty and spacious cave, partly
supported by hewn classical pillars, with sculptured monumental
remains and fountain, cattle, figures, etc. Signed in monogram
"A.V.C., f. 1641." On Panel — height, 16$ in.; width, 13 in.
Euing Collection.
Cuyp. Aalbert Cuyp, 1620-1691. Dutch School.
Aalbert Cuyp was a native of Dordrecht, where he was trained by his
father who also was a painter. He is distinguished among all Dutch
artists by his rendering of atmospheric effects, and the rich glow of sun
shine—especially of morning and evening level lights. He painted a wide
variety of subjects— in his early years devoting himself to still life, birds,
flowers, fruits, and portraits, and later he executed human figures, animals
(in which he greatly excelled), and landscapes. He died at Dordrecht,
and was there buried in the Church of the Augustines.
250. Head op an Ox. Evidently a fragment from some large
picture. On Canvas glued on wood — height, 8 in. ; width, 9| in.
Euing Collection.
Described in Hofstede de Groot's Smith's Catalogue RaisonnL 1909,
No. 8226, vol. ii., page 239.

cuyp. 55

251. A Pastoral Landscape. The foreground is occupied
with oows resting, a woman milking a cow, and other figures ; to
the right is an open landscape, and on the left ruined buildings.
Signed with monogram. On Panel — height, 13 in. ; width, 20 in.
Graham-Gilbert Collection.
Described in Hofstede de Groot's Smith's Catalogue Raisonni, 1909,
No. 365, vol. ii., page 110, under the title "Cows Resting, one being
Milked" (or "A Pastoral Landscape").
252. A Pastoral Landscape. Foreground, cowis, cowherd,
a milkmaid with pails, and sheep within an enclosure; beyond
which, a deep landscape bounded by hills; buildings to the right;
evening effect. On Panel — height, 13 \ in. ; width, 20 in. Graham-
Gilbert Collection.
Pendant to No. 251.
Described in Hofstede de Groot's Smith's Catalogue Baisormi, 1909,
No. 195, vol. ii. , page 66, under the title " Cows and Sheep with
Herdsman." 253. A Farmyard. Level Dutch landscape, dilapidated
thatched building to left, by which are three figures; yoked
cart in centre, with man arranging load; figure and front of
house to right; spire in the distance. On Panel — height, 13 in.;
width, 16 in. Donald Collection.
Described in Hofstede de Groot's Smith's Catalogue Raisonne, 1909,
No. 7186, vol. ii., page 214.
254. Christ riding into Jerusalem. From the near gate of
the city and along the road the people throng to meet the
Saviour, climbing into the trees, and strewing garments and
branches under the feet of the ass on which He rides. An even
ing glow is on the sky, and the hills, walls, and towers are flooded
with its golden light. Signed " A. Cuyp." On Canvas — height,
2 ft. 4 in.; width, 3 ft. M'Lellan Collection.
" Although this subject is not within the sphere of this painter's talents,
yet the warm and clear colouring and masterly treatment are worthy of
notice" (Waagen's Art Treasures, vol. iii., p. 289).
Described in Hofstede de Groot's Smith's Catalogue Raisonni, 1909,
No. 9, vol. ii., page 11, under the title "Christ entering Jerusalem."
Exhibited at the Royal Academy Winter Exhibition, 1903.

Cuyp. Benjamin Gerritz Cuyp, 1608-1652. Dutch School.
An uncle of the famous Aalbert Cuyp, Benjamin was one of the minor
artists of the Netherlands, concerning whose career little is known. He
was born and resided in Dordrecht, to the St. Luke Guild of which he
was admitted in 1631. In his pictures the influence of Rembrandt and
the elder Teniers can be traced. "He shows," says Dr. Bredius, "a
regrettable predilection for vulgar types, his apostles are vagabonds, and

56 DAUBIGNY. DE WINT.

his angels rowdies.'' Pictures by B. Cuyp are in the Rijks Museum,
Amsterdam; the Hermitage, St Petersburg; and in other continental
galleries. 255. The Quack Doctor. The pseudo-practitioner is oper
ating on the scalp of his unfortunate patient, whose countenance
betrays great alarm and excitement; a dwarf attendant shuts his
eyes to the disagreeable scene, while a cloaked and hooded
female looks on with great composure. Signed " Cuyp. 1645."
On Panel — height, 17J in.; width, 14f in. Euing Collection.

Daubigny. Charles Frangois Daubigny, 1817-1878. French
School. This distinguished painter was born in Paris in 1817. He received his
first instruction in art from his father, who taught him to paint boxes,
clock cases, and other objects in which he dealt. When eighteen years
of age he went for a year to Italy, and on his return became a pupil of
Delaroche. He first exhibited in the Salon in 1838 ; in 1848 and 1853 he
was awarded medals, and further he gained medals in the Paris Exhibi
tions of 1855 and 1867. Daubigny excelled in the painting of river scenes
and of landscapes clothed in the fresh verdure of spring or bathed in the
glamour of moonlight. He was also an etcher of considerable skill. He
died in Paris in 1878.
256. Lake with Ducks. Foreground, margin of a lake with
marsh plants ; family of ducks swimming towards left ; right and
background, woody landscape. Signed " Daubigny, 1873." On
Canvas — height, 14£ in.; width, 26 in. Donald Collection.

Decamps. Alexander Gabriel Decamps, 1803-1860. French
School. Decamps was born in Paris in 1803. He studied under Bouchot, David,
and Ingres. His early work consisted of small game pictures, dogs, horses,
and cattle. In 1829 he went on a journey to the East, visiting the Greek
Archipelago, Constantinople, and Asia Minor, and in these lands he found
the subjects most suited for the display of his peculiar gifts. In the Salon
of 1831 he exhibited his "Patrol of Smyrna," which at once secured his
popularity as a painter of Eastern scenes. He was awarded medals at the
Salon in 1831 and again in 1834. He was killed by a fall from his horse
while hunting in Fontainebleau.
257. St. Jerome. In foreground the figure of the saint lying
prostrate; lion on height above, to left a pool; rocky landscape
with sunset sky. On Canvas — height, 18 in.; width, 27 in.
Donald Collection.

DeWint. Peter De Wint, 1784-1849. English School.
Of Dutch descent, De Wint was born at Stone, in Staffordshire. He
studied art first under John Raphael Smith, the celebrated mezzotint
engraver, and in 1807 he entered the schools of the Royal Academy. Ir

DIAZ. 57

1810 he joined the Water-colour Society, and although he occasionally
painted in oil, his favourite medium, and that in which he attained his
high reputation, was water-colour. He had a strong afiection for his
native county, in which, and in the level meadows of its neighbour,
Lincolnshire, he found ample materials for his quiet but subtle brush.
He died in London, and was buried in Savoy Chapel.
258- A Lincolnshire Landscape. In foreground, a grassy
field; towards the left, a house gable among trees; middle
distance, woody, with square church tower and roofs of village
houses appearing over the tree tops ; distance, fields dotted with
houses. Water-colour — height, 8^ in.; width, 17f in. Pre
sented by James Orrock, R.I., 1892.
259. Landscape with Pond and Sluice. Man fishing by
the side of the sluice; house and trees to left; canal lock, mast
of boat, and figures in middle distance; beyond, a windmill,
square church tower, and hamlet. Water-colour-^— height, 9f in. ;
width, 14J in. Presented by James Orrock, R.I., 1892.
260. Hilly Landscape. A range of wood-covered heights,
rising from a river which flows towards the left; in the fore
ground, to the left, a mass of rock and several blasted trees;
and, to tlie right, a group of three figures and a waggon, with a
white horse, unyoked, standing by it. Water-colour — height,
18 in.; width, 35 in. Presented by James Orrock, R.I., 1892.
261. Haymakers. Field with, in the foreground, men cutting
hay; furier off, hayricks; to the right and left, trees; back
ground, a level woody landscape, with, towards the right, a
village and square church tower. Water-colour — height, 8 in.;
width, 16 in. Presented by James Orrock, R.I., 1892.

Diaz. Narcisse Virgile Diaz de la Pefia. 1809-1876 French
School. Daz was born at Bordeaux of parents of Spanish extraction. Left an
orplan at the age of ten, he was brought up by a Protestant clergyman.
Fran his early years he was passionately fond of nature, and lost his left
leg through being bitten by a poisonous insect while sleeping on the grass.
Wlen fifteen years of age he was employed along with Dupre' and others
in i porcelain manufactory. Subsequently he studied art under Sigalon.
Hi) early works were principally historical and genre subjects, which did
no; hit the popular taste, and he lived for several years in deep poverty.
It was not until he settled in Fontainebleau, where he shared house wijih
Biusseau and Millet, that he discovered his true bent and became famous
b" his landscapes. He died at Mentone from the bite of a viper in 1876.
262. In the Forest. A figure entering the glads of a forest.
.Sgned "N. Diaz." On Millboard — height, 9 in.; width, 14J in.
Donald Collection.

58

DOCHARTY.

263. Flower Piece. Signed " N. Diaz." On Panel — height,
14 in.; width, 11 in. Donald Collection.
264. Flower Piece — Roses and various other Flowers.
Signed " N. Diaz." On Canvas, oval — height, 2 ft. 1 in.;
width, 1 ft. 8 in. Elder Collection.

Docharty.
School.

A. Brownlie Docharty (living artist). Scottish

265. September — Glen Falloch. Rocky foreground, with
ferns, trees, and a waterfall. In the distance the Falkxjh flowing
through the glen. Signed " A. Brownlie Docharty." Qn Canvas
— height, 3 ft. 3 in. ; width, 4 ft. li in. Presented by A.rchibald
W. Finlayson, of Merohiston, Johnstone, 1907.

Docharty. James Docharty, A.R.S.A, 1829-1878. Scottish
School. -James Docharty was born at Bonhill, Dumbartonshire, thfe son of a
calico block-cutter, and he himself in his early years was employed as a
pattern designer. He received his training in the Glasgow [School of
Art, and diligently employed his leisure in painting and sketching from
nature. The American WaT in 1860-65 temporarily wrecked Ihe calico-
printing industry, and Docharty thereupon devoted himself (Intirely to
landscape painting. Under the influence of Milne Donald he minted the
scenery of the Scottish Highlands with simple and sincere pictorial effect,
winning to himself a good name and a place as Associate in the Royal
Scottish Academy. This honour he enjoyed only for about a! year, his
health having fatally broken down whilst travelling and sketching on the
Nile and in Palestine. He died in Glasgow.
266- Head op the Holy Loch. A Highland looh.i sur
rounded by snow-clad hills ; on the shore a few boats are beached.
Signed "J. Docharty. 1868." On Canvas— height, 17 J in.
width, 30^ in. Teacher Collection.
267. " The Lone Shieling on the Misty Island." \A.
crofter's cottage with outhouses on a bare moorland in Noith
Uist. On a rough roadway leading to the house is a donkW
bearing two creels, followed by a woman. Signed
Docharty. 1870." On Canvas— height, 11£ in.; width, 17| U
Smellie Collection

268. Moorland Road. A moorland road, on which are cattl^
leading past the edge of a wood. The sky is dark and threater
ing. . Signed " J. Docharty. 1870." On Canvas — heightl
15J in.; width, 23 \ in. Smellie Collection.

dolci. 59

269- A Salmon Stream. The L^ohy water, in which is an
angler, flawing between rooky banks, sparsely wooded; on a
height to the left the ruins of Tor Castle; Ben Nevis in back
ground to right. A masterpiece of the artist, executed in the
last year of his life. Signed "J. Docharty, A.R.S.A., 1878."
On Canvas — height, 2 ft. 11 in.; width, 3 ft. 11 in. Presented
by J. C. Arnot, 1903.
270. A Fishing Village, Skye. An inlet of the sea, with
fishing boats. On the shore a few scattered dwelling-houses, and
fishermen engaged in hanging nets to dry. Signed " J. Docharty,
1873." On Canvas — height, 18 in.; width, 26 in. Presented
by J. C. Arnot, 1903.
271. Heart of the Trossachs. In the foreground is a
birch plantation, through which a herd of red deer can be seen;
Ben Venue rises in the distance. Signed " J. Docharty. 1868."
On Canvas — height, 3 ft. ; width, 4 ft. 8 in. Teacher Collection.

Dolci- Agnese Dolci, died 1686. Italian-Florentine School.
Agnesb Dolci was the daughter of a renowned Florentine painter —
Carlo Dobi. (See below.) The daughter is chiefly known as a copyist,
reproducing for the most part heads of the Saviour and the Virgin, and
other scriptural figure subjects, from her father's pictures.
272. Ecce Homo. Head of the Saviour, crowned with thorns,
with upturned, patient eyes. Copy from Carlo Dolci. On
Copper, oval — height, llf in.; width, 8| in. M'Lellan Col
lection.

Dolci. Carlo Dolci, 1616-1686. Italian-Florentine School.
Dolci, a native of Florence, in which city he also died, was a pupil of
Jacopo Vignali. He devoted his talents to figure subjects, principally
scrijtural ; and these he painted with great care and finish, in a spirited
and tender but somewhat affected manner.
273- Salome with the Head of John the Baptist. Three-
qiarter female figure, nearly life size, in a green robe, with
jevelled stomacher and wide sleeves of the 17th century, bear-
irg, with averted head, in her hands a charger on which, is the
bad of the Baptist. On Canvas — height, 3 ft. 11 in.; width
3 ft. \\ in. Purchased through Sir Charles Robinson, 1883.
"ss From the sale of the Stourhead Relics, Hoare Collection. A replica of
the picture which has been in the Dresden Collection since 1742.
| 274. Adoration of the Magi. The Holy Child, supported
Iby Mary and attended by Joseph, is being offered the gifts and
[adoration of the three wise men, who, richly habited, are in a

60 DOMENICHINO. DONALD.

kneeling attitude; attendants are behind, and overhead cherubs
with wreaths; the figures are in a cave, with an opening on the
right to the clear blue sky. On Canvas — height, 4 ft. 1£ in.;
width, 2 ft. llf in. M'Lellan Collection.
275. Head of a Girl. Bust of a young woman in a blue
mantle and red chemisette, with a fawn-coloured head-dress, eyes
cast down, and hands crossed over her bosom. On Canvas —
height, 19 J in.; width, 15 in. Presented by T. Graham Voung
as a memorial of his father, James Young, LL.D., F.R.S., of
Kelly, 1900.
Domenkhino. Domenico Zampieri, 1581-1641. ' Italian
Bolognese School.
Domenico Zampieri, known as Domenichino, was born at Bologna in
1581, and studied in the School of the Carracci. In the beginning of the
seventeenth century he went to Rome, where he soon earned a great
reputation, first coming into prominent notice through paintint a fresco
of the Flagellation of St. Andrew. The most important picture hy Domen
ichino is the "Communion of St. Jerome in the Church at Bethlehem."
It was painted about 1614, and is now in the Vatican, opposite the great
picture "The Transfiguration," by Raphael. Domenichino wai engaged
during the later years of his life at Naples, where he was much ] ersecuted
by his rivals, and there is reason to suspect that his death, wiich took
place in Rome, was caused by poison, administered by the agmts of a
confederacy of Neapolitan painters, known as "the Cabal of Na>les."
276. St. Jerome in the Desert. The saint, seated under
the shadow of a rock, writing on a scroll. Cross in frontfof him,
a cardinal's hat at his feet, and near him the lion; behifSd, open
landscape view, river, sea, and distant mountains. On Panel-
height, 17 in.; width, 23 in. M'Lellan Collection.

Donald. John Milne Donald, 1819-1866. Scottish School
Donald, who was born in Nairn, spent his early days in Hamilton, Ind
in Glasgow he served an apprenticeship to a house painter, under whonihe
learnt to copy pictures. At the same time he assiduously sketched frim
nature, and began to exhibit his own work when only eighteen years W
age. He spent some time in London in the shop of a picture restor*,
and subsequently returned to Glasgow, thenceforward devoting himslf
exclusively to Scottish landscape. His merits were only being appreciate
when he was cut off at an early age ; but his art has exercised a powerfl
and healthy influence on the modern Glasgow school of landscape painter!
277. Loch Eck. Lower part of the lake, with the river flowinl
out of it; lofty and rugged hills on each side of the glen bound
the horizon ; a clump of trees in middle distance with a solitarjl
angler at the stream head; cattle to the left, and near fore-l
ground a rude piled jetty, to which a boat is moored. Signed!

DONALDSON. 61

" J. Milne Donald, 1863." On Canvas— height, 23| in. ; width,
15£ in. Bequeathed by W. B. Faulds, 1898.
278. Autumn Leaves. A glade of ancient beeches and other
trees separated from an open field by a rustio paling; autumn
tints colour the trees; the ground is covered with russet leaves;
two women and a terrier in the foreground. Signed " J. Milne
Donald, 1864." On Canvas— height, 3 ft.; width, 2 ft. 1 in.
Bequeathed by W. B. Faulds, 1898.
279. Landscape with Figures. In the foreground a burn
spanned by a bridge over which a woman is passing ; to the right
a clump of trees ; to the left houses and trees and, in the distance,
hills. On Canvas — height, 11£ in.; width, 17£ in. Smellie
Collection. 280. Moorland Landscape. In the centre a rising ground,
on which are two men and, lower down, two donkeys; to the left
is a rocky pool; to the right a stretch of moorland, and, in the
distance, hills. Signed " J. Milne Donald, '55." On Canvas
— height, 15J in.; width, 23^ in. Smellie Collection.
281. Landscape with Ruined Castle. In the foreground an
open space in a forest, in which are several deer; in the middle
distance a ruined castle, past which flows a river; beyond are
hiUs. Signed "J M. Donald." On Canvas— height, 2 ft.
7f in. ; width, 4 ft. 0£ in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903!
282- Canal Scene. In the foreground a canal look, with
boats and figures ; church in the distance. On Canvas — height,
19J in. ; width, 26£ in. Teacher Collection.
283. Highland Loch Scene. A flat, marshy shore, with kelp-
gatherers, horses and carts ; beyond, a sea loch, with rugged hills
rising from its borders. On Canvas — height, 13^ in.; width,
18J in. Teacher Collection.
284. A Brooding Storm. A Highland loch; inky clouds
above, which darken the waters below; in the left foreground a
cottage with the figure of an old woman. On Canvas — height,
12 in. ; width, 18 in. Teacher Collection.

Donaldson. Andrew Donaldson, 1790-1846. Scottish School.
Donaldson was born at Comber, near Belfast ; but during his infancy he
was brought to Glasgow, where in his early years he was employed in a
cotton factory. Eventually he devoted himself entirely to art, as a
teacher and as a painter. He wrought principally in water-colours, his
2 A

62 DOUW. DOWNIE.

subjects being rural villages, mills, and picturesque scenery. He ulti
mately attained a high position among Scottish landscape artists. He
died in Glasgow.
285. A Scotch Highland Village. A hamlet lying at the
foot of a range of hills. In the foreground, a picturesque but
half-ruined thatched cottage, outside which two women and a
child; a man on a white horse approaches the door, and along
the road are other figures. On Canvas — height, 19 in.; width,
24 in. M'Lellan Collection.
286. Old Theatre Royal, Queen Street, Glasgow, after
the Fire in January, 1829. The wreck of a classical building'
with Ionic columns still standing. On Canvas — height, 18 in.;
width, 24 in. M'Lellan Collection.
The theatre was designed by David Hamilton.
Douw. Gerard Douw, 1613-1675. Dutch School.
Gerard Douw was born at Leyden, the son of a glazier. In 1622 he
was apprenticed to an engraver, but after serving for two years he gave
up engraving for glass painting, a pursuit which he followed for four
years. In 1628 he became a pupil of Rembrandt, and finally adopted
painting as his profession. His work bears no trace of the influence of
his master, being distinguished for its minute finish and painstaking
qualities. In consequence he failed as a portrait painter ; but his small
pictures of interiors, market scenes, and phases of humble life are
unrivalled for their truth to nature and their extraordinary elaboration
of detail. He had many pupils and followers, among the most dis
tinguished being Van Mieris, Metsu, and Slingelandt. He died at
Leyden in 1675; and was buried in the Church of St. Peter.
287. The Broken Pitcher (Copy). A boy is looking out
from a window with a broken earthenware pitcher in his hand,
and, by his side, a smiling girl holds a bird. On Panel — height,
10 in.; width, 8£ in. Smellie Collection.
Downie. John P. Downie (living artist). Scottish School.
_ 288. Portrait of John Burns, M.D. (1815-1910). Life
size; full length; turned slightly to the left, and looking to
the front. Signed " John P. Downie, 1898." On Canvas-
height, 7 ft. 9 in. ; width, 4 ft. 9 in. Presented by subscribers,
1898. Dr. Burns was a, well-known veteran practitioner in Glasgow, and
latterly father of the local profession.
Downie. Patrick Downie, R.S.W. (living artist). Scottish
School. 289- The Day of Rest— Winter. The town and harbour of
Greenock under a pall of enow. All work is stopped, and the

DREW. DUNCAN. 63

harbour, in which lie steam and sailing vessels, is deserted.
Signed "Patrick Downie, 1904." On Canvas — height, 4 ft.
5£ in.; width, 5 ft. 11£ in. Purchased, 1906.
Exhibited in Royal Academy, 1904.
Drew. J. P. Drew. English School (19th century).
Drew was a painter of portraits and figure subjects, practising in
London during the earlier half of the nineteenth century. He contributed
frequently to the Royal Academy Exhibitions between the years 1835
and 1852.
290. A Study. Boy with hands in pockets, carrying an
earthenware pitcher over one arm. Signed " J. P. Drew." On
Canvas — height, 9J in. ; width, 6£ in. Euing Collection.
291. A Study. Three-quarters figure of a young girl carrying
an earthenware jug. Signed " J. P. Drew, 1850." On Canvas —
height, 9 J in.; width, 6^ in. Euing Collection.
Drummond- Rose Myra Drummond. English School (19th
century). Drummond was a miniature painter, and exhibited in the Royal
Academy at intervals from 1833 till 1849.
292. Portrait of Helena Saville Faucit, Lady Martin.
Full length; in white dress, looking to front. On Canvas —
height, 7 ft. 10 in. ; width, 4 ft. 9| in. Bequeathed by Sir
Theodore Martin, K.C.B., 1909.
Helena Saville Faucit, Lady Martin, better known as Helen
Faucit, the most famous actress of her time, was born in 1817. She
married Mr. Theodore Martin (afterwards Sir Theodore) on 25th August,
1851. She died on 31st October, 1898.

Dughet. Gaspard Dughet (see Poussin).
Duncan. Thomas Duncan, R.S.A., ARA., 1807-1845.
Scottish School.
Duncan was born at Kinclaven, in Perthshire, and began life as an
apprentice in a lawyer's office. His bent, however, was powerfully
towards an artistic career, and immediately his apprenticeship was over
he entered as a student in the Trustees' Academy, Edinburgh, where he
made extraordinarily rapid progress in his studies. He was at the age of
twenty-three elected one of the original members of the Royal Scottish
Academy. In 1836 he exhibited at the Royal Academy, of which body he
was elected an Associate in 1843. Just as a career of unusual brilliancy and
success was opening up for Duncan, he was cut off, in 1845, at the early
age of thirty-eight. His principal pictures are " Prince Charles Edward
and the Highlanders entering Edinburgh," "Prince Charles, while con-

64 dOpont. dupre.

cealed in a Cave, waited on by Flora Macdonald," both well known by
large engravings, and " The Death of John Brown of Priesthill " (below),
which was the last work exhibited in his lifetime. Besides these scenes
in Scottish history, he painted portraits with great skill and insight.
293. Martyrdom of John Brown of Priesthill. "She set
the bairn on the ground, and tied up his head and straightened
his body, and covered him with her plaid, and sat down and wept
over him." The Covenanting martyr is stretched on the ground,
and beside him the body of his faithful dog ; his wife is overcome
with horror and grief; the little daughter, terrified, stands behind
her mother, and the young child looks on with mingled amaze
ment and fear. These figures are grouped by the side of a rustic
cottage, and a band of mounted troopers is seen disappearing over
the moor. Signed " T. Dnncan, pinxt., 1844." On Canvas —
height, 4 ft. 4 in. ; width, 6 ft. 10 in. Presented by J. Houlds-
worth, of Cranstonhill, 1857. ,
Exhibited in Royal Academy in 1844.
294. Studies for the above Picture, consisting of Draw*
ings : — (a) Figure of a Man ; (&) Head inverted ; (c) Woman ; (d)
Girl; (e) Child; (f) Dog; (g) Thistle; Qi) Dockweed. Presented
by W. L. Leitch, 1857.

Dupont. Frangois Leonard Dupont, 1756-1824. Flemish
School. Dupont, the son of French parents, was born at Moorzeel, Belgium, in
1756. He studied art at Lille, under Louis Watteau, to whose daughter he
was married in 1782. He painted pictures of many descriptions, portraits,
miniatures, figure pieces, still life, etc. He was a man also of much
mechanical ingenuity, fond of investigations in that direction, and to
such pursuits the later years of his life were entirely devoted. He died
at LiUe.
295. The Vintage. A rustio group celebrating with music
and rejoicing the ingathering of the grape harvest; buildings to
the left, and to the right an open landscape, with sportsmen,
etc. On Canvas — height, 2 ft. 0-| in. ; width, 2 ft. 7 in. M'Lellan
Collection.

Dupre". Jules Dupre, 1811-1889. French School.
This distinguished painter was born at Nantes in 1811. His father
was a porcelain manufacturer in the village of Parmain, and his first
occupation was the decoration of pottery. Removing to Paris he first
exhibited in the Salon in 1831. In the Exhibition of 1867 he was repre
sented by a dozen works, and was awarded a second-class medal. He
was considerably influenced by Constable, but delighted in the wilder and
more majestic aspects of nature. Stormy skies, tumultuous waters, night
charged with darkness and rain were his favourite themes. He died at
L'Isle-Adam on 6th October, 1889.

durer. duverger. 65

296. Point db Dunes. Sea beating upon a rocky eminence to
right; in distance sailing ships; stormy sky. Signed "Jules
Dupre." On Canvas— height, 2 ft. 4^ in. ; width, 3 ft. Donald
Collection.

Durer. Albrecht Durer, 1471-1528. German School.
This distinguished patriarch of the German School was a native of
Nuremberg, where his father was a goldsmith. He first learned his
paternal craft ; but that he abandoned for the study of pictorial art, and
became the pupil of a painter of ability in Nuremberg, Michel Wolgemut.
He applied himself equally to the study of painting and engraving, the
latter being in his day an entirely new art ; and he distinguished himself
by extraordinary precision and firmness of stroke, great power of expres
sion, and high- moral purpose. He engraved a large number of plates,
etched a few, and designed many important woodcuts. He was also the
author of several treatises on mensuration, fortification, proportion, etc.
Durer was held in high esteem by the more thoughtful of his contem
poraries, and enjoyed the friendship of Luther, Melancthon, and other
eminent men. His works are esteemed very precious, and much sought
after by collectors. He died at Nuremberg on 6th April, 1528.
297- Head of the Saviour during His Passion. Head,
life size, with long waving locks and peaked beard. Full face,
with the pallor of death and tears of agony on the cheeks.
Signed with Diirer's monogram, " A.D., Inve. A°. 1514," but this
is a forgery, as the picture is a copy only. On Panel, with
painted border— height, 17 £ in.; width, 13^ in. M'Lellan, Col
lection.

Dusart Cornelis Dusart, 1660-1704. Dutch School.
Dusast was a native of Haarlem, and a pupil of A. Van Ostade, whose
manner he imitated so closely that it is sometimes difficult to distinguish
his productions from the works of his great master. His imitation of
Ostade extended to choice of subjects ; but he fails to convey the impres
sion of distinct and varied individuality in his groups, and to display the
subtlety of colouring which so eminently characterise his model and
teacher. Dusart was a great lover and collector of prints. He was made
a member of the Guild of Haarlem in 1679, and in that city he died.
298. The Musicians. Seated at a damask-covered table, a
man plays on the violin to the vigorous accompaniment- of a
woman on the flute. On Copper — height, 8 in.; width, 6 in.
Euing Collection.

Duverger. Thfophile Emmanuel Duverger, 1821-.... French
School. An artist who worked at Bordeaux and Paris in the early half of the
19th century.

66 DYCK. ES.

299. Playmates. In a room three children — two boys and
a girl — amusing themselves with a dog. The girl is dressing
the dog; one of the boys holds it by the collar, and the other
looks on. Signed "Duverger." On Panel' — height, 12f in.;
width, 9£ in. Elder Collection.

Dyck. Anthony Van Dyck (see Vandyck).

Elias. Nicolas Elias Pickenoy, about 1590-1650. Dutch
School. Pickenoy, known as " Elias," was born in Amsterdam about 1590. He
was a talented portrait painter, and is said to have been the teacher of
Van der Heist. Twelve examples of his art are in the Rijks Museum,
Amsterdam. 300. Portrait of a Lady. Half-length, life-size figure, with
lace head-dress, broad white ruff, and a black embroidered dress.
On Panel — height, 2 ft. 3| in. ; width, 1 ft. 9 in. Graham-Gilbert
Collection.

Ellis. Edwin Ellis, R.B.A., 1841-1895. English School.
Ellis was born at Nottingham, where he was employed in his early
years in a lace factory. He studied under Henry Dawson, and sub
sequently in France. He devoted himself to the painting of the sea, the
varying aspects of which he depicted with considerable power. He
painted with extraordinary rapidity and sureness of touch, but his some
what erratic habits barred him from ever attaining the eminence to which
his ability entitled him to aspire. He died suddenly on 19th April, 1895.
301. On the South "Coast of England. The characteristic
chalk cliffs of the south-east of England, from which the name
Albion is derived. In the foreground are a number of women
gathering shell-fish. Signed " E. Ellis." On Canvas — height,
17£ in.; width, 32^ in. Teacher Collection.

Es. Jacob van Es, 1606-1665-6. Flemish School.
Jacob Van Es or Essen, a celebrated painter of stiU life, was born at
Antwerp. He was remarkably successful in reproducing fish, and his
two best pictures, " Fish Markets," with figures by Jordrens, are in the
Vienna Gallery. He died at Antwerp in 1665 or 1666.
302. Game and Fruit Piece. Pheasants, partridges, finches,
etc., lying on a table, on which are also a basket and dishes con
taining various fruits. On Panel— height, 2 ft. 5 in. ; width, 3 ft.
5 in. Euing Collection.

esselens. faed. 67

Esselens- Jacob Esselens, 17th century. Dutch School.
Very little is known of the circumstances of this excellent artist, except
that he is said to have been a pupil of Rembrandt, and that he practised in
Amsterdam about the middle of the 17th century. He devoted himself
principally to the representation of hunting and hawking scenes, and his
works show a clear tone and a vigorous touch, but they scarcely bear any
trace of the influence of his great master.
303. The Rendezvous of the Hunting Party. In the
foreground of a wide landscape a group of sportsmen, with a lady
who has descended from a three-horsed carriage, are assembled.
There are also several hounds, and a man on horseback.
Signed, on the prostrate trunk of a tree, "J. Esselens." On
Panel — height, 1 ft. ll£ in.; width, 2 ft. 8 J in. M'Lellan
Collection.

Etty. WUliam Etty, R.A., 1787-1849. English School.
Etty, the son of a miller in York, began his career as a printer's
apprentice. He was possessed of an eager desire to be a painter, and in
his twentieth year he was enabled to enter on the study of art under Mr.
(afterwards Sir) Thomas Lawrence. He studied and worked assiduously,
but many years elapsed before he established his claim to public recog
nition. When he was thirty-five years of age he visited the principal
Italian cities, where, but especially in Venice, he obtained powerful
inspiration from the study of the works of the great colourists. In his
after years he painted a number of important gallery pictures, remark
able for great intensity of feeling and brilliance of colour. Five of his
large and most important pictures were, at intervals, bought by the
Royal Scottish Academy, and are now in the National Gallery in Edin
burgh. He died at York on 13th November, 1849.
304. The Three Graces. Sketch of three female figures,
grouped, erect, partly draped, and having a garland of flowers
entwined around them. On Panel — height, 7 in. ; width, 5 in.
Euing Collection.
305. Study for a Head of Christ. On Panel — height,
1 ft. 6f in.; width, 1 ft. 2i in. Lent by the National
Gallery. 306- The Bathers : A Sketch. Two female figures — one
stepping into the water, the other reclining on coloured draperies
with an arm around her companion. On Panel — height, 6 J in. ;
width, 5J in. Euing Collection.
Faed. John Faed, R.S.A, 1820-1902. Scottish School.
Faed was born at Barlay Mill, near Gatehouse-on-Fleet, Kirkcud
brightshire. While still a child, his drawings attracted the attention of
Viscount Kenmure, himself an artist of no mean capacity, and his Lord
ship was so impressed by the boy's ability that he made him a present of
his own painting materials. When Faed was only twelve years of age, he

68 faed.
travelled throughout the .towns and "f^.^J^^^^
miniatures of all the prominent people of the district. At the age 01
Sfhe3 removed ^Edinburgh? where he took ^> "^ *j£ g
rapidly acquired a reputation as a miniature painter. By degrees ne
turned his attention to painting in oil, and the excellence of his contr bu-
Ssetoh;L"al°nScottPish Acldemy secured his ^sV^d^emoved
of that body in 1847, and full membership in 1851. In 1862 J aed removed
to Londonf and for many years was a regular exhibitor m the Royal
Academy In 1880 he retired to Gatehouse, where he remamed untd his
death, which took place on the 22nd October, 1902.
307 Trysting Place— Landscape with Cattle and Sheep.
In the foreground a stile, with girl, bare-legged and in a short-
gown and petticoat, water pitcher at her feet, talking to her
lover. Signed "J. Faed." On Canvas— height, 15 in.; width,
24 in. Teacher Collection.
308. Death of Burd Ellen.
" Curst be the heart that thought the thought,
And curst the hand that fired the shot,
When in my arms Burd Helen dropt
And died to succour mei
O think na ye my heart was sair
When my love dropt down and spak' nae mair,
There did she swoon wi' meikle care,
On fair Kirkconnel Lea."
—Ballad of Fair Helen of Kirkconnel.
Near a huge cleft tree a young woman in white, with red hat
and white feather, lies on the ground, her head supported by a
cavalier dressed in a slashed blue and red doublet and cloak.
To the left is a stream spanned by a bridge, over which a man is
hurrying ; in the distance, a castle. Signed " Jno. Faed." On
Canvas— height, \\\ in.; width, 8 \ in. Smellie Collection.
Faed. Thomas Faed, R.A., 1826-1900. Scottish School.
Thomas Faed, the son of an engineer and millwright, was born at
Barlay Mill, near Gatehouse-on-Fleet, Kirkcudbrightshire. He com
menced the study of art at a very early age under the direction of his
elder brother John (see No. 307). In 1849, Thomas was, when only
twenty-three years of age, elected an Associate of the Royal Scottish
Academy, and in 1852 he removed to London, where he exhibited
regularly at the Royal Academy, and where he remained until his death.
His work was almost entirely confined to the portrayal of the pathetic
and sentimental sides of Scottish domestic life, which he interpreted with
much feeling and truth, and with a fine sense of colour. His last picture,
"The Rustic Bathers," was exhibited at the Royal Academy in 1893.
He was elected an A.R.A. in 1859, and a full Academician in 1864, but
resigned in 1893 owing to failing sight. He died on 17th August, 1900.
310. Violets and Primroses. A London flower-girl, with
basket of spring flowers. Signed "Thomas Faed, 1874." On
Canvas — height, 31 in. ; width, 1\\ in. Teacher Collection.
Exhibited in Royal Academy, 1874.

falens. farquharson. 69

311. Venus and Cupid. Signed "T. F." On Canvas-
height, 17^ in. ; width, 25J in. Teacher Collection.
312. Spanish Bandits in a Cave. The bandits dividing
spoil by lamplight within a cave. On Canvas — height, 9 in.;
width, 12 in. Teacher Collection.
[There is no good reason for believing that No. 312 is the work of
Thomas Faed.]
Falens. C. Van Falens, or Valens, 1683-1733. Flemish
Sohool. Falens was a native of Antwerp, and a painter of hunting scenes,
horses, etc. , in close imitation of the subjects and manner of Wouwerman.
He died in Paris on 26th May, 1733.
318- The Departure. Several cavaliers are having their
horses led out from a stable, and mounting for a journey. One
horse is exceedingly restive, and kicking, greatly alarms a woman
with a child in her arms. Various other figures are dispersed
about, the action taking place at the side of a garden wall sur
mounted with a statuary figure and a vase. Landscape with
trees and a large house in the distance. On Canvas — height,
19 in.; width, 24 in. Graham-Gilbert Collection.
Fanner. Henry George Fanner. English School.
319. Portrait of a Child. Signed "H. G. Fanner."
Pastel — height, 22| in.; width, 17 in. Teacher Collection.

Farquharson. David Farquharson, A.R.A., 1839-1907.
Scottish School.
David Farquharson, one of the most distinguished of recent Scottish
landscape painters, was born at Perth in 1839, and there began his career
as an apprentice decorator. In removing to Edinburgh he turned his
attention to landscape painting, his subjects being taken principally from
Perthshire and the West Highlands. He was elected an Associate of the
Royal Scottish Academy in 1879. In 1882 he went to London, where he
resided for some years at St. John's Wood, but for the last thirteen years
of his life he lived at Sennen Cove, Penzance, where he occupied himself
chiefly in painting the wild and romantic scenery of the Cornish coast.
In 1897 his picture, " In a Fog," was purchased by the Chantrey Trustees,
and again, m 1906, the same body purchased the large canvas, " Birnam
Wood." Both these works are now in the National Gallery of British
Art. In 1904 he exhibited in the Royal Academy what is perhaps his
greatest achievement, a view of Sennen Cove, "Full Moon and Spring
Tide," which had the honour of being hung in the centre of the large
gallery, the place usually reserved for a work by the President of the
Academy. In the following year Farquharson was elected an Associate
of the Royal Academy. He died at Birnam, Perthshire, on 12th July, 1907.,

70 FERGUSON. FLEMING.

320. View of Arran from the Ayrshire Coast. Fore
ground, the low, sandy shore of Ayrshire, with sea-weed
gatherers, horses and carts; Arran in the distance; steamers and
small craft in the channel. Signed " David Farquharson." On
Canvas— height, 2 ft. 8 in. ; width, 5 ft. Teacher Collection.
321. On the Achray. The River Achray flowing between
wooded banks; cattle in the stream and others approaching. In
the distance, woods with hills rising behind. Signed " D. Farqu
harson, '84." On Canvas — height, 11| in.; width, 19| in.
Smellie Collection.

Ferguson. William Gouw Ferguson, 1633 '-1690? Scottish
School. Very little is known of this artist. He is said to have received his
early training in Scotland, after which he went abroad, residing for the
most part in Italy. He painted chiefly dead game and still life subjects,
and occasionally landscape. He is supposed to have died in London
about 1695. A picture by him is in the National Gallery, Edinburgh,
and another in the Berlin Gallery.
324. Still Life. Partridge, thrush, goldfinch, fowler's net,
etc., and table top with cover. Signed " W. G. Ferguson f." On
Canvas — height, 23^ in. ; width, 19 in. Purchased, 1900.
325. Still Life. Pigeon, kingfisher, two finches, fowler's
net, etc., and table top with fringed cover. On Canvas — height,
23£ in.; width, 19 in. Purchased, 1900.
Filosa. G. B. Filosa.
327. The Love Letter. An interior in which is a fancifully
dressed female sitting at a rich pier table, with a pen in her hand
and paper before her. Signed " G. B. Filosa." Water-colour —
height, 26£ in.; width, 19^ in. Teacher Collection.

Fleming. John Fleming, 1792-1845. Scottish School.
Fleming was a local artist, who lived in Greenock in the early part of
last century. He is best known from the series of views he painted for
Swan's Lakes of Scotland, published in 1834.
328. View of Greenock. The town of Greenock, with the
harbour, Firth of Clyde, and the Argyllshire hills, seen from the
rising ground of the Whinhill Park ; in the foreground cows being
milked, and woman and children. Signed "J. Fleming, 1827."
On Canvas — height, 2 ft. 10 in.; width, 4 ft. 2 in. Euing
Collection.

SCHOOL of Foppa. — The Adoration of the Kings.

FLORIS. FOSTER. 71

Floris. Frans Floris, 1517-1570. Flemish School.
The family name of this artist was De Vriendt, and he was the son of a
gem engraver in Antwerp. He studied painting under the direction of
Lombard at Liege, and, having visited Italy, he settled in his native town,
Antwerp, where he was received into the Guild of St. Luke in 1540, and
where he attained a high reputation, and was held in esteem by the Prince
of Orange and other Flemish nobles. He painted figure subjects, mostly
religious and mythological.
329. Saints Catherine and Margaret. Figures seated
together, the arm of Margaret around the neok of Catherine. In
the left hand of Catherine the palm frond, and Margaret bears in
her right the sword. A cherub descends over them with a floral
wreath. Background, trees. On Copper, circular top — height,
lOf in.; width, 7 in. M'Lellan Collection.
"Not by him, but by some good master'' (Waagen's Art Treasures,
vol. iv., p. 459).
M. Hymans suggests that this picture is the work of Francken.

Foppa- Vincenzo Foppa, ...-about 1515. Italian-Lombard
School. Foppa was born probably between the years 1425 and 1430 at Brescia.
He spent many years in Milan, where he painted numerous frescoes,
which have now almost entirely disappeared, and, indeed, his authentic
works are rare. He may be regarded as the parent of the Lombard School.
330. Altar Piece. — The Adoration of the Kings. (School
of Foppa.) The Virgin with the infant Saviour (who is holding
a golden casket) on her knee ; behind is St. Joseph. To right a
king, with his crown on the ground, kneeling, adoring the
Saviour. Behind are two crowned figures bearing costly gifts.
In the background, architectural ruins; to the right, in the
distance, a procession, ruins, and landscape, terminating in hills.
On Panel— height, 5 ft. 8£ in.; width, 2 ft. 10 in. Graham-
Gilbert Collection.

Foster. Myles Birket Foster, R.W.S., 1825-1899. English
School. Myles Birket Foster was born at North Shields on February 4, 1825.
Five years later his family removed to London, and there, at a very early
age, Foster came under the influence of Bewick, the engraver. Subse
quently he worked with Ebenezer Landells, the wood engraver, being
employed at illustrations for Punch, the Illustrated London News, and
other newspapers, and at book illustrations. In 1846 he started
independently, and was largely employed by Vizetelly, the publisher,
for whom he did the illustrations for many famous works. Later he
gave up black and white and took to colour, his first work being hung
in the Royal Academy in 1859. In the year following he was made an

72 fragonard. francesca.

Associate of the Old Water-colour Society, and two years after received
full membership. Foster was a popular and prolific artist, his works
most in favour being rustic English scenes, which he rendered with
considerable charm of colour. He was also an accomplished etcher, and
he frequently worked in lithography. He died at Weybridge on March
27, 1899.
331. A View on the Rhine — The Loreli Rocks. A river,
having on the far side a range of hills crowned by a fortified
building; below, on the banks, buildings, boats, &c. ; on near
side, boats, rafts, &c, with a landing stage, on which are
male and female figures with baskets of flowers and fruit.
Water-colour — height, 1\ in.; width, 11 in. Signed in
monogram. Presented by the Executors of Henry Callcott
Brunning, per the Trustees of the National Gallery.

Fragonard. Jean Honors Fragonard, 1732-1806. French
School. Fragonard was a native of Grasse, but while a youth his family came
to Paris, where he was instructed first by Chardin, and after making
brilliant and rapid progress, he was received into the studio of Boucher.
He gained the prize of Rome in 1752, and in that city he studied in close
alliance with Hubert Robert. He was an indefatigable worker, and he
produced countless pictures and drawings of all kinds, portraits, domestic
scenes, landscapes, pastels, miniatures, and etchings. Before the rise of
David and the classical school, the art of Fragonard enjoyed enormous
popularity, but latterly it declined greatly in public estimation, and the
artist died in poverty at' his lodging in the Louvre on 22nd August, 1806.
332. Fete Champetre. Sketch of a party of ladies and
gallants landing from a barge, and variously disporting them
selves in a landscape garden. On Canvas — height, 10 in. ;
width, 12| in. M'Lellan Collection.
333. An Allegory — Design for Tapestry. Nude female
riding on a goat, supported by a satyr behind. To right, amorini
disport themselves, and behind them a satyr with a oup in his
hands; to left, a reclining female holds aloft and beats a tam
bourine, while at her side is an amorino overturning a jar. On
Canvas— height, 2 ft. 0£ in.; width, 2 ft. \\\ in. M'Lellan
Collection. Formerly attributed to Boucher.
Francesca. Piero Delia Francesca, about 1420-1492. Flor
entine School.
Pietro di Benedetto Dei Franceschi, called Piero Della
Francesca, and also Piero Borghesb, was born at Borgo San Sepolcro
about 1420, where also he died in 1492. There is no information as to
his early training, but between the years 1439 and 1450 he was assisting
Domenico Veneziano with the frescoes of Sant Egidio at Florence.

francia. fraser. 73

Subsequently he went to Rome, where along with Bramantino he painted
two frescoes in the Vatican. ,His greatest work was the cycle of frescoes
illustrating the legend of the cross in the Church of San Francesco at
Arezzo. He is said to have considerably improved the process of painting
in oil, and he wrote a treatise on the laws of perspective, copies of which
are preserved in the Vatican Library, Rome, and in the Ambrosian
Library, Milan.
334. Virgin and Child with Angels. The Madonna with
a nimbus, and dressed in a blue mantle over a red robe, holds
the Holy Child, also with a nimbus, who stands on a ledge
holding a bird in His left hand. To the right and left are two
youthful angels with golden wings, and to the right, below, is
a child-saint with a nimbus. The background is of leaves and
flowers. Figures in tempera, background in oil. On panel —
height, 4 feet 3 in.; width, 2 ft. Presented by T. Graham
Young in memory of his father, James Young, LL.D., F.R.S.,
of Kelly, 1900.
Francia. See Raibolini.
Francken. Frans Francken, or Franck, 1542-1616. Flemish
School. Frans Francken the elder was the son of Nicholas Francken, a painter
who lived in Herenthals, where Frans was born about 1542. A good
deal of confusion has arisen as to the biography of Francken, from the
fact that his own son Frans, and many other relatives bearing the same
patronymic, were also artists. He became a burgess and member of St.
Luke's Guild of Antwerp in 1567, and his subsequent career is identified
with that town. The elder Francken was an influential artist, with a
large following, and many members of his family attained distinction.
He painted historical as well as religious pictures. A " Procession to
Calvary" (the subject noted below), signed and dated 1597, is in the
Dresden Gallery. He died at Antwerp.
335. The Procession to Calvary. A multitude of figures,
Roman soldiers, governor and attendants, Jewish people and
rabble, accompany the Saviour, who bears His cross towards
Mount Calvary, on which two crosses are seen already erected;
the Saviour is borne down under His burden, and St. Veronica
presents to Him a napkin to wipe the sweat from His face; at
the side stand the two Marys, and in front a malefactor is being
dragged with great violence ; Jerusalem is in the distance on the
left. On Panel— height, 2 ft. 4| in. ; width, 3 ft. 4 in. M'Lellan
Collection. Fraser. Alexander Fraser, R.S.A., 1828-1899. Scottish
School. Alexander Fraser, one of the most eminent of recent Scottish land
scape painters, was born at Woodcockdale, near Linlithgow. His father
was an amateur artist of some ability, and from him Fraser got his first

74

instruction in art. On leaving school he was sent to Edinburgh, where
he studied in the School of Design, and at the same time industriously
copied from the pictures in the Scottish National Gallery. In Edinburgh
he became an intimate friend of Mr. (subsequently Sir) William Fettes
Douglas, in whose company he began sketching from nature. His first
exhibited work at the Royal Scottish Academy was "A Gipsy Girl in
Prison," but he soon gave up figure painting, and turned his attention
entirely to landscape. His best works, which were for the most part
painted in the open air, are scenes in Surrey and Cadzow Forest, and are
distinguished for their purity, richness, and vigour of colour, and their
fidelity to nature. Fraser was elected an A.R.S.A. in 1858, and four years
afterwards R.S.A. He died at Musselburgh.
336. View in Cadzow Forest. An autumn scene. Wood
cutters and sportsmen, with dogs, in the foreground. Clyde
valley in the distance. Signed " A. Fraser, R.S.A." On Canvas
— height, 3 ft. 1 in. ; width, 4 ft. 2 in. Teacher Collection.
337. Cadzow Forest. An autumn scene. A waggon loaded
with heavy oak logs ; figures and horses in the foreground ; Clyde
valley bounded by hills ; summit of Ben Lomond in the distance.
Signed "A. Fraser." On Canvas — height, 3 ft. 1\ in.; width,
4 ft. IJ in. Teadher Collection.
338. Woodcutters in Cadzow Forest. Ancient Cale
donian oak in the centre; bark peelers and woodcutters to
the left. Signed " A. Fraser." On Canvas — height, 26| in. ;
width, 21J in. Teacher Collection.
339. Cadzow Forest in Springtime. An open glade,
with several ancient oak trees in foreground. Signed "A.
Fraser." On Panel — height, 10 J in.; width, 13£ in. Teacher
Collection. 340. A Forest Bit — Autumn. A Cadzow Forest Scene.
Men, with horses, removing logs. Signed "A. Fraser." On
Canvas — height, 9| in. ; width, 13 \ in. Teacher Collection.
341. Dunderaw Castle, Loch Fyne. Shingly beach, with
boat, etc., in the foreground; beyond, a sea loch; castle in the
distance. Signed "A. Fraser." On Canvas — height, 16 j in.;
width, 25| in. Teacher Collection.
342. Castle Campbell — Springtime. A knoll, with pic
turesque ruins of ancient castle seen through trees ; in the fore
ground, woman and child, with sheep. Signed " A. Fraser,
R.S.A." On Canvas— height, 17J in.; width, 23J in. Teacher
Collection. *

fraser. 75

343. Springtime, Dundarroch, Brig o' Turk. Highland
cottages, with wood gatherers, sheep, shepherd, and dogs; back
ground, rugged peaks. Inscribed " May — A. Fraser." On
Canvas — height, 17^ in.; width, 25\ in. Teacher Collection.
344. The Waterfall. A waterfall, thickly overhung with
i trees ; a woman is bathing her face in a pool below ; large
boulders encumber the bed of the stream. Signed " A. Fraser."
On Canvas — height, 3 ft. ; width, 2 ft. 3 J in. Teacher Collection.
345. A Highland Burn. On Canvas — height, 9 in.; width,
14 in. Teacher Collection.
346. On Loch Fyne. In foreground a fisher's hut,
tree behind, boats drawn up by the side of a loch. Signed
"A. Fraser." On Panel— height, 10£ in.; width, 22£ in.
Teacher Collection. From the Collection of A. Hay Miln, of
Woodhill. 347- North Berwick — Sunshine. Sandy shore, with large
boulders; some cattle are cooling themselves in the water;
beyond, the sea, with fishing boats and distant view of the Bass
Rock. Signed " A. Fraser." On Canvas — height, 9| in. ; width,
13 £ in. Teacher Collection.
348. Bass Rock from Canty Bay. On Canvas — height,
2 ft. 1| in.; width, 3 ft. Teacher Collection.
349. East Coast Scene. Sea wall and narrow entrance to
an east coast fishing harbour; cottages on the rocks, and group
of fisher women on the pier. Signed "A Fraser." On Canvas
— height, 2 ft. 5 J in. ; width, 3 ft. 7| in. Teacher Collection.
350. Landscape. Cattle and trees in the foreground; well
wooded valley and, in the distance, a castle. On. Millboard —
height, 8 in. ; width, 10^ in. Teacher Collection.
351. A Country E,oad. Red-tiled cottage among trees, by
a country road, along which a flock of sheep is approaching.
Signed " A. Fraser." Water-colour — height, 10 \ in. ; width,
14| in. Teacher Collection.
352. A Highland Flitting. On the banks of a river a
cluster of thatched houses, from which crofters are removing
their household effects. Behind is a wood and, to the left, more
thatched houses. Signed "A. Fraser." On Canvas — height,
2 ft. 9 in. ; width, 3 ft. 6| in. Smellie Collection.

76 frere. gabrielli.

353. Barncluith. A country road leading past a cottage
to left, along which a woman and child are advancing; in the
centre of an open space two large oak trees, beneath which
children are playing. Signed " A. Fraser, R.S.A." On
Canvas — height, 15£ in. ; width, 21£ in. Carfrae Alston
Collection, 1909.
Frere- Pierre Edouard Frere, 1819-1886. French School.
Frere was born in Paris on 10th January, 1819. He was a pupil of
Delaroche, and first exhibited at the Salon in 1843. His works consist
for the most part of cottage interiors with figures, and, in later life, he
• dealt with the employments and amusements of children. He frequently
exhibited in London, both at the French Gallery and the Royal Academy.
He died at iScouen on 23rd May, 1886.
354. Mother and Children. Interior with a mother and two
children. Signed "Edouard Frere." On Panel — height, 18 in.;
width, 14£ in. Donald Collection.
Fricca. Fosca Fricoa. Modern Italian School.
355. Looking at the Carnival. Four smiling faces in profile.
On left an old man with a grey beard, next him a girl, then an
ecclesiastic, and on right a peasant. Signed "Fosoa Fricca,
1881." On Canvas— height, 10£ in.; width, 14| in. Elder
Collection.

Frost. George Frost, 1744-1821. English School.
George Frost was the son of a builder at Barrow, in Suffolk, in
which business he was first trained. He afterwards became connected
with a coaching business, but throughout his life was an ardent amateur of
art and an imitator of Gainsborough. He died at Ipswich.
356. Courtship — A Sketch. A young man, with Spanish
hat and feather and cloak, making love to a maiden in a white
robe; background, trees. On Panel— height, 9£ in.; width,
1\ in. Euing Collection.
Fulton. Samuel Fulton (living artist). Scottish School.
357. Foxhounds. Two foxhounds in a kennel. On
Canvas— height, 2 ft. 6 in.; width, 3 ft. 5A in Signed
" Sam. Fulton." Purchased, 1910.
Gabrielli. G. Gabrielli. Modern Roman School.
An Italian painter of the first half of the nineteenth century He
exhibited at the Royal Academy in 1811, and in 1818 while resident in
Dublm, and subsequently in 1819 when he had removed to Rome

GAEL. GALE. 77

358. View of the Forum Romanum in Rome. In the fore
ground are seen, on the right, the ruined columns of the Temple
of Vespasian, surmounted by entablature, with inscription,
SENATTJS POPULUSQUE ROMANUS INCENDIO CONSUMP-
TUM RESTITUIT. Beyond are three columns of the ancient
temple of Castor and Pollux. To the left, in the foreground, is
the arch of Septimius Severus, and in the background, among
modern churches, etc., are seen the Arch of Titus, part of the
Colosseum, and the Alban hills. Signed " G. Gabrielli, 1824."
On Canvas — height, 2 ft. 1\ in. ; width, 3 ft. 2£ in. Bequeathed
by Mrs. Douglas, of Orbiston, 1862.
Gael. Barent Gael, 1650-1703. Dutch School.
Gael or Gall, a native of Haarlem, was » pupil of P. Wouwerman.
His pictures principally deal with landscapes, village life, and other
rural subjects.
359.- A Rustic Group assembled in front of a cottage looking
on at the performance of a female dancing. Signed on box, on
which a man is seated, "B. Gael." On Panel — height, 9 in.;
width, 7 in. M'Lellan Collection.
Gainsborough. Thomas Gainsborough, R.A., 1727-1788.
English School.
Thomas Gainsborough, the great rival and contemporary of Sir Joshua
Reynolds, was the son of a crape maker, born at Sudbury, Suffolk, 1727.
He began early to draw and paint, and came to London about 1741,
where he received some instructions from Gravelot, the engraver, and F.
Hayman. He returned to Sudbury about 1745, and married Margaret
Burr, settled at Ipswich, removed to Bath 1760, and finally migrated to
London in 1774, living in the west wing of Schomberg House, Pall Mall.
He was one of the original members of the Royal Academy, 1768, and died
in London, 2nd August, 1788. Gainsborough is deservedly reputed one
of the first and greatest of the artists of England. His powers as a
painter were more varied than those of Sir Joshua. As a landscape artist
he is the precursor of the modern naturalists, and his portraits, of ladies
especially, possess an unapproachable daintiness and grace. One of his
most famous works, the Hon. Mrs. Graham, is in the National Gallery,
Edinburgh. •
360. Donkeys in a Storm (Sketch). Under a thunderous
sky three donkeys stand huddled together in the shelter of several
trees. In mid-distance a man on a rearing horse followed by
another running on foot. On Canvas — height, 15 in. ; width,
13J in. M'Lellan Collection.
Gale. William Gale (living artist). English School.
361. Dance of Nymphs. In a forest glade a number of
partially clad females dancing. Signed "W. Gale, 1855." On
Canvas — height, 1 ft. 9 in. ; width, 3 ft.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.

78 gamhara. gianpietrino.

Gambara. Lattanzio Gambara, 1541 ?-1574. Lombard School.
Gambara was the son of a tailor at Brescia, who, under the pressure of
want, was driven to Cremona, where the lad worked at his father's calling.
The young Gambara, however, showed a resolute determination to culti
vate art, to the neglect of his less dignified calling ; and his sketches drew
to him the notice of an eminent Cremonese painter, Antonio Campi, by
whom he was trained for several years. He. came greatly to excel in
drawing the human figure, and especially distinguished himself in broad
treatment of fresco work ; but his career was cut short by premature
death, at the age of 33.
362. Head of a Female. Life-size head and shoulders;
head thrown back and eyes gazing upwards; shoulders wrapped
in green tinted scarf, fastened by a brooch. Part of a fresco
removed from the walls of the Convent of St. Eufemia, Brescia.
Tempera, on Canvas — height, 2 ft. 1 J in. ; width, 2 ft. IJ in.
Presented by Charles Heath Wilson, 1870.
Garofalo. See Tisi.

Garrido. Leandro R. Garrido, 1868-1909. Spanish School.
Garrido was born at Bayonne, France, on September 27th, 1868, of
Spanish parents. He studied for a short time at South Kensington, and
also at the Ecole des Beaux Arts in Paris, but was mostly self taught.
He resided chiefly in France, and died at Grasse on May 5th, 1909. An
example of his work was acquired by the French Government.
363. The Lady with the Gloves. Half-length figure of a lady
turned to left, looking to front, in brown dress and hat, fasten
ing glove on her right hand. Signed "L. R. Garrido." On
Canvas— height, 3 ft. 0| in. ; width, 2 ft. 5 in. Purchased, 1904.
Gauld. David Gauld (living artist). Scottish School.
364. Contentment. Five calves in a field, three lying down ;
an overturned bucket near. On Canvas — height, 3 ft.' 6 in.;
width, 5 ft. Signed "D. Gauld." Purchased, 1903.
See also No. 617.
Gianpietrino. Giovanni Pedrini, early 16th century. Italian-
Lombard School.
Gianpietrino is one of the many eminent artists whose name and reputa
tion have been rescued from oblivion by Sig. Morelli. He was a pupil of
and greatly influenced by Leonardo da Vinci, and under various names his
works are dispersed in several collections, but his most important pro
ductions remain in Milan and its neighbourhood.
365. Holy Family. The Virgin, seated with the Holy Child,
nude, on her knee; St. John, a little boy in goatskin robe, offers

gilbert, gilfillan. 79

Him a bird ; St. Joseph is in the background ; a pillar behind the
head of the Virgin; to the left, on the ledge of a balcony, a
basket with a white cloth; to the right, a scroll, with the legend
ECCE A. On Panel— height, 2 ft. 1 in.; width, 1 ft. 7J in.
M'Lellan Collection.
This picture, which has also been assigned to Luini, has the seal of
the Academy of Milan and other seals on the back of the panel.

Gilbert. Arthur Gilbert (born Williams). English School.
This artist was the son of Edward Williams, a well-known landscape
painter, who died in 1865. Mr. Williams left six sons, all of whom
followed the profession of their father, and, to preserve their artistic
individuality, Arthur and two of his brothers chose separate surnames.
Mr. Arthur Gilbert contributed to the Exhibitions of the Royal Academy
steadily from 1842 till 1894.
366. Landscape. An expanse of level, well- wooded country,
with, a meandering sluggish river to the left. Its reedy banks,
with cattle and trees, form the foreground. Signed "A. G.,
1850." On Canvas — height, 9 in.; width, 15 in. Euing Col
lection. 367. Landscape. In a creek of the river a boat with two
figures; cattle and trees in mid-distance, and to the left an
expanse of flat country. Signed " A. G., 1850." On Canvas-
height, 9 in. ; width, 15 in. Euing Collection.
Companion to No. 366.
Gilfillan. John A. Gilfillan, 19th century. Scottish School.
Gilfillan in his early life was a lieutenant in the Royal Navy. After
wards he devoted himself to art, and from 1830 to 1840 he held the appoint
ment of teacher of drawing in the Andersonian University, Glasgow.
Ultimately he emigrated to New Zealand to follow farming ; but, meeting
there a severe domestic misfortune, he went to Melbourne, in which town
he obtained an appointment in the Post Office.
368. Robinson Crusoe landing Stores from the Wreck.
Shores of a mountainous tropical island; on a raft, Crusoe is
bringing to shore various boxes and stores, with a dog, from the
wreck, which lies stranded near by. On Canvas — height, 3 ft.
3 in. ; width 4 ft. 1 in. Euing Collection.
369. Partick Castle. — The ruins of Partick Castle. To
the right are some thatched houses, in front of which a woman is
hanging out linen to dry. In the right foreground a lady and
gentleman are seated upon the ground. Water-colour — height,
10 in.; width, 12 in. Smellie Collection.

80 GIORGIONE.

Partick Castle, otherwise known as the Bishop's Castle, was situated on
the western bank of the River Kelvin, near its junction with the Clyde.
It was long supposed to have been built by one of the early Bishops of
the See of Glasgow for a country residence, but documents recently dis
covered have established the fact that the building was erected in 1611
by George Hutcheson, of LambhiU, one of the founders of Hutchesons
Hospital, Glasgow. It has now entirely disappeared, and the site is
occupied by engineering works.

Giorgione- Giorgio Barbarelli, about 1477-1510. Italian-
Venetian School.
Giorgio Barbarelli, called Giorgione— the great George— was the
son of a peasant of Vedeago who had settled in Castelfranco in 1460. He
was a contemporary and fellow-pupil of Titian in the School of Giovanni
Bellini in Venice ; but while the one died young, the other lived to an
extreme old age. For some time these two great artists worked together,
and the influence of Giorgione's noble spirit was very marked in the early'
work of Titian. During his brief life Giorgione was a fertile worker, pro
ducing religious pieces, portraits, ideal groups, and landscapes, but much
of his work has perished ; a great deal is falsely attributed to him, and
well-authenticated pictures of the master are very rare and highly prized.
Giorgione was a man of lofty, serene, and poetical imagination. He first
imbued art with the spirit of modern life, and he exercised a powerful
influence, not only on his contemporaries, but on the whole current of
artistic evolution. He died of the plague at Venice.
370. The Adulteress brought before Christ. Composi
tion of eight figures, in which the woman, in rich garments, is
being dragged by her eager accusers before the Saviour, who is
in the act of interposing, and with His hand moving one of the
men aside and releasing the woman from his grasp; on the wall
behind the Saviour is a medallion head, and to the right there is
a glimpse of a pastoral landscape. On Canvas — height, 4 ft.
6 in.; width, 5 ft. 11 in. M'Lellan Collection.
In the Accademia Carrara at Bergamo there is a version of this picture,
with important variations, ascribed to Cariani. The Bergamo picture is
somewhat longer than that in Glasgow, the female figure comes fully into
the field, and in the front of the adulteress there is a male figure fantasti
cally attired in red cap, dark green jacket, and striped red and black hose.
The dress of the female is also different, the scarlet bands seen in the
Glasgow picture being absent, and throughout the picture is wanting in
the marvellous glowing brilliance of colour, which characterises the Glas
gow work.
Of this picture Dr. Waagen says : ---
"Judging from the highly original conception of the characters, and from the feeling and
depth of colour, I am inclined to consider this picture a fine work of the middle period of
Giorgione. It especially agrees with the ' Holy Family' in the Louvre. A man in Venetian
costume, and seen in profile, is conducting the woman before Christ. She, with her right arm
upon her breast, repents her crime, and beseeches pardon ; Christ seated, and addressed by
an old man, is stretching His right hand towards her ; on the right is a warrior, seen behind,
speaking to the high priest in lively action ; behind the woman are two other men in conversa
tion : on the right of the background is architecture ; on the left a fine landscape ; the head
of the woman as well as that of the man leading her is very spirited ; the yellow robe has an
empty look from restoration."

GLAUBER. GLOVER. 81

Sir Charles Robinson in his report writes thus : —
" Unquestionably, first on the list comes the beautiful picture by Giorgione, ' The Woman
taken in Adultery. , When it is considered what an important place is occupied in art by the
great Venetian master, and how extremely rare are his authentic works, it is not easy to
overrate the importance of this picture, Dr. Waagen, some years ago, called attention to it
in his well-known work. This picture was then ascribed to the less eminent Venetian painter,
Bonifazio, and Dr. Waagen was the first to signalise it as a fine work of the middle period of
Giorgione. In this opinion I entirely concur, and of its period in the master's career (probably
about 1500) I cannot call to mind aire other picture of greater note. I am happy to add that
Dr. Waagen's qualification to the effect ' that portions of the picture have an empty look from
restoration,' is, I think, not borne out by the facts. Fortunately it is in an excellent state of
preservation, and I have no doubt that,' when the surface dirt by which it is now obscured is
removed, and the varnish refreshed, these drawbacks will be no longer apparent."
Dr. Richter is of opinion that this picture is the work of Domenico
Campagnola, but, regarding this opinion, Dr. Bode remarks that the work,
which he characterises as a marvellous production of Giorgione, has no
affinity with the genuine work of Campagnola, as exemplified in his great
signed altar-piece in the Prague Museum.
In his work on Giorgione (Great Masters in Painting amd Sculpture)
Mr. Herbert Cook says : —
" Finally, in the category of sacred art come two well-known pictures, both in public
galleries, and both accredited to Giorgione. The first is the ' Christ and the Adulteress ' oi
the Glasgow Gallery, the second the ' Madonna and Saints' of the Louvre. Many diverse
opinions are held about the Glasgow picture ; some ascribe it to Cariani, others to Campagnola.
It is asserted by some that the same hand painted the Kingston Lacy ' Judgment of Solomon,
but that is not the hand of Giorgione, and finally, to come to the view which I_believe is the
correct one, Dr. Bode and Sir Walter Armstrong both believe that Giorgione is the painter.
 But those who accept the ' Judith ' at St. Petersburg, the Louvre ' Concert,'
the Beaumont 'Adoration ofthe Shepherds' (to name only three examples where the drawing
is strange), cannojt consistently object to admit the Glasgow ' Christ and the Adulteress ' into
the fold. Nay, if gorgeousness of colour, splendour of glow, mastery of chiaroscuro, and
brilliancy of technique are qualities which go to make up great painting, then the Glasgow
picture must take high rank, even in a school where such qualities found their grandest
expression." Glauber. Jan Godlieb Glauber, 1656-1703. Dutch School.
Glauber, a native of Utrecht, first studied landscape painting under
his elder brother, with whom he visited Rome, and was received into the
Academy of German and Flemish Painters, under the name of MyrtilL
Ultimately he settled in Amsterdam, where he worked much in conjunc
tion with Gerard de Lairesse, who inserted figures in the landscapes of
Glauber. Examples of his works are in the principal German galleries.
He died at Breslau.
372. The Snake m the Grass. A woody landscape, bounded
in the distance by lofty mountains; in the foreground, various
groups of females in classical costume; one woman, to her own
great alarm and that of others, being bitten on the heel by a
small snake. Figures by Lairesse. On Canvas — height, 15| in. ;
width, 21 in. Graham-Gilbert Collection.

Glover. Edmund Glover, 1816-1860. English School.
Glover was known more in his connection with the stage and theatre
management than as an artist. He was son of Mrs. Glover, well known in
London theatrical circles in the early part of the 19th century, and was
himself a successful actor and scenic artist in Edinburgh and Glasgow.
He was for several years the lessee and director of the Theatre-Royal,
Glasgow, and of other theatres.

82 goes.

373. Village of Newhaven, bear Edinburgh. In the fore
ground, fisher folk in their picturesque costume ; fishing boats
drawn up on the shore, a few are sailing in the offing ; and in the
distance, the masts of the shipping at Leith. Signed " E. Glover."
On Canvas — height, 1 ft. l\ in.; width, 2 ft. 5 J in. Euing
Collection. Goes. Hugo van der Goes, about 1435-1482. Netherlandish
School. This great artist is supposed to have been a native of Ghent, in which
city, at least, most of his active life was spent, and where he was admitted
into the Guild of St. Luke in 1467. He was probably a pupil of Roger
van der Weyden, who also trained Memling and other great painters of
the fifteenth century. His only picture authenticated by a signature is the
great altar-piece in the Hospital of Santa Maria Nuova at Florence ; but
for technique, brilliance of colour, and masculine vigour of portraiture, no
work of his exists equal to that which it is the good fortune of this gallery
to possess, and it therefore remains very doubtful whether he was the
author of this example provisionally attributed to him. He died in 1482,
and was buried in the cloister of the monastery of the Austin Canons at
Roodencloster, near Brussels.
375- St. Victor with a Donor. The donor, dressed in a rich
cope of crimson velvet and gold brocade, kneels with clasped
hands under the mantle of St. Victor. The saint wears armour,
a justaucorps of blue velvet sprinkled with small trefoils, a
scarlet baldrick and kilt, a dark crimson-purple cloak trimmed
with brown fur, and white leather gloves. He also wears a laurel
wreath, with a ruby set in pearls, over his brow. In his right
hand he holds a lance and shield; his left rests on the donor's
shoulder. The shield is gules an escarbuncle or, and the same
blazon appears on the forked pennon of the lance. Rich land
scape background of undulating meadows, trees embosoming a
castle to right, all bounded by hills. On Panel — height, 1 ft.
10 in.; width, 1 ft. 6J in. M'Lellan Collection.
This picture was formerly attributed to Jan Gossaert (Mabuse), and its
present attribution was first suggested by Mr. (now Sir) Walter Arm
strong while the work was in the Exhibition of Early Netherlandish
Masters in the Burlington Fine Arts Club in London in 1892. The
suggested authorship has not met with universal acceptance. Herrn
Schone and Bode and M. Emile Wauters declare it to be a Van Eyck,
while W. Von Seidlitz, who, at first, coincided in the Van Eyck attribu
tion, by further study and comparison, recognises in the work closer
relationship to Memling than to any other of the suggested names.
Others, while still declining to admit the validity of the Van der Goes
ascription, point out that it belongs to a later and more developed period
of art than the works of Van Eyck, and, looking on it as one of the most
masterly accomplishments of the 15th century, would prefer to leave it,
in the meantime, as the " Master of the St. Victor," or the " Master of
Glasgow." In a series of articles on "La Peinture Franqais a la fin du
XVe Siecle" (Gazette des Beaux Arts, 1901-1902), M. Camille Benoit gives
reasons for his conclusion that the work is by a French painter of the close

GOODALL,

83

of 15th century not yet known by name, but whom he distinguishes as the
Maitre des Portraits de 1488. Following upon that theory and working
from the heraldic insignia in the picture, M. Rene de Vanloger arrives at
the opinion that the donor represented was a member of the Cleves family
— " without doubt," he says, " John II. , Duke of Cleves, 1457-1521; cousin
of Louis XII. of France." Subsequently the picture was lent to the
Exhibition of Ancient Flemish Masters at Bruges in 1902, and in the
Catalogue Critique of that collection by George H. Van Loo, M. Benoit's '
Maitre des Portraits is identified as Jehan Perreal (called Jehan or
Jean de Paris), and under that name this picture is thus commented on : —
" The patron saint is certainly St. Maurice, as is shown by the armorial
bearings painted on his shield and banner, these being his constant
attributes in the Valley of the Rhine. The Canon donor appears to be a
princely personage, or to belong to the haute noblesse. Possibly the
saint is not his patron, but that of his chapter (Angers? Vienne?), or
simply of the altar for which the picture was destined. It would be very
important for the history of French art to be able to identify ,that donor.
Any information bearing on this would be precious. It may be noted that
the amice is of brown fur, and not of grey as in the Netherlands. To
discover in what chapters they used it so should assist the investigations.
The Glasgow picture marks the full maturity of the art of Jean de Paris
It was probably painted about 1510, and is his chef d'ceuvre."
Writing in Bryan's Dictionary of Painters and Engravers, 1905,
Vol. V., page 242, Mr. W. H. J. Weale says: —
" The picture in the Glasgow Gallery assigned to Hugh van der Goes was first attributed
to him by Sir W. Armstrong in the catalogue of Netherlandish paintings exhibited at the
Burlington Fine Arts Club in 1892. Some critics now believe it to be by the master of the
altar-piece of the Bourbons at Moulins, but the brilliant colour and technical execution prove
it to be the work of a master of the Netherlandish School, though perhaps settled in France.
The donor is a layman, some prince who, as the descendant of a founder of a collegiate
church, had the privilege of wearing a cope and sitting in the canons' stalls. He is protected
by St. Victor or St. Maurice, a clue which may_ lead to the identification of the donor, and
ultimately to that of the painter. Meanwhile this interesting picture bears for the present the
name of Hugh van der Goes, although I cannot accept it as his work."
Exhibited at the Exhibition of " Les Primitifs Francais," Paris, 1904,
No. 106 in Catalogue. Reproduced in Bryan's Dictionary of Painters
and Engravers, 1905 edition, vol. v.
Goodall. Frederick Goodall, RA., 1822-1904. English
School. This artist, the son of Edward Goodall, the engraver, was born in 1822.
His earliest work was the painting of genre pictures, under the influence
of Wilkie and Webster. Later on he turned his attention to Eastern
subjects, travelling extensively in Bible lands and painting sacred incidents
and scenes of desert life. Occasionally he painted portraits, and latterly
he devoted himself to English landscape. Goodall was elected an Associate
of the Royal Academy in 1853, and full Academician in 1863, but retired
in 1902. He died at Hampstead on the 29th August, 1904.
376. Spanish Peasants Retreating from the French Armt.
A crowd of fugitives, some mounted, hurrying past a broken
pillar, on which is a crucified figure; leaning against the pillar
js an eoolesiastio with a book under his arm; in middle distance
a body of armed men, and in the distance a burning city, in
which a domed building is conspicuous. Signed "F. Goodall,
1846." On Panel— height, 6 in.; width, 11 in. Elder Collection.
Exhibited in Royal Academy, 1846.

84 GORDON. GOYEN.

Gordon. Sir John Watson Gordon, R.A., 1788-1864. Scottish
School. This eminent portrait painter, born in Edinburgh in 1788, was the son
of Captain James Watson, R.N. He received his art instruction in the
Trustees' Academy, and at first devoted himself to the painting of
historical subjects. Subsequently he turned his attention to portraiture,
and on the death of Raeburn he became the leading portrait painter in
Scotland. In 1823 he assumed the name of Gordon. He was one of the
early members of the Royal Scottish Academy, of which he became
President in 1850. In the same year he was appointed Queen's Limner,
and received the Order of Knighthood. In 1841 he was elected an
Associate of the Royal Academy, and was made full Academician in 1850.
He died at Edinburgh .
377- Portrait of Elizabeth Galloway or Grieve, of Sand
hills. Half-length portrait, almost full face, of an old lady
in a black dress and widow's cap. On Canvas — height, 2 ft.'
6 in. ; width, 2 ft. 1 in. Presented by her grandson, William
Thorburn Wilson, 1903.
Elizabeth Galloway was a grand-daughter of the celebrated Rev.
John M'Millan, minister of Balmaghie, in the presbytery of Kirkcud
bright, " The Apostle of the Cameronians," and founder of the Reformed
Presbyterian Church. She married John Grieve, surgeon in Inverkeithing,
who removed to Glasgow in 1794, and died there in 1820. Mrs. Grieve
herself died in 1826.

Gossaert See Mabuse.

Goyen. Jan van Goyen, 1596-1656. Dutch School.
Van Goyen was born in Leyden, of which city his father was a wealthy
inhabitant. His predisposition to art was encouraged and developed by
training under various masters, the last and chief of whom was Esaias
Vandevelde. Van Goyen almost exclusively devoted himself to landscape
painting, principally river and canal scenes in Holland, which he executed
in delicate silvery-grey tones, pencilled in a very spirited and poetic
manner. He was father-in-law to Jan Steen. He died at The Hague.
378. A Canal in Holland. On the banks of a canal which,
in mid-distance, is spanned by a bridge, a humble cottage, and
farm buildings among trees. Three boats on the canal, in one
of which two men and two cows, and in another straw is being
loaded. Signed on boat "V. G., 1647 " (?). On Panel, oval-
height, 17 in.; width, 21| in. M'Lellan Collection.
379. Dutch River Scene. On the banks of a sluggish stream,
several sheds and other rustic erections among trees, and various
figures; one fishing by the water side. A man is pulling from
the bank in a boat. In the distance to the left, trees, and the
church spire, etc., of a village. Signed " V. G, 1631." On Panel
—height, 11 in.; width, 17£ in. M'Lellan Collection.

Jan Van Goyen.— DUTCH RIVER SCENE.

GRAHAM. GRAHAM-GILBERT. 85

Graham. Peter Graham, R.A. (living artist). Scottish
School. 380. Sea-Piece. A bold headland rising precipitously from
the sea; on top a solitary figure, and to right fields with cattle,
etc., to left a stretch of calm sea, with fishing boats; sea birds
flying about Signed " Peter Graham, 1868." On Canvass —
height, 2 ft 9 in. ; width, 3 ft. 6 in. Elder Collection.
Graham. Thomas Graham, Zf.R.S.A., 1840-1906. Scottish
School. Graham was a native of Kirkwall, where he was born in 1840. He
received his art education in Edinburgh at the Trustees' Academy, then
under the direction of Robert Scott Lauder, and where he had for fellow-
students Orchardson, Pettie, Peter Graham, MacWhirter, and other
artists who afterwards attained to distinction. Shortly after leaving the
academy he, along with Orchardson and Pettie, settled in London, the
three taking up house together. Graham first exhibited in the Royal
Academy in 1863, and from that date onwards was a frequent exhibitor
both in London and Edinburgh. He painted for the most part portraits
and figure subjects, the latter being largely incidents of seafaring life. He
was elected an H. R.S.A. in 1883. He died at Edinburgh on 24th
December, 1906.
381. Venetian Water Girl. A barefooted girl in a blue
skirt, striped apron, green and yellow shawl, and black hat, in
which is stuck a red rose, is walking along a quay carrying two
water stoups slung on her right shoulder; in her left hand she
carries a rope with a hook attached; background, Doge's Palace,
Piazza, and Grand Canal, with gondolas, shipping, etc. On
Canvas — height, 30 \ in. ; width, 22£ in. Presented by T. Graham
Young as a memorial of his father, James Young, LL.D., F.R.S.,
of KeUy, 1900.
Graham-Gilbert. John Graham-Gilbert, 1794-1866. Scottish
School. John Graham:, who on his marriage to Miss Gilbert, of Yorkhill, Glas
gow, assumed the name of Gilbert, was the son of a West India merchant
in Glasgow. He early showed great artistic aptitude, and in 1818 he
entered the schools of the Royal Academy, where, in 1821, he was awarded
the gold medal for the best historical painting in oil, the subject set being
"The Prodigal Son." Thereafter he studied some years in Italy, and on
his return to Scotland he settled in Edinburgh, where he devoted himself
principally to portrait painting, in which he attained great excellence.
After his marriage in 1834 he removed to Glasgow, and took up his
residence at Yorkhill. He paid several visits to the Continent, in the
course of which he acquired the collection of Paintings, now one
of the most valuable possessions of this Gallery, which was bequeathed
to the City of Glasgow by his widow, who died in 1877. Graham-
Gilbert continued throughout his life to be ardently devoted to art,
manifesting in his work at all times a predilection for the rich warm

86 GRAHAM-GILBERT.

. tones of the old Venetian masters, whose style he studied with the utmost
assiduity. A full notice of Graham-Gilbert will be found in " One Hundred
Glasgow Men." 2 vols., fol. Glasgow, MacLehose, 1886.
382. Portrait of James Hamilton, born at Collinshill,
1759, died at Silvertonhill, 1833. On Canvas— height, 4 ft.
74, in.; width, 3 ft. 1\ in. Presented by the Corporation. (Police
Department), 1883.
Mr. Hamilton was a grocer in Glasgow, and was a Police Commissioner
for twenty-four years. This portrait was subscribed for by the Magis
trates, Commissioners, and Citizens, and was presented to the Police
Commissioners in 1826, as a memorial of the zealous devotion of Mr.
Hamilton to the duties of his office.
383. Portrait of John Wilson, of Dundyvan (1789-1851).
Full length. Signed "J. Graham, F., 1842." On Canvas-
height, 7 ft. 10 in. ; width, 4 ft. 10 in. Presented by his son,
George James Wilson, 1879.
John Wilson, an ironmaster, was intimately associated with tha
introduction of the hot-blast.
384. The Father of Archd. M'Lellan (see No. 403). Half-
length figure of the father of the founder of the Corporation
Galleries; an elderly gentleman, seated, in a black dress suit of
the period (about 1830). On Canvas — height, 4 ft 1 in. ; width,
3 ft 3 in. M'Lellan Collection.
385. Portrait of a Lady. Life size, in a white dress; her
left arm resting on a pedestal; background, woody landscape,
Signed "J. Graham." On Canvas — height, 7 ft. 8 in.; width,
4 ft. 9 in. Graham-Gilbert Collection.
Exhibited in the International Exhibition of 1851.
386. i-urtrait of James Hopkirk, of Dalbeth. Half
length, life size, seated, three-quarters face looking towards the
right, dressed in a brown coat, white vest, and neckcloth. On
Canvas — height, 3 ft.; width, 2 ft. 34, in. Bequeathed by Miss
Isabella Jessie Hopkirk, 1899.
387. The Young Seamstress. Sketch of a young lady,
three-quarter length, seated, preparing to sew; at her side a
work-box; a landscape background. On Millboard — height,
%\ in.; width, 7| in. M'Lellan Collection.
388. Lady with a Finch. Half-length female figure, in low
red bodice; she holds in one hand a finch; landscape back
ground. On Canvas — height, 3 ft. 8 in.; width, 2 ft. 10 in.
Euing Collection.

GRAHAM-GILBERT. 87

389. The Beggar Maid. Half-length of a young female in
red cloak, which hangs loosely over her exposed shoulders; she
wears a green petticoat, and extends her hand as if seeking alms ;
dark landscape background. On Canvas — height, 3 ft. 4 in.;
width, 2 ft. 8 in. Presented by Archibald Colquhoun, of Biddrie
Park, 1873.
390. A Tyrolese Hunter. In the centre, with rocky back
ground, a hunter in picturesque costume, his right hand grasping
a musket. Signed "J. Graham, 1826." On Canvas — height,
2 ft. 6 in.; width, 2 ft. O^in. Graham-Gilbert Collection.
391. St. Sebastian. The saint girded round the middle, and
bound to a tree; an arrow has pierced his shoulder and another
his left side. Signed " J. Graham, 1826." On Canvas — height,
3 ft. 2 in.; width, 2 ft. 44, in. Graham-Gilbert Collection.
392. The First-Born. Full life-size figure seated on the
ground, with babe on her knee ; background, landscape with trees,
a castle, figures, etc. Signed "J. Graham, 1853." On Canvas
—height, 3 ft. 74, in.; width, 4 ft. 10£ in. Graham-Gilbert
Collection. 393. Crossing the Ford. Full-length figure of a Scotch
maiden in rustic attire, wading barefooted through a stream;
background, trees and landscape. Signed " J. Graham, 1859."
On Canvas — height, 4 ft. 2 in. ; width, 3 ft. Graham-Gilbert
Collection. 394. Going to Market. A Scots lassie, three-quarter
length, life size, nearly full face, looking towards left, carrying
on her right arm a basket. Signed " J. Graham, 1860." On
Canvas — height, 3 ft 9 in.; width, 2 ft. llf in. Graham-Gilbert
Collection. 395. La Penserosa. Half-length figure of a yellow-haired
girl, seated, resting her arm upon a grass-covered rock; back
ground, trees and sky. On Canvas — height, 2 ft. 6 in.; width,
2 ft. 1 in. Graham-Gilbert Collection.
396. Christ appearing to Mary Magdalene — "Noli me
Tangere." The Saviour in a white garment, with His right
hand stretched out admonishingly towards Mary, who is kneeling
before Him; background, a hilly scene. On Canvas — height,
4 ft. 1 \ in. ; width, 3 ft. 3 in. Graham-Gilbert Collection.
Exhibited in Royal Academy, 1846.

88 GRANT.

397. Christ and the Woman of Samaria. The Saviour, in
a red robe and blue mantle, seated on the well ; His head turned
towards the woman, who carries a pitcher; to the distant right
are the disciples, and in the background the city of Sychar; to
the left, a hill with a temple. On Canvas — height, 4 ft. 14, in. ;
width, 3 ft 3 in. Graham-Gilbert Collection.
398. A Woman of Lonico. Quarter-length female figure in
red turban and an Oriental bodice. On Panel — height, 13 J in. ;
width, 94, in. Graham-Gilbert Collection.
399. Tyrolese Mother. A woman sitting under the shadow
of a tree, with sleeping bambino on her knee; background, a
hilly landscape. On Canvas — height, 2 ft. 6 in.; width, 2 ft.
0| in. Graham-Gilbert Collection.
400. The Pet Dove. A half-length figure of a young girl,
life size, holding in her hands a dove. Background, foliage and
landscape. On Canvas — height, 2 ft. 5 in. ; width, 2 ft. Graham-
Gilbert Collection.
401. The Orphan. Female figure, half-length, with clasped
hands. On Canvas — height, 2 ft. 4£ in. ; width, 1 ft. 1 14, in.
Graham-Gilbert Collection.
An unfinished picture, by an unknown artist, which was completed by
J. Graham-Gilbert.
402. The Gipsy. Half-length female figure, life-size; she
wears a straw hat and a red mantle. On Oval Panel — height,
2 ft. 4 in. ; width, 2 ft. Graham-Gilbert Collection.
403. Portrait of Archibald M'Lellan (1795-1854), Founder
of the Art Collection in this Gallery (see Preface). Full length,
standing towards left, in front of arm chair; dressed in white
neckcloth, black coat and vest, knee breeches, and shoes with
buckles. Signed "J. Graham, Pinx., 1839; copied, 1906." On
Canvas — height, 8 ft. 14, in. ; width, 5 ft 5 in. The property of
the Corporation.
Copy by Robert C. Crawford of original painted for Trades House
in 1839.

Grant- Sir Francis Grant, P.R.A., 1803-1878. Scottish
School. Francis Grant was the fourth son of Francis Grant, of Kilgraston, in
Perthshire, at which place he was born. Originally intended for the bar,
he studied for some time at Harrow, but giving up all idea of following

GRAESSEL. GREUZE. 89

the legal profession he devoted himself to art. He was fond of field sports,
and much of his early work was devoted to the delineation of hunting
scenes, but he gradually drifted into portrait painting, a department of
art in which he was singularly successful, having as sitters many of the
celebrities of his time. He first exhibited in the Royal Academy in 1834,
was elected an Associate in 1842, full Academician in 1851, and President
on the death of Sir Charles Eastlake in 1866. He died at Melton Mow
bray in 1878.
404- Portrait of Sir Andrew Orr, of Harvieston and
Castle Campbell, Lord Provost of Glasgow, 1854-1857, and for
twenty-three years chairman of the Glasgow and South-Western
Railway Company. Full length, life size, in light trousers and
dark coat and vest, seated on a rustic chair in front of trees.
To the left, on an eminence, is a castle. On Canvas — height,
7 ft. 9 in. ; width, 4 ft. 9 in. Bequeathed by James Orr, of
Harvieston, 1899.
Exhibited in Royal Academy, 1873.
Graessel- Franz Griiessel (living artist). German School.
405- Ducks. In a pond edged with rushes, a number of
ducks swimming about. Signed " Franz Graessel, 1903,
Miinchen." On Canvas — height, 16| in.; width, 2 ft 1 in.
Purchased, 1904.
Green (?). Scottish School.
406. Royal Exchange and John's Coffee-House, Edin
burgh. In front of this well-known old Edinburgh institution
is collected a group of persons engaged in marketing butter
and other farm produce. On Panel — height, 2 ft. 5 4, in. ; width,
2 ft. 04, in. Euing Collection.
Greenlees. Robert Greenlees, R.S.W., 1820-1894. Scottish
School. (See No. 619.)
Robert Greenlees (1820-1894) was a well-known artist in the West of
Scotland, and for twenty-nine years (from 1852 till 1881) he was con
nected with, and latterly headmaster of, the Glasgow School of Art and
Haldane Academy, in which position he trained many pupils who have
risen to eminence. His portrait (see No. 619) was a presentation from
former pupils and friends in 1884.
407. Hillside at Luss. Foreground, field with sheep, to
right, a path leading to a wood from which a man is approach
ing; to left, in the distance, hills. Signed "Robt. Greenlees,
R.S.W." On Canvas— height, 17 in; width, 204, in. Presented
by Robert Brydall, 1905.
Greuze. Jean Baptiste Greuze, 1725-1805. French School.
Greuze, a native of Tournus, near Macon, received his first artistic
instruction from an artist of Lyons named Gromdon. He came with his

90 GUARDl. GUERCINO.

master to Paris, where, studying with great assiduity, he soon attracted
much attention ; and so remarkable were the merits of his early works that
people would scarcely credit them to one of so limited experience. Greuze
shines conspicuously in depicting melodramatic domestic scenes, and in the
painting of portraits and ideal heads — especially young females. Towards
the close of his life public taste ran strongly in favour of the classical style
of David and his school; and Greuze, having wasted his means, was
deserted by his patrons, and died in Paris in great poverty on 21st
March, 1805.
408. A Child's Head. A slight sketch of the head of a
young girl, full face, with red ribbon in her hair. On Panel —
height, 7 in.; width, 5f in. M'Lellan Collection.
409- The Sulky Boy. Head and shoulders of a boy with
abundant ruddy locks; loose white collar, open at neck; aspect
somewhat dissatisfied and defiant. On Canvas — height, 15 in.;
width, 11 in. Euing Collection.
Guardi- Francesco Guardi, 1712-1793. Venetian School.
Guardi, a native of Venice, where also he died, was a pupil, and, so far
as regards subjects, a follower of Antonio Canaletto. Most of his com
positions deal with the architectural features and life of his native Venice,
and these he executed in a light, picturesque, and forcible manner. His
pictures are now much appreciated and eagerly sought after.
411- Laguna di San Marco and Church of S. Giorgio,
Venice. In the foreground the Laguna, with numerous gondolas
and other vessels; to the left the Church of San Giorgio, behind
which is a lofty campanile; to the right the island, La Guidecca.
Signed "F. G." On Canvas— height, 2 ft. 4 in.; width, 3 ft.
11 in. M'Lellan Collection.
A version of this picture, on a smaller scale, is in the Accademia Carrara
at Bergamo.
412- Piazzetta of S. Marco, Venice. On the left is the
Ducal Palace, with a column of the famous Church of San Marco ;
on the right the Libreria Vecchia (now the Royal Palace); be
yond, the columns of San Marco and San Teodoro, the Laguna
di San Marco, with boats; and, among other buildings, the
Church of San Giorgio. On Canvas — height, 1 ft. 74 in. ; width,
2 ft. 6 in. M'Lellan Collection.
Guercino. Giovanni Francesco Barbieri, 1591-1666. Italian
Bolognese School.
This artist, commonly known as Guercino, a nickname which signifies
the "squinter," originating from its bearer having that infirmity, was
born in humble circumstances at Cento, near Bologna. He attained a
position in the artistic world by his unaided efforts, having studied and
worked about two years in Rome, where he came under the influence of
Caravaggio. His chief subjects were classical, mythological, and
scriptural, several of his most important works being pictures of very
large size. Guercipo died at Bologna.

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GUIDO. GUTHRIE. 91

413. Salvator Mundi. Bust life size, of the Saviour; long
rich auburn hair; face downcast, looking with intent earnestness
on a globe; hand raised in the act of benediotion. On Canvas
— height, 23J in.; width, 19J in. M'Lellan Collection.

Guido. See Reni.

Guimard. Louisa Eudes de Guimard, 1827-. ... French School.
Mdlle. Eudes de Guimard, a native of Argentan, received her art educa
tion from Mons. Leon Cogniet. She devoted herself to the painting of
history, genre, and portraits, and some of her works have been acquired
on behalf of the French Government.
414- Boy Asleep. Half-length figure of a lad asleep; his
uncovered head reclining upon his right arm on a grassy bank.
Signed "L. Eudes de Guimard." On Canvas — height, 19 in.;
width, 23 in. Euing Collection.

Guthrie- Sir James Guthrie, P.R.S. A. (living artist). Scottish
School. 415. Portrait of Alexander Osborne, D.L., Town
Councillor, Magistrate, and Preceptor of Hutchesons' Hospital,
Glasgow. Three-quarters figure, seated, to the left, nearly full
face. Signed "J. Guthrie." On Canvas — height, 4 ft. 5 in.;
width, 3 ft 7 in. Painted for the Corporation as a memorial of
thirty-five years' service in the Town Council of the City, 1897.
416. A Highland Funeral. A group of men, with bared
heads, standing outside a peasant's cottage, in front of which,
resting upon two chairs, is a coffin covered with a velvet pall.
A minister, with uplifted hand, is in the act of praying. The
ground is snow covered, and overhead is a lowering sunset sky.
Signed " James Guthrie, 1882." On Canvas — height, 4 ft. 3 in. ;
width, 6 ft. 4 in. Bequeathed by James Gardiner, 1903.
Exhibited in Royal Academy, 1882.
417. Portrait of Sir John Shearer, D.L., J.P., Member of
the Town Council of Glasgow, 1883-1903; Magistrate, 1884-1888;
and Vice-Chairman of the Glasgow International Exhibitions of
1888 and 1901. Three-quarters length, seated, almost full face,
looking to the front left hand resting on a table, on which are
books. Signed "James Guthrie." On Canvas — height, 4 ft.
h\ in.; width, 3 ft. 10 in. Presented to the Corporation by a
large number of his fellow-citizens, 1905.

92 HACKERT. HALS.

Hackert. Jakob Philipp Hackert, 1737-1807. German
School. Hackert, a native of Prenzlau, in Prussia, studied landscape painting
in Berlin under Le Sueur. He travelled in Norway and Sweden, and
ultimately, after studying in Paris and Rome, his fame attracted the
notice of the King of Naples, by whom he was appointed Court Painter,
with a liberal pension. He died at Florence in 1807. His landscapes are
highly esteemed.
418. Landscape, Ruins, and River Scene. In foreground
three women washing clothes in a stream, which passes a ruined
castle with circular tower. The castle is approached by an
arched roadway, on which is a waggon drawn by two horses, with
two attendants. To the right, a river with boats, church spire,
and distant town. Signed "Jacq. Phi. Hackert, fe. a Paris,
1768." On Canvas — height, 1 ft. 6 in.; width, 2 ft. IJ in.
Euing Collection.

Hals. Frans Hals, 1580 ?-1666. Dutch School.
This great master of portraiture was born at Antwerp, whither his
parents, who belonged to an ancient patrician family of Haarlem, had been
driven by the stress of troubled times. At an early age he came to his
ancestral town ; there he was a pupil of Karel van Mander, and his whole
later life is identified with Haarlem. And there till this day remain his
masterpieces — his great Corporation pictures, which are the pride of the
Haarlem Gallery. The works of Hals are characterised by a marvellous
breadth, freedom, swiftness, and accuracy of handling ; for humourous
gaiety of observation, and for forceful and vivacious delineation of
character. In spite of his rather ill-regulated life, he was held in
great esteem, and his influence on his contemporaries and pupils — on the
art of painting, indeed— was powerful and permanent. Many of the fore
most Dutch painters of his fertile period owed their training to Hals. He
died at Haarlem, and was buried in the choir of the church of St. Bavon.
419. Head of a Boy, nearly full face, laughing, holding in his
left arm a spaniel, the head of which is only seen. Panel, circular
— 11 in. diameter. Purchased from the Sir Andrew Fountaine
(Narford Hall) Collection, 1894.
Engraved in 1801 by T. Gaugain (the dog's head and the hand being left
out). Described in Hofstede de Groot's Smith's Catalogue Raisonni, 1910,
No. 38, vol. iii., page 14, as "Head of a Laughing Child."
420. Head of a Boy, nearly in profile, looking to the left; he
holds a whistle in his left hand. Panel, circular — 11 in. diameter.
Purchased from the Sir Andrew Fountaine (Narford Hall) Col
lection, 1894.
Companion to No. 419. Engraved in 1801 by T. Gaugain.
Described in Hofstede de Groot's Smith's Catalogue Raisonni, 1910,
No. 27, vol. iii., page 11, as "Head of a Laughing Boy with a Flute."

Frans Hals— BOY'S HEAD.

HALSWELLE. HANNAH. 93

Halswelle. Keeley Halswelle, A.H.S.A., 1834-1891. Scot
tish School.
Keeley Halswelle was born of Scottish parentage at Richmond,
Surrey, in 1834. He received his art education in Edinburgh and
Paris. His early productions were Italian market scenes and Roman
peasantry, which he painted on a large scale. These failing to attract
the public, Halswelle latterly turned his attention to landscape and
to book illustration. He was also the author of a book descriptive of
life on the Thames, entitled " Six Years in a House-boat." Halswelle
exhibited in the Royal Academy almost regularly from 1862 till 1891. He
was elected an Associate of the Royal Scottish Academy in 1870, and died
suddenly in Paris on the 11th April, 1891.
421. Sm Toby Belch and the Clown. Sir Toby intoxicated
and with his head bound up, being assisted along by the down.
Signed " Keeley Halswelle, 1860." On Millboard— height, 14 in. ;
width, 22 in. Presented by Archibald W. Finlayson, of Mer-
chiston, Johnstone, 1903.
Sir Toby. — Sot did'st see Dick Surgeon, Sot?
Clown. — O, he's drunk, Sir Toby, an hour agone ; his eyes were set at
eight i* the morning.
Sir Toby. — Then he's a rogue, and a passy-measures pavin ; I hate a
drunken rogue. -—Twelfth Night, Act V., Scene 1.
Hancock- Charles Hancock, 19th century. English School.
Hancock was for many years employed at Tattersall's, and while there
he painted a large number of sporting pictures, mostly of small size. He
exhibited at the Royal Academy with fair steadiness from about 1819 till
1847. His picture — " The Widow " representing the sorrowing widow of a
gamekeeper surrounded by his dogs, was engraved by Beckenel in 1853.
422. The Gamekeeper's Home — A Sketch. Interior of a
cottage home; an elderly man relieving himself of a load of
rabbits, hare lying on floor, and boy preparing to feed a number
of hungry dogs; behind, a woman making an enclosed bed.
Signed " C. Hancock, P., 1830." On Canvas — height, 9 in.;
width, 12 in. Euing Collection.
Hankey. W. Lee Hankey (living artist). English School.
423. A Pensive Maiden. " A nook that seemed for self
examination made." A peasant girl seated on a bank, with
a troubled look on her face. Water-colour— height, 3 ft. .4 in. ;
width, 2 ft. 3 in. Purchased, 1910.
Hannah. Robert Hannah, 1812-1909. Scottish School.
Robert Hannah, a painter of historical and subject pictures, was born
in Creetown, Kirkcudbright, on July 3rd, 1812. At an early age he went

94 HARDING. HARVEY.

to study art in Liverpool; later ho studied in the Academy Schools,
London, and finally in Rome. He exhibited in the Royal Academy
almost regularly from 1842 till 1870. He died after a long illness at
82 Addison Road, Kensington, London, on 5th April, 1909.
424. The Countess of Nithsdale Petitioning George I. on
Behalf of Her Husband. The interior of a room in Windsor
Castle. In centre George I. making for the door, and dragging
Lady Nithsdale, who grasps his coat, along the floor. Two
courtiers endeavour to release the king from her hold. On the
right kneeling, is Mrs. Morgan, a friend of Lady Nithsdale's, and
to left, seated, are Lady Nairn and the Duohess of Montrose;
various groups of lords and ladies-in-waiting, etc., are about the
room. On Canvas — height 3 ft. 9 in.; width, 6 ft. Presented
by the artist, 1906.
" Perceiving that he wanted to go off without receiving my petition, I
caught hold of his coat that he might stop and hear me. He endeavoured
to escape out of my hands, but I kept such strong hold that he dragged
me on my knees from the middle of the room to the very door of the
drawing room." — Extract from a letter written by Lady Nithsdale to her
sister. Exhibited in the Royal Academy, 1854.

Harding. James Duffleld Harding, 1798-1863. English School.
Harding, himself the son of an artist, was born at Deptford, and, at
the age of fifteen, went to study under Samuel Prout, the celebrated water-
colour painter. Later, he began to learn engraving, but, abandoning that,
he devoted himself to landscape painting, more particularly in water-
colours. Harding first exhibited in the Royal Academy in 1811, but from
1818 till 1843 he was not represented there. From the latter year till
1858 he was a frequent exhibitor. He became a member of the Water-
colour Society in 1822. He devoted much of his energy to the teaching
of drawing and to writing on art subjects. He died at Barnes.
425. Highland River in Spate. A wild Highland valley,
with precipitous hills on each side ; in foreground, a river rushing
over a waterfall; to the right, a Highland boy with fishing-rod
and newly caught trout. Signed " D. Harding." Water-colour
— height, 13 J in.; width, 19| in. Teacher Collection.

Harvey. Sir George Harvey, P.R.S.A., 1806-1876. Scottish
School. George Harvey was born at St. Ninians, near Stirling, and com
menced life as a bookseller's apprentice, a career which he abandoned
for the prosecution of art studies in Edinburgh, where he settled and
resided throughout his life. His name is peculiarly associated with the
pictorial illustration of phases of Scottish religious history and life— his
"Covenanters" series of pictures, of which No. 427 is the first, having
brought him a high reputation. He also painted many historical pictures

hayter. 95

and figure pieces, and in his later days devoted himself largely to Scottish
moorland and highland landscape. Harvey's principal works are popu
larly known in Scotland by large engravings. Among the best of them
may be mentione'd " The Curlers " and " Reading the Chained Bible in old
St. Paul's, London." He was elected to the presidency of the Royal
Scottish Academy in 1864, and subsequently, in 1867, he was knighted.
426- The Drove Road. In the foreground a road leading
through a moor on which is a horseman, followed by a drove of
sheep and drovers; to right is the smoke of houses rising
from a valley; beyond is a mountainous country, and overhead
a sunset sky. Signed " Geo. Harvey, 1865." On Canvas —
height, 2 ft. 6 in. ; width, 6 ft. Presented by T. Graham Young
as a memorial of his father, James Young, LL.D., F.R.S., of
Kelly, 1900.
427. The Covenanters' Preaching. On a solitary and
desolate Scottish hillside a group of Scottish Covenanters — the
men mostly carrying arms, and some mounted on horseback — are
listening to the eloquence of a preacher of the proscribed faith ;
> a sentinel is seen on the distant peak. On Panel — height, 2 ft. 8£
in. ; width, 3 ft. 6 in. Presented by John Fleming, London, 1870.
Exhibited in 1830. Engraved in mezzotint by J. C. Bromley.

Hayter. Sir George Hayter, 1792-1871. English School.
Sir George Hayter, the son of Charles Hayter, a portrait painter, was
born in London, where he became, at a very early age, a student in the
Royal Academy. In 1815 he gained a premium of 200 guineas for his
picture " The Prophet Ezra," and in the following year he was appointed
miniature and portrait painter to the Princess Charlotte and the Prince of
Saxe-Coburg. After studying in Rome for three years he returned to
England, where he occupied himself in portrait painting, and in works
representing notable events in national history. When Queen Victoria
ascended the throne in 1837, Hayter was appointed her portrait and
history painter, and in this connection he painted her Coronation in West
minster Abbey. He was a member of several foreign Academies, was
knighted in 1842, and died in Marylebone on the 18th January, 1871.
428. First State Visit of Queen Victoria to the City
of London, 1837 — Passing St. Paul's. The Royal Carriage,
in which is seated Queen Victoria, drawn by eight cream-coloured
horses attended by footmen, and followed by an escort of Life
Guards, is passing along Ludgate Hill, between lines of spec
tators, in front of whom are cavalry. On the right is the
Cathedral of St. Paul's, by the side of which is a decorated
stand crowded with people. On Panel — height, 17 in.; width,
234, in. Presented by Arthur Kay, F.S.A., 1902.

96 heem.

Heem. Cornelis de Heem, 1630-1695? Dutch School.
Cornelis, the son of Jan Davidsz. de Heem, was born in Utrecht, and,
like both his father and grandfather, became a flower and fruit painter.
He received his art education from his father, and he practised in Antwerp
and the Hague, in which latter city he died. As a painter he was not
endowed with the ability of his father.
429. Flowers. Set in a globular glass, and arranged in a
free, straggling manner, a variety of flowers, comprising poppies,
roses, convolvuli, etc. ; butterflies are here and there about the
group. Signed, on pedestal, "J. D. de Heem." On Canvas —
height, 24 in.; width, 20 in. M'Lellan Collection.
This picture, in accordance with its signature, was formerly assigned to
Jan Davidsz. de Heem, but Dr. de Groot points out that the name has
been so falsified as to make what originally was "C." read as " J.D." A
similar falsification occurs in a picture in the Dresden Gallery.

Heem. David de Heem, 1570-1632. Dutch School.
Heem was a painter of flowers, fruit, and still life, who prosecuted this .
branch of art with success in Utrecht throughout his life. He was the
father of Jan Davidsz. de Heem, mentioned below, who became one of the
most brilliant exponents of the same class of work.
430. Group of Fruit. On a table, over part of which is a
lavender-coloured cover, are grouped grapes, a lemon, peaches,
etc., and a prawn. On Panel — height, 9£ in.; width, 13J in.
M'Lellan Collection.
431. Fruit and Still Life. On a table, partly covered with
a dark olive cloth, are a lobster, a glass with water, lemons, a
peach, and grapes. On Copper — height, 9£ in.; width, 11 in.
M'Lellan Collection.

Heem. Jan Davidsz. de Heem, 1606?-1674. Dutch School.
This eminent painter of fruit, flowers, and still life was the son of
David de Heem, himself also well known as a flower and fruit painter.
Jan was born in Utrecht, but lived and worked principally at Antwerp,
where he died. He brought the art of painting groups of "fruit, flowers,
and inanimate objects to a perfection which has rarely been surpassed.
433. Fruit and Still Life. On a heavy table, a blue Delft
basin, with plums, grapes, lemon, and other fruits and leaves, a
piece of bread, opened oysters, etc. ; snails, butterflies, and cater
pillars are dispersed on the group. Signed "J. D. de Heem."
On Canvas— height, 13£ in. ; width, 20 in. M'Lellan Collection? J

HELST. HENDERSON. 97

Heist. Bartholomew Vander Heist, 1611 or 1612-1670.
Dutch School.
Vander Helst, one of the most eminent and successful of the school of
Dutch portrait painters, was a native of Haarlem. It is believed that as
a youth he was removed to Amsterdam, and there trained in art by
Nicholas Elias, although at that very time the great and successful school
of Frans Hals, the brilliant master of portraiture, was in full vigour. The
manner of Vander Heist has little affinity with the magnificent rapidity of
Hals any more than it has with the profound intellectual power of his
contemporary Rembrandt. His portraits are executed with the most con
scientious precision and detail, and show a love for bright colours and
textures. He painted many large groups and regent pieces, his most
famous picture of this class being the " Banquet of the Civic Guard " in
the Amsterdam Museum, pronounced by Sir Joshua Reynolds to be
"perhaps the finest picture of portraits in the world." He died at
Amsterdam on 16th December, 1670.
435. Portrait of the Dutch Admiral Stellingwerff.
Half-length, life-size figure, head slierhtly turned to right, in
ample brown periwig, lace scarf, with tassels, and lace edging
to white under-sleeves ; a broad, richly embroidered, yellow belt
over right shoulder ; and a massive gold chain of several strands,
to which a gold medal is pendant, around the neck. In his risrht
hand a long matchlock pistol, the butt of which rests agrainst his
leg ; background to left, two vessels fighting. Signed " B. Vander
Heist, 1662." On Canvas — height, 3 ft. 7f in.; width, 2 ft.
114 in. Purchased, 1895.
Henderson- Joseph Henderson, R.S.W., 1832-1908. Scottish
School. _ Joseph Henderson was a native of Stanley. Perthshire. At the age of
six he was sent to Edinburgh to receive his education. On leavine school
he began the study of art in the Trustees' Academv and the Srhonl of
Desicm, having amone his fellow students W. 0- Orchardson and Robert
Herdman. Tn 1852 Henderson settled in Glasgow, and for some vears
worked without attracting attention. Ultimately, however, his gifts as
an artist came to be appreciated, and he became one of the most popular
portrait painters in the West of Scotland, and many portraits of prominent
citizens of Glasgow are from his brush. He also excelled as a marine
artist, rendering the various moods and aspects of the sea with much truth
and feeling. He was one of the founders of the Roval Scottish Society of
Painters in Water-Colours. He died of heart failure at Ballantrae on
15th July, 1908.
437. Portrait of Sir John Mum, Bart., Lord Prnvost of
GlaRcow, 1889-92. Full-len<rth fitrure. erect, in court dress and
official robes. Signed "J. Henderson. 1893." On Canvas-
height, 7 ft. 4 in. ; width, 4 ft. 3 in. Painted for the Corporation.
438. Portrait of Alexander Waddel, J.P., Town
Councillor, Magistrate, and Preceptor of Hutchesons' Hospital
in Glasgow. Presented by a large number of his fellow-citizens,
3

98 HENDERSON. HENRY.

in recognition of his long and faithful public services, on 28th
March, 1893. Half-length figure, wearing a chain of office.
Signed "J. Henderson, 1893." On Canvas— height, 3 ft. 11 in.;
width, 2 ft. 11 in. Presented by the family of Mr. Waddel, 1896.
439. The Flowing Tide. A brisk sea running in on a narrow
strip of flat, sandy shore, rocks to the right, and the faint out
line of hills in the dim distance. Signed " J. Henderson." On
Canvas— height, 4 ft.; width, 6 ft. Purchased, 1897.
440. Sea-Piece. Boys fishing from a rook; boats in the
distance. Signed "J. Henderson, 1875." On Canvas — height,
11-J in.; width, 19J in. Teacher Collection.
441. Sea-Piece. Outlying rocks, with waves breaking
over them. Signed " J. Henderson, 1876." On Canvas —
height, 13| in. ; width, 23-| in. Teacher Collection.
442. Portrait of Sir Samuel Chisholm, Bart., LL.D., Lord
Provost of Glasgow and Lord Lieutenant of the County of the
City of Glasgow, 1899-1902. Full length, erect, in official robes.
Signed "J. Henderson, 1902." On Canvas— height, 7 ft. 5| in.;
width, 4 ft. 5J in. Painted for the Corporation.
Henderson. Joseph Morris Henderson (living artist).
Scottish School.
443. In the Meadow. A stretch of meadow, with stunted
trees and cattle; pool in right foreground. In the distance,
rustic houses; hills behind. Signed " J. Morris Henderson."
On Canvas — height, 31 -J- in. ; width, 47 in. Purchased, 1909.
Exhibited in the Royal Academy, 1908.
Hendrdu, John. (See Portraits from the Old Town Hall.)

Henry. George Henry, A.R.A. (living artist). Scottish
School. 444. Portrait of Sir John Neilson Cuthbertson, D.L.,
LL.D., Hon. F.E.I.S. (1829-1905), for eighteen years Chairman
of the School Board of Glasgow. Three-quarters length, seated
at a table looking to left. Signed " George Henry." On Canvas
—height, 4 ft 7£ in.; width, 4 ft.
"Presented to Sir John Neilson Cuthbertson, D.L., LL.D., Hon.
F.E.I.S., by Citizens of Glasgow, in recognition of his long and varied
public services, especially in connection with the educational work of the
City. December, 1903."

henshaw. herdman. 99

445. Portrait of Robert Crawford, D.L., LL.D., Member
of Glasgow Town Council 1883-1896. Three-quarter figure in
morning dress looking to left, right hand grasping a chair on
which are robe and hood of a Doctor of Laws. Signed " George
Henry, 1903." On Canvas— height, 4 ft. 7 in. ; width, 3 ft. 5 in.
" Presented by Citizens in grateful recognition of the outstanding and
invaluable services rendered by him to the City of Glasgow in the pro
motion of public health and art (1883-1901), and as Joint-President of
the Fine Art Section of the Glasgow International Exhibitions (1888 and
1901). 26th November, 1903."

Henshaw. Frederick Henry Henshaw, 1807-1891. English
School. Henshaw, a landscape painter, and pupil of Barber, of Birmingham, of
which town he was a native and resident. He visited Switzerland and
Northern Italy, 1837-40, and there obtained many subjects for his easel ;
but the greater portion of his pictures deal in the picturesque features of
his native country. He exhibited at the Royal Academy between 1829
and 1864, and in 1886 a special loan exhibition of his works was held in the
Birmingham Art Gallery.
446. Swiss Landscape. Mont Blanc, the Mole, and the
Lake of Geneva, as seen from the Lausanne Road, near Geneva.
Oh Canvas — height, 2 ft. 1 in.; width, 3 ft. 3 in. M'Lellan
Collection. Exhibited at the Royal Academy in 1840.

Herdman. Robert Herdman, R.S.A., 1829-1888. Scottish
School. Robert Herdman, the son of a minister, was born at Rattray, Perth
shire, and, after completing his education at St. Andrews University, he
devoted himself to art, and received his training in the Trustees' Academy,
Edinburgh. He became essentially a national painter, finding the subjects
of his pictures principally in the historical events and in the literary
episodes of Scotland. In Scottish history his subjects range from the time
of St. Columba down to the wanderings of Prince Charles Edward ; and the
novels of Sir Walter Scott, as well as Campbell's poems, were rich fields in
which he worked with success. His extensive and accurate archaeological
and historical knowledge were invaluable equipments for the cultivation of
this department of artistic activity. In his later days Herdman was
much employed in painting portraits. He died suddenly in his studio at
Edinburgh on the 31st December, 1888.
447. Portrait of Sir James Watson, Lord Provost of
Glasgow, 1871-74. Full length, seated. Signed " R. H., 1882."
On Canvas — height, 7 ft. 9 in. ; width, 4 ft. 10 in. Presented
to the Corporation by the citizens in acknowledgment of many
valuable services rendered to the community, 1882.

100 HERKOMER.

448. Portrait of the Rev. George Stewart Burns, D.D.,
Minister of Glasgow Cathedral. Three-quarters length. Signed
"R. H., 1881." On Canvas— height, 4 ft. 6 in.; width, 3 ft
6 in. Presented to. the Corporation by a number of citizens,
18S2. 449. Portrait of Peter Clouston, Lord Provost of Glasgow,
1860-63. Full length, seated. Signed " R. H., 1883." On
Canvas — height, 7 ft. 2 in. ; width, 4 ft. 7 in. Presented to the
Corporation by fellow-citizens and other friends in recognition
of his public services, 18th April, 1883.
450. The Execution of Mary Queen of Scots. Queen
Mary, dressed in black satin, with a long veil of white crape
hanging down her back, and a high Italian ruff round her neck,
from which is suspended an Agnus Dei, with a golden rosary at
her girdle, stands facing the emissaries of Queen Elizabeth. At
the bottom of the staircase behind are her personal attendants,
among whom is the master of her household, Sir Andrew Melvil.
To the right, the masked executioner stands by the block, with
axe in his left hand. Part of a coffin is seen in the corner.
Signed "it. H., 1867." On Canvas— height, 2 ft 54, in.; width,
3 ft. 1\ in. Teacher Collection.
451. Morning. A girl in a red dress carrying a sheaf of
wheat over her shoulder; morning sky. Signed, in monogram,
"R. H.," and dated 1862. On Panel— height, 12 in.; width,
9 in.Ex-Bailie Archibald Gray Macdonald Gift, 1903.
452. Evening. A boy clad in a goat skin holding a musical
pipe in his hands; evening sky. Signed " R. Herdman," and
dated 1861. On Panel — height, 12 in.; width, 9 in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.
453. Portrait of Sir William Collins, Lord Provost of
Glasgow, 1877-80. Full length, seated, in court dress and official
robes. Signed "R. H., 1881." On Canvas— height, 7 ft. 6 in.;
width, 5 ft. Painted for the Corporation.
Herkomer. Hubert Herkomer, R.A. (living artist). German
School. 454. Portrait of Sir James Bell, Bart., Lord Provost of
Glasgow, 1892-5, and again 1895-6. Also first Lord-Lieutenant
of the County of the City of Glasgow, constituted 1893, for
period 1893-6. Full-length figure, erect. Signed "Hubert
Herkomer, R.A., 1896." On Canvas— height, 7 ft. 10 in. ; width,
4 ft. 10 in. Painted for the Corporation.

HERNANDEZ. HEYDEN. 101

Hernandez. Daniel Hernandez.
455. Pierrette. Woman in fancy costume, with a fan in her
right hand, half resting on a console table, on which is a bouquet
of roses. Signed " Daniel Hernandez." On Canvas — height,
25 in.; width, 13J in. Teacher Collection.

Herring. John Frederick Herring, Sen., 1795-1865. English
School. Herring, a native of Surrey, was a very popular painter of animal
subjects, notably of horses, many of his works being well known through
the medium of engraving. He was a man of humble parentage, and had
to force his way into artistic prominence by persevering industry through
great disadvantages. Herring was an occasional exhibitor at the Royal
Academy from 1818 till 1846. He died at Tunbridge Wells.
456. The Deer-Stalker. Highland landscape, with white
horse bearing a dead red deer, and a ghillie, and deerhound.
Signed " J. F. Herring, Senr., 1852." On Canvas — height,
174, in.; width, 23£ in. Euing Collection.
457- A Group of Ducks. Three ducks, with a brood of
ducklings, at the side of a sedgy pool. Signed " J. F. Herring,
Senr., 1850." On Panel— height, 11£ in.; width, 9| in. Euing
Collection. 458. The Meet. In an open space bordered by trees a
number of huntsmen with horses gathered for the meet, others
approaching in the distance; to right an inn. Signed " J. F.
Herring." On Canvas— height, 2 ft. 11 in. ; width, 4 ft. 1 in.
Bequeathed by George Robb, 1909.
Heyden or Heijde. Jan van der Heyden or Heijde, 1637-
1712. Dutch School.
Van der Heyden was a native of Gorkum, who received his first art
education from a painter on glass. At an early period he settled in
Amsterdam, where, as a painter of churches, streets, and buildings
generally, he acquired a great and well-merited reputation. The minute
fidelity and precision of his work is very remarkable. The figures in his
pictures were frequently contributed by Adrian and William Vandevelde,
and by Eglon van der Neer. Van der Heyden was also a man of remark
able mechanical ability, having invented a fire-pump and superintended
the introduction of lighting in the streets of Amsterdam. He died at
Amsterdam on 28th September, 1712.
459. The Temple of Vesta. A view in the Forum Romanum,
with the circular temple in the centre and the remains of other
ancient buildings around. On Panel — height, 4 in.; width,
5| in. Smellie Collection.

102 HILL. hillingford.

460. The Arch of Titus. A view in the Forum Romanum,
in which the arch occupies the central position, and fragments
of other structures are seen around. On Panel — height, 4 in.;
width, 54, in. Smellie Collection.
461. Fortified Entrance to a Dutch Town. Walls and
tower protecting gateway of a town, which is approached by a
bridge over a stream flowing along the walls. To the left, a
cottage and other buildings; in the foreground, an ox grazing,
sheep, and ducks. The figures are by Adrian Vandevelde.
Signed "J. Van der Heyden A.V.V." On Panel — height,
15£ in.; width, 21£ in. M'Lellan Collection.
Hill. David OctaviusHill, R.S.A., 1802-1870. Scottish School.
Hill was born in Perth, the son of a bookseller. He received his train
ing in the Trustees' Academy, Edinburgh, under Andrew Wilson. He
was one of the original members of the Royal Scottish Academy, and acted
as Secretary of that institution for about 40 years. As an artist he is
chiefly identified with Scottish landscape. In 1841 he published "The
Land of Burns," containing 60 illustrations of localities connected with
the poet. For several years he was occupied in painting the " Signing the
Deed of Demission and Act of Separation," containing no less than 470
portraits of leaders of the Free Church of Scotland. The picture was
purchased by a number of adherents of that body for £1,500, for preserva
tion as a memorial of the Disruption. Hill died at Edinburgh in 1870.
462. Kirkoswald — Tam o' Shanter's Grave. In a
churchyard an old white horse stands near a tombstone, at
the foot of which a dog is lying; to the left is a woman,
seated, weeping ; behind are the ruins of a church, from which
a man is seen approaching. To the right are houses and
trees. Signed " D. O. Hill, P." On Canvas— height, 11 \
in. ; width, 17J in. Smellie Collection.
A landscape painted for one of the illustrations in The Land of Burns.
Hillingford. Robert Alexander Hillingford (living artist).
English School.
464. Vet Still a King. On the near bank of a river a group
of soldiers, with a drummer-boy, in uniform of the Marlborough
period, eagerly observe, and two of them salute, a figure on a
white horse on the opposite bank, who raises his hat. Two
mounted officers are behind him. There is a sentry on each
bank, various soldiers in the distance, and, remote on the plain,
a group of tents. Signed " R. Hillingford." On Canvas— height,
2 ft. 7 in. ; width, 4 ft. 3 in. Presented bv Charles J. C. Douglas,
of Glenflnart, Argyllshire, 1893.
"The other two officers rode up and came quite close. We knew at
once who it was. Tt was the king. . . . We took off our hats .and
saluted him. "— Thac Jeeray's "Esmond." Book III., chap. i.
Exhibited in ttre Royal Academy, 1888.

hobbema. hoet. 103

Hobbema. Meindert Hobbema, 1638-1709. Dutch School.
Hobbema, the friend and pupil of Jacob Ruysdael, divides with him the
honour of being the great landscape painter of the Dutch School of the
17th century. Except that he lived and died in Amsterdam in straitened
circumstances, little is known of his life, and during the 18th century his
pictures were so poorly esteemed that not infrequently the signature was
erased from his works, and that of Ruysdael forged in its place. Now
few landscapes are more appreciated than those of Hobbema, and his
authentic works realise high prices.
466. Woody Landscape. In the foreground to the right k
an inn, approached by a wooden footbridge spanning a stream.
On the centre of a bridge there is a gate, and beyond the inn a
lofty building among trees. A long avenue is to the left, and by
the wayside a massive structure, within a high wall, approached
by an arched gateway. On Canvas — height, 3 ft. 1 J in. ; width,
3 ft. 10£ in. Signed " Hobbema." M'Lellan Collection.
467. A Woody Landscape. A dark wood, with a marshy
pool edged with sedges, having water-lilies, etc., in the fore
ground, occupies the right of the picture; the left, open fields,
a roadway on which are two travellers, cottages seen through the
trees, and a church spire. Signed " M. Hobbema." On Panel
—height, 2 ft. 0£ in.; width, 2 ft. 9| in. M'Lellan Collection.
468. Ruined Cottage. A wooden, red- tiled cottage, much
dilapidated; trees and church spire behind, and to the left a
windmill. On Panel — height, 104, in. ; width, 14£ in. M'Lellan
Collection. 469. A Group of Trees on the Bank of a River.
Fishermen drawing their nets into a boat on one side, and on
the nearer bank an angler seated; to the right and left, wind
mills, etc. Signed "M. Hobbema." On Panel — height, 1 ft.
6£ in.; width, 2 ft. 1\ in. M'Lellan Collection.
470. Landscape in Storm (Copy). In the foreground of a
woody landscape a stream, crossed by a bridge upon which there
is an old woman ; a cottage beyond, and to the left a church with
spire. Signed " M. Hobbema." On Canvas — height, 10 in. ;
width, 11£ in. Graham-Gilbert Collection.
The signature on this picture is a forgery.

Hoet. Gerard Hoet, 1648-1733. Dutch School.
Hoet was the son of a glass painter at Bommel, where his earlier years
were spent in the occupation of his father. Afterwards he visited the
Hague, Paris, and Brussels, and ultimately he settled at Utrecht, and
there founded an Academy of Art. He was, in figure painting, an imitator
of Poelenborgh, and is held in esteem for his correctness of design and
graceful composition. Hoet died at the Hague.

104 HOLLAND. HONDECOETER.

..472. .The Guilt of Callisto. Diana and her female
attendants of the chase are preparing to bathe in a pool near
precipitous rocks. The garments are being removed from the
unwilling and shame-overpowered Callisto, under the direction of
the goddess. On Canvas— height, 2 ft. 5J in.; width, 3 ft. OJ in.
M'Lellan Collection.

Holland. James Holland, R.W.S., 1800-1870. English
School. Holland, who was born at Burslem in 1800, began his career as an
artist by decorating pottery. In 1819 he removed to London, where he
gained a livelihood by teaching and flower painting. He first exhibited
in the Royal Academy in" 1824. In 1831 he visited Paris, after which
he devoted himself entirely to architectural and landscape painting.
He travelled largely on the Continent, and his subjects were taken from
the scenes he visited in Italy, Holland, France, and Portugal. In 1856 he
was elected an Associate of the'Royal Water-Colour Society, and in 1858
was made a full member. He died in London in 1870.
473. Grand Canal, Venice. The canal with gondola and
figures in foreground ; to right and in the distance, buildings ;
to the left, a dome of St. Marks and the Campanile are seen.
On Panel, circular — diameter, 12 in. Donald Collection.
474. Grand Canal, Venice. Pendant to above. On Panel,
circular — diameter, 12 in. Donald Collection.
Holyoake. William Holyoake, 1834-1894. English School.
Holyoake, a native of Birmingham, studied art first in the Birmingham
School of Design, and subsequently in the Royal Academy School, in both
of which institutions he was repeatedly a medalist. He twice, held the
office of Curator of the Royal Academy School, and on his first retirement,
in 1870, he received a testimonial from the students, signed among others
by W. W. Ouless, Luke Fildes, Frank Holl, and P. R. Morris. Later,
when the appointment became more important, he was preferred over
many competitors, and he held the office till failing health compelled him
to retire on a pension. For several years he was a Vice-President of the
Royal Society of British Artists. He was an admirable and successful
teacher, and a popular painter, and he executed several commissions for
Queen Victoria. Many of his pictures were reproduced. Holyoake died
in London in 1894.
475. In the Front Row at the Opera. On Canvas — height,
2 ft. 0J in. ; width, 2 ft. 8 in. Teacher Collection.
Hondecoeter. Melchior D'Hondecoeter, 1636-1695. Dutch
School. Melchior D'Hondecoeter was a scion of the noble family of Westerloo,
in Brabant. Born in Utrecht, he received his first art instruction from
his father, and subsequently from his uncle, J. B. Weenix. In 1650 he
was admitted to the St. Luke's Guild in the Hague ; he married and

hondius. hornel. :105

resided there and in Amsterdam, in which town he died. Before devoting
himself to the painting of birds and poultry, he executed marine subjects ;
but his fame entirely rests upon the ability and sympathy with which he
depicted feathered creatures, his skill in that department earning him the
title of the "Raphael of the Birds."
476- Domestic Poultry. Group, consisting of hen and
chickens, a cock, and two pigeons; the hen is greatly excited at
the approach of some foe. Signed " M, D'Hondecoeter." On
Canvas — height, 2 ft. lOf in.; width, 2 ft. 4f in. M'Lellan
Collection.

Hondius. Abraham Hondius, or Hond, 1638-1695. Dutch
School. Hondius was a native of Rotterdam, who spent the latter part of his
dissipated life in England, where his art was much appreciated by con
temporaries. He devoted himself principally to the painting of animals
and hunting scenes, and excelled especially in the representation of dogs.
He also painted conflagrations. He died in London.
477. Swan attacked by Dogs. A swan, with wings out
stretched in fury, has beaten off a dog, the heads of two others
are seen approaching to the attack; background, architectural
ruins and fragments. Signed " Abraham Hondius." On Panel
— height, 10 in.; width, 13 J in. M'Lellan Collection.

Honthorst. Willem van Honthorst, 1604-1666. Dutch
School. Willem van Honthorst, a portrait painter, native of Utrecht, where
also he died, and brother of the famous Gerard van Honthorst (Gherardo
dalle Notti), was trained under Abraham Bloemaert and partly by his
brother. He pursued his calling principally in Berlin, the Hague, and in
Utrecht, and was much patronised by the ruling classes of his period.
478- Portrait of Frederick Henry of Nassau, Prince
of Orange, son of William the Silent and- Louise de Cpligny,
born 1584, died 1647. He was grandfather of William. III. of
England. Half-length figure, in cuirass, with a broad linen
collar, and the medal of an order of knighthood suspended from
his neck by a blue ribbon. On Canvas, oval — height, 2 ft. 5 in. ;
width, 1 ft. 11 J in. Euing Collection.
A similar portrait is in the Royal Gallery (Mauritshuis) at the Hague.
Other repetitions of it exist.
Hornel. E. A. Hornel (living artist). Scottish School.
479. The Coming of Spring. Amid a dense clump of oaks,
with the acorns, galls, and leaves of a past season, four young

106 hough, hove.

girls are gathering snowdrops, the heralds of Spring. Signed
"E. A. Hornel, '99." On Canvas— height, 4 ft. 11 in.; width,
3 ft. 11 J in. Purchased, 1900.
Hough- William Hough, 19th century. English School.
A fruit and flower painter, who exhibited at the Royal Academy at
intervals from 1857 till 1894.
480- Fruit Piece. A number of plums, some attached to a
broken branch, lying on the ground in front of a rock partially
covered with moss and ivy. Signed " W. Hough." Water-colour
— height, 74, in.; width, 10J in. Smellie Collection.

Houston. George Houston, A.R.S.A. (living artist).
Scottish School.
481. An Ayrshire Landscape. A stretch of pastoral
country, hills in distance, sheep and group of stunted trees in
foreground. Signed "George Houston." On Canvas — height,
4 ft. 5 J in.; width, 5 ft. 11 J in. Purchased from the Royal
Glasgow Institute of the Fine Arts Exhibition, 1904, and pre
sented by an anonymous donor.
Houston. John Adam Houston, R.S.A., 1813-1884. Scottish
School. Houston, of Scottish descent, was born in Wales, and educated at the
Trustees' Academy in Edinburgh. He afterwards studied in Paris and
Germany, and resided some time in Florence. From 1840 till 1858 he
was resident principally in Edinburgh. He was elected Associate of the
Royal Scottish Academy in 1842, and full member in 1845. Latterly he
resided in London, where he died. Houston devoted himself chiefly to
landscape painting, and to illustration of literary subjects, and generally
he succeeded in telling his story with much dramatic force.
482. View of Glasgow and Cathedral. The Cathedral
and town of Glasgow, as seen from the Necropolis, part of which
is in the foreground. On Canvas — height, 3 ft. 8 in,; width,
6 ft. Presented by A. Dennistoun, of Golfhill, 1877.
Engraved on a large plate by William Richardson, of Edinburgh.
Hove. Edmond van Hove (living artist). Belgian School.
483. Le Botaniste. Bust of a man seated at a table, dressed
in a skull cap and robe with fur collar. He holds in left hand a
flower, which he is examining, in right hand a quill pen, with
which he is about to enter a description of the flower in an open

HUBERT. HUNT. 107

volume which lies before him. Signed " Edm. Van Hove." On
Panel — height, 12J in.; width, 15J in. Purchased at Royal
¦Glasgow Institute of the Fine Arts, 1907.

Hubert. F. Hubert. German School.
484- A Forest Glade. In the foreground, a woman walks
by the side of a donkey laden with wood; other figures in the
distance. Signed "F. Hubert." On Panel — height, 16 in.;
width, 284, in. Teacher Collection.

Hunt- Alfred William Hunt, R.W.S., 1 830-1 S96. English
School. This distinguished water-colour artist, the son of Andrew Hunt, also
an artist, was born at Liverpool in 1830, and began as early as his eighth
year to draw from nature. Having originally no intention to make art
his profession, Hunt was sent to the Liverpool Collegiate School, and in
1848 he won a scholarship at Corpus Christi College, Oxford, and took
his degree in 1852. At the same time he still retained his artistic
bent, becoming a member of the Liverpool Academy in 1850. In 1854
he exhibited his first picture at the Royal Academy. In 1862 he was
elected an Associate of the Society of Painters in Water-colours, from
which time he became a regular contributor to its exhibitions, and he was
made a full member in 1864. Hunt was greatly influenced in his art
by Turner, but was by no means a mere copyist. He was an accom
plished draughtsman, and was specially successful in seizing and delineat
ing the more subtle and fleeting aspects of nature. He died in London
on the 3rd of May, 1896.
485. Sound of Kerrera. The Sound of Kerrera, in which
are a number of sail-boats; to left is the island of Kerrera, in
middle distance Dunolly Castle, and, beyond, the island of
Lismore and the Mull and Morven hills. On Canvas — height,
13J in.; width, 17J in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.

Hunt. William Henry Hunt, 1790-1864. English School.
Born in London, Hunt was trained by John Varley, one of the fathers
of the art of water-colour painting, and he was also a pupil in the schools
of the Royal Academy. He devoted himself to water-colours—painting in
his early years landscapes and still life ; and in his later days he attained
great popularity by his " Rustic Boy " and by other rural subjects. Hunt
was a rich colourist, and he rendered fruit and flower subjects with
remarkable brilliance and fidelity. He died in London.
486. In Full Blossom. English farm scene in spring, with
apple trees in rich blossom; boy, girl, and calf. The roofs of
the farm buildings are seen through the trees. Signed " William

108 hunter.

Hunt." On Canvas — height, 2 ft. 5 J in.; width, 3 ft. 4 in.
Teacher Collection.
487. An Interior. Lady, erect m black, low^shouldered
gown, head turned from spectator viewing picture on wall, right
hand supporting a mandoline, in her left a note. Richly
upholstered chair and other furniture. Water-colour — height,
17 in. ; width, 12 J in. Signed " W. Hunt." Presented by James
Orrock, R.I., 1892.
Hunter. Colin Hunter, A.R.A., 1841-1904. Scottish School.
This distinguished artist was born in Glasgow in July, 1841, the son of
an Helensburgh bookseller. He received his education in that town, and
there he began life as a clerk. Falling, however, under the influence of
Milne Donald, Hunter forsook the pen for the brush, his early efforts
being rustic figure subjects. For some time he resided alternately in
Glasgow and Edinburgh, but ultimately he settled in London. The work
of his mature years was confined almost entirely to delineating effects
of sea and shore and incidents of fishing life, and it is on these that
his fame will rest. He was a regular exhibitor at the Royal Glasgow
Institute, the Royal Scottish Academy, and the Royal Academy. Several
of his pictures were acquired for Colonial galleries. " Their Only Harvest "
was purchased by the Chantrey Trustees, and " The Herring Market at
Sea" by the Corporation of Manchester. He was a member of the Royal
Scottish Water-Colour Society, and in 1884 he was elected an Associate of
the Royal Academy. He died at Kensington on the 24th September, 1904.
489. Good-Night to Skye. A sea bay in the Western
Highlands under a rosy evening sky, boat upturned on pebbly
beach in foreground, a rough, rocky foreshore to the right, and
in the distance the peaks of Skye. Signed " Colin Hunter, 1895."
On Canvas — height, 3 ft. 3 in.; width, 5 ft. 11 in. Purchased,
1895. Exhibited in the Royal Academy, 1895.
490. Sea-Piece — Dawn. Sea shore, under a grey sky, the
light breaking through a cloud to the right; on the shore, sea
gulls. Signed "Colin Hunter, 1875." On Canvas — height,
2 ft. IJ in.; width, "3 ft 11 J in. Teacher Collection.
491. Ebbing Tide. Highland crofter village on the West
Coast; tide receding from the shore, on which are several kelp-
gatherers, with horses and carts. Signed " Colin Hunter, '78."
On Canvas — height, 1 ft. 9J in.; width, 2 ft. IIJ in. Teacher
Collection. Exhibited in the Royal Academy, 1878.
492. The Falls of Niagara. View of the Horse-shoe Fall,
with spray rising in clouds in front of the falling water; trees to

huysmans. huysum. 109

the left. Signed " Colin Hunter, '90." On Canvas — height,
17J in.; width, 27J in. Teacher Collection.
493- Niagara Rapids. The Rapids where the river suddenly
narrows and is thrown into violent commotion before being pre
cipitated over the Falls. Signed " Colin Hunter, 1901." On
Canvas — height, 4 ft. 10 in. ; width, 10 ft. 10 in. Presented by
Sir Donald Currie, G.C.M.G., 1901.
Huysmans. Cornelis Huysmans, 1648-1727. Flemish School.
Huysmans, known also as Houseman, of Mechlin, native of Antwerp,
was a pupil of Gaspar de Witt and of Arthois. He was esteemed one of
the best Flemish landscape painters of his period, his style being modelled
on the Italian Eclectics. His figures and cattle are well drawn and
pleasingly grouped, and he was often employed to insert these in the
works of other artists. He died at Mechlin.
495- Landscape. A woody landscape, with rook and trees;
on the right a sportsman with dog; left, two women at a foun
tain. On Canvas, pasted on wood — height, 11 in.; width, 13 J in.
Graham-Gilbert Collection.
496- Landscape. The skirts of a dense wood to the right;
centre, a man and woman seated; to the left, a woman coming
forward ; ruin and two figures in the middle distance. On Canvas
— height, 7 J in.; width, 10 J in. Graham-Gilbert Collection.
Huysum. Jan van Huysum, 1682-1749. Dutch School.
Huysum was one of the greatest ornaments of the school of Dutch
flower painting, in which department he was reputed the " Phoenix " of
painters. In the arrangement or grouping of flowers, in faithful and
exact rendering of minutest detail of structure and colour, and in freedom
and lightness of handling, he has never been approached. Huysum was
born, lived, and died in Amsterdam, where he received his early instruc
tion from his father, also a flower painter.
497- A Group of Flowers. Globular glass vase, containing
rose, lupine, mallow, convolvulus, and other flowers. The com
position includes a garden snail, a butterfly, a blue fly, and ants.
Signed " Jan van Huysum, fecit." On Canvas — height, 16J in. ;
width, 14 in. M'Lellan Collection.
498. A Group of Flowers. In a terra-cotta vase, with bas-
reliefs, on a yellow marble plinth, a group of flowers, size of
nature, comprising rose, tulip, iris, lily, pink, convolvulus, poppy,
peony rose, and other showy plants on a yellow ground : in the
master's second manner. Signed "J. van Huysum, fecit, 1727."
On Canvas — height, 5 ft. 2 in.; width, 3 ft. 7 in. M'Lellan
Collection. 3 a

110 Israels, janssens.

Israels. Josef Israels, H.R.A. (living artist). Dutch School.
500. The Frugal Meal. A rustic Dutch interior, with the
parents seated at either side of a table, between them a heaped
steaming bowl of potatoes; a child's cradle is by the mother's
side; behind the father's chair two little ones are eating from
a stool, and a third child is seated on the floor with a plate in
his lap. A hen picks up fragments in the foreground. Signed
" Josef Israels." On Canvas— height, 2 ft. 10 in. ; width, 4 ft.
6 in. The gift of the sons of James Reid, of Auchterarder and
Hydepark Locomotive Works, 1896.
Etched on a large scale by Leopold Lowenstam.
501. Fisher Folk — Father's Boat. A woman, with a child
in her arms and another by her side, stands on a low sandy beach
looking out to sea, watching an approaching boat. Signed " Josef
Israels." Water-colour — height, 12 \ in.; width, 8 J in. Smellie
Collection. 502. The Happy Family. Rustic interior, with mother,
seated by the window, nursing an infant; child with toy
carriage looking on ; husband seated before the fire lighting
his pipe. Signed " Josef Israels." On Canvas — height, 15 in. ;
width, 22 in. Donald Collection.

Jacque. Charles Emile Jacque, 1813-1894. French School.
Jacque, one of the ornaments of the famous Barbizon School, was born
at Paris on 23rd May, 1813. His speciality as a painter was sheep and
the feathered creatures of the poultry yard, of which he made a scrupulous
study. Originally trained as an engraver and etcher, he early turned also
to the oil painting of scenes of rustic life, and with equal success he
continued to practise both classes of work throughout his life. He was
made Chevalier of the Legion of Honour, 1867, and at the Universal
Exhibition of 1889 he received a gold medal as a painter and a Grand
Prix as an engraver. Jacque's pictures are painted in a low grey tone,
almost monochromatic in effect, a preference encouraged by his experience
as an engraver. He died in Paris on 7th May, 1894.
503. The Wane of Day. In the foreground a pool of
water, a barefooted shepherdess standing by its side, and a small
flock of sheep, guarded by a dog in front, coming forward to
drink; to the left a dark clump of trees, to the right open
dreary landscape, with a few trees and a small lake in the middle
distance. Signed " Charles Jacque, 1881." On Canvas — height,
2 ft. 3J in. ; width, 3 ft. 2 J in. The gift of the sons of James
Reid, of Auchterarder and Hydepark Locomotive Works, 1896.
Janssens. Cornelis Janssens, or Janson van Keulen. 1594-
1664? Dutch School.
A portrait and miniature painter, native of Amsterdam, but, according
to some, born in London of parents who migrated from the Spanish Nether-

JONES. Ill

lands. He practised at the Court of Charles I., and came under the
influence of Vandyck, who was nine years his junior. On the execution of
his royal patron, Janssens settled in Amsterdam, where he probably died
between 1662 and 1664. A portrait, signed with his name in full, and
dated 1656, is in the Rotterdam Gallery. He also painted the portrait of
Milton as a boy ten years of age and that ofthe great Marquis of Montrose.
505- Portrait of a Lady. Half-length figure of a lady,
hair in ringlets, with pearl necklace, lace-edged neckerchief
and stomacher, brown satin bodice with fur-trimmed sleeves.
On Canvas — height, 2 ft. 4J in.; width, 2 ft. 1 in. Formerly
attributed to Mytens. M'Lellan Collection.

Jones. George Jones, R.A., 1786-1869. English School.
Jones was the son of John Jones, a mezzotint engraver in London. He
became a student of the Royal Academy when a boy, but for a time, during
the Peninsular War, he served as an officer of Militia. At the conclusion
of the war, Jones returned to art, and devoted himself to painting views
of towns, battle-pieces, and illustrations of Old Testament Scriptures. He
was elected an Associate of the Academy in 1822, and full member in 1824,
and was a contributor to its exhibitions for 66 years — from 1803 till 1869
inclusive. He was also Keeper of the Royal Academy from 1340 till 1850,
having previously held the office of Librarian ; and in 1849 he published a
memoir of Sir Francis Chantrey, R.A. He died in London on the 19th
September, 1869.
506. The Relief of Lucknow? Evening, November, 1857.
The relief of the sufferers besieged at Lucknow, rescued by
General Lord Clyde and the army on the march to the British
Camp, was thus described by his lordship — " In leading the
sufferers out of Lucknow my great anxiety was to keep them
silent, and to press them to exertion to reach the" British Camp.
My distress and difficulties were great, as the women, from
debility, would sit down, and the children cried and mourned
under their fears and privations." On Canvas — height, 3 ft.
4 in. ; width, 5 ft. 10 in. Presented by Mrs. Jones, widow of
the artist, 1880.
Exhibited in Royal Academy, 1869.
507. Cawnpore — Passage of the Ganges, on the 29th and
30th of November, 1857. The passage of the army, and of
about 1,500 women, children, and sick and wounded soldiers,
rescued from Lucknow, occupied more than thirty hours. Lord
Clyde, with his staff, is on the rising ground; in the foreground
are medical officers attending the sick. The bridge was defended
by Captain Peel's heavy guns. The baggage was carried by
elephants and camels. On Canvas — height, '3 ft. 4 in. ; width,
5 ft. 10 in. Presented by Mrs. Jones, widow of the artist, 1880.
Exhibited in Royal Academy, 1869.

112 JORDAENS. KATE.

Jordaens. Jakob Jordaens, 1593-1678. Flemish School.
This artist was a native of Antwerp, and contemporary and friend of
Rubens, who assisted him with counsel and otherwise. He was a man of
great industry, and that, combined with his popularity, enabled him to
amass a very considerable fortune. He painted principally historical and
mythological subjects, and in the fantastic details of the latter he was
most successful. The influence of Rubens may be traced in his colour and
powerful handling, but he was nevertheless a man of strong individuality.
In his old age Jordaens embraced the Protestant faith. He died of the
plague at Antwerp.
508. The Fruit Seller — Design for Tapestry. Half-length
life-size figures of two women and a man, two standing within,
and the other outside, a richly carved doorway, by which is a
parrot on a perch. The two inner figures are illuminated by
candle light. The outer bears a basket of grapes. On Canvas —
height, 3 ft. 9J in. ; width, 5 ft 1 in. M'Lellan Collection.
A version of this picture, the property of H. Michel van Gelder, Uccle,
was shown at the Exhibition of Flemish Art, held at Brussels in 1910,
under the title of Le Jour et la nuit.

Kalf. Willem Kalf, about 1630-1693. Dutch School.
Kalp was born in Amsterdam about 1630. He studied under Hendrick
Pot, a historical painter, and his early works were of that class. Latterly
he confined himself to the painting of still life, and was particularly
successful in his rendering of flowers, fruit, vases, and kitchen utensils.
He died at Amsterdam in 1693.
509- The Delft Plate. A table, on .which is a blue and
white delft plate, with peaches, lemons, etc. ; gilt vase and cover
behind. On Canvas — height, 2 ft. 3 in.; width, 1 ft. 10 in.
Donald Collection.
510. Still Life. On a table, a blue and white plate, with
various fruits ; gilt vase and cover behind. Signed " W. Kalf."
On Canvas — height, 2 ft. 7J in.; width, 2 ft. 2 in. Donald
Collection. Kate- Herman Frederik Karel ten Kate, 1822-1891. Dutch
School. Ten Kate studied at the Hague under Bakker Korff. His pictures are
mostly military pieces illustrative of the Dutch War of Independence;
soldiers in huge jack-boots and jerkins courting waitresses at inns 'or
engaged m drinking and gambling.
511. Rdstic Courtship. A young man stands by the side
of a window, out of which leans a peasant girl ; to the left are
two women watching the pair through an opening in a fence.
Signed "Herman ten Kate, ft." Water-colour— height. 62 in.:
width, 9f in. Smellie Collection. *

KAY. KIDD. 113

512- The Courier. A cottage interior, with two men seated
at a table, on which are papers, etc., engaged in a discussion
with a young woman who is standing near; another man is
seated near the fireplace. Signed " Herman ten Kate, ft."
Water-colour — height, 6f in.; width, 9| in. Smellie Collection.
Kay. Archibald Kay, R.S.W. (living artist). Scottish
School. 513. The Rhymer's Glen. A stream flowing through a
rocky channel, bordered by trees; hills in the distance.
Signed "Archibald Kay." On Canvas — height, 39J in.;
width, 49J in. Purchased, 1909.
Kay- James Kay, R.S.W. (living artist). Scottish School.
514. The Launch of the " Lusitania." The River Clyde at
Clydebank, in which is floating the hull of the newly launched
steamship " Lusitania," with attendant tugs, etc. Signed " James
Kay, R.S.W." On Canvas — height, 3 ft. 11 J in.; width,
6 ft. 5J in. Purchased at the Royal Glasgow Institute of the
Fine Arts, 1907.
The " Lusitania," a quadruple turbine screw vessel of 34,000 tons, built
for the Cunard Steam Shipping Company, Ltd., by -John Brown & Co.,
Ltd., was launched on 7th June, 1906.
Kellner. Herman Kellner. Modern German School.
515. The Ravages of War. Villagers, with their children,
and such of their possessions as they have been able to carry
away, are flying from their ruined homes; a burning village
is seen in the distance to the left. Signed " Herman Kellner,
Miinchen." On Canvas — height, 2 ft. 11 in.; width, 4 ft. 1 in.
Teacher Collection.

Kelly. R. Talbot Kelly (living artist). English School.
516. In a Barren and Dry Land, where no Water is.. A
sandy desert, through which a caravan of camels is wending
its way ; bare cliffs and precipices around. Signed " R. Talbot
Kelly, 1894." On Canvas — height, 3 it; width, 3 ft. 2 in.
Teacher Collection.
Kidd. William Kidd, ZT.R.S.A., 1796-1863. Scottish School.
Kidd began his- career as an apprentice to James Howe, an animal
painter in Edinburgh, but while still young removed to London, where he
occupied himself chiefly in painting subjects illustrative of Scottish

114 KNELLER. KNOX.

domestic life. He first exhibited in the Royal Academy m 1817, and con
tinued to do so until 1859. He was elected an honorary member of the
R.S.A. in 1849. An improvident man, he was continually in monetary
difliculties, and latterly was indebted for his maintenance to assistance
given by friends and to a pension granted by the Royal Academy. He
died in London on the 24th December, 1863.
517. An Art Connoisseur. In a room, the walls of which
are profusely decorated with pictures, a monkey is seated on a
chair looking through a magnifying glass at a painting of a
nude figure within a cabinet, the doors of which are open. The
dressing gown of the absent owner hangs on the chair, and his
slippers are on the floor. To the right, at the room door, a
black manservant and a female domestic stand grinning at the
proceedings. Signed " W. Kidd." On Panel — height, 11 J in.;
width, 13J in. Presented by Arthur Kay, 1901.

Kneller. Sir Godfrey Kneller, Bart., 1646-1723. Dutch
School. This celebrated portrait painter was born at Liibeck, the son of an
inspector of mines. As it was intended that he should follow a military
career, he was sent to Leyden for his preliminary studies. Whilst there,
however, he displayed such artistic proclivities that his father sent him to
Amsterdam, where he became a pupil of Rembrandt, and afterwards of
Ferdinand Bol. Subsequently he visited Rome and Venice. Returning
from Italy he was persuaded to settle in London, where he rapidly
acquired a great reputation, and became the favourite painter of the
Court. He painted the portraits of Charles II. , James II. , William III.,
and Queen Anne, several continental monarchs, and a large number of
the distinguished people of his time. He also executed the celebrated
series of 12 female portraits known as the Hampton Court Beauties, only
8 of which, however, are now known to be in existence. Kneller was
knighted in 1692, and was made a baronet in 1715. He died at
Twickenham in 1723.
518. Portrait of William III. Three-quarters length,
seated, in dark peruke, red coat, and olive-green mantle lined
with silk, with insignia of Garter and royalty. On Canvas —
height, 21 J in.; width, 17 J in. Presented by T. Graham Young
as a memorial of his father, James Young, LL.D., F.R.S., of
Kelly, 1900.
Knox. John Knox, 1778-1845. Scottish School.
Knox, a native of Paisley, received his early instruction in art under
Alexander Nasmyth. He was for many years a teacher of drawing and
painting in Glasgow. Several of his pupils rose to eminence, among
whom were Horatio M'Culloch, R.S.A., and Sir Daniel Macnee, P.R.S.A.
Knox painted and exhibited panoramas of Ben Lomond, Edinburgh,
Glasgow, Dublin, etc., and these, during his life, enjoyed much popularity.
He removed to Keswick about 1840, where he died on the 15th January,
1845.

KOEKKOEK. KOFFERMANS. 115

519- Hilly Landscape — Sketch. In foreground a stream, on
the far bank trees and a wooded hill; range of hills in distance.
On Cardboard — height, 6 in. ; width, 9 J in. Presented by Edith
A. Knox, grand-niece of the artist, 1907.
520. Landscape with Trees — Sketch. In foreground shrubs
and trees ; hills in the distance. On Cardboard — height, 4J in. ;
width, 7J in. Presented by Edith A. Knox, grand-niece of the
artist, 1907.
521- View of Loch Lomond. Panoramic or bird's-eye view
of Loch Lomond, the neighbouring hills and surrounding country,
including the Firth of Clyde and sea lochs, as supposed to be
seen from the upper part of the loch. On Canvas — height,
2 ft. OJ in. ; width, 5 ft 2 in. Euing Collection.
522. View of Ben Lomond. Panoramio or bird's-eye view
of the top of Ben Lomond, the neighbouring hills, Loch Lomond,
and surrounding country. On Canvas — height, 2 ft. OJ in.;
width, 5 ft. 2 in. Euing Collection.
Koekkoek- Herman Koekkoek, 1815-1882. Modern Dutch
School. Koekkoek, the son of an eminent Dutch marine painter, was born at
Middleburg, and devoted himself in Amsterdam, with much acceptance, to
the branch of painting in which his father was eminently distinguished.
Several other members of this family attained distinction as artists.
523. A Marine Subject — Stormy Weather. A boat,
heavily manned, is just reaching the shelter of a wooden pier,
where two are already moored ; beyond, a vessel, under stress of
weather, is making for the pier. Signed " H. Koekkoek, 1853."
On Canvas — height, 2 ft. 1 in.; width, 2 ft. 10 in. Euing
Collection. Koffermans- Marcellus Koffermans, middle of 16th century.
Flemish School.
Little is known of this artist, further than that he practised in Antwerp,
where he was admitted into the guild of St. Luke in 1549.
524. A Pieta. The body of the dead Christ is being anointed
and prepared for burial by the two Marys and other holy women
—Joseph of Arimathea supporting the Saviour's head; in the
cave behind, Jews are burying a body; to the right, three
orosses, on which hang bodies ; and, in the distance, the
gate, wall, and towers of a mediaeval city dominated by a
castle. On Panel — height, 8 J in.; width, 11 in. M'Lellan
Collection.

116 lagrenee. landseer.

Lagrenee. Louis Jean Francois Lagrenee, 1725-1805.
French School.
Lagrenee, native of Paris, was a pupil of Carl van Loo, and studied
also in Rome as a pensioner of the king. He became a member of the
French Academy in 1755 ; of which body he was, in 1758, appointed
assistant professor; in 1762 he was made professor; and in 1785 he was
advanced to the office of rector of the Academy. By the Empress Elizar
beth II. of Russia he was invited to St. Petersburg in 1760, and appointed
Director of the Imperial Academy and first painter to the Empress. He
returned to Paris in 1763, and from successive governments he received
many honours, the last being the Cross of the Legion of Honour from
Napoleon in 1804. He died at Paris in the following year.
525. Portrait of Prince Paul of Russia. Half-length
figure of the Prince, a youth with a white peruke, green sash,
and order on his breast. On Canvas — height, 23 in. ; width,
18 in. Euing Collection.
Prince Paul, afterwards Emperor, son of Empress Catherine II., was
born in 1753, and murdered in 1801.
Laing. James G. Laing, li.S.W. (living artist). Scottish
School. 526. Interior of St. Maclgu, Rouen. The nave bf a Gothio
church, showing pulpit, altar, etc. Several ecclesiastics standing
or kneeling. Signed " James G. Laing, R.S.W., Rouen." Water-
oolour— height, 1 ft. 8 J in. ; width, 1 ft 2 J in. Purchased, 1906.
Lambinet. Emile Charles Lambinet, 1815-1877. French
School. This well-known French landscape painter, native of Versailles, was a
pupil of Horace Vernet. In the year 1867 he was decorated with the
Legion of Honour, and his merits had been repeatedly acknowledged by
medals at the Salons of earlier years.
527- Sea Coast Scene. A road winding towards a fishing
village on the right. On the beach a boat, fishermen, and fisher-
women; to left an inlet, on which are sail boats. On Canvas-
height, 2 ft. 5 J in. ; width, 4 ft 6 J in. Signed " Emile Lambinet,
1867." Elder Collection.
Landseer. Charles Landseer, R.A., 1799-1879.
Charles Landseer, the elder brother of Sir Edwin Landseer, the
animal painter, was bom in 1799. He received his first instruction from
his father, John Landseer, the engraver, and subsequently studied under
ttaydon. In 1816 he entered the School of the Royal Academy, where he
first exhibited in 1828. He travelled and sketched for some time in
Portugal, and also in South America. In 1837 he was elected an Associate
¦ -,onn7 Academy, and in 1845 an Academician. He died in London
m. i°79- bequeathing £10,000 to the Royal Academy for the foundation
ot "Landseer Scholarships."

LA THANGUE. LAUDER. 117

528. The Sacking of Basing House. A richly furnished
apartment, in which are an old gentleman, a young lady, and
a boy, prisoners. To left is the body of a cavalier; behind,
a clergyman with a bottle in his hand drinking wine out of
a goblet; several soldiers are discussing and gathering up
booty. On Canvas — height, 3 ft. 3J in. ; width, 4 ft. IJ in.
Lent by National Gallery.
Basing House, in Hampshire, was stormed by Cromwell's soldiers on
the morning of the 8th October, 1645.

La Thangue. H. H. La Thangue, A.R.A. (living artist).
English School.
529- Provencal Winter. In an orchard a woman in a pink
dress, with white kerchief on her head, emptying a basket of
oranges into a sheet spread on the ground; to right, in fore
ground, a rose bush in full bloom. Signed " H. H. La Thangue."
On Canvas — height, 2 ft. 6 in. ; width, 3 ft. Purchased from
the Royal Glasgow Institute of the Fine Arts Exhibition, 1904,
and presented by an anonymous donor.
Exhibited in the Royal Academy, 1903.

Lauder. Robert Scott Lauder, R.S.A., 1802-1869. Scottish
School. Lauder was born and died in Edinburgh, and studied art successively in
his native city and in London. After his marriage to a daughter of the Rev.
John Thomson, of Duddingston, he spent several years in the great cities
of Italy, then practised in London, and ultimately settled in Edinburgh,
on being appointed Master of the Trustees' Academy, in which position
he exercised a powerful influence on Scottish art. He excelled as a painter
of scriptural, historical, and genre subjects, which are remarkable for
skilful and harmonious colour.
530. Portrait of a Lady. Three-quarter length figure of a
lady in white satin dress, seated at an antique escritoire. On
Canvas — height, 2 ft. 1 in. ; width, 1 ft. 7 J in. Euing Collection.
Lauder. Charles James Lauder, R.S.W. (living artist).
Scottish School.
531. Bowling. The harbour and town of Bowling, with
steam and sailing vessels lying alongside the wharves and
anchored in the stream. A steamer is proceeding down the
river. On the left are the Renfrewshire hills, and on the right
those of Old Kilpatrick. Signed " C. J. Lauder." Water-colour
—height, 23J in.; width, 35J in. Smellie Collection.

118 LAVERY. LAWRENCE.

Lavery. John Lavery, R.S.A. (living artist). Scottish
School. 532. Portrait of R. B. Cunninghame Graham. Full length,
life size, standing, looking to front, dressed in riding coat and
boots, right hand resting on a walking stick. Signed "J.
Lavery." On Canvass — height, 6 ft. 8 in.; width, 3 ft 6J in.
Purchased, 1906.
533. Glasgow International Exhibition, 1888. — Statu
Visit of Her Majesty Queen Victoria to the Exhibition,
22nd August, 1888. Sir Archibald Campbell, Bart. (Lord Blyths-
wood), reading the Address to Her Majesty.- On Canvas — height,
8 ft. 5 in. ; width, 13 ft. 4 in. Signed " J. Lavery, 1890." Painted
for the Executive Council of the Exhibition.
Lawrence. Sir Thomas Lawrence, P.R.A., 1769-1830.
English School.
This celebrated portrait painter, the son of an innkeeper at Devizes, was
born at Bristol on the 4th of May, 1769. He was remarkably precocious,
and at a very early age he produced portraits in chalk of some of his father's
customers, which attracted much attention. When only ten years of age
he began drawing portraits in crayons at Oxford. At the age of seventeen
he commenced painting in oil, and a year afterwards he removed to
London and entered the schools of the Royal Academy. In 1791, when
only 22 years of age, he was elected an Associate of that body, and the
following year he succeeded Sir Joshua Reynolds, on the death of that
artist, as painter to the King. From that time his career was one of
signal and uninterrupted success. In 1794 he was elected a Royal
Academician, he was knighted by the Prince Regent in 1815, and in
1820, on the death of Benjamin West, he was elected President of the
Academy. He died in London on the 7th January, 1830.
534. Portrait of the Poet Thomas Campbell. (See
Catalogue of Sculpture.) Bust, life size, face turned towards
the right. Inscribed " Malcolm Stewart, 1902, after Lawrence."
On Canvas — height, 2 ft 6 in1. ; width, 2 ft. 1 in. Presented by
Malcolm Stewart, 1902.
Copy by Malcolm Stewart of the portrait in the National Portrait
Gallery, London.
535- Portrait of Sir John Moore, K.B., 1761-1809. Bust,
life size, in military uniform, looking to the front. Inscribed
" Malcolm Stewart, 1902, after Lawrence." On Canvas — height,
2 ft. 6 in.; width, 2 ft. 1 in. Presented by Malcolm Stewart,
1902. Copy by Malcolm Stewart of the portrait in the National Portrait
Gallery, London.
Lieutenant-General Sir John Moore, a native of Glasgow, was
the third son of John Moore, M.D. Entering the army in 1776, he saw a
great deal of service in Corsica, the West Indies, Holland, and Egypt.
In 1808 he took command of the army in Spain, and was killed during the
disastrous retreat to Corunna.

LAWSON. LEITCH. 119

Lawson. John Lawson, 1868-1909. Scottish School.
Lawson, a native of Glasgow, was a landscape painter who chose his
subjects almost equally from the scenery of Wales and the West High
lands. His work was just beginning to be appreciated when he was cut
off at the early age of forty-one. He died at Carmunnock on 9th August,
1909. 536. Rhuddlan Castle — North Wales. On a rising
ground, to right, a ruined castle, the towers covered with
ivy; to left, a river with bridge; and, in middle distance,
cottages and a church with a square tower. Signed " John
Lawson." On Canvas — height, 3 ft.; width, 3 ft. 6 in.
Purchased, 1910.
Lear. Edward Lear, 1813(?)-1888. English School.
Edward Lear was the son of an employee on the Earl of Derby's estate,
near Knowsley, the youngest of twenty-one children. He early became
known as a skilful Zoological draughtsman. Removing to London in
1835, he employed himself making careful drawings of the birds in the
Zoological Gardens, many of which were used for the illustrations in
Gould's works on birds. Subsequently he devoted himself to landscape
painting, but his health giving way, he was sent by the assistance of his
friends to Italy. Later he travelled and sketched extensively in Eastern
lands, recording his journeyings in various illustrated publications. He
died at San Remo on January 29, 1888. Leajr was an amiable and accom
plished man, with a keen sense of humour, who will be remembered more
for his famous " Book of Nonsense " and other works in prose and verse
than for his merits as an artist.
537. Valentine : A Sketch. A young man, in dejected
attitude, leaning against the wall of a room. On Panel —
height, llf in. ; width, 8J in. Euing Bequest.
538. Launce and his Dog : A Sketch. Launce seated on
a stool, holding a dog by a string seated in front. Behind
the stool, bottles and a jug. On Millboard — height, 12£ in. ;
width, 9J in. Euing Bequest.
The above are sketches of characters from Shakespeare's comedy of
"Twelfth Night."
Leitch. William Leighton Leitch, R.I., 1804-1883. Scottish
School. Leitch was born in Glasgow of parents in humble circumstances. On
leaving school he was sent to work in a weaving factory, but early
developing a taste for art he gave up his situation and obtained employ
ment in the shop of a house painter. At the age of twenty, and with a
wage of 15s. per week, he married ; but soon he was engaged, at 25s. per
week, as a scene-painter in the Theatre Royal, Queen Street, where he
remained for about a year. Removing to Cumnock he was employed in
the decoration of snuff-boxes. Coming under the notice or the Marquis of
Hastings and Dr. Young, of Irvine, on their advice he removed to London,
where, recommended by David Roberts, he got employment again as a

120 LEITCH.

scene-painter. In 1832 he exhibited at the Society of British Artists.
Through the kindness of Mr. Anderson, a stockbroker, Leitch was enabled
to travel in Italy, where he remained for four years. On his return home
he devoted himself to teaching, his pupils including numerous members
of the aristocracy. By Lady Canning, one of his pupils, he was recom
mended to Her Majesty Queen Victoria, to whom he had the honour of
giving lessons in water-colour drawing, and for over twenty years he
similarly instructed the members of the Royal Family, his last pupil being
Queen Alexandra, then Princess of Wales. From 1841 to 1861 he was an
occasional exhibitor at the Royal Academy. He was a member and for
some time Vice-President of the Society of Painters in Water-Colours.
Leitch died in London on the 25th April, 1883. Many of his works have
been engraved.
539. Classical Composition. In right foreground a group
of persons near the ruins of a building, on which are sculptured
figures. In middle distance a classical building, and, beyond, a
stretch of blue water. On Canvas — height, 12 in. ; width, 17 in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.
540- Italian Scene — A Borghesb Farm. In the centre a
farmhouse, another building to the left; in the foreground a
man and two women, to the right a clump of trees ; in the
distance hills. Signed "W. L. Leitch, 1882." Water-colour-
height, 10 in.; width, 15f in. Smellie Collection.
541. Italian Landscape. In the foreground a stream, on
which is a man in a cobble, and to the right, on the bank, are
women drying linen ; behind is a building with a circular tower,
connected by a low wall with another building; on a road
way are men, women, and cattle; in the distance hills. Signed
"W. L. Leitch, 1877." Water-colour— height, 8f in.; width,
14f in. Smellie Collection.
542. Canal near Bowling. A canal, over which is thrown
a footbridge. On the right bank are a man and woman seated,
another woman standing near; in the stream is a canal boat, in
which are two men, one steering ; on the left bank are several
men, women, and horses, and a red-tiled house, near which are
trees; in the distance Dumbarton Rock is seen, and to the right
are the Kilpatrick hills. Signed "W. L. Leitch, 1877." Water-
colour — height, 8J in. ; width, 22f in. Smellie Collection.
543. Clyde, from Dalnottar Hill. In the foreground a
road through a moor, on which are a few cattle and a woman ; to
the left is the River Clyde and Dumbarton Rock ; and to the
right is Dalnottar Hill. Signed " W. L. Leitch, 1877." Water-
colour — height, 8f in. ; width, 14f in. Smellie Collection.
544. Dunglass and Bowling. In the foreground the
right bank of the Clyde, with the river flowing past; several
logs of wood are lying about, on one of which a man is reclining ;

121

two women with water vessels stand conversing; to the right is
a row of trees; in the middle distance is the village of Bowling,
beyond which rises Dunglass Hill ; the gable of Dunglass House
and Henry Bell's monument are also seen. Signed " W. L. Leitch,
1877." Water-colour— height, 8f in.; width, 14f in. Smellie
Collection. 545- Dumbarton Castle from the Leven. The junction
of the River Leven -with the Clyde ; in the centre Dumbarton
Rock and Castle; to the left the hulk of a partially dismasted
vessel, beached, the cargo being unloaded into carts; in the
distance houses, and behind are hills; in the foreground men
are employed about wreckage; and, to the right, is the River
Clyde. Signed "W. L. Leitch, 1877." Water-colour — height,
8J in. ; width, 22J in. Smellie Collection.
546. On Loch Fyne. Towards the left a castle facing the
loch, with other buildings, and a group of trees behind; in the
near foreground is a ferryboat, and, on the banks of the loch,
cattle and two women; on the right, part of a boat is seen.
Signed "W. L. Leitch, 1880." Water-colour — height, 8f in.;
width, 14f in. Smellie Collection.
547. Priests at Prayer. The interior of a church, with two
priests seated before the altar, one with hand outstretched in
the act of blessing a kneeling girl. To the left a woman, with
two children, kneels. Signed " W. L. L.," in monogram. Water-
colour — height, 5 in. ; width, 3 J in. Smellie Collection.
549. Loch Awe. In foreground a road leading past the left
side of the loch, on which are cattle and a drover ; mountains
in the distance. Signed " W. L. L., 1856." Water-colour —
height, 6 in. ; width, 8f in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.
550- Italian Scene. A river with boats and passengers:
on the far bank a group of buildings, with a round tower in
the centre ; in the distance snow - clad mountains. Signed
"W. L. L., 1856." Water-colour— height, 6J in.; width, 9J in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.

Lely. Sir Peter Lely, 1618-1680. English School.
Sir Peter Lely, whose original name was Van der Faes, was born at
Soest, in Westphalia, his father being a military- man. After receiving
some instruction from De Grebber at Haarlem, he resolved to visit Eng
land, and there he settled as a portrait painter, imitating the style of, and
as far as possible constituting himself successor to, Vandyck, who had
recently died. He painted for Charles I. ; during the Commonwealth he

122 lemmess. lingelbach.

was patronised by Cromwell, whose portrait he painted; and at the
Restoration was appointed principal Court Painter to Charles II., who
made Lely a baronet. Portraits by Lely are numerous in old family
collections. He died in London of apoplexy.
551 . Nell Gwynne. Figure of a lady seated, in a blue dress,
white puffed sleeves, red mantle over left shoulder, left hand
resting on a pet lamb. On Canvas — height, 4 ft. 2 in. ; width,
3 ft 4 in. Elder Collection.
See also Portraits from the Old Town Hall, No. 748.
Lemmens. E. Lemmens.
552. Poultry. Farmyard interior, with ducks, turnips, and
various utensils about. Signed " 1857. E. Lemmens." On
Canvas — height, 9 in.; width, 12 J in. Teacher Collection.
Lessore. Jules Lessore. Modern French School.
553. View of Antwerp from the left bank of the Scheldt;
the tower of the cathedral prominent on the right bank.
Shipping in stream. Signed " Jules Lessore." Water-colour
— height, 19J in. ; width, 13J in. Carfrae Alston Collection,
1909. Leyden. Lucas van Leyden, 1494-1533. Dutch School.
Lucas Jacobsz, commonly known as Lucas van Leyden, on account of
that city having been his birthplace, was one of the most influential of the
early artists of the Dutch School. In addition to paintings in oil, tempera,
and on glass, he executed a large number of engravings, etchings, and
woodcuts, these being at the time new arts, contemporaneously carried to
great perfection by Durer and Raimondi. His prints are now rare and
highly valued. He died at Leyden.
554. The Musicians. Quaint figures of a man and woman,
the former tuning a guitar after a violin, which the woman is
playing. On Panel — height, 19 in.; width, 13J in. Graham-
Gilbert Collection.
Almost identical with the engraving dated 1524, described hi Bartsch's
"Peintre Graveur," vol. vii., p. 421, from which it was probably painted
by a later hand.
Lingelbach. Jan Lingelbach, 1625-1687. Dutch School.
This artist was born in Frankfort-on-Maine, but at a very early age his
family removed to Amsterdam. While a youth he studied in Paris and
Rome, and his residence in Italy had a lasting effect on his manner and
choice of subjects. He painted chiefly views of seaports with shipping,
architectural ruins, etc. ; and the figures with which his pictures are
enlivened show great variety of character, costume, and nationality. He
very frequently inserted figures in the landscapes of Dutch contemporary
artists. Lingelbach died at Amsterdam.

linnell. 123

555. Moorish Sea Coast — Slave Merchants and Slaves.
A Moorish harbour, with massive castellated fortification on a
promontory in the mid-distance. In foreground three merchants,
and near them two men in chains, shipping, merchandise, etc.
Signed "J. Lingelbach." On Canvas — height, 13^ in.; width,
14J in. Euing Collection.
556- An Italian Seaport. A busy seaport town, with much
bustle and shipping. In foreground, classical buildings, equestrian
and other statues, and numerous figures, of various nationalities,
with baggage, etc. Signed " J. Lingelbach." On Canvas — height,
2 ft. 5 in. ; width, 3 ft. 4 in. Graham-Gilbert Collection.

Linnell. John Linnell, 1792-1882. English School.
John Linnell, a native of London, commenced his art career about
1805, and for more than three-quarters of a century he occupied a place on
the roll of British artists, being in the end acknowledged head of the land
scape school of his day, and second in genius only to Turner, with whom he
was long contemporary. About the year 1805 he was placed under the
tuition of Benjamin West, and subsequently he received instruction from
Varley, the father of modern English water-colour painting. Linnell was
an exhibitor at the Royal Academy as early as 1807, but although he
continued to contribute works to the Exhibition during his life, he
never became a member of that body. In his early years he worked for a
livelihood in all departments of art ; later he devoted himself largely to
portraiture and figure subjects ; and it was only in his mature years and
old age that he became strictly a landscape painter, although it was in
thia branch of art that he attained his highest excellence, and revealed his
profound and varied powers. He died at Redhill.
557- Downward Rays. A spacious richly-wooded landscape,
with cattle end figures in and near the foreground ; a lake in
the middle distance towards the left. Rays of sunlight from
under a dark cloud shoot athwart the whole cloudy sky. Signed
"J. Linnell, 1872." On Canvas — height, 2 ft. 3J in.; width,
3 ft. 2J in. Tbe gift of the sons of James Reid, of Auchter
arder and Hydepark Locomotive Works, 1896.
558. A Coming Storm. A wide stretch of richly - wooded
country in Surrey. In the foreground a stream flowing towards
the right, with stunted and gnarled trees on its banks, amid
which, on the right, is a small cottage ; on the left a flock of
sheep, driven forward by several persons and a dog; and behind
are some oxen, with a man on horseback. The sky is lowering,
and a heavy black cloud, from which lightning issues, is ap
proaching from the right distance. Signed "J. Linnell, 1873."
On Canvas— height, 4 ft. 2 in. ; width, 5 ft. 6 in. Bequeathed
by John M'Gavin, 1881.
Exhibited at the Royal Academy, 1873.

1 24 lisse. lockhart.

559. The Disobedient Prophet. A wild and mountainous
country. In centre a rocky height topped with pine trees, at
bottom of which is the dead body of a man lying face down
wards ; a lion stands at the feet and an ass to right of the body.
In a hollow to the right two men with an ass, one man raised on
his knees looking across at the dead body. Lurid sunset sky. On
Canvas — height, 8 ft 6 in.; width, 6 ft. 6 in. Signed "J.
Linnell," and inscribed, " To obey is better than sacrifice "
(I. Samuel, chap, xv., ver. 23). Elder Collection.
"And when he was gone, .a lion met him by the way, and slew him:
and his carcase was cast in the way, and the ass stood by it, the lion
also stood by the carcase " (I. Kings, chap. xiii. , ver; 24).
Exhibited at the Royal Academy, 1854.
Lisse. Dirk van der Lisse, ...-1 669. Dutch School.
An imitator and probably a pupil of Poelenburgh, a famous painter of
classical landscapes, in which females bathing are frequently introduced.
Van der Lisse was admitted to the Guild of St. Luke's in the Hague in
1644. He was Burgomaster of the city in 1660, and died there in 1669.
560. A Classical Landscape. A stream, with wooded banks
and waterfall; a shepherd, nude, playing a pipe, another seated
by his side; to the left, a Cupid leading a white bull; and to
the right, a woman in blue scarf. On Canvas — height, 2 ft.
l\ in.; width, 3 ft. 3f in. Graham-Gilbert Collection.
561- The Sleeping Warrior. Nude figure of a young man
semi-recumbent, asleep on a crimson drapery, his armour and
sword by his side. On Copper, octagonal — height, 5 in. ; width,
7 in. M'Lellan Collection.
Formerly attributed to Rottenhamer.

Lockhart. William Ewart Lockhart, R.S.A., 1846-1900.
Scottish School.
Lockhart, a native of Dumfriesshire, spent the early part of his
life m Glasgow. Removing to Edinburgh in 1860, he entered the
Trustees' Academy, where he was trained under Robert Scott Lauder.
At the age of seventeen he undertook a voyage to Sydney, and four years
afterwards he visited Spain, the result of which was the painting of " The
Lovers' Quarrel," exhibited in 1868, the first of a series of Spanish pictures
which he executed, and which are considered the most charming of his
works. In 1870,. when only twenty-four years of age, he was elected an
Associate of the Royal Scottish Academy, and three years later he was
made a full member, becoming also in the same year an Associate of
the Society of Water-colour Painters. Later, Mr. Lockhart settled in
London, where in 1887 he was commissioned by Her Majesty Queen
Victoria to paint " The Jubilee Celebration in Westminster Abbey "
a work which occupied him for about three years, and which now hangs
in the Royal Galleries at Windsor. He died in London.

LOCKHURST. LOMBARD. 125

562- Portrait of the Right Hon. Arthur James Balfour,
M.P. Three-quarter length, life size, turned slightly towards the
left, in a dark frock coat and vest, and grey trousers. His right
hand rests on a dispatch box placed on a table, upon which are
also books and documents. Signed " W. E. Lockhart, R.S.A."
On Canvas — height, 4 ft. 7J in. ; width, 3 ft. 3J in. Presented
by A. Cameron Corbett, M.P., 1898.
563. St. Andrews Pier. Fishing boats entering the harbour
of St. Andrews; a group of fishermen and others on the pier;
leaden and squally sky. Inscribed " St. Andrews Pier, East.
W. E. Lockhart, R.S.A., 1878." Water-colour— height, 14 in.;
width, 19J in. Teacher Collection.
564. Sunset — St. Andrews. Pier in the foreground, with
figures; the last rays of the setting sun lighting up the spires
of the cathedral and buildings of the town. Signed " W. E.
Lockhart, R.S.A." Water-colour — height, 14J in.; width,
21J in. Teacher Collection.
565- Palace of the Duke of Montpensier. A river, with
yachts; on the embankment men and women in gaily coloured
attire ; palace seen through the trees. Inscribed " Palace of the
Duke of Montpensier, Seville. W. E. Lockhart, R.S.A." Water-
colour — height, 9 J in.; width, 14 J in. Teacher Collection.
566. Near the Hague. A sylvan glade, with woman knitting ;
figure of man behind. Inscribed " Near the Hague. W. E.
Lockhart, R.S.A." Water-colour — height, 8J in. ; width, 14J in.
Teacher Collection.
Lockhurst. Van Lockhurst.
567. A Pastoral Landscape with Cattle. Signed "Van
Lockhurst." On Canvas — height, 23J in.; width, 35J in.
Teacher Collection.

Lombard. Lambert Lombard, 1505-1566. Flemish School.
The son of a peasant at Liege, Lombard was trained in art under the
influence of Mabuse, who inspired his pupil with a love for the glories of
Italian art. He was enabled, by patronage, to study the works of the
great masters in Florence and in Rome, and "at the same time to acquaint
himself with the monuments of antiquity in these cities. Lombard, by
his industry and zeal, became a man of wide culture, as painter, engraver,
architect, antiquary, and poet. He lived principally in his native town,
and there he died in August, 1566.
568. The Saviour takes leave of His Mother. In front
of an arched gateway and wall, tbe Saviour, with several of the
apostles, about to leave Mary (kneeling) and other holy women;

126 loo.

the landscape has a castle in the middle distance, and, beyond,
a walled town and castle representing Jerusalem, all conceived
in the mediaeval spirit. On Panel— height, 2 ft. 11 in.; width,
1 ft. 9J in. M'Lellan Collection.
Formerly attributed to Patinir.
Loo. Charles Andre van Loo, 1705-1765. French School.
Carle van Loo, the son of Louis, and younger brother of Jean Baptiste
van Loo, was born at Nice, and was instructed partly by his father and
partly by his elder brother, who had already attained a high reputation.
In addition to painting portraits and figure subjects generally, he executed
a great number of grand historical, scriptural, and classical compositions
for public purposes. He was principal painter to Louis XV. in 1762.
He died at Paris of apoplexy. Many members of the Van Loo family were
eminent artists.
569. The Four Seasons. Group of four figures personifying
the seasons — Bacchus representing spring ; Flora, summer ; Ceres,
autumn; and Diana, winter. On Canvas, circular — 4 ft. 3 in.
diameter. M'Lellan Collection.
Loo- Jean Baptiste van Loo, 1684-1745. French School.
Jean Baptiste van Loo, elder brother of the above, came of a family
of artists, his father, grandfather, and great-grandfather having all been
painters. He was born at Aix in Provence, and received his first art in
struction from his father. Whilst yet a young man he obtained some cele
brity for works executed for churches and public buildings in Toulon. On
leaving that town he travelled in Italy, remaining for some time in Rome.
In 1737 he visited England, where he remained until 1742, painting during
that time the portraits of the Prince and Princess of Wales, Colley Cibber,
and many other distinguished persons. He died at Aix in 1745.
570- Portrait of George. 10th Earl Marischal, 1693-
1778. Half-length portrait, life size, of a young man in plate
armour, head turned towards the left, wearing a lace ruff and
having a powdered wig, which falls in curls upon his shoulders.
On Canvas — height, 2 ft. 6 in.; width, 2 ft. Of in. Presented
by Charles J. C. Douglas, late of Glenfinart, Argyllshire, 1901.
George was brother of the famous Marshal Keith, of Frederick the
Great's army. He was captain in the Scottish troop of horse Grenadier
Guards, but was dismissed the service for his Jacobite leanings. He took
part in the rebellion of 1715, and was in consequence deprived of his
titles and estates. Taking refuge in Prussia he became a favourite with
Frederick the Great, who employed him as his Ambassador Extraordinary
to France. Refraining from engaging in the rising of 1745, the Earl was
pardoned, and took the oath of fealty to the Hanoverian Government. He
died at Potsdam at the age of 86.
Loo- Jakob van Loo, 1614-1670. Dutch School.
Van Loo, native of Sluys, was a painter of historical pictures and
portraits. He followed his profession at Amsterdam, and afterwards in

lorimer. loutherbourg. 127

Paris, where he died. He was a member of the French Academy, and
particularly excelled in designing nude figures, which he drew very
correctly, and finished in a remarkably neat manner. He was grandfather
of the two above-mentioned French artists, J. B. and Carl van Loo.
571- Susannah and the Elders. Susannah, nude, seated
by the side of a sculptured fountain, clutching a red drapery,
her face turned in terror to the two elders at her back. Scene :
a palace garden, the palace seen through trees. Signed " J. van
Loo, fecit." Height, 2 ft. 6 in.; width, 2 ft. 1 in. Graham-
Gilbert Collection.
Lorimer. John H. Lorimer, R.S.A. (living artist). Scottish
School. 572. Portrait of Rev. Peter Hately Waddell, LL.D.
Three-quarter length, standing, looking to left, in black frock
coat and small cap ; behind a. table on which are a Bible, tumbler,
etc. Signed "J. H. L.," in monogram, dated '"84," and in
scribed "J. H. Lorimer, 1884; retouched, 1893." On Canvas-
height, 4 ft. 1 J in. ; width, 3 ft. 3 J in. Presented by his son,
James Waddell, 1903.
Dr. Waddell (1816-1891), a native of Balquhatson, Stirlingshire, was
originally a licentiate of the Church of Scotland. In 1843 he joined the
Free Church, but shortly after seceded, and founded a church in Girvan.
In 1862 he removed to Glasgow, where he established a church in the
City Hall. He was a popular lecturer, and author of numerous works,
editor of an edition of Burns, and he translated the Psalms and Isaiah
"frae Hebrew intil Scottis." He was an LL.D. of Tusculum College,
U.S. A.
Loutherbourg. Phillipe Jacques De Loutherbourg, R.A.,
1740-1812. English School.
De Lotttherbotoo, although a native of Strasbourg, at an early
period adopted England as his home, and became a member of the Royal
Academy of Art. He was a skilful but highly conventional landscape
painter, and one of the most successful of scenic artists The scene-
painting manner, indeed, so predominates in his work that there is little
of truth in his colour or composition, consequently it was observed by a
contemporary, Peter Pindar —
•' And Loutherbourg, when Heaven wills
To make brass skies and golden bills,
With marble bullocksin glass pastures grazing,
Thy reputation too will rise."
Loutherbourg died at Hammersmith, and was buried at Chiswick.
573. Landscape and Cattle. Thunderstorm. In a hilly
landscape a group of three cattle, a man on horseback, and a
dog, all much terrified, in a thunderstorm; lightning striking
near them. On Panel— height, 10£ in. ; width, 12$ in. Euing
Collection. >

1 28 LUCATELLI. MABUSE.

Lucatelli. Andrea Lucatelli, or Locatelli, 1660-1741. Italian-
Roman School.
Lucatelli, native of Rome, was a painter of landscapes, mostly classical
in feeling, as well as of historical and architectural subjects. His com
positions are original and graceful, but his work is not much known. He
is said to have been an instructor of Joseph Vernet.
574. Landscape and Figures. A deep landscape between
trees to the left and right; in foreground, a man of rude aspect
and clothing seated on a rock by the wayside; a woman and a
dog hurrying past. On Canvas — height, 10$ in. ; width, 13$ in.
M'Lellan Collection.

Lucy. Charles Lucy, 1814-1873. English School.
Charles Lucy, a native of Hereford, commenced life as a druggist's
apprentice. At an early age he entered as a student in the Ecole des
Beaux Arts, Paris. He devoted himself almost exclusively to historical
subjects, painting his figures of life size ; and a large proportion of his
pictures are connected with the Puritan era of English history. Many
of these have become popular through engraving. He died in London.
575- Cromwell with his Family at Hampton Court.
The picture represents the Protector surrounded with his family
and friends at Hampton Court Palace in the summer of 1658,
and embraces, besides the figure of the Protector, his wife,
Elizabeth ; Mrs. Claypole, his favourite daughter ; Richard Crom
well; Lady Faulconbridge ; Lady Russell; the blind Milton;
Andrew Marvel; and Secretary Thurloe. In the picture John
Milton is seated playing the chamber organ. Signed " C. Lucy,
Pt., 1863." On Canvas— height, 8 ft. 6 in. ; width, 12 ft. 7 in.
Presented by William Graham, M.P., 1870.
Engraved by Samuel Bellin.

Mabuse or Gossaert- Jan de Mabuse or Gossaert, about
1472-1533. Flemish School.
Mabuse, whose patronymic was Gossaert, was a native of Maubeuge
(Mabuse), in Hainault, whence the name by which he is commonly known.
Along with Quentin Matsys, under whose influence he was trained, he
shares the credit of being the first to introduce a free, unconventional,
and natural treatment of subjects represented, in opposition to the stiff,
dry, linear manner of drawing that prevailed previous to their era.
Mabuse very frequently introduced architectural backgrounds and
accessories into his pictures. He studied and worked several years in
Italy, and on his return to Flanders devoted himself to the painting of
portraits, scriptural and clerical subjects for church use, etc. His works
are very rare and precious.
576- The Virgin by the Fountain. The Virgin, with long
wavy hair, which falls loosely over' her shoulders, is seated amid
flowers, offering the breast to the Holy Child, around whose

Mabuse.— VIRGIN BY THE FOUNTAIN.

M'ADAM. MACBETH. 129

body is lightly wrapped a white cloth. She is dressed in a green
robe with under-sleeves of yellow, and around her is cast a red
drapery with an embroidered border. At her feet is an open
book of devotions; an elaborately ornamented fountain plays to
the right, behind which is a vast and highly decorated castellated
building. To the left is a tall tree, and, beyond, a river with a
castle on its edge, and a hilly country, with open fields, woods,
etc. On Panel— height, 3 ft. 5$ in. ; width, 2 ft. 8$ in. M'Lellan
Collection. Dr. Waagen, who attributed this work to Patinir, says : — "The Virgin,
in a landscape, with rich architecture, nursing the Child ; her head is of
singular tenderness, her red robe very fine — unfortunately, much restored."
A well-known replica of this picture, on a smaller scale, however, exists
in the Ambrosiana in Milan, where the work is attributed to Mabuse.
The Milan picture has several variations in the landscape and architecture.
Dr. Friedlander considers the Glasgow picture to be the work of Bernaert
Van Orley, while M. Hymans attributes it to John Bellegambe of Douai.
M'Adam. Walter M'Adam, R.S.W. (living artist).
Scottish School.
577. Flowers in the Meadow. In foreground a stretch
of meadow, in which are varieties of wild flowers; in middle
distance, trees and farm houses; to right, a stream flowing
towards a two-arched bridge; on right bank, houses and trees.
Signed "Walter M'Adam." On Canvas— height, 23$ in.;
width, 35$ in. Purchased, 1909.
Macallum. Hamilton Macallum, 1841-1896. Scottish School.
Macallum was born at Karnes, in Argyllshire, in 1841. It was his
father's wish that he should follow a commercial career, and conse
quently he was unable until twenty-three years of age to begin the study
of art in the Academy Schools, London. He first exhibited in 1866, and
continued to do so at the London Exhibitions until his death, which
occurred in South Devon in 1896. He painted mostly in the open air,
and -with equal facility in oil and water colours, and was peculiarly
successful in his renderings of effects of sunlight and atmosphesre.
578. Haymaking in the Highlands. A seashore, with several
figures unloading hay from a boat; to right, boats and a
...rising ground. Signed " Hamilton Macallum, 1878." On
ISCanvas— height, 1 ft. 7$ in.; width, 3 ft. 4 in. Donald
Collection. Macbeth. Norman Macbeth, R.S.A., 1821-1888. Scottish
School. Macbeth, a native of Port-Glasgow, was, in his earlier years, employed
as a designer for calico prints, but, abandoning that calling, he devoted
himself to painting, and obtained a most honourable position as a portrait
painter, practising first in Greenock, but chiefly in Edinburgh. He was

130 MACBRIDE. M'CULLOCH.

elected A.R.S.A. in 1870, and became R.S.A. in 1880. The last year oi
two of his life he spent in London, in which city he died on the 27th
February, 1888.
579. Portrait of Andrew Galbraith, Lord Provost of
Glasgow, 1857-1860. Full length, seated. Signed " Norman
Macbeth, RS.A, 1880." On Canvas— height, 6 ft. 8 in. ; width,
4 ft. 8 in. Presented by a few of his fellow-citizens to the
Corporation, 15th September, 1882.
580. Portrait of Alexander Whitelaw, M.P. Full length,
standing. Signed " Norman Macbeth, R.S.A., 1880." On
Canvas — height, 7 ft. 10 in.; width, 4 ft. 10$ in. Presented
by a Committee of Subscribers, 1880.
Mr. Whitelaw was a nephew of the Bairds of Gartsherrie, and for some
time principal partner in their great iron works. He was the first chair
man of Glasgow School Board, and represented Glasgow in the Con
servative interest from 1874 till his death, which took place in 1879.
581. Portrait op John Mossman, Hon.R.S.A., Sculptor,
Glasgow (1817-1890). Half length, life size, seated. Height,
3 ft. 9 in. ; width, 2 ft. 10 in. Presented by the artist, 1886.
582. Portrait of the Rev. Robert Buchanan, D.D.
(1802-1875). Full length, life size, seated, in Moderator's robes,
at a table on which are books and documents; behind, to the
right, are seen the stairs leading to the entrance to the Free
Church College, Edinburgh. Signed " Norman Macbeth, A.R.S.A,
1872." On Canvas — height, 6 ft. 7$ in. ; width, 4 ft. 7$ in.
Presented by the Trustees and Family of Dr. Buchanan, 1898.
Dr. Buchanan was an eminent Free Church Divine, author of "The
Ten Years' Conflict," and numerous ecclesiastical and theological works,
and was Moderator of the General Assembly of the Free Church in 1860.
Macbride. William Macbride, R.S.W. (living artist). Scottish
School. 583. Sheep Dipping — River Dee, Kirkcudbright. The River
Dee flowing between wooded banks; foreground a field with
sheep, and within an enclosure two men engaged in sheep
dipping. Signed " W. MacBride." On Canvas— height, 2 ft
7 in. ; width, 3 ft 5$ in. Purchased at Royal Glasgow Institute
of the Fine Arts, 1907.
Exhibited in Royal Academy, 1906.
M'Culloch. Horatio M'Culloch, R.S.A., 1805-1867. Scottish
School. A native of Glasgow, born 9th November, 1805. M'Culloch whilst
apprenticed to a house-painter, received the elements of art instruction
from John Knox, who had at the same time under his tuition Daniel

M'CULLOCH. 131

Macnee, afterwards President of the Royal Scottish Academy. M'Culloch
contributed to the first exhibition of the Dilettanti Society in the Argyle
Arcade in 1828 ; and in 1829 he exhibited in the Scottish Academy
Exhibition. In 1834 he was made an Associate, and in 1838 he became a
full member of that body. On becoming connected with the Scottish
Academy, he removed to Edinburgh, and subsequently he exhibited little
away from that city, having been represented only once, in 1843, in the
Royal Academy, London. He devoted himself exclusively to Scottish
scenery, and during his lifetime his romantic landscapes had a high
reputation in Scotland, their popularity being greatly aided by the
vigorous and excellent engravings of many of them executed by Forrest.
584. Glencoe. The gloomy and rugged pass of Glencoe. In
the foreground, which is strewn with boulders, is a group of deer ;
rising from the Pass on the left are the three lofty mountains
known as the Three Sisters. Signed " H. M'Culloch, 1864." On
Canvas — height, 3 ft. 7$ in.; width, 6 ft. Bequeathed by Mrs.
Janet Rodger, 1901.
585- My Heart's in the Highlands. An inland loch. In
the distance a range of mountains rises from the edge of the
water, the lower part richly wooded, with, here and there, culti
vated fields and farmhouses ; in the centre, on an eminence, is a
castle, and masses of rock are scattered about. Signed " H.
M'Culloch, 1860." On Canvas— height, 2 ft.; width, 3 ft.
Bequeathed by Mrs. Janet Rodger, 1901.
This picture was painted for the Royal Association for the Promotion of
the Fine Arts in Scotland.
586- Loch Slapin, Skye. On the near side of the loch are
two horses, a dog, a woman carrying a bundle, and a group of
people near a pony and cart. Several sailing boats are on the
loch, and, in the distance, rise the rugged peaks of the Cuchullin
Hills. Signed " H. M'Culloch." On Canvas— height, 2 ft 4 in. ;
width, 4 ft.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.
587. Loch Lomond. On the near bank of the loch several
thatched houses, a single-arched bridge, a horse and cart, in
which a woman is seated and a dog, towards the right rises Ben
Lomond, and on the left are the Argyllshire hills, Ben Voirlich
and Ben Arthur being prominent. Signed " Horatio M'Culloch,
1861." On Canvas— height, 2 ft. 9£ in. ; width, 4 ft. 5$ in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.
588. The Clyde at Erskine Ferry. Id the centre of the
foreground a man on horseback, with another at his side, awaits
by a small jetty the approach of the heavy ferry-boat, in which
are passengers and two horses. To the left, among trees, a
white house, fishing-nets drying, boats, and figures ; to the right,
a wooded park, a distant mansion, and square church tower;

132 M'CULLOCH.

on the river, shipping. Signed " H. M'Culloch." On Panel-
height, 12| in.; width, 18 in. Presented by John H. Downes,
1892. 589. Coast Scene. A view on the south coast of England,
with characteristic chalk cliffs. In the foreground a yawl and
several boats are drawn up on the beach; beside them, figures
of sailors. Signed " H. M'Culloch." On Canvas — height, 7$ in. ;
width, 16 in. Teacher Collection.
590. Ross-shire Landscape. In the middle distance is a loch,
into which stretches a wooded promontory, upon which is a
house ; in the right foreground are wooded rising grounds, a road
leads to the left, on which a horseman, followed by a dog, is in
conversation with a traveller on foot; mountains in the distance.
Signed "H. M'Culloch." On Canvas — height, 11£ in.; width,
17$ in. Smellie Collection.
591- Landscape with Stream and Castle. In the distance,
on a wooded height, a castle; below, a bridge, and a stream
flowing between rocky banks and bending towards the left.
Signed " H. M'Culloch." Water-colour — height, 6$ in.; width,
9$ in. Smellie Collection.
592. Landscape with Mountain Background. In the
foreground a road, on which, in the middle distance, are two
travellers; on the right a wood; in the distance, mountains, and,
to the left, a ruined castle. Signed " H. M'Culloch." Water-
colour — height, 6£ in. ; width, 9£ in. Smellie Collection.
593. Dunstaffnage Castle. In the foreground, cattle; in
the middle distance Loch Etive, on which are fishing boats; to
the left, the Castle of Dunstaffnage; and, in the distance, moun
tains. Signed " H. M'Culloch, 1854." On Canvas— height,
2 ft. 1$ in.; width, 3 ft. 11$ in. Bequeathed by Mrs. Janet
Rodger, 1901.
594- Loch Achray — Morning. In the foreground the right
bank of Loch Achray, with cattle, boy, girl, and dog ; to the right,
stumps of trees partially broken up, and, on a rising ground, the
Trossachs Church; in the middle distance are the Trossachs
Knolls; from the left bank of the loch rises Ben Venue, at the
base of which is Achray House. Signed " H. M'Culloch, 1865."
On Canvas — height, 2 ft 7$ in. ; width, 4 ft. 1 in. Bequeathed
by Mrs. Janet Rodger, 1901.
595. Loch Achray — Evening. Almost the same view of the
loch as above, but under the fading light of evening. Signed
"Horatio M'Culloch, 1864." On Canvas— height, 2 ft. 7$ in.;
width, 4 ft. 1 in. Bequeathed by Mrs, Janet Rodger, 1901.

m'ewan. macgregor. 133

596. Loch Mareb. In the foreground, which is strewn with
boulders is a pool and cattle; beyond is Loch Maree, with Ben
Slioch on the left; in the distance are the hills of Ross-shire.
Signed " H. M'Culloch, 1866." On Canvas— height, 3 ft. 7$ in. ;
width, 6 ft. Bequeathed by Mrs. Janet Rodger, 1901.
597. Inch Murrin, Loch Lomond. A woodland scene;
to the right are two large oak trees, one decayed; to the left
are deer and sheep. Signed " H. M'Culloch." On Canvas —
height, 3 ft; width, 5 ft. 1$ in. Bequeathed by Mrs. Janet
Rodger, 1901.
M'Ewan. Tom M'Ewan, R.S.W. (living artist). Scottish
School. 598. An Interior. Interior of a Scottish peasant's oottage.
An old woman seated near a table with a child on her knee, to
whom she is giving food ; a cradle and other articles of furniture
are in the room, and, in the middle of the floor, a hen and
chickens. Signed " Tom M'Ewan." On Canvas — height, 2 ft. ;
width, 2 ft 5$ in. Purchased, 1898.
M'Gregor- Robert M'Gregor, R.S.A. (living artist). Scottish
School. 599. Doing the Provinces. Group of oountry people look
ing after a " Punch and Judy " troupe who are proceeding
towards a town, which is seen in the distance ; farmstead to the
left Signed " Robt. M'Gregor." On Canvas— height, 2 ft. 5 in. ;
width, 4 ft. 6 in. Teacher Collection.
Exhibited in Royal Academy, 1880.
600. A Smoker. An old man filling his pipe at a table.
Signed " R. M'G, A., '82." On Canvas— height, 7$ in. ; width,
5$ in. Teacher Collection.
601. Breadwinners. A stretch of flat country; in fore
ground three field workers, old, middle-aged, and young,
each with a " creel," the elder with a bag on her back, the
second carrying a baby; other figures behind. Signed
" R. M'Gregor, R.S.A." On Canvas— height, 4 ft. 8 in. ;
width, 3 ft. 2$ in. Purchased, 1905.
Exhibited in Royal Academy, 1904.
Macgregor. W. Y. Macgregor, A.R.S.A. (living artist).
Scottish School.
602. Durham — Evening. On a height beyond a valley,
from which smoke is rising, Durham Cathedral, and, to left,

134 m'innes. mackellar.

Durham Castle. Below, on both sides of the valley, are red-
tiled houses. Figures in foreground. Evening sky. Signed
"W. Y. Macgregor, 1903." On Canvas — height, 3 ft. 10 m.;
width, 4 ft. 8 in. Purchased from the Royal Glasgow Institute
of the Fine Arts Exhibition, 1904, and presented by an anony
mous donor.

M'Innes. Robert M'Innes, 1801-1886. Scottish School.
M'Innes began life as a working cabinetmaker in Edinburgh, and as a
painter he commenced exhibiting at the Royal Academy in London in
1841. He studied and resided for many years in various Italian cities,
whence he drew a great proportion of his subjects. He also devoted
himself to the painting of portraits. His latter days were spent in Scot
land, and he had long ceased to paint when, in 1886, he died in Stirling.
603. An Italian Hostelry. Group of figures inside and at
che doorway of an Italian wayside inn. There are, in addition
to the landlord and household, a gaily dressed young country
man, three monks, mendicant children, etc. Signed " R.
M'Innes, 1849." On Canvas— height, 3 ft.; width, 4 ft. 2 in.
Euing Collection.

M'Kay. William D. M'Kay, R.S.A. (living artist). Scottish
School. 604. The Old Gateway. A baker's boy and a nurse-girl
chatting at the gate of a country mansion; within, an avenue,
along which a female is seen approaching. Signed "W. D. M."
On Canvas— height, 9$ in. ; width, 13$ in. Teacher Collection.

Mackellar. Duncan Mackellar, R.S.W., 1849-1908. Scot
tish School.
Mackellar was born at Inverary in 1849, but at an early age removed
to Glasgow. There he studied in the School of Art under Robert
Greenlees, and afterwards in London. Settling in Glasgow, Mackellar
soon obtained recognition as a capable and individual artist. His sub
jects are nearly all interiors, with figures in 18th century costumes. He
also painted a series of pictures illustrative of incidents in the life of
Robert Bums, which received populaj- recognition. He was at one time
President of the Glasgow Art Club. He died at Lochgoilhead on 13th
August, 1908.
605. The Minuet. The interior of a large apartment, in
which a lady is seated at a harpsichord playing to a company
of ladies and gentlemen in 18th century costume engaged in
dancing. Signed " Dun. MacKellar, R.S.W." On Canvas-
height, 2 ft. 7 in.; width, 3 ft. 11 in. Purchased, 1908,

MACKENZIE. MACNEE. 135

Mackenzie. Daniel Mackenzie. Scottish School.
606. The Braid Burn, near Edinburgh. A Scottish burn,
following a rapid course between thickly wooded banks; fore
ground, a woman, seated, with her feet in the» water. On
Canvas — height, 2 ft. 0$ in.; width, 2 ft. 9$ in. M'Lellan
Collection.

• Macnee. Sir Daniel Macnee, P.R.S.A., 1806-1882. Scottish
School. Sir Daniel Macnee was born at Fintry, Stirlingshire, but his father
dying when the future painter was only six months old, the widow removed
with him to Glasgow. The youth early showed a taste for drawing, and
was apprenticed, in 1820, to John Knox, landscape painter. He devoted
himself to portraiture, in which walk he acquired a high reputation, and
his sitters have embraced many eminent contemporary Scotsmen. In
1855 he obtained a medal for a portrait of Dr. Wardlaw, exhibited in the
Paris Exhibition. In 1876 he was elected P. R.S.A. , in succession to Sir
George Harvey, in which year he received the honour of knighthood, and
removed from Glasgow to Edinburgh.
607- Portrait of Robert Dalglish, M.P. for Glasgow,
1857-1874. Merchant and Calico Printer. Full-length figure,
looking towards the left, his right hand resting on a chair,
the left in his trousers pocket Signed " Daniel Macnee,
R.S.A., 1874." On Canvas — height, 7 ft. 10 in.; width, 4 ft.
10 in.
This portrait was painted for the Corporation on his retiring from
Parliament to commemorate the services of Mr. Dalglish, who died in
1880, aged 72 years.
Exhibited in Royal Academy, 1875.
608. Portrait of Bailie James Moir. Three - quarters
length, full face, in the attitude of addressing a meeting. Signed
"Daniel Macnee, P.R.S.A., 1877." On Canvas— height, 4 ft.
8 in.; width, 3 ft. 7$ in. Presented to the Corporation, 30th
October, 1877.
Painted " by desire of a number of his fellow-citizens, at the close of
twenty-five years' faithful services as Police Commissioner, Town Coun
cillor, and Magistrate, in recognition of the faithful performance of his
pubhc duties and of his worth as a private citizen." Bailie Moir be
queathed to the city a valuable library and a large sum of money for its
endowment. 609. Portrait of Sir James Bain, Lord Provost of Glas
gow, 1874-77. Full length, in court dress, and robe and chain of
office. Signed "Daniel Macnee, P.R.S.A., 1878." On Canvas
—height, 7 ft 10 in.; width, 4 ft 10 in. Painted for the
Corporation. Exhibited in Royal Academy, 1878.

1 3g macnee.

610. Portrait' of John Aitchison,' Merchant, Glasgow,
1769-1859. On Canvas — height, 2 ft. 11 in.; width, 2 ft.
3 in. Bequeathed by his daughter, Miss Janet Aitchison,
1886. t
611. Portrait op David Hutcheson, Shipowner in Glasgow,
the pioneer of steam navigation in the West Highlands. Signed
"Daniel Macnee, R.S.A., 1869." On Canvas — height, 6 ft.
3 in.; width, 4 ft. 5 in. Bequeathed by Mr. Hutcheson,
1885. '
612. Portrait of Sam Bough, R.S.A. Bust figure, life size,
looking to the right, in brown coat and vest, with rose in button
hole Signed "Daniel Macnee, 1878." On Canvas— height,
2 ft. 5$ in. ; width, 2 ft. 0$ in. Presented by Hugh Reid, Hyde
park Locomotive Works, 1902.
Engraved by James Faed in 1879.
613. Portrait op a Lady. Half-length portrait of an old
lady in black silk dress, black cape, and goffered cap, seated in
a chair knitting a stocking. On Canvas, oval — height, 2 ft.
5 in.; width, 2 ft. Signed "Daniel Macnee, R.S.A, 1864."
Presented by Mrs. Wiseman, daughter of the artist, 1905.
614. Portrait of James Fillans, Sculptor. Half length.
(See Catalogue of Sculpture.) On Canvas — height, 2 ft. 4 in.;
width, 1 ft. 10 in. Presented by Miss Fillans.
615. Portrait op Horatio M'Culloch, R.S.A. Half length,
looking towards the right, engaged in sketching in a Highland
glen. Inscribed on back of sketching block, " Horatio M'Culloch,
R.S.A.; Daniel Macnee, R.S.A." On Canvas — height, 3 ft.;
width, 2 ft. 4 in. Presented by Sir Daniel Macnee.
Engraved by J. Smyth.
616. Portrait of John Elder. Half length, standing, lean
ing against a table, almost full face looking slightly to the left.
On Canvas — height, 4 ft 2 in.; width, 3 ft. 4 in. Elder
Collection. See No. 88 in Catalogue of Sculpture.
617. Portrait of Robert Stewart of Murdostoun, Lord
Provost of the City of Glasgow, 1851-1854, and first Convener
of the Water Committee, 1855-1856. On Canvas— height,
4 ft. 11 in.; width, 3 ft. 9 in. After the original by Sir
Daniel Macnee, P.R.S.A., by David Gauld, 1909.
The original bears that it was "Painted to commemorate his public
services in successfully promoting the Waterworks Act of 1855, by which
the citizens obtained an abundant supply of pure water from Loch
Katrine."

MACNICOL. M'WHIRTER. 137

Macnicol. Bessie Macnicol (Mrs. Alexander Frew), 1869-
1904. Scottish School.
This clever and versatile artist, the daughter of a schoolmaster, was
born in Glasgow on the 15th July, 1869. She received her art training
in the Glasgow School of Art, and subsequently studied in Paxis. She
worked both in oil and water-colour, and was a regular exhibitor at the
Royal Glasgow Institute of Fine Arts, at the International Society in
London, and at various Continental and "American Galleries.' In July,
1899, she was married to Dr. Alexander Frew. She died in Glasgow on
4th June, 1904.
618. Portrait of a Lady — " Deborah." Full length,
life-size portrait of a young lady, standing with arms akimbo,
wearing a loose grey dress, long scarf thrown over shoulders,
and hat with feather. Signed " B. MacNicol." On Canvas
—height, 4 ft. 11$ in. ; width, 2 ft. 11$ in. Purchased, 1908.
M'Taggart. William M'Taggart, R.S.A., 1835-1910. Scot
tish School.
M'Taggart, one of the most distinguished of Scottish landscape
painters, was a native of Argyllshire, his father having been a farmer at
Aros, near Campbeltown. At the age of 12 he was apprenticed as a
chemist to the local medical practitioner, but he evinced such a decided
artistic- bent that his paxents sent him to Glasgow to pursue his studies.
Subsequently he removed to Edinburgh, and . entered the Trustees'
Academy, then under the direction of Robert Scott Lauder, where he
had for fellow pupils Hugh Cameron, Macwhirter, Orchardson, Paul
Chalmers, Pettie, and other artists who afterwards rose to eminence.
M'Taggart was an artist of great and varied powers, but was most
successful in depicting scenes of fisher life, children in their unaffected
ways, and the sea in all aspects of calm or storm. His pictures are also
remarkable for the brilliancy of their colour and for conveying a sense
of all-pervading light and atmosphere. He was elected an Associate of
the Royal Scottish Academy in 1859, and Academician in 1870. He died
at Dean Park, Broomieknowe, Midlothian, on 2nd April, 1910.
619. Portrait of Robert Greenlees. Bust figure, life
size. Signed " W. M'Taggart, 1883." On Canvas— height, 2 ft.
5£ in.; width, 2 ft. 0$ in. Presented by his family, per Robert
Brydall, 1894.
620. East Coast Scene. Children gathering wild berries
in the foreground; sea and town in the distance. Signed " W.
M'Taggart, 1881." Water-colour— height, 14 in. ; width, 20$ in.
Teacher Collection.
M*Whirter. John M'Whirter, R.A. (living artist). Scottish
School. 621. Spring Flowers. The rush-covered bank of a stream,
with primroses and other wild flowers. Water-colour — height,
9$ in.; width, 13$ in. Teacher Collection.

138 MANN. MARIS.

622- Sannox Bay, Arran. A sandy shore, on which several
boats and a sloop are beached; in the distance, cottages at the
foot of a wooded knoll. Signed " MacW." On Canvas— height,
18 in.; width, 29 in. Teacher Collection.
Mann. Alexander Mann, 1853-1908. Scottish School.
This artist, a native of Glasgow, was bom on 22nd January, 1853. He
was educated at the High School and University, Glasgow, and also at
Lausanne, Switzerland. For some years he was in business in the well-
known firm of Mann, Byars, & Co. , but forsook commercial life to follow
the profession of art. He studied under Carolus-Duran in Paris, and
received honourable mention in the Salon of 1885. He was a regular
exhibitor at the Royal Academy from 1884 until 1907. He was also a
constant contributor to the exhibitions of the Royal Glasgow Institute
of the Fine Arts, and for the last eight years of his life was a member
of the Council of that body. He died at Streatham, London, on 26th
January, 1908.
623. Chaff. The interior of a barn, in which are a young
man and a young woman, the man shovelling chaff into a
hamper and the woman filling a measure from a bag. The
two are evidently exchanging badinage. Signed " Alexr.
Mann, 1905." On Canvas— height, 2 ft. 5 in.; width, 2 ft.
11$ in. Purchased, 1908.

Maris. James Maris, 1838-1899. Modem Dutch School.
Maris, a member of a distinguished artistic family, was born at the
Hague, where he received his early instruction in the local academy. He
then removed to Antwerp and, subsequently, to Paris, where he studied
under Hebert, and while there was considerably influenced by the Barbizon
school of painters. He first exhibited in the Salon in 1862, and continued
to do so regularly for some years. In 1872 he finally settled in the Hague.
His fame rests chiefly upon his vigorous delineations of Dutch shipping,
harbours, and towns, but his subjects were much varied. He was awarded
the gold medal at the Paris Exhibition of 1889. He died at Carlsbad in
October, 1899.
624. A Dutch Town. Canal, with boats in foreground;
bridge to left, behind which are houses, windmills, etc. Signed
"J. Maris." Water-colour — height, 14 in.; width, 20 in.
Donald Collection.
625. Dutch Lugger. A Dutch lugger grounded on the sea
beach, several figures around; sail on distant sea; cloudy sky.
Signed "J. Maris." On Canvas — height 12$ in.; width, 8 in.
Donald Collection.
626. Girl on Sofa. A room in which a girl is asleep on a
sofa, embroidery lying on the floor. Signed "J. Maris." On
Canvas— height, 7 in.; width, 9$ in. Donald Collection.

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MARIS. MAUVE. 189

627. Storm Cloud — River Scene. A river with boats,
&c, thatched houses on bank; overhead heavy masses of cloud.
Sigr.ed "J. Maris." On Canvas — height, 15| in.; width,
18f in. Carfrae Alston Collection, 1909.
628. A Quiet Berth — Morning Glow. A sail boat
moored by the bank of a stream, woman seated on bank;
to right, a wood; glowing morning sky. Signed " J. Maris."
On Canvas — height, 20$ in. ; width, 27 in. Carfrae Alston
Collection, 1909.
629. Children of the Artist. Two children, one a boy,
seated at a table, on which is a tray with cup; the other, a
girl, leans on the table watching him. Signed " J. Maris."
Water-colour — height, 8f in. ; width, 7J in. Carfrae Alston
Collection, 1909.
Maris. William Maris, 1844-1910. Dutch School.
William Maris was the third and youngest of the richly endowed
brothers, the great ornaments of the Dutch School towards the end of
the. nineteenth century. With less imaginative power than James and
Matthew, William yet had a fine poetical vision of his own, and his care
fully observed pastoral landscapes show a sincere appreciation of the
calm and sunny aspects of nature, indicative of a mind at once delicate
and refined.
630. Landscape with Cattle. In the centre, a woman
between two cows; to the right, a stretch of water bordered by
reeds ; to the left, trees and bushes. Signed " William Maris."
Water-colour — height, 12J in. ; width, 8$ in. Smellie Collection.

Martin. John Martin, 1789-1854. English School.
John Martin was born at Haydon Bridge, near Hexham, 19th July,
1789 ; apprenticed to a coach painter in Newcastle ; ran away from his
master, and studied painting. He went to London in 1806, and exhibited
first at the Royal Academy in 1811. He ultimately devoted himself to the
painting of scriptural scenes conceived in a Miltonic spirit — his " Bel-
shazzar's Feast," "The Fall of Nineveh," "The Plains of Heaven," etc.,
being well known by engravings and otherwise. He died at Douglas,
Isle of Man.
631. Distant View of London. Foreground of grassy fields
and trees, with St. Paul's and other buildings of London faintly
indicated in the distance. Signed " J. Martin, 1815." On
Panel — height, 7 in. ; width, 12 in. M'Lellan Collection.
Mauve. Anton Mauve, 1838-1888. Dutch School.
This artist was born at Zaandam, Holland, in 1838. In opposition to
the wishes of his family he resolved to follow an artistic career, and early
began to study from nature. For some time he was a pupil of Van Os.

T40 MAXWELL. MAZZOLA.

He was considerably influenced by the French rustic artist Millet, and
rendered pastoral scenes with much sympathy. His work is distinguished
by exquisite harmony of colour and feeling of atmosphere. He died at
Arnheim in 1888.
632. Flock of Sheep. In the gloaming a shepherd drives a
flock of sheep across a level field towards left foreground; some
of the sheep are on the flat stone cover of a well; to right in rear
are water pools. Signed " A. Mauve." Water-colour — height,
12 in.; width, 17$ in. Donald Collection.
633. The Herd Wife. In a meadow a woman with two
cows, one drinking from a pool. Signed " A. Mauve."
Water-colour — height, 9$ in. ; width, 13 in. Carfrae Alston
Collection, 1909.
634. Clearing after Rain. In the centre of a heath a
woman tending a flock of sheep; heavy rain clouds passing
overhead. Signed " A. Mauve." Water-colour — height, 13$
in. ; width, 20$ in. Carfrae Alston Collection, 1909.
Maxwell- Hamilton Maxwell, R.S.W. (living artist). Scot
tish School,
635. Street in Caudebec en Caux, Normandy. Signed1!
" H. Maxwell, R.S.W., '98." Water-colour— height, 22 in.;!
width, 15 in. Purchased, 1909.
636. The River, Pont-Audemer, Brittany. A stream
flowing between quaint, half-timbered houses. Signed " H.
Maxwell, R.S.W." Water-colour — height, 21^ in.; width,
14$ in. Purchased, 1909.
Mazzola. Francesco Maria Mazzola, or Mazzuola, 1504-
1540. Italian Lombard School.
This artist was popularly known as "II Parmigiano," from his birth
place, Parma, where his father and uncle were painters. At an early
age he came under the influence of Correggio, of whose style he became
a successful imitator. He rapidly attained considerable distinction, and,
among other great works, he was employed to execute frescoes in the
Church of S. Maria della Steccata, in Parma. For that he received half-
payment in advance; but so delayed the work, through his infatuation
for alchemy, that he was prosecuted for breach of contract. To escape
imprisonment he fled to Casal Maggiore, where he died of fever, and to
this day the frescoes remain unfinished.
637. Virgin and Child. The Virgin, with the Child on her
knee, seated under a crimson curtain ; angels and cherubs around,
with flowers and garlands; Joseph in background, reading. On
Copper — height, 10$ in. ; width, 8$ in. M'Lellan Collection.

w fe

Q few

MEDINA. MESSINA. 141

Medina. Sir John Baptist Medina, 1659-1710. Flemish
School. This painter, the son of a captain in the service of Spain, was born at
Brussels in 1659. When he was twenty-six years of age he came to
England, and for some time painted portraits with considerable acceptance.
He was invited to visit Scotland under the patronage of the Earl of Leven.
There he painted the portraits of most of the Scottish nobility, and was
knighted by the Duke of Queensberry, then Lord High Commissioner,
this knighthood being the last such Scottish honour conferred. He died
at Edinburgh in 1710.
638. Portrait. Half-length portrait of a gentleman in a
white horse-hair wig. On Canvas — height, 2 ft. 5 in. ; width,
2 ft. Euing Collection.

Melville. Arthur Melville, R.W.S., 1855-1904. Scottish
School. This artist was born in Fifeshire on April 10th, 1855. He was devoted
to painting from his early childhood. With the exception of some training
received at a night school in Edinburgh, he was self-taught. In 1877 he
studied at Paris, and subsequently at Graz. During 1881 and 1882 he
visited Egypt, India, and Persia, and rode alone from Bagdad to the
Black Sea. Influenced in some degree by French Art, it was in the East
that his genius found its individual note, afterwards expressed in " The
Snake Charmer," " The Call to Prayer," &c. After some years in Scotland,
when " Audrey and her Goats " was begun at Cockburnspath, he settled
in London, thence making occasional visits to Spain and Morocco. He was
elected A.R.S.A. in 1886, and A.R.W.S. in 1889, becoming full member
of the latter in 1900, and he was a regular contributor to the Royal Water
Colour Society's exhibitions. From 1897 he lived chiefly at Witley,
Surrey, where he produced a series of large oil paintings — "The
Christmas Carols " — and was engaged on an immense canvas, " The Return
from the Crucifixion," when his death took place in 1904.
639. The Captured Spy. The courtyard of a Moorish
building. In foreground a Moor on a white horse guarding
a spy, who kneels in suppliant attitude in front of a pillared
entrance to a building. Figures are on the steps and behind.
To left, a tree stem, from which hang skins, and behind it a
group of figures. Signed " Arthur Melville, '95." Water-
colour — height, 21 in. ; width, 29 in. Purchased, 1908.
Exhibited at Royal Academy in 1896.

Messina. Antonello da Messina, 1430-1479. Italian-
Neapolitan School.
Antonello, a native of Messina, in Sicily, was the first of the Italian
painters who practised the art of painting in oil in the manner perfected
by the Van Eycks in Flanders. It is stated that a, picture by the Van
Eycks was brought under his notice, and observing the wonderful
brilliance and purity of colour secured by the new method, he went to

142 MEULEN. MIERIS.

Flanders specially to learn the secret of the art, and there he studied the
works of these artists and their immediate successors. Having acquired
the necessary knowledge, he returned to Italy, where he introduced the
new method to the great Venetian artists, by whom it was universally
adopted. Antonello's early works were obviously influenced by Flemish
models, and in his later productions he was equally affected by his
Venetian contemporaries. The date and place of his death are uncertain,
but he probably died in Venice about 1479.
640. Adoration op the Magi. The Virgin is kneeling before
the Holy Child, who is stretched on the ground surrounded by a
glory ; behind her, within the stable, where there is an ass and a
cow, the three wise men; and in front St. Gregory, as a pope,
and St. Jerome, as a cardinal, presenting to the Virgin a kneeling
cardinal; landscape bounded by hills, and city in distance. On
Panel, painted in oil — height, 20 in.; width, 16 in. M'Lellan
Collection. '* It will, I think, be interesting to art connoisseurs to learn that in another and hitherto
little-regarded picture amongst the M'Lellan series, I have, as I believe, discovered an
unrecorded work of one of the most important of all the early Italian masters. Antonello da
Messina. Should my judgment be confirmed, as I have the strongest belief it will be, the
history of art will be enriched by another interesting page. The work I allude to is a small
highly finished oil picture on panel, representing the 'Adoration of the Magi,' hitherto
catalogued as by an unknown master of the early Flemish School. This picture passed
unnoticed by Dr. Waagen, and it does not seem to have attracted the attention of any more
recent observer. A combination of evidence, however, seems to clearly point to the origin I
have indicated. The composition itself is an unusual and remarkable one. Two of the
principal figures are unquestionably portraits of living personages of the period when the
picture was produced, doubtless somewhere about 1470-80. One of these is a standing figure
of the Pope, probably intended for St. Gregory, and I think I am able to indicate the
individual Pontiff portrayed. The portrait is, I believe, that of Pope Sixtus IV. (della
Rover e), the builder of the Sistine Chapel. Of this Pope, fortunately, we have a fine bronze
medallion by Guaccialotti. and, indeed, portraits in other vehicles. I have, in short, no doubt
whatever of the identity of the personage. Sixtus IV., I may add, was the reigning Pontiff
at the period of Antonello's greatest activity. The very beautiful and characteristic portrait
of the kneeling Cardinal will also most likely be identified. The style and technical execution
of the work as an early Italian picture painted in oily entirely agree with similar characteristics
of authenticated productions of Antonello known to me. It will be recollected that the ex*
ceeding interest which attaches to Antonello arises in great part from the fact that in his early
life he became a pupil of the Van Eycks, or of some one of their immediate successors, in
Flanders, and he it was who imported the newly discovered art of oil painting into Italy."
— Sir C. Robinson.

Meulen. Francois Petef Meulen. 1843-.. . Dutch School.
641. The Shbbpfold. A sheepfold, in which are a number
of sheep and lambs, with racks for fodder, etc. Signed "ter
Meulen." Water-colour— height, 15f in. ; width, 26£ in. Smellie
Collection.

Mieris. Frans van Mieris, 1635-1681. Dutch School.
Miekis, one of a family of twenty-three children, was born at Delft,
where his father was a goldsmith. He was a pupil of Gerard Dou, whose
general range of subjects and minute style of execution he faithfully
followed. Many of his descendants were, like himself, artists of dis
tinguished ability. He died at Leyden.

MILLAIS. 143

642. The Malady of the Heart. Lady in purple fur-edged
oloak, seated in her chamber, with a book in her lap. A physioian
is feeling her pulse. Signed " F. van Mieris, anno 1657." On
Copper— height, 13 in.; width, 10£ in. M'Lellan Collection.
A replica of this picture is in the Imperial Museum, Vienna.
643. The Music Lesson. Female, seated at a table, holding
in her hand a music-book, receiving instruction from a man, who
holds in his hands a violin and bow. On Panel — height, 12 in.;
width, 10 in. M'Lellan Collection.
Formerly ascribed to Palamedes. The original, of which this picture
is a replica, is in the Six Collection in Amsterdam.

Millais. Sir John Everett Millais, Bart., P.E.A., 1829-1896.
English School.
This distinguished painter was born at Southampton on 8th June, 1829.
His father was an officer of Militia in the Island of Jersey, but when
young Millais was six years of age the family removed to Dinan in
Brittany, and there the boy made his first attempts at art by sketching
the French officers in the neighbourhood. Two years later the family
settled in London, and, on the advice of Sir Martin Shee, the child was
sent to study under Henry Sass, the portrait painter. In 1840 Millais
entered the schools of the Royal Academy, being the youngest student
ever admitted. In 1847 he won the gold medal of the Academy for
his picture, "The Young Men of the Tribe of Benjamin Seizing their
Brides." In the following year the famous "Pre-Raphaelite Brother
hood" was founded, of which Millais was one of the originators, and
he continued his connection with that limited but select body of painters
until the year 1854, when the union showed signs of dissolution. In
1853 Millais was made an Associate of the Royal Academy, and in 1864
he was raised to the full dignity of Academician. In 1885 he was created
a baronet, and in 1896 he was elected President of the Royal Academy,
a position which, however, he was destined only to hold for a little
over six months, his death occurring on the 13th of August, 1896. He
was made an officer of the Legion of Honour in 1878, and he was a
member of several Continental academies. Millais was a man of immense
energy and wide sympathy, and his work is of a very comprehensive
character, embracing subjects of the most diverse kind. In addition to
landscape and genre pictures, he painted the portraits of many of the
distinguished men and women of his time.
644. The Forerunner. In an open space in the midst of a
wood, the figure of a man, nude, except for a leopard skin around
his loins, in the act of tying two pieces of wood together in the
form of a cross. In front, to the left, is a rude altar, on which
is a sacrificial knife. The setting sun is seen through the trees.
Signed with monogram, and dated 1896. On Canvas — height,
4 ft. 7 in. ; width, 2 ft. 8 in. Presented by Sir Charles Tennant,
Bart., 1903.
First exhibited at Exhibition of Royal Academy in 1896, and again at
the Winter Exhibition of Royal Academy, 1898.

144

645. The Ornithologist. The interior of a room in which
is an old man reclining on a sofa holding a stuffed red bird in
his hand, at his side two children are gazing eagerly at the bird,
leaning over him is a young woman, at the head of the sofa a
boy and girl, and seated at the foot a young girl; to right are
drawers containing specimens of birds, others lie on the covering
of the sofa, and to left is a table with glass globe, owl, etc.
Signed on drawer in monogram, and dated 1885. On Canvas-
height, 5 ft. 3£ in. ; width, 7 ft. 1 in. Purchased, 1907.
"Millais' old friend, T. 0. Barlow, the engraver — then, alas! nearing
the end of his days — sat for the principal figure ; the two little boys were
' Bubbles ' and his brother George, the artist's grandsons ; the graceful
woman was a model, who also stood for the principal figure in ' The Nest ; '
and the boy in the sailor suit was Ivor Byng, son of the Hon. and Rev.
Francis Byng, formerly Chaplain to the House of Commons. The girl in
the foreground, to the left, was a professional model, who also sat for one
of the girls in the ' Idyll.' "—Life and Letters of Sir John Everett Millais,
by his son, John Guille Millais, vol. ii., page 173.
Exhibited at the Royal Academy in 1885 under the title of " The Ruling
Passion."

Millet. Francois Millet, 1644-1680. Flemish and French
Schools. Millet was an artist of French extraction, although born at Antwerp,
whither his father, a turner of ivory, had migrated. He became a pupil
of F. Francken ; and after marrying his instructor's daughter, he settled
in Paris, where he closely studied the works of N. Poussin, whom, as a
landscape artist, he imitated with great fidelity and success.
646. Pastoral Landscape, with Figures. A stream, with
waterfall and trees; to the right, a goat, a woman and boy re
clining, and a satyr playing a Pan's pipe. On Canvas— height,
11£ in.; width, 15J in. Graham-Gilbert Collection.
Millet. Jean Francois Millet, 1814-1875. French School.
Millet, the great painter of French peasant life, was born at Gruchy,
near Cherbourg, on the 14th October, 1814. The son of a small farmer,
Ms early education was limited to instruction received from his grand
mother and his great uncle, a priest, both of whom lived under the
parental roof. He received his first instruction in art from Langlois, at
Cherbourg, and made such rapid progress that he obtained a grant from
the Municipal Council of that town to enable him to continue his studies
in i^iris. there he entered the studio of Delarnche, and had for fellow-
pupils Diaz and Rousseau. He first exhibited at the Salon in 1840.
Keturning to Normandy, for some time he earned a precarious living by
portrait painting. Later, he settled in Barbizon, and, having discovered
his true vocation, he restricted himself to the production of those delinea
tions of peasant life which have made him world famous. For many
years he had a hard struggle to live — his pictures, which now sell for

mola. montagna. 145

enormous prices, bringing him but scanty remuneration — and it was not
until the eve of his death that his genius received due recognition. He
died at Barbizon on the 20th January, 1875.
647. The Sheepfold. Under misty moonlight a shepherd,
with dogs, gathering a flock of sheep into a pen ; house to right.
Signed "J. F. Millet." Charcoal drawing — height, 2 ft. 4 in.;
width, 3 ft. 1 in. Donald Collection.
648. Going to Work. A male and a female peasant crossing
the fields, the man with a fork over his shoulder and the woman
with a basket on her head; early morning sky. On Canvas —
height, 21 in. ; width, 17 in. Donald Collection.

Mola- Pietro Francesco Mola, 1612-1668. Italian-Bolognese
School. Mola spent his early days in Rome, where he received his first instruc
tion in art from the Cavaliere d'Arpino. He had the advantage, while
still a youth, of visiting Venice, and afterwards Milan and Bologna, and
he attached himself to the style of the masters of the Bolpgnese School,
especially favouring that of Albani. He spent his latter days in Rome,
where he attained the dignified position of President of the Academy qf
St. Luke. Mola excelled greatly as a landscape painter, introducing
figures into his scenes which much enhance the interest of his pictures.
649. St. John Preaching. A landscape with trees right and
left ; in foreground St. John, on a slight elevation, is preaching to
a mixed group, including two Roman soldiers in armour, one of
whom is on horseback, and holds a banner. On Canvasi — height,
2 ft. 1£ in. ; width, 1 ft, 1\ in. M'Lellan Collection.
Molenaer. Jan Miense Molenaer, 1610-1665. Dutch School.
This artist, who was born about 1610 in Haarlem, was married to
Judith Leijster, herself an artist, in 1636. His earlier pictures, which
date from 1629, and testify principally to the influence of Frans Hals,
represent interiors and popular and festive scenes. In 1639 he settled in
Amsterdam, and, coming under the influence of Rembrandt, his style
was greatly modified. In 1649 he returned to Haarlem, which was then
an important art centre, and there he died.
650. The Musicians. Group of four rustics — three men and
a woman around a table, two playing musical instruments and
two singing; an owl rests on the back of the chair of one of the
men. Signed " J. Molenaer." On Panel — height, 7| in. ; width,
1\ in. Euing Collection.
Montagna. Bartolommeo Montagna, died 1523. Venetian
School. This artist, one of the most distinguished of the early Venetian masters,
was born at Orzo Novi, in Brescia, about the middle of the fifteenth
4

146 MONTI CELLI. . MOORE.

century. Little is known of his early life further than that he was
painting at Vicenza in 1483. Subsequently he worked in Padua and
Verona, returning to Vicenza in 1496, where he painted his famous altar-
piece — a throned Madonna and Child — for the chapel of the Squarzi family
,at San Michele, now in the Brera Gallery, Milan. Montagna died at
Vicenza. 651- Virgin and Child Enthroned. The Virgin, seated,
with the Holy Child, nude, on her knee, on a dais in the middle
of a hilly and rocky landscape. On the left is St. James the
Elder, and on the right is another saint (St. John?). On the
step of the dais are two books. Attached to a step is a label,
with inscription, now faintly visible, " h. opus de Bartolom...
Montag..., 1499." On Panel— height, 6 ft; width, 4 ft. 11| in.
Presented by William G. Crum, 1906.
Monticelli. Adolphe Monticelli, 1824-1886. French School.
Monticelli was born at Marseilles of parents descended from Italian
emigrants. He received his early art training in his native city. While
still a young man he removed to Paris, where he formed a friendship with
Diaz, by whom he was considerably influenced. He rose rapidly in
public estimation, and became a popular and successful painter. When
Paris was besieged by the Germans he returned to his native town, where
he remained until his death. Always somewhat eccentric, his mental
peculiarities increased with age. He lived in a single room, the only
furniture of which consisted of a bed, an easel, and two chairs, a large
red curtain hung over the window flooding the room with his favourite
colour. Almost daily he might be seen carrying a couple of his panels
through the streets to some dealer's shop. His pictures, although lacking
in form, are highly decorative, and are distinguished for the gorgeous
splendour of their colour.
652. The Marriage Procession. A party of elegantly
dressed ladies and gentlemen coming out of a church. Signed
" Monticelli." On Canvas— height, 1 ft. 1\ in. ; width, 3 ft. 3 in.
Bequeathed by Archibald R. Henderson, 1901.
653. Adoration of the Magi. In the centre the Virgin and
Child in a halo, with the Magi in front; other figures to right
and left. On Canvas — height, 1 ft. 7 in. ; width, 3 ft. 2 in.
Donald Collection.
654. Garden Fete — The White. Horse. In foreground
a group of gaily dressed ladies and gentlemen sitting on the
bank of a stream, one playing a guitar; on a rising ground,
to left, another group. In middle distance a man on a white
horse. On Panel — height, 15£ in.; width, 23 in. Carfrae
Alston Collection, 1909.
Moore. Albert Joseph Moore, 1841-1893. English School.
Albert Mooee, the son of a portrait painter, and brother of Henry
Moore, R.A., the famous sea painter, was born at York, in September,

MOORE. 147

1841. He received his first art training from his father, and on the removal
of the family to London after his father's death he entered the Schools of
the Royal Academy, in which, however, he remained but for a few months.
After sketching for some time in the Lake District and in the North of
France, he turned his attention entirely to decorative work. In addition
to painting easel pictures he prepared designs for stained glass windows,
wall papers, tiles, &c, and he was largely employed in designing ajid
executing wall paintings for public buildings. After a short visit to
Rome he finally settled in London. In February 1883 his health broke
down, but his artistic activity remained unabated.. The strain, however,
told severely upon his physical condition, and* after undergoing two
operations he finally succumbed, dying in his studio in Spencer Street,
Westminster, on 25th September, 1893. Moore was a man of lofty
purpose and untiring industry. His work is distinguished for its beauty
of line, and its refined and harmonious colour. As a master of purely
decorative art he had no equal in his time. He exhibited first in the
Royal Academy in 1857, and continued to do so almost regularly until
the year of his death. He was also a frequent exhibitor in the Grosvenor
and other Galleries.
655. Reading Aloud. A richly decorated interior, in
which are three females clad in flowing draperies; one is
lying on a couch reading from a book, another is seated on
a stool at the foot of the couch, on which her right arm
rests, while the third sits on the floor at the head of the
couch. Tempera — height, 3 ft. 6 in. ; width, 6 ft. 6 in.
Presented by Andrew T. Reid, of North British Locomotive
Company, Limited, 1908.
Exhibited in Royal Academy in 1884.

Moore. Henry Moore, B.A., 1831-1895. English School.
Henry, the son of William Moore, a portrait painter, and elder brother
of Albert Moore, the celebrated decorative painter, was born in York.
His early training was carefully supervised by his father, and in 1853,
when his first picture appeared on the walls of the Royal Academy, he
entered the Academy schools. At first he devoted his attention to land
scape painting, but early in his career he found his true metier in study of
the sea in all its moods, phases, and variations of colour and lighting.
No artist ever more fully realised, and faithfully rendered, the motion of
the sea from its gentle ripple to its demoniac lashings, the translucence
and sparkle of its water, the subtle gradations of its lighting, and the
wide sweep of its horizon. Moore was more popular as a painter than as
a man. He was made Associate of the Academy in 1885, and it was not
till 1893, forty years after he began exhibiting, that he attained the rank
of fuU Academician. He was also a Knight of the Legion of Honour in
France. 656. St. Albans Race. A wide expanse of turbulent, rushing
sea. In the distance, to right, a yacht in full sail, and, beyond,
a steamer and the lighthouse of St Albans Head; stormy sky.
Signed "H. Moore." On Canvas — height, 4 ft. 1 in.; width,
6 ft. 0| in. Purchased, 1906.

148 MORLAND.

Morland. George Morland, 1763-1804. English School.
George Morland, the son of Henry R. Morland, a painter, was born in
the Haymarket, London, 26th June, 1763. He was a student of the
Royal Academy, and first produced landscapes, but afterwards, for the
most part, rustic subjects with domestic animals. He was a man of the
rarest artistic endowments, but his career was irregular and dissipated,
and the latter years of his brief life were principally spent in sponging-
houses, under the charge of unprincipled creditors. He died in Clerken-
well, London, 29th October, 1804.
657. Landscape — An Inland Stream. Sketch of a land
scape, with stream spanned by a bridge, near which a cottage
and some figures. On Canvas — height, 11 in.; width, 14£ in.
M'Lellan Collection.
658. An English Homestead. To left a boy seated at the
foot of a birch tree, and behind a stile, in front of the gable
of a house, a young woman in conversation with a gentleman
standing by the side of a horse from which he has just dis
mounted. In middle distance a group of trees, and to right
a pond, beyond which are fields and reapers. On the near edge
of the pond a boy and several women approaching carrying
sheaves. On Canvas — height, 3 ft. 3 in ; width, 4 ft. Be
queathed by James Stevenson, LL.D., 1903.
This picture does not appear to be the work of George Morland.
659. Sea-Coast Scene — Smugglers. A rocky sea coast,
with boat containing barrels, which men are unloading in a
creek, where stands a man with white horse. Signed " G.
Morland, 1793." On Canvas — height, 12J in.; width, 15 in.
M'Lellan Collection.
660. Sea-Coast Scene — Storm and Wreck. Rock-bound
sea-coast, with stormy sea, and ship wrecked near the shore;
men launching a boat from the shore, with man and woman
in foreground looking on. Signed " G. Morland." On
Canvas — height, 19£ in. ; width, 2 ft. Euing Collection.
661. Sea Piece. A sea-shore, with high cliffs, water placid;
several boats drawn up to the shore; in the foreground, figures.
Signed " G. Md." On Canvas— height, 12 in.; width, 16 in.
Euing Collection.

Morland. Henry Robert Morland, 1730-1797. English School.
Henry R. Morland was a painter of genre and portraits, who practised
in London in the later half of the 18th century. He was father of the
famous George Morland.

MOUCHERON. MULLER. 149

662. The Oyster Seller. A half-length figure, female open
ing oysters by the light of a lantern. On Tin-plate — height,
IIJ in.; width, 9| in. M'Lellan Collection.
Engraved by P. Dawe.

Moucheron. Frederick de Moucheron, 1633-1686. Duteh
School. Moucheron, an artist of noble French extraction, was born at Embden,
and instructed in paipting by Jan Asselyn. He afterwards studied in
Paris, and devoted himself to the painting of landscapes, the figures in
which are frequently the work of Adrian Vandevelde or of Lingelbach.
He finally settled in Amsterdam, where he died, 5th January, 1686.
663. Italian Landscape, with Round Tower. Landscape,
with precipitous rocks to the left, under which is a roadway,
with sheep, mules, and figures. There is a round tower in the
centre, and to the right a stream with a waterfall, and a hill in
the distance. Figures by Lingelbach. Signed "Moucheron,
F." On Panel— height, 2 ft. H in. ; width, 2 ft. 6 in. M'Lellan
Collection. 664. Landscape, with Hawking Party. A richly wooded
landscape, with stream forming a waterfall, bounded with distant
hills. In foreground, a lady and gentleman on horseback, with
attendant, hawks, and hounds, and various other figures on road
way, at some distance. A very characteristic picture, with
figures by Vandevelde. Signed "Moucheron." On Panel —
height, IL1 in.; width, 15 in. M'Lellan Collection.

Muhrman. Henry Muhrman (living artist). American
School. 665. Soldiers' Children in Chapel. Within a church a
number of children- sitting dressed in white hats, dark cloaks,
and red skirts. Signed " H. Muhrman." Pastel — height,
15J in. ; width, 12£ in. Carfrae Alston Collection, 1909.
Muller. William James Muller, 1812-1845. English School.
Muller was born at Bristol in 1812, where his father, who was of
German extraction, was curator of the Museum. He was a pupil of J. B.
Pyne, and first exhibited at the Royal Academy in 1833. Shortly after
wards he travelled in Germany, Switzerland, and Italy, sketching by the
way. In 1838 he made a journey to Greece and Egypt, where he executed
large numbers of drawings of scenery and historical remains. Returning
home in the following year, he settled in London, but in 1841 he again set
out on his travels, visiting Smyrna, Rhodes, and Lycia. gathering material
which kept him employed for the next three years. In 1845, his health
failing, Muller returned to his native city, where he died, on the 8th

150 MURILLO.

September, of disease of the heart. Muller excelled in the depicting of
Eastern life and scenery, and his works are distinguished for their
masterly breadth of handling and their glowing colour.
666. Eastern Letter Writer. An Eastern street scene;
a letter-writer seated, and writing to the dictation of two persons
in front. Signed " W. Muller, 1841." On Panel— height, 12|
in.; width, 9| in. Donald Collection.
667. The Treasure Finders. The vault of an Egyptian
temple, showing the huge pillars supporting the superstructure,
the capitals formed of Hathor heads. In centre, a group of
Arabs, one holding a torch, are rifling a mummy, from which a
neoklace has just been taken; to right are two advancing figures,
the leader with a lamp, bearing another body on their shoulders ;
to left, at the end of a corridor, the rim of the rising moon is
seen. Several fallen blocks carved with figures are lying about
Signed "W. Muller, 1843." On Canvas— height, 2 ft. 5£ in.;
width, 4 ft. 5£ in. Purchased, 1907.
Exhibited at Royal Academy, 1843.

Murillo. Bartolme Esteban Murillo, 1617-1682. Spanish
School. Murillo was a native of Seville, where he early devoted himself, with
wonderful vigour and realism, to the painting of beggar children and
rustics. In 1643 he visited Madrid, where he was well received and
encouraged by Velasquez, through whose influence he had access to the
rich collections of the Escurial, and there he studied diligently the master
pieces of Titian, Rubens, Vandyck, and his patron Velasquez. He
developed his greatest powers in the painting of religious subjects, into
W?-Cl te infused a sPirit of devoutness and attractive sentimentality
which has been attained by no other artist of any period. He died at
Seville from the effects of a fall while painting his last work, "The
Marriage of St. Catherine."
668. The Repose in Egypt. The Virgin, seated by a tree in
the centre, watches the Child, who sleeps on a rock by her side;
St. Joseph stands on the right holding the bridle of the ass ; on
the left are two cherubs intently watching the sleeping Saviour;
in the foreground, to the right, a bottle, a bundle, and a broad
brimmed hat; landscape background. On Canvas — height, 3 ft.
2 in. ; width, 4 ft. 1 in. M'Lellan Collection.
The sleeping Child contemplated by the Virgin, who is seated, and by
Joseph, who is standing and holding the ass. This picture, which is
from the collection of Lucien Bonaparte, decidedly displays the influence
of Rubens and Vandyck. The very realistically-conceived Virgin is of
unusually cold reddish flesh tones. T$he careful execution is equally
carried out m every part. Unfortunately, it has been retouched"
(Waagen s Art Treasures, vol. iii., p. 287). A replica, or possibly the
original of this picture, is in the Hermitage, St. Petersburg

MURRAY. 151

669. The Virgin and Child (after Murillo). Full-length
figure of the Virgin, seated on a stone bank, with the Child on
her knee. On Canvas — height, 19J in. ; width, 14J in. M'Lellan
Collection. The original version of this picture, with figures nearly life size, is in
the Corsini Palace, Rome.
Murray. David Murray, R.A. (living artist). Scottish School.
670- Abingdon-on-Thames. To the left are a lighter, lighter
man, and horse, with pleasure boats. Water-lilies cover the
surface of the river. In the centre is the town of Abingdon.
Signed "David Murray, '89-90." On Canvas — height, 1 ft
11£ in.; width, 2 ft. IIJ in. Teacher Collection.
671. The Old Anchor Inn. Scene on the Thames; in the
centre, the old inn, with steps leading down to the river, on
which are several pleasure boats ; to the left a lighter, with man
on horseback. Signed " David Murray, '81." On Canvas —
height, 11^ in.; width, 17^ in. Teacher Collection.
672. The Orchard. In foreground, apple trees in full
blossom, with figures of the gardener and his daughter; red-
tiled houses seen through the trees. Signed " David Murray,
'83." On Canvas— height, 17£ in.; width, 23£ in. Teacher
Collection. 673. Tarbert, Loch Fyne. A view of the entrance to East
Loch, Tarbert, with fishing boat putting out to sea; to the right
Tarbert Pier, with s.s. " Iona ; " to the left the heather-clad hills
above the "White Shore." Signed "David Murray, '87." On
Canvas — height, 11 J in.; width, 17| in. Teacher Collection.
674. Landscape with Figure and Sheep. Signed " David
Murray, 1879." On Canvas — height, 9£ in.; width, 17£ in.
Teacher Collection.
675. A Highland Loch. A pebbly shore washed by the
blue waters of the loch, on which is a boat at anchor; precipi
tous hills beyond. Signed " David Murray, '89." On Canvas —
height, 11 \ in.; width, 18 in. Teacher Collection.
676. Fir Faggots: a Hampshire landscape. The scene is
near Christchurch, with the headland of the Isle of Wight in the
distance to the right; a wooded country, with St. Catherine's Hill,
occupies the middle distance; to the left, undulating open

152 MURRAY. NAIRN.

country, meadows, and moorland. The foreground is at
Matcham, on the road between Ringwood and Christchurch.
Two women, with bundles of firewood, recline in the heathy fore- •
ground, and cattle dot the moorlands and pastures. Signed
" David Murray, 1893." On Canvas— height, 3 ft. 11 in.; width,
5 ft. 11$ in. Purchased, 1894.
Exhibited in the Royal Academy, 1893.
Murray. J. Reid Murray, 1861-1906, Scottish School.
Reid Murray was born in Helensburgh on 28th January, 1861. He
received his art training in Edinburgh and Glasgow, and subsequently
studied under Verlat at Antwerp. He was a frequent exhibitor at the
Royal Scottish Academy and the Royal Glasgow Institute of the Fine
Arts. He also exhibited in the Royal Academy and at various Continental
galleries, and in 1897 he was awarded a gold medal of the second class at
Munich. He died at Prestwick on 15th August, 1906.
677. Moonrise. Foreground, a field in which are cattle; to
right, seen through trees, is a stream flooded with moonlight.
Signed " J. Reid Murray, 1897." On Canvas— height, 2 ft. 11 in.;
width, 3 ft 5A in. Presented by Bailie Thomas Dunlop, 1906.

Musscher. Michiel van Musscher, 16i5- 1705. Dutch School.
Van Musscher, painter and etcher, was born at Rotterdam in 1645,
and was a pupil, among others, of Gabriel Metsu and Ostade. He painted
conversation subjects, views of towns, and portraits. He resided chiefly
in Amsterdam, where he died.
678. Portrait. Half length of a man with white peak
beard, in collar and dark fur-edged oloak. On Panel — height,
9$ in. ; width, 1\ in. M'Lellan Collection. .

Nain. Antoine le Nain, 1588-1648. French School.
This artist was one of three brothers, natives of Laon, Picardy, who
attained a high reputation as painters of portraits and domestic scenes.
They also painted large religious pictures for the decoration of Parisian
churches. All three brothers died in Paris.
679. _ Interior, with Figures. Female in a brown dress
and white neckerchief, seated, contemplating a flower in her
lap; she is being intently observed by a boy, whose arm rests
on a book lying on a table. On Panel— height, 11 in.; width,
9 in. M'Lellan Collection.
Nairn. James M. Nairn, 1859-1904. Scottish School.
This artist was born at Lenzie on 18th November, 1859, and received
his art training in the Glasgow School of Art, then under the charge of

NASMYTH. 153

Mr. Robert Greenlees. Qn account of his delicate health, Nairn was
compelled to emigrate to New Zealand, where for some years he did
excellent work both as a painter and a teacher of art. He died at
Wellington, New Zealand, in February, 1904.
680. Kildonan. A sea-coast scene; foreground a field of
rank herbage, in which two lads are reclining ; on rising ground,
to right, stunted trees and boulders; in the distance, to right,
a rugged promontory stretches out to a calm sea, on which are
sailing vessels. On Canvas — height, 2 ft. 10 in. ; width, 3 ft.
10 in. Signed " James M. Nairn, Eildonan, 1886." Presented
by Thomas Galloway, 1907.

Nasmyth. Alexander Nasmyth, 1758-1840. Scottish School.
This artist was a native of Edinburgh, who studied under Allan Ramsay,
portrait painter, son of the poet, and afterwards in Italy. Among his
earliest productions is his celebrated portrait of Burns, of which three
versions are known to be in existence. He was an original member of
the Society of Incorporated Artists, and one of the first-elected Associates
of the Royal Institution, to the exhibitions of which he contributed many
landscapes and portraits. He was father of the well-known Scottish
artist, Patrick Nasmyth, and of James Nasmyth, inventor of the steam
hammer. Nasmyth was a man of great versatility, having, in addition
to his artistic capacity, a genius for mechanics and architecture. He
designed the Deaji Bridge in Edinburgh, which Telford subsequently
widened, and the classic building over St. Bernard's well. He was also
the inventor of what is known as the bow and string bridge, from which
the present system of roofing the majority of the large railway termini
has been developed. He died at Edinburgh, 10th April, 1840.
681. Italian Landscape. An inland lake, the margins of
which are well wooded, occupies centre of picture, and stretches
towards the distance, where a town is indicated; foreground,
trees and figures; middle distance, ruined chateau on a knoll,
reflected in the water. On Canvas — height, 2 ft. 2$ in. ; width,
2 ft. 10$ in. M'Lellan Collection.
682. On the Clyde. View of Dunglass and Dumbarton from
near Old Kilpatrick; figures in the foreground. On Canvas —
height, 2 ft. 4 in. ; width, 3 ft. Teacher Collection.

Nasmyth. Patrick Nasmyth, 1786-1831. Scottish School.
Patrick, the eldest son of Alexander Nasmyth, was born in Edinburgh,
and was trained by his father, but at the age of twenty he migrated to
London, where he soon attracted considerable notice as a brilliant land
scape painter. His style was modelled upon the great mastery of the
Dutch School, Ruysdael and Hobbema, and,, like them, he painted minute
details with laborious care and precision. His works have, on this
account, a certain hardness of feeling, although they are harmonious
and pleasing in colour. Nasmyth died at Lambeth, 17th August, 1831.

154 neefs. neer.

683. Windsor Castle. The great historical pile of buildings
is seen on the summit of a steep wooded bank. Trees in the
foreground and a glimpse of water, with, to the left, a rural
. roadway, two figures, and a fallen and broken tree. Signed
" Pat. Nasmyth, 1830." On Canvas— height, 2 ft. 3$ in. ; width,
3 ft. 4 in. The gift of the sons of James Reid, of Auchterarder
and Hydepark Locomotive Works, 1896.
Exhibited in Royal Academy, 1830.
684. Landscape. A mill lade wooded on both sides; two
boys fishing; in the distance, grass fields with cattle, and the
smoke of a village. Signed " P. Nasmyth, 1827." On Canvas
— height, 19$ in.; width, 23$ in. Teacher Collection.
Neefs. Pieter Neefs or Nieffs, 1577-1 657 (?). Flemish School.
Neefs was a native of Antwerp, and disciple of H. Steenwyck, whose
style he imitated. He excelled in painting the interiors of churches and
cathedrals — choosing especially Gothic subjects. He was master of
perspective, and relieved his pictures from the monotony of straight lines
and pillars by introducing monuments, organs, and a great variety of
figures in lively grouping — the figures often being painted by the elder
Teniers, Jan Brueghel, and others.
685. Interior op a Continental Cathedral. A lofty and
spacious Gothic cathedral, with figures of a lady and gentleman,
priest, group of worshippers, mendicants, etc., etc. Signed
"Peeter Neeffs." On Panel — height, 15 in.; width, 20 in.
Graham-Gilbert Collection.
Neer. Aert van der Neer, 1603-1677. Dutch School.
Concerning this celebrated artist very little is known, but that he was
born in Gorinchem, and that he removed to Amsterdam before 1638,
where his son Eglon (see below) was born in 1643. Van der Neer, as a
landscape painter, made the painting of moonlight scenes a specialty, and
in such effects he has never been approached. He also painted Dutch
landscapes under many aspects, and he was particularly happy in the
representation of winter scenes, and in depicting conflagrations. His
works were little esteemed during his lifetime, and he gained a meagre
livelihood as an innkeeper, and died in poverty on 9th November, 1677.
686. Moonlight on a Dutch Canal. A village, with trees,
by the side of a canal, seen under moonlight; boat and
various figures in foreground. Signed " A. V. N." On Panel-
height, 12 in.; width, 15$ in. Presented by David Dreghorn,
1856. Neer. Eglon Hendrik van der Neer, 1643-1703. Dutch
School. This artist was the son of A. van der Neer (see above), from whom he
received his early instruction. At the age of twenty he visited Paris,

netscher. 155

where his works were highly thought of ; subsequently he returned to
Holland, and there he devoted himself with great assiduity to his art ;
painting, with extraordinary minuteness and finish, portraits, historical
subjects, mythology, and landscapes. He died at Dusseldorf while in
the employment of the Elector Palatine.
687. Venus and Adonis. Female figure representing Venus,
reolining against the knees of Adonis, upon whose head she is
about to place a wreath; Cupid, behind, holding in rein a dove,
beside a chariot ; pair of hounds and pair of pigeons to right and
left respectively. Background, forest. Signed " E. H. van der
Neer, f." On Canvas — height, 24$ in. ; width, 20$ in. M'Lellan
Collection. 688. Cavalier Singing and Playing a Violin. Cavalier
singing and playing on a violin, with music lying before him.
Face looking towards right; long hair. On Panel — height, 9$
in.; width, 7$ in. Graham-Gilbert Collection.
From the Lebrun Gallery. Engraved.

Netscher. Caspar Netscher, 1639-1684. Dutch School.
Caspar Netscher was born at Heidelberg, in Germany, where, while
he was yet an infant, his father died. His mother was forced by war to
fly thence, and, while endeavouring to make her way to Holland, two of
her children died on the road. She passed the lines of the besiegers during
the night with her remaining two children, and, reaching Arnheim, she
was there charitably entertained. Netscher was instructed by, among
others, Gerard Terburg, and devoted himself much at first to mythological
subjects. Subsequently he painted portraits with great success, and was
peculiarly happy in the rendering of satin and other textures. He died
at The Hague.
689. Lady in White Satin Dress. Full-length figure of lady
standing in front of columns with sculptured base; flower-pot
and plant at her side. On Canvas — height, 2 ft. 10 in. ; width,
2 ft. 10$ in. M'Lellan CoUection.
690. Nymphs adorning Statue op Venus. Three nymphs
bring garlands and other offerings to a statue of Venus and
Cupid. In the background, two satyrs and a female, etc.
Signed " C. Netscher, fee, 1670." On Canvas— height, 20 in. ;
width, 16$ in. M'Lellan Collection.
691. A Princess op Orange. Half length of a lady in
crimson dress, standing by a fluted column, with a basin of roses,
etc., at her side. Signed " C. Netscher, 1671, f." On Canvas
—height, 17$ in.; width, 15 in. M'Lellan Collection.
"Portrait of a lady; painted with all his delicacy, in his later but still
warmly-coloured manner" (Waagen's Art Treasures, vol. iii., page 289).

156 NEUHUYS. NICOL.

692. Portrait op a Nobleman. Half length, in an oval, with
head turned looking to right; long-haired wig; white lace cravat.
On Panel — height, 16 in.; width, 11$ in. Graham - Gilbert
Collection. Neuhuys. Albert Neuhuys (living artist). Dutch School.
693- A Two-Handed Crack. Two young children seated
in a chimney corner engaged in conversation; to left, a large
pot hangs over a fire on the hearth. Signed " Alb. Neuhuys."
Water-colour — height, 15£ in.; width, 12 in. Carfrae Alston
Collection, 1909.

Neuhuys. Josef Hendrikus Neuhuys, 1841-1890. Dutch
School. Joseph NEtrmjYS was a native of Utrecht, and elder brother of Albert
Neuhuys, the better-known artist (see above). Yet Joseph "displayed
a very delicate and sensitive talent."
694. Woodland Scene. In the foreground a road leading to
a canal, on the near side of which is a man in a boat; on the
far side is a windmill. To the left a group of tall poplar trees.
Water-colour — height, 131 in. ; width, 8$ in. Smellie Collection.

Newton. Gilbert Stuart Newton, R.A., 1795-1835. English
School. Newton, born at Halifax, Nova Scotia, was the son of a British officer.
When a young man he visited and studied in Italy, and thereafter he
became a, student of the Royal Academy, London. He early attained
great reputation as a genre painter, and chose many of his subjects from
standard British authors. His female figures are specially admired, and
his works are distinguished by a fine sense of colour. _ He died at Chelsea,
5th August, 1835.
695- The Disconsolate — A Sketch. Lady in white dress,
seated on sofa, in deep grief, her face hidden in her handkerchief ;
an opened letter with mourning border at her feet indicates the
cause of her grief. On Panel — height, 9 in.; width, 7J in.
Euing Collection.

Nicol. Erskine Nicol, R.S.A., A.R.A., 1825-1904. Scottish
School. Erskine Niool, a native of Leith, received his art training at the
Trustees' Academy, Edinburgh. After working for some time in that
city with but indifferent success, he removed to Ireland, where he
remained for several years, and where he discovered his bent — the
humorous side of Irish peasant life finding in him an able and prolific

NIEMANN. NOBLE. 157

¦ exponent. Settling finally in England, his works became highly popular,
and numerous engravings of them have been published. He was for
many years a contributor to both the Royal Scottish Academy and the
Royal Academy. In 1859 he was made a full member of the Royal
Scottish Academy, and in 1867 he was elected an Associate of the Royal
Academy, but owing to ill health he retired in 1885. He died at his
residence, The Dell, Feltham, Middlesex, on the 9th March, 1904.

Beggar my Neighbour. Interior of an Irish cottage;
two men and a woman playing cards; one of the men looking
at his cards with a rueful countenance and scratching his head;
other man laughing and holding a pewter beer flagon in hiH
hand. Signed " E. Nicol, 1855." On Canvas — height, 12$ in.;
width, 17 in. Teacher Collection.

Niemann- Edmund John Niemann, 1813-1876. English
School. Niemann was born at Islington of German parents. Up till 1839 he
was employed at Lloyd's, but in that year he resigned his appointment
and devoted himself entirely to art. He first exhibited at the Royal
Academy in 1844. Examples of his work are in South Kensington
Museum, London, and the Walker Art Gallery, Liverpool. He died of
apoplexy at Brixton in 1876.
697. Landscape — Richmond. Rocky foreground, with a
road winding to the right Towards the left a path, along which
a man is walking, leads to a pool. In the distance, on a rising
ground, is a tower with flagstaff and other buildings. On
Canvas — height, 7f in. ; width, 18f in. Signed " Niemann, '68."
Smellie Collection.

Nisbet- Pollok S. Nisbet, A.R.S.A. (living artist). Scottish
School.

Plainstanes Close, Edinburgh. Signed " Pollok S.
Nisbet, 1881." On Panel — height, 17$ in.; width, 7$ in.
Teacher Collection.

Noble. James Campbell Noble, R.S.A. (living artist).
Scottish School.
699. A Study. An ivy-olad doorway, with the figures of two
women; one standing and reading a letter, the other seated,
listening. Signed "J. C. Noble, 1877." On Canvas— height,
24 in.; width, 17$ in. Teacher Collection.
4a

158 OLSSON. ORCHARDSON.

Olsson. Julius Olsson (living artist). English School.
700- The Clouded Moon. A stretch of open sea, lit by the
moon, which is partially obscured by clouds. On Canvas —
height, 23$ in.; width, 29$ in. Signed "Julius Olsson."
Presented by James Dickson, 1910.
Exhibited in the Royal Glasgow Institute of the Fine Arts, 1910.
Opie. John Opie, R.A., 1761-1807. English School. ' ,r,
Opie was born in the village of St. Agnes, near Truro, in Cornwall,
where his father was a carpenter. At an early age he showed remarkable
artistic ability, and, as an uninstructed boy, he painted portraits with
such vigour that, on his arrival in London, aged nineteen, he was hailed as
the " Cornish wonder," and for a time was the rage of the town. He was
appointed Professor of Painting in the Royal Academy in 1806, and on his
premature death, in the following year, his remains were publicly interred
in St. Paul's Cathedral.
701. His own Portrait. A full-size head turned slightly
to right, eyes looking at spectator; a red cloak on his shoulder.
On Canvas — height, 20$ in. ; width, 15$ in. M'Lellan Collection.
Orchardson. Sir William Quiller Orchardson, R.A., 1835-
1910. Scottish School.
Orchardson, one of the most distinguished of Scottish artists, was a
native of Edinburgh. At the age of fifteen he began his art studies in the
Trustees' Academy under Scott Lauder, having for fellow pupils Peter
Graham, MacWhirter, Pettie, and others who attained to eminence in
the world of art. In 1862 Orchardson settled in London. He was elected
an Associate of the Royal Academy in 1868, and full Member in 1877, and
in 1907 he received the honour of Knighthood. He was also a D.C.L. of
Oxford. His pictures, in addition to portraits, are mostly illustrative of
the Napoleon period, or scenes from the works of Shakespeare or Scott.
He was a master of design and a consummate craftsman, and his scheme
of colour, although somewhat mannered, is refined and appropriate
to his subject. He died at Portland Place, London, on the 13th ApriL
1910. 702. The Farmer's Daughter. A young woman in the
dress of the early part of the 19th century, with pink printed
muslin gown and short white bodice, and flowers in her hair;
she stands in the doorway of a wooden barn, feeding pigeons,
one of them having alighted on her left arm. Signed "W.'J'Q.
Orchardson, /81." On Canvas — height, 3 ft. 5 in. ; width, 2 ft.
9 in. The gift of the sons of James Reid, of Auchterarder and
Hydepark Locomotive Works, 1896.
703- Portrait op James Hunter Dickson, D.L. ; member
of the Town Council of Glasgow from 1877 till 1902. He was
also a Magistrate of the City, and held the office of Preceptor
of Hutchesons' Hospital and other civic appointments. Signed
" W. Q. Orchardson, /97." On Canvas— height, 4 ft. 2 in. ; width,
3 ft. 4 in. Presented by Fellow-Citizens.

_  --rX—  *.  _ 

Orchardson.— THE FARMER'S DAUGHTER.

ORLEY. 159

704- Scene prom " Peveril of the Peak." Julian Peveril
conducting Alice Bridgenorth and Fenella through the streets
of London; two of Buckingham's men follow behind jeering.
Signed "W. Q. Orchardson." On Canvas— height, 2 ft. 6 in.;
width, 3 ft 8 in. Donald Collection.
" Many passengers looked at them with wonder, and some with smiles ;
but Julian remarked that there were two who never lost sight of them,
and to whom his situation, and the demeanour of his companions, seemed
to afford matter of undisguised merriment. These were young men, such
as may be seen in the precincts in the present day, allowing for the
difference in the fashion of their apparel." — Sir Walter Scott's Peveril of
the Peak, Chapter XXXH.
705- The Young Housewife. Young woman carrying a
basket with apples ; vegetable stall to right. Signed " W. Q.
Orchardson, 1878." On Canvas — height, 2 ft 3 in. ; width,
1 ft. 7$ in. Donald Collection.
Exhibited in Royal Academy, 1880.

Orley. Barend or Bernaert van Orley, 1491(1)-1542. Flemish
School. Van Orley was a native of Brussels, and at first a pupil of his father,
who also was a painter. Later he studied in Rome, where he became a
pupil and favourite assistant of Raphael, and, on his return in 1515 to
Brussels he was appointed Court Painter to the Regent Margaret. In
that capacity he superintended the weaving in Brussels of the series of
tapestries with scriptural subjects after Raphael's famous cartoons. He
died on 6th January, 1542.
706- St. Adrian. The Saint standing, with drawn sword,
before a classical building, with a projecting screen in which
is a medallion with the inscription, Virtus victrix, fortunce
fortissima ; at the saint's feet is an anvil, and behind him lies
a very conventional lion; on the scabbard of the sword is in
scribed beiv noah, and across the lower part of the picture, in
large letters, S. Adrianus. On Panel — height, 12 in.; width,
9 in. M'Lellan Collection.
St. Adrian was one of the early Roman military saints and martyrs, who
met his death for embracing the Christian faith by having his limbs
smashed on an anvil — whence the anvil in the picture. Mrs. Jameson
(Sacred and Legendary Art, new ed., 1891, vol. ii., p. 800), says, in a
note— "In the Collection of Mr. M'Lellan, of Glasgow, I saw a small
picture representing St. Adrian in complete armour, with a helmet and
floating plumes, the anvil on which he was mutilated at his feet, and a
crouching lion near him."
Dr. Waagen (Galleries and Cabinets of Art, p. 461), who attributed
this work to Hans Burgkmair, characterises it as " a careful little picture,"
but in style and treatment it agrees with a warrior saint, called "Charles
V.," painted by Van Orley, now in Lord Northbrook's Collection.

160 OSSENBECK. OSTADE.

Ossenbeck. Jan or Jose van Ossenbeck, 1627-1678. Dutch
School. Ossenbeck was a native of Rotterdam, where he received his first
instruction in art. Early in life he removed to Rome, where he acquired
a considerable reputation as a painter of landscapes and hunting scenes.
From Rome he went to Vienna, where he became Court Painter. After
wards he spent some time in Frankfort, and finally went to Ratisbon,
where he died. In addition to his pictures, he produced a number of
etchings, and engraved part of the plates for the Collection known as the
" Amphitheatrum Picturarum " of Teniers.
707- The Hawking Party. Hawking party on horseback,
with negro carrying a hawk, and another attendant with hounds ;
round tower, cliffs, and statuary figure in background. On Panel
— height, 8| in.; width, 10$ in. M'Lellan Collection.
708- Pastoral Landscape. In the foreground two cows and
a few sheep at rest. A woman is milking a ewe, and by her side
a man stands playing bagpipes. To the left, wooded knolls in
evening light, and to the right, a level plain. On Panel — height,
1 ft. 11 in.; width, 2 ft. 9$ in. M'Lellan Collection.
Ostade. Adrian van Ostade, 1610-1685. Dutch School.
Adrian van Ostade, one of the most successful of Dutch genre painters
and etchers, was born at Haarlem. There he was a pupil of Frans Hals,
along with Adrian Brouwer and other eminent painters of the Haarlem
School. He painted only interiors, domestic scenes, and figures of
peasants ; but these he executed with extraordinary delicacy and power
of colour, and with endless variety of character and quaint humour. His
pictures were in great request during his life, as they still continue to be,
while the etchings he executed are rare and highly prized. He died at
Haarlem on 29th April, 1685.
709. Peasants Drinking and Smoking. Around a fireplace,
in a large apartment, four peasants enjoying their pipes and
beer. In the background, a woman, observed by a little girl,
is engaged in some domestic work. Signed " A. V. Ostade." On
Panel— height, 13$ in.; width, 12$ in. M'Lellan Collection.
Described in Hofstede de Groot's Smith's Catalogue Raisonni, 1910,
No. 634, Vol. III., page 333. A similar composition is in the collection
of the Earl of Ellsmere.
Engraved by J. Taylor, and published by William Miller, London, 1808.
710. The Bund Beggar. A blind beggar, led by a small
dog, is taking alms at a door, over the lower half of which a
housewife leans; a rustic balcony, reached by a wooden stair,
is overhead; children and other figures around, showing some
curiosity, mixed with alarm. On Panel — height, 12 in.; width,
9$ in. M'Lellan Collection.
An early work of the artist.
Described in Hofstede de Groot's Smith's Catalogue Raisonni, 1910,
1fi40" V°L nL' Page ,178_ " APPareatly a good picture, dating about

palamedes. 161

711. Law. A lawyer seated in his study reading a document,
books and papers on tables at his side. On Panel — height, 11$
in.; width, 9$ in. M'Lellan Collection.
Engraved, when in the possession of Alderman Beckford, Lord Mayor
of London, by Anthony Walker about 1760. The original, of which this
picture is a contemporary copy, signed and dated 1665, is in the Berlin
Gallery. 712- Physic. A physician seated in his study examining some
fluid in a flask ; by his side, books, an apothecary's jar, etc. On
Panel — height, 11$ in.; width, 9$ in. M'Lellan Collection.
Pendant to No. 711, and also a contemporary copy. The picture was en
graved, when in the possession of Alderman Beckford, Lord Mayor of
London, by Anthony Walker about 1760.
713. The Itinerant Musician. A ragged fiddler playing the
violin, his broad-brimmed felt hat slouched over his left eye,
and a roguish smile on his face. Signed " A. V. 0." On Panel
— height, 10 in. ; width, 8 in. Graham-Gilbert Collection.
Reproduced in the Pall Mall Magazine for April, 1895, from » photo
graph by Annan & Sons, of Glasgow.
Described in Hofstede de Groot's Smith's Catalogue Raisonni, 1910,
No. 104, vol. iii., page 173.
714. Boors Drinking (Modern copy). A group of three men
round a low table drinking, smoking, and playing the violin. On
Panel — height, 10$ in. ; width, 8$ in. Graham-Gilbert Collection.
715- The Village School. A rude rustic interior in which
are variously disposed the schoolmaster and a number of little
rustics — - some at their lessons, and others at various pranks.
On Panel — height, 7$ in. ; width, 8$ in. M'Lellan Collection.
A school interior similarly treated is in the La Caze Collection in the
Louvre, Paris.
Described in Hofstede de Groot's Smith's Catalogue Raisonni, 1910,
No. 380, vol. iii., page 254.
Palamedes- Anthonis Palamedes, 1600-1673. Dutch School.
This artist, whose family name was Stevaerts, but who generally signed
himself A. Palamedes, was a native, of Delft. He studied the manner of
Mierevelt and of Frans Hals, and devoted himself to portrait painting
and the representation of domestic interiors of the wealthy classes. He
was received into St. Luke's Guild of Delft in 1621, became President of
the same in 1635, and continued to take a,n active interest in the concerns
of the Corporation till the year of his death.
716- A Musical Party. A company, variously disposed
in a large apartment, listening to the performance of a .richly
habited man, who sings and accompanies himself on the lute.
Signed "A. Palamedes." On Panel — height, 14$ in.; width,
21$ in. Euing Collection.

1 62 PALMA. PARKER.

Palma. Jacopo Palma (called Palma Vecchio), 1480-1528.
Italian-Venetian School.
Palma, a native of Serinalta, near Bergamo, was probably a fellow-
pupil of Titian and Giorgione in the school of Giovanni Bellini. After
these he is to be regarded as one of the most distinguished ornaments of the
early Venetian School. His works are remarkable for simplicity of com
position, attractive and graceful modelling of his female figures, and for
opulent and harmonious colour. He died a,t Venice, 30th July, 1528.
717. Virgin and Child attended by Saints. The Virgin
seated on a balcony, her hands around the Holy Infant, erect,
nude, in front of her. To the left is St. Joseph, to the right
St. Catherine and a saint with a flag (S. Philippo Benozzo 1), and
in front St. John and a lamb. On Panel — height, 17$ in. ; width,
14 in. M'Lellan Collection.
It has been suggested that this picture is by Romanino of Brescia.
718. Holy Family. The Virgin, with the Infant Saviour on
her knee, attended by St. Catherine, St. John, and St. Peter ; in
background, a landscape with architecture. On Panel — height,
3 ft. 0$ in. ; width, 4 ft. 6 in. Graham-Gilbert Collection.
The same figures of St. John and St. Catherine occur in Palma's " St.
Peter Enthroned," in the Regie Gallerie, Venice.
Finished by Cariani, according to the opinion of Berenson.
719. Figure of a Lady. (Copy by Graham-Gilbert.) Half-
length figure, with long flowing hair, in a rich loose red cloak,
lined with blue. On Panel — height, 8$ in.; width, 6$ in.
Graham-Gilbert Collection.

Park. Stuart Park (living artist). Scottish School.
720. Roses — La France. Signed " Stuart Park." On
Canvas — height, 2 ft.; width, 1 ft. 8 in. Purchased at the
Royal Glasgow Institute of the Fine Arts, 1907.
721. Red and White Begonias. Signed "Stuart Park."
On Canvas— height, 2 ft; width, 1 ft. 8 in. Purchased at the
Royal Glasgow Institute of the Fine Arts, 1907.
Parker. Henry Perlee Parker, 7/. R.S.A., 1795-1873. English
School.t ^t???B was bom at P1ymoutn. the son of a teacher of marine drawing.
In 1816 he removed to Newcastle, where he attained considerable popularity
as a painter of local subjects, and also because of the active part he took
in the formation of the Northumberland Institution of Fine Arts. Between
1817 and 1859 he made numerous contributions to the exhibitions of the

parmigiano. paton. 163

Royal Academy. In 1840 he was appointed drawing master at Wesley's
College, Sheffield. Four years later he removed to London, where he
died. 722- The Smugglers' Cave. In the interior of a cave several
smugglers are playing cards ; others, eating, drinking, or sleeping.
At the entrance a man is keeping watch with his telescope rested
on the back of a pony. Signed " H. P. Parker, 1852." On
Canvas — height, 3 ft. 6 in. ; width, 4 ft. 7 in. Teacher Collection.
Parmigiano. See Mazzola.
Pater. Jean Baptiste Joseph Pater, 1695-1736. French
School. Pater, a native of Valenciennes, was a contemporary, in some degree
a rival, of Watteau, devoting himself to the class of subjects which is
peculiarly identified with the name of that great master. He received
some amount of instruction from Watteau, and he worked with prodigious
assiduity — so much so that he thereby cut short his life, dying in Paris
at the early age of forty.
723- Carnival Scene. A procession of gaily and fantastically
dressed musicians and mummers, with Bacchus borne aloft. In
foreground a fountain in the gardens of Fontainebleau, in which
is John of Bologna's group, " The Rape of the Sabine Women ; "
the palace in the distance. On Copper — height, 18$ in. ; width,
24 in. M'Lellan Collection.
"To this French painter I am inclined to attribute a large party in a
landscape, which unites a skilful composition with a warm and clear
colouring and a very careful execution." — (Waagen's Art Treasures, vol.
iii., page 186.)
"If by Pater, early and most carefully modelled." — Dr. Richter.
Paterson. James Paterson, R.S.A. (living artist). Scottish
School. 724. Landscape — Borderland. A stretch of rolling culti
vated country, here and there trees with sparse foliage in
autumnal tints. In foreground a stream and fields in shadow,
in which are cattle. In distance, in sunshine, fields yellow
with the ripening harvest. Masses of cloud are moving across
the sky. Signed "James Paterson, A.R.S.A., Moniaive." On
Canvas— height, 4 ft.; width, 6 ft. Presented by A. Cameron
Corbett, M.P., 1898.
Paton. Sir Joseph Noel Paton, R.S.A., 1821-1901. Scottish
School. Joseph Noel Paton was born in the ancient town of Dunfermline.
His father, who was a rather remarkable man, was employed as a pattern
designer in a damask factory, and occupied his leisure time in antiquarian

164 PAVT.

research and in studying and expounding the doctrines of Emanuel Sweden-
borg. From him Noel Paton doubtless imbibed that love of art which he
early developed. At the age of sixteen he produced a series of water-
colour drawings illustrating incidents in several of Sir Walter Scott's
novels. Removing to London in 1843, he was for a short time a student
in the schools of the Royal Academy. In 1844 he first exhibited at the
Royal Scottish Academy, and in the following year he gained one of three
premiums awarded for fresco at Westminster Hall. In 1847 he gained a
prize of £300 for his pictures " Reconciliation of Oberon and Titania" and
" Christ Bearing the Cross," the former of which was purchased by the
Royal Scottish Academy. The " Quarrel of Oberon and Titania," painted
in 1849, was purchased for the Scottish National Gallery by the Royal
Association for the Promotion of Fine Arts in Scotland. Sir Noel Paton
was an indefatigable worker, and, in addition to producing an enormous
number of paintings, chiefly of religious and romantic subjects, he pub
lished several volumes of poems, was a distinguished archaeologist and an
enthusiastic collector of arms and armour. He was elected an Associate of
the Royal Scottish Academy in 1846, and a full member in 1850. In 1866
he was appointed the Queen's Limner for Scotland, in 1867 he was
knighted, and in 1876 he was made LL.D. of Edinburgh University. He
died at Edinburgh on the 26th December, 1901.
725. " Hesperus, the evening star, sacred to lovers." In
an open space, between two trees, a lady in a dark blue robe,
white sleeves and embroidered cuffs, seated on a bank; her
lover, in a fur -lined blue cloak, over which is a red tippet,
kneels before her, holding her hands; on the ground, between
them, is a mandoline; hills in the distance; a fading sunset sky,
with the star Hesperus and the new moon high in the heavens.
Signed in monogram, and dated " 1857." On Millboard — height,
3 ft; width, 2 ft. 3 in. Purchased, 1903.
Exhibited at the Royal Academy in 1860. Engraved by W. fl.
Simmons.

Pavy. Eugene Pavy. Modern French School.
726. An Eastern Market Place. Ethiopian fruit and
fish sellers, with baskets of fruit and shallow tanks containing
flounders, mackerel, and shell fish. At the back a dancing girl
with her tambourine; and, to the left, merchants with donkeys
laden with goods. Signed " Eug. Pavy, 1885." On Canvas-
height, 2 ft. 8$ in. ; width, 4 ft. 1 in. Teacher Collection.
727. Eastern Court-Yard Scene. — To right, under an
archway, two Moors are playing a game resembling chess;
others stand or sit around watching the game ; in centre of the
yard is a camel squatted, with attendant Ethiopian ; baskets of
oranges, water vase, and saddle. Signed "Eug. Pavy, 1887."
On Panel— height, 19$ in. ; width; 23$ in. Teacher Collection.

PAVY. pettie. 165

728. Eastern Scene. An interior, in which are four men
seated cross-legged on ground, one standing; two of the seated
men playing a game resembling chess; through the open door
a view of the courtyard is obtained. Signed " Eug. Pavy, 1885."
On Canvas — height, 19$ in. ; width, 24$ in. Teacher Collection.

Pavy- Philip Pavy. Modern French School.
729. An Arab Chief. Signed "Ph. Pavy, 1885." On
Panel — height, 14$ in. ; width, 7$ in. Teacher Collection.
730- The Connoisseur. Lady and gentleman examining a
cabinet containing porcelain. Signed " Ph. Pavy." On Canvas
— height, 9$ in. ; width, 7 in. Teacher Collection.
731. The Toast. Portrait of a cavalier holding in his hand
a glass of wine. On Panel — height, 8 in. ; width, 6$ in. Teacher
Collection.

Peel. James Peel, 1811-1906. English School.
Jambs Peel, a native of Newcastle-upon-Tyne, received his early
training in art from Alexander Dalziel, » portrait painter, father of the
renowned Dalziel Brothers, wood engravers. Peel found his metier in
landscape painting, and his sincere and faithful art was largely based on
the scenery -of Derbyshire, Yorkshire, and' Wales. He was a steady
contributor to the exhibitions of the Royal Academy from 1847 till 1892,
and at the Royal Society of British Artists, of which body he was elected
a member in 1871, he was an exhibitor from 1845. He died at Reading
on 28th January, 1906, at the great age of ninety-four, having continued
to paint till a year or two before his death.
732. Church Field at Edmonton. In foreground men
ploughing with teams of horses and cattle, to the left a
path, along which a girl is carrying a baby; in middle dis
tance is a stream crossed by a bridge, and, beyond, is seen the
roof of a church with a tower. On Canvas — height, 16J in.;
width, 26 in. Presented by T. Graham Young as a memorial
of his father, James Young, LL.D., F.R.S., of Kelly, 1900.

Pettie. John Pettie, R.A., 1839-1893. Scottish School.
John Pettie was born in Edinburgh in 1839, but during his childhood
his family migrated to East Linton in Haddingtonshire. When about
sixteen years of age he obtained admission to the Trustees' Academy in
Edinburgh under Robert Scott Lauder, to whom many Scottish artists who
have risen to eminence owed their early instruction. Pettie, with his
companion students, W. Q. Orchardson, John M'Wbirter, Tom Graham,

166 PETTIE.

Hugh Cameron, and others, formed a sketching club, which met weekly
between 1856 and 1861. In 1861 some of them migrated to London,
and thither, a year later, Pettie followed his companions, that city being
thereafter his home. He was elected A.R.A. in 1866, and in 1873 he
attained the dignity of full Academician He was also made an honorary 7
member of the Royal Scottish Academy. Pettie's delight was in dramatic
situations : his more important canvases having for their subjects war
like and historical incidents, including many vigorous illustrations of
Scott's novels, and some selected from the Shakespearian dramas.
733. Two Strings to her Bow. In a country lane, a
damsel is enjoying a promenade between two gallants, linked
into the arms of each, both of whom appear to dislike_ the triple
arrangement. On Canvas — height, 2 ft. 8$ in.; width, 3 ft.
11 in. Presented by John Muir, of Deanston (Sir John Muir,
Bart., Lord Provost), 1888.
Exhibited at Royal Academy, 1887.
Reproduced in photogravure by Boussod, Valadon, & Co. , London, 1892.
734. A Knight of the 17th Century (Portrait of William
Black, novelist, 1841 - 1898). Three - quarters length, life - size
figure of a man in plate armour looking towards the left, with
left hand on sword, and, in his right hand, a roll of parchment,
with seal attached. Signed "J. Pettie, 1877." On Canvas-
height, 4 ft. 2$ in. ; width, 2 ft. 7$ in. Presented by Sir William
Ingram, Bart, 1899.
Exhibited at Royal Academy, 1877.
735. The Strategists. Two officers, one old, with his head
bandaged; the other young, sitting near the door of a tent
examining a map or plan. Signed " J. Pettie, '64." On Canvas
— height, 15$ in.; width, 20$ in. Teacher Collection.
736. Brittany Minstrels. Two Breton rustics seated within
a kitchen making music on the flageolet or pipe. They wear
sabots, and by the side of one is a broad-brimmed felt hat. To
right, a woman, in a bright corsage, is seated slightly in the
rear, behind a broken jar, engaged in household duties. Signed
"J. Pettie." On Canvas — height, 16 in.; width, 13 in. Teacher
Collection. Painted in 1863, and bought from the Royal Scottish Academy Exhibi
tion by the Scottish Association for the Promotion of the Fine Arts.
737. Sword and Dagger Fight. In the opening of a wood,
two men fighting with rapiers and daggers d outrance ; com
batant to left, in black ; combatant to right, in white, with
pink scarf ; gloves, cap, and stick lying behind him. Signed
" J. Pettie." On Panel—height, 1 ft. 7$ in. ; width, 2 ft. 6$ in.
Donald Collection.
A version of this picture, on a larger scale, is in the Mappin Art
Gallery, in Sheffield.

PHILLIP. PHILLIPS. 167

Phillip. John Phillip, R.A., 1817-1867. Scottish School.
This eminent artist was born at Aberdeen of parents in humble oircum-
stances. Apprenticed to a house painter, he early displayed * taste for
art, and is said to have received some instruction from a local portrait
painter named Forbes. In 1834 he stowed away in a brig bound for
London, where he contrived, before returning home, to visit the exhibition
of the Royal Academy. Shortly after his return to Aberdeen he attracted
the attention of Major Pryse Gordon, who brought him under the notice
of Lord Panmure, by whose assistance he was enabled to study in London
for a short time under J. M. Joy. In 1837 he became a student at the
Royal Academy. Returning to Aberdeen in 1840, he remained there until
1846, employed principally in portrait painting. Subsequently he settled
in London, where he remained until his death, making several visits to
Spain and, for his health, a journey to Rome. His early pictures were, for
the most part, illustrative of Scottish domestic life, after the manner of
Wilkie. In 1851 he paid his first visit to Spain, residing for some time in
Seville, and there, under glowing skies and amid rich colour, he received
fresh inspiration, the result of which was the production of his famous
series of pictures of Spanish life, so distinguished for the richness and depth
of their colour and their virile execution as to gain for their author a fore
most place among modem artists. In addition to his Spanish pictures,
Phillip painted, in 1860, by Royal command, the great portrait-picture,
" The Marriage of the Princess Royal with the Crown Prince of Germany,"
and in 1863 he produced his "House of Commons." He was elected an
Associate of the Royal Academy in 1857, and a full Academician in 1859.
He died on 27th February, 1867.
738. A Gipsy Girl. Bust figure of a girl with dark com
plexion and jet black hair, looking slightly to right, in a red
sleeved bodice trimmed with black, and a yellow mantle, a
necklace of beads with pendant, and rings on the fingers of her
right hand, which grasps her hair. Signed " Jo. P., '60." On
Panel— height, 2 ft. 1$ in. ; width, 1 ft. 9 in. Purchased, 1900.
739- The Assignation. Two gaily-dressed Spanish ladies
arm in arm, one wearing a hat and using her fan, the other
with a red rose in her hair and wearing a veil, carrying a fan
in her left hand, and with her right secretly passing a letter to
a gallant behind her, to left. Signed with monogram and dated
1859. On Canvas — height, 3 ft 4 in.; width, 4 ft. 2$ in.
Presented by Sir Charles Tennant, Bart, 1904.
740. Thb Evil Eye. To left a gipsy tent, out of which a
woman is looking at the artist, to right, sketching a Spanish
girl with a basket of fruit under her arm ; table with fruit, etc.
Signed with monogram " J. P.," and dated 1858. On Canvas —
height, 20 in.; width, 16 in. Donald Collection.
Phillips- Henry Wyndham Phillips, 1820-1868. English
School. H. W. Phillips was a son of Thomas Phillips, R.A., a well-known
painter of portraits and figure subjects. Henry was educated by his

168 PHLIPPEAU. P0EL.

father, and devoted himself almost exclusively to portraiture, in which
department he acquired considerable reputation ; but he died suddenly
and prematurely in London at the age of forty-eight.
741. Portrait op Lord Clyde. Half length, nearly full
face, with hand in breast of coat. On Canvas — height, 3 ft.
7 in.; width, 2 ft. 7 in. Presented by John Tennant, of St.
Rollox. Exhibited at Royal Academy, 1856, and engraved by George Zobel.
Field-Marshal Lord Clyde, G.C.B., K.S.I., etc., was born in Glasgow
in 1792, and joined the army as ensign in his sixteenth year. He gerved
successively in the Peninsula, in America, West Indian Colonies, China,
India, the Crimea, and the Indian Mutiny ; rising gradually in rank till
he became Commander-in-Chief of the Indian Army, thereafter a Peer,
and ultimately, in 1862, a. Field Marshal. He died in 1863, and received
the honour of public burial in Westminster Abbey.
Phlippeau. Modern Italian School.
742. The Mid-day Meal. In foreground three peasant
women, one standing and two seated, and two children bv the
side of a carved stone bench, on which are dishes, fruit, etc.;
on the ground a wicker basket cradle, etc. ; to right the
entrance to an old temple, and in a niche a Cupid. In dis
tance two towers, with hills rising behind. Signed " Phlippeau,
ft." On Canvas — height, 13$ in.; width, 18 in. Smellie Col
lection. Poel. Egbert Vander Poel, 1621-1664. Dutch School.
Vander Poel, a native of Delft, is supposed from his manner to have
been a pupil of E. Vandevelde and A. Vander Neer. He was admitted to
the St. Luke's Guild in Delft in 1650. He painted kitchen interiors, and
views of towns, frequently under moonlight, and conflagrations. He was
buried in Rotterdam in July, 1664.
743. Sea-Beach Scene. A sea-beach with a group of men
and women trafficking in fish, two men on horseback, and various
other figures, fishing boats, etc. ; to right, on a rising ground,
a square tower. On Panel — height, 15 in. ; width, 20$ in.
Presented by D. Dreghorn, 1856.
744. Sea-Beach — The Fish Auction. A Dutch coast scene,
with low sandhills, church spire, and other buildings. Fishing
boats on the sandy beach, and various groups of fisher folks,
etc., trafficking in fish. On Panel — height, 13 in.; width, 17$
in. M'Lellan Collection.
Formerly attributed to Isaac van Ostade, but Dr. de Groot was the first
to distinguish it as by Vander Poel ; of whose work he regards it as one
of the finest examples. It is similar in character to an oval picture in the
Habich Collection in Cassel, and the late Mr. George Salting in London
also possessed a like work.

PORTRAITS PROM THF. OLD TOWN TTALL. 169

744a. The Fire at Night. Group of houses, with church
behind, by the side of a canal ; a house in foreground, burning
fiercely, illuminates the neighbourhood and the night sky; per
sons and furniture are being rescued ; boats in foreground. Signed
" E. Vander Poel." On Canvas— height, 15$ in. ; width, 22 in.
M'Lellan Collection.
745- Winter Scene on a Dutch Canal. Frozen canal,
spanned by a bridge, at side of which there is an inn; skaters,
sledgers, and other figures in foreground. Signed " A. Vander
Neer, fct, 1652." On Panel — height, 14$ in.; width, 19$ in.
M'Lellan Collection.
Dr. Bredius was the first to point out that the signature is a forgery,
and that the picture is really the work of Vander Poel.

PORTRAITS FROM THE OLD TOWN HALL.
746- King James VI. op Scotland and I. op England.
Full length, erect. In grey felt hat with ostrich plumes, ruff
collar, brown tunic, ornamented cloak and breeches, pendant
of Garter on his breast. On Panel — height, 7 ft. 10 in. ; width,
5 ft. 1$ in. From Old Town Hall.
The following is inscribed on the Panel :—" Jacobus Dei gratia,
Magn* Brittannle, Francie, et Hibernie, Rex, Fidei Protector.
Aetatis suae 52. 1618."
747. King Charles I. By John Hendrie. Full length,
erect. Dark felt hat with plumes, scarlet cloak, white silk
tunic, with slashed purple and white sleeves, collar and garter
of Garter ; royal insignia by his side. On Canvas — height, 7 ft.
10 in.; width, 5 ft. 1$ in. From Old Town Hall.
In the Council Minutes bf date 4th June, .1670, the following occurs : —
" The same day it is appoyntit that the provest wryt to London to the
Deane of Gild to buy for the tounes use the portraitoris of King Charles
the first and secund."
Again, under date 16th June, 1677:— "The said day appoyntis the
Proveist to vse all dilligence to get the portraitur of Kmg Charles the
First, that it may be hung in the Counsell-hous with the rest now thair.
" 29th September, 1677.— Ordaines the thesaurer to have ane warrand
... for flyve pundis starling payit to John Hendrie m pairt payment
of quhat he is to get for drawing the king Charles the First his
portratour." On the 10th November following there was paid to hendrie
a further sum of " ten pundis sterling quhilk completis him of quhat ne
can ask for drawing the late King's portrait."
748. King Charles II. By Sir Peter Lely. Full-length
figure, erect. Large brown peruke, crimson cloak, with white

170 portraits prom the old town hall.

silk lining, plumed hat in his right hand, collar and pendant
of Garter, and royal insignia. On Canvas — height, 7 ft. 10 in.;
width, 5 ft. 2 in. From Old Town Hall.
See Notes under No. 747.
The portrait of Charles II. was obtained with great promptitude and
much earlier than that of his father, for in the Council Minutes of 29th
August, 1670 (the year in which the Dean of Guild was commissioned to
obtain both portraits in London), there is an entry to the effect that £25
sterling was paid for "the King's Portraitbur."
" 29th Aug., 1670. — The same day ordaines Coline Campbell to have ane
warrand for the sowme of twenty fyve pundis starling deburst be him to
the provest, and quhilk he deburst for the King's portratour bocht be
him for the tounes vse."
749. King James II. Full-length figure, erect Brown
peruke, lace scarf, in green robe, and insignia of Garter; in his
right hand an admiral's baton, and armour lying at his feet. In
the background, to left, a naval engagement in progress, with
ships on fire. On Canvas — height, 7 ft. 10 in. ; width, 5 ft. 1$ in.
From Old Town Hall.
The portrait of James was obtained whilst he was Duke of York and
Lord High Commissioner in Scotland, as appears from the following
minute of the Town Council, dated 13th October, 1683 : —
' ' Ordanis Robert Fy nnisone to have ane warrand for the sowm of twenty
pound sterling paid be him to the provost, quhilk he desbursed for the
portraiture of his royal highness, quhich is put up in the tolbooth in that
rowme quher the town counsell sits."
750. King William III. By John Scougall. Full-length
figure, erect, in dark peruke, green robe, ermine - lined, with
insignia of Garter and royalty. On Canvas — height, 7 ft. 10 in. ;
width, 5 ft. 2$ in. From Old Town Hall.
The following entry occurs in the Council Minutes, under date 12th
March, 1708: —
" The whilk day the Magistrats and Town Council convened, the Provost
having represented that he having bought from Mr. Scougall, Limner in
Edinburgh, two portrays, the one of King William and the other of Queen
Mary, both of full length, for twenty-seven pounds sterling, as the pryce
thereof, the Magistrats and Council doe approve of his buying of the same,
and ordained Thomas Thomson, thesaurer, to pay to the Provost the said
sumin upon his receipt thereof, which shall be the thesaurer's warrand
that the Provost may transmitt the money to Edinburgh and get the
pictures brought home that they may be hang'd up in the toun's Council
house." 751. Queen Mary. By John Scougall. Full-length figure,
in green robe, ermine-lined, and jewelled in front, pearl necklace,
and large pearl eardrops; crown and orb on table by her side;
Kensington Palace in background to left. On Canvas — height,
7 ft. 10 in. ; width, 5 ft. 2 in. From Old Town Hall.
See Note to portrait of King William, No. 750.

Poussin. 171

752. Queen Anne. By John Scougall. Full length, standing
figure, with small crown on her head, sceptre in right hand, and
orb in left, ermine-lined robe, with white embroidered gown;
collar and pendant of Garter on her breast. On Canvas — height,
7 ft. 10 in. ; width, 5 ft. 1$ in. From Old Town Hall.
" On 2nd August, 1712, the which day the Magistrats and Toun Council
convened, ordaines Wm. Gow, the Treasurer to pay to John Scougall,
elder, painter, fifteen pounds sterling money, as the pryce of the picture
of her Majesty Queen Anne, painted and furnished be him and now put
up in the Council-house of this burgh, and thir presents with his receipt
shall be the said Treasurer's warrand to get the said somme allowed to him
at his compt making."
753. King George I. Full-length figure, in brown wig, lace
scarf, crimson, white silk-lined robe, with collar and pendant of
Garter ; crown and orb to left. On Canvas — height, 7 ft. 10 in. ;
width, 5 ft. 1$ in. From Old Town Hall.
" 21st September, 1717. — The which day the Magistrats and town Councill
convened, ordaines Francis Hopkirk, treasurer, to pay to Robert Robert
son, merchant, fifteen pund sterling as the price of His Majestie King
George, now put up in the Councill House, and thir presentes with his
receipts shall be the Treasurer's warrand, and get the somme allowed to
him at his compt making."
754. King George II. By Allan Ramsay. Full length,
standing, in full-bottomed white wig, in green, ermine-lined robe,
and rich braided coat, wearing insignia of Garter, left hand
gloved and holding glove, right hand touching sceptre, by the
side of which are orb and crown. On Canvas — height, 7 ft.
10 in. ; width, 5 ft. 1$ in. From Old Town Hall.
755. King George III. By Allan Ramsay. Full length, in
short white wig, lace scarf, ermine-lined robe, yellow coat and
breeches ; wearing insignia of Garter ; crown on table to the right.
On Canvas— height, 7 ft. 10 in. ; width, 5 ft. 2$ in. From Old
Town Hall.
" 6th March, 1764.— The Magistrates and Councill unanimously agree that
a picture of his present majestv King George be procured and putt up in
the Town Hall, and recommend to the provost to write to the Honourable
Lord Frederick Campbell att London to have a proper picture drawn and
sent down." Several replicas of this portrait exist, and it was engraved
by W. W. Ryland in 1794.

Poussin. Gaspard Dughet, 1613-1675. French School.
Gaspard or Gttaspee Dttghet, commonly called after his brother-in-
law, Poussin, was born of French parents at Rome in 1613. He was the
pupil and brother-in-law of Nicolas Poussin, and was powerfully in
fluenced in his early style by that celebrated painter. Later he was much
attracted to Claude Lorraine, to the study of whose works is due the
advance he made in dealing with problems of light and atmosphere.

172 poussin.

Owing to his habit of painting upon dark grounds, his pictures have
become low in tone, and have thus acquired a gloomy and sombre
character. He died at Rome.
756. An Italian Landscape. A woody landscape, through
which flows a river; a hill, with chateau, in middle distance,
beyond which lofty mountains ; three figures in foreground. On
Canvas — height, 1 ft. 6$ in.; width, 2 ft 5$ in. M'Lellan
Collection. "Poetical, warm, and clear" (Waagen's Art Treasures, vol. iv., p. 462).
757. Italian Landscape. A dark woody prospect, bounded
by distant hills; two figures in foreground, the female with head
and shoulders only above a bank, on which she reclines ; a castle
on a mound in middle distance; and further away, to the
left, other castellated buildings on eminences. On Canvas —
height, 1 ft. 7 in. ; width, 2 ft. 1 in. M'Lellan Collection.
758. Classical Landscape. A woody landscape, with hills
and sea in distance; in centre a massive castellated building
and a stream; various figures in the foreground. On Canvas
— height, 3 ft. ; width, 4 ft. 3 in. Graham-Gilbert Collection.

Poussin. Nicolas Poussin, 1594-1665. French School.
Poussm, a celebrated French painter, was born at Villiers, in Nor
mandy. His early studies in art were carried on in the face of consider
able opposition on the part of his parents, so much so, that at the age of
eighteen he left his home and made his way to Paris. There he struggled
for some years with poverty and disappointment. He made two
unsuccessful efforts to reach Rome, but at length the attention of the
Italian poet, Cavaliere Marini, then on a visit to Paris, was attracted
by a series of pictures Poussin had executed for the Jesuits. Marini took
him under his protection, and Poussin followed him to Rome. There he
threw himself enthusiastically into the study of classical art. He was
fortunate enough to secure the patronage of Cardinal Barberini, by whose
influence he obtained many commissions. The fame of his work rapidly
spread, and in 1640 he was induced to return to France on the invitation
of Louis XIII., where he remained for two years, producing during that
period some of his most important works. In 1642 he returned to Rome,
where he died, 19th November, 1665. Several of his works are in the
National Gallery, and he is well represented in the Louvre and other
Continental galleries.
759. The Sacrifice op Mettius Curtius, 362 B.C. In the
foreground, Mettius Curtius on horseback, in the act of leaping
into a chasm, from which smoke and flame are issuing. On
either side are citizens, whose attitudes express horror at the
scene. Behind is a walled building, with towers and pillared
portico. To left are two tall pillars, rising from a pedestal,
on which are several persons. To the right, an open country,

POWELL. PRIMATICCIO. 173

with a town and hills in the distance. On Canvas — height, 3 ft.
4$ in. ; width, 5 ft. 6 in. Bequeathed by William Kennedy, 1899.
"In 362 B.C., according to popular tradition, the earth in the forum
gave way, and^ a great chasm appeared, which the soothsayers declared
could onlv be filled up by throwing into it Rome's greatest treasure, and
thereupon M. Curtius, a noble youth, mounted his steed, in full armour,
and declaring that Rome possessed no greater treasure than a brave and
gallant citizen, leaped into the abyss, upon which the earth closed over
him." Painted in Rome in 1635. Afterwards it came into the possession of
Cardinal Richelieu.

Powell. Sir Francis Powell, P. R. S. W. (living artist). Scottish
School. 760. The Light of Afternoon. . The River Esk, flowing
between wooded banks, under the light of the setting sun.
Signed " F. Powell." Water-colour— height, 2 ft. 1$ in. ; width,
3 ft 1$ in. Purchased, 1906.

Prentis. Edward Prentis, 1797-1854. English School.
This artist was a native of Monmouth, who devoted his attention ex
clusively to the painting of scenes of domestic life. He was one of the
earliest members of the Society of British Artists, where he exhibited
from 1829 to 1850. He also exhibited at the Royal Academy in 1823-4.
A considerable number of his works became popularly known through
engravings. 761. The Sick Bed. By the bedside of a sick man a lady,
with an anxious expression, sits watching the patient, who is
asleep. Signed " E. Prentis, 1836." On Canvas— height, 2 ft.
7 in.; width, 1 ft. 8 in. Euing Collection.

Primaticcio. Francesco Primatiecio, 1504-1570. Italian-
Bolognese School.
Primaticcio, a native of Bologna, was educated in art under the in
fluence of Giulio Romano. At an early age he entered into the service of
Francis I. of France, under whom and the three succeeding monarchs he
was general director of the royal architectural and art undertakings. His
principal works were the great series of frescoes for the embellishment of
the Chateau of Fontainebleau, the remains of which still exist there. He
was the founder of the important school of Fontainebleau, which exercised
a remarkable influence on the development of French art. He died at
Paris. 762. Triumph of the Heabt. An allegorical composition,
in which the Virgin, with the child Jesus, is seated on the pros
trate figure of a man clutching a money bag (Avarice); on the
Virgin's right a cherub holds up a glowing heart; and, on the

174 prins. pritchett.

left, another offers clusters of grapes, to the Holy Infant. On
Panel — height, 2 ft. 8$ in.; width, 1 ft. 11$ in. M'Lellan
Collection. A steel engraving of this picture, by James Thomson, of London, occurs
in Dibdin's Northern Tour, vol. ii., page 773. It is there called the
Regeneration of the Heart, and ascribed to Primaticcio.
Prins. Johann Huibert Prins, 1757-1806. Dutch School.
A painter of architectural views, native of the Hague, who confined his
attention principally to the delineation of the street architecture and public
buildings of Dutch cities. He painted with the minute precision and
finish of Vander Heyden, but in a drier, more mechanical spirit. Many
of his works, however, have been accepted as examples of his skilful
predecessor. He was drowned at The Hague."
«
763- View in Amsterdam. Street in Amsterdam, along
which a canal, spanned by two bridges, passes to join a broader
canal. To left a church; to right a house, bearing date 1666;
groups of children, market people, etc., with showman dis
playing a sheet of pictures. Signed " Vander Heyden " (a
forgery). On Panel — height, 17 in.; width, 21f in. Euing
Collection. 764. View in Amsterdam. Street scene in Amsterdam,
with spires, etc., of two churches in background. A group of
people stand round a showman, who displays a large illuminated
placard. On Panel — height, 12f in.; width, 16f in. Euing
Collection.-

765- View in Amsterdam. A street in Amsterdam, showing
numerous quaint and diversified gables; public well in fore
ground, and various marketing groups. On Panel — height, 12f
in. ; width, 17 in. Euing Collection.
Pendant to No. 761,.

Pritchett. Robert Taylor Pritchett, 1828-1907. English
School. Pritchett, the son of an army gun-maker, was himself engaged in that
industry, and concerned in the development of the Enfield rifle. Later he
devoted himself to water-colour painting, and to the illustration of books
by himself and others. He was largely employed by Queen Victoria in
making illustrative drawings of events connected with her reign. Pritchett
was a great traveller, and the sketches he made on his voyages and
journeys served to illustrate many books of travel and geography. Works
bv him appeared occasionally on the walls of the Royal Academy between
1851 and 1871. He died at Burghfield, Berks, on 16th June, 1907.

Raeburn.— PORTRAIT OF WILLIAM JAMIESON, Jun.

pryde. raeburn. 175

767. The Student — A Sketch. Man seated in a Gothic
ohamber, reading. On Panel — height, 7 in.; width, 9$ in.
Euing Collection.
Pryde. James Pryde (living artist). Scottish School.
76&. Caprice. A group of fantastio figures. Tinted draw
ing-— height, 18 in.; width, 22 in. Presented by Subscribers
through Charles Rennie Mackintosh, 1906.
Pynacker . Adam Pynacker, 1 6 2 1 - 1 67 3. Dutch School.
Adam Ptnacker, a native of Pynacker, near Delft, was a landscape
painter, who, in his early years, visited and studied in Italy, where he
came under the influence of Jan Both. His subjects are principally based
on Italian scenes, flooded with an evening light in the manner of Cuyp,
and enlivened with figures, sheep, etc. His pictures were much admired
during his lifetime, but they have suffered a good deal by darkening of
their colour. He died at Amsterdam, March 23, 1673.
769. Landscape — Goats and Sheep. An Italian landscape,
Jn evening light. To left, a steep bank covered with brush-
|wood, and in foreground, three goats and a sheep. On
Panel— height, 12$ in.; width, 20 in. Euing Collection.

Raeburn. Sir Henry Raeburn, R.A., 1756-1823. Scottish
School.
¦ Raeburn was a native of Edinburgh. Losing his father at an early
age, he was educated at Heriot's Hospital. His love of art and power in
portraiture were early manifested in the miniatures which he executed
while apprenticed to a goldsmith. The success of these efforts induced
him to devote his whole energies to painting. He visited London, where
he received advice and encouragement from Sir Joshua Reynolds, spent
two years studying in Italy, and thereafter he settled in his native town,
where he gained great celebrity, and painted the portraits of many
of the most eminent of his contemporaries. He was elected A.R.A. in
1814, and full member of the Academy in the following year ; in 1822 he
was knighted by George IV. in Edinburgh ; and in 1823 was appointed
His Majesty's limner for Scotland — an honour which, however, he enjoyed
but a very short time, as he died in July of that year.
771. Portrait op William Jamieson, Jun., Merchant in
Glasgow, died 1826. Half-length, life7size figure, slightly to the
left. On Canvas— height, 2 ft. 6 in. ; width, 2 ft. 1 in. Painted
in 1805 as a gift to his god-daughter Catherine, eldest daughter
of Michael Rowand, of Linthouse, and of the Ship Bank, Glasgow,
and acquired from her brother, Michael Rowand. Purchased,
1897.

176 • raeburn.

772. Portrait. Half-length figure of a gentleman, white
powdered hair, white cravat, and brown coat. On Canvas —
height, 24 in.; width, 19 in. Euing Collection.
773. Portrait op William Mills, Lord Provost of
Glasgow, 1834-1837. Half length, head turned a little to right,
white necktie, and ruffled shirt. On Canvas — height, 2 ft. 6 in. ;
width, 2 ft. 1 in. Presented by the Trustees of the late. George
Mills, 1892.
774. Sir Walter Scott. A bust portrait, copy on a small scale,
by Innes, of the well-known and frequently reproduced portrait.
On Canvas — height, 11 J in. ; width, 13$ in. M'Lellan Collection.
775- Portrait op a Lady. (Unfinished copy by Graham-
Gilbert.) Quarter length, full face, looking forward, in short
dark ringlets. On Canvas — height, 23 in. ; width, 19 in. Graham-
Gilbert Collection.
776. Portrait op Dr. Richardson. (Copy by Graham-
Gilbert.) Three-quarter length figure, in dressed wig, seated by
a table, on which are writing materials. On Panel — height,
8$ in. ; width, 6$ in. Graham-Gilbert Collection.
777- Study op a Head. (Copy by Graham-Gilbert.) Full-
sized head of a lady, looking towards left, with short wavy
hair tied with ribbon. On Panel — height, 12 in.; width, 10 in.
Graham-Gilbert Collection.
778. Portrait op a Lady. (Copy by Graham-Gilbert.)
Quarter-figure, with short hair falling over brow. On Canvas
— height, 18 in.; width, 15 in. Graham-Gilbert Collection.
779. Portrait op William Urquhart, Merchant, Glasgow.
Half length, life size, looking towards spectator. Painted about
1815. On Canvas— height, 2 ft. 6 in.; width, 2 ft. 1 in. Pre
sented by his daughter-in-law, Caroline J. Urquhart, 1900.
780. Portrait op Mrs. William Urquhart, wife of the
above. Half length, life size, looking towards the left. Painted
about 1815. On Canvas — height, 2 ft. 6 in.; width, 2 ft. 1 in.
Presented by her daughter-in-law, Caroline J. Urquhart, 1900.
781. Portrait op Alexander Campbell op Hall yards,
merchant in Glasgow, and Preses of the Glasgow Highland
Society in 1808 and 1815. Bust portrait, looking to left, in
bottle-green coat, yellow vest, and white neckcloth. On Canvas
—height, 2 ft. 5 in.; width, 2 ft.
Deposited by the Glasgow Highland Society, 1903.

RAIBOLINI. RAMSAY. 1 77

Raibolini. Francesco Raibolini, called Francia, 1450-1517.
Italian-Bolognese School.
This artist, commonly known as Francia, was a native of Bologna,
where he was trained a goldsmith and niello engraver, in which arts he
was very proficient. He added to these accomplishments high excellence
in the art of painting, both in tempera and oil colours, his work being
peculiarly refined, delicate, and graceful. His principal pictures still
remain in Bologna, his chef-d'oeuvre, preserved in the church of St.
Giacomo Maggiore, "The Madonna and Saint," having been painted for
the Bentivoglio family in 1499. He died at Bologna on the 5th January,
1517. 782. The Nativity. The child Jesus, resting on a bank in
front of the stable, is being worshipped by Mary, Joseph, two
angels, and a shepherd. Two angels appear from the clouds;
background, hilly landscape on both sides of the stable. On
Panel — height, 11$ in.; width, 20$ in. M'Lellan Collection.
"One of the most brilliant examples of Francia's early style, showing a
close connection -with Costa. It must have been painted about 1490-95, in
which were produced 'The Crucifixion,' at Bologna, and, probably, the
'St. George and the Dragon,' in the Corsini Gallery, at Rome." — (Benson.
Burlington Fine Arts Club. Ferrara-Bologna Exhibition Catalogue, 1894.)

Ramsay. Allan Ramsay, 1713-1784. Scottish School.
This artist, the eldest son of Allan Ramsay, the poet, was born in
Edinburgh. He studied historical painting in Italy, but on his return to
England devoted himself entirely to portrait painting, in the exercise of
which, in London, he attained a high reputation, painting the portraits of
many members of the Royal Family and of the nobility. He was appointed
principal portrait painter to George III. in 1767. Ramsay was a man of
extensive knowledge and literary culture, and was held in high esteem by
his contemporaries. He is credited with having greatly advanced the art
of portrait painting in England. He died at Dover.
784. Portrait op Archibald, third Duke of Argyll.
Full length, seated, in the robes of the Lord Justice-General of
Scotland. On Canvas — height, 7 ft. 10 in.; width, 5 ft. 1$ in.
From Old Town Hall.
The Duke was born in 1682 ; in 1705 he was appointed Treasurer for
Scotland, and in the following year he was one of the Commissioners for
the Treaty of Union. On the consummation of the Union, he was raised
to the Scottish peerage as Lord Islay — his brother being then Duke of
Argyll — and he was elected a Scottish Representative Peer. During the
greater part of his life thereafter he was entrusted with the management
of Scottish affairs, and on the death of his brother, in 1743, he succeeded
to the chief family honours. He died in 1761.
The following extract from the minutes of the Town Council of Glas
gow refers to the portrait :—" 1st May, 1750.— The which day ordain
Robert Barbour, late Treasurer, to have allowance in his own hand of the
, sum of Fourty-two pounds Sterling paid by him to Andw. (sic) Ramsay,
limner, for the Duke of Argyle' s full-length picture done by him for the

178 RAPHAEL.

Town, and now sett upon the Council hall, and the said Treasurer to
discharge himself with the said sum in his Treasure account, and thir
presents shall be his warrand."
See also Portraits from Old Town Hall, Nos. 754 and 755.

Raphael. Raffaello Santi, 1483-1520. Italian-Roman School.
The immortal Raphael, in whose works all the grand qualities of
Italian Art culminated, was a native of Urbino, where his father — an
artist of good ability — gave him his first lessons in painting. The father,
however, died when his boy was only eleven years of age, and thereafter
the dawning genius was nourished by an Umbrian artist, Timoteo Viti,
and subsequently by Perugino, who exercised a powerful influence on his
youthful charge. In the year 1508 Raphael was summoned to Rome, and
from that time onward he was employed — first by Pope Julius II. , and
thereafter by Leo X., till the period of his early death — in executing the
frescoes and other great works with which his name is associated. He
died on 6th April, 1520, his 37th birthday. Raphael's works are usually
classified under three separate periods — 1st, the Peruginesque, when he
was under the influence of Perugino ; 2nd, the Florentine ; and, 3rd, the
Roman period — the latter being that in which his most widely known
pictures were executed.
787. The Virgin with the Lizard. Mary tending the child
Jesus on her knees, beside whom is the youthful St. John, a
scroll in his hand, extended to that of the Saviour, inscribed
" Ecce agnius." St. Joseph, behind, resting his arms on a frag
ment of rich sculpture, observes the group. Landscape with
ruins, mountains, and city in distance. On Panel — height, 4 ft.
6 in. ; width, 3 ft. 5$ in. M'Lellan Collection.
This picture, excepting several minor modifications, is the same as the
Holy Family del Lagarto, in the Prado, Madrid, there attributed to
Raphael. It is supposed, however, that in both cases the work was
directed only by the great master, and that the Glasgow version was really
executed by his favourite Flemish pupil and assistant, B. van Orley. A
copy of this work, by Giulio Romano, is in the Pitti Palace in Florence,
another, on a smaller scale, also attributed to Giulio Romano, is in the
Barberini in Rome, and a third is in the Hermitage, St. Petersburg. It
may be observed that the wrongly spelt word Agnius occurs also so on the
scroll extending between the Virgin and St. John in the Terranuova
Madonna, now in the Berlin Gallery.
788. The Transfiguration. (Copy) In the upper part of
the picture Christ is seen transfigured between Moses and Elias,
while the three apostles — Peter, James, and John — recline on
the mountain top. At the base a group of apostles, to whom
is brought by his father a boy possessed of a devil, and a woman
on her knees implores the apostles to heal the lad. On Canvas
— height, 5 ft. 8 in.; width, 3 ft. 10 in. Mrs. Douglas, of
Orbiston, Bequest.
The original of this famous work of Raphael, preserved in the Vatican,.
was not quite finished at the time of his early death.

REID. REMBRANDT. 179

Reid. Sir George Reid, R.S.A. (living artist). Scottish School.
800- Portrait op James Reid, op Auchterarder and Hyde
park Locomotive Works, Lord Dean of Guild of Glasgow, 18934.
Three-quarters length figure. Signed "R." On Canvas — height,
4 ft. 9 in.; width, 3 ft. 2$ in. Presented in 1897 by Mr. Reid's
Bons as an addition to the memorial gift of pictures made in 1896.
801. Portrait op John Ure, Lord Provost of the City of
Glasgow, 1880-1883. Full length, erect, in official robes. Signed
" G. R., 1885." On Canvas— height, 7 ft. 10 in. ; width, 4 ft.
10 in. Painted for the Corporation.
802. Portrait op Lord Provost M'Onie. Full-length
portrait of Sir William M'Onie, Lord Provost of the City of
Glasgow, 1883-1886. On Canvas— height, 7 ft. 10 in. ; width,
4 ft. 10 in. Painted for the Corporation.
803. Portrait op Sir William Bilsland, Baronet, LL.D.,
Lord Provost of Glasgow and Lord Lieutenant of the County
of the City of Glasgow, 1905-1908. Full length, erect, in
official robes, looking to right. Signed " R." On Canvas
—height, 7 ft. 2 in.; width, 3 ft. 10 in. Painted for the
Corporation.

Rembrandt. Rembrandt Harmenz van Ryn, 1606-1669.
Dutch School.
Rembrandt, the greatest of Dutch artists, in many ways the chiei
of all painters, was a native of Leyden, in which city his father was
a miller in easy circumstances. Having early manifested a taste for
art, Rembrandt was put in training under a local artist of little
renown; but, although he had the opportunity of studying under
various masters, his style was entirely self -formed, and his original
and penetrating genius sought and found appropriate channels for its
own expression. He never left his native land, and early in life settled in
Amsterdam, where he soon formed a great school of pupils and imitators,
thus exercising a profound influence on the art of his native country. As
an etcher he was no less eminent than he was as a painter, and prints
from his plates are among the most highly prized works of that class.
Though Rembrandt painted scriptural and historical pieces, genre, and
landscapes, it was in portraiture that he achieved his greatest triumphs.
He possessed a marvellous faculty for depicting the loftier shades of
human character, and some of his portrait groups are reckoned among the
grandest productions of human genius.
805. Tobias and the Angel (Book of Tobit, vi., 1-3). Dark
landscape, with a pool in foreground, in which fish rise.
Tobias, seated on the ground, grasps the angel's hand. On

180 REMBRANDT.

fanel — height, 'J, ft. 5£ in.; width, 2 ft. 1$ in. Graham-Gilbert
Collection. Formerly in the possession of Sir Joshua Reynolds, and engraved in
nezzotint by James M'Ardell, and reproduced in Bode's Complete Work
<f Rembrandt, vol. v., page 97.
In the Albertina, Vienna, there is a drawing by Rembrandt, obviously
i first sketch by Rembrandt for this picture. (See Hcmdziechnungen
liter Meister, No. 800.)
For the legend of Tobias, which was a favourite subject with the Dutch
jainters of Rembrandt's time, see the Booh of Tobit.
806. A Man in Armour. A man in full armour and helmet,
Jiree-quarter length, life size, a shield on his left arm. Signed
' Rembrandt, 165 — ." On Canvas — height, 4 ft. 5$ in. ; width,
$ ft. 4$ in. Graham-Gilbert Collection.
Formerly in the collection of Sir Joshua Reynolds, and engraved for
Boydell in 1764 by J. G. Haid. " Rembrandt, who thought it of more
consequence to paint light than the objects that are seen by it, has done
;his in a picture of Achilles, which I have. The head is kept down to a
rery low tone, in order to preserve this one gradation and distinction
jetween the armour and the face, the consequence is that, upon the whole,
;he picture is too black." (Reynolds' Discourses on the Fine Arts.) Re
produced in Michel's Rembrandt : his Life, his Work, and his Time,
English edition, 1894, vol. ii., p. 86, and in Bode's Complete Work of
Rembrandt, as " a warrior in rich armour with a halbert," vol. vi., page 67.
807- The Slaughter-House. Interior of a slaughter-house,
with carcase of an oz suspended from the ceiling. The head and
skin lie to the right, and to the left is a woman washing the floor.
Signed "Rembrandt, f., 16 — ." On Panel — height, 2 ft. 4 in.;
width, 1 ft. 7$ in. Graham-Gilbert Collection.
A similar study by Rembrandt in the Louvre, signed and dated 1655,
belongs to a later period than the Glasgow work. Reproduced in Bode's
Complete Wark of Rembrandt, as " the carcase of an ox in a cellar," vol.
ri., page 75.
808. A Domestic Scene — The Cradle. (School Copy.)
4. lofty vaulted apartment, its spacious proportions dimly lighted
by a fire, by the side of which two women sit, one reading, the
other holding in her hand the rope of a cradle in which a child
is asleep. On Canvas— height, 2 ft. ; width, 2 ft. 7 in. M'Lellan
Collection. The original, in the Boughton Knight Collection, was formerly in the
Jrleans Gallery, and was engraved by Carl Guttenberg. It has also been
^produced in mezzotint by James M'Ardell, and etched by Baron D. V.
Denon.

809. The Painter's Study. Interior of a studio, with
;he artist seated at his easel painting from a nude female
model. _ On Panel — height, 20 in.; width, 24 in. M'Lellan
Collection.

Rembrandt.— A MAN IN ARMOUR.

REMBRANDT. 181

The female figure in this study is the same as the Susanna in the Berlin
Gallery " Susanna and the Elders." Hendrickje Stoffels, Rembrandt's
servant, and in his old age his partner, was the model. Reproduced in
Bode's Complete Work of Rembrandt, as " Hendrickje Stoffels as Rem
brandt's nude Model," vol. v., page 113.
810- Portrait op Rembrandt. A bust of the artist, life
size, full face, turned to right, looking at spectator ; head covered
with a broad crimson cap, which shades the upper part of the
face. He has long hair, a slight moustache and imperial, and
wears a military velvet jacket open at the neck. The back
ground is much abraded by over cleaning. The position of the
signature is yet visible. Painted about 1635. On Panel, oval
—height, 2 ft. 2 in. ; width, 1 ft. 8 in. M'Lellan Collection.
Reproduced in Bode's Complete Work of Rembrandt, as " Rembrandt
with long hair, in a Polish jacket," vol. iii., page 89.
811- Study op a Man's Head. Quarter-length portrait of
rugged old man, in felt hat and loose cloak. On Panel — height,
9 in.; width, 8 in. Graham-Gilbert Collection.
Reproduced in Bode's Complete Work of Rembrandt, vol. iv., page 213.
812. Female Portrait. (Copy.) Portrait of an elderly woman,
with black cap, large white ruff, and fur-edged cloak. On Canvas
— height, 15 in.; width, 12 in. Graham-Gilbert Collection.
The original, formerly the property of Lord Overstone, is now in the
possession of Lady Wantage. It was exhibited at the Winter Exhibition
of the Royal Academy in 1888.
813. Portrait op a Man. Half-length figure, life size, in
velvet hat, long grey hair and beard; right hand holding a
walking-stick. Copy of picture in Dresden Gallery. On Canvas
—height, 2 ft. 10$ in.; width, 2 ft. 4 in. Graham-Gilbert
Collection. 814. Jeremiah Mourning over the Destruction op
Jerusalem. A venerable old man, clothed in a green fur-edged
cloak, seated within a cave, contemplating with grief a conflagra
tion seen in distance to right. On Canvas — height, 15$
in.; width, 12 in. William Willis Collection.
A version of this picture is in the Collection of Count Sergei Stroganoff ,
St. Petersburg.
815. Portrait op Rembrandt. (Copy.) Bust, life size,
turned to the left, full face, flat black cap on head, long wavy
fair hair; steel gorget, brown tunic, and brown cloak on left
shoulder fastened with a chain. On Canvas — height, 2 ft. 2 in. ;
width, 1 ft. 9$ in. Presented by Michael Honeyman, 1897.
Copy of the original now in the Pitti Palace, which in 1818 was acquired
by the Grand Duke Ferdinand III. from the Gerini family.

182 RENI. REYNOLDS.

816. Portrait op the Artist. (Copy.) Rembrandt, with
a large felt hat and loose black cloak, with a double chain across
his chest, his left hand thrust into the bosom of his cloak.
On Canvas — height, 2 ft. 2$ in.; width, 2 ft. Graham-Gilbert
Collection. The original, painted in the year 1645, is in Buckingham Palace, thf
property of H.M. the King.
817. Old Woman Reading. (Copy by Graham-Gilbert)
Half-length figure, with crimson hood; hands crossed on a book
which lies open before her. On Panel — height, 13 in.; width,
10 \ in. Graham-Gilbert Collection.
818. Study op a Head. (Copy by Graham-Gilbert.) Bust
of a man, with soft hat and loose cloak. On Panel — height,
5 in. ; width, 4 in. Graham-Gilbert Collection.
Copy of an original in the Louvre, Paris. A similar study is also in the
Cassel Gallery.
Reni. Guido Reni, 1575-1642. Italian-Bolognese School.
Guido Reni was a native of Calvenzano, near Bologna. He received
his earliest art instruction from Denis Calvaert, a Flemish painter, who,
towards the close of the 16th century, was settled at Bologna. When
twenty years of age he entered the school of the Carracci, and he also
resided in Rome, where he studied closely the great works of Raphael.
At Rome, where his best work was executed, his pictures were in much
request. He lived in his later years at Bologna, but, notwithstanding
his large income, he ended his days deep in debt, with the whole of his
time and work sold to dealers. For these men he painted many of the
heads and half-length Niobe-like female figures which are so well known
and so characteristic of the master.
821. The Magdalene in Grief. Three-quarter length
female figure, life size; in red drapery; eyes upturned in grief;
her hand resting on a skull; she sits within a cave which opens
on a landscape; and two cherubs hover immediately over,
observing her. On Canvas — height, 5 ft. 3 in. ; width, 4 ft. 3 in.
M'Lellan Collection.

Reynolds. Sir Joshua Reynolds, P.R.A., 1723-1792. English
School. Sir Joshua Reynolds was born at Plympton, in Devonshire, where his
father was a clergyman and master of the Grammar School. From his
earliest years he displayed a marked taste for art, and his leanings in this
direction were judiciously encouraged. After receiving some instruction
from Hudson, the portrait painter, and others, he spent three years study
ing in Italy. Thereafter he settled in London, where he quickly attained a
great reputation and a most influential position. On the foundation of
the Royal Academy in 1768, he was elected first President, and received

Reynolds.— PORTRAIT OF Miss E. LIXLEY.

Reynolds —PORTRAIT OF A BOY

REYNOLDS. 183

the honour of knighthood from George III. Later in life the University
of Oxford conferred on him the degree of D.C.L., and he was appointed
principal painter to the King. His services were in demand by all the
most distinguished persons of his period, and his personal influence on
the progress of British art was powerful and beneficial. His well-known
" Discourses on the Fine Arts " remain to this day a standard of opinion
and criticism. He died on 3rd February, 1792, and was buried in the
crypt of St. Paul's Cathedral.
823- The Death op Cleopatra. Cleopatra, half length;
bosom bare ; with the asp in her hand ; the arms of her attendant,
Charmian, around her; the head of another female, her hands
covering her face in grief, is on the left. On Canvas — height,
2 ft. 10$ in.; width, 3 ft. 9$ in. M'Lellan Collection.
824. Portrait op Elizabeth Ann Linley. Bust, life size,
profile looking to right On Panel — height, 2 ft 5$ in. ; width,
2 ft. 0$ in. M'Lellan Collection.
Purchased at Lord Northwick's sale in May, 1838. Elizabeth Linley,
the first wife of Richard Brinsley Sheridan, was the daughter of a music
composer at Bath. In her early years she attained great celebrity as a
public singer, a reputation which was enhanced by her singular beauty
and attractive gentleness of character. She was the St. Cecilia of Sir
Joshua Reynolds' famous picture known by that name.
825. Portrait op a Boy. Half-length figure of a boy in
pink jacket, slashed sleeves, and broad lace collar. On Canvas
—height, 2 ft. 6 in. ; width, 2 ft. M'Lellan Collection.
826- Portrait op Angelica Kaupmann, R.A. Half-length,
lifeisize figure, with lace scarf, pearl necklace, and hair braided
with pearls- On Canvas — height, 2 ft. 5$ in. ; width, 2 ft. 0$ in.
Graham-Gilbert Collection.
827. Portrait op a Lady. Half-length, life-size figure, in
pink bodice, with fur-lined blue mantle falling off right shoulder.
On Canvas— height, 2 ft 6 in. ; width, 2 ft. 1 in. Graham-Gilbert
Collection. 828. Portrait op a Gentleman. Half-length, lifehsize figure,
in powdered wig and white frilled shirt. On Canvas — height,
2 ft. 5 in.; width, 2 ft Graham-Gilbert Collection.
829. The Age of Innocence. (Copy by Graham - Gilbert.)
A reduced copy of the well-known picture in the National Gallery
of a little girl seated on the ground under a tree. On Panel —
height, 8 in.; width, 6f in. (The original— height, 2 ft 6 in.;
width, 2 ft. 1 in.) Graham-Gilbert Collection.
830. Portrait op Dr. William Hunter. (Copy by Graham-
Gilbert) Three-quarter length figure, standing behind a table,

184 RIBERA. RICHARDSON.

on which are writing materials. On Panel — height, 8$ in. ;
width, 6f in. Graham-Gilbert Collection.
Original in Glasgow University.
831. Portrait op a Lady. (Copy by Graham - Gilbert.)
Three-quarter figure of a lady wearing a cloak trimmed with
ermine, which is gracefully draped round her. On Panel — height,
8| in.; width, 6$ in. Graham-Gilbert Collection.
832. Captured Cupid. (Copy by Graham - Gilbert.) Half-
length figure of a lady carrying on her shoulder a child, who
wears a wreath of ivy on his head. On Panel — height, 17 in.;
width, 13$ in. Graham-Gilbert Collection.
833. The Banished Lord. (Copy by Graham-Gilbert.) Half-
length, life size, full face, looking to left, crimson mantle over
the shoulders. On Canvas — height, 2 ft. 5 in. ; width, 2 ft.
Graham-Gilbert Collection.
Original in National Gallery.
Ribera. Joseph Ribera, 1588-1656. Spanish School.
Josep Ribera (known as Lo Spagnoletto, the little Spaniard) was born
near Valencia, and after receiving some instruction in art he went to Rome,
where he placed himself under the guidance of (Jaravaggio. After com
pleting his studies in Rome and at Parma, he settled in Naples, where he
married the> daughter of a wealUiy picture-dealer. He there pursued a
most successful career, receiving many honours and commissions from
Philip IV. of Spain and other powerful personages. He closely followed
and developed the manner of his master Caravaggio, rejoicing in startling
contrasts of high lights, strong shadows, and rich colouring. There is a
prevailing air of rugged grandeur and force in all his compositions. He
was one of the trio called the Cabal of Naples, who banded themselves
together to exclude, by means fair or foul, all other artists from Naples,
and that nefarious league wrought grevious harm to many distinguished
contemporary artists.
835. St. Peter Repentant. Half-length figure of the
Apostle, in brown robe and mantle, gazing penitently upwards,
leaning his head on his left hand, which rests upon a square
pillar; in his right hand a key. Inscribed — "Josef a Ribera,
Hispan8. Valenti". F. Partenop. 1628." On Canvas— height,
4 ft; width, 3 ft. 2 in. Purchased, 1904.

Richardson. Thomas Miles Richardson, Jun., 1813-1890.
English School.
Richardson, the son of an artist of the same name, was born at
Newcastle, and received his art instruction from his father. He was a
frequent exhibitor at the Royal Academy, and at the Old Water-Colour
Society, of which he became an Associate in 1843, and a full member in

RI0S. ROBERTS. 185

1851. He was an indefatigable worker, and his many drawings and
sketches of Scottish, Swiss, and Italian scenes are much admired.
Latterly he fell into feeble health, and died in London on the 5th
January, 1890.
838. Mountain Landscape. In foreground a woman
and a boy coming along a path, on one side of which is a
cottage, and on the other ruined walls; mountains in distance.
Signed " T. M. U., 1858." Water-colour— height, 8£ in.;
width, 12 in. Smellie Collection.
Ri0S- L. da Rios. Modern Italian School.
840- Overlooking a Canal, Venice. Women and children
gazing over the parapet of the canal; man with basket on his
head approaching; church and other buildings behind. Signed
"L. da Rios, Venezia, 1886." On Canvas — height, 17$ in.;
width, 26$ in. Teacher Collection.
Rippingille- Edward Villiers Rippingille, 1798 - 1859.
English School.
Rippingille, a natiye of King's Lynn, Norfolk, was entirely a self-
educated artist. He originally devoted himself to the illustration of
English rural life and contemporary manners and customs. He visited
Italy in 1837, and living subsequently in that country for a considerable
period, he found in Italian life many congenial subjects. He exhibited
in the Royal Academy almost continuously from 1813 to 1857. Rippingille
was also a voluminous contributor to magazines, etc., on art and other
subjects. He died suddenly at Swan Village Railway Station, near
Birmingham. 841. Roman Mother and Child. Sketch of an Italian
female seated on a stone bench, with a child kneeling, a water-
pot at her side. Signed " E. V. R., Roma, 1840." On Canvas
— height, 16$ in.; width, ll1 in. Euing Collection.
Roberts. David Roberts, R.A., 1796-1864. Scottish
School. David Roberts, the son of a working shoemaker, was bom at Stock-
bridge, Edinburgh. After serving an apprenticeship of seven years with a
house painter and decorator, he obtained employment as a scene painter in
the theatre at Carlisle, and subsequently in the theatres of Edinburgh and
Glasgow. In 1822 he removed to London, where he was engaged in a like
capacity in Drury Lane, and afterwards in Covent Garden. In 1824 he
visited Normandy, and sketched many of the picturesque buildings in the
various towns of that province, paintings from which he exhibited at the
Society of British Artists, of which he was a member. He first exhibited
iu the Royal Academy in 1826. In 1839 he became an A.R.A., and two
years later he was made » full Academician. He was a great traveller,
journeying all over Europe, Syria, and Egypt in search of subjects for his
pencil. Latterly he confined himself to the painting of English scenes.
He was equally at home in oil or water colour, and was most successful

186 ROBERTSON.

with architectural subjects. His drawings were extensively published in
lithography, and from his " Picturesque Sketches in Spain," " Sketches
in the Holy Land and Syria," and "Italy, Classical, Historical, and
Picturesque," he made large sums of money. In 1842 he was entertained
to a banquet in his native city, and in 1858 the freedom of the city was
conferred upon him. He was one of the Commissioners for the Exhibition
of 1851, and was a member of several foreign academies. He died of
apoplexy on the 25th November, 1864.
845. Church op St. Etienne du Mont, Paris. Front view of
the church, into which several persons are entering. In
foreground an open space. Signed " D. Roberts." Water-colour
— height, 8 in. ; width, 6J in. Smellie Collection.
Robertson. Alexander Duff Robertson, 1807-1886. Scottish
School. Robertson, a native of Perth, studied art in Edinburgh, and in 1831
established himself as a teacher of drawing and painting in Glasgow. He
was a man of varied gifts, well versed in old ballad literature, heraldry,
and archaeology.
847- Woodside House, on the Kelvin. The River Kelvin
flowing through wooded banks near Glasgow, with Woodside
House among trees on the right, and rustic cottages on the left
bank. On Canvas — height, 2 ft. 0$ in.; width, 2 ft. 5$ in.
Euing Collection.

Robertson. W. Robertson, middle of 18th century. Scottish
School. Presumably a Scottish artist, but nothing is at present known of him
beyond the inscription on the picture noted below.
848. Flora Macdonald. Half-length portrait of the romantic
heroine, painted from life in 1750, in old Macdonald tartan
dress, with white cockade in her hair. Background, sea, with
the sail boat in which Prince Charles is making his escape. On
Canvas — height, 2 ft. 6 in.; width, 2 ft. 1 in. Presented by
Mrs. Flora Wylde, Cheltenham, grand-daughter of Flora Mac
donald, 1883.
The picture has the following inscription: — " Finnuella, alias Flora
Macdonald, Filia Ranaldi Macdonald de Milton, in South Uist, cdebernma
ilia Heroina Scoticana nunquam sine laude nominandafedelissima ilia Caroli
conservatrix, patienter latentis per varios casus, per inaudita perietda, per
mare, per terras, telaqut per hostium, tamfantiter [fortiter ?] quam cause [sic]
ludentis tunc temporis in vestitu muliebri sub nomine hiberniensi Betty Burk
personati, Junij S8, noctu 1746 (A.D. O.M. P.F.S.S.) scapham enixius
conscendebat. Clarior t tenebris. W. Robertson, ad vivum pinxit 1760."
[Translation.]— "Finnuella, otherwise Flora Macdonald, the daughter of
Ronald Macdonald of Milton, in South Uist, that famous Scottish Heroine
deserving of eternal renown, as the most faithful preserver of Charles,

robusti. romeyn. 187

when lying close concealed, 'mid changing fortunes and unheard-of dangers,
by sea, by land, and by the darts of his enemies, she, with all the bravery
required by the perilous circumstances, with him dressed as a woman,
passing off under the Irish name of Betty Burk, was most carefully
embarked in a small vessel on the night of the 28th June, 1746 a.d.
'Brighter from the Darkness.' Painted from life in 1750, by W.
Robertson."

Robusti, Jacopo. See Tintoretto.

Rodeck. Carl Rodeck. Modern German School.
850- A Likely Pool. A sluggish-flowing river, overhung by
tall trees, and with its surface covered by water lilies; to
right an angler has just cast his line. Signed " C. Rodeok."
On Canvas — height, 2 ft. 5 in.; width, 3 ft. 7 in. Teacher
Collection. Exhibited at Royal Academy, 1881, as "A Fisher Station."
Rombouts. Theodore Rombouts, 1597-1637. Flemish School.
Rombot/ts was a native of Antwerp, who, after receiving some instruc
tion in art from the elder Janssens, went to Rome, and subsequently to
Florence, where he studied and painted, principally historical pictures, for
a number of years with much success. He returned to Antwerp, and
there married a lady of noble descent. In the practice of his art, as well
as in social and literary connections, he attained a distinguished position,
although all Flemish artists were at this time overshadowed by the great
master Rubens. He painted many religious pictures for churches, in addi
tion to historical pictures and domestic figure pieces, in all of which he
displayed much facility of invention, brilliant power of colour, and
accuracy of design. He died at Antwerp on 14th September, 1637.
851- A Gambling Party. A party of seven persons around
a table ; the two principal figures — a lady and gentleman of the
period, richly dressed — playing a game of cards; a confederate
of the gentleman is in the act of secretly changing a card from
the player's hand, which he holds behind his back for that pur
pose. On Canvas — height, 3 ft. 9 in. ; width, 5 ft. 6 in. M'Lellan
Collection.

Romeyn. Willem Romeyn, 1624-1693. Dutch School.
Romeyn, a painter of landscapes and animals, was, in 1642, a student
under Berghem, whose style he closely imitated. It is supposed that he
spent some time studying in Italy. In 1646 he was admitted Master in St.
Luke's Guild, Haarlem ; and in that city he died in 1693. He generally
introduced cattle and other animals into his pictures in a most effective
manner, so much so, that for drawing and composition, he has been
esteemed worthy to rank with Berghem, Du Jardin, and other leading
artists of his school.

188 ROSA. rotari.

853. Landscape, with Cattle. Peasant with two cows and
a sheep, the animals standing in a pool of water. On Canvas —
height, 11$ in.; width, 13$ in. Euing Collection.
854. Landscape, with Cattle. Female peasant, with dog,
two cows, and a sheep, beside a stream flowing past a wall and
square tower. On Canvas — -height, 11$ in.; width, 13$ in.
Euing Collection.
Pendant to No. 858.

Rosa. Salvator Rosa, 1615-1673. Italian-Neapolitan School.
Salvator Rosa was born in the village of Renella, near Naples, and
began the study of art in that town. His work early attracted the atten-.
tion of patrons, among whom was the Neapolitan Cardinal Brancacci, for
whom he executed several works. On the establishment of his renown he
settled in Rome ; but spent some part of his time at Naples, where he
took part in the rising of Masaniello ; and he also worked at Florence,
under the patronage of the Grand Duke. Salvator's art is characterised
by a wild, rude, and powerful imagination, which agre.es best with the
delineation of rugged mountains, and desolate and blasted scenes, peopled
by rough and lawless figures. He was a skilful etcher, and a man oi
varied gifts, but of somewhat irregular stormy character. He died at
Rome. 856- Rugged Landscape and Cascade. A wild mountainous
landscape, with a stream tumbling through a rocky gorge. In
foreground a tall, weird figure in a red coat stands, holding
in his hand a long pole. On Canvas — height, 3 ft. 3 in. ; width,
4 ft. 5$ in. M'Lellan Collection.
Ross. Malcolm Ross. Modern Scottish School.
857. Landscape, with Trees and Cattle. Signed "M. R."
On Canvas— height, 15 in.; width, 19$ in. Teacher Collection.
Rotari. Pietro Rotari, 1707-1762. Italian-Veronese School.
Conte Pietro Rotari was the scion of a noble Veronese family. He
early displayed an aptitude for design, and resolved to cultivate his gifts
in that direction. He attained very considerable distinction as a painter,
notwithstanding that he lived during the decadence of Italian art, and his
works attracted attention in various European Courts. In the end he
was invited to St. Petersburg by the Russian Empress Elizabeth, ahd by
her appointed principal Court painter, in which office he died.
860. Virgin Adoring the Holy Child. The infant Saviour
reclining on a sheet spread over straw; the Virgin standing
behind, with two ends of the sheet in her hands; St. Joseph is
seen further off; and, to left, two young persons stand
regarding the Holy Child with much interest; overhead, two

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ROTTENHAMER. ROUSSEAU. 189

cherubs watch the group. On Canvas — height, 3 ft. 4$ in.;
width, 2 ft. 6 in. M'Lellan Collection.
Rottenhamer. Johann Rottenhamer, 1564-1623. German
School. Johann Rottenhamer was a native of Munich, who studied art in
Rome and Venice, coming under the influence of Tintoretto. He lived for
several years in Venice, and there had for associates Paul Bril and
"Velvet" Brueghel. His later days were passed in Augsburg, where he
died. He devoted himself largely to figure painting, and especially affected
mythological subjects. His small works, painted on copper, are most
appreciated. 862. Adoration op the Shepherds. The Virgin supporting
the Holy Child, observed devoutly by Joseph. The shepherds
also look adoringly at the infant Saviour. Cherubs hover in the
air; a lamb is introduced in foreground; behind, an ox and
horse, and stately architecture, are indicated. On Copper —
height, 13 in.; width, 8 in. M'Lellan Collection.
863. Banquet op the Gods. The deities of the Greek
Pantheon around a table at a banquet. They are severally
recognisable by having their appropriate insignia and accom
paniments. On Panel — height, 1 ft 8$ in.; width, 2 ft. 4$ in.
M'Lellan Collection.
Rousseau. Pierre Etienne Theodore Rousseau, 1812-1867.
French School.
Rousseau, one of the famous group of painters known as the Barbizon
School, was a native of Paris, the son of a tailor. His first employment
was with a relative who owned a steam sawmill in Franche Comtek As a
boy he is said to have had a fondness for mathematics, and intended enter
ing the Polytechnic Institution. Ultimately, however, he became a pupil
of Lethiere, the classical painter. In 1833 he found his way to the forest
of Fontainebleau, and there he painted his first great work, the " Cotes de
Grandville," for which he received a medal of the third class. For some
years afterwards, however, his works were rejected by the Salon because
of their unconventionality, and it was not until 1849, when the academic
committee was revolutionised, that he was again accepted as a contributor.
In that year he was awarded a medal of the first class, in 1852 he received
a Cross of the Legion of Honour, at the Exhibition of 1855 a first-cla.ss
medal, and in 1867 a midanlle d'honneur and the higher grade of the
Legion of Honour. He died at Barbizon on the 22nd December, 1867.
864. The Heath. Figure, with dog, travelling along a road
through the middle of a heath; stormy sky. Signed " Th.
Rousseau." On Canvas — height, 11$ in.; width, 13 in. Donald
Collection. 865. Forest op Clairbois. In middle distance a hillock,
with a mass of foliage beyond ; to right is a forest, female figure
in opening. Signed " Th. Rousseau." On Canvas — height, 2 ft.
1$ in. ; width, 3 ft. 4 in. Donald Collection.

190 RUBENS.

Rubens. Peter Paul Rubens, 1577-1640. Flemish School,'^
The birthplace of this great chief of the Flemish School has been a
matter of much dispute, three cities — Cologne, Siegen, and Antwerp-^
respectively claiming that honour, but now it is definitely ascertained
that he first saw light in Siegen. His parents belonged to the upper class
of citizens of Antwerp, but, owing to religious and family troubles, they
lived some years in Cologne. On the death of her husband in 1587,
the mother of the artist returned with her family to Antwerp.
Here, after enjoying a superior education, Rubens decided to devote him
self to the fine arts, and accordingly received instruction from Otto van
Veen and others. He subsequently studied in Italy, and went on a mission
to Philip III. of Spain at Madrid, where he painted the portraits of several
Spanish nobles. He thereafter returned to Antwerp, where he married
and settled, building for himself a magnificent house. Afterwards he was
much employed in diplomatic missions, in connection with which he,
received the honour of knighthood from Charles I. of England and!
Philip IV. of Spain. His pictures are extremely numerous, and he;f
amassed an enormous fortune, although he lived in great pomp and ex-
pensive style. In the person of Rubens, Flemish art attained its highest
developments ; his fertility of invention, wealth of imagination, gorgeous- ;.
ness of colour, and abounding spirit and animation leave him without a,
rival. In landscape, historical, portrait, scriptural, and mythological sub
jects, he displayed equal power, facility, splendour of colour, and wealth
of invention. His masterpieces are still to be seen in Antwerp ; but he 1
can also be studied with advantage in Munich and Vienna. He died on
30th May, 1640.
866. Nature Adorned by the Graces. In centre, «
Nature in the form of a goddess, with four breasts; beside her,;'
three nude female figures (one supported od the back of a satyr),
who are arranging a drapery over statue ; under, a Bacchanalian
holding a torch, a satyr to his right, and an Ethiopian to his left j i
lower, three nude nymphs, a satyr, etc.; around are garlanded
flowers and fruit of all countries; while above are satyrs arrang
ing a crimson drapery, and two Cupids crowning Nature with a*
chaplet The garland of fruit, etc., painted by Brueghel.' En-'?
graved by Cornelius van Dalen. On Panel — height, 3 ft 5 in.js|
width, 2 ft. 4 in. Graham-Gilbert Collection. |
" In this fine work of the great master's rather early period, his contemS
porary, Brueghel, had some share, the beautiful wreaths of flowers being?]
by his hand. This picture is in the most perfect possible state of con
servation, and of its class and period I consider it one of the finest works
of Rubens." — Sir C. Robinson. .!
867. A Wild Boar Hunt. In a woody landscape, by a great
fallen trunk, the progress of a large boar is being opposed byi
seven huntsmen to the left, four of them armed with spears, one;
with a pitchfork, one blowing a horn, and one on the ground
under the boar; dogs are rushing on and around the animaljj
and some of them have already suffered from its fangs. Twpf
mounted huntsmen are beyond the boar, one of them in the
act of plunging his sword into its body, and two others are
riding in from right. In left corner a boy is holding two

Rubens.— NATURE ADORNED BY THE GRACES

RUBENS. 191

hounds in leash. In the opening of the wood, to right, a
second party is seen in distant pursuit of boars. On Panel —
height, 4 ft. 6 in. ; width, 5 ft 6 in. Purchased from the Adrian
Hope Collection, London, 1894.
This picture was in the collection of the late King of Holland, and is
described in Smith's Catalogue Raisonni, where it is said to have been
" purchased by a dealer from an ancient family [Nevel] in Antwerp, in 1825,
for about 25,000 f. (£1,000), and sold to His Highness the Prince of
Orange." "The original sketch," adds Smith, " for the preceding picture,
about the same size, is in the Dresden Gallery." At the sale of the King of
Holland's Collection in 1850 it brought 20,000 florins. The picture in the
Dresden Collection was purchased by the Duke of Buckingham from
Rubens himself, and it subsequently passed into the hands of the Arch
duke Leopold William for the Prague Gallery. In commenting on that
work, Dr. Woermann, in his Catalogue of the Dresden Gallery, says —
"It is a beautiful original work of the master's own hand. Several
versions exist, more finished, and varying in details, among which is the
great masterpiece belonging to Mr. Adrian Hope in London." An early
version is in the possession of Sir Charles Robinson, late H.M. Surveyor of
Pictures, and others are enumerated in Smith's Catalogue, vol. ii., Nos.
174, 235, 606, and 719.
868. Infant Christ and St. John. The Holy Infant, nude,
seated on crimson drapery on the trunk of a tree, and the child
John, girt about the loins with a skin. The lamb is between
them, both having their hands on it. Open landscape back
ground, with fox approaching from the left. On Panel — height,
1 ft. 7 in. ; width, 2 ft. 1 in. M'Lellan Collection.
Engraved by C. Jegher and by C. Galle. "Evidently not by Rubens."
— Dr. Max Rooses.
869. Portrait op Rubens. (Copy.) Half-length figure,
dressed in broad hat, collar, and cloak, after the well-known por
trait in the Uffizi, Florence. On Canvas — height, 2 ft 5$ in.;
width, 1 ft. 8$ in. Graham-Gilbert Collection.
870. Combat of Theseus with the Amazons. On a bridge
spanning the stream Thermodon, and in the stream below a
confused crowd of horsemen, and women on horse and foot
(some nude) struggling through the water — all engaged in
deadly combat. Through the arch of the bridge is seen a
burning city. On Panel — height, 2 ft. 0$ in.; width 3 ft. 5 in.
M'Lellan Collection.
Engraved by G. S. and J. G. Facius. "It has all the characteristics
of a sketch from the hand of the master." — Dr. Max Rooses.
87 1 ¦ Portrait op a Lady. Half-length portrait, in large white
ruff, right hand laid across body. An unfinished picture. On
Panel— height, 2 ft. 1 in.; width, 1 ft. 6$ in. Graham-Gilbert
Collection. " Unworthy of Rubens, and certainly not by him." — Dr. Max Rooses.

192 RUYSCH. ruysdael.

872. Portrait of a Gentleman. Quarter - length figure,
with lace ruff and dark scarf round the neck, fingers of right
hand appearing over the scarf. On Panel — height, 2 ft. 1$ in.;
width, 1 ft. 7$ in. Graham-Gilbert Collection.
Formerly attributed to Cornelis de Vos, but Max Rooses says — " Portrait
of a gentleman, under the name of Cornelis de Vos, is a work of Rubens
which has suffered much, but which has, however, retained enough of
its original qualities to justify this attribution."
Ruysch. Rachael Ruysch or Ruijsch, 1664-1750. Dutch
School. This very eminent painter of flowers, native of Amsterdam, was the
daughter of a professor of anatomy and botany. .She was instructed in
flower painting by William Van Aelst, and came to excel greatly iu
delicacy of pencilling and harmony of colour and grouping. She married
J. Pool, a portrait painter of Amsterdam, by whom she had a large family.
874. Flowers, etc. Against the trunk of a tree a loose group
of flowers, etc., consisting of poppy, convolvulus, pink, thistle,
etc. ; numerous caterpillars, butterflies, with snail, lizard, etc.,
scattered about. Signed " Rachael Ruysch." On Canvas —
height, 3 ft. 0$ in.; width, 2 ft. 3$ in. M'Lellan Collection.
875. Flower Piece. In a terra-cotta vase, on a marble stand,
a group of flowers, comprising roses, honeysuckle, marigolds, etc.
Signed " Rachael Ruysch, 1723." On Canvas — height, 15 in. ;
width, 12 in. M'Lellan Collection.
"Very delicate and tender, and unusually clear." — Waagen.

Ruysdael. Salomon Van Ruysdael, or Ruisdael, 1605?-1670.
Dutch School.
This artist, a native of Haarlem, was uncle of the famous landscape
painter, Jacob Van Ruysdael. Like his more distinguished nephew,
Salomon painted landscapes and marine pieces, and his works bear an
obvious relation to those of Van Goyen and E. Vandevelde.
877- Landscape. In the foreground a calm river, with woody
banks; in distance, trees and a church spire. On Panel— height,
11$ in.; width, 11$ in. Graham-Gilbert Collection.
Apparently the work of Cornelis Decker, according to Dr. de Groot.

Ruysdael- Jacob Van Ruysdael, or Ruisdael, about 1630-
1682. Dutch School.
This artist, who with Hobbema divides the honour of being the greatest
landscape painter of the Dutch School, was born at Haarlem, and received
instruction from his father, probably also from his uncle Salomon and from
Everdingen. In 1648 he was admitted master of St. Luke's Guild of
Haarlem, and much of his later life was spent in Amsterdam. His range

SAENREDAM. 193

was varied, embracing views of cities, rivers, and waterfalls, and marine
subjects— many of his pictures representing Haarlem, Amsterdam, and fhe
surrounding district. It is probable that he also visited the nearer hilly
parts of Germany; but his so-called Norwegian scenes were inspired by
Everdingen. His faithful and poetical art was so little appreciated during
his lifetime that in his later years he was supported as a pensioner in a
public institution. He died at Haarlem.
878. View op the Town op Katwyk. A view of the town
and lake of Katwyk, not far from Scheveningen, seen under the
shadow of a dark cloud, while the sea in the distance is lighted
by a sunbeam. Signed "R." On Panel — height, 1 ft. 7$ in.;
width, 2 ft. 2$ in. M'Lellan Collection.
" Of deep feeling for nature, and admirably painted in a very solid
impasto." — (Waagen's Art Treasures, vol. iii., p. 287.) "Although of a
somewhat early period of the master, this most beautiful and poetical
picture is, to say the least, entitled to be considered one of the great land
scape painter's happiest efforts." — Sir C. Robinson.
879- , Landscape and Figures. In foreground, to right, a
thick clump of trees; to the left background, a clear hillock;
a group conversing near the trunk of a fallen tree; and a boy
playing with a dog. Signed " R." On Panel — height, 1 ft. 8$
in.; width, 2 ft. 2 in. Graham-Gilbert Collection.
880. The Castle op Brederode. Half-ruined square building
and clump of trees, beyond which a cottage; in foreground, a
stream, and a woman spreading out clothes. Signed " R." On
Panel— height, 1 ft. 61 in. ; width, 2 ft. 0$ in. Graham-Gilbert
Collection. 881. Woody Landscape. Sluggish stream winding between
woody banks; two anglers and female figure in foreground. On
Canvas—height, 1 ft. 9 in. ; width, 2 ft. 1 in. M'Lellan Collection.
Formerly ascribed to Hobbema.
882. Landscape — The Ford, with Sheep and Figures.
In centre, a cottage among trees and a rustic crossing a bridge;
a shepherd wading in the stream, and driving a flock of sheep
before him. Signed " R." On Canvas — height, 1 ft 9 in.;
width, 2 ft. 2 in. Graham-Gilbert Collection.

Saenredam. Pieter Saenredam, 1597-1665. Dutch School.
This artist was a native of Assendelft, and son of a well-known engraver.
He devoted himself entirely to the painting of architectural subjects,
especially views of the interiors of Gothic Churches. These were highly
esteemed during his lifetime, but his works are now comparatively rare.
He died at Haarlem on 16th August, 1665.
5

194 SAFTLEVEN. SANDBY.

885. Interior op a Church. A view of the transept of a
Gothic Church, with baptismal party crossing the floor. Signed
"P. Saenredam, fecit, anno 1633." On Panel — height, 16 in.;
width, 13 in. Euing Collection.
From the Lebrun Gallery. Engraved by Vander Meer.
Saftleven. Herman Saftleven, 1609-1685. Dutch School.
Herman was the younger brother of Cornelis Saftleven or Zachtleven,
painter and engraver. He was born in Rotterdam, and trained under
Jan Van Goyen. His subjects were chiefly scenes in the Valley of the
Rhine, and his quaint conception of landscape art gives his pictures much
individuality and charm. He died at Utrecht on 5th January, 1685.
887- Landscape and River Scene. Open landscape, with
rivers and a fortified bridge; a city on a rising ground in mid-
distance, and isolated hills in distance. Numerous figures, etc.,
dot the foreground. On Panel — height, 11$ in.; width, 16$ in.
Euing Collection.
Formerly attributed to Cornelis Saftleven, but, on the authority of Dr.
de Groot, given to Herman.
Salvi- See Sassoperrato.

Sandby. Paul Sandby, R.A., 1725-1809. English School.
Paul Sandby, the father of water-colour art, was born at Nottingham
in 1725. At the age of sixteen he removed to London, where he studied
for about two years in the draughtsmen's room in the Tower. After the
" Forty-five " Rebellion he was engaged by the Duke of Cumberland to
make topographical drawings of the Highlands of Scotland. On his return
he was for some time employed by Sir Joseph Banks in sketching Welsh
scenery. In 1768 he was appointed chief drawing master at Woolwich
Military Academy, a position which he held until 1799. Sandby was the
first English artist to engrave in aquatint. He was also the first to produce
effects of light and atmosphere by water colour, and thereby to prove that
it was possible to interpret Nature by that medium with much more feeling
and truth than had hitherto been attempted. Sandby was one of the
original members of the Royal Academy. He died in London.
888. The Farmyard. A thatched wooden outbuilding, to
left a hayrick, and in the yard farm servants, cows, pigs, a horse,
etc.; trees behind. Water-colour — height, ll1 in.; width, 18 in.
Bequeathed by W. A. Sandby, 1905.
889- Landscape, with Cattle. In middle distance a height
crowned with a castle; to right, hilly landscape and castellated
buildings on the banks of a river ; in right foreground a wooden
bridge, man, woman, cow, etc. ; to left, farm buildings, cows, and
trees. Water-colour — height, 11 J in.; width, 18 in. Bequeathed
by W. A. Sandby, 1905.

SANDERSON. RANT. 1 95

890. Landscape, with Cattle. To right on rising ground on
the banks of a stream spanned by a trestle bridge, a castle; to
eft a wood; in foreground, two men on horseback, woman
,nd child, etc. Water-colour — height, 12 in.; width, 19 ini.
Bequeathed by W. A. Sandby, 1905.
891. Ox Pond, Windsor Castle. In foreground several men
engaged in sawing timber, in the middle distance a pond, and
beyond, a park bounded by trees. Water-colour — height, 19$ in. ;
width, 16$ in. ^ Bequeathed by W. A. Sandby, 1905.
892. Windsor Castle. The Terrace of Windsor Castle,
looking west. In left foreground the celebrated Captain Grose ;
other figures are seated or strolling about the terrace. Aqua
tint — height, 11$ in. ; width, 17 in. Bequeathed by W. A. Sandby,
1905. Francis Grose was a celebrated English antiquary, who at one time held
a position in the Herald's College. Subsequently he became adjutant and
paymaster of the Hampshire Militia, and latterly a captain in the Surrey
Militia. In 1787 he published his Antiquities of England and Wales, and
this was followed by various other works of the same character. While
on an antiquarian tour through Scotland he met Robert Burns, who wrote
" Ken ye aught o' Captain Grose ?" Grose was also the " chield amang
them takin' notes" referred to in Burns' poem of "Hear, land o' cakes,
and brither Scots." The captain was a man of Falstaffian proportions.
893. Scene from Allan Ramsay's " Gentle Shepherd."
Jenny returning from the green with Sir William to Symons.
See Gentle Shepherd, Act III., Scene 2. Oil, on Panel — height,
5f in. ; width, 8L in. Bequeathed by W. A. Sandby, 1905.
Painted at Edinburgh, 1750.
Sanderson. Robert Sanderson. Modern Scottish School.
894. The Motherless Bairn. Interior of a cottage; work
man with ragged coat nursing a child, who is sucking a feeding
bottle; boy looking on with interest, whilst a pig surveys the
scene from the door. Signed " R. Sanderson, 1895." On Panel
—height, 12 in. ; width, 10 in. Teacher Collection.
Sant. James Sant, R.A. (living artist). English School.
895. The Gipsy Girl. A young girl in a white bonnet
and brown dress, with hands clasped round her knees, seated
by the side of a tree, amid bushes, looking towards the right.
Signed, in monogram, " J. S." On Canvas— height, 2 ft. 6 in. ;
width, 2 ft. 0$ in.
Ex-Bailie Archibald Gray Macdonald Gift, 1903.

196 SANTVOORT. sassofeerato.

896. St. Helena — The Last Phase. Head of the Emperor
Napoleon, almost full face, overspread with the pallor of
approaching death. Signed with monogram " S." On Canvas
— height, 2 ft. 1 in. ; width, 1 ft. 7 in. Presented by the Earl
of Rosebery, K.G., K.T., 1907.
Exhibited in the Royal Academy, 1901.

Santvoort Dirk Santvoort, 1610-1680. Dutch School.
An artist of whom little is known beyond the fact that he was born,
lived, and died in Amsterdam, where he painted a "Regent's group" in
1658. A picture by him, " Christ at Emmaus," dated 1633, is in the
Louvre, and as that work came from Rome, he probably painted it there.
He was principally a portrait painter, and the Rijks-Museum in Amsterdam
possesses one of his works.
897. Portrait op a Girl. Three-quarter length figure, in lace
cap and ruffle, with a fan suspended from a girdle. On Panel,
oval — height, 2 ft. 2 in. ; width, 1 ft. 8 in. Graham-Gilbert
Collection.

Sargent. John Singer Sargent, R.A. (living artist). American
School. 898. Portrait op Sir David Richmond, Lord Provost of
Glasgow, and Lord-Lieutenant of the County of the City of Glas
gow, 1896-1899. Full length, life size, erect, in Lord-Lieutenant's
uniform, over which is worn the Lord Provost's robe, chain of
office around neck. Signed " John S. Sargent." On Canvas —
height, 8 ft. ; width, 4 ft. 5 in. Painted for the Corporation.
Exhibited in the Royal Academy, 1900.

SassoferratO- Giovanni Battista Salvi, 1605-1685. Roman
School. Salvi was a native of SassoferratO, in Ancona, whence the name by
which he is popularly known. He was a disciple of Domenichino, and in
Rome he was a diligent student and copier of the works of Raphael and
other great masters. SassoferratO devoted his talents entirely to the pro
duction of religious compositions.
899. Holy Family. To the right the Virgin in profile, looking
to left, holding in her hand a basin from which St. John is
drinking, while the infant Saviour is on her knee; behind is
St, Elizabeth, holding up her hands in astonishment. On
Canvas — height, 2 ft. 4 in.; width, 3 ft. 2 in. Graham-Gilbert
Collection.

SAUZAY. SCHELLINKS. 197

Sauzay. A. Sauzay. Modern French School.
900. Pastoral Landscape. In foreground a marsh, by the
side of which cattle are feeding; beyond, a flat, wooded country,
with thatched cottages showing through the trees. Signed "A.
Sauzay." On Canvas — height, 3 ft. 8$ in.; width, 6 ft. 6$ in.
Teacher Collection.

Schakken. Godfried Schalcken, 1643-1706. Dutch School.
Schalcken was a native of Dordrecht, where his father was rector of
the classical school. He received the elements of his art education from
Hoogstraten, and afterwards he became a pupil of Gerard Dou. Schalcken
specially affected interiors and figures, illuminated by artificial light, in
the treatment of which he has never been surpassed. He also painted
portraits and historical subjects. He resided some time in England under
the patronage of William III., and ultimately settled in The Hague,
where, as an artist, he obtained an influential position, and where he
died in 1706.
901. Putting out the Light. Female figure, bare bosom,
reaching from her bed to extinguish a candle. Signed " G. S."
On Canvas — height, 151 in.; width, 13 in. M'Lellan Collection.

Schedone. Bartolommeo Schedone, or Schidone, 1560-1616.
Italian-Lombard School.
Schedone, native of Modena, was in the early part of his career an
imitator of the style of Correggio, and, working at Parma, he acquired
something of the spirit of that great master. At a later period he came
under the influence of the new School of Naturalists, which sprang up
early in the 17th century. He died at Parma in 1616.
902- Cupid with an Hour - Glass. Three - quarter length
figure of Cupid on the wing, holding aloft an hour-glass; a light
purple veil passes over a wing and arm. On Canvas, oval —
height, 2 ft. 8$ in. ; width, 2 ft. 3$ in. M'Lellan Collection. '-

Schellinks. Willem Schellinks, 1632-1678. Dutch School.
Schelliniis, a native of Amsterdam, was a pupil of Lingelbach, and
modelled his style of painting on that of Du Jardin. He painted princi
pally landscapes and seaport views, with some historical pictures, and
while his rendering of landscapes is usually bright and clear, the figures
with which his pictures are enlivened are touched with great spirit and
felicity. He travelled in various countries, and, among others, in England,
executing drawings of many of the scenes he visited.
904. Landscape, with Sporting Party. A stream spanned
by a bridge, on one side of which is a castle in ruins. In the
stream are a sportsman, a lady on horseback, and various other
figures ; falcons, dogs, dead game, etc., in foreground. On Canvas
¦ — height, 2 ft.; width, 2 ft. 5$ in. Graham-Gilbert Collection.

schiavone. schut.

Schiavone- Andrea Meldolla, 1522-1582. Italian- Venetian
School. This artist, called Schiavone, " The Slavonian," having been a native of
Dalmatia, was a humble contemporary of Titian, Tintoretto, Paris
Bordone, and other great masters of the Venetian School. He was a
painter's workman in Venice, with a taste for art, which found expression
in painting during bis leisure. His talents interested Titian, who took
him into nis academy, and otherwise helped the aspirations of young
Schiavone. He came into some public esteem, but never attained a position
of much influence, and throughout life had a severe struggle with poverty.
906. Salome going for John Baptist's Head. A group of
figures in Oriental turbans in front of a partly ruined classical
building; towards them the daughter of Herodias is hurrying
with a basin in her hands. Background, classical ruin, and to
the left a circular stronghold, approached by a fortified gateway
and a bridge spanning a river. On Canvas — height, 1 ft. 7$ in. ;
width, 3 ft. 5$ in. M'Lellan Collection.

Schouman. Aert Schouman, 1710-1792. Dutch School.
A painter and engraver, native of Dort, who passed his active life in
The Hague, where he died. He was in bird painting an imitator of
Hondecoeter and Weeninx; but he also painted, with success, other
animal subjects, portraits, and landscape. His engravings in mezzotint
are after the pictures of some of the best known Dutch artists.
908. Poultry attacked by a Hawk. A peregrine falcon,
dropping a finch from its talons, is swooping down on a group
of domestic poultry and chickens; various other birds flying
away in terror. On Canvas — height, 4 ft. 5 in. ; width, 3 ft. 3 in.
Euing Collection.
Formerly attributed to Hondecoeter, but now altered on the authority of
Dr. de Groot.

Schut. Cornelis Schut, 1597-1655. Flemish School.
Schut, a native of Antwerp, was a disciple of Rubens. He painted
many of the altar pieces in the Antwerp churches, also many historical
and classical subjects, and he occasionally painted the figures within the
garlands of Seghers. He also etched a large number of plates from his
own designs. He died at Antwerp.
909. The Holy Family. Virgin, with the Holy Child on her
knee, seated on a dais; to the right, St Joseph offering grapes;
to the left, St. John and cherubs ; and overhead, cherubs holding
a coronal wreath above the Virgin's head. On Canvas — height,
3 ft. 11 in.; width, 3 ft. 2 in. M'Lellan Collection.
Formerly attributed to Italian School, but changed on the authority of
M. Henri Hymans.

SCOUGALL. seghers. 199

Scougall. John Scougall, 1645 U730? Scottish School.
John Scougall is supposed to have been a native of Leith, where his
descendants resided till recent times, and where many portraits attributed
to him exist. There has hitherto been much confusion about the period
and identity of the portrait painters of this name, for, by general consent,
there were at least two Scougalls in the profession — one John, and another
George, possibly his son. The Earl of Rosebery possesses a portrait of
his ancestor, Sir Archibald Primrose, painted by Scougall, and dated 1670.
The minutes of the Town Council of Glasgow make it clear (see note to
portrait No. 750), that there was a " Mr. Scowgall, limner, in Edinburgh,"
in 1708, and that presumably the same artist (see note to portrait No. 752)
was living in 1712, in which year he is mentioned as " John Scougall, elder,
painter." It is clear that Scougall must have attained a ripe old age if he,
the painter of the 1670 Rosebery portrait, died 1730. The portraits of the
Rev. Alex. Henderson and of Principal Boyd, in Glasgow University, are
copies done by George Scougall in 1693.
See Portraits from Old Town Hall, Nos. 750, 751, and 752.

Scouler. James Scouler, 1741-.... English School.
James Scouler was a well-known miniature painter, whose works were
in high repute in London during the second half of the 18th century. He
was a constant exhibitor of portrait miniatures, etc. , at the Royal Academy
from 1769 till 1787.
910- Miniature Portrait, "Flora." Ivory miniature of.
lady with flowers in her hair, and holding up in her right
hand a bouquet of flowers. Signed " J. Soouler, 1772."
On Ivory, oval — height, 3$ in.; width, 3 in. M'Lellan
Collection.

Seghers- Daniel Seghers, or Zeghers, 1590-1661. Flemish
School. This eminent painter of fruits and flowers was a native of Antwerp,
where his father was a prosperous merchant. He studied painting under
Jan Brueghel, and afterwards spent some time in Rome. He entered the
order of Jesuits in 1614, although he had been trained in the Protestant
faith by his mother. Seghers was esteemed the greatest of all the Flemish
flower and fruit painters : his works were in request by crowned heads,
and even Rubens did not disdain occasionally to paint the central figure
around which Seghers garlanded flowers. He died at Antwerp.
911. Study of Fruit around Sculpture. Around^ a
sculptured relief female bust, garlands of fruit, comprising
pomegranates, grapes, peaches, plums, quinces, melons, cherries,
strawberries, apples, and other brilliantly coloured fruits. On
Canvas — height, 3 ft. 4$ in.; width, 2 ft. 10$ in. M'Lellan
Collection.

200 serra. shee.

Serra- Enrique Serra. Modern Spanish School.
912. Two ecclesiastics, one dressed in black, and the other
in white, seated engaged in a game of chess; three others
standing looking on. Signed " Enrique Serra, Roma, '89." On
Panel — height, 5 in. ; width, 5 \ in. Elder Collection.
Shayer. William Shayer, Sen., 1788-1879. English School.
The elder Shayer was a native of Southampton, who during his long life
devoted himself mainly to the painting of English landscape scenes, which
he enlivened with skilfully composed and well-painted groups of cattle,
horses, etc. His works are now well appreciated. He died at Shirley,
near Southampton.
913. Landscape, with Cattle. Group of cows and goats in
foreground, with peasant resting his arms across the back of
one of the cows ; background, meadow. Signed " Wm. Shayer."
On Panel — height, 13$ in.; width, 11$ in. Euing Collection.
914. Landscape, with Cattle. Cattle in a woody landscape,
milkmaid resting her arm over the back of a cow in the fore
ground, her milk pails near by. On Millboard — height, llf in.;
width, 9$ in. Euing Collection.
915. A Gipsy Encampment. An open space within a wood,
in which is a gipsy encampment with waggons, horses, etc., and
a number of gipsies with children. On Canvas — height, 23£ in. ;
width, 19 J in. Smellie Collection.
916. The Shrimp Girl, Cornish Coast. On the sea-beach
a girl with a shrimp net by the side of a white horse, on which
is her little brother. A dog accompanies her, and behind is a
waggon with two horses, various figures, boats, and a ship beached
in the distance. Signed " Wm. Shayer." On Canvas — height,
2 ft. 3 in.; width, 2 ft. 11 in. Euing Collection.
Shayer. William J. Shayer, 1811-.... English School.
Shayer, Jun., was a son of the above-mentioned William Shayer. He
exhibited once or twice at the Royal Academy in the later half of the
last century.
917. A Shady Pool. Outside a rustio farm-yard a group of
horses stand in a pool under trees. Near them a labourer on
horseback. On Millboard— height, 5 \ in. ; width, 6f in. Euing
Collection. Shee. Sir Martin Archer Shee, P.R.A., 1769-1850. English
School'. Martin Archer Shee was born in Dublin, where his father was a
merchant in prosperous circumstances. He received some amount of art

shipham. slingelandt. 201

instruction in Dublin, and at an early period essayed to establish himself in
London. He was introduced by Edmund Burke to Reynolds, and after
receiving further instruction at the Royal Academy School he devoted
himself principally to portrait painting, in which he soon gained a good
reputation and a lucrative connection. He was chosen Associate of the
Royal Academy in 1799, Academician in 1800, and President in 1830. He
was a man of varied gifts, a writer of poetry, and author of a novel and
various other literary works. He died at Brighton.
919. Ariadne Deserted by Theseus. Ariadne, seated under
the shadow of a rock by the sea-shore of Naxos, watches with
yearning look and uplifted arm the vessel of Theseus sailing
away in the distance. On Canvas — height, 4 ft. 1 in. ; width,
3 ft. 3 in. Euing Collection.
Shipham. Benjamin Shipham, 1806-1872. English School.
Shipham, a native of Nottingham, was » landscape painter, who was
considerably influenced in his art by Henry Dawson. His subjects were
mostly taken from scenes in the Midlands and in Wales. He exhibited
in the Royal Academy from 1852 to 1872.
921. Landscape, with Cattle and Figures. Signed " B.
Shipham, 1862." On Canvas — height, 18$ in.; width, 25$ in.
Teacher Collection.

Shirley. H. Shirley. English School.
A nineteenth century landscape painter, who contributed landscapes —
mostly English scenes — to the Royal Academy Annual Exhibitions betwixt
1844 and 1859.
923. Dutch River Scene. A sluggish Dutch river, on which
are numerous luggers, seen under evening light. To left a
rising bank, with cattle and various figures. Landscape by
Shirley, and cattle by H. B. Willis. On Panel—height, 2 ft.
1$ in.; width, 3 ft. 5$ in. Euing Collection.
Simoni. G. Simoni.
925. Eastern Festival. A great concourse of people, with
camels and donkeys, outside the walls of an Oriental city. Signed
"G. Simoni, 1883." On Canvas— height, 1 ft. 10$ in.; width,
2 ft. 9$ in. Teacher Collection.
Slingelandt. P. Cornelisz Van Slingelandt, 1640-1691.
Dutch School.
Slingelandt, native of Leyden, was a pupil of Gerard Dou, whose
minute and laboured execution he closely imitated and exaggerated. He
bestowed an enormous amount of time and patience in the elaboration of
his pictures, and the consequence is that his works are comparatively
rare. He painted domestic scenes and still life.

202 SMALL. SMART.

932. The Doctor's Visit. A sickly lady seated in her bed
room, attended by a medical man, who examines attentively the
contents of a glass flask; a female attendant is measuring out
medicine by the patient's side. Signed " Slingelandt, f." On
Canvas — height, 13 in.; width, 10J in. M'Lellan Collection.
Replica, with only minor variations, in the Hermitage, St. Petersburg,
attributed to Gabriel Metzu.
933- A Musical Party. In an apartment, richly furnished,
a lady seated near a table, playing a lute; a gentleman, having
a broad hat in his hand, makes obeisance to her; an attendant
pours out wine, and another places on the table a dish of fruit;
in the background, a lady and gentleman ; and to the left, a bass
fiddle. On Panel — height, 20 in. ; width, 15$ in. Presented by
David Dreghorn, 1856.
Formerly attributed to Metzu, and by De Groot thought to be probably
the work of M. Naiveu.

Small- David Small (Hving artist). Scottish School.
935. The Broomielaw Bridge about 1816, from an old
drawing. The River Clyde, spanned by the bridge; on near
side shipping; to left houses, the chimney of the old Bottle
Works, and the steeple of St. Enoch's Church. In middle
distance, the spire of St. Andrew's Church; and, to right,
the tower of the old Merchants' House in Bridgegate. Signed
"D. Small." Water-colour — height, 6 in. ; width, 11 in. Smellie
Collection.

Smart. John Smart, R.S.A., 1838-1899. Scottish School.
John Smart was born in Leith, the son of an Edinburgh engraver.
At the age of thirteen he entered the Art School of the Board of Manu
factures, where he remained until 1853, when he commenced work as
an apprentice engraver. Some years afterwards, coming under the
influence of Horatio M'Culloch, he gave up engraving for landscape
painting. Smart excelled in depicting the wild and rugged scenery of
the Highlands, and soon came to be recognised as being in the front
rank of Scottish landscape painters. In 1871 he was elected an Associate
of the Royal Scottish Academy, and six years later was made full
Academician. He was one of the founders of the Royal Scottish
Society of Painters in Water-colours, and was a member of the Royal
Society of British Artists. He died at Edinburgh, 1st June, 1899.
936. " The Gloom op Glen Ogle." A rugged and desolate
mountain landscape, foreground covered with huge masses
of fallen rock ; to left rise two lofty and precipitous peaks, snow-
sprinkled; from the cleft dividing them a torrent rushes down;
carcase of a dead sheep on left bank. To right a gorge, over

SMITH. SMYTHE. 203

which a rain-storm is passing, and in far distance a snow-capped
mountain. Signed " J. Smart, A.R.S.A., 1875." On Canvas-
height, 4 ft. 11$ in.; width, 7 ft. 11$ in. Purchased, 1903.
Exhibited in Royal Academy, 1875.

Smith. Colvin Smith, R.S.A., 1795-1875. Scottish School.
Colvin Smith was a native of Brechin. He studied art in the Royal
Academy School, London, and improved himself by visiting Italy, where
he devoted much attention to the work of Titian and other great colourists.
He also visited Antwerp, with the view of studying the art of Rubens,
as there displayed. On his return, he settled in Edinburgh as a portrait
painter, and, occupying the studio of Sir Henry Raeburn, he obtained a
most influential connection, painting the portraits of Sir Walter Scott,
Henry Mackenzie, Lord Jeffrey, and many other leading Scotchmen of his
time. Smith exhibited in the Royal Academy at intervals from 1843
till 1871. J
939. Elizabeth Steven, op Polmadie and Bellahouston.
Three-quarter length figure, seated towards left; a King Charles
spaniel in her lap. On Canvas — height, 4 ft. 8 in. ; width, 3 ft.
7$ in. Presented by the Bellahouston Fund Trustees, 1896.
Elizabeth Steven and her sister Grace were founders of the Bellahouston
Bequest Fund.
940. Portrait of Lord Jeffrey. Half length, full face,
white neck-scarf, black coat, folded arms, showing left hand.
On Canvas — height, 3 ft.; width, 2 ft. 3 in. Euing Collection.
Engraved by S. Cousins, R.A.
Francis Jeffrey was born in Edinburgh in 1773, and called to the Scot
tish Bar in 1794. He assisted to found and became editor of the Edin
burgh Review in 1802 ; elected Rector of Glasgow University in 1821 ; was
appointed Lord Advocate in 1830, when he entered Parliament. He was
elevated to the Bench of the Court of Session in 1836, and died in 1850.
941- Moses Steven, of Polmadie and Bellahouston,
1806-1871. Full-length figure, erect, leaning on the pedestal of
a flower vase ; dog couched at his feet On Canvas — height,
8 ft. 1 in.; width, 5 ft. 1$ in. Presented by the Bellahouston
Fund Trustees, 1896.

Smythe- Lionel Percy Smythe, A.R.A. (living artist).
English School.
942- Children coming from School. Five girls in line, two
with arms entwined, coming along an opening in a wood. Signed
"Smythe, 1868." On Canvas— height, 2 ft. 7 in.; width, 3 ft.
6 in. Elder Collection.
Exhibited in Royal Academy, 1868.

204 SOLIMENE. SPEXCI'

Solimene. Francesco Solimene, 1657-1747. Italian-Neapolitan
School. This artist, a native of Nocera de Pegani, near Naples, was the son of a
painter, who destined the youth for the legal profession. He, however,
showed a resolute determination to follow the career of an artist, in which
he was encouraged by Cardinal Orsini, afterwards Pope Benedict Xni.
He developed great powers of skilful and sympathetic imitation, and with
continuous application he produced a very large number of pictures, in
cluding all kinds of works — scriptural, historical, portraiture, landscape,
etc. He died at Naples.
943. Justice and Peace Embracing (an allegory). Justice
a crowned- female, with the fasces in her left hand, embraces
with her right arm Peace, also represented by a female figure,
having in her hand an olive twig. Between them is a Cupid.
On Canvas — height, 3 ft. 5 in.; width, 4 ft. 6 in. M'Lellan
Collection.

Soyer. Paul Soyer. Modern French School.
944. The Dead Bird. A small girl, three-quarters length, in
white chemise and green skirt, with bead necklace, looking down
with deep concern at a dead bird in her hands; background,
foliage. Signed "P. Soyer, 1866." Height, 2 ft. 2 in.; width,
1 ft. 9$ in. Bequeathed by John Robertson, 1895.

Spada. Lionello Spada, 1576-1622. Italian-Bolognese School.
Spada, native of Bologna, was a pupil of the Carracci, but, after leaving
their school, he adopted the style of Caravaggio, in which he attained
distinguished success. He painted in Reggio, Parma, and Bologna, in all
of which towns he left many important works, both easel pictures ahd
fresco, his subjects being principally drawn from Scripture. He died
at Parma.945. Virgin and Child. The Virgin seated on clouds; with
the Holy Infant, nude, on her knee. On Copper— height, 6 in. ;
width, 8 in. M'Lellan Collection.
946. A Muse. Seated female figure with violoncello and bow
in her hands. On Copper, oval — height, 6J in.; width, 5$ in.
M'Lellan Collection.

Spagnoletto. See Ribera.
Spence. Harry Spence (living artist). Scottish School.
948. Glasgow International Exhibition, 1901 — The
Gondola. The River Kelvin spanned by a bridge; on the far

SPENLOVE. M'ARK. 205

bank is a landing-stage, by the side of which is a boat; in
mid-stream a gondola with passengers; beyond the river is the
central building of the Exhibition. Signed " H. Spence, 1901."
On Canvas— height, 2 ft; width, 1 ft. 11$ in. Purchased, 1901.
Spenlove. Frank Spenlove-Spenlove (living artist). English
School. 949. Vespers. — New- Year's Eve in the Low Country. A
winter evening scene, snow on the ground and on the leafless
trees. In centre a church, the coloured windows of which
are lighted up, and into which peasants are entering, to
left a village. Signed " Frank Spenlove-Spenlove, /'05."
On Canvas — height, 3 ft. 5$ in.; width, 4 ft. llA in.
Purchased, 1908.
Stanton. Clark Stanton, R.S.A., 1832-1894. English School.
Stanton was born at Birmingham in 1832, where he was educated at the
King Edward Grammar School. Early taking pleasure in sketching and
modelling, he was sent to the Birmingham School of Art. While still
young he obtained a situation with Elkington & Co. as a designer and
modeller, and that firm thought so highly of his work that they sent him to
Florence to continue his studies. In 1855 he removed to Edinburgh, and
in 1857 he first exhibited in the Royal Scottish Academy, being represented
by a study of the nude, " The Ivy Wreath," and several medallion portraits.
In addition to working as a sculptor and designer, Stanton painted in oil
and water-colours. He was made A.R.S.A. in 1864, and received full
honours in 1883. In 1881 he was elected curator of the School of the
Royal Scottish Academy, a position which he held until his death.
950. Girl with Fruit. A girl in a slashed doublet and
hose carrying a basket in which are grapes, peaches, etc. Water-
colour — height, 25 in.; width, 18 in. Presented by T. Graham
Young as a memorial of his father, James Young, LL.D., F.R.S.,
of Kelly, 1900.
Stark. Arthur J. Stark. Modern English School.
This artist was a son of James Stark, the famous landscape painter of the
Norwich School. Arthur also devoted himself to landscape and animal
subjects. He exhibited at the Royal Academy from 1848 till 1883. It is
understood that he died at Redhill, in Surrey, in 1896.
' 952- Pointer and Dead Wild Duck. Signed "Arthur J.
Stark, 1851." On Canvas — height, 17$ in.; width, 23$ in.
Teacher Collection.
Stark. James Stark, 1794-1859. English School.
James Stark, called Stark of Norwich, was born in that city, his father,
a native of Scotland, having settled there as a dyer. In 1811 he was sent
to study with John Crome, with whom he remained for three years. In
1814 he removed to London, and entered the schools of the Royal Academy.
His health breaking down, he returned to Norwich, where he remained for
5 A

206 staveren steell.

about twelve years, during which time he published his " Scenery of the
Rivers Yare, Waveney, and Bure." Returning to London in 1830, he
remained there until his death on the 24th of March, 1859. In his art
he was strongly influenced by Crome, and although his work is less power
ful than that artist's, it has a certain simple beauty of its own. He
exhibited at the Royal Academy from 1811 till the year of Eis death.
953. Landscape — Woodland Scene. The edge of a wood,
in which, to left, two figures recline against a rock; to right,
a stream spanned by a bridge, over which a man is passing.
On Panel — height, 9 in.; width, 11 in. Presented by Mrs.
Wiseman, 1907.
954- A Burnside. An open space in a wood, through which
runs a stream. Crossing the stream is a girl holding a child,
and on the near bank is a boy. On Canvas — height, 9$ in.;
width, 11$ in. Smellie Collection.
Staveren- Jan Adrian Van Staveren, ...-1669. Dutch
School. This artist, about whom little is known, appears to have been a pupil of
Gerard Dou, whose laboured and minute manner he imitated with con
siderable success. Most of the works known to be by his hand depict
single figures of elderly men in prayer, or in the character of hermits. He
was a man of good position, and held the office of Burgomaster of Leyden.
956. The Hermit. An elderly man, in the habit of a monk,
at his devotions, near gnarled stumps of trees; through a lofty
archway to the right is seen a landscape with massive ruins and
a distant hill. Signed " Staveren " (date indistinct). On Panel
— height, 14 in.; width, 11 in. Euing Collection.
Steell. Gourlay ^Steell, R.S.A., 1819-1894. Scottish School.
This well-known animal painter, born in Edinburgh in 1819, was the
son of Mr. John Steell, artist, and brother of the famous sculptor, Sir
John Steell, R.S.A. As a youth he received his training in the Galleries
of the Board of Manufactures, and the greater part of his life was spent in
Edinburgh. In 1835 he exhibited his first picture, which was a life-size
study of a bloodhound. He was elected in 1846 an Associate, and in 1859
an Academician of the Royal Scottish Academy. He was also a frequent
exhibitor at the Royal Academy, and, after the death of Landseer, in 1873,
he was appointed to succeed him as animal painter to Her Majesty. Mr.
Steell was also animal painter to the Highland and Agricultural Society,
and in his later years he was curator of the National Gallery of Scotland.
He died at Edinburgh on 31st January, 1894.
958. The Trysting Place. A heathery knoll, on which stand
two pointers, with a setter lying at their feet ; on one side a heap
of red grouse; on the other some dead mountain hares. Around
rise the mistenveloped hills of the Central Highlands. On Canvas
—height, 3 ft. 7$ in.; width, 4 ft. 9 in. Teacher Collection.

Jan Steen.— DUTCH FAMILY MERRYMAKING.

steen. stephanopp. 207

Steen. Jan Steen, 1626-1679. Dutch School.
Jan Steen was the son of a brewer at Leyden, in which town his
ancestors had carried on that business for several generations. Among
his instructors in art were Adrian van Ostade and Jan van Goyen, whose
daughter became his first wife. He settled first at The Hague ; then at
Delft, where, in addition to his artistic labours, he carried on a brewery ;
and later, at Haarlem, where his wife died. He ultimately returned to
Leyden, and there he became the landlord of an hostelry, and there he
died on 3rd February, 1679. In depicting scenes of boisterous revelry
and tavern life generally, Steen displayed a matchless vigour and power of
humourous and satirical expression, combined with which he possessed
technical ability of rare excellence.
S'S 959- Dutch Family Merrymaking. The family of the
artist : Jan Steen stands behind a table, in front of which, seated
in a reclining attitude, is his wife. Both observe their child
anding on a stool drinking from a glass in the hands of his
admother. Beyond the table is a nurse, seated, with a child
^n her arms. A man stands playing the bagpipes, and another,
wearing a funnel surmounted with a tobacco pipe, accompanies
him, violin-wise, with a gridiron and basting spoon. Signed on
the leg of the stool, " J. Steen." On Canvas — height, 2 ft 4$
in.; width, 2 ft. 1$ in. M'Lellan Collection.
Described in Hofstede de Groot's Smith's Catalogue Raisonni, 1907,
HfiL i., page 141, No. 527, under the title of A Merry Company.
xi somewhat similar work is in the Cassel Gallery, having the three
figures, the mother, the child, and the grandmother, as in the Glasgow
picture. The man with the funnel on his head is also in it ; but the two
other figures are interposed in the Glasgow picture, and the composition to
the right is entirely different

• Stephanoff. Francis Philip Stephanoff, 1788-1 S60. English
School.
i This artist was the son of a Russian painter who settled in London in
the latter half of the 18th century. The subject of this notice was a con
scientious and diligent book illustrator and painter of genre subjects,
Epibiting with great regularity at the Royal Academy from 1807 to 1845.
¦mss pictures were by no means ambitious, but they suited the popular
Jtaste, and many of them became widely known through the medium of
pengraving. He died at West Hannan, Gloucestershire.
960. The New Housekeeper. An elderly gentleman, seated
in his business room, receives a blooming widow, who comes
in the capacity of new housekeeper. The domestic she super
sedes is retiring with a grim and threatening countenance.
Signed "F. P. Stephanoff." On Canvas— height, 2 ft. 0$ in.;
width, 2 ft. 5$ in. Euing Collection.
Exhibited at the Royal Academy in 1841 under the title of " Answering
the Advertisement— ' Wanted a respectable female, as ^housekeeper to a
middle-aged gentleman of serious and domestic habits.' "

208 STEVENSON. STONE.

Stevenson. Robert Macaulay Stevenson, R.S.W. (living
artist). Scottish School.
961. Early Summer on the Seine. The River Seine, with
wooded banks, steeped in the mist of early morning. Signed
" R. Macaulay Stevenson." On Canvas — height, 2 ft. 11 in.;
width, 3 ft. 7 in. Purchased, 1904.

Stewart- Charles E. Stewart (living artist). Scottish School.
962- Crossing the Ford. Two horses just released from
work are wading through a stream, on one of which a man is
riding, having a young girl in front of him; a dog swims along
side; in the distance, moorland; glowing evening sky. Signed
" C. E. Stewart." On Canvas— height, 4 ft. 6 in. ; width, 5 ft. 7 in.
Presented by T. Cuthbert Stewart, brother of the artist, 1904.
Exhibited at Royal Academy, 1901.
Stewart, James S. Stewart (living artist). Scottish School.
963. Portrait of J. Milne Donald. (See No. 277.) Bust
portrait, looking to right. On Canvas — oval — height, 14 in. ;
width, 12 in. Presented by the Artist, 1909.
Stewart- Malcolm Stewart (living artist). Scottish School.
964. Portrait of Dr. Livingstone. Three-quarter figure,
seated, of Dr. Livingstone, LL.D., D.C.L., the celebrated mis
sionary and African explorer, who was born at Blantyre, Lanark
shire, in 1813, and died at Ilala, Central Africa, in 1873. Signed
" Malcolm Stewart." On Canvas — height, 4 ft. 2 in. ; width,
3 ft. 3$ in. Presented by " a few friends," 1881.
See also Nos. 534 and 535.
Stone- Marcus Stone, R.A. (living artist). English School.
965. Royalists seeking Safety. The interior of a cottage,
into' which a oavalier and lady have hurriedly entered. The
cavalier stands at the open door, his hand on the hilt of his
sword, while the lady entreats a young woman, peeling apples
at a table, for shelter. A boy stands at the table holding an
apple, and an old woman is seated at the fireplace, interrupted
by the visitors while scouring a pail. Signed " Marcus Stone,
1866." On Canvas— height, 3 ft. 7 in. ; width, 4 ft. 9 in. Elder
Collection. •

STOTT. SWAN. 209

Stott. William Stott, 1858-1900. English School.
William Stott, known as " Stott of Oldham," to distinguish him from
William Edward Stott, also a Lancashire man, was born at Oldham in
1858. For some years he studied in Paris under Jerome, and he was a
Irequent and highly esteemed contributor to the Salon. He excelled as
an imaginative and symbolic painter, and he was awarded gold medals
for his works at Paris, Munich, Vienna, and other Continental towns.
An exhibition of his works was held at the Goupil Gallery, in London, in
1896. He died at sea, while on a voyage from London to Belfast, on the
25th February, 1900.
966. Autumn —
" Who hath not seen thee oft amid thy store ?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind." — Keats.
On the banks of a stream a female figure, in red dress and
band of fur, reclines against sheaves of corn. In foreground,
flowers, apples, and various fruits are scattered about. Signed
" William Stott of Oldham." On Canvas— height, 3 ft. 10 in. ;
width, 4 ft. 2 in. Purchased, 1903.
Exhibited at Royal Academy, 1898.

Stry. J. Van Stay, 1756-1815. Dutch School.
Jacob Van Stry, a native of Dort, studied art in the Academy of
Antwerp. He had a great affection for the styles of Hobbema and Cuyp,
and became so close an imitator of the subjects and manner of the latter
that many of his pictures have passed into collections as the works of
Cuyp — a circumstance which has been detrimental to the reputation his
own great ability deserves.

967- Landscape and Cattle. Five oxen and two
grouped in foreground of a landscape under an evening sky.
Horseman and other figures, with a castle, among trees, to the
right. River, bridge, and a house to the left. Signed "J. Van
Stry." On Panel— height, 1 ft. 8f in. ; width, 2 ft. 6 in. Euing
Collection. 968. Pastoral Landscape. Horseman, with two horses and
cowherd, in foreground of a hilly and wooded landscape; to
the rear, cattle, sheep, and other figures. Signed " J. V. Stry."
On Panel — height, 2 ft. 4 in.; width, 2 ft. 10$ in. Euing
Collection.

Swan. John Macallan Swan, R.A., 1847-1910. English
School. This distinguished sculptor and painter was born at Old Brentford in
1847. He received his early training in Worcester School of Art and
Lambeth. Later, he was a student of the Royal Academy, and finally

210 SWANEVELT. TADEMA.

he studied painting under Gerome in Paris, and took modelling from
Fremiet. As a sculptor and painter of wild animals he has never been
surpassed. He was unceasing in his study of their structure and pose,
and he had an extraordinary gift of revealing their peculiar characteristics
and realising their natural surroundings. Swan was elected an Associate
of the Royal Academy in 1894, ajid was made Academician in 1905. He
died at Niton, Isle of Wight, on 14th January, 1910.
969. On the Alert — Lioness 'and Cubs. A lioness
followed by two cubs cautiously ascending a rocky and pre
cipitous height. Signed " J. M. Swan." Water-Colour —
height, 2 ft. 5$ in.; width, 1 ft. 7$ in. Carfrae Alston
Collection, 1909.
970. Sleepy Hollow — Tigers. Two tigers in a forest
asleep by the side of a pool. Signed " John M. Swan."
Water-Colour — height, 16 in. ; width, 20 in. Carfrae Alston
Collection, 1909.
Swanevelt- Herman Swanevelt, 1620-1659. Dutch School.
Swanevelt was born at Woerden, and it is said that he was a pupil of
Gerard Dou. He, however, quitted his native country at an early age,
and went to Rome in 1636, where he became a pupil and follower of
Claude Lorraine, into whose landscapes he frequently inserted figures.
Swanevelt never returned to his native country. He married in Rome,
whence he went to Paris, where he was elected a member of the Academy,
and he died there in 1659.
971- Italian Landscape. Under an evening sun; to the
left foreground, a wooded hill with a castle on the summit; in
the middle, a stream crossed by a flat wooden bridge, on which
are a man and two donkeys; and to the right, a portion of a
villa; a stately viaduct is in the mid-distance, beyond which a
plain and distant hills. On Canvas — height, 2 ft. 1 in.; width,
2 ft. 7 in. Euing Collection.
972. A Classical Landscape. A warm, sunny, Italian land
scape, with ruins of a castle; in middle distance a river, and a
hill surmounted by a villa. On Canvas — height, 1 ft. 7 in.;
width, 2 ft. 4 in. Graham-Gilbert Collection.
973. Landscape and Cattle. A woody landscape, with man
on horseback driving cattle across foreground. On Canvas,
circular — diameter, 9 in. M'Lellan Collection.
From the Collection of E. Higginson, of Saltmarsh Castle, dispersed in
1840. Tadema- Sir Laurens Alma Tadema, R.A. (living artist).
English School.
974. A Lover op Art. The court of an ancient Greek
dwelling, with rich mosaic pavement, and dark marble pillars

TENIERS. 211

with Ionic capitals. A group of personages in classical costume,
consisting of elderly man reclining on a couch, another seated,
and a young man and woman, standing, are examining a statuary
figure of a young girl with dove in her arms, which she has
rescued from a snake. Signed "L. Alma Tadema, Dec, /68."
On Canvas — height, 2 ft. 7 in. ; width, 1 ft. 10 in. The gift
of the sons of James Reid, of Auchterarder and Hydepark
Locomotive Works, 1896.
Exhibited at the Royal Academy, 1869, under the title " Un Amateur
Romain."

Teniers. David Teniers, the Elder, 1582-1649. Flemish
School. The elder Teniers received his earliest art instruction in the school of
Rubens, and afterwards he studied landscape for about six years under
Elsheimer in Rome. On his return to his native town, Antwerp, he
devoted himself to the painting of rural life and sports, fairs, and
grotesques, in all which subjects he was subsequently eclipsed by his more
brilliantly endowed son, David.
975. Woody Landscape. Rooky knolls, stream, and four
men in foreground, with, to the right, the wall of a cottage;
sheep, and a shepherd in the open ground in the middle,
and among the trees a chateau and other buildings. On
Canvas — height, 3 ft. 5 in.; width, 4 ft. 8$ in. M'Lellan
Collection. 976. Flemish Landscape. In foreground two men, one
seated playing a pipe, a group of sheep and a goat near a pool;
beyond, several cottages embosomed among trees. Signed, in
monogram, " D. T." On Canvas — height, 3 ft. 3 in.; width,
4 ft. 3 in. M'Lellan Collection.

Teniers. David Teniers, the Younger, 1610-1694. Flemish
School. Davtd Teniers, the Younger, was born in Antwerp, where his father
was an artist of reputation. He received his early instruction from his
father, and is said also to have been under the guidance of Rubens, who held
the younger Teniers in very high esteem. He married, first, a daughter of
Jan Brueghel, the painter (Velours), and, second, » daughter of Andre1 de
Fren, a state official of Brabant, and by these wives he had a large family.
He was Dean of the Incorporation of St. Luke, in Antwerp, in 1645-6, and
he was principally instrumental in establishing the Academy of Art in that
city in 1663. He was appointed painter to successive Governors of the
Low Countries, and received honours and commissions from Philip IV.
of Spain and from other European monarchs. Teniers excelled all painters
of his school in the representation of rustic scenes and the daily life of the
people among whom he resided. He died at Brussels on 5th April, 1694.

212 TENIERS.

978. Milking Time. A milkmaid milking a cow, and on a
rock near her two shepherds, one piping; cattle and sheep in
foreground; and, in the distance, a swineherd, with pigs, cattle,
etc. Signed " D. Teniers, F." On Canvas — height, 16 in.;
width, 23$ in. M'Lellan Collection.
" Of admirable effect, great freshness of colour, and broad and masterly
treatment" (Waagen's Art Treasures, vol. iii., p. 290).
979. St. Margaret (after Giulio Romano). The saint stands,
crucifix in hand, observing the writhings of the dragon, which,
in answer to her prayer, was made visible to her. Panel — height,
10 in.; width, 7f in. M'Lellan Collection.
980- The Meeting of Mary and Elizabeth (after the
original, with life-size figures, by Palma Vecchio). Mary and
Elizabeth embracing each other — their respective spouses, Joseph
and Zacharias, approaching behind ; various domestics about the
doors, etc., of the house of Zacharias; a village in the distance,
and the landscape bounded by hills. On Panel — height, 12 in. ;
width, 20 in. M'Lellan Collection.
The originals of the two pictures, 979 and 980, are in the Imperial Art
Museum, Vienna. In the lifetime of Teniers they were in the Gallery, in
Brussels, of his friend and patron, the Archduke Leopold Wilhelm,
Governor of the Netherlands. Of that collection Teniers acted as curator,
and he was chiefly instrumental in its formation. He painted numerous
views of the interior of the Gallery, all carefully detailed, so that the
works it contained can be easily identified. Of these views, one is now
in the Brussels Gallery, one in the Imperial Museum in Vienna, several in
the Pinakothek in Munich, and one, the property of Lord Lecon-
field, is at Petworth. Many of the Archduke's pictures were also repro
duced by Teniers for engraving, and among them were these two. The
engravings, to the number of 229, were published in 1660, in a volume
entitled Amphitheatrum Picturarum, copies of which are yet occasionally
met. Many of the Archduke Leopold Wilhelm's pictures are now in the
Imperial Museum in Vienna, and some are in the Prado, Madrid.
981. A Hunting Party — The Meeting Place. On an open
knoll in a woody landscape, a party of huntsmen winding their
horns, etc., attended by many dogs. Signed " D. Teniers, F."
On Canvas— height, 2 ft. 1$ in.; width, 2 ft. 7$ in. M'Lellan
Collection. 982. The Miseries op War. A cluster of village houses,
with a church in the distance; in foreground, a band of
robbers under the command of a leader are seen, with various
villagers overpowered, two mortally wounded, on the ground,
and others, bound — a priest among them — being led out.
Signed, in monogram, " D. T." On Panel — height, 15 in. ; width,
21 in. M'Lellan Collection.
" Rich in animated motive, and delicately executed in a powerful and
clear tone" (Waagen's Art Treasures, vol; iii., p. 279). Engraved by
Le Bas.

teniers. 213

983. Latona and the Cariin Peasants (a Pasticcio).
The peasants at work in a marsh are being ohanged into frogs
by Jupiter for mocking Latona or Leto, who is seated in
foreground with her two children, Apollo and Diana. On
Canvass — height, 12$ in.; width, 17 in. M'Lellan Collection.
"Skilful imitation of a higher arc" (Waagen's Art Treasures, vol. iv.,
p. 458). Formerly in the possession of the Comte de Vence, Marechal de
Camp des Arm6e du Roy. Engraved by Noel le Mire.
984- Jealousy. A young woman seated at a low table beside
an elderly admirer; she is lighting a pipe to herself, while he
holds in hands a glass and beer jug; at an open door an elderly
female looks in with a much-concerned air. Signed " D. Teniers,
F." Height, 13$ in.; width, 9$ in. M'Lellan Collection.
From Lord Radstock's Collection, and transferred from panel to canvas
by Peel in 1841. Several variations of this subject exist, and are engraved.
985. A Surgical Case. A peasant is having his wounded
foot dressed by a barber-surgeon, a female standing behind with
the linen dressing in her hand; a man is entering the room.
Signed " D. Teniers, Fe." On Panel— height, 14$ in.; width,
10$ in. M'Lellan Collection.
"Warm in tone, and of careful treatment" (Waagen's Art Treasures,
vol. iv., p. 458). A like composition, differing in detail, was engraved by
T. Major in 1747.
986. St. Jerome. The aged saint, dressed in a red robe, and
seated in his cave reading, with skull and hour-glass by his side,
and near at hand his symbolical lion. Signed " D. Teniers, F."
On Panel — height, 9$ in. ; width, 13$ in. M'Lellan Collection.
987. Peasants before a Fire. Of the three figures in this
composition, one sits smoking, another stands with his back to
the fire, and the third has his face directed to the wall. Signed
"D. Teniers." On Panel — height, 11$ in.; width, 8$ in.
M'Lellan Collection.
"Of great power and transparency of colour" (Waagen's Art Treasures,
vol. iii., p. 288).
988. Landscape and Figures. To right an old oak,
with trees behind; a pathway in centre leading to a cottage;
a man approaching foreground. On Canvas — height, 13f
in.; width, 17 in. Graham-Gilbert Collection.
989. Infant Jesus and St. John. In a landscape with river,
trees and a figure, the infant Saviour and St. John seated; St.
John with his left hand resting on a lamb. On Copper — height,
6$ in.; width, 8 in. Graham-Gilbert Collection.

214 THOMSON.

990. Temptation op St. Anthony. Within a cavern St.
Anthony is seated in devotional attitude in front of a flat rock,
on which are an open book resting on a skull, a crucifix, and
a sand glass. An elderly female, with horns, is endeavouring
to direct the attention of the saint to a young and beautiful
woman. To left a seated figure, with a dog's head, holds
aloft a broom in which is stuck a lighted candle. The floor
of the cavern is crowded with impish figures and grotesque
animals, while others fly about near the roof. Signed " D.
Teniers, ft." On Panel— height, 1 ft. 11$ in.; width, 2 ft. 9 in.
M'Lellan Collection.
Formerly called a copy by Abshoven.
Thomson. Rev. John Thomson, #.R.S.A., 1778-1840.
Scottish School.
This artist was born in the Manse of Dailly, Ayrshire, where he suc
ceeded his father as minister, and in 1805 he accepted the presentation to
the parish of Duddingston, near Edinburgh, which charge he held until
his death on 20th October, 1840. Thomson was an excellent scholar,
and had an exquisite taste for music ; but the talent by which he is
chiefly known was his power in landscape painting. He first exhibited
in 1808, and contributed till the year of his death to almost all the exhibi
tions in Edinburgh. On account of his clerical profession, Thomson
never joined any incorporated body of artists, but he was an honorary
member of the Royal Scottish Academy. He was the friend of Sir Walter
Scott, and was on intimate terms with the most eminent Scotsmen of his
period. 994. Landscape — Sketch. Sketch of a landscape, with a
steep bank on left, and a stream, spanned by a bridge,
flowing past its base. On Canvas, glued on board — height, 8|
in. ; width, 7 in. Euing Collection.
995- The Firth op Forth — Morning. A calm sea, with
hills seen faintly in distance to right; foreground, beach,
with rocks, on which are two figures, and near the shore a
fishing boat at rest. On Panel — height, 14$ in. ; width, 18f in.
Euing Collection.
This picture is more likely to be the work of Ewbank than of Thomson.
996. River Scene. A river with, to right, on near
bank, a falconer and falcon; to left is a huge tree, and
beyond the river are houses. On Canvas — height, 9$ in. ; width,
15 in. Smellie Collection.
997- Landscape. A stream flowing through woodland scenery,
orossed by a single>-arched bridge, over which a man is driving
cattle; hills in distance. On Panel — height, 13f in.; width,
19J in. Presented by J. C. Arnot, 1903.

tintoretto. tisi. 215

Tintoretto. Jacopo Robusti, 1518-1594. Italian- Venetian
School. Jacopo Robusti, popularly known as Tintoretto (the little dyer), on
account of his father's occupation, was a native of Venice. He received a
little instruction from Titian ; but in the main he was self-instructed, and
he applied himself to his own improvement with the prodigious energy and
industry that characterised all his endeavours. He had unbounded con
fidence in his own talents, claimed to draw like Michel Angelo and colour
like Titian, and he possessed exceptional facility of execution, combined
with daring and prodigal imagination. His works are of very unequal
merit, some being worthy of ranking with the greatest productions of any
time, while others are hasty sketches. His principal canvases are pre
served at Venice, some of these being on a vast scale ; his marvellous
picture, "Paradise," in the Hall of the Great Council, 70 feet long by 34
feet in height, and containing more than 500 figures, being the largest
oil painting in the world. Tintoretto died at Venice on 31st May, 1594.
999- The Trinity. The Trinity typified by a figure (the
Father) supporting the Cross, a dove (the Spirit), and a glory,
with the letters " I.H.S." (the Son). Around are cherubs and
angels, and at the foot of the Cross are numbers of saints,
apostles, and the Virgin. On Canvas — height, 5 ft. ; width,
5 ft. 3 in. Graham-Gilbert Collection.

Tisi. Benvenuto Tisi, 1481-1559. Italian-Ferrarese School.
Benvenuto Tisi, known as Gabopalo, from the village of that name
identified with his family, and from the pink (Garofalo) which occurs in
his arms. He was a native of Ferrara, and there he first studied art. While
yet a young man he visited Rome, and there pursued his calling ; and in
1515 he was engaged by Raphael to assist him with the frescoes of the
Vatican. Garofalo was a close imitator of the style of his great master,
and painted many small pictures in his manner with such admirable success
that they have frequently been attributed to Raphael himself. He was
blind during the last nine years of his life. He died at Ferrara.
1000. St. Catherine in Ecstasy. The saint kneeling, with
a palm frond in her left hand, and the broken wheel set with
knives at her side. On Panel — height, 11 in.; width, 7$ in.
M'Lellan Collection.
" A pleasing little picture, in a silvery tone unusual with him " (Waagen's
Art Treasures, vol. iii., p. 289).
1001. Santa Barbara. Stooping on one knee, the saint holds
in her right hand a palm frond and a banneret, while with the
left she points towards heaven. On Panel — height, lOf m.;
width, 7$ in. M'Lellan Collection.
1002 Christ and Mary Magdalene— " Noli me tangere."
(School of Garofalo.) The Saviour revealing Himself to Mary

216 TITIAN.

Magdalene after His resurrection. The wound-prints are to be
seen in His hands and feet. Background, trees, the walls and
town of Jerusalem, and distant hills. On Panel, circular top-
height, 17$ in.; width, 11$ in. M'Lellan Collection.
This picture has the seal of the Academy of Milan on the back of the
panel. Titian. Tiziano Vecellio, 1489?-1576. Italian -Venetian
School. Tiziano Vecellio, commonly known as Titian, was born at Cadore, si
small town among the mountains, within the province of Venice. Among
his early instructors was Giovanni Bellini, who had under tuition at the
same time Titian's great but comparatively short-lived rival, Giorgione.
Titian is by universal consent acknowledged to be the greatest master of
the Venetian School. His power as a colourist, his mastery of dramatic
effects, his perception of human beauty and character, and his technical
skill have been surpassed by no artist. As a painter of portraits he stands
supreme, and in all classes of figure subjects — scriptural, historical,
mythological, and allegorical — he was equally felicitous. Titian was
courted, and his services eagerly sought after by all the principal
potentates in Europe. He died of the plague in 1576 — in his hundredth
year, it was formerly believed, but now there is reason to conclude that
he was not more than eighty-six.
1 004. Danae. Nude female figure reclining on a couch, at the
lower end of which are a crown and sceptre ; a vase, necklace,
and gold coins are at her side, a curtain behind, and to the right
an open landscape, with conical hill in distance. Inscribed on
a tablet overhead, " Titianus." On Canvas — height, 2 ft. 6$ in. ;
width, 3 ft. 3$ in. M'Lellan Collection.
Engraved by Rosaspina, under the title " Omnia Vanitas," early 19th
century, while the picture was in the possession of the Venetian senator
Widmann. "Of graceful motive and rare delicacy of modelling, in a
bright tone. But the curtain is too heavy and the landscape too grey for
Titian — the feeling of the picture also different. It is, however, by some
good master of the Venetian School " (Waagen's Art Treasures, vol. iv. ,
p. 460). Crowe and Cavalcaselle (Titian : his Life and Times) enumerate
this picture among uncertified Titians, and remark: — "The same subject
is here called 'Danae.' On the edge of the white couch, beside the vase,
there are some golden pieces. On the tablet above, instead of 'Omnia
Vanitas,' we read 'Titian Cadvbri.' The execution is very free, the
pigment thin, as if some bold executant had imitated Cesare Vecelli. The
canvas has been injured, and the flesh has gained a yellow tinge from time
and varnish. The signature of Titian is of dubious antiquity."
1005. Holy Family. The Virgin seated, holding in her arms
the Holy Child, who stretches out His hands to St. Jerome,
kneeling before Him; to the left, St. Dorothea, with a basket
of flowers and fruit ; background, landscape and trees. On
Canvas — height, 1 ft. 11 in.; width, 2 ft. 10 in. M'Lellan
Collection. This picture, known from its engraving by Lefebvre, was long supposed
to have been lost. It was identified by Mr. C. Heath Wilson in 1869.

TO BAR. 217

The head of the aged saint in this picture is frequently repeated in other
works of Titian. The holy Child bears a close resemblance to the Cupid
figure in the famous picture " Sated and Artless Love."
" Of Titian, the M'Lellan Bequest contains two reputed works. One —
'The Virgin and Child with Saints'— of the great master's earlier time
(circa 1520) is certainly genuine and in excellent preservation ; the other—
the 'Danae,' a later work— is, unfortunately, greatly and irreparably
injured. It is my belief, nevertheless, that it is a genuine production of
the master. In any case, however, in its present state it is of com
paratively little importance. The former picture is an excellent specimen
of its class and period in the work of Titian, and, I need scarcely add, of
high interest and value."— Sir C. Robinson.
Bernhard Berenson and Dr. Frizzoni agree in attributing this Holy
Family to Polidoro Veneziano.
1006. A Study after Titian (by Graham-Gilbert). Half-
length female figure, in white robe and girdle. On Canvas —
height, 21 in.; width, 17 in. Graham-Gilbert Collection.
1007- Cupid, from Titian's "Sated and Artless Love"
(by Graham-Gilbert). Cupid leaning over a trough, his right
hand playing with the water. On Canvas — height, 18$ in.;
width, 15$ in. Graham-Gilbert Collection.
1008. Study from Titian's " Sated and Artless Love "
(by Graham-Gilbert). Full-length nude female, with white
girdle and crimson mantle, seated on a sculptured trough.
On Canvas — height, 3 ft. 5£ in.; width, 5 ft. 4f in.
Graham-Gilbert Collection.
1009. Portrait op Pope Paul III. (Copy by Graham-
Gilbert.) Three-quarter length figure, seated, in white robe,
with crimson velvet cape. On Panel — height, 10$ in.; width,
8J in. Graham-Gilbert Collection.
Tobar. Don Alonzo Miguel de Tobar, 1678-1758. Spanish
School. Tobar was born at Higuera, near Aracena, and while still young went
to Seville, where he received his art training, and where he devoted
himself to the study, copying, and imitation of the works of Murillo,
whose style he imitated with such faithfulness and skill that he is
accounted the best of that great master's followers. It is probable that
many pictures attributed to Murillo are really the work of Tobar. His
most important original composition, "The Virgin of Consolation," is in
Seville Cathedral. He died at Madrid.
1010- St. Joseph with the Infant Jesus. The saint seated,
having the Holy Child erect on his knee, guarded within his
left arm; the infant Saviour holds in His left hand a lily stalk.
On Canvas — height, 4 ft. ; width, 3 ft. M'Lellan Collection.
Enumerated in Carter's Velazquez and Murillo, p. 335. Mentioned also
by Waagen, who says: — "This Spanish master approaches the style of
Murillo, and is very careful in execution." (See Galleries and Cabinets of
Art in Great Britain, page 461.)

218 topham. troyon.

Topham. Francis William Topham, 1808-1877. English
School. Topham was born at Leeds, where he was trained as an engraver. At
the age of twenty-one he removed to London, and devoted himself to
painting, in which art he was entirely self-taught. His early works were
chiefly character sketches of Welsh and Irish peasantry, but latterly he
travelled considerably in Spain, and the work of his riper years was almost
confined to the .depicting of scenes of Spanish life. He was for some time
largely employed as a book illustrator, and made, among others, the draw
ings for Mrs. S. C. Hall's "Midsummer Eve," "Moore's Melodies," and
an edition of "Burns' Poems." He died at Cordova, in Spain, in 1877.
1011. At the Holy Well. Two women and a child by the
side of a well, over the top of which is a stone erection having
the letters " I. H. S.," surmounted by a cross ; a horseman is
approaching from the left. On Canvas — height, 15 in.; width,
18 in. Smellie Collection.

Troyon. Constant Troyon, 1810-1865. French School.
Constant Troyon, one of the great lights of the Barbizon School,
born at Sevres, began active life as a china painter in his native town,
In oil painting his early efforts were directed to landscape conceived in
the classical spirit which prevailed early in the 19th century, but it is as
an animal painter, and that animal chiefly the ox, on which his reputation
depends. In this direction he was powerfully influenced by the Dutch
pastoral painters, Cuyp and Potter, and his style was moulded and modified
under the influence of the creative genius of Rembrandt. Troyon plants
his animals amid landscape surroundings of the most natural and effective
description, and the creatures he depicts are not only most happily
grouped, but instinct with their proper character and action. The period
of Troyon' s effective production was very brief ; he was a man of mature
years before he discovered his mitier, and the/ last twelve years of his life
were clouded with mental malady. He died in Paris on 20th March, 1865.
1012. Landscape and Cattle. In foreground of a flat
meadow landscape, a group of cattle, one rubbing its head against
a post, by a flat wooden bridge which spans a streamlet. Cattle
and trees distributed in distance, and to right a clump of
trees. Signed " C. Troyon." On Canvas— height, 2 ft. 1 in.
width, 3 ft. The gift of the sons of James Reid, of Auchter
arder and Hydepark Locomotive Works, 1896.
Reproduced in Bryan's Dictionary of Painters and Enqravers, Vol. V.,
1905. J . .
1013- Sheep. Group of four sheep in a field. On Canvas —
height, ll1 in.; width, 20$ in. Donald Collection.
1014. Returning from Market. Herdsman with two oxen
and small flock of sheep emerging from wood; dark landscape
background. Signed " C. Troyon, 1851." On Canvas — height,
3 ft.; width, 2 ft. 4$ in. Donald Collection.

turner. 219

1015. Cattle. To right a cottage; to left trees; in centre a
group of cattle ; cloudy sky. Signed " C. Troyon." On Canvas —
height, 18 in.; width, 14$ in. Donald Collection.

Turner. Joseph Mallord William Turner, R.A., 1775-1851.
English School.
Turner, the most remarkable landscape painter of modern times, was
born in London on the 23rd of April, 1775. His father was a hairdresser
in Maiden Lane, Covent Garden, and it cannot be said that the circum
stances of his early years were favourable to the development of the genius
of the painter. At the age of 14 he entered the Royal Academy School,
and very soon he made it evident that a new power had risen in English
Art. In 1799 he was elected Associate, and in 1802 full member, ofthe
Royal Academy, to the annual exhibitions of which he contributed con
tinuously from 1790 till 1850. He died on 19th December, 1851, and was
buried by the side of Sir Joshua Reynolds, in St. Paul's Cathedral. He
bequeathed a large collection of pictures to the nation (the two pictures
Nos. 1017 and 1018 below forming part of that collection), and his remain
ing wealth he intended should go to the establishment of an institution for
the benefit of decayed artists.
1016- Modern Italy — The Pifferari. An ideal landscape,
with a river flowing between hills and under a bridge outward
to a level plain and the distant sea. A city, reminiscent of
Heidelberg, clothes the slopes of the hill to the left. On
right bank a religious procession is seen approaching a sacred
place on the roadside, beyond which is a castle and ramparts;
in foreground, to left, two figures kneeling in front of a
monk, and beyond them the Pifferari. On Canvas— height,
2 ft. 11$ in. ; width, 4 ft. The gift of the sons of James Reid,
of Auchterarder and Hydepark Locomotive Works, 1896.
Exhibited at the Royal Academy in 1838. Subsequently in the Munro
of Novar, Butler Johnstone, Price, and Kirkman Hodgson Collections.
Engraved by Miller for the Turner Gallery.
1017. Bacchus and Ariadne. Ariadne, daughter of
Minos, King of Crete, deserted by Theseus on the island of
Noxos, is discovered by Bacchus. The figures of Bacchus and
Ariadne are adopted from Titian's picture of the same subject
in the National Gallery. On Canvas — circular — 2 ft. 6$ in.
diameter. Lent by the National Gallery.
Exhibited at the Royal Academy, 1840.
Engraved in the Turner Gallery.
1018. Van Tromp returning after the Battle off the
Dogger Bank. The entrance to the Scheldt, with the yacht of
Admiral Van Tromp in centre, beyond, to right, a line-of-
battle ship at anchor, to left other vessels, fishing boats, &c.
Lent by the National Gallery.

220 uden. uwins.

1019. Sunset in Venicb. The lagoon, on which are gondolas,
in" distance is Venice under a glowing sunset sky. Water-
colour — height, 8$ in.; width, 12 in. Smellie Collection.
A version in water-colour of the oil painting, "Approach to Venice,
looking towards Fusina," in the National Gallery. Engraved by J. C.
Armytage. 1 020. Italian Scene. To right, a Gothic fountain, with shaft
of a ruined arch, and a villa and other buildings on a knoll; iD
centre, a road with figures; in distance, hills. On Canvas —
height, 2 ft. 4$ in. ; width, 1 ft. 9$ in. Donald Collection.
1021. Lyme Regis. The sea shore ; on the beach a man carry
ing a net; to right, several bathers and sailing boats; beyond, a
height; and in distance, sloping up from the shore, a town.
Water-colour — height, 6 in. ; width, 8$ in. Donald Collection.
1022- Italian Scene with Boats and Figures. On Canvas
— height, 14 in.; width, 17$ in. Teacher Collection.
[This appears to be only an imitation of Turner.]

Uden. Lucas Van Uden, 1595-1672. Flemish School.
Lucas van Uden was bom at Antwerp, where his father was a land
scape painter. The son followed in the father's footsteps with so much
success that he was frequently employed by Rubens to insert landscape
backgrounds to his figure subjects. He was also on terms of intimate
friendship with Vandyck, by whom his portrait was painted.
1023. Virgin and Child, Attended, in a Landscape. In a
woody landscape, the Virgin seated in foreground, nursing the
infant Saviour, behind her St. Joseph with a book, on each side
cherubs, with St. John and the Lamb bringing fruit, flowers,
etc. Landscape by Van Uden, figures by Van Balen. On Panel
—height, 2 ft. 3 in.; width, 3 ft. 3 in. M'Lellan Collection.
(See Balen, Hendrik Van.)

Uwins. Thomas Uwins, R.A., 1782-1857. English
School. Thomas Uwins, who was a native of London, commenced his artistio
career by painting portraits and domestic subjects, and by drawing
illustrations for popular books. In middle life he spent several years in
Italy, where he derived the inspiration which greatly advanced his
position as an artist, and in his later years led to high popularity and
numerous honours. In 1832 he was elected an Associate, and in 1838 a
full member, of the Royal Academy ; in 1845 he was appointed Surveyor
of the Queen's pictures ; and in 1847 he received the office of Keeper of
the National Gallery. His pictures enjoyed much popularity, the sub
jects being happily chosen, and by no means recondite. He died at
Staines on 25th August, 1857.

valory. vandevelde. 221

1024. Comus Offering the Enchanted Cup to a Woman.
The god of mirth represented as a youth with a wreath of vine
leaves, holding in his left hand a spear, offers to a lady seated
in a bower the enchanted draught. On Millboard— height, 8$
in.; width, 6$ in. Euing Collection.
1025. Le Chapeau de Brigand. — A young girl left in a
studio has dressed herself up in various articles of Italian
costume, including a brigand's hat. On Canvas— height, 2 ft.
5 in. ; width, 1 ft. 9$ in. Lent by the National Gallery.
Exhibited at the Royal Academy, 1843.
Valory. Caroline de Valory, early 19th century. French
School. Caroline, god-daughter and pupil of Greuze, and wife of M. de Valory,
was known both as a painter and writer. In 1813 she published a
Comedie Vaudeville called Greuze, ou V Accordie du Village, preceded by
a notice of her master's life and works.
1026. The Miniature. Half-length figure of a girl, bosom
and right arm bare, examining a miniature. On Canvas — height,
22f in.; width, 19 in. M'Lellan Collection.
Vandevelde. Esaias Vandevelde, about 1590-1630. Dutch
School. This artist, a native of Amsterdam, and one of the senior members of a
family which produced many eminent artists, was admitted into St Luke's
Guild at Haarlem in 1612. He is principally known as a painter of battle-
pieces, skirmishes, etc., after the manner of P. Wouwerman, and his work
is distinguished by light, spirited, and graceful pencilling of figures. He
was in request by contemporary landscape painters for enlivening their
compositions with figures. He died at The Hague, 18th November, 1630.
1028- The Skirmish. On a roadway a group of bandits on
foot, engaged in combat with two horsemen; a third horseman
is riding back towards a waggon with two horses standing in
the distance. Signed "E. V. Velde, 1624." On Panel, circular
— 9| in. diameter. M'Lellan Collection.

Vandevelde. Wm. Vandevelde, the Younger, 1633-1707.
Dutch School.
The younger Vandevelde, native of Amsterdam, like his father,
devoted himself to the painting of marine subjects ; and in the repre
sentation of the wave-motion of the sea, as well as in the picturesque
disposition and accurate knowledge and delineation of vessels, he had no
rival in the Dutch School. He, along with his father, came to London
in 1675 under the patronage of Charles II. , and for that Sovereign, as
well as for James II. , he painted numerous sea-pieces, many of which
are still in the collection at Hampton Court. He died in London, 6th
April, 1707.

222 vandevelde.

1029. Sea-Piece — Fishing Boats, Shipping, etc., in a quiet
sea, with a low headland in the distance. Signed on spar,
" W. V. V." On Canvas— height, 12J in. ; width, 16 in. -M'Lellan
Collection. 1030. Frigate Firing the Evening Gun. A Dutch war
vessel in a calm sea, with a boat by her side, other vessels in
the offing and on the distant horizon. A gun is being fired from
the frigate. On Panel — height, 10$ in.; width, 9 in. M'Lellan
Collection. "A dark cloud and a dark shadow on the water give this picture an
unusually striking effect" (Waagen's Art Treasures, vol. iii., p. 287).
Dr. Bode suggests that this picture may be by R. Zeeman.
1031. Sea-Piece. Large man-of-war in the foreground, with
sails partly set and others being unfurled, small boat with figures
alongside. War vessel to right firing a salute ; to the left, another
running before the wind; ships in the distance. On Canvas —
height, 2 ft. 1 in.; width, 2 ft. 8$ in. Signed on floating spar,
"W. V. Velde." Graham-Gilbert Collection.
1032. Sea-Piece — The Approaching Squall. (Sohool of
Vandevelde the Younger.) In foreground a fishing boat with
sails taken in, near which is a Dutch war sloop, and the stem
and sail of another vessel beyond her. To the right a war
frigate, and other shipping in the distance. On Canvas — height,
1 ft. 8$ in.; width, 2 ft. 4 in. M'Lellan Collection.
Dr. de Groot considers this to be a work of Bakhuizen.

Vandevelde. Adrian Vandevelde, 1635-1672. Dutch School.
This distinguished painter of animals and landscapes, brother of the
marine painter, William Vandevelde, the Younger, was born in Amster
dam. He very early exhibited extraordinary powers, and, electing to
study landscape and rural life, he was placed under the tuition of
Wynants, who was astonished at his precocious ability. At the age of
fourteen he etched a series of plates, which are now exceedingly rare, and
throughout his brief career he continued occasionally the practice of
etching. His works are distinguished by great originality of style,
tenderness of colour, and comprehension of animal life and nature.
Vandevelde' s services were freely rendered to brother artists in enlivening
their landscapes with figures, chiefly of animals. He died at Amsterdam
on 21st January, 1672.
1034. Milking Time. Female milking a cow in a field by
a pollard willow; a cow and sheep lie in the foreground, and
other cattle are in the distance. Signed, on a rail, " A. V. Velde,
1670." On Panel — height, 9$ in.; width, 7f in. M'Lellan
Collection. Purchased in 1844 from Earl de Grey's Collection.
" Delicate and careful " (Waagen's Art Treasures, vol. ii. , p. 286).

VANDYCK. 223

1035. Female Peasant with Cattle. Female seated suck
ling her infant, and, with a dog at her side, tending cattle and
sheep in a woody landscape, with stream, near a lofty mass of
rock. Signed "A. V. Velde, 1669." On Canvas— height, 9$ in.;
width, 8$ in. M'Lellan Collection.
1036. Sheef. A group of four differentcoloured sheep rest
ing together. Probably a fragment. On Canvas — height, 3| in. ;
width, 5$ in. Euing Collection.

Vandyck. Sir Anthony Vandyck, 1599-1641. Flemish School.
Anthony Vandyck was born of pious Roman Catholic parents, who
occupied a good position in Antwerp. At an early age he became a pupil
of H. Van Balen, and later he worked under Rubens, in whose manner his
first works were executed. While still a young man he was employed by
James I. in England. Subsequently he visited Italy, and was, while
there, greatly influenced by the style and colour of Titian. The greater
part of the later years of his short life was spent in England, where he
was appointed principal Court painter and knighted by King Charles 1.,
from whom he received a life pension of £200 per annum. Vandyck
married Maria Ruthven, a descendant of the Scottish Earls of Gowrie,
and, dying at the early age of forty-two, he was buried in St. Paul's
Cathedral, London.
1038. The Repose in Egypt. The Virgin, with the Infant
Jesus in her arms, under the shade of a peach tree, by a large
sunflower, both intently watching the gambols of eight angels,
St. Joseph observing them from behind. On Canvas — height,
5 ft. 7 in.; width, 8 ft. 1 in. Presented by Sir Andrew Orr,
Lord Provost, in 1856.
A replica of the original in the Hermitage, St. Petersburg. Versions of
the picture, with several interesting variations, also exist. One in the
Pitti Palace at Florence was engraved by Scheltius A. Van Bolswert
during the lifetime of Vandyck; and another, in Lord Ashburton's
possession, was engraved by Coelmans, under the title, " The Queen of
Angels." 1040. Equestrian Portrait op King Charles First (Copy
by Graham-Gilbert). The King, in armour, on a white charger,
passing under an arch, with the Duke D'Espernon, as equerry,
bearing the King's helmet. On Canvas — height, 3 ft. 9 in.;
width, 2 ft. 10 in. Graham-Gilbert Collection.
The original is in Windsor Castle, and was engraved by J. Boydell in
1770. 1041 Portrait of an Old Man. Head of an Old Man, life
size, wearing a broad cap, and holding in his right hand a
parchment On Panel— height, 24 in. ; width, 19 in. Graham-
Gilbert Collection.
Formerly attributed to Ribera.

224- VARLEY. VELASQUEZ.

Varley. John Varley, 1778-1842. English School.
John Varley, the son of a London silversmith, began his art career by
the painting of portraits, but while yet a youth he was engaged to draw
architectural subjects in various parts of England, an undertaking for
which he manifested great aptitude. He was one of the fathers of the art
of water-colour drawing in England, and a founder of the Water-colour
Society, to the exhibitions of which, and also to those of the Royal
Academy, he was a steady contributor. He died on 17th November, 1842.
1042. A Mountain Landscape. A river, spanned by a
bridge of two arches, flows towards the left; to the right, on a
road along the river bank, a woman with three children, and a
house at the end of the bridge ;, to the left, a girl, houses, and
bare hills, which stretch away and close the distant horizon.
Signed " J. Varley." Water-colour — height, 6$ in. ; width, 8$
in. Presented by James Orrock, R.I., 1892.
1043. A Welsh Village. In the foreground a graveyard,
with great trees, grave-stones, and the side of a church, with
numerous figures; beyond, a straggling village street. Signed
"J. Varley, 1830." Water-colour— height, 11$ in.; width, 20
in. Presented by James Orrock, R.I., 1892.

Veen. Otho Van Veen, 1558-1629. Flemish School.
Otho Van Veen, or Otho Vsenius, as he was also called, was born at
Leyden, but, while yet a youth, political and religious troubles drove
his family, who occupied an important position, to Liege. He studied
several years in Italy, and on his return to the Low Countries he settled
at Antwerp, where he acquired a great reputation. He there had the
honour of being instructor of Rubens. In his later years he was appointed
Superintendent of the Mint, and removed to Brussels, where he died.
1044. Death of Ananias. In foreground of a crowded
scene, the dead body of Ananias is being carried away, while
offerings of earthly possessions are being made to, and lie at
the feet of, the apostles Peter and John. On Canvas — height,
6 ft. 8 in. ; width, 7 ft. 1 in. M'Lellan Collection.
Velasquez. Diego Rodriguez da Silva y Velasquez, 1599-
T660. Spanish School.
This great artist, the chief of the Spanish School, and one of the first of
all schools, was born at Seville on the 6th of June, 1599. His father,
who was an advocate, came of an old Portuguese family, settled in Seville
since the beginning of the 16th century. Diego was intended to follow a
learned profession, but so strong was his inclination for an artistic
career that he was placed as a pupil under Francisco Herrera, the elder.
Subsequently he studied with Francisco Pacheco, whose daughter he
eventually married. In 1622 Velasquez visited Madrid, and in the
following year he repeated his visit on the invitation of the Duke of
Olivares, by whom he was introduced to Philip IV., who appointed him
his court painter. In 1629 he went to Italy, where he remained for about

veneziano. vkrboom. 225

two years. On his return to Madrid he was lodged in the Royal Palace,
and a painting room provided for him. Towards the close of 1648 he
was sent by Philip to Italy to purchase works of art, and it was on this
occasion that he painted his great portrait of Pope Innocent X., now in
the Doria Gallery, Rome. On his return he was decorated with the Cross
of St. lago and created Aposentador Mayor, an office the duties of which
included the superintendence of the lodging of the King during his
absences from Madrid. It is said that nis death was caused by the
exertions he made for the entertainment of the King during the conference
at Irun in connection with the engagement of the Infanta Maria Teresa to
Louis XIV. A few days after his return to Madrid he was taken ill, and
there he died on the 6th of August, 1660. Although Velasquez painted
landscapes, hunting scenes, and mythological pieces, it is on his portraits
that his fame ultimately rests. He was the most modern in his methods
of all the great masters, and his works are distinguished by a marvellous
grasp of character and an extraordinary felicity of execution. The most
important of his pictures are in the Prado Museum, Madrid.
1045- Portrait of Philip IV. Bust, three-quarters face
turned to right, wearing order of the Golden Fleece. From
Secretan Collection. On Canvas — height, 2 ft. 3 in. ; width, 1 ft.
9 in. Donald Collection.

Veneziano. Domenico di Bartolommeo Veneziano, 1402-
1461. Italian-Florentine School.
This artist, who came of Venetian parents, worked principally in
Florence, where he was for long employed by the Medici family. He
also worked, between the years 1439 and 1445, at the decorations of the
Portinari Chapel in Santa Maria Novella in that city. Few of his works
are in existence; one example is in the Uffizi Gallery, Florence, and
another in the National Gallery, London. He died in Florence on 15th
May, 1461.
1046. St. Catherine Crowned. Head of the saint crowned
with a bridal wreath indicating her espousal to the Saviour,
abundance of wavy hair falling over her neck; the upper portion
of the crimson vestment has elaborately jewelled broidery; in
the left corner is seen a section of the wheel which usually
accompanies representations of the saint. On Panel — height,
13$ in.; width, 10$ in. M'Lellan Collection.
Reproduced in the Gazette des Beaux Arts, 3rd period, vol xiiL (1895),
p. 257, and in Bryan's Dictionary of Painters and Engravers, Vol. V. , 1905.
Verboom. Abraham Verboom, 17th century. Dutch School.
Verboom, a landscape painter, is supposed to have been a native of
Haarlem. Little is known of his life beyond the fact that he was a con
temporary of A. Vandevelde, Lingelbach, and Wouwerman, all of whom
are known to have enlivened his landscapes with figures. His pictures
bear date from 1649 to 1663.
1047- Woody Landscape. Amid trees in the foreground to
the right, are a cottage and outhouse, with various figures and
sheep; to the left, a roadway leading to a field surrounded

226 . Verendael. Vernet.

with trees; and, on the road, a hawking party and other figures.
Beyond the field a church spire and roofs of houses appear
over the trees. Figures by Lingelbach. On Canvas — height,
3 ft. 6 in.; width, 4 ft. 10 in. M'Lellan Collection.

Verendael- N. Van Verendael, 1640-1691. Flemish School.
Verendael, who was born and died in Antwerp, was one of the group
of painters who, flourishing in the 17th century, brought the art of
painting fruits and flowers to wonderful perfection. He imitated the
texture, structure, and colour of fruits, flowers, and insects with extra
ordinary care and microscopic accuracy, while at the same time he dis
played much skill in the composition of his groups and the disposition
of colours. 1048. Flowers and Insects; On a marble slab a bouquet
of flowers, comprising roses, poppies, convolvulus, pinks, honey
suckle, etc., with a beetle, a butterfly, and a moth. On Canvas
— height, 23$ in.; width, 19$ in. M'Lellan Collection.

Verkolje. Johannes Verkolje, 1650-1693. Dutch School.
This artist was born at Amsterdam, the son of a locksmith. It was
intended that he should follow his father's occupation, but, meeting with
an accident, he was bedfast for three years, during which time he occupied
himself in copying prints. On his recovery he studied under Jan Lievens.
Ultimately he settled at Delft, where he died in May, 1693. In addition
to his portraits, historical subjects, and conversations, he produced a large
number of engravings.
1050. The Reading Magdalene. Female, with penitent air,
kneeling before a crucifix, with an open book resting on a skull.
On Canvas — height, 2 ft. 3 in.; width, 1 ft. 8 in. M'Lellan
Collection. Formerly attributed to Vandyck.
Vernet. Claude Joseph Vernet, 1714-1789. French School.
This artist, known commonly as Joseph Vernet, was the son of a
decorative painter at Avignon, and there he began his career by decorating
coach panels with his father. At an early period, however, he resolved
to devote himself to higher walks of art, and for the purpose of study he
entered the studio of Fergioni, a marine painter in Rome. Marine
subjects, seaports, and views of cities possessed a wonderful attraction
for Vernet, and to such he principally devoted himself. He continued
to work in Italy till he was nearly 40 years of age, when he was recalled
to Paris, and he there received a royal commission to paint a series of
pictures of the harbours of France. He was father of the famous artist,
Carle Vernet, and grandfather of the still better known Horace Vernet,
the battle painter (see below). He died in the Louvre on 3rd December,
1789. 1051. Landscape — La Riccia, near Rome. In the fore
ground is a woman seated on a donkey, and some sheep ; beyond,

vernet; vkronkse. 227

trees on gently rising ground; and, against the sky-line, a con
tinuous wall-like range of houses, terminating in a large dome-
covered building. On Canvas — height, 1 ft. 11 in.; width, 2 ft.
9 in. M'Lellan Collection.
"A genuine and pretty picture" (Waagen's Art Treasures, vol. iii.,
p. 290).
Vernet. John Emilius Horace Vernet, 1789-1863. French
School. Horace Vernet, native of Paris, was the son of the eminent painter
Carle Vernet, from whom he received the elements of his art education.
He commenced painting on his own account at a very early age, and
throughout his life, working with enthusiastic assiduity, he produced
an enormous amount of artistic work. Imbued with the military spirit
of his early years, he devoted much of his attention to battle-pieces, and
it is as a painter of the military triumphs of his country that Horace
Vernet is chiefly famous. These battle pictures, generally painted on
a great scale, now form a principal feature of the Galleries at
Versailles. Vernet also painted many portraits, historical pieces, and
illustrations of scriptural narrative. He died in Paris on 17th January,
1863. 1052- Portrait op the Sculptor Thorwaldsen (Copy).
Half-length, life-size figure in white blouse, with a head modelled
in clay on a stand by his side. The bust being modelled is that
of the painter himself. Copied by C. W. Schenstrom, a Danish
artist, in 1857. On Canvas — height, 3 ft. 2$ in.; width, 2 ft.
6 in. Euing Collection.
The original of this portrait, which has been engraved, is in the Thor
waldsen Museum, Copenhagen.
Veronese- Paolo Caliari, 1528-1588. Italian- Venetian School.
Paolo Caliari, better known as Paolo Veronese, was a native of
Verona. Early in his life he was attracted to Venice by the reputation of
Titian and the other great masters of the Venetian School, then in its
glory. Veronese, who essayed to rival Titian himself, cultivated a richly
decorative style of painting. His figures are grand and dignified,
sumptuous in dress and appointments, and many of his pictures are on a
vast scale. His most famous work, " The Marriage at Cana," now in the
Louvre, is about 32 feet long by 22 feet in height. He died at Venice on
19th April, 1588.
1053. The Martyrdom of St. Justina. (Copy by Graham-
Gilbert.) In centre, the saint kneeling in front of a Moor, who
stabs her in the breast with a dagger; to the right are two
senators in long robes; to left are two turbaned figures with
staves; Ionic columns behind. On .Canvas — height, 17 in.;
width, 19 in. Graham-Gilbert Collection.
The original, with life-size figures, was executed by Veronese for the
Church of St. Justina in Padua, where it still remains above the high
altar. A smaller version, probably the sketch for the above-mentioned
work, is in the Uffizi at Florence.

228 VERTANGEN. VICKERS.

Vertangen. Daniel Vertangen, 1598-1657. Dutch School.
This painter was a native of The Hague, and a pupil of Poelenburgh,
whose peculiarities of subject and manner he imitated with great fidelity.
His paintings generally represent females bathing, dancing with satyrs,
and similar subjects.
1054. The Expulsion from Paradise. Our first parents,
nude, flying before an angel with a flaming sword. Signed
"Daniel Vertangen." On Copper — height, 9 in.; width, 11$ in.
M'Lellan Collection.
1055. Nymphs and Satyrs Dancing. On Panel — height,
10$ in. ; width, 13 in. M'Lellan Collection.
Called a Poelenburgh by De Groot.
1056- Nymphs with Grain (companion to 1057). A group
of nine females, with two sheaves of corn ; background, trees and
massive ruins, with open landscape to the right. On Panel —
height, lOf in.; width, 14 in. Euing Collection.
1057- Nymphs with Grapes. A group of eight females
variously engaged in gathering and expressing juice from grapes ;
in the background trees, and the ruins of a massive building.
On Panel — height, lOf in.; width, 14 in. Euing Collection.

Vibert- Jean Georges Vibert, died 1904. French School.
Vibert, an artist of great and varied but unequal attainments, early
acquired a considerable reputation for the powerful manner in which he
depicted historical events of a dramatic character. After a time he
departed from the historical and devoted himself to the portrayal of
commonplace incidents on small canvasses. Later his attention was
directed to episodes of ecclesiastical life. He was also « writer of some
literary skill, contributing a series of articles on art subjects to the
Century Magazine, and was the author of several plays which were pro
duced at various Parisian theatres. Vibert fought in the Franco-German
War of 1870, and was made Chevalier of the Legion of Honour for bravery
in the field. He was one of the founders of the French Water-colour
Society. He died suddenly at Paris of heart disease.
1058. Priest and Harlequin. Interior, with stout, jolly
ecclesiastic, seated with crossed legs in arm-chair, listening to
a masked harlequin, seated on a stool, speaking with eager
gesticulation. Signed "J. G. Vibert" Water-colour — height,
101 in. ; width, 14 in. Presented by Mrs. Wiseman, 1907.
Vickers. Alfred Vickers, 1786-1868. English School.
Alfred Vickers, a native of Newington, Surrey, was to a large extent
a self-educated artist. He devoted himself principally to the painting of
English landscapes, which he drew in a very effective and pleasing but
somewhat sketchy manner ; and his work was more remarkable for amount

vincelet. vollon. 229

than finish or high quality. He continued to exhibit at the Royal
Academy up till the year of his death. His son, A. G. Vickers, an artist
of great promise, died at the early age of twenty-seven.
1059. A Coast Scene. A bay on the south-west coast of
England, with a precipitous and jagged coast - line gradually
receding to a flat, low coast in distance. Fishers drawing
nets on foreground, and several boats and vessels in distance.
Signed "A. V." On Canvas — height, 7$ in.; width, 17$ in.
Euing Collection.
1060. Landscape and River Scene, with Cattle and
Figure. On Panel — height, 7 in.; width, 13$ in. Teacher
Collection.

Vincelet. Victor Vincelet, died 1871. French School.
Vincelet, a native of Thiers (Puy-de-D6me), was a pupil of M. L.
Hullier. He excelled in the painting of fruit and flowers, and exhibited
in the Salon in 1869 and 1870. He committed suicide in 1871.
1061. Flowers. A group of flowers in a vase. Signed
"V. Vincelet, '70." On Canvas— height, 21 in.; width, 15 in.
Bequeathed by Archibald R. Henderson, 1901.

Vinckeboons. David Vinckeboons, 1578-1629. Flemish
School. This artist was son of Philip Vinckeboons, a little-known painter of
Mechlin, where David was born. He received his only instruction from
his father, and devoted himself principally to the painting of landscapes
conceived in the manner of Jan Brueghel, into which he frequently
introduced groups illustrative of scriptural subjects as subsidiary to the
landscape. He also painted figure subjects. He died at Amsterdam.
1062. The Repose in Egypt. Thick woody landscape, with
a stretch of open country to the left. In foreground the Virgin
seated nursing the Holy Infant, St. Joseph leaning on a mass
of rock at her side, and a cherub bringing an offering of fruit.
Inscribed with his sign, the finch. On Copper — height, 7$ in. ;
width, 12 in. M'Lellan Collection.
"The style is that of Brueghel and the figures appear to be by
Rottenhamer," says De Groot. Dr. Waagen characterises the work as
"very nice."
Vollon. Antoine Vollon, 1833-1900. French School.
This noteworthy painter of still life was born at Lyons on 23rd April,
1833, where he received his first instruction in art. Subsequently he
studied under Ribot. In addition to still life, he was also successful in
landscape and portraiture. He gained medals for works in 1868 and 1869,
and at the Exhibition of 1878 he was awarded a first-class medal. He
died in Paris on 27th August, 1900.

230 vos. voys.

1063. Fruit Piece. Pumpkin, peach, grapes, etc., and
handled vase, upon a table. Signed " A. Vollon." On Panel —
height, 1 ft. 4$ in. ; width, 2 ft. 4 in. Donald Collection.

Vos. Cornelis de Vos, 1585-1651. Flemish School.
De Vos, an eminent portrait painter, native of Hulst, contemporary of
Rubens, and friend of Vandyck, received his art instruction from an
obscure Antwerp artist named Remeens. He was admitted into the
Guild of St. Luke, Antwerp, in 1608. In addition to portrait painting,
he devoted himself to mythological and scriptural subjects, and it is said
that Rubens recommended patrons, whose portraits he was unable to
undertake, to De Vos as an artist quite equal to himself.
1064. Portrait. Half-length life-size figure of a man, long
yellow hair becoming grey, small moustache and peaked beard;
in black cloak, with white collar. On Canvas — height, 2 ft.
5$ in.; width, 2 ft. 0$ in. M'Lellan Collection.
Formerly attributed to School of Vandyck. M. Henri Hymans recog
nises the portrait as that of Luke Vosterman, engraver.

Vouet. Simon Vouet, 1590-1649. French School.
Vouet was a native of Paris, and there he received his first instruction
in art from his father, himself an artist. Afterwards he resided in Rome,
where he came under the influence of the naturalist and eclectic schools
then flourishing. He returned to Paris in 1627, when he was appointed
Court painter, and during the remainder of his life he was, in effect,
dictator in matters of art in France.
1 065. The Annunciation. The Virgin kneeling at a prie-dieu,
on which is a book of devotions; approaching from the left is
the angel of the Annunciation, who holds out to the Virgin the
lily; in clouds above, God tha Father and cherubs. On Canvas
—height, 3 ft. 2| in.; width, 2 ft. 4f in. M'Lellan Collection.

Voys. Adriaan or Arie de Voys or Vois, 1641-1698. Dutch
School. Arie de Voys was a pupil of Nicholas Knupfer, and afterwards of
Abraham van den Tempel, but he followed the highly finished style of
Gerard Dou. He was admitted to St. Luke's Guild of Leyden in 1653,
a circumstance which makes it very doubtful that the year 1641,
generally given as that of his birth, is correct. He occasionally painted
historical pictures on a small scale, although his chief works are portraits,
conversations, and domestic subjects, which he executed with a finish
little inferior to that of Metzu or Mieris. He excelled in nude figures,
and with those he often enlivened his landscapes. His works are
extremely scarce, in consequence of his having spent a considerable
portion of his life in idleness and dissipation. Voys died at Leyden.

vroom. watteau, 231

1066. Head op a Jew. Head and shoulders of an old man,
in long beard, wearing an Eastern cap. Signed " A. Voys " On
Panel, circular— diameter, 7f in. Graham-Gilbert Collection.
A replica of this delicate little portrait is in the Stadel Gallery in
Frankfurt. '

Vroom. Cornelis Hendricksz Vroom, 1600 3-1661. Dutch
School. Vroom was born and died in Haarlem, and was probably a pupil of his
father, who was also a Haarlem artist. He was highly esteemed by his
contemporaries, and many pf his later works are worthy to rank, and
have been confounded, with the pictures of Ruysdael and Hobbema.
1067. Cabinet Landscape. Bank of trees sloping down to
a pool; figure and cattle in the centre. On Panel — height,
5 in. ; width, 6 in. Graham-Gilbert Collection.
Formerly attributed to Ruysdael, but Dr. Bode has pointed out its
similarity to a signed picture by Vroom in the Berlin Gallery.
Walton. Edward A. Walton, R.S.A. (living artist). Scottish
School. 1068- Portrait of Sir James King, Bart., LL.D., Lord
Provost of Glasgow, 1886-89. Full length, in official robes.
Signed " E. A. Walton." On Canvas— height, 7 ft. 2 in. ; width,
4 ft. 4 in. Painted for the Corporation.

Watt. Fiddes Watt, A.R.S.A. (living artist). Scottish
School. >
1069. Portrait op Sir William Alexander Smith, Lieut.-
Colonel and Hon. Colonel 1st Lanarkshire Rifle Volunteers.
Founder of the Boys' Brigade. Three-quarters length, life
size, turned to left. Signed " Fiddes Watt, '09." On Canvas
— height, 4 ft. 1 in. ; width, 2 ft. 9 in. Presented by
Subscribers, 1909.
Watteau. Jean Antoine Watteau, 1684-1721. French
School. This distinguished ornament of the French School was the son of poor
parents at Valenciennes, where, showing great artistic aptitude, the youth
received such instruction as an incompetent teacher was able to afford
him. At an early age he resolved to fight his own battle, with which
view he went to Paris, where he laboured for a long time under most dis
couraging circumstances. In the end he met friends and patrons capable
of appreciating his genius, but he did not live long to enjoy the honours of

232

which he was so worthy, dying at Nogent-sur-Marne, near Paris, on the
18th July, 1721. Watteau was the originator of a distinct class of
figure and landscape subjects embodying the highly-artificial life and
unhealthy luxury of the times in which he lived ; but his courtly
shepherdesses, nymphs, and swains are pencilled with unapproachable
spirit, grace, and vigour, while his colour is splendid and harmonious in
the highest degree.
1070. Breaking up the Camp — Depart de Troupe.
Pendant to No. 1071. Military party commencing their march
under the leadership of a mounted officer. On Canvas — height,
2 ft. 1 in. ; width, 2 ft. 1$ in. Euing Collection.
Original in the possession of Baron Edmond de Rothschild. An etching
of this subject, under the title of " Recrue, allant joindre le Rigiment,"
was begun by Watteau and finished by Thomassin. See Gazette des
Beaux Arts troisieme period, tome I., p. 181 (March, 1889), and Antoine
Watteau, by Claude Phillips (Portfolio), London, 1895. "There is no
doubt that this is the picture painted by Watteau, etched by him, and
engraved by Thomassin ; but there are repetitions painted by a later
hand from the engravings of this work and its companion 'Halte de
Troupe,' which passed in the Euing Collection to the Corporation Gal
leries, Glasgow." See Lady Dilke's French Painters of the 18th Century,
p. 77.
1071. The Encampment — Halte de Troupe. A military
party, with some females and peasants, resting and preparing an
evening meal at a fire under the shadow of trees. A pool in the
foreground. On Canvas — height, 2 ft. 1 in. ; width, 2 ft. 7$ in.
Euing Collection.
Engraved under the title of " Halte d' Armie," by C. N. Cochin.

Webb. James Webb. Modern English School.
A painter of marine subjects and landscapes, resident in London, whose
works appeared in the Exhibitions of the Royal Academy from 1853
till 1888.
1072. A Bit of Constantinople. An eminence, with
mosques and other buildings, overlooking the Bosphorus. Signed
"James Webb." On Canvas — height, 17$ in.; width, 31$ in.
Teacher Collection.

1073. Clovelly, North Devon. A storm on the coast of
Devonshire; to left is a fishing boat, flying before the wind;
near her some wreckage; beyond, the pier and village of
Clovelly; and, in distance, precipitous cliffs. Signed " James
Webb." On Canvas— height, 2 ft. 6 in.; width, 3 ft. 10$ in.
Teacher Collection.

WEENIX. VVERPP. 233

Weenix. Jan B. Weenix, 1621-1660. Dutch School.
Weenix was a native of Amsterdam, in which town his father was an
architect of good reputation, but he died while his son was very young.
Weenix became a pupil of Bloemart, under whose tuition he made very
rapid progress ; afterwards he went to Rome, where he met a flattering
reception, and received much patronage and encouragement. In 1649 we
find him chief of the Painters' Guild of Utrecht, and in that city he died
in 1660. He devoted himself principally to the painting of views of
cities and architectural ruins, landscapes, and animals ; and in his special
department he has been excelled by few Dutch painters.
1074. Ruins op a Circular Temple, etc. A classical ruin,
with a circular Corinthian colonnade, near a sea coast. A tiir-
baned group is inspecting the structure, and moored by the shore
is a magnificent covered barge and other shipping. Poultry in
foreground. On Panel— height, 21$ in. ; width, 16 in. M'Lellan
Collection. Weir. 1075. Portrait of Wm. Euing, Sen., the father of Mr.
William Euing, who presented and bequeathed to the Corpora
tion many pictures in these Galleries. Half length, life size,
seated to left. On Canvas — height, 2 ft. 5$ in.; width, 2 ft.
Euing Collection.
Werff. Adrian Van der Werff, 1659-1722. Dutch School.
Adrian Van der Werjt was born near Rotterdam, and received part of
his art instruction from Eglon Van der Neer, whose smooth style and
finish he adopted. He devoted himself to portrait painting and figure
subjects, involving historical and scriptural characters, and in these walks
he became contemporaneously a most popular artist. In 1696 he was
appointed Court painter to John William, Elector Palatine, by whom he
was knighted, and from 1703 he was designated the Chevalier Van der
Werff. He died at Rotterdam.
1076- Portrait op a Lady. A three-quarter seated figure,
in yellow robe and blue velvet mantle. Signed " Adn. V. Werff,
fee, ano. 1695 ; " marked on back of canvas, " iEtatis 33, ano.
1695." On Canvas — height, 18 in.; width, 15 in. Graham-
Gilbert Collection.
1077- Samson and Delilah. Delilah, nearly nude, seated,
with Samson asleep reclining against her. She holds up a lock
of his hair, which she has just cut off. A Philistine stands at
left looking on; background, a niche, with a statue, a fluted
column and red drapery. On Panel — height, 13$ in.; width,
10$ in. M'Lellan Collection.
A version of this picture, different in details, was in the possession of
M. Poullain, Receveur-General des Domaines du Roi, France, who died
in 1780. It was engraved by C. F. Macret.

234 WEST. WESTALL.

1078. Portrait of a Lady. A three-quarter length figure
seated by a sculptured fountain, in orange robe, with a blue scarf
confined with a jewelled band. Signed "Adn. V. Werff." On
Canvas — height, 18 in.; width, 15 in. Graham-Gilbert Collection.
West. Benjamin West, P.R.A., 1738-1820. English School.
Benjamin West was born at Springfield, in Pennsylvania, North
America. At the age of nine years his ability to draw was noticed by Mr.
Pennington, a merchant, and through his interposition the lad obtained
some instruction from a painter in Philadelphia, named Williams. While
a youth he began to paint portraits in Philadelphia, thereafter he removed
to New York, and in his twenty-second year, by the aid of friends, he was
enabled to proceed to Italy. In 1763 he came to England, where he was
received with such distinguished favour that he settled in London, and for
thirty-five years he was continuously employed by George III. West was
an original member of the Royal Academy, and in 1792 he succeeded Sir
Joshua Reynolds in the presidential chair. As a Quaker he declined the
knighthood usually bestowed on the president. He painted principally
historical and scriptural compositions, many being on the scale of life size.
West was the first to employ contemporaneous costume in modern historical
Sictures. He died on 11th March, 1820, and was buried in St. Paul's
athedral. 1081- The Raising op Lazarus — A Sketch. At the com
mand of the Saviour, who is surrounded by His disciples, Martha,
Mary, and others, Lazarus, in grave clothes, is bursting from his
tomb. The spectators betray great excitement and alarm.
Signed " B. West, 1788." On Canvas— height, 2 ft. 4$ in. ; width,
3 ft. 10 in. M'Lellan Collection.

Westall. Richard WestaU, R.A., 1765-1836. English School.
Westall, born at Hertford, commenced his career as apprentice to a
heraldic engraver. He attended evening classes at the Royal Academy,
and as classmate had Lawrence, subsequently President of the Academy.
Westall was very much employed during the earlier part of his career as
an illustrator of books, and he was himself author of a volume of poems
which he illustrated with his own drawings. In 1794 he was elected a
member of the Royal Academy, to the exhibitions of which he was a
voluminous contributor for the long period of 52 years, from 1784 till
1836. In his later days his circumstances were greatly straitened through
unfortunate speculations in old masters, many spurious works having
been foisted on him. He was teacher of drawing to the Princess, after
wards H.M. Queen Victoria. Although Westall's pretty and insipid art
enjoyed much popularity during his lifetime, it had not the real excellence
that gives enduring reputation. He died on 4th December, 1836.
1082. Telemachus in the Bower of Calypso. Calypso
reclining, Telemachus seated by her side, Mentor standing
behind, and in background two female attendants. Signed
"R. Westall." On Panel — height, 1 ft. 9$ in.; width, 2 ft.
5$ in. M'Lellan Collection.
Pendant to No. 108^.

WHISTLER. 235

1083. St. Cecilia. Half-length figure of female in a white
robe, seated, playing the organ. On Canvas — height, 2 ft. 6$ in. ;
width, 2 ft. Euing Collection.
1084. Telemachus Landing on the Isle op Calypso.
Telemachus kneeling on the shore, with Mentor erect by his
side, met and questioned by Calypso. Signed " R. Westall, 1803."
On Panel — height, 1 ft. 9$ in.; width, 2 ft. 5$ in. M'Lellan
Collection.

Whistler. James Abbott M'Neill Whistler, 1834-1903.
English School.
Whistler was born in 1834, in Lowell, Massachusetts, U.S.A., his
father being Major George Whistler, a railway engineer. Shortly
after the birth of the artist, Major Whistler removed to Russia, where
he was engaged to superintend the construction of the St. Peters
burg and Moscow Railway. When young Whistler was twelve years
oldnis father died, and he and his mother returned to America. For
some years he studied in the military school of West Point, but, for
saking the profession of arms for that of art, he, in 1856, entered the
studio of Marc Charles Gabriel Gleyre, in Paris. "There he had for
fellow-students Degas, Bracquemond, Fantin-Latour, and others, who
were afterwards to take a prominent position in modern French art.
Whistler first visited England in 1855. In 1859 he settled in Chelsea,
and his first works, chiefly illustrative of the scenery of the Thames,
were shown in the Royal Academy Exhibitions of 1860-72. About 1872
he produced his two most famous works, his " Portrait of my Mother,"
now in the Luxembourg, Paris, and his "Portrait of Thomas Carlyle,"
in this Gallery. In his later years Whistler ceased contributing to the
Royal Academy Exhibitions, but was a frequent exhibitor in the Paris
Salon. In 1884 he was elected a member of the Society of British
Artists, and two years later became President. As an artist he was
distinguished for his unconventionally, for his sobriety of colour, and
for his masterly technique. In addition to his paintings he produced
many etchings, which are considered worthy to rank with those of the
greatest masters of the art. He exercised a considerable influence oh
the art of his time, more especially on the younger members of the
profession. He had also » decided literary gift, and was the author of
several volumes notable for caustic wit and scathing epigram. He died
at his residence in Cheyne Walk, Chelsea, on the 17th July, 1903.
1085. Portrait op Thomas Carlyle. (See Catalogue of
Sculpture.) Full-length, life-size, seated figure, in profile, look
ing to left; his stick in his right hand, and his left resting
on his knee, on which also are his hat and cloak. Signed with
butterfly mark. On Canvas — height, 5 ft. 7 in. ; width, 4 ft. 8 in.
Purchased, 1891.
Engraved in mezzotint by Richard Josey ; reproduced also in Carlyle' s
Past and Present (Ward, Lock, & Co.'s edition, 1897), and in the Bookman,
June, 1897, etc.

236 WILKIE. WILLIAMS.

Wilkie. Sir David Wilkie, R.A., 1785-1841. Scottish School.
David Wilkie was the son of the parish minister of Cults, in Fife.
When fourteen years of age he was placed in the Trustees' Academy in
Edinburgh, where he gave abundant promise of his future eminence. In
1805 he entered as a student at the Royal Academy, London, and in the
following year he sprang at once into the foremost rank as a delineator of
domestic life and character on the exhibition of his " Village Politicians "
at the Royal Academy. This picture was the first of a series of com
positions illustrating national characteristics, which for purity of motive,
sense of humour, and dramatic vigour have not been excelled. The works
are universally known through the medium of numerous engravings. After
1825 he largely abandoned genre painting, and devoted himself with less
success to portraiture and historical compositions. In 1823 he was
appointed King's Limner for Scotland ; in 1830, Painter in Ordinary to
the King ; and in 1836 he received the honour of knighthood. In
1840 he undertook a journey to Egypt and the Holy Land, and on his
return voyage, while off Malta, he died, and was buried at sea on 1st
June, 1841.
1086. Portrait op Her Majesty Queen Victoria. Half-
length portrait of Her Majesty wearing state robes and a coronet,
painted in the year of Her Majesty's coronation. On Canvasi —
height, 2 ft. 11 in.; width, 2 ft. 3 in. M'Lellan Collection.
" Delicately treated in a clear colouring " (Waagen's Art Treasures,
vol. iii., p. 287).
1087- Sketch — Turkish Mother and Child. A sketch of
an Eastern female with a child on her knee; the turbaned head
of a man is also indicated. On Panet — height, 12 in.; width,
9$ in. M'Lellan Collection.
1088. Sketch — Portrait of a Lady. Half-length figure of
an elderly lady in mob cap and crimson-lined hood. On Panel —
height, 11$ in.; width, 9 in. Euing Collection.
Study for principal figure, " The Rich Relation," in picture, a drawing of
which is reproduced in Armstrong's article on Wilkie (Portfolio, May,
1888).

Williams. Hugh William Williams, 1 773-1 S29. Scottish
School. Williams, known as Grecian Williams, was born at sea, the son of a
Welsh sea captain. He settled in Edinburgh eariy in life, where he soon
won popularity as a water-colour artist. For several years he travelled in
Greece and Italy, and on his return in 1818 he exhibited the sketches made
during his journeys. In 1820 he published his "Travels in Italy, Greece,
and the Ionian Islands," and his " views in Greece " appeared in parts from
1827 to 1829. He died at Edinburgh, 23rd June, 1829.
1089. The Clyde prom Dalnottar Hill. In fore
ground a road, with, to right, a group of trees, tlirough which
is seen the church of Old Kilpatrick; beyond are Bowling Bay,

WILLIAMS. WILSON.

237

Dunglass, and Dumbarton Rock. Signed "H. W. Williams,
1812." Water-colour— height, 14J in. ; width, 19J in. Presented
by John Bruce, F.S.A.(Scot), 1902.
1090. Landscape. A lake with two boats and figures in
right foreground. On shore to left are other two figures;
beyond, a group of poplar, &c, trees, on left of which
is seen the gable of a house. On Canvas — height, 14 in. ;
width, 18$ in. Presented by J. C. Arnot, 1903.
Williams. J. Haynes Williams, died 1908. English School.
Wtlliams was educated at Birmingham and Worcester. He lived and
worked chiefly in London, devoting himself principally to domestic genre.
He began exhibiting at the Royal Academy in 1863, and continued to be a
frequent exhibitor till 1897. He died suddenly at Eastbourne, November,
1908. 1091. The Spanish Bride. Three-quarter length figure of a
young lady in bridal attire — embroidered white satin gown.
yellow figured bodice, and heavy veil over her head ; she holds in
her right hand a bouquet of flowers. Signed " Haynes Williams,
1877." On Canvas — height, 2 ft. 5$ in.; width, 1 ft. 8 in.
Bequeathed by W. B. Faulds, Writer, Glasgow, 1898.
Wilson. John Wilson, //.R.S.A., 1774-1855. Scottish School.
John (or "Jock") Wilson, born in Ayr, was apprenticed, in Edin
burgh, to a house decorator. He received some instruction in landscape
painting from Nasmyth, and about 1798 went to London where he was
employed as scene painter at several of the principal ttortw* He wm
onePof the founders of the Society of British Artists, Suffo lk »*«£«£
throughout one of its ablest supporters. He was a con tant ^ «wbitor
with the Royal Scottish Academy from its *^^f"^" &rj£
Royal Academy from 1807 till the year of his death. He died at Folke
stone on 29th April, 1855.
1092. Landscape and Cattle. A pool in foreground of a
moorland, with two cattle; man on horseback and dog near by.
On Panel— height, 8 in. ; width, 14 in. Euing Collection.
Wilson. Richard Wilson, R.A., 1714-1782. English School.
Richari, Wu^^^^S^^,^^'^^
father was a clergyman. His ^..TLinttv Thomas Wright, in London,
placed under the tuition .«£* portrait ^XJ. 'On visiting
ifl V™ PhewSbv^e influence and example of Zuccarelli induced
Italy, however, He was, oy uu«= »"£ , , it j a landscape
to.adopt tod-cap* .art > m ^^If&T^ Wilson is now
painter, equalled by f ^ *m0*g £ Ws mtime> his pictures were
SSed^dToldtdXTS small gsums, and he gradually descended

238 wingate.

into the depths of poverty and bitter disappointment, his later days only
being relieved by succession to some property through the death of a
brother. He died at Llanberis, North Wales, May, 1782.
1093. Landscape — View near Tivoli. Roadway in fore
ground, female seated, and huntsman, with dogs, speaking to
her; on other side of road a niche with image of the Virgin;
to left, a hill crowned with ruined temple and other build
ings; Campagna in distance. On Canvas— height, 13$
in.; width, 17 in. M'Lellan Collection.
1094. Lake op Como. On a promontory is a small ohurch,
into which a funeral procession is passing ; a wooden landing-stage
is being approached by boats ; and on the horizon the outlines of
a town are visible. On Panel — height, 8$ in. ; width, 9$ in.
M'Lellan Collection.
1095. Landscape and River Scene. An English woody
landscape, traversed by a stream spanned by a bridge of several
arches. On Canvas — height, 14 in.; width, 18$ in. M'Lellan
Collection. View of Holt Bridge, on the River Dee. Exhibited at fhe Society of
Artists in 1762.
1096. The Convent — Twilight. A massive building, with
belfries and a cupola, approached by a Broad flight of steps, on
which are three figures. On Canvas — height, 2 ft.; width,
3 ft. 1 in. M'Lellan Collection.
1097- Landscape, with Figures. The setting sun reflected
in a river, the wooded off-bank of which is in deep shadow; on
near side a man on white horse, with two other figures; a
boat is crossing the river. On Canvas — height, 21 in.; width,
19 in. M'Lellan Collection.
1098. Landscape, with Figures — A Sketch. A fierce wind
storm blowing over a bleak mountainous landscape. In fore
ground several figures, among which is one lifeless female trans
fixed with a sword, another on her knees imploring the vengeance
of heaven. On Panel — height, 5$ in.; width, 9$ in. M'Lellan
Collection. Sketch for the large landscape, with the story of Niobe, exhibited at the
Society of Artists in 1760.
Wingate. J. Lawton Wingate, R.S.A. (living artist). Scottish
Sohool. 1099. The Avenue. A path in the wood, with children
gathering flowers. Signed "Wingate." On Canvas — height,
17$ in.; width, 23$ in. Teacher Collection.

Wilson.— THE CONVENT— TWILIGHT.

wintour. woolnoth. 239

1 100. Old Church at Muthill. A tortuous village roadway
leading up to the wall of a churchyard, in which is an ancient
church with a tower having a crow-stepped gable. In fore
ground, to left, are children at a well; to right, a woman
looking down a lane, along which a woman and two children are
walking. Signed "J. Lawton Wingate, 1874." On Canvas-
height, 3 ft ; width, 2 ft. 4 in. Presented by T. Graham Young
as a memorial of his father, James Young, LL.D., F.R.S., of
Kelly, 1900.
Wintour. John Crawford Wintour, A.R.S.A., 1S25-1882.
Scottish School.
About the middle of the 19th century Wintour was one of the most pro
mising of the young Scottish landscape painters. He was equally at home
in oil painting and in water-colour work, and his subjects were chiefly
derived from the neighbourhood of Edinburgh and the south of Scotland.
He was an extensive contributor to the exhibitions of the Royal Scottish
Academy, and in 1859 he was elected Associate of that body. Wintour
had a rich and individual appreciation of colour, and his landscapes were
composed with skill and poetic feeling. He died at Edinburgh, 29th
July, 1882.
1101, Killiecrankie. A deep pool in the bed of the Garry,
above which rise the wooded slopes of the pass; in distance,
the summit of Schiehallion. Signed " J. C. W., '78." On Canvas
— height, 2 ft. 3 in.; width, 2 ft 11$ in. Teacher Collection.
Woolmer. Alfred Joseph Woolmer, 1805-1892. English
School. This artist was born at Exeter on 20th December, 1805, and received
his early training in Italy. Subsequently he was considerably influenced
by the art of Watteau. He was a member of the Royal Society of British
Artists, and he exhibited in the Royal Academy at intervals from 1827
till 1850. He died on 19th April, 1892.
1102. Watteau in his Studio. The illustrious artist seated
before an easel, on which is a framed portrait of a lady, to which
he is giving the finishing touches; his model, in a white robe,
is seated before him, and behind her are two attendants; to
left of the painter a lady is standing with her back to the
spectator; to right an Italian greyhound, a poodle, a parrot
in a cage, fruit, and other accessories. On Canvas — height,
2 ft. 3$ in.; width, 2 ft. 11£ in. Euing Collection.
Woolnoth. Charles- N. Woolnoth, R.S.W., 1815-1906.
English School.
Woolnoth was born in London, and received his art training at the
Royal Academy, and was also a pupil of Sir Martin Archer Shee. Remov
ing to Scotland, he was for many years resident in Glasgow, where he died

240 WOUWERMAN.

on the 21st March, 1906, at the ripe age of ninety years. He was one of
the founders of the Royal Scottish Society of Painters in Water Colours,
and was a regular contributor to the Exhibitions of that Society.
1103. Ben Ledi. Foreground to left, fields with figures
and cattle, a stream with right bank wooded. In middle
distance the hill Bocastle, with clachan nestling at foot, behind
which rises Ben Ledi. Signed " C. Woolnoth, W.S.A."
Water-colour. Height, 16 in. ; width, 24 in. Presented by
the Misses MacLehose, 1908.

Wouwerman. Philips Wouwerman, 1619-1668. Dutch
School. Philips Wottwerman was a native of Haarlem, in which town he was
baptised on May 24, 1619. The son of an artist, he received his first
lessons in painting from his father, and subsequently studied under
Erans Hals and Pieter Verbeek. He struck out a line of work peculiar
to himself, devoting his talents to the painting of horses, battle-scenes,
and hunting subjects, in which he displayed unrivalled skill and spirit.
He frequently collaborated with other artists, painting the figures in
landscapes by Ruysdael, Decker, Wynants, and others. His pictures
were not much appreciated during his lifetime, but now they are eagerly
sought after. He was buried at Haarlem on 19th May, 1668.
1104. Landscape, with Horseman, etc. Sandy hillock,
with roadway at its base, skirting the side of a lake; man with
red cloak on horseback, and an angler seated. Signed with the
painter's monogram. On Panel — height, 14 in.; width, 16 in.
M'Lellan Collection.
" A landscape somewhat in the character of his master, Wynants, and
unusually poetical for him" (Waagen's Art Treasures, vol. iii., p. 287).
Described in Hofstede de Groot's Smith's Catalogue Raisonni, 1909,
No. 1059, vol. ii., page 604.
1105. The Halt op Travellers. Dark landscape, with, in
foreground, two men, a woman, and a child, with a dog and
fowl, at rest by a pollard tree ; near them a white and a chestnut
horse feeding; and to the right a burdened donkey. Signed
with monogram. On Panel — height, 11$ in.; width, 14$ in.
M'Lellan Collection.
" Pleasingly composed, and of peculiar power and truth. Inscribed and
in his second manner" (Waagen's Art Treasures, vol. iii., p. 288). A
similar composition, with additional horse lying down to the right, and
figures in the right distance, is in the Cassel Gallery.
Described in Hofstede de Groot's Smith's Catalogue Raisonni, 1909,
No. 402, vol. ii., page 370.
1106- Hawking. In the foreground of a stretch of flat
country, sportsmen on horseback engaged in hawking, with dogs

241

andYither figures. Signed with monogram. On Panel — height,
12 inVX width, 17 in. Graham-Gilbert Collection.
Described in Hofstede de Groot's Smith's Cataloque Raisonni, 1909,
No. 590, vol. ii., page 435.
1107. The Horse - Shoeing. Buildings in the background,
with horses under an archway; in the foreground a smith shoe
ing a white horse, which a man is holding; to the right are
two dogs. On Panel — height, 12 in.; width, 91 in. Graham-
Gilbert Collection.
Described in Hofstede de Groot's Smith's Catalogue Raisonni, 1909,
No. 128, vol. ii., page 296.
1108. Landscape and Figures. Landscape by Lingelbach,
and figures by Wouwerman. An Italian landscape and seaport,
with lofty hills. Horses, cavaliers, and other figures occupy the
foreground. Signed with monogram. On Canvas — height, 1 ft.
8$ in.; width, 2 ft. Of in. M'Lellan Collection.
1109. Landscape and Figures. Hilly country, with cliff to
right by which a road winds to rude bridge over a brawling
stream; horseman and numerous figures on and by road and by
foreground of stream. On Canvas — height, 16 in. ; width, 21 in.
Donald Collection.
Described in Hofstede de Groot's Smith's Catalogue Raisonni, 1909,
No. 1059a, vol. ii., page 604.
1110. The Market Cart. Bare hilly landscape, peasant's
hut behind knoll, church spire in distance; foreground, man in
cart, to whom woman is speaking ; peasants, horsemen, and
dogs on road; on distant hillock, gallows with suspended body.
Signed, with interlaced letters, " Phils. W." On Panel — height,
llf in.; width, 16 in. M'Lellan Collection.
"A good and warmly coloured picture of his first manner" (Waagen's
Art Treasures, vol. iv., p. 458).
Described in Hofstede de Groot's Smith's Catalogue Raisonni, 1909,
No. 401, vol. ii., page 370.
Wouwerman. Pieter Wouwerman, 1623-1683. Dutch School.
Pieteb Wouwerman was a younger brother of the eminent painter of
horses and battle scenes, Philips Wouwerman. Pieter followed m the
footsteps of his brother, from whom he received the principal part ot liis
art education. He worked principally at Haarlem, some time in lans,
and in Amsterdam, in which town he died.
1111. Halt apter Rain. In foreground of a stretch of
undulating country a group of soldiers sitting round a log-fire;
behind them stand a brown and a white horse; from left a
lame beggar approaches a cavalier and a lady with a child in her
6

242 wynants. yeames.

arms who are riding towards the background; a loaded waggon,
large tents, and numerous figures are dispersed throughout the
composition. On Canvas — height, 15$ in.; width, 18$ in.
Graham-Gilbert Collection.

Wynants. Jan Wynants, about 1615-1682. Dutch School.
Wynants, one of the most distinguished landscape painters of the
Dutch School, was a native of Haarlem. Very little is known of his life,
and even the dates of his birth and death are uncertain. He was the
instructor of Philips Wouwerman, by whom, as well as by A. Vande
velde, Lingelbach, and others, the figures in his landscapes were frequently
supplied. He worked latterly at "Amsterdam, where he is supposed to
have died.
1112. Landscape. To right a wooded park, with chateau
on hills in the distance; to left, a tree-covered knoll; trunk
and broken stump of tree in foreground. Horsemen and
pedestrian groups inserted by Lingelbach. Signed " J. Wynants,
1672." On Canvas — height, 1 ft. 7 in.; width 2 ft. 1 in.
M'Lellan Collection.
1113. Landscape. A landscape, with the artist's favourite
sandbank in foreground; in middle distance, a house and
a cornfield; admirable figures, by Lingelbach, of a gentleman
and lady, and a young black boy shading them with a lofty
parasol, and a dwarf figure by the wayside. Signed " J.
Wynants." On Panel — height, 12$ in. ; width, 15 in. M'Lellan
Collection. " Of great truth of nature, and clear in the warm colouring " (Waagen's
Art Treasures, vol. iii., p. 287).

Yeames. William F. Yeames, R.A. (living artist). English
School. 1116. Prisoners op War. Near the Quay of a French
seaport, outside a building on which is displayed a bill with
heading "Avis," two English midshipmen, one with his arm
in a sling, are seated on barrels and guarded by a sentry;
to left is a crowd of fishermen and women, sailors, a priest, etc.,
sympathetically gazing at or discussing the captives; in
middle distance is a body of soldiers marching along the quay,
and bej'ond are cliffs; in distance to left is the sea, with
vessels. Signed " W. F. Yeames, 1885." On Canvas — height,
5 ft.; width, 8 ft. 5 in. Purchased, 1904.
Exhibited at Royal Academy, 1885.

YOUNG. ZUCCARELLI. 243

Young. William Young, R.S.W. (living artist). Scottish
School. 1118. Glenpalloch. The River Falloch; to left a wooded
bank; to right, on the further shore, a thatched house; back
ground, the shoulders of Ben Vorlich. Signed " Wm. Young,
R.S.W." On Canvas— height, 2 ft.; width, 3 ft. Purchased,
1905.

Zoffany. Johann Zoffany, R. A., 1733-1810. German School.
Zofpany was a native of Ratisbon, in Bavaria. His love of art
impelled him to run away from his friends at the early age of thirteen,
and he found his way to Rome, where he was befriended, and studied for
about twelve years. He came to England in 1758, and at first he was in
great straits to earn a livelihood ; but by degrees he came into notice,
and, gaining the patronage of Lord Bute, he acquired an influential con
nection, principally as a portrait painter. He was an early member of
the Royal Academy. Zoffany spent seven years in the principal Con
tinental towns, between 1772 and 1779, where he was received with
distinguished honours, and, later, another seven years were spent in India.
He died at Strand-on-the-Green, near Kew, on 11th November, 1810.
1124. A Family Party — "The Minuet." In a group of five
figures, a girl and young boy practising a dance to the music
of a flute. On Canvas — height, 3 ft. 3 in. ; width, 4 ft. 1 in.
M'Lellan Collection.
" The motives are pleasing, the heads true, but the colouring somewhat
heavy" (Waagen's Art Treasures, vol. iv., p. 462). Waagen's criticism
is unhappy, for the colour is, in reality, peculiarly delicate and tender,
and the picture is Zoffany's chef d'ceuvre.
Zuccarelli. Francesco Zuccarelli, R.A., 1702-1788. Italian
School. Zuccarelli was bom at Pitigliano, in Tuscany, and received his first
art education in Florence, but, from the fact of his long residence in
England, his membership of the Royal Academy, and his intimate relation
with British artists and art patrons, his name has been enrolled in the
list of British artists. He was a landscape painter of comparatively
narrow range of view; his works are scenic and unreal, but they possess
an air of daintiness which rendered them exceedingly popular with con
temporaries. Many of his landscapes have been engraved. He died at
Florence.' 1125. Classical Landscape — Diana and Action. Diana
and her nymphs,, bathing in the vale of Gargaphia, are sur
prised by Actseon, whereupon the goddess changes him into a
stag, and he is pursued and torn to pieces by his own dogs.
Signed " F. Z. and H. B.," the latter being the initials of the
painter of the figures. On Canvas— height, 3 ft. 3 in.; width,
4 ft. 1 in. M'Lellan Collection.

244 zuccaro.

1126. Landscape and Figures. Open landscape, with
winding river and hills in distance; half-ruined buildings, with
tower to left, and castle to right; man on horseback and
various figures in foreground. On Canvas — height, 2 ft. ; width,
2 ft. 6$ in. Euing Collection.
1127. Landscape, with Figures — said to be Louis XV.
and Madame de Montespan. The lady is seated, taking a finch
out of a cage, and the monarch, in the guise of a shepherd,.
stands by her side. On Canvas — height, 13 in. ; width, 18 in.
M'Lellan Collection.
1128. Pastoral Landscape. In foreground boy holding
white bull, woman bathing her feet in a stream; further off,
man and two bulls. To left, cavalier on horseback; in mid-
distance, villa and landscape, with waterfall. On Canvas —
height, 1 ft. 10 in. ; width, 2 ft. 5$ in: Graham-Gilbert Collection.
1129. Landscape, with Figures and Cattle. To right
a number of villas, towards wliich a shepherd and cattle are
ascending; in centre, a shepherdess with sheep and cattle;
in foreground, stream and various figures. On Canvas— height,
1 ft. 7 in. ; width, 2 ft. 6 in. Graham-Gilbert Collection.
1130. Italian Landscape. In foreground, a group of figures
near a tall tree on the bank of a river; to left the pillars of a
ruined classical building. In middle distance a building
with towers, and, beyond, hills. On Canvas — height, 3 ft. 2$ in. ;
width, 4 ft. 5 in. Presented by T. Graham Young as a memorial
of his father, James Young, LL.D., F.R.S., of Kelly, 1900.
Zuccaro. Federigo Zuccaro, 1543-1609. Italian-Roman
School. Federigo Zuccaro, a native of St. Angelo in Vado, was educated in
Rome, and there he was employed to assist his elder brother Taddeo in a
number of important undertakings on which that artist was engaged under
Pope Pius IV. After his brother's death, Federigo was patronised by
Gregory XIII., but, as the result of a quarrel, he was obliged to quit
Rome and take up his residence in Paris. In 1574 he came to England,
where he had a favourable reception from Queen Elizabeth. He painted
the portraits of the Queen and many of her courtiers, and among his other
works was a portrait of Mary Queen of Scots, of which No. 1131 below is
an early copy. This portrait is well known through the engraving by
Virtue, but it is presumed the picture must have been executed from some
pre-existing portrait, as at Zuocaro's time in England the unfortunate
Queen was a close prisoner. He died at Ancona.
1131. Portrait op Mary Queen op Scots (Copy). Three-
quarters figure in black robe, jewelled tiara, and belt and gold
chains. On Panel — height, 3 ft. 4 in. ; width, 2 ft. 8 in.
M'Lellan Collection.

unknowK. 245

1132. Portrait of Lady op the Riccardi Family. Half-
length figure of a young lady with jewelled ornament in her
hair. On Panel — height, 10 in.; width, 7$ in. M'Lellan
Collection.

Frem the Riccardi Palace, Florence.

Zuccaro. Taddeo Zuccaro, 1529-1566. Italian-Roman School.
Taddeo Zuccaro was the son oi a mediocre artist in the Duchy of
Urbino. When only fourteen years of age he went to Rome with the
view of cultivating art, and, entirely friendless and destitute, he, by severe
but manly struggling, forced his abilities into notice, till ultimately he
was taken into the service of Pope Julius III. and his successor. He was
also well employed by other potentates — his work consisting chiefly of
frescoes for churches, for the walls of palaces, etc. He died at Rome,
and was buried in the Pantheon.
1133- St. Catherine and St. James op Spain. The saints,
with aureoles around their heads, stand regarding each other.
St. Catherine holds in her left hand a palm frond ; behind her are
a sword and the broken wheel. St. James holds a standard;
an angel hovers over them with a wreath for each head. On
white metal — height, 8$ in. ; width, 6$ in. M'Lellan Collection.

UNKNOWN.
Dutch School.

1 1 34- Portrait op a Lady. Bust of a matronly lady in lace
cap, with large ruff round her neck. Inscribed " iEtatis 46, ano.
1640." Octagonal Panel— height, 12$ in.; width, 10 in. M'Lellan
Collection. 1135- Rocky Landscape and Figures. A woody landscape,
with a roadway skirting the base of a huge mass of rock. To
left foreground, several figures. On Canvas — height, 12 in. ;
width, 15$ in. M'Lellan Collection.
Formerly attributed to Swanevelt.
Modern English School.
1138. The Mourners. Widow seated on a stone bank, near
a parsonage, with her young son at her knee ; a Bible lies at her
side, and an elderly clergyman is approaching through a gate;
distant landscape, with rustic mill, etc On Panel — height, 10
in.; width, 7$ in. Euing Collection.

246 unknown.

Spanish School.
1139. Virgin and Child, attended by Saints. The Virgin,
with the Saviour represented as a young lad in her lap; His
hand is being kissed by a monk, while his feet are fondled by
a female in a turban. Behind, John the Baptist stands with a
banneret having the inscription, " Ecce Agnus Dei G." On
Copper — height, 10J in.; width, 9$ in. M'Lellan Collection.

Italian School.
1 142. Ecce Homo. Head of the Saviour, crowned with thorns,
the eyes closing, and the face overspread with the pallor of death.
A red mantle is fastened at the neck, and over the left shoulder
is a sceptre. On Copper, circular — 12 in. diameter. Graham-
Gilbert Collection.
1143. Marriage op St. Catherine. To right, Virgin, seated,
with infant Saviour on her knee, places a ring on the forefinger
of St. Catherine; a profile half-length figure. Early Venetian.
On Panel — height, 22 in.; width, 19 in. Graham - Gilbert
Collection. 1144. Virgin and Child. To right, the Virgin, half-length,
three-quarter face turned to left, her hands placed together in
prayer; to left, the infant Saviour, seated on a pedestal,
holding a bird on His right hand, to which He is looking up;
hilly landscape in background. On Panel — height, 15 in. ;
width, 11$ in. Graham-Gilbert Collection.
Probably by Marco Ricci, a weak follower of Giovanni Bellini.
Miscellaneous.
1145. Cain Slaying Abel. Probably a life study by J.
Graham-Gilbert On Canvas — height, 2 ft. 5 in.; width, 2 ft.
1 in. Graham-Gilbert Collection.
1146. A Scottish Landscape, A stretch of level country,
with trees to right; in foreground, a pool and a rude cowshed
with cattle, and a man opening the door. Signed with illegible
monogram. On Canvas— height, 9$ in.; width, 11$ in. Euing
Collection. 1148. Engaged. A lady looking at an engagement ring.
Signed " R. P., Roma." On Canvas— height, 10$ in.; width,
8 in. Teacher Collection.

UNKNOWN. 247

1149. Children Building Sand Castles. Water-colour —
height, 12 in.; width, 17 in. Teacher Collection.
*
1150. The Gamekeeper's Corner. Boy, seated on a rook,
holding a horse by the bridle; at his side a dead deer, hare,
and blackcock. Water-colour — height, 18$ in. ; width, 25$ in.
Teacher Collection.
1151- Portrait op George M'Intosh, Merchant, Glasgow,
Preses of the Glasgow Highland Society, 1791 and 1803. Bust
portrait, turned to left, in brown coat, white vest, and frilled
neckcloth. On Canvas — height, 2 ft. 5 in. ; width, 2 ft.
Deposited by the Glasgow Highland Society, 1903.

248

P U B L I C AT I O N S AT ;HEN BOOKSTALLS.

Catalogue op Pictures, descriptive and historical, with
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paper covers, Sixpence.
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Glasgow's Pictures : Guide to the Corporation Collec
tion, paper covers, Sixpence.
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illustrations, paper covers, Threepence.
Catalogue of Pictures and Drawings op Old Glasgow,
descriptive and historical, paper covers, Threepence.
With six full-page illustrations, Sixpence.
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tory essay by James Paton, Superintendent of the
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MacLehose & Sons, Two Guineas net.
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Museum, paper covers, Threepence.
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Museum, paper covers, - Threepence.

PHOTOGRAPHS OF PICTURES
In the permanent Collection of the Corporation of Glasgow,
in various sizes and forms.
ON SALE IN THE ART GALLERY AND MUSEUM, KELVINGROVE.

Sheltered from the Stormy Sea,
Conversion of St. Hubert,
Portrait of a Lady,
Portrait of a Musician.
St. Catherine Crowned, -I
Interior of a Church, -
Virgin and Child Enthroned,
Virgin and Child,
Landscape (Evening),
Sea-piece, At the Fireside,
Holy Family,
Charity Dinner,
Virgin, Child, and St. John, with
Angels,
Church Interior,
Glasgow Bridge,
The Burial at Sea,
Danae ; or, The Tower of Brass,
Vessels in a Calm,
Virgin with the Holy Child, the
Magdalene, and Saint,
Vanity Fair,
Hampstead Heath,
House by the Road,
Pastorale — Souvenir d'ltalie,
Evening,The Woodcutter,
The Crayfisher,
The Lake,
Christ Riding into Jerusalem,
A Farmyard,
Lake, with Ducks.
St. Jerome,

Allan, -

1/6

Altdorfer,

1/6

Amberger,

1/6

10/6

^inraadt,

1/6

Bartolommeo \

1/6

Veneziano, j
Bassen, B. van,
1/6
Bellini,
1/6
Do.,
1/6
Berchem,
1/6
Berjieren, Van.
1/6
Blommers,
5/
Bonifazio,
1/6
Both,
1/6
Botticelli,
1/6
Bosboom,
5/
Bough, Sam,
1/6
Brangwyn,
1/6
Burne-Jones,
12/6
Cappelle, 1/,
1/6
10/6
Catena,
1/6
Christie,
12/6
Constable,
2/'
12/6
Bo.,
5/
Corot, -
2/
12/6
Do.,
5/
Do.,
5/
Do.,
5/
Do.,
5/
Cuyp,
1/6
10/6
Do.,
5/
Daubiijuy,
5/
Decamps,
1/6
250

Flower Piece,
In the Forest,
A Salmon Stream,
Point de Dunes,
Old College Gate,
Buck's Head Hotel,
Statue of Pitt,
Cadzow Forest,
Mother and Children,
The Holy Family,
The Adulteress brought before
Christ,
St. Victor with a Donor,
Canal in Holland,
Dutch River Scene,
The Sulky Boy, -
Piazetta of San Marco, Venice,
The Highland Funeral,
Portrait of Alexander Osborne,
Head of a Boy,
The Covenanters' Preaching,
Portrait of Admiral Stellingwerff,
Ruined Cottage,
A Group of Trees on the Bank of
a River, -
Woody Landscape,
Grand Canal, Venice,
Do., do.,
Coming of Spring)
Good-night to Skye,
The Frugal Meal,
The Happy Family,
The Wane of Day,
The Fruit Seller,
The Delf t Plate,
Still Life,
A Coming Storm,
Downward Rays,
Right Hon. A. J. Balfour, ¦
Saviour takes leave of His Mother,
George, 10th Earl Marischall,
Haymaking in the Highlands,
Loch Maree,

!>

Diaz,

5/

Do.,

5/

Docharty,

1/6

Dupre,

5/

Fairbairn,
9d.
Do.,
9d.
Flaxman,
1/6
Fraser,
1/6
Frere, -
5/
Gianpietrino,
1/6
Giorgione,
1/6
12/6
Goes, Van der, 1/,
1/6
12/6
Goyen, Van,
1/6
Do.,
1/6
10/6
Greuze,
10/6
Guardi,
1/6
10/6
Guthrie,
1/6
12/6
Do.,
12/6
Hals, -
1/6
10/6
Harvey,
1/6
Heist, Van der,
1/6
Hobbema,
1/6
Do.,
1/6
10/6
Do.,
1/6
Holland,
5/
Do.,
5/
Hornel,
12/6
Hunter,
12/6
Israels, 1/,
2/
12/6
Do.,
5/
Jacque, Ij,
2/
12/6
Jordaens,
1/6
Kalf,
5/
Do.,
5/
Linnell,
1/6
10/6
Do.,
2/
12/6
Lockhcurt, W. E.,
12/6
Lomba/rd,
1/6
Loo, J. B. van,
1/6
Macallum,
5/
M'Culloch,
1/6
photographs op pictures.

251

Durham,The Virgin by the Fountain,
Girl on Sofa,
A Dutch Town,
Dutch Lugger,
Flock of Sheep,
Virgin and Child, with Angels,
The Sheepfold,
The Forerunner,
The Ornithologist,
Going to Work, -
The Sheepfold,
Holy Family,
Adoration of the Alagi,
Sea Coast Scene — Smugglers,
Eastern Letter Writer,
Windsor Castle,
The Farmer's Daughter,
Scene from "Peveril of the Peak,'
The Young Housewife,
The Itinerant Musician,
The Holy Family,
A Lowland Landscape,
Two Strings to her Bow,
Sword and Dagger Fight,
A Gipsy Girl,
The Evil Eye,
Portrait of Mrs. Urquhart,
The Virgin with the Lizard,
A Man in Armour,
Portrait of Himself,
The Painter's Study,
Domestic Scene — Night.
Study of a Man's Head,
The Slaughter- House,
Tobias and the Angel,
Jeremiah Mourning over Jerusalem,
Magdalene in Grief,
Portrait of a Boy,
Portrait of Elizabeth Linley,
Death of Cleopatra,
Portrait of a Lady,

MaaGreyor, -

12/6

Mabuse, 1/6,

¦>/

12/6

Maris,

5/

Do.,

5/

Do.,

5/

Mauve,
5/
Mem-mi,
1/6
Meulen, Ter,
1/6
Millais,
1/6
Do.,
1/6
Millet,
5/
12/6
Do.,
5/
Montagna,
1/6
Monticelli,
5/
Morland,
10/6
Muller,
»/'
*
Nasmyth,
2/
12/6
Orchardson,
1/6
12/6
Do.,
5/
Do.,
5/
Ostade, Van, Ij.
1/6
Palfna,
1/6
Paterson, Jas.,
12/6
Pettie, -
1/6
12/6
Do.,
5/
12/6
Phillip, John?
1/6
Do.,
5/
Raeburn,
1/6
12/6
Raphael,
1/6
12/6
Rembrandt, 1/, 1/6
.5/
12/6
Do., 1/, 1/6, 5/
Do.,
1/6
Do.,
1/6
Do.,
10/6
Do.,
1/6
Do.,
1/6
i, Do.,
1/6
Reni, Guido,
1/6
Reynolds,
1/6
10/6
Do.,
1/6
10/6
Do.,
1/6
...
Do.,
1/6
252

photograi

The Heath,
Forest of Clairbois,
Nature adorned by the Graces,
A Wild Boar Hunt,
Combat of Theseus with the\
Amazons, -J
Portrait of a Gentleman,
View of the Town of Katwyk,
Landscape — The Ford, with sheep \
and figures, -/
Woody Landscape,
Old Houses in Castle Street,
Fiddler's Close,
The Trongate,
Saracen Head Inn,
Dutch Family Merrymaking,
Early Summer on the Seine,
A Lover of Art,
A Surgical Case,
The Miseries of War,
Jealousy, Holy Family,
Landscape and Cattle,
Returning from Market,
Cattle,
Modern Italy,
Lyme Regis,
Italian Scene,
Frigate Firing the Evening Gun,
Sea-piece, Portrait of Philip IV..
Fruit-piece,
Portrait of a Man,
Portrait of Carlyle,
The Convent,
Landscape with Horseman,
Landscape with Figures,
The Halt of Travellers,
Prisoners of War,
The Minuet,

Do.,
Rubens, Do., Do.,
Do.,
Ruysdael, Do., Do.,
Simpson, Do.,
Small, Do.,
Steen, -

5/
5/ 1/6
1/6 1/61/6
1/6
1/6
1/6
9d. 9d.
9d. 9d. 1/6

Stevenson, Macaulay, ..

Tadema, Alma,
Teniers, Do.,
Do.,
Titian,Troyon, Do.,
Do.,
Turner, Do.,
Do.,
Vandevelde, -
Do.,
Velasquez,
Vollon, Vos, C. de, -
Whistler,
Wilson, Wouwerman, Do., Do.,
Yeames,
Zoffany,

l/>

1/,

2/ 1/6
1/6
1/6 1/6
2/
5/
5/ 2/5/
5/ 1/6
5/5/ 1/61/61/6
5/ 1/6 1/6
1/6

12/612/6

10/6

10/6 12/6
12/6 10/6
10/610/612/6

12/6

10/612/610/6
12/610/610/6

COLLOTYPES and PROCESS PRINTS of certain Pictures may
also be obtained. Price, One Penny each.