THE WALPOLE SOCIETY
THE SIXTH VOLUME
OF
THE WALPOLE SOCIETY
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THE
SIXTH VOLUME OF THE
WALPOLE SOCIETY
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JSSUED ONL Y TO SUBSCRIBERS
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508472
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OXFORD
PRINTED FOR THE WALPOLE SOCIETY BY FREDERICK HALL AT THE UNIVERSITY PRESS 1918
' This country, which does not always err in vaunting its own productions.'
HORACE WALPOLE'S Anecdotes of Painting in England.
12
W5
|) rrsilini! : THE RIGHT HON. THE EARL OF LYTTON
iflTommittee:
*AITKEN, CHARLES *ARMSTRONG, SIR WALTER *BAKER, C. H. COLLINS
BARLOW, SIR C. A. MONTAGUE, M.P. *BELL, C. F. *BINYON, LAURENCE
CAW, J. L.
CLAUSEN, GEORGE, R.A.
COCKERELL, SYDNEY C. *COLVIN, SIR SIDNEY
CUST, LIONEL
DlBDIN, E. RlMBAULT
*DODGSON, CAMPBELL, Chairman *FINBERG, A. J., Hon. Secretary GIRTIN, THOMAS *HIND, A. M.
"HOLMES, C. J.
*HUGHES, C. E., Hon. Treasurer
IMAGE, SELWYN
LANE, JOHN
LYTTON, HON. NEVILLE
NORMAN, PHILIP
OPPK, A. P.
RAWLINSON, W. G.
Ross, ROBERT
SHORT, SIR FRANK, R.A. *SPIELMANN, MARION H. *STRANGE, E. F. *TERRELL, A. A BECKETT *TURNER, C. MALLORD W.
VACHER, SYDNEY
WILLIAMSON, DR. G. C.
* Members of the Executive Committee.
All communications and subscriptions should be sent to —
ALEXANDER J. FIN BERG, Hon. Secretary,
47, Holland Road, Kensington, W. 14.
CONTENTS
PAGE
Two ANONYMOUS PORTRAITS BY CORNELIUS JOHNSON. BY ALEX- ANDER J. FINBERG . 1-14
THE LUMLEY INVENTORIES. BY LIONEL CUST I5~35
A LUMLEY INVENTORY OF 1609. BY MARY F. S. HERVEY 36-46
Index of Portraits, Statues, and Artists mentioned in the
Lumley Inventories .47-50
Index of Works of Art other than Portraits . . 50
GAWEN HAMILTON : AN UNKNOWN SCOTTISH PORTRAIT PAINTER. BY
HILDA F. FINBERG 51-58
LIVERPOOL ART AND ARTISTS IN THE EIGHTEENTH CENTURY. BY
E. RlMBAULT DlBDIN 59~9l
Index 92-93
FURTHER LEAVES FROM TURNER'S ' SOUTH WALES ' SKETCH-BOOK.
BY ALEXANDER J. FINBERG .... 95-103
Two EARLY WORKS OF SIR JOSHUA REYNOLDS. . . . 105-110
AN ADDITIONAL GHEERAERTS ILLUSTRATION. BY RICHARD W.
GOULDING in
THE PAPERS OF THE SOCIETY OF ARTISTS OF GREAT BRITAIN . . 113-130
Introduction ... .113-115
Calendar of Papers from 12 Nov. 1759 to 31 July 1761 116-127 Index of Names of Artists and of those who received
Charity . . 128-130
LIST OF PLATES
PLATE
Frontispiece, see Plate XXXIX.
I. Portrait of John Digby, ist Earl of Bristol. By Cornelius Johnson,
1628. II. (a) Enlargement of the Seal Ring in Johnson's Portrait of the ist Earl
of Bristol.
(b) The ist Earl of Bristol. An Engraving published about 1623, perhaps by R. Elstrack.
III. Van Dyck and the Earl of Bristol. By Sir Anthony Van Dyck.
IV. (a) Endymion Porter. By William Dobson.
(b) Endymion Porter. Part of a drawing by Van Dyck. V. Portrait of an Unknown Man. By Cornelius Johnson. VI. Philip Herbert, Earl of Montgomery (afterwards Earl of Pembroke). Reversed from the Engraving, made before 1623, by Simon de Passe.
VII-XV. DRAWINGS IN THE LUMLEY INVENTORY.
VII. Sculptures in Great Hall, Lumley Castle. VIII. (a) Conduit in Court, Lumley Castle.
(b) Hall Screen and Lavabo, Lumley Castle. IX. (a) Fountain. (b) Fountain. X. (a) Lavabo and Screen, Lumley Castle.
(b) Marble Serving Table, Lumley Castle.
(c) Fountain.
(d) Obelisk with Arms of Lord Lumley.
XI. (a) Column with Crest of Lord Lumley, and Two Tables.
(b) Column with Crest of Lord Lumley.
(c) Fountain and Table.
(d) Fountain. XII. (a) Tables.
(b) Tables. XIII. (a) Tables.
(b) Mantelpiece.
x LIST OF PLATES
PLATE
XIV. (a) Design for Tomb of Lord Lumley, Cheam Church.
(b) Design for Tomb of Jane Fitzalan, Lady Lumley, Cheam Church. XV. Design for Tomb of Elizabeth D'Arcy, Lady Lumley, Cheam Church.
XVI. An Artists' Club in 1735. By Gawen Hamilton. XVII. Part of Vertue's Note on Hamilton's Group of Artists. XVIII. The Revd. Thomas Pocock. By Gawen Hamilton. Engraved in
mezzotint by J. Faber, junr., 1726.
XIX. Warren Hastings on Horseback. By George Stubbs, 1791. XX. (a) Haymakers. By George Stubbs, 1794. (b) Hay Carting. By George Stubbs, 1795. XXI. (a) The Haymakers. By George Stubbs, 1783.
(b) The Reapers. By George Stubbs, 1783. XXII. Josiah Wedgwood on Horseback. By George Stubbs. XXIII. A Philosopher giving that Lecture on the Orrery, in which a Lamp
is put in the Place of the Sun. By Joseph Wright. XXIV. (a) View of the Custom House, taken from Trafford's Wyent, 1773.
By Peter Perez Burdett.
(b) A Seapiece, with a Squall of Rain. By Richard Wright, 1764. XXV. (a) Richard Caddick. By Himself.
(b) George Stubbs (?). By Richard Caddick (?).
(c) George Stubbs. By Ozias Humphry. XXVI. (a) Cattle. By Charles Towne.
(b) Landscape, by Rathbone, with figures by Fairfield. XXVII. (a) Landscape. By Rathbone. (b) Landscape. By Rathbone.
XXVIII. (a) Thomas Johnson, Mayor of Liverpool, 1767. By Henry Pickering.
(b) Wife and daughter of Thomas Johnson, 1767. By Henry
Pickering.
(c) Richard Chaffers. By Thomas Chubbard.
(d) Aaron Wood. By William Caddick, 1747.
XXIX. (a) William Roscoe, when a young Man. By Richard Caddick.
(b) Mrs. Proudlove (nee Elizabeth Wood). By Richard Caddick,
1768.
(c) Conversation Piece. By Richard Caddick.
XXX. (a) James, loth Earl of Derby. By Hamlet Winstanley. Engraved
by Van der Gucht.
(b) Mrs. Hamlet Winstanley. By Hamlet Winstanley. Engraved by J. Faber.
LIST OF PLATES xi
PLATE
XXXI. (a) The Liverpool Library and Academy. Drawn by Charles Eyes,
1799.
(b) Joseph Brooks, Treasurer of the Parish of Liverpool. By Richard Caddick, 1774.
XXXII-XLI. DRAWINGS FROM TURNER'S ' SOUTH WALES' SKETCH BOOK.
XXXII. St. David's Head, from Porthsallie Bay.
XXXIII. The Bishop's Throne, St. David's Cathedral.
XXXIV. The Cascade, Hampton Court, Herefordshire. XXXV. Water-Colour Drawing of The Cascade.
XXXVI. The Market-Place, Ross.
XXXVII. The West Gate Bridge, Gloucester.
XXXVIII. The Corona, Canterbury Cathedral, with the Chair of St. Augustine.
XXXIX. Maidstone Bridge, with Houses and Shipping, 1798. (Frontispiece.)
XL. Allington Castle, near Maidstone, 1798.
XLI. Christ Church, Oxford.
XLII. Captain Roberts, R.N. By Sir Joshua Reynolds, 1747. XLI 1 1. Thomas and Martha Neate with their Tutor. By Sir Joshua
Reynolds, 1748. XLIV. Portrait supposed to represent Frances Howard, Countess of Essex
and Countess of Somerset. Probably by Marcus Gheeraerts
the younger.
TWO ANONYMOUS PORTRAITS BY CORNELIUS
JOHNSON BY ALEXANDER J. FINBERG.
CORNELIUS JOHNSON was born in London, and not, as Walpole thought, in Amsterdam. This point was settled by the publication of Mr. Lionel Gust's notes on ' Foreign Artists of the Reformed Religion working in London from about 1560 to 1660' (Proceedings of the Huguenot Society of London, vol. vii), in which attention was drawn to the following entry in the registers of the Dutch Church at Austin Friars :
' 14 Oct. 1593. JANSZ. Cornelis, f. Cornells.'
This is believed to refer to the baptism of the artist who is usually described as Cornelius Jansen, or Janssen van Ceulen, who lived and worked in England, so far as we know, from the date of his birth till the outbreak of the Civil War in 1643, when he went to Holland. During these fifty years the artist seems to have regarded himself as an Englishman and to have called himself Cornelius Johnson. Pictures by him dated 1619, 1620, 1621, and 1634 (at Northwick Park, the Holburne Art Museum, Bath, Welbeck Abbey, Lord Falk- land's, and Woburn) are known to me which are signed in full 'Cornelius Johnson '. It is also evident, as Mr. Cust has pointed out (Burlington Magazine, February 1910), that the painter was desirous of being recognized as an English armigerous gentleman, for he supplied the following pedigree to the Herald's Visitation of London, 1633-5, by Sir Henry St. George, Richmond Herald (published by the Harleian Society in 1883) :
Peter Johnson of Cullen=T=
John Johnson of the City of Antwerpe=j=Ephemia von Cuchelen.
T
Cornelius Johnson of Antwerpe=f=Jane le Grand. I
Cornelius Johnson of the Blackfryars, London=j=Elizabeth do. of Mr. Beek.
I
Cornelius Johnson, sonne and heir. Johnson's family therefore came originally from Cologne to Antwerp, and from
VI. B
2 TWO ANONYMOUS PORTRAITS
Antwerp to London, and they were probably among the refugees from the Duke of Alva's persecution in 1568. The registers of the Dutch Church also contain the entry of the artist's marriage on July 16, 1622, to ' Elizabeth Beke of Colchester '.
But after Johnson left England in 1643 he seems to have modified the spelling of his name. In Mrs. Stewart Mackenzie's collection I have seen a portrait of an 'Unknown Lady', signed 'Cornelius Jonson van Ceulen, fecit. 1654 ', and another ' Unknown Lady ', owned till recently by Mrs. Joseph, dated 1655, is signed in the same way; as is also the portrait of ' Adriaan van Blyen- burgh', dated 1654, in the Rijks-Museum at Amsterdam.
With Johnson's work after 1643 the Walpole Society is not directly con- cerned, but his work before 1643 is of very great interest to us. An English- man by birth, and, so far as we know, trained entirely in England, his works stand out from the mass of contemporary portraits painted here by Dutch and Flemish artists as typically national in feeling and sentiment. Johnson is certainly one of the first of the great English portrait-painters outside the ranks of the miniaturists, and, if only for this reason, the Walpole Society ought to regard it as one of its pressing duties to make his works better known and more widely appreciated than they are at present. In addition there is the historical interest of his work. From about 1616 to 1643 he was the portrait-painter par excellence of the English nobility and gentry. In bulk his work of this kind greatly outnumbers that of any artist of the period ; and in quality, as truthful, sincere, and sympathetic portraiture, his works are more precious than those of any of his rivals, English or foreign. Anything like a complete series of repro- ductions of Johnson's English portraits would do much towards the establish- ment of his reputation, and I hope that at no very distant date the Walpole Society will be in a position to publish something of the kind. Much of the work involved in such a publication is, fortunately, already done, but for what remains to be done I am afraid we must wait till the War is over.
On the present occasion I can only hope to introduce the subject of Corne- lius Johnson's work in England by offering a note on his anonymous portraits, with special reference to two of them which I believe I may possibly have identified.
Probably few of the portraits Johnson painted in England have been destroyed, and those which have been preserved have generally been well taken care of. But in a number of cases these works have become separated from the families for which they were originally painted, and the names of the men and women they represent are either lost or else have become confounded. The result is that the student of Johnson's work is confronted with a mass of portraits of unknown persons, which are scattered among private and public collections, whose owners or keepers know only that they were picked up at auction or
BY CORNELIUS JOHNSON 3
bought through dealers who had no record of the families from which they were derived.
The loss of the names of the sitters is a much greater loss in the case of Johnson's portraits than in those of any other contemporary portrait-painter in England. In appreciation of character, in psychological insight and sympathy, and in the delicacy and precision of his rendering of the personality of his sitters, Johnson surpasses all the portrait-painters who worked in England during his time. In Van Dyck's case, for instance, it matters little whether the names of his English sitters are known or not, because Van Dyck cared little for the personality of his sitters. He painted the typical cavalier, his lady, and his frail friends ; he tricked them out with all the skill of a modern actor-manager in splendid finery, and surrounded them with an atmosphere of romantic and theatrical pathos. He was not concerned so much to paint portraits as to produce incomparable decorations and backgrounds for stately dining-rooms and lordly saloons. It is true that he never descended to the depths of gross, unblushing servility and flattery to which his master, Rubens, fell in, let us say, the Medici series in the Luxembourg, or the odious equestrian portrait of the Duke of Buckingham, at Osterley Park. Van Dyck's flatteries and untruths are infinitely more tactful than Rubens's bombastic absurdities. But it is always with the clothes, rank, and worldly possessions of his sitters that Van Dyck is primarily concerned ; their personality was merely the subject of a hasty and superficial glance intended to give a touch of actuality to a plausible pictorial compliment or a specious and interesting fable. I yield to no one in admiration of Van Dyck's pictorial mastery and fertility, but as a portrait-painter I find that his works — I am speaking in particular of his portraits painted in England of people of less than royal rank— have a vitiated historical and only a meagre personal interest. And if any of his indiscriminate admirers wish to differ from me, I shall ask them to compare Johnson's portrait of the shy, gentle, winning and adorable, if slightly ' melancholic ', Dorothy Percy, the mother of ' Sacha- rissa', which some years ago was in the possession of Messrs. Wallis and Son, of the French Gallery, with the flaunting and commonplace hussy of Van Dyck's portrait of the same lady in the Basildon Park and Petworth collections, and tell me frankly which of the two has the greater value and interest as an historical or human document.
The loss of the names of a considerable number of Johnson's portraits seems to me, therefore, a very serious loss from the artistic as well as from the historical point of view. It prevents us from connecting what we know or might know about the sitter with the portrait, and thus hinders us from fully understanding and appreciating the artist's work, and it prevents us from using the artist's work to illustrate and amplify our knowledge of history. I have no doubt that some of our ' advanced ' critics will sneer at me for saying
B 2
4 TWO ANONYMOUS PORTRAITS
this, because, according to their theories, it is even an advantage not to know the name of the person represented in a portrait, as the attention is then concentrated on the painting itself, and the temptation to supplement what they see with what they consider irrelevant knowledge is thus removed. Other critics like anonymous portraits because their active fancy is thus free to imagine anything they please about the unknown sitters. But I must confess that I am sufficiently old-fashioned to want to know the name of the person represented in a portrait, and that the absence of such knowledge, especially when Johnson's works are concerned, seems to me a serious loss. I know that when looking at some of his portraits of unknown men and women, after I have admired the beautiful workmanship, the subtle drawing, the delicate and masterly modelling, and the exquisite surface of the paint, I have always found myself wondering who the sitters may have been, what rank in society they have moved in, and what fortunes and misfortunes life may have held for them. The absence of the usual clues to such knowledge has always mingled an element of loss and dis- appointment— as of something baffling and tragic — with the enjoyment derived from the picture itself. The work itself to my mind lacked completeness, because it did not evoke the full measure of understanding and sympathy which it was intended to promote. There was a delightful personality, I seemed to feel, full of human qualities and subtly individualized, thrown into the air, as it were, and obstinately refusing to take any definite place in the ordered system of our knowledge and experience.
I believe most people with any historical sense feel as I do on this subject, and the better the portrait, as a rendering of individual features and character, the more urgent is the demand to give it a definite place in our knowledge of the past. The task of identifying some of these unknown portraits which Johnson has left us therefore seems to me worth attempting, in spite of the many difficulties one has to overcome before it can be done.
One of the chief difficulties is due to what may be called the personal equation in the art of the portrait-painter. Every artist possesses certain habits of seeing and painting, so that portraits of the same person painted by different artists differ among themselves to a quite alarming extent. The most careful observer is often doubtful as to the identity of the sitter, even when the ex- ternal evidence seems to leave no room for doubt, while the similarities of handling and treatment generally enable the properly qualified student— I am not referring to the so-called ' experts ' of the law-courts— to single out correctly each artist's work. In the case I have alluded to above, it is easier to be sure that one is dealing with a painting by Johnson and another by Van Dyck than that they both represent the same person. One could never have identified the sitter in the Johnson simply on the strength of the portrait's similarity to the Van Dyck, nor the Van Dyck on the evidence of the Johnson. It is only in
PLATE I
PORTRAIT OF JOHN DIGBY, 1ST EARL OF BRISTOL
BY CORNELIUS JOHNSON, 1628
(^National Gallery of Ireland, No. 584, catalogued <is ' Portrait of a Man")
BY CORNELIUS JOHNSON 5
cases where the external evidence settles the question of the sitter's identity that one can realize how very much even great artists differ in their repre- sentations of the same object. So that where all external evidence is missing as to the identity of the sitter, and one is forced to fall back upon a com- parison of Johnson's likenesses with those known ones of Van Dyck, Mytens, and his other contemporaries, it is necessary to be very cautious in coming to any positive conclusions.
Fortunately, in the case of the first portrait I have now to deal with, we are not forced to rely upon such unsatisfactory evidence. This is a ' Portrait of a Man ', now in the National Gallery of Ireland (No. 584). It was bought in 1907 from Mr. A. H. Buttery, who had bought it at auction, and had therefore no record with it of its earlier history. Sir Walter Armstrong, who was director of the Gallery at that time, was evidently attracted by the picture as a fine piece of painting by an English artist. The price paid for it, about a hundred pounds, seems ridiculously small when one compares it with the ^13,500 paid about the same time by another gallery for the two Cattaneo portraits by Van Dyck. The Irish people have indeed good reason to congratulate themselves on the acumen and good judgement of the director of their national gallery at that time.
The person represented in this portrait is a man of aristocratic bearing, evidently in the prime of life. His hair is black, he has a fresh-coloured com- plexion, and a brown beard and moustache. A black cloak is thrown round his shoulders. The painting is smooth, very delicate, and the paint, though liquid, is not thin. There are some beautiful grey tints on the forehead, and on the upper parts of the cheeks and round the eyes. Were the picture not signed one could be certain that it was by Cornelius Johnson, and it is a particularly fine specimen of his handiwork. Though the catalogue states that it was ' Painted about 1625', the signature 'C. J. fecit. 1628' leaves no doubt as to the exact date of the picture.
The unconventionality and haughty neglige of the dress, as well as the aristocratic bearing and appearance of the sitter, persuaded me that the portrait was that of an important person, probably a nobleman. I thought at first that by going completely through the known portraits of the English nobility of the time I should have no difficulty in identifying him. But I was too sanguine. After wasting several days I felt I had better follow up the clue provided by the arms on the ring which is attached to the sitter's band-strings. It would have been wiser to have followed up this clue first, but I thought that the Museum authorities would surely have examined this clue, and as no name had been given to the portrait I assumed that it had yielded no result ; besides I did not feel at all sure that the arms on the ring would be those of the sitter — it might well be, I thought, that the ring was simply worn as a memento of some friend,
6 TWO ANONYMOUS PORTRAITS
and that the arms would be those of the friend. However, as soon as I could get a photographic enlargement of the ring (see Plate n (a)) I showed it to my friend, Mr. Van der Put, who recognized the arms at once as those of the Digby family. Reference to James Yorke's Union of Honour (1641) proved that Mr. Van der Put was right. The arms, ' Azure, a flower de luce argent, with a Mullet for a difference ', are there given as those of ' Sir John Digby Knight, (third and youngest sonne of Sir George Digby Knight, of Coleshull in the County of Warwicke, by Abigail his wife, daughter of Sir Anthony Hevningham of Keteringham in Norfolke Knight) hee was first created Baron Digby of Sher- borne, in the County of Dorset ; the 25. of November 1618. and afterward by favour of King James, he was created Earle of Bristoll the 15. of September, 1622. Hee was also Vicechamberlaine to his Majesty, and one of his Majesties most honourable Privie-Councell, and was five times imployed upon severall Embassages unto forraigne Princes. He married Beatrice, daughter of Charles Walcot of Walcot, in the County of Salop, Esquire, widow of Sir John Dive of Bromham, in the County of Bedford, by whom he had issue Mary their eldest daughter, married to the eldest son of the Viscount Chicester of Ireland, George Lord Digby, borne at Madril in Spaine, and hath married Anne, daughter to the Earle of Bedford : Abigail married to .... Freake : John unmarried.'
That the arms are those of the original of the portrait, and not of a friend, as I had at first supposed, is proved by comparing the portrait with the engraving, perhaps by R. Elstrack, which is here reproduced (Plate n (b)). There is no date nor painter's name on the engraving, but the inscription shows that it was pro- bably published about 1623, and certainly before the death of James in 1625. It therefore represents the Earl a few years younger (probably five) than Johnson's portrait, but the likeness is unmistakable.
This engraving I think settles the matter. The portrait of an unknown man in the National Gallery of Ireland we may safely assume is a portrait of John Digby, first Earl of Bristol, painted in 1628, when he was forty-two years of age. Any lingering doubts we may have on the subject seem to be dispelled by the following entry in Vertue's MSS. (B.M. Add. 23071, f. 45 (p. 74)), which my wife has recently drawn my attention to : ' John Ld. Digby Earl of Bristol, these Armes on a Seal ring hanging to his band string, a head in an Oval, well preserv'd. C. J. fecit. 1628. Earl of Oxford.' A rough sketch of the arms, a fleur-de-lys with a mullet, accompanies these words, and the signature, with the characteristic flourish around the date, is carefully copied and agrees with that on the Dublin portrait. Vertue's note was written between 1732 and 1736, and it leads one to suppose that Vertue saw this picture at that time in the house of his friend and patron, Edward Harley, second Earl of Oxford and Mortimer. Perhaps further research may throw light on the history of the picture between that date and the year 1905, when it appeared at Christie's.
PLATE II
(a) ENLARGKME.NT OF THE SEAL RING IN JOHNSON'S PORTRAIT OF THE 1ST EARL OF BRISTOL
.Barm ct jSmlxirnttytcc Chambfrlainc to .- ivii one ff we J^ords of his Maiffnfs moft. Hm prtrr Ct>un/fll .•aiia'Eml'iilsaJer efltnutaSury to inuL^lijlrntJrhilta tkt Jourth kiruj M Z
(b) THE 1ST EARL OF BRISTOL
AN ENGRAVING PUBLISHED ABOUT 1623
PERHAPS BY R. ELSTRACK
(From Print in the Print Room, British Miistuni)
PLATE III
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£ 3 s
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£ 1 I
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: BY CORNELIUS JOHNSON 7
There are few other portraits known of John Digby, though portraits of his son, George Digby, the second Earl, are numerous. In the National Por- trait Exhibition of 1866, what purported to be a portrait of the first Earl, by Cornelius Johnson, was exhibited (No. 539) by Mr. G. Digby Wingfield Digby of Sherborne Castle. This picture is included by Mr. C. H. Collins Baker in his list of Johnson's works (Lely and the Stuart Portrait Painters, vol. ii, p. 113), and he describes it as a signed and dated picture, the date being 1628. I have not been able to see this picture, but the photograph taken at the time of the exhibition proves that either Mr. Baker's date is wrong or else that the portrait is incorrectly named. The photograph shows a young man of under twenty, and John Digby was born in 1586. It may, however, represent George Digby, the second Earl, who was born in 1612. If Mr. Baker's information is correct, Johnson then painted the son at the same time that he painted the father, and the portrait exhibited in 1866 may perhaps represent the second Earl of Bristol at the age of sixteen.
In the Prado Gallery at Madrid there is a double portrait by Van Dyck (Plate in), which is catalogued as 'Van Dyck and the Earl of Bristol'. Smith, in his Catalogue raisonne' of Flemish Painters, was the first, so far as I am aware, to throw doubts on the official description. In his list of Van Dyck's works he boldly describes this picture as ' Portraits of the Artist and Sir Endymion Porter ' (No. 745). M. Guiffrey followed Smith when he published this picture in the Gazette des Beaux-Arts for 1893, and as the frontispiece to his big book on Van Dyck. The reasons he gives for this are curious. ' C'est a tort ', he writes, ' que le catalogue du musde de Madrid donne au gros personnage qui accompagne Antoine sur ce tableau le nom de George Digby, comte de Bristol. Smith ne s'y est pas tromp6, et la comparaison d'un portrait d'Endymion Porter, peint par Dobson et grave par W. Faithorne, avec la toile de Madrid, leve toute incertitude. Au surplus, le comte de Bristol n'est pas un etre imaginaire. II revit sur d'autres toiles de Van Dyck. Un grand tableau de la collection du Comte Spencer, ^ Althorp, rdunit les figures en pied du comte de Bristol et de William, premier due de Bedford ' (pp. 174-5). It is almost unnecessary for me to point out to the members of the Walpole Society that Lord Spencer's fine Van Dyck contains the portrait of George Digby, the second Earl of Bristol, and that comparison of this portrait with that at Madrid simply proves that the latter portrait cannot represent the second Earl. It may, therefore, very well represent the first Earl, which is doubtless what the official description was meant to convey. But the similarity between the Madrid portrait and the Dobson portrait engraved by Faithorne is a more serious objection. This picture is now in the National Gallery (No. 1249), and it is catalogued as a por- trait of Endymion Porter (Plate iv (a)).
The sketch by Van Dyck of Endymion Porter, now in the British Museum
8 TWO ANONYMOUS PORTRAITS
(reproduced Plate iv (£)), supports this description. But it is evident from Jean Varin's medallion portrait of Porter, made in 1635, that Porter resembled the Earl of Bristol in appearance, so that the superficial resemblance between Dobson's portrait in the National Gallery and Van Dyck's portrait in Madrid cannot be taken to prove that the latter represents Endymion Porter. Careful comparison between Van Dyck's sketch and Dobson's portrait of Porter with the head at Madrid reveals so many small differences in the features that it seems rather over-bold to reject too confidently the traditional name of the Earl of Bristol.
As to whether the Madrid portrait represents John Digby or Endymion Porter there is no one whose views will deservedly carry so much weight as those of Mr. Lionel Cust, and he rejects unhesitatingly M. Guiffrey's proposed identification. In his exhaustive study of Van Dyck's life and works (published in 1900), he says : ' Endymion Porter has usually been identified as the com- panion of Van Dyck in the well-known double portrait in the Prado Gallery at Madrid. It is difficult to recognize in the stout and rubicund personage here represented the subject of the portraits by Van Dyck and Dobson. It would seem more probable that the portrait is that of another friend and patron of Van Dyck, John Digby, first Earl of Bristol, who had been ambassador to the Court of Spain ' (p. 133). And in Mr. Gust's smaller but carefully-revised Van Dyck, published in 1906, the Prado portrait is catalogued as ' Sir Anthony Van Dyck and John Digby, first Earl of Bristol. Double portrait, half-length figures, about 1640'. The most recent edition of the Prado official catalogue also upholds the traditional description of the portraits.
If the date Mr. Cust suggests for this picture be correct Van Dyck's por- trait was painted about twelve years later than Johnson's. The passage of years, and the easy and luxurious life which the Earl had led after his breach with the Court, have coarsened and fattened his once fine features, yet the two portraits seem to be of the same man. If they are, they supplement one another. They illustrate admirably the superb character sketch which Clarendon has given us, and Clarendon's stately prose gives an added value and impressiveness to these two fine paintings.
Clarendon's ' character ' of Bristol is given in the sixth book of his History of the Rebellion, &c. 'The earl of Bristol', he wrote, 'was a man of a grave aspect, of a presence that drew respect, and of long experience in affairs of great importance. He had been, by the extraordinary favour of king James to his person (for he was a very handsome man) and his parts, which were naturally great, and had been improved by a good education at home and abroad, sent ambassador into Spain, before he was thirty years of age ; and afterwards in several other embassies ; and at last, again into Spain ; where he treated and concluded the marriage between the prince of Wales and that infanta ; which
PLATE IV
(a) ENDYMION PORTER
BY WILLIAM DOBSON
(Na/ii»ial Gull fry, No. 1249^
(b) ENDYMION PORTER
(Part of a drawing by Van Dyck,in the Print Room. British Museum
BY CORNELIUS JOHNSON 9
was afterwards dissolved. He was by king James made of the privy-council, vice-chamberlain of the household, an earl, and a gentleman of the bedchamber to the prince, and was then crushed by the power of the duke of Buckingham, and the prejudice the prince himself had contracted against him, during his highness's being in Spain ; upon which he was imprisoned upon his return ; and after the duke's death, the king retained so strict a memory of all his friend- ships and displeasures, that the earl of Bristol could never recover any admission to the court ; but lived in the country, in ease, and plenty in his fortune, and in great reputation with all who had not an implicit reverence for the court ; and before, and in the beginning of the parliament, appeared in the head of all the discontented party ; but quickly left them, when they entered upon their unwarrantable violences, and grew so much into their disfavour, that after the king was gone to York, upon some expressions he used in the house of peers in debate, they committed him to the Tower ; from whence being released, in two or three days, he made haste to York to the king ; who had before restored him to his place in the council and the bedchamber. He was with him at Edge-hill, and came with him from thence to Oxford ; and, at the end of the war, went into France ; where he died ; that party having so great an animosity against him, that they would not suffer him to live in England, nor to compound for his estate, as they suffered others to do, who had done them more hurt. Though he was a man of great parts, and a wise man, yet he had been for the most part single, and by himself, in business ; which he managed with good sufficiency ; and had lived little in consort, so that in council he was passionate, and supercilious, and did not bear contradiction without much passion, and was too voluminous in discourse; so that he was not considered there with much respect; to the lessening whereof no man contributed more than his son, the lord Digby ; who shortly after came to sit there as secretary of state, and had not that reverence for his father's wisdom, which his great experience deserved, though he failed not in his piety towards him.'
The second anonymous portrait, with which I now propose to deal, was bought about 1896 from the late Martin Colnaghi by Messrs. Wallis and Son (the French Gallery), who have kindly supplied me with the photograph from which the accompanying reproduction (Plate v) has been made. I have no further clue to its provenance. It was called simply 'An Unknown Man', and I am informed that it has been sold abroad. So far as I know the picture is not signed nor dated, but I have no doubt that it is by Cornelius Johnson, and the costume seems to suggest that it was painted about 1640. The picture unfortunately contains no definite clue, like that of the seal ring in Lord Bristol's vi. c
io TWO ANONYMOUS PORTRAITS
portrait, to the identity of the sitter. In the absence of such a clue one has perforce to fall back upon comparisons with the features of other known por- traits, an expedient full of the dangers and difficulties to which I have alluded above. But the portrait is such a fine one, and the person represented so obviously a man of high rank and personal importance, that I consider one is justified in running some risks in the attempt to establish his identity.
The features in Simon de Passe's engraving, here reproduced in reverse (Plate vi) to facilitate comparison, seem to me so remarkably similar to those of Johnson's ' Unknown Man ' that I venture to suggest that Johnson's sitter may perhaps prove to be no less exalted a person than Philip Herbert, Earl of Montgomery and fourth Earl of Pembroke. De Passe's engraving shows Philip Herbert as a comparatively young man. It must have been done before 1623, for the engraver left England in that year. As de Passe engraved a por- trait of Philip's elder brother, William, third Earl of Pembroke, in 1617, it is possible that this engraving was made about the same time ; and as William's portrait was engraved after a painting by Van Somer, perhaps this artist also painted the original of Philip's engraving. If 1617 be the correct date of de Passe's plate, Philip Herbert was then thirty -three years of age. And if Johnson's portrait was painted about 1640 (it may possibly have been a year or two later), the sitter, provided we are correct in supposing that he was Philip Herbert, would have been at least fifty-six years of age. This calculation seems to agree with the apparent age of Johnson's sitter, and the difference of twenty-three years is sufficient to account for the slight differences in the two portraits.
Another engraving which will be useful for comparison is the portrait of the fourth Earl of Pembroke, engraved by Wenceslaus Hollar in 1642, from a painting by Van Dyck. This is a small head and shoulders, in an oval frame. The original I believe is at Tythrop House. This engraving supports the suggestion that Johnson's portrait represents the same sitter.
The best known portrait of Philip Herbert is that in the great ' Herbert Family ' piece by Van Dyck at Wilton House. According to Captain Nevile Wilkinson (Wilton House Pictures, 1907) this picture must have been completed in 1633, but he thinks the Earl's portrait may have been painted a year or two earlier. Allowing for the difference in date between this portrait and that of the Johnson we are considering, and the differences between Van Dyck's and Johnson's ways of seeing and pictorial aims, it seems to me possible, though by no means certain, that the two portraits may represent the same person.
There is also at Wilton House a whole-length portrait of the Earl, wearing a dark cloak with the star of the Garter, holding a stick in his left hand, his right foot on a step (No. 287), by Van Dyck, and Captain Wilkinson gives the following list of other portraits which may be useful for purposes of comparison:
PLATE V
PORTRAIT OF AN UNKNOWN MAN- PERHAPS PHILIP HERBERT, EARL OF MONTGOMERY, AND FOURTH EARL OF PEMBROKE) BY CORNELIUS JOHNSON
From a photograph kindly supplied by Messrs. Wallis and Son
PLATE VI
PHILIP HERBERT, EARL OF MONTGOMERY (AFTERWARDS EARL OF PEMBROKE) REVERSED FROM THE ENGRAVING, MADE BEFORE 1623, BY SIMON DE PASSE (Print Room, British Museum)
BY CORNELIUS JOHNSON 11
1. Whole length, about 40 years of age, by Van Dyck. Smith's Cat. Rats., 519. Engraved
by Hollar, and in Lodge's Memoirs.
2. A three-quarter length, by Van Dyck. Exhd. Brit. Inst., 1851, R. A. 1881, and G. G.
1887, No. 4. Cust, 149. Belonging to the Earl of Carnarvon.
3. A full length, by Van Dyck. Exhd. Brit. Inst. 1860. Cust, 151. Belonging to the
Earl of Clarendon.
4. Full-length miniature, 20 in. x 15. Exhd. N.P. E. 1866, No. 589. (Similar to No. i,
above.) Belonging to the Earl of Yarborough.
5. A three-quarter length, in buff coat, ascribed to Van Dyck. Belonging to the Marquess
of Bath, Longleat.
6. A three-quarter length by Van Dyck. Exhd. R. A. 1883. Belonging to O. J. Wyke-
ham, Esq. (Said to be the original of Hollar's engraving, referred to above.)
7. A full length, ascribed to Van Dyck. Repetition of the Wilton portrait. Belonging to
Lord Mowbray and Stourton, Allerton Park.
8. A three-quarter length, seated, ascribed to Van Dyck. Exhd. Manchester, 1857, No. 99.
Belonging to the Duke of Portland. Welbeck Abbey catalogue, No. 101. (It is now, I believe, attributed to Mytens.)
9. Whole length, with rod of office of Lord Chamberlain ; view of Old Wilton House in
background. By Mytens. Strawberry Hill sale, 1842, Iot88(i7th day). Sold for
32 guineas. 10. A Portrait bought by the Rev. J. M. Trehearne as a Van Dyck, at Lord Northwick's
sale in 1859. n. Miniature, by S. Cooper. Exhd. S. K. 1862, No. 1911, by S. Addington, Esq.
Lady Anne Clifford, Countess of Dorset, Pembroke, and Montgomery, has given the following account of the life and character of her second husband (Harley MS. 6177) : 'This second lord of mine was born a second son the 10 of October ' (Complete Peerage says October 16) 'in 1584, in his father, Henry Herbert, Earl of Pembroke's house at Wilton in Wiltshire, which was once a nunnery. His mother was Mary Sidney, only daughter to Sir Henry Sidney and only sister to the renowned Sir Philip Sidney. He was no scholar at all to speak of, for he was not past three or four months at the University of Oxford, being taken away from thence by his friends presently after his father's death in Queen Elizabeth's time, at the latter end of her reign, to follow the court, as judging himself fitt for that kind of life, when he was not passing fifteen or sixteen years old ; yet he was of a very quick apprehension, a sharp understanding, very crafty withal, and of a discerning spirit, but extreamly cholerick by nature, which was increased the more by the office of Lord Chamberlain to the King which he held many years. ... He was one of the greatest noblemen of his time in England in all respects, and was generally throughout the realm very well beloved.' (Quoted from the Roxburghe Club's edition of Lives of Lady Anne Clifford \ &c., edited by J. P. Gilson, 1916, p. 55.)
A lampoon written in connexion with his visit to Oxford in 1648, quoted by Captain Wilkinson from the Tanner MSS., gives an enemy's opinion of his features :
c 2
12 TWO ANONYMOUS PORTRAITS
His nose was notch'd like country garden pales, His brow and chin more mountainous than Wales. And who could better fill Apollo's place, Than he that bears Parnassus in his face ?
Clarendon tells that when James I came to England the Earl of Montgomery, as he then was, ' had the good fortune, by the comeliness of his person, his skill, and indefatigable industry in hunting, to be the first who drew the king's eyes towards him with affection'. He bore the King's favour with more moderation than others who succeeded, and he was liberally supplied with funds by his elder brother, the third Earl of Pembroke. ' He pretended to no other qualifi- cations, than to understand horses and dogs very well, which his master loved him the better for, (being, at his first coming into England, very jealous of those who had the reputation of great parts,), and to be believed honest and generous, which made him many friends, and left him no enemies.'
Clarendon's account of him in later life is, however, much less favourable : ' Whilst there was tranquillity in the kingdom, he enjoyed his full share in pomp and greatness ; the largeness and plentifulness of his fortune being attended with reverence and dependence from the people where his estate and interest lay, and where indeed he was a great man ; getting an affection and esteem from persons who had no dependence upon him, by his magnificent living, and discoursing highly of justice, and of the protestant religion ; inveighing bitterly against popery, and telling what he used to say to the king; and speaking frankly of the oversights of the court, that he might not be thought a slave to it. He had been bred from his cradle in the court; and had that perfection of a courtier, that as he was not wary enough in offending men, so he was forward in acknowledging it, even to his inferiors, and to impute it to his passion, and ask pardon for it ; which made him be thought a well-natured man. . . There were very few great persons in authority, who were not frequently offended by him, by sharp and scandalous discourses, and invectives against them, behind their backs ; . . and his infirmities were so generally known, that men did not think they could suffer in their reputations by any thing he said ; whilst the king retained only some kindness for him, without any value and esteem of him. But, from the beginning of the parliament, when he saw and heard a people stout enough to inveigh against the king's authority, and, to fall upon those persons whom he had always more feared than loved; and found that there were two armies in the kingdom, and that the king had not the entire com- mand of either of them ; when the decrees of the star-chamber, and the orders and acts of the council, in all which he had concurred, (as his concurrence was all that he had contributed towards any counsel,) were called in question, and like to be made penal to those who would not redeem their past errors by future service ; his fear, which was the passion always predominant in him above
BY CORNELIUS JOHNSON 13
all his choler and rage, prevailed so far over him, that he gave himself into the hands of the lord Say, to dispose of him as he thought fit, till the king took the white staff from him, and gave it to the earl of Essex. . . . From this time, he took himself to be absolved from all obligations and dependence upon the court.'
If Johnson's portrait does indeed represent the fourth Earl of Pembroke, as seems possible, the absence of the white wand of office from the portrait, and the plainness of the costume, suggest that it was perhaps painted after July, 1641, when his quarrel with Lord Maltravers had led to his committal to the Tower and the loss of his office as Lord Chamberlain. The absence of the Orders of the Bath and Garter may also be taken as an indication of Lord Pembroke's break with the Court and his siding with the Puritans. It would belong therefore to a different time from those days of tranquillity in which the Earl ' enjoyed his full share in pomp and greatness ', so skilfully suggested in Van Dyck's great family group at Wilton House. In Johnson's portrait we seem to see the ally and friend of Lord Say, the fisher in troubled waters ; and the sitter's gaze seems to reflect some anxiety and fear as to what the immediate future will bring forth.
PLATE VII
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SCULPTURES IN GREAT HALL, I.UMLEY CASTLE
DRAWING ^7 THE LUMLEY INVENTORY
THE LUMLEY INVENTORIES BY LIONEL CUST.
IN the second Annual of the Walpolc Society an account was given of a painter, Hans Eworthe, or Eeuwouts, and it was stated that the identification of this painter was due to an entry in the inventory of pictures belonging to John, Lord Lumley, in 1590, the manuscript of which is in the possession of the present Earl of Scarbrough. This manuscript is of the highest importance in the history of the Fine Arts in England, and was first printed in the Appendix to the Records of the Lumleys of Lumley Castle, published in 1904 by Miss Edith Milner and Miss Edith Benham. The complete manuscript contains matters of genealogical and heraldic interest, and was lent to the recent Exhibition of Heraldic Art at the Burlington Fine Arts Club in 1916, and is described in the Catalogue of that exhibition. In addition to these details and to the inventory of pictures the manuscript contains an account of sculptures at Lumley Castle, some of which still remain in the Castle to this day. After describing the heraldic sculptures on the outer walls, the inventory states :
In the midst of the Court standeth a Condeth (conduit) of 17 foote high with two bolls of whyte marble, standing upon foure great pillers of whyte marble contayning my Lord's Armes and my Ladie Elsabeths, his second wife.
This conduit, which no longer exists, is shown in a drawing (Plate vin a). Within the Castle the inventory states :
In the uppermost front of the Hall, there standeth a great statuarie on horseback, as bigg as the life, w^in an arch of stone, in memorie of King Edward the 3 in whose time the most of this Castle was built. Wtbin this arche also standeth sixe small pictures, in whyte marble in memorie of his six sonnes, viz. : Edward Prince of Wales, Willm of Hatfield who died yong, Lyonell Duke of Clarence, John of Gaunt, Duke of Lancaster, Edmond of Langley, Duke of Yorke, Thomas of Woodstock, Duke of Glocester.
Upon the same front there are also foure livelie statues all wrought in white marble in memorie of K Henry the 8, King Edward 6, Quene Marie and Q. Elizabeth, in whose raignes his Lop lived.
These sculptures are shown in a drawing (Plate vn). The equestrian statue of King Edward III, carved in wood, still remains in the Great Hall at Lumley Castle, as do also the ' foure livelie statues ', being marble busts of the highest interest, the sculptor of which should rank with the great artists of his
16 THE LUMLEY INVENTORIES
time. The six small busts have disappeared, but the two reliefs of Plato and Aristotle, figured in the drawing, are let into the wall of the courtyard. Another drawing (Plate vin b) gives a view of the screen in the Great Hall :
In the nether end of the hall against the skreene a Rich lavatory of touch and whyte marble contayning in height 20 foote.
Of this lavatory the column and base of touch have disappeared, but the Pelican in its Piety is still preserved at Lumley Castle, and fragments of the basin have been discovered and recently pieced together. On the screen were some of a series of ' Thirtene Emperors heades of mould worke garnishing the hall ' and ' Sixe rare heades of beasts ', being the head of an Irish elk (Cervus megaceros), ' An heade of an Eliphant ', ' The head of a Strepsiceros ' (antelope}, ' A Staggs head carrying nyne in the topp ', ' Head of a Bezar ' (Bezoar goat or gazelle), 'A Hede of a beast called Gems' (chamois), and 'The clawe of a griphyn, verie wonderfull '. Four of these heads are shown in the drawing, but all with the emperors' heads have disappeared. Then follows a Latin poem, painted on panel, entitled ' Theatrum Mundus, Spectator Deus ' ; this painted poem still survives, and is worth transcribing as a piece of verbal jugglery:
Mundus abit, res nota quidem, res usque notanda
nota tibi mundi sit nota mundus abit Mundus abit, non mundus, id est, haec machina mudi,
dico, sed mundi gloria mudus abit Mundus abit, cito nome abit, cum nomine mundu
sed citius mundi nomine, mudus abit Mundus abit, tria sut, fuit, est, erit, haec tria mudum
mota movent, clamat haec tria, mundus abit Mundus abit fugiens ut tempus, ut amnis ut aura,
ut mundus, satis est dicere, mundus abit Mundus abit, constans nihil est sed constat abire
in mundo constat nil nisi mundus abit Mundus abit, nihil in nihilo, sed tamen eius abire
non abit : error abi, quo duce mudus abit Mundus abit nil quod quaeras satis unde queraris,
mundus abit, quod habet respue, mundus abit. Mundus abit, fortis su, non ero, sum spetiosus,
non ero, su dives, non ero, mudus abit Mundus abit, sequitur mors vita, stricta solutam,
Longa brevem laetum nubila, mundus abit Mundus abit mundus qui verbo fallit in omni,
nescit in hoc uno fallere, mundus abit. Mundus abit, non christus abit, cole non abeuntem,
dices, non abeo me sine mundus abit. Mundus abit, quoties iterabo, cesset abire
mundus, cessabo dicere, mundus abit.
PLATE VIII
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CONDUIT IN COURT, LUMLEY CASTLE
HALL SCREEN AND LAVABO, LUMLEV CASTLE
DRAWINGS IN THE LUMLEY INVENTORY
PLATE IX
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PLATE X
LAVABO AND SCREEN, LUMLEY CASTLE
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MARBLE SERVING TABLE, LUMLEY CASTLE
M FOUNTAIN
OBELISK WITH ARMS OF LORD LUMLEY
DRAWINGS IN THE LUMLEY INVENTORY
PLATE XI
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COLUMN WITH CREST OF LORD LUMLEY, AND TWO TABLES
COLUMN WITH CREST OF LORD LUMLEY
FOUNTAIN AND TABLK
FOUNTAIN
DRAWINGS IN THE LUMLEY INVENTORY
PLATE XII
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PLATE XV
DESIGN FOR TOMB OF ELIZABETH D ARCY, I.ADY LUMLEY, CHEAM CHURCH
DRAWING IN THIC LUMLEY INVENTORY
THE LUMLEY INVENTORIES 17
Esse, Fuisse, Fore, Tria Florida, sunt sine Flore.
nam simul omne Peril quod Fuit est »t erit Quod Fuit, Est et Erit transit spatio brevis horae
ergo parum prodest, Esse, Fuisse, Fore.
These verses were continued on another panel, which no longer exists.
Munde, vale, tibi ve fugiens me, du sequerer te tu sequeris modo me, munde vale tibi ve.
Pennatis humeris, volat irrevocabile tempus Vincit ovans laurus, falx peracuta secat
Erigam, an diripiam, temporis statuam : tempus omniu edax rerum, maioru nomina, vitam, memoriam exstinxit, marmorea, eburnea, argentea, aurea monumenta devoravit in ipsum tempus cu tempora sequierint, et istam longa annorum serie, deductam propaginem obumbrare minitentur : intemperans esse possim in temporis spoliis, si triumphalis statua consecretur: Sed omnia tempus habet, ut nee equu sit sua invidere tempori trophea, et gratiae agendae sint, tanquam comuni parent!, veritatis, virtutis, vitae, nobilitatis nostrae. Tempore nascuntur caesaru stemata, creverunt imperiorum sceptra, honoris aura placet, captatur, suspicitur, concidit.
Tempora labuntur fluimus ruimusque gradatus Dulcia virtutis praemia sola manent.
The manuscript then proceeds to the genealogical and heraldic history of the Lumley family, after which comes the famous inventory taken by Mr. John Lampton, 'Stewarde of Howseholde to John Lord Lumley'. The inventory starts off with nineteen pages of drawings representing marble furniture. These were probably Italian work, and at Nonsuch Palace, as the series contains drawings of the tombs, designed in 1597 by Lord Lumley, to be erected to the memory of himself and his two wives, Jane FitzAlan and Elizabeth D'Arcy, in the church at Cheam in Surrey (Plates xiv and xv), where they were all eventually buried.1 These drawings of fountains, tables, and screens (Plates ix, x, xi, xn, xm) are of considerable artistic interest; unfor- tunately nothing has been preserved. Possibly the fountains were destroyed when Nonsuch Palace fell into the rapacious hands of Barbara Villiers, Duchess of Cleveland, who pulled down the palace and turned all she could into cash. After these drawings follows the inventory of the pictures, which is of excep- tional interest, as revealing not only the immense wealth of pictures owned by John, Lord Lumley, in his various residences — at Lumley Castle, his house on Tower Hill, and possibly also at Nonsuch Palace — but also as giving the clue to certain painters of the period.
The inventory of the Library has not been preserved, and possibly the
1 The tomb of John, Lord Lumley, was engraved for Sandford's Genealogical History of the Kings of England, chap. V.
VI. D
i8 THE LUMLEY INVENTORIES
books were disposed of by Lord Lumley himself, as it is stated in the manuscript :
The Library Registred in a boke wryten by Alcocke, my L: of Chechester his L: servant, A" 1596 with all the rest of my boks myselfe have dysparsed sundery ways.
Some of the books and manuscripts came into the possession of Henry, Prince of Wales, and a few are now in the British Museum. Lord Lumley had in 1587 presented a number of books to the University of Cambridge. In 1601 Lord Lumley surrendered the palace at Nonsuch to Queen Elizabeth in discharge of a debt to Her Majesty, though he appears to have remained there as a tenant, as he died there on April ir, 1609, and was buried with his first wife and their children at Cheam. A further inventory taken after his death shows that the greater part of the artistic treasures mentioned in the inventory of 1590 was in 1609 at Lumley Castle. A summary of this second inventory was given in Surtees's History of Durham, vol. ii, p. 161 ; but the whole of this inventory has been transcribed by Miss Mary Hervey, and is appended here with Miss Hervey's own remarks on the formation and dispersal of the great Lumley collection.
By his first wife, Jane, daughter and co-heiress, through the death of her brother, Lord Maltravers, to Henry FitzAlan, last Earl of Arundel of that line, Lord Lumley inherited part of the fortune and treasures of the great house of FitzAlan, the other portion descending to Lady Lumley 's sister, Mary, Duchess of Norfolk, wife of Thomas Howard, Duke of Norfolk, who was attainted and beheaded in 1572 for complicity with the Queen of Scots against Queen Elizabeth. The Duchess of Norfolk had died in 1557, leaving one son, Philip, Earl of Arundel, who was father of Thomas Howard, Earl of Arundel and Surrey, the famous art collector and connoisseur. At the time of Lord Lumley's death in 1609, with no surviving issue by either of his wives, the heir to the possessions of the FitzAlan family was Thomas, Earl of Arundel. Certain family portraits and other works of art must have passed immediately into the Earl of Arundel's possession, such as the portrait of Christina, Duchess of Milan, by Holbein, and Holbein's famous book of portrait drawings. Some portion was probably inherited by Elizabeth D'Arcy, Lady Lumley, with the London house on Tower Hill. Nonsuch Palace with its contents was already the property of the Crown. A considerable portion of the collection of pictures, tapestries, &c., remained at Lumley Castle, and passed with that property to the Earls of Scarbrough, with whom they remained for some generations. Un- fortunately, during the eighteenth century the financial affairs of the Earls of Scarbrough became sadly involved. After the death of Richard, fourth Earl of Scarbrough, in 1782, a sale of household furniture, &c., was conducted by Mr. Christie at Lumley Castle on Monday, August 8, 1785, and the three
THE LUMLEY INVENTORIES 19
following days, when the collection of works of art was dispersed, though a certain number appears to have been bought in. A further sale took place after the death of George Augusta, fifth Earl of Scarbrough, in 1807, both at Sandbeck Park and at Lumley Castle. A number of family portraits and a few sculptures were saved, and remain to this day at Lumley Castle ; but the former richness of the collection is now only a memory preserved in the inventory of 1590.
Apart from the interesting questions of iconography arising from the Lumley inventory, there are entries of special interest with reference to the painters working in England during the sixteenth century.
The pictures and drawings ascribed to Hans Holbein have been noted and described elsewhere by Dr. Paul Ganz and Mr. Arthur Chamberlain. They need no further comment here, except to note that the portrait of Sir Thomas More, which had been identified with that formerly belonging to Mr. Huth and now in the collection of Mr. Frick in America, may perhaps be the fine version of this portrait in the collection of the Marquess of Lothian at New- battle Abbey. The ascription of certain paintings in the Lumley inventory to Haunce Eworthe has led to the identification of this painter, as set forth in the Second Annual of the Walpole Society. The paintings ascribed to Garlicke, otherwise Gerlach Fliccus, have been ably dealt with by Miss Mary Hervey in the Burlington Magazine, vol. xvii, pp. 71, 146.
A painter Hnbberi still remains to be identified.
The famous paynter Steven seems to be identical with Richard Stevens, a Flemish painter in London, who was sta'tuary and medallist as well as painter. The portrait of Lord Lumley by this painter, which is still preserved at Lumley Castle, is a good example of Tudor painting without any special mark of distinction.
Seigar, to whom various portraits are attributed, may be identified safely with either Sir William Segar, Garter King-at-arms, or his brother, Francis Segar. ' William and Francis Segar, brethren ' are among the painters noted by Sir Francis Meres in his Palladis Tamia in 1598. A comparison with the plates engraved for the numerous works of Sir William Segar makes it almost certain that the series of full-length portraits of John, Lord Lumley, and his ancestors, which still hang in the Great Hall at Lumley Castle, was painted by Sir William Segar or his brother.
Other painters are mentioned in the inventory, but not as working in England, such as Albrecht Durer, Frans Floris, Antonio Moro, Jan Schorel of Utrecht. The entries ' Of Lucretia drawne by Cornelius Vandeave of Anwar pe\ and 'A large table of the Rape of Helena, drawne by Cleave Haunce of Anwar pe ', are valuable in the history of the various artists bearing the name Van Cleef in the Netherlands. Jacques Pindar is identical with Jacob De Poindre, a painter of repute at Malines; but Vincent of Macklen from the same town
D 2
20 THE LUMLEY INVENTORIES
remains to be identified. The picture of Lodovicus Orioustus the Poete done by Lucios (or furio), the paytf, also gives a clue which has still to be followed up.
Inventories of pictures are disappointing, since the details given are seldom sufficient to secure identification. The Lumley inventory is unusually rich in such details, but yet the bulk of the pictures enumerated, most of which must still exist in modern collections, still remains a mine for future discoveries. Some descriptive notes in The Literary Cabinet may help to identify certain portraits, and the descriptions in the sale catalogues of 1795 and 1807 also throw a little light, which may lead to more of the pictures being traced.
APPENDIX
Additions by same hand as MS. are printed within square brackets. Additions in a later hand are printed in italics.
I
A Certyficate from Mr. John Lampton Stewarde of Howseholde to John Lord Lumley, of all his Lo: monumentes of Marbles, Pictures and tables in Paynture, with other his Lordshippes howseholde Stuffe and Regester of Bookes. Anno 1590.
A note of Pyctures caryinge
the fowrme of the whole Statuary.
These sorted together
for the memorye
of yr Lo: house.
The statuary of Adam and Eve.
1 The Statuaryes of xvien Auncestors of yor Lo: lyneally descending from the Conquest unto yor self.
1 The Statuary of yor eldest sonne Charles. 1 The Statuary of bothe yor Lo: wives. The Statuary of old tyme.
'The Statuary of Kinge Richard the seconde, delyvering the wryte of Parliament to Ralphe the first Barren of Lumley, called by him the eight yeare of his Reigne.
* The Statuary of King Henry the eight and his father Kinge Henry the seaventh joyned together, doone in white and blacke by Haunce Holbyn.
The Statuary of Kinge Henry the eight alone doone in oyle coloures. The Statuary of his sonne King Edward the sixt drawne by g The Statuary of the Lord Barley, after King of Scotts. The Statuary of Quene Anne Bulleyne.
• The Statuary of the Duches of Myllayne, afterwards Duches of Lorreyn daughter to [Christierne] king of Denmarke doone by Haunce Holbyn.
The Statuary of the Duches of Parma, Regent in Flaunders, Base doughter to the Emperor Charles the fiveth.
The Statuary of King Phillip of Spayne.
The Statuary of Henry of Burbon King of Navarre and of Fraunce.
The Statuary of Willm Nassau Prince of Orange, murthered by Balthazar Geraertez, a Burgunyan gent.
The Statuary of the Princes his last wife, daughter to Colligny Admyrall of Fraunce and widow of Telligny.
1 Now at Lumley Castle. * That of the second wife is at Lumley.
' At Lumley. * Now at Chatsworth.
' Erased in original MS.
' Now in the National Gallery, formerly in the Duke of Norfolk's collection.
22 THE LUMLEY INVENTORIES
The Statuary of the last old Earle of Arundell fitzallen, Lo: Chamberleyne to k: H: 8. and K: Edw: 6. and Lo: Steward to Quene Mary and Q. Elizabeth.
The Statuary of Willm Harbert first Earle of Pembroke, created by King Edward the sixt Lo: Steward to Quene Elizabeth.
1 The Statuary of Thomas first Lo: Darcy of Chiche created by King Edw: 6. Lo: Chamberleyne to the said K: Edw: drawn by Garlicke.2
The Statuary of the Lo: Charles Howard of Effingham, Lord Admyrall of England.
The Statuary of Sir Christofer Hatton Knight, as he was being vice-chambereyne to Q. Elizabeth, [who afterward was Lo: Chancelor of Englande.]
3 The Statuary of the Lorde Darneley [afterwards K: of Scott] and his brother Charles Stewarde in one table.
[The Statuary of Robert Dudley Earle of Leicester.] [The Statuary of Edwarde Earle of Oxfourde.]
4 [The Statuary of yor Lop selfe in yor Parlyament Robes.]
[The Statuary of Monseur brother to Valois laste Kinge of Fraunce in the robes of y* order.]
[The Statuarie of Counte de Home ) . r , .
™. Oi . r~ [ in the Robes ot theire order.
[ine btatuane ot Lounte de Mounteny )
5 [The Statuarie of Robte Earle of Sussex Anno 1593.]
[The Statuarie of Thomas Lord Broughe in his Robes of the Garter.]
PICTURES OF A SMALLER SCANTLINGE.
The Picture of King Richard the Second.
Of King Henry the fourthe.
Of King Henry the fiveth.
Of King Henry the sixt.
Of King Edward the fourthe.
Of King Richard the third.
Of King Henry the seaventh.
Of Quene Elizabeth his wife.
Of Prince Arthur their eldest sonne.
Of King Henry the eight. 0 Of King Edw: 6. being Prince. 7 Of Quene Marye, drawne by Garlicke. 3 Of Quene Elizabeth as she was comyng first to the Crowne.
And agayne, as she was the xxxth yeare of her Reigne.
[Of Stephen Batre Kinge of Powland.]
[Of Sigismond Kinge of Poland sonne to John Kinge of Swethland.]
[Of Sigismonde Batre Prince of Transsilvania a° 1595.]
[Of Phillip sonne to the Kynge of Spayne that now is.]
Of the Duke of Richemond, base sonne to K: H: 8.
1 This was at Irnham. * Gerlach Fliccus or Flick.
' Now at Windsor Castle.
Sold 1785. John Boro de Lumley in robes of state, 1591. Now at Lumley Castle. ' Sold 1785. Whole-length portrait of Radcliffe, Earl of Sussex, in armour. £10 105. Terry. Now in the possession of Mr. Henry Harris, reproduced in Walpole Society's Annual, iii.
6 Sold 1785. £6 i6s. 6d. 7 Sold 1785. £555. ' Sold 1785. £6 6s.
THE LUMLEY INVENTORIES 23
Of the Duke of Buckingham.
Of the first Duke of Northefolke Hawarde.
Of the seconde Duke of Northfolke.
Of Thomas the third Duke of Northfolke, doone by Garlicke. 1 Of Thomas Earle of Surrey.
Of Thomas his sonne the 4 Duke of Northfolke.
Of Phillip his sonne afterwards Earle of Arundell.
Of Charles Brandon the first Duke of Suffolke Lo: great Mr.
Of the Duke of Somerset Seymar Lo Protector to King Edw: 6.
Of his brother Lord Admirall Seymer.
Of the last Earle of Arundell Fitzallen, drawne twise by the famous paynter Steven.
Of his sonne the Lord Mautrevers.
Of the first Marques of Winchester Pawlet, Lo: Treasorer.
Of the Lo: Marques of Northampton Parre, Lo: great Chaberleyne.
Of Thomas Earle of Northumberland, executed at Yorke.
Of the first Earle of Southampton Writhesley, Lo: Chauncellor. * Of the Lo: Robert Dudley, Mr of the horse to Quene Elizabeth.
Of him after he was Earle of Leicester Lo: Steward, twise drawne bye Seigar.
Of the Earle of Southampton Fitzwillms Lo: Pryvie Scale.
3 Of the first Earle of Bedfourd Russell Lo: Pryvie Scale.
4 Of the second Earle of Essex [Robert] Devereux, Mr of the horse, doone by Seigar. Of the Lo: Clinton, afterwards created Earle of Lincolne, Lo: Admirall.
Of Ambrose Earle of Warwicke, generall at Newhaven.
[Of the firste Earle of Shroesburie.]
Of the Olde Earle of Lyneux.
[Of Gilbert Earle of Shrewesburye that now is.]
Of the Pope Julius secundus.
Of Cardynall Woolsey Lo: Chauncello'
[Of Anthony Grandville Cardinall and Bishopp of Arras.]
Of the Cardynall Poole.
Of the B. of Winchester, Steven Gardyn Lo: Chauncello'
Of the B. of Rochester Fissher. 6 Of the old Lo: Henry Morley, A° 1523 done in water color by Albert Duer.
Of the Vycount Mountague Browne. c Of yor Lo: doone by Steven.
Of the first Lorde Sheiffeild, slayne at Norwiche.
Of Arthure Lo: Gray of Wilton, Lo: deputie of Ireland, doone by Seigar.
Of the first Lo: Willoughbye [Perigrine] Bartue.
Of Thomas the first Lo: Crumwell, Lo: pryvie scale, and vice-regent to K: H: 8.
Of the first Lo: Wentworth, Lo: Chamberleyne to K: Edw: 6.
Of the first Lo: Riche, Lo: Chauncello' of England.
Of Thomas the third Lo: Darcy of Chiche, doone by Hubbert
•
1 Sold 1785. Portrait of Howard, Earl of Surrey, 1545. £7 175. 6d. ? at Greystoke. Given to Mr. Howard by the Earl of Scarbrough.
1 1587. Sold 1785. £335. Robert Dudley, Earl of Leicester.
3 Sale 1785. Less half length. John Lord Russell, Earl of Bedford, 1555. £2 55. Perhaps now at Woburn Abbey.
4 Sale 1785. Devereux, Earl of Essex, 1590. £445.
6 Now in the British Museum. ' Now at Lumley Castle.
24 THE LUMLEY INVENTORIES
Of the last Lord Braye.
1 Of the first Lo: Burghley Cicill, Lo: Threasorer.
2 [Of Sr Anthony Browne Mr of the horse to K: H: 8. and K: Edward y9 6.]
3 Of Sr Nichls Carewe Mr of the horse to K: H: 8.
Of old Sir Thomas Lovell Threasorer of howseholde to K: H: 7.
4 Of Sir Henry Guilfourd Coumptroller to K: H: 8. [drawne by Haunce Holbyn.]
5 Of Sir Thomas Moore, Lo: Chauncellor, [drawne by Haunce Holbyn.] Of old sir Thomas Wyatt.
Of the yonger sir Thomas Wiat executed.
Of Sr Thomas Hennege, Vice chaberleyne.
Of Erasmus of Roterdame, "all this eight drawne by Haunce Holbyn.
Of Sir Willm Winter, doone by Seigar.
Of sir Frauncis Walsingham Secretary. 7 Of sir Willm Peter Secretarye. s Of his sonne sir John Peter.
Of sir Willm Drury slaine in fraunce drawne by Seigar.
Of sir Nichls Bacon Knight Lo: Keper of the great Scale to Q: Elizabeth.
9 Of Sir James Wilfourd Capten of Haddington. Of sir Phillip Sidney, Lo: governor in Zealand.
Of sir Frauncis Drake the Great Navigator (doone by Seigar) [who sayled round about the worlde.]
10 Of Sir John Lutterel, who died of the sweat in K. Edw: 6: tyme.
[Of Sir John Haukins Treasurer of the Admiraltie drawne by Hubbert.]
[Of Mr Thomas Candishe who sayled round about the worlde.]
M' ' Churchyards picture.
An old man fancying a yong woman.
Of Mr Edward Dyer of the Corte, drawne by Hubbert.
Of Mr Edw: Shelley slayne at Mustleborough feilde, drawen by Haunce Eworthe.
11 Of Mr Thomas Wyndeham drowned in [the Sea returneinge from Ginney.] [Of Sir Edward Kelley rare for his knowledge in Alcumistrye.]
Of the Earle of Salisburie, Cecill.
Of Julius Caesar.
Of Henry the third Empor husbande to Mawd the Empresse.
Of Maximilian the Empor grandfather to Charles the Vth.
Of Charles the Vth Empour.
1 Sold 1785. Cecil Lord Burleigh, Lord High Treasurer. £3 135. 6d.
2 Sold 1785. Portrait of Sir Anthony Browne, Viscount Montague. £3185. Ditto £i us. 6d.
3 Now in the collection of the Duke of Buccleuch, at Dalkeith. Sold 1785. £10 IDS.
4 Now at Windsor Castle.
6 Sold 1785. Portrait of Sir Thomas Moore, Lord Chancellor. £5 155. 6d. Said to be by Holbein ; probably the picture in the collection of the Marquess of Lothian at Newbattle Abbey.
6 These three words erased in original MS.
7 Sold 1785. Sir William Peter (or Petre), Secretary to Henry 8th, Edward 6th, Queen Mary, and Queen Elizabeth. £5 55. Now perhaps at Thorndon.
8 Sold 1785. Sir John Peter. £3 35.
9 Either the picture now belonging to Mr. A. W. Hall or that at St. George's Hospital.
10 Either the portrait by Hans Eworth at Dunster Castle, or that at Badmondsfield. See Annual, Walpole Society, vol. ii.
11 By Hans Eworth, now at Longford Castle. Sold 1785. Mr. Wyndham, 1550. £5 55. See Annual, Walpole Society, vol. ii.
THE LUMLEY INVENTORIES 25
Of Steven [Batere] King of Poland 1583.
Of the Duke of Savoy Regent in Flaunders doone by Jaques Pindar.1 Of the Duke of Parma, Regent in Flaunders.
8 Of the Duke of Alva, governo' in Flaunders, doone by Anthony Moorey. Of the Duke of Askott 1583. [Of the Duke of Sert]
Of the County Egmond executed at Bruxels, drawne by Steven. Of the Duke of Burbon, slayne at the sackinge of Rome. Of Henry Valoys last of that name, king of Fraunce, murthered. Of Henrye Duke of Guyse murthered by the said kinge. Of Albertus Cardinall of Austria now governor of the Lowe Countryes.
3 Of Andrew Dore Prince of Melph.
[Of Phillip de Roye a councelor to the K. of Spayne.]
Of Balthazar Geraertez gent, a Burgunyan, who murthered the Prince of Orange.
4 Of President Viglius, a Great Councello' to Charles the Vth, drawne by Jaques Pindar.
Of Haward a Dutch Juellor, drawne for a Maisters prize by his brother Haunce Eworth.
Of Sebastian Gabote the great Navigator.
[Of Ignatius de Loyola first founder of the societie of Jesus.]
[Of Franciscus Xaverius firste of the Jesuites whiche brought the Christian faythe unto y" Indians.]
Sir Thomas Stukeley slayne wth the thre Christians kings.
Of Bocchas.
Of Petrarke.
Of Dante.
Of Oriosfo.
Of sir Gefferey Chawcer knight.
Of Buckenel the Scott.
Of Raphael de Urbino, the great paynter.
Of Willm Somer, K: H: 8: notable foole.
Of Theophrastus Paracelsus.
[Margaret daughter to Duke of Anjoy and wife to K. Henry 6th.]
Of Elizabeth wife to King Edw: 4.
Of Margaret6 Countesse of Richemonde and Darby and mother to K: H: 7.
Of Quene Katheryn, mother to Quene Marye.
Of Quene Jane mother to K: Edw: 6:
Of Quene Katherin Parre, last wife to K: H: 8.
Of [Isabel] wife to Charles the Vth Empor, mother to K: Phillip.
Of Mary Quene of Scottes, executed in Englande.
Of [Elizabeth] Q: wife to the Frenche Kinge, Charles the 9:
[Of Isabel daughter to Phillip the second K: of Spayne.]
Of the Duchesse of Savoye.
Of a Frenche Duchesse.
1 Jacques de Poindre.
'80^1785. The Duke of Alva, 1557. Terry, London. £15155. By Antonio Moro.
8 Sold 1785. Pater Patriae Andreas Auria. £3 135. 6d.
4 Sold 1785. Viglius, President of the Council in the Low Countries, 1560. £2 75.
5 Elizabeth erased.
VI. E
26 THE LUMLEY INVENTORIES
1 [Of the olde Countes of Salisburie behedded.]
2 [Of the olde Marquesse of Dorcett syster to Sir Edw: Wootton.]
[Of the Counties of Shroesburie 2 wyffe to the first Earle of Shroesburie, eldest daughter to Richard Earle of Warwicke, Beachampe.]
[Of the Ladie Margaret Lenox.]
Of the Duchesse of Somersett, Stanhop.
Of Mary Duches of Northfolke, daughter to the last Earl of Arundell [Fitzallen] doone by Haunce Eworth.
Of the Lady Marques of Northampton 3 borne in Swedelande.
Of the Countes of Huntington, daughter to the Duke of Northumbrelande.
4 Of the Countesse of Lincolne, daughter to the Earle of Kildare. Of the Countesse of Warwicke, daughter to the Earle of Bedfourd.
Of the Countesse of Essex wife to the 2 Earle of Essex and widow to sir Phillip Sidney.
[Of Marye daughter to Sr William Candishe wyfe to Gilbert earle of Shrewsburye yl now is.]
Of the Lady Jane Graye, executed.
Of the Lady Katheryn Graye, married to the Earle of Hertfourd.
Of the Countesse of Arundell second wife to the late old Earle of Arundell [Fitzallen, j daughter to Sir John Arundell of Lanherne in Cornewall.
Of the Countesse of Arundell, wife to Phillip Earle of Arundell, daughter to the Lo: Dacres of the northe.
5 Of yor Lo: first wife daughter to the old Earle of Arundell [Fitzallen] drawne by Steven.
Of my La: yor second wife daughter to the Lo: [John] Darcy of Chiche, drawne by Hubbart.
Of the La: Darcy of Chiche wife to Thomas the third Lo: Darcy.
6 Of the La: Guilfourd wife to Sir Henry Guilfourd Coumptroller, drawne by Haunce Holbyn.
Of an Italian gentlewoman drawen by her selfe and presented to the olde Earle of Arundell in Italy.
Of a Dutche Ladye.
Of an Italian Gentlewoman in great reputacon wth her husband for her beawty.
Of Shores wyfe concubyne to K: Edw: 4.
Of a bride of Constantinople.
Of Mary Magdalen, drawen by Frauncs Flores.
Of Lucretia drawne by Cornelius Vancleave of Anwarpe.
Of Pompeia.
Of Cleopatra in water colours.
Of thre Italian Ladyes.
Off Mary Medices daughter to Francise Duke of Thoscane and to Joan of Austria, and wife to Henrie of Borbon Kinge of France.
1 Perhaps the picture in the collection of the Earl of Loudoun.
2 Perhaps the picture now at Welbeck Abbey. s Dorset erased.
4 Pennant in his Tour in Scotland mentions tin's picture as dated 1569, and in a singular dress of black and gold with a red and gold petticoat.
5 Now at Lumley Castle.
6 Formerly in the collection of Mr. Frewen, now in collection of Mr. W. C. Vanderbilt, USA.
THE LUMLEY INVENTORIES 27
OTHER PICTURES AND TABLES.
A Speciall picture of Christ cast in mould by Raphael de Urbino, brought into England from Rome by Cardynall Poole.
Thre notable peics of hangings, One of Christ his passage with his Crosse to his Passion, The other of his passion, And the third of his Judgement doone by Henry Houm- frey, Thes were thos especiall peices, y* honge in Set Magnus churche at the bridge foote in London, geve away.
A large picture of or blessed Lady with Christ her sonne in her Armes.
A large table of the Passion of Christ crucified, doone by Mr Schore of Utright.
A table of the fower Evangelists, supporting Christ.
A picture of Sot Hierome.
The picture of our Ladie a/* Christ in her armes togltlf ivith S' Catherine and S' Jhon Baptist on Canvasse.
The Passion of Christ cutt in black stone.
A great large table infolds of the Passion, very anncient and notable.
A table of Sainct Pawle preachinge.
A large table of Charite doone by Vincent of Macklen.
A large table of Noe, doone by Fraunce Flores of Anwarpe.
A large table of the Rape of Helena, drawne by Cleave Haunce of Anwarpe.
A table of a j'oung man fancying the riche old woman.
A large table of the maner of banquetting in Flaunders.
A table of Anchises and Aeneas.
A table of Juno and Jupiter.
A table of Venus and Adonis.
A table of Dives and Lazarus.
A table of the building of Babell.
A table of Judith and Holofernes.
A table of the sale of Joseph by his brethren.
A table on the conyng pspective of death and a woman, doone by Hilliarde.
A table of the Ficlenes of Fortune.
A counterfeyt of an old booke.
A table of Cookerye.
Two large tables of China woork.
A table of Hercules.
The 9: worthies in roundels enealed.
A great table of the birthe of Christ.
A great table of the fower Evangelistes.
A great table of the conversion of Sct Pawle.
1 A great booke of Pictures doone by Haunce Holbyn of certyne Lordes, Ladyes, gentlemen and gentlewomen in King Henry the 8: his tyme, their names subscribed by Sr John Cheke Secretary to King Edward the 6 wch booke was King Edward the 6. 2 The picture of ST Edward Kolloy, who was the of golde in before.
A great table of the temptacions of Sct Antony.3
A great table of a Dutche woman selling of fruyte.
1 The famous series of drawings now at Windsor Castle. 1 Erased in original MS. 3 Frauncis erased.
E 2
28
THE LUMLEY INVENTORIES
A pycter of S* Francis. 1 The old Morley Henry, doone by Albert Duro.
The Picture of Lodovicus Orioustus the Poete [done by L.UCWS 2 the payter.]
The picture of Count de la Marche who wan Bryll in Holland for the Prynce of Orange.
Other Pictures in small of Christ, our Ladie and his Saints, wrought upon brass, and adorned zi*'h marbles and marble Pillars.
Imago Christi Christus crucifixus Christus spinis coronatus Salvator 12 annor. Salvator portans crucem
humeris
Salvator portans mundum Imago beatae virginis por-
tantes Jesum Beata virgo Maria Mater
dei
Sta Maria Magdalena S** Maria Magdalena Ti-
tiana
Sta Caecilia Sto Catherina Sta Catherina Senensis Sta Martha Sta Barbara Sta Lucia Sta Apollonia S' Agatha S4 Helena Sta Ursula
Sum of the valew of the picture 62}£.
S*a Dorothea
Sta Agnes
Sta Clara
Sta Margarita
Sta Justina
Sts Joseph cum puero Jesu
Sts Petrus Apostolus
Sts Paulus ApTus
S" Philippus
S*8 Jacopus aptus
S*8 Symon aptus
S* Jhon Aptus
S* Thomas aptus
St8 Matheus
S' Lucas
StB Marcus
St8 Jhon Baptist
Sts Bartholomeus
St! Mathias
St8 Andreas
S*8 Stephanus
S'9 Jacobus
Sts Augustinus
S'9 Gregorius doctor
S" Bernardus
Sts Ambrosius
S" Hieronimus
St8 Anselmus
S*8 Tho: Aquinas
Venerab. Beda
S'8 Sebastianus
St8 Hiacinthus
S*8 Thadeus
S'8 Franciscus
S*8 Rocchus
Sts Anthonius abbas
S'8 Laurentius
S'8 Anthonius de Padua
St8 Didacus
Sta Thomas Cantuariensis
S'8 Nicholaus
Sts Dominicus
S48 Franciscus de Paula
Sts Benedictus
S*8 Ludovicus rex Galliae
Su Peter Martyr
67.
A SUMARYE of certayne stuffe within your Lo: houses the xxiith of May Anno 1590 the Inventoryes of the partyculers remaynyng in bookes subscribed by John Lambton, gentleman, steward of household to yor Lo: and under the handes of the severall wardropers there.
Sutes of hanginges of arras, sylke and tapistre Ivii
Turkye carpettes of sylke xi
Carpettes of velvet for tables and wyndowes xv
Other Turky Carpettes iiiix*xv (95) Testers 12, Sparvers 3, Pavylions 3, Canapies 6, & Feild beddes 4, wrought
with gold, sylver and sylke xl
Coveringes and Quyltes of sylke xl
Chares of clothe of gold, velvet and sylke Ixxvi
Quisshins of clothe of gold, velvet, and sylke cix
Erased in original MS.
? furio.
THE LUMLEY INVENTORIES
29
Stooles of clothe of gold, velvet and sylke
Pallet beddes with their bolsters
Py Howes
Lyvereye beddes
Woolbeddes
Counter poyntes and Coverlettes
Fustyans
Rugges
Woollen Coverlettes and blankettes
Travyses of sylke for wyndowes
Bedsteades gylt
Bed steades of walnuttre and markatre
Bedsteades of weynskot
Chares of walnuttre and Markatre
Stooles of walnuttre and Markatre
Fourmes of walnuttre
Tables of walnuttre and Markatre
Tables of marble
Cubboordes of walnuttre and Markatre
Chares of read Spanish lether
Stooles of nedlewoorke cruell
Stooles of read Spanishe lether
Stooles of waynskot
Cubboordes of Waynskot
Tables of waynscot
Andirons of Brasse and parcell Copper, paires
Great standing wynd Instruments with stoppes
Vyrgynalles paires
Rygalles paires
Jryshe harpes
Lutes
Howboyes
Bumbardes
Crumpe homes
Recorders
Vyolens
Vyoles
Sagbuttes
Cornettes
iiii" (80) Ixxv
(95)
c
"
iiii"x xxxii Ixix Iiii ciii Iv xxi iiii xxiii xl xvii Ivii
XX XXV
xiiii
viii
ii
x
vii
cxviii
xliii
i
zlii
viii
v
•ii
ii
viii
x
iii
iiii
XV
xiii
xli
iiii
xii
The Stuffe eslemd fj8o. " xvii viiid (£480. 17. 8.)
The Armor valewed
The Plate & sylver vessell
The Library Registred in a boke wryten by Alcocke, my L: of Chechester his L: servant, A°- 1596 with all the rest of my bokes myselfe have dyspersed sundery ways.
3o THE LUMLEY INVENTORIES
II LUMLEY CASTLE
In the Literary Cabinet there is an account of Lumley Castle which mentions : —
HALL : Full length portraits of Lumley family. LITTLE DINING ROOM :
John Lord Lumley, 1563. ditto 1588.
ditto 1591.
Garcia Sarmienta Cuna. Full length in armour, a ruff, red stockings, white shoes, a white cross on his breast, a spear in his hand. Out of a window a view of the sea. Captain of the Guard to Philip II. Ferdinand, Duke of Mar (sic), 1557. In rich armour. Duke of Monmouth. Full length. Jane Fitzalan, Lady Lumley. In black robes, a small ruff with gloves in her hand
dress gracefully ornamented with strings of jewels.
Thomas Ratcliff, Earl of Sussex. Full length in white armour and gold breeches, a staff in his right hand, his left resting on a sword. Helmet with an enormous plume on a table, crested, amando efidando troppo son ruinato. Duke of Suffolk, 1593. In a purple robe.
Viglius. |, in black gown furred in front, a black cap, sitting in a chair. One of the Lumleys.
A Man in Scarlet Robe. f , white mantle over shoulder, scarlet cap tied in the middle, collar of the fleece, scarlet robe furred with white, on which are several times repeated the words Ah ! amprins au rajay. Perhaps a misreading of the motto of Charles the Bold, Duke of Burgundy, Je I'ay empris. Duke of Buckingham. Over chimney. Robert Earl of Salisbury. Half length . Sero sed serio. Sir William Peter.
Queen Mary and Queen Elizabeth. Of a severe countenance. Dudley, Earl of Leicester, 1587. |, with collar of garter, a staff in right hand. Andrea Doria, Genoese Admiral, dressed in black, |, cap, long beard, collar with fleece,
pendant, truncheon, a dagger in girdle, view of ships through a window. John, Lord Lumley, 1588. Full length in rich armour.
ditto 1591- Black skull cap, a white beard, in his robes. By Richard
Stevens.
DRAWING ROOM :
King Charles II on horseback. DRESSING ROOM, OVER FIREPLACE :
Zebedeus, Jacobus Major, Salome, Christo coevus, a group of four, a fine picture
supposed by Holbein. In the LODGING ROOMS, &c.
John, Lord Russell.
THE LUMLEY INVENTORIES 31
Elizabeth, Countess of Surrey. Singular dress of black and gold with a red and gold
petticoat. Dated 1560. Sir John Petre.
Ambrose, Earl of Warwick. A bonnet, furred cloak, small ruff, and pendant George. Earl of Surrey. In black with a sword and dagger, 1545. King Edward VI. Full length. Ralph Lumley, 1567. Small full length. Sir Thomas More. Half length, dressed in that plainness of apparel which he used
when the dignity of office was laid aside ; in a furred robe with a coarse
capucin cap.
William Cecil, lord high treasurer of England. Half length, in black with garter. Mr. Thomas Wyndham. Good half length, a robust figure in green, with a red sash
and a gun in his hand. Aged 42 MDL.
Earl of Essex. Full length, in black covered with white embroidery. Sir Nicholas Carew. Awhile feather in his hat, his head bound round with a gold stuff
handkerchief. Last Earl of Arundel. |.
5/A Earl of Bedford. Engraved among the illustrious heads. Killigrew. In a red sash, with his dog.
| unknown. 1596, aet. 43. Striped jacket, blue and white, garter. Paracelsus. Philip Theophrastes Paracelsus Bombast de Hohenheim Aureolus. Very
handsome, bald, close black gown, with both hands on a great sword on whose
hilt is the word Azot.
Sir Anthony Browne. Head, bushy beard, bonnet, and Garter, high crowned hat. Fernandes de Toledo, duke of Alva. In rich armour with rather short black hair and
beard. (Chaucer mentioned by Dr. Stukeley not found.)
(See Hutchinson's History of Durham!)
Ill LUMLEY CASTLE
Sale of Household Furniture, etc., the property of the late Earl of Scarborough, dec.,1
at Lumley Castle.
By Mr. Christie on the Premises.
Monday, August 8, 1785 and 3 following days.
FOURTH DAY'S SALE, AUGUST n, 1785.
No. 5. Portrait of a Lady. Sir P. Lely. £3 13 6
6. ditto ditto. £4 14 6
7. ditto of Sir Thomas Killigrew. ,£990 10. ditto less half length, John, Lord Russell, Earl of Bedford, 1555. £2 5 o
1 At these sales certain pictures were bought in for the family, some of which remain in the possession of the present Earl of Scarbrough.
32 THE LUMLEY INVENTORIES
11. ditto less half length, Sir Anthony Browne, Viscount Montague. £3 18 o
12. ditto £i ii 6
13. ditto half length of the Countess of Lincoln, 1560.
13. ditto a gentleman in armour. Mr. Cole. £220
14. ditto of Devereux, Earl of Essex, 1590. £440
15. ditto of Sir Thomas Moore, Lord Chancellor. Mr. Hay, Saville
Row. Stated to be by Holbein. £5 15 6
16. ditto Cecil, Lord Burleigh, Lord High Treasurer. £3 13 6
17. ditto of Sir John Peter. ^3 3 °
19. ditto less Howard, Earl of Surrey, 1545. £j 17 6
20. ditto of Ambrose, Earl of Warwicke. £§ 15 6
21. ditto of Mr. Wyndham, 1550. ^55°
22. ditto Queen Mary. ^55°
23. ditto Queen Elizabeth. £660
24. ditto small life | of Mr. Lumley slain in the battle of Floddenfield. £220
25. ditto whole length, of Ralph Lumley, 1567. £2 12 6
26. ditto of Edward the Sixth. £6 16 6
28. ditto whole length of a gentleman in armour (Philip of Spain). £5 15 6
29. ditto of the Duke of Monmouth. £16 5 6
30. ditto a pair ditto half lengths of John, Lord Lumley and Jane his
first wife, 1563. ^5 5 o
31. ditto the Duke of Alva, 1557. Terry, London. £15 15 o
Music ROOM :
32. whole length portrait of Radcliff, Earl of Sussex, in armour. Terry. £10 10 o
33. ditto the Duke of Suffolk. Terry. £770
34. ditto John Baron de Lumley in armour 1588. ) ..
35. ditto in his robes of State, 1591. )
36. half length of Robert, Earl of Salisbury. £3 13 6
37. Sir William Peter, Secretary to Henry 8th., Edward 6th., Queen
Mary and Queen Elizabeth. £5 5 o
38. Pater Patriae Andreas Auria. .£3 13 6
39. ditto Dudley, Earl of Leicester, 1587. ^33°
40. ditto Viglius, president of the council, in the low countries, 1560. £270
41. ditto of the Lumley family. £i i o
42. ditto of Henry Fitzalan, Earl of Arundell, the last of that name. £4 14 6
45. John Lasle, Lord Preceptor. Lord Grey. ^33°
46. Duke of Buckingham. Lady Williamson. £440
47. King Charles the ist. on horse back. Van Dyck. £42 o o
48. A curious old picture of Zebedee, his wife and children. £16 16 o
49. The first Earl of Scarborough, half length. 1
50. General Lumley. £7 7 o
51. Lady Hallifax.
52. Lady Blacket.
53. Richard Lumley, Earl of Scarborough.
THE LUMLEY INVENTORIES 33
54. Two children, The Hon. Richard and Thomas Lumley.
55. Four oval portraits, the Hon. James, Charles, John, and Lady Harriet
Lumley.
BLUE PARLOR :
56. The adoration of the Shepherds large and capital. ^55°
DRESSING ROOM BELOW STAIRS :
57. Portrait of Sir Nicholas Carew, Master of the Horse to Henry the 8th £10 10 o
GREAT HALL:
59. Four ancient marble busts and a ditto group of a pelican.
60. Seventeen whole length family portraits with the pedigree and arms
of Lumley from Liulphus, Minister to William the Conqueror, down to Elizabeth Darcey de Chiche.
IV SANDBECK PARK, YORKSHIRE
Catalogue of Pictures, Furniture, etc., property of the Rt. Hon. the Earl of
Scarborough, deceased.
To be sold by auction by Mr. Dawson on the premises on Monday, Nm1. 2., 1807
and 5 following days.
FOURTH DAY'S SALE, Nov. 5, 1807. No. 46. Pictures. Basement.
No. i. An animated portrait, Vandyke.
2. Henry VIII in splendid regal costume, in high preservation, Holbein.
10. Henry VIII in winter costume, a fine ancient portrait on pannel.
11. Philip II, full length, in rich armour.
12. Frederick Prince of Wales in his robes, a noble full length portrait.
17. The Circumcision, a panel ; school of Rembrandt.
18. The Turk ; a fine spirited head ; Rembrandt.
19. The Head of an old man, a capital picture, Rembrandt.
20. The portrait of a nun in a spandel frame. 24. A Musician ; spirited portrait.
21. Charles II in armour; a masterly finished portrait ; Lely.
30. M™ Ogle Howard ; three-quarter portrait ; Lely.
31. The Countess of Berkeley ditto.
33. Lord Treasurer Burleigh, ancient, on pannel.
36. A nobleman in rich costume, in a French frame ; Vandyke.
37. A lady, the companion ditto ; Vandyke.
40. A lady in rich drapery, | length ; Lely.
41. The companion, a lady playing on the lute.
42. The King proceeding in State to the House of Lords with architecture ; Marlow.
VI. F
34 THE LUMLEY INVENTORIES
51. Sir George Saville, full length.
52. The Countess of Scarborough, £ length ; Lely.
58. Joseph and his brethren, a great masterly composition ; Velasquez. 72. Charles I, in plain attire, leaning at a window ; Vandyke. 74. The Marquis of Rockingham— a basso-relievo on frame.
V LUMLEY CASTLE
Catalogue of excellent Household Furniture, etc. of the Earl of Scarborough,
Deceased, at Lumley Castle.
To be sold by auction by Mr. Dawson (by order of the Executors) on the Premises on Wednesday the i6//i. of December 1807, and three following days.
THIRD DAY'S SALE.
Pictures etc. No. 26. Great Hall.
The tablets with the arms and pedigrees of the Lumleys and 17
whole length portraits. £16 16 o Equestrian Statue of Liulphus, as large as life.
SMALL DINING ROOM :
No. 3. Garcia Sarmienta Cuna. Full length in armour. £300
4. Duke of Monmouth. Full length. ^33°
5. Jane Fitzallen, ist wife of John Lord Lumley. £i 14 o
6. John Baron Lumley 1503. .£240
7. Duke of Alva 1557. £10 10 o
8. Mr. Lumley, slain the Battle of Floddenfield. £212 o
9. Edward the 6th. a full length. £3 15 o
PASSAGE BETWEEN DINING ROOM :
10. View of Roch Abbey. .£5 10 o
DRAWING ROOM :
14. John Baro de Lumley, in armour, 1588, whole length. £5 10 o
15. Thomas Ratcliffe, Earl of Sussex, in armour. £600
16. Duke of Buckingham. £7 10 o
17. Duke of Suffolk, in purple robes, 1593. £3 ° °
18. John Baro de Lumley, in his robes. £2 15 o
20. Sir Thomas Moore, Lord Chancellor. £5 5 °
21. Sir Thomas Killigrew. £770
22. Ambrose Earl of Warwick. £55°
LARGE DRAWING ROOM:
23. His Majesty the Prince of Wales. .£8 o o
25. Small painting of the Temptation of St. Antony. £200
26. The Queen. £3 15 o
THE LUMLEY INVENTORIES
27. Lady Sydney, daughter of Secretary Walsingham and wife of
Robert Earl of Essex.
28. Sir Thomas Saunderson, brother to the 2nd. Earl of Scarborough.
29. Mr. Wyndham, who was drowned on the coast of Guinea.
32. The Duke of Argyle.
33. Sir Anthony Brown, Knight of the Garter.
33. Zebedee and family.
34. Lord Townsend, whole length.
DRESSING ROOM :
35. Half length of Sir Anthony Brown Montague.
SIR G. SAVILE ROOM :
40. Half length of Peter Patrice (sic).
41. 42.
43- 44-
Sir John Peter. Henry Fitzallen Earl of Arundel. Robert Dudley Earl of Leicester, 1587. Sir William Peter.
46. Henry Howard, Earl of Surrey, 1545.
TAPESTRY ROOM :
58. Earl of Essex.
STEWARD'S ROOM :
63. Viglius, 1560.
64. Countess of Lincoln, 1560.
65. John Lord Russell, ist. Earl of Bedford. 67. Paracelsus.
35
£5 5 o £500
/2 II 6
£220 £4 10 o £220
£33° £170
£l 12 O
10 6 £i 10 o £260 £2 13 o •£55°
x>4 o o
£3 16 o £i 5 o £300 £•* 10 o
F 2
A LUMLEY INVENTORY OF 1609 BY MARY F. S. HERVEY.
THE inventory of 1590, preserved at Lumley Castle, has long been known as a mine of valuable information respecting early historical portraits in England.
A second inventory was drawn up for purposes of probate on the death of John, Lord Lumley, in April 1609, and is filed at the present day, together with his original will, at the Probate Registry of Durham. This inventory, with the Earl of Scarbrough's kind approval, is printed in full below. Although the information it affords in regard to paintings is meagre when compared with that of the inventory of 1590, it offers many interesting points for considera- tion, and gives, in addition, details of tapestry and other appurtenances which are lacking in the earlier document.1
The headings of the inventory of 1590 make it clear that it covered Lord Lumley's moveable possessions in all his houses, which, in addition to Lumley Castle, included Nonsuch Palace, near Cheam, in Surrey, and his London residence at Tower Hill.
A certyficate of .... all his Lo: monumentes of Marbles, Pictures and tables in Payn- ture with other his Lordshippes Howseholde stuffe, and Regester of Bookes. Anno 1590, and
A sumarye of certayne stuffe within your Lo: houses, etc.2
The inventory of 1609, on the contrary, applies to Lumley Castle only. Notwithstanding the probability that, on giving up Nonsuch, Lord Lumley transferred a large portion of its contents to Lumley Castle, the disparity in the number of entries contained respectively in the two inventories is so considerable as to point to one of two conclusions. Either a number of objects were with- drawn from Lumley in the course of the nineteen years which intervened
' The inventory of 1590 was printed in Miss Milner's Records of the Lumleys (George Bell & Sons, J9°4\ from which all the quotations in this article, relating to that inventory, are taken. An abbre- viated version of the inventory of 1609 was published (as Mr. Cust kindly informs me) in Surtees, History of Durham, vol. z (London, 1820).
* The italics are the present writer's.
A LUMLEY INVENTORY OF 1609 37
between the drafting of the two inventories, an hypothesis which appears in the highest degree improbable ; or a portion of the items enumerated in the earlier inventory never went to Lumley at all. This seems to be the true solution.
A glance at Lord Lumley's circumstances at the time will help to make the matter clear. His father-in-law, Henry FitzAlan, last Earl of Arundel of that name, had acquired Nonsuch from Queen Mary at a time when it seemed in imminent danger of being pulled down. Lord Arundel was a man of large ideas and fine taste. He completed and beautified the place, furnished it with a splendid library — his librarian, Humphrey Llwyd, married Lord Lumley's sister — and probably collected here a large part of the portraits which figure in the first Lumley inventory. Lord Arundel had had a long and varied public and diplomatic career, and most of the English and foreign notabilities with whom he came in contact can be traced amongst the portraits enumerated in the inventory of 1590.
Lord Arundel's only son died in early manhood, while on a diplomatic mission to Brussels. His two daughters then became co-heiresses of their father. Both predeceased him. One was Mary, Duchess of Norfolk ; the other Jane, Lady Lumley. Mary, Duchess of Norfolk, left an only child, who became Philip, Earl of Arundel. But his youthful extravagance and excesses so alienated his grandfather, that the latter, who died in 1580, left Nonsuch, with all its priceless treasures, to his widowed and childless son-in-law, Lord Lumley. The two men must have been congenial companions. Lord Lumley had the reputation of considerable learning, and himself collected both books and pictures, though he never can have had the means to do so to the extent practised by Lord Arundel ; especially as large sums must have been devoted to the restoration of Lumley Castle, part of which was completed in 1570. The portraits added to the Lumley inventory of 1590 at dates subsequent to the death of Lord Arundel show, however, the warm interest taken by Lumley in the collection of works of art. He made munificent gifts of books to the University Library at Cambridge, and to the Bodleian at Oxford. At his death the bulk of his books were bought for Henry, Prince of Wales, and passed into the Royal collection. They now form a valuable portion of the King's Library in the British Museum. It seems likely that the majority of these volumes originally proceeded from the fine library established by Lord Arundel at Nonsuch.
After the death of his father-in-law, Lord Lumley became more and more involved in financial difficulties. In 1590 he resolved to make over Nonsuch to the Queen, in order to avoid the expense of keeping it up. The cession of Nonsuch to Queen Elizabeth no doubt was the occasion which gave birth to the first inventory. At about this time he probably removed to Lumley Castle
A LUMLEY INVENTORY OF 1609
the greater part of the pictures, and some of the furniture, left him by Lord Arundel. Some may, however, have found their way to his house at Tower Hill, or even have remained at Nonsuch, where, nominally as keeper, he continued to reside till his death in 1609. Obviously he could not dismantle a house he still continued to occupy; and this appears to account for the disparity between the two inventories. An analysis of a few categories selected for example brings this out very clearly. Incidentally it will show that the discrepancy is much less with regard to pictures than in other directions; revealing Lord Lumley's intention to make Lumley Castle — with some notable exceptions — the chief home of his art collections.
Inventory 0/7/90 (General). Sutes of hanginges of arras, sylke and tapistre 57
Turkye carpettes of sylke n
Other Turky Carpettes 95
Chares of clothe of gold, velvet, and sylke 76
Quisshins of clothe of gold, velvet, and silke 109
Pictures
' Whole Statuary ' (full lengths) 46]
' Of Smaller Scantling ' 167 j- 255
' Other Pictures and Tables ' 42)
Inventory of 1609 (Lumley only). Suites of hangings of arras, silk and tapistry
Turkey carpets of silk Other Turkey carpets Chairs of cloth of gold, velvet & silk
Cushions of cloth of gold, etc.
Pictures
Described by name 28
' Little pictures ' 76
'Create pictures' 15
' Pictures ' 19
' Pictures in the Gallery ' 91
'In the Wardropp ' 4'
12
5 20
25 38
r 233
The death of Lord Lumley brought the occupation of Nonsuch to an end, and whatever property of his remained there must now have been either sold or removed to the house at Tower Hill. There is no evidence to show that anything except the books were sold; as far as pictures are concerned, the presumption, as will be seen, is rather the other way.
The house at Tower Hill now became the property of the widow, Lord Lumley's second wife, Elizabeth, daughter of John, Lord Darcy of Chiche. This lady, whom he had married in 1582, appears to have gained a considerable ascendancy over him in his declining years. The Lumley estates he entailed on his cousins of that name; the Surrey property, including his house at Cheam, passed to his sister and her husband, Humphrey Llwyd, and their descendants. But the art collections, both at Lumley and in London, appear to have remained at the sole disposition of his wife. There is no allusion to them whatever in Lord Lumley's will. Lady Lumley, on the contrary, has much to say about them. In her will, dated November 6, 1616— she died early
A LUMLEY INVENTORY OF 1609 39
in 1617— she leaves to Sir Richard Lumley and his heirs (subject to certain conditions which were doubtless fulfilled), ' all my household stuffe with marbles and pictures as shall be in the Castle of Lumley at the tyme of my death, there to remaine as Airelomes to that house so long as they will endure '. She had already at this time made over to her brother, Thomas, Lord Darcy of Chiche, the house at Tower Hill. This gift she confirms by her will, entailing it after his decease on his daughter, Elizabeth, Lady Savage, and adding a clause similar to that concerning Lumley : ' And for such marbles and pictures as shalbe in my house at Towerhill at the tyme of my death ... my wyll is that the same shall remaine as Aireloomes to that house unto the heires thereof as long as they will endure.'1 In this house there seems to have been also a collection of armour which she bequeathed to her nephew, Sir Thomas Savage.
It would be interesting to know what these ' marbles and pictures ' were, at Tower Hill; and the inference is almost irresistible that, as regards paintings, those omitted from the second Lumley inventory furnish the clue. Evidently, when the main part of the collections was sent to Lumley, a few works were held back to adorn Nonsuch and Tower Hill. Amongst these were some of the gems. They can be identified in part by their rapid re-appearance after the demise of Elizabeth, Lady Lumley (the terms of her will notwithstanding), in the collections of Charles I, Thomas Howard, Earl of Arundel, and elsewhere. When items from the inventory of 1590 are early found in the possession of new owners, especially in or near London, the presumption is strong that they never made the journey to the north. Those that were sent to Lumley appear to have remained undisturbed for a prolonged period. Some of them can be traced in the catalogue of the sale which took place at Lumley Castle in 1785, proving that, up to that date, they had not changed their domicile, though in some cases there was probably leakage before that time. Those, on the other hand, which in all likelihood never left the south, quickly pass into other homes. Of the eleven works directly attributed to ' Haunce Holbyn' in the in- ventory of 1590, five re-appear in the Arundel inventory of i654.2 These include the famous portrait of the Duchess of Milan, now in the National Gallery, Sir Thomas (?Sir Henry) Wyatt, Sir Henry Guildford, Lady Guildford, and Erasmus; to say nothing of the 'greate booke' of Holbein drawings which, although not included in the inventory of 1654, is known to have belonged to Lord Arundel, after probably passing through the hands of Charles I and Lord Pembroke.3 The list might be extended much further were well-known sitters to Holbein .
1 Records of the Lumleys, pp. 94-100.
* Burlington Magazine, vol. xix, August and September, 1911.
' In 1629 Lord Arundel was apparently treating for a book of Holbein drawings through Sir Henry Vane, then in Holland. See Sainsbury, Original Papers relating to Rubens, p. 293.
40 A LUMLEY INVENTORY OF 1609
to be included whose portraits figure in the first Lumley inventory without the name of the painter, and which, in some cases, may therefore have been copies. It is, however, probable that where portraits of the same individuals appear in both the Lumley and Arundel inventories, the versions are, for the most part, identical. Another interesting work which both inventories have in common is the water-colour portrait of Henry, Lord Morley, by Albert DUrer.
Amongst the Holbein portraits offered for sale at Lumley Castle in 1785 or 1807 were those of Sir Anthony Browne, Sir Nicholas Carew, and Sir Thomas More. These therefore formed part of the collection which travelled to the north, and for nearly two hundred years had their dwelling there.
How long after the death of Elizabeth, Lady Lumley, the 'marbles and pictures' at Tower Hill remained intact is unknown. But that portions of them, at least, must have been dispersed before the outbreak of the Civil War is evident from what has been said above.
A trew Inventarie of all such moveables as were found in Lumley Castle after the decease of the Lord John Lumley late Husband to the Ladie Elizabeth Lumley now living
whom he left sole Executrix by his last Will and Testament priced and valued the xxiiii daie of Aprill Anno Dni 1609 by us the praysers hereof whose names are underwritten viz.
Imprimis vii peeces of hangines of Arras wth gold of the storie of Troy p°e Ixxx1'
Item vii peeces of hangines of Quene Hester like the other price Ixxx11
Itm fyve deep peeces of fine hangines of Cipio & Haniball price lxxxli
Itm vi peeces of hangins of Jason & Medea of a lardge ancient making Ixxx11
Itm vi peeces of hangins of the storie of King Pluto price Ixxx1'
Itm fower peeces of hangins of the storie of the Amazons price lxn
Itm 3 peeces of hangins of the storie of Paris price xl11
Itm xii peeces of buskie hangins price c"
Itm xxi peeces of hangins of the storie of King Saul and David price cxx"
Itm iiii peeces of hangins of the storie of St George price xl11
Itm vii peeces of hangins of the storie of Amadis price Ixx"
Itm iiii peeces of hangins of gilte leather price iiiu
Itm viii peeces of beddes of gold silver & silk with their furnitures price cc11 xiii" iiiid
Itm 3 bedds of broad cloth vidz* one purple one carnation and one greene xxu xiii* iiii'1
Itm two standing bedsteads of wainscott wth there furnitures price Hi"
Itm one lardge travers of purple taffatie vi1'
Itm 3 chaires of cloth of gold and silver wth a long quishion of the same xvu
Itm one purple cloth of gold chayre w*h a long quishion price Hi1'
Itm two needle work chaires wth two long quishions of the same price iiiu
Itm two chaires one of crimson silk & gold the other of crimson silk & silver
wth two little stooles price Hi1' Itm two greene velvett chaires & two long quishions of the same & two little
stooles price Hi"
A LUMLEY INVENTORY OF 1609 41
Itm two purple velvett chaires & iii purple velvett quishions & a little stoole
price v" Itm one chaire of tissue of silver & gold one long quishion and a little stoole
price iii11 xiii' iiiid
Itm two crimson velvett chaires price xl* Itm two chaires one of purple cloth of gold the other of crimson cloth of gold
of Bodkin w"1 two long quishions & little stoole of purple velvett price iii11 Itm one chaire inlaid wth boane of crimson velvett & cloth of Bodkin wth two
long quishions & one little stoole of purple velvett price xl1
Itm one chaire & two low stooles of Ash coloure cloath of gold price xl* Itm two damask chaires iii low stooles of damask & two long quishions of
damask price 1* Itm 5 black velvett chaires two lowe stooles of black velvett & one little
square quishion price xl' Itm one crimson velvett printed chaire w* two lowe stooles & one long
quishion price xl* Itm one olde black velvett chaire embrodered w"1 gold of silver wth a long
quishion suitable to it x*
Itm one yallow velvett chaire wih a long quishion price xx* Itm one purple cloth chaire wtb a long Cushion & two lowe stooles of the
same price xx' Itm one long needlework quishion wth a little cushion sutable to it one long
arras cushion wth my ladie Arrundell's armes one long crimson velvett
quishion embrodered wth cloth of tissue & one long turkie cushion of
Crowle price iii" Itm xii little crimson velvett quishions wrought & stryped & viii square
quishions of crimson velvett plaine price is viiiu
Itm one carpett of crimson damask fringed w'h gold price xl*
Itm fyve square velvett carpetts iii purple & two greene price xu
Itm one Turkey Carpett of silk & gold vi11
Itm one Carpett of purple cloth fringed wth purple silk price x*
Itm fower square turkey Carpetts of silk viiu
Itm xv Turkey Carpetts of Crowles of divers sorts price xi"
Itm 5 long Turkey Carpetts of Crowles xxv"
Itm 3 long Carpetts of greencloth xl*
Itm xi cases of quishions of gilt leather price x*
Itm xix pallut bedds & xviii bolsters & 20 pillowes price xxu
Itm 9 paire of lardge fustians price iii"
Itm vi Pollonia Ruggs vidz' 3 greene one white one oringe & one red xl*
Itm x Spanish rugg blankets xx*
Itm xiii Coverletts for pallats price xl*
Itm fyve liverey bedds price xl*
Itm 4 woolle bedds price xx'
Itm 8 mattress's price x*
Itm 6 pewter basons price vi* viiid Itm two paire of Racks one brandreth 6 brotches one boyling iron 3 brasse
kettles & iiii brasse potts price xx*
VI.
42 A LUMLEY INVENTORY OF 1609
In the Hall
Itm two long tables vidz' thone of walnottree* the other of firr price iii"
Itm *a Deare's head that came out of Ireland price ii8 vid
Itm *xiii old Emperors heads of Roome xiii'
Itm * a written table called the theater of the world in golden tres price v"
Itm * Raphaell Orbines his picture vid (?vi')
Itm Henrie the 8 Edward the VI Quene Mary Quene Elizabeth cutt in marble* the pictures of Arristotle Plato my Lord of Arrundell's Creaste
the birth of Christ in allabaster price xl'
Itm vi old Emperors in marble x'
Itm the storie & pictures of Mars & Venus price iii' iiiid
Itm Hercules picture* & the picture of Tyme* price v3
In the Great Chamber
Itm *xv pictures of my Lord Lumlei's Ancestors wth a pillar of his pedigree
price viii1'
Itm a picture of the storie of the Passion * wth a sersnet curtaine the picture of my Lord Lumley in Armoure wth his two wyves* his sonne Charles* & the old Earle of Arundell* the storie of the birth of Christe* & the nyne worthies neeled in glass* together wlh the picture of Christe* & two gloobes in plaine price xiii11
Itm two long drawinge tables of Walnottree one folding table of wainscott &
a little table of wainscott price v1'
Itm one merketree table wth the frame price xl'
Itm two fyne merketree cupbords & two liverey cupbords price xiii1'
Itm 6 wallnottree formes & 24 stooles of wallnottree price I'
Itm 6 walnottree chaires price xxx'
In the Saule
Itm 76 little pictures price xiiu
Itm xv greate pictures price v"
Item ten marble tablets wth their frames xxx"
Itm one fountaine price xu
In the Drawinge Chamber
Itm xix pictures price vi11 vi' viiid Itm three other pictures vidz' Quene Maries* Quene Elizabeths* & Con-
stantynes the great price x'
Itm viii paire of brasse handirons & 3 paire pcell Copper vi" xiii' iiii'1
Itm one chimney pece of white marble wth Cherubins price xl"
Itm x square oake & elme tables & liverie Cupbords sutable iii" vi' viiid
Itm vi paire of fire shovels & tonges iii'
Itm one steele glasse price xiid Itm vi standing bedsteads & two sparver bedsteads thone gilte thother plaine
price viii"
* An asterisk denotes that the item can be identified in the Lumley ' Red Velvet Book ', which includes the inventory of 1590. The prices indicated are so ludicrous that they can hardly have been intended as a serious attempt at valuation, even allowing for gross ignorance on the part of the valuers, and for the difference in the worth of money.
A LUMLEY INVENTORY OF 1609 43
I tin 91 pictures in the gallery & 4 in the wardropp price xlu
Itm one wainscott table in the gallerie price xx'
Itm 20 wainscott stooles & iiii wainscott serenes price xxvi'
Itm one old iron chist & a firre chist price x"
The total of all these pticulers as they are above prised
amounteth to the sume of
mcccciiii" xvii* viiid
Lyonell Maddison \ /
Ty. Drap I Date of Will 25th January, 1606
William Bonner | Date of Inventory 24th April, 1609
Richard Read j Date of Probate, 1609
Rob1 Porrett
It is not without interest to read in conjunction with the above, the description of Lumley Castle and its contents printed by Pennant in his Tour in Scotland. This account will be found in the editions of that work published in 1776 (p. 321) and 1 790 (p. 319), possibly in some others. It is reprinted below from the edition of 1790. The fact that it is not found in all editions of the Tour in Scotland, coupled with the circumstance that the descriptions of certain portraits arc verbally identical with those of the Literary Cabinet, as given by Mr. Cust on p. 30 of the present volume, points to the conclusion that Pennant's notes on the Lumley pictures — as apart from those on the Castle itself — were not derived from personal observation, but were incorporated from some extraneous source. The two accounts appear, in fact, to have a common origin : that of the Literary Cabinet containing the larger number of entries, while the notes of the Tour in Scotland can lay greater claim to accuracy.
Pennant enriched these notes with historical observations on the persons concerned. Although not invariably correct from the point of view of modern research, his comments are so redolent of eighteenth-century atmosphere, and add so much piquancy and colour to the list of items enumerated, that they arc here reproduced verbatim, together with Pennant's foot-notes.
Extract from Pennant's Tour in Scotland (ed. 1790, p. 319).
At a fmall diftance from the town, (lands Lumley caftle, the antient feat of the name. It is a fquare pile, with a court in the middle, and a fquare tower at each corner; is modernized into an excellent houfe, and one of the feats of the Earl of Scarborough. It is faid to have been built in the time of Edward I. by Sir Robert de Lumley, and enlarged by his fon Sir Marmaduke. Prior to that, the family residence was at Lumley, (from whence it took the name) a village a mile fouth of the Caftle, where are remains of a very old hall-houfe, that boafts a greater antiquity. The former was not properly cancellated, till the year 1392, when Sir Ralph (the firft Lord Lumley) obtained from Richard II. Licentiam caltrum fuum de Lomley denovo edificandum, muro de petra et cake batellare et kernellare et caftrum illud sic batellatum, et kernellatum tenere, &c. This Sir Ralph was a faithful
G 2
44 THE LUMLEY INVENTORIES
adherent to his unfortunate fovereign, and loft his life in his caufe, in the infurrection, in the year 1400, againft the ufurping Henry. There are no dates, except one on a fquare tower; I. L. 1570, when, I prefume, it was rebuilt by John Lord Lumley.
Portraits. The houfe is a noble repofitory of portraits, of perfons eminent in the fixteenth century.
Earl of The brave, impetuous, prefuming, Robert, Earl of EJJex, appears in full length, dreffed
in black, covered with white embroidery. A romantic nobleman, of parts without difcretion ; who fell a facrifice to his own paffions, and a vain dependence for fafety on thofe of an aged queen, doting with unfeafonable love ; and a criminal credulity in the insinuation of his foes.
Sir T. More. Sir Thomas More; a half length, dreffed in that plainness of apparel which he ufed, when the dignity of office was laid afide : in a furred robe, with a coarse capuchin cap. He was the moft virtuous, and the greateft character of his time ; who, by a circumftance that might humiliate human nature, fell a victim for a religious adherence to his own opinion : after being a violent perfecutor of others, for firmnefs to the dictates of their own confcience. To fuch inconfiftencies are the beft of mankind liable !
Earl of The gallant, accomplifhed, poetical Earl of Surry ; in black, with a fword & dagger,
Surry. the jate ^^ -phe ornament (fays Mr Walpole] of a boifterous, yet not unpolifhed court, a victim to a jealous tyrant, and to family difcord. The articles alledged againft him, and ' his conviction, are the fhame of the times.
Countess of A portrait of a lady in a fingular drefs of black & gold, with a red & gold petticoat, dated 1560. This is called Elizabeth, third wife of Edward, Earl of Lincoln, the fair Geraldine, celebrated fo highly by the Earl of Surry ; but fo ill-favored in this picture, that I muft give it to his firft wife, Elizabeth Blount. Geraldine was the young wife of his old age. Her portrait at Woburn reprefents her an object worthy the pen of the amorous Surry.
Ambrose Ambrofe Dudley, Earl of Warwick, fon of the great Dudley, Duke of Northumberland.
Warwick ^'s drefs a Donnet» furred cloak, fmall ruff, and pendant George. This peer followed the fortunes of his father, but was received into mercy, and reftored in blood ; was created Earl of Warwick by Queen Elizabeth, and proved a gallant & faithful fubject. He died in 1589, & lies under an elegant brafs tomb in the chapel at Warwick.
Sir William Sir William Peter, or Petre, native of Devon/hire, fellow of All-Souls College, and afterwards fecretary of ftate to four princes; Henry VIII., Edward VI.; Mary, & Elizabeth. His prudence, in maintaining his poft in reigns of fuch different tempers, is evident; but in that of Mary he attended only to politics; of Elizabeth, to religion.* The firft Earl of Bedford, engraven among the illuftrious heads.
Paracelsus. A half-length of the famous eccentric phyfician and chymift of the fifteenth century,
Philip Theophrafius Paracelsus Bombaft de Hohenheim : on the picture is added alfo the title of Aureolus. The cures he wrought were fo very furprizing in that age, that he was fuppofed to have recourfe to fupernatural aid ; and probably, to give greater authority to his practice, he might infinuate that he joined the arts medical & magical. He is reprefented as a very handfome man, bald, in a clofe black gown, with both hands on a great fword, on whofe hilt is infcribed the word Azof. This was the name of \\isfamiliarfpirit, that he kept imprifoned in the pummel, to confult on emergent occafions. Butler humourously dekribes this circumftance :
Bombaftus kept a devil's bird Shut in the pummel of his fword ; That taught him all the cunning pranks Of paft or future mountebanks.f
* Dugdale's Baron II. 388. Prince's Worthies of Devonshire. 498. t Hudibras, part II. c. iii.
THE LUMLEY INVENTORIES 45
A head of Sir Anthony Brown, a favourite of Henry VIII. with a bufhy beard, bonnet, Sir Anthony and order of the garter. He was matter of the horfe to that prince, and appointed by him Brown- one of the executors of his will ; & of the council to his young succeffor.
Two full lengths of John Lord Lumley : one in rich armour, a grey beard, dated 1588, John Lord aet. 54 ; the other in his robes, with a glove and handkerchief in one hand, a little black Lumley. skull-cap, white beard, dated 1591. This, I believe, was the performance of Richard Stevens, an able ftatuary, painter, & medallift, mentioned by Mr Walpole.*
This illuftrious nobleman, reftored the monuments that are in the neighbouring church, was a patron of learning, and a great collector of books, affifted by his brother-in-law, Humphrey Lhuyd, the famous antiquary. The books were afterwards purchafed by James I. and proved the foundation of the royal library. Mr Granger says, that they are a very valuable part of the Briti/h Mufeum.
His firft wife, Jane Fitzallan, daughter of the Earl of Arundel ; in black robes, with gloves in her hand. She was a lady of uncommon learning, having tranflated, from the Greek into Latin, fome of the orations of IJocrates,&. the Iphigenia of Euripides into Engli/h. She compliments her father highly in a dedication to him, prefixed to one of the orations, which begins, ' Cicero, Pater honoratiffime, illuftrif '. She died before him, & was buried at Cheame, in Surrey, f
The Earl himfelf, the laft of that name : a three-quarters piece. His valour distinguifhed Earl of him in the reign of Henry VIII. when he ran with his squadron close under the walls of Arundel- Boulogne, & foon reduced it. In the following reign, he oppofed the mifufed powers of the unhappy Protector, Somerfet; and yet declined connection with the great Northumberland. He fupported the juft rights of Queen Mary ; was imprifoned by the former, but on the revolution was employed to arreft the abject fallen duke. He was clofely attached to his royal miftrefs by fimilitude of religion. In his declining years, he aimed at being hufband to Queen Elizabeth.^. Had her majefty deigned to put herfelf under the power of man, (he never would have given the preference to age. On his difappointment, he went abroad ; and, on his return, firft introduced into England the ufe of coaches.§
A half-length of that artful ftatefman, Robert Earl of Salujbury, minifter of the laft Robert years of Elizabeth, and the firft of James I. lalusbury
Thomas Ratcliff, Earl of Suffex, || a full length ; young and handfome ; his body armed, Ratc|jff the reft of his drefs white ; a staff in his right hand, his left refting on a fword ; on a table Earl of' a hat, with a vaft plume. This motto, amando et fidendo troppo Jon ruinato. This nobleman was a considerable character in the reigns of Mary and Elizabeth ; frequently employed in embaflles; in both reigns deputy of Ireland; and in the firft, an active perfecutor of the proteftants. He conformed outwardly to the religion of his new miftrefs ; was appointed by her prefident of the north, and commanded againft, and fuppreffed, the rebellion of the Earls of Northumberland and Westmoreland, notwithftanding he fecretly
* Anecd. Painting. I. 161.
t She was dead before December 3oth, 1579, as appears by her father's will. Vide Bollard's British Ladies, 86.
t Catnden's Annals. Kennet, 383. § Idem.
|| Thomas Ratcliff or Radcliffe, third Earl of Sussex (not Essex, as given on p. 30 in the Literary Cabinet), was the uncle of Robert, fifth Earl. It seems doubtful, however, whether Robert is not the personage intended throughout these catalogues : especially as the first entry (p. 22) gives that name, which, being contemporary, is more likely to be correct. Moreover, he is here described as young and handsome, whereas Thomas, third Earl, had been dead ten years in 1593. the date given on p. 22. Robert, fifth Earl, on the other hand, succeeded to the title in 1593, at the age of about twenty-four. It is probable therefore that Pennant's historical comments are incorrect, applying to the uncle instead of to the nephew (M. F. S. H.).
46
THE LUMLEY INVENTORIES
Carevv.
Kiilegrew.
Due d'AIua.
approved the opinions they armed in favor of. He was the fpirited rival of Leicefter; but the death of Suffex left the event of their difpute undetermined.
Leicefter, his antagonift, is here reprefented, in a three-quarter piece, dated 1587, with the collar of the garter, & a staff in his hand.
A fine full length of the Duke of Mpnmouth, with long hair, in armour.
SirNicholas A half length of Sir Nicholas Carew, master of the horfe to Henry VIII. There is vaft fpirit in his countenance. In his hat is a white feather ; his head is bound round with a gold ftuff handkerchief. He was beheaded in 1539, as Lord Herbert fays,* for being of council with the Marquis of Exeter, a favourer of the dreaded Cardinal Pole, then in Exile. During the time of his confinement in the Tower he imbibed the fentiments of the reformers, and died avowing their faith.t
Killigrew, gentleman of the bedchamber to Charles II. in a red fafh, with his dog. A man of wit and humour; and on that account extremely in favor with the King.
A good half length of Mr Thomas Windham, drowned on the coaft of Guinea, aged 42, MDL. a robuft figure, in green, with a red fafh, and gun in his hand.
A three-quarter length, unknown, dated 1596, aged 43, dreffed in a ftriped jacket, blue and white ; black cloak & breeches, white ruff, gloves on, collar of the garter.
Here are alfo fome illuftrious foreigners. A half length, infcribed Fernandez de Toledo, Duke of Alva, in rich armour, with his baton ; fhort black hair, and beard. A great officer, and fortunate till his reign of cruelty. He boafted, that he had caufed, during his command in the Low Countries, eighteen thoufand people to perifh by the executioner. He vifited England in the train of his congenial matter, Philip II. I imagine that this portrait was painted when the Duke was young; for I have feen one (fent into England by the late Mr Benjamin Keen) now in poffeffion of the Bifhop of Ely, which reprefents him with a vaft flowing white beard.
A three quarter length of Andreiv Doria, the great Genoefe Admiral, and patriot. He is dreffed in black, in a cap, a collar, with the fleece pendent; a truncheon in his hand, & a dagger in his girdle. View of fhips through a window.
Garcia Sarmienta Curia; a full length, in armour; a ruff, red ftockings, white fhoes, a crofs on his breaft, a fpear in his hand. He was captain of the guard to Philip II.
A three quarter length of a man in a fcarlet robe ; and over his left fhoulder a white mantle; a fcarlet cap tied in the middle, and open behind; a narrow white ruff; and a collar of the fleece. The fcarlet robe is furred with white : on it are feveral times repeated thefe words: Ah! amprins au ra jay! Oh! had I undertaken it!
In the hall is a tablet, with the whole history of Liulphus, and his progeny, infcribed on a tablet, furrounded with the family arms ; and round the room feventeen pictures of his dependents, down to John Lord Lumley, who feemed to have a true veneration for his anceftors. Liulphus appears again in the kitchen, mounted on a horfe of full fize, & with a battle-ax in his hand. When James I. in one of his progreffes, was entertained in this caftle, William James, bifhop of Durham, a relation of the houfe, in order to give his majesty an idea of the importance of the family, wearied him with a long detail of their anceftry, to a period even beyond belief. O man, fays the king, gang na farther, let me digejl the knowledge I ha gained ; for, by my faul, I did na ken that Adam's name was Lumley.
Andrew Doria.
Hist. Henry VI 1 1. 503.
t Hollinfhead. 946.
THE LUMLEY INVENTORIES
INDEX OF PORTRAITS, STATUES, AND ARTISTS
Albertus, Cardinal, of Austria, 25.
Alerter!, Francois due d' (brother to Valois
' last Kinge of Fraunce '), 22. Alva, Duke of, 25, 31, 32 (1557), 46. Andreas Auria : see Doria, Andrea. Anne Boleyn, 21. Argyle, Duke of, 35. Ariosto, 20, 25, 28. Arras, Anthony Grandville, Cardinal and Bishop
of, 23. Arthur, Prince of Wales (eldest son of Henry
VII), 22. Arundel, Anne Dacre (wife of Philip Howard),
Countess of, 26.
— , Henry FitzAlan, Earl of, 22 (2), 23, 31,
32, 35. 42.
— , Mary Arundell (2nd wife of Henry Fitz- Alan), Countess of, 26.
— , Philip Howard, Earl of, 23. Askott, Duke of, 25 (1583).
Bacon, Sir Nicholas, 24.
Bedford, John Russell ist Earl of, 23, 31 (2),
35, 44-
Berkeley, Countess of, 33.
Blacket, Lady, 32.
Boccaccio, 25 (Bocchas).
Borough, Thomas de Burgh, Baron, 22 (in Garter robes).
Bourbon, Duke of, 25.
Braye, John, 2nd Baron, 24.
Broughe, Thomas, Lord : see Borough, Baron.
Browne, Sir Anthony, 24, 31, 40, 45.
Browne, Anthony, son of foregoing : see Mon- tague, Viscount.
' Buckenel the Scott ', 25.
Buckingham, Duke of, 23, 30, 32, 34.
Burghley, William Cecil, Lord, 24, 32, 33.
Cabot, Sebastian, 25.
Candishe (Cavendish), Thomas, 24.
Carew, Sir Nicholas, 24, 31, 33, 40, 46.
Cecil, William, 31.
Charles V, Emperor of Spain, 24.
Charles I, 32 (on horseback), 34.
- II, 30 (on horseback), 33 (in armour). Charlotte, wife of George III, 34 (The QueenJ.
Chaucer, Geoffrey, 25.
Churchyard, Mr., 24.
Clarence, Lionel, Duke of, 15 (statue of).
Cleave, Haunce : see Van Cleef.
Cleef, Van : see ditto.
Cromwell, Thomas, 23.
Dante, 25.
Darcy of Chiche, Thomas, ist Baron, 22.
— i , Thomas, 3rd Baron, created Earl of
Rivers, 23.
— , , Mary Kytson, Countess of Rivers,
wife of ditto, 26. Darnley, Lord, and his brother, Charles Stuart,
22.
De la Marche, Count, 28.
De Loyola, Ignatius, 25.
De Poindre, Jacob, 19, 25 (2).
De Roye, Phillip, 25.
Doria, Andrea, 25 (Andrew Dore), 30, 32
(Auria), 35 (Peter Patrice), 46. Dorset, Margaret Wotton (wife of Thomas
Gray), Marchss. of, 26. Drake, Sir Francis, 24. Drury, Sir William, 24. Dflrer, Albert, 19, 23. Dyer, Edward, 24.
Edmund (of Langley), Earl of Cambridge and
Duke of York, 15 (statue of). Edward III (statue of), 15.
- IV, 22.
- VI, 21, 31, 32, 34, 42 (marble).
- VI, as Prince of Wales, 15 (statue of), 22. Egmont, Count of, 25.
Elizabeth (wife of Charles IX), 25.
- Wydevile (wife of Edward IV), 25.
- Plantagenet (wife of Henry VII), 22.
— , Queen, 15 (statue of), 22 (2), 30, 32, 42
(statue of), 42 (painting). Erasmus, 24, 39. Essex, Frances Walsingham, Countess of, 26, 35.
— , Robert Devereux, 2nd Earl of, 23, 31,
32. 35, 44- , Thomas Ratcliff, Earl of: see Sussex,
Robert Radcliffe, Earl of. Eworth, Haunce, 15, 19, 24, 25, 26.
48
THE LUMLEY INVENTORIES
Ferdinand, Duke of Mar (sic), 30. Fisher, John, Bishop of Rochester, 23. Fliccus, Gerlach (or Flick), 19, 22 (2), 23. Floris, Frans, 19, 26, 27. Frederick, Prince of Wales, 33.
Gabote, Sebastian : see Cabot. Garcia Sarmiento Cuna, 30, 34, 46. Garlick : see Fliccus. George-Augustus-Frederick, afterwards George
IV, 34 (the Prince of Wales). Geraertez, Balthazar, 21, 25. Gloucester, Thomas of Woodstock, Duke of,
15 (statue of).
Grandville, Anthony : see Arras, 23. Grey of Wilton, Arthur, Lord, 23.
— , Lady Jane, 26.
— , - - Katherine, 26. Guildford, Sir Henry, 24, 39.
— , Lady (wife of ditto), 26, 39. Guise, Henri, Due de, 25.
Halifax, Lady, 32.
Hatton, Sir Christopher, 22.
Haward ('a Dutch Juellor '), brother of Haunce
E worth, 25.
Hawkins, Sir John, 24. Heneage, Sir Thomas, 24. Henry Illrd Emperor (Henry V of Germany),
24.
- of Valois, King of France, 25.
— of Navarre, King of France, 21.
- IV, 22, 25.
- V, 22.
- VI, 22. -VII, 22.
-VII and Henry VIII, 21.
-VIII, 15 (statue of), 21, 22, 33 (2), 42
(statue of).
Hertford, Katherine Grey, Countess of, 26. Hilliard, Nicholas, 27. Holbein, Hans, 19, 21 (2), 24 (3), 26, 27, 30, 32,
33, 39-
Home, Count de, 22 (in robes). Howard of Effingham, Lord Charles, 22.
— , Mrs. Ogle, 33. Hubbert (painter), 19, 23, 24 (2), 26. Huntingdon, Catherine Dudley (wife of Henry
Hastings), Countess of, 26.
Isabel, wife of Charles V (of Spain), 25. , daughter of Philip II (of Spain), 25.
Jane, Queen (mother of Edward VI), 25. John of Gaunt, Duke of Lancaster, 15 (statue of). Julius II, Pope, 23. Julius Caesar, 24.
Katherine of Arragon, Queen, 25.
Parr, 5th wife of Henry VIII, 25.
Kelly, Sir Edward, 24.
Killigrew, Sir Thomas, 31 (2), 34, 46.
Lasle, John (?John Leslie, or Lesley, Bishop
of Ross (1527-1596)), 32. Leicester, Robert Dudley, Earl of, 22, 23 (2),
30, 32, 35, 46-
Lely, Sir Peter, 31, 33 (3), 34. Lennox, the Lady Margaret, 26. Lincoln, Elizabeth Girald (3rd wife of Edward
Fines), Countess of, 26, 31 (miscalled Countess
of Essex), 32 (1560), 35 (ditto), 44.
, Henry Clinton, Earl of, 23.
Lionel (of Antwerp), Duke of Clarence, 15
(statue of).
Lovell, Sir Thomas, 24. Loyola, Ignatius de, 25. ' Lucios (?), the paynter ', 28. Lumley, Family Portraits, 21, 30, 32, 33, 34, 42.
— , Charles (son of John, Lord Lumley, died
young), 21.
— , Hon. Charles, 33. - Children (Hon. Richard and Thomas), 33.
— , Elizabeth D'Arcy, 2nd wife of John, Lord
Lumley, 21, 26, 42. — , General, 32. — , Lady Harriet, 33. — , Hon. James, 33.
— , Jane FitzAlan, ist wife of John, Lord Lumley, 21, 26, 30, 32 (half-length), 34, 42, 45. -, John, Lord, 22 (in robes), 23, 30 (5), 32
(half-length), 32 (in armour, 1588), 32 (in robes, 1591), 34 (1503),' 34 (in armour, 1588), 34 (in robes), 42 (in armour), 45 (ditto), 45 (in robes). — , Hon. John, 33. — j Mr., 32, 34. -, Ralph, 31 (1567), 32 (ditto).
Lutterel, Sir John, 24. ' Lyneux, the old Earle of ' (? Matthew Stuart, 4th Earl of Lennox, Regent of Scotland), 23. Lyulphus, equestrian statue of, 34, 46.
Maltravers, Henry, Lord, 23.
Margaret of Anjou (wife of Henry VI), 25.
1 This is a misprint in the Catalogue for 1563.
THE LUMLRY INVENTORIES
49
Marlow, 33.
Mary Medici, wife of Henry Bourbon, King of
France, 26. Mary, Queen, 15 (statue of), 22, 30, 32, 42
(statue), 42 (painting).
— , Queen of Scots, 25. Maximilian, Emperor, 24. Milan, Christina, Duchess of, 21, 39. Monmouth, Duke of, 30, 32, 34, 46. ' Monseur" : see Alencon, due d'. Montague, Sir Anthony Browne, Viscount, 23.
32, 35-
Morley, Henry Parker, Lord, 23 (1523), 40. More, Sir Thomas, 19, 24, 31, 32, 34, 40, 44. Moro, Antonio, 19, 25. Mounteny, Count de, 22 (in robes).
Norfolk, John Howard, ist Duke of, 23.
— , Thomas Howard, 2nd Duke of, 23.
— , - — , 3rd Duke of, 23.
— , - — , 4th Duke of, 23.
— , Mary Fitzalan, Duchess of, 26. Northampton, Helen Suavenburgh, Marchioness
of, 26.
— , William Parr, Marquess of, 23. Northumberland, Thomas Percy, 7th Earl of, 23
Orange, William Nassau, Prince of, 21.
— , Princess of, 21. Oxford, Edward, Earl of, 22.
Paracelsus, Theophrastus, 25, 31, 35, 44. Parma, Duke of, 25.
— , Duchess of, 21. Patrice, Peter : see Doria, Andrea. Pembroke, William Herbert, ist Earl of, 22. Peter, Sir John, 24, 31, 32, 35.
— , Sir William, 24, 30, 32, 35, 44. Petrarch, 25.
Philip II, of Spain, 21, 22, 32, 33. Pindar, Jaques: see De Poindre. Poland, Stephen Batre, King of, 22, 25 (1583).
— , Sigismond, King of, 22. Pole, Cardinal, 23.
Queen, The (Charlotte, wife of George III), 34.
Raphael of Urbino, 25, 27, 42. Rembrandt, 33 (3).
Richard 11, 22.
- 111,22.
Rich, Richard, ist Baron, of Leeze, 23. Richmond and Somerset, Henry Fitzroy, Duke
of, 22.
Richmond and Derby, Margaret, Countess of, 25. Rochester, John Fisher, Bishop of, 23. Rockingham, Marquis of, 34. Russell, John, Lord, 30.
Salisbury, Robert Cecil, Earl of, 24, 30, 32, 45.
— , Margaret Plantagenet, Countess of, 26. Saunderson, Sir Thomas, 35. Saville, Sir George, 34. Savoy, Duke of, 25.
— , Duchess of, 25. Scarborough, Richard Lumley, ist Earl of, 32 (2).
— , Countess of, 34. Schorel, Jan, of Utrecht, 19, 27. Seigar (painter), 19, 23 (3), 24 (3). Sert, Duke of, 25.
Seymour, Thomas, Baron, of Sudeley, 23. Sheffield, Edmund Sheffield, ist Baron, 23. Shelley, Edward, 24. Shore, Jane, 26. Shrewsbury, John Talbot, ist Earl of, 23.
— , Gilbert Talbot, ?th Earl of, 23.
— , Margaret Beauchamp(wife of JohnTalbot),
Countess of, 26. -, Mary Cavendish (wife of Gilbert Talbot),
Countess of, 26. Sidney, Sir Philip, 24. Somer, William, 25. Somerset, Anne Stanhope, Duchess of, 26.
— , Edward Seymour, ist Duke of, 23. Southampton, Thomas Wriothesley, Earl of, 23.
— , William FitzWilliams, Earl of, 23. 'Steven' (the painter), 19 (Richard Stevens),
23 (2), 25, 26, 30 (ditto). Stukeley, Sir Thomas, 25. Suffolk, Charles Brandon, ist Duke of, 23. Suffolk, Duke of, 30, 32, 34.' Surrey, Henry Howard, Earl of, 23 (miscalled
Thomas), 31, 32 (1545), 35 (1545). 44-
— , Elizabeth, Countess of, 31.* Sussex, Robert Radcliffe, fifth Earl of, 22, 30,
32. 34. 45-'
1 It is doubtful whether these entries refer to Charles Brandon, Duke of Suffolk (mentioned immediately above), or to Henry Grey, Duke of Suffolk, executed in 1554, when the dukedom became extinct. In any case, the date 1593 given to the Duke of Suffolk on p. 30 seems to have been accidentally transferred ot course in the original list) from the preceding name, that of Sussex, to whom it rightfully belongs. (See note, p. 45. There was no Duke of Suffolk in 1593.
1 Should be Elizabeth, Countess of Lincoln.
* See note, p. 45.
VI.
H
THE LUMLEY INVENTORIES
Thomas (of Woodstock), Duke of Gloucester,
15 (statue of). Townsend, Lord, 35. Transylvania, Sigismund Batre, Prince of, 22
(1595)-
Valois, Mast Kinge of Fraunce', brother to (Frangois, due d'Alengon (1554-1584)), 22. Van Cleef, 19, 26 (Van Cleave, Cornelius of
Antwerp), 27 ('Haunce of Antwerpe ')• Van Dyck, 32, 33 (3), 34. Velasquez, 34.
Viglius, President, 25, 30, 32, 35. Vincent of Mechlin, 19, 27.
Wales, The Prince of (George-Augustus- Frederick, afterwards George IV), 34.
Walsingham, Sir Francis, 24.
Warwick, Ambrose Dudley, Earl of, 23, 31, 32, 34,44-
Warwick, Anne Russell (3rd wife of Ambrose
Dudley), Countess of, 26. Wentworth, Thomas, ist Baron, 23. Wilfourd, Sir James, 24. William of Hatfield, 15 (statue of). Willoughby, Peregrine, ist Lord (Peregrine
Bertie, nth Lord Willoughby de Eresby), 23. Wilton, Arthur, i4th Baron Grey of, 23. Winchester, Stephen Gardiner, Bishop of, 23.
— , William Pawlet, Marquess of, 23. Winter, Sir William, 24. Wolsey, Cardinal, 23. Wyatt, Sir Thomas (the elder), 24, 39.
— , - - (the younger), 24. Wyndham, Mr. Thomas, 24, 31, 32, 35, 46.
Xaverius, Franciscus, 25.
York, Edmond of Langley, Duke of, 15 (statue of).
WORKS OF ART OTHER THAN PORTRAITS
Adam and Eve, 21.
Adoration of the Shepherds, 33.
Anchises and ^Eneas, 27.
Aristotle, 16 (relief), 42.
Babel, Building of, 27.
Bride of Constantinople, 26.
Charity, 27.
Christ, 27 (various), 28, 42.
Circumcision, 33.
Cleopatra, 26.
Constantine the Great, 42.
Dives and Lazarus, 27.
Evangelists, The Four, 27 (2).
Fortune, ' The Ficlenes of, 27.
George III, proceeding in State to the House of Lords, 33.
Helen, Rape of, 19, 27.
Hercules, 27, 42.
Joseph and his Brethren, 27, 34.
Judith and Holofernes, 27.
Juno and Jupiter, 27.
Lords, House of, The King (George III) pro- ceeding in State to, 33. Lucretia, 19, 26.
Lumley, Lord John and his two Wives, Tomb of, 17.
Mars and Venus, 42.
Mary Magdalene, 26.
Musician, A, 33.
Noah, 27.
Nun, A, 33.
Old Man, Head of, 33.
Passion of Christ, The, 27.
Plato, 16 (relief), 42.
Pompeia, 26.
Richard II, delivering Writ to Ralph, ist
Baron of Lumley, 21. Roche Abbey, View of, 34. Roman Emperors, 16, 41, 42. St. Anthony, Temptation of, 27, 34. St. Francis, 28. St. Jerome, 27. St. Paul, 27 (2). Saints, The, 28. Shepherds, Adoration of, 33. Time, 21, 42. Turk, The, 33. Venus and Adonis, 27. Virgin, The, 27. Worthies, The Nine, 27, 42. Zebedee and his family, 30, 32, 35.
GAWEN HAMILTON IN KNOWN SCOTTISH PORTRAIT I'
*
BY HILDA F. FINBERG.
I:> i.go-1. during tl - of Mr. Lionel Gust, the National Portrait
Gallery became possessed of -ation piece containing portraits o1
number of artists. Fortune utbts could arise as to the identity of the
persons represented, as th » had thoughtfully written the name eit:
above or below each figure. The central and most conspicuous figure in group is that of Mr. Matthew Robinson, and it was from a descendant of t gentleman that the National Portrait Gallery acquired the picture. The foil- ing ' -'autirs of Engla -id and Wales (vol. viii. Kent, 1808) gi
, si formation about Mr. Robinson, and proves that t! in
the possession of his family <1t the time the note was written :
'The Robinsons eby, in Yorkshire, and of Horton, in Kent, .
Sir Leonard r son of Thomas, of Rokeby, was . . . knigh
in 1692; and His only son, Thomas, of West 1
Yorkshire, dying young, left <; son and heir, Matthew, afterwards, jure uxu of Horton in Kent. He was a gentleman of a most independent spirit, and very lively parts; though, from a to business, he never
to any great degree in the active nffair- <>t'th<- world, but was extremely well received in'society. He was a mr posed of the most ir
nious artists of his day, to commemorate v c as a society, a painting
was executed, in 1735, by Hamilton, wlv nail whole figures of the
following persons, some of which are here: Rysbrach, the
Statuary; Dahl, the Portrait Painh idscape Painter; Veti
and Baron, the Engravers ; Kent, the Improver of Grounds ; Gibbs, and Thomas. the Architects; Goupy, Bridgman, Huyssing, Hamilton, and M1. Robin himself, whose family are still in possession ot this picture. Mr. R. v ,-ernely
fond of company, which induced him to spend the latter part of his life in Lond where his morning drive, and his evening club, conducted his days serenely to the age of eighty-four, at which point he died in 1778.' (p. 1127.)
>v
Mr. Robinson holds a port-crayon in his right liand, whilst with his left he po o drawing held by Dahl. We ifer from this that it
:ie is known to have been an accom; H 2
GAWEN HAMILTON
AN UNKNOWN SCOTTISH PORTRAIT PAINTER BY HILDA F. FINBERG.
IN 1904, during the directorship of Mr. Lionel Cust, the National Portrait Gallery became possessed of a conversation piece containing portraits of a number of artists. Fortunately no doubts could arise as to the identity of the persons represented, as the artist had thoughtfully written the name either above or below each figure. The central and most conspicuous figure in the group is that of Mr. Matthew Robinson, and it was from a descendant of this gentleman that the National Portrait Gallery acquired the picture. The follow- ing note in Brayley's Beauties of England and Wales (vol. viii, Kent, 1808) gives us some information about Mr. Robinson, and proves that the picture was in the possession of his family at the time the note was written :
'The Robinsons of Rokeby, in Yorkshire, and of Horton, in Kent, . . . Sir Leonard Robinson, younger son of Thomas, of Rokeby, was . . . knighted in 1692; and he died in 1696. His only son, Thomas, of West Layton, in Yorkshire, dying young, left a son and heir, Matthew, afterwards, jure uxoris, of Horton in Kent. He was a gentleman of a most independent spirit, and very lively parts ; though, from a disinclination to business, he never engaged to any great degree in the active affairs of the world, but was extremely well received in society. He was a member of a club composed of the most inge- nious artists of his day, to commemorate whose existence as a society, a painting was executed, in 1735, by Hamilton, which contains small whole figures of the following persons, some of which are said not to exist elsewhere : Rysbrach, the Statuary ; Dahl, the Portrait Painter ; Wootton, the Landscape Painter ; Vertue, and Baron, the Engravers ; Kent, the Improver of Grounds ; Gibbs, and Thomas, the Architects ; Goupy, Bridgman, Huyssing, Hamilton, and Mr. Robinson himself, whose family are still in possession of this picture. Mr. R. was extremely fond of company, which induced him to spend the latter part of his life in London, where his morning drive, and his evening club, conducted his days serenely to the age of eighty-four, at which point he died in 1778.' (p. 1127.)
Mr. Robinson holds a port-crayon in his right hand, whilst with his left he points to a landscape drawing held by Dahl. We may infer from this that it is Robinson's own drawing, as he is known to have been an accomplished
H 2
52 GAWEN HAMILTON
landscape painter.1 He was the father of the famous Elizabeth Montagu, and several others of his children distinguished themselves in the literary world.
The figures are grouped round Mr. Matthew Robinson in the following order, beginning on the left :
1. George Vertue.
2. Hans Huyssing, a Swedish portrait-painter.
3. Michael Dahl (seated, holding the drawing in his left hand).
4. William Thomas, an architect.2
5. James Gibbs, architect of the Radcliffe Library, Oxford, and of the Quad-
rangle of St. Bartholomew's Hospital.
6. Joseph Goupy (immediately above Mr. Robinson — the name written
'J. Gouppy').
7. Charles Bridgman (or Bridgeman), who laid out the Serpentine and Ken-
sington Gardens (inscribed ' Bridgman, Gar.').
8. Bernard Baron, a French engraver resident in London. (The original
lettering, ' Barren ', can still be made out, but a restorer has tried to alter the name to ' Barret '.)
9. John Wootton. (The original lettering was ' Wooton ', but the restorer has
tried to alter it to ' Woollet '.)
10. John Michael Rysbrack, the sculptor (lettered ' Rysbrac. St.').
11. The Painter of the picture. (No lettering.)
12. William Kent, architect of the Horse-Guards and Treasury buildings, land-
scape gardener, &c.
Beyond the statement in the Beauties of England and Wales that the painting 'was executed in 1735, by Hamilton ', nothing was known of the painter of this work. The painting, however, shows signs of marked ability. The heads have a great deal of character and individuality, and the hands, costumes and acces- sories are deftly touched, and worked up with unusual care and diligence. Some want of experience is noticeable in the arrangement of the figures — those of Vertue, Goupy, and perhaps that of the artist himself, look like afterthoughts — as indeed they were — and the perspective is not beyond reproach. All these signs taken together lead one to suppose that the painter was a man of no mean skill, probably near the beginning of his career, and anxious in this work to display his powers and gain applause by his exertions.
If the picture was painted in 1735 one would naturally expect to find
1 The Letters of Mrs. Elizabeth Montagu, published by her nephew, Matthew Montagu, Esq., M.P., 1810, p. 4.
2 Vertue writing in 1732 (Add. MS. 23076, f. 36) mentions a William Thomas as 'steward to the Erl of Oxford ', whose head was modelled by Rysbrack. There was also a William Thomas, Archi- tect (fl. 1780-1799), of whom Redgrave says : ' He was a member of the celebrated Artists' Club,' no doubt confusing him with the earlier man.
PLATE XVII
iiM OTii
: n1"-/ "- "'* V ' — > J y " T ' '
' 7 -<-- --
/*.'/- K^te^-
PART OF VERTUE'S NOTE ON HAMILTON'S GROUP OF ARTISTS
(Enlarged from Folio 43, B. M. Add. MSS. 23076)
GAWEN HAMILTON 53
something about the painter in Walpole, yet Hamilton's name is only once mentioned in the Anecdotes, and no information whatever is given about him. What makes this omission still more curious is that among the Vertue MSS., Irom which Walpole compiled his Anecdotes of Painting, a good deal of informa- tion is given about this artist and about the picture itself. Vertue knew Hamilton well, took a great interest in his career, and admired his talents. One can only speculate as to the reasons which prompted Walpole to ignore the painter. We do not know whether it was because Vertue considered Hamilton a serious rival to Hogarth, and frequently praised him at Hogarth's expense. All we know is that Walpole was an enthusiastic admirer of Hogarth, while Vertue, though forced sometimes to admit the cleverness of his work, disliked Hogarth intensely, being, if the truth were known, not a little jealous of his success as an engraver.
Vertue's note about the portrait-group now in the National Portrait Gallery was written in 1734 or the early part of 1735, the last sentence about the result of the raffle being added after the raffle had taken place. It runs :
' Mr. Gawen Hamilton of the West of Scotland near Hamilton his paintings of Conversations small figures are agreable & much variety & correctness of mode & manner of the time & habits, he may well be esteemd a rival to Hogarth, having as much justness, if not so much fire, at least a small family peice of Mr Wootons [painter] Family, particularly the figure of Mr Wooton. is like, and is equal to any I have seen of Hogarth, and all the rest not inferior, in many respects.
'But the peice of a Conversation of Virtuosi that usually meet at the Kings Armes. new bond street a noted tavern, is truely a Master peice as far as is done, truely shews him a Master of Art. the persons their represented, are ten.
Mr Dahl Mr Wm Thomas Mr Gibbs
Mr Hysing Mr Bridgman. Gardner Mr Baron Engravr
Mr Wooton Mr Rysbrake Statuary Mr Robinson a Gent.
Mr Kent Vertue Jos. Goupy.
and. G: Hamilton pictor. f. 1735.'
Here Vertue has made a slight sketch forming a key to the picture. (See Plate xvii.) The numbers correspond with those of the list of names underneath the sketch. He continues :
•
'the proposition of this peece was to promote the Interest of Mr Hamilton and to be done by Subscription 4 guineas each person to pay him. and when the picture is quite done to be raffeld for. 'twas raffled for on 15 April 1735. and won by Mr Joseph Goupee— 40. hieghest Numbr thrown.
and sd since sold by him the Prince of Wales.'
(B.M. Add. MS. 23076, f. 43.)
54 GAWEN HAMILTON
It is doubtful whether the rumour Vertue mentions, that Goupy sold the picture to his patron, Frederick, Prince of Wales, was correct. According to Walpole, the picture was included in the sale of Goupy's collection in March, 1765. Among the pictures in the sale, says Walpole, 'there was a piece in oil by Hamilton with portraits of several artists '. If we are correct in assuming this piece to be the picture in which we are now interested, it is highly probable that it was bought at that sale by Mr. Matthew Robinson. It may be remarked, in passing, that, contrary to the general belief, Joseph Goupy's sale was held during his lifetime, and not after his death. Walpole, of course, is hopelessly wrong over the date of Goupy's death, having confused him with his uncle Louis or Lewis. It will be seen from Vertue's note that his own figure and that of Goupy were actually added to the group, not being included in the original scheme of ten figures. Lastly, Hamilton added his own portrait, but forbore modestly to put his name to it.
Vertue's first reference to Hamilton was written about June, 1732. Vertue himself was a little man, and he observes that ' the most elevated men in Art here now are the lowest of Stature ' and proceeds, in support of this opinion, to give a list of names among which occur ' Mr Hogarth Painter ' and ' Mr Hamilton Painter '. He adds : ' these Gent, are five foot men or Less.' He then goes on to speak of ' a family peice of the present Earl of Strafford himself his Lady, his son and daughters in the Conversation manner, the dispo(si)tion genteel & agreeable— the Countenances like & freely pencilld, draperys Silks. & decorations, well toucht & disposd. upon the whole, this is esteemd a master peace of Mr Hamiltons painting, who (? as) much like Hogarths works as can be. & this he did for Reputation being the Earls great generosity to give him ten guineas only for it.' (Id. f. 38.) l
The Earl of Strafford here referred to was Thomas Wentworth, the third Earl (or rather, the first Earl of the second creation), who died in 1739. He married, in 1711, Anne, daughter of Sir Henry Johnson, by whom he had one son and three daughters, Anne, Lucy, and Harriet, who all appear in the group. William, the youngest of the children, born in 1722, succeeded, on his father's death, to the title, and two years later he married Lady Anne Campbell, daughter of the second Duke of Argyll. The picture now belongs to Captain Bruce Vernon- Wentworth. Mr. R. W. Goulding has kindly informed me that he saw it at Wentworth Castle in 1911, and that it is signed 'G. Hamilton '.
Vertue's last note about Hamilton was written in 1737:
'The end of October 1737. dyd Mr Gawen Hamilton painter he excelld all others (crossed through) in his Time in England for peices of Conversations —
Among the Strafford Papers in the British Museum are preserved many receipts for payments made by this Earl of Strafford, but I have searched them in vain for Hamilton's receipt.
PLATE XVIII
THE REVD. THOMAS POCOCK, BY GAWEN HAMILTON ENGRAVED IN MEZZOTINT BY J. FABER, JUNR., 1726 (From a rare print belonging to Mr. A. J. Fiitbrrg)
GAWEN HAMILTON 55
family peices — small figures from the life in their habits and dress of the Times — well disposd gracefull and natural easy actions suteable to the characters of the persons and their portraitures well toucht to the likenes and air, a free pencill good colouring and ornamented or decorated in a handsom grand manner, every way suteable to people of distinction it was much the opinion of many Artists of painting and Sculpture, that he had some peculair excellence wherein he out did Mr Hogarth in Colouring and easy gracefull likeness, what ever has been done heretofore in England by other former masters— he seems to have more merit, or if the modes of dress please better now than those formerly, wee can't say, and whether time will take away these (? the) pleasure of these performances when the modes of habits are changed, time will discover, however wee still like many of those conversations done above a hundred years ago— by Teniers Brower Breugil Watteau and some of those flemish masters of the Schoolars of Rubens Vandyke, and indeed some painters lately here, have studyed that pencilling touching manner, with great Succes. and freedom of composition, which is likely to carry a merrit with it of a lasting duration.
' Mr Hamilton [his first begining was under .... Wilson ' who painted fowles birds of no great reputation, afterwards was auctioneer.] in his last 8 or 10 years of his life got great forwardnes & reputation in this manner for which he was in the right to leave portrait painting as big as the life, wherein he woud never been able to have distinghuished himself in that superior degree, he had but a short illness from a Cold he being on S' Lukes night at the Clubb and Suppd. there, the following week was taken ill. and dyd in 8 days of a Feavour — Saturday 28 of October 1737 — he was buried in S' Pauls church yard Covent Garden, near where he liv'd several years before he died, aged near forty.'
(Id. f. 48.)
With the aid of these notes it is clearly established that Chaloner Smith confused one of Gawen Hamilton's works with those of the later and better- known Gavin Hamilton. In his British Mezzotint Portraits he ascribes that of Thomas Pocock (Plate xvm) to Gavin Hamilton, who, according to the informa- tion given in Mr. Caw's Scottish Painting, was born in 1723. The portrait of Pocock was engraved by J. Faber, jun., in 1726. It cannot therefore be by Gavin Hamilton, and if we compare it with some of the heads in the group of artists, there can be little doubt that it is by the earlier Gawen. Thomas Pocock was the father of Sir George Pocock, the famous admiral ; he was Chaplain at Greenwich Hospital, and died in 1744. The name of the artist is given on the print as ' Gavs Hamilton ', obviously an abbreviation of a latinized form 'Gavinius', which might stand for either 'Gavin' or 'Gawen'.
' No further information has been found about this artist.
56 GAWEN HAMILTON
The two names must be closely allied, and ' Gavin ' at least is quite common in Scotland.
Another instance of confusion between the two painters is to be found in the case of a portrait of Susannah, Countess of Eglinton, lent to the National Portrait Exhibition, 1867, by the Reverend W. K. R. Bedford. It was exhibited as by Gavin Hamilton, but as the Countess was born in 1689 an^ this portrait shows her as a woman of about thirty, it is probably by Gawen. The picture is not a good one, if one may judge by an imperfect photograph, and the style is not in the least like that of Gavin Hamilton. The same point may be raised in connexion with a second portrait of the Countess which is at Eglinton Castle. This is included by Mr. Caw1 among the works of Gavin Hamilton painted about 1755, at which time the Countess would have been sixty -six years old. It depicts her, however, as a charming young lady in peeress's robes, and was probably painted before the death of her husband in 1729. It is reproduced in Scottish Portraits, 1902-3 (LXVI).
Sdguier, in his Dictionary of Painters, seems to have fallen into the same trap. Writing of Gavin Hamilton, he says : ' Independently of his large works and his classical pictures, Gavin Hamilton sometimes painted cabinet pictures ; for instance, interiors of rooms, with small portraits, in the manner of Hogarth. Although brown and sombre in colour, yet there is a great deal of humour and character in the heads.' It is evident that Seguier had seen some conversation pieces by ' Hamilton '. The colour of our group of artists, however, could hardly be called ' brown and sombre '.
Before leaving the subject of Hamilton's works, reference must be made to a painting attributed to Hogarth, now in the Ashmolean Museum, Oxford, which is apparently related to the National Portrait Gallery picture. It is described in J. B. Nichols's A necdotes of Hogarth, 1839, as ' Portraits of a Society of Artists that existed about 1730. This sketch in oil was in the possession of
the late firm of Boydell & Company and is now in the possession of
Chambers Hall Esq. of Southampton.' It was bequeathed by Chambers Hall to the University in 1855, and is reproduced in the illustrated Catalogue of His- torical Portraits, Oxford, 1906. The attribution to Hogarth, however, is open to question. Nichols's Anecdotes have no critical authority, and his mention of this picture merely proves that it was attributed by its owner in 1839 to Hogarth.
The group is composed of fifteen figures, eight of which can be identified by numbers corresponding with a list of names inscribed on the picture. Five of the eight — Rysbrack, Kent, Hamilton, Dahl, and Bridgman — arc old friends. A sixth figure is named ' Gibbons ', but as Mrs. Poole has pointed out (Oxford
1 Scottish Painting, Past and Present, 1908, p. 37.
GAWEN HAMILTON 57
Portraits, 1912) no artist of this name is known who was living in 1730. It seems more than likely that the name was originally ' Gibbs ', and that it has been altered during a process of repainting such as that undergone by the names on the National Portrait Gallery picture. The two other names are ' Laroon ' and ' Vanderbank ', whilst the remaining seven figures are anonymous. One of them, however, is evidently an important person. He sits in a chair in the foreground of the picture in very much the same position as that occupied by Mr. Robinson in Hamilton's group. Indeed the whole scheme of the Oxford picture, although differing in several details, is so curiously like our 'Artists' Club in 1735', that one may venture to suggest that it was perhaps Hamilton's first sketch for his picture. Vertue frequently mentions Captain Laroon and John Vanderbank as members of his circle, and it may well be that Hamilton originally intended them to figure in the projected group, but could not induce them to sit.
In conclusion, a further quotation from Vertue will throw some light on the club frequented by Mr. Robinson and his friends :
' as I have for so many years, made Observations on the works of the most eminent & remarkable Artists in their several kinds of works in London, so I have spent no little Time to be acquainted with them, in all Parts of the Town especially, and at many several times & places, to see their works. & hear the sentiments of all persons — any wayes allowed to be judges, thereby to get a better conception of their real merrit — as this has been some loss of time, also, the costs or expences to get into companys conversations Clubbs, has been a continual expence. not sparing the best & most expensive, besides the Rose & Crown Clubb — so many years and also the Tiptop Clubb of all, for men of the highest Character in Arts & Gentlemen Lovers of Art — calld the Clubb of S' Luke — originally of which was Sr Ant. Vandyke [the founder] Sr Peter Lilly -Riley Verrio Kneller Dhall.Wren Closterman — & the present Set of Artists. & Lovers, of the best reputation living, now still in highest esteem—
' Yet for all this, there are Some Capital Artists, that I have mist, and has not fell in my way — to be known to. but few indeed between 1710. to this present year. 1744.'
(Add. MS. 23079, f. 30.)
We may take it then that it was at the ' Tiptop ' Club of St. Luke that Gawen Hamilton supped on the night when he caught his fatal cold, and that it is the members of this club who figure on his canvas. Redgrave mentions that Charles Bridgman, who 'about 1735 was the fashionable designer of gardens
was a member of the S' Luke's Artists' Club ', but I do not know the
source of his information.
The Rose and Crown Club probably had its meetings at the old Rose and
VI. I
58 GAWEN HAMILTON
Crown Tavern in Crown Street, Soho. Its members, the ' Rosa-Coronians ' as Vertue calls them, were painted in 1724 by John Smibert. The group has been described and sketched by Vertue (Add. 23076, f. 18), who figured in it with Smibert, Wootton, Thomas Gibson, and several other painters and musicians. Although painted, no doubt, in a less capable manner, it would make an interest- ing pendant to Gawen Hamilton's 'Artists' Club'. We will hope therefore that it is still in existence and will some day be traced.
LIVERPOOL ART AND ARTISTS IN THE EIGHTEENTH CENTURY
BY E. RlMBAULT DlBDIN.
ONE does not as a rule act upon the cynical epigrammatic principle borrowed by Benjamin Disraeli from an earlier writer to the effect that the best way to get up a subject of which you are ignorant is to write about it. An exception to that rule is presented by the subject of early art in Liverpool, because, in confessing that my knowledge about it is sadly inadequate, I have to add that I don't know of any one who is better informed. The bank of fog which rests upon the whole field of early British art is nowhere more dense than in this region. The history of Liverpool has more than once been written, and its antiquity has been consecrated by the sept-centenary celebrations held in 1907, but we still know very little about it before the eighteenth century, and literally nothing about its art history, although one book was produced about fourteen years ago which purported to deal with the subject. I propose here, while stating what I know, to employ myself chiefly in indicating what I do not know, in order to show the difficulties attending an attempt to master this little corner of our art history, and with the hope that fellow students in related fields may possibly be able to help me to fill out my sadly meagre outline.
Art-workers of some kind there must have been in Liverpool in the seven- teenth century, in connexion with the decoration of the potters' wares which were then an important product of the town. Their skill in landscape was apparently small, if we may judge it on the evidence of a plaque (20 x 31 inches) bearing 'A West Prospect of Great Crosby' in 1716, which, according to that careful and learned antiquary, Joseph Mayer, is the earliest known ' authentic piece of English ware '. He found evidence that Liverpool was a producing centre of such goods in 1674, and its potteries were among the first in this country. There were also engravers on copper. In 1888, when the first con- ference of the National Association for the Advancement of Art was held here, I contributed to its deliberations a paper on the Art History of Liverpool, in which I suggested that the attention paid to art in the town was perhaps due in a measure to the influence of the potteries, and I still think so. I there set out at more length than is necessary here some interesting details of the history of our potteries, and also other scraps of information about art happenings which I had gleaned as the result of an extended examination of old newspapers and other ephemeral publications.
I 2
60 LIVERPOOL ART AND ARTISTS
I have found nothing to show definitely that before 1769 there was any attempt at organization among the artists, although there were artists in the town, or connected with it. Old rate-books, so far back as 1705-8, give us glimpses of such unknown men as Isaac Le Groates (or Legrote) of Redcross Street, and Edward Clifton of Rosemary Lane, both described as limners. The latter, according to the register of St. Nicholas's Church, was buried January 29, 1714. The register of St. Peter's Church preserves the name of John George, a limner, whose wife Mary was buried May 25, 1757 ; and in that of St. George's we find mention of Thomas Rothwell, enamel painter, in connexion with the baptism on January 13, 1761, of his daughter Lucy, born December 14, 1760. According to an obituary notice in Billinge's Liverpool Advertiser, February 2, 1807, Rothwell died at Birmingham in January 1807, aged 65. The birth of a daughter in 1760 suggests that the age was understated. He is described as an engraver and enamel painter. In St. Peter's register I have also found the names of two engravers, Jeremiah Evans (1760) and William Sutton (1763). Of all these worthies nothing is known. Two notable Liverpool men born early in the eighteenth century may conveniently be referred to first, as there is nothing to show that they had any connexion with local artistic movements.
i. RICHARD WRIGHT, F.S. A., sometimes described as ' Wright of Liverpool ' and sometimes as ' Wright of the Isle of Man ', of whom I know very little. He is said to have been born in Liverpool in 1735, and to have been trained as a house and ship painter. Without education he succeeded in becoming a com- petent painter of pictures. I have not traced any Liverpool address. In 1762 Wright began to exhibit at the 'Society of Artists' Exhibition, his picture being ' A View of the Storm when the Queen was on her passage to England, painted from a sketch, drawn on board the Fubbes yacht'. This is at Hampton Court Palace : no. 889 in Ernest Law's Historical Catalogue (1898). Wright continued to exhibit regularly at the ' Society of Artists ' until 1773, showing in all twenty- seven pictures. He became a member in 1771 and a director in 1772.
According to Mr. Algernon Graves, Wright showed one picture at the Free Society Exhibition in 1764, 'A Seapiece, with a squall of rain'. Appended is a note : 'The first premium (thirty guineas) for the present year.' In Anecdotes of Painters, by Edward Edwards (1808), it is stated that 'in 1764 the Society for the Encouragement of Arts, &c., offered a premium to the person who should produce the best picture of a sea view, being his own production, when Mr. Wright became a candidate and obtained the first prize, thirty guineas. In the years 1766 and 1768 he again became a candidate, under the same class of premiums, and each year obtained the first prize, fifty guineas. In the first of these pictures, Mr. Wright paid a compliment to the Society by introducing an allusion to their encouragement of the scheme for supplying the metropolis with fish, by the means of land carriage '. In a note Edwards identifies this picture as the one
IN THE EIGHTEENTH CENTURY 61
engraved by William Woollett (1768) with the title ' The Fishery ' (Plate xxiv (b)). It is now in the Liverpool Gallery, my Committee having on my recommenda- tion purchased it in 1914 from the owner. It will be seen from the illustration that the allusion to land-carriage was a covered cart in waiting to receive fish from boats. Woollett's print is said to have been copied in two sizes by a French engraver, who attributed the original to Vernet. I have not seen a copy of this pirated publication.
Some time before his death, according to Edwards, Wright made an exhi- bition of his pictures at York during the race week. The result was disappointing, so much so that according to our chronicler, with the aid of a violent cold, it ' hurried him to his grave '. He adds that he was also adversely affected by the death of his son, 'a very promising and well-behaved youth, who painted in the same line with the father'. This youth was aged about twenty. Mrs. Wright and her daughters also practised art, painting still-life and fruit-pieces. It is a pretty safe inference that the son was Edward Wright, who showed nine pictures at the Society of Artists from 1769 to 1773. Mr. Graves, from whom I cull this information, credits him with a marine subject shown at the Free Society in 1782, but this is probably a wrong ascription (it is a rare pleasure to catch Mr. Graves napping) if the son, as stated, predeceased his father, who died, according to Bryan, 'about 1775': Edwards says 'before 1775'. E. Wright's address was 'at Mr. Wright's, Pimlico', and Richard's address from 1767 was 'Near King's Road, Pimlico'. Before that he was at Craven Street (1763), Craven Buildings, Strand (1764), and Orange Court, Leicester Fields (1765).
Mrs. Richard Wright (Louisa) exhibited still-life (thirteen pictures) at the Society of Artists from 1770 to 1777. After her husband's death she removed to 29 Marsham Street, Westminster. Miss Elizabeth Wright began to exhibit in 1773 and continued to do so until 1776, showing seven landscapes in all. On the removal of her mother from the Pimlico house, Elizabeth and she seem to have parted company, as in 1775 the former was 'at Mr. Stubbs', 24 Somerset Street, Portman Square'. Next year she was at Mr. Ralph's, Millman Row, Chelsea. It is of interest in the present connexion to find the Wright family in touch with the famous George Stubbs, President of the Society of Artists, as he also was of Liverpool origin. Mr. Graves attributes to Elizabeth an exhibit in 1783, 'A Head; in needlework', shown by 'Miss E. Wright, at Mr. Thomas Wright's, 6, in the Poultry ', but I am pretty sure this was a different person. On the other hand I think a Miss Wright, ' Near the King's Road, Pimlico ', who exhibited a landscape in 1772 and a fruit-piece in 1773, must have been Elizabeth, though Mr. Graves gives her a place apart ; if not, it was an elder sister.
Among the many Wrights who have shown at the Royal Academy Exhibi-
62 LIVERPOOL ART AND ARTISTS
tion, the only one who seems to have any possible connexion with our subject is Miss Elizabeth Wright, who showed two landscapes in 1825, when her address was 6 Norfolk Street, Fitzroy Square. In 1829 a Miss Wright (Mrs. in the index) at the same address contributed a landscape, and in the following year another. Her address was then 38 London Street. I think this was possibly Richard's daughter, though I am not able to account for her long disappearance. Richard never exhibited at the Royal Academy.
- I have devoted a good deal of space to somewhat trivial detail because it is from such slight indications that we may be able, if at all, to construct a fuller account of this artist's life. There only remains to be added the concluding paragraph of Edwards's note, an outline as slight and unsatisfying as Hogarth's profile of Fielding, and yet, like it, a valuable clue to better knowledge of the man : 'Mr. Wright was of rough manners and warm temper, which led him to take an active lead among the discontented part of the chartered Society of Artists, in which he acted with great impropriety and imprudence, and, with one or two more of the members, was chiefly instrumental in overturning the Society.'
2. GEORGE STUBBS. This pioneer of animal painting in England (if we except John Wootton) was born in Liverpool on August 24, 1724, a little more than a year after the birth of Reynolds. It will suffice to give a mere outline of his career, as the subject has been already dealt with by Joseph Mayer (who based his Notes for a Memoir on a manuscript by William Upcott), also by the late Sir Walter Gilbey, Bart, in a 'Life' published in 1898. I refer also to my own contributions on the subject to Bryan's Dictionary (vol. v, p. 139, 1905) and to the Art Journal for 1904, p. 12 et seq. The father of Stubbs was a currier and leather-dresser, and he intended that his son should follow in his footsteps. The youth, however, was interested only in drawing and anatomy, and his father did not oppose him, but advised him to seek out the best master he could find. Soon after this the father died, leaving his widow in easy circumstances.
George selected as a master Hamlet Winstanley, a Warrington artist twenty- four years older than himself, a pupil of Kneller, but, on the evidence of such of his productions as I have seen, not a very brilliant painter. Winstanley was much employed about Knowsley Hall, the seat of the Earl of Derby, and Stubbs was set to work making copies, receiving in exchange instruction and a shilling a day pocket-money. A quarrel terminated this connexion, which had given Stubbs so strong a distaste for copying pictures that he resolved never again to do anything of the sort, but to ' look into Nature for himself, and consult and study her only '.
At about twenty years of age Stubbs removed to Wigan and thence to Leeds, where he set up as portrait-painter. Next he went to York, where he found means to study anatomy, and did so to such purpose that soon he was employed
IN THE EIGHTEENTH CENTURY 63
in giving private lectures to the hospital students. Having made some drawings to illustrate a projected work on obstetrics by a friend, Stubbs was unable to get an engraver to reproduce them, so he taught himself to engrave on copper. From York he went to Hull, and in 1754, after a visit to Liverpool, he went to Italy to see if its art treasures would support his opinion that Nature is superior to all Art. Having settled this point to his entire satisfaction he returned home and remained at his mother's house until her death about the year 1756. He then left his native city and apparently never returned to it. The fact that his illegitimate son, George Townley Stubbs, an -excellent engraver, was born in 1756 suggests a possible reason, in connexion with the close companionship for life that thence- forward subsisted between Stubbs and Miss Mary Spencer, who is sometimes described as his niece and sometimes as his aunt. I have no evidence that she was related to him. The register of St. Peter's Church records that Mary, daughter of George Stubbs, limner, was buried on September 18, 1759. I am unable to throw any light on her identity. For four years Stubbs dwelt in a lonely farm-house in Lincolnshire, where he laboured unceasingly at the anato- mical studies which resulted in his monumental work on the Anatomy of the Horse. When Stubbs arrived in London in 1760 ready for its publication, he was unable to find an engraver who would undertake the mechanical part of reproducing his drawings, so he undauntedly set to work and engraved the plates in his late evening and early morning hours. The work was published in 1766, and its value was at once recognized. From 1761 Stubbs had been an exhibitor, chiefly of portraits of horses, at the Society of Artists Exhibition. Of this society he was a member in 1765, treasurer in 1772, president in 1773, and director in 1774. Although much admired by, and friendly with, Reynolds, he was not one of those who combined to form the Royal Academy. After the 1774 exhibition of the Society of Artists he ceased to send to its exhibitions, and he made his first appearance at the Royal Academy in the following year with four portraits— of a horse, two dogs, and a monkey. Thereafter he was a fairly regular exhibitor until 1803. In 1780 he was elected A.R.A. and in the following year a full member, but some hitch occurred (probably over the rule as to the deposit of a diploma picture) and the election was annulled. The addresses of Stubbs in various catalogues are (i) Somerset Street, opposite North Audley Street, 1764; and (2) 24 Somerset Street, Portman Square, 1775. For many years Stubbs pursued his energetic career with ample success, and his active mind continually prompted him to fresh experiments. At the instigation of Cosway he experimented in the production of pictures painted in enamel colours on china or earthenware plates made by Wedgwood. Some of these were so badly treated in the Royal Academy Exhibition of 1782 that he did not send again until 1786, and this may have been one of the factors in the trouble about his membership. Some of these plaques are extant, their colour as brilliant as
64 LIVERPOOL ART AND ARTISTS
at first, and it is easy to understand that the hangers of 1782 offended, not through prejudice or ill will, but because this brilliancy made it difficult to place them with oil paintings on canvas. In 1790 Stubbs commenced a series of portraits of celebrated racers which were to be engraved and published. Through lack of support this series was discontinued after sixteen had been produced. When over seventy years of age Stubbs commenced another great work, A Comparative Anatomical Exposition of the Human Body, with that of a Tiger and a common Fowl. This he completed, but he died on July 10, 1806, when only half of it had been published. His death was sudden, probably from angina pectoris : on the previous day he had walked eight or nine miles without fatigue; and shortly before, he was able to walk sixteen miles, carrying a portmanteau.
In his prime Stubbs enjoyed great physical strength, and was able to carry a dead horse up two or three flights of stairs to his dissecting-room ! He was buried in Marylebone Church, and Miss Spencer inherited all his property. Many of his works were engraved by Woollett, Earlom, Val Green, Hodges, Murphy, Townley-Stubbs, &c. His ' Gentleman holding a Horse ' is in the National Gallery, his ' Lion and Lioness' and 'Goose with outstretched wings' are in the Victoria and Albert Museum, and in the Liverpool Gallery are ' The Racehorses of King George III ', ' Horse and Lioness', 'Horse frightened by a Lion', 'Lion and Dead Tiger' (on Wedgwood panel), and 'The Frightened Horse' (Wedgwood white relief on blue); also portraits by Ozias Humphry, R.A. (pastel) and Richard Caddick (oil). The pictures of Stubbs are not often seen, as they are for the most part in private collections at great houses. Sir Walter Gilbey had a great many : the catalogue of his sale on June n, 1915, contained twenty-seven examples. Some of these are among our illus- trations.1 Gilbey's book on Stubbs gives particulars of 116 pictures in various collections.
1 Five pictures by Stubbs from the Gilbey sale are here illustrated : No. 406, Portrait of Warren Hastings on Horseback, 1791, from the Artist's Sale (No. 68), Plate xix ; No. 394, Hay- makers, and No. 395, Hay-Carting, Plate xx ; No. 387, The Haymakers, and No. 388, The Reapers, both exhibited at the Royal Academy, 1786, Plate xxi. The four latter subjects are reproduced from photographs kindly supplied by Messrs. Thomas Agnew and Son. Two of these are now the property of Lord Leverhulme, who has also kindly allowed the reproduction of the equestrian portrait of Wedgwood.
I had a good opportunity to study these paintings at the time of the sale. The two enamel paintings on china tablets (Plate xx) struck me as particularly delightful productions. They have much of the purity and freshness of early Italian wall paintings. As illustrations of the rise of the modern naturalistic school of painting, and as superb examples of the work of a wonderfully gifted and original English artist, I should have liked to see them secured for our National Gallery. Why the authorities took no steps to secure at least one of them I do not know. The prices they realized at the sale were not exorbitant.
The fine equestrian portrait of Warren Hastings was promptly secured by Lord Curzon for the
PLATE XIX
WARREN HASTINGS ON HORSEBACK, BY GEORGE STUBBS, 1791
Oval, 34 ! X 25 \ in. Enamel fainting on china tabl.'t
Bought fry Earl Cureoii of Kedlestoii, at Sir Walter Gilb;)fs Salt, for the Victoria Mmiorial Hall, Calcutta
PLATE XX
(a) HAYMAKERS, BY GEORGE STUBBS, 1 794
Enamel painting on china tabltl manufacturtd by Wedgwood Oval, a8S x 39] in. {Gilbty Sale, No. 394) In the Collection of Lord Leverlntlme
(b) HAY CARTING, BY GEORGE STUBBS, 1795 Enamel painting OH china tablet Oval, 28} x 39 j in. (Gilbey Sale, No. 395) In the Collection of Lord Lcverhulme
PLATE XXI
(rt) THE HAYMAKERS, BY GEORGE STUBBS, 1783 On panel. 36 x 54 in. ( Gilbey Sale, No. 387)
(b) THE REAPERS, BY GEORGE STUBBS, 1783 Panel, 36 x 54 in. (Gilbey Sale, No. 388)
PLATE XXII
JOSIAH WEDGWOOD ON HORSEBACK, BY GEORGE STUBBS Oval, 36 x 27 ', in. Enamel painting on china tablet In the Collection of Lord Ltveihulmi
PLATE XXIII
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IN THE EIGHTEENTH CENTURY 65
Having disposed of two rather notable men who are slightly known to the outer world of art, I now turn to the group of artists who, dwelling in Liverpool, tried to establish an Art Society here, incited, no doubt, to this expression of their needs by the contagious influence of the Royal Academy's foundation in 1768. In the following year an Academy Room was rented at 30 John Street, and the association which met there had P. P. Burdett as president, and twenty-one other members. The list of members given by Mayer is the first authentic list of Liverpool Artists. I append to the names the scant particulars I have in regard to some of them.
i. PETER PEREZ BURDETT, F.S.A., President. I take the baptismal names from Graves's account of the Society of Artists. In the list of members (p. 323) he is described as an Honorary Fellow. He was a capable artist, as appears from his 'View of the Custom House', engraved for Enfield's Liverpool (1773). Mayer describes him as an engraver and drawing master. W. Bemrose in his Life and Works of Joseph Wright (1885) has a number of references to Burdett, who was at one time resident in Derby and intimate with Wright. From this source I learn that Burdett played the violoncello, that he published a map of Derbyshire in 1767, and was used as a model in at least two of Wright's pictures, viz. 'The Orrery' (Plate xxin), exhibited 1766, probably painted three years earlier, in which he is the person making notes, and the earlier ' Gladiator ' picture in which Burdett and Laurence Rowland (1757-73), son of Earl Ferrers, are the two boy spectators. Earl Ferrers bought 'The Orrery' and Burdett was in some unexplained way mixed up in the transaction. The price was ^210, of which £50 was paid in cash, and for the balance a joint bond dated July n, 1763, was given to Wright by the Earl and Burdett. It is quoted verbatim by Mr. Bemrose, and apparently the balance of £160 was to be liquidated by a payment of /So with interest. English law deeds of the eighteenth century are beyond the comprehension of a layman, so I may be mistaken. Apparently the money was to be paid by Burdett, because in 1774 Wright wrote from Rome to his brother : ' He has not paid a farthing of principal or interest of the fourscore pounds his Lordship was bound for, which I lent him in the year '60 or '61.' Burdett is described in the deed as ' Peter Pery (sic) Burdett of Stanton Herald in the County of Leicester, Gentleman ', which seems to negative the conjecture that he was a native of Derby. He evidently devoted a good deal of time to chartography, as in addition to the map of Derbyshire already mentioned he produced maps of Cheshire and Lancashire, and in reference to the map of Leicestershire by J. Whyman in Gough's British Topography there is a note to
Victoria Memorial Hall at Calcutta. It was an admirably chosen purchase, made with Lord Curzon's usual promptness and decision. I have to thank his Lordship for the courteous permission he has given to reproduce this portrait. — ED.
VI. K
66 LIVERPOOL ART AND ARTISTS
the effect that ' Whyman was assistant to Mr. Burdet (sic) '. For the Derby- shire survey Burdett received ^100 (or guineas) in 1768 from the Society of Arts. At the Society of Artists Exhibition in 1770 he showed (as an honorary exhibitor) two 'teinted' drawings of architectural subjects and in 1771 another architectural view. In 1772, being then F.S.A., he showed 'An etching in imitation of a Wash Drawing', as well as 'An etching from a design of Mr. Mortimer'. The first of these may, I think, have been a very early aquatint (the invention of Le Prince dates from 1768) as in 1773 Burdett exhibited ' The effect of a stained drawing attempted by printing from a plate wrought chemically, without the use of any instrument of sculpture '. After this Burdett did not exhibit again and I have no further trace of him. I shall refer to him again in connexion with his status as an inventor of aquatint engraving. His 'Children, with boy blowing bladder, by candlelight ', after Joseph Wright of Derby, according to a manuscript inscription on a copy in the Liver- pool Public Library, was the ' First specimen of aquatinta invented in Liverpool by P. P. Burdett, 1774, assisted by Mr. S. Chubbard '. Oddly enough J. Chaloner Smith in the appendix to his British Mezzotint Portraits seems to mention this as a mezzotint, but he describes a plate with the subject reversed, so I am in doubt. There is no evidence that Burdett was a mezzotinter. Smith states that Burdett appears to have been a friend and fellow townsman of Wright.
2. OTTIWELL (or OTWELL) WORRALL. Probably a professional artist. In 1784 he exhibited a portrait of a child in crayon. I have no other information about him. Mr. Joseph Worrall, an aged artist in Liverpool, who died recently, did not know if he was descended from him.
3. WILLIAM NEWBY. No information.
4. MICHAEL RENWICK. A doctor. In 1773 Lecturer on Chemistry to 'The Society of Artists '.
5. JOSEPH DURAND. No information.
6. WILLIAM EVERARD. A leading founder and librarian (probably honorary) of the Liverpool Library (the first circulating library in England, founded 1758), He was a schoolmaster in Paul Square, eminent in mathematics, and after- wards an architect and surveyor. In 1766 he was resident at 30 John Street, where the Academy and the Liverpool Library were housed by him. The register of St. George's Church records his marriage on April n, 1760, to Martha Gatliff.
7. JOHN WYKE. A watch and clockmaker, formerly of Prescot, a leading man in schemes of public improvement and philanthropy.
8. JOHN ORME. No information.
9. JOHN BAINES. No information.
10. THOMAS CHUBBARD. A very fair portrait-painter, who also exhibited
PLATE XXIV
1
(a) VIEW OF THE CUSTOM HOUSE, TAKEN FROM TRAFFORD's WVENT, 1773 ISY PETER PEREZ BURDETT FIOIII Eiificlifs '•Liverpool'
(t>) A SEAPIECK, WITH A SQUALL OF RAIN, BY RICHARD WRIGHT, 1764 ll'alker Art Gallfly, Livrrfiool Exhibited with the Free Society, 1 764
IN THE EIGHTEENTH CENTURY 67
landscapes. His record as an exhibitor in London I take from Mr. Graves's volume on The Society of Artists.
1763. A miniature (name given as Chubard, without baptismal name, so the ascription is uncertain. Afterwards, from 1772, Chubbard, painter, Liverpool).
1772. A landscape ; a view of Rock Savage, [Cheshire].
1773. An unfortunate soldier; a landscape. A Hermit, from Parnell, in landscape. A view of Lancaster ; a landscape.
At the Free Society's Exhibition. 1771. A view on the River Dee.
A view on the River Mersey.
At Liverpool's first exhibition (1774) Chubbard showed fifteen pictures — a liberal proportion, as the total number of exhibits was eighty-five. There were ten landscapes, including the 'Unfortunate Soldier', two bird studies, a minia- ture of a gentleman, a lady's portrait in crayon, and a conversation piece. Two young ladies, 'pupils to Mr. Chubbard ', exhibited still-life subjects, and one also a ' Portrait of a beggar '. At the two exhibitions held in Liverpool by the ' Society for Promoting Painting and Design ' (hereafter to be mentioned), of which he was a member and ' visitor ', Chubbard was again a generous exhibitor. In 1784 he sent portraits of a Bishop, a Lady (in crayons), a Gentleman (small whole length), two Young Gentlemen (small whole lengths, in crayons), and seven landscapes, four marked as for sale. I have given particulars of the various portraits as illustrating the styles of picture in favour with persons giving portrait commissions in Liverpool. In 1787 there were three portraits and four landscapes.
Of Chubbard's life and career I know practically nothing, except that with the aid of directories and catalogues I have recovered some of his places of resi- dence. He was probably a son of Captain John Chubbard, mariner (who died in 1766), and born in or about 1738. In 1769, 1774, and 1777 he was at 16 Liver Street and described as a painter. The Theatre Royal Bill of i7th August, 1774 (Mrs. Melmoth's benefit), gives her address as ' Mr. Chubbard's in Hanover Street'. In 1781 he was at 17 Lord Street, in 1783-4 in Williamson's Square, in 1787 at Shaw Place (near Shaw's Brow, where the Art Gallery now stands), in 1790 at i Whitechapel, and from 1796 to 1807 at 6 Spring- field, Soho. He is variously described as painter, limner, and portrait- painter. He died of 'old age' May 30 at his house, King Street, Soho, 'without a struggle or a sigh', and was buried in St. George's Church, June 5, 1809. The entry was made by the clerk, William Maybrick, grandfather of ' Stephen Adams '. From 1769 to 1800 there was also in Liverpool Samuel Chubbard, a carver and gilder and silverer, who was evidently a near relation of the painter, as in 1774 and 1781 their addresses were the same. He was asso- ciated with P. P. Burdett in his ' invention ' of aquatint engraving. Samuel died
K 2
68 LIVERPOOL ART AND ARTISTS
at ' Kensington ', February 8, 1807, aged 66 or 67 years, of ' a disorder in the spine'. Billinge's Liverpool Advertiser of February 9 styles him 'a worthy, honest man '.
The portrait of the notable potter, Richard Chaffers, by Thomas Chubbard (Plate xxvni (c)}, which is in the Liverpool Museum, is, if it was painted advivum, an early example of the artist's work. I should add that in referring to this portrait Mayer writes of it as by Caddick — presumably William. One may reasonably infer from Chubbard's record as an exhibitor that his chief interest in art was landscape, and that he merely painted portraits for a livelihood. The only landscape by him I have traced is one of Hornby Castle, near Lancaster, drawn about 1772, and engraved on wood by W. Hughes for Gregson's Fragments towards a history of Lancashire (1816).
ii. RICHARD TATE. According to Mayer, a merchant and patron of art in Liverpool. In 1774 he was a good second to Chubbard with eleven subjects, most, if not all, in crayon, chalk, or ' black-lead '. William Tate, Liverpool, showed two portraits and two drawings, possibly copies, in black chalk. Richard Tate was an honorary exhibitor at the 1784 exhibition, his contributions being of a modest description : ' A bathing piece ' and ' The British Fishery ', both in chalks, and a head of Rubens (already shown in 1774) in black-lead. The second of these was possibly a copy of Richard Wright's picture above mentioned. At the same exhibition the Tate family (all, according to Mayer, ' accomplished ') was in force, there being three other honorary exhibitors of that name, viz. Paul, T(homas) M(oss), and Miss Tate, all of Liverpool. Dismissing the others as unimportant contributors of one triviality apiece, I mention only T. M. Tate, who showed two heads in crayon and two landscapes, the latter both 'after Mr. Wright of Derby '. In 1787 he showed three landscapes, one of which was 'A view from nature, near Matlock'. I have no doubt that all these amateurs were Richard's offspring, as well as William Tate, F.S.A., a portrait-painter of respectable rank. When he first exhibited at the Society of Artists he was described as ' pupil to Mr. Wright of Derby'. It is a reasonable inference that he was the eldest son of Richard, as in 1774 and 1775 his address was ' Liverpool '. He exhibited there in 1774, in 1783 he was a member and visitor of the Society for Promoting Painting and Design, and in 1784 he exhibited nine portraits and ' Belisarius and his Daughter', his address being then Liverpool; although in 1773 the Society of Artists' catalogue assigned him to Manchester, where he was again located in 1787, when he sent to the second Liverpool exhibition two portraits and 'Abraham and Isaac', and in 1791, the last time he sent to London. Bryan's Dictionary states that he was born about the middle of the eighteenth century (where and of what stock is not mentioned), studied under Wright of Derby, and practised successively in Liverpool, London, Manchester, and Bath ; also that he died at Bath in 1806.
PLATE XXV
(</) RICHARD CADDICK, BY HIMSELF In the possession of Mias Sntlloiv
(I)] GEORGE STUBBS(?), BY RICHARD CADDICK (?) 14x11 HI. Walker Art Gallery, Liverpool 'No. 643)
(c) GEORGE STUBBS, BY OZIAS HUMPHRY Pastel, 23 X 39 in. Walker Art Gallery, Liverpool (No. 486
IN THE EIGHTEENTH CENTURY 69
In all he showed twelve portraits at the Society of Artists (1771-91), of which he was elected a Fellow in 1774. At the Royal Academy he exhibited twelve works from 1776 to 1804. His addresses are Liverpool in 1776, London 177710 1782, Manchester 178710 1803, ar»d Bath in 1804. Some of his Royal Academy exhibits were genre subjects : ' Belisarius and his Daughter ' in 1776, ' Abraham and Isaac' in 1787, and in 1802 ' Boy blowing a bladder, and mischievous girl' and ' Girls with a firestick '.
T. M. Tate, like his father, was a connoisseur and amateur. There are numerous references to members of the family in Bemrose's Life of Joseph Wright of Derby, but their value is diminished by the fact that Mr. Bemrose seems not to have been sufficiently alive to the fact that there were several Tales, or at least he does not at the various references enable his readers to know which of them is the person referred to. I think William and 'T. M.' were both pupils of Wright, but the latter was afterwards his more intimate friend.
12. PETER ROMNEY. A younger brother of George Romney, born June i, 1743. He studied with George at Kendal 1759-62. In 1765 he followed him to London, but did not long remain there. Thereafter he led an itinerant life, of which some particulars are given in an appendix to the Rev. John Romney's life of his father. In a letter there quoted (November 5, 1769) he wrote from Liverpool : ' I have about a dozen pictures in hand here, but what further encouragement I shall meet with I cannot judge.' He went from Liverpool to Manchester and continued his wandering life, which included some experience of prisons, until his death in May 1777.
13. RICHARD CADDICK. This was a portrait-painter of importance, and son of William Caddick, also portrait-painter. The latter was son of William, a mercer, born about 1680, fined in 1703 for extending hospitality to Joseph Harrison and his three children, they being ' foreigners ' ! Liverpool was evidently sound in those days on the subject of aliens. Caddick was sub-bailiff in 1710, sidesman in 1718, churchwarden in 1719, and an overseer in 1729. He died and was buried at St. Peter's Church December 15, 1756. His son William, the artist, was born in 1719 and died on December 29, 1794. As my biographical outline is more or less conjectural, I think it well to mention that the St. Peter's register records the burial on July 8, 1755, of William, son of Thomas Chad- dock (sic), limner, and on November 18, 1758, of Ann, daughter of Thomas Chadwick (st'c), limner. This Thomas may or may not have been a Caddick, but at any rate he was a limner, and is therefore of interest in this connexion.
From 1766 William, the artist, lived in Old Hall Street (his house was in the part known as North Walk), and he probably died there in 1794. He married Eliza, or Elizabeth, Wood of Burslem, a member of the noted family of potters. She was born on June n, 1724, and died on September 17, 1795. William Caddick's pictorial manner is well illustrated by his portrait, painted in 1747, of
7o LIVERPOOL ART AND ARTISTS
Aaron Wood, his brother-in-law, a worthy of whom it is recorded that ' he was never heard [or known] to swear, chew tobacco, take snuff, or whistle or sing in his life, and was considered the most lively, pleasant, and merriest man in the county '. W. Caddick has not quite succeeded in telling us all this with his brush (Plate xxvm (d)), but his portrait (which I reproduce by the courtesy of Mr. Frank Falkner from his valuable work, The Wood Family of Burslem, 1912), in spite of the hard formality of the period, is alert and expressive. There is no marked difference of style in W. Caddick's later portrait (1766) of Thomas Bentley (potter, partner of Wedgwood ); the early head of Ralph Wood, the 'honest miller' (1744), is hard, though expressive; the picture of John Wood of Brownhills, which is probably later, is more animated (the hands are awkwardly placed) ; and the sketch portrait of his son is surprisingly alert and sympathetic. Mr. Falkner justly says that it ' might easily be considered to have emanated from the easel of Romney, so artistically beautiful is the effect achieved '. According to the Underhill MS., W. Caddick was well acquainted with Richard Wright and George Stubbs, which is extremely probable. We must accept with a qualification the further statement that Caddick's son Richard ' was contem- porary with Stubbs and Wright ', because it is obviously the result of a confusion of the son with the father. A further observation that ' his pictures were amongst the earliest exhibitions of the town ' is a good example of words so employed as to mean nothing. Underhill had a distinct talent in that direction.
William Caddick is said to have been President of Liverpool's second Art Society on its formation in or about 1773, but whether this was William the second, or his son of the same name, I am not sure. His name does not appear in the 1774 Catalogue, as he was not an exhibitor, and no list of members and officers is given.
He had two sons, Richard and William. Richard was born about 1750, perhaps a little earlier ; William was probably younger. Both became painters. William may be dismissed first, as I know less about him. In 1780 W. Caddick, junior (North Walk, Liverpool), made the family's sole appearance at the Royal Academy exhibition, with a ' Portrait in the character of Circe '. As W. Caddick, senior, was then sixty-one years of age, and his father had been dead many years, this picture must have been by his son. I have not otherwise traced him as an exhibitor in Liverpool or elsewhere. Probably he died young.
Richard lived until about 1823. His successive addresses, so far as traced, were various numbers in Old Hall Street, 1783 to 1800; 16 Gerard Street from 1805 ; Lord Street, 1807 ; and again Gerard Street, 1810 to 1823. In the earlier directories he is described as portrait-painter, but after 1805 as gentleman. Although a member of the 1769 Society, Richard's name does not appear in connexion with the 1774 Exhibition. In the Catalogue of 1784 he was mentioned as a Visitor of the Society, and he exhibited three portraits of gentlemen. There
PLATE XXVI
(a) CATTLE, BY CHARLES TOWNE
Walker Art Gallery, Liverpool (No 378
(6) LANDSCAPE, BY RATHBONE, WITH FIGURES BY FAIRFIELD /;/ the Collection of John Lour, Esq.
IN THE EIGHTEENTH CENTURY 71
is no mention of him in the 1787 Catalogue, and here my record of him as an exhibitor ends. Caddick was married, and, according to Mr. Frank Falkner, had three sons and a daughter. One son named William may have been the turner of that name recorded in Liverpool directories until 1822. The whole family is represented in the artist's very interesting ' conversation piece ', which I was so fortunate as to encounter nine years ago (Plate xxix (c)). I at once secured it for our Gallery, and my chief difficulty was to persuade others that it was worth having, for it was in a deplorably dirty and damaged con- dition. Careful treatment, however, changed all that, and it is now our unique example by a Liverpool man of a branch of portraiture much favoured by Hogarth, Zoffany, and Peters. The portrait of George Stubbs (Plate xxv(£)) puzzles me because it represents him as a younger man than Caddick can have known after becoming a qualified painter, even if he were a youthful prodigy. I come to the conclusion that if it is by Richard it is not Stubbs ; if it is Stubbs, it was more likely painted by William Caddick. Sir Walter Gilbey ascribes it to Thomas Chubbard. Richard's capacity for dealing with portraiture on a large scale is well illustrated by his portrait of Joseph Brooks, now in the board-room of the Liverpool workhouse (Plate xxxi (b)). His portrait of Mrs. Proudlove (Plate xxix(^)) is obviously an early performance (the date is 1768), but it is by no means incapable. Richard's portrait of himself (Plate xxv (a)) is excellent.
14. THOMAS CRITCHLOW. A watchmaker in Castle Street ; no other information.
15. PAUL PENNINGTON. I have no information about this man, who, I con- jecture, may have been related to the notable potters, the Penningtons, and perhaps father of John Pennington, a landscape artist in the end of the eighteenth and the early part of the nineteenth century, of whom I wrote a short account for Bryan's Dictionary (vol. iv, p. 91, 1904). Mayer says John was son of the Liverpool potter of that name.
16. SAMUEL ALCOCK. No information.
17. MATTHEW TURNER, M.D. A physician of good standing, a friend of Josiah Wedgwood. P. P. Burdett, in a letter dated February 4, 1771, to Wright of Derby, indicated Turner as more likely than himself to give him useful infor- mation on points raised in regard to his picture, ' The Alchymist '.
18. MATTHEW DOBSON, M.D. An eminent physician, and a member of the Royal Society. He resided in Harrington Street, and subsequently to 1769 removed to Bath, where he died in 1784.
19. JOHN EYES, JUNIOR. Son of John Eyes, a notable surveyor, architect, hydrographer, and map-maker, who died in 1773. John, junior, was an attorney, and he died early. William Roscoe was articled to him.
20. CHARLES EYES. Probably brother of the above, but Mr. R. Stewart-
72 LIVERPOOL ART AND ARTISTS
Brown, M. A.,