-^•tH^ '<^an^" u^ F. WHEATLEY R A BY W. ROBERTS. "Connoisseur Extra Number. THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Francis Wheatley, R.A. FRANCIS WHEATLEY, R.A. From the painting by himsclj in the Saiional Portrait Gallery (15 in. X 12)^ in.) F.WHEATLEY,R.A. His Life and Works With a Catalogue of His Engraved Pictures, By W, Roberts (Joint Author of " Romney," "John Hoppner," &c.) tTCCWNOISSEVR J^ AMAGAZINEFOR COLLECTORS W 1 ; . ■■ ^ — ^^4 , M / LONDON : Published by OTTO LIMITED. 1910 Kht Cranforb |3rE55. GEO. PULMAN ANP SONS, LTD, LONDON AND WHALDSTONK. THE MINIATUKlL (MRS. WHEATLliV) From a Draioing by Francis WUeallcy, K.A., in tin- Btilisli Mnsmn Engravcii hy R. Sliinifr Alt Library CONTENTS. List of Illustrations , , , , I. — Early Life . , , , , II. — In Ireland , , , , , III- — Return to London . , , . IV. — Work for Boydell, Bell, Bowycr and Macklin V. — Wheatley and the Royal Academy ' VI.—" The Cries of London " > VII. — Pictures Exhibited by Wheatley - VIII.— Wheatley's Sale at Christie's Engravings after F. Wheatley , , . Addenda .,'.,, Index ....,, Illustrations PAGE Preceding Text I 9 12 21 24 28 33 35 37 51 52 i.-zlviii. 835182 LIST OF ILLUSTRATIONS. IN COLOURS. Cribs of London — Milk below Maids ..... Two bunches a penny primroses, two bunches a penny Sweet China Oranges, sweet China Do you want any Matches ? - - - New Mackrel. New Mackrel Knives, Scissors, and Razors to Grind Fresh Gathered Peas, Young Hastings Old Chairs to mend .... A New Love Song, only ha'penny a piece - Hot Spice Gingerbread Smoaking hot! Turnips and Carrots, ho • - - The Schoolmistress - - - - Summer (Mrs. Trovvard) - - - - The Fair ...... Facing page i •2 4 6 8 lo .. „ 12 14 i6 „ iS .< ,. 20 24 „ 30 .> iii Francis Wheatley, R.A. Portrait of himself Mrs. Wheatley ("The Miniature"), a/tir F. WheatUy, R.A. The Mistletoe Bough (by permission of Messrs. Shepherd) - The Marriage ....... The Harvc&t Home {by permission of Messrs. Shepherd) - The Rustic Lovers ...... The Disaster {by permission of Messrs. Colnaghi)- Cries of London : Hot Spice Gingerbread Sir Henry Pigot, G.C.M.G. {by permission of Messrs. Agiietc) The Volunteers of Dublin. Interior of the Shakespeare Gallery The Sailor's Return. The Soldier's Return The Woodman's Return {by permission of Messrs. Maggs) The Itinerant Potters {by permission of Messrs. Miiggs) - Spring {lifter R. Westall) --..-- Autumn {after R. Westall) ..---- Winter {Mrs. Wheatley) ...... The Encampment at Brighton ..... The Departure from Brighton {by permission of Messrs. Maggs) - Going out Milking. The Return from Milking • Nymphs Bathing. Rural Repose .... The Relentless Father ....-- The Tender Father ...... PAGE . F, ont ispiece - ii. . iii. ■ IV. . V. - vi. . vii. - viii. - ix. - .\. - xi. - xii. - xiii. " xiv. XV. - xvi. - xvii. - xviii. - xix. " XX. xxi. . xxii. LIST OF ILLUSTRATIONS— conf/noed. The Milkmaid .... The Goldfinch .... Setting off to the Fair. The Fairings Alms-giving - - - St. Preux and Julia. The companion plate Fisherfolk. Fidelity Rewarded - The Temptation {by pt:rmission of Messrs. Maggs) Love in a Mill. The Discovery .... The Careless Servant {by permission of C. Bechmann, Esq.) Preparing for Market. Returned from Market - Rustic Sympathy. Rustic Benevolence The Deserted Village ..... The Full of the Honeymoon. The Wane of the Honeymoon View in Priory Gardens. Cottage in Cumberland The Watercress Girl. Shakespeare, The Tempest Four Title Pages to Bell's " Theatre " - The Basket Makers. The Alpine Lovers Preparing for Market. Thais. Sigismunda The Return from Shooting Portrait of Henry Grattan, by F. Wheatley, R.A. The Benevolent Cottagers. Watercress Gatherers Preparing for Market {by permission of Messrs. Shepherd) The Mower. Haymaking .... The Riots in 1780. Irish Peasantry Shakespeare, Winter's Tale. Juvenile Opposition Itinerant Peasants ..... PAGE - xxiii. - xxiv. XXV. - xxvi. • xxvii. • xxviii. - xxix. XXX. - xxxi. - xxxii. - xxxiii. - xxxiv. - XXXV. - xxxvi. xxxvii. xxxviii. - xxxix. xl. xli. xlii. - xliii. xliv. - xlv. - xlvi. - xlvii. • xlviii. rairOtd 6y/J^. »%.a^y/A4 J:'nifJj sc/uavoneftiy FRANCIS WHEATLEY, R.A. I.— EARLY LIFE. VERY many ai'tists, in common with so many people in other ranks of hfe, owe their posthumous fame to some particular incident in their careers. They become associated for all time with some special personal event. Romney is known as the painter of Lady Hamilton, Gibbon inevitably suggests the decline and fall of the Roman Empire, Cruden is almost synonymous with Concordance, and how is it possible to think of Dr. Johnson without Boswell ? Francis Wheatley, R.A., is now chiefly remembered as the artist of "The Cries of London"; and, apart from print collectors and dealers, probably few, even of those who have made a special study of English art, could name off-hand half a dozen of his works other than the " Cries." And yet his career as an artist was neither brief nor unprolific. A constant exhibitor at the Society of Artists, at the Royal Academy and elsewhere from 1765 to 1801 — a period of 36 years — his works, when engraved, enjoyed an immediate and widespread popularity. In respect to numbers and popularity, prints after his works are probably second only to those of George Morland. The engravings after these two artists must have been the chief pictorial decorations of the homes of the less wealthy classes of English folk during the last quarter of the 18th and the earlier part of the 19th century — until, indeed, the tasteless horrors of the early Victorian period crowded the Wheatleys and Morlands to the bedrooms, the garrets, or— best fate of all — to the portfolios. Having regard to the enormous quantity and variety of his work, it seems strange that Wheatley has never attracted much attention from writers on art. Morland had scarcely been dead a year when four or five substantial biographies of him appeared, and at the present time Morland books form quite an imposing array on the shelves of an art library. Beyond two notices in The Gentleman''s Magazine, which have served as the source of subsequent biographies, Wheatley has been left severely alone. Wheatley was by no means a recluse or an anchorite. He was, says the writer of the notice mentioned above, " a very personable man, fond of dress, and polite in his manners, which made him a great favourite "; and " Mrs. W. is a very handsome woman," continues his biographer with a charming naivete. Of his early career very few particulars have come down to us. He was the son of a master tailor, and was born in 1747, in Wild Court, Covent Garden, where doubtless his father's business was situated. Wild Court, according to Elmes' "Topographical Dictionary of London," 1831, was not in Covent Garden, but in Clare Market, " about twelve houses on the left-hand side of Great Wild Street, going from Great Queen Street." Great Wild Street, according to the same authority, was " the first turning on the right-hand side of Great Queen Street, going from Drury Lane," and Little Wild Street " is the second turning on the left- hand side." All these courts have long since been swept away ; but in Wheatley's time they were, if not exactly aristocratic quarters, at least good residential and business parts. Wild (or Weld) Court com- memorated the site of the handsome residence in the latter part of the 17th century of Mr. Humphrey Weld, of the ancient family of Lulvvorth Castle, Dorsetshire. Wheatley's father appears to have encouraged the youth in his artistic bent, and sent him to Shipley's Drawing School for a course of lessons. William Shipley (1714-1803), it may be mentioned, was the originator of the Society of Arts, and the founder of the famous St. Martin's Academy, better known in the early days as " Shipley's School," where so many artists of the latter part of the 18th century received their training. Francis Wheatley was one of these, and he appears to have made rapid progress. The following entries, extracted from the archives of the Society of Arts by the well-known author and former assistant secretary of that institution, Air. Henry B. Wheatley, F.S.A., will be read with interest, seeing that they are now printed for the first time : — 1762. Premium for Academy Figures — first share to Francis Wheatley, pupil of Mr. Wilson. 1763. Premium of 7 guineas for Historical Painting, to Francis Wheatley. Abroad. 1767. Premium for Views from Nature — 2nd share to Francis Wheatley. In Ireland. Subject unknown. From the first of these entries it will be seen that Wheatley was a pupil of " Mr. Wilson," who was doubtless none other than Richard Wilson, one of the original members of the Royal Academy, and perhaps the greatest landscape painter of the Early English school. To him it may be assumed that Wheatley owed much of his excellence in landscape painting, in which, as Redgrave tells us, he evinced "considerable taste." In 1769 Wheatley was studying in the Royal Academy School, to which he was one of the first students to be admitted. "The first essays" of Wheatley, according to Anthony Pasquin {i.e., John Williams) in his " Memoirs of the Royal Academicians," 1794 (p. 135), "were of that inferior class as not to ensure much promise ; his original principles of the art were exceedingly erroneous ; and I have much reason to believe that his principal attainments have been made since he turned the corner of his thirtieth year." With Wilson as an instructor in landscape drawing, Wheatley also had the advantage of the early and intimate friendship and counsel of John Hamilton Mortimer (1741-1779), who, as Anthony Pasquin tells us, "left a high reputation behind him as an historic painter." In company with Mortimer and Durno, Wheatley assisted in the decoration of Lord Melbourne's fine seat at Brocket Hall, Herts ; and as Durno left England for Italy (where he died) in 1774 the decorations at Brocket Hall must have been done before that date. These decorations were of the ceiling of the saloon, and consist of panels of paintings representing the signs of the Zodiac, set in Adam's designs of plaster work. Brocket Hall is and has long been the residence of Lord Mountstephen, and Lady Mountstephen informs us that the ceiling is exactly as it was originally put up. It is also known — but not to what extent — that Wheatley was employed in the decoration of Vauxhall Gardens ; that he was on terms of intimacy with Tyers, the owner of the Gardens, we shall have occasion to show later on. Wheatley did not suffer his acquaintance with Mortimer " to pass away without reaping some advantages from the connection, as, by continually copying his drawings and paintings, he gradually acquired a style more pure than that which he originally practised, which was something between the manner of Hayman and Gravelot." Wheatley made much progress in his studies, and at the age of 18 was "hung" at the Society of Artists, his exhibit in 1765 being a three-quarter {i.e., 30in. by 25in.) portrait of a gentleman. At this time, and until 1770, he was living in Duke's Court, Bow Street, Covent Garden, one of ten London courts of the same name, this particular court being then and for many years afterwards "nine houses southward of Long Acre." His earlier exhibits varied considerably : sometimes it was a miniature, at others the medium was crayon, but generally he followed Hayman, Zoffany and others in painting small whole-length portraits and in producing what are generally called conversation pieces, varied with an occasional scene from a play. Unfortunately, all earlier portraits of a "lady" and a "gentleman" remain unidentified, and if they are still in existence it is more than probable that they have now been given to some better known artist such as Zoffany or Beechey. It is possible, however, that some of these early works may be signed, either with initials or in full, inasmuch as Wheatley was one of the few artists of the Early English school who realised the virtue of signatures. His progress was so rapid that in 1771 he was elected a Fellow of the Society of Artists, and in the following year he was chosen Director of that Society. These small groups and figures are constantly turning up in the market. The Heniy G. Bohn collection included a group described, probably incorrectly, as "Children of George IIL in a Landscape," three girls, including the Princess Amelia in the arms of the Princess Royal, and two boys, one of whom, afterwards George IV., is trundling a hoop (canvas 16in. by 20in.) ; a family group, called " George III. and his Family " (an oval 24^in. by 30in.), was in the Hasket Smith sale in May, 1896, and realised 160gs. Henry G. Bohn owned a second portrait group by Wheatley — three children in a garden, the centre one, a girl with a flower in her hand ; on her right is a boy with a basket of flowers ; the other boy is behind, grasping a branch of a tree. This picture has been enamelled on a piece of Worcester porcelain. On July 13th, 1901, a group of Sir George and Lady Prescott and their children, on canvas 28in. by 25in., was sold at Christie's, and to the "Fair Children" Exhibition at the Grafton Galleries, 1895, Mr. F. T. Cobb lent a group of portraits of the children of Mr. Ralph Winstanley Wood. All these pictures were probably early examples of Wheatley. Quite the finest example of these small whole-length pictures which we have seen is the equestrian portrait of Sir Henry Pigot (1750-1840), who, when Major of the 8th or the King's Royal Irish Regiment of Light Dragoons, may have met Wheatley in Ireland; this picture, which is signed with initials and dated 1782, is, by the courtesy of Messrs. Thos. Agnew and Sons, here reproduced ; it is on canvas, 30in. by 25in. This dis- tinguished officer commanded at the blockade of Malta in 1800, was appointed General in 1812, and G.C.M.G. in 1837. We may now turn, for a short period, from Wheatley's artistic career to his domestic concerns. Nearly all the accepted authorities mention but one wife of the artist, but, according to Edward Edwards's " Anecdotes of Painters," 1808, pp. 268-270, there seems to be no doubt that Wheatley was married twice. Edwards, who probably was intimately acquainted with the artist, does not, however, mention the first one by. name. The registers of St. Paul's Church, Covent Garden, in which the name of Wheatley frequently occurs throughout the 18th century, contains the entry of a mari'iage which seems to be that of the artist* : — 1774, Dec. 8. Francis Wheatley, of this parish, in the County of Middlesex, batchelor, and Rosamond Mann, of this parish, spinster. Ezekiel Rouse, curate. Witnesses, J. H. W. Fisher, Elizabeth Fisher. It will be noticed that Wheatley exhibited nothing at the Society of Artists or at the Royal Academy of 1781 and 1782, and there can be no doubt that some time in 1779 he eloped to Dublin with the wife of a brother artist, John Alexander Gresse, born in London, the son of a native of Genoa. Gresse, who studied at the Academy in St. Martin's Lane, and, like Wheatley, obtained premiums from the Society of Arts, died in 1794, and among his legatees was Edwards, the writer of the above- mentioned "Anecdotes." Edwards tells us that, as a consequence of this elopement, Gresse sued for a divorce ; that in connection with this Wheatley was "prosecuted and cast in the Court of King's Bench," and that the divorced wife survived her husband. The second Mrs. Wheatley was an undoubtedly beautiful woman, as may be seen from the artist's portrait of her engraved by Bartolozzi, with the fancy title of " Winter." Clara Maria Leigh was the daughter of Jared Leigh, an amateur artist, who regularly exhibited at the Free Society of Artists from 1761 to 1767, chiefly views on land and at sea. His daughter was born " about the middle of the 18th century," according to Bryan. But she was probably born late in the " sixties," for she was married — "about 1787," according to Anderdon — at an early age to Francis Wheatley. To the Royal Academy of 1788 the artist sent a portrait of his wife (No. 396) ; and this is, presumably, the picture engraved by R. Stanier, in an oval, with four lines of verse, and published in March of the same year. The original drawing, in pencil and water colours (8| by 7^), is in the British Museum, where it is catalogued as " The Miniature " : the model is lying in bed, her neck and shoulders uncovered, and a blue-ribboned night-cap over her curling hair ; she is looking intently at a miniature held in her hands, her face is seen nearly in profile turned to left. This drawing, which was purchased in 1887, is reproduced herein. The picture of "Winter," engraved by Bartolozzi and published in February, 1789, is also of Mrs. Wheatley, and is an engaging portrait of a beautiful English girl of about 20, holding a large * Curiously enough, the register of the same church, eight years later, registers the marriage of another man of the same name, i.e., " 1782, 24 Dec, Francis Wheatley, of this parish, a Batchelor, and Ann Wroe, Spinster, of this parish. By license. E. Embry, curate. Witnesses, J. S. Wheatley, James Brounton, M. Wheatley." r-i-ingTiV'^-.y Cffaf'aiirc^ i'Y jC(i/r-^/^r,rn,T/^' ILOMDOA' i/^'a^/a'^ ^i/i:>^e^ Cyi^ana^ /^n&ef miifF, as if in very cold weather, and exclaiming, "Bless me! how cold it is!" \ Some reference may conveniently be made here to Mrs. Wheatley's suhsc(|iiont career. She iicrsclf developed into an artist, and first exhibited at the Royal Academy in 17^)1), and continued to be " hung " there for over 40 years. From 17J)« to 1807 she exhibited as Mrs. Wheatley, and from 1808 to 1S;(>Kl. ,A'mr ^/j/Jcrel. LOMBON .ylmausrem: , //m^/^£reux ^wj d- a^^ f.ffn^on /)if/'^ a-f fhr ^^t D/n-cts J bj CijljtoQhtl C'-tilU rorrei N' I3] I'aU Mall Goldfinch," engraved by Bartolozzi in March, 1789, an oval with figures on a balcony, the lady in light dress and large hat with feathers, holding a goldfinch, the youth leaning forward to seize the bird, of which he declares " I am jealous." The original pictures have not been traced. The second pair of this same year were " The Lovesick Maid " — a girl attired in white is reclining on a trestle bedstead, a surgeon leaning over her — and "The Marriage," the central figure of which is the bride in white, with pink skirt, and the husband by her side, with other figures around. Both pictures (each 18in. by 13jin.) were at Christie's on March 22nd, 1902, and realised 50 guineas and 280 guineas respectively. Both were engraved by J. Dean for the " Progress of Love" series in 1787, and that of "The Marriage" is here reproduced from his engraving. An oval drawing of " Bride and Bridegroom," 16in. by I4in., was in the J. James sale at the same place in 1880, and realised the small sum of eleven guineas. A picture also with title, " The Lovesick Maid," was painted by J. Opie, and engraved by W. Ward. " Love in a Mill," engraved by Delatre, dated June 1, 1787, and its undated pendant engraving, " The Discovery," by R. Stanier, are two other domestic scenes of rural life. Wheatley varied his fancy pieces with an occasional group of portraits. To the Academy of 1789 he sent a " Portrait of a Nobleman returning from Shooting " (No. 17). This is a group of Henry Pelham Clinton, second Duke of Newcastle, and a shooting party, with Colonel Litchfield in red coat, Mansell, the keeper, with the Clumber spaniels, and Clumber House in the background. This picture was painted in 1788, and measures 63in. by 84in.; it was lent by the Duke of Newcastle to South Kensington in 1867, and to the Old Masters in 1879. Whilst this picture was on view at the Academy, " proposals " for engraving it, under the title of " Return from Shooting," were advertised in the papers " by F. Wheatley and J. Barney." The size was to be 24|in. by 19in., "the portraits to be engraved in the manner of chalke by F. Bartolozzi," and " the animals, landscape, etc., in the aqua- tinta by S. Aiken " ; the price was to be 15s., 10s. 6d. with the order and the remainder on delivery of the print ; proofs were one guinea. Apparently the engraving did not appear until 1803. The picture may be described as having been published in two instalments in The Sporting Magazine : in the number of that periodical for March, 1807, the equestrian figure of the duke, with two dogs, was engraved as a full-page plate by William NichoUs (a pupil of A. Cardon) ; whilst in the issue for May of the same year, another plate by the same engraver shows us W. Mansell, the duke's gamekeeper, and the group of " springers or cockflushers by which the gamekeeper is so tastefully surrounded in the picture, was a gift to the Duke Henry when in France by the Duke de Noailles." The Duke or Mansell's breed of spaniels was an especial favourite of P. Reinagle the artist, and may be seen in some of his pictures. Whilst on the subject of hunting reference may be made to a picture in the possession of Messrs. Fores & Fores of 41 Piccadilly : this represents a hunting party with 11 figures and a pack of hounds, in a landscape (36in. by 29in.) ; this was at one time in the late Lady Currie's collection. Unfortunately the identity of the party has not been established. A later group was "The Lord Mayor proceeding by water to West- minster, on November 9th, 1789 (canvas 61in. by 85in.), in which, however, 17 only the figures were painted by Wheatley, the rest of the picture being by R. Paton. This work was presented to the Guildhall, London, by Alderman J. Boydell, in 1793. The companion pair, " Love " and " Interest," engraved by Picot, and "The Benevolent Cottager," engraved by Nutter, were pub- lished in 1788. The large group, exhibited by J\lr. Arthur Oliver at the Old Masters, in 1886, and known as "The Garden Party," probably belongs to this, or a somewhat earlier, period of the artist's career. It represents Airs. Ward and family, with Dr. Layard, Dean of Bristol, and Mr. and Mrs. Oliver ; some of the party appear to be about to enter a boat on the river, in which one of their number is already seated ; the canvas is 48in. by 62in. Reference may be here made to a group called " The Duke of Bedford distributing Alms," a drawing 15| by 24 in., which was sold at Christie's on July 23, 1909, and purchased by Messrs. Gooden & Fox. The subject of alms-giving is also treated, but in a totally different manner, in the picture engraved by Delatre. One of Wheatley's most popular pictures of 1789 was " The Disaster," a lady in yellow skirt, white bodice, and large black hat, entering a room from a garden, to find a bird-cage overturned and a cat with the bird in its mouth ; beside her stands a girl in white. This picture, which was engraved by \V. Ward in 1789, and, like so many other Wheatley engravings, published by J. R. Smith, was lent to the Grosvenor Gallery in 1888, and to the Old Masters in 1906, by the late Sir Charles Tennant ; it is on canvas, 31 in. by 26 Jin., and was at one time in the collection of Sir Edward Marwood Elton, Bart. Two drawings, but much later in date, may be mentioned here : one, an interior with a woman showing a bird-cage to two children, 13|in. by lOin., signed and dated 1795; and a girl feed- ing a swan, 11 Jin. by 8iin., dated 1794, which was at Christie's on December 1st, 1906. The famous set of four pictures of "The Seasons" dates from 1789, and, engraved by Bartolozzi, appeared in February, of that year. Two of these, "Spring" and "Autumn," were by Westall, and the other two, " Summer " and " Winter," were by Wheatley. In their engraved form they had an immense vogue, and their popularity with collectors is greater than ever. A set of proofs is worth over 50 guineas, and the " W'inter " alone, in colours, has realised nearly that sum. As already stated on pp. 12-13, " Winter " is a portrait of the artist's beautiful wife. The engraved plates are still in existence — or were a few years ago — and are in sufficiently good condition for reprints to deceive all but expert collectors. The originals of both "Summer" and "Winter" were in the possession of Mr. Maskelyne, who exhibited them at the British Institution in 1867, Nos. 195 and 200 respectively. The " Winter" was in the Academy of 1788 as the "Portrait of a Lady;" curiously enough in 1794, Wheatley exhibited another picture with the same title, and also one with that of "Spring." Another important and still exceedingly popular pair of engravings appeared in 1789, "The Full of the Honeymoon" and "The Wane of the Honeymoon," engraved by R. Laurie, and published by Robert Sayer, the one a domestic interior and the other the annex of a ball-room, each a scene with two figures, the "moral" of each of which is conveyed in the "legends," which respectively run: — 18 fmntcd iy f l0iiaHrv R J /I' '^ Plau n LonJon fu/i ''as Vu Ad Jtrrcd May i //««■. iy I 'oliui;ihi k C".\''oi Fall Mail Engraved by Vendjumam 1 (1) "The Honey-moon scarce full, the Bridegroom cloys, And seeks a Wanton's arms to prove new joys ; The Bride discovers all, and in vexation, Resolves to punish by retaliation." (2) " Fair opportunity. Love's constant friend, Soon offers to accomplish Madam's end; At masque she meets a Spark, they both retire — Unmask — my wife ! my spouse ! Hell flames and fire I " The original canvas of only one has been traced, that of " The Full of the Honeymoon," which now belongs to Messrs. Colnaghi & Co., it measures 20|- by 24| in. There was quite a lull in engravings after Wheatley from 1790 to 1792. One of his three exhibits at the Royal Academy of 1791 was a portrait of Mr. Bond Hopkins, with a horse and spaniel, and another was " A Pedlar at a Cottage Door." Wheatley was probably busily engaged during this year on his " Cries," for in the Academy of 1792 six of the series were among his 13 exhibits. The "Cries" are dealt with together on pp. 28-32. Among the numerous exhibits of this year were four domestic scenes which attracted the notice of the critic of The Morning Herald, and in the issue of that paper of May 5th, these four — 107, "The Maternal Blessing," 119, "The Offer of Marriage," 137, "The Wedding Morning," and 155, "The Happy Fireside" — are thus noticed: "To Mr. Wheatley belongs the great and peculiar praise of blending the ' utile dulci Lectorem deledando parieterqiie nionendo,'* and, by elevating the arts to the dignity of a moral in this series of pictures, he has, with singular felicity, employed his pencil in delineating the progress and manners of humble life — pursuing and attaining happiness through the channels of prudence and industry. . . . The story is well told, and the scene in No. 155 is particularly interesting. If we knew a man whose mind, soured and contracted by the presence of undeserved calamity, was verging to misanthropy, we should place this picture before him, and we think his social affections would revive." The Public Advertiser, in its notice of the exhibition, admitted that "Wheatley, in his way, has been unusually successful." Two companion pairs of engravings made their appearance this year. "Setting out to the Fair" and "The Fairing," they were engraved by J. Eginton, and published by Jee and Eginton in November. The former is a picture with three figures — the mother in the doorway of a cottage, the two lovers setting out, the girl in blue skirt and light bodice cut low, straw bonnet with pink ribbons ; the youth, in light dress and red waistcoat, has taken off his hat to the mother, who is represented as saying :— " Beware, my daughter, a warm lover's wiles. Lest faithless flattery thy soul deceive ; Trust not too easily his sighs or smiles, Nor ev'ry vow, nor ev'ry oath believe." * " He has carried every point who has blended the useful with the agreeable, amusing his reader while he instructs him." — Horace. 19 The companion is a view of the interior of the cottage, the mother seated reading a Bible, and the young people have returned ; the verse to this is supposed to be spoken by the young man : — "Thy daughter's injury I never meant; 1 flatter'd not, for flattery always lies; See in her hand the proof of my intent, 1 never sought for selfisli transient joys." The latter may be identical with "The Pedlar," 20in. by 25in., exhibited by Mr. J. F. Crush, at the Grosvenor Gallery, 1889, in the second series of " A Century of British Art," No. 15. The pair was lent to the Suffolk Street Gallery in 1833, by Mr. R. P. Renall, Nos. 169 and 175. These are not Wheatley's only " Fair" pictures, for Mr. G. F. Lyster exhibited at Wrexham, in 1876, a picture of a young man giving a fairing of a ribbon to a girl ; it is signed and dated 1799. The second companion pair of 1792, also engraved by J. Eginton, had for titles " Filial Piety" and " The Affectionate Daughter." The theme of parental affection was frequently illustrated by Wheatley, particularly in his later years. In Macklin's sale there was a pair of drawings " The Tender Father " and " The Relentless Father." The former of these may be identical with " The Father's Admonition," engraved by Schiavonetti in 1803. The original water-colour drawing was sold at Foster's, Pall Mall, on March 20th, 1901, for 42 guineas, and is signed and dated 1798. It appears to have been engraved also by Field ; examples in colours sometimes occur in the salerooms. "Father's Supper" (35in. by 27^in.) was the title of a picture in the Haskett Smith sale of May 9th, 1896, and realised 95 guineas. Domestic scenes of nearly every description attracted Wheatley's attention at one time or another. Lord Wolverton possesses two characteristic examples, " The Cottage Pump," and " Fruit Gatherers, each llin. by 14in. ; and two others, "The Mistletoe Bough," and "The Harvest Home," are reproduced in this book by permission of Messrs. Shepherd Bros., each measures 22in. by ISin. 20 O 'ymrnA/i of (^am^ CRIJBS LONDON. flan I!, L^ifiMn /W'afUf ~^c^ !'rffi/ /■}/ 1/. ^f/i 'a/?/e£^. IV.— WORK FOR BOYDELL, BELL, BOWYER, AND MACKLIN. In no instance was Wheatley's extraordinary versatility and industry more marlied than in connection with Boydell's great Shaliespeare enterprise, to which he was one of the most prolific contributors. It may be recalled that in 1786 Boydell elaborated a scheme for a magnificent edition of Shakespeare's works, to be illustrated by all the most eminent masters of the English school. In this scheme Boydell embarked a capital of £150,000. A number of commissions were given out, and the first 34 pictures were exhibited at the Shakespeare Gallery, Pall Mall, in the spring of 1789, and included works by Wright of Derby, the Rev. W. Peters, Rigaud, Hamilton, Smirke, Fuseli, Wheatley, Downman, Hodges, Opie, Barry, West, Northcote, Sir Joshua Reynolds, and others. Wheatley was represented by no less than three works :—" Midsummer Night's Dream," Act IV., Sc. 1; "Taming of the Shrew," Act III., Sc. 2; and "Winter's Tale," Act IV., Sc. 3. In 1790 two more of his were added to the exhibition — "Tempest," Act V., Sc. 1 ; and "All's Well that Ends Well," Act V., Sc. 3. These five do not anything like represent Wheatley's contribution to Boydell's great scheme, for which he painted 13 pictures. Not all of these were engraved, but they were all included in the sale of the Shakespeare Gallery at Christie's on May 17th, 18th, and 20th, 1805. The artist probably received an average of not much less than £200 each for the larger pictures, a distressing contrast to the prices which they realised at auction. From an interesting autograph receipt in the Anderdon collection, in the British Museum (Print Room), we have an idea of what Wheatley received for the smaller Shakespeare pictures. The receipt is dated October 28th, 1793, and runs thus: — Received from Messrs. Boydell eighty-four pounds for four pictures from "All's Well " and " Much Ado," in full. £84.- F. Wheatley. As the sale catalogue is very rare, we cannot do better than quote the whole of the entries, so far as Wheatley is concerned, with their respective lot numbers each day, the prices realised, and the buyers' names, omitting only Mr. Christie's commendations : — Lot. Title. May 17. 18 Antonio, Heio and Beatrice .. .. .. ,, 19 Barocliio, Conrade and Watcliin, the companion .. ,, 40 Theseus and Hippolyta .. May 18. 8 The Countess and Helena ,, 9 The King, Helena and Lords ,, 39 Polixenes and CamiUe disguised at the Shepherd's Cottage ,, 46 Ferdinand and Miranda playing at Chess May 20. 12 Dull Holophernes, Sir Nathaniel, Janquetta and Costard ,, 13 The Princess and Ladies, from " Love's Labour Lost" .. ,, 22 Scene from " The Comedy of Errors " 23 The Duke of Ephesus, from ditto ,, 36 Katherine and Petruchio leaving Baptista's House 37 Scene from "All's Well that Ends Well" Price. Buyer. None given. — 5J gs. 18 gs. Brown Gladstone 5 gs. Conway Salteri 41 gs. Newton 45 gs. Donaldson 124 gs. 9 gs. 7Jgs. 104 gs. 50 gs. Conway Do. Green Page Smith 52 gs. Do. 21 The first of the Shakespeare pictures to be engraved was the scene from "Winter's Tale," Act IV., So. 3 [i.e., 4], illustrating the passage spoken by Perdita : — " Sir, welcome: It is my father's will I should take on me The hostess-ship o' the day." This, a composition of 18 figures, was engraved by James Fittler, and dated August 1st, 1792. Two more of the Shakespeare Gallery pictures were published in 1793, both dated June 4th, and each inspired by passages in " Love's Labour Lost " — one. Act IV., Sc. 2, engraved by J. Neagle ; and the other. Act V., Sc. 2, by W. Skelton. One only appeared in 1794, and this illustrated a passage in " All's Well that Ends Well," Act V., Sc. 3 :— " O my good lord, when I was like this maid, I found you wondrous kind. There is your ring ; And, loots you, here's your letter." In this picture there are 14 figures, and the engraving, by G. S. and F. G. Facius, is dated June 4th. Five appeared in the following year, 1795, the earliest on January 1st — "Taming of the Shrew," Act II., Sc. 2, engraved by J. P. Simon ; and this was followed by a pair from "Much Ado About Nothing," Act III., Sc. 3, engraved by George Noble, and Act V., Sc. 4, engraved by James Fittler, both dated June 4th ; and two on December 1st, "Tempest," Act V., Sc. 1, engraved by C. Watson, and "All's Well that Ends Well," Act I., Sc. 3. During 1796 and the two succeeding years three more plates were published: "Comedy of Errors," Act I., Sc. 1, engraved by J. Neagle; another scene from "All's Well that Ends Well," engraved by L. Schiavonetti, and another from " The Comedy of Errors," engraved by J. Stow. Out of the thirteen pictures painted for Boydell's Shakespeare Gallery, nine were actually engraved and published, and two others were published by John Murray in 1817, many years after the artist's death. But long before Boydell, Wheatley had been attracted by Shakespeare, for Redford records the sale in 1781 of a scene from "Twelfth Night" (probably "the duel" picture exhibited at the Society of Artists in 1772, No. 374) for ten guineas to a Mr. Tassant. It would be interesting to trace the present whereabouts of Wheatley's Shakespeare pictures, but this is not now possible. Doubtless many of them have appeared in the various picture sales held since 1805, changing hands at small prices, " Pros- pero and Miranda " for instance, sold for the small sum of 20 guineas in the Fitzherbert sale of 1811. "Catherine and Petruchio," from "The Taming of the Shrew," was lent to the British Institution in 1817, by Mr. Thomas Pares. One of the engraved pictures in the Boydell series was in the J. B. Behrens sale at Christie's, July 26th, 1861, "Scene from Shakespeare," a composition of four figures, signed and dated, but the entry in the catalogue is not very illuminating. At the W. Cox sale of 1862, a scene from "The Two Gentlemen of Verona " sold for 9 guineas, and this, with that of "Antonio, Hero, and Beatrice," appears to have been owned at one time by a Mr. Clark who lent both to an exhibition in Suffolk 22 Street in 1832, where, in the following year, the picture of "The Countess Rousillon and Helena" appeared, on loan, from Mr. L. Dulacher. In connection with the Shakespeare Gallery, afterwards and for many years the British Institution, Pall Mall, there is at the South Kensington Museum a water-colour drawing (12^in. by 18;|in.), by Wheatley, of the Interior of the Gallery as it was in 1790; it includes portraits of the Dukes of York and Clarence, the Duchess of Devonshire, Countess of Jersey, Sir Joshua Reynolds, Sheridan, Alderman Boydell, and his nephew, Josiah Boydell. A reproduction of this historically important drawing will be found among our plates. Concurrently with work for Boydell, Wheatley was also engaged by John Bell, the publisher, to execute a number of vignettes for the charming little series of " Bell's Theatre," and five of these vignettes are by him — a complete list of these will be found in the section dealing with Engravings — and the dates extend from 1791-1792. Whilst on the subject of plays, reference may be made to the J. James sale of 1880, when a scene from Colley Gibber's " Careless Husband," circle, sold for £20, and two small portraits of actresses for 33 guineas. Although not in strict chronological order, we may group together here a brief reference to the work which Wheatley did for Bowyer and Macklin. To Bowyer's ambitious " History of England," the pictures for which were exhibited at the Historic Gallery, 87, Pall Mall (a house in which Gainsborough had resided), in 1793, or earlier, the artist painted two subjects, "Alfred in the House of the Neatherd" (Hume, Vol. I., p. 80, octavo edition), and "The Death of Richard the Second" — "it was the prevailing opinion that Sir Piers Exton, with others of his guards^ fell upon him in the castle of Pomfret, where he was confined, and dispatched him " (Hume, Vol. III., p. 49). Macklin was a generous customer of Wheatley, for at his sale in May, 1800, there were three of his pictures, " Fisherman Going Out" and the " Return," and " The Schoolmistress," and two pairs of companion drawings, "The Tender Father" and "The Relentless Father," and "Lauretta" and "Goldfinches"; to some of these more extended references will be found elsewhere in this volume. 23 v.— WHEATLEY AND THE ROYAL ACADEMY. We may for a moment turn aside from the constant stream of Wheatley's engravings to his connection with the Royal Academy. He was elected an Associate in 1790, and, with an unusual rapidity, a full member in 1791. The higher distinction was not owing to any extraordinary progress in his career as an artist, but to an accidental circumstance which caused widespread discussion and comment at the time. The facts were briefly these : The Royal Academy, by a law of its own, could not elect a member under the age of 24. The King, who had "taken up" Thomas Lawrence with an enthusiasm which largely contributed to his early success, was anxious that he should become a member of the Royal Academy. But Lawrence was only 21, and therefore ineligible. A way out of the difficulty seemed to have presented itself when it was suggested that Lawrence should be elected a supplementary Royal Academician ; this was supported both by Sir Joshua Reynolds and Benjamin West, but opposed by 37 members, who brought forward " one Wheatley " (as Allan Cunningham phrased it) and elected him in teeth of the Royal and Presidential candidate. According to Peter Pindar, who celebrated the event in the following verses, only three votes were cast for Lawrence, as against 16 for Wheatley : " So dear to monarchs is that idol pow'r I So dear is prompt obedience to a King ! Far, of resistance be the trying hour ! God help us ! what a melancholy thing ! " Yet opposition-fraught to royal wishes, Quite counter to a gracious King's commands, Behold I th' Academicians, those strange fishes, For Wheatley lifted their unhallow'd hands. " So then, those fellows have not learnt to crawl, To play the spaniel, lick the foot, and fawn — Oh ! be their bones by tigers broken all ! Pleas'd, by wild horses could I see them drawn." Wheatley appears to have discharged his duties as a member of the Royal Academy with diligence and zeal, so that during the last few years of his life, when poverty overtook him, owing to his long and frequent attacks of illness, he was helped from the funds of the Academy. His Diploma work was a picture of a peasant boy. A few of his pictures of 1793-4 have come down to us. In the Albertina collection is one with the title "The Letter" (" Der Liebesbt;ief "), a rustic scene, with a small whole-length figure of a young girl in pinkish white low dress with red straw hat, seated on a stile, holding a letter ; it is signed and the date 1793 (the last figure is somewhat indistinct) on a milk- pail (see also p. 46). A companion pair of water-colour drawings, signed 24 o j: o ^ t ^ . «^ and dated 1793, "Wood Gatherers" and "The Apple Gatherers," were sold at Foster's on February 20th, 1901, the purchaser being Mr. F. Sabin. About this period he painted several pictures of school life, village scenes, and cottage life. One of the most popular of these at the time in its engraved form was "The Schoolmistress," in illustration of a passage in Shenstone's poem : " In every village, marked with little spire, Embower'd in trees and hardly known to fame, There dwells in lowly shed and mean attire, A matron old whom we schoolmistress name. Who boasts unruly brats with birch to tame." This was purchased by Macklin, who published an engraving of it by Coles, in March 1794; it was afterwards in Macklin's sale in 1800. "The School Door" (with the second title of "Tenderness persuading Reluctance") is another work by this genre; it shows us the exterior of a dame's school, with a young woman persuading two children to enter, one a boy, the other a little girl, who is crying ; a church spire is seen in the distance. This was engraved by G. Keating, who also engraved the pendant, "The Cottage Door" ("The Family Dinner"), in which a peasant is seated at table, whilst the mother and two children are standing round. The two children are the same in both pictures, and were probably the artist's own. The former plate is dedicated to the Marquis of Hartington, and the other to Lady Georgina Cavendish. Among the drawings at the Grosvenor Gallery, 1877-8, was one by Wheatley, " Going to School," lent by Mr. J. E. Taylor. A much larger picture, embodying the sentiment expressed in "The School Door," was engraved by J. Alais in 1804, and published by Falser; the title was " Juvenile Reluctance," it is a group of two women and two children by the side of a cottage, with view of extensive landscape to left, a little girl crying and being persuaded by her little brother to go to school. There was a companion to this, and by the same engraver, with the title " Juvenile Opposition," a group of five figures by a cottage, three children with two boys fighting. Within the last few years, quite a number of these cottage scenes by Wheatley have come into the market; "Cottage Interior," with figures, a drawing 16^in. by 21in., dated 1794, realised 100 guineas at Christie's in December 1906; "Village Gossips," canvas 20in. by 26in., realised 480 dollars in New York, in February of the same year ; whilst " Benevolent Cottagers," a picture 30in. by 25in., engraved by Nutter, was sold at Christie's in June, 1900. Haymaking and other scenes of farm life were the subject of Wheatley's pencil or brush. One of these, " Morning : Cottagers going out to Haymaking," was engraved in mezzotint by J. Yeatherd (a pupil of Valentine Green) in 1794; another, on a smaller scale, "Haymakers Going Out " with " Cottagers Returned," formed a companion pair of engravings by J. J. Van den Berghe (a pupil of Bartolozzi), issued by Molteno in 1800. "The Pretty Haymaker" is the title given to an unfinished proof (and one in colours) of a picture of a hayfield with a young girl making hay, and looking coyly down as a young waggoner comes up close behind her, a waggon and horses seen in the middle distance ; of this plate only two or three are known, one of which is in the collection of Mr. E. E. Leggatt. " The Little Gleaners," the title of a drawing in the British Museum, is a group of three 25 children in a cornfield, and is reproduced in G. R. Redgrave's " History of Water-colour Painting in England," 1894, p. 41. A companion pair of water-colour drawings, " The Mower " and " Haymaking," each 8.Un. by 6in., are in the British Museum and will be found reproduced among our illustra- tions ; as each of these is signed and dated 1800, they are among the artist's latest works, done a few months before his death. "Gleaner and Child" was the title of a picture sold at Christie's on June 24th, 1861. " Going out Milking " and " The Return from Milking " are the titles of a companion pair of large mezzotints engraved by Charles Turner in 1800 ; "The Milkmaids," 17^in. by 21 in., was the title of a picture sold at Christie's on December 17th, 1904, for 80 guineas. In 1894, M. C. Sedelmeyer was the owner of "The Visit to the Farm," a landscape, the background of which consists of trees with dense foliage ; in the centre the farmer's wife is pouring out milk into a jug which a lady is holding ; another lady presents a cup to the child sitting in her lap, and several children are filling their jugs from a large tub, whilst animals and several figures are seen in the distance; the canvas measures 24iin. by 30in. This is one of several pictures by Wheatley which have passed through M. Sedelmeyer's hands. Another is a Morland-like scene on a lake, with a ferry-boat con- taining several figures, two cows on the edge of the water, and low buildings and trees in the distance ; this picture, 17iin. by 21iin., realised 1,850 francs at the Sedelmeyer sale in 1907. Other rustic scenes — or such as have been engraved — will be found in the chapter on " Engravings after Wheatley" ; and the titles of yet others will be found in the list of his exhibits at the Royal Academy. A few portraits were exhibited at the Royal Academy by Wheatley during the last six or seven years of his fife. The names of those which have been identified will be found in the list of his exhibits. Mention may be here made of a portrait of Charlotte, youngest daughter of the Right Hon. E. Goulding, in white dress with blue sash, a water-colour drawing, 29in. by 24iin., which realised 30 guineas at the Goulding sale on May 13th, 1899. After the sale of his furniture and effects in 1795, the artist retired to Bath, probably in the hope that the waters would effect a cure for his chronic enemy, the gout. He sent nothing to the 1796 Academy, and only one picture to that of the following year, when he had returned to London and was living at 20 Charles Street, Middlesex Hospital. To the Academy of 1800 he sent two scenes from Goldsmith's " Deserted Village," executed for Du Roveray's edition of Goldsmith. One of these, described as " a scene from a novel, circle, admirably painted," and as " from Duroveray's collection " was in the Matthew Hutchinson sale of February 22nd, 1861. William Hamilton also contributed illustrations to the same edition of Goldsmith, and the Academy of 1800 contained three of his original designs, which, with those of Wheatley, gave that edition, published in the same year, an excellent advertisement. Curiously enough, five years before the appearance of these Academy pictures, Bartolozzi engraved, and Macklin published, an engraving after Wheatley with the title " The Deserted Village," with the lines : " Good heavens ! what sorrows gloom'd that parting day, That call'd them from their native walks away." 26 Wheatley's last exhibit appeared in the Academy of 1801, the set of four pictures, " Morning," " Noon," " Evening," " Night," of which engravings by H. Gillbank appeared in the autumn of the same year. Traces of this series of paintings were lost until the present year ; at the Barrett Sale at Milton House, Steventon, Bucks, on June 8, 1910, the four oil paintings, each 17^in. by 21in., dated 1799, were purchased by Messrs. Parsons, for 200 gns. In this year (1910) also two of them, " Morning " and " Evening " were reproduced in colours from Gillbank's engravings in The Practical Teacher, February, pp. 435 and 438. At the time of Wheatley's death, on Sunday, June 28th, 1801, several of his pictures were being engraved. The most important of these, perhaps, is " Mary's Dream," an interior of a bedroom ; a young woman in bed is starting up at the apparition of a young man standing by her bedside, the legend being : " She from her pillow gently raised Her head to ask who there might be, And saw young Sandy shiv'ring stand, With pallid cheek and hollow eye.'' This was engraved by W. Ward, and published by R. Ackermann at the Repository of the Arts, Strand. The original picture, now in the National Gallery of Ireland (17|in. by 21|in.), is doubtless identical with that in the W. H. Forman sale at Sotheby's on June 27th, 1899. The Montague Guest sale of April 8th, 1910, revealed the existence of a companion pair of drawings by F. Wheatley, signed and dated 1800, "The Farmer's Daughter" and "The Miller's Daughter" (each 8|in. by 6in.), which Messrs. Ellis & Smith purchased. 27 VI.— "THE CRIES OF LONDON." The series of pictures of " The Cries of London," which appeared at the Royal Academy, 1792-5, if not exactly the rock on which the artistic fame of Wheatley is erected, may at least be described as the chief factor in the preservation of his name from oblivion. Street cries cannot be described as a lofty source of inspiration, but they have in all countries in the Old World for centuries past attracted artists and versifiers. The earliest recorded reference to London street cries is found in Lydgate's " London Lickpenny," or Lackpenny (Harl. MSS., 367, written probably early in the 15th century), and of which a modernised form of one verse may be quoted : — " Then unto London I did me hie, Of all the land it beareth the prize ; Hot peascods 1 one began to cry ; Strawberry ripe 1 and cherries in the rise I One have me come near, and buy some spice ; Pepper and saffron they gave me heed ; But for lack of money, I might not speed," (" Cherries in the rise " meaning cherries on a bough or twig.) The literary and, so far as it goes, the artistic history of London cries may be read in the late Charles Hindley's little book on the subject, published in 1881, although, curiously enough, Wheatley's "Cries" are not even mentioned. In 1885 the late A. \V. Tuer published a curious little volume, " Old London Street Cries," with " heaps of quaint cuts," and here, again, the variety, antiquity and longevity of street cries are demonstrated, both by text and by illustration. In the more important Continental cities, as in London, street cries have received the attention due to their antiquity and to their human interest. Annibal Caracci (who died in 1609) has preserved for us records of the street cries of Bologna, although, as may he seen from a long and interesting article (with numerous facsimiles) in // Libro e la Stampa of Gennaio-Febbraio, 1907, there were picturesque street cries long before his time. The most famous collection of all Italian " Cries " was the series of 40 plates by Gaetano Zompini, " Le Ariiche vaiino per via, nclla Cittadi Vc7iezia," published in Venice in 1785. In Paris also, particularly during the earlier part of the 18th century, the " Cries " attracted the notice of leading artists, and we have a series of twelve, engraved after Bouchardon, and another dozen after F. Boucher. Many of these " Cries " have their English counterparts, the chief exceptions being " floor polishers," vinegar and charcoal vendors. Many pages might without difficulty be written on street cries in the various cities of Europe, and of the changes which the ever-altering conditions of life among the humbler classes have brought about — the decline of some of these curious industries and the rise of others. But we must return to Wheatley and his " Cries." A mere glance through any of the published books of " Cries " — Hindley's and Tuer's more particularly — will sufficiently demonstrate the exceedingly inartistic character of the 28 illustrations which preceded Wheatley's. They are, indeed, so far as England is concerned, of the chap-book order, and utterly devoid of that touch which only a clever artist could impart. This Wheatley accom- plished with his unfailing artistic instinct, and at once removed the whole thing from the banal to the picturesque. Books of the Italian and French " Cries " had found their way into this country — brought home, doubtless, by many a wealthy traveller on his return from the Grand Tour — and it is probably these which suggested to Wheatley the idea for his series. Six of his pictures were at the Royal Academy of 1792, six in that of the following year, and two in 1795. The series, therefore, consists of fourteen pictures, and fourteen were actually engraved ; but, as there are two versions of one subject (" Gingerbread "), it may be that one of the set of fourteen exhibited pictures never was engraved. It is impossible to tell the sequence of the series from the Royal Academy catalogues, as each is entered as " One of the Cries of London," but the order of the published engravings may be taken to indicate that of the pictures in the Academy lists. The published set of thirteen was issued in a portfolio, with the title, " The Itinerant Traders of London, in thirteen engravings, from the first artists, after paintings by Wheatley. London : Published by Colnaghi & Co., Pall Mall" (no date). In the British Museum a set of the first two plates are not numbered, but both appeared together, the list of plates being as follows : — f- "CRIES OF LONDON." Title of Subject. Date. Engraver. I ' Milk below Maids ... July 2nd, 1793. L. Schiavonetti. 2.* Two bunches a penny, primroses July 2nd [year not stated] the same. 3. Sweet China Oranges July, 1794. the same. 4. Do you want any Matches ? July, 1794. A. Cardon. 5. New Mack'rel [sic] ..; Jan. 1st, 1795. R. Schiavonetti, jun. 6. Knives, Scissors, and Razors to Grind Jan. 1st, 1795. G. Vendramini 7. Fresh Gathered Peas.Young Hastings Jan. 1st, 1795. the same. 8. Round and sound, fivepence a pound, [Directed by L. Schiavonetti] Duke Cherries ... June 25th, 1795. A. Cardon. 9. Strawberries, scarlet Strawberries ... June 25th, 1795. [Directed by L. Schiavonetti] Vendramini. 10. Old Chairs to mend Sept. 1st, 1795. the same. 11. A New Love Song, only ha'penny a piece March 1st, 1796. A. Cardon. 12. Hot Spice Gingerbread, Smoaking hot May 1st, 1796. Vendramini. 13. Turnips and Carrots, ho May 1st, 1797. T. Gaugain. The extra plate of " Gingerbread," to which reference has already been \ made, differs from the usual one in having a different background and an additional figure. The tradition at Messrs. Colnaghi & Co.'s is that after a time the engraved plate was damaged, • and, to make it good, it was in part re-engraved. This extra plate, however, is extremely rare. It is reasonably certain that Wheatley's six " Cries " in the Academy of 1792 attracted a good deal of attention and comment, and the idea of engraving them was warmly taken up by Messrs. Colnaghi & Co. In a newspaper cutting of June, 1795, we find the following advertisement : " In * Note. — The most beautiful set, in colours, and in the origfinal cardboard case, that we have ever seen of the " Cries " belongs to Mr. P. T. Sabin, There are two states of the first and second plates. In the earlier, there is printed at the bottom left-hand corner of the one, " First Plate of the Cries of London," and in the other " Second Plate of the Cries of London," and in the centre of each of the English and French titles there is a script flourish. It maybe here mentioned that the rarest single plate of the set is the " Turnips and Carrots." 29 the civilized countries of Europe, the prevalence of polite manners softens down the rough originality of feature, and produces a similarity very unfavourable to the picturesque. It is among the lower ranks of life we are to look for the strong trait of national character. The Courts of St. James or St. Petersburg, or Vienna or Rome, equally produce gentle- men, but the peasant of Switzerland, the poissard of Paris, and the lazzarone of Naples are genuine and original characters ; and, in this point of view, few natural characters are more boldly marked than the lower order of people in the City of London. With a view to delineate these features, so striking to the foreigner of every country, and to the philosopher of this, Messrs. Colnaghi & Co. respectfully beg leave to inform their friends and public that they have undertaken an uncommonly beautiful and highly ornamental work, which is purposed to consist of a series of plates engraved by L. Schiavonetti," and so forth. The advertised prices of the plates were : 7s. 6d. each plain, or 16s. coloured, and, at the time of the advertise- ment, the six plates ready were: "Sweet Pinmroses," "New Milk," " Card Matches," " China Oranges," " Knives to Grind," and " New Mack'rel." The demand for the engravings must have been so great that the plates got worn out ; and some years afterwards Messrs. Colnaghi & Co. issued anew series engraved by " Tam Alliprandi," whoever he may have been; the plates measure llfin. by 9xVn., and are of very little commercial value. In the "eighties" of the last century Messrs. Field and Tuer published a " List of Plates engraved by and after Bartolozzi and School," and in this list there were six " after Wheatley," dated 1812; these were "Potatoes, full Weight," "All a Blowin'," "Milk O!" "Fresh Straw- berries," "Chairs to Mend," and "Fine Rabbits." These were described as belonging to "The Cries of London," and the plate measurement of each was 5iin. by 5^in. But " after Wheatley " may have been a bookseller's flight of imagination ; and, as we have neither seen these engravings nor those of "Alliprandi," they are mentioned here "without prejudice." Six of Wheatley's " Cries," and perhaps more, were engraved by P. Bonato and A. Gabrielli, and examples sometimes occur in French salerooms, but we have not come across them in this country. The pictures were doubtless purchased as they were painted by Colnaghi, who, having had them engraved, would in the course of business dispose of them to his customers. And yet, so far as we are aware, only two or three of them have been seen in a public exhibition since their first appearance at the Royal Academy upwards of a century ago. " Oranges " was lent to the Grosvenor Gallery in 1888, No. 229, by the executors of the late Major C. P. Teesdale, and at the Teesdale sale in the following year it realised only 21 guineas — scarcely the price of a good impression of the engraving to-day ! In 1896, Mr. Greville Douglas lent to the Old Masters Exhibition at Burlington House one of them, " Primroses " (canvas 14in. by llin.). Anderdon was at one time the owner of the original of " Chairs to Mend." In common with all classes of 18th century colourprints, the " Cries of London," after Wheatley, have enormously increased in value during the 30 ^,i»^e*fiu^K^ guineas was reached. They form, when appropriately framed, charming llicrp f-r^ *i U4-J,j2 ! wall decorations and harmonise well with the old-fashioned furniture now ^^oO^i^^^ 4r*^^firtit so popular. (^ti. ^^. S-L^'<^. ^^ Complete sets of uniformly fine impressions rarely occur together, and ' '■ the difficulty of making up sets is only too well known to the collector. In 1906, Messrs. Graves published the 13 " Cries " engraved, for the first time, in I mezzotint, by the well-known engraver, Mr. Thos. G. Appleton, who devoted many years of careful labour to their production ; the edition was limited to 250 sets of artist's proofs in black, and 250 sets printed in colour direct from 1 the engraved plates ; the price of each set was 30 guineas. Reference has already been made to the obsolete character of nearly all the various " Cries " as pictured by Wheatley. The knife and scissors grinder and the hawker of turnips and carrots are the sole survivors of the 13 trades ; but the former no longer " cries " his calling, and the raucous- throated hawker of carrots and turnips is not at all reminiscent of the picturesque ruffian of Wheatley's time. Books and portfolios of "London Cries" constitute a considerable literature, but we can only refer to a few. In 1804, Richard Phillips, the well-known publisher, issued a folio of 29 coloured plates of the " Cries of London," by Craig and others, each figure depicted before a noted building, street or square of the Metropolis, i.e., St. James's Palace, Portman, Hanover and Russell Squares, Newgate and Billingsgate, Covent Garden, Blackfriars Bridge, and so forth, with text describing both the subject and the district. Another work, published in 1819, was T. L. Busby's " Costumes of the Lower Order of London," designed and engraved from nature, with descriptive letterpress; there are 24 coloured plates of "Cries" in this book. One of the last books of " Cries of London " was published in 1824 by Harvey and Darton (a new edition was printed 12 years later), and in this little book 44 "Cries" are illustrated, and of these, only two — " Muffins " and " Sweep " — have survived. A still later book on the subject, and one of the best of its kind, was published in 1839, with 30 fine etchings, from rare engravings or drawn from the life, by John Thomas Smith, at one time keeper of the prints in the British Museum. Mr. W. G. Menzies has compiled an interesting list of the sales in London since 1901 of the separate " Cries," and these prices will show, not only the various fluctuations during the past eight years, but, in a way, act as a guide to those who are collecting. The examples quoted were all printed in colours: 31 Title. Year. Price Title. Year. Price. C s. 'd. & s. d. Mack'rel ... 1901 17 17 Milk Below, Maids .. 1904 13 13 Cherries ... 1902 24 3 Sweet China Oranges ... .. 1904 15 4 6 New Mack'rel ... 1902 28 7 Primroses .. 1904 12 12 Sweet China Oranges ... ... 1902 46 4 New Mack'rel .. 1904 18 7 6 Milk Below, Maids ... 1902 18 Milk Below, Maids ... .. 1904 20 New Mack'rel ... 1902 39 18 Sweet China Oranges ... .. 1904 20 Primroses ... 1902 17 17 Primroses .. 1904 16 10 Primroses ... 1902 13 13 Milk Below, Maids .. 1905 13 2 6 Oranges ... 1902 35 14 Primroses .. 1905 12 1 6 Primroses ... 1902 30 Sweet China Oranges ,. .. 1905 47 5 Primroses ... 1902 32 10 Primroses .. 1905 13 13 Sweet China Oranges... ... 1902 32 10 Primroses .. 1907 60 18 Primroses ... 1902 23 10 Sweet China Oranges ... .. 1907 50 8 Milk Below ... ... 1902 26 10 New Mack'rel .. 1907 50 8 Sweet China Oranges... ... 1903 35 14 Milk Below, Maids .. 1907 62 New Mack'rel ... 1903 40 19 Sweet China Oranges ... .. 1907 60 New Mack'rel ... 1903 23 12 6 New Mack'rel .. 1907 86 Primroses ... 1903 25 4 New Mack'rel .. 1908 19 19 Primroses ... 1903 29 8 Milk Below Stairs .. 1908 21 Milk Below, Maids ... 1903 33 12 Sweet China Oranges ... .. 1908 25 4 New Mack'rel ... 1903 30 9 Sweet China Oranges: and New Mack'rel .. 1908 16 5 6 Oranges ... 1903 15 4 6 New Mack'rel ... 1904 21 New Mack'rel .. 1908 13 10 [Proof with single line of inscription in etched letters.] 32 VII.— PICTURES EXHIBITED BY WHEATLEY. [It must be pointed out that the earlier Catalogues of the Royal Academy were compiled with the greatest carelessness. Different issues of that of one year frequently show serious differences. The same remark applies to the Catalogues of the Society of Artists; in the case of the latter, some of those of 1775 only enumerate nine exhibits by Wheatley, in others twelve works are given under his name. The Anderdon set of Catalogues of both institutions in the British Museum appear to be of the earlier issues. We have taken Mr. Algernon Graves' entries in the " Royal Academy Exhibitors," and the companion volume of "The Society of Artists" as likely to be the fullest.] SOCIETY OP ARTISTS. Duke's Court, Bow Street, Covent Garden. 1765. 155 Portrait of a gentleman ; three-quarters. 1766. 184 Miniature of a gentleman. 1768. 179 Small whole-length of a gentleman. At Mr. Turner's, Surgeon, St. Martin's Lane. 1770. 148 A Conversation. 149 Portrait of a child ; in crayons. 150 ditto gentleman ; ditto 1771. 184* Portrait of a lady ; in crayons. 185* ditto 186* ditto (Elected F. S. A.) The Corner of the Little Piazza, Covent Garden. 1772. 374 A Scene in " Twelfth Night," Act III. (The Duel). 375 A small whole-length of a lady. 376 A portrait of a lady ; in crayons. 377 ditto gentleman ; ditto (Director F.S.A.) 1774. 322 A portrait of a gentleman ; small whole- length. 323 ditto ditto 324 ditto ditto 325 A Study on the Coast of the Isle of Wight, the figures by Mr. Mortimer. 326 ditto from nature ; a landscape. 327 ditto ditto 328 A Kitcat ; small whole-length. 1775, 299 A portrait of a gentleman. 300 ditto small whole-length. 1777. 301 A 302 A 303 A 304 A 305 306 307 308 309 A 310 A portrait of a lady. n Offering to Concord — A family, small whole-length of a gentleman. Landscape — A study from nature. ditto ditto ditto ditto ditto ditto ditto ditto portrait of a lady, whole-length {large as life, in the character of the Muse Erato). View near Battersea. Jermyn Street. 133 134 135 136 137 138 139 160 1776. 133 Portrait of an Officer. Mr. Webster in the character of Comus. Gentlemen Returned from Hunting. A View of the Breakwater at Sheerness. Ditto, part of Rochester Bridge Castle. A Landscape ; study from nature. Ditto, view on the Banks of the Medway. A lady and her two children ; small whole-length, 161 A family ; ditto. 162 A Landscape ; a study from nature. 163. Ditto. 164. Portraits of two gentlemen. Dublin. 1783. 320. Review of the Irish Volunteers in the Phoenix Park, Dublin. FREE SOCIETY OP ARTISTS. 1779. 176 A whole-length of a lady. ROYAL Jermyn Street. 1778. 333 Portraitsofa family; small whole-length 334 ditto ditto 335 A Wood Scene, with Gypsies Telling a Fortune. 336 View near Ivy Bridge, Devonshire. 337 View near Boxhill, Surrey ; and drawing. 1780. 407 View of Conway Castle ; and drawing. 408 ditto ditto 36 Gerrard Street. 1784. 55 Portrait of a gentleman (Mr. Swiney). 91 Part of Donnybrook Fair, in Ireland. ACADEMY. 1784. 100 View of the Salmon Leap at Leixlip, in Ireland. 178 Portrait of a gentleman (Mr. Swiney). 214 Portrait of a gentleman. 23 Welbeck Street. 1785. 147 View in Lancashire. 163 An Amorous Sportsman. 1786. 66 Portrait of a gentleman ; small whole- length. 107 ditto ditto 194 Brickmakers. 237 Girl Making Cabbage Nets at a Cottage Door. 458 Portrait of a lady ; drawing. 33 1 PICTURES EXHIBITED BY WHEATLEY—conliuued. 1787. 133 A Girl Feeding a young Bird. 212 The Recruiting Officer. 178S. 8 Girl with Water Cresses. 12 The Rescue. 31 Mr. Howard offering Relief to Prisoners 37 Girl Returning from Market, and Count- ing her .Money. 95 Peasants Relieving an Old Soldier. 39S Portrait of a lady (Mrs. Wheatley). 49 Upper Charlotte Street. 1789. 17 Portrait of a nobleman returning from shooting. (Duke of Newcastle), and Col. Litchfield; View of Clumber (VValpole)." 60 Children with a Bird-catcher. 145 Study; from nature. 217 Wheelwrights Shop ; study from nature 1790. 34 The Charitable Milkmaid. 161 Preparing for Market. 196 Jaques and the Wounded Stag. From " As you Like It." 241 Evening. From Cuningham's Poem. 247 A Cottage in Cumberland. 290 A Pilgrim. 436 Portrait of a gentleman. (Elected R.A.) 1791. 30 Cottage Children called to Supper. 85 Portrait of a gentleman with a horse and spaniel (Mr. Bond Hopkins). 223 A Pedlar at a Cottage Door. 1792. 56 One of the Cries of London. 72 ditto ditto 107 The Maternal Blessing. 116 One of the Cries of London. 119 The Offer of .Marriage. 137 The Wedding .Morning. 147 A Harvest Dinner. 155 The Happy Fireside. 169 One of the Cries of London. 383* ditto ditto 384* ditto ditto 437 Morning — a farmyard. 453 Evening — a farmyard. 1793 8 One of the Cries of London. 10 ditto ditto 14 ditto ditto 27 ditto ditto 81 Portrait of a gentleman, his lady and children. 1794. 1795. 114 Ploughing. 125 Companion. 131 One of the Cries of London. 135 ditto ditto 202 Baptism. 303 Morning — Cottagers going out Hay- making. 314 The Fairing. 326 Scene from the Camp at Bagshot Heath. 547 The Farmyard. 66 Queen Anne Street, East. 122 Spring. 187 Winter. 215 Portrait of a lady (.Mrs. Donaldson). 312 Portrait of a lady (.Mrs. Woodcock). 407 The Redbreast ; vide Thomson's " Seasons " — Winter. 53 One of the Cries of London. 63 The Good-natured Boy. 92 The Hospitable Farmer. , 97 One of the Cries of London. 412 Portrait of a lady (.Mrs. Monro). 610 Portrait of a lady (.Mrs. Wheatley). Bath, or at Mr. Farington's. 1797. 126 A Gypsie's Theft Detected. 51 Warren Street, Fitzroy Square. 1798. 568 A Landscape. 20 Charles Street, Middlesex Hospital. 1800. 311 Scene from the " Deserted Village," for Du Roveray's edition of Goldsmith's Poems. "The good old sire, the first prepar'd to go To new found worlds, and wept for others' woe, " etc. Scene from the " Deserted Village," for Du Roveray's edition of Goldsmith's Poems. 'Ah, turn thine eyes Where yon poor houseless shiv'ring female lies," etc. Morning. Noon. Evening. Night. 1801. 313 68 70 87 90 ♦ The Times of May 28. 1789, in noticing this picture said : *' Wheatley shines in his portrait of the Duke of Newcastle returning from Shooting, The lilteness of his Grace is inimitably well-preserved, and the horses, dogs and dead game are excellent. This is one of the best in the room." 34 VIII.— WHEATLEY'S SALE AT CHRISTIE'S. Although the last decade of the 18th century appears to have been the artist's most prosperous period, his increasing infirmities, owing to the repeated attacks of his old enemy, the gout, would seem to have greatly curtailed his money-earning talents. It is difficult otherwise to account for the two days' sale of the "elegant household furniture," plate, linen, china, books, a "fine-toned organised pianoforte," and indeed the whole contents of the artist's residence generally, held by Mr. Christie on Monday and Tuesday, January 12th and 13th, 1795, on the premises, at "No. 14, on the west side of Russell Place." The following list of drawings and pictures, with prices realised and purchasers names, are taken from Mr. Christie's own catalogue, in which, it is curious to note, that lots 58 to 67 are marked as being the property of Mrs. Wheatlcy, whilst lots 68 to 70 are marked as the property of a Mr. MiUington, who apparently bought in lot 68. DRAWINGS. Lot. 18 Maria, a fine drawing in colours 20 Two views in colours, Conway Castle 25 Rural Life ; domestic scene, two interiors 58 Farm Yard 59 Cottage, evening 60 Labourer's Return. . 61 Winter 62 ditto 63 Camp Scene 64 ditto 65 Cottage and figures 66 Ryswick Lake 67 Girl with Water Cresses Prices Realised. Buyer. .. £1 3s. Clark .. £1 7s. Barrett .. £1 17s. Dr. Munro . . £3 3s. Seguier .. £3 10s. H. P. .. £3 10s. Goodrich 14s. ditto 18s. Colnaehi 14s. T. .. £1 Is. Goodrich .. £1 3s. Esdail .. £3 10s. Molteno .. £3 7s. ditto PICTURES. 68 Stable 'Vard with Horses and Pigs .. .. .. .. £16 5s. 6d. Millingtcn 69 The Potter Going to iVIarket, with a Storm Approaching;] morning .. .. .. .. .. • £24 3s. Thompson 70 A Woodman Returning Home ; evening . . . . j rHE Fa I THE MISTLETOE BOUGH (canvas, 22111. X i8in.) Bv Francis Wheatlcy, R.A. Reproduced by kind permission of Messrs. Slieplierd Bros. THE IIAKUIAGE By y. Dean, after F. Wluatley THE HARVEST HOMP; (canvas, 22111, X iSin.j By Francis M'hcatlty, K.A. Keprodiuc-:/ hy kinJ pcnxisiiiin nf Missis. Slu-plienl liros. IIIE KL'SriC LOVERS [?l (ifUi F. W lua:Uy, R A. Vl. THE DISASTER By II'. Il'«r,/, aft,-r F. Wlu-alln', K-A. From II Print in tlw [^osses^iiin nf Messrs. P. >j^ D. Colnai^lii ts^ Co. c:Kn;S OK LONDON, PLATE XU. HOT SPICE GINGERBREAD, SMOKING HOT By Vcndraiiiliii, after F. IVIicalIfy, R.A. SIR HENRY PIGOT, G.C.M.G. (I75O — 184O) By Fiaiuis U'lualley, R.A. From a Ptiinlin^ in llu' f'osst'sslon ol Messrs. TIios. Agticrc (s^ Sons THE VOLUNTEERS OF THE CITY AND COUNTY OF DUBLIN AS THEY MET ON COLLEGE GREEN, THE 4TH NOVEMBER, 1779 B\' I'raiicis \Vhi-atlf\\ R.A. (From a Drmving 16J /h. x 'i.S.V jy/. in lite Victoria and Albert Miisfiiii INTERIOR OF THE SHAKESPEARE GALLERY I 79O (AFTERWARDS I HE UKUlSll IN S 1 11 U I ]l)N J By Francis Wheatley, R.A. (From a Drawing 12Jih. x 18J in. in the Victoria and Alheit Muscnm) X. 2 ^ OS r= 3 = a — ft; a! ^ a . <^ in . a — THK WOODMAN'S RETURN Ftom n Print by J. WhesseH, afUr F. \Vlicat!,y, R A. Ill the possissioti of Messrs. Maggs Bros. THE ITINERAN'T POTTERS From a Print by J. Wliessell, aft-r F. IVIuatUy, R.A. In the possession of Messrs. Mag^s Bros. •*^^^:t jr~ ^ SIKING From a Print by Bartolozsi, after Westall In the possession of Messrs. Parsons &> Sons One of the Set of Seasons, by Wheatley &■ Wesfnll AUTUMN From a Py'nit by B irtolo:.'/i. n/'tir A'. W'tsltill In Iht' possissiuH of Mi'isis. Parsons i^ Sons Lhu- of the S.t of Stusons, hv WhfatUy f- Wtstall X\'. WINILK (MRS. \VHEATLE\;. F. WhealUy, R.A. Fmn llie engiariiig ii F. Bartolozzi 0. .' V. -5 w "^ xvu. XVlll. GOING OUT MILKIN'I, By C. Turner, after F. Wheatley. R.A. THli KHIL'KX IKO.M MILKING By C. Turner, after F. Wheatley, R.A. NYMPHS BATIHN-i, /; , R / , / Wluc,ll,y. K A. RURAL REl'OSE By T . Gcremia, after F . WluatUy, R.A. THE RELENTLESS FATHER, OR THE DISMISSAL By Francis Wheatley, R.A. From a Drawing 182 '"• X 1 1 J/h., 17S6, in llic Viitona and Albert Mnseiin THE TENDER FAIHEN, OR THE RECONXILI ATION Bv Francis W'licatUy, R.A. Iwom a Drawing 13^ oi. x llJJ;i., 17S«, in tin- Victjria ami Albeit Museum \X11. THE MILKMAID By F. W/iealhj, K.A. From a Druj^-ing 8^ ///. v ,S;^ ///., 17H;i, in t'u- Soauc Museum THE GOLDFINCH From a Print by Barloluzzi after F. Wlu-atUy, R.A., in till- fiossfssion of Messrs. Parsons &■• Sons - 0) Si ALMS-GIVIXr, Ftnm a Print by J. .U. Delaire, aftc>- /•'. Whtatley, R.A. In the posscssinn of Missis. Pidsons &- Suns a H < 0. O z o u . Q := ■■.nKA ■*f .f^^^ 5>« X.W 111. THE IIlMI' I'A] ION STERNE'S SENTIMENTAL JOURNEY Bv y. M. Delatrc. after /•". Wkcatlcy, R.A. Fioiii a Priiil ill ///(■ possession of Mfssrs. M{i<^gs Bros. 8-2 2 a ^ tl ' '■ ■ '— - '■■ • "'""^ '• '• \ as O =s ^ XXX. THE CAIiELESS SEKVANl" Ffoni a Painting by Francis Wheatley, R.A. In the pussi:,siou of Clias. Bulnnaun, Esq. a: . ssxii. RUSTIC SYMPATHY. By C . Kfatiiii;. nflir F. Wlii-alhy. R.A RUSTIC tiENEYOLENCK. By . Kcattllg , UJ tir 1- . \\ licatiiy , 1< ^A . xxxiii. O < a 6.~ j^^^^g^^mymi ^m^mMm 2 -^ O '^ 2 '^ o a- o . r, "^ a: ^ VIEW IN PRIORV GARDENS. By SiUulby, \Vli,:allcy iS- Mortimer. From the Water-colour Drau-iiig, 23J()i. x37.i;H., in The Soaiie Museum. A COTTAGE 1 .\ L L Ml'.L KLAN 1 >. I r.iiii a Painting by !■' . WJuatley, R.A. {Canvas, \(.t in. \22 in.) By permission of Messrs. Shepherd Bros., 21 King Street, St. jfanies's, London PS = < S w ■-■ a. K° [/) — o (A D3 F J — « '^ OS -^ r- )^ H 2; J ^-'^J Heart ^. >5^ Xi^ ///fViA/ /^/^/r 4rr^ /.i 1^ Engraved hyjieatli l:ii^i arfii i>y Hal: Engraved by Delatre Eugiaied by (hignuii TITLE-PAGES DESIGNED BV WHEATLEV FOR BELL's "BRITISH THEATRE" XXXVlll. T ==;' OS S M ..- O ^ -J -i > 3^ 2 PREPARING FOR MARKET By R. Earlom, after F. Wluatlry, R.A. 1 HA IS lir r. Wdlsoii, after !■'. WhcalUy, K.A. SlGISMUMiA By T. Waliou, after F. Wluallry, R.A. Xl. O C' z ^ o :^ o = I y. '» xli lUCNRY G RATTAN Front tlie PainUng by Francis Wlwatley , R.A., In llie National Poilrnit Cuillery (IO\in. by S^in.) PS o StS ^^ = u s-i ^ ^ « -= o 6"^ CO ^^ ■A -^ 'h u < "" c^ h H '"ii to C) H ^ ^ ? 2 -^^g ^ = '■ p -S .^ — u w =^ s -^ CQ « "^ p> a S "^ ^-0 H t, c; « Nliii. PREPARING FOR MAKKliT (Canvas, l8in. X 22in.) From a Painting by F. Wlicutley, R.A. By permission of Messrs. Shifi/icrd Bros., 27 King Street, St. James's, London xHv. ^ QJ 2 ^^ ^C3 o q? U = '-2 xlv. Till; RIOTS IN 1780. By yaiiics Hcalh, ajtcr F. Wheatlcy , R A. IRISH PEASANTRY CROSSING A BROOK. By K. Earlom, after !•'. W'healU) , K.A. xlvi. SHAKESPEARE. WlNTEn's TALE, ACT IV., SCENE 111. By J . Fittlfr, after I- . W lieath-r , R.A . JIVENILI. OlT'USnToX. By J ■ Mar.,. ,,ju i 1 . Wluallcy, K.A. xlvii. ITINERANT I'EASANTS By Francis Whralley, R.A. From a Draii'iii" in the posscssiuii of Messrs. Thos. Ai^juir &• Sons xlviii. Engravings after F. Wheatley. THE following list of Engravings is drawn up from a number of sources, the chief of which is the collection in the Print Room of the British Museum. It does not claim to be complete, but the number which have escaped notice cannot be large. Many of the titles are derived from such unsatisfactory sources as sale and print-sellers' catalogues, in which dates are rarely given ; in some cases the dates of publication are not given on the prints themselves, and in others the prints have been cut so close to the margin that the dates are wanting. The arrangement here followed is chrono- logical where the dates are obtainable, and aphabetical according to the titles of undated pictures. Generally speaking, and except where otherwise mentioned, the engravings are in stipple or line, and the measurements are of the engraved surface, height being given first and width following. The chief abbreviations are c.p. (colourprints) ; p.b.l. (proof before letters) ; and o.p.b.l. (open proof before letters). Companion engravings are grouped together. Owing to the haphazard way in which prmts are sometimes catalogued, and the difficulty of examining all which come into the market at long intervals, it is possible that a few appear in the following list under two titles. The " Cries of London " will be found dealt with together on pp. 28-32 ;— 1.— DATED ENGRAVINGS. Date. Title. Engraver. Christian VII. of Denmark (1749-1808). 1768, Sept. 19 - • - - - - F. \Vheati.e\, ad vivumdelint et fecit. Half-length, in oval frame, directed to front, facing and looking to right, star, sash. 13gin. by lOin. [Christian VII. married Nov. 8th, 1766, Caroline Matilda, daughter of Frederick, Prince of Wales, and was in England for a time, during which Wheatley would have seen him. This print was published at one shilling] Miss Younge, with Messrs, Dodd, Love, and Waldron in the characters of Viola, Sir Andrew Aguecheek, Sir Toby Belch and Fabian. "Twelfth Night," Act IV. 1774, March 1 - - - - - - - - - J. R. Smith. Whole lengths, standing, towards left Miss Younge as Viola, turban and plume, right hand holding sword, which trails on ground, supported by Waldron on left, black dress, white collar; Dodd towards right, unwillingly trying to draw his sword ; Love behind him to right, endeavouring to encourage him ; in background large trees, landscape in distance. 20in. by 17in. Sigismunda. 1779, March 10 - - - - - T. Watson. Half figure, directed and facing to left, looking upwards, hair in large pleats, veil, dress loose, exposing bosom, holding vase containing the heart of Guiscardo. Mez. login, by SJin. [ ? Mrs. Siddons.] 1903, 1st state, 5 guineas. Thais. 1779, March 10 - - - - - - . - - T. Watson. Nearly to waist, directed to right, looking to front, flowers twined in hair, loose dress, left hand holding lighted torch, gold band round right arm. Mez. 10|in. by 5Jin. ["Conjectured" to be Emma Hart, afterwards Lady Hamilton, whom it certainly does not represent.] Artemis. 1779 .......... T.Watson. [Mentioned by Le Blanc, probably in error for one of the two preceding.] Old English Baron. 1779-80. - - - - . . . . - p. Delatre. Interior with three figures — monk, youth and girl holding a pearl necklace and locket (" Old English Baron," p. 97). 14Jin. by llin. [" The Old English Baron," a novel by Clara Reeve, was first published in 1777, underthe title of " The Champion of Virtue : A Gothic Story," which, in the second and subsequent editions, was renamed with the more familiar title. The engraving was probably published circa 1779-80.] 37 DATED EJiGRXVlNGS— continued. Date. Title. Engrraver. Rustic Happiness. ]7gQ _...----■- J. Lauder. Scene at a rustic stile beneath an aged tree, with distant landscape to left; peasant youth in smock holding large stick ; on opposite side of stile, girl in low dress, blue bodice and pink skirt, with inilk-pail on right arm, left hand held by youth ; dog to right. ^ ISJin. by i:»Jin. [A companion to " Rustic Contentment," after Backer, by W. H. Brooke.] Antliony Wcbsler as " Coiiius." 1781, Jan. 10 - ■ - - - " " " " "• Kingsbury. Whole-length mcz., 20in. by 14. 1906, £1 15s. Henry Gmtlnii, M.P. 1782, Sept. 10 - - - • - - - - - V. Green. Mez., 14|in. by lOf in. Sir Barnard Turner, Kt. (1784). J783 . . i . - - - . . James Walker. Whole-length as Major or Colonel of the Hon. Artillery Co. 1908, £8 15s. Volunteers of the City and County 0/ Dublin. 1784, May 10 - - - - - - - " - J. CoLLYER. le^in. by 25in. The Amorous Sportsman. J7S6 - • - - - • ■ - C. H. HODOBS. Scene in a wooded dell, with three children, two of whom are standing by a donkey, whilst the other is on the donkey's back ; the sportsman is embracing a young woman in low dress and white head-dress ; dogs, gun and rabbits or hares to left. 1907, 7 guineas. A Lover's Auger. 1786, August 29 ..------- P.Simon. Interior with two figures— young man in dark coat, breeches, fancy waistcoat, white stockings, and curly wig, seated at a table with books and writing material, holding his watch and pointing at the time ; young woman dressed in white with large Gainsborough hat ; she is standing beside his chair and exposing her bosom. " ' Lord bless me,' said she ; ' let a body but speak : Here's an ugly hard rose-bud fall'n into my neck; It has hurt me, and vex'd me to such a degree — See here I for you never believe me ; pray see. On the left side of my breast what a mark it has made ! ' So saying, her bosom she careless display'd: That seat of delight I with wonder survey'd. And forgot every word I design'd to have said." Prior's " A Lover's Anger." I2Jin. by lOin. Celadon and Celia. 1786 August 29 " Love is a jest and vows are vain." P.Simon. fnterior with table, on which is tea-urn ; young man, with left hand lifted, making a vow to young woman in white dress ; another man crouching under bed to left. " He thank'd her on his bended knee ; Then drank a quart of milk and tea : And leaving her ador'd embrace, Hasten'd to court, to beg a place. While she, his absence to bemoan, The very moment he was gone, Call'd Thyrsis from beneath the bed 1 Where all this time he had been hid." Prior's " To a 'Young Gentleman in Love." [This is probably the print sometimes catalogued with the title of " Deception," by P. Simon."] ^^^^^ ^^ ^3 ^^^ St. Preux and Julia. From Rousseau's " New Eloisa," Vol. III. p. 8. 1786 Designed and etched by Wheatley. R. Pollard. 20in. by H^in. 38 DATED ENGRAVttiGS— continued. Date. Title. Engraver. The Companion. 1786 Designed and etched by Wheatley. R. Pollard . 20in. by 14|in. [A third engraving inspired by the same story, " Eloisa Meditating on St. Preux's Letter," an oval, lljin. whole length, figure in white dress seated under a tree, holding a letter, without engraver's name and date, is some- times met with.] 1899, c.p. 5 guineas. Rustic Lovers. 1787, March 31 [? after F. Wheatley.] No name. Interior with young woman in while low dress, striped under-dress, yellowish shawl, and white mob cap with red ribbon, seated at a spinning-wheel, feeding a cat with milk ; youth in blue coat leaning over chair and slyly pulling cat's tail. 17in. by 14in. Love in a Mill. 1787, June 1 - - - - - - - - - J. M. Delatre. Interior with two young peasants, the man pouring flour into a sack held by the woman ; dog to right. 16|in. by 13Jin. The Discovery. [The Companion, undated] - - - - - - - - R. Stanier. Interior with two figures, mother and daughter, the former discovering and reading letter which begins "Dear Sue." 16iin. by ISJin. 1903-5, £25 to 28 guineas. The Four Phials. From Marmontel's " Moral Tales." 1787, June 14 --------- W. Ward. 12in. by 12in. The Samnite Marriages. From Marmontel's " Moral Tales." 1787, June 14 --------- W. Ward. 12in. by 12in. 1902, c.p., the pair £34. The Sailor's Return. 1787, June 14 - - ...... W. Ward. 20in. by 14in. The Soldier's Return. 1787, June 14 --------- W. Ward. 20in. by 14in. 1899, the pair, c.p., 20 guineas. Adelaide. 1787, July 21 - . ..----- J. HoGG. Beautiful young girl under trees, in white low dress, with blue sash and slippers, straw hat bound with white ribbon, right hand on open rustic g-'Ue, left hand offering clover or grass to sheep. " As they advanced towards one of the huts, they saw a flock going that way, conducted by a shepherdess whose gait astonished them." From Marmontel's Tales, " Shepherd of the Alps." 12iin. by 12iin. 1908, in brown, £17 5s. The Love-sick Maid. 1787, Nov. 15 --------- J- Dean. The Marriage. 1787, Nov. 13 --------- J- Dean. [Two in "The Progress of Love" series, of which the other two were after G. Morland, "Valentine's Day" and "The Happy Family," by the same engraver, and published by him on the same day.] 1901, 0.1. p., 8 guineas. The Relentless Father. [? 1787-8] - - - • - - - - W. N. Gardiner. Cottage door scene, with three figures— father, in blue coat, refusing shelter to his daughter holding infant, and in pink low skirt with yellowish overdress and mob-cap; behind her a youth in brown coat, blue waistcoat and breeches, left hand round girl's waist. 12in. by lOin. 39 DATED ENGRAVmCS— continued. Date. Title. Engraver. The Tender Father. Cottage interior ; elderly father with long, grey hair ; girl in pink skirt, white low bodice and mob-cap, weeping and holding apron up to her eyes ; beside her youth kneeling, in blue coat and reddish waistcoat, and knee-breeches. 12in. by lOin. 1909, the pair, c.p., £3 15s. Mrs. Wheatley. 1788, March 4 - - - • - - - - - R. Stanier. Oval lengthways, with four lines of verse. 1903-7, c.p., 16 guineas to 21 guineas. Benevolent Cottagers ; or, Cottagers Relieving a Beggar. 1788, March 21 - - - - - ■ - ". '^^'- Nutter. Scene by cottage door, with peasant woman, surrounded by three children, pouring alms into the hat of a beggar, who is seated to left. 17in. by 13Jin. 1906, bistre, 5^ guineas. Love. 1788 - - - - - - - - - - V. M. PicoT. Two lovers surprised in a shed by the girl's mother, who is waving a broom in a threatening manner. 9in. by 11 Jin. Interest. 1788 - - - - - - - - - - V. M. PicoT. Interior of a bedroom, with two girls, one of whom is showing the other gifts which she has received ; through the open door the mother and father are seen approaching. 9in. by llAin. Silvia. 1789, Jan. 1 - - - - - - - • ' . ''• HOGO. Girl in low cut dress holding lamb which she has rescued from the water. " She was in the happy moment to rescue the little innocent from the irresistible violence of the torrent, and as she fondly hurried with it up the precipice, a smile of ineffable sensibility triumphed in her eyes." 12in. by 12in. Summer (Mrs. Troward). 1789, Feb. 1 - - - - - - - • F. Bartolozzi. 7Jin. by Sin. [The model for this picture was Mrs. Whcatley's sister, Sarah Leigh, wife of Richard Troward.] Winter {Mrs. Wheatley). 1789, Feb. 1 - . - - • - - - • F. Bartolozzi. [The plates of both these engravings, with the companion pair of " Spring " and "Autumn," after Westall, appear to have been in existence up to a few years since, as a firm of booksellers was offering impressions at 12s. 6d. each. The size of each plate is given as 6Jin. by 4Jin., and so the originals may have been cut down.] 7Jin. by 6in. 48 guineas. Lauretta and the Goldfinch. 1789, March 1 - - - ■ - - - - F. Bartolozzi. From Marmontel's " Moral Tales." I2in. by 12in. The Return from Market. 1789, April 21 --■-■-■- C. Knioht. 16Jin. by ISJin. The Disaster. 1789, July 26 - ■ - - • ■ - • ^V. Ward. [A pendant of " The Widow's Tale," after J. R. Smith, by W. Ward ; both published by J. R. Smith, King Street, Covent Garden, one on June 2nd, and the other on July 26th, 1789.] 21Jin. by 20iin. 1903-5, 27 guineas to 28 guineas. 40 DATED ENGRAVINGS— continued. Date. Title, Engraver. The Temptation. 1789, Aug. 1 - - From Sterne's " Sentimental Journey " (Vol. II.) - - J. M. Delatrb. Interior, with two figures — middle-aged man wearing grey wig, seated at a writing bureau and holding pen, looking up at a young woman in white low dress and mob-cap; she is leaning on top of desk and is holding out the small ink-pot to her companion. "The fair fille-de-chambre came close up to the bureau where I was looking for a card — took up first the pen I cast down, then offered to hold me the ink ; she offered it so sweetly, I was going to accept it — but I durst not — I have nothing, my dear, said I, to write upon — Write it, said she, simply, upon anything — I was just going to cry out. Then I will write it, fair girl 1 upon thy lips." [" The Act of Charity" is the title of a print by the same engraver (? after Wheatley), sometimes sold with the above as a companion.] llfin. by llfin. 1908, c.p., p.b.l., with large margins, £22 10s. Alms Giving. 1789, Aug. 1. - - - - - - - - - - - - J. M. Delatre. [Apparently the companion print of " The Temptation," and published by Ann Bryer, 5 Poland Street, Soho.] 12in. circle. The Full of the Honey-moon. 1789, Sept. 1 ..-..-.-. R. Laurie. The Wane of the Honey-moon. 1789, Sept. 1 ......... R. Laurie. The pair, 1904, £22. The Show. 1789, Nov. 25 . - . - - . . - .p. Bartolozzi. Group of seven children in landscape, one boy acting as showman ; to right rustic cottage with birdcage. (Tuer, No. 964.) The Fair. Group of five children outside a stall, and playing with various toys, the boy in centre with small drum ; trees and cottages to right. (Tuer, No. 963.) 5|in. by B^in. These are two of four pictures of child-life, engraved after Wheatley, by Bartolozzi. The others are : Children Playing and Children at Play. (Tuer, Nos. 934, 957.) The Riots in 1780. 1789 --........ James Heath. The Gorden Riots, on June 7th, with the military firing on the mob at the corner of New Broad Street. 16|in. by 23Jin. 1901, p.b.l., 10 guineas. jfohn Howard Relieving Prisoner. 1790, April 9 ..--.... . James Hogo. 22Jin. by 17Jin. Abiia. 1790 . - . . . . . . . - J. F. Bolt. A folio print mentioned in a German catalogue. Van der Myn, " The Smoker." circa 1790 . - (After Van der Myn) - - - F. Wheatley. Half-length, seated, directed and facing in profile to right, right hand holding pipe to candle on table, left hand holding copy of The Daily Advertiser. Mezzotint, 12Jin. by 9in. [Herman Van der Myn (1684-1741), portrait painter, born in Amsterdam; resided in London 1718-36 and 1741.] The Wheelbarrow. 1791, Jan. 8 - . . - . . . . . J. M. Delatre. Group of five children in a landscape, boy wheeling barrow, in which one of the little girls is seated. 5Jin. by 6Jin. 1906, bistre, p.b.l., 5J guineas ; c.p., £13. 41 DATED ENGRAVINGS— cDn^«tt^.■ 13 ... 9 39 42 37, 39 ,41, 42, 49 15,43 6 ... 23 ... 45 18, 40 15, 17, 39 • •• 13 37 34 ... 33 30 ... 9 et Seq. 11, 12, 27 9, 10, 38 ... 23 16 ... 2 26,49 11, 14, 43, 45 4, 10, 46 19, 20, 42, 46 52 INDEX — continued. Elton, Sir Edward M. " Encampment at Brighton Engravings after Wheatley Erato, Lady as Etchings Evans, B. B. Evening ... PAGE 18 15, 43 37 et Seq. 33 50 43 42 Facius, G. S. & F. G. 22 •"Fair" Pictures ... ... 13, 1< 1, 20, 41, 42 Farmer, The Hospitable 34 Farmer's Daughter, The 27 Farm Scenes 34, 35 Father's Admonition 45 * Fidelity Rewarded 46 Field 20 Field & Tuer 30 Filial Piety 20, 42 Fishermen Going Out 46 Fisherman's Return 46 • Fisherfolk 16, 23 Fittler, James 22, 48 Fitzgibbon (Earl of Clare) 9 Fores & Fores 17 Forman, W. H. 14, 16, 27 Foster, iVlessrs. 20, 25 Four Phials 16, 39 Free Society of Artists, exhibits 33 Freschi, A. 44, 51 Fruit Gatherers 25 PAGE 34 20 6 Note 25, 44 '.'.'. 10, 41, 49 47 38 6, 39, 40, 41, 46 ... 18, 19, 41 18, 34 16, 41 Harvest Dinner, A ... * Harvest Home, The Harvest Waggon, The * Haymaking Scenes Heath, James Henry and Jessy Hodges, C. H. Hogg, James ' Honeymoon Pictures Hopkins, Mr. B. Howard, The Philanthropist ... Hutchinson, M. ... ... ... 26 I Inattention ... ... ... 46 Industrious Cottager, The ... ... 47 Interest ... ... ... ... 40 Irish House of Commons, Interior ... 9 * Irish Peasantry Crossing a Brook ... 11,45 Irish Scenes ... ... ... 15, 33, 50 Irwin, Sir John ... ... ... 10 * Itinerant Peasants * Itinerant Potters... ... ... 35,43 James, J. ... ... ... 23 Jealous Rival, The ... ... ... 46 Jee ... ... ... ... 19 Jersey, Countess of... ... ... 23 Johnston, Sir J. A. ... ... 9 Jukes, F. ... ... ... 46, 47 •Juvenile Reluctance and Opposition ... 45 Garden Party, The Gardiner, Luke Gardiner, W. N. Gaugain, T. Gentleman's Magazine, The ... George HI., Chirdren of Geremia, T. Gillbank, H. Girl Driving Cattle ... Girl Reading a Letter Godby ... •Going out Milking (see "Milking" pictures) •Goldfinch, The ... * Goldsmith's " Deserted Village " Gooden & Fox, Messrs. Gordon Riots Goulding, Charlotte Grafton Galleries ... •Grattan, H. Graves & Co., Messrs. Green, V. Gresse, J. A. Grignion, C. Grosvenor Gallery ... ... 14, Guest, Montague ... H Hall, John Hamilton, Lady Hamilton, \V. Harrowby, Earl of ... • •■ IS ... 9 13, 39 29 7 ... 3 47 27,44 11 46 45 ,» s 16 '.'.' 26, 34, 49 16, 18 10 26 3, 16 ■.■.'. 10, 11, 38 31 11, 38 4 49 i's, 20, 25. 30 ... 27 49 8 26, 45 16 K Keating, G. ... ... ... 25, 43, 47 Kent, Views in ... ... ... 6 Kingsbury, H. ... ... ... 11, 38 Knight, C. ... ... ... 13, 40, 47 Knowlcs, John ... ... ... 7 Lady on Horseback ... ... 47 La Touche, D. ... ... ... 9 Lauder, J. ... ... ... 38 Lauretta and the Goldfinch ... ... 16, 40 Laurie, R. ... ... ... 18, 41 Laurie and Whittle ... ... 11 Lawrence, Sir T. ... ... ... 8,24 Layard, Dean ... ... ... 17 Legat, F. ... ... ... 48 Leggatt, Mr. E. E. ... ... ... 25 Leigh, Jarcd ... ... ... 4 Leinster, William, Duke of ... ... 9 Leixlip, Salmon leap at ... ... 33 Lindor and Clara ... ... ... 15,42 Litchfield, Colonel ... ... ... 17 Little Gleaners, The ... ... 25 Liverpool, Exhibition at ... ... 13 Lyster, Mr. G. F. ... ... ... 20 Lord Mayor proceeding to Westminster ... 17 Love, James ... ... .■• 40 •Love in a Mill ... ... ••■ 39 Lover's Anger, A ... ... ... 38 Lovesick Maid ... ... ••• 17. 39 53 INDEX— continued. 16, 20, 21, 23, 13, 14, 16, 34, M Macklin, T. Maclaren, J. H. Manchester Art Treasures Mansell, W. •" Market " Pictures Marraontel's "Tales" •Marriage, The Mary's Dream Haskelyne, Mr. Meadows, R. M. MedUnd, T. Melbourne, Lord Menzies, Mr. W. G. Middiman's " Select Views " ... "Milking" Pictures •Milkmaid, The Miller's Daughter ... Hillington Milton's " Select Views " •Mistletoe Bough, The Mitchell, M. Molteno, J. A. Moncrieff, R. Monthly Magazine, The Moore, Dr. J. Morland, G. Morning Herald, The Morning, Noon, Evening and Night Mortimer, J. H. "Mower, The {see " Haymaking " pictures) Murphy, J. Murray, J. N National Portrait Gallery Neagle, J. •Newcastle, Henry, Duke of ... Newenham, Sir E. ... Newly Married Couple NichoUs, 'W. Noailles, Due de Noble, G. Nottingham Museum Nutter, W. •Nymphs Bathing ... 27, PAGE 25, 26, 45 13 12 17 40, 43, 45 16, 39, 40 39 27 18 46 49 2 31 50 26, 44 7 27 35 50 20 11 25, 35 9 16 7 1, 7, 39 19 34, 42, 44 2, 6, 7, 33 15, 43 22 11 22, 48 17, 34, 45 9 47 17 17 22, 48 15 18, 25, 40 47 Ogborne, J. Old English Baron ... Old Masters Exhibition Oliver, Mr, and Mrs. Opie, John Oyster Woman Pares, T. Parsons, Mrs. Pasquin, A. Paton, R. Peasants, Group 2 ... Pedlar at Cottage Door Pet Lamb, The Picot, V. M. " Picturesque Views in Dublin " •Pigot, Sir Henry ... Pindar, Peter Playter, C. Pollard, R. 46 37 13, 16, 17, 30 IS 17 16 22 27 2, 10, 11, 14 17 46 19 51 18, 40 6 3 24 46 38, 39 Pope, Alex. Porter, W. 'Potters Prescott Family Prestel, M. C. 'Priory Gardens, View in Progress of Love Series Public Advertiser, The Raphael, Mr. H. H. "Reconciliation, The Recruiting Officer, The Redbreast, The Redgrave, G. R. Reeve's " Old English Baron" •Relentless Father, The Renall, Mr. R. P. ... Rescue, The *Return from Milking {see " Milking ' •Return from Shooting Review in Belam Park Review of Volunteers, Phoenix Park Reynolds, Sir J. Reynolds, S. VV. ... Rhodes, R. Rickards, T. •Riots, The Rochester Castle ... Rogct, J. L. Rousseau's " Nouvelle H^loise '' Royal Academy, The •Rural Repose Rural Tranquillity ... Rustic Conversation Rustic Courtship ... Rustic Happiness ... Rustic Hours •Rustic Lovers Rustic Lover •Rustic Sympathy and Benevolence PAGE 5 9 35, 43 3 51 7 39 19 49 13 13, 15, 34, 47 34 26 37 20, 39 20 34 pictures) 45 11 10, 12, 33 23, 24 43 48 44 10, 41 6, 33 6 13 24 et seq. 47 51 44 47 38 44 39 47 43 Sabin, Mr. F. T. ... " Sailor " pictures ... * Sailor's Return, The Samnite Marriages, The Sandby, T. Sayer, R. Schiavonetti, L. and R. Schomberg, Sir A. ... School Door, The ... * School Mistress, The Seasons, The Four... Sedelmeyer, M. C. ... Seguier, F. P. •Shakespeare, Illustrations to * Shakespeare Gallery Interior Shee, M. A. Sheerness Breakwater Shenstone's "Schoolmistress" Shepherd, Bros., Messrs. Shipley, W. * " Shooting " Pictures Show, The Siddons, Mrs. * Sigismunda Silvia ... Simon, J. P. Simon, P. 29 note, 43, 46 ... 14, 15,39 15 16,39 7 5, 18 20, 22, 29, 30, 45, 48 19 47 25, 42 18,34 15, 26 14 ... 5,21,48 23 5 6, 33 42 6,14,20 2 17 41 8 8, 37 40 22 38 54 iNDEX-continued. Singleton, H. Skelton, W. Sloane, M. Small whole lengths Smith, A. Smith, Haskett Smith, Henry Smith, J. R. Smith, J. T. Soane Museum Society of Artists, Exhibits at... " Soldier " pictures... • Soldier's Return, The Sophia of Gloucester, Princess Sotheby, Messrs. ... South Kensington Museum Spiers, Mr. W. L. ... Spilsbury Sporting Magazine, The Sportsman, The Amorous •Spring... St. Albans, Duchess of Stanier, R. • St. Preux and Julia Sterne's " Sentimental Journey " Storm, The Stow, J. ... Strawberry Girl Stubbs, G. T. Suffolk Street Gallery • Summer Suntach ... Sussex, views in Swiney, Mr. Tassant, Mr. Taylor, J. E. Teesdale, Major •Temptation, The ... •Tender Father, The Tennant, Sir C. •Thais ... Thouvenin Tinker, Itinerant ... Tomkins, F. W. Topographical Drawings Troward, Mrs. Tuer, A. W. Turner, Sir Barnard Turkeycock, The ... Turner, C. Tyers of Vauxhall ... 5, ..4, 13, PAGE 47 22,48 46 3,33 42, 49 20 10 14, 15, 18, 37, 40 31 7 33 ... 13, 14, 15 14 5 14 6, 9, 13, 17, 23 7 45 17 33 40, 42 5 15, 17, 39, 40, 47 ... 13, 38-39 41 51 22, 48 47 47 20, 22 40 46 6 33 {bis) 14 22 25 16, 30 41 20, 40 18 8, 37 44 44 42 50 40 28 10, 38 42 26, 44 3, 7 Van Den Berghe, J. J. Van dcr M\ n, H. Vendramini, G. Vauxhall Gardens ... Visit to the Mother •Volunteers of Dublin w PAGE 25, 44 41 29 3, 7 47 9, 10, 38 Waldron, F. G. 37 Walker, J. 10, 38 Walker, W. & J. ... 50 Ward, W. ... ... 14, 15, 17 27 39, 40 Water-colour Drawings 6 •"Watercress" Pictures 16, 34, 35, 43 Watson, C. 22, 48 Watson, T. 8, 37, 47 Webster, A. 11, 33, 38 "Wedding" Pictures 19, 34, 47 Wells of Redleat ... 16 Westall, R. 18 40,45 • Wheatley, Francis :— Early Life ... 1 Student at Shipley's 2 Premiums from the Society of Arts 2 First Exhibits 3 Marriage • •■ 4 In Ireland 9 Return to London 12 Etcher and Engraver 12, 13 Royal Academy ... 24 Death... 27 •Wheatley, Mrs. ... I, 4, 5, 16, i*8. 34 [bis) 40 Wheelbarrow, The ... 41 Whessell, J. 43 Wilson, R. 2 •Winter 4, 40 Wolverton, Lord ... 20 Wood Children, The 3 Woodcock, Mrs. 34 Woodman, The 35 •Woodman's Return, The ... 43 Wrexham Exhibition >•• 20 Wright ... ... 47 Y Yeatherd, J. 25, 42 Younge, Miss ... 37 z Zompini, G. 28 55 i I 3 Francis M'heatley, R.A. 31ATLE & CO LTT> TtECORATORS & FURNISHERS Tottenham Court Road London PARIS CATALOCUKS FKSE BUENOS AIRES I Fraiia's W^hcatley, R.A. By Special <1^V §5 >*^^ ^ flprointmcnt. ARTISTS' COLOURMEN to Their Majesties the King and Queen. WiNSOR & Newton, ltd. Manufacturers of Artists Oil and Water Colours " THE WORLD'S STANDARD OF EXCELLENCE " Three New Colours : SPECTRUM RED SPECTRUM YELLOW SPECTRUM VIOLET BRILLIANT TRANSPARENT HIGHLY RESISTANT TO LIGHT Descripti've Circular ivith Specimen Tints Free on Application Winsor & Newton's Colours and Materials may be obtained from the principal Dealers throughout the World OFFICES ^ ^ RATHBONE PLACE, LONDON, W. ABOUT two miles iilunji the se:i coast fruni CuK\ > n Bay towards Llandudno, at the foot of the Little Orme. may be seen a ijroup of greystone farm btiildin!4S which somewhat obscure possibly the most interesting example of .Mediitval Welsh Architecture extant. This is Historic Penrhyn Old Hall ; a ru|;j;ed .Manor House which is on record {vide the works of Leland and other ancient historians) to have existed since 1422, and is of special interest as ha\in<4 been the residence, in Stuart times, of that pre-eminent Welshman. Archbishop Williams, of York. Keeper of the Great Seal of James I. For upwards of a century this unique buildinji had been neglected until recently acquired by the proprietor of "The Aatiquary." Manchester, Mr. E. Booth-Jones, ^^ ho has reinst.ited its c,t\ i.Trious chimiic\ - pi. ices .uid "The Banquet Place." Fenrhyn Old Hall. massive carved timbers into their original form, laid bare its ancient frescoes and mullions, and equipped it witli a wonderful collection of old Welsh oak and curiosities, which add charm and interest to the fifteen chambers of this romantic dwellinji. (Reprint from Roval S'afioiitii Eisteddfod Guide.) Penrhyn Old Hall is a delightful objective for a motor tour, and is typ^n alt the year round. Admission coupons and illustrated guides are posted free to anplicants mentioning this ad\ ertisenient. APpiy : — "Thk ANTiyLARv," Manchester. (In and near Old St. .-Xnne's Churchyard.) ART PHOTOGRAPHS of Paintings and Statuary, Ancient and Modern, Sacred and Secular, in Public Galleries and Private Collections from all parts of the world ; : : : : : : : W. A. MANSELL & GO. 405, Oxford St., LONDON, W. Write to us for particulars of Publications, etc. Post Free Fra?!cis Wheat lev. R.A. FRANK T. SABIN 172 NEW BOND STREET, W. Ttlcgrachic c4ddress: "SABINUS" Telephone 5547 MAYFAIR Pictures Draivings Miniatures Engravings Rare Books Autographs &c. SOPHIA WESTERN From an unique proof impression after Hoppner by ]. R. Smith in the possession of Frank T. Sabin COLLECTIONS VALUED AND PURCHASED FraiiLis W licatlfw R.A. 5* Spratt ESTAHLISHliD 1835 The d\otC(l Fine ^Art (unl (^//nosifv ^Dealer 14, NORTHERNHAY PLACE, EXETER 2,500 Ipictuvce to select from Inckuiiiij; d/s />tT illustrtitiuu) LADY HAMILTON, by ROMNEY. Also Ri:\ . Mr. Coppi.estone, Master of Exeter College, Vice- Clianccllur of Oxford, and Dean of St. Paul's, by John UowNHAN, 1810; Robert Burns, an early work byRAEHURN; and specimens by Renibi'andt, R. P. Boninj*ton, I). Cox, Faed, Greyff, W. Hunt, H. Harding, Hobbcma (1664), Liversege, Morhuid, Niemann, Sir R. Ker Porter, Charles Stuart (1859) Pat Nasniyth (1829), Jan Steen, Valentin, Victor, Varley, Turner, Velasquez, Webster, B. 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This course when completed on any subject forms a work of national value. Members make their own selection of subject, either of any one master's works, any school or class of subject, such as in Biblical, Classical, Historical, Portraiture, etc. The experience of the Principal and his unique library of authentic accounts of public and private collections throughout the world are at the service of members. These afford the means of attaining the object for which the Society is formed. Entrance Fee ... ... 3 guineas.! Mpmhpp<; flimifprl^ JOHN HEWITT, Annual Subscription 3 guineas. I Members (limited) 3 guineas. ' commence at any time. Princinal. ESTABLISHED NEARLY A CENTURY. DEPOT OF ANTIQUITIES & FINE ARTS. Wm. raye JIniiquc jfcwcllcr 1 9 & 20, Scot Lane, DONCASTER ONE OF THE LARGEST STOCKS IN THE NORTH. Genuine Antique Jewellery, Fob Seals, Miniatures, Watches, Ivories, Prints, etc., etc. COLLECTOR OF CURIOS FROM ALL PARTS OF THE WORLD. I5th or I6lh Century Venelian Dower Chest, .ibout fi ft. 6 ins. by 2 h. 7 ins. Iiy 2 ft. 9 ins. K\ccedingl> rare- specimen, cai-ved in Inw relief on top, front :inil sides; c;irvin,ti ;ind decoration well preserved, wood sound, key missin,y. Weight nearly 4 cwts. For />r/ee tiitil fitrHicr parlicuhirs uri7e— THO.MAS, MONTPELLIER, CHELTENHAM. V. Francis Wheat ley, R.A. C. STEVEN has alwa\'s on \'ie\v an interesting selection of PRINTS * ^ POTTERY r PORCELAIN Also a number ot Curios, ot interest to Collectors and others, at low prices 27, King St., Cheapside, LONDON, EX. ^ Good Stock of Old Portraits, &c., for Extra Illustrating REPAIRING OLD CHINA, gc, A SPECIALITY OLD ENGRAVINGS and PAINTINGS FRAMED and RESTORED ERNEST ALDEN 39, KING'S ROAD, TELEPHONE 1419 VICTORIA SLOANE SQUARE, S.W. A SMALL COLLECTION OF FINE BARTOLOZZIS AND WHEATLEYS FOR SALE M. S. 60TL0P, 32, Charing Cross, S.W. (1 list Floor, opposite Admiralty.) TRIAL SOLICITED. /\lr. GOTLOP gives personal attention to every order. Lounge Suits from 50/= Worsted Llamas, Scotch Tweeds, &c. West End Cut and finish. T_ Discount allowed to members of the L.C.C. Staff. Connoisseur Booklet THE Editor will be pleased to forward a Booklet, just issued, containing a Chart of China Marks, Silver Hall Marks, Notes for Print and Furniture Collectors, and other useful information, to ail readers post free, and a number to Booksellers and Newsagents who can make use of them for assisting in the sale of The Connoisseur Magazine :: :: :: :: :: Send a Postcard to The Editor, 95, Temple Chambers, and a Booklet will be forwarded at once :: :: :: :: :: :: ^/4nnual Subscription. 12/', or from the 'Publishers, 1 6j- ; Foreign, 17/- ; Canada, I4f- ^ublished the First of the Month Pubhshma Offices: ... I TEMPLE CHAMBERS Edi.on.I and Advertising Offices : 95 TEMPLE CHAMBERS, E.C. ART at the BRUSSELS EXHIBITION BY M. H. SPIELMANN, F.S.A. NOW ON SALE The only illustrated Book of the above Exhibition of Pictures is being published by the Proprietors of "The Connoisseur" with the approval and by permission of the Authorities. Over sixty of the principal pictures are illustrated, and the text is by Mr. M. H. Spielmann, F.S.A. Price = = = 2 Francs, or Is. 6d. To be obtained from sH Booksellers, or from the Publishers : "THE CONNOISSEUR," I, TEMPLE CHAMBERS, TEMPLE AVENUE. EC. VI. Francis Ulieatley, R.A. Change of Address AFTER 15th NOVEMBER Messrs. YAMANAKA & Co. beg to announce the removal of their premises from ^^=^=^ 68 NEW BOND STREET To 127 NEW BOND STREET LONDON, W. Japanese and (^hin<25e Work5 of .Art NEW YORK JAPAN BOSTON Telephone: 1546, Mayfair Telegraphic Address: " Yamanaka, London" VII. Fi-ainis ]]'hcatlcv. R.A. John Barker £fd: ^^^nsington, w. : : Fine : : Reproductions A pair of Semi- Circular Sheraton Sideboards, made up from old mafiogany, beautifully . finished £15 = 10 = No better value ever offered An interesting collection of Genuine Antiques at commercial prices G. R. PRIOR 8 SONS Khul/v note our ONLY addrcs 'SS Rstiihlished ^o r eivs 50 Stamford Hill, London, N. KiNKLY Cauxed Chii'I'Endale Stooi., in Needi.ework Experts in Old English Furniture ADVICE GIVEN D 000 190 124 ^.