328-1900 Dec. 31, 1354 Long-necked glass bottle with gilded and enamelled decoration, Egypt or Syria, 1300-1400. 30.24646900 1345 2500 c. 1350 (made) 2006AN6450 3 Large bottle of gilded and enamelled glass with flared foot and neck ring. The decoration consists of phoenixes in heraldic pose around the neck and floriated designs in red, green and yellow enamel. The inscription consists of a dedication to an unnamed Sultan. Secular pieces of enamelled glass rarely survive in good condition. This piece was probably used at court for serving drink. Height: 44.5 cm, Width: 21.5 cm maximum Jan. 1, 1345 Glass, gilded and enamelled Jan. 27, 2012, 6:02 p.m. Glass Bottle Egypt or Syria 1300-1400 This bottle was probably used for serving wine and other drinks in a Mamluk palace. A connection with the court is suggested by the main inscription which reads, 'Glory to our lord the Sultan, the wise, just and zealous king'. The smaller decorative motifs include blue roundels containing a phoenix motif derived from Chinese art. Enamelled and gilded glass Museum no. 328-1900 [Jameel Gallery] Islamic Middle East, room 42, case 16, shelf 1 Glory to our lord the Sultan, the wise, just and zealous king 26.69636000 None 3281900

Jan. 27, 2012, 6:02 p.m. This bottle is an example of the fine gilded and enamelled glass manufactured under the Mamluk dynasty, which ruled Egypt and Syria between 1250 and 1517. The design, dominated by a large-scale inscription in blue enamel, is typical of work produced around 1300 to 1350. The mouldings below the mouth of the bottle and around the top of the high foot indicate that the form of this vessel is based on a precious-metal prototype, for which the mouldings would have been structurally necessary. The decoration on the body is in two registers. The main feature of the upper register is three roundels containing a phoenix motif of Chinese origin, reserved in a blue ground. This bird, together with a Chinese-style dragon, had become a popular symbol of royal power among the Mamluks. Three roundels in the lower register contain an arabesque motif reserved in a red ground. These roundels divide the inscription into three parts. It reads, ‘Glory to our master the Sultan, the Wise, the Just King’. Texts such as this appear on many Mamluk objects and indicate that such items were originally made for use at court. The fashion for them probably spread to the richer members of Mamluk society outside the court and they were also exported to Europe. The flattened underside of the bottle and the high foot were left plain, since they could not be seen by those using the bottle, who would have sat on the ground in the Arab manner, looking down on the bottle. Palace and Mosque: Islamic Art from the Victoria and Albert Museum (The Millennium Galleries, Sheffield 14/01/2006-16/04/2006) Palace and Mosque: Islamic Art from the Victoria and Albert Museum (Setagaya Art Museum, Tokyo 01/10/2005-04/12/2005) Palace and Mosque: Islamic Art from the Victoria and Albert Museum (Kimbell Art Museum, Fort Worth, Texas 03/04/2005-04/09/2005) Palace and Mosque: Islamic Art from the Victoria and Albert Museum (National Gallery of Art, Washington 18/07/2004-06/02/2005) Tim Stanley ed., with Mariam Rosser-Owen and Stephen Vernoit, Palace and Mosque: Islamic Art from the Middle East, London, V&A Publications, 2004; p. 34, plate 45 Schmoranz (1898; pl.XXIX), Brooks (1975) Watson, O. "Glass from the Islamic World," in Glass (ed. R. Liefkes), London, 1997, 30-31. bottle Oct. 13, 2010, midnight Unknown 1354 O813 The shape of this bottle can be traced to the Ayyubid period with an almost identical layout employed on an example made for Salah al-Din Yusuf (1237-59), the last Ayyubid ruler of Syria. The second half of the 14th century was the most brilliant period of gilded and enamelled Mamluk glass. Objects made for secular use, such as large bottles, basins, perfume flasks and beakers, generally contain benedictory inscriptions wishing good health on their owner. This reveals the glass industry was one of mass-production for a wealthy elite who could afford the expensive materials. Egypt Gilded and enamelled glass is generally thought to have been produced in Syria and in Egypt during the Ayyubid and Mamluk periods. Though no chronology has yet been established, inscriptions dedicated to specific sultans on mosque lamps have helped to establish the development of decoration on this type of object. Syria is generally credited with the production of most secular enamelled glass, though finds from Fustat, Egypt, have yielded sherds of with a surprising variety of enamel decoration. This bottle appears to fit in with the middle to later style of enamelled glass decoration, with an elaborate and extensive design programme which covers the entire bottle. Figural decoration which is typical of the early Mamluk period, between 1250 and 1300, has been reduced here to a series of phoenixes in heraldic poses and the inscription to an unamed sultan has taken over as the primary form of decoration. MES C.1614-1910 Dec. 31, 1909 104.16564900 1760 756 1760-1909 (made) 2006AU9488 3 The bottle is a heart shaped flattened flask form, narrower towards the base, with a wide flattened neck and a dome shaped flattened stopper. It is made from nephrite jade or possibly serpentine, yellowish green, with carved decoration. The stopper is made from glass coloured to imitate bloodstone. The foot is faceted with an indentation underneath. The decoration is simple and solid, a wide band of raised studs. Height: 5.6 cm Jan. 1, 1760 Carved nephrite jade with a stopper of glass coloured to imitate bloodstone Jan. 27, 2012, 6 p.m. Unique In store 36.89445100 None c16141910

Jan. 27, 2012, 6 p.m. Snuff is powdered tobacco, usually blended with aromatic herbs or spices. The habit of snuff-taking spread to China from the West during the 17th century and became established in the 18th century. People generally carried snuff in a small bottle. By the 20th century these bottles had become collectors' items, owing to the great variety of materials and decorative techniques used in their production. White, Helen. Snuff Bottles from China. London: Bamboo Publishing Ltd in association with the Victoria and Albert Museum, 1992. 291p., ill. ISBN 1870076109. snuff-bottle Aug. 24, 2009, midnight Unknown 1909 O7522 Salting Bequest China FEC 3771-1910 Dec. 31, 1856 76.46881000 1856 1032 1856 (photographed) 1910 (printed) 2008BT3949 3 This photograph shows an oblique view of a temple complex set in a rocky landscape with surrounding trees and hills in the distance. This enclosed rectangular complex has two towering gateways, or gopuras, at either end. The larger of the two has ten receding storeys and the smaller has four storeys, all ornately carved with figures, pilasters and recessed moldings. Both are mounted with ornate barrel-shaped structures. The two gopuras dominate the temple complex which contains smaller shrines and pillared structures. Also glimpsed is a third, far smaller gopura set into a central wall which divides the complex into two sanctuaries. Next to the largest gopura are a couple of figures, posed presumably to indicate scale. Inscription bottom right. Height: 296 mm photographic print, Width: 379 mm photographic print, Height: 381 mm mount, Width: 494 mm mount Hampi (Vijayanagar) Bellary District: Virupaksha Temple Complex. Jan. 1, 1856 Silver gelatin print from waxed paper (calotype) negative Jan. 27, 2012, 6 p.m. In store Greenlaw 28-56 15.32203000 None 37711910

Jan. 27, 2012, 6 p.m. This photograph shows the Virupaksha temple complex, Hampi (Vijayanagara). Vijayanagara, meaning ‘city of victory’ was the imperial capital of the last great Hindu empire to rule south India. Established in 1336 and named after its capital, the Vijayanagara empire expanded and prospered throughout the next century. In 1565, this impressive city was sacked by armies from the Deccan sultanates and never rebuilt. Now known as the ‘Group of Monuments at Hampi’, the site represents the empire’s finest and highest concentration of architecture. Classified into religious, courtly and military buildings, its pillared audience halls and towering gateways are its stylistic hallmarks. Many secular buildings bear Islamic features, displaying the city’s cosmopolitan inception. Some of its religious complexes remain in use today. Amateur British colonial photographer, Alexander Greenlaw was the first to extensively photograph the site in 1855-56. The resulting series of waxed paper negatives were made available to the V&A and printed in 1910. These are the earliest known prints. Fritz, John M. and George Michell, editors. New Light on Hampi, Recent Research at Vijayanagara. Mumbai: Marg Publications, 2001. ISBN-10: 818502653X. Gollings, J., John M. Fritz and George Michell. City of Victory, Vijayanagara: The Medieval Capital of South India. New York: Aperture, 1991. ISBN-10: 0893814679. Gordon, Sophie. Sons of Light: Nineteenth century Photographers at Vijayanagara. Vol. 2 - visual database. Unpublished thesis, 2000. Nagaraja Rao., M. S., editor. Vijayanagara: Through the Eyes of Alexander Greenlaw 1856 and John Gollings 1983. Mysore: Directorate of Archaeology and Museums, 1988. ASIN: B0000CQM78. Verghese, Anila. Hampi: Monumental Legacy. New Delhi: Oxford University Press, 2002. ISBN-10: 0195660587. photograph-hampi-vijayanagar-bellary-district-virupaksha Aug. 24, 2009, midnight Greenlaw, Alexander John (Colonel) 1856 O140028 The V&A holds 61 prints of Vijayanagar and 5 miscellaneous prints (Anglo-Indian architecture in Bellary and Indian tree studies) by Greenlaw. These prints were specially made in 1910 for the V&A collection from the original 1856 negatives which were lent to the museum by Mrs Armitage of East Sheen. Of these 66 prints, 45 are currently held in the Asian Dept and 21 in the Word and Image Dept. The negatives along with another set of prints, also made in 1910, were 'rediscovered' in a private collection in 1980. In 1983, the collector, Edgar Gibbons, a retired Army officer from Cornwall, having recently purchased the negatives and prints from a relative of Greenlaw, made the negatives available to the Vijayanagara Research Project photographer, John Gollings. Gollings made two new sets of prints, one of which he sent to the collector and one of which he kept. The collector's original negatives and 1910 prints were subsequently purchased by the Alkazi Foundation. The Alkazi Foundation currently holds a duplicate set with the exception that the Alkazi does not hold No’s 3795-1910 (Alkazi holds the negative for this image) and 3784-1910. Gollings donated his 1983 set to the Canadian Centre for Architecture (CCA) along with a series of his own photographs. Fascinated by Greenlaw’s images, Gollings painstakingly rephotographed, in 1983, sixty of the exact sites visited by Greenlaw. This was to enable the Vijayanagara Research Project to measure the change in the condition of the monuments over time. Through this process of comparative photography, Gollings assumed that a number of the Greenlaw negatives had been cut down at some stage from their original 16”x18” large format to fit a smaller printing frame. However the negatives do not appear to be cut. Alternatively it is possible that Greenlaw either had two cameras or was able to produce different sized negatives from the one camera. Mount inscriptions - The photograph is top mounted on grey board and shows the original 1910 typed, and handwritten where noted, inscriptions: Top left corner: 'ARCHITECTURE, India' Top centre: 'IIbd' and below, a V&A Library embossed stamp Top right corner: 'C' Bottom left corner: 'HAMPI (Vijayanagar) Bellary District: / [handwritten] Temple.' Bottom right corner: [handwritten] '3771-1910' and below, an attached typed label 'From a paper negative made by Colonel A.J. Greenlaw of the Madras Staff Corps in 1855-56' Verso: [handwritten] 'Hampi / Temples at' Historical significance: Architectural significance (the architecture as subject) - Dominating the sacred centre of Vijayanagara, the Virupaksha temple complex is situated between the Tugrabhadra River and Hemakuta Hill and is approached via the colonnaded Hampi Bazaar. This temple remains the most important at the site today and its main gopura, or towered gateway, in the eastern wall facing Hampi, is the largest at Vijayanagara. The rectangular complex is divided into two sanctuaries connected by a small gopura. Another medium sized gopura is found in the north facing enclosure wall between the main, early shrine dedicated to Virupaksha in the western sanctuary and the Tungrabhadra River. Still in use today, this complex was constructed in greater part in several phases during the sixteenth century. For other views of this temple complex within the series, see 3768-1910, 3769-1910, 3770-1910 and 3772-1910. The Vijayanagara empire ruled southern India from 1336 -1565. As India’s last large state system prior to the British colonial takeover, it has been perceived as the final great era of 'traditional' Hindu India and also as a transitional phase which transformed Indian society from its medieval past towards its modern, colonial era. The empire built its imperial capital, Vijayanagara ('city of victory'), around the ancient religious centre of the Virupaksha temple on the south bank of the Tungabhadra River at Hampi, Bellary District, Northern Karnataka. Three dynasties ruled from Vijayanagara: the Sangama (1336-1485), the Saluva (1485-1505) and the Tuluva (1505-1565). By the year 1500,Vijayanagara was the second most populous city (after Beijing) in the late medieval world. The Vijayanagara rulers fostered developments in intellectual pursuits and the arts, warfare, engineeering and agriculture, and were also great patrons of religion. The ruins at Hampi represent the largest concentration of Vijayanagara architecture and are listed as a UNESCO World Heritage Site, known as 'the Group of Monuments at Hampi'. Vijayanagara architecture consists of religious, courtly and civic buildings and sculpture and is characterised by a return to a more serene art of the past, taking elements from the Chalukya, Hoysala, Pandya and Chola periods. Granite, the local and durable stone, was used with plaster applied to many sculptures to produce a smooth finish which was then gilded or colourfully painted. Photographic significance (the photography as subject) – Greenlaw's systematic coverage of the ruins of Vijayanagara at Hampi is significant within the connected histories of colonialism and photography. Taken in 1855-56 when the use of photography in India was gathering momentum as the new tool of documentation, Greenlaw’s series is important as the earliest extensive photography in India of an archaeological site. While Greenlaw exhibited prints as early as 1856, none are now known to exist from the time the negatives were made, therefore the V&A’s 1910 prints represent the earliest extant photographs. As architectural photography, the series successfully determines the condition of the monuments at that time. Since then, many of the structures, in particular their superstructures and sculpture, have altered in appearance due to further disintegration, banditry, conservation, tourism and development, and some have disappeared altogether. Thorough and perceptive as one of the early amateur photographers who introduced the medium in India, Greenlaw was influenced by the picturesque aesthetic style of his era yet his compositions show a lack of artifice and a clarity of viewpoint. John Gollings writes: “ He has established many of the basic descriptive views and given a coherence to the city which is every architectural photographer’s aim. His work is seminal in conception and outstanding in its execution” (Rao 1988, p.18). Greenlaw worked with large format 16" x 18" negatives which gave good detail to architectural subjects, yet while not unusual for work of this period, they were cumbersome. Despite this and the harsh Indian climate, Greenlaw became technically adept at using the negative-positive calotype process for which paper was impregnated with light sensitive chemicals and then waxed to make the negative translucent for subsequent printing by contact rather than enlargement. The waxed paper process was largely replaced by glass plates in the late 1850s however Greenlaw continued to use it because it suited his particular working conditions and allowed him to process back at base thus enabling a faster coverage of the site. His cumbersome camera, lens and equipment would have required an ox cart and porters for mobility. Long exposures meant few people were caught as subjects unless posed so it is likely that the figures in many of Greenlaw's photographs were his porters, posed to indicate scale and a sense of place. 19th century paper negatives were only sensitive to blue light making them better suited than modern film to photographing granite and brick against blue sky typically found at Vijayanagara. However, Greenlaw's photographs display some tonal difficulties. The high contrast film necessitated low contrast development with resultant tonal merge problems. Greenlaw somewhat crudely countered this by blocking out areas of sky on the negatives with Indian ink. Hampi No photographic prints are known before 1910. A ca. 1886 woodcut illustration (artist unknown) taken from No. 3760-1910 appears in the album, Taylor and Fergusson, 'Architecture in Dharwar and Mysore', London: John Murray, 1866, p.45, in Fergusson, 'History of Indian and Eastern Architecture', Vol. I, London: John Murray, 1910, Fig.168, and later in Fritz, Michell and Nagaraja Rao, 'The Royal Centre at Vijayanagara: Preliminary Report' Melbourne: Department of Architecture and Building, University of Melbourne, Vijayanagara Research Centre, Monograph Series No. 4, 1984, p.4, suggesting that some Greenlaw images formed a part of James Fergusson’s large collection of photographs of Indian architecture. While Fergusson published photographs of Vijayanagara by Pigou and Neill, it is possible that the greyness of Greenlaw’s tonal range restricted the appeal of his photographs for publication. However, their fine picturesque compositions made them suitable as a basis for illustrations. Contemporary to Greenlaw, photographers Dr William Harry Pigou and Dr Andrew Charles Brisbane Neill were also active in Vijayanagara in the mid 1850s working with paper negatives. Also Captain Edmund David Lyon from the 1860s. IND 1632-1888 Dec. 31, 1827 A Watermill at Gillingham, Dorset, John Constable (RA), 1823 - 1827 -1.97685000 1823 6859 1823-1827 (made) 2006AU6480 3 Height: 63 cm, Width: 52 cm, Depth: 8 cm, Height: 86 cm framed, Width: 76.5 cm framed A Watermill at Gillingham, Dorset Jan. 1, 1823 oil on canvas Jan. 27, 2012, 6:07 p.m. British Galleries: Landscape painting had become extremely popular by the 1880s. John Constable and J.M.W. Turner take credit for establishing landscape as an important theme for painting. Until then, historical scenes had been considered more important. Constable was interested in painting local scenery in a 'naturalistic' style. This painting of a mill is based on an earlier sketch. [27/03/2003] British Galleries, room 122h, case WS 105 [?] The Water Mill John Constable R.A. An undershot water-mill at Gillingham-worked by a branch of the stream from Stourhead. 52.88328900 None 16321888

Jan. 27, 2012, 6:07 p.m. Object Type Landscape painting in oil became steadily more popular throughout the 19th century. John Constable and J.M.W. Turner take credit for establishing landscape as a suitable theme for painting. Until then, history paintings had been considered more important, but increasingly naturalistic oil paintings of picturesque views of the British landscape appealed to a wider section of the art-buying public. People John Constable (1776-1837) may have originally been commissioned by John Pern Tinny to paint this picture as it is thought that Tinny had a family connection with the mill, which was also known as 'Perne's mill.' The painting is based on a sketch made in 1823. Subjects Depicted The realistic recording of romantic, tumble down picturesque buildings was dear to Constable's heart and to many other painters who followed him. This recording was necessary since the mill was burnt down in 1825, and was replaced at once with one that was not as picturesque. According to a friend of Constable's, in a letter of 1825, 'The news is, that Mat. Parham's (alias Perne's) mill is burnt to the ground, and exists only on your canvas. A huge misshapen, new bright brick modern improved patent monster is starting up in its stead.' Constable (Tate Gallery London 13/06/1991-15/09/1991) Parris, Leslie and Ian Fleming-Williams, Constable London : The Tate Gallery, 1991. ISBN 1854370707 / 1854370715. 544 p. : ill. (some col.). Exhibition catalogue Catalogue of the Constable Collection, Graham Reynolds, Victoria and Albert Museum, London: HMSO, 1973, cat. no. 288 The following is the full text of the entry: "Constable exhibited at the Royal Academy in 1826 a painting (No.122) entitled 'A Mill at Gillingham in Dorsetshire'; also at the Royal Academy in 1827 another painting (No.n 48) entitled 'Mill, Gillingham, Dorset'; and at the British Institution in1827 a painting (No. 321) 'A Mill at Gillingham, Dorset' with framed measurements 2 ft. 6 ins. x 2 ft. 10 ins. The picture exhibited in 1826 is known to be that now in the possession of Mr. and Mrs. Paul Mellon, (L. ed. M., p. 418 and reproduced Pl. 50). An earlier and smaller version of the composition seen in that picture was painted in1824; this was formerly in the collection of Archdeacon Fisher and is now in the Fitzwilliam Museum, Cambridge. Both these compositions are horizontal, and show the mill from a different angle across the mill-stream. If then No. 288 was painted for exhibition at the Royal Academy it must be the work shown in 1827. It was doubtless the painting of this subject shown by the artist at Worcester in 1835; the description of No.68 in the exhibition, 'A Water Mill' by Constable, in Berrows Worcester Journal, 23 July 1835, quoted by Windsor, p. 128, mentions the men grinding their scythes, a detail which occurs in No. 288but in neither of the other versions of the subject mentioned above. The account in the Worcester Journal goes on to say that the picture "appears to have been painted some years". Holmes, p. 248, wrongly identifies the painting now belonging to Mr. and Mrs. Paul Mellon (then in the C. A. Barton Collection) as that exhibited at the Royal Academy in 1827. He is doubtless correct in identifying No. 288 as Lot 57, 'Gillingham Mill, Dorsetshire', in the Executors' sale, 16 May 1838. This lot was bought by Leslie-that is to say, bought in-for £37 16s. No. 288 was engraved by Lucas (S.: L., p. 206; S. 43). The plate is dated 1843, but was not published by Lucas until 1845. The painting was then in the possession of Miss [Maria] Constable, and had evidently remained with the artist's family throughout. This upright composition may have originated in a commission given by J. P. Tinney, the owner of Constable's 'Stratford Mill', but never fulfilled. Constable had undertaken to paint for him two upright landscapes the size of the 'Cathedral' (L. ed. S., p. 148, Constable's letter of 20 August 1823, to his wife). On the subjects for these projected pictures, Constable wrote to Fisher on 16 December 1823: "I am settled, for the Exhibition. My Waterloo must be done, and one other, perhaps one of Tinney's, Dedham, but more probably my Lock. I must visit Gillingham again for a subject for the other next summer" (Beckett, VI, p. 146). Again, in his letter of 27 May 1824 to Fisher, Constable says: "Tinney ... is anxious to have his ancestors mill, and a view of Salisbury, which we are [to] look for when I come to you" (Beckett, VI, p. 160). Beckett shows, p. 131, that Tinney, whose full name was John Pern Tinney, probably had a family connection with the mill, which was known as Parham' s (or Perne' s) Mill. However, at Constable's urgent request, Tinney, in a letter of 4 November 1824, released him from the obligation to paint the two upright pictures for him (Beckett, VI, p. 178). Beckett, p. 230, suggests that No. 288 is actually one of the uprights which Constable had been painting for Tinney before their relations had been broken off: He did not revisit Gillingham to make the sketch for Tinney's picture as he proposed and No. 288 is presumably based on a sketch made in 1823; e.g. that in the collection of the Earl of Haddington. In 1825 the mill was burnt down. Fisher wrote to Constable in September 1825: "The news is, that Mat. Parham's (alias Perne's) mill is burnt to the ground, and exists only on your canvas. A huge misshapen, new, bright, brick, modern, improved, patent monster is starting up in its stead" (Beckett, VI, p. 206). When the painting was on loan to Worcester, E. Leader Williams (the honorary secretary of the Worcester Literary and Scientific Institution) wrote to Constable "I have thought so much of that sweet little picture-the gable end of the mill, with the slimy mill wheel-that I should be delighted to take a copy of it" (Beckett, V, p. 62). His son, who became known as B. W. Leader, R.A., told Lord Windsor, c.1903, that this copy of his father's was sold as the original and that he had seen it hanging at the Grosvenor Galleries as a genuine picture (Windsor, p. 137). It seems however that Mr. Leader was in error and in any case was thinking of the exhibition of No. 288 at the Royal Academy Winter Exhibition in 1882 (Beckett, V, p. 65). Graham Reynolds" Evans, M., with N. Costaras and C. Richardson, John Constable. Oil Sketches from the Victoria and Albert Museum, London: V&A, 2011, p. 21, fig. 16. oil-painting-a-watermill-at-gillingham-dorset March 3, 2011, midnight Constable, John (RA) 1827 O77435 Bequeathed by Isabel Constable as the gift of Maria Louisa, Isabel and Lionel Bicknell Constable Bequeathed by Isabel Constable as the gift of Maria Louisa, Isabel and Lionel Bicknell Constable, 1888. By John Constable RA (born in East Bergholt, Suffolk, 1776, died in London, 1837) Exhibited at the Royal Academy 1827 Historical significance: Constable exhibited at the Royal Academy in 1826 a painting (No.122) entitled 'A Mill at Gillingham in Dorsetshire'; also at the Royal Academy in 1827 another painting (No.n 48) entitled 'Mill, Gillingham, Dorset'; and at the British Institution in1827 a painting (No. 321) 'A Mill at Gillingham, Dorset' with framed measurements 2 ft. 6 ins. x 2 ft. 10 ins. The picture exhibited in 1826 is known to be that now in the possession of Mr. and Mrs. Paul Mellon, (L. ed. M., p. 418 and reproduced Pl. 50). An earlier and smaller version of the composition seen in that picture was painted in1824; this was formerly in the collection of Archdeacon Fisher and is now in the Fitzwilliam Museum, Cambridge. Both these compositions are horizontal, and show the mill from a different angle across the mill-stream. If then No. 288 [Museum No. 1632-1888] was painted for exhibition at the Royal Academy it must be the work shown in 1827. It was doubtless the painting of this subject shown by the artist at Worcester in 1835; the description of No.68 in the exhibition, 'A Water Mill' by Constable, in Berrows Worcester Journal, 23 July 1835, quoted by Windsor, p. 128, mentions the men grinding their scythes, a detail which occurs in No. 288 (Museum No. 1632-1888) but in neither of the other versions of the subject mentioned above. The account in the Worcester Journal goes on to say that the picture "appears to have been painted some years". Holmes, p. 248, wrongly identifies the painting now belonging to Mr. and Mrs. Paul Mellon (then in the C. A. Barton Collection) as that exhibited at the Royal Academy in 1827. He is doubtless correct in identifying No. 288 [Museum No. 1632-1888] as Lot 57, 'Gillingham Mill, Dorsetshire', in the Executors' sale, 16 May 1838. This lot was bought by Leslie-that is to say, bought in-for £37 16s. No. 288 was engraved by Lucas (S.: L., p. 206; S. 43). The plate is dated 1843, but was not published by Lucas until 1845. The painting was then in the possession of Miss [Maria] Constable, and had evidently remained with the artist's family throughout. This upright composition may have originated in a commission given by J. P. Tinney, the owner of Constable's 'Stratford Mill', but never fulfilled. Constable had undertaken to paint for him two upright landscapes the size of the 'Cathedral' (L. ed. S., p. 148, Constable's letter of 20 August 1823, to his wife). On the subjects for these projected pictures, Constable wrote to Fisher on 16 December 1823: "I am settled, for the Exhibition. My Waterloo must be done, and one other, perhaps one of Tinney's, Dedham, but more probably my Lock. I must visit Gillingham again for a subject for the other next summer" (Beckett, VI, p. 146). Again, in his letter of 27 May 1824 to Fisher, Constable says: "Tinney ... is anxious to have his ancestors mill, and a view of Salisbury, which we are [to] look for when I come to you" (Beckett, VI, p. 160). Beckett shows, p. 131, that Tinney, whose full name was John Pern Tinney, probably had a family connection with the mill, which was known as Parham' s (or Perne' s) Mill. However, at Constable's urgent request, Tinney, in a letter of 4 November 1824, released him from the obligation to paint the two upright pictures for him (Beckett, VI, p. 178). Beckett, p. 230, suggests that No. 288(Museum No. 1632-1888) is actually one of the uprights which Constable had been painting for Tinney before their relations had been broken off: He did not revisit Gillingham to make the sketch for Tinney's picture as he proposed and No. 288 (Museum No. 1632-1888) is presumably based on a sketch made in 1823; e.g. that in the collection of the Earl of Haddington. In 1825 the mill was burnt down. Fisher wrote to Constable in September 1825: "The news is, that Mat. Parham's (alias Perne's) mill is burnt to the ground, and exists only on your canvas. A huge misshapen, new, bright, brick, modern, improved, patent monster is starting up in its stead" (Beckett, VI, p. 206). When the painting was on loan to Worcester, E. Leader Williams (the honorary secretary of the Worcester Literary and Scientific Institution) wrote to Constable "I have thought so much of that sweet little picture-the gable end of the mill, with the slimy mill wheel-that I should be delighted to take a copy of it" (Beckett, V, p. 62). His son, who became known as B. W. Leader, R.A., told Lord Windsor, c.1903, that this copy of his father's was sold as the original and that he had seen it hanging at the Grosvenor Galleries as a genuine picture (Windsor, p. 137). It seems however that Mr. Leader was in error and in any case was thinking of the exhibition of No. 288 at the Royal Academy Winter Exhibition in 1882 (Beckett, V, p. 65). England In 1827 Constable exhibited at the Royal Academy 'Chain Pier, Brighton' (Tate Gallery, No. 5957; see No. 289 [Museum. No. 289-1888]), 'Mill, Gillingham, Dorset' (see No. 288 [Museum No. 1632-1888]) and 'Hampstead Heath'. To the British Institution he sent a version of 'The Glebe Farm' (see No. 111 [Museum No. 161-1888]). PDP C.1685-1910 Dec. 31, 1850 Snuff bottle, glass coloured green with carved decoration in relief, China, 1750-1850 104.16564900 1750 10702 1750-1850 (made) 2006AU9326 3 The bottle is a rounded flattened flask form without a stopper. It is made of glass, coloured dark green to imitate jade, with relief decoration. The decoration depicts catfish amid waves spouting a pavilion, and a bat. On the reverse is a crane carrying a rod in its mouth flying over a pavilion on waves, and a bat. The bottle does not have a separate foot but there is an indentation underneath. The monochrome carved glass suggests a relatively early date. The fish spouting a pavilion may represent shen shi ,'Sea-monster market', the Chinese title of which closely resembles sheng shi, meaning success (Eberhard, p. 227). Height: 5.5 cm Jan. 1, 1750 Green glass, with carved decoration in relief Jan. 27, 2012, 6:13 p.m. In store 36.89445100 None c16851910

Jan. 27, 2012, 6:13 p.m. Snuff is powdered tobacco, usually blended with aromatic herbs or spices. The habit of snuff-taking spread to China from the West during the 17th century and became established in the 18th century. People generally carried snuff in a small bottle. By the 20th century these bottles had become collectors' items, owing to the great variety of materials and decorative techniques used in their production. White, Helen. Snuff Bottles from China. London: Bamboo Publishing Ltd in association with the Victoria and Albert Museum, 1992. 291p., ill. ISBN 1870076109. snuff-bottle Aug. 24, 2009, midnight Unknown 1850 O7866 Salting Bequest China FEC C.1674-1910 Dec. 31, 1895 Snuff bottle, opaque brown glass with an overlay of blue glass carved in relief, China, 1750-1895 104.16564900 1750 10761 1750-1895 (made) 2006AU9182 3 The bottle is a rounded flattened flask form without a stopper. It is made of opaque brown glass, with an overlay of blue glass carved in relief. The decoration depicts a toad, lotus, bamboo, pine and a flying crane. On the reverse is a fish, lotus and pine. The foot is formed by the overlay an there is an angular indentation underneath. Height: 6.5 cm Jan. 1, 1750 Opaque brown glass with an overlay of blue glass carved in relief Jan. 27, 2012, 6:13 p.m. In store 36.89445100 None c16741910

Jan. 27, 2012, 6:13 p.m. Snuff is powdered tobacco, usually blended with aromatic herbs or spices. The habit of snuff-taking spread to China from the West during the 17th century and became established in the 18th century. People generally carried snuff in a small bottle. By the 20th century these bottles had become collectors' items, owing to the great variety of materials and decorative techniques used in their production. White, Helen. Snuff Bottles from China. London: Bamboo Publishing Ltd in association with the Victoria and Albert Museum, 1992. 291p., ill. ISBN 1870076109. snuff-bottle Aug. 24, 2009, midnight Unknown 1895 O7932 Salting Bequest China FEC C.1683-1910 Dec. 31, 1895 Snuff bottle, opaque white glass with light brown glass overlay carved in relief, China, 1750-1895 104.16564900 1750 10813 1750-1895 (made) 2006AU9247 3 The bottle is a rounded flattened flask form made of opaque white glass, with overlay of light brown glass, carved in relief. The dome-shaped two-part stopper is made of jade and glass coloured to imitate rose quartz. The carved relief depicts two men, one of them perhaps a juggler, and a woman holding a tall rod. On the reverse, the same three figures beneath a pine tree; the pine tree extends from rocks on one shoulder; on the other shoulder are rocks, clouds and the sun, which bears the character ri, 'sun'. There is no separate foot but the bottle is cradled by the brown glass overlay. The colour of the glass overlay is unusual. Height: 5.9 cm Jan. 1, 1750 Opaque white glass with light brown glass overlay carved in relief Jan. 27, 2012, 6:13 p.m. In store 36.89445100 None c16831910

Jan. 27, 2012, 6:13 p.m. Snuff is powdered tobacco, usually blended with aromatic herbs or spices. The habit of snuff-taking spread to China from the West during the 17th century and became established in the 18th century. People generally carried snuff in a small bottle. By the 20th century these bottles had become collectors' items, owing to the great variety of materials and decorative techniques used in their production. White, Helen. Snuff Bottles from China. London: Bamboo Publishing Ltd in association with the Victoria and Albert Museum, 1992. 291p., ill. ISBN 1870076109. snuff-bottle Aug. 24, 2009, midnight Unknown 1895 O8000 Salting Bequest China FEC 924&A-1903 Dec. 31, 1900 Glass snuff bottle with an overlay of red glass, incised and carved decoration, with an amethyst stopper, China, ca.19th century 104.16564900 1750 10837 1750-1900 (made) 2006AU8783 3 The object is a bottle gourd form made of glass, transparent mottled with white flecks; with overlay of red glass trailed and incised to form the decoration The stopper is an irregular dome-shaped of amethyst or purple glass set in metal. The surface of the double gourd is decorated with a trailing stem bearing bottle gourds and leaves; around the waist is a ridged band of red overlay. The bottle does not have a foot but is instead supported like a tripod on three of the overlay bottle gourds. Height: 6.4 cm Jan. 1, 1750 [Snuff bottle] Glass, with an overlay of red glass, with incised and carved decoration [Stopper] Amethyst or purple glass set in metal Jan. 27, 2012, 6:14 p.m. In store 36.89445100 None 924a1903

Jan. 27, 2012, 6:14 p.m. Snuff is powdered tobacco, usually blended with aromatic herbs or spices. The habit of snuff-taking spread to China from the West during the 17th century and became established in the 18th century. People generally carried snuff in a small bottle. By the 20th century these bottles had become collectors' items, owing to the great variety of materials and decorative techniques used in their production. White, Helen. Snuff Bottles from China. London: Bamboo Publishing Ltd in association with the Victoria and Albert Museum, 1992. 291p., ill. ISBN 1870076109. snuff-bottle Aug. 24, 2009, midnight Unknown 1900 O8025 Boone Bequest China FEC C.1644-1910 Dec. 31, 1850 Snuff bottle, semi opaque white glass with an overlay of red glass, carved in relief. Jade stopper, China, 1750-1850 104.16564900 1750 10839 1750-1850 (made) 2006AU8783 3 The bottle is an elongated flattened pear form made of semi-opaque white glass, with an overlay of red glass, carved in relief. The stopper is irregular, flat-topped and made of green and white jadeite jade. The decoration depicts fish on waves spouting a pavilion, with two bats above, the design enclosed within a pear-shaped border. There is a similar design on the reverse. The bottle has a rounded base which stands on floral motif with four petals carved in clear glass. Height: 8.1 cm Jan. 1, 1750 Semi opaque white glass with an overlay of red glass, carved in relief, with jade stopper Jan. 27, 2012, 6:14 p.m. In store 36.89445100 None c16441910

Jan. 27, 2012, 6:14 p.m. Snuff is powdered tobacco, usually blended with aromatic herbs or spices. The habit of snuff-taking spread to China from the West during the 17th century and became established in the 18th century. People generally carried snuff in a small bottle. By the 20th century these bottles had become collectors' items, owing to the great variety of materials and decorative techniques used in their production. White, Helen. Snuff Bottles from China. London: Bamboo Publishing Ltd in association with the Victoria and Albert Museum, 1992. 291p., ill. ISBN 1870076109. snuff-bottle Aug. 24, 2009, midnight Unknown 1850 O8027 Salting Bequest China FEC C.1567-1910 Dec. 31, 1880 Transparent glass snuff bottle and stopper with overlay of red glass partly carved in relief, China, 1750-1880 104.16564900 1750 10848 1750-1880 (made) 2006AU9183 3 The bottle is an elongated flattened pear form and is made of transparent glass with overlay of red glass partly carved in relief. The two-part dome-shaped stopper.is made of coral and turquoise-coloured stone or glass. The decoration depicts eight flower sprays, including lotus, pink, poppy and orchid, separately arranged, four on each side. The high splayed foot is formed by the overlay with high indentation underneath. This quartered arrangement of the decoration is unusual amongst the red overlay bottles. The carving is fairly crude. The coral dome of the stopper is formed from half a coral bead. Despite the glass being of clearer transparency, this bottle is comparable with 438-1880, which was certainly made before 1880, so I have given the same dating parameters. Height: 7.8 cm Jan. 1, 1750 Transparent glass with overlay of red glass partly carved in relief Jan. 27, 2012, 6:14 p.m. In store 36.89445100 None c15671910

Jan. 27, 2012, 6:14 p.m. Snuff is powdered tobacco, usually blended with aromatic herbs or spices. The habit of snuff-taking spread to China from the West during the 17th century and became established in the 18th century. People generally carried snuff in a small bottle. By the 20th century these bottles had become collectors' items, owing to the great variety of materials and decorative techniques used in their production. White, Helen. Snuff Bottles from China. London: Bamboo Publishing Ltd in association with the Victoria and Albert Museum, 1992. 291p., ill. ISBN 1870076109. snuff-bottle Aug. 24, 2009, midnight Unknown 1880 O8038 Salting Bequest China FEC C.1664&A-1910 Dec. 31, 1895 semi-opaque white glass snuff bottle with stopper, with an overlay of red glass carved in relief, China, 1750-1895 104.16564900 1750 10908 1750-1895 (made) 2006AU8831 3 The bottle is an oval flattened flask form with wide neck hole. It is made of semi-opaque white glass suffused with bubbles, with an overlay of red glass carved in relief. The irregular dome-shaped stopper is made of green and white jadeite jade set in metal. The decoration depicts a pavilion in a rocky place with pine and magic fungus, with a man sitting, perhaps reading. On the reverse there is a boy on a buffalo, playing a pipe, crossing a bridge over water. A pine tree grows from a rock on one shoulder of the bottle and spreads across both sides; on the other shoulder is a banana plant. The high straight foot is formed by overlay, with high angular indentation. Height: 6.1 cm Jan. 1, 1750 [Snuff bottle] Semi-opaque white glass suffused with bubbles, with an overlay of red glass, carved in relief [Stopper] Green and white jadeite jade set in metal Jan. 27, 2012, 6:14 p.m. In store 36.89445100 None c1664a1910

Jan. 27, 2012, 6:14 p.m. Snuff is powdered tobacco, usually blended with aromatic herbs or spices. The habit of snuff-taking spread to China from the West during the 17th century and became established in the 18th century. People generally carried snuff in a small bottle. By the 20th century these bottles had become collectors' items, owing to the great variety of materials and decorative techniques used in their production. White, Helen. Snuff Bottles from China. London: Bamboo Publishing Ltd in association with the Victoria and Albert Museum, 1992. 291p., ill. ISBN 1870076109. snuff-bottle Aug. 24, 2009, midnight Unknown 1895 O8103 Salting Bequest China FEC C.1568-1910 Dec. 31, 1895 Mottled white glass snuff bottle, with an overlay of red glass partly cut away, China, ca.19th century 104.16564900 1750 10941 1750-1895 (made) 2006AU9190 3 The bottle is a flattened pear form with no stopper. It is made of glass, mottled white, with an overlay of red glass partly cut away. The decoration depicts a tree in blossom which spans both sides of the bottle. On one side are three boys, one at the top of a ladder pulling down a branch, the second beating the third and the smallest with a branch. On the reverse there are two boys running along a path towards a banana tree. The high foot is formed by overlay with an angular indentation underneath. Height: 6.8 cm Jan. 1, 1750 Mottled white glass, with an overlay of red glass partly cut away Jan. 27, 2012, 6:14 p.m. In store 36.89445100 None c15681910

Jan. 27, 2012, 6:14 p.m. Snuff is powdered tobacco, usually blended with aromatic herbs or spices. The habit of snuff-taking spread to China from the West during the 17th century and became established in the 18th century. People generally carried snuff in a small bottle. By the 20th century these bottles had become collectors' items, owing to the great variety of materials and decorative techniques used in their production. White, Helen. Snuff Bottles from China. London: Bamboo Publishing Ltd in association with the Victoria and Albert Museum, 1992. 291p., ill. ISBN 1870076109. snuff-bottle Aug. 24, 2009, midnight Unknown 1895 O8212 Salting Bequest China FEC C.1783&A-1910 Dec. 31, 1895 104.16564900 1750 11180 1750-1895 (made) 2006AU9525 3 The bottle is an oblong flattened flask form with a three-part stopper. It is made of chalcedony, grey and tawny yellow with brown inclusions, with decoration carved in relief. The stopper is of white glass, lapis lazuli and coral. The decoration depicts a bearded man sitting beside water holding a peach in his hand; beneath a willow tree is a jar, a fan and a bottle gourd with a cloud of vapour. On the reverse there is a man holding a bottle gourd on a round tray in a landscape of rocks, water, willow and pine. The high curved foot has a shallow indentation underneath. The decoration may represent episodes in the story of Li Tieguai, the Immortal who is particularly associated with the bottle gourd. The yellow shading and brown inclusions in the stone are used in the design and influence the placing of the carved decoration. Height: 6.1 cm Jan. 1, 1750 [Snuff bottle] Chalcedony, with brown inclusions and decoration carved in relief [Stopper] White glass, coral and lapis lazuli Jan. 27, 2012, 6:14 p.m. In store 36.89445100 None c1783a1910

Jan. 27, 2012, 6:14 p.m. Snuff is powdered tobacco, usually blended with aromatic herbs or spices. The habit of snuff-taking spread to China from the West during the 17th century and became established in the 18th century. People generally carried snuff in a small bottle. By the 20th century these bottles had become collectors' items, owing to the great variety of materials and decorative techniques used in their production. White, Helen. Snuff Bottles from China. London: Bamboo Publishing Ltd in association with the Victoria and Albert Museum, 1992. 291p., ill. ISBN 1870076109. snuff-bottle Aug. 24, 2009, midnight Unknown 1895 O8434 Salting Bequest China FEC P.40&A-1935 Dec. 31, 1540 Portrait miniature of Mrs Jane Small, formerly Mrs Pemberton, watercolour on vellum in a decorated case, by Hans Holbein, ca. 1536. -1.97685000 1531 18900 ca.1536 (made) ca. 1536 (painted) 16th century (made) 2006BG4674 3 [Miniature] Portrait, half-length, turned to and looking to right, hands folded and wearing a black dress, white cap and a necklace with a flower attached. [Lid] Lid and case containing a miniature portrait; the lid is painted with the heraldic device of a dragon, along with a coat of arms below, on a dark blue base. Diameter: 52 mm Mrs Jane Small, formerly Mrs Pemberton Jan. 1, 1531 [Miniature] Watercolour on vellum, stuck to a playing card with five of diamonds Jan. 27, 2012, 6:28 p.m. Gothic Portrait of Jane Small About 1540 Hans Holbein the Younger 1497/8-1543 Jane Small was the wife of a London cloth Merchant. Her social status is reflected in her relatively simple costume. The red carnation at her bosom is perhaps a reference to her betrothal. This probably took place around 1540 and may have been marked by this portrait. Body colour on vellum Painted in London Inscribed in Latin 'In the year of her age 23' V&A: P.40-1935. Purchased with the assistance of the National Art Collections Fund Cat. Portrait Miniatures, room 90a, case 2 [Miniature] 'Anno - Etatist - Svae - 23' 'In the year of her age 23' 52.88328900 None p40a1935

Jan. 27, 2012, 6:28 p.m. When Holbein painted this image in 1536, it was virtually unknown in England for anyone other than courtiers to be recorded in a portrait. Until then portraiture had been a part of the funeral traditions of the powerful rather than a celebration of more modest lives. This beautiful miniature, however, shows that almost from the moment of its invention the portrait miniature was not exclusively a court art. A coat of arms, painted on a piece of vellum long associated with this portrait and set in the lid, identifies the sitter as ‘Mrs Pemberton’. This identification had always been something of a puzzle, since Mrs Pemberton appeared to be the wife of an obscure country gentleman living in a Northamptonshire village, far from both the court and Holbein’s practice in London. Recently, however, the evidence has been reinterpreted, and the more likely explanation is that the sitter was Mrs Jane Small, whose maiden name was Pemberton. Jane was the wife of a prosperous London merchant, Nicholas Small, and they were close neighbours of Holbein. It is not known if she was painted for a particular occasion, or why she is shown wearing a red flower and two ears of corn and holding a leaf. Artists of the Tudor Court: the portrait miniature rediscovered, 1520-1620 (Victoria and Albert Museum 09/07/1983-06/11/19833) Holbein in England (Tate Gallery London 28/09/2006-07/01/2007) Gothic: Art for England 1400-1547 (Victoria and Albert Museum 09/10/2003-18/01/2004) Foister, Susan, with contributions by Tim Batchelor Holbein in England Tate Publishing, 2006. ISBN: 1 85437 645 4. Exhibition catalogue. 100 Great Paintings in The Victoria & Albert Museum. London: The Victoria and Albert Museum, 1985, pp. 38-39 The following is the full text of the entry: "Hans Holbein the younger MRS PEMBERTON Inscribed in gold ANNO ETATIS SUAE 23 Water-colour, on parchment mounted on part of a playingcard. At the back, on vellum, is painted the coat of arms of Pemberton-More, dated 1556. Diameter 5.3 cm P.40-1935. Formerly in the Collection of J. Pierpont Morgan. Purchased from the Funds of Captain H B Murray's Bequest, together with donations from Viscount Bearsted and the National Art-Collections Fund. Holbein was born in Augsburg, the son and, eventually, the pupil of a painter of the same name. About 1514 he went to Basle where he was initially principally employed as a designer for printers. He remained in that city, apart from short visits to France and - possibly - Italy, until 1526, when he paid his first visit to England. He remained there until 1528 and painted a number of portraits of courtiers, including the famous group portrait of the More family. On his return to Basle he found that the fanaticism of Protestant extremism severely reduced the amount of work available to him. He returned to England in 1532, remaining there until his death and enjoying royal and court patronage from 1536. Queen Jane Seymour died in 1537 and in 1539 Thomas Cromwell, then Lord Treasurer and later Earl of Essex, opened negotiations for the King's marriage to Anne, daughter of the Protestant Duke of Cleves, such an alliance appearing politically advantageous. The English ambassador cautiously reported that 'I hear no great praise of her personage, nor of her beauty' and in the Spring of 1539 the King asked for a portrait, but none was forthcoming. In the Summer the King sent Holbein to Duren, near Cologne, to paint Anne's portrait. An oil-painting, now in the Louvre, and the present miniature resulted. The marriage treaty was signed in September and Anne reached England in December, to be greeted with dismay by her wooer who thought her no better than 'a Flander's mare'. However, the marriage took place in January 1540, to be followed in July by an annulment on the grounds of non consummation. The political miscalculation cost Cromwell his life at the end of that July, but the ex-queen was well-treated and lived contentedly in England until her death. Whatever the relationship of the portrait to reality Horace Walpole's high praise of the miniature as 'the most exquisitely perfect of all Holbein's works, as well as in the highest preservation' remains apposite. The ivory box in which the miniature is housed probably dates from the 17th century. The history of the portrait of ‘Mrs Pemberton’ is veiled in obscurity. The sitter is traditionally believed to be Elizabeth Throckmorton, wife of Robert Pemberton, although the identification cannot be proved. The arms, dated 1556, which appear on the reverse of the case are Pemberton above Longworth impaling More and appear to relate to a Pemberton-More marriage some fifteen or sixteen years later than the miniature itself, which must be dated to c.1540. The nature of the connection between the portrait and the arms is as yet unexplained. Whatever the identity of the sitter this cool, dispassionate portrait exemplifies (along with the Anne of Cleves portrait) a recent critical comment that 'For Holbein himself scale seems to have been almost a matter of indifference; it was simply a question of what size of image was wanted' and that it 'is as dense and monumental in characterization as any bigger portrait'. Harold Barkley" Strong, Roy. Artists of the Tudor Court: the Portrait Miniature Rediscovered 1520-1620.. London: The Victoria and Albert Museum, 1983. Cat. 29, pp. 47-48. Full Citation: "HANS HOLBEIN 29 ?Margaret Throckmorton, Mrs Robert Pemberton, c. 1536 Victoria & Albert Museum (P.40-1935) Vellum stuck to a playing card with five hearts verso, circular, 52 mm, 2 1/16 in diam. Margaret Throckmorton (d.1576) was the daughter of Richard Throckmorton of Higham Ferrers. She married, at an unknown date Robert Pemberton. The identity depends of the coat of arms, mounted onto vellum stuck to a playing card which is inserted separately at the back of the miniature, bearing the year 1566, but the painting is 17th century in date. The arms are those of Robert Pemberton of Pemberton, Lans and of Rushden (d.1594) impaling those of his wife Margaret Throckmorton. There is nothing to disprove this identity and, indeed, the absence of jewellery and simplicity of dress argue for modest rank. She was one of the younger daughters of a country gentleman but not without connections. Her aunt by marriage, or firt cousin’s wife, was Catherine, Lady Throckmorton, sister to Thomas 2nd Lord Vaus who sat for Holbein (information from the Hon Clare Stuart Wortley, 1935; Parker, Holbein, 1945, nos. 24, 30) and her Throckmorton cousins had posts at court. In spite of this a sitter of her rank is quite exception among early Tudor miniatures, but Holbein’s sitters were never confined to the narrow range of Hornebolte’s. The costume and pose are virtually duplicated in the portrait of a woman with a white coif at Detroit (Ganz, Holbein, pl. 123) which Gantz dates c. 1534. It is usual to date Mrs. Pemberton c. 1540-43 but it is most closely related in introspection of mood to Holbein’s Margaret Rorer of 1536. Both look back to the portraits of ladies of the More family and circle during Holbein’s first period, for after he entered royal service in 1537 the treatment became progressively more iconic and the sitters wholly of the court. The background is discoloured and a number of paint losses have been crudely restored. INSCRIBED: On either side of the head: ANNO / ETATOS SVAE 23 COLLECTIONS: First recorded in 1865 when lent to the South Kensington Exhibition by Mr. J. Heywood Hawkins; sold in the C. H. T. Hawkins sale, Christie’s 13th May 1904 (lot 907); J. Pierpont Morgan collection; sold Christie’s 24th June 1935 (lot 125); purchased with funds from the Capt. H. B. Murray bequest and donations from the N.A.C.F. and Viscount Bearsted. LITERATURE: R. Holmes, “A Miniature by Holbein”, Burlington Magazine, V, 1904, p.337. Williamson, Catalogue, 1906, I, p. 8 (pl. 4). Chamberlain, Holbein, II, pp. 228-29. Winter, Elizabethan Miniatures, pl. I. Ganz, Holbein, p. 259 (140).” Marks, Richard and Paul Williamson, eds. Gothic: Art for England, 1400-1547. London: V&A Publications, 2003. 496 p. : ill. 1851774017 (hbk.) 1851774025 (pbk.). miniature-mrs-jane-small-formerly-mrs Oct. 25, 2011, midnight Holbein, Hans (II) 1540 O16583 Purchased with the assistance of The Art Fund, the Murray Bequest, and an anonymous donor England PDP