Classical Landscape with Venus and Adonis

105-1878 Dec. 31, 1758 Oil painting, Richard Wilson (1712/13-1782), Classical Landscape with Venus and Adonis', c.1754-5 [Frame dimensions 95 x 107 cm] 12.57341000 1749 19049 ca. 1754-5 (painted) 2006AN6850 3 Height: 24.75 in estimate, Width: 29.5 in estimate, Height: 75 cm framed, Width: 85 cm framed Classical Landscape with Venus and Adonis Jan. 1, 1749 oil on canvas April 29, 2013, 1:24 p.m. In Storage 42.50299800 None 1051878

April 29, 2013, 1:24 p.m. The subject is taken from the Metamorphoses, a series of mythological tales in verse by the ancient Roman poet Ovid, which was a favourite source for Wilson in his later years. It shows the artist at the height of his powers, reinterpreting the classical landscape of Claude Lorrain in seventeenth-century Italy for a late eighteenth-century British audience. The ruined building appears in other compositions by Wilson, and is recorded in his 1752 Italian sketchbook, also in the V&A collection; it has been identified as an ancient tomb known as the Sedia di Diavolo, in the Roman Campagna, and may refer to the tragically early death of Adonis. classical-landscape-with-venus-and-oil-painting-wilson-richard-ra March 20, 2013, midnight Wilson, Richard (RA) 1758 O16565 Purchased, 1878 Col. Bowles, Steeple Aston, Oxon., (his father Oldfield Bowles was a patron of Wilson); H. A. J. Munro of Novar; Novar sale, Christies's 6 April 1878 (61), bt. Whitehead for the V&A £176-13-0. Historical significance: Richard Wilson was a Welsh painter who had studied in Italy. Dutch landscape painting, particularly the work of Aelbert Cuyp, also influenced him. Wilson's patrons were the wealthy elite who sent their sons on the Grand Tour. He had begun as a portraitist, but in about 1752 gave up portrait painting in favour of landscapes. He continued to paint landscapes in the Italian manner even after he returned to Britain. Wilson was a founder member of the Royal Academy and enjoyed considerable success until the early 1770s. Although his career then went into decline, his treatment of landscape strongly influenced the next generation of artists, particularly J.M.W. Turner. The attribution on acquisition was that the landscape was by Wilson and the figures by Cipriani. This was doubted by Brinsley Ford and Douglas Cooper (note on Departmental Files [now lost]) and by W. G. Constable [original note also now lost]. It is accepted as an autograph Wilson by Solkin." [David H. Solkin, Richard Wilson: The Landscape of Reaction, The Tate Gallery, 1982, cat. no. 70., p.186-7. Quoted in full below]. W.G Constable, Richard Wilson, London and Cambridge, Mass. 1953, p.103 (as rejected work). David H. Solkin, Richard Wilson: The Landscape of Reaction, The Tate Gallery, 1982, cat. no. 70., p.186-7: Classical Landscape with Venus and Adonis, c.1754-5 Inscribed on the plinth, lower right, 'R.W.' This little-known picture is one of Wilson's earliest illustrations to Ovid's Metamorphoses, an antique text that was to provide him with subjects for most of his later historical landscapes. Doubtless his choice of Ovid was a strategic one, designed not only to display his own intellectual capacities, but also to invoke the example of Claude Lorrain, who had often included Ovidian figures in his classical scenes. Perhaps because Claude himself had never depicted the story of Venus and Adonis (Metamorphoses, Book x), Wilson turned to elsewhere for inspiration when he came to design his figures: these appear to be closely based on Zuccarelli's 'Diana Appearing to Endymion' (H. M. The Queen, Windsor Castle), which our painter must have seen at the home of Consul Joseph Smith in Venice. [see M. Levey, The Later Italian Pictures in the Collection of Her Majesty the Queen, London 1964, pl.196]. But in all other respects the 'Venus and Adonis' shows Wilson at the height of his infatuation with Claude. Its design resembles that of a Claude 'flight into Egypt' of 1639 (Notre Dame University Art Gallery), which was still in Rome in the eighteenth century. Wilson's palette, too, is overwhelmingly Claudean, particularly in the background of the landscape, while his treatment of the foliage is equally derivative . he seems to have encountered no little difficulty in emulating Claude's technique of glazing thin layers of translucent paint one over the other. Perhaps because he did not wait long enough for each layer to dry, or due to the use of an unstable medium, Wilson's picture has undergone extensive cracking - a problem that reoocurs in several of his oils from this period. Of these a 'Diana and Actaeon' of 1754 (Constable, pl. 17a) and the 'Ego Fui in Arcadia' of 1755 [this exhibition, cat. no. 74] bear the closest stylistic affinities to the present work. The ancient ruin on the right-hand side reappears in several other Wilson landscapes, including one brief sketch in the V&A sketchbook of 1752 [this exhibition, no.21, E.3586-1922] [The same ruin also figures prominently in Wilson's 'Via Nomentana' of 1766, this exhibition, cat. no.123]. This building has been identified as the Sedia di Diavolo, which stands near to the Via Nomentana in the Roman Campagna. Although the 'Venus and Adonis' is far from being in optimum condition, there is no reason to doubt the traditional attribution to Wilson, whose initials appear on the plinth at lower right. He probably sold this work after his departure from Italy to Oldfield Bowles, on of his most fervent admirers [The 'Venus and Adonis' was sold by one of Bowles' descendants to H.A.J. Munro of Novar at some point during the mid-nineteenth century; see Christie's cat. of 6 April 1878, lot 61]. Italy PDP P.37-1955 Dec. 31, 1787 Oil painting on glass, 'Wooded River Landscape with Figures on a Bridge, Cottage, Sheep and Distant Mountains', Thomas Gainsborough, ca. 1783-1784 -2.23218000 1778 9014 ca. 1783-1784 (painted) 2006AP9852 3 This is catalogue no. 154 in John Hayes "The Landscape Paintings of Thomas Gainsborough: A Critical Text and Catalogue Raisonne" (1982). For a General Note on the series of transparencies and the display box, see "History 1", under "Historical Significance". For Provenance see "History 1", under "Object History Note". Notes taken from Hayes, cat. no. 154: There is a drawing by Gainsborough in a private collection (illustrated Hayes, fig. 154a) which is very similar to this transparency. But this transparency is "exceptionally rapidly handled", with the freedom and spontaneity of a first work, and it seems unlikely that the drawing is a study for the painting. Instead it is more likely that Gainsborough developed the ideas begun in the transparency in the drawing, with the addition of two cows in the foreground. Height: 27.9 cm, Width: 33.7 cm Wooded River Landscape with Figures on a Bridge, Cottage, Sheep and Distant Mountains Jan. 1, 1778 transparent oil on glass April 29, 2013, 12:50 p.m. Paintings, room 88, case EAST WALL CASE 54.31391900 None p371955

April 29, 2013, 12:50 p.m. The mountain in this painting recalls Cader Idris in north Wales. This was the subject of a painting by Richard Wilson that was exhibited at the Royal Academy in 1774. See Sensation and Sensibility. Viewing Gainsborough's cottage door, ed. by A. Bermingham, 2005, pp. 23-24 Hayes, John. The landscape paintings of Thomas Gainsborough: a critical text and catalogue raisonné. London: Sotheby Publications, 1982, vol. 2, p. 527, cat. no. 154 The following is the full text of the entry: "154 Wooded Upland River Landscape with Figures crossing a Bridge, Cottage, Sheep and Distant Mountains Transparency on glass. 11 X 13¼ 27.9 X 33.7 Painted c.1783-4 Victoria and Albert Museum, London (P.37-1955). PROVENANCE Purchased from Margaret Gainsborough (1752-1820) by Dr Thomas Monro (1759-1833); Monro sale, Christie's, 26 June 1833 ff., 3rd day (28 June), lot 168, bt W. White, who bequeathed it to G. W. Reid; anon. [Buck Reid] sale, Christie's, 29 March 1890, lot 132, bt in; Leopold Hirsch; Hirsch sale, Christie's, 11 May 1934, lot 104, bt Gooden and Fox for Ernest E. Cook; bequeathed to the Victoria and Albert Museum, through the National Art-Collections Fund, 1955. EXHIBITION GG, 1885 (394). BIBLIOGRAPHY Waterhouse, no. 978, repr. pl. 268; Jonathan Mayne, 'Thomas Gainsborough's Exhibition Box', Victoria and Albert Museum Bulletin, vol. I, no. 3, July 1965, repr. fig. 5 (reversed); Hayes, Drawings, p. 287. Gainsborough was familiar with transparency painting, and had himself painted transparencies for the decoration of Bach and Abel's concert rooms in Hanover Square, London, opened in February 1775; but it seems to have been de Loutherbourg's Eidophusikon, first shown in February 1781, which inspired his own 'peep-show' for displaying his ideas for landscapes (see pp. 140-42). Gainsborough's rather amateurish box (pls 171, 172) consisted of a large storage space, containing twelve slats, to house his transparencies; a system of cords and pulleys to hoist the desired transparency into position; four slats behind this position, into anyone of which could be inserted a semi-transparent silk screen; and, at the back, five candle-holders. The spectator viewed the transparencies through a large round peep-hole, fitted with a magnifying lens, in the front of the box. The lens could be adjusted to between 25½ and 34½ inches of the projected transparency, thus producing an image with a magnification of between two-and-a-half and five times the size of the original, according to the length of adjustment. The light transmitted from the candles behind, albeit diffused through the silk screen, produced a luminosity close to that in nature impossible to achieve in oil painting on an opaque support. It is not known whether the transparencies were intended to be viewed with the painted surface facing the candle or the spectator; there is optical evidence to favour the former method, but this matter, and others connected with the box, require further investigation (the reproductions in the present catalogue are all of the painted surface). (I am grateful to Mr Lionel Lambourne and Mr John Murdoch, of the Victoria and Albert Museum, for their help, and for allowing me to examine the official file.) Gainsborough must have painted numerous transparencies for showing in his box, but only ten survive (this one and cat. nos 133, 134, 139, 140, 154, 155, 172, 173 and 177): all these are completely tonal in quality, executed in a range of blues, greens and browns, and Gainsborough's aim was clearly to heighten and dramatize his effects of light. A drawing owned by Christian Mustad (154a; Hayes, Drawings, no. 779), which differs from the transparency in a number of minor ways, and also includes two cows in the foreground, seems more likely to have been worked up later from this exceptionally rapidly handled transparency than to be, in any sense, a study for it. Gainsborough's transparencies were, in essence, studies anyway. For other cases where drawings seem to have been made from the transparencies, rather than the other way about, see cat. nos 172 and 173. The strongly rhythmical design is characteristic of this period, and the motif of figures crossing a bridge had been used in the Washington and Cardiff landscapes (cat. nos 151, 153). Also mentioned on pp. 140-41, 142. DATING Closely related to cat. nos 151 and 153 in the rapid, washy handling of all the forms, the soft modelling of the mountains and bushy trees and the motif of travellers crossing a stone bridge." wooded-river-landscape-with-figures-oil-painting-gainsborough-thomas-ra March 21, 2013, midnight Gainsborough, Thomas (RA) 1787 O82777 Bequeathed by Ernest E. Cook through The Art Fund Hayes 1982, cat. no. 154, p. 527 "Provenance: Purchased from Margaret Gainsborough (1752-1820) by Dr Thomas Monro (1759-1833); Monro sale, Christie's, 26 June 1833 ff., 3rd day (28 June), lot 168, bt W. White, who bequeathed it to G.W. Reid; anon. [Buck Reid] sale, Christie's, 29 March 1890, lot 132, bt in; Leopold Hirsch; Hirsch sale, Christie's, 11 May 1934, lot 104, bt Gooden and Fox for Ernest E. Cook; bequeathed to the Victoria and Albert Museum, through the National Art-Collections Fund, 1955." Historical significance: General Note from Hayes, cat. no. 132, p. 497 Gainsborough was familiar with transparency painting, and had himself painted transparencies for the decoration of Bach and Abel's concert rooms in Hanover Square, London, opened in February 1775; but it seems to have been de Loutherbourg's Eidophusikon, first shown in February 1781, which inspired his own 'peep-show' for displaying his ideas for landscapes. Gainsborough's rather amateurish box [which is also in the V&A, museum number P.44-1955, illustrated in Hayes, pls 171, 172] consisted of a large storage space, containing twelve slats, to house his transparencies; a system of cords and pulleys to hoist the desired transparency into position; four slats behind this position, into anyone of which could be inserted a semi-transparent silk screen; and, at the back, five candle-holders. The spectator viewed the transparencies through a large round peep-hole, fitted with a magnifying lens, in the front of the box. The lens could be adjusted to between 25½ and 34½ inches of the projected transparency, thus producing an image with a magnification of between two-and-a-half and five times the size of the original, according to the length of adjustment. The light transmitted from the candles behind, albeit diffused through the silk screen, produced a luminosity close to that in nature impossible to achieve in oil painting on an opaque support. It is not known whether the transparencies were intended to be viewed with the painted surface facing the candle or the spectator; there is optical evidence to favour the former method, but this matter, and others connected with the box, require further investigation. Gainsborough must have painted numerous transparencies for showing in his box, but only ten survive [two further transparencies in the V&A, P.38-1955 and P.40-1955, were painted by another artist at a later date]. All ten are completely tonal in quality, executed in a range of blues, greens and browns, and Gainsborough's aim was clearly to heighten and dramatize his effects of light. Great Britain PDP 1540-1888 Dec. 31, 1799 Belt of inter-locking silver slides, with niello decoration, on a band of cloth, Cyprus, 18th century. 33.43550100 1700 13777 1700-1799 (made) 2006AN9267 3 Belt of interlocking silver and niello slides on a band of cotton woven in blue and white stripes. There are 13 slides with circular fronts and 13 shaped like a diabolo which fit between the circles. Each piece has a copper alloy bar at the back, so that they can be threaded on the belt. The fronts are decorated with cast stars, rosettes and tulips, picked out in niello. There is a loop soldered to the last slide at one end of the belt, and a sideways hook at the other, to fasten it, which may have been replaced. Length: 58.5 cm approximate, difficult to measure accurately until laid truly flat Belt Jan. 1, 1700 Silver and niello, with copper alloy bars, on a belt of blue and white striped cotton April 29, 2013, 1:06 p.m. In Storage 35.13251900 None 15401888

April 29, 2013, 1:06 p.m. Cypriot traditional jewellery is a rich mix of oriental design and Greek workmanship. Western pilgrims to the Holy Land frequently passed through Cyprus, and the Cypriot goldsmiths absorbed influences from Western Europe as well as Ottoman Turkey. Their work is similar to jewellery from elsewhere in the region, but the quality is often higher. This belt was acquired as a piece of Cypriot jewellery in 1888, but in design and function it is much more typical of Ottoman work of an earlier period. The design of alternating circular and diabolo plaques probably originated somewhere in Central Asia. A belt with this design was found in a 1st century nomadic grave in Afghanistan. By the 19th century, the design was found over a wide area, and was particularly common in the south Caucasus, where belts with interlocking slides, like this, also often decorated with niello, were worn universally by both men and women. The details of this belt are however quite different from those. Metal belts of any kind were uncommon in Cyprus in the 19th century, where most women wore embroidered belts with large ornamental silver clasps. This belt therefore probably dates from the 18th century, as it was described when acquired, and may have been made on the island, or somewhere else in the Ottoman Empire. It would originally have had a prominent clasp, rather than the hook and eye which it now has. belt-belt-unknown Feb. 17, 2013, midnight unknown 1799 O80060 Cyprus MET REPRO.1899-56 Dec. 31, 1448 Plaster cast of part of the High Altar of the Basilica di Sant' Antonio, Padua after bronze original by Donatello, ca. 1899 11.25499000 1448 17598 1448 (sculpted) ca. 1899 (cast) 2007BM5946 3 This cast (statue of St. Francis) was taken from one of seven figures which stand upon the high altar of the Basilica di Sant' Antonio, Padua. Bronze original by Donatello. Height: 152.5 cm St Francis Jan. 1, 1448 Plaster cast April 29, 2013, 1:18 p.m. In Storage 43.78237200 None repro189956

April 29, 2013, 1:18 p.m. This is one of the saints from the elaborate high altar of the Santo in Padua, which comprised numerous bronze figures and reliefs, copies of which are seen here in the Cast Courts. St Francis is shown holding a crucifix and the bible, his contemplative stance, suggesting his piety, is at the same time an elegant contrapposto pose, derived from classical figures. st-francis-plaster-cast-donatello Feb. 16, 2013, midnight Donatello 1448 O12512 Acquired in exchange from the Berlin Museum in 1899 Florence (city) This is one of seven figures in the round which stand upon the high altar. Their arrangement in the present reconstruction, dating from 1895, is incorrect. Modern critical opinion has not resolved the exact placement of these seven figures, but the proposed reconstructions all place the Madonna centrally, with St Francis and St Anthony flanking her. On 13 April 1446, a donation of 15,000 lire was accepted from a Paduan citizen, Francesco da Tergola, for the construction of the high altar of the Santo. The first payment to Donatello for the new altar occurs in February 1447. Although the altar was temporarily erected for the feast of St Anthony (June 13) 1448, and most of the major figures were cast by 1450, the project was still unfinished when Donatello left Padua in 1454. The altar originally stood at the end of the choir, close to the ambulatory, but was dismembered in 1579, when officials of the Arca decided to replace it with a larger structure, designed by Girolamo Campagna and Cesare Fianco. Although most of Donatello's sculptures were incorporated into the new altar by 1582, it was not until 1895 that all the surviving components were united in the present fanciful reconstruction by Camillo Boito. The original form of the altar remains controversial, due to the loss of almost all the original architectural elements, except for a pair of volutes (item 8 below). The surviving components of the original altar are: Preserved on the altar in the Basilica di Sant'Antonio: 1.Seven bronze figures in the round, comprising, the Virgin and Child enthroned, St Francis (V&A cast no. 1899-56), St Anthony of Padua, St Louis of Toulouse, St Daniel, St Justina, St Prosdocimus. 2.Four bronze reliefs depicting miracles performed by St Anthony of Padua (V&A cast nos. 1884-325 to 328). 3.Four bronze reliefs containing Symbols of the Evangelists. 4.Twelve bronze reliefs of angels (V&A cast nos. 1870-18 and 18 a-k). 5.A bronze relief of the Dead Christ Lamented by Two Angels (V&A cast no. 1884-329). 6.A limestone relief depicting the Entombment. 7.A bronze relief of the Dead Christ with seven angels, by an unidentified Venetian sculptor (V&A cast no 1884-330). In the Museo Antoniano, Padua:- 8.A pair of volutes, thought to have come from the canopy which once surmounted the altar. In the Museo Salvatore, Romano, Florence:- 9.Marble reliefs depicting the half-length figures of St Prosdocimus and another saint, possibly two of the four half-length saints seen by Marcantonio Michiel on the back of the altar, in the early 16th century. SCP A.199-1946 Dec. 31, 1375 Section of a sarcopagus (tomb front), carved marble, Virgin and Child between Saints James and John the Baptist, Italy (Naples), third quarter of 14th century 14.25185000 1350 19379 1350-1375 (carved) 2009CR7634 3 This section of a sarcophagus shows the Virgin and Child, St. James, and St. John the Baptist in three separate roundels. The Virgin and Child are in the centre with St. James to the left and John the Baptist to the right. The Virgin holds a pomegranate in her right hand and the child on her left arm. Two small angels bearing dishes are found on either side of the central roundel. Unidentified coats of arms are underneath the angels. Each corner is filled with a flower. Height: 64 cm, Width: 205 cm, Depth: 9 cm, Weight: 250 kg Virgin and Child between Saints James and John the Baptist Jan. 1, 1350 Carved marble April 29, 2013, 1:25 p.m. Medieval and Renaissance, room 50a, case WN, shelf EXP 40.83990100 None a1991946

April 29, 2013, 1:25 p.m. This relief is typical of many funerary monuments produced in and around Naples in the latter half of the 1300s. The presence of St. James and St. John the Baptist could indicate the name of the deceased, as people often placed their patron saints on tombs or artworks that they commissioned. Sotheby, 13 March 1931, Lot 9 Reproduced on facing page Sotheby, 18 June 1946, Lot 110 Pope-Hennessy, J. Italian Gothic Sculpture in the Victoria and Albert Museum, London: 1952, pp.17-18 Pope-Hennessy, John, Catalogue of Italian Sculpture in the Victoria and Albert Museum, London, 1964, cat. 40 Bock, N.,"Il re, il vescovo e la cattedrale: sepolture e costruzione architetetoniche," in Il Duomo di Napoli, S. Romano (ed.), Naples: 2001, pp.132-147 virgin-and-child-between-saints-section-of-a-unknown Feb. 15, 2013, midnight Unknown 1375 O17215 The relief was included in a London Sotheby's sale of 13 March 1931, and was identified as an altar front from the church of San Martino in Naples. It was attributed to Tino di Camaino. It is not clear if the relief was sold at that time, or to whom, as it appeared again in another London Sotheby's lot from 18 June 1946 with many of the same objects from the 1931 sale. The museum purchased it for £40 pounds. It was probably not an altar front but the top of a sarcophagus. The left hand angel and left side of the shield underneath the angel were damaged and made up in plaster. The damage must have been sustained prior to 1931, as it can be seen in the photograph in the Sotheby’s sales catalogue of that year. The attribution to Tino di Camaino given in the sales catalogues of 1931 and 1946 was removed by John Pope-Hennessy in his 1952 catalogue, and the relief was given the more general authorship of “Fourteenth Century Neapolitan.” Historical significance: Further research is needed to determine the origin of the V&A relief. The relief clearly shares similarities with the Artus tomb. However, it is difficult to determine which came first. The shared motif of an angel standing over an upward curving band above a heraldic shield would suggest that the creator of one tomb knew of the other. The difference in the poses of the angels – in the V&A relief they are bearing plates filled with what may be fruits and in the Artus tomb their hands are in prayer position – could indicate the variation of a stock workshop design. However, the carving style appears to be quite different. Generally artists from the same workshop had a similar style. The figures on the V&A relief are stocky and seem to have smaller hands than the figures in the Artus tomb. However, the saints and the child Jesus share an intensity of expression due to the faint tracings of incised pupils. The presence of St. James and St. John the Baptist could indicate either the dedication of the church in which the owner was buried (as it is not clear why the church of San Martino was indicated as the provenance) or the patron or name saint of the deceased. Naples This relief is similar in format and style to those found on many sarcophagi produced in Naples in the fourteenth century. Pope-Hennessy noted the influence of Tino di Camaino’s Angevin tomb monuments on Neapolitan sculptors into the later fourteenth century. (Pope-Hennessy, 1952, 17). The Angevin tombs consisted of either freestanding sarcophagi raised on columns or wall-mounted sarcophagi, each surmounted by a baldachin or pinnacled roof structure as befitted royalty. The format – often on a reduced scale and without the baldachin-- became popular among the Neapolitan elite of the Fourteenth Century. The tomb of Catherine of Hapsburg (the daughter-in-law of King Robert of Naples) is considered Tino’s first funerary monument. He created it in 1323-24 for the church of S. Lorenzo Maggiore as a double-sided free standing tomb. It was the first of its kind and has the three medallion format shared by many of the later tombs (Bock, 134). This format would remain popular in the city long after Tino's death. It should be noted that the other Angevin tombs (by Tino and his followers) do not include the three medallion format, but include figures arranged in niches, or in the case of the tomb of Charles of Calabria, in a freer format with no architectural definition between figures. It is possible that once the three medallion format became popular among Naples’ elite the royalty felt a need for more elaborate tombs to distinguish themselves. Pope-Hennessy suggested that the V&A relief came from the same workshop as a 1370 tomb of a member of the Artus family in the church of San Francesco of Sant’Agata dei Goti (a small town in Campania). The Artus tomb is a sarcophagus raised on paired twisted columns with the effigy of a sleeping knight on top. The relief is on the outward facing side of the sarcophagus with an inscription in the upper and lower borders. Pope-Hennessy suggested that the lack of inscription on the V&A relief indicated that it once served as the cover of a sarcophagus as in the mid-fourteenth century tomb of Letizia Caracciolo in San Domenico Maggiore, Naples. All of the reliefs include three medallions with large figures of saints and in two cases, Christ as the Man of Sorrows. The tomb of Letizia Caracciolo has the Man of Sorrows as the central figure on the lid, and the Virgin and Child on the outer face. The Artus tomb, however, has the Man of Sorrows at center with the side medallions filled by the Virgin Mary on the left and St. John the Evangelist on the right. All of the tombs have flowers in the corners, and it seems a popular motif in many tombs. The Artus tomb and the V&A relief both have two angels between the medallions who stand above heraldic shields. The Caracciolo tomb has instead large shields and flowers filling the intervening spaces. A similar format is found in the detached fronts of the sarcophagi of the Boletto family in the church of Sant’Elegio Maggiore in Naples, dated to the fourteenth century. Two detached reliefs survive, and the inscriptions in the borders suggest that they formed the outer faces of the sarcophagi. One includes the Virgin and Child in the center with a bishop saint and crowned male saint in the flanking medallions. The other depicts Christ as Pantocrater (with his hand in a blessing gesture and holding a book) flanked by John the Baptist and a bearded male saint (possibly Peter). Both tomb fronts have two angels with folded arms over smaller roundels that hold shields. One tomb front includes the small figure of a donor below the left hand shield, with an angel filling the respective space on the right. The other relief does not include a donor and has an angel in its place. The funerary monument of the Archbishop of Salerno, Orso Minutolo, (d.1333) in the cathedral of Naples is also similar to the V&A relief. The Minutolo relief includes a crowned Virgin holding the Christ child and handing him a pomegranate. St. Peter is on the left and a bearded male saint holding a book is on the right. All of the figures are in medallions, separated by two small roundels with flowers in the center. The space between and the corners have been filled in with flowers. The sarcophagus is elevated on paired columns. The funerary monument of Bishop Tommaso Santomagno (d.1341) in the Cathedral of Salerno is also analogous, though in this case the flanking figures in the medallions have been replaced by large heraldic shields. Variations also occur in the funerary monument of the Bishop of Caserta Vecchia, Iacobus Martanus (d.1374), though in this case the space between the medallions has been filled with a single angel in a hexagon, on either side of the Man of Sorrows. SCP 1035-1886 Dec. 31, 1863 'Children Playing at Doctors' by Frederick Daniel Hardy, oil on canvas, Britain, signed and dated 1863. -2.23218000 1863 19455 1863 (Painted) 2006AU9797 3 Oil on canvas. The children here are playing while their mother and grandmother are out of the house; the two children in the centre are pounding bread in a mortar and pestle to make tablets, but the child on the right has taken the game a step further by climbing on a chair to open the medicine cupboard, and is pouring a measure of perhaps poisonous liquid into a glass to administer to the 'patient'. Fortunately, the adults are seen returning through the door, otherwise the patient might become a fatality, an outcome suggested in the right corner of the picture by the doll which has fallen out of her carriage. There is a mirror on the wall which reflects the view to the outside world through the left-hand window. Height: 44.7 cm estimate, Width: 61 cm estimate, Height: 75.5 cm frame, Width: 91.5 cm frame Children Playing at Doctors Jan. 1, 1863 oil on canvas April 29, 2013, 1:25 p.m. Museum of Childhood, Costume, Play and Learn Gallery, case EXP 'F D Hardy/1863' 54.31391900 None 10351886

April 29, 2013, 1:25 p.m. Hardy's long and successful career was principally devoted to painting happily nostalgic episodes in childhood, most often of a domestic and humorous nature. As with so many scenes of everyday life, this work is intended to be 'read' like a written narrative. The children here are playing while their mother and grandmother are out of the house; the two children in the centre are pounding bread in a mortar and pestle to make tablets, but the child on the right has taken the game a step further by climbing on a chair to open the medicine cupboard, and is pouring a measure of perhaps poisonous liquid into a glass to administer to the 'patient'. Fortunately, the adults are seen returning through the door, otherwise the patient might become a fatality, an outcome suggested in the right corner of the picture by the doll which has fallen out of her carriage. Hardy also uses a device much enjoyed by painters and their audience in the middle years of the nineteenth century - the mirror on the wall which reflects the view to the outside world through the left-hand window. Brunel and the Art of Invention (Bristol City Museum and Art Gallery 15/04/2006-18/06/2006) O'Mahony, C., Brunel and the Art of Invention . Bristol: Samsom & Company Ltd., 2006. 64 p. : col. ill. ISBN 1904537502 Exhibition catalogue. Parkinson, R., Victoria and Albert Museum, Catalogue of British Oil Paintings 1820-1860, London: HMSO, 1990, pp. 118-19 The following is the full text of the entry: "HARDY, Frederick Daniel (1826-1911) Born 13 February 1826 (not 1827, as in DNB) at Windsor, where his father was a musician in the Private Band of the Royal Household. Attended the Academy of Music in Hanover Square from about 1843 to 1846, when he studied painting with his elder brother George (1822-1909). In 1854 settled in Cranbrook, Kent, with Thomas Webster (to whom he was related) and others; they came to be known as the Cranbrook Colony, specialising in rural genre painting. Exhibited 93 works at the RA between 1851 and 1898, and five at the BI 1851-56, all scenes of cottage life, sometimes humorous. His pictures of children engaged in adult pursuits were especially popular. Died Cranbrook 1 April 1911. LIT: Art Journal 1875, pp73-6; A Greg The Cranbrook Colony exhibition catalogue Wolverhampton Art Gallery 1977 Children Playing at Doctors 1035-1886 Negs GK3333, 8834 Canvas, 44.7 x 61 cm (17 5/8 x 24 ins) Signed and dated 'F D Hardy/1863' on toy cart br Dixon Bequest 1886 Presumably the painting exhibited at the RA in 1863 with the title 'The Doctor', although there are at least two other versions (see Versions: below). It was admired by the Art Journal critic: But of all the pictures given up to child's play, and they are legion, a little work called 'The Doctor' ... is certainly one of the best ... The execution is sufficiently minute to give reality to the circumstantial narrative, without falling into excess of elaboration. The quiet humour and quaint character which reign throughout, so closely akin to Wilkie and Webster, and allied indeed to the wit and mirth which flow freely in our native literature, should not be passed without notice. EXH: RA 1863 (358); The Cranbrook Colony Wolverhampton Art Gallery 1977 LIT: Art Journal1863, pl12 Versions: 1 Christie's (L F Loyd Collection) 31 January 1913 (117, panel, 54.6 x 74.9 cm (21½ x 29½ ins), as exhibited at RA 1863 and signed and dated 1863), bought A M Singer 80 guineas; sold by Lady Singer, date unknown; with a dealer in Torquay c1960; private collection, Devon, 1961 2 (Probably identical with the above) Sotheby's Belgravia 24 October 1978 (22, panel, 55.9 x 76.2 cm (22 x 30 ins), as exhibited at RA 1863, signed and dated 1863 on toy cart), sold £22,000. The only difference in detail from the V&A painting is that the two pictures on either side of the mirror hang from cords 3 Private collection, Edinburgh, 1975" children-playing-at-doctors-oil-painting-hardy-frederick-daniel March 18, 2013, midnight Hardy, Frederick Daniel 1863 O17368 Bequeathed by Joshua Dixon Bequeathed by Joshua Dixon, 1886. Hardy's long and successful career was principally devoted to painting happily nostalgic episodes in childhood, most often of a domestic and humorous nature. As with so many scenes of everyday life, this work is intended to be 'read' like a written narrative. The children here are playing while their mother and grandmother are out of the house; the two children in the centre are pounding bread in a mortar and pestle to make tablets, but the child on the right has taken the game a step further by climbing on a chair to open the medicine cupboard, and is pouring a measure of perhaps poisonous liquid into a glass to administer to the 'patient'. Fortunately, the adults are seen returning through the door, otherwise the patient might become a fatality, an outcome suggested in the right corner of the picture by the doll which has fallen out of her carriage. Hardy also uses a device much enjoyed by painters and their audience in the middle years of the nineteenth century - the mirror on the wall which reflects the view to the outside world through the left-hand window. Great Britain PDP C.168-1993 Dec. 31, 1690 Mug, England (London), , 1680-1690, C.168-1993 . -0.12714000 1680 4507 1680-1690 (made) 2006AM0423 3 Height: 9.8 cm, Width: 9.9 cm including handle, Depth: 7.2 cm Jan. 1, 1680 Glass, with mould-blown ribbed base and white glass trailing April 29, 2013, 12:39 p.m. British Galleries: LEAD-GLASS DRINKING VESSELS By the 1680s lead glass was common and cheap enough to provide souvenir toys, such as the tiny glass celebrating the Frost Fair on the River Thames in London. At the same time it was grand enough for the giant ceremonial goblets that were passed around a company of drinkers. The jelly and sweetmeat glasses, dwarf ale glasses and globular mugs for strong ale were typical of the wider range of table glass that was produced from the late 17th century. 'State Glasses & Covers' were listed in the Hampton Court inventory as late as 1736. Such grand goblets were sometimes used as chalices for communion. [27/03/2003] British Galleries, room 56d, case 13 51.50632100 None c1681993

April 29, 2013, 12:39 p.m. Object Type Small globular mugs with ribbed necks of this form were made in the last quarter of the 17th century exclusively for drinking strong ale. The V&A collections include a similar example, datable to about 1676-7 and marked with the raven's head seal of the English glassmaker George Ravenscroft (1632-1681). Design & Designing The form of this small ale mug was not so much designed as inherited from its larger imported German brown stoneware predecessors. Just as drinking glasses had lost most of their Venetian influence by 1700, so these little German-derived globular mugs disappeared at the same time, to be replaced by the typically English 'dwarf ale', a small trumpet-shaped glass which, apart from its distinctive short stem, could be confused with a jelly glass. mug-unknown Feb. 15, 2013, midnight Unknown 1690 O2930 Made in London London CER 23-1886 Dec. 31, 1784 Oil on copper, 'Cupid's Pastime, A sleeping nymph watched by a shepherd', Angelica Kauffman, ca. 1780 -0.12714000 1775 7240 ca. 1780 (made) 2006AN1773 3 A shepherd watches a sleeping nymph while Cupid places an arrow in her quiver, her bow lying on the ground beside her. Height: 45.72 cm painting, Width: 52 cm painting A Sleeping Nymph Watched by a Shepherd Jan. 1, 1775 oil on copper April 29, 2013, 12:46 p.m. British Galleries: Both Robert Adam and Sir William Chambers employed the Swiss artist Angelica Kaufmann to paint subjects for ceilings. In 1781she married the decorative painter Antonio Zucchi (1726-1796) who also often worked for Adam. [27/03/2003] British Galleries, room 118e, case WW 'Angelica Kauffman' 51.50632100 None 231886

April 29, 2013, 12:46 p.m. Angelica Kauffmann (1741-1807) was born in Switzerland and was seen as a child prodigy. She soon specialised in history and portraits paintings while in Italy (especially Florence, Rome and Naples, Bologna, Parma and Venice) she was influenced by the nascent Neo-classical style. She became a member of the Roman Accademia di San Luca at the age of 23. She arrived in London in June 1766 and remained there for 15 years before moving back to Italy with her second husband the painter Antonio Zucchi (1726-1796). In London, she was a founder-member of the Royal Academy. All her life, she enjoyed international patronage such as the family of George III in Britain, Grand Duke Paul and Price Nikolay Yusupov in Russia, Queen Caroline of Naples and Emperor Joseph II of Austria among others. She died in Rome where her funeral was arranged by the Neo-classical sculptor Antonio Canova (1757-1822). This composition was executed c. 1780 by A. Kauffmann as an illustration of a poem written by Francis Davidson, c. 1620, and compiled by Thomas Percy in his anthology entitled Reliques of Ancient Poetry (1765). The painting forms a pair with 24-1886, which illustrates the second part of the poem while the present painting shows the beginning of the story. It is a fine example of neo-classical design inspired by poetic sources often contemporary even when they appear entirely classical in content. Boccaccio in England (Museum and Art Gallery, Buxton 20/08/1983-31/12/2007) Victoria and Albert Museum, Summary Catalogue of British paintings, London, 1973, p. 71. a-sleeping-nymph-watched-by-oil-painting-kauffman-angelica-ra March 18, 2013, midnight Kauffman, Angelica (RA) 1784 O77485 Purchased, 1886 Historical significance: Angelica Kauffman’s pictures were particularly popular in England and were used in interior decorations such as murals and designs painted on furniture, mostly in cooperation with the architect Robert Adam. Her designs were often distributed as prints and this particular composition was engraved by G.S. and J.G. Facius (The British Museum, London - 1873,0809.291). The subject was taken from the Reliques of Ancient poetry (1765), an anthology compiled by Thomas Percy. The painting illustrates the beginning of the poem: a nymph is asleep and a shepherd observes her while Cupid replaces one of her arrows with his own. The story continues in 24-1886: the nymph awakes and seizes her bow and bends it at the shepherd with one of Cupid’s arrow. According to W. Wassyng Roworth (1992), the design decorated a fire screen in the Palace of Pavolovk, near St Petersburg. The screen is dated 1796 and was made in the workshop of Heinrich Gambs for Maria Feodorovna, daughter-in-law of Catherine the Great. The painted oval was possibly executed by the Grand Duchess herself. Another oval composition (Old Westbury Gardens, Long Island, New York) of the exact same dimension shows the same nymph and shepherd in another situation. This suggests that the three paintings originally formed an ensemble. The Long Island painting was formerly in the collection of Sir Charles Rushout and bought by him from the collection of W. Dallas O. Grieg, Esq., in 1884. The date of acquisition of the present painting suggests that they share the same provenance. London PDP 518&A-1902 Dec. 31, 1769 Sugar basin, porcelain, Chelsea Porcelain factory, London, 1759-1769 -0.16248000 1759 8249 1759-1769 (made) 2006AN1890 3 Height: 13.6 cm approx., Width: 11.11 cm Jan. 1, 1759 Soft-paste porcelain, painted in enamel colours and gilt April 29, 2013, 12:48 p.m. British Galleries: TEA SERVICE, from a tea and coffee service 1759-1769 This English porcelain tea service is typical of those used in wealthier households during the 18th century. It consists of a teapot and stand, cups and saucers, a milk jug, a bowl for sugar and a dish for the tea dregs called a slop basin. [27/03/2003] British Galleries, room 52b, case 2 51.49013900 None 5181902

April 29, 2013, 12:48 p.m. Object Type The bowl is from a tea and coffee service for six people. It would probably have contained small lumps of refined white sugar, which would have been served with sugar tongs. Britain's sugar came from sugar cane plantations in the West Indies. In 1784 a French visitor to Britain noted that 'Sugar, even unrefined sugar ... is necessary [for tea] and very dear'. Sugar was also widely taken with coffee, as it counteracted the bitter taste. Design & Designing The service is similar to one offered at auction in London in 1770. This was described as 'a very curious and matchless tea and coffee equipage, crimson and gold, most inimitably enamell'd in figures, from the designs of Watteau'. Although the figure subjects here are not directly copied from the work of the French Rococo painter Jean-Antoine Watteau (1684-1721), they are certainly inspired by his work. Materials & Making The Chelsea porcelain factory introduced the crimson ground around 1760, when a London auction of Chelsea porcelain included 'a few pieces of some new Colours which have been found this year by Mr [Nicholas] Sprimont, the Proprietor, at a very large Expence, incredible Labour, and close Application'. sugar-basin-chelsea-porcelain-factory Feb. 17, 2013, midnight Chelsea Porcelain factory 1769 O77647 Bequeathed by Miss Emily S. Thomson From tea set - museum nos. 517 to 523-1902 Chelsea CER 548-1870 Dec. 31, 1719 Oil painting, Cavalry engagement against Turks with a church in the background, by Jan Pieter van Bredael, Prague, ca. 1715 14.43323000 1710 8358 ca. 1715 (made) 2006AM5722 3 A fray between Turks and European soldiers in the foreground with trees on the right-hand side and a city in the background. Height: 23.5 cm, Width: 33 cm Cavalry Engagement against the Turks, with a Church in the Background Jan. 1, 1710 oil on oak panel April 29, 2013, 12:48 p.m. British Galleries: TWO VIEWS OF CAVALRY ENGAGEMENTS AGAINST THE TURKS Paintings of battle scenes had been popular since ancient times. This pair record events during the wars between the Turks and the Austrians in the first two decades of the 18th century. [27/03/2003] British Galleries, Henrietta Street Room, room 54 'Bredael' 50.07908300 None 5481870

April 29, 2013, 12:48 p.m. Jan Pieter van Bredael (1683-1735) was born in Antwerp but settled in Prague in 1706 to work for Prince Eugene of Savoy, for whom he painted battle and hunting scenes. He specialised in cavalry scenes and was active in Antwerp from 1720, where he was a member of the Guild of St Luke. A companion piece to 547-1870 showing an episode of warfare probably during the war against the Turks declared in 1715. The costume of part of the soldiers indicates they are Saracens or Turks and the whole scene looks more like an ambush rather than a proper battle. The violence of the fray is enhanced by the depiction of corpses and dead horses as well as soldiers running away in the immediate foreground. Characteristics of Jan Pieter van Bredael are the lively colours and the relatively loose brushwork. The majority of his compositions show generic ambushes and skirmishes quite difficult to relate to any precise battle. C.M. Kauffmann, Catalogue of Foreign Paintings, I. Before 1800. London: Victoria and Albert Museum, 1973, p. 47, cat. no. 48. The following is the full text of the entry: "Jan Pieter van BREDAEL (1683-1735) Flemish School Born at Antwerp, the son of the painter Joris van Bredael, he settled in Prague in 1706 to work for Prince Eugene, for whom he painted battle- and hunting-scenes. After returning to Antwerp in 1720 he was recalled by Prince Eugene to work in Vienna, where he lived until his death in 1735. 48 CAVALRY ENGAGEMENT AGAINST TURKS, WITH A CHURCH IN THE BACKGROUND ..... Bredael Oak panel 9¼ x 13 (23.5 x 33) 548-1870 One of a pair (see also no. 47). The inscription on the back signed W. J. Watson is identical with that on 547-1870 (no. 47). Prov. Bought by John Parsons from Watson in 1856; bequeathed to the Museum in 1870." cavalry-engagement-against-the-turks-painting-bredael-jan-pieter March 6, 2013, midnight Bredael, Jan Pieter van 1719 O77662 Bequeathed by John M. Parsons Bequeathed by John M. Parsons, 1870 John Meeson Parsons (1798-1870), art collector, was born in Newport, Shropshire. He later settled in London, and became a member of the stock exchange. His interest in railways led to his election as an associate of the Institution of Civil Engineers in 1839, and he was director or chairman of two railway companies between 1843 and 1848. Much of his time however was spent collecting pictures and works of art. In his will he offered his collection of mostly German and Dutch schools to the National Gallery (which selected only three works) and to the Department of Science and Art at South Kensington, later the Victoria and Albert Museum. The South Kensington Museum acquired ninety-two oil paintings and forty-seven watercolours. A number of engravings were also left to the British Museum. Historical significance: Jan Pieter van Bredael depicted a large number of battles scenes, especially showing scenes of the military campaigns of Prince Eugene of Savoy to which he was attached as a court painter. The small size of this painting and his companion piece, Cavalry engagement against the Turks with a city in the background (547-1870), is typical of the style of the Haarlem painter Philips Wourwerman (1619-1668) that produced many small cabinet pictures depicting generic battle scenes. At the beginning of the 18th century, the Turks under Sultan Ahmet III were still trying to extend their empire westwards, although back in the mid-1680s they had failed to take Vienna in a famous siege. War was declared against Austria again in 1715, and in the following years Prince Eugene of Savoy fought a number of successful battles against them. Peace was signed in 1718 with the Treaty of Passarowitch, and Hungary was thereby liberated from Turkish rule. The Turks, although no longer led into battle by the Sultan in person, had stuck to their once formidable traditional methods of warfare. These became progressively less effective against forces led by modern generals such as Prince Eugene. Comparative works by Jan Peter van Bredael such as the Battle of Petervardino and the Battle of belgrado can be found in the Kunsthisthorisches Museum of Vienna. Prague In Italy the classical tradition of battles scenes goes back to the Roman low-reliefs and mosaics such as the Victory of Alexander the Great on Darius in Pompeii, and persisted in medieval miniatures, in the 14th and 15th centuries' frescoes and in decorations on the Renaissance cassoni (i.e. wedding chests) up to such works as Pietro da Cortona's Victory of Alexander over Darius, 1635, Museo Capitolino, Rome, and Salvator Rosa's Battle Scene, 1652, Louvre, Paris). In the 17th century however, Aniello Falcone, perhaps the first Italian battle specialist, introduced a new category of small battle, the battle scene 'without a hero' (F. Saxl) and usually without a specific topic beyond a generalized study of cavalry skirmishes between generic Christians and exotically clad Saracens or Turks. This speciality was developed by Neapolitan artists such as Carlo Coppola, Andrea di Lione and Salvator Rosa and in Florence by Giacomo Cortese. In the Netherlands, following the recent episodes of war that marked the progressive independence of the Low Countries (Eighty Years' War 1568-1648), Philips Wouwerman painted generic skirmishes and ambushes (using northern settings, clothing and weapons) and he concentrated on genre scenes of crowded camp life. Tapestries also allowed this genre to develop and were now used as official military art and formed high-class mass production. In Rome, the Bamboccianti, i.e. Netehrlandish followers of Pieter van Laer nicknamed Bamboccio, were particularly interested in this genre. PDP CAI.82 Dec. 31, 1800 Oil painting, 'Studies of Animals', Jean François Legillon, late 18th century 3.22451000 1750 8733 Late 18th century (painted) 2007BP0707 3 Studies of animal seen from profile and the back in diverse positions: cows, oxen, sheep and a donkey. Height: 34 cm estimate, Width: 24.7 cm estimate, Weight: 4 kg with frame, Height: 54 cm frame, Width: 44.7 cm frame Studies of Animals: Cows and Oxen, Sheep and a Donkey Jan. 1, 1750 Oil on paper laid on canvas April 29, 2013, 12:49 p.m. In Storage 51.20848100 None cai82

April 29, 2013, 12:49 p.m. Jean-François Legillon (1739-1797), born in Bruges, was trained by Jean-Baptiste Descamps (1715-1791) in Rouen (France), whose paintings, which typically depict scenes of daily life, were influenced by the work of Jean-Siméon Chardin (1699-1779) and Jean-Baptiste Greuze (1725-1805). Legillon quickly specialised in landscapes and interior scenes, reminiscent of the art of the Golden Age's painters Paulus Potter (1625-1654) and Karel Dujardin (1626-1678). This study of animals is a good example of Legillon's working process. He executed a few studies of this kind as a preparation for his landscape paintings in which he would include these figures. He thus followed the great landscape tradition which developed in the Netherlands during the 17th century and was still very appreciated in the following centuries up to the end of the 19th century. C.M. Kauffmann, Catalogue of Foreign Paintings, I. Before 1800, London, Victoria and Albert Museum, 1973, p. 168, cat. no. 207. The following is the full text of the entry: Jean Francois LEGILLON (1739-97) Flemish (Bruges) School Born at Bruges, he was a pupil of J.-B. Decamps in Rouen (1760-62). He painted landscapes, interiors and animal subjects and worked mainly in Bruges and Paris. Ascribed to Jean Francois LEGILLON 207 STUDIES OF ANIMALS: COWS AND OXEN, SHEEP AND A DONKEY On paper laid down on canvas 13 3/8 x 9 ¾ (34 x 24.7) Ionides Bequest CAI.82 Originally catalogued as 'possibly by Potter' (Long, 1925), the attribution to Legillon was due to M. Albert Visart de Bocarme of Bruges (oral opinion, 1929), who drew attention to similar works by Legillon in the Gruuthuse at Bruges. Another comparable study of animals was in the exhibition Old Master paintings, Brian Koetser Gallery, 1966, no. 5, repr. Prov. Constantine Alexander Ionides; bequeathed to the Museum in 1900. Lit. Long, Cat. Ionides Coll, 1925, p. 47. B.S. Long, Catalogue of the Constantine Alexander Ionides collection. Vol. 1, Paintings in oil, tempera and water-colour, together with certain of the drawings, London, 1925, p. 47. studies-of-animals-cows-and-oil-painting-legillon-jean-francois March 19, 2013, midnight Legillon, Jean François 1800 O81368 Bequeathed by Constantine Alexander Ionides Possibly in the collection of Alexander Constantine Ionides, father of Constantine Alexander Ionides. Bequeathed by Constantine Alexander Ionides, 1900 Historical significance: Jean-François Legillon made a few studies of full-length animals and human figures after life, drawn in different positions that he would reused in his landscape paintings. Comparable studies of cows are in the Steinmetzkabinet, Bruges. He specialised in landscape paintings with cattle, such as Landscape with barn and cattle, dated ca. 1776, in the Groeningemuseum, Bruges. He hardly used to include human figures in his compositions, following thus the style of the Dutch Golden Age's painters Paulus Potter and Karel Dujardin. In addition to these full-length studies, he also executed more detailed studies such as the Head of a goat and Head of a donkey, both in the Steinmetzkabinet, Bruges. The representation of cows was important in the whole Netherlands as they were a symbol of national pride, especially after the Eighty Years' War (1568-1648) when the Netherlands finally gained their independence from the Spanish dominion. This iconographic representation extended well into the 19th century during which Netherlandish artists, even those who belonged to The Hague School (1870-1890), considered as a vehicle for a new artistic approach, continued to depict them as the main subject of their works. Bruges Italianates landscapes were particularly praised during the 17th century up to the early 19th century. The term conventionally refers to the school of Dutch and Flemish painters and draughtsmen who were active in Rome for more than a hundred years, starting from the early 17th century. These artists produced mainly pastoral subjects bathed in warm southern light, set in an Italian, or specifically Roman, landscape. They formed in Rome a proper association called the Schildersbent, which flourished from ca. 1620 to 1720 and was notorious for its opposition to the Roman Accademia di S Luca.The term is also often applied, but wrongly, to artists who never left the northern Netherlands but who worked primarily in an Italianate style. Eighteenth-century collectors, especially French ones, preferred a view by Nicolaes Berchem (ca.1620-1683) or Jan Both (ca.1610-1652) to a scene of the Dutch country side by Jacob van Ruisdael (ca.1628-1682) for instance. The taste for the Italianates continued undiminished into the 19th century. An early voice denouncing these artists was that of John Constable (1776-1837) and at the end of the century Italianates had lost favour oartly because of the rise of Impressionism and the appreciation of the Dutch national school of landscape expounded by such eminent critics as Wilhem von Bode, E.W. Moes and Cornelis Hofstede de Groot. PDP C.279-1921 Dec. 31, 1874 -2.17507000 1865 8896 ca. 1870 (made) 2006AP3575 3 Diameter: 43.2 cm Jan. 1, 1865 Earthenware, painted in lustre April 29, 2013, 12:50 p.m. British Galleries: Interest in the Renaissance was widespread among pottery manufacturers from the middle of the 19th century. The designers at Minton & Co. led the way with both precise copies of museum objects and free interpretations in the general Renaissance style. This plate, decorated with the head of the Roman emperor Nero, garlands and masks, is loosely based on Italian maiolica (tin-glazed earthenware). [27/03/2003] Plate Probably designed and painted by FW Moody, made by Minton, Stoke-on-Trent, Staffordshire, Mark: '?H' and other unidentified marks, impressed, 'Minton' and three ermine tails, printed Earthenware C.279-1921 [23/05/2008] British Galleries, room 122g, case 13 53.02936200 None c2791921

April 29, 2013, 12:50 p.m. Object Type This plaque was made entirely for show. Imitations of Renaissance forms and decoration suggested education and taste on the part the owner and this plaque, with its classical subject and neo-Renaissance ornament, would impress guests as evidence of knowledge and sophistication. Ornament in the Renaissance Revival style was increasingly popular during the mid-19th century, partly through the influence of design schools such as the one at South Kensington. Design & Designing This plaque is a curious mixture of historic influences, mediated via the South Kensington Schools of Design. The style of decoration derives from, in the centre, Roman reliefs and lettering. The surrounding rim is a mixture of Renaissance Revival strapwork (interlaced decoration), masks and beasts in the style of Italian maiolica from Castel Durante or Urbino. The dancing figures on either side are reminiscent of Botticelli's painting Primavera. Minton's have chosen to render this decoration in lustred copper-red glaze. Lustre glazing, a type of metallic decoration, was perfected in Persia (Iran) and also used in Italy, for example in Deruta. In the middle of the 19th century the technique was much prized and copied in Britain. Although never a major part of its production, Minton began using lustre probably as a result of the displays of Hispano-Moresque (Moorish-Spanish) lustre shown in the 1862 exhbition. People Francis (Frank) Wollaston Moody (1824-1886) was a student of Alfred Stevens (1817-1875) and was a designer and painter as well as teaching at the South Kensington School of Design. He was responsible for the design of much of the decorative work, some of it made by Minton, for the South Kensington Museum. Minton's managing director, Colin Minton Campbell (1827-1885), formed a collection of East Asian and Middle Eastern ceramics and contemporary wares from other European manufactories which was held at the factory, providing examples for the designers and technicians to study. He also kept some of the company's own wares. This dish is from his estate. plaque-moody-francis-wollaston Feb. 15, 2013, midnight Moody, Francis Wollaston 1874 O77906 Given by Mr C. H. Campbell Painted by Francis Wollaston Moody (born in 1824, died in 1886), made by Minton & Co., Stoke-on-Trent, Staffordshire Stoke-on-Trent CER C.8:1 to 3-1996 Dec. 31, 1765 -0.12714000 1760 8983 1760-1765 (made) 2006AM3863 3 PERFUME VASE or pot-pourri vase Height: 46.2 cm, Width: 20.2 cm, Depth: 23.8 cm Jan. 1, 1760 Soft-paste porcelain, painted in enamels, with tooled and burnished gilding April 29, 2013, 12:50 p.m. British Galleries: Elaborate burnished gilding was new to English porcelain when this vase was made. The gilding and the overall style of the piece were copied from French Sèvres porcelain. From about 1760, the leading English factories followed fashions set by Sèvres. [27/03/2003] British Galleries, room 53a, case 1 51.50632100 None c81996

April 29, 2013, 12:50 p.m. Object Type Perfume vases (also known as 'essence pots' and pot-pourri vases) were set out on chimneypieces and other domestic furnishings. They were filled with pot-pourri (perfumed or sweet-smelling leaves) similar to those used to sweeten the air today. Perfume vases of this design are recorded as being sold singly, but were also made in pairs. Trading Three vases of this kind were among the stock of Chelsea porcelain sold at a London auction in 1770. One, possibly this vase, was described as 'one large pot pourie vase and cover; on a pedestal, mazarine blue and gold, decorated with Cupids and garlands of flowers. This reached £13 15s, while those with crimson grounds fetched only £8 and £7 17s. Another vase of this design was probably included in an auction of 1771. According to the marked-up copy of the catalogue, this fetched the remarkable sum of £63. People This vase, which has panels painted with children representing the Elements, is believed to have been one of a pair owned by George IV. He is said to have given the companion vase, painted with children representing the Seasons, to John Bridge of Rundell, Bridge & Rundell, the London firm of goldsmiths. vase-chelsea-porcelain-factory Feb. 15, 2013, midnight Chelsea Porcelain factory 1765 O77993 Given by Mr E. R. Cochrane, through The Art Fund Made at the Chelsea porcelain factory, London London CER W.6-1920 Dec. 31, 1854 tray with picture of huntsman returning and cook with fish -1.90860000 1845 9808 ca. 1850 (made) 2006AN2486 3 Height: 35.6 cm, Width: 48.2 cm, Depth: 2.5 cm Jan. 1, 1845 Papier mâché, painted, gilded and inlaid with mother-of-pearl April 29, 2013, 12:53 p.m. British Galleries: This tray fits the description of one included in the False Principles display as 'An example of popular taste, presenting numerous features which the student should carefully avoid'. These included a copy of the painting 'Bolton Abbey in the Olden Times' by Sir Edwin Landseer (1802-1873), that would be hidden when the tray was in use, and the glittering mother-of-pearl scattered around the edge. [27/03/2003] British Galleries, room 122g, case 2 Marked with an indistinct signature for Jennens & Bettridge 52.47858800 None w61920

April 29, 2013, 12:53 p.m. Object Type Trays decorated with copies of oil paintings of old buildings were quite popular. The original painting belonged to the Duke of Devonshire. Historical Association The display of 'False Principles of Decoration', held at Marlborough House, London, in 1852, included a tray, no. 79, which may have been this one. The catalogue explained that the tray had been selected because of the incongruous combination of the copy of the painting with the gilt border and mother-of-pearl decoration. Charles Dickens also described 'that tray with a bit of one of Landseer's pictures on it' in his satirical description of the display, 'A House Full of Horrors', which appeared in his magazine Household Words in December 1852. People Jennens & Bettridge, the firm run by Theodore Hyla Jennens and John Bettridge between 1816 and 1864, were famous for the range of papier-mƒch‚ goods manufactured in their factory at 99 Constitution Hill, Birmingham. They also had premises at 6 Halkin Street West, Belgrave Square, London. The company produced a range of products, including writing boxes, trays, fans and larger pieces of furniture such as chairs, tables and sofas. This tray is signed indistinctly with the firm's name. tray-jennens-and-bettridge Feb. 16, 2013, midnight Jennens and Bettridge 1854 O79048 Manufactured by the firm of Jennens & Bettridge, Birmingham Birmingham FWK 4237:1 to 9-1855 Dec. 31, 1397 Composite window, the Prophet Ezekiel flanked by Saints John and James the Less, England, probably ca. 1393, from Winchester College Chapel -1.29478000 1393 10514 ca. 1393 (made) 2006AJ7021 3 Window in 3 lights. The Prophet Ezekiel (centre) flanked by St. John the Evangelist (left), and St. James the Less (right), under canopies. The central panel figure stands on a pediment which bears the inscription 'Sophonias' (Zephaniah). However, this pediment originally belonged to another figure and was probably put under the figure of Ezekiel mistakenly during its removal in 1825 or while in the workshops of the firm Betton and Evans. Height: 360.7 cm maximum, Width: 166.9 cm maximum Prophet Ezekiel flanked by Saints John the Evangelist and James the Less Jan. 1, 1393 Clear, coloured and flashed glass with painted details and silver staining. April 29, 2013, 12:55 p.m. Medieval and Renaissance, room 10, case WS, shelf EXP STS Johannus Sanctus Johannus / Saint John Sophonias Scs Jacobus St James 51.81395000 None 42371855

April 29, 2013, 12:55 p.m. These stained glass panels were made in the workshop of Thomas of Oxford who was commissioned by William of Wykeham, Bishop of Winchester (1366-1404), to make decorated windows for his educational establishments of Winchester College, Winchester, and New College, Oxford. Thomas of Oxford was an important glazier at the end of the 14th century and on into the early years of the 15th century. He headed a stained glass workshop which was probably located in Oxford or just outside the city. A document dated 1393 discusses the contract for the Winchester windows and these panels date from that time. These three panels were originally located in the side windows closest to the altar in the Chapel of Winchester College. The east window of this Chapel was filled with glass depicting the genealogy of Jesus Christ in the form of a 'Tree of Jesse'. The side windows contained images of saints, the twelve Apostles and Old Testament prophets. The figures here represent the Apostles St John the Evangelist and St James the Less and the Old Testament prophet Ezekiel. Between 1821 and 1828, the Chapel windows were taken down to be restored by the firm of Betton and Evans of Shrewsbury. However, the firm decided to replace the originals with copies. The V&A’s panels are original and were purchased from the studio by the Rev. W.G. Rowland who intended to install them in St. Mary’s Shrewbury but instead sold them. In 1855, the museum bought them from the current owner. This figure of the prophet Ezekiel stands on a pedestal base which bears the name of Sophonias. It is believed that during the restoration in the early 19th century, the section of glass bearing the name ‘Sophonias’ was mistakenly inserted into the base of the panel with the figure of Ezekiel. Grand Design, A (Victoria and Albert Museum 14/10/1999-16/01/2000) 'Age of Chivalry' (Royal Academy of Arts) Williamson, Paul. Medieval and Renaissance Stained Glass in the Victoria and Albert Museum. London, 2003. ISBN 1851774041 Woodforde, Christopher, The Stained Glass of New College, Oxford, Oxford University Press, 1951 Le Couteur, J.D., Ancient Glass in Winchester, Winchester, 1920 Powell, H.J., 'The Picture windows in New College Ante-Chapel', Burlington Magazine, VIII Rackham, Bernard, 'The Glass of Winchester College Chapel', Journal of the British Society of Master Glass Painters, I, no.4 Rackham, Bernard, Guide to the Collections of Stained Glass in the Victoria anmd Albert Museum, 1936 Harvey, J.H. and G. King, 'Winchester College Stained Glass', Archaeologia, CIII (1971) Harvey, John H., 'The Strange story of William of Wykenham's stained glass - the real and the copy', The Illustrated London News, April 1, 1950 Object Information File prophet-ezekiel-flanked-by-saints-window-thomas-of-oxford Feb. 16, 2013, midnight Thomas of Oxford 1397 O7554 These three window lights were originally located in the windows nearest the altar of the Chapel of Winchester College in Winchester. The three figures were not next to one another. They were separate lights from a larger composition which consisted of the 12 Apostles and prophet figures. In 1825 the window was removed by the firm Betton and Evans of Shrewsbury for restoration. However, the windows were not reinstated and instead the firm made copies which are still in the Chapel today. The Ezekiel, John the Evangelist and James the Less panels are original and were sold by Betton and Evans and came to the V&A (South Kensington Museum) in 1855. Contemporary records indicate that the panels for these windows were brought from Oxford (from the workshop of Thomas the Glazier) to Winchester in 1393. There were repairs made to the windows in 1412/13. Oxfordshire William of Wykeham, Bishop of Winchester (1366-1404). Winchester College, Winchester (1380) Windows made for New College Oxford, founded by William of Wykeham (1382) Founded by William of Wykeham (Bishop of Winchester, d.1404) (1387-94) Building work (1393) Windows delivered By c.end 14th century or early 15th century the windows were completed. (1393) Wykeham’s Household expenses records payments for carriage of glass from Esher to Oxford and also to Winchester for windows at the College for 9 days with 12 horses and 6 drivers (19s. 3d.). Thomas the Glazier carried out the work (1394) Thomas Glazier visiting Wykeham in London and was paid to take out and replace the glass in the chapel windows of Highclere House, Wykehams’s London residence. (1395-6) Thomas working at Canterbury College, Oxford. (1397-8) Worked in Adderbury Church, Oxon. (1409-10) Worked on the windows of St. Mary’s Church [the same one as in Adderbury?] Seems to have had a son, John, who carried on his work until 1456. (1822-8) Glass removed by Sir John Betton and David Evans of Shrewsbury and replaced by copies. New College Chapel, Oxford glass: (1380) Foundation stone laid. (1386) Formally took possession of the buildings – author assumes windows were completed by this time but no building accounts survive for this period Chapel has a choir of 5 bays and is lit by 5 large windows on each side (no East window). The 80 main lights contained figures of saints. Ante-chapel the great West window contained a ‘Tree of Jesse’ and a ‘Doom’. Two eastern windows: 12 Apostles, 4 representations of Crucified Christ with BVM and St John Evangelist, Old Testament prophets. NO documentary proof but belief windows were done by Thomas Glazier of Oxford. Info on Thomas: (1351-2) Subscription of craftsmen for decoration of St. Stephen’s Chapel, Westminster included stained glass painters Nicholas and Thomas Dadyngton (father and son?) who are assumed to be from Deddington which is between Banbury and Oxford. Some people have tried to connect Thomas Dadyngton with Thomas Glazier of Oxford. (August 1386) First mention of Thomas Glazier in the New College records – he dined in the Hall. This occurred a few times a year for ten years. (1416-7) Thomas Glazier’s last recorded work with New College. (1421-2) Thomas Glazier recorded as repairing the glass at Winchester College. (1427-8) Thomas Glazier mentioned in a document as deceased. Winchester glass: Chapel East Window: Tree of Jesse and saints beneath canopies CER