![]() ![]() Most of them are beautiful, but this is difficult to judge from the reproductions in the catalogue, which are sometimes misleading in color and scale. The exhibition itself was a memorable experience, with the sixty-two pictures (a third privately owned) hung tightly but effectively. ‘But it’s a corridor picture!,’ the English eminence exclaimed. Both the rise and precipitous fall of this taste were brought home to the present writer some twenty years ago when he recommended to Sir John Pope-Hennessy that the Metropolitan Museum purchase a big canvas by Berchem (now in the Getty Museum). His bequest, with its near absence of Van Goyens and the like, reflected the eighteenth century’s admiration of Claude, Cuyp, Both and other Oltramontani. According to James, Jan van der Heyden’s so-called Quay at Leyden (actually an imaginary view) demonstrates the typical Dutchman’s ‘fidelity and sincerity,’ whereas Francesco Guardi, in two faithful views of Venice, trusts ‘mere artifice and manner’ to convey the ‘grace of his daily visions.’ The young critic cites ‘the great ‘Italian Landscape’ by Cornelis Huysmans’ as worthy of the new collection, but tows Ruskin’s line in dismissing the Venetian artist as ‘debauched.’ Desmond Shawe-Taylor, director of the Dulwich Picture Gallery, recalls in his foreword to the catalogue under review that Ruskin considered the ‘inbred vulgarity’ of Dutch art to be especially obvious when the painter tried to employ his imagination, for example in ‘that hybrid landscape, introduced by Wouvermans and Berghem.’ĭulwich has been a hothouse of such hybrids since 1811, when one of the two principal founders of the gallery, Sir Francis Bourgeois, left eight Wouwermans, five Berchems, and twenty-two other specimens to the college. Our premises are located 100 metres from the Museum and 50 metres from Pay&Display car-park in nearby King St.That Inspired by Italy was the first exhibition of Italianate landscape painting in Great Britain is ‘really a theme for the philosopher.’ The phrase comes from a relevant source, Henry James’s comparison of Dutch and Italian view painting, in ‘The Metropolitan Museum’s ‘1871 Purchase” ( Atlantic Monthly, June 1872). Exit Junction 7 M5 and follow the signs for Worcester Porcelain Museum. Located in the centre of Worcester in the shadow of the Cathedral with easy parking nearby. Please feel free to contact us if we can be of assistance. If visiting, a telephone call prior is advisable as due to the demands of the business the show-room does not have regular hours. ![]() Īll goods are available to view and owned by M.Lees&Sons. Past projects have included advising clients on forming and disposing of collections, furnishing period properties, hotel and commercial projects, also a shoot-room and lodge. Whether buying for pleasure, decoration or investment, we welcome you to our web-site or premises. As members of the 'London and Provincial Antique Dealers Association', we provide full descriptive details, date ,authenticity and any available provenance ,with full disclosure of any restoration or repair which may have taken place. We aim to provide a straight-forward approach to our business and build lasting relationships with our customers. (Documentary proof/letter of provenance available)Įstablished in the Cathedral City of Worcester for over 30 years, M.Lees&Sons, run by Michael Lees ,have been dealing with public and trade from show-rooms in an early Georgian town-house. Provenance: Viscount Canning ,Lady May Beaumont ,Duchess of Roxburgh. (See paintings) The Victoria Art Gallery in Bath also has a comparable example. In original carved gilt-wood and gesso frame with gilded slip.Ī picture of similar size,subject matter and composition by the artist is held in the collection of The National Museum of Wales, Cardiff. The picture has been professionally cleaned and lined in the last 20 years. Penry Williams (British ,1798-1885) was a Welsh-born artist who painted and lived in Rome from the 1820s, where he painted typical Roman and Italian scenes in the traditional style. The reverse with label attached "No1/Scene in the Campagna of Rome looking toward the Alban mount, the Claudian Aquaduct etc/ the property of Viscount Canning by Penry Williams". Signed and dated "Penry Williams ROME 1850" lower left. The foreground with genre scene of goat-herder and a shelter ,together with a woman in traditional dress playing with a child. Scene in the Campagna ,Rome, looking towards the Alban Hills with the Claudian Aquaduct running across the hinter land. C19th oil-on-canvas painting of Italian landscape scene by Penry Williams.
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