Chats on Old Miniatures

Then Henry Edridge, who was born in 1769, and lived to see George IV. on the throne, should not be overlooked. His early works are on ivory, but he is best known by his spirited and refined drawings on paper, the figures in which are slightly touched in, whilst the heads are carefully finished; good examples of them may be seen at the Victoria and Albert Museum. He became an Associate of the Academy, and his advancement in life is said to have been due to the influence of Sir Joshua Reynolds, who allowed him to copy his paintings in miniature; but the drawings by Edridge to which I have just made reference do not show the influence of Sir Joshua. He died in 1821, from grief at the loss of a favourite daughter, aged seventeen, and an only son.

Between the years 1786 and 1821 there were no less than 260 examples of Edridge's work shown on the walls of the Academy.

John Downman was a contemporary of the foregoing and also a fellow-associate of the Academy; but his portraits, though delicate and minute, hardly come under the definition of miniatures. John Linnell, the landscape artist, was a miniature painter at the outset of his career, as was Sir Henry Raeburn.

Mrs. Mee, born Anne Foldsome, is a lady miniaturist who is fully represented in the Royal Collection at Windsor, having been patronised by George IV. when Prince of Wales. I do not like her work, but all credit must be given to her for her exertions to support a widowed mother and eight brothers and sisters.

Alfred Edward Chalon (not to be confounded with H. B. Chalon the animal painter, nor with John James Chalon, R.A.) besides being a witty and popular man, was a thorough artist, as his spirited full-lengths, dashed in with great freedom, attest, his treatment of draperies being particularly skilful. He came of an old French family, and was born at Geneva, in 1817. He was made water-colour painter to Queen Victoria, and elected a full member of the Academy, to the exhibitions of which he contributed no less than 400 works.

And now, by way of concluding my remarks on English miniature painters, I turn to the group of men to which Miss Robertson refers, and the particular style of work they introduced; for they were, she alleges, the originators of the cabinet pictures in vogue at the beginning of the nineteenth century and in the early Victorian days. Miss Robertson does not make it clear to which Hayter she refers (for there were two, father and son, to whom her remarks might perhaps apply). I conclude she means Charles Hayter, who exhibited for nearly half a century; his last contribution was in 1832. In spite of his writings on perspective, and the alleged correctness of his likenesses, Hayter's work is feeble and uninteresting.

Sir William Newton is an artist about whom opinions differ, the late Dr. Propert, for example, hardly having a good word to say for him. In his own day, however, Newton, who was the son of an engraver, and descended from a brother of Sir Isaac, was a thoroughly successful man. He was made miniature painter-in-ordinary to William IV., whom he painted a dozen times or more. He was knighted on the accession of Queen Victoria, in 1837, and was the first person who received that distinction in the new reign. Sir William became a well-known figure in London society, and took a leading position in the musical world. For fifty years he contributed nearly the whole number of works allowed to Academicians. At one time membership of the Academy was not open to miniature painters; after a long struggle Sir William obtained a withdrawal of the restriction, although he would not allow his own name to be brought forward for the honour. He lived to be eighty-four, dying in 1869.

In Robert Thorburn, A.R.A., we have an instance of a rapid rise. Born at Dumfries, in 1818, he had painted the Queen, the Prince Consort, and two of the Royal children by the time he was thirty years of age. His successful career as a miniature painter was cut short by the advent of photography, but not before he had painted many of the aristocracy.3

The change was so great that he abandoned the practice of his earlier art, and took to painting portraits in oils, but with less success. He died at Tunbridge, in 1885. In spite of a certain monotony in his flesh painting, I greatly admire his miniatures, which are marked by refinement, whilst the composition is graceful and sometimes dignified. His work was appreciated in Paris, where he was awarded a gold medal in 1855.

Like Sir William Newton and Sir William Ross (to whom I shall refer presently), Thorburn used large surfaces of ivory for his portraits, or cabinet pictures as Miss Robertson terms them: this was managed by taking the circumference of a trunk of ivory, making it flat by great pressure, laying it down on a panel and adding strips on the top, bottom, and sides. Thus pictures of considerable size with elaborate backgrounds could be painted and correspondingly high prices obtained.

I now come to a distinguished and excellent man who rounds off a period in the art we have under discussion.

Sir William Charles Ross was the last of the old school of miniature painters. Of Scottish origin, he was born in London, in 1794. Both his father and mother were portrait painters, the former being gardener to the Duke of Marlborough.

Young William Ross made an early start in life, for, according to Miss Robertson, he became a pupil of her father's when he (Ross) was only fourteen. In 1809, when he was but fifteen, he contributed three works to the Academy and had already won medals at the Society of Arts and in the Academy Schools.

Queen Victoria sat to him in 1837, and he painted the whole of the Royal Family of his day as well as the Kings and Queens of Belgium and Portugal, &c. His miniatures are said to have exceeded two thousand in number. After his death, in 1860, an exhibition of his works was opened at the Society of Arts; the catalogue (which I have printed elsewhere) is likely to be of much interest in the future, and shows most clearly the commanding position Ross occupied in his profession. He painted Miss Angela Burdett-Coutts (as she then was) in 1846; it is here shown, and must be reckoned one of his finest works. The Baroness owned several other important examples of Sir William. At Windsor there are a great many, and in the exhibition to which I have just referred Queen Victoria is given as the owner of over forty pieces.

In judging of the artistic value of Ross we must remember that he had to contend with the difficulties imposed by a thoroughly tasteless style of costume, according to present standards. The period covered by his work coincides with that of the very lowest depth of Philistinism in art, costume, and architecture which our annals disclose.

His colour was too florid to suit some tastes, his palette being set somewhat à la Rubens, but his flesh-tints are fresh and delightful, and when time has mellowed them will probably be reckoned of great beauty. His composition, draperies, background, and accessories were treated with much skill. He had a brother, Hugh, who was also a miniature painter of ability.

CHAPTER XII

ROYAL AND PRIVATE COLLECTIONS

As in works by the old masters, so also this country is extremely rich in old miniatures. I am speaking now of private collections. Of course, by the very nature of the case, the majority of these are comparatively inaccessible, not that their owners are illiberal in furnishing a sight of their treasures to those who are interested, and can furnish reasonable credentials for admission to a sight of them, but these miniatures are scattered all over the land, and to see them demands time, trouble, and expense. In the restricted space at my command in this book it is futile to attempt to describe with fulness all the riches of those private collections which I have been privileged to study.

There are, however, a few collections of such paramount importance in connection with our subject that they cannot be passed by, and every one claiming to feel an intelligent interest in the subject of old miniatures must wish to know something, at any rate, of the nature and the extent of these private collections to which I have just referred.

The Royal Collection

Let us take first the Royal Collection at Windsor Castle, which comprises some thousand examples, many remarkable for their intrinsic beauty as well as their historic interest. Perhaps I ought to have put the latter first, as being the principal source of interest belonging to them. But that would be to look at them too much with the eye of the historical student. Were they all portraits of comparative nobodies, or even unknown persons, they would yet be a most delightful, varied, and fascinating collection. As Sir Richard Holmes, the ex-royal-librarian, who has written about them from time to time, has pointed out, the collection has one peculiar interest, namely that "in nearly every case these miniatures remain in the custody of the descendants of those for whom they were originally painted, and thus present an almost unbroken series of authentic portraits of the Royal Family from the time of Henry VIII. to the present day."

The fact that this unique collection goes back, as the reader has just been reminded, to Tudor days, leads us to expect that we may find some work by Holbein, perhaps the greatest name in all the annals of the art. Nor shall we be disappointed. Six examples there are by the great Hans, among them Katherine Howard, and the two sons of Charles Brandon, Duke of Suffolk, portraits possessing a pathetic interest, seeing that the originals both died on the same day from the sweating sickness. That was in 1551. Mr. Ralph Wornum's description of them may be worth giving.

"Henry Brandon, Duke of Suffolk, in a black cap with white feather, and a black coat with green sleeves, blond hair cropped all round; he is leaning his left arm on a table, on which is written, 'Etatis svæ 5, 6 sepdem, Anno 1535.' Blue ground painted on the back of the ace or three of clubs. The other is his brother Charles Brandon, Duke of Suffolk, in a grey and red coat with black cuffs; his shirt collar is embroidered with black thread round the outer edge. Blue ground. On a tablet is inscribed 'Ann 1541, etatis svæ 10 Marci.' This is painted on the back of a king. Both are of the same size, one and eleven-twelfths of an inch in diameter. They are said to have been given to Charles I. by Sir Henry Vane, and both are entered as Holbein's work in Van der Doort's catalogue. They are freely, firmly, and yet elaborately executed.

"There are two of Henry VIII., one with a beard, in a black cap and black ribbonds about his neck, in an ash-coloured tissue suit in a fur cloak, his name and age in golden letters written on it. Being also one of the number which were given to the King by Lord Suffolk."

This description is a quotation from the catalogue made by Van der Doort, who was custodian of the pictures to Charles I., and that monarch is meant by the reference to "the King." The same authority describes another and lesser picture of Henry VIII.: "Without a beard, also in a black cap and a little golden chain about his neck, in an ash-coloured wrought doublet in a furred cloak with crimson sleeves." Yet another Holbein is the portrait of Lady Audley, daughter of the Treasurer of the Chamber to Henry, whose portrait in red chalk is amongst the drawings by Holbein preserved at Windsor. These miniatures are all circular, and measure from one and three-quarter inches to two and a quarter inches in diameter.

Holbein's pupil, Nicholas Hilliard, is well represented at Windsor; the valuable catalogue of Charles I.'s collection which I have quoted above contains references to fourteen by him, including, says Sir Richard Holmes, "those of Queen Elizabeth. But these last, unfortunately, are no longer to be found." It is interesting to compare the renderings of Henry VIII. which Holbein and Hilliard respectively present. Amongst the most noteworthy of the Hilliards now at Windsor are four which were probably painted by Royal command, namely Henry VII., Henry VIII., Edward VI., and Jane Seymour. These were originally attached to a golden jewel, enamelled on one side with a representation of the Battle of Bosworth Field and the roses of York and Lancaster on the other. The miniature of Henry VII. must clearly have been painted either from imagination or from some earlier picture, since it is dated 1509, whereas Hilliard was not born till 1547. The other portraits, too, represent the originals when it would have been impossible for Hilliard to have painted them.

Among the miniatures of King Charles I.'s progenitors which Van der Doort describes is one which hung with seven others in his own chamber, and it is one of surpassing interest. He thus describes it: "№ 23. Item. Done upon the right light, the second picture of Queen Mary of Scotland upon a blew-grounded square card, dressed in her hair, in a carnation habit laced with small gold lace and a string of pearls about her neck, in a little plain falling band, she putting upon her second finger her wedding ring. Supposed to be done by the said Jennet. Length three inches, breadth two inches." The claim to authenticity which this portrait thus possesses is obviously very high, and Sir Richard Holmes asserts "there is no portrait of the unhappy queen which has so good a pedigree as this." We will not stop to discuss the complex and difficult question of the true portraiture of Mary Queen of Scots. Having recently published an exhaustive folio devoted to this topic, a work containing more portraits of Mary, good, bad and doubtful, than any with which I am acquainted, I may refer the reader to its pages for the further elucidation of this fascinating problem. I may, however, mention that the "said Jennet," by whom this portrait is "supposed to be done," was of course the well-known Janet, otherwise called François Clouet, Court painter in France at the time of Queen Mary's betrothal to the Dauphin, whose portrait, by the same artist and from the Royal Collection, I am able to show.

Clouet was one of a family of limners whose work was the best of the day, and his drawings should be seen and studied by all who wish to realise how admirable that work was in expression and character. It is to be seen to the best advantage in the Print Department of the Bibliothèque Nationale, Paris, and also in the large series now preserved in the Palace of Chantilly, the ancestral home of the Condés.

By Hilliard I do not recall anything else very remarkable at Windsor, unless a small circular picture of a girl wearing the roses of York and Lancaster in her hair, which came from the Sackville Bale Collection and is said to represent Lady Jane Grey, is his work. But in the works of the Olivers, both father and son, the Royal Collection is rich. Among portraits by Isaac Oliver there is the extremely interesting and elaborate miniature, before referred to, representing Sir Philip Sidney seated under a tree, presumably at his birthplace, Penshurst, with a background of the formal Italian garden then so much in vogue (see p. 295). As this famous scholar, statesman, and soldier died in 1586, the work must be a comparatively early example of Isaac Oliver, who would be under thirty years of age at that time. A piece probably much later is one of no less importance, namely a portrait of Prince Henry Frederick, eldest son of James I., that "sweet royal bud" and "hope of the Puritans" who died in 1612. An entry in the catalogue of Van der Doort is as follows: "Imprimis. Done upon the right light. The biggest limned picture that was made of Prince Henry, being limned in a set laced ruff and gilded armour and a landskip, wherein are some soldiers and tents, in a square frame with a shutting glass over it. Done by Isaac Oliver. Length five and a quarter inches, breadth four inches."

Worthy to be ranked with these is another large miniature of Charles II., which is even more highly finished than the two masterpieces, viz., Monck and Monmouth, which I described in Chapter VII. – that is to say, it is more finished throughout, because painting – in the head only was a characteristic of Samuel Cooper. Probably he found the painting of the drapery, background, and details somewhat irksome, and having got the head and the character of the portrait, was often wont to leave the completion of the picture until a more convenient season. Be the reason what it may, there is no doubt that several of the finest things that he ever painted are left in the unfinished state of which Walpole has complained in his "Anecdotes of Painting." There is, however, another miniature in the Royal Collection by this great artist which may be appropriately mentioned here, and that is a portrait of the man who sent the unfortunate "Mr. Crofts" to the scaffold. The cold, implacable nature of James II. is admirably and most forcefully suggested in this superb miniature. It represents him in armour when he was probably Duke of York, and may have been painted after his return from fighting the Dutch off the Texel. But the riches of this collection, numbering as it does not less than a thousand examples, are such that we must pass on.

For several decades following the death of Cooper there was comparatively little native-born miniature art of first-rate importance produced in this country, but about the middle of the eighteenth century a "bright particular star" appeared on the horizon in the person of Richard Cosway, and in the works of this eccentric but highly talented miniature painter the Royal Collection is rich. The portrait of the celebrated Duchess of Devonshire, which will be recognised as an extremely characteristic example of the master, is one of the most beautiful things in its way in the Royal Library, and is here given. As I have devoted a chapter to the works of Cosway, I need not dwell further upon the examples by him at Windsor.

There is a good deal of work by another artist, a contemporary of Cosway, namely, Ozias Humphrey, to be seen here. Humphrey's style of painting is far less showy than Cosway's, but it has a completeness, a perfection of finish, repose, and beautiful colour, qualities which combine to give his art great and, to my mind, permanent charm. A good illustration of this may, I think, be found in his rendering of the somewhat homely charms of Queen Charlotte, here given.

In so large a collection, brought together, I believe, through the initiative of the late Prince Consort, and gathered into a whole from all the royal palaces, there are, of course, works by artists too numerous to mention here. But reference should be made to the large number of examples of Sir William Ross. The Crown possesses at least fifty works by him, many of large size, as was the fashion of his day. In the year 1860, Queen Victoria owned over forty examples, which comprised the English Royal Family and Queen Adelaide, besides the Queen of the Belgians, the King and Queen of Portugal, Louis Philippe, and other foreign royalties, for Ross was the most fashionable portrait painter of his day.

Private Collections

Rivalling, in general interest, the Royal Collection at Windsor is that formed by the Duke of Buccleuch, now preserved at Montagu House, in Whitehall. Those who have been privileged to visit this collection, or who may remember it when it was shown in the rooms of the Royal Academy at the Winter Exhibition in 1879, must admit its extraordinary value, interest, and importance, alike from the artistic and from the historical point of view. It presents, in fact, a microcosm of English history, from the middle of Henry VIII.'s reign down to the closing years of the period of the Restoration. We may see the vera effigies of most of the leading characters of the times which are synchronous with the work of Holbein down to the death of Samuel Cooper, in 1672. The present writer well remembers of this exhibition that it left three very distinct impressions on his mind, the force of which has been but deepened by further acquaintance with the collection and by the process of time. From it he first gained some idea of the richness of this country in historical art of this nature. Secondly, he realised the high quality, and indeed supreme artistic value, of much of the work it contained; and, thirdly, the vivid illustration it furnished of the history of the times contemporary with the artists represented.

These considerations lead him to regard old miniatures as valuable adjuncts to historical research, and as worthy of careful and serious study.

In the catalogue of the exhibition which I have mentioned we find amongst the contributions of the Duke of Buccleuch some hundred and fifty pieces by several of the most distinguished miniature painters this country has produced – for example, some half-dozen Holbeins, a score of Hilliards, as many Isaac Olivers, and more Coopers; not to speak of rare men like Bettes, Dixon, and John Hoskins, junr.

Setting aside the Holbeins, which, however, call for special notice on account of the rarity of the master as a miniature painter, the works of Samuel Cooper claim pre-eminence; and one of them, namely, the portrait of Oliver Cromwell, to which I have referred before, is regarded by some good judges as perhaps the very finest thing that the great limner has left us of his work. I am indebted to the Duke of Buccleuch for the information that it was purchased through the agency of Messrs. Colnaghi, from a descendant of the Protector, namely, a Mr. Henry Cromwell Frankland, of Chichester, who inherited it through a daughter of Lady Elizabeth Claypole. A writer in the Athenæum of September 10, 1898, states that this miniature is one of two of Oliver Cromwell, which, being painted at Hampton Court, "were snatched from the artist by the Protector, indignant because he found Cooper making a copy of the original his Highness had sat for. Lady Falconbridge [sic] inherited one or both of her father's captures, which, in the course of a divided inheritance, parted company for about a century and a half, only to be reunited at Montagu House."

There is a very beautiful miniature of this Elizabeth Claypole herself (she was, it will be remembered, the second and favourite daughter of Cromwell) in the Buccleuch Collection; and in the same connection may be mentioned the portrait of John Milton, which I have dealt with in the chapter upon Cooper.

The beauty and importance of the Coopers should not blind us to the interest of some of the Hilliards – for instance, the portrait of Alicia Brandon, the wife of Nicholas Hilliard, and a portrait of Drake, dated 1581, painted probably just after his return from circumnavigating the world. The great seaman's hair is dark brown, his moustache and beard a light auburn; he looks manly vigour personified.

I have spoken of Dixon as being a rare painter; there are, however, at least seven or eight by him in the collection I am now describing. He is not mentioned by Redgrave, it may be noted in passing; but he must have stood high in Court favour in his day, seeing that Charles II., Madame Hughes, Mary Davis, the Duchess of Portsmouth, the Duke of Monmouth, and Prince Rupert were among his sitters, and their portraits are to be found in this collection.

I pass on to another private collection also remarkable for the number and the superb quality of its examples of Samuel Cooper. It is that of the Duke of Portland. The Welbeck Collection is largely a family one, and so far as I know was never made as a collection pure and simple. But it contains, nevertheless, amongst the portraits that I shall proceed to mention, some of the very finest examples of Cooper with which I am acquainted. Four of these struck me as especially noteworthy, namely, Richard, Earl of Arran, John, Earl of Clare, Sir Freschevile Holles, and Colonel Sidney, afterwards Lord Romney. The latest of these works is dated 1668, four years before the painter's death. Cooper attained no greater age than sixty-three, and this may account for the absence of any discoverable decadence, even in his latest works.

Another marked feature in this collection, which is a large one, is the predominance of Laurence Cross and Bernard Lens; but Cosway and his school are scarcely, if at all, represented.

Another ducal collection, namely that at Belvoir, is important in respect of the historical miniatures it contains, and not the least valuable of these are miniatures of Sir Walter Raleigh and his son – he who was killed in the attack on the Spanish settlement on the Cayenne River, the story of which, and the beautiful enamel case which contained them, with its initials of Walter and Elizabeth Raleigh, is to be found in my book "Miniature Painters, British and Foreign," which also contains particulars of many private collections, described at considerable length and illustrated.