Colnaghi Foundation Journal 02 - Page 115



114
52.
53.
54.
55.
56.
57.
58.
59.
60.
61.
62.
The taste for Paolo Veronese in early Stuart London
problem of the commission in general, see Jeremy
Wood, “Van Dyck’s Pictures for the Duke of
Buckingham. The Elephant in the Carpet and the
Dead Tree with Ivy,” Apollo 136 (1992): pp. 37-47.
See Bert W. Meijer, “Per la fortuna di Paolo Veronese
fino al 1664,” in Veronese e Verona, ed. Sergio Marinelli
(Verona: Distributzione Edizioni Valdonega, 1988),
pp. 112-115.
For surveys of Charles I’s collection of paintings, see
Francis Haskell, “Charles I’s Collection of Pictures,”
in The Late King’s Goods, ed. Arthur MacGregor
(London and Oxford: Oxford University Press, 1989),
pp. 203-231; Brown, Kings and Connoisseurs, pp. 33-47;
Lucy Whitaker and Martin Clayton, The Art of Italy
in the Royal Collection: Renaissance and Baroque, exh. cat.
(London: The Royal Collection, 2007), pp. 17-30;
Haskell, The King’s Pictures.
See Millar, “Abraham van der Doort’s Catalogue”;
Oliver Millar, “The Inventories and Valuations of the
King’s Goods 1649-1651,” Walpole Society 43 (19701972).
According to Pierre-Jean Mariette in his Recueil
d’Estampes d’après les plus Beaux Tableaux…(Paris:
L’imprimerie royale, 1742), no. 69, Veronese’s
Pietà, then in the Crozat collection and now in the
Hermitage, was previously in the collection of Charles
I. There is indeed a gap in its provenance between
its presence in Venice in 1582 and in the Liancourt
collection in Paris in 1664; see Marco Boschini, Le
Minere della Pittura (Venice: Francesco Nicolini, 1664),
pp. 221-222, but there is no record of it either in the
Van der Doort catalogue or in the Commonwealth
sale.
For the Venus Disrobing, still in the Royal Collection, see
John Shearman, The Early Italian Pictures in the Collection
of Her Majesty the Queen (Cambridge: Cambridge
University Press, 1983), pp. 274-275 (as “Partial copy
after Titian”).
“Item the Picture of ffaith in a white habbit wth a
Communion Cupp in her raecht hand and in the
sam arme also houding te Cross”; “Item the Venician
Capteyne in armoure houding a yallowe Scarfe in
his right hand and with his left hand leaning uppon a
pillar houlding a handkercher”; see Millar, “Abraham
van der Doort’s Catalogue,” pp. 47-48, 204.
See Brian Reade, “William Frizell and the Royal
Collection,” Burlington Magazine 59 (1947): pp. 70-75.
See Shearman, Early Italian Pictures, p. 275 (as “Partial
copy after Titian”).
Document in Brown and Elliot, Sale of the Century, p.
285.
Pignatti, Pedrocco, Veronese, II, pp. 394-5. It has often
been suggested that the Prado picture corresponds to
one recorded by Ridolfi, Le maraviglie, I, p. 319, in the
Della Torre collection in Verona, but there is no good
reason for such an identification.
Loomie, “New Light on the Spanish Ambassador’s
Purchases,” p. 263, n. 23. The reference was noted
by Brown, Kings and Connoisseurs, p. 79, and by Matilde
Miquel Joan “Finding of Moses,” in Brown, Elliot, Sale
of the Century, 2002, p. 240, no. 43; but there is no
mention of it, for example, in the entries on the work
in the catalogues of the recent Veronese exhibitions in
London and Verona.
63.
64.
65.
66.
67.
68.
69.
70.
71.
72.
73.
74.
Millar, “Abraham van der Doort’s Catalogue,” p. 78.
Millar, “Inventories and Valuations,” pp. 262 and
266 respectively. In another record, dated 2 April
1650, a Finding of Moses by Veronese from the royal
collection was sold to the painter Lely, see Millar,
“Inventories and Valuations,” p. 65; but there is no
other record of a possible second version of the
subject owned by the king.
Anderson, Daniel Nijs, p. 136. From this it may be
concluded that the picture was not identical with a
Finding of Moses by Veronese earlier recorded in the
Gonzaga collection: for which see Alessandro Luzio,
La Galleria dei Gonzaga venduta all’Inghilterra nel 16271628 (Milan: L. F. Cogliati, 1913), p. 92.
See Paul Shakeshaft, “’Too much bewiched with thoes
intysing things’: the Letters of James, first Marquis of
Hamilton and Basil, Viscount Feilding, Concerning
Collecting in Venice 1635-1639,” Burlington Magazine
127 (1986): p. 124. In his reply Hamilton confirms
Feilding’s impression of Charles’s taste, but still
wants him to pursue the four canvases: “As for those
4 Large peeises of poulo Veronese, if they be no
extraordinarie greatt and of his best manner they
ar excessif deire, he being a master not verie much
estimed by the King and so consequently by folk eales
yeitt I woold intreatt you to send me word how bige
they ar and how mani figoures ar in them and their
lowest pryse.”
Shakeshaft, “Letters of James, first Marquis of
Hamilton,” p. 124.
Wood, “Orazio Gentileschi,” pp. 106-107, and
Haskell, The King’s Pictures, p. 211, have both discerned
Veronesian echoes in Gentileschi’s Prado painting.
“Christ in a gardin of Paulus de veronese”. The 2nd
Marquess had been to Venice and may have bought
his Venetian pictures there with the help of Wotton or
Carleton; see Philip McEvansoneya, “An Unpublished
Inventory of the Hamilton Collection in the 1620s
and the Duke of Buckingham’s Pictures,” Burlington
Magazine 134 (1992): pp. 524-526.
For the 3rd Marquess as a collector, see Ellis K.
Waterhouse, “Paintings from Venice for SeventeenthCentury England: Some Records of a Forgotten
Transaction,” Italian Studies 7 (1952): pp. 1-23; Klara
Garas, “Die Entstehung der Galerie des Erzherzogs
Leopold Wilhelm,” Jahrbuch der Kunsthistorischen
Sammlungen in Wien 27 (1967): pp. 39-80; Shakeshaft,
“Letters of James, first Marquis of Hamilton”; Brown,
Kings and Connoisseurs, pp. 49-57; Haskell, The King’s
Pictures, pp. 23-7.
See Shakeshaft, “Letters of James, first Marquis of
Hamilton,” with a detailed analysis of the HamiltonFeilding correspondence.
Shakeshaft, “Letters of James, first Marquis of
Hamilton,” Appendix II, pp. 131-132.
For Della Nave and his collection, see Rosella Lauber,
“Bartolomeo dalla Nave,” in Il Collezionismo d’arte a
Venezia: il Seicento, eds. Stefania Mason and Linda
Borean (Venice: Marsilio, 2007), pp. 258-261. In his
Life of Veronese of 1646, Ridolfi, Le maraviglie, I, p.
336, provided a list of the works by him that Feilding
had sent to London, mostly but not all from the Della
Nave collection.
See above, note 66.
The taste for Paolo Veronese in early Stuart London
75.
76.
77.
78.
79.
80.
81.
82.
83.
For the exchange of 1792, see Luciano Berti, “Profilo
di storia degli Uffizi,” in Gli Uffizi: catalogo generale,
eds. Luciano Berti, Caterina Caneva, and Alia
Ferrari (Florence: Centro Di, 1979), p. 32. For the
biblical series, see Hans H. Aurenhammer, “’Quadri
numero sette esistenti nella sagrestia de San Giacomo
della Zueca fatti per mano del q. Paolo Veronese.’
Zur Provenienz und ursprünglichen Bestimmung
einiger Bilder Veroneses und seiner Werkstatt im
Wiener Kunsthistorischen Museum,” Jahrbuch des
Kunsthistorischen Museums in Wien I (1999): pp. 151-187.
For the Esther, see Pignatti, Pedrocco, Veronese, II,
pp. 509-510. Not all the ex-Hamilton Veroneses are
catalogued in this standard monograph, but for some
of the other religious works see pp. 483-484, 525-526.
68 x 52 cm each. See Pignatti, Pedrocco, Veronese, II,
pp. 388-390.
These two collections, housed in the Strand on either
side of York House, are both described by Richard
Symonds in 1652. See respectively Mary Beal, A Study
of Richard Symonds: His Italian Notebooks and their Relevance
to Seventeenth-Century Painting Techniques (London and
New York: Garland, 1984), p. 313; and Jeremy Wood,
“Van Dyck and the Earl of Northumberland: Taste
and Collecting in Stuart England,” in Van Dyck 350,
Studies in the History of Art 46, eds. Susan J. Barnes and
Arthur K. Wheelock (Washington, DC: The National
Gallery of Art, 1994), p. 303.
See W. Alexander Vergara, “The Count of
Fuensaldaña and David Teniers: Their Purchases
in London after the Civil War,” Burlington Magazine
131 (1989): pp. 127-132. For the five recognizable
Veroneses, see Pignatti, Pedrocco, Veronese, II, pp. 366,
455-457, 488-489; Brown, Elliot, Sale of the Century,
pp. 240-241, pp. 262-265.
Vergara, “The Count of Fuensaldaña,” p. 132, no.
44; Brown, Elliot, Sale of the Century, p. 295.
After it was sold at the Commonwealth sale in 1650,
the whereabouts of the picture are unknown until
1761, when it is recorded in the collection of Sampson
Gideon at Belvedere House, Kent. It cannot be
excluded, therefore, that in the interim it went abroad.
Namely Arundel’s Saint Helena (if indeed it was ever
in his collection in London); and the BuckinghamCharles Leda, which returned in the 1790s with the
Orléans collection, but which was later sold back
to France (see above, note 38). It is last recorded in
England in the Sir Harry Englefield sale, Christie’s, 18
March 1823, lot 69.
See various essays in Jürg Meyer zur Capellen and
Bernd Roeck, eds., Paolo Veronese. Fortuna Critica und
Künstlerisches Nachleben (Sigmaringen: Thorbecke, 1990);
Habert, “Le goût”; Linda Borean, “Paolo Veronese
Revisited. Art Collecting and Connoisseurship in
Eighteenth-Century Venice,” in The Enduring Legacy
of Venetian Renaissance Art, ed. Andaleeb Badiee Banta
(London and New York: Routledge, 2016), pp. 89-101,
with references.
115

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