Colnaghi Foundation Journal 03 - Page 66



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The Bridgewater Collection and its picture frames
The Bridgewater Collection and its picture frames
Fig. 4 / Pieter Christoffel
Wonder, Patrons and
Connoisseurs of Art, ca. 18261830, Private Collection.
1. Titian, Diana and Actaeon (BG17; Edinburgh, Scottish National Gallery, and
London, National Gallery). Frame: English ca. 1815.
2. Gabriël Metsu, Woman Playing with Dog (BG242). Frame: French, Louis XV, ca. 1735.
3. Anthony van Dyck, Virgin and Child (BG23; Cambridge, Fitzwilliam Museum).
Frame: South French, Transition, ca. 1770.
4. David Teniers II, Alchemist (BG130). Frame: French, Régence, ca. 1735
5. Nicolaes Maes, Woman Peeling Apples (formerly Stafford Collection; now New
York, Metropolitan Museum of Art). Frame: French, Louis XIV, ca. 1710.
6. Guido Reni, Head of Saint Mary Magdalene (formerly Stafford Collection).
Frame: French, Louis XV, ca. 1740.
7. Jan Steen, Woman Selling Fish (BG191). Frame: Italian (?) cassetta, ca. 1640.
8. Adriaen van Ostade, Dutch Courtship (BG203). Frame: French (Pastel), ca. 1730.
Fig. 5 / Diagram of fig. 4.
Fig. 6 / Photograph of
Bridgewater Gallery, ca. 1900.
Fig. 7 / Photograph of Sitting
Room at Bridgewater House,
ca. 1900.
Fig. 8 / Photograph of
Lady Margaret Egerton in
Bridgewater Gallery, ca. 1936.
And like the Lelie belonging to the genre of “gallery
picture”, is Pieter Christoffel Wonder’s Patrons and
Connoisseurs of Art of ca. 1826-1830 (figs. 4 & 5).6
Although in this case the scene is set in an ideal, fictive
picture gallery, the paintings themselves, including
several from the Bridgewater Collection, are real and
recognizable; and their frames are clearly likewise
reproduced with documentary accuracy.
Unfortunately, the interior of Bridgewater House as it
existed before World War II is rather poorly documented
with photographs, and there seems to survive only
65
one official view of the Picture Gallery before its
destruction (fig. 6), together with one of the groundfloor Sitting Room, in which important paintings were
also displayed (fig. 7). The long view of the Gallery is
also complemented by a photograph of about 1936
of Lady Margaret Egerton (Colville), in which some of
the framed paintings are seen in greater detail (fig. 8).
But in all three of these photographs, surface glare and
foreshortenings make it difficult to identify the majority
of the paintings – especially since the catalogue of 1851
(and its subsequent revised editions) is not organized
according to room or placing on the walls.

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