Colnaghi Foundation Journal 01 - Page 148

The Sutherland Gallery at Stafford House
Fig. 20 / James Digman
Wingfield, View of
Sutherland Gallery from
North, 1848, oil on canvas,
115.2 x 113.4 cm, Lancaster
House, Government Art
most formal to the most private. This organization
of the catalogue is especially helpful, since although
during the stewardship of the 2nd Duke the collection
was visited and described by the eminent art historians
Waagen (twice) and Jameson (preceded in the lifetime
of the Marquess by Johann David Passavant),74 these
authorities listed the works in their own art-historical
order, by school and approximate chronology, not
by room or according to position on the walls; and
accordingly they provide no sense of the physical
arrangement and hang of the pictures.
Complementing these verbal descriptions are a number
of visual records – drawn, painted and photographic
– which, however, naturally suffer from the limitations
of the chosen viewpoint and of the legibility of detail.
These include late nineteenth-century photographs
of many of the principal rooms, with their paintings
still in place; of these, apparently only three, dating
from 1895, are of the Picture Gallery, and in the more
The Sutherland Gallery at Stafford House
comprehensive views the surfaces of the paintings are
largely obscured (fig. 19).75 Sometimes drawings, prints
or watercolours of the many receptions and balls at
Stafford House provide glimpses of the paintings in
the background.76 But the most appealing views of the
Picture Gallery are provided by three paintings of 1848
by James Digman Wingfield (figs. 20-21). Composed
in the tradition of David Teniers’s famous views
of the collection of the Archduke Leopold Wilhelm
of Austria, these illustrate not just the hang in three
different areas of the Gallery, but evoke a luxurious and
ample space suitable not only for receptions and balls,
but one in which the Sutherland children could also
happily play with their pet dogs, watched over by their
mother, her friends, and their nanny.
Although the evidence provided by these verbal
and visual records is all partial, taken together
they provide a more or less complete account of
the original arrangement of the paintings in the
Fig. 21 / James Digman
Wingfield, View of
Sutherland Gallery: Central
Space under the Lantern,
1848, oil on canvas, 87 x
117 cm, Lancaster House,
Art Collection.


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