Orleans Collection

292: 321: 307: 777: 28: 277: 920: 335: 632: 358: 262: 115: 1320:; it has been on public display ever since. The collection contained over 300 paintings, including about 50 Orleans paintings, and was known as the "Stafford Gallery" in Cleveland House until the house was rebuilt and renamed as Bridgewater House in 1854, and then as the "Bridgewater Gallery". It was opened in 1803, and could be visited on Wednesday afternoons over four, later three, months in the summer by "acquaintances" of a member of the family (in practice tickets could mostly be obtained by writing and asking for them), or artists recommended by a member of the 1396: 1125: 485: 1298: 1086: 1117:

retained by the syndicate, as seems always to have been intended, and these largely remain in their families today. However these paintings represented over half of the valuations placed on the whole portion bought by the syndicate. Even at the often low prices realized, the sales to others, and entry receipts to the exhibitions, realized a total of £42,500, so even allowing for the expenses of the exhibitions and auctions, the syndicate got their works very cheaply.

1285:, by William Buchanan, published in 1824, of which the first 200 pages of Volume I are devoted to the Orleans sales, listing the works and most prices and buyers. Buchanan was himself involved in the import of art from 1802 onwards, and had his information from the dealers involved. He presents his own "exertions", and those of others, in the area in a thoroughly patriotic light, by implication as a part of the great national struggle with the French. 56:, mostly acquired between about 1700 and his death in 1723. Apart from the great royal-become-national collections of Europe it is arguably the greatest private collection of Western art, especially Italian, ever assembled, and probably the most famous, helped by the fact that most of the collection has been accessible to the public since it was formed, whether in Paris, or subsequently in London, Edinburgh and elsewhere. 1204:, to Rudolph II in Prague, and was later looted by the Swedes. It was taken to Rome by Queen Christina, passed to the Orleans collection, and finally sold at auction in London for 14 guineas in 1800 (the price probably reflecting the poor condition some sources mention), since when its whereabouts are unknown. The Rome version was painted in 1598, presumably for Cardinal 1727:

Penny gives a concise history of the collection in a few thousand words, with special reference to the paintings in the National Gallery. Watson covers the history from Prague to London in 175 pages; his book is the history of the Frick Veronese. From their bibliographies, there do not appear to be

825:, to whom Mantua was effectively a client state. The most important of these gifts were the mythological works by Correggio, later to be mutilated in Paris. By the early 17th century the dynasty was in terminal decline, and the bulk of their portable art collection was bought by the keen collector 1749:

Penny, 461 lists 25, though for example the National Gallery catalogue for the Flemish School (Martin, 1970) lists other Orléans provenances that are not certain in the "Index of Previous Owners". There are also, in 2008, at least two further ex-Orleans paintings on loan to the National Gallery, a

472:

The paintings were housed in two suites of large rooms running side by side down the west or library wing of the palace, with the smaller Dutch and Flemish works in smaller rooms. The gallery suites of rooms still retained much of their original furniture, porcelain and wall-decorations from their

1161:

remained at the auction stage. The current location of many of the pictures can no longer be traced, and many are now attributed to lesser artists or copyists. Overall the prices realized for the better pictures were high, and in some cases their level would not be reached again for a century or

170:

Most of the booty remained in Sweden after Christina's departure for exile: she only took about 70 to 80 paintings with her, including about 25 portraits of her friends and family, and some 50 paintings, mostly Italian, from the Prague loot, as well as statues, jewels, 72 tapestries, and various

1116:

wrote "I was staggered when I saw the works ... A new sense came upon me, a new heaven and a new Earth stood before me." In 1798, 1800 and 1802 there were auctions of those paintings not sold via the galleries, generally achieving rather low prices, but 94 out of 305 of the paintings were

2825: 2176:

Galerie du Palais royal, gravée d'après les Tableaux des differentes Ecoles qui la composent: avec un abrégé de la vie des peintres & une description historique de chaque tableau, par Mr. l'abbé de Fontenai Dediée à S. A. S. Monseigneur le duc d'Orléans, premier prince du sang, par J.

764:, by which time the paintings themselves had been sold. It was finally published in book form in 1806. These prints have greatly reduced the uncertainty that accompanies the identity of works in most dispersed former collections. There had already been many prints of the collection; the 2802: 1882: 473:

use by Phillippe's father as grand reception rooms and according to a visitor in 1765 it was "impossible to imagine anything more richly furnished or decorated with more art and taste". Rearrangements had been made to accommodate the paintings; connoisseurs particularly praised the

242:, acting as intermediary for Philippe, duc d'Orléans. The sale was finally concluded and the paintings delivered in 1721. The French experts complained that Christina had cut down several paintings to fit her ceilings, and had over-restored some of the best works, especially the 841:

it was one of the finest outside Italy. Meanwhile, three years after the sale to Charles, Mantua was sacked by Imperial troops, who added much of what was left there to the Imperial collection in Prague, where they rejoined the diplomatic gifts of a century earlier.

1327:

On the outbreak of the Second World War in September 1939, the collection was moved from London to Scotland. Since 1946 26 paintings, sixteen from the Orleans Collection, known collectively as "the Bridgewater loan" or "the Sutherland Loan" have been on loan to the

105:

The collection is of central interest for the history of collecting, and of public access to art. It figured in two of the periods when art collections were most subject to disruption and dispersal: the mid-17th century and the period after the French Revolution.

291: 845:

Some Mantuan paintings therefore passed from Prague via Christina to the Orleans Collection, while more were bought by French collectors in the London "Sale of the Late King's Goods" in 1650, and later found their way to the Palais-Royal. For example, an

1278:- a breakdown he describes as "quite unlike anything in Europe and grotesquely unlike pre-revolutionary France", where the main collectors were the tax farmers. Many of the same figures appear in the similar list of buyers of the Northern paintings. 1145:—by 1802 including Rome itself. As is often the case with old collectors, their choices of what to keep and what to sell seem in many cases very strange today: the two "Michelangelos" were only sold in the auctions, and for only 90 and 52 911:, was Charles I's daughter, and her small but select collection had been mostly given to her by her brother Charles II from the reclaimed royal collection on her marriage in 1661. On her death forty years later this was left to Phillippe. 389:(1640–1701); the "collection" as catalogued was by no means all the art owned by the dukes, but recorded only that part kept together in the Palais-Royal for public viewing. He also inherited small but high quality collections from 898:

in France in 1660. By the time it entered the Orleans Collection a half-century later, it was regarded as by Velázquez. It then was one of the Castle Howard paintings, and was only correctly identified after the existence of

477:, with its even, sunless top light diffused from the cupola overhead. For most of the 18th century it was easy to visit the collection, and very many people did so, helped by the printed catalogue of 1727, republished in 1737, 238:, commander of the Papal army, at which point it contained 275 paintings, 140 of them Italian. The year after Odescalchi's death in 1713, his heirs began protracted negotiations with the great French connoisseur and collector 1211:

The paintings of both portions of the collection were bought by a wide range of wealthy collectors, the great majority English, as the wars with France made travelling to London difficult for others. Major buyers included

1082:. Gower, who was perhaps the prime mover and must have known the collection well from his time as British ambassador in Paris, contributed 1/8 of the £43,500 price, Carlisle a quarter, and Bridgewater the remaining 5/8s. 854:, bought from Mantua, left Charles' collection for France, passed to the Orleans Collection and the London sales, and after a spell back in France returned to England and was later bought by the National Gallery in 1859. 276: 334: 1339:, (most of whose wealth is contained in the paintings collection), but in late August 2008 the 7th Duke announced that he wished to sell some of the collection in order to diversify his assets. He at first offered 1016:

in 1792, and taken to London for sale. There were protests from the French artists and public, and from the Duke's creditors, and Slade found it prudent to tell the French the pictures were going overland to

1043:, as he had renamed himself, was arrested in April 1793 and was guillotined 6 November, but in the meantime sale negotiations for the Italian and French paintings were renewed, and they were sold for 750,000 2241:. Where this painting was between inventories of Charles in 1637 and the Palais-Royal catalogue of 1727 remains unclear - it was not apparently in the Royal Collection at Charles' death. See Gould, 119. 1051:, who soon after sold them on, unpacked, to his cousin, Count François-Louis-Joseph de Laborde-Méréville, who had hoped to use them to add to the French national collection. After the start of the 1790:, of which the prime version is now in the National Gallery. The prime version was bought by Charles I, then by the King of Spain in 1650, returning to England only in 1815 via the collections of 1058:

The French and Italian paintings then spent five years in London with Laborde-Méréville, the subject of some complicated financial manoeuvres, including the failure of an attempt supported by King

907:

became known in England. After a sale in 1995 it was on loan for nearly 20 years to the National Gallery until they bought it for £22 million in December 2019. Phillippe's father's first wife,

320: 2117: 2234: 1121:, home of the Earls of Carlisle, originally had fifteen works, now much reduced by sales, donations, and a fire, but the Bridgewater/Sutherland group remain intact to a large degree. 261: 964:, the London auctioneer, for the sale of the paintings. Christie got as far as arranging that the collection should be made over to him upon the deposit of 100,000 guineas in the 1289:

notes the "somewhat comic" disparity between Buchanan's "sonorous words" on the subject and the "coarse and mercenary business letters" he reprints—many by himself.

306: 1843: 2262: 2893:, 1824, Ackermann, London, published in 1824 (of which the first 200 pages of Volume I are devoted to the Orleans sales, listing the works and most prices and buyers) 1355:

as a pair to the British national galleries at £100 m (a third of their overall estimated market price) over a period. The National Gallery of Scotland and the

1250:

Merchants - 10, including 4 Members of Parliament and 3 knights; mostly as speculators according to Reitlinger - their purchases were mostly resold within a few years

1055:, and the execution of his father as well as the Duke of Orléans, Laborde-Méréville saw he had to escape France, and brought the collection to London in early 1793. 837:, and his own most notable commissions were from Rubens and van Dyck. By the time his collection of paintings was seized and sold after his execution in 1649 by the 155:(1517–86), which he had forced Granvelle's nephew and heir to sell to him. Granvelle had been the "greatest private collector of his time, the friend and patron of 2478: 865:

was able to exert pressure on most English buyers of his father's collection, but those gone abroad were beyond his reach. One important Rubens of Charles', the

1316:

On Bridgewater's death five years after the purchase, he bequeathed his collection to Gower, who put it and his own paintings on at least semi-public display in

1167: 1776:

Trevor-Roper, 112. One Granvelle painting that seems to have made the full Prague-Stockholm-Paris-London journey is a version of the Correggio variously called

1141:

The London market in these years was flooded by both other collections from France itself, and those dislodged by the French invasions of the Low Countries and

2891:

Memoirs of Painting, with a Chronological History of the Importation of Pictures of Great Masters into England by the Great Artists since the French Revolution

2365:

Penny, 466. Buchanan's account, mainly a long letter from Slade, begins at Volume I, p. 159; £100 a day was taken in shillings at the door, according to Slade.

1283:

Memoirs of Painting, with a Chronological History of the Importation of Pictures of Great Masters into England by the Great Artists since the French Revolution

3080: 527:. The mixture on a wall of erotic and religious subjects was disapproved of by some visitors. The collection was most notable for Italian paintings of the 729:

to cut up all three of the great Correggio mythological works in the presence of his chaplain, which Coypel did, but saving and repairing the pieces. The

580:

The collection included (on the contemporary attributions) 28 Titians, most now regarded as workshop pieces but including several of his finest works, 12

2816:- this one only entered the collection in about 1788, and though listed among those for despatch to England, was not in the end included in the bulk sale 1142: 2435: 519:

Paintings were hung, not by 'schools' or by subject but in order to maximise their effects in juxtaposition, in the 'mixed school' manner espoused by

1404: 1324:. Angerstein's paintings were on display on similar terms in his house in Pall Mall, which from 1824 became the first home of the National Gallery. 2392:

Penny, 466-7, though Reitlinger, 32 appears to be applying these fractions to the three promoters' purchases, and has £43,000 as the purchase price.

1149:. Many Titians were sold, but many Bolognese Baroque works, as well as most of the later (but not the earlier) Raphaels, were retained. The single 1197: 760:

Beginning in 1785, a series of 352 engravings of the paintings were published on a subscription basis, until the series was abandoned during the

382:, the Paris seat of the dukes of Orléans. Only 15 paintings in the printed catalogue of 1727 had been inherited by Philippe II from his father, 2280: 408:, after which he no doubt acquired an extra edge in negotiations. He also began to be presented with many paintings, most notably the three of 1523: 431: 362: 205:, Viceroy in Brussels - she received many such gifts from Catholic royalty after her conversion, and gave some generous gifts herself, notably 1153:

went for only 11 gn, while one Carracci was valued at £4,000 for the galley sale, where all 33 Carraccis were sold, while works attributed to

2114: 426:

Christina's collection only joined Philippe's shortly before the end of his life and most of the other works were bought in France, like the

2231: 2013: 3108: 1071: 82:. Much of the collection has been dispersed, but significant groups remain intact, having passed by inheritance. One such group is the 2313:

Penny 466, Watson, 225, Reitlinger, 27. The Duke had other large costs, but there seems a consensus that his gambling losses predominated

937: 462: 2698: 2060: 948:, the Regent's great-grandson, whose huge income could not keep pace with his gambling habit, had sold his equally famous collection of 1916:

Penny, 462 & 464, and Watson, 185-6, who says Phillippe inherited over 550 paintings (including miniatures) from his father in all.

984:'s opinion that the failure was owing to the general sense that at the division of the spoils the lion's share would go to the royals. 900: 881: 794: 2273: 171:

other works of art. She was concerned that the royal collections would be claimed by her successor, and prudently sent them ahead to

1728:

any full listings in English of the collections of Rudolf, Christina or the Dukes of Orléans, still less ones with current locations.

716: 312: 1767:

Watson discusses both periods in "Interludes" at the end of his Parts 2 and 5. Reitlinger's Chapter 2 deals with the latter period.

1367:

paid for similarly from 2013. The campaign gained press support, though it received some criticism for the Duke's motives or (from

1067: 924: 806: 79: 3118: 1830: 1336: 2250: 776: 1573: 1079: 2857: 2839: 2717: 821:, and they commissioned work directly from Titian, Raphael, Correggio and other artists, some of which were given as gifts to 2984: 2935: 195:

now reunited with the main panel in New York, which were bought from a convent near Rome. She was apparently given Titian's

3044:

The Late King's Goods. Collections, Possessions and Patronage of Charles I in the Light of the Commonwealth Sale Inventories

945: 873:

to the Palais-Royal and London, had always been recognised for what it was, and was bought back for the Royal Collection by

341: 72: 17: 2813: 1551: 326: 27: 1646: 645: 202: 2774: 1243:

An analysis by Gerard Reitlinger of "most" of the buyers (of the Italian and French pictures) divides them as follows:

1007: 919: 3086: 2188:

Penny, 466. As was usual in French reproductive prints of the period, each plate was actually created in a mixture of

3017: 167:. The Swedes only skimmed the cream of the Habsburg collection, as the works now in Vienna, Madrid and Prague show. 503:

in Prague in 1637, before passing via Sweden to the Orleans Collection. It was sold at auction in 1800 in London to

441: 1100:

The pictures were put on exhibition for seven months in 1798, with a view to selling at a least a part of them, in

757:

went to the Imperial collection in Vienna. Some of the Flemish paintings were sold at auction in Paris, June 1727.

3123: 1580: 1237: 565: 504: 119: 2468:

Reitlinger, footnote p. 26, for this example, and passim. He has much information on subsequent price movements.

2055:

now in the Sutherland Loan, has moved in the other direction, catalogued from 1727 until the 20th century as by

1359:

in London announced they would combine forces to raise the sum, initially in the form of £50 m to purchase

297: 53: 3068: 3051: 3030: 2996: 2952: 2918: 2884: 2111: 1945: 1480: 1438: 1383:

had been raised - the painting will rotate every five years between Edinburgh (first) and London. The sale of

1317: 620:. The collection reflected the general contemporary confusion outside Spain as to what the works of the great 144: 128: 2059:, but now seen as an early Titian. See Brigstocke, 171. For one old list of the Titians in the collection see 383: 1376: 1101: 822: 721: 420: 267: 869:(of 1630 - St George has Charles's features, the rescued princess those of his Queen), which passed via the 63:, which itself had a core assembled from the war booty of the sacks by Swedish troops of Munich in 1632 and 2432: 1777: 1657:

and ?Jan Cossiers (as well as two important works from other sources once in the collection of Earl Gower).

1615: 1329: 1309: 1066:

to buy them for the nation. They were finally bought in 1798 by a syndicate of the canal and coal-magnate

91: 3113: 3133: 1673: 1459: 1444: 1340: 1213: 957: 810: 2217:

Whitaker and Clayton, 30 have a short account of the sale, and French buyers. See also Further Reading.

1627: 1451: 1409: 1346: 1129: 1112:; admission was 2/6d rather than the 1s. usual for such events. On first seeing the collection there, 701: 669: 2034:

The 'mixed school' method of hanging had been established in the late seventeenth-century writings of

1697: 178:

Christina greatly expanded her collection during her exile in Rome, for example adding the five small

2629: 2614: 2550:, from where he obtained several very important Rubens and van Dycks, and Spain, where he bought the 2277: 1586: 1486: 1430: 689: 631: 400:

According to Reitlinger, his most active phase of collecting began in about 1715, the year he became

624:

actually looked like; the works attributed to him were of high quality but by other artists such as

531:

and Late Renaissance, especially Venetian works. The collection included no fewer than five of the

1847: 1236:, a Russian-German banker whose collection later became the foundation of the National Gallery and 719:, religious and somewhat neurotic, attacked with a knife one of the most famous works, Correggio's 677: 512: 99: 41: 3095:, Research Curator in the History of Collecting: delivered at the National Gallery 7 December 2009 2746: 1863:, though in fact his money was inherited and his career greatly improved after his uncle's death. 1826: 1267: 973: 234:, who himself died within a year, leaving the collection to his nephew, who sold it to Don Livio 64: 2583: 2012:, text by Louis-François Dubois de Saint-Gelais (1669-1737), who was later the secretary of the 991:

to a banker of Brussels who immediately sold it at a huge profit to the enlightened connoisseur

936:

in 1800. This had belonged to Rudolf but not Christina, reaching the Orleans collection via the

652:

French works, of which the catalogued collection included relatively few, included a set of the

357: 210: 1640: 1233: 1105: 992: 726: 704:(one now National Gallery) that were more highly regarded then than they are now. There were 3 661: 2423:

Reitlinger, 32, but see also Penny, 467 and notes 81 & 84 on p. 470 for different figures.

1379:) for distracting from funding art students In 2009 it was announced that the first £50M for 1037:, where admissions at 1 shilling each reached two thousand a day, and sold to various buyers. 2010:

Description des tableaux du Palais Royal avec la vie des peintres à la tête de leurs ouvrages

1943:

Brigstocke, 181 for the two "Diana" subjects in Edinburgh/London. He also bought the damaged

1694:

Description des tableaux du Palais Royal avec la vie des peintres à la tête de leurs ouvrages

1529: 1146: 933: 862: 458: 427: 394: 390: 367: 2671: 3128: 2702: 2644: 2025:

Penny, 462. Buchanan lists several paintings from the catalogue that did not reach London.

1562: 1466: 908: 838: 826: 788: 640: 481:. This contained 495 paintings, though some continued to be added, and a few disposed of. 114: 1654: 1395: 743: 40:, one of the few paintings to leave the Orleans Collection before the French Revolution. ( 8: 3092: 2482: 2035: 1807:

A stray Veronese of Rudolf's, overlooked since his time, turned up in the castle in 1962.

1124: 953: 734: 560: 282: 191: 60: 1541: 2498: 1950: 1635: 1621: 1513: 1499: 1493: 1305: 1075: 1030: 1003: 784: 665: 625: 552: 540: 536: 500: 450: 371: 220: 186: 152: 1596: 1137:, 1557–59, part of the Sutherland Loan until bought for the nation in 2009 (see below) 621: 608:. Attributions no longer accepted, and probably regarded as dubious even then were 2 573:

in the central salon, which also held the larger Veronese series, three of the Titian

3064: 3047: 3026: 3013: 2992: 2967: 2957: 2948: 2931: 2923: 2914: 2880: 2107: 1650: 1332:

in Edinburgh, though up to 2008 five from this group had been bought by the Gallery.

1174: 1163: 1034: 870: 834: 709: 673: 613: 593: 416: 148: 956:

of Russia, and in 1788 he was in serious negotiations with a syndicate organized by

484: 206: 59:

The core of the collection was formed by 123 paintings from the collection of Queen

2854: 2836: 2132:

Numbers as sold in London: Buchanan, Vol I, pp. 167-9, 182-4 and 189ff respectively

2056: 1954: 1860: 1660: 1609: 1372: 1356: 1229: 1216:, a Dutch banker (distantly of Scottish extraction) sheltering in London from the 1189: 1185: 1154: 1063: 887: 858: 830: 798: 617: 597: 556: 528: 466: 454: 446: 197: 132: 98:, Yorkshire. There are twenty-five paintings formerly in the collection now in the 68: 1700:- choose Archival documents, and search with Orleans Collection in "Owner's name". 539:, of which two are now shared between Edinburgh and London, two always in London ( 2901: 2894: 2861: 2843: 2563: 2535: 2528: 2439: 2284: 2238: 2121: 1791: 1696:, Preface. Reprinted 1737 and 1972 (Geneva). The descriptions are online at the 1671:

Other works are in: Berlin, Vienna, Dresden, Malibu, Paris, Rome, Boston (Titian

1217: 1205: 1113: 1052: 965: 895: 814: 797:

whose history was entwined with the Orleans Collection was that assembled by the

761: 697: 508: 436: 345: 3056: 2940: 2039: 1591: 1535: 1297: 1286: 1260: 1225: 1201: 1109: 972:

having subscribed his name in the book for 7,000 guineas, and his brothers the

753: 548: 488: 231: 124: 32: 1085: 3102: 2972:

Princes and Artists, Patronage and Ideology at Four Habsburg Courts 1517-1633

2160:

Catalogue des tableaux flamands du cabinet de feu S.A.R. Mgr le duc d'Orléans

1795: 1664: 1321: 1271: 1193: 1118: 1021:. In fact he had them moved onto a barge by night, and shipped them down the 981: 961: 851: 818: 520: 247: 239: 140: 95: 2962:

The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760-1960

2645:"Art auction: National galleries scramble to keep Titians as duke cashes in" 747:

to Venice, where it was stolen and eventually sold to the English consul at

147:(1552–1612), whose own bulk purchases had included the famous collection of 3088:

The Bridgewater Collection: Its Impact on Collecting and Display in Britain

2779: 2751: 2722: 2676: 2649: 2551: 1221: 1012: 949: 609: 409: 379: 2906: 684:

with 19 paintings, including a group of 12 studies now widely dispersed,

164: 160: 1846:' views of Leopold's galleries. Leopold's collection is now part of the 768:

were especially popular among the middle classes of Paris in the 1720s.

680:

and is now in the National Gallery. The Flemish works were dominated by

415:, now in Boston and shared by Edinburgh and London, which were given by 2374:

Watson, 241-4; Penny, 466 7 note 69, p. 469. He died in London in 1802.

2016:; it was the first published catalogue of a French princely collection. 1557: 1158: 1059: 999:

in rue d'Artois. Ruined by events, he was forced to sell it once more.

977: 929: 705: 605: 589: 585: 235: 78:, and most of it acquired by an aristocratic English consortium led by 2793:

Indices of Previous Owners in Catalogues by Ingamells, 4 vols, 1985-92

2352:

Slade's letter to Buchanan, quoted in Buchanan, Vol I, 163; Wheatley,

401: 285:, 1626–1689, went into exile when she wanted to convert to Catholicism 2193: 1568: 1546: 1368: 969: 891: 874: 693: 635: 601: 405: 243: 37: 2945:

The Sixteenth Century Italian Paintings, Volume II, Venice 1540-1600

1002:

The 147 German, Dutch and Flemish paintings were sold by Orléans to

378:

The Orleans collection was housed in the magnificent setting of the

3035:

Folliot, Franck, Forray, Anne, and Mardrus, Françoise; articles in

2228:

The Infant Jupiter guarded by the Corybantes on the Island of Crete

1751: 1253:

Dealers - 6, including Bryan, who handled matters for the syndicate

1048: 1026: 685: 570: 300:, 1674–1723, Regent of France, who assembled the Orleans Collection 182: 499:, c. 1575. The series was first recorded in the collection of the 374:

and later "NG1", the first entry in the National Gallery catalogue

3061:

Sale of the Late King's Goods: Charles I & His Art Collection

2877:

Italian and Spanish Paintings in the National Gallery of Scotland

2189: 1631: 1518: 1399: 1390: 1150: 748: 738: 657: 581: 270:, 1552–1612, deposed by his family after he turned into a recluse 179: 172: 1979:

Buchanan, Vol I, 14 and in his listings, Penny and Watson passim

980:

for 5,000 each, no further subscribers were to be found. It was

52:

was a very important collection of over 500 paintings formed by

2989:

Wisdom and Strength, the Biography of a Renaissance Masterpiece

1831:

National Gallery page on the division of the Raphael altarpiece

1612:, London - at least 25 works, plus two currently on loan there. 1352: 1301: 1179: 1134: 1089: 1018: 1006:, a British dealer, in a syndicate with two London bankers and 802: 681: 544: 457:, and Cardinal Dubois, with an especially important group from 393:, his father's first wife, in 1701 and his father's lover, the 156: 90:, including sixteen works from the Orleans Collection, in the 2547: 1363:

paid over three years in instalments and then £50 m for

1022: 995:, who set about adding a gallery to house it attached to his 904: 224: 2928:

The Queen's Pictures, Royal Collectors through the centuries

1825:

Watson, 158. The other panels are now in London: two at the

1096:, bought by Philippe in France, one of the Northern portion. 829:

in 1625–27. Charles's other notable purchases included the

616:. There were few works from the 15th century, except for a 102:, which have arrived there by a number of different routes. 2718:"Enough vulgar Marxism - we must keep Titian's masterpiece" 1173:

An example of a work now only known from a replica (in the

71:. During the French Revolution the collection was sold by 2627:

He had previously sold another Titian from the loan — the

2102:

Wine Humphrey, National Gallery Catalogues (new series):

2000:

Penny, 462-5 has more details on the architectural setting

857:

Other paintings in the same series were recovered for the

1663:, New York - two Veroneses (see above), two portraits of 987:

In 1792 Philippe Égalité impulsively sold the collection

644:, 1645–48, one of his most famous landscapes, now in the 2501:(Penny, 463) and the Titian a rather dubious attribution 1312:, now sold and shared by them with the National Gallery. 3025:(exhibition catalogue), Mondadori Electa, Milan, 2003, 2546:

As he describes in Vol II, he specialized in buying in

1281:

Much of our information about the sales comes from the

1232:, and works by "Michelangelo", "Velásquez" and Titian, 2339:, Paris, 1873:xx reported a purchase price of 750,000 3046:, Alistair McAlpine / Oxford University Press, 1989, 2141:

Numbers as sold in London: Buchanan, Vol I, pp. 196ff

3039:(exhibition catalogue), Musée Carnavalet, Paris 1988 2775:"Second part of £95m Titian pair bought for Britain" 435:, with some from the Netherlands or Italy, like the 2343:

and a sale price within days of 900,000 to Laborde.

2106:, 2001, p. 226, National Gallery Publications Ltd, 1970:, "The Galérie d'Orléans, Palais Royal", pp 201-08. 143:had mostly been amassed by the obsessive collector 2405:, 1820, quoted in Watson, 251. See also Penny, 467 1029:. These paintings were exhibited for sale in the 2879:, 2nd Edn, 1993, National Galleries of Scotland, 2672:"Editorial: In praise of... the Bridgewater loan" 523:for his grand private collection in his Parisian 230:On her death she left her collection to Cardinal 3100: 563:in New York. Another Veronese series, the four 469:, Gramont, Vendôme and other French collectors. 2071:Reitlinger, 6-7, supplemented by Buchanan Vol I 1842:Penny, 255. It is clearly shown in one of the 163:and many other artists", including his protégé 2747:"Arts chiefs warn of harm from Titian crusade" 2699:"National Galleries of Scotland press release" 2633:— to the National Gallery of Scotland in 2000. 2324:Artists and Their Friends in England 1700-1799 1709:Watson, 202, and Penny, 461 and Reitlinger, 26 1677:), Tokyo, Kansas City, and many other cities. 1391:Paintings with articles once in the collection 547:. A series of four mythological allegories by 449:in 1716. Other sources included the heirs of 2943:, National Gallery Catalogues (new series): 2612:Brigstocke, 11, plus subsequently the Titian 2204: 2202: 1987: 1985: 1894: 1892: 1890: 1692:Louis-François Dubois de Saint-Gelais, 1727. 968:, before the negotiations collapsed when the 604:plus ten no longer accepted as by him, and 3 445:, bought from a Dutch collection by Cardinal 2913:, National Gallery Catalogues, London 1975, 2230:, and attributed to Giulio's workshop only. 1736: 1734: 1256:Bankers - Hope and Angerstein (both foreign) 1166:valued at 60gn in 1798 was auctioned by the 423:, who in turn presented them to the Regent. 2947:, 2008, National Gallery Publications Ltd, 2483:engraving in the Metropolitan Museum of Art 1859:Watson,168-9; Odescalchi was the nephew of 813:(1500–1540). Their court artists included 676:which turned up in 1997 over a door in the 2199: 2014:Académie royal de peinture et de sculpture 1982: 1887: 1308:, long part of the Sutherland Loan to the 1104:in Pall Mall, with the larger ones at the 725:, now in Berlin, and ordered the painter 2179:3 vols. Paris: Jacques Couché, 1786-1808. 1731: 1618:- sixteen works, including those on loan. 1292: 880:Another picture commissioned by Charles, 771: 2450:Reitlinger, Chapter 2 and Watson, 254-66 2104:The Seventeenth Century French Paintings 2053:The Holy Family with St John the Baptist 1394: 1335:The collection has passed by descent to 1296: 1123: 1084: 1068:Francis Egerton, 3rd Duke of Bridgewater 918: 775: 692:with 9. The Dutch paintings included 6 630: 483: 479:Description des Tableaux du Palais Royal 356: 113: 80:Francis Egerton, 3rd Duke of Bridgewater 26: 3023:Cristina di Svezia, Le Collezioni Reali 2930:, National Gallery Publications, 1991, 1966:Penny, 462 and Robert W. Berger, 1999. 1630:, New York - At least three works, the 1420: 1337:Francis Egerton, 7th Duke of Sutherland 867:Landscape with St George and the Dragon 109: 14: 3101: 2744: 2274:National Gallery: Saved for the Nation 1934:Reitlinger, 27, see also Watson, 185ff 1247:Nobility - 12, including the syndicate 914: 700:(one now Wallace Collection) and 3 by 559:(with two, one illustrated above) and 352: 201:by the greatest collector of the age, 3083:Web feature from the National Gallery 2911:The Sixteenth Century Italian Schools 2715: 2642: 2510:Reitlinger, 30, and 16 on the farmers 569:now in the National Gallery, hung as 384:Philippe de France, Duke of Orléans, 2964:, Barrie and Rockliffe, London, 1961 2745:Thorpe, Vanessa (16 November 2008). 2479:Image of the replica version in Rome 1603: 3109:Former private collection in France 2974:, Thames & Hudson, London, 1976 2716:Jones, Jonathan (31 October 2008). 2564:See, for example, Vol II, pp. 248-9 1647:National Gallery of Art, Washington 993:Jean-Joseph de Laborde de Méréville 646:National Gallery of Art, Washington 203:Archduke Leopold William of Austria 24: 3002: 2584:Victorian London-Bridgewater House 2326:, (London, 1928) vol. II, pp 179f. 2164:Le livre-journal de Laurent Duvaux 1495:Venus and Cupid with a Lute-player 1266:Gentleman Amateurs - 6, including 1008:George Kinnaird, 7th Lord Kinnaird 543:and National Gallery), and one in 342:Louis Philippe II, Duke of Orléans 313:Louis, Duke of Orléans (1703–1752) 25: 3145: 3074: 2902:republished in 2008 by Read Books 2643:Bates, Stephen (28 August 2008). 2536:republished in 2008 by Read Books 2337:Le livre-journal de Lazare Duvaux 1957:, in France. See Ingamells, 1985. 1047:to Édouard Walkiers, a banker of 894:, was returned to Charles' widow 327:Louis Philippe I, Duke of Orléans 1829:and the other National Gallery; 1506: 1434:, two versions, but not Philip's 1387:for £45M was announced in 2012. 886:by Gentileschi, painted for the 344:, 1747–1793, guillotined in the 333: 319: 305: 290: 275: 260: 175:in a ship before she abdicated. 2848: 2830: 2819: 2807: 2796: 2787: 2767: 2738: 2709: 2691: 2664: 2636: 2621: 2606: 2597: 2588: 2577: 2568: 2557: 2540: 2522: 2513: 2504: 2487: 2471: 2462: 2453: 2444: 2426: 2417: 2408: 2395: 2386: 2377: 2368: 2359: 2346: 2329: 2316: 2307: 2298: 2289: 2267: 2255: 2244: 2220: 2211: 2182: 2169: 2153: 2144: 2135: 2126: 2096: 2083: 2074: 2065: 2045: 2028: 2019: 2003: 1994: 1973: 1960: 1937: 1928: 1919: 1910: 1901: 1875: 1866: 1853: 1836: 1819: 1810: 1581:Allegory of Wisdom and Strength 1238:John Bligh, 4th Earl of Darnley 1162:longer. As an extreme case, a 505:John Bligh, 4th Earl of Darnley 253: 120:Allegory of Wisdom and Strength 3119:1630s establishments in Sweden 2837:NGA Provenance Index - Orleans 2278:National Gallery Press Release 1801: 1770: 1761: 1743: 1721: 1712: 1703: 1686: 1318:Bridgewater House, Westminster 419:to the French ambassador, the 370:, extracted by Phillippe from 145:Rudolph II, Holy Roman Emperor 129:Rudolph II, Holy Roman Emperor 13: 1: 2869: 2493:Watson, 253. The "Velásquez" 2080:Watson, 251-3, Buchanan lists 1968:Public Access to Art in Paris 1649:- four works by: Rembrandt, 1259:Painters - 4: Walton, Udney, 823:Charles V, Holy Roman Emperor 268:Rudolf II, Holy Roman Emperor 2855:NGA Provenance Index - Gower 1788:Venus with Mercury and Cupid 1616:National Gallery of Scotland 1330:National Gallery of Scotland 1310:National Gallery of Scotland 901:Gentileschi's second version 551:are now divided between the 92:National Gallery of Scotland 54:Philippe II, Duke of Orléans 7: 2403:On the Pleasure of Painting 2162:, noted by Louis Courajod, 1575:Allegory of Virtue and Vice 1224:fame) bought the two large 1220:, who with his brother (of 1182:and his Family Fleeing Troy 925:The Origin of the Milky Way 833:and volumes of drawings by 660:. There were paintings by 10: 3150: 2414:Penny, 467; Reitlinger, 32 1628:Metropolitan Museum of Art 1410:Metropolitan Museum of Art 670:Metropolitan Museum of Art 404:on the death of his uncle 139:The paintings looted from 73:Louis Philippe d'Orléans, 3081:The Bridgewater Syndicate 1415: 795:Another famous collection 678:Naval & Military Club 127:, originally painted for 3042:Macgregor, Arthur, ed.; 3008:Schmid, Vanessa I (ed), 2680:. London. 28 August 2008 2166:Paris, 1873, p, xx note. 1848:Kunsthistorisches Museum 1680: 1667:and his wife by van Dyck 1639:and a predella panel, a 1553:Origin of the Milky Way 1473: 1177:in Rome) and studies is 946:Louis Philippe d'Orléans 809:(1466–1519) and his son 513:National Gallery, London 100:National Gallery, London 42:Kunsthistorisches Museum 1827:Dulwich Picture Gallery 1525:The Raising of Lazarus 1070:, his nephew and heir, 1062:and the Prime Minister 3124:1792 disestablishments 3010:The Orleans Collection 1784:The Education of Cupid 1758:, for which see below. 1698:Getty Provenance Index 1641:Philippe de Champaigne 1412: 1377:University of the Arts 1313: 1293:Bridgewater collection 1234:John Julius Angerstein 1228:allegories now in the 1168:5th Duke of Sutherland 1138: 1097: 1094:The Judgement of Paris 941: 791: 772:Gonzagas and Charles I 727:Charles-Antoine Coypel 662:Philippe de Champaigne 649: 555:in Cambridge, and the 516: 465:, and others from the 375: 363:The Raising of Lazarus 136: 45: 3012:, 2018, D Giles Ltd, 2433:Castle Howard website 1946:Perseus and Andromeda 1530:Sebastiano del Piombo 1481:The Three Ages of Man 1439:Perseus and Andromeda 1398: 1300: 1196:was given in 1586 by 1170:in 1913 raising 2gn. 1127: 1088: 1033:in April 1793 at 125 922: 909:Henrietta Anne Stuart 779: 656:and 5 other works by 634: 487: 475:Galerie à la Lanterne 459:Jean-Baptiste Colbert 428:Sebastiano del Piombo 395:Chevalier de Lorraine 391:Henrietta Anne Stuart 368:Sebastiano del Piombo 360: 117: 30: 2991:, Hutchinson, 1990, 2519:Buchanan, Vol I, 165 2322:William T. Whitley, 1754:and the Gentileschi 1467:The Death of Actaeon 938:Marquis de Seignelay 883:The Finding of Moses 839:English Commonwealth 827:Charles I of England 463:Marquis de Seignelay 340:"Philippe Égalité", 151:'s leading minister 110:Rudolf and Christina 94:, and another is at 3093:Susanna Avery-Quash 3063:, Macmillan, 2006, 2896:Memoirs of Painting 2889:Buchanan, William; 2530:Memoirs of Painting 2051:At least one work, 1184:, the only secular 954:Catherine the Great 915:Dispersal in London 735:Frederick the Great 588:, 16 Veroneses, 12 561:Metropolitan Museum 451:Cardinals Richelieu 353:Collection in Paris 283:Christina of Sweden 192:Agony in the Garden 61:Christina of Sweden 3134:Monarchy of Sweden 2977:Turner, Nicholas, 2968:Trevor-Roper, Hugh 2958:Reitlinger, Gerald 2924:Lloyd, Christopher 2875:Brigstocke, Hugh; 2860:2008-10-10 at the 2842:2009-05-09 at the 2499:Orazio Gentileschi 2495:Discovery of Moses 2438:2006-09-29 at the 2283:2009-01-07 at the 2237:2005-11-07 at the 2120:2009-02-07 at the 2042:(Berger 1999:200). 1951:Wallace Collection 1881:Penny, 462-3, and 1779:The School of Love 1674:The Rape of Europa 1636:Colonna Altarpiece 1624:, London - 6 works 1622:Wallace Collection 1514:Colonna Altarpiece 1500:Fitzwilliam Museum 1460:The Rape of Europa 1453:Diana and Actaeon 1446:Diana and Callisto 1413: 1405:Colonna Altarpiece 1385:Diana and Callisto 1365:Diana and Callisto 1342:Diana and Callisto 1314: 1306:Diana and Callisto 1198:Francesco Maria II 1139: 1098: 1076:Duke of Sutherland 1031:West End of London 1004:Thomas Moore Slade 942: 871:dukes of Richelieu 848:Infancy of Jupiter 792: 785:Orazio Gentileschi 688:with 10 works and 666:Wallace Collection 650: 626:Orazio Gentileschi 592:, 25 paintings by 566:Allegories of Love 553:Fitzwilliam Museum 541:Wallace Collection 537:Philip II of Spain 517: 501:Holy Roman Emperor 497:Allegories of Love 495:, one of the four 432:Raising of Lazarus 376: 372:Narbonne Cathedral 298:Philippe d'Orléans 221:Philip IV of Spain 187:Colonna Altarpiece 153:Cardinal Granvelle 137: 50:Orleans Collection 46: 18:Orléans collection 2936:978-0-947645-89-2 2335:Louis Courajod , 1953:), once owned by 1655:Sébastien Bourdon 1651:Ludovico Carracci 1604:Current locations 1381:Diana and Actaeon 1361:Diana and Actaeon 1175:Galleria Borghese 1164:Ludovico Carracci 1130:Diana and Actaeon 835:Leonardo da Vinci 722:Leda and the Swan 674:Eustache Le Sueur 594:Annibale Carracci 467:dukes of Noailles 417:Philip V of Spain 149:Emperor Charles V 16:(Redirected from 3141: 3114:House of Orléans 2979:Federico Barocci 2864: 2852: 2846: 2834: 2828: 2823: 2817: 2811: 2805: 2800: 2794: 2791: 2785: 2784: 2771: 2765: 2764: 2762: 2760: 2742: 2736: 2735: 2733: 2731: 2713: 2707: 2706: 2701:. Archived from 2695: 2689: 2688: 2686: 2685: 2668: 2662: 2661: 2659: 2658: 2640: 2634: 2630:Venus Anadyomene 2625: 2619: 2615:Venus Anadyomene 2610: 2604: 2601: 2595: 2592: 2586: 2581: 2575: 2572: 2566: 2561: 2555: 2554:and other works. 2544: 2538: 2526: 2520: 2517: 2511: 2508: 2502: 2491: 2485: 2475: 2469: 2466: 2460: 2457: 2451: 2448: 2442: 2430: 2424: 2421: 2415: 2412: 2406: 2399: 2393: 2390: 2384: 2381: 2375: 2372: 2366: 2363: 2357: 2350: 2344: 2333: 2327: 2320: 2314: 2311: 2305: 2302: 2296: 2293: 2287: 2271: 2265: 2263:Royal Collection 2259: 2253: 2251:Royal Collection 2248: 2242: 2232:National Gallery 2224: 2218: 2215: 2209: 2206: 2197: 2186: 2180: 2173: 2167: 2157: 2151: 2148: 2142: 2139: 2133: 2130: 2124: 2115:National Gallery 2100: 2094: 2093:discussed below. 2091:Finding of Moses 2087: 2081: 2078: 2072: 2069: 2063: 2057:Palma il Vecchio 2049: 2043: 2032: 2026: 2023: 2017: 2007: 2001: 1998: 1992: 1989: 1980: 1977: 1971: 1964: 1958: 1955:Anthony van Dyck 1941: 1935: 1932: 1926: 1923: 1917: 1914: 1908: 1905: 1899: 1896: 1885: 1879: 1873: 1870: 1864: 1861:Pope Innocent XI 1857: 1851: 1840: 1834: 1823: 1817: 1814: 1808: 1805: 1799: 1774: 1768: 1765: 1759: 1756:Finding of Moses 1747: 1741: 1738: 1729: 1725: 1719: 1716: 1710: 1707: 1701: 1690: 1661:Frick Collection 1643:, and a Veronese 1610:National Gallery 1488:Venus Anadyomene 1431:Venus and Adonis 1373:Nigel Carrington 1357:National Gallery 1348:Diana and Acteon 1268:William Beckford 1230:Frick Collection 1190:Federico Barocci 1186:history painting 1155:Giovanni Bellini 1080:Earl of Carlisle 1064:Pitt the Younger 1041:Philippe Égalité 932:, bought for 50 859:Royal Collection 831:Raphael Cartoons 781:Finding of Moses 766:Seven Sacraments 702:Frans van Mieris 654:Seven Sacraments 618:Giovanni Bellini 598:Lodovico Caracci 577:and Correggios. 557:Frick Collection 447:Guillaume Dubois 442:Seven Sacraments 337: 323: 309: 294: 279: 264: 198:Death of Actaeon 189:, including the 185:panels from the 133:Frick Collection 88:Bridgewater Loan 75:Philippe Égalité 69:Thirty Years War 21: 3149: 3148: 3144: 3143: 3142: 3140: 3139: 3138: 3099: 3098: 3077: 3037:Le Palais-Royal 3005: 3003:Further reading 2941:Penny, Nicholas 2872: 2867: 2862:Wayback Machine 2853: 2849: 2844:Wayback Machine 2835: 2831: 2824: 2820: 2812: 2808: 2801: 2797: 2792: 2788: 2783:. 1 March 2012. 2773: 2772: 2768: 2758: 2756: 2743: 2739: 2729: 2727: 2714: 2710: 2697: 2696: 2692: 2683: 2681: 2670: 2669: 2665: 2656: 2654: 2641: 2637: 2626: 2622: 2611: 2607: 2602: 2598: 2593: 2589: 2582: 2578: 2573: 2569: 2562: 2558: 2545: 2541: 2527: 2523: 2518: 2514: 2509: 2505: 2492: 2488: 2476: 2472: 2467: 2463: 2459:Watson, 252-53. 2458: 2454: 2449: 2445: 2440:Wayback Machine 2431: 2427: 2422: 2418: 2413: 2409: 2400: 2396: 2391: 2387: 2382: 2378: 2373: 2369: 2364: 2360: 2351: 2347: 2334: 2330: 2321: 2317: 2312: 2308: 2303: 2299: 2294: 2290: 2285:Wayback Machine 2272: 2268: 2260: 2256: 2249: 2245: 2239:Wayback Machine 2225: 2221: 2216: 2212: 2207: 2200: 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Loan 23: 22: 15: 12: 11: 5: 3147: 3137: 3136: 3131: 3126: 3121: 3116: 3111: 3097: 3096: 3084: 3076: 3075:External links 3073: 3072: 3071: 3057:Brotton, Jerry 3054: 3040: 3033: 3020: 3004: 3001: 3000: 2999: 2982: 2975: 2965: 2955: 2938: 2921: 2904: 2887: 2871: 2868: 2866: 2865: 2847: 2829: 2818: 2806: 2795: 2786: 2766: 2737: 2708: 2705:on 2012-02-19. 2690: 2663: 2635: 2620: 2605: 2603:Brigstocke, 11 2596: 2587: 2576: 2567: 2556: 2539: 2521: 2512: 2503: 2486: 2470: 2461: 2452: 2443: 2425: 2416: 2407: 2394: 2385: 2383:See Penny, 466 2376: 2367: 2358: 2345: 2328: 2315: 2306: 2304:Penny, 160-161 2297: 2288: 2266: 2254: 2243: 2219: 2210: 2198: 2181: 2168: 2152: 2143: 2134: 2125: 2095: 2082: 2073: 2064: 2044: 2040:Roger de Piles 2036:André Félibien 2027: 2018: 2002: 1993: 1981: 1972: 1959: 1936: 1927: 1925:Watson, 185-6. 1918: 1909: 1900: 1886: 1874: 1865: 1852: 1835: 1818: 1809: 1800: 1769: 1760: 1742: 1730: 1720: 1711: 1702: 1684: 1682: 1679: 1669: 1668: 1658: 1644: 1625: 1619: 1613: 1605: 1602: 1601: 1600: 1594: 1592:Paolo Veronese 1587:Venus and Mars 1571: 1560: 1549: 1536:Jupiter and Io 1532: 1521: 1508: 1505: 1504: 1503: 1491: 1484: 1475: 1472: 1471: 1470: 1463: 1456: 1449: 1442: 1435: 1425: 1419: 1417: 1414: 1392: 1389: 1294: 1291: 1287:Nicholas Penny 1276: 1275: 1264: 1257: 1254: 1251: 1248: 1202:Duke of Urbino 1010:, for 350,000 958:James Christie 916: 913: 787:, painted for 773: 770: 754:Jupiter and Io 489:Paolo Veronese 421:Duc de Gramont 354: 351: 350: 349: 339: 332: 330: 325: 318: 316: 311: 304: 302: 296: 289: 287: 281: 274: 272: 266: 259: 255: 252: 246:, implicating 232:Decio Azzolino 207:Albrecht Dürer 111: 108: 65:Prague in 1648 33:Jupiter and Io 9: 6: 4: 3: 2: 3146: 3135: 3132: 3130: 3127: 3125: 3122: 3120: 3117: 3115: 3112: 3110: 3107: 3106: 3104: 3094: 3090: 3089: 3085: 3082: 3079: 3078: 3070: 3066: 3062: 3058: 3055: 3053: 3049: 3045: 3041: 3038: 3034: 3032: 3028: 3024: 3021: 3019: 3018:9781911282280 3015: 3011: 3007: 3006: 2998: 2994: 2990: 2986: 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London 2726:. London 2653:. London 2436:Archived 2354:op. cit. 2281:Archived 2235:Archived 2118:Archived 2089:See the 1752:Guercino 1564:The Mill 1226:Veronese 1049:Brussels 1027:Le Havre 978:Clarence 944:In 1787 815:Mantegna 799:Gonzagas 733:went to 686:van Dyck 672:, and a 641:The Mill 612:, and 3 582:Raphaels 549:Veronese 515:in 1890. 507:, whose 386:Monsieur 183:predella 125:Veronese 2618:in 2003 2356:p. 180. 2190:etching 2177:Couché. 1844:Teniers 1632:Raphael 1519:Raphael 1400:Raphael 1375:of the 1151:Watteau 1147:guineas 989:en bloc 934:guineas 903:in the 749:Livorno 739:Prussia 658:Poussin 575:poesies 533:poesies 455:Mazarin 412:poesies 180:Raphael 173:Antwerp 3067: 3050: 3029: 3016: 2995: 2951: 2934: 2917: 2883: 2341:livres 2110: 1422:Poesie 1416:Titian 1353:Titian 1302:Titian 1261:Cosway 1192:. 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