Orleans Collection

281: 310: 296: 766: 17: 266: 909: 324: 621: 347: 251: 104: 1309:; 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 1385: 1114: 474: 1287: 1075: 1106:

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.

1274:, 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. 45:, 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. 1193:, 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 1716:

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

814:, 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 1738:

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

461:

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

1150:

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

159:

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

1105:

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

2814: 2165:

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.

753:, 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 2791: 1871: 462:

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

231:, 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 830:

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.

1316:

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

94:

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.

280: 834:

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

1267:- 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. 1134:—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 52 900:, 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. 378:(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 887:

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

466:, 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, 227:, 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 1200:

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

1071:. 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. 843:, 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. 265: 323: 1328:, (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 1005:

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

1032:, 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 2230:. 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. 1040:, 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 1779:, 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 1047:

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

896:

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,

309: 2106: 2223: 1110:, 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. 250: 953:, 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 1278:

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.

295: 1832: 2251: 2882:, 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) 1344:

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

1239:

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

1044:, 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. 826:, 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 144:(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 2467: 854:

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

1305:

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

1156: 1765:

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

1130:

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

2880:

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

2354:

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.

1272:

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

3069: 516:. 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 718:

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

569:

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

2805:- 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 1131: 2424: 508:

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

1393: 1313:. 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. 2381:

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.

1138:. 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 1186: 749:

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

371:, 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, 2269: 397:, 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 1512: 420: 351: 194:, Viceroy in Brussels - she received many such gifts from Catholic royalty after her conversion, and gave some generous gifts herself, notably 1142:

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

2103: 415:

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

2220: 2002: 3097: 1060: 71:. Much of the collection has been dispersed, but significant groups remain intact, having passed by inheritance. One such group is the 2302:

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

926: 451: 2687: 2049: 937:, the Regent's great-grandson, whose huge income could not keep pace with his gambling habit, had sold his equally famous collection of 1905:

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

973:'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. 889: 870: 783: 2262: 160:

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

1717:

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

705: 301: 1756:

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

1356:

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

1056: 913: 795: 68: 3107: 1819: 1325: 2239: 765: 1562: 1068: 2846: 2828: 2706: 810:, and they commissioned work directly from Titian, Raphael, Correggio and other artists, some of which were given as gifts to 2973: 2924: 184:

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

3033:

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

934: 862:

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

330: 61: 2802: 1540: 315: 16: 1635: 634: 191: 2763: 1232:

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

996: 908: 3075: 2177:

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

3006: 156:. The Swedes only skimmed the cream of the Habsburg collection, as the works now in Vienna, Madrid and Prague show. 492:

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

430: 1089:

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

746:

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

3112: 1569: 1226: 554: 493: 108: 2457:

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

2044:

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

1348:

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

286: 42: 3057: 3040: 3019: 2985: 2941: 2907: 2873: 2100: 1934: 1469: 1427: 1372:

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

1306: 609:. The collection reflected the general contemporary confusion outside Spain as to what the works of the great 133: 117: 2048:, but now seen as an early Titian. See Brigstocke, 171. For one old list of the Titians in the collection see 372: 1365: 1090: 811: 710: 409: 256: 858:(of 1630 - St George has Charles's features, the rescued princess those of his Queen), which passed via the 52:, which itself had a core assembled from the war booty of the sacks by Swedish troops of Munich in 1632 and 2421: 1766: 1646:

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

1604: 1318: 1298: 1055:

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

80: 3102: 3122: 1662: 1448: 1433: 1329: 1202: 946: 799: 2206:

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

1616: 1440: 1398: 1335: 1118: 1101:; admission was 2/6d rather than the 1s. usual for such events. On first seeing the collection there, 690: 658: 2023:

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

1686: 167:

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

2618: 2603: 2539:, from where he obtained several very important Rubens and van Dycks, and Spain, where he bought the 2266: 1575: 1475: 1419: 678: 620: 389:

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

613:

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

520:

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

1836: 1225:, a Russian-German banker whose collection later became the foundation of the National Gallery and 708:, religious and somewhat neurotic, attacked with a knife one of the most famous works, Correggio's 666: 501: 88: 30: 3084:, Research Curator in the History of Collecting: delivered at the National Gallery 7 December 2009 2735: 1852:, though in fact his money was inherited and his career greatly improved after his uncle's death. 1815: 1256: 962: 223:, who himself died within a year, leaving the collection to his nephew, who sold it to Don Livio 53: 2572: 2001:, text by Louis-François Dubois de Saint-Gelais (1669-1737), who was later the secretary of the 980:

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

925:

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

641:

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

346: 199: 1629: 1222: 1094: 981: 715: 693:(one now National Gallery) that were more highly regarded then than they are now. There were 3 650: 2412:

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

1368:) for distracting from funding art students In 2009 it was announced that the first £50M for 1026:, where admissions at 1 shilling each reached two thousand a day, and sold to various buyers. 1999:

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

1932:

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

1683:

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

1518: 1135: 922: 851: 447: 416: 383: 379: 356: 2660: 3117: 2691: 2633: 2014:

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

1551: 1455: 897: 827: 815: 777: 629: 470:. This contained 495 paintings, though some continued to be added, and a few disposed of. 103: 1643: 1384: 732: 29:, one of the few paintings to leave the Orleans Collection before the French Revolution. ( 8: 3081: 2471: 2024: 1796:

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

1113: 942: 723: 549: 271: 180: 49: 1530: 2487: 1939: 1624: 1610: 1502: 1488: 1482: 1294: 1064: 1019: 992: 773: 654: 614: 541: 529: 525: 489: 439: 360: 209: 175: 141: 1585: 1126:, 1557–59, part of the Sutherland Loan until bought for the nation in 2009 (see below) 610: 597:. Attributions no longer accepted, and probably regarded as dubious even then were 2 562:

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

3053: 3036: 3015: 3002: 2981: 2956: 2946: 2937: 2920: 2912: 2903: 2869: 2096: 1639: 1321:

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

1163: 1152: 1023: 859: 823: 698: 662: 602: 582: 405: 137: 945:

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

473: 195: 48:

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

2843: 2825: 2121:

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

2045: 1943: 1849: 1649: 1598: 1361: 1345: 1218: 1205:, a Dutch banker (distantly of Scottish extraction) sheltering in London from the 1178: 1174: 1143: 1052: 876: 847: 819: 787: 606: 586: 545: 517: 455: 443: 435: 186: 121: 87:, Yorkshire. There are twenty-five paintings formerly in the collection now in the 57: 1689:- choose Archival documents, and search with Orleans Collection in "Owner's name". 528:, of which two are now shared between Edinburgh and London, two always in London ( 2890: 2883: 2850: 2832: 2552: 2524: 2517: 2428: 2273: 2227: 2110: 1780: 1685:, Preface. Reprinted 1737 and 1972 (Geneva). The descriptions are online at the 1660:

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

1206: 1194: 1102: 1041: 954: 884: 803: 786:

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

750: 686: 497: 425: 334: 3045: 2929: 2028: 1580: 1524: 1286: 1275: 1249: 1214: 1190: 1098: 961:

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

742: 537: 477: 220: 113: 21: 1074: 3091: 2961:

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

2149:

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

1784: 1653: 1310: 1260: 1182: 1107: 1010:. In fact he had them moved onto a barge by night, and shipped them down the 970: 950: 840: 807: 509: 236: 228: 129: 84: 2951:

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

2634:"Art auction: National galleries scramble to keep Titians as duke cashes in" 736:

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

136:(1552–1612), whose own bulk purchases had included the famous collection of 3077:

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

2768: 2740: 2711: 2665: 2638: 2540: 1210: 1001: 938: 598: 398: 368: 2895: 673:

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

153: 149: 1835:' views of Leopold's galleries. Leopold's collection is now part of the 757:

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

669:

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

404:, now in Boston and shared by Edinburgh and London, which were given by 2363:

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

2005:; it was the first published catalogue of a French princely collection. 1546: 1147: 1048: 988:

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

966: 918: 694: 594: 578: 574: 224: 67:, and most of it acquired by an aristocratic English consortium led by 2782:

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

2341:

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

390: 274:, 1626–1689, went into exile when she wanted to convert to Catholicism 2182: 1557: 1535: 1357: 958: 880: 863: 682: 624: 590: 394: 232: 26: 2934:

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

991:

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

367:

The Orleans collection was housed in the magnificent setting of the

3024:

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

2217:

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

1740: 1242:

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

1037: 1015: 674: 559: 289:, 1674–1723, Regent of France, who assembled the Orleans Collection 171: 488:, c. 1575. The series was first recorded in the collection of the 363:

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

3050:

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

2866:

Italian and Spanish Paintings in the National Gallery of Scotland

2178: 1620: 1507: 1388: 1379: 1139: 737: 727: 646: 570: 259:, 1552–1612, deposed by his family after he turned into a recluse 168: 161: 1968:

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

969:

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

41:

was a very important collection of over 500 paintings formed by

2978:

Wisdom and Strength, the Biography of a Renaissance Masterpiece

1820:

National Gallery page on the division of the Raphael altarpiece

1601:, London - at least 25 works, plus two currently on loan there. 1341: 1290: 1168: 1123: 1078: 1007: 995:, a British dealer, in a syndicate with two London bankers and 791: 670: 533: 446:, and Cardinal Dubois, with an especially important group from 382:, his father's first wife, in 1701 and his father's lover, the 145: 79:, including sixteen works from the Orleans Collection, in the 2536: 1352:

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

1011: 984:, who set about adding a gallery to house it attached to his 893: 213: 2917:

The Queen's Pictures, Royal Collectors through the centuries

1814:

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

1085:, bought by Philippe in France, one of the Northern portion. 818:

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

605:. There were few works from the 15th century, except for a 91:, which have arrived there by a number of different routes. 2707:"Enough vulgar Marxism - we must keep Titian's masterpiece" 1162:

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

60:. During the French Revolution the collection was sold by 2616:

He had previously sold another Titian from the loan — the

2091:

Wine Humphrey, National Gallery Catalogues (new series):

1989:

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

846:

Other paintings in the same series were recovered for the

1652:, New York - two Veroneses (see above), two portraits of 976:

In 1792 Philippe Égalité impulsively sold the collection

633:, 1645–48, one of his most famous landscapes, now in the 2490:(Penny, 463) and the Titian a rather dubious attribution 1301:, now sold and shared by them with the National Gallery. 3014:(exhibition catalogue), Mondadori Electa, Milan, 2003, 2535:

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

1270:

Much of our information about the sales comes from the

1221:, and works by "Michelangelo", "Velásquez" and Titian, 2328:, Paris, 1873:xx reported a purchase price of 750,000 3035:, Alistair McAlpine / Oxford University Press, 1989, 2130:

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

3028:(exhibition catalogue), Musée Carnavalet, Paris 1988 2764:"Second part of £95m Titian pair bought for Britain" 424:, with some from the Netherlands or Italy, like the 2332:

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

2095:, 2001, p. 226, National Gallery Publications Ltd, 1959:, "The Galérie d'Orléans, Palais Royal", pp 201-08. 132:had mostly been amassed by the obsessive collector 2394:, 1820, quoted in Watson, 251. See also Penny, 467 1018:. These paintings were exhibited for sale in the 2868:, 2nd Edn, 1993, National Galleries of Scotland, 2661:"Editorial: In praise of... the Bridgewater loan" 512:for his grand private collection in his Parisian 219:On her death she left her collection to Cardinal 3089: 552:in New York. Another Veronese series, the four 458:, Gramont, Vendôme and other French collectors. 2060:Reitlinger, 6-7, supplemented by Buchanan Vol I 1831:Penny, 255. It is clearly shown in one of the 152:and many other artists", including his protégé 2736:"Arts chiefs warn of harm from Titian crusade" 2688:"National Galleries of Scotland press release" 2622:— to the National Gallery of Scotland in 2000. 2313:Artists and Their Friends in England 1700-1799 1698:Watson, 202, and Penny, 461 and Reitlinger, 26 1666:), Tokyo, Kansas City, and many other cities. 1380:Paintings with articles once in the collection 536:. A series of four mythological allegories by 438:in 1716. Other sources included the heirs of 2932:, National Gallery Catalogues (new series): 2601:Brigstocke, 11, plus subsequently the Titian 2193: 2191: 1976: 1974: 1883: 1881: 1879: 1681:Louis-François Dubois de Saint-Gelais, 1727. 957:, before the negotiations collapsed when the 593:plus ten no longer accepted as by him, and 3 434:, bought from a Dutch collection by Cardinal 2902:, National Gallery Catalogues, London 1975, 2219:, and attributed to Giulio's workshop only. 1725: 1723: 1245:Bankers - Hope and Angerstein (both foreign) 1155:valued at 60gn in 1798 was auctioned by the 412:, who in turn presented them to the Regent. 2936:, 2008, National Gallery Publications Ltd, 2472:engraving in the Metropolitan Museum of Art 1848:Watson,168-9; Odescalchi was the nephew of 802:(1500–1540). Their court artists included 665:which turned up in 1997 over a door in the 2188: 2003:Académie royal de peinture et de sculpture 1971: 1876: 1297:, long part of the Sutherland Loan to the 1093:in Pall Mall, with the larger ones at the 714:, now in Berlin, and ordered the painter 2168:3 vols. Paris: Jacques Couché, 1786-1808. 1720: 1607:- sixteen works, including those on loan. 1281: 869:Another picture commissioned by Charles, 760: 2439:Reitlinger, Chapter 2 and Watson, 254-66 2093:The Seventeenth Century French Paintings 2042:The Holy Family with St John the Baptist 1383: 1324:The collection has passed by descent to 1285: 1112: 1073: 1057:Francis Egerton, 3rd Duke of Bridgewater 907: 764: 681:with 9. The Dutch paintings included 6 619: 472: 468:Description des Tableaux du Palais Royal 345: 102: 69:Francis Egerton, 3rd Duke of Bridgewater 15: 3012:Cristina di Svezia, Le Collezioni Reali 2919:, National Gallery Publications, 1991, 1955:Penny, 462 and Robert W. Berger, 1999. 1619:, New York - At least three works, the 1409: 1326:Francis Egerton, 7th Duke of Sutherland 856:Landscape with St George and the Dragon 98: 3090: 2733: 2263:National Gallery: Saved for the Nation 1923:Reitlinger, 27, see also Watson, 185ff 1236:Nobility - 12, including the syndicate 903: 689:(one now Wallace Collection) and 3 by 548:(with two, one illustrated above) and 341: 190:by the greatest collector of the age, 3072:Web feature from the National Gallery 2900:The Sixteenth Century Italian Schools 2704: 2631: 2499:Reitlinger, 30, and 16 on the farmers 558:now in the National Gallery, hung as 373:Philippe de France, Duke of Orléans, 2953:, Barrie and Rockliffe, London, 1961 2734:Thorpe, Vanessa (16 November 2008). 2468:Image of the replica version in Rome 1592: 3098:Former private collection in France 2963:, Thames & Hudson, London, 1976 2705:Jones, Jonathan (31 October 2008). 2553:See, for example, Vol II, pp. 248-9 1636:National Gallery of Art, Washington 982:Jean-Joseph de Laborde de Méréville 635:National Gallery of Art, Washington 192:Archduke Leopold William of Austria 13: 2991: 2573:Victorian London-Bridgewater House 2315:, (London, 1928) vol. II, pp 179f. 2153:Le livre-journal de Laurent Duvaux 1484:Venus and Cupid with a Lute-player 1255:Gentleman Amateurs - 6, including 997:George Kinnaird, 7th Lord Kinnaird 532:and National Gallery), and one in 331:Louis Philippe II, Duke of Orléans 302:Louis, Duke of Orléans (1703–1752) 14: 3134: 3063: 2891:republished in 2008 by Read Books 2632:Bates, Stephen (28 August 2008). 2525:republished in 2008 by Read Books 2326:Le livre-journal de Lazare Duvaux 1946:, in France. See Ingamells, 1985. 1036:to Édouard Walkiers, a banker of 883:, was returned to Charles' widow 316:Louis Philippe I, Duke of Orléans 1818:and the other National Gallery; 1495: 1423:, two versions, but not Philip's 1376:for £45M was announced in 2012. 875:by Gentileschi, painted for the 333:, 1747–1793, guillotined in the 322: 308: 294: 279: 264: 249: 164:in a ship before she abdicated. 2837: 2819: 2808: 2796: 2785: 2776: 2756: 2727: 2698: 2680: 2653: 2625: 2610: 2595: 2586: 2577: 2566: 2557: 2546: 2529: 2511: 2502: 2493: 2476: 2460: 2451: 2442: 2433: 2415: 2406: 2397: 2384: 2375: 2366: 2357: 2348: 2335: 2318: 2305: 2296: 2287: 2278: 2256: 2244: 2233: 2209: 2200: 2171: 2158: 2142: 2133: 2124: 2115: 2085: 2072: 2063: 2054: 2034: 2017: 2008: 1992: 1983: 1962: 1949: 1926: 1917: 1908: 1899: 1890: 1864: 1855: 1842: 1825: 1808: 1799: 1570:Allegory of Wisdom and Strength 1227:John Bligh, 4th Earl of Darnley 1151:longer. As an extreme case, a 494:John Bligh, 4th Earl of Darnley 242: 109:Allegory of Wisdom and Strength 3108:1630s establishments in Sweden 2826:NGA Provenance Index - Orleans 2267:National Gallery Press Release 1790: 1759: 1750: 1732: 1710: 1701: 1692: 1675: 1307:Bridgewater House, Westminster 408:to the French ambassador, the 359:, extracted by Phillippe from 134:Rudolph II, Holy Roman Emperor 118:Rudolph II, Holy Roman Emperor 1: 2858: 2482:Watson, 253. The "Velásquez" 2069:Watson, 251-3, Buchanan lists 1957:Public Access to Art in Paris 1638:- four works by: Rembrandt, 1248:Painters - 4: Walton, Udney, 812:Charles V, Holy Roman Emperor 257:Rudolf II, Holy Roman Emperor 2844:NGA Provenance Index - Gower 1777:Venus with Mercury and Cupid 1605:National Gallery of Scotland 1319:National Gallery of Scotland 1299:National Gallery of Scotland 890:Gentileschi's second version 540:are now divided between the 81:National Gallery of Scotland 43:Philippe II, Duke of Orléans 7: 2392:On the Pleasure of Painting 2151:, noted by Louis Courajod, 1564:Allegory of Virtue and Vice 1213:fame) bought the two large 1209:, who with his brother (of 1171:and his Family Fleeing Troy 914:The Origin of the Milky Way 822:and volumes of drawings by 649:. There were paintings by 10: 3139: 2403:Penny, 467; Reitlinger, 32 1617:Metropolitan Museum of Art 1399:Metropolitan Museum of Art 659:Metropolitan Museum of Art 393:on the death of his uncle 128:The paintings looted from 62:Louis Philippe d'Orléans, 3070:The Bridgewater Syndicate 1404: 784:Another famous collection 667:Naval & Military Club 116:, originally painted for 3031:Macgregor, Arthur, ed.; 2997:Schmid, Vanessa I (ed), 2669:. London. 28 August 2008 2155:Paris, 1873, p, xx note. 1837:Kunsthistorisches Museum 1669: 1656:and his wife by van Dyck 1628:and a predella panel, a 1542:Origin of the Milky Way 1462: 1166:in Rome) and studies is 935:Louis Philippe d'Orléans 798:(1466–1519) and his son 502:National Gallery, London 89:National Gallery, London 31:Kunsthistorisches Museum 1816:Dulwich Picture Gallery 1514:The Raising of Lazarus 1059:, his nephew and heir, 1051:and the Prime Minister 3113:1792 disestablishments 2999:The Orleans Collection 1773:The Education of Cupid 1747:, for which see below. 1687:Getty Provenance Index 1630:Philippe de Champaigne 1401: 1366:University of the Arts 1302: 1282:Bridgewater collection 1223:John Julius Angerstein 1217:allegories now in the 1157:5th Duke of Sutherland 1127: 1086: 1083:The Judgement of Paris 930: 780: 761:Gonzagas and Charles I 716:Charles-Antoine Coypel 651:Philippe de Champaigne 638: 544:in Cambridge, and the 505: 454:, and others from the 364: 352:The Raising of Lazarus 125: 34: 3001:, 2018, D Giles Ltd, 2422:Castle Howard website 1935:Perseus and Andromeda 1519:Sebastiano del Piombo 1470:The Three Ages of Man 1428:Perseus and Andromeda 1387: 1289: 1185:was given in 1586 by 1159:in 1913 raising 2gn. 1116: 1077: 1022:in April 1793 at 125 911: 898:Henrietta Anne Stuart 768: 645:and 5 other works by 623: 476: 464:Galerie à la Lanterne 448:Jean-Baptiste Colbert 417:Sebastiano del Piombo 384:Chevalier de Lorraine 380:Henrietta Anne Stuart 357:Sebastiano del Piombo 349: 106: 19: 2980:, Hutchinson, 1990, 2508:Buchanan, Vol I, 165 2311:William T. Whitley, 1743:and the Gentileschi 1456:The Death of Actaeon 927:Marquis de Seignelay 872:The Finding of Moses 828:English Commonwealth 816:Charles I of England 452:Marquis de Seignelay 329:"Philippe Égalité", 140:'s leading minister 99:Rudolf and Christina 83:, and another is at 3082:Susanna Avery-Quash 3052:, Macmillan, 2006, 2885:Memoirs of Painting 2878:Buchanan, William; 2519:Memoirs of Painting 2040:At least one work, 1173:, the only secular 943:Catherine the Great 904:Dispersal in London 724:Frederick the Great 577:, 16 Veroneses, 12 550:Metropolitan Museum 440:Cardinals Richelieu 342:Collection in Paris 272:Christina of Sweden 181:Agony in the Garden 50:Christina of Sweden 3123:Monarchy of Sweden 2966:Turner, Nicholas, 2957:Trevor-Roper, Hugh 2947:Reitlinger, Gerald 2913:Lloyd, Christopher 2864:Brigstocke, Hugh; 2849:2008-10-10 at the 2831:2009-05-09 at the 2488:Orazio Gentileschi 2484:Discovery of Moses 2427:2006-09-29 at the 2272:2009-01-07 at the 2226:2005-11-07 at the 2109:2009-02-07 at the 2031:(Berger 1999:200). 1940:Wallace Collection 1870:Penny, 462-3, and 1768:The School of Love 1663:The Rape of Europa 1625:Colonna Altarpiece 1613:, London - 6 works 1611:Wallace Collection 1503:Colonna Altarpiece 1489:Fitzwilliam Museum 1449:The Rape of Europa 1442:Diana and Actaeon 1435:Diana and Callisto 1402: 1394:Colonna Altarpiece 1374:Diana and Callisto 1354:Diana and Callisto 1331:Diana and Callisto 1303: 1295:Diana and Callisto 1187:Francesco Maria II 1128: 1087: 1065:Duke of Sutherland 1020:West End of London 993:Thomas Moore Slade 931: 860:dukes of Richelieu 837:Infancy of Jupiter 781: 774:Orazio Gentileschi 677:with 10 works and 655:Wallace Collection 639: 615:Orazio Gentileschi 581:, 25 paintings by 555:Allegories of Love 542:Fitzwilliam Museum 530:Wallace Collection 526:Philip II of Spain 506: 490:Holy Roman Emperor 486:Allegories of Love 484:, one of the four 421:Raising of Lazarus 365: 361:Narbonne Cathedral 287:Philippe d'Orléans 210:Philip IV of Spain 176:Colonna Altarpiece 142:Cardinal Granvelle 126: 39:Orleans Collection 35: 2925:978-0-947645-89-2 2324:Louis Courajod , 1942:), once owned by 1644:Sébastien Bourdon 1640:Ludovico Carracci 1593:Current locations 1370:Diana and Actaeon 1350:Diana and Actaeon 1164:Galleria Borghese 1153:Ludovico Carracci 1119:Diana and Actaeon 824:Leonardo da Vinci 711:Leda and the Swan 663:Eustache Le Sueur 583:Annibale Carracci 456:dukes of Noailles 406:Philip V of Spain 138:Emperor Charles V 3130: 3103:House of Orléans 2968:Federico Barocci 2853: 2841: 2835: 2823: 2817: 2812: 2806: 2800: 2794: 2789: 2783: 2780: 2774: 2773: 2760: 2754: 2753: 2751: 2749: 2731: 2725: 2724: 2722: 2720: 2702: 2696: 2695: 2690:. Archived from 2684: 2678: 2677: 2675: 2674: 2657: 2651: 2650: 2648: 2647: 2629: 2623: 2619:Venus Anadyomene 2614: 2608: 2604:Venus Anadyomene 2599: 2593: 2590: 2584: 2581: 2575: 2570: 2564: 2561: 2555: 2550: 2544: 2543:and other works. 2533: 2527: 2515: 2509: 2506: 2500: 2497: 2491: 2480: 2474: 2464: 2458: 2455: 2449: 2446: 2440: 2437: 2431: 2419: 2413: 2410: 2404: 2401: 2395: 2388: 2382: 2379: 2373: 2370: 2364: 2361: 2355: 2352: 2346: 2339: 2333: 2322: 2316: 2309: 2303: 2300: 2294: 2291: 2285: 2282: 2276: 2260: 2254: 2252:Royal Collection 2248: 2242: 2240:Royal Collection 2237: 2231: 2221:National Gallery 2213: 2207: 2204: 2198: 2195: 2186: 2175: 2169: 2162: 2156: 2146: 2140: 2137: 2131: 2128: 2122: 2119: 2113: 2104:National Gallery 2089: 2083: 2082:discussed below. 2080:Finding of Moses 2076: 2070: 2067: 2061: 2058: 2052: 2046:Palma il Vecchio 2038: 2032: 2021: 2015: 2012: 2006: 1996: 1990: 1987: 1981: 1978: 1969: 1966: 1960: 1953: 1947: 1944:Anthony van Dyck 1930: 1924: 1921: 1915: 1912: 1906: 1903: 1897: 1894: 1888: 1885: 1874: 1868: 1862: 1859: 1853: 1850:Pope Innocent XI 1846: 1840: 1829: 1823: 1812: 1806: 1803: 1797: 1794: 1788: 1763: 1757: 1754: 1748: 1745:Finding of Moses 1736: 1730: 1727: 1718: 1714: 1708: 1705: 1699: 1696: 1690: 1679: 1650:Frick Collection 1632:, and a Veronese 1599:National Gallery 1477:Venus Anadyomene 1420:Venus and Adonis 1362:Nigel Carrington 1346:National Gallery 1337:Diana and Acteon 1257:William Beckford 1219:Frick Collection 1179:Federico Barocci 1175:history painting 1144:Giovanni Bellini 1069:Earl of Carlisle 1053:Pitt the Younger 1030:Philippe Égalité 921:, bought for 50 848:Royal Collection 820:Raphael Cartoons 770:Finding of Moses 755:Seven Sacraments 691:Frans van Mieris 643:Seven Sacraments 607:Giovanni Bellini 587:Lodovico Caracci 566:and Correggios. 546:Frick Collection 436:Guillaume Dubois 431:Seven Sacraments 326: 312: 298: 283: 268: 253: 187:Death of Actaeon 178:, including the 174:panels from the 122:Frick Collection 77:Bridgewater Loan 64:Philippe Égalité 58:Thirty Years War 3138: 3137: 3133: 3132: 3131: 3129: 3128: 3127: 3088: 3087: 3066: 3026:Le Palais-Royal 2994: 2992:Further reading 2930:Penny, Nicholas 2861: 2856: 2851:Wayback Machine 2842: 2838: 2833:Wayback Machine 2824: 2820: 2813: 2809: 2801: 2797: 2790: 2786: 2781: 2777: 2772:. 1 March 2012. 2762: 2761: 2757: 2747: 2745: 2732: 2728: 2718: 2716: 2703: 2699: 2686: 2685: 2681: 2672: 2670: 2659: 2658: 2654: 2645: 2643: 2630: 2626: 2615: 2611: 2600: 2596: 2591: 2587: 2582: 2578: 2571: 2567: 2562: 2558: 2551: 2547: 2534: 2530: 2516: 2512: 2507: 2503: 2498: 2494: 2481: 2477: 2465: 2461: 2456: 2452: 2448:Watson, 252-53. 2447: 2443: 2438: 2434: 2429:Wayback Machine 2420: 2416: 2411: 2407: 2402: 2398: 2389: 2385: 2380: 2376: 2371: 2367: 2362: 2358: 2353: 2349: 2340: 2336: 2323: 2319: 2310: 2306: 2301: 2297: 2292: 2288: 2283: 2279: 2274:Wayback Machine 2261: 2257: 2249: 2245: 2238: 2234: 2228:Wayback Machine 2214: 2210: 2205: 2201: 2196: 2189: 2176: 2172: 2163: 2159: 2147: 2143: 2138: 2134: 2129: 2125: 2120: 2116: 2111:Wayback Machine 2090: 2086: 2077: 2073: 2068: 2064: 2059: 2055: 2039: 2035: 2022: 2018: 2013: 2009: 1997: 1993: 1988: 1984: 1979: 1972: 1967: 1963: 1954: 1950: 1931: 1927: 1922: 1918: 1913: 1909: 1904: 1900: 1895: 1891: 1886: 1877: 1869: 1865: 1860: 1856: 1847: 1843: 1830: 1826: 1813: 1809: 1804: 1800: 1795: 1791: 1781:Manuel de Godoy 1764: 1760: 1755: 1751: 1737: 1733: 1728: 1721: 1715: 1711: 1706: 1702: 1697: 1693: 1680: 1676: 1672: 1595: 1586:Orléans Madonna 1498: 1465: 1415: 1407: 1382: 1340:, two works by 1284: 1259:and the critic 1207:Napoleonic Wars 1195:Scipio Borghese 1103:William Hazlitt 1091:Bryan's Gallery 1042:Reign of Terror 959:Prince of Wales 955:Bank of England 906: 885:Henrietta Maria 763: 706:Louis d'Orléans 704:Philippe's son 687:Caspar Netscher 500:sold it to the 426:Nicolas Poussin 344: 337: 335:Reign of Terror 327: 318: 313: 304: 299: 290: 284: 275: 269: 260: 254: 245: 101: 73:Sutherland Loan 12: 11: 5: 3136: 3126: 3125: 3120: 3115: 3110: 3105: 3100: 3086: 3085: 3073: 3065: 3064:External links 3062: 3061: 3060: 3046:Brotton, Jerry 3043: 3029: 3022: 3009: 2993: 2990: 2989: 2988: 2971: 2964: 2954: 2944: 2927: 2910: 2893: 2876: 2860: 2857: 2855: 2854: 2836: 2818: 2807: 2795: 2784: 2775: 2755: 2726: 2697: 2694:on 2012-02-19. 2679: 2652: 2624: 2609: 2594: 2592:Brigstocke, 11 2585: 2576: 2565: 2556: 2545: 2528: 2510: 2501: 2492: 2475: 2459: 2450: 2441: 2432: 2414: 2405: 2396: 2383: 2374: 2372:See Penny, 466 2365: 2356: 2347: 2334: 2317: 2304: 2295: 2293:Penny, 160-161 2286: 2277: 2255: 2243: 2232: 2208: 2199: 2187: 2170: 2157: 2141: 2132: 2123: 2114: 2084: 2071: 2062: 2053: 2033: 2029:Roger de Piles 2025:André Félibien 2016: 2007: 1991: 1982: 1970: 1961: 1948: 1925: 1916: 1914:Watson, 185-6. 1907: 1898: 1889: 1875: 1863: 1854: 1841: 1824: 1807: 1798: 1789: 1758: 1749: 1731: 1719: 1709: 1700: 1691: 1673: 1671: 1668: 1658: 1657: 1647: 1633: 1614: 1608: 1602: 1594: 1591: 1590: 1589: 1583: 1581:Paolo Veronese 1576:Venus and Mars 1560: 1549: 1538: 1525:Jupiter and Io 1521: 1510: 1497: 1494: 1493: 1492: 1480: 1473: 1464: 1461: 1460: 1459: 1452: 1445: 1438: 1431: 1424: 1414: 1408: 1406: 1403: 1381: 1378: 1283: 1280: 1276:Nicholas Penny 1265: 1264: 1253: 1246: 1243: 1240: 1237: 1191:Duke of Urbino 999:, for 350,000 947:James Christie 905: 902: 776:, painted for 762: 759: 743:Jupiter and Io 478:Paolo Veronese 410:Duc de Gramont 343: 340: 339: 338: 328: 321: 319: 314: 307: 305: 300: 293: 291: 285: 278: 276: 270: 263: 261: 255: 248: 244: 241: 235:, implicating 221:Decio Azzolino 196:Albrecht Dürer 100: 97: 54:Prague in 1648 22:Jupiter and Io 9: 6: 4: 3: 2: 3135: 3124: 3121: 3119: 3116: 3114: 3111: 3109: 3106: 3104: 3101: 3099: 3096: 3095: 3093: 3083: 3079: 3078: 3074: 3071: 3068: 3067: 3059: 3055: 3051: 3047: 3044: 3042: 3038: 3034: 3030: 3027: 3023: 3021: 3017: 3013: 3010: 3008: 3007:9781911282280 3004: 3000: 2996: 2995: 2987: 2983: 2979: 2975: 2974:Watson, Peter 2972: 2969: 2965: 2962: 2958: 2955: 2952: 2948: 2945: 2943: 2939: 2935: 2931: 2928: 2926: 2922: 2918: 2914: 2911: 2909: 2905: 2901: 2897: 2894: 2892: 2888: 2886: 2881: 2877: 2875: 2871: 2867: 2863: 2862: 2852: 2848: 2845: 2840: 2834: 2830: 2827: 2822: 2816: 2811: 2804: 2799: 2793: 2788: 2779: 2771: 2770: 2765: 2759: 2743: 2742: 2737: 2730: 2714: 2713: 2708: 2701: 2693: 2689: 2683: 2668: 2667: 2662: 2656: 2641: 2640: 2635: 2628: 2621: 2620: 2613: 2606: 2605: 2598: 2589: 2580: 2574: 2569: 2560: 2554: 2549: 2542: 2538: 2532: 2526: 2522: 2520: 2514: 2505: 2496: 2489: 2485: 2479: 2473: 2469: 2463: 2454: 2445: 2436: 2430: 2426: 2423: 2418: 2409: 2400: 2393: 2387: 2378: 2369: 2360: 2351: 2344: 2338: 2331: 2327: 2321: 2314: 2308: 2299: 2290: 2281: 2275: 2271: 2268: 2264: 2259: 2253: 2247: 2241: 2236: 2229: 2225: 2222: 2218: 2212: 2203: 2194: 2192: 2184: 2180: 2174: 2167: 2161: 2154: 2150: 2145: 2139:Reitlinger, 7 2136: 2127: 2118: 2112: 2108: 2105: 2102: 2098: 2094: 2088: 2081: 2075: 2066: 2057: 2051: 2050:A. Hume, 1827 2047: 2043: 2037: 2030: 2026: 2020: 2011: 2004: 2000: 1995: 1986: 1977: 1975: 1965: 1958: 1952: 1945: 1941: 1937: 1936: 1929: 1920: 1911: 1902: 1896:Watson, 196-7 1893: 1884: 1882: 1880: 1873: 1867: 1858: 1851: 1845: 1838: 1834: 1828: 1821: 1817: 1811: 1805:Watson, 127-9 1802: 1793: 1786: 1785:Joachim Murat 1782: 1778: 1774: 1770: 1769: 1762: 1753: 1746: 1742: 1735: 1726: 1724: 1713: 1704: 1695: 1688: 1684: 1678: 1674: 1667: 1665: 1664: 1655: 1654:Frans Snyders 1651: 1648: 1645: 1641: 1637: 1634: 1631: 1627: 1626: 1622: 1618: 1615: 1612: 1609: 1606: 1603: 1600: 1597: 1596: 1587: 1584: 1582: 1578: 1577: 1572: 1571: 1566: 1565: 1561: 1559: 1555: 1554: 1550: 1548: 1544: 1543: 1539: 1537: 1533: 1532: 1527: 1526: 1522: 1520: 1516: 1515: 1511: 1509: 1505: 1504: 1500: 1499: 1496:Other artists 1490: 1486: 1485: 1481: 1479: 1478: 1474: 1472: 1471: 1467: 1466: 1458: 1457: 1453: 1451: 1450: 1446: 1444: 1443: 1439: 1437: 1436: 1432: 1430: 1429: 1425: 1422: 1421: 1417: 1416: 1413:for Philip II 1412: 1400: 1396: 1395: 1390: 1386: 1377: 1375: 1371: 1367: 1363: 1359: 1355: 1351: 1347: 1343: 1339: 1338: 1333: 1332: 1327: 1322: 1320: 1314: 1312: 1311:Royal Academy 1308: 1300: 1296: 1292: 1288: 1279: 1277: 1273: 1268: 1262: 1261:Samuel Rogers 1258: 1254: 1251: 1247: 1244: 1241: 1238: 1235: 1234: 1233: 1230: 1228: 1224: 1220: 1216: 1212: 1208: 1204: 1198: 1196: 1192: 1188: 1184: 1183:prime version 1180: 1176: 1172: 1170: 1165: 1160: 1158: 1154: 1149: 1145: 1141: 1137: 1133: 1125: 1121: 1120: 1115: 1111: 1109: 1108:Castle Howard 1104: 1100: 1096: 1092: 1084: 1080: 1076: 1072: 1070: 1066: 1062: 1058: 1054: 1050: 1045: 1043: 1039: 1035: 1031: 1027: 1025: 1021: 1017: 1013: 1009: 1004: 1003: 998: 994: 989: 987: 983: 979: 974: 972: 971:Dawson Turner 968: 964: 963:dukes of York 960: 956: 952: 949:, founder of 948: 944: 940: 939:engraved gems 936: 928: 924: 920: 916: 915: 910: 901: 899: 895: 891: 886: 882: 878: 877:Queen's House 874: 873: 867: 865: 861: 857: 853: 849: 844: 842: 841:Giulio Romano 838: 832: 829: 825: 821: 817: 813: 809: 808:Giulio Romano 805: 801: 797: 794:, especially 793: 789: 785: 779: 775: 771: 767: 758: 756: 752: 747: 745: 744: 739: 735: 734: 729: 725: 721: 717: 713: 712: 707: 702: 700: 696: 692: 688: 685:, 7 works by 684: 680: 679:David Teniers 676: 672: 668: 664: 660: 656: 652: 648: 644: 636: 632: 631: 626: 622: 618: 616: 612: 608: 604: 600: 599:Michelangelos 596: 592: 588: 584: 580: 576: 572: 567: 565: 561: 557: 556: 551: 547: 543: 539: 535: 531: 527: 523: 519: 515: 511: 510:Pierre Crozat 503: 499: 495: 491: 487: 483: 479: 475: 471: 469: 465: 459: 457: 453: 449: 445: 441: 437: 433: 432: 427: 423: 422: 418: 413: 411: 407: 403: 402: 396: 392: 387: 385: 381: 377: 376: 370: 362: 358: 354: 353: 348: 336: 332: 325: 320: 317: 311: 306: 303: 297: 292: 288: 282: 277: 273: 267: 262: 258: 252: 247: 246: 240: 238: 237:Carlo Maratta 234: 230: 229:Pierre Crozat 226: 222: 217: 215: 211: 207: 206: 202: 198:'s panels of 197: 193: 189: 188: 183: 182: 177: 173: 170: 165: 163: 157: 155: 151: 147: 143: 139: 135: 131: 130:Prague Castle 123: 120:, now in the 119: 115: 112:(c. 1580) by 111: 110: 105: 96: 92: 90: 86: 85:Castle Howard 82: 78: 74: 70: 66: 65: 59: 55: 51: 46: 44: 40: 32: 28: 24: 23: 18: 3076: 3049: 3032: 3025: 3011: 2998: 2977: 2970:, 2000, Vilo 2967: 2960: 2950: 2933: 2916: 2899: 2896:Gould, Cecil 2884: 2879: 2865: 2839: 2821: 2815:Metropolitan 2810: 2803:Metropolitan 2798: 2792:Metropolitan 2787: 2778: 2769:The Guardian 2767: 2758: 2746:. Retrieved 2741:The Observer 2739: 2729: 2717:. Retrieved 2712:The Guardian 2710: 2700: 2692:the original 2682: 2671:. Retrieved 2666:The Guardian 2664: 2655: 2644:. Retrieved 2639:The Guardian 2637: 2627: 2617: 2612: 2602: 2597: 2588: 2579: 2568: 2559: 2548: 2541:Rokeby Venus 2531: 2518: 2513: 2504: 2495: 2483: 2478: 2466:Turner, 109; 2462: 2453: 2444: 2435: 2417: 2408: 2399: 2391: 2386: 2377: 2368: 2359: 2350: 2342: 2337: 2329: 2325: 2320: 2312: 2307: 2298: 2289: 2280: 2258: 2246: 2235: 2216: 2211: 2202: 2173: 2164: 2160: 2152: 2148: 2144: 2135: 2126: 2117: 2092: 2087: 2079: 2074: 2065: 2056: 2041: 2036: 2019: 2010: 1998: 1994: 1985: 1964: 1956: 1951: 1933: 1928: 1919: 1910: 1901: 1892: 1872:Metropolitan 1866: 1857: 1844: 1827: 1810: 1801: 1792: 1776: 1772: 1767: 1761: 1752: 1744: 1734: 1712: 1703: 1694: 1682: 1677: 1661: 1659: 1623: 1574: 1568: 1563: 1552: 1541: 1529: 1523: 1513: 1501: 1483: 1476: 1468: 1454: 1447: 1441: 1434: 1426: 1418: 1410: 1392: 1373: 1369: 1353: 1349: 1336: 1330: 1323: 1315: 1304: 1271: 1269: 1266: 1231: 1211:Hope Diamond 1199: 1167: 1161: 1129: 1117: 1088: 1082: 1063:, later 1st 1046: 1033: 1029: 1028: 1000: 990: 985: 977: 975: 932: 912: 871: 868: 855: 845: 836: 833: 796:Francesco II 782: 769: 754: 748: 741: 731: 719: 709: 703: 642: 640: 628: 568: 563: 553: 524:painted for 521: 513: 507: 485: 481: 467: 463: 460: 450:'s heir the 429: 419: 414: 400: 388: 374: 369:Palais-Royal 366: 350: 243:Royal owners 218: 212:(now in the 204: 200: 185: 179: 166: 158: 127: 107: 93: 76: 72: 63: 47: 38: 36: 20: 3118:Italian art 3080:Lecture by 2887:online text 2748:20 November 2719:20 November 2563:Penny 467-8 2521:online text 2284:Watson, 186 2250:Lloyd, 104 2215:Now called 1861:Watson, 170 1397:, c. 1504, 1203:Thomas Hope 1189:, the last 800:Federico II 695:Gerrit Dous 653:now in the 595:Caravaggios 579:Tintorettos 575:Guido Renis 428:set of the 154:Antonis Mor 124:, New York. 56:during the 3092:Categories 3058:1405041528 3041:0199201714 3020:8837024045 2986:009174637X 2942:1857099133 2908:0947645225 2874:0903598221 2859:References 2673:2008-08-28 2646:2008-08-28 2583:Penny, 468 2486:is now an 2197:Penny, 467 2101:185709283X 1980:Penny, 464 1887:Penny, 462 1839:in Vienna. 1729:Penny, 466 1707:Penny, 463 1588:by Raphael 1547:Tintoretto 1148:Caravaggio 1099:the Strand 1067:, and the 1061:Earl Gower 1049:George III 951:Christie's 919:Tintoretto 852:Charles II 699:Wouwermans 683:Rembrandts 591:Correggios 589:, 3 major 233:Correggios 225:Odescalchi 2183:engraving 1558:Rembrandt 1536:Correggio 1358:John Tusa 1252:and Skipp 1024:Pall Mall 881:Greenwich 866:in 1814. 864:George IV 850:in 1660; 778:Charles I 625:Rembrandt 611:Velázquez 603:Leonardos 585:and 7 by 560:overdoors 399:Titian's 395:Louis XIV 386:in 1702. 33:, Vienna) 27:Correggio 2847:Archived 2829:Archived 2744:. London 2715:. London 2642:. London 2425:Archived 2343:op. cit. 2270:Archived 2224:Archived 2107:Archived 2078:See the 1741:Guercino 1553:The Mill 1215:Veronese 1038:Brussels 1016:Le Havre 967:Clarence 933:In 1787 804:Mantegna 788:Gonzagas 722:went to 675:van Dyck 661:, and a 630:The Mill 601:, and 3 571:Raphaels 538:Veronese 504:in 1890. 496:, whose 375:Monsieur 172:predella 114:Veronese 2607:in 2003 2345:p. 180. 2179:etching 2166:Couché. 1833:Teniers 1621:Raphael 1508:Raphael 1389:Raphael 1364:of the 1140:Watteau 1136:guineas 978:en bloc 923:guineas 892:in the 738:Livorno 728:Prussia 647:Poussin 564:poesies 522:poesies 444:Mazarin 401:poesies 169:Raphael 162:Antwerp 3056: 3039: 3018: 3005: 2984: 2940: 2923: 2906: 2872: 2330:livres 2099: 1411:Poesie 1405:Titian 1342:Titian 1291:Titian 1250:Cosway 1181:. The 1169:Aeneas 1124:Titian 1095:Lyceum 1079:Rubens 1034:livres 1008:Calais 1002:livres 792:Mantua 751:Terror 740:, and 730:, the 697:and 4 671:Rubens 534:Boston 391:Regent 146:Titian 2889:also 2537:Genoa 2523:also 1670:Notes 1556:, by 1545:, by 1531:Danaë 1517:, by 1487:(now 1463:Other 1132:Italy 1012:Seine 986:hôtel 894:Prado 733:Danäe 573:, 16 514:hôtel 498:heirs 482:Scorn 214:Prado 150:Leoni 3054:ISBN 3037:ISBN 3016:ISBN 3003:ISBN 2982:ISBN 2938:ISBN 2921:ISBN 2904:ISBN 2870:ISBN 2750:2008 2721:2008 2181:and 2097:ISBN 2027:and 1783:and 1573:and 1528:and 1360:and 1334:and 1146:and 965:and 806:and 720:Leda 657:and 518:High 442:and 203:and 201:Adam 148:and 37:The 2390:In 1775:or 1579:by 1534:by 1506:by 1293:'s 1177:by 1122:by 1097:in 1014:to 941:to 917:by 839:by 790:of 772:by 726:of 480:'s 355:by 216:). 208:to 205:Eve 75:or 25:by 3094:: 3048:. 2976:; 2959:; 2949:; 2915:, 2898:, 2766:. 2738:. 2709:. 2663:. 2636:. 2470:; 2265:; 2190:^ 1973:^ 1878:^ 1771:, 1722:^ 1642:, 1567:, 1391:, 1229:. 1197:. 1081:' 879:, 701:. 627:, 617:. 239:. 2752:. 2723:. 2676:. 2649:. 2185:. 1938:( 1822:. 1787:. 1491:) 1263:. 929:. 637:.

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.