The Garden Guide

Book: London and Its Environs, 1927
Chapter: 43 The Tate Gallery

Tate Gallery

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43. THE TATE GALLERY. The Tate Gallery, + mile from the nearest Underground stations (St. James's Park and Westminster), is most conveniently reached by taxi. OMNIBUSES Nos. 32, 51, and 88, plying down Regent St. and Whitehall, pass the Gallery, and Nos. 2 36, and 136 cross Vauxhall Bridge, about 3 minutes to the south-west, on their way from Victoria Station, whence also numerous TRAMWAYS run (Nos. 8, 20, 28, 54, 58, 78). ADMISSION. The Gallery is open daily throughout the year, except on Christmas Eve, Christmas Day, and Good Friday. On Monday, Thursday, Friday, and Saturday the Gallery is open free from 10 a.m. till 6 p.m. in summer (April-September inclusive) and till dusk in winter. On Sunday it is open free from 2 p.m. On Tuesday and Wednesday (students' days) it is open on payment of 6d. from 10 a.m. till 4 p.m. (winter) or 5 p.m. (summer). Umbrellas, etc., must be left at the entrance (no charge). Gratuities are forbidden. GUIDE LECTURER every week-day at 11 and 12 (no charge). CATALOGUE The official Catalogue (1924; 1/6) and a Catalogue of the Turner Collection (1920; 1/6) are sold in the hall. See also Sir E. T. Cook's 'Popular Handbook to the National Gallery' (vol. ii.; British Schools), 7th editions, 1912. REFRESHMENT ROOM in the basement (light luncheons and teas). The Tate Gallery, otherwise the National Gallery of British Art, in Grosvenor Road, overlooking the Thames, occupies a building in a free classic style by Sidney R. J. Smith, opened in 1897, enlarged in 1899, and extended in 1910 by the addition of the Turner Wing. In 1926 the addition of the Modern Foreign Galleries and Sargent Galleries (designed by Romaine Walker) extended the scope of the collection beyond British art. In the garden, to the right of the entrance, is a statue of Sir John Millais, by Brock (1905). The Tate Gallery offers a complete historical representation of the British School of art, and is arranged as nearly as possible chronologically. It owes its origin to the generosity of Sir Henry Tate (died 1899), who in 1889 presented to the nation his collection of 65 modern paintings (valued at �75,000), and afterwards gave �80,000 for the erection of a gallery. The Turner Wing, presented by Sir Joseph Duveen (died 1908), contains part of the Turner Bequest, which consisted of 100 finished paintings, 182 unfinished, and over 19,000 drawings and sketches by J. M. W. Turner (died 1851). Besides paintings of the older British schools transferred hither in 1919 the Gallery includes the Veinon Collection (157 pictures presented in 1847 by Robert Vernon), a series of paintings presented by G. F. Watts (died 1904), the Rae Collection of works by D. G. Rossetti (1916), etc., and the works purchased by the Chantrey Bequest, a fund (now about �3000 annually) bequeathed by Sir F. Chantrey, R.A., sculptor, (died 1841), for the acquisition of 'works of fine art of the highest merit in sculpture or painting, executed by artists resident in Great Britain. The Lane (1918) and Courtauld (1925) gifts of modern foreign paintings, and the Wertheimer Bequest (1918) of portraits by Sargent represent Modern Foreign Art. The Tate Gallerv, though still a branch of the National Gallery (Walk 39), was in 1917 placed under a special board of trustees. The director is Mr. Charles Aitken. Beyond the vestibule we enter the CENTRAL HALL, in the centre of which is a fountain, while in the recesses are statues. The bronze bust of Sir Henry Tate is by T. Brock. In the passage around this hall are a few pictures by Highmore, Hogarth, Hoppner, Reynolds, and others, and sculptures (2788 W. Reynolds-Stephens, A royal game). To the west (left) of the Central Hall is ROOM I. 18th Century. To the left: 1982. Philips, Garden party; 301. Wilson, View in Italy; 1906. Romney, Mr. Morland; 314. Scott, Westminster Bridge; Hogarth, 2437. Beggar's Opera, 113-118. Marriage a la Mode, 1161. Miss Fenton as 'Polly Peachum'; 886. Reynolds, Admiral Keppel; 353. G. S. Newton, Yorick and the Grisette; 1452. Stubbs, Landscape; 760. Gainsborough, Parish clerk; Romney, 1669, LadyCraven, 312. Lady Hamilton; Reynolds, 885. Snake in the grass, 1924. Mrs. Hartley and child; 1396, 1651. Romney, Portraits; 110. Wilson, Niobe's children; 892. Reynolds, Robinetta; Gainsborough, 308. Musidora, 109. Watering place; Reynolds, 162. Infant Samuel, 887. Dr. Johnson; 229. Stuart, Benjamin West; Morland, 2641. Roadside inn, 2056. Fortune tellers, 2640. Cowherd and milkmaid. ROOM II contains works by William Blake (1757-1827), poet, painter, and engraver. The mosaic panels in the pavement (1923), by the Russian Boris Anrep, interpret, rather than illustrate, Blake's 'Marriage of Heaven and Hell.' Blake, 3351-3370. Illustrations to Dante's Divina Commedia, commissioned in 1824 by Linnell, who arranged to pay Blake (died 1827) �2 or �3 a week as he wanted money. The remaining illustrations are at Melbourne, the British Museum, Oxford, and Birmingham. Blake, 3340. Satan smiting Job, 3551. The Bard, 3006. Spiritual form of Nelson. ROOM III. Earlier 19th Century. Landseer, 606. Shoeing the bay mare, 3008. Duchess of Abercorn and child; Wilkie, 241. The parish beadle, 328. The first earring; 1463. W. J. Muller, Eastern street scene; 401. D. Roberts, Church of St. Paul, Antwerp; 1534. J. Phillip, The promenade; 1091. P. F. Poole, Vision of Ezekiel; J. Crome (founder of the Norwich School in 1803), 1831. Brathay Bridge, 1504. Near Hingham, Norfolk; 1967. F. Y. Hurlstone, Scene from Gil Blas; Constable, 1813. View on Hampstead Heath, 1244. Bridge at Gillingham, 2661. Dedham Mill, The Bridges Family (loan); 3467. A. Stevens, Mother and Child; 1175. J. Ward, Regent's Park (in 1807); 682. B. R. Haydon, Punch or May-Day; 1274. Constable, The glebe farm; 897. Crome, Chapel fields; 1163. Stothard, Canterbury pilgrims; Hoppner, 3013, 3014, 3512. Portraits; Sir T. Lawrence, 136. Portrait; 1943. F. Cotes, Paul Sandby, R.A.; J. S. Copley, Portrait (circa 1760; painted before Copley came to England), 787. Siege of Gibraltar; 1037. J. Crome, Slate quarries; Wilkie, Thomas Daniell, R.A., 894. John Knox preaching in 1559; Etty, 364. Window in Venice, 614. Bather; Constable, 327. Valley Farm, 2659. Trees near Hampstead church. On screens, drawings by Cox, De Wint, Constable, etc.; 2142. J. Ward, Gordale Scar. ROOM IV. Pre-Raphaelite School, etc. The 'PreRaphaelite Brotherhood' was formed in 1848 by D. G. Rossetti, Millais, Holman Hunt, F. G. Stephens W. M. Rossetti, Collinson, and Woolner. It ceased to exist in 1833, when Millais was elected to the Academy. It represented a return to nature for the strict study of natural effect and detail as a reaction from official art and academic training which at that time was based on a misdirected imitation of Raphael. Its title (no doubt responsible for much of the ridicule incurred by the movement) was adopted partly for this reason, partly because Keats had praised the earlier painters, and partly because the ancient Pre-Raphaelites themselves had revolted against the degraded classicism of Byzantine art. 1500. R. B. Martineau, Last day in the old home; 3201. Collinson, The empty purse; A. L. Egg, 3278. Past and Present, one of a series of 3; 1561. G. F. Watts, Portrait of the artist; 3697. W. L. Windus, Too Late; 2939. A. Stevens, Portrait; 3065. F. M. Brown, Lear and Cordelia; 2476. A. Hughes, April love; 3584. Sir J. E. Millais, Christ in the house of His Parents ('the Carpenter's Shop'; painted when Millais was 20; bought in 1921 for �10,500); 3447. Holman Hunt, Claudio and Isabella; 1685. H. Wallis, Death of Chatterton; 2854. W. Deverell, Lady feeding a bird (bought in 1853 by Holman Hunt and Millais for �84); 2063. F. M. Brown, Chaucer at the Court of Edward III.; 2132. A. Stevens, John Morris Moore; 3338. J. R. S. Stanhope, Thoughts of the past (painted in Rossetti's studio at Blackfriars); G. A. Storey 2993. 'My father,' 2861. 'My mother'; 2120. Holman Hunt, The ship (painted in 1875, on the way to Syria); 1507. Millais, Vale of rest; 1426. Dyce, St. John leading the Virgin Mary from the Tomb; 3064. F. M. Brown, The last of England (water-colour of the picture in Birmingham); 1657. Millais, Order of release, 1746 (the wife is a portrait of Mrs. Ruskin); 617. Fettes Douglas, Bibliomania; 1688. J. F. Lewis, Courtyard of the Coptic patriarch's house. On the screens are drawings by Rossetti, Ruskin, Burne-Jones, Deverell, Solomon, Millais, Hunt, mostly on loan. ROOM V. D. G. Rossetti (1828-82); Sir Edward Burne-Jones (1833-98). Burne-Jones, 3464. King Cophetua and the beggar maid (sketch for the original design, afterwards abandoned; see No. 1771 in this room); 3452. Temple of Love. Rossetti, 3054. Monna Vanna; 3053. The Beloved; 3060. Chapel before the lists; 3057. The blue closet; 1279. Beata Beatrix (begun 1863; portrait of Mrs. Rossetti; the frame bears the date of Beatrice's death and Dante's words at her departure); 3066. Paolo and Francesca; 3058 Wedding of St. George. Burne-Jones, 3453. Passing of Venus; 3428. Fountain of Youth. Ford Madox Brown, 3229. King Rene's honeymoon; 3228. Writing lesson 3827. Rossetti, Dr. Johnson at the Mitre. 1585. Watts Psyche. The Turner Collection, consisting of works by J. M. W. Turner (1775-1851), occupies Rooms VI-X. and R. XXX. ROOM VI. 477. Goddess of Discord in the Garden of the Hesperides (1806; style of Poussin); 485. Abingdon (1810); 494. Dido and ᆭneas; 486. Windsor (1808); 490. Snow storm: Hannibal and his army crossing the Alps (1812); 459. Moonlight (1797; first exhibited oil by Turner); 501. Entrance to the Meuse, with an 'orangeman' on the bar (1819); 483. London from Greenwich; 480. Death of Nelson (1808); 511. View of Orvieto; 476. Shipwreck; 464. Rizpah (1800); 512. Caligula's palace and bridge; 521. Parting of Hero and Leander; 516. Childe Harold's pilgrimage; 488. Apollo killing the python (1811; style of Titian); 473. Holy Family (1803); 528. Peace (burial at sea of Sir David Wilkie); 495. Appulia in search of Appulus (1815); 484. St. Mawes; 502. Richmond Hill (1819); 496. Bligh sand; 505. Bay of Baiᄉ. ROOM VII. 2679. Ford; 2702. Shipping at the mouth of the Thames (1807); 2313. Eton from the river (1805-10); 2064. Old chain pier, Brighton (1830); 1991. Evening Star (1840); 2065. Ship aground; 1998. Shipping at Cowes; 1857. River scene; 2000. Shipping at Cowes; 560. Chichester Canal (1829); 559. Petworth Park (1829); 1985. Sunrise: Castle on a bay; 2002. Sunrise: Boat between headlands; 1989. Rocky bay with classic figures; 1981. Norham Castle. The following five pictures were first exhibited in 1920: 3386. Fishing boat in a mist; 3385. Market place; 3384. Park (possibly a study for Windsor Castle); 3382. Carthaginian subject; 3380. Rocky bay; 2676. St. Catherine's Hill, Guildford. ROOMS VIII, IX, and X contain water-colours and some oils by Turner, from 1A. Folly Bridge and Bacon's and 1B. Nuneham Harcourt (the earliest water-colours of Turner, copied from engravings, 1787; the colouring is original), to 532. Light and colour (Goethe's theory), showing Turner's pre-occupation with colour in his last period (circa 1843). The Modern Foreign Pictures are exhibited in Rooms XI-XIII and on the lower ground floor. Many of the works shown are on loan. ROOM XI. 3244. H. Daumier (1808-79), Don Quixote; 3253. J. B. Jongkind (1819-91), Skating in Holland; 3265. C. Pissarro (1830-1903), Springtime at Louveciennes; 3268. P. A. Renoir (1841-1919), Les parapluies; 3262. Claude Monet (born 1840), Sunshine and snow; H. Degas (1834-1917), Portraits (on loan); P. Gauguin (1848-1903), Portrait of himself (on loan); 4138. A. Sisley (1840-99), L'Abreuvoir; 3860. Degas, Jeunes Spartiates s'exercant a la lutte; 4119. C. Pissarro, Boulevard des Italians at night; 3861. V. Van Gogh (1853-90), Landscape with cypress trees; Degas, 4168 and other canvases farther on, Danseuses. 3267. P. Puvis de Chavannes (1824-98), Toilet; Degas, 4167. Seated woman, 3247. La Plage; 3271. E. Veillard, Mantelpiece; Monet, In the park; 3859. Renoir, Premiere sortie; G. Courbet (1819-77), Storm; M. Utrillo, Rue du Tertre; east Manet (1832-83), 3295. Mme Manet, 3858. La servante de bocks, 3260. Concert at the Tuileries (with portraits of Baudelaire, Gautier, Fantin-Latour, Offenbach, and others); 3580. J. E. Blanche, Thomas Hardy; Sisley, The Seine; 3238 etc., Corot, Landscapes. ROOM XII. P. Gauguin (1848-1903), 3289. Flowers, Exotic landscape; Van Gogh, 3862. Yellow chair, 4169. Field at Arles, 3863. Sunflowers; 3908. G. Seurat (1859-91), La Baignade; Degas, 3157. Carlo Pellegrini (the 'Ape' of 'Vanity Fair'), 4121. Miss Lola at the Cirque Fernando; 4134. P. Bonnard (born 1867), The table; 3288, 3249. J. L. Forain (born 1852). Law courts. Interesting works (on loan) by G. Braque, Picasso, Matisse, Edouard Manet, and others. ROOM XIII. 3256. A. Mancini (born 1852), En voyage; G. Courbet, 3240. Portrait of the artist, 3242. Snow storm; 2709. Jacirca Maris (1838-99), Mother and child; A. Mancini, Aurelia; 2711. A Mauve (1838-88), Watering horses; 2713. Josef Israels (1824-1911), The philosopher; James Maris, Amsterdam (on loan); 621. Rosa Bonheur, Horse fair; Alf. Stevens (1828-1906), 3966. Seascape, 3270. The present; 3269. Rousseau, Moonlight; 2732. J. Israels, The shipwrecked fisherman; 3808. H. Harpignies (1819-1916), Olive trees; Corot, Fisherman's hut. ROOM XIV is devoted to the works of John south Sargent (1856-1925). The portraits include those of Lord Ribblesdale (3044) and Prof. Bywater (3012), and the remarkable Wertheimer series (3705-3713), painted in 1892-1908, besides others on loan. Among the other works are Ellen Terry as Lady Macbeth (2053) and Carnation, Lily, Lily, Rose (1615). A staircase descends from the south side of Room XIV to the LOWER GROUND FLOOR (under rearrangement). Room XXVI. Modern foreign paintings (continued). Rooms XXXIV and XXXV. Modern French Drawings. Room XXVIII at present contains decorative work by Sargent (designed for Boston Library). R. XXIX. British drawings, up to circa 1900. Room XXX. Drawings for the 'Liber Studiorum' of J. M. W. Turner, a series suggested by Claude's 'Liber Veritatis' and intended to display Turner's versatility. The drawings were made expressly to be engraved and, of the 71 plates published in 1807-19, 11 were engraved in mezzotint by Turner himself, the others by various artists. ROOM XV. Later 19th Century. 1587. Dicksee, Harmony; 1512. Hook, Home with the tide; 1509. Millais, The NorthWest Passage (the old sailor was painted from Trelawny, the friend of Byron and Shelley); 1586. Poynter, Visit to ᆭsculapius; 2060. Linnell, The last load; 1522. Fildes. The doctor; 1549. A. Moore, Blossoms; 1574. Leighton, Psyche; 4005. Burne-Jones, The Golden Stairs; Millais, 1510. Mercy (St. Bartholomew's Day), 1691. Boyhood of Raleigh, 1494. Yeoman of the Guard. On screens, 3456-58. Burne-Jones, Story of Perseus; E. A. Abbey, Drawings. ROOM XVI. Sculpture. 1767. H. Bates, Hounds in leash; Leighton, 1752. Sluggard, 1754. Athlete struggling with a python; 1751. W. H. Thornycroft, Teucer; 1755. Goscombe John, Boy at play; 3031. Egide Rombaux, Premier matin (presented in 1915 by artists and others as a tribute to Belgian art); Havard Thomas, 2268. Mrs. Wertheimer; 3187. Epstein, Head of a girl; 3052. Dalou, Maternite; 3460. Mestrovic, Deposition. Also 3210. John, Mural decoration (Galway). ROOM XVII contains pictures, chiefly allegorical or symbolical, by G. F. Watts (1817-1904), presented by him in 1897. 1693. Time, Death, and Judgment; 1687. The AllPervading; 1638. 'Sic transit gloria mundi '; 1647. Chaos; 1641. Love and Life; 1692. Love triumphant; 1645. Love and Death; 1633. Dray horses; 1639. Faith; 1637. The Spirit of Christianity; 1894. Court of Death; 1646. The Messenger; 1642. 'She shall be called Woman'; 1643. Eve tempted; 1644. Eve repentant; 1640. Hope; 1635. Death crowning Innocence; 1630. Mammon (dedicated to his worshippers); 1920. Life's illusions. Burne-Jones, Mirror of Venus (on loan). - 1949. Watts, by Alf. Gilbert. ROOM XVIII contains works by Alfred Stevens (1817-75), sculptor, painter, and designer. On the walls are drawings, studies, and cartoons (lent by the late Sir George Holford) for the decoration of Dorchester House. In the centre: 2852. Cast of the equestrian figure for the Wellington Monument. At the end of the room, 1846. Cartoon of Isaiah, for the mosaic in St. Paul's; on the left, 2785. Reproduction of the fireplace at Dorchester House. Small sculptures: 2269. Valour and Cowardice, 2270. Truth and Falsehood, casts of allegorical groups in the model for the Wellington Memorial. ROOM XIX. Later 19th Century. 1391. F. Walker, Harbour of refuge (almhouses at Bray; the statue of Charles II. once stood in Soho Square); Orchardson, 1521. Her mother's voice, 1601. Napoleon on board the 'Bellerophon'; 1901. J. J. Shannon, Flower girl; 1946. Hemy, London River; 1580. Wyllie, Toil, glitter, grime, and wealth on a flowing tide; 2259. Clausen, Gleaners returning; 3566. John, Col. T. E. Lawrence; Legros, 2918. Retreat from Moscow, 1501. Femmes en priere; 1956. Brough, Fantaisie en folie; Lavery, Jockeys' room at Ascot; 3825. Shannon, Phil May; 1142. Lawson, August moon; 1612. Clausen, Girl at the gate; 3688. Lavery, North Berwick; 3514. F. Walker, The old gate. ROOM XX. 19th Century Water-Colours Charles W. Furse, Equestrian portrait of Lord Roberts (loan); 2080. F. Walker, Woman in white (cartoon, 1871, for one of the earliest posters); Water-colours by W. H. Hunt, Prout, Gilbert, Cattermole, D. Cox, W. J. Muller, C. Keene (drawings for Punch), Swan, E. M. Henderson, Havard Thomas, T. Collier, E. Lear, F. Walker, Pinwell, H. Brabazon, and others. ROOM XXI. Contemporary Painters. 3717. Tanks, Rosamund and the purple jar; 3189. William Rothenstein, The doll's house (early portrait of Augustus John); 2940. Orpen, The mirror; 3423. Conder, Plum tree; 2898. Legros, Repas des pauvres; Whistler, 1959. Old Battersea bridge, Miss A. M. Alexander; 3176. McEvoy, The earring; 3468. Innes, South of France; Wilson Steer, 2473. Chepstow Castle, 2872. Music room, 3193. Richmond Castle; 3171. John, Smiling woman; 3041. Holmes, Burning kiln; 3953. Rothenstein, Princess Badroulbadour; 3865. L. Pissarro, Le Lavandou; 3813. D. Y. Cameron, Rue de Bourg; Dodd, Smiling woman; 3509. Guevara, Miss Sitwell; 4093. John, Mme Suggia; 3643. Greaves, Hammersmith Bridge; John, 3581. Orange jacket, 3565. Rachael; 3846. Sickert, Ennui; 4087. Nicholson, W. E. Henley; Ronald Gray, My Mother; 3644. Chas. Keene, Portrait of the artist; 3815. Beardsley, Caprice, the only known oil painting by this artist; 2214. F. H. Potter, Little Dormouse. On screens, 3993. Nevil Cain, Sargent as a student; 3178. Nicholson, Lowestoft bowl; 3838. Ginner, Porthleven. ROOM XXII. Contemporary Water-Colours. D. south MacColl, 3413. Brasenose, Oxford, 3522. Wilmington Barn; 3645. Conder, Windy day, Brighton; 3198. John, Nirvana; 3530. Orpen, The model; 3017-18. Tonks, Auguste Rodin and Mme Rodin; 3322. MacColl, Belfry at Dinan; watercolours by H. Brabazon; 3195 (doorway), Conder, Gossip; 3469, 3804. Innes, Waterfalls; 3680. Crawhall, Dove; 3175. McEvoy, In a mirror; 3172. John, Walpurgis Night; 3016. Tonks, Toilet. Works on loan (oil) by Meninsky, Spencer, and (drawings), Holmes, Steer, Tonks, Orpen, Bone, John, Rothenstein, Nash, and others. ROOM XXIII. Marble sculptures: 1784. Sir T. Brock, Eve; 1928. Colton, Springtide of life; 2975. Hartwell, Dawn; 2266. Sir B. Mackennal, Diana; 1750. Bate, Pandora; 2976. Derwent Wood, Henry James; 3844. Rothenstein, Two women; 2920 (oil). Crane, Renaissance of Venus; 1354 (relief). Jagger, No Man's Land. ROOM XXIV. Contemporary Painters. 1576. Hacker, Annunciation; 1926. Murray, Country of Constable; 2933. Sims, Wood beyond the world; Strong, Portrait of the artist; Herkomer, 2481. Royal Academy Council (1907), 3517. Sir Henry Tate; 1611. Millet, Between two fires; 1554. Forbes, Health of the bride; 1620. Lucas, After Culloden; 3151. Brangwyn, Poulterer's shop; 3554. Munnings, Epsom Downs, City and Suburban Day; 3002. Philpot, Man in black. ROOM XXV. 3623. Orpen, Sir W. McCormick; 3569. Russell, Mr. Minney; 3036. Strang, Bank Holiday; 2895. Jack, Rehearsal with Nikisch; 2260. Sims, Fountain; 2998. Connard, Jane. Evelyn, James, and Helen; 2995. Shannon, Mrs. Patrick Campbell; 3182. Sickert, Cafe des Tribunaux, Dieppe; Clausen, The road; 3221. Ricketts, Don Juan; 1613. Tuke, August blue; 2997. Orpen, Angler; 1963. Furse, Return from the ride; 3549. Orpen, Lady Orpen; 2994. Russell, Donkeys and kites; 3000. Lavery, La Mort du Cygne (Anna Pavlova). ROOM XXVI (first floor). 3209. Cameron, Ben Ledi; 1555. Dendy Sadler, Thursday; and works of minor interest. BALCONY. Drawings by Muirhead Bone, Kennington, Gainsborough, Rossetti, Beardsley, Burne-Jones, Swan, Keene; Etchings by Holroyd, Whistler, Wilkie; Water-colours by Sandby, Gilbert, etc.