View allAll Photos Tagged 17808.
If you are interested in a license for my photo, you can contact me through Flickr marketplace or email.
Waterloo to Portsmouth service runs into Eastleigh. Nice to see a complete 12 car set in former SWT blue livery
Het was op 2 augustus 2018 kennelijk de dag van de Fantôme Nez Cassé's, want ook de BB 22353 die in deze saaie kleurstelling is gestoken, liet zich in Fleurville zien. De machine is met een stam Corailrijtuigen onderweg als TER 17808 van Lyon Part Dieu naar Dijon Ville.
First mission today was to find the rare (to me) VLW140, which was on the 78. This route has had something of a downgrade since many of Ash Grove E400s were sent to Barking to double deck the 173. This downgrade will be temporary though, as new 'HA' class E40Hs are just arriving in order to convert the 78, bizarrely disguised to resemble Boris Buses for some reason. Anyway, the old order is seen here in Bishopsgate on 17/11/15. I think I can say this was my last AE VLW as my other winner (135) hasn't worked since June and is currently losing parts in the shed. After having this, it was off to route 254 for my last two AE DWs and then Walthamstow for my last Leyton E40D.
9048 London Bdg-Elephant 35
PVL339 Elephant-Trafalgar Rd 363
VLW140 Trafalgar Rd-Liv St 78
17813 Liv St-Clapton Pond 48
VLW162 Clap Pond-Stam Hill 254
DW57 Stamford Hill-Hackney 254
DW69 Hackney-Lea Bdg Rnd 254
17808 Lea Bdg R-Walthamstow 48
10119 Walth-Highams Park 275
SEN28 Highams Pk-Wood St W16
SEN25 Wood St-Leyton Green W16
WVL189 Ley Grn-Leytonstone 257
WVL190 Leytonstone-Cann H 257
WVL110 Cann Hall-Stratford 257
Stagecoach London 17808, LX03BXC | Leyton Bus Garage
Saturday 17th October 2015
@ Londontransport3/ Mark Mcwalter 2015
Thank you all for viewing, please check out my other photos, collections and albums
Stagecoach 17808 LX03 BXC on the 55 in Vernon Place, Bloomsbury. Sunday 20th May 2012. DSCN15852.
TransBus Trident-TransBus ALX400 10.5m.
CIS Treinstel ETR 610 van Trenitalia – Eurostar staat te Venezia s Lucia gereed als trein ES 9443 naar Roma Termini, 5 mei 2012.
Boeing 787-10 Dreamliner
EVA Airways EVA BR
B-17808 (LN1052)
BOE 236
LN1052 slowing on a wet runway 33 with powerful GEnx reverse thrust, arriving from SKF after 1.5 years of storage. I've always dreamed of getting a shot like this!
Boeing 787-10 Dreamliner
EVA Airways EVA BR
B-17808 (LN1052)
BOE 236
LN1052 landing on a wet runway 33, arriving from SKF after 1.5 years of storage.
Looking out from the roof of the Library of Birmingham, Library was designed by Buro Happold and built at a cost of £188 million. In Centenary Square, Birmingham, West Midlands.
Birmingham City Council looked into relocating the library for many years. The original plan was to build a new library in the emerging Eastside district, which had been opened up to the city centre following the demolition of Masshouse Circus. A library was designed by Richard Rogers on a site in the area. However, for financial reasons and reservations about the location this plan was shelved. The Council suggested that the Library be split between a new building built between the Rep
Theatre and Baskerville House at Centenary Square, which until 2009 was a public car park (to house the main lending library) and a building at Millennium Point in "Eastside" (to house the archives and special collections).
In August 2006, the Council confirmed the area between the Rep Theatre and Baskerville House as the future site for the library. Capita Symonds had been appointed as Project Managers for the
Library of Birmingham. The council's intention was to create a "world class" landmark civic building in Centenary Square. Not long after this, the two-sites idea was scrapped and the archives and special collections will move to the site at Centenary Square.
Preparation of the ground for building, and archaeological work between Baskerville House and The Rep had begun before planning permission had been granted. Planning permission was finally granted and approved by Birmingham City Council in December 2009. Building work, which was undertaken by Carillion, commenced in January 2010, with a completion schedule for 3 September 2013. A topping out ceremony to mark the completion of the highest part of the building took place on 14 September 2011.
At the 2014 RIBA West Midlands Awards, the Library of Birmingham was named overall West
Midlands building of the year Mecanoo architect Patrick Arends won emerging architect of the year and Birmingham City Council won client of the year. In the June 2014 birthday honours, the library's director, Brian Gambles, was made MBE "for services to libraries". On 17 July 2014 the Library of
Birmingham was nominated as one of the six short-listed buildings for the 2014 Stirling Prize, awarded for excellence in architecture.
The library has a number of nationally and internationally significant collections, including the
Boulton and Watt archives, the Bournville Village Trust Archive, the Charles Parker Archive, the
Parker collection of children's books, the Sir Benjamin Stone photographic collection, the Wingate Bett transport ticket collection, the Warwickshire photographic survey, the British Institute of Organ Studies archive and the Railway and Canal Historical Society Library.
The specialist Shakespeare Memorial Room was designed in 1882 by John Henry Chamberlain for the first Central Library. When the old building was demolished in 1974 Chamberlain's room was dismantled and later fitted into the new concrete shell of the new library complex. When the Library of Birmingham was built, it was again moved, to the top floor. It houses Britain’s most important Shakespeare collection, and one of the two most important Shakespeare collections in the world; the other being held by the Folger Shakespeare Library. The collection contains 43,000 books including rare items such as a copy of the First Folio 1623; copies of the four earliest Folio editions; over 70 editions of separate plays printed before 1709 including three "Pavier" quartos published in 1619 but falsely dated. There are significant collections from the 18th, 19th and 20th centuries, a near complete collection of Collected Works, significant numbers of adaptations, anthologies and individual editions.
The Boulton and Watt Collection is the archive of the steam engine partnership of Matthew Boulton and James Watt, dating from its formation in 1774 until the firm's closure in the 1890s. The archive comprises about 550 volumes of letters, books, order books and account books, approximately 29,000 engine drawings and upwards of 20,000 letters received from customers. Boulton and Watt manufactured the screw engines for Brunel's SS Great Eastern and the archive includes a portfolio of 13 albumen prints by Robert Howlett documenting the construction of the Great Eastern, including a rare variant of the Brunel portrait of 1857
Boeing 787-10 Dreamliner
EVA Airways EVA BR
B-17808 (LN1052)
BOE 236
LN1052 slowing on a wet runway 33 with powerful GEnx reverse thrust, arriving from SKF after 1.5 years of storage.
Boeing 787-10 Dreamliner
EVA Airways EVA BR
B-17808 (LN1052)
BOE 236
LN1052 landing on a wet runway 33, arriving from SKF after 1.5 years of storage.
Mission day 423 from the Mars 2020 Rover 'Perseverance'
Stitched in MS ICE & adjusted in Photoshop CC
Explore with full Zoom & Pan here: www.gigapan.com/gigapans/229247
or here: viewer.gigamacro.com/view/Cdf3pV1p6o6jMpnL?x1=17808.46&am...
NASA JPL-CAltech MSSS
Processed by Neal Spence
Guntakal Duo Jumbo Packs..:P GTL WDM2 Jumbo's 17808 & 17806 are running hard towads SC at Aler... The Loco's Mued in Great Sthyle..:P
Boeing 787-10 Dreamliner
EVA Airways EVA BR
B-17808 (LN1052)
BOE 236
LN1052 arriving from SKF after 1.5 years of storage.
Unter Chefingenieur W. F. Pettigrew entstand 1907 die Klasse L3 für Kurzstrecken-Güterverkehr. Es wurden 6 Stück gebaut, welche die Betriebsnummern 96, 97 und 108-111 erhielten. Die Ausrangierung dieser Serie begann bereits 1931 und zog sich bis 1941 hin.
E-Pics ETH Zurich
Boeing 787-10 Dreamliner
EVA Airways EVA BR
B-17808 (LN1052)
BOE 236
LN1052 landing on a wet runway 33, arriving from SKF after 1.5 years of storage.
動画シリーズ第３弾です！
今回は色やスピードのコントロールができるようになり、大分ムービーぽくなってきたように思います。フリッカーは動画が１分３０秒までなので、この時間に全てを詰め込むのが大変でした、そのうち３分くらいまで増やして欲しいですね。
今回のテーマは時間旅行、ていうかたまたま撮影場所にスチームクロックがあったからなんですが。。過去と現在を行き来するイメージをモノクロとカラーで表現しようと試みました。音楽も相まって、私好みのちょっと悲しげでドリーミーな世界になってしまいましたが、皆さんの好みに合いますでしょうか？
＊注意：フルスクリーンで繰り返し再生すると催眠術にかかる恐れがあります（笑）
Thanks for watching my third HD movie!!
Now, I can control color and speed in the film, yay! It was hard to put the all stuff in only 1:30 min, I hope they push the limit up in the future.
I tried to express the time trip which is going past and presence back and forth by using mono and color. It's a bit sad & dreamy world which is my favorite and hope you like it, too.
Place : Gastown, Vancouver
Camera : Canon EOS 5D Mark II
Lens : EF 50mm F1.8 II
Edit by : Adobe Premiere Pro CS3
Music : "Circles" by Rewob is licensed under a Attribution Noncommercial Share-Alike.
I hope I'm not boring my contacts too much with tourist shots, but I do find these gargoyles strangely attractive... D800_DSC_17808.NEF. Many thanks for views, comments and favourites.
NS DE-loc 347 is tijdens werkzaamheden ten zuiden van station Boxtel met enkele wagons met ballast aan het rangeren.
NS DE-loc 347 is shunting with some wagons with clean ballast on a work south off Boxtel.
Seen in Monument on route 48
All images are copyright . Please do not use without written permission.
Captain Patrick Miller
West Building, Main Floor—Gallery 59
•Date: 1788/1789, Altered Later (Date Unknown)
•Medium: Oil on Canvas
•Dimensions:
oOverall: 167.2 × 132.8 cm (65 13/16 × 52 5/16 in.)
oFramed: 195.9 × 160 × 11.4 cm (77⅛ × 63 × 4½ in.)
•Credit Line: Gift of Pauline Sabin Davis
•Accession Number: 1948.19.1
•Artists/Makers:
oArtist: Sir Henry Raeburn, Scottish, 1756-1823
Provenance
(Wallis & Son, London), 1910; purchased by Sir Edgar Vincent, bt., later 1st viscount d’Abernon [1857-1941], Esher and Stoke d’Abernon, Surrey; sold c. 1917 to (Duveen Brothers, Inc., London, New York, and Paris);[1] purchased 1919 by Mr. [d. 1933] and Mrs. Charles H. Sabin, Southampton, Long Island, New York; Mrs. Sabin [née Pauline Morton], who married Dwight F. Davis, Washington, D.C., in 1936; gift 1948 to NGA.
[1]Duveen Brothers to Mrs. John Shapley, 5 August 1948, in NGA curatorial files.
Associated Names
•Davis, Dwight Filley, Mrs.
•Duveen Brothers, Inc.
•Duveen Brothers, Inc.
•Sabin, Charles H., Mr. and Mrs.
•Vincent, 1st Viscount D’Abernon, Edgar, Sir
•Wallis & Son, Henry
Exhibition History
•1910—Pictures by Sir Henry Rareburn, R.A., French Gallery (Wallis & Son), London, 1910, no. 18.
•1966—Loan for display with permanent collection, Museum of Fine Arts, St. Petersburg, Florida, 1966-1968.
•1969—Inaugural Exhibition: American Portraits, The Art Museum, Duke University, Durham, North Carolina, 1969-1970, no cat.
•1972— Styles in Portraiture, Northern Virginia Fine Arts Association, Alexandria, Virginia, 1972, no cat.
•1999—Masterpieces from the National Gallery of Art, Washington, Kyoto Municipal Museum of Art; Tokyo Metropolitan Art Museum, 1999, no. 85, repro.
Technical Summary
The heavy canvas is plain woven; it has been lined. The ground is white and contains white lead; it is possible that there are two layers, of which the white lead represents a priming over another, white chalk ground. The paint is applied in opaque layers, with thin, fluid washes, blended wet into wet in the darks, and with thick impasto in the lights; the final details are added crisply over dried lower layers. X-radiographs show that some minor changes were made in the frogging, notably at the sitter’s right shoulder above the armpit, where the V-shaped braid was originally filled with decorative trim, and that the necktie was originally higher and more elaborate; also, and this is visible to the naked eye, that the sitter originally held his hat (then adorned with a large rosette) in his left hand against the rump of his charger. The object he then held in his right hand is difficult to identify. Craquelure in the uniform reveals that its color was originally blue. The thinner washes are slightly abraded and the impasto has been flattened by lining.
Bibliography
•1911—Greig, James. Sir Henry Raeburn, R.A.: His Life and Works. London, 1911: 53.
•1957—Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 92.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 106.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 94, repro.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 278, repro.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 528, color repro.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 323, repro.
•1992—Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 188-191, color repro. 191.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1948.19.1 (1024)
Captain Patrick Miller
•1788/1789, Altered Later (Date Unknown)
•Oil on Canvas, 167.2 × 132.8 (65⅞ × 52¼)
•Gift of Pauline Sabin Davis
Technical Notes
The heavy canvas is plain woven; it has been lined. The ground is white and contains white lead; it is possible that there are two layers, of which the white lead represents a priming over another, white chalk ground. The paint is applied in opaque layers, with thin, fluid washes, blended wet into wet in the darks, and with thick impasto in the lights; the final details are added crisply over dried lower layers. X-radiographs show that some minor changes were made in the frogging, notably at the sitter’s right shoulder above the armpit, where the V-shaped braid was originally filled with decorative trim, and that the necktie was originally higher and more elaborate; also, and this is visible to the naked eye, that the sitter originally held his hat (then adorned with a large rosette) in his left hand against the rump of his charger. The object he then held in his right hand is difficult to identify. Craquelure in the uniform reveals that its color was originally blue. The thinner washes are slightly abraded and the impasto has been flattened by lining.
Provenance
(Wallis & Son), London, 1910, from whom it was purchased by Sir Edgar Vincent, Bt., later Viscount d’Abernon [1857-1941], Esher Place, Surrey, who sold it c. 1917 to (Duveen Brothers), London,1 from whose New York branch it was purchased 1919 by Mr. [d. 1933] and Mrs. Charles H. Sabin, Southampton, Long Island, New York. (Mrs. Sabin [nee Pauline Morton] married Dwight F. Davis, Washington, in 1936.)
Exhibitions
Pictures by Sir Henry Raeburn, R.A,, French Gallery (Wallis & Son), London, 1910, no. 18. Inaugural Exhibition, Duke University Art Museum, Durham, North Carolina, 1969, no cat. Styles in Portraiture, Northern Virginia Fine Arts Association, Alexandria, 1972, no cat.
Patrick Miller was the eldest son of Patrick Miller of Dalswinton House in Dumfries, Scotland, friend of Robert Burns and James Nasmyth, a wealthy banker best known for his experiments in steam navigation. Young Miller was present with Burns at the trial on the Solway Firth of the first steamship in Great Britain. He appears as a boy of about fifteen in the center of the family group painted by Alexander Nasmyth in 1782. A regular army officer for seven years, he became M.P. for Dumfriesshire in 1790.
The question of the uniform in which Miller is depicted—brown with silver lace and yellow facings—has been a subject of inconclusive debate among historians of military uniforms and other experts.2 The recent technical examination revealing that the color beneath the present paint surface is blue to some extent clarifies the matter. The traditional identification with the Dumfries Yeomanry3 remains unacceptable, since research in the army lists has shown that Miller was not commissioned in that regiment.4 Miller served in the army from 1783 until 1790, when he resigned. He was successively an ensign in the Thirteenth Foot, a lieutenant in the Tenth Foot, a lieutenant in the Twelfth Light Dragoons, and a captain in the Fourteenth Light Dragoons.5 Both the latter regiments had blue uniforms with silver lace and yellow facings, primrose yellow in the case of the Twelfth and lemon yellow in the case of the Fourteenth; the Twelfth are known to have been unusual in retaining black horse furniture until 1792.6 The facings in Miller’s uniform are pale yellow, and the horse furniture black, so that the uniform as originally painted by Raeburn may be identified as that of the Twelfth Light Dragoons, in which Miller served as a lieutenant from February 1788 to May 1789.
This leaves unresolved the identification of the uniform in which Miller is actually depicted. Presumably the portrait was altered by Raeburn at a later date when Miller was serving in a different regiment as a more senior officer and wanted himself recorded in this new capacity. During the Revolutionary and Napoleonic Wars a considerable number of militia regiments were formed, the uniforms of which were often highly individual (officers in the same regiment sometimes wearing different uniforms) and are scantily recorded: it is likely that Miller served in one of these formations, though, as noted above, he was not an officer in the regiment he was most likely to have joined, the Dumfries-shire Yeomanry.
Miller is shown resting his arm on his charger in a manner employed by both Reynolds and Gainsborough, and which Raeburn adopted for his equestrian portraits, but the relationship between the sitter and his mount has not been satisfactorily resolved and the horse is somewhat wooden, as in Hoppner’s rendering of the theme (John Curwen, painted 1782, delivered 1788). The relationship would have been even more awkward before Raeburn repositioned the hat, originally held against the horse’s rump, unsupported by Miller’s left hand.7 The sitter is strongly lit and set in the extreme foreground, thus making close contact with the spectator, with the landscape falling away behind him, as so often in Raeburn’s work. The loosely swept back hair with small side curls is characteristic of the 17808 and early 1790s.
Notes
1.Duveen Brothers to Mrs. John Shapley, 5 August 1948, in NGA curatorial files.
2.R. Gerard, Transvaal Museum, Pretoria, letters, 27 September, 23 October, 15, 16 December 1951, 17 January, 26 July 1952, in NGA curatorial files; R. G. Ball, Scottish United Services Museum, letter, 20 October 1969, in NGA curatorial files. Ball also stated that, according to a note in his museum’s files, a version or copy of the Washington portrait in which the uniform was said to be green (apparently at one time the color worn by the Dumfries-shire Yeomanry) was owned by Major A. B. Cree, Cape Town; the existence of such a work is not borne out by the correspondence (which suggests rather that Major Cree was simply interested in the Washington picture), but is given some credence by the discovery already noted that the color of the uniform in the National Gallery’s painting was originally blue and not brown (a discolored blue might appear to be green).
3.The portrait was captioned as such in exh. cat. London 1910, no.18.
4.R. Gerard, letter, 17 January 1952, citing research by Haswell Miller, in NGA curatorial files.
5.A. S. White, Society for Army Historical Research, letter, 26 June 1951, in NGA curatorial files.
6.R. G. Ball, letter, 20 October 1969, in NGA curatorial files.
7.Compare Raeburn’s more successful handling of the theme in later years in his full-length portraits of Harley Drummond (The Metropolitan Museum of Art) and Professor John Wilson (Royal Scottish Academy, Edinburgh; Greig 1911, pi. loa), in which the sitters are holding their hats against their mounts in a more sophisticated manner than in the original conception of the Washington picture.
References
•1911—Greig 1911: 53.
•1976—Walker 1976: no. 528, color repro.
Captain Patrick Miller
West Building, Main Floor—Gallery 59
•Date: 1788/1789, Altered Later (Date Unknown)
•Medium: Oil on Canvas
•Dimensions:
oOverall: 167.2 × 132.8 cm (65 13/16 × 52 5/16 in.)
oFramed: 195.9 × 160 × 11.4 cm (77⅛ × 63 × 4½ in.)
•Credit Line: Gift of Pauline Sabin Davis
•Accession Number: 1948.19.1
•Artists/Makers:
oArtist: Sir Henry Raeburn, Scottish, 1756-1823
Provenance
(Wallis & Son, London), 1910; purchased by Sir Edgar Vincent, bt., later 1st viscount d’Abernon [1857-1941], Esher and Stoke d’Abernon, Surrey; sold c. 1917 to (Duveen Brothers, Inc., London, New York, and Paris);[1] purchased 1919 by Mr. [d. 1933] and Mrs. Charles H. Sabin, Southampton, Long Island, New York; Mrs. Sabin [née Pauline Morton], who married Dwight F. Davis, Washington, D.C., in 1936; gift 1948 to NGA.
[1]Duveen Brothers to Mrs. John Shapley, 5 August 1948, in NGA curatorial files.
Associated Names
•Davis, Dwight Filley, Mrs.
•Duveen Brothers, Inc.
•Duveen Brothers, Inc.
•Sabin, Charles H., Mr. and Mrs.
•Vincent, 1st Viscount D’Abernon, Edgar, Sir
•Wallis & Son, Henry
Exhibition History
•1910—Pictures by Sir Henry Rareburn, R.A., French Gallery (Wallis & Son), London, 1910, no. 18.
•1966—Loan for display with permanent collection, Museum of Fine Arts, St. Petersburg, Florida, 1966-1968.
•1969—Inaugural Exhibition: American Portraits, The Art Museum, Duke University, Durham, North Carolina, 1969-1970, no cat.
•1972— Styles in Portraiture, Northern Virginia Fine Arts Association, Alexandria, Virginia, 1972, no cat.
•1999—Masterpieces from the National Gallery of Art, Washington, Kyoto Municipal Museum of Art; Tokyo Metropolitan Art Museum, 1999, no. 85, repro.
Technical Summary
The heavy canvas is plain woven; it has been lined. The ground is white and contains white lead; it is possible that there are two layers, of which the white lead represents a priming over another, white chalk ground. The paint is applied in opaque layers, with thin, fluid washes, blended wet into wet in the darks, and with thick impasto in the lights; the final details are added crisply over dried lower layers. X-radiographs show that some minor changes were made in the frogging, notably at the sitter’s right shoulder above the armpit, where the V-shaped braid was originally filled with decorative trim, and that the necktie was originally higher and more elaborate; also, and this is visible to the naked eye, that the sitter originally held his hat (then adorned with a large rosette) in his left hand against the rump of his charger. The object he then held in his right hand is difficult to identify. Craquelure in the uniform reveals that its color was originally blue. The thinner washes are slightly abraded and the impasto has been flattened by lining.
Bibliography
•1911—Greig, James. Sir Henry Raeburn, R.A.: His Life and Works. London, 1911: 53.
•1957—Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 92.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 106.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 94, repro.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 278, repro.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 528, color repro.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 323, repro.
•1992—Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 188-191, color repro. 191.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1948.19.1 (1024)
Captain Patrick Miller
•1788/1789, Altered Later (Date Unknown)
•Oil on Canvas, 167.2 × 132.8 (65⅞ × 52¼)
•Gift of Pauline Sabin Davis
Technical Notes
The heavy canvas is plain woven; it has been lined. The ground is white and contains white lead; it is possible that there are two layers, of which the white lead represents a priming over another, white chalk ground. The paint is applied in opaque layers, with thin, fluid washes, blended wet into wet in the darks, and with thick impasto in the lights; the final details are added crisply over dried lower layers. X-radiographs show that some minor changes were made in the frogging, notably at the sitter’s right shoulder above the armpit, where the V-shaped braid was originally filled with decorative trim, and that the necktie was originally higher and more elaborate; also, and this is visible to the naked eye, that the sitter originally held his hat (then adorned with a large rosette) in his left hand against the rump of his charger. The object he then held in his right hand is difficult to identify. Craquelure in the uniform reveals that its color was originally blue. The thinner washes are slightly abraded and the impasto has been flattened by lining.
Provenance
(Wallis & Son), London, 1910, from whom it was purchased by Sir Edgar Vincent, Bt., later Viscount d’Abernon [1857-1941], Esher Place, Surrey, who sold it c. 1917 to (Duveen Brothers), London,1 from whose New York branch it was purchased 1919 by Mr. [d. 1933] and Mrs. Charles H. Sabin, Southampton, Long Island, New York. (Mrs. Sabin [nee Pauline Morton] married Dwight F. Davis, Washington, in 1936.)
Exhibitions
Pictures by Sir Henry Raeburn, R.A,, French Gallery (Wallis & Son), London, 1910, no. 18. Inaugural Exhibition, Duke University Art Museum, Durham, North Carolina, 1969, no cat. Styles in Portraiture, Northern Virginia Fine Arts Association, Alexandria, 1972, no cat.
Patrick Miller was the eldest son of Patrick Miller of Dalswinton House in Dumfries, Scotland, friend of Robert Burns and James Nasmyth, a wealthy banker best known for his experiments in steam navigation. Young Miller was present with Burns at the trial on the Solway Firth of the first steamship in Great Britain. He appears as a boy of about fifteen in the center of the family group painted by Alexander Nasmyth in 1782. A regular army officer for seven years, he became M.P. for Dumfriesshire in 1790.
The question of the uniform in which Miller is depicted—brown with silver lace and yellow facings—has been a subject of inconclusive debate among historians of military uniforms and other experts.2 The recent technical examination revealing that the color beneath the present paint surface is blue to some extent clarifies the matter. The traditional identification with the Dumfries Yeomanry3 remains unacceptable, since research in the army lists has shown that Miller was not commissioned in that regiment.4 Miller served in the army from 1783 until 1790, when he resigned. He was successively an ensign in the Thirteenth Foot, a lieutenant in the Tenth Foot, a lieutenant in the Twelfth Light Dragoons, and a captain in the Fourteenth Light Dragoons.5 Both the latter regiments had blue uniforms with silver lace and yellow facings, primrose yellow in the case of the Twelfth and lemon yellow in the case of the Fourteenth; the Twelfth are known to have been unusual in retaining black horse furniture until 1792.6 The facings in Miller’s uniform are pale yellow, and the horse furniture black, so that the uniform as originally painted by Raeburn may be identified as that of the Twelfth Light Dragoons, in which Miller served as a lieutenant from February 1788 to May 1789.
This leaves unresolved the identification of the uniform in which Miller is actually depicted. Presumably the portrait was altered by Raeburn at a later date when Miller was serving in a different regiment as a more senior officer and wanted himself recorded in this new capacity. During the Revolutionary and Napoleonic Wars a considerable number of militia regiments were formed, the uniforms of which were often highly individual (officers in the same regiment sometimes wearing different uniforms) and are scantily recorded: it is likely that Miller served in one of these formations, though, as noted above, he was not an officer in the regiment he was most likely to have joined, the Dumfries-shire Yeomanry.
Miller is shown resting his arm on his charger in a manner employed by both Reynolds and Gainsborough, and which Raeburn adopted for his equestrian portraits, but the relationship between the sitter and his mount has not been satisfactorily resolved and the horse is somewhat wooden, as in Hoppner’s rendering of the theme (John Curwen, painted 1782, delivered 1788). The relationship would have been even more awkward before Raeburn repositioned the hat, originally held against the horse’s rump, unsupported by Miller’s left hand.7 The sitter is strongly lit and set in the extreme foreground, thus making close contact with the spectator, with the landscape falling away behind him, as so often in Raeburn’s work. The loosely swept back hair with small side curls is characteristic of the 17808 and early 1790s.
Notes
1.Duveen Brothers to Mrs. John Shapley, 5 August 1948, in NGA curatorial files.
2.R. Gerard, Transvaal Museum, Pretoria, letters, 27 September, 23 October, 15, 16 December 1951, 17 January, 26 July 1952, in NGA curatorial files; R. G. Ball, Scottish United Services Museum, letter, 20 October 1969, in NGA curatorial files. Ball also stated that, according to a note in his museum’s files, a version or copy of the Washington portrait in which the uniform was said to be green (apparently at one time the color worn by the Dumfries-shire Yeomanry) was owned by Major A. B. Cree, Cape Town; the existence of such a work is not borne out by the correspondence (which suggests rather that Major Cree was simply interested in the Washington picture), but is given some credence by the discovery already noted that the color of the uniform in the National Gallery’s painting was originally blue and not brown (a discolored blue might appear to be green).
3.The portrait was captioned as such in exh. cat. London 1910, no.18.
4.R. Gerard, letter, 17 January 1952, citing research by Haswell Miller, in NGA curatorial files.
5.A. S. White, Society for Army Historical Research, letter, 26 June 1951, in NGA curatorial files.
6.R. G. Ball, letter, 20 October 1969, in NGA curatorial files.
7.Compare Raeburn’s more successful handling of the theme in later years in his full-length portraits of Harley Drummond (The Metropolitan Museum of Art) and Professor John Wilson (Royal Scottish Academy, Edinburgh; Greig 1911, pi. loa), in which the sitters are holding their hats against their mounts in a more sophisticated manner than in the original conception of the Washington picture.
References
•1911—Greig 1911: 53.
•1976—Walker 1976: no. 528, color repro.
Captain Patrick Miller
West Building, Main Floor—Gallery 59
•Date: 1788/1789, Altered Later (Date Unknown)
•Medium: Oil on Canvas
•Dimensions:
oOverall: 167.2 × 132.8 cm (65 13/16 × 52 5/16 in.)
oFramed: 195.9 × 160 × 11.4 cm (77⅛ × 63 × 4½ in.)
•Credit Line: Gift of Pauline Sabin Davis
•Accession Number: 1948.19.1
•Artists/Makers:
oArtist: Sir Henry Raeburn, Scottish, 1756-1823
Provenance
(Wallis & Son, London), 1910; purchased by Sir Edgar Vincent, bt., later 1st viscount d’Abernon [1857-1941], Esher and Stoke d’Abernon, Surrey; sold c. 1917 to (Duveen Brothers, Inc., London, New York, and Paris);[1] purchased 1919 by Mr. [d. 1933] and Mrs. Charles H. Sabin, Southampton, Long Island, New York; Mrs. Sabin [née Pauline Morton], who married Dwight F. Davis, Washington, D.C., in 1936; gift 1948 to NGA.
[1]Duveen Brothers to Mrs. John Shapley, 5 August 1948, in NGA curatorial files.
Associated Names
•Davis, Dwight Filley, Mrs.
•Duveen Brothers, Inc.
•Duveen Brothers, Inc.
•Sabin, Charles H., Mr. and Mrs.
•Vincent, 1st Viscount D’Abernon, Edgar, Sir
•Wallis & Son, Henry
Exhibition History
•1910—Pictures by Sir Henry Rareburn, R.A., French Gallery (Wallis & Son), London, 1910, no. 18.
•1966—Loan for display with permanent collection, Museum of Fine Arts, St. Petersburg, Florida, 1966-1968.
•1969—Inaugural Exhibition: American Portraits, The Art Museum, Duke University, Durham, North Carolina, 1969-1970, no cat.
•1972— Styles in Portraiture, Northern Virginia Fine Arts Association, Alexandria, Virginia, 1972, no cat.
•1999—Masterpieces from the National Gallery of Art, Washington, Kyoto Municipal Museum of Art; Tokyo Metropolitan Art Museum, 1999, no. 85, repro.
Technical Summary
The heavy canvas is plain woven; it has been lined. The ground is white and contains white lead; it is possible that there are two layers, of which the white lead represents a priming over another, white chalk ground. The paint is applied in opaque layers, with thin, fluid washes, blended wet into wet in the darks, and with thick impasto in the lights; the final details are added crisply over dried lower layers. X-radiographs show that some minor changes were made in the frogging, notably at the sitter’s right shoulder above the armpit, where the V-shaped braid was originally filled with decorative trim, and that the necktie was originally higher and more elaborate; also, and this is visible to the naked eye, that the sitter originally held his hat (then adorned with a large rosette) in his left hand against the rump of his charger. The object he then held in his right hand is difficult to identify. Craquelure in the uniform reveals that its color was originally blue. The thinner washes are slightly abraded and the impasto has been flattened by lining.
Bibliography
•1911—Greig, James. Sir Henry Raeburn, R.A.: His Life and Works. London, 1911: 53.
•1957—Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 92.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 106.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 94, repro.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 278, repro.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 528, color repro.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 323, repro.
•1992—Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 188-191, color repro. 191.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1948.19.1 (1024)
Captain Patrick Miller
•1788/1789, Altered Later (Date Unknown)
•Oil on Canvas, 167.2 × 132.8 (65⅞ × 52¼)
•Gift of Pauline Sabin Davis
Technical Notes
The heavy canvas is plain woven; it has been lined. The ground is white and contains white lead; it is possible that there are two layers, of which the white lead represents a priming over another, white chalk ground. The paint is applied in opaque layers, with thin, fluid washes, blended wet into wet in the darks, and with thick impasto in the lights; the final details are added crisply over dried lower layers. X-radiographs show that some minor changes were made in the frogging, notably at the sitter’s right shoulder above the armpit, where the V-shaped braid was originally filled with decorative trim, and that the necktie was originally higher and more elaborate; also, and this is visible to the naked eye, that the sitter originally held his hat (then adorned with a large rosette) in his left hand against the rump of his charger. The object he then held in his right hand is difficult to identify. Craquelure in the uniform reveals that its color was originally blue. The thinner washes are slightly abraded and the impasto has been flattened by lining.
Provenance
(Wallis & Son), London, 1910, from whom it was purchased by Sir Edgar Vincent, Bt., later Viscount d’Abernon [1857-1941], Esher Place, Surrey, who sold it c. 1917 to (Duveen Brothers), London,1 from whose New York branch it was purchased 1919 by Mr. [d. 1933] and Mrs. Charles H. Sabin, Southampton, Long Island, New York. (Mrs. Sabin [nee Pauline Morton] married Dwight F. Davis, Washington, in 1936.)
Exhibitions
Pictures by Sir Henry Raeburn, R.A,, French Gallery (Wallis & Son), London, 1910, no. 18. Inaugural Exhibition, Duke University Art Museum, Durham, North Carolina, 1969, no cat. Styles in Portraiture, Northern Virginia Fine Arts Association, Alexandria, 1972, no cat.
Patrick Miller was the eldest son of Patrick Miller of Dalswinton House in Dumfries, Scotland, friend of Robert Burns and James Nasmyth, a wealthy banker best known for his experiments in steam navigation. Young Miller was present with Burns at the trial on the Solway Firth of the first steamship in Great Britain. He appears as a boy of about fifteen in the center of the family group painted by Alexander Nasmyth in 1782. A regular army officer for seven years, he became M.P. for Dumfriesshire in 1790.
The question of the uniform in which Miller is depicted—brown with silver lace and yellow facings—has been a subject of inconclusive debate among historians of military uniforms and other experts.2 The recent technical examination revealing that the color beneath the present paint surface is blue to some extent clarifies the matter. The traditional identification with the Dumfries Yeomanry3 remains unacceptable, since research in the army lists has shown that Miller was not commissioned in that regiment.4 Miller served in the army from 1783 until 1790, when he resigned. He was successively an ensign in the Thirteenth Foot, a lieutenant in the Tenth Foot, a lieutenant in the Twelfth Light Dragoons, and a captain in the Fourteenth Light Dragoons.5 Both the latter regiments had blue uniforms with silver lace and yellow facings, primrose yellow in the case of the Twelfth and lemon yellow in the case of the Fourteenth; the Twelfth are known to have been unusual in retaining black horse furniture until 1792.6 The facings in Miller’s uniform are pale yellow, and the horse furniture black, so that the uniform as originally painted by Raeburn may be identified as that of the Twelfth Light Dragoons, in which Miller served as a lieutenant from February 1788 to May 1789.
This leaves unresolved the identification of the uniform in which Miller is actually depicted. Presumably the portrait was altered by Raeburn at a later date when Miller was serving in a different regiment as a more senior officer and wanted himself recorded in this new capacity. During the Revolutionary and Napoleonic Wars a considerable number of militia regiments were formed, the uniforms of which were often highly individual (officers in the same regiment sometimes wearing different uniforms) and are scantily recorded: it is likely that Miller served in one of these formations, though, as noted above, he was not an officer in the regiment he was most likely to have joined, the Dumfries-shire Yeomanry.
Miller is shown resting his arm on his charger in a manner employed by both Reynolds and Gainsborough, and which Raeburn adopted for his equestrian portraits, but the relationship between the sitter and his mount has not been satisfactorily resolved and the horse is somewhat wooden, as in Hoppner’s rendering of the theme (John Curwen, painted 1782, delivered 1788). The relationship would have been even more awkward before Raeburn repositioned the hat, originally held against the horse’s rump, unsupported by Miller’s left hand.7 The sitter is strongly lit and set in the extreme foreground, thus making close contact with the spectator, with the landscape falling away behind him, as so often in Raeburn’s work. The loosely swept back hair with small side curls is characteristic of the 17808 and early 1790s.
Notes
1.Duveen Brothers to Mrs. John Shapley, 5 August 1948, in NGA curatorial files.
2.R. Gerard, Transvaal Museum, Pretoria, letters, 27 September, 23 October, 15, 16 December 1951, 17 January, 26 July 1952, in NGA curatorial files; R. G. Ball, Scottish United Services Museum, letter, 20 October 1969, in NGA curatorial files. Ball also stated that, according to a note in his museum’s files, a version or copy of the Washington portrait in which the uniform was said to be green (apparently at one time the color worn by the Dumfries-shire Yeomanry) was owned by Major A. B. Cree, Cape Town; the existence of such a work is not borne out by the correspondence (which suggests rather that Major Cree was simply interested in the Washington picture), but is given some credence by the discovery already noted that the color of the uniform in the National Gallery’s painting was originally blue and not brown (a discolored blue might appear to be green).
3.The portrait was captioned as such in exh. cat. London 1910, no.18.
4.R. Gerard, letter, 17 January 1952, citing research by Haswell Miller, in NGA curatorial files.
5.A. S. White, Society for Army Historical Research, letter, 26 June 1951, in NGA curatorial files.
6.R. G. Ball, letter, 20 October 1969, in NGA curatorial files.
7.Compare Raeburn’s more successful handling of the theme in later years in his full-length portraits of Harley Drummond (The Metropolitan Museum of Art) and Professor John Wilson (Royal Scottish Academy, Edinburgh; Greig 1911, pi. loa), in which the sitters are holding their hats against their mounts in a more sophisticated manner than in the original conception of the Washington picture.
References
•1911—Greig 1911: 53.
•1976—Walker 1976: no. 528, color repro.
Captain Patrick Miller
West Building, Main Floor—Gallery 59
•Date: 1788/1789, Altered Later (Date Unknown)
•Medium: Oil on Canvas
•Dimensions:
oOverall: 167.2 × 132.8 cm (65 13/16 × 52 5/16 in.)
oFramed: 195.9 × 160 × 11.4 cm (77⅛ × 63 × 4½ in.)
•Credit Line: Gift of Pauline Sabin Davis
•Accession Number: 1948.19.1
•Artists/Makers:
oArtist: Sir Henry Raeburn, Scottish, 1756-1823
Provenance
(Wallis & Son, London), 1910; purchased by Sir Edgar Vincent, bt., later 1st viscount d’Abernon [1857-1941], Esher and Stoke d’Abernon, Surrey; sold c. 1917 to (Duveen Brothers, Inc., London, New York, and Paris);[1] purchased 1919 by Mr. [d. 1933] and Mrs. Charles H. Sabin, Southampton, Long Island, New York; Mrs. Sabin [née Pauline Morton], who married Dwight F. Davis, Washington, D.C., in 1936; gift 1948 to NGA.
[1]Duveen Brothers to Mrs. John Shapley, 5 August 1948, in NGA curatorial files.
Associated Names
•Davis, Dwight Filley, Mrs.
•Duveen Brothers, Inc.
•Duveen Brothers, Inc.
•Sabin, Charles H., Mr. and Mrs.
•Vincent, 1st Viscount D’Abernon, Edgar, Sir
•Wallis & Son, Henry
Exhibition History
•1910—Pictures by Sir Henry Rareburn, R.A., French Gallery (Wallis & Son), London, 1910, no. 18.
•1966—Loan for display with permanent collection, Museum of Fine Arts, St. Petersburg, Florida, 1966-1968.
•1969—Inaugural Exhibition: American Portraits, The Art Museum, Duke University, Durham, North Carolina, 1969-1970, no cat.
•1972— Styles in Portraiture, Northern Virginia Fine Arts Association, Alexandria, Virginia, 1972, no cat.
•1999—Masterpieces from the National Gallery of Art, Washington, Kyoto Municipal Museum of Art; Tokyo Metropolitan Art Museum, 1999, no. 85, repro.
Technical Summary
The heavy canvas is plain woven; it has been lined. The ground is white and contains white lead; it is possible that there are two layers, of which the white lead represents a priming over another, white chalk ground. The paint is applied in opaque layers, with thin, fluid washes, blended wet into wet in the darks, and with thick impasto in the lights; the final details are added crisply over dried lower layers. X-radiographs show that some minor changes were made in the frogging, notably at the sitter’s right shoulder above the armpit, where the V-shaped braid was originally filled with decorative trim, and that the necktie was originally higher and more elaborate; also, and this is visible to the naked eye, that the sitter originally held his hat (then adorned with a large rosette) in his left hand against the rump of his charger. The object he then held in his right hand is difficult to identify. Craquelure in the uniform reveals that its color was originally blue. The thinner washes are slightly abraded and the impasto has been flattened by lining.
Bibliography
•1911—Greig, James. Sir Henry Raeburn, R.A.: His Life and Works. London, 1911: 53.
•1957—Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 92.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 106.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 94, repro.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 278, repro.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 528, color repro.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 323, repro.
•1992—Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 188-191, color repro. 191.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1948.19.1 (1024)
Captain Patrick Miller
•1788/1789, Altered Later (Date Unknown)
•Oil on Canvas, 167.2 × 132.8 (65⅞ × 52¼)
•Gift of Pauline Sabin Davis
Technical Notes
The heavy canvas is plain woven; it has been lined. The ground is white and contains white lead; it is possible that there are two layers, of which the white lead represents a priming over another, white chalk ground. The paint is applied in opaque layers, with thin, fluid washes, blended wet into wet in the darks, and with thick impasto in the lights; the final details are added crisply over dried lower layers. X-radiographs show that some minor changes were made in the frogging, notably at the sitter’s right shoulder above the armpit, where the V-shaped braid was originally filled with decorative trim, and that the necktie was originally higher and more elaborate; also, and this is visible to the naked eye, that the sitter originally held his hat (then adorned with a large rosette) in his left hand against the rump of his charger. The object he then held in his right hand is difficult to identify. Craquelure in the uniform reveals that its color was originally blue. The thinner washes are slightly abraded and the impasto has been flattened by lining.
Provenance
(Wallis & Son), London, 1910, from whom it was purchased by Sir Edgar Vincent, Bt., later Viscount d’Abernon [1857-1941], Esher Place, Surrey, who sold it c. 1917 to (Duveen Brothers), London,1 from whose New York branch it was purchased 1919 by Mr. [d. 1933] and Mrs. Charles H. Sabin, Southampton, Long Island, New York. (Mrs. Sabin [nee Pauline Morton] married Dwight F. Davis, Washington, in 1936.)
Exhibitions
Pictures by Sir Henry Raeburn, R.A,, French Gallery (Wallis & Son), London, 1910, no. 18. Inaugural Exhibition, Duke University Art Museum, Durham, North Carolina, 1969, no cat. Styles in Portraiture, Northern Virginia Fine Arts Association, Alexandria, 1972, no cat.
Patrick Miller was the eldest son of Patrick Miller of Dalswinton House in Dumfries, Scotland, friend of Robert Burns and James Nasmyth, a wealthy banker best known for his experiments in steam navigation. Young Miller was present with Burns at the trial on the Solway Firth of the first steamship in Great Britain. He appears as a boy of about fifteen in the center of the family group painted by Alexander Nasmyth in 1782. A regular army officer for seven years, he became M.P. for Dumfriesshire in 1790.
The question of the uniform in which Miller is depicted—brown with silver lace and yellow facings—has been a subject of inconclusive debate among historians of military uniforms and other experts.2 The recent technical examination revealing that the color beneath the present paint surface is blue to some extent clarifies the matter. The traditional identification with the Dumfries Yeomanry3 remains unacceptable, since research in the army lists has shown that Miller was not commissioned in that regiment.4 Miller served in the army from 1783 until 1790, when he resigned. He was successively an ensign in the Thirteenth Foot, a lieutenant in the Tenth Foot, a lieutenant in the Twelfth Light Dragoons, and a captain in the Fourteenth Light Dragoons.5 Both the latter regiments had blue uniforms with silver lace and yellow facings, primrose yellow in the case of the Twelfth and lemon yellow in the case of the Fourteenth; the Twelfth are known to have been unusual in retaining black horse furniture until 1792.6 The facings in Miller’s uniform are pale yellow, and the horse furniture black, so that the uniform as originally painted by Raeburn may be identified as that of the Twelfth Light Dragoons, in which Miller served as a lieutenant from February 1788 to May 1789.
This leaves unresolved the identification of the uniform in which Miller is actually depicted. Presumably the portrait was altered by Raeburn at a later date when Miller was serving in a different regiment as a more senior officer and wanted himself recorded in this new capacity. During the Revolutionary and Napoleonic Wars a considerable number of militia regiments were formed, the uniforms of which were often highly individual (officers in the same regiment sometimes wearing different uniforms) and are scantily recorded: it is likely that Miller served in one of these formations, though, as noted above, he was not an officer in the regiment he was most likely to have joined, the Dumfries-shire Yeomanry.
Miller is shown resting his arm on his charger in a manner employed by both Reynolds and Gainsborough, and which Raeburn adopted for his equestrian portraits, but the relationship between the sitter and his mount has not been satisfactorily resolved and the horse is somewhat wooden, as in Hoppner’s rendering of the theme (John Curwen, painted 1782, delivered 1788). The relationship would have been even more awkward before Raeburn repositioned the hat, originally held against the horse’s rump, unsupported by Miller’s left hand.7 The sitter is strongly lit and set in the extreme foreground, thus making close contact with the spectator, with the landscape falling away behind him, as so often in Raeburn’s work. The loosely swept back hair with small side curls is characteristic of the 17808 and early 1790s.
Notes
1.Duveen Brothers to Mrs. John Shapley, 5 August 1948, in NGA curatorial files.
2.R. Gerard, Transvaal Museum, Pretoria, letters, 27 September, 23 October, 15, 16 December 1951, 17 January, 26 July 1952, in NGA curatorial files; R. G. Ball, Scottish United Services Museum, letter, 20 October 1969, in NGA curatorial files. Ball also stated that, according to a note in his museum’s files, a version or copy of the Washington portrait in which the uniform was said to be green (apparently at one time the color worn by the Dumfries-shire Yeomanry) was owned by Major A. B. Cree, Cape Town; the existence of such a work is not borne out by the correspondence (which suggests rather that Major Cree was simply interested in the Washington picture), but is given some credence by the discovery already noted that the color of the uniform in the National Gallery’s painting was originally blue and not brown (a discolored blue might appear to be green).
3.The portrait was captioned as such in exh. cat. London 1910, no.18.
4.R. Gerard, letter, 17 January 1952, citing research by Haswell Miller, in NGA curatorial files.
5.A. S. White, Society for Army Historical Research, letter, 26 June 1951, in NGA curatorial files.
6.R. G. Ball, letter, 20 October 1969, in NGA curatorial files.
7.Compare Raeburn’s more successful handling of the theme in later years in his full-length portraits of Harley Drummond (The Metropolitan Museum of Art) and Professor John Wilson (Royal Scottish Academy, Edinburgh; Greig 1911, pi. loa), in which the sitters are holding their hats against their mounts in a more sophisticated manner than in the original conception of the Washington picture.
References
•1911—Greig 1911: 53.
•1976—Walker 1976: no. 528, color repro.
Captain Patrick Miller
West Building, Main Floor—Gallery 59
•Date: 1788/1789, Altered Later (Date Unknown)
•Medium: Oil on Canvas
•Dimensions:
oOverall: 167.2 × 132.8 cm (65 13/16 × 52 5/16 in.)
oFramed: 195.9 × 160 × 11.4 cm (77⅛ × 63 × 4½ in.)
•Credit Line: Gift of Pauline Sabin Davis
•Accession Number: 1948.19.1
•Artists/Makers:
oArtist: Sir Henry Raeburn, Scottish, 1756-1823
Provenance
(Wallis & Son, London), 1910; purchased by Sir Edgar Vincent, bt., later 1st viscount d’Abernon [1857-1941], Esher and Stoke d’Abernon, Surrey; sold c. 1917 to (Duveen Brothers, Inc., London, New York, and Paris);[1] purchased 1919 by Mr. [d. 1933] and Mrs. Charles H. Sabin, Southampton, Long Island, New York; Mrs. Sabin [née Pauline Morton], who married Dwight F. Davis, Washington, D.C., in 1936; gift 1948 to NGA.
[1]Duveen Brothers to Mrs. John Shapley, 5 August 1948, in NGA curatorial files.
Associated Names
•Davis, Dwight Filley, Mrs.
•Duveen Brothers, Inc.
•Duveen Brothers, Inc.
•Sabin, Charles H., Mr. and Mrs.
•Vincent, 1st Viscount D’Abernon, Edgar, Sir
•Wallis & Son, Henry
Exhibition History
•1910—Pictures by Sir Henry Rareburn, R.A., French Gallery (Wallis & Son), London, 1910, no. 18.
•1966—Loan for display with permanent collection, Museum of Fine Arts, St. Petersburg, Florida, 1966-1968.
•1969—Inaugural Exhibition: American Portraits, The Art Museum, Duke University, Durham, North Carolina, 1969-1970, no cat.
•1972— Styles in Portraiture, Northern Virginia Fine Arts Association, Alexandria, Virginia, 1972, no cat.
•1999—Masterpieces from the National Gallery of Art, Washington, Kyoto Municipal Museum of Art; Tokyo Metropolitan Art Museum, 1999, no. 85, repro.
Technical Summary
The heavy canvas is plain woven; it has been lined. The ground is white and contains white lead; it is possible that there are two layers, of which the white lead represents a priming over another, white chalk ground. The paint is applied in opaque layers, with thin, fluid washes, blended wet into wet in the darks, and with thick impasto in the lights; the final details are added crisply over dried lower layers. X-radiographs show that some minor changes were made in the frogging, notably at the sitter’s right shoulder above the armpit, where the V-shaped braid was originally filled with decorative trim, and that the necktie was originally higher and more elaborate; also, and this is visible to the naked eye, that the sitter originally held his hat (then adorned with a large rosette) in his left hand against the rump of his charger. The object he then held in his right hand is difficult to identify. Craquelure in the uniform reveals that its color was originally blue. The thinner washes are slightly abraded and the impasto has been flattened by lining.
Bibliography
•1911—Greig, James. Sir Henry Raeburn, R.A.: His Life and Works. London, 1911: 53.
•1957—Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 92.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 106.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 94, repro.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 278, repro.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 528, color repro.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 323, repro.
•1992—Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 188-191, color repro. 191.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1948.19.1 (1024)
Captain Patrick Miller
•1788/1789, Altered Later (Date Unknown)
•Oil on Canvas, 167.2 × 132.8 (65⅞ × 52¼)
•Gift of Pauline Sabin Davis
Technical Notes
The heavy canvas is plain woven; it has been lined. The ground is white and contains white lead; it is possible that there are two layers, of which the white lead represents a priming over another, white chalk ground. The paint is applied in opaque layers, with thin, fluid washes, blended wet into wet in the darks, and with thick impasto in the lights; the final details are added crisply over dried lower layers. X-radiographs show that some minor changes were made in the frogging, notably at the sitter’s right shoulder above the armpit, where the V-shaped braid was originally filled with decorative trim, and that the necktie was originally higher and more elaborate; also, and this is visible to the naked eye, that the sitter originally held his hat (then adorned with a large rosette) in his left hand against the rump of his charger. The object he then held in his right hand is difficult to identify. Craquelure in the uniform reveals that its color was originally blue. The thinner washes are slightly abraded and the impasto has been flattened by lining.
Provenance
(Wallis & Son), London, 1910, from whom it was purchased by Sir Edgar Vincent, Bt., later Viscount d’Abernon [1857-1941], Esher Place, Surrey, who sold it c. 1917 to (Duveen Brothers), London,1 from whose New York branch it was purchased 1919 by Mr. [d. 1933] and Mrs. Charles H. Sabin, Southampton, Long Island, New York. (Mrs. Sabin [nee Pauline Morton] married Dwight F. Davis, Washington, in 1936.)
Exhibitions
Pictures by Sir Henry Raeburn, R.A,, French Gallery (Wallis & Son), London, 1910, no. 18. Inaugural Exhibition, Duke University Art Museum, Durham, North Carolina, 1969, no cat. Styles in Portraiture, Northern Virginia Fine Arts Association, Alexandria, 1972, no cat.
Patrick Miller was the eldest son of Patrick Miller of Dalswinton House in Dumfries, Scotland, friend of Robert Burns and James Nasmyth, a wealthy banker best known for his experiments in steam navigation. Young Miller was present with Burns at the trial on the Solway Firth of the first steamship in Great Britain. He appears as a boy of about fifteen in the center of the family group painted by Alexander Nasmyth in 1782. A regular army officer for seven years, he became M.P. for Dumfriesshire in 1790.
The question of the uniform in which Miller is depicted—brown with silver lace and yellow facings—has been a subject of inconclusive debate among historians of military uniforms and other experts.2 The recent technical examination revealing that the color beneath the present paint surface is blue to some extent clarifies the matter. The traditional identification with the Dumfries Yeomanry3 remains unacceptable, since research in the army lists has shown that Miller was not commissioned in that regiment.4 Miller served in the army from 1783 until 1790, when he resigned. He was successively an ensign in the Thirteenth Foot, a lieutenant in the Tenth Foot, a lieutenant in the Twelfth Light Dragoons, and a captain in the Fourteenth Light Dragoons.5 Both the latter regiments had blue uniforms with silver lace and yellow facings, primrose yellow in the case of the Twelfth and lemon yellow in the case of the Fourteenth; the Twelfth are known to have been unusual in retaining black horse furniture until 1792.6 The facings in Miller’s uniform are pale yellow, and the horse furniture black, so that the uniform as originally painted by Raeburn may be identified as that of the Twelfth Light Dragoons, in which Miller served as a lieutenant from February 1788 to May 1789.
This leaves unresolved the identification of the uniform in which Miller is actually depicted. Presumably the portrait was altered by Raeburn at a later date when Miller was serving in a different regiment as a more senior officer and wanted himself recorded in this new capacity. During the Revolutionary and Napoleonic Wars a considerable number of militia regiments were formed, the uniforms of which were often highly individual (officers in the same regiment sometimes wearing different uniforms) and are scantily recorded: it is likely that Miller served in one of these formations, though, as noted above, he was not an officer in the regiment he was most likely to have joined, the Dumfries-shire Yeomanry.
Miller is shown resting his arm on his charger in a manner employed by both Reynolds and Gainsborough, and which Raeburn adopted for his equestrian portraits, but the relationship between the sitter and his mount has not been satisfactorily resolved and the horse is somewhat wooden, as in Hoppner’s rendering of the theme (John Curwen, painted 1782, delivered 1788). The relationship would have been even more awkward before Raeburn repositioned the hat, originally held against the horse’s rump, unsupported by Miller’s left hand.7 The sitter is strongly lit and set in the extreme foreground, thus making close contact with the spectator, with the landscape falling away behind him, as so often in Raeburn’s work. The loosely swept back hair with small side curls is characteristic of the 17808 and early 1790s.
Notes
1.Duveen Brothers to Mrs. John Shapley, 5 August 1948, in NGA curatorial files.
2.R. Gerard, Transvaal Museum, Pretoria, letters, 27 September, 23 October, 15, 16 December 1951, 17 January, 26 July 1952, in NGA curatorial files; R. G. Ball, Scottish United Services Museum, letter, 20 October 1969, in NGA curatorial files. Ball also stated that, according to a note in his museum’s files, a version or copy of the Washington portrait in which the uniform was said to be green (apparently at one time the color worn by the Dumfries-shire Yeomanry) was owned by Major A. B. Cree, Cape Town; the existence of such a work is not borne out by the correspondence (which suggests rather that Major Cree was simply interested in the Washington picture), but is given some credence by the discovery already noted that the color of the uniform in the National Gallery’s painting was originally blue and not brown (a discolored blue might appear to be green).
3.The portrait was captioned as such in exh. cat. London 1910, no.18.
4.R. Gerard, letter, 17 January 1952, citing research by Haswell Miller, in NGA curatorial files.
5.A. S. White, Society for Army Historical Research, letter, 26 June 1951, in NGA curatorial files.
6.R. G. Ball, letter, 20 October 1969, in NGA curatorial files.
7.Compare Raeburn’s more successful handling of the theme in later years in his full-length portraits of Harley Drummond (The Metropolitan Museum of Art) and Professor John Wilson (Royal Scottish Academy, Edinburgh; Greig 1911, pi. loa), in which the sitters are holding their hats against their mounts in a more sophisticated manner than in the original conception of the Washington picture.
References
•1911—Greig 1911: 53.
•1976—Walker 1976: no. 528, color repro.