View allAll Photos Tagged 27may
BN eastbound "WISX" coal empties headed @1145 by five Milwaukee Road SD40-2 (MILW150….) probably from Wisconsin to Decker (Mont.) Mine. The return trip from loading at Decker Mine would be westbound - actually going north here - back up to the former NP mainline at "Jones Junction" and eastbound to interchange to the Milwaukee Road at Terry, Montana. From there the coal would head on to Wisconsin and the power plant. The Milwaukee had only recently "embargoed" their mainline west of Terry to the Pacific coast.
For once I decided to use the Turner Turnpike between Tulsa and Oklahoma City. The Frisco wasn't as evident from the 'Pike as it was from Hwy US66, but there was at least one spot where it crossed under, and that's what westbound freight "QLA" was doing behind another four axle fleet. This consist is an alternation of U25b and GP38 models, with the 827 leading. The third-back 811 appears to have received a fresh coat of paint. The ban on six-axles - meaning SD45's - for this hot connection to the Santa Fe at Floydada, Texas, continues to cause the roundhouse people in Springfield or Tulsa to patch together some creative strings of power. My use of the Turnpike may have been the result of some urgency: I was about to end my second year at the University of Tulsa, and about to begin my first summer working for the Rock Island out of El Reno. I'm thinking this may have been the day scheduled for my physical.
BN eastbound "WISX" coal empties from Wisconsin, probably headed for Decker (Mont.) Mine, headed by five Milwaukee Road SD40-2 (MILW 150….), with Big Horn Mountains in background
24 'Calbourne' heads the non-stop Smallbrook-Wootton 'Tourist' past Ashey on the Isle of Wight Steam Railway. 27th May 2015
Bullitt nummer twee die ik spot in Hoorn. Een muscle car om van te dromen.
Hoorn, Nederland
Bullitt number two that I spot in Hoorn. A muscle car to dream of.
Hoorn, The Netherlands
Kenteken / License plate:
Netherlands: J-701-JX
With the Starlink Satellites moving through the Big Dipper (overhead), I thought I'd try (first attempt) to capture them with my Fujifilm X-T3.
In video mode, I used an iso=25600, @ 8 fps, f/2.8, 37mm. I sped up this clip 4x. I missed a few in this series by starting late and probably more that were really faint. Taken 9:50PM, 27May.
While the image is very noisy with the Big Dipper is upside down, you can see a train of almost evenly distributed satellites (brightest ~3.6 mag, faintest ~5.5 mag).
My next attempt will try 13sec exposures at iso 3200.
Picture of the Day
BN eastbound "WISX" coal empties with CB&Q caboose, Big Horn Mountains in background. The "Q" cabeese weren't uncommon at this time.
BN westbound coal train passes Little Bighorn Battlefield National Monument. I posted it and then accidentally deleted it, including the one comment by George Pitarys that it looked like a sobering place to stand and remember what took place here. I couldn't agree more; I recall standing here and gazing at the distant mountains beyond the valley of the Little Big Horn River, and wondering if I was standing where a soldier stood to contemplate his last moments of earthly existence. The train is likely passing a siding called "Benteen", named after one of the officers that Custer had sent away to scout a different part of the valley for more "hostiles." Benteen and his men survived. I don't believe that the foreground gravestones mark "Last Stand Hill" as that was in a different place. When I was still living in Tulsa a couple years earlier than when I took this picture, I had just read a fairly exhaustive biography about Custer's life and career. It suffices to say that when I saw a bumper sticker shortly after I read the book, that "Custer Had it Coming", I had to agree.
Major Lazer & DJ Snake - Lean On
Picture taken at @SkyDome Rentals (no lagging, quick unpacking) ♥
awesome body:
REBORN by eBODY v1.69.6 ♥
awesome outfit:
adorsy - Estellyn SET @COSMOPOLITAN (27May - 8Jun) ♥
awesome necklace:
KUNGLERS - Sorah necklace @COSMOPOLITAN (27May - 8Jun) ♥
awesome glasses:
:: DS :: Delilah Glasses @COSMOPOLITAN (27May - 8Jun) ♥
awesome pose:
Simple Poses - FemaleSolo 1 @COSMOPOLITAN (27May - 8Jun) ♥
The angle of the sun on my left has made a small rainbow on the Canadian side of the "High Falls" of the Pidgeon River that separates Minnesota (where I'm standing) from Ontario. Maybe an encouraging sign that the border could be open to casual travel soon? I'm hoping but not holding my breath.
Sex Pistols released their second single 'God Save the Queen' on Friday 27 May 1977. I went to my local record shop early the next day and bought a copy. I remember that Saturday being a very warm day and I saw a bloke who had bought a copy of the single and left it in the back of his car, on the parcel shelf. When he returned to his car the record had warped in the sun and he said: “Never mind, I’ll use it as an ashtray”.
'God Save the Queen' was such a powerful and controversial record with an iconic record cover that was designed by Jamie Reid. Of course it was banned from the radio but I remember John Peel playing it on his late night Radio 1 show. I have never thought that the song was as an attack on the Queen, it’s more about summing-up how many young people felt back then:
Don't be told what you want
Don't be told what you need
There's no future, no future,
No future for you
I believe that there was a conspiracy to prevent the song from reaching number one in 1977, but I don’t suppose this will ever be proved either way.
Apparently the single is going to be re-released on 28 May 2012, to coincide with the 35th anniversary of the original release and the Queen’s Diamond Jubilee. I don’t see the point of this because for me 'God Save the Queen' will always only be associated with 1977.
Our Clematis vine is in full bloom. After noticing how flat the flower is, I thought it might scan nicely. It looks like it does. This is 600 dpi.
And take a look at the original 14 Mega Pixel image. The trip is worthwhile :-)
[photo reached #7 in Interesting on 27May]
[most interesting photo tagged 'Clematis', Oct-2006]
The train tracks are there but the original train isn't. The trains which now run along the length of Southport Pier run on rubber tyres.
Wat mij betreft misschien wel de meest toffe Mustang die er te krijgen is.
Hoorn, Nederland
In my opinion, perhaps the coolest Mustang available.
Hoorn, The Netherlands
Kentekens / License plates:
Netherlands: J-701-JX
Netherlands: KL-876-L
The Wheatsheaf Inn, Brading, Isle of Wight, looking very run down on the 27th of May 2014. Another pub along the High street, The Dark Horse had closed just 3 months prior to this.
Wat mij betreft de meest gave Mustang van de afgelopen jaren: de 2019 Bullitt in Dark Highland Green.
Hoorn, Nederland
In my opinion, the coolest Mustang of recent years: the 2019 Bullitt in Dark Highland Green.
Hoorn, The Netherlands
Kenteken / License plate:
Netherlands: J-701-JX
My ticket to the Gang of Four concert at the Lyceum on Sunday 27 May 1979.
I wasn't a big fan of Gang of Four, they were just too 'arty' for me. However, i did buy their debut single, "Damaged Goods" which I quite liked.
This concert at the Lyceum was memorable for me because the third band on the bill that night was a relatively unknown group from Coventry called The Specials.
The Lyceum Ballroom
21 Wellington Street
London
WC2E 7RQ
(year unknown)
(2023)
Stoke Newington station was opened on 27th May 1872 by the Great Eastern Railway (GER).
Operation of the station, along with the whole line, was transferred to Transport for London (TfL) in 2015 and is now part of the London Overground network.
(year unknown)
(2023)
Stoke Newington station was opened on 27th May 1872 by the Great Eastern Railway (GER).
Operation of the station, along with the whole line, was transferred to Transport for London (TfL) in 2015 and is now part of the London Overground network.
(c.1910)
(2017)
Shepherd's Bush station was opened on 27 May 1844 by the West London Railway (WLR) but, along with the rest of the newly opened line, closed on 1 December the same year due to poor passenger numbers. When services on the line recommenced on 2 June 1862, the station did not reopen but was eventually replaced by Uxbridge Road station (top photo) slightly to the south, which opened on 1 November 1869.
Following severe bomb damage, the station and the rest of the line were closed to passenger services on 21 October 1940.
The station buildings were demolished in July 1968, shortly before construction of the M41 motorway (now the A3220) and the Holland Park Roundabout started.
Passenger services only resumed on this part of the line in 1994, when the Willesden Junction to Clapham Junction and the Watford Junction to Brighton services were introduced.
A new Shepherd's Bush station was opened on 28 September 2008 and was built on the site of the original 1844 station.
(c.1910)
(2021)
Hackney Downs station on Dalston Lane, originally called Hackney Downs Junction, was opened on 27th May 1872 by the Great Eastern Railway (GER).
The 'Junction' prefix was dropped around 1898.
The Frankland Sisters
West Building, Main Floor—Gallery 59
•Date: 1795
•Medium: Oil on Canvas
•Dimensions:
oOverall: 155 × 125 cm (61 × 49 3/16 in.)
oFramed: 182.2 × 151.8 cm (71¾ × 59¾ in.)
•Credit Line: Andrew W. Mellon Collection
•Accession Number: 1937.1.111
•Artists/Makers:
oArtist: John Hoppner, British, 1758-1810
Inscription
•By Later Hand, Lower Left: MARIANNE & AMELIA / DAUGHTERS OF SIR T. FRANKLAND OB 1795 & 1800
•Lower Right: HOPNER [sic]
Provenance
Painted for the sitters’ father, Sir Thomas Frankland, 6th Bt. [1750-1831], Thirkleby, Yorkshire; by descent to his granddaughter, Rosalind Alicia Frankland-Russel-Astley [d. 1900], Chequers Court, Buckinghamshire; sold c. 1896 to (Thos. Agnew & Sons, London); purchased 1896 by John H. McFadden. Presumably sold back to (Thos. Agnew & Sons, London);[1] purchased 1898 by Sir Charles Clow Tennant, 1st bt. [1823-1906], The Glen, near Innerleithen, Peeblesshire, Scotland; by descent to his grandson, Christopher Grey Tennant, 2nd baron Glenconner [1899-1983], The Glen; sold July 1923 to (Charles Carstairs for M. Knoedler & Co., London and New York);[2] purchased November 1923 by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.
[1]Geoffrey (later Sir Geoffrey) Agnew, Agnew’s 1817-1967, London, 1967, 36, pl. The plate records J.H. McFadden and Sir Charles Tennant as the owners in 1896 and 1898 respectively.
[2]James Dugdale, “Sir Charles Tennant: the Story of a Victorian Collector,” Connoisseur 178 (1971), 11-12. A group of ten paintings was purchased by Carstairs in July 1923 and was exhibited in 1924 at Knoedler’s new headquarters in New York, whence the Hoppner was purchased by Andrew Mellon shortly before the exhibition.
Associated Names
•Agnew & Sons, Ltd., Thomas
•Agnew & Sons, Ltd., Thomas
•Frankland, 6th Bt., Thomas, Sir
•Frankland-Russell-Astley, Rosalind Alicia
•Knoedler & Company, M.
•McFadden, John H.
•Mellon Educational and Charitable Trust, The A.W.
•Mellon, Andrew W.
•Tennant, Charles Clow, 1st bt., Sir
•Tennant, Christopher Grey, 2nd baron Glenconner
Exhibition History
•1795—Royal Academy of Arts, London, 1795, no. 90, as Portraits of Young Ladies.
•1896—Twenty Masterpieces of the English School, Thos. Agnew & Sons, Ltd., London, 1896, no. 10.
•1902—Paintings by French and British Artists of the 18th Century, Art Gallery and Museum, Glasgow, 1902, no. 109.
•1903—Loan Collection of Portraits, City Museum and Art Gallery, Birmingham, 1903, no. 32.
•1904—Inaugural Exhibition of Pictures, Laing Art Gallery, New castle-upon-Tyne, 1904, no. 20.
•1906—Works by the Old Masters and Deceased Masters of the British School, Royal Academy of Arts, London, 1906, no. 79.
•1908—Franco-British Exhibition, Fine Art Palace, London, 1908, no. 74 (illustrated review, repro, cover, 25).
•1924—Ten Paintings from the Tennant-Glenconner Collection, M. Knoedler & Co., Inc., New York, 1924, no. 1.
Technical Summary
The medium-lightweight canvas is twill woven; it has been lined. There are stretcher creases along the top, left, and bottom edges; the variance in distance between each crease and the edge of the painting, and the absence of a crease along the right edge, suggest that the painting has been cut down on these three sides. The ground is white, of moderate thickness, and almost masks the weave of the canvas. Layers of gray and pale-brown paint observed beneath the surface paint of the clouds and sky suggest that an imprimatura has been selectively applied. The painting is executed in thin, multiple, opaque layers in the figures with some thicker brushwork but without high impasto; the foreground and background landscape is rendered in dark translucent layers with opaque touches for details of the foliage. The paint surface is moderately abraded and has been flattened slightly during lining. There is a considerable degree of traction crackle throughout, suggestive of the presence of bitumen; this has been extensively overpainted, and there are losses to the paint surface. There are also extensive retouchings in some of the principal features, such as the dog and details of the hands, drapery, and background. The natural resin varnish has discolored yellow slightly.
Bibliography
•1795—Morning Post, 27 May 1795.
•1795—St. James’s Chronicle, 5-7 May 1795.
•1909—McKay, William and William Roberts. John Hoppner, R.A.. London, 1909: vii, 87-88, repro. opp. 86; Supplement, 1914.
•1910—Catalogue of Pictures in the Tennant Gallery 34 Queen Anne’s Gate, S.W.. London, n.d. [c.1910]: 7, 19, color frontispiece.
•1937—Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: repro. opposite page 44
•1941—Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 100, no. 111.
•1942—Book of Illustrations. National Gallery of Art, Washington, 1942: 241, repro. 16.
•1949—Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 121, repro.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 69.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 61, repro.
•1971—Dugdale, James. “Sir Charles Tennant: the Story of a Victorian Collector.” The Connoisseur 178 (1971): 2, color repro., 6, 12.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 178, repro.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 521, color repro.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 365, no. 514, color repro.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 206, repro.
•1991—Kopper, Philip. America’s National Gallery of Art: A Gift to the Nation. New York, 1991: 68, 89, color repro.
•1991—Wilson, John Human. “The Life and Art of John Hoppner (1758-1810).” Ph.D. dissertation, Courtauld Institute of Art, University of London, 1991.
•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: 134-136, color repro. 135.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1937.1.111 (111)
The Frankland Sisters
•1795
•Oil on Canvas, 155 × 125 (61 × 49¼)
•Andrew W. Mellon Collection
Inscriptions
•In a Later Hand, at Lower Left: MARIANNE & AMELIA/DAUGHTERS OF SIR T. FRANKLAND OB 1795 & l80O
•At Lower Right: HOPNER [sic]
Technical Notes
The medium-lightweight canvas is twill woven; it has been lined. There are stretcher creases along the top, left, and bottom edges; the variance in distance between each crease and the edge of the painting, and the absence of a crease along the right edge, suggest that the painting has been cut down on these three sides. The ground is white, of moderate thickness, and almost masks the weave of the canvas. Layers of gray and pale-brown paint observed beneath the surface paint of the clouds and sky suggest that an imprimatura has been selectively applied. The painting is executed in thin, multiple, opaque layers in the figures with some thicker brushwork but without high impasto; the foreground and background landscape is rendered in dark translucent layers with opaque touches for details of the foliage. The paint surface is moderately abraded and has been flattened slightly during lining. There is a considerable degree of traction crackle throughout, suggestive of the presence of bitumen; this has been extensively overpainted, and there are losses to the paint surface. There are also extensive retouchings in some of the principal features, such as the dog and details of the hands, drapery, and background. The natural resin varnish has discolored yellow slightly.
Provenance
Painted for the sitters’ father, Sir Thomas Frankland, 6th Bt. [1750-1831], Thirkleby, Yorkshire; by descent to his granddaughter, Rosalind Alicia Frankland-Russell-Astley [d. 1900], Chequers Court, Buckinghamshire, who sold it c. 1896 to (Thos. Agnew & Sons), London, from whom it was purchased 1896 by John H. McFadden. Presumably sold back to (Thos. Agnew & Sons), London, from whom it was purchased 1898 by Sir Charles Tennant, Bt. [1823-1906], Glen, Innerleithen, Peebles;1 by descent to his grandson, Christopher, 2nd Baron Glenconner [1899-1983], who sold it July 1923 to (Charles Carstairs2 for M. Knoedler & Co.), London, from whose New York branch it was purchased November 1923 by Andrew W. Mellon, Pittsburgh and Washington, by whom deeded December 1934 to The A. W. Mellon Educational and Charitable Trust, Pittsburgh.
Exhibitions
Royal Academy of Arts, London, 1795, no. 90, as Portraits of young ladies. Twenty Masterpieces of the English School, Thos. Agnew & Sons, London, 1896, no. 10. Paintings by French and British Artists of the 18th Century, Art Gallery and Museum, Glasgow, 1902, no. 109. Loan Collection of Portraits, City Museum and Art Gallery, Birmingham, 1903, no. 32. Inaugural Exhibition of Pictures, Laing Art Gallery, Newcastle-upon-Tyne, 1904, no. 20. Works by the Old M asters and Deceased Masters of the British School, Winter Exhibition, Royal Academy of Arts, London, 1906, no. 79. Franco-British Exhibition, Fine Art Palace, Wembley, London, 1908, no. 74 (illustrated review, repro. cover, 25). Ten Paintings from the Tennant Glenconner Collection, M. Knoedler & Co., New York, 1924, no. 1.
The Sitters Are, on the right, Amelia (1777-1800) and, on the left, Marianne (1778-1795), the daughters of Sir Thomas Frankland, a descendant of Oliver Cromwell. Both daughters died of consumption, Marianne shortly after the portrait was painted; neither was married. Hoppner, in a letter of condolence to his patron in 1795, described Frankland’s surviving daughter as one “whose talents, whose disposition, every way fits her to receive your undivided affection.”
The critic of the St. James’s Chronicle, who, among others, identified this work at the Royal Academy exhibition of 1795, wrote that it “does the Artist great credit: the Group is natural and graceful; the heads are sweetly painted; and there is a hue of colour and keeping in the effect that is charming.”3 The painting seems to have been exhibited as a companion to The Douglas Children.4 The portrait is indeed idyllic in conception; Shawe-Taylor equates it with Gainsborough’s The Linley Sisters (1772; Dulwich Picture Gallery).5 Amelia, who is looking out at the spectator, holds a portfolio of sketches in her right hand and a crayon for drawing in her left. Her sister, Marianne, leans affectionately toward her with her arm around her shoulder. A spaniel is asleep at their feet. The Titianesque landscape background, with its waterfall and its mountainous distance reminiscent of Claude, is overtly picturesque. The falling water is counterbalanced by the sweep of Amelia’s dress. The work ranks as one of Hoppner’s masterpieces.
A mezzotint by William Ward was published 1 March 1797.
Notes
1.Geoffrey (later Sir Geoffrey) Agnew,Agnew’s 1817-1967 (London, 1967), 36, pi. The plate records J.H.McFadden and Sir Charles Tennant as the owners in 1896 and 1898 respectively.
2.Dugdale 1971, 11-12. A group often paintings was purchased by Carstairs in July 1923 and was exhibited in 1924 at Knoedler’s new headquarters in New York, from whence the Hoppner was purchased by Andrew Mellon shortly before the exhibition.
3.St. James’s Chronicle, 5-7 May 1795 ; see also the Morning Post, 6 and 27 May 1795.
4.Morning Post, 27 May 1795.
5.Shawe-Taylor 1990,137.
References
•1795—St. James’s Chronicle, 5-7 May 1795.
•1795—MorningPost, 6 and 27May 1795.
•1909—McKay and Roberts 1909 (see biography): vii, 87-88, repro. opposite 86.
•c. 1910—Catalogue of Pictures in the Tennant Gallery 34 Queen Anne’s Gate, S.W. London, n.d. [c. 1910]: 7,19, color frontispiece.
•1949—Mellon 1949: no. in,repro. 121.
•1971—Dugdale, James. “Sir Charles Tennant: The Story of a Victorian Collector.” Conn 178 (1971): 2, color repro., 6, 12.
•1976—Walker 1976: no. 521, color repro.
•1990—Shawe-Taylor, Desmond. The Georgians: Eighteenth-Century Portraiture and Society. London, 1990:137, fig. 93-
•1992—Wilson 1992: 32,185,219.
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/Wilson Ko💰26May 22:07/17飛腳 Black GK O-XO~#1特別優惠價($1038+$0）
/Wing Lun Lo💰29May 15:58/飛腳萬博紀念M-L~#7¥17820 ($1210+$30)
/WingLim Kwong💰06Jun/球迷版女子主場-M$330+$30
/WingLim Kwong💰06Jun/球迷版男子主場-O$330+$30另追加#10
/WingLim Kwong💰06Jun/BB禮盒裝-110$420+$30
/Wong Chi Fai💰22May 17:25/飛腳萬博紀念M-L~#7¥17820 ($1210+$30)
/Yeung Oscar💰04Jun 15:12/飛腳萬博紀念O-XO~#7¥17820 ($1210+$30)
/Yeung Oscar Fr💰04Jun 15:12/飛腳萬博紀念SS-S~#7¥17820 ($1210+$30)
/Zardor Cheng請🏧入數/飛腳萬博紀念M-L~#7¥17820 ($1210+$30)
(c.1910)
(2015)
Stoke Newington station was opened on 27th May 1872 by the Great Eastern Railway (GER).
Operation of the station, along with the whole line, was transferred to Transport for London (TfL) in 2015 and is now part of the London Overground network.
(1983)
(2015)
Cambridge Heath station was opened on 27 May 1872 by the Great Eastern Railway (GER).
The station was closed as a wartime measure between May 1916 and May 1919. The station was also closed between July and September 1984 because of a fire and yet again between February and March 1986 for rebuilding work.
Operation of the station, along with the whole line, was transferred to Transport for London (TfL) in 2015 and is now part of the London Overground network.
» Then and Now: Film and Television
Top photo ©Copyright Ben Brooksbank and licensed for reuse under this Creative Commons Licence
Those who know Sydney ... will immediately know I flipped this image horizontally in Photoshop. Otherwise it sort of reads "diviv" to the mind.
Warming up for VIVID SYDNEY 2016 which runs from 27May to 18Jun2016.
The Frankland Sisters
West Building, Main Floor—Gallery 59
•Date: 1795
•Medium: Oil on Canvas
•Dimensions:
oOverall: 155 × 125 cm (61 × 49 3/16 in.)
oFramed: 182.2 × 151.8 cm (71¾ × 59¾ in.)
•Credit Line: Andrew W. Mellon Collection
•Accession Number: 1937.1.111
•Artists/Makers:
oArtist: John Hoppner, British, 1758-1810
Inscription
•By Later Hand, Lower Left: MARIANNE & AMELIA / DAUGHTERS OF SIR T. FRANKLAND OB 1795 & 1800
•Lower Right: HOPNER [sic]
Provenance
Painted for the sitters’ father, Sir Thomas Frankland, 6th Bt. [1750-1831], Thirkleby, Yorkshire; by descent to his granddaughter, Rosalind Alicia Frankland-Russel-Astley [d. 1900], Chequers Court, Buckinghamshire; sold c. 1896 to (Thos. Agnew & Sons, London); purchased 1896 by John H. McFadden. Presumably sold back to (Thos. Agnew & Sons, London);[1] purchased 1898 by Sir Charles Clow Tennant, 1st bt. [1823-1906], The Glen, near Innerleithen, Peeblesshire, Scotland; by descent to his grandson, Christopher Grey Tennant, 2nd baron Glenconner [1899-1983], The Glen; sold July 1923 to (Charles Carstairs for M. Knoedler & Co., London and New York);[2] purchased November 1923 by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.
[1]Geoffrey (later Sir Geoffrey) Agnew, Agnew’s 1817-1967, London, 1967, 36, pl. The plate records J.H. McFadden and Sir Charles Tennant as the owners in 1896 and 1898 respectively.
[2]James Dugdale, “Sir Charles Tennant: the Story of a Victorian Collector,” Connoisseur 178 (1971), 11-12. A group of ten paintings was purchased by Carstairs in July 1923 and was exhibited in 1924 at Knoedler’s new headquarters in New York, whence the Hoppner was purchased by Andrew Mellon shortly before the exhibition.
Associated Names
•Agnew & Sons, Ltd., Thomas
•Agnew & Sons, Ltd., Thomas
•Frankland, 6th Bt., Thomas, Sir
•Frankland-Russell-Astley, Rosalind Alicia
•Knoedler & Company, M.
•McFadden, John H.
•Mellon Educational and Charitable Trust, The A.W.
•Mellon, Andrew W.
•Tennant, Charles Clow, 1st bt., Sir
•Tennant, Christopher Grey, 2nd baron Glenconner
Exhibition History
•1795—Royal Academy of Arts, London, 1795, no. 90, as Portraits of Young Ladies.
•1896—Twenty Masterpieces of the English School, Thos. Agnew & Sons, Ltd., London, 1896, no. 10.
•1902—Paintings by French and British Artists of the 18th Century, Art Gallery and Museum, Glasgow, 1902, no. 109.
•1903—Loan Collection of Portraits, City Museum and Art Gallery, Birmingham, 1903, no. 32.
•1904—Inaugural Exhibition of Pictures, Laing Art Gallery, New castle-upon-Tyne, 1904, no. 20.
•1906—Works by the Old Masters and Deceased Masters of the British School, Royal Academy of Arts, London, 1906, no. 79.
•1908—Franco-British Exhibition, Fine Art Palace, London, 1908, no. 74 (illustrated review, repro, cover, 25).
•1924—Ten Paintings from the Tennant-Glenconner Collection, M. Knoedler & Co., Inc., New York, 1924, no. 1.
Technical Summary
The medium-lightweight canvas is twill woven; it has been lined. There are stretcher creases along the top, left, and bottom edges; the variance in distance between each crease and the edge of the painting, and the absence of a crease along the right edge, suggest that the painting has been cut down on these three sides. The ground is white, of moderate thickness, and almost masks the weave of the canvas. Layers of gray and pale-brown paint observed beneath the surface paint of the clouds and sky suggest that an imprimatura has been selectively applied. The painting is executed in thin, multiple, opaque layers in the figures with some thicker brushwork but without high impasto; the foreground and background landscape is rendered in dark translucent layers with opaque touches for details of the foliage. The paint surface is moderately abraded and has been flattened slightly during lining. There is a considerable degree of traction crackle throughout, suggestive of the presence of bitumen; this has been extensively overpainted, and there are losses to the paint surface. There are also extensive retouchings in some of the principal features, such as the dog and details of the hands, drapery, and background. The natural resin varnish has discolored yellow slightly.
Bibliography
•1795—Morning Post, 27 May 1795.
•1795—St. James’s Chronicle, 5-7 May 1795.
•1909—McKay, William and William Roberts. John Hoppner, R.A.. London, 1909: vii, 87-88, repro. opp. 86; Supplement, 1914.
•1910—Catalogue of Pictures in the Tennant Gallery 34 Queen Anne’s Gate, S.W.. London, n.d. [c.1910]: 7, 19, color frontispiece.
•1937—Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: repro. opposite page 44
•1941—Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 100, no. 111.
•1942—Book of Illustrations. National Gallery of Art, Washington, 1942: 241, repro. 16.
•1949—Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 121, repro.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 69.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 61, repro.
•1971—Dugdale, James. “Sir Charles Tennant: the Story of a Victorian Collector.” The Connoisseur 178 (1971): 2, color repro., 6, 12.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 178, repro.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 521, color repro.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 365, no. 514, color repro.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 206, repro.
•1991—Kopper, Philip. America’s National Gallery of Art: A Gift to the Nation. New York, 1991: 68, 89, color repro.
•1991—Wilson, John Human. “The Life and Art of John Hoppner (1758-1810).” Ph.D. dissertation, Courtauld Institute of Art, University of London, 1991.
•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: 134-136, color repro. 135.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1937.1.111 (111)
The Frankland Sisters
•1795
•Oil on Canvas, 155 × 125 (61 × 49¼)
•Andrew W. Mellon Collection
Inscriptions
•In a Later Hand, at Lower Left: MARIANNE & AMELIA/DAUGHTERS OF SIR T. FRANKLAND OB 1795 & l80O
•At Lower Right: HOPNER [sic]
Technical Notes
The medium-lightweight canvas is twill woven; it has been lined. There are stretcher creases along the top, left, and bottom edges; the variance in distance between each crease and the edge of the painting, and the absence of a crease along the right edge, suggest that the painting has been cut down on these three sides. The ground is white, of moderate thickness, and almost masks the weave of the canvas. Layers of gray and pale-brown paint observed beneath the surface paint of the clouds and sky suggest that an imprimatura has been selectively applied. The painting is executed in thin, multiple, opaque layers in the figures with some thicker brushwork but without high impasto; the foreground and background landscape is rendered in dark translucent layers with opaque touches for details of the foliage. The paint surface is moderately abraded and has been flattened slightly during lining. There is a considerable degree of traction crackle throughout, suggestive of the presence of bitumen; this has been extensively overpainted, and there are losses to the paint surface. There are also extensive retouchings in some of the principal features, such as the dog and details of the hands, drapery, and background. The natural resin varnish has discolored yellow slightly.
Provenance
Painted for the sitters’ father, Sir Thomas Frankland, 6th Bt. [1750-1831], Thirkleby, Yorkshire; by descent to his granddaughter, Rosalind Alicia Frankland-Russell-Astley [d. 1900], Chequers Court, Buckinghamshire, who sold it c. 1896 to (Thos. Agnew & Sons), London, from whom it was purchased 1896 by John H. McFadden. Presumably sold back to (Thos. Agnew & Sons), London, from whom it was purchased 1898 by Sir Charles Tennant, Bt. [1823-1906], Glen, Innerleithen, Peebles;1 by descent to his grandson, Christopher, 2nd Baron Glenconner [1899-1983], who sold it July 1923 to (Charles Carstairs2 for M. Knoedler & Co.), London, from whose New York branch it was purchased November 1923 by Andrew W. Mellon, Pittsburgh and Washington, by whom deeded December 1934 to The A. W. Mellon Educational and Charitable Trust, Pittsburgh.
Exhibitions
Royal Academy of Arts, London, 1795, no. 90, as Portraits of young ladies. Twenty Masterpieces of the English School, Thos. Agnew & Sons, London, 1896, no. 10. Paintings by French and British Artists of the 18th Century, Art Gallery and Museum, Glasgow, 1902, no. 109. Loan Collection of Portraits, City Museum and Art Gallery, Birmingham, 1903, no. 32. Inaugural Exhibition of Pictures, Laing Art Gallery, Newcastle-upon-Tyne, 1904, no. 20. Works by the Old M asters and Deceased Masters of the British School, Winter Exhibition, Royal Academy of Arts, London, 1906, no. 79. Franco-British Exhibition, Fine Art Palace, Wembley, London, 1908, no. 74 (illustrated review, repro. cover, 25). Ten Paintings from the Tennant Glenconner Collection, M. Knoedler & Co., New York, 1924, no. 1.
The Sitters Are, on the right, Amelia (1777-1800) and, on the left, Marianne (1778-1795), the daughters of Sir Thomas Frankland, a descendant of Oliver Cromwell. Both daughters died of consumption, Marianne shortly after the portrait was painted; neither was married. Hoppner, in a letter of condolence to his patron in 1795, described Frankland’s surviving daughter as one “whose talents, whose disposition, every way fits her to receive your undivided affection.”
The critic of the St. James’s Chronicle, who, among others, identified this work at the Royal Academy exhibition of 1795, wrote that it “does the Artist great credit: the Group is natural and graceful; the heads are sweetly painted; and there is a hue of colour and keeping in the effect that is charming.”3 The painting seems to have been exhibited as a companion to The Douglas Children.4 The portrait is indeed idyllic in conception; Shawe-Taylor equates it with Gainsborough’s The Linley Sisters (1772; Dulwich Picture Gallery).5 Amelia, who is looking out at the spectator, holds a portfolio of sketches in her right hand and a crayon for drawing in her left. Her sister, Marianne, leans affectionately toward her with her arm around her shoulder. A spaniel is asleep at their feet. The Titianesque landscape background, with its waterfall and its mountainous distance reminiscent of Claude, is overtly picturesque. The falling water is counterbalanced by the sweep of Amelia’s dress. The work ranks as one of Hoppner’s masterpieces.
A mezzotint by William Ward was published 1 March 1797.
Notes
1.Geoffrey (later Sir Geoffrey) Agnew,Agnew’s 1817-1967 (London, 1967), 36, pi. The plate records J.H.McFadden and Sir Charles Tennant as the owners in 1896 and 1898 respectively.
2.Dugdale 1971, 11-12. A group often paintings was purchased by Carstairs in July 1923 and was exhibited in 1924 at Knoedler’s new headquarters in New York, from whence the Hoppner was purchased by Andrew Mellon shortly before the exhibition.
3.St. James’s Chronicle, 5-7 May 1795 ; see also the Morning Post, 6 and 27 May 1795.
4.Morning Post, 27 May 1795.
5.Shawe-Taylor 1990,137.
References
•1795—St. James’s Chronicle, 5-7 May 1795.
•1795—MorningPost, 6 and 27May 1795.
•1909—McKay and Roberts 1909 (see biography): vii, 87-88, repro. opposite 86.
•c. 1910—Catalogue of Pictures in the Tennant Gallery 34 Queen Anne’s Gate, S.W. London, n.d. [c. 1910]: 7,19, color frontispiece.
•1949—Mellon 1949: no. in,repro. 121.
•1971—Dugdale, James. “Sir Charles Tennant: The Story of a Victorian Collector.” Conn 178 (1971): 2, color repro., 6, 12.
•1976—Walker 1976: no. 521, color repro.
•1990—Shawe-Taylor, Desmond. The Georgians: Eighteenth-Century Portraiture and Society. London, 1990:137, fig. 93-
•1992—Wilson 1992: 32,185,219.
The Frankland Sisters
West Building, Main Floor—Gallery 59
•Date: 1795
•Medium: Oil on Canvas
•Dimensions:
oOverall: 155 × 125 cm (61 × 49 3/16 in.)
oFramed: 182.2 × 151.8 cm (71¾ × 59¾ in.)
•Credit Line: Andrew W. Mellon Collection
•Accession Number: 1937.1.111
•Artists/Makers:
oArtist: John Hoppner, British, 1758-1810
Inscription
•By Later Hand, Lower Left: MARIANNE & AMELIA / DAUGHTERS OF SIR T. FRANKLAND OB 1795 & 1800
•Lower Right: HOPNER [sic]
Provenance
Painted for the sitters’ father, Sir Thomas Frankland, 6th Bt. [1750-1831], Thirkleby, Yorkshire; by descent to his granddaughter, Rosalind Alicia Frankland-Russel-Astley [d. 1900], Chequers Court, Buckinghamshire; sold c. 1896 to (Thos. Agnew & Sons, London); purchased 1896 by John H. McFadden. Presumably sold back to (Thos. Agnew & Sons, London);[1] purchased 1898 by Sir Charles Clow Tennant, 1st bt. [1823-1906], The Glen, near Innerleithen, Peeblesshire, Scotland; by descent to his grandson, Christopher Grey Tennant, 2nd baron Glenconner [1899-1983], The Glen; sold July 1923 to (Charles Carstairs for M. Knoedler & Co., London and New York);[2] purchased November 1923 by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.
[1]Geoffrey (later Sir Geoffrey) Agnew, Agnew’s 1817-1967, London, 1967, 36, pl. The plate records J.H. McFadden and Sir Charles Tennant as the owners in 1896 and 1898 respectively.
[2]James Dugdale, “Sir Charles Tennant: the Story of a Victorian Collector,” Connoisseur 178 (1971), 11-12. A group of ten paintings was purchased by Carstairs in July 1923 and was exhibited in 1924 at Knoedler’s new headquarters in New York, whence the Hoppner was purchased by Andrew Mellon shortly before the exhibition.
Associated Names
•Agnew & Sons, Ltd., Thomas
•Agnew & Sons, Ltd., Thomas
•Frankland, 6th Bt., Thomas, Sir
•Frankland-Russell-Astley, Rosalind Alicia
•Knoedler & Company, M.
•McFadden, John H.
•Mellon Educational and Charitable Trust, The A.W.
•Mellon, Andrew W.
•Tennant, Charles Clow, 1st bt., Sir
•Tennant, Christopher Grey, 2nd baron Glenconner
Exhibition History
•1795—Royal Academy of Arts, London, 1795, no. 90, as Portraits of Young Ladies.
•1896—Twenty Masterpieces of the English School, Thos. Agnew & Sons, Ltd., London, 1896, no. 10.
•1902—Paintings by French and British Artists of the 18th Century, Art Gallery and Museum, Glasgow, 1902, no. 109.
•1903—Loan Collection of Portraits, City Museum and Art Gallery, Birmingham, 1903, no. 32.
•1904—Inaugural Exhibition of Pictures, Laing Art Gallery, New castle-upon-Tyne, 1904, no. 20.
•1906—Works by the Old Masters and Deceased Masters of the British School, Royal Academy of Arts, London, 1906, no. 79.
•1908—Franco-British Exhibition, Fine Art Palace, London, 1908, no. 74 (illustrated review, repro, cover, 25).
•1924—Ten Paintings from the Tennant-Glenconner Collection, M. Knoedler & Co., Inc., New York, 1924, no. 1.
Technical Summary
The medium-lightweight canvas is twill woven; it has been lined. There are stretcher creases along the top, left, and bottom edges; the variance in distance between each crease and the edge of the painting, and the absence of a crease along the right edge, suggest that the painting has been cut down on these three sides. The ground is white, of moderate thickness, and almost masks the weave of the canvas. Layers of gray and pale-brown paint observed beneath the surface paint of the clouds and sky suggest that an imprimatura has been selectively applied. The painting is executed in thin, multiple, opaque layers in the figures with some thicker brushwork but without high impasto; the foreground and background landscape is rendered in dark translucent layers with opaque touches for details of the foliage. The paint surface is moderately abraded and has been flattened slightly during lining. There is a considerable degree of traction crackle throughout, suggestive of the presence of bitumen; this has been extensively overpainted, and there are losses to the paint surface. There are also extensive retouchings in some of the principal features, such as the dog and details of the hands, drapery, and background. The natural resin varnish has discolored yellow slightly.
Bibliography
•1795—Morning Post, 27 May 1795.
•1795—St. James’s Chronicle, 5-7 May 1795.
•1909—McKay, William and William Roberts. John Hoppner, R.A.. London, 1909: vii, 87-88, repro. opp. 86; Supplement, 1914.
•1910—Catalogue of Pictures in the Tennant Gallery 34 Queen Anne’s Gate, S.W.. London, n.d. [c.1910]: 7, 19, color frontispiece.
•1937—Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: repro. opposite page 44
•1941—Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 100, no. 111.
•1942—Book of Illustrations. National Gallery of Art, Washington, 1942: 241, repro. 16.
•1949—Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 121, repro.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 69.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 61, repro.
•1971—Dugdale, James. “Sir Charles Tennant: the Story of a Victorian Collector.” The Connoisseur 178 (1971): 2, color repro., 6, 12.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 178, repro.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 521, color repro.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 365, no. 514, color repro.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 206, repro.
•1991—Kopper, Philip. America’s National Gallery of Art: A Gift to the Nation. New York, 1991: 68, 89, color repro.
•1991—Wilson, John Human. “The Life and Art of John Hoppner (1758-1810).” Ph.D. dissertation, Courtauld Institute of Art, University of London, 1991.
•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: 134-136, color repro. 135.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1937.1.111 (111)
The Frankland Sisters
•1795
•Oil on Canvas, 155 × 125 (61 × 49¼)
•Andrew W. Mellon Collection
Inscriptions
•In a Later Hand, at Lower Left: MARIANNE & AMELIA/DAUGHTERS OF SIR T. FRANKLAND OB 1795 & l80O
•At Lower Right: HOPNER [sic]
Technical Notes
The medium-lightweight canvas is twill woven; it has been lined. There are stretcher creases along the top, left, and bottom edges; the variance in distance between each crease and the edge of the painting, and the absence of a crease along the right edge, suggest that the painting has been cut down on these three sides. The ground is white, of moderate thickness, and almost masks the weave of the canvas. Layers of gray and pale-brown paint observed beneath the surface paint of the clouds and sky suggest that an imprimatura has been selectively applied. The painting is executed in thin, multiple, opaque layers in the figures with some thicker brushwork but without high impasto; the foreground and background landscape is rendered in dark translucent layers with opaque touches for details of the foliage. The paint surface is moderately abraded and has been flattened slightly during lining. There is a considerable degree of traction crackle throughout, suggestive of the presence of bitumen; this has been extensively overpainted, and there are losses to the paint surface. There are also extensive retouchings in some of the principal features, such as the dog and details of the hands, drapery, and background. The natural resin varnish has discolored yellow slightly.
Provenance
Painted for the sitters’ father, Sir Thomas Frankland, 6th Bt. [1750-1831], Thirkleby, Yorkshire; by descent to his granddaughter, Rosalind Alicia Frankland-Russell-Astley [d. 1900], Chequers Court, Buckinghamshire, who sold it c. 1896 to (Thos. Agnew & Sons), London, from whom it was purchased 1896 by John H. McFadden. Presumably sold back to (Thos. Agnew & Sons), London, from whom it was purchased 1898 by Sir Charles Tennant, Bt. [1823-1906], Glen, Innerleithen, Peebles;1 by descent to his grandson, Christopher, 2nd Baron Glenconner [1899-1983], who sold it July 1923 to (Charles Carstairs2 for M. Knoedler & Co.), London, from whose New York branch it was purchased November 1923 by Andrew W. Mellon, Pittsburgh and Washington, by whom deeded December 1934 to The A. W. Mellon Educational and Charitable Trust, Pittsburgh.
Exhibitions
Royal Academy of Arts, London, 1795, no. 90, as Portraits of young ladies. Twenty Masterpieces of the English School, Thos. Agnew & Sons, London, 1896, no. 10. Paintings by French and British Artists of the 18th Century, Art Gallery and Museum, Glasgow, 1902, no. 109. Loan Collection of Portraits, City Museum and Art Gallery, Birmingham, 1903, no. 32. Inaugural Exhibition of Pictures, Laing Art Gallery, Newcastle-upon-Tyne, 1904, no. 20. Works by the Old M asters and Deceased Masters of the British School, Winter Exhibition, Royal Academy of Arts, London, 1906, no. 79. Franco-British Exhibition, Fine Art Palace, Wembley, London, 1908, no. 74 (illustrated review, repro. cover, 25). Ten Paintings from the Tennant Glenconner Collection, M. Knoedler & Co., New York, 1924, no. 1.
The Sitters Are, on the right, Amelia (1777-1800) and, on the left, Marianne (1778-1795), the daughters of Sir Thomas Frankland, a descendant of Oliver Cromwell. Both daughters died of consumption, Marianne shortly after the portrait was painted; neither was married. Hoppner, in a letter of condolence to his patron in 1795, described Frankland’s surviving daughter as one “whose talents, whose disposition, every way fits her to receive your undivided affection.”
The critic of the St. James’s Chronicle, who, among others, identified this work at the Royal Academy exhibition of 1795, wrote that it “does the Artist great credit: the Group is natural and graceful; the heads are sweetly painted; and there is a hue of colour and keeping in the effect that is charming.”3 The painting seems to have been exhibited as a companion to The Douglas Children.4 The portrait is indeed idyllic in conception; Shawe-Taylor equates it with Gainsborough’s The Linley Sisters (1772; Dulwich Picture Gallery).5 Amelia, who is looking out at the spectator, holds a portfolio of sketches in her right hand and a crayon for drawing in her left. Her sister, Marianne, leans affectionately toward her with her arm around her shoulder. A spaniel is asleep at their feet. The Titianesque landscape background, with its waterfall and its mountainous distance reminiscent of Claude, is overtly picturesque. The falling water is counterbalanced by the sweep of Amelia’s dress. The work ranks as one of Hoppner’s masterpieces.
A mezzotint by William Ward was published 1 March 1797.
Notes
1.Geoffrey (later Sir Geoffrey) Agnew,Agnew’s 1817-1967 (London, 1967), 36, pi. The plate records J.H.McFadden and Sir Charles Tennant as the owners in 1896 and 1898 respectively.
2.Dugdale 1971, 11-12. A group often paintings was purchased by Carstairs in July 1923 and was exhibited in 1924 at Knoedler’s new headquarters in New York, from whence the Hoppner was purchased by Andrew Mellon shortly before the exhibition.
3.St. James’s Chronicle, 5-7 May 1795 ; see also the Morning Post, 6 and 27 May 1795.
4.Morning Post, 27 May 1795.
5.Shawe-Taylor 1990,137.
References
•1795—St. James’s Chronicle, 5-7 May 1795.
•1795—MorningPost, 6 and 27May 1795.
•1909—McKay and Roberts 1909 (see biography): vii, 87-88, repro. opposite 86.
•c. 1910—Catalogue of Pictures in the Tennant Gallery 34 Queen Anne’s Gate, S.W. London, n.d. [c. 1910]: 7,19, color frontispiece.
•1949—Mellon 1949: no. in,repro. 121.
•1971—Dugdale, James. “Sir Charles Tennant: The Story of a Victorian Collector.” Conn 178 (1971): 2, color repro., 6, 12.
•1976—Walker 1976: no. 521, color repro.
•1990—Shawe-Taylor, Desmond. The Georgians: Eighteenth-Century Portraiture and Society. London, 1990:137, fig. 93-
•1992—Wilson 1992: 32,185,219.
The Frankland Sisters
West Building, Main Floor—Gallery 59
•Date: 1795
•Medium: Oil on Canvas
•Dimensions:
oOverall: 155 × 125 cm (61 × 49 3/16 in.)
oFramed: 182.2 × 151.8 cm (71¾ × 59¾ in.)
•Credit Line: Andrew W. Mellon Collection
•Accession Number: 1937.1.111
•Artists/Makers:
oArtist: John Hoppner, British, 1758-1810
Inscription
•By Later Hand, Lower Left: MARIANNE & AMELIA / DAUGHTERS OF SIR T. FRANKLAND OB 1795 & 1800
•Lower Right: HOPNER [sic]
Provenance
Painted for the sitters’ father, Sir Thomas Frankland, 6th Bt. [1750-1831], Thirkleby, Yorkshire; by descent to his granddaughter, Rosalind Alicia Frankland-Russel-Astley [d. 1900], Chequers Court, Buckinghamshire; sold c. 1896 to (Thos. Agnew & Sons, London); purchased 1896 by John H. McFadden. Presumably sold back to (Thos. Agnew & Sons, London);[1] purchased 1898 by Sir Charles Clow Tennant, 1st bt. [1823-1906], The Glen, near Innerleithen, Peeblesshire, Scotland; by descent to his grandson, Christopher Grey Tennant, 2nd baron Glenconner [1899-1983], The Glen; sold July 1923 to (Charles Carstairs for M. Knoedler & Co., London and New York);[2] purchased November 1923 by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.
[1]Geoffrey (later Sir Geoffrey) Agnew, Agnew’s 1817-1967, London, 1967, 36, pl. The plate records J.H. McFadden and Sir Charles Tennant as the owners in 1896 and 1898 respectively.
[2]James Dugdale, “Sir Charles Tennant: the Story of a Victorian Collector,” Connoisseur 178 (1971), 11-12. A group of ten paintings was purchased by Carstairs in July 1923 and was exhibited in 1924 at Knoedler’s new headquarters in New York, whence the Hoppner was purchased by Andrew Mellon shortly before the exhibition.
Associated Names
•Agnew & Sons, Ltd., Thomas
•Agnew & Sons, Ltd., Thomas
•Frankland, 6th Bt., Thomas, Sir
•Frankland-Russell-Astley, Rosalind Alicia
•Knoedler & Company, M.
•McFadden, John H.
•Mellon Educational and Charitable Trust, The A.W.
•Mellon, Andrew W.
•Tennant, Charles Clow, 1st bt., Sir
•Tennant, Christopher Grey, 2nd baron Glenconner
Exhibition History
•1795—Royal Academy of Arts, London, 1795, no. 90, as Portraits of Young Ladies.
•1896—Twenty Masterpieces of the English School, Thos. Agnew & Sons, Ltd., London, 1896, no. 10.
•1902—Paintings by French and British Artists of the 18th Century, Art Gallery and Museum, Glasgow, 1902, no. 109.
•1903—Loan Collection of Portraits, City Museum and Art Gallery, Birmingham, 1903, no. 32.
•1904—Inaugural Exhibition of Pictures, Laing Art Gallery, New castle-upon-Tyne, 1904, no. 20.
•1906—Works by the Old Masters and Deceased Masters of the British School, Royal Academy of Arts, London, 1906, no. 79.
•1908—Franco-British Exhibition, Fine Art Palace, London, 1908, no. 74 (illustrated review, repro, cover, 25).
•1924—Ten Paintings from the Tennant-Glenconner Collection, M. Knoedler & Co., Inc., New York, 1924, no. 1.
Technical Summary
The medium-lightweight canvas is twill woven; it has been lined. There are stretcher creases along the top, left, and bottom edges; the variance in distance between each crease and the edge of the painting, and the absence of a crease along the right edge, suggest that the painting has been cut down on these three sides. The ground is white, of moderate thickness, and almost masks the weave of the canvas. Layers of gray and pale-brown paint observed beneath the surface paint of the clouds and sky suggest that an imprimatura has been selectively applied. The painting is executed in thin, multiple, opaque layers in the figures with some thicker brushwork but without high impasto; the foreground and background landscape is rendered in dark translucent layers with opaque touches for details of the foliage. The paint surface is moderately abraded and has been flattened slightly during lining. There is a considerable degree of traction crackle throughout, suggestive of the presence of bitumen; this has been extensively overpainted, and there are losses to the paint surface. There are also extensive retouchings in some of the principal features, such as the dog and details of the hands, drapery, and background. The natural resin varnish has discolored yellow slightly.
Bibliography
•1795—Morning Post, 27 May 1795.
•1795—St. James’s Chronicle, 5-7 May 1795.
•1909—McKay, William and William Roberts. John Hoppner, R.A.. London, 1909: vii, 87-88, repro. opp. 86; Supplement, 1914.
•1910—Catalogue of Pictures in the Tennant Gallery 34 Queen Anne’s Gate, S.W.. London, n.d. [c.1910]: 7, 19, color frontispiece.
•1937—Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: repro. opposite page 44
•1941—Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 100, no. 111.
•1942—Book of Illustrations. National Gallery of Art, Washington, 1942: 241, repro. 16.
•1949—Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 121, repro.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 69.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 61, repro.
•1971—Dugdale, James. “Sir Charles Tennant: the Story of a Victorian Collector.” The Connoisseur 178 (1971): 2, color repro., 6, 12.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 178, repro.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 521, color repro.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 365, no. 514, color repro.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 206, repro.
•1991—Kopper, Philip. America’s National Gallery of Art: A Gift to the Nation. New York, 1991: 68, 89, color repro.
•1991—Wilson, John Human. “The Life and Art of John Hoppner (1758-1810).” Ph.D. dissertation, Courtauld Institute of Art, University of London, 1991.
•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: 134-136, color repro. 135.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1937.1.111 (111)
The Frankland Sisters
•1795
•Oil on Canvas, 155 × 125 (61 × 49¼)
•Andrew W. Mellon Collection
Inscriptions
•In a Later Hand, at Lower Left: MARIANNE & AMELIA/DAUGHTERS OF SIR T. FRANKLAND OB 1795 & l80O
•At Lower Right: HOPNER [sic]
Technical Notes
The medium-lightweight canvas is twill woven; it has been lined. There are stretcher creases along the top, left, and bottom edges; the variance in distance between each crease and the edge of the painting, and the absence of a crease along the right edge, suggest that the painting has been cut down on these three sides. The ground is white, of moderate thickness, and almost masks the weave of the canvas. Layers of gray and pale-brown paint observed beneath the surface paint of the clouds and sky suggest that an imprimatura has been selectively applied. The painting is executed in thin, multiple, opaque layers in the figures with some thicker brushwork but without high impasto; the foreground and background landscape is rendered in dark translucent layers with opaque touches for details of the foliage. The paint surface is moderately abraded and has been flattened slightly during lining. There is a considerable degree of traction crackle throughout, suggestive of the presence of bitumen; this has been extensively overpainted, and there are losses to the paint surface. There are also extensive retouchings in some of the principal features, such as the dog and details of the hands, drapery, and background. The natural resin varnish has discolored yellow slightly.
Provenance
Painted for the sitters’ father, Sir Thomas Frankland, 6th Bt. [1750-1831], Thirkleby, Yorkshire; by descent to his granddaughter, Rosalind Alicia Frankland-Russell-Astley [d. 1900], Chequers Court, Buckinghamshire, who sold it c. 1896 to (Thos. Agnew & Sons), London, from whom it was purchased 1896 by John H. McFadden. Presumably sold back to (Thos. Agnew & Sons), London, from whom it was purchased 1898 by Sir Charles Tennant, Bt. [1823-1906], Glen, Innerleithen, Peebles;1 by descent to his grandson, Christopher, 2nd Baron Glenconner [1899-1983], who sold it July 1923 to (Charles Carstairs2 for M. Knoedler & Co.), London, from whose New York branch it was purchased November 1923 by Andrew W. Mellon, Pittsburgh and Washington, by whom deeded December 1934 to The A. W. Mellon Educational and Charitable Trust, Pittsburgh.
Exhibitions
Royal Academy of Arts, London, 1795, no. 90, as Portraits of young ladies. Twenty Masterpieces of the English School, Thos. Agnew & Sons, London, 1896, no. 10. Paintings by French and British Artists of the 18th Century, Art Gallery and Museum, Glasgow, 1902, no. 109. Loan Collection of Portraits, City Museum and Art Gallery, Birmingham, 1903, no. 32. Inaugural Exhibition of Pictures, Laing Art Gallery, Newcastle-upon-Tyne, 1904, no. 20. Works by the Old M asters and Deceased Masters of the British School, Winter Exhibition, Royal Academy of Arts, London, 1906, no. 79. Franco-British Exhibition, Fine Art Palace, Wembley, London, 1908, no. 74 (illustrated review, repro. cover, 25). Ten Paintings from the Tennant Glenconner Collection, M. Knoedler & Co., New York, 1924, no. 1.
The Sitters Are, on the right, Amelia (1777-1800) and, on the left, Marianne (1778-1795), the daughters of Sir Thomas Frankland, a descendant of Oliver Cromwell. Both daughters died of consumption, Marianne shortly after the portrait was painted; neither was married. Hoppner, in a letter of condolence to his patron in 1795, described Frankland’s surviving daughter as one “whose talents, whose disposition, every way fits her to receive your undivided affection.”
The critic of the St. James’s Chronicle, who, among others, identified this work at the Royal Academy exhibition of 1795, wrote that it “does the Artist great credit: the Group is natural and graceful; the heads are sweetly painted; and there is a hue of colour and keeping in the effect that is charming.”3 The painting seems to have been exhibited as a companion to The Douglas Children.4 The portrait is indeed idyllic in conception; Shawe-Taylor equates it with Gainsborough’s The Linley Sisters (1772; Dulwich Picture Gallery).5 Amelia, who is looking out at the spectator, holds a portfolio of sketches in her right hand and a crayon for drawing in her left. Her sister, Marianne, leans affectionately toward her with her arm around her shoulder. A spaniel is asleep at their feet. The Titianesque landscape background, with its waterfall and its mountainous distance reminiscent of Claude, is overtly picturesque. The falling water is counterbalanced by the sweep of Amelia’s dress. The work ranks as one of Hoppner’s masterpieces.
A mezzotint by William Ward was published 1 March 1797.
Notes
1.Geoffrey (later Sir Geoffrey) Agnew,Agnew’s 1817-1967 (London, 1967), 36, pi. The plate records J.H.McFadden and Sir Charles Tennant as the owners in 1896 and 1898 respectively.
2.Dugdale 1971, 11-12. A group often paintings was purchased by Carstairs in July 1923 and was exhibited in 1924 at Knoedler’s new headquarters in New York, from whence the Hoppner was purchased by Andrew Mellon shortly before the exhibition.
3.St. James’s Chronicle, 5-7 May 1795 ; see also the Morning Post, 6 and 27 May 1795.
4.Morning Post, 27 May 1795.
5.Shawe-Taylor 1990,137.
References
•1795—St. James’s Chronicle, 5-7 May 1795.
•1795—MorningPost, 6 and 27May 1795.
•1909—McKay and Roberts 1909 (see biography): vii, 87-88, repro. opposite 86.
•c. 1910—Catalogue of Pictures in the Tennant Gallery 34 Queen Anne’s Gate, S.W. London, n.d. [c. 1910]: 7,19, color frontispiece.
•1949—Mellon 1949: no. in,repro. 121.
•1971—Dugdale, James. “Sir Charles Tennant: The Story of a Victorian Collector.” Conn 178 (1971): 2, color repro., 6, 12.
•1976—Walker 1976: no. 521, color repro.
•1990—Shawe-Taylor, Desmond. The Georgians: Eighteenth-Century Portraiture and Society. London, 1990:137, fig. 93-
•1992—Wilson 1992: 32,185,219.
(year unknown)
(2022)
Stoke Newington station was opened on 27th May 1872 by the Great Eastern Railway (GER).
Operation of the station, along with the whole line, was transferred to Transport for London (TfL) in 2015 and is now part of the London Overground network.
Audi A4
Fuchs Felgen
Nach der Arbeit im regi
•••
1229 Erste Erwähnung als "Mosberg" in einer Urkunde Papst Gregor IX.; darin wird Güterbesitz des Klosters Bebenhausen in Musberg bestätigt.
1292 Das Kloster Bebenhausen erwirbt von Wernher von Neuhausen, genannt der Tuzzer, verschiedene Rechte in Musberg.
1350 In einer Zinsliste von Stadt und Amt Stuttgart werden Musberger Familiennamen genannt: Ebner, Fuchs, Renz, Heß, Daiß, Stumler, Löser, Schmid und Buchser.
1385 In einem der ältesten Grundbücher Württembergs werden sieben Mühlen des Reichenbachtales genannt. Zur Markung Musberg gehörten die Obere Mühle, die Eselsmühle und die Mäulesmühle.
1932 Bei der Reichstagswahl vom 6. November erhält bei knapp 1000 Stimmberechtigten die NSDAP die meisten Stimmen (236), gefolgt von der SPD (182) und der KPD (164). Auch in Echterdingen ist die NSDAP die stärkste Partei;
dagegen bekommen in Stetten die SPD und
in Musberg die KPD die meisten Stimmen.
1973 Musberg kommt mit Leinfelden zum Kreis Esslingen durch die neue Kreisreform.
1974 In der Mäulesmühle beginnt die Komede-Scheuer ihre Spielzeit.
1975 Im Zuge der Gemeindereform schließen sich Leinfelden, Echterdingen, Musberg und Stetten am 1. Januar zur Stadt Leinfelden-Echterdingen (Kreis Esslingen) zusammen, die am 1. Juli 1976 zur Großen Kreisstadt erhoben wird.
Die noch junge Stadt Leinfelden-Echterdingen entstand im Zuge der Gemeindereform am 1. Januar 1975. Seit der Verleihung der Rechte einer Großen Kreisstadt am 1. Juli 1976 trägt das Stadtoberhaupt den Titel Oberbürgermeister.
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