DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0274
230
THE GROSVENOR GALLERY.
me tang ere” and the “ Ship Builder,” in the Queen’s Gal-
lery; the Gerard Douw, (No. 95,) a famous picture; the
Crawford Paul Potter, (No. 101,) also a marvel of art;
and Murillo’s landscape. Every year when we paid the
accustomed visit to the gallery, it was with the hope,
always realized, of being delighted with some new and
beautiful acquisition.
Lastly, in the year 1818, Lord Grosvenor added to his
treasures the four great allegorical pictures by Rubens,
brought from the convent of Loeches, in Spain, about the
year 1810. To receive these colossal productions, Lord
Grosvenor built a new gallery of magnificent proportions,
lighted from the top, which now contains most of the large
pictures of the collection.
No private gallery in this country exceeds the Grosvenor
Gallery in point of variety. The number of pictures in
the Bridgewater Gallery is more than double, the series
more complete, and some of them exceed any here in value
and rarity, but the fascination of the Claudes, the imposing
splendour of the Rubenses, and the interest attached to a
number of English pictures, (“ Mrs. Siddons,” the “ Blue
Boy,” and “ General Wolfe,” for instance,) long contributed
to render the Grosvenor Gallery quite as popular as a
resort foi' the mere amateur, and not less attractive and
improving to the student and enthusiast.
The painters whose works predominate in this gallery,
and who give it a particular character, are Claude and
Rubens. No other private collection that I am acquainted
with, nor any public gallery, except oui' National Gallery,
contains such a charming variety of Claude’s landscapes.
With regard to Rubens, no private gallery in London
affords a better opportunity of studying this versatile and
accomplished painter than the Grosvenor Gallery. There
are here eleven pictures by him, all celebrated, and all in
different styles—history, allegory, portrait, and landscape.
THE GROSVENOR GALLERY.
me tang ere” and the “ Ship Builder,” in the Queen’s Gal-
lery; the Gerard Douw, (No. 95,) a famous picture; the
Crawford Paul Potter, (No. 101,) also a marvel of art;
and Murillo’s landscape. Every year when we paid the
accustomed visit to the gallery, it was with the hope,
always realized, of being delighted with some new and
beautiful acquisition.
Lastly, in the year 1818, Lord Grosvenor added to his
treasures the four great allegorical pictures by Rubens,
brought from the convent of Loeches, in Spain, about the
year 1810. To receive these colossal productions, Lord
Grosvenor built a new gallery of magnificent proportions,
lighted from the top, which now contains most of the large
pictures of the collection.
No private gallery in this country exceeds the Grosvenor
Gallery in point of variety. The number of pictures in
the Bridgewater Gallery is more than double, the series
more complete, and some of them exceed any here in value
and rarity, but the fascination of the Claudes, the imposing
splendour of the Rubenses, and the interest attached to a
number of English pictures, (“ Mrs. Siddons,” the “ Blue
Boy,” and “ General Wolfe,” for instance,) long contributed
to render the Grosvenor Gallery quite as popular as a
resort foi' the mere amateur, and not less attractive and
improving to the student and enthusiast.
The painters whose works predominate in this gallery,
and who give it a particular character, are Claude and
Rubens. No other private collection that I am acquainted
with, nor any public gallery, except oui' National Gallery,
contains such a charming variety of Claude’s landscapes.
With regard to Rubens, no private gallery in London
affords a better opportunity of studying this versatile and
accomplished painter than the Grosvenor Gallery. There
are here eleven pictures by him, all celebrated, and all in
different styles—history, allegory, portrait, and landscape.