DOI issue:
Nr. 353 (August 1922)
DOI issue:No. 354 (September 1922)
DOI article:Cundall, Herbert M.: The Victor Rienaecker Collection
DOI Page / Citation link:https://doi.org/10.11588/diglit.21396#0145
THE VICTOR RIENAECKER COLLECTION
than seven delicately executed views,
principally in Switzerland and Italy, of
which A Villa at Frascati, situated fifteen
miles south-east of Rome on the Tusculan
Hills, is an admirable example. A
Classical Landscape by hisfather, Alexander
Cozens, shows an impression of his early
visit to Italy, but it does not reveal any
of the imaginative instincts of his son. a
No collection of landscape painting
would be complete without representa-
tions of the work of Turner and Girtin.
By the former there is a splendid water-
colour drawing, In the Austrian Tyrol,
formerly in the collection of Mr. Albert
Brassey. Turner visited the district at
a time when he was at the summit of his
powers, shortly before the year 1840.
After that date they commenced to fail.
It is one of his imaginative subjects, in a
perfect state of preservation, brilliantly
and broadly painted yet full of minute
detail. The drawings by Girtin of Oke-
hamptonCastle, Hereford Cathedral and Va lie
Crucis Abbey, admirably display his fine
perception of gradation of colour and
atmospheric effects, which gave such an
artistic feeling to his topographical works.
They show a great contrast to the hard
drawing of Furness Abbey by his severe
taskmaster, Edward Dayes. 0 a
John Varley's Old Bridge over the Ouse
at York was acquired from the Fairfax
Murray collection. It was reproduced
in aquatint by F. Lewis, and published
in a book by Varley, entitled " Precepts
for Design in Landscape." A later edition
of this work was issued under the title of
" A Treatise on the principles of Landscape
Design," with coloured plates. Two
other drawings, St. Alban's Abbey, for-
merly in the possession of John Linnell,
one of his pupils, and Harlech Castle
(signed and dated 1816) are characteristic
of this profuse painter, who exhibited
more than seven hundred drawings at
the Old Water-Colour Society. Another
work obtained from the Fairfax Murray
than seven delicately executed views,
principally in Switzerland and Italy, of
which A Villa at Frascati, situated fifteen
miles south-east of Rome on the Tusculan
Hills, is an admirable example. A
Classical Landscape by hisfather, Alexander
Cozens, shows an impression of his early
visit to Italy, but it does not reveal any
of the imaginative instincts of his son. a
No collection of landscape painting
would be complete without representa-
tions of the work of Turner and Girtin.
By the former there is a splendid water-
colour drawing, In the Austrian Tyrol,
formerly in the collection of Mr. Albert
Brassey. Turner visited the district at
a time when he was at the summit of his
powers, shortly before the year 1840.
After that date they commenced to fail.
It is one of his imaginative subjects, in a
perfect state of preservation, brilliantly
and broadly painted yet full of minute
detail. The drawings by Girtin of Oke-
hamptonCastle, Hereford Cathedral and Va lie
Crucis Abbey, admirably display his fine
perception of gradation of colour and
atmospheric effects, which gave such an
artistic feeling to his topographical works.
They show a great contrast to the hard
drawing of Furness Abbey by his severe
taskmaster, Edward Dayes. 0 a
John Varley's Old Bridge over the Ouse
at York was acquired from the Fairfax
Murray collection. It was reproduced
in aquatint by F. Lewis, and published
in a book by Varley, entitled " Precepts
for Design in Landscape." A later edition
of this work was issued under the title of
" A Treatise on the principles of Landscape
Design," with coloured plates. Two
other drawings, St. Alban's Abbey, for-
merly in the possession of John Linnell,
one of his pupils, and Harlech Castle
(signed and dated 1816) are characteristic
of this profuse painter, who exhibited
more than seven hundred drawings at
the Old Water-Colour Society. Another
work obtained from the Fairfax Murray