A biographical and critical dictionary of recent and living painters and engravers
Ottley, Henry, 1811-1878. n 83139067 | Bryan, Michael, 1757-1821. Biographical and critical dictionary of painters and engravers. n 83139068
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Fourteen years had elapsed since the publication of the New Edition of Biyan s Dictionary of Painters and Engravers, “ revised, enlarged, and continued to the Present Time,” by Mr. George Stanley, when it was generally acknowledged that the changes which had occurred in the artist-world, both by the decease of many eminent men, which brought them legitimately within the province of the biographer, and by the accession of a still more numerous phalanx of rising practitioners of widely re- cognised pretensions, were such as to render an Appendix to that work a desideratum for the artist, the collector, and the connoisseur. On preparing to supply this demand, the Editor felt that he did so under circum- stances which rendered the inclusion of living talent, though not done in the original work, a matter of necessity, if he would meet the wishes and practical requirements of those who would be likely to consult his pages. Indeed, the names of artists who have sprung up and achieved eminence within the last quarter of a century, in Great Bri- tain, as well as in the principal European states, to which are to be added some in the New World itself, are legion, and themselves suffice to form a school, or rather schools, marking a distinct era in the history and practice of Painting ; whilst the number of those who seek out and inspect their works, earnestly canvassing their pretensions, are counted in hundreds of thousands, instead of in scores and hundreds, as was the case a generation ago. In laying the result of his labours before the public, the Editor can claim little beyond the recognition due to industrious and judicious compilation. Whilst many of the articles in the ensuing pages are reprinted from memoirs from his hand which have previously appeared in a popular illustrated journal, the Editor, in the interests of his subject, has not hesitated to avail himself of all published materials which have fallen in his way, having reference to living, or recently deceased artists ; using only the privilege of remodelling them, so as to bring them within the limits which he considered the several subjects deserved, and of qualifying, or altogether omitting, statements of opinion which he considered unjust or inappropriate to the occasion. Foremost amongst the valuable contributions to art-history which he has thus turned to account, are the able memoirs published from time to time in the Art Journal , and chiefly due to the accomplished pen of Mr. Jas. Dafforne, the assistant Editor of that esteemed periodical. Much valuable assistance has also been received from a a 2 t h PREFATORY NOTICE. small 8 vo. volume, entitled f Our Living Painters/ published anonymously in 1858, For the rest, the ( Annual Biography and Obituary/ the f Gentleman's Magazine/ and other periodical publications, from the commencement of the current century, have been diligently searched, and put under contribution, while Sandby's f History of the Royal Academy/ the f Nouvelle Biographie Generate/ the fBiographie Uni- verselle/ the new edition of Siret's f Dictionnaire Historique des Peintres/ Va- pereau's f Dictionnaire des Contemporains/ and its English follower ( Men of the Time/ have severally supplied much valuable information. The catalogues of vari- ous public collections at home and abroad have also been referred to, and not alto- gether without result. In addition to the published materials above enumerated, the Editor sought to obtain authentic data relating to living artists of eminence, by addressing to them a circular setting forth the nature and purport of his undertaking, and requesting such information as they thought proper to communicate, classified under several heads. To these applications many returned courteous replies, accompanied by interesting par- ticulars, which will be found embodied in their place in the following pages. On the other hand, to the Editor's great regret, many of these applications have remained unanswered to this day ; and in some few cases replies were received, declining, upon the ground of feelings of diffidence, compliance with the request preferred. These latter facts the Editor considers it due to himself to make known, in order to account *br the unavoidable omission of several names of high eminence and distinction, which the reader might well have expected, and he would have desired, to see included in the present volume. Whilst the work was passing through the press, Mr. Henry G. Bohn, the publisher, kindly volunteered to supply several names, of which it would otherwise have re- mained deficient. The Editor has preferred not in any way to deal with these friendly contributions, leaving them wholly to the credit of the writer, and they will, therefore, be found distinguished by that gentleman's initials, (H. G. B.) Some few articles prefixed by an asterisk, thus *, contain supplemental matter to Biographies which have appeared in the work to which this is an Appendix. HENRY OTTLEY. SUPPLEMENT TO BRYAN’S DICTIONARY OF PAINTERS AND ENGRAVERS. A ABEL DE PUJOL, Alexander Denis, historical painter, was the son of M. A. D. Joseph de Mortzy, Baron de la Grave et de Pujol, Coun- cillor of State, Chevalier of St. Louis, and Grand Provost of Valenciennes. He was horn at Va- lenciennes in 1785, (according to Gabet, 1787.) He evinced early a taste for art, and by his father’s consent, became a pupil of David. The fortune of the former, however, being dissipated by the revolu- tion, the son had for some time a strugglinglife, being left by his master very much to his own resources. His first painting represented ‘ Philopcemen re- cognized whilst splitting wood in the Kitchen of a Friend who had invited him to Dinner ;’ and David was so much struck with it, that he gave Abel the advantage of his studio gratis. He ob- tained in 1806 the first medal at the Academy ; in 1810 the gold medal of the second-class for his picture of ‘Jacob blessing the Sons of Joseph;’ and the ‘ Prix de Pome’ for his painting of ‘ Lycurgus presenting to the Lacedaemonians Charilaus as heir to the Throne.’ The climate of Pome not agreeing with his health, he was forced to return to Paris, when necessity compelled him to mingle sign-painting with a more ennobling application of his talent. In 1814 he exhibited ‘ Britannicus,’ which obtained a medal, and is now in the Musee at Dijon ; in 1817, ‘ St. Stephen preaching before his Martyrdom,’ painted for the Church of ‘ St. Etienne du Mont ;’ in 1819, ‘ The Virgin at the Tomb,’ ‘ Caesar in the Senate at the Ides of March,’ (purchased by the Duke of Orleans, afterwards Ping Louis Philippe, and destroyed in the fire at the Palais Boyal) ; and ‘ Sisyphus in the Infernal Begions ;’ in 1822, ‘ Joseph explaining the Dreams of the Butler and Baker of Pkaroah,’ which obtained a gold medal at Lille, and is now in the Museum of that town ; ‘ Ixion in Tartarus,’ which is in the Im- perial Collection : ‘ Germanicus on the field of B Battle,’ and ‘The Baptism of Clovis,’ which is in the Cathedral of Rheims. He also in this year painted the ceiling of the staircase of the Louvre, since destroyed in the course of the alterations recently made in that establishment. He also painted three subjects over doors at Versailles, and some fine frescos in the Church of St. Poch. He was a member of the Legion of Honour, and of the ‘ Institute,’ to which he was elected on the death of Baron Gros. He died in the autumn of 1861. ABSOLON, John. This graceful painter of figure subjects, chiefly in water colours, gives the following agreeable sketch of his early career : — “ I was born May 6th, 1815, in the delightful parish of Lambeth. I left school at fourteen, and proved my- self fit to become a painter, by copying two little oil pictures, after business, with the help of a bit of candle stuck on the palette. I had some lessons from an Italian, but he very properly wished me to draw in chalk for six years, so I left him, and got admitted to the Museum, and studied there with Elmore, Wehnert, &c. At sixteen I earned my first £8, for four water-colour portraits, and, I suppose, about this time exhibited a little sketch at Somerset House. Well do I remember how horrible it looked in that dark miniature room ! From sixteen I managed to get a living by por- traits and painting figures at Drury Lane and Covent Garden theatres, with my friends the Grieves. At twenty-one I married, and also joined the New Water Colour Society, and here I may be said to have exhibited my first drawing, and sold it. I had previously exhibited at the British Institution, Suffolk Street Gallery, and the Academy, but never sold, or had my name noticed. For twenty years I continued at the New Water Colour Society, which I have now left for the purpose of forcing myself to do some- thing better, which I hope my health will allow me to accomplish.” Mr. Absolon’s first exhibited works at the British Institution, (1837,) were of an 1 ABSO] SUPPLEMENT TO DICTIONARY OF ambitious character : — ‘ The Temptation of St. Anthony,’ and ‘ The Raising of Lazarus ;’ but their success was not such as to encourage him to continue in that walk of art. He resolved to abandon it, and went to Paris, where he remained a twelvemonth, painting miniatures. He had previously joined the New Water Colour Society, but did not exhibit at their gallery till 1839, when he sent ‘ The Savoyard Boy,’ and ‘ The first Sup.’ In the same year he exhibited at the British Institution ‘ The Painter’s Studio.’ In 1842 appeared ‘ Rich Relations,’ a clever work. J.t was not, however, until 1842 that he pro- duced anything which indicated the possession of individual genius, which was to place him above the ordinary level of genre painters ; the truth and pathos displayed in ‘ The Vicar of Wakefield taken to Prison’ at once established his reputation as a painter of feeling and action. In succeeding years, amongst other works, appeared ‘ Captain Mackeatli betrayed by his Mistresses/ (1844) ; ‘ The Judgment of Midas/ (1845), a clever com- position, which was bought by Miss Burdett Coutts ; in 1846, ‘ Threading the Needle,’ a gay group of young men and maidens, disporting themselves in the old-fashioned mazy game, so- called, which has been engraved for the Art Union of London ; in 1850, ‘ Joan of Arc,’ re- presenting the heroic maiden kneeling before her oratory previous to her cruel death ; in 1853, ‘The First Night in a Convent,’ the subject of which is taken from the story of ‘ The N un’ in Roger’s ‘Italy ;’ in 1854, ‘ The Field of the Cloth of Gold,’ painted, apparently, on the spot ; in 1856, ‘ The Baptism,’ a scene of English life amongst the upper classes ; in 1857, an English church interior, entitled ‘ Praise God from whom all blessings flow,’ all exhibited at the N ew W ater Colour Society’s Gallery. In 1858, to quote with some abridgment from an interesting memoir by Mr. J. Dafforne, in the Art Journal for October, 1862 : — “ Mr. Absolon, with the view of directing his attention to oil-painting, and perhaps also to qualify himself for admission into the Royal Academy, though we are not aware that he placed his name as a candidate on the books, according to the custom, seceded from the Society to which he had been so long attached, and to the fame of which he had greatly contributed.” He exhibited that year in the Academy a picture entitled ‘ Boulogne, 1857/ a work which would make not an ill-assorted companion to Frith’s ‘ Ramsgate Sands.’ This picture was reproduced in chromo- lithography for the Art Union of London, five hundred impressions, the entire number printed, being issued as prizes. The popular panoramic entertainment of the Overland Mail, which had so long a “ run” at the Gallery of Illustration, some years back, was the joint production and property of Messrs. Absolon, Grieve and Telbin ; to the first of whom was allotted chiefly the task of painting in the figures in the landscapes. Amongst his other works may be mentioned the illustrations to Major’s edition of Walton’s ‘ Angler,’ (1843), and to Mr. Bogue’s editions of the poems of Collins and Beattie. ACHARD, Alexis John, was born at Vo- reppe (Isere) in 1807 ; came to Paris in 1835, and devoted himself to painting as a profession. He afterwards made a voyage to Egypt, and on his return (1839,) made his first appearance as an exhibitor, with a landscape. He has since exhi- bited A View in the neighbourhood of Cairo. The Valley of Is£re. 1844. The Grand Chatreuse. 1845. A Pathway in Dauphind. Autumn Effects in the Valley of the Is&re. Purchased by the State, 1853. A Morning Walk. At the Universal Exhibition, 1865. View of Antwerp. 1857. Cottage amidst Trees. A View taken from llonfleur. 1859. &c. He obtained a third-class medal in 1844, two second-class medals in 1845 and 1848, respectively, and a third-class in 1855. ACHENBACH, Andrew, a leading master of the modern German school, was born at Hesse Cas- sel, in Sept. 1815. The occupation of his father as a merchant gave occasion for frequent change of residence ; hence it resulted that the son, even in early youth, had travelled a good deal about the north of Europe. After a residence of some duration at Petersburg, he settled down with his father at DusseldorfF, where, evincing a talent for art, he in 1827 became a pupil of Shirmer, the professor of landscape at that academy. Here he in a few years acquired such a readiness in the technicalities of painting, and such an aptitude for delineating the scenes around him, as to place him in a high rank in the walk of art he had adopted, namely, architectural landscape. ‘A View of the Academy at DusseldorfF,’ which he painted at this period, has been more than once exhibited. A coasting voyage, which he made with his father in 1832 and 1833, by way of Rot- terdam, Schevcningen, and Amsterdam, to Ham- [agnb PAINTERS AND ENGRAVERS. ache] burg, and thence to Riga, opened new fields for the exercise of his pencil in the grand wildness and magnificent surging of the Northern Sea, his acquaintance with which he, two years after- wards, matured and extended by an expedition to Denmark, Norway, and Sweden. Again, in 1836, his exploration of natural scenery took a totally contrary direction, namely, to the Tyrol, and the mountains of Bavaria. After this he passed some time at Munich where he produced several pic- tures which brought Jiim into great consideration amongst the artists of that important school. In 1843 he went to Italy, where he remained two years, roaming through the classic mountain ranges of the Campagna, the picturesque coast of Capri, and the most striking situations in Sicily. The wide scope of his studies and the thorough and intelligent spirit of investigation he applied to all he saw, has qualified this artist to realise with success almost every form of land- scape subject, — scenes in the German fatherland, on Northern coast, and in the sunny South ; and his pictures accordingly are characterized by the charm of never-ending variety : grand mountain- passes, and lovely home idylls, the solitary fjord, and the wide expanse of sun-burned champagne country, forest-lands, and water-falls, and marine views, with shipping, all seen under diverse as- pects of season — some by daylight, others by moonlight. These scenes he enlivens with appro- priate figures of considerable size, full of life, and admirably executed. To sum up, the tendency of Achenbach’s genius is realistic in the highest and best sense of the word. He explores Nature in her most secret traits, in order to seize upon what is characteristic in essence, form, and colour. In his manipulation, as regards the quality and texture of various materials, he is eminently suc- cessful, discriminating all to the exact point of re- quirement, yet without the slightest tendency to elaborate trifling ; the general effect, prevailing over all minuteness and elegance of detail, being that of a bold and free handling. Nor has he al- ways restricted his performances within the field of oil-painting ; having resorted occasionally, and with success to water-colour painting, lithography, and even etching. His influence upon the artists working around him has always been very great, and with marked results. Among his scholars, his brother Oswald (who devotes himself chiefly to Italian scenery) and A. Elamm are the most eminent. Achenbach obtained the great gold medals of Prussia and of Belgium, and the small one of France. He is Knight of the Belgian order of Leopold, and Member of the Academies of Berlin, Amsterdam, and Antwerp. ADAM, Albert, a German painter, chiefly of battle-pieces, was born at Nordlin gen, in Bavaria, in 1782, and died at Munich in the summer of 1862, at the age of 76. Adam accompanied, in 1809, the French and Bavarian army against Aus- tria, and in 1812 went with the Grand army in the expedition against Russia, an officer’s rank being conferred upon him, with the title of “ Painter to the Court.” Some of his most effective pictures represent the incidents of that disastrous cam- paign ; as, ‘ The Battle of Moscow,’ ‘Napoleon surrounded by his Staff,’ &c. In 1859 he set out with one of his sons to the Italian campaign by France and Sardinia against Austria, which ended with the Battle of Novara, of which he has left several graphic records, besides a series of large pictures painted from his first sketches, by com- mand of the Emperor Napoleon III. His last great work, a commission from king Maximilian of Bavaria, and intended for the building now being erected on the slope above the Isar, is on the subject of the decisive charge of the Prus- sian cavalry, against a square of the enemy at the battle of Zorndorf, where Frederick the Great commanded in person. Adam also painted portraits and landscapes, and occasionally etched. His works, less imaginative and dashing than those of Horace Vernet, are remarkable for their historical truthfulness, as well as by their accu- racy of detail. ADAM, John Victor, a French painter and lithographer, born at Paris in 1801, was the son of John Adam, an esteemed engraver. During the years 1814 to 1818 he studied at the Ecole des Beaux Arts, and also in the ateliers of Mey- nier and Regnault. In 1819 he exhibited ‘ Her- minia succouring Tancred.’ He was almost im- mediately afterwards employed to paint various subjects for the Museum at Verseilles, amongst which are, Tlie Entry of the French into Mayence. The Battle of Yarroux. The Taking of Menin. The Battle of Castiglione. The Passage of the Cluse. The Battle of Montebello. The Capitulation of Meiningen. The last three in association with M. Alaux. He also exhibited down to the year 1838 : Henry IY., after the Battle of Coutras. Trait of Kind- ness in the Duke de Berri. The Postillion. TlieYi- vandiere. The Road to Poissy. The Return from the Chase. Horse-fair at Caen. And numerous other subjects. He then retired from publicity, till 1846, when he appeared as the exhibitor of some works in lithography, to which branch of art he afterwards restricted himself. In this line he has produced a lithographic album, ‘ Views in the Environs of Paris/ ‘ Studies of Animals,’ (1833), ‘Design for an edition of Buf- fon,’ &c. He obtained a gold medal in 1824, a second class medal in 1836, besides several others from Lille, Douai, &c. His son, Alfred Albert, also works in lithography. AGNENI, Eugeneo, an Italian painter, wasborn at Sutri, near R ome, in 1819. He was one of the favourite pupils of F. Coghetti, and had practised the art in almost every variety of style, when, in 1848, having taken part as chef de bataillon in a Roman legion, he found himself compelled tc quit his native place, and retired to Genoa, and afterwards to Paris, where he established himself in 1853. He has since made another move, to London, where he passes much of his time. He has produced amongst other works, ‘ Minerva conducting the Virtues to the Earth,’ and ‘ Apollo crowning the works of Metastasio,’ two frescoes executed before his exile ; several marine pieces commissioned by the Prince Alexander Torlonia, several pictures for various chambers at Rome, Sutri, and Savona, where Coghetti asso- ciated him with him in his great works for the church of the Missions. He exhibited at Genoa in 1851 ‘ A Scene in Private Life,’ ‘A Cavern of the Inquisition,’ ‘ Abraham leadin' his son to Mount Moriah,’ and ‘ The Bodv of Sappho carried otf to Sea,’ (in two pictures). In 1853 he painted at the Marquis F. Piama’s a i i csco, entitled Italy triumphant, and more than forty historical pictures for the Rocca palace. He sent to the Paris Universal Exhibition, 1855. 3 agnk] SUPPLEMENT TO DICTIONARY OF [alla ‘Eve alarmed at seeing the Serpent, who reminds her ot her first fault,’ and six designs represent- ing ‘ Phases of Human Life ;’ and in 1857 ex- hibited k Domenichino, assisted by country- women near Rome,’ ‘ Shades of Illustrious Flo- rentines,’ ‘ The Dream of an Exile,’ &c. His ‘ Shades of Illustrious Florentines ’ and ‘ Do- menichino ’ were in the International Exhibition, 18G2. ALIG-NY, Claude Felix Theodore, called Caruelle D’, a French Landscape painter, was born at Chaumes (Nievre) in January, 1798; went to Paris in 1808, and studied painting under Reg- nault, and M. Watelet. He made his debut in 1822 with an historical landscape, on the subject of ‘ Daphnis and Chloe ;’ and this style of art, which is now much neglected, M. Aligny has followed since, having been a pretty constant contributor to the expositions at the Musee. Amongst his works may be cited : — Massacre of Druids. 1831. Prometheus. 1837. Now in the Luxembourg Gallery. The Campagna of Pome. 1839. View of Capri. 1841. Hercules and the Hydra. 1842. The Good Samaritan. 1846. Infant Bacchus. 1848. Solitude. 1850. Episode in the Pevolt of the Gauls in the third century. 1855. He has produced several etchings. He obtained a medal of the second class in 1831, one of the first class in 1837, and the decoration of the Legion of Honour in 1842. His £ Yiew of Ge- nazzano — environs of Rome,’ and ‘ Yiew of Royat — France,’ were sent to the International Exhibition, 1862, by the Imperial Government. ALLAN, Sir William, was born in Edinburgh in 1782, and was in the first instance bred a coach- painter, but afterwards studied some years at the Trustees Academy in the above-named city, where he was the fellow student of David Wilkie, and John Burnet the engraver, of both of whom he was three years the senior. Allan was the first of the triumvirate to make his way to London, Opie being the painter whom he began by taking for his model, imitating him very closely in a picture, called ‘A Gipsy Boy and Ass,’ which was exhibited at the Royal Academy in 1805. In this year, being disappointed of the success he had looked for in the metropolis, he went to St. Petersburg, where, through the kind offices of Sir Alexander Crichton, then physician to the Imperial family, he met with considerable pa- tronage as a portrait-painter. He afterwards visited the interior of Russia, Tartary, and Turkey, where he collected the materials for many original and characteristic works, which he afterwards painted, illustrative of the scenery and customs of eastern Europe. In 1809 he sent a picture to the Royal Academy called * Russian Peasants keeping their Holiday,’ which, however, did not attract much attention ; and he did not contribute anything more to the Academy exhibition during the next six years. He returned to London in 1814, and in 1815 exhibited his picture of ‘ Cir- cassian Captives,’ now in the possession of the Earl of Wemyss. This was followed by one, re- presenting “ a Circassian Chief selling to a Turkish Pasha Captives of a neighbouring tribe taken in war,” and others of similar scenes which the artist had witnessed in his travels. But these productions did not sell at the time, (some of them have since found their way into the possession of the Emperor of Russia), and the artist was so disheartened that he talked of retiring to the 4 wilds of Circassia, when Sir Walter Scott stepped in, and started a lottery of one hundred subscri- bers of ten guineas each for the last-named pic- ture, which, although the list was not entirely filled, put a considerable sum into Allan’s pocket, a happy circumstance, which caused him to alter his views, and remain at home, enjoying the pa- tronage of such friends as the great novelist was the means of introducing to him. He now, with the sole exception of a picture of ‘ Tartan Rob- bers dividing their Spoil,’ adopted a class of sub- jects wholly different from those he had attempted before ; as, ‘A Press Gang,’ ‘ The Parting be- tween Prince Charles Stuart and Flora Mac- donald at Portree,’ and ‘ Jeannie Dean’s first in- terview with her father after his return from London ;’ but still made little progress in public favour. Again he was almost giving way to despair, when his sketch of the murder of Arch- bishop Sharpe on Magus Muir, so admirably de- scribed in ‘ Old Mortality,’ attracted the notice of Sir Walter Scott, who encouraged him to make a picture of it, which wTas purchased by Mr. Lockhart, and, being engraved, was published with eminent success. Allan now resolved to devote himself entirely to subjects of Scottish history ; his next work of any consequence being ‘John Knox admonishing Mary Queen of Scots on the day when her intention to marry Darnley had been made public,’ exhibited at theRoyal Academy in 1823, and well known by the fine engraving made of it by Burnet. This was followed in 1824 by * Sir Patrick Lindesey of the Byres and Lord William Ruthven compelling Mary Queen of Scots to sign her abdication,’ and in 1825 by ‘ The Regent Murray shot by Hamilton of Both- welhaugh,’ bought by the Duke of Bedford at the Royal Academy exhibition for 800 guineas. The latter procured him the degree of Associate of the Academy. The works which next followed from his pencil were of an unequal merit. Amongst the best were, in 1831, ‘ Lord Byron reposing in the house of a Turkish Fisherman, after swimming across the Hellespont,’ and a ‘ Portrait of Sir Wal- ter Scott sitting in his study reading the proclama- tion of Mary Queen of Scots previously to her marriage with Darnley,’ (engraved by Burnet.) In 1833 he produced a picture entitled ‘ The Or- phan,’ and representing Anne Scott seated on the floor near her father’s chair at Abbotsford, which was bought by Queen Adelaide, and is now in the Royal Collection at Buckingham Palace. Allan paid a second visit to the Continent in 1830, and in 1834 visited Spain. His picture, called ‘ The Moorish Love Letter/ and other charac- teristic productions now exhibited, induced the Academy to raise him to the rank of Academician in 1835. In 1838 he was chosen to fill the presi- dential chair of the Royal Academy of Scotland, rendered vacant by the death of Mr. Watson ; and in 1842 he succeeded Sir David Wilkie as Her Majesty’s Principal Limner for Scotland, an office which entitles the holder to the honour of knighthood, and a small salary. In 1843 Sir William Allan exhibited at the Royal Academy a picture of the Battle of Waterloo, which was pur- chased by the late Duke of Wellington. He exhi- bited another larger picture of the same subject at the Fine Arts’ competition in Westminster Hall, in 1843, which, however, to his great disappointment, found no purchaser. In the former picture Na- poleon is the principal figure in the- foreground $ [amsl PAIN TEE S AN1) ENGEAVEES. ALL A] iii tlio latter tlie Duke of Wellington. In 1844 lie revisited St. Petersburg, and, on liis return, painted for tbe Emperor Nicholas a picture of * Peter the Great teaching his subjects the Art ol Sliip-building, ’ which was exhibited in London in 1845, and is now in the Winter Palace at St. Petersburg. Sir William died in his painting- room at Edinburgh before a large unfinished pic- ture of ‘ The Battle of Bannockburn,’ on the 23rd of February, 1850. Besides his other titles, he held those of Honorary Member of the Acade- micians of New York and Philadelphia. His ex- cellence as a painter consisted chiefly in consider- able dramatic power in telling a story, and in skill iu composition. As a colourist he was deficient. In the National Gallery is a single example of his pencil, ‘Arabs dividing their Spoil/ (Vernon Collection), which has been engraved by J. Stew- art, and by J. T. Smyth. ALLEN, Joseph W., Landscape painter, the son of a schoolmaster at Hammersmith, was born in Lambeth in 1803. He was educated at St. Paul’s school, and afterwards for a short time fol- lowed the vocation of usher in a school at Taunton. Discovering a talent for drawing, how- ever, he came back to London, resolved to adopt the brush as his means of living. In the first instance he became an attache to a picture-dealer, under whom he acquired a considerable know- ledge of the old masters, and the pecuniary value of their works. He afterwards took to scene- painting, in association during brief periods with Charles Tomkins, and Clarkson Stanfield. During Madame Y estris’s first lesseeship of the Olympic theatre, he painted most of the scenery for her. The natural bent of his genius, however, was for pastoral landscape, and the varied picturesque features of English scenery, and his little fresh, green, and true bits of nature, soon attracted ad- mirers and purchasers — Lord Northwick, Colonel Ansley, Mr. Bransby Cooper, Mr. Procter, and others of that class of connoisseurs who have the courage to judge for themselves, instead of blindly following the caprices of fashion — the at- tention of the picture-dealers following as a matter of course. As he went on, his talent be- came manifestly more matured, and he was noted, amongst other things, as the best painter of a distance. ‘ The Yale of Clwyd/ exhibited about the year 1842, created a considerable sensation, and was purchased by an Art Union prize-holder for three hundred guineas ; and Allen repeated it twice, in smaller dimensions, for other pur- chasers. ‘ Leith Hill,’ in the following year, was almost equally successful. From this time he always painted two or three large pictures every year, which added to his fame. Allen took an active part in the establishment of the ‘ Society of British Artists,’ attaching himself with such devotion to its interests, that he latterly refused to exhibit anywhere else in London than at their Gallery in Suffolk Street. His influence, there is little doubt, tended much to the repute the exhibitions of this Society have generally en- joyed in landscape painting. He was also pro- fessor of drawing at the City of London School from its foundation. He died on April 26th, 1852. ALLOM, Thomas, architect, and landscape painter, was born in March, 1804. He was ar- ticled to Mr. Francis Goodwin, architect, in 1819 ; and, while the pupil of the latter, was engaged upon the Manchester Town Hall, Derby Gaol, West Bromwich Church, and many other public buildings, He also assisted in making designs (1834) for the then existing Parliament Houses, which were lithographed by him by order of the House of Commons. Wishing to travel, with the object of gaining a more enlarged knowledge of liis profession, he turned his attention to painting views for the purpose of publication. The first illustrated work which made its appearance under these circumstances was that of the ‘ Scenery of Devonshire and Cornwall.’ This was followed by a similar work on the ‘ Lake District, and Northern Counties,’ ‘ Scotland Illustrated/ the historical portion being written by Dr. Beattie, (published by Virtue and Co.) In producing these illustra- tions, visiting each spot himself, he endeavoured to give the scene additional interest by depicting the celebrated historical incidents connected with them : — thus, in the View of Locheel, is re- presented the gathering of the clans of Prince Charlie ; in that of the Castle of Doon we see Prisoners taken at the battle of Falkirk ; Lin- lithgow Palace is represented as being burnt by Hawley’s Dragoons. His more strictly profes- sional engagements, however, interfered with the completion of the works, of which he was obliged to give up a portion to other hands. Soon alter this a proposal was made to him to go to the East, and this being more in accordance with his legitimate profession, was too tempting to be re- fused. His work on ‘ Constantinople and Asia Minor’ was the result of this journey, in which he introduces again historical events ; such as the unfolding the Standard of the Prophet in the Mosque of Sultan Achrnet previous to the mas- sacre of the Janissaries by Mahmoud. His subsequent work on France is, perhaps, his best work, and in which his intimate knowledge of architecture proved of the greatest advantage. In 1846 he had an audience of Louis Philippe at Paris, in which the King expressed his great ap- probation of the work, and invited him to visit St. Cloud the following season, and requested him to make drawings of the King’s own estate at Dreux, with monuments to the Eoyal Family. In 1846-8 he exhibited his designs of proposed improvements on the banks of the Thames in London, Manchester, and Paris ; and a diploma of merit was forwarded from the latter place. Amongst liis architectural works are : Christ- church, Highbury, Kennington Workhouse, and St. Peter’s Church, Notting-hill. Amongst his paintings, which exhibit true feeling, and nice execution, are those of the Cities of the Seven Churches of Asia Minor, which were engraved in the Art Journal in 1862-3. AMSLEE, Samuel, an eminent engraver, was born 1794, in Sohingnach, in Switzerland, and became a pupil of Zess, at Munich. In 1816 he arrived in Kome, and formed friendships with Overbeck, Cornelius, Thorvaldsen, and the other heads of the new school, of which he became a member. Accuracy and character in the linea- ments, simplicity in the execution, after the clas- sical examples of Marc Antonio and Albert Durer, were the principles he followed in contradistinc- tion to the pictorial and effectual, but in form and expression, negligent engravings of the modern Italian, French, and English "schools. In this manner, in conjunction with his friend Barth, ho engraved the great frontispiece of the ‘Nibelun- 5 AMSti] SUPPLEMENT TO DICTIONABY OP pn’ of Cornelius, and tlio 4 Alexanderzug ’ of Thorvaldsen. In 1829 Amsler became Professor of Engraving in the Boyal Academy in Munich, where Cornelius, Schnorr, Hess, and other of his friends were already in activity. Besides diffe- rent small works he executed in Munich, he engraved Baffaelle’s ‘ Entombment of Jesus Christ,’ in the Borghese Gallery of Borne ; 4 The Holy Family,’ and 4 The Madonna Tempi,’ by the same master, both conserved in the Pinaco- theca. His last work was an engraving of the great painting of Overbeck, in Frankfort, ‘ The Union between Beligion and the Fine Arts,’ the completion of which coincides nearly with that of his life. He died on the 19th of May, 1849. He was not only an excellent artist, and an esti- mable character, kind, modest, and very good- natured, but also an admirable instructor of his Art, who taught a number of pupils, now cele- brated engravers ; as Merz, who engraved ‘ The Last Judgment’ of Cornelius, and is now occu- pied with ‘ The Destruction of J erusalem’ by Xaulbach ; Gonzenbach, the author of different engravings,, after Kaulbacli, Sckleick, &c. ANDBE, Jules, a French painter, was born at Paris in 1804, was a pupil of A. Jolivard, the landscape painter, and Watelet, under whom he remained until 1827. He then made a tour through the most picturesque parts of the south of France ; and exhibited for the first time in 1831. He afterwards visited Belgium, and the picturesque banks of the Bkine. In 1845 he be- came attached to the porcelain manufactory at Sevres ; but the works which he executed there, and which were displayed at the Industrial Ex- hibition of 1849 and 1855, did not interrupt his pursuit of art in its higher branches. He has exhibited amongst others — c The Entrance to a Forest,’ and 4 Banks of the Ource in the Cote d’Or,’ 1835 ; 4 The Banks of the Huyon, near Liege,’ 4 A Boadway in the Landes,’ 4 View of the Lower Meuden,’ 4 The Forest of Sevres,’ 1837 — 1852 ; 4 The Bridge of Tauron on the Torrion,’ (purchased by the State) ; 4 View in the Neigh- bourhood of Tarbes,’ 4 The Banks of the Vienne,’ 1855 ; 4 A Pool,’ 4 The Banks of the Charente,’ 4 Environs of Dax,’ 4 Marsh in the neighbourhood of Bordeaux,’ 1857 — 1859. He has also painted several decorative panels in the Mollien pavilion, in the new Louvre, and in the Hotel d’Albe. He obtained a second-class medal in 1835, and the decoration of the Legion of Honour in 1853. ANSDELL, Bichard, was born at Liverpool in 1815, and was educated at the Bluecoat School of that town. He was at first destined for some business or professional calling ; but nature would have it otherwise, and destiny ordained that he should be a painter. The line in which he first distinguished himself was in the painting of animals and sports of the field, with occasion- ally an out-door historical subject. The first pic- tures he exhibited at the Boyal Academy — this was in 1840 — were 4 Grouse Shooting,’ and 4 A Galloway Farm, the Property of the Marquis of Bute.’ In the following year he exhibited 4 The Earl of Sefton and Party Beturning from Shoot- ing.’ In 1842 his 4 Death of Sir W. Lambton, at the Battle of Marston Moor,’ attracted notice by its spirited treatment. In 1843 appeared 4 The Death,’ a scene in the deer-hunt, somewhat S>f the class of subjects so frequently adopted by 6 [anth Landseer ; in 1844, 4 Mary Queen of Scots re- turning from the Chase to Stirling Castle ;’ and in 1855, 4 Fox-hunting in the North,’ a portrait group of Mr. James Mackell, of Windermere, and his family. In 1856 Mr. Ansdell exhibited for the first time at the British Institution, the subject of his picture being 4 The Drover’s Halt — Isle of Mull in the Distance,’ a large composi- tion, containing numerous groups of figures ; and in the same year another large canvas at the Boyal Academy, entitled 4 The Stag at Bay,’ in which all the figures were life-size. In the fol- lowing year, at the Academy, appeared his 4 Combat,’ a companion to the last picture ; and in 1848, 4 The Battle of the Standard,’ a work of considerable power. In 1850 he commenced working in conjunction with Mr. Creswick, the landscape-painter, and to their joint efforts we are indebted for such pictures as 4 The South Downs’ (British Institution, 1850), ‘England’s Day in the Country’ (Ditto, 1851), 4 The Shep- herd’s Bevenge,’ 4 The Drover’s Halt,’ 4 The Park’ (British Institution, 1855), &C. In the same year as that of the last-named he produced 4 Feeding the Calves,’ in conjunction with Mr. 