1. Duncan Robinson, by Peter Mennim. 2011. Oil on canvas, 81.3 by 61 cm.
(Magdalene College, Cambridge).
Attributed works:
2. Nude in an interior, by Harold Gilman. c.1911. Oil on canvas, 50.5 by
35.4 cm. (Yale Center for British Art, New Haven; Bridgeman Images).
Attributed works:
3. A folio from the Macclesfield Psalter, showing a historiated initial
containing the Annunciation to the Shepherds. England, c.1330–40.
Tempera and gold on vellum, 17 by 6.2 cm. (Fitzwilliam Museum,
Cambridge, MS 1-2005, fol.139v; Bridgeman Images).
5. The thermes of the Musée de Cluny and the entrance hall designed
by Bernard Desmoulin. (Musée de Cluny - Musée National du Moyen
Âge, Paris; photograph M. Denancé).
Attributed works:
6. Plan of the of the ground floor of the Musée de Cluny. (After
Bernard Desmoulin).
A Connoisseur and His Clients: The Correspondence of Charles Fairfax Murray with Frederic Burton, Wilhelm Bode and Julius Meyer (1867–1914). Edited by Paul Tucker
Frederic William Burton: For the Love of Art at the National Gallery of Ireland, Dublin |
:
Illustrations
Attributed works:
10. The Aran fisherman’s drowned child, by Frederic William Burton. 1841. (National Gallery of Ireland, Dublin).
Attributed works:
11. Hellelil and Hildebrand, the meeting on the turret stairs, by Frederic William Burton. 1864. (National Gallery of Ireland, Dublin).
Attributed works:
12. Mrs George Smith, by Frederic William Burton. 1873. (Private collection; exh. National Gallery of Ireland, Dublin).
Attributed works:
13. Copy of the head of the Virgin from Leonardo’s ‘Virgin of the rocks’, by Frederic William Burton. (Ashmolean Museum, Oxford; exh. National Gallery of Ireland, Dublin).
36. Sir Charles Eastlake, by Francis Grant. 1853 (National Gallery, London)
Attributed works:
38. Ralph Nicholson Wornum, Keeper at the National Gallery during Eastlake's directorship. Portrait photograph taken in the studio of William Green, Northumberland, 1873 (National Gallery, London)
Attributed works:
39. Page from Wornum's Diary: the entry for 17th October 1859 condemns the use of patent parchment to cover the backs of Gallery pictures (National Gallery archive: NGA2/3/2/13. National Gallery, London)
Attributed works:
40. Photograph of An Allegory with Venus and Cupid, by Agnolo Bronzino, showing Raffaele Pinti's overpainting of Venus's tongue and nipple and adding draperies, after the picture's acquisition in 1860. Pinti's changes were removed in 1958 (National Gallery, London)
Attributed works:
41. Eastlake's 'Manuscript Catalogue', showing his entry for Sebastiano del Piombo's Raising of Lazarus (NG1). Under the heading 'On what material painted', Eastlake notes that the picture had been 'Transferred to canvas by Hacquin in 1771' and under 'When repaired', he notes that the picture had been retouched by Benjamin West (National Gallery archive: NG10/1. National Gallery, London)
Western art unattributed:
37. A gallery in the Barry Rooms complex showing National Gallery pictures protected by glass before being put on display. 1876 (National Gallery, London)