British Institution
Encyclopedia
The British Institution was a private 19th-century society in London
formed to exhibit the works of living and dead artists; it was also known as the Pall Mall Picture Galleries or the British Gallery. Unlike the Royal Academy
it admitted only connoisseurs, dominated by the nobility, rather than practicing artists to its membership, which along with its conservative taste led to tensions with the British art
ists it was intended to encourage and support. In its gallery in Pall Mall
the Institution held the world's first regular temporary exhibitions of Old Master paintings, which alternated with sale exhibitions of the work of living artists; both quickly established themselves as popular parts of the London social and artistic calendar. From 1807 prizes were given to artists and surplus funds were used to buy paintings for the nation.
building at 52 Pall Mall
, with 62 years remaining, for a premium of £4,500 and an annual ground rent
of £125. The British Institution opened at the Pall Mall site on 18 January 1806.
The founding "Hereditory Governors" included Sir George Beaumont, 7th Baronet
and Charles Long, 1st Baron Farnborough
, both of whom had employed the services of the leading dealer and picture-cleaner William Seguier
, and were probably responsible for his appointment as "Superintendent". Seguier later became Surveyor of the King's Pictures and when the National Gallery, London
was founded in 1824, was appointed as the first Keeper, holding all three positions until his death in 1843, as well as continuing to run his business. Above Seguier the Institution had a Keeper, a role given to a series of engravers. The Superintendent was responsible for organizing and hanging the shows, a role that inevitably gave rise to grumbling and worse from artists - at the Royal Academy
a committee was responsible for the hang, which allowed someone else to be blamed, but Seguier had no such opportunity to share the blame. In 1833 John Constable
wrote with heavy irony of having received a visit in his studio from "a much greater man than the King—the Duke of Bedford
—Lord Westminster
—Lord Egremont
, or the President of the Royal Academy — "MR SEGUIER"." When in 1832 two pictures by Richard Parkes Bonington
, who had been dead only four years, were included in an "Old Masters" exhibition, Constable (who was twenty-six years older than Bonington) wrote that Seguier was "carrying on a Humbugg".
Other founding Governors included George Legge, 3rd Earl of Dartmouth
as President, the Marquess of Stafford
, Sir Francis Baring, 1st Baronet, William Holwell Carr
, John Julius Angerstein
, Sir Abraham Hume, 2nd Baronet, Sir Thomas Bernard, 3rd Baronet, and others. They were essentially the same group who were to succeed in persuading the government to found the National Gallery in 1824, and whose gifts to it provided most of the early collection. There was a total group of 125 Governors, Directors and Subscribers, paying sums between 100 guineas (56 of them, 35 at 50g., 11 at 10g.) down to one guinea annually. In 1805 the initial subscribers consisted of "One duke, five marquesses, fourteen earls, two viscounts, nine lords, two bishops, four ladies, seven baronets, twenty-two members of parliament, five clergymen and above fifty private gentlemen, bankers and merchants". The Institution had been discussed with the Royal Academy before it was established, and relations were friendly, at least initially, though later there were to be tensions. The Prince Regent
was Patron from the foundation, and loans from the Royal Collection
continued throughout the life of the Institution. In 1822 the hereditary nature of the Governors was eased out, as they were becoming far too numerous, and the bottom end of the Subscribership tightened up.
The gallery building had been commissioned in 1788 by the engraver and print publisher John Boydell
as a showroom for his Boydell Shakespeare Gallery
, a large and financially unsuccessful project for a series of paintings and prints of scenes from works by William Shakespeare
. The architect was George Dance the Younger
, then the clerk of the city works. The gallery had a monumental, neo-classical
stone-built front, and three exhibition rooms on the first floor, with a total of more than 4000 square feet (371.6 m²) of wall space for displaying pictures. Boydell ran up large debts in producing his Shakespeare engravings, and obtained an Act of Parliament in 1804 to dispose of the gallery and other property by lottery
. The main prize winner, William Tassie
, a modeller and maker of replica engraved gems, then sold the gallery property and contents at auction. When the British Institution took possession, they also retained a sculptural group on the façade by Thomas Banks
, which had been intended to be used as a monument on Boydell's tomb.
s, four Paul Sandby's, two by Thomas Lawrence, one a huge history painting, three Copleys including his Death of Chatham, four James Wards, as well as 24 pictures from the Arabian Nights by Robert Smirke, who was to turn against the Institution. Within a few years the number of works regularly reached over 500, and many had to be rejected. The 1806 receipts for the shilling entries were £534 & 4s implying 10,684 paying visitors above the members and their guests. In 1810 the Institution announced that in its first four years a total of 424 works had been sold, raising £20,900 for the artists (the Institution took no cut of sales); by 1826 this cumulative figure was over £75,000. In 1814 the Emperor of Russia and King of Prussia were among the visitors, apparently without buying.
Perhaps because many large history painting
s were submitted, and indeed encouraged by the Institution, the number of works included fell in the late 1810s: in 1818 309 were exhibited and 65 sold, for £2,623, typical for these years, though from 1828 there were usually over 500 until the late 1830s after which numbers in the mid-400s were typical until about 1850, when they rose again. The Institution largely remained faithful to the hierarchy of genres
and saw the encouragement of history painting as an aim, especially as opposed to portraits, traditionally the mainstay of the British market. Its exhibitions were by 1850 falling behind developments in British art
; few Pre-Raphaelite works were exhibited there, though Ford Madox Brown
's oval Hampstead landscape was seen and disliked there by John Ruskin
in 1855.
The Institution commissioned or bought a number of paintings which were presented to the National Gallery, and some other institutions. In 1826 they presented the Vision of Saint Jerome or Madonna and Child with Saints by Parmigianino
(bought in 1823 for £3,302), the Consecration of Saint Nicholas by Paolo Veronese
(bought in 1811 for £1,575), and in 1830 the Market Cart by Thomas Gainsborough
(bt 1829, Lord Gwydir's Sale, 1050 gn) and a Holy Family by Reynolds (same, 1950 gn.). Modern works included Benjamin West
's Christ Healing the Sick in the Temple, for which the very high price of 3,000 guineas was paid, though this was more than recouped by sales of an engraving commissioned by the Institution. It was given to the National Gallery, but later transferred along with their British collection to what is now Tate Britain
. In 1814 Mary annointing the Feet of Christ by William Hilton
was bought for 550 gn. and given to a church in the City. and the following year 1,000 gn was set aside for premiums for oil sketch
es of subjects showing "the successes of the British Army in Spain, Portugal or France", producing many submissions the following year, for which two 150 gn. premiums were awarded, and James Ward commissioned for 1,000 gn to do a full-size version of his Allegory of Waterloo. Another Waterloo work was given to the Royal Hospital, Chelsea. Other religious paintings were bought for London churches, and a new competition announced for two works on Nelson's victories to be given to Greenwich Hospital
. In 1826 the Institution announced that nearly £5,000 in premiums, and over £14,000 on purchases had been spent to date, but from the 1830s the number and size of premiums slackens and the last premiums were in 1842, after which sums like £50 were given to artists' charities instead, and in later years no donations are recorded. In 1850 the Institution recorded a total of £28,515 in purchases, prizes and donations since 1806. By the 1850s the overall prosperity of the market for contemporary paintings had hugely increased.
, and the next year 53 William Hogarths, 73 Gainsboroughs, 85 Richard Wilsons and 12 by Zoffany were shown. In 1815 for the first time the Institution showed foreign art - Dutch and Flemish - and upset many British artists by a preface to the catalogue, implying in a rather too patronizing manner that British artists had a lot to learn from them. Robert Smirke
is generally accepted as the anonymous author of a series of satirical "Catalogues Raisonnés" published in 1815–16, which savagely lampooned the Directors, the great and the good of British art patronage. William Hazlitt
rejoined with a long piece of laboured sarcasm in defence of the Institution. At this time the Old Masters were exhibited in the winter, and the living artists in the summer. In 1816 Italian and Spanish works were shown, including two of the Raphael Cartoons
and several important works from the Orleans Collection
; most of the consortium who had split this up were Directors of the Institution.
The foreign schools rotated until 1825 when only selected loaned works by living British artists were shown, and for the next two years only works from the Royal Collection, essentially the new collections of the Prince Regent, by now King George IV. In 1830 all 91 works were by the recently dead Sir Thomas Lawrence
, including all the pictures from the Waterloo Gallery at Windsor Castle
; his nieces received the £3,000 of ticket sales. In 1838 the living French artist Paul Delaroche was treated as an Old Master to allow exhibition of two of his large works on British history including Charles I Insulted by Cromwell's Soldiers
. In 1848 the designation was extended in the other direction with a group of early masters including Giotto and Jan van Eyck
(attributions that perhaps would not be maintained today). This was still somewhat bold for the time. The 1851 show, coinciding with vast numbers of tourists flocking to the Great Exhibition, had 120 pictures from 47 collections, intended to show the cream of British collections. The selection gives an interesting view of taste at the mid-century.
Later, by 1832 as reported by Passavant
, the Institution's routine was to hold a spring exhibition of paintings by contemporary artists, available for purchase, followed by a summer exhibition of old masters. By the time of an 1835 visit by Thomas Carlyle
, the gallery had become known colloquially as the Pall Mall Picture Galleries or the British Gallery, and was still among the popular society haunts. The Times
called it "the favourite lounge of the nobility and gentry", and artists grumbled that it imposed aristocratic tastes on the viewing public. Tourist guides in the 1840s reported that the spring exhibition ran from the start of February to the first week of May, closing a week after the Royal Academy exhibition opened, and the old masters exhibition from the first week of June to the end of August, with some works remaining in the galleries for a month or more for artists to copy:
"Here are two exhibitions in the course of every year - one of living artists, in the Spring, and one of old masters, in the Summer. The latter exhibition is one of the most interesting sights of the London season to the lovers of the Fine Arts. Admission, 1s. Observe - Bas-relief of Shakespeare, between Poetry and Painting, on the front of the building, (cost 500 guineas), and a Mourning Achilles, in the hall of the Institution - both by Thomas Banks, R.A." from Peter Cunningham, Hand-Book of London, 1850
By 1850 the Queen was Patroness, and the Directors a new generation of Dukes, Marquesses and Earls, with a couple of bankers (Hope and Baring) and the ever-present Samuel Rogers
. Despite the apparently flourishing state of the Institution, when the term of the 1805 lease expired in 1867 it was dissolved; according to the The Art Journal
the modern exhibitions had been declining in popularity, but not the Old Masters. Even so they reported that 150 pictures were sold from the modern exhibition in 1865, and 147 in 1864. A chance to buy the freehold in 1846 for £10,000 was missed, and it would have cost £25,000 by the 1860s. The remaining funds were used to establish scholarships for artists, and the Royal Academy took over the holding of loan exhibitions of Old Masters. When the gallery building was demolished during 1868–1869, the Banks sculpture from the building's façade was moved to Stratford-upon-Avon
and re-erected in New Place
Garden.
London
London is the capital city of :England and the :United Kingdom, the largest metropolitan area in the United Kingdom, and the largest urban zone in the European Union by most measures. Located on the River Thames, London has been a major settlement for two millennia, its history going back to its...
formed to exhibit the works of living and dead artists; it was also known as the Pall Mall Picture Galleries or the British Gallery. Unlike the Royal Academy
Royal Academy
The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly, London. The Royal Academy of Arts has a unique position in being an independent, privately funded institution led by eminent artists and architects whose purpose is to promote the creation, enjoyment and...
it admitted only connoisseurs, dominated by the nobility, rather than practicing artists to its membership, which along with its conservative taste led to tensions with the British art
British art
British art could refer to:* Art of the United Kingdom - post 1707* English art* Irish art* Scottish art* Welsh art...
ists it was intended to encourage and support. In its gallery in Pall Mall
Pall Mall, London
Pall Mall is a street in the City of Westminster, London, and parallel to The Mall, from St. James's Street across Waterloo Place to the Haymarket; while Pall Mall East continues into Trafalgar Square. The street is a major thoroughfare in the St James's area of London, and a section of the...
the Institution held the world's first regular temporary exhibitions of Old Master paintings, which alternated with sale exhibitions of the work of living artists; both quickly established themselves as popular parts of the London social and artistic calendar. From 1807 prizes were given to artists and surplus funds were used to buy paintings for the nation.
Founding
The British Institution was founded in June 1805 by a group of private subscribers who met in the Thatched House Tavern in London. A committee was formed, and in September of that year it purchased the lease of the former Boydell Shakespeare GalleryBoydell Shakespeare Gallery
The Boydell Shakespeare Gallery in London, England, was the first stage of a three-part project initiated in November 1786 by engraver and publisher John Boydell in an effort to foster a school of British history painting...
building at 52 Pall Mall
Pall Mall, London
Pall Mall is a street in the City of Westminster, London, and parallel to The Mall, from St. James's Street across Waterloo Place to the Haymarket; while Pall Mall East continues into Trafalgar Square. The street is a major thoroughfare in the St James's area of London, and a section of the...
, with 62 years remaining, for a premium of £4,500 and an annual ground rent
Ground rent
Ground rent, sometimes known as a rentcharge, is a regular payment required under a lease from the owner of leasehold property, payable to the freeholder. A ground rent is created when a freehold piece of land or a building is sold on a long lease...
of £125. The British Institution opened at the Pall Mall site on 18 January 1806.
The founding "Hereditory Governors" included Sir George Beaumont, 7th Baronet
Sir George Beaumont, 7th Baronet
Sir George Howland Beaumont, 7th Baronet was a British art patron and amateur painter. He played a crucial part in the creation of London's National Gallery by making the first bequest of paintings to that institution....
and Charles Long, 1st Baron Farnborough
Charles Long, 1st Baron Farnborough
Charles Long, 1st Baron Farnborough GCB PC PC FRS FSA was an English politician and connoisseur of the arts.-Early life:...
, both of whom had employed the services of the leading dealer and picture-cleaner William Seguier
William Seguier
William Seguier , was a British art dealer, painter, and official functionary in the art world. He was the first Keeper of the National Gallery, London.-Early life:...
, and were probably responsible for his appointment as "Superintendent". Seguier later became Surveyor of the King's Pictures and when the National Gallery, London
National Gallery, London
The National Gallery is an art museum on Trafalgar Square, London, United Kingdom. Founded in 1824, it houses a collection of over 2,300 paintings dating from the mid-13th century to 1900. The gallery is an exempt charity, and a non-departmental public body of the Department for Culture, Media...
was founded in 1824, was appointed as the first Keeper, holding all three positions until his death in 1843, as well as continuing to run his business. Above Seguier the Institution had a Keeper, a role given to a series of engravers. The Superintendent was responsible for organizing and hanging the shows, a role that inevitably gave rise to grumbling and worse from artists - at the Royal Academy
Royal Academy
The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly, London. The Royal Academy of Arts has a unique position in being an independent, privately funded institution led by eminent artists and architects whose purpose is to promote the creation, enjoyment and...
a committee was responsible for the hang, which allowed someone else to be blamed, but Seguier had no such opportunity to share the blame. In 1833 John Constable
John Constable
John Constable was an English Romantic painter. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale, the area surrounding his home—now known as "Constable Country"—which he invested with an intensity of affection...
wrote with heavy irony of having received a visit in his studio from "a much greater man than the King—the Duke of Bedford
John Russell, 6th Duke of Bedford
John Russell, 6th Duke of Bedford KG, PC, LLD, FSA , known as Lord John Russell until 1802, was a British Whig politician and notably served as Lord Lieutenant of Ireland in the Ministry of All the Talents...
—Lord Westminster
Robert Grosvenor, 1st Marquess of Westminster
Robert Grosvenor, 1st Marquess of Westminster, KG was the son of the 1st Earl Grosvenor, whom he succeeded in 1802 as 2nd Earl Grosvenor. He was created Marquess of Westminster in 1831. He was an English Member of Parliament and an ancestor of the modern day Dukes of Westminster...
—Lord Egremont
George Wyndham, 3rd Earl of Egremont
George O'Brien Wyndham, 3rd Earl of Egremont was a British peer. A direct descendant of Sir John Wyndham, he succeeded to his father's titles in 1763 at the age of 12, inheriting estates at Petworth, Egremont, Leconfield and land in Wiltshire and Somerset. He later inherited the lands of the Earl...
, or the President of the Royal Academy — "MR SEGUIER"." When in 1832 two pictures by Richard Parkes Bonington
Richard Parkes Bonington
Richard Parkes Bonington was an English Romantic landscape painter. One of the most influential British artists of his time, the facility of his style was inspired by the old masters, yet was entirely modern in its application.-Life and work:Richard Parkes Bonington was born in the town of Arnold,...
, who had been dead only four years, were included in an "Old Masters" exhibition, Constable (who was twenty-six years older than Bonington) wrote that Seguier was "carrying on a Humbugg".
Other founding Governors included George Legge, 3rd Earl of Dartmouth
George Legge, 3rd Earl of Dartmouth
George Legge, 3rd Earl of Dartmouth KG, PC, FRS , styled Viscount Lewisham until 1801, was a British politician.-Background:...
as President, the Marquess of Stafford
George Leveson-Gower, 1st Duke of Sutherland
George Granville Leveson-Gower, 1st Duke of Sutherland KG, PC , known as Viscount Trentham from 1758 to 1786, as Earl Gower from 1786 to 1803 and as The Marquess of Stafford from 1803 to 1833, was a British politician, diplomat, landowner and patron of the arts. He is estimated to have been the...
, Sir Francis Baring, 1st Baronet, William Holwell Carr
William Holwell Carr
Rev. William Holwell Carr, was an English art dealer, art collector and painter.He was born William Holwell in Exeter, Devon the son of Edward Holwell, an apothecary, and educated from 1776 at Exeter College, Oxford, where he graduated BA in 1783, MA in 1784 and BD in 1790, remaining as a Fellow...
, John Julius Angerstein
John Julius Angerstein
John Julius Angerstein , was a London merchant, Lloyd's under-writer, and patron of the fine arts. The imminent prospect that his collection of paintings was about to be sold by his estate, in 1824, galvanized the founding of the National Gallery, London.Angerstein was born in St Petersburg, Russia...
, Sir Abraham Hume, 2nd Baronet, Sir Thomas Bernard, 3rd Baronet, and others. They were essentially the same group who were to succeed in persuading the government to found the National Gallery in 1824, and whose gifts to it provided most of the early collection. There was a total group of 125 Governors, Directors and Subscribers, paying sums between 100 guineas (56 of them, 35 at 50g., 11 at 10g.) down to one guinea annually. In 1805 the initial subscribers consisted of "One duke, five marquesses, fourteen earls, two viscounts, nine lords, two bishops, four ladies, seven baronets, twenty-two members of parliament, five clergymen and above fifty private gentlemen, bankers and merchants". The Institution had been discussed with the Royal Academy before it was established, and relations were friendly, at least initially, though later there were to be tensions. The Prince Regent
Prince Regent
A prince regent is a prince who rules a monarchy as regent instead of a monarch, e.g., due to the Sovereign's incapacity or absence ....
was Patron from the foundation, and loans from the Royal Collection
Royal Collection
The Royal Collection is the art collection of the British Royal Family. It is property of the monarch as sovereign, but is held in trust for her successors and the nation. It contains over 7,000 paintings, 40,000 watercolours and drawings, and about 150,000 old master prints, as well as historical...
continued throughout the life of the Institution. In 1822 the hereditary nature of the Governors was eased out, as they were becoming far too numerous, and the bottom end of the Subscribership tightened up.
The gallery building had been commissioned in 1788 by the engraver and print publisher John Boydell
John Boydell
John Boydell was an 18th-century British publisher noted for his reproductions of engravings. He helped alter the trade imbalance between Britain and France in engravings and initiated a British tradition in the art form...
as a showroom for his Boydell Shakespeare Gallery
Boydell Shakespeare Gallery
The Boydell Shakespeare Gallery in London, England, was the first stage of a three-part project initiated in November 1786 by engraver and publisher John Boydell in an effort to foster a school of British history painting...
, a large and financially unsuccessful project for a series of paintings and prints of scenes from works by William Shakespeare
William Shakespeare
William Shakespeare was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon"...
. The architect was George Dance the Younger
George Dance the Younger
George Dance the Younger was an English architect and surveyor. The fifth and youngest son of George Dance the Elder, he came from a distinguished family of architects, artists and dramatists...
, then the clerk of the city works. The gallery had a monumental, neo-classical
Neoclassical architecture
Neoclassical architecture was an architectural style produced by the neoclassical movement that began in the mid-18th century, manifested both in its details as a reaction against the Rococo style of naturalistic ornament, and in its architectural formulas as an outgrowth of some classicizing...
stone-built front, and three exhibition rooms on the first floor, with a total of more than 4000 square feet (371.6 m²) of wall space for displaying pictures. Boydell ran up large debts in producing his Shakespeare engravings, and obtained an Act of Parliament in 1804 to dispose of the gallery and other property by lottery
Lottery
A lottery is a form of gambling which involves the drawing of lots for a prize.Lottery is outlawed by some governments, while others endorse it to the extent of organizing a national or state lottery. It is common to find some degree of regulation of lottery by governments...
. The main prize winner, William Tassie
William Tassie
William Tassie was a gem engraver and cameo modeller of Scottish descent, who worked in London in the early 19th century...
, a modeller and maker of replica engraved gems, then sold the gallery property and contents at auction. When the British Institution took possession, they also retained a sculptural group on the façade by Thomas Banks
Thomas Banks
Thomas Banks , English sculptor, son of a surveyor who was land steward to the Duke of Beaufort, was born in London. He was taught drawing by his father, and in 1750 was apprenticed to a woodcarver. In his spare time he worked at sculpture, spending his evenings in the studio of the Flemish émigré...
, which had been intended to be used as a monument on Boydell's tomb.
Modern exhibitions
The price of admission remained one shilling throughout the life of the Institution. There were some private openings in the evenings, for members and (separately) exhibitors, these being divided into two by splitting the alphabet. The number of modern works exhibited grew within a few years to over 500. The first exhibition contained 257 works (including sculptures and some enamels and miniatures) with a good selection of the leading British artists, including (selecting on their modern rather than contemporary reputations) two Turners, two Stubbs paintings and five enamels, fourteen Benjamin WestBenjamin West
Benjamin West, RA was an Anglo-American painter of historical scenes around and after the time of the American War of Independence...
s, four Paul Sandby's, two by Thomas Lawrence, one a huge history painting, three Copleys including his Death of Chatham, four James Wards, as well as 24 pictures from the Arabian Nights by Robert Smirke, who was to turn against the Institution. Within a few years the number of works regularly reached over 500, and many had to be rejected. The 1806 receipts for the shilling entries were £534 & 4s implying 10,684 paying visitors above the members and their guests. In 1810 the Institution announced that in its first four years a total of 424 works had been sold, raising £20,900 for the artists (the Institution took no cut of sales); by 1826 this cumulative figure was over £75,000. In 1814 the Emperor of Russia and King of Prussia were among the visitors, apparently without buying.
Perhaps because many large history painting
History painting
History painting is a genre in painting defined by subject matter rather than an artistic style, depicting a moment in a narrative story, rather than a static subject such as a portrait...
s were submitted, and indeed encouraged by the Institution, the number of works included fell in the late 1810s: in 1818 309 were exhibited and 65 sold, for £2,623, typical for these years, though from 1828 there were usually over 500 until the late 1830s after which numbers in the mid-400s were typical until about 1850, when they rose again. The Institution largely remained faithful to the hierarchy of genres
Hierarchy of genres
A hierarchy of genres is any formalization which ranks different genres in an art form in terms of their prestige and cultural value....
and saw the encouragement of history painting as an aim, especially as opposed to portraits, traditionally the mainstay of the British market. Its exhibitions were by 1850 falling behind developments in British art
British art
British art could refer to:* Art of the United Kingdom - post 1707* English art* Irish art* Scottish art* Welsh art...
; few Pre-Raphaelite works were exhibited there, though Ford Madox Brown
Ford Madox Brown
Ford Madox Brown was an English painter of moral and historical subjects, notable for his distinctively graphic and often Hogarthian version of the Pre-Raphaelite style. Arguably, his most notable painting was Work...
's oval Hampstead landscape was seen and disliked there by John Ruskin
John Ruskin
John Ruskin was the leading English art critic of the Victorian era, also an art patron, draughtsman, watercolourist, a prominent social thinker and philanthropist. He wrote on subjects ranging from geology to architecture, myth to ornithology, literature to education, and botany to political...
in 1855.
Patronage
After the first exhibition the gallery was kept open as a free school for artists, with members lending a variety of Old Masters for them to copy; at this stage the public could not see these displays. From 1807 a number of prizes of £100 or £50 were given to students at the school who painted the best companion pieces to works by Old Masters on display at the gallery. These were later increased and extended to other artists, reaching 300, 200 and 100 guineas by 1811.The Institution commissioned or bought a number of paintings which were presented to the National Gallery, and some other institutions. In 1826 they presented the Vision of Saint Jerome or Madonna and Child with Saints by Parmigianino
Parmigianino
Girolamo Francesco Maria Mazzola , also known as Francesco Mazzola or more commonly as Parmigianino or sometimes "Parmigiano", was an Italian Mannerist painter and printmaker active in Florence, Rome, Bologna, and his native city of Parma...
(bought in 1823 for £3,302), the Consecration of Saint Nicholas by Paolo Veronese
Paolo Veronese
Paolo Veronese was an Italian painter of the Renaissance in Venice, famous for paintings such as The Wedding at Cana and The Feast in the House of Levi...
(bought in 1811 for £1,575), and in 1830 the Market Cart by Thomas Gainsborough
Thomas Gainsborough
Thomas Gainsborough was an English portrait and landscape painter.-Suffolk:Thomas Gainsborough was born in Sudbury, Suffolk. He was the youngest son of John Gainsborough, a weaver and maker of woolen goods. At the age of thirteen he impressed his father with his penciling skills so that he let...
(bt 1829, Lord Gwydir's Sale, 1050 gn) and a Holy Family by Reynolds (same, 1950 gn.). Modern works included Benjamin West
Benjamin West
Benjamin West, RA was an Anglo-American painter of historical scenes around and after the time of the American War of Independence...
's Christ Healing the Sick in the Temple, for which the very high price of 3,000 guineas was paid, though this was more than recouped by sales of an engraving commissioned by the Institution. It was given to the National Gallery, but later transferred along with their British collection to what is now Tate Britain
Tate Britain
Tate Britain is an art gallery situated on Millbank in London, and part of the Tate gallery network in Britain, with Tate Modern, Tate Liverpool and Tate St Ives. It is the oldest gallery in the network, opening in 1897. It houses a substantial collection of the works of J. M. W. Turner.-History:It...
. In 1814 Mary annointing the Feet of Christ by William Hilton
William Hilton
William Hilton , was an English portrait and history painter.-Life and work:Hilton was born in Lincoln, the son of a portrait-painter; he may be known as "William Hilton the Younger"...
was bought for 550 gn. and given to a church in the City. and the following year 1,000 gn was set aside for premiums for oil sketch
Oil sketch
An Oil sketch or oil study is an artwork made primarily in oil paints that is more abbreviated in handling than a fully finished painting. Originally these were created as preparatory studies or modelli, especially so as to gain approval for the design of a larger commissioned painting...
es of subjects showing "the successes of the British Army in Spain, Portugal or France", producing many submissions the following year, for which two 150 gn. premiums were awarded, and James Ward commissioned for 1,000 gn to do a full-size version of his Allegory of Waterloo. Another Waterloo work was given to the Royal Hospital, Chelsea. Other religious paintings were bought for London churches, and a new competition announced for two works on Nelson's victories to be given to Greenwich Hospital
Greenwich Hospital
Greenwich Hospital can refer to:*Greenwich Hospital , USA*Greenwich Hospital , UK...
. In 1826 the Institution announced that nearly £5,000 in premiums, and over £14,000 on purchases had been spent to date, but from the 1830s the number and size of premiums slackens and the last premiums were in 1842, after which sums like £50 were given to artists' charities instead, and in later years no donations are recorded. In 1850 the Institution recorded a total of £28,515 in purchases, prizes and donations since 1806. By the 1850s the overall prosperity of the market for contemporary paintings had hugely increased.
Heyday of the Institution
The Old Masters exhibitions were mainly loans from the members. The first was in 1813, entirely consisting of 143 works by Sir Joshua ReynoldsJoshua Reynolds
Sir Joshua Reynolds RA FRS FRSA was an influential 18th-century English painter, specialising in portraits and promoting the "Grand Style" in painting which depended on idealization of the imperfect. He was one of the founders and first President of the Royal Academy...
, and the next year 53 William Hogarths, 73 Gainsboroughs, 85 Richard Wilsons and 12 by Zoffany were shown. In 1815 for the first time the Institution showed foreign art - Dutch and Flemish - and upset many British artists by a preface to the catalogue, implying in a rather too patronizing manner that British artists had a lot to learn from them. Robert Smirke
Robert Smirke (painter)
Robert Smirke , was an English painter and illustrator.-Life and work:Smirke was born at Wigton near Carlisle, the son of a clever but eccentric travelling artist. In his thirteenth year he was apprenticed in London with an heraldic painter, and, at the age of twenty, began to study at the schools...
is generally accepted as the anonymous author of a series of satirical "Catalogues Raisonnés" published in 1815–16, which savagely lampooned the Directors, the great and the good of British art patronage. William Hazlitt
William Hazlitt
William Hazlitt was an English writer, remembered for his humanistic essays and literary criticism, and as a grammarian and philosopher. He is now considered one of the great critics and essayists of the English language, placed in the company of Samuel Johnson and George Orwell. Yet his work is...
rejoined with a long piece of laboured sarcasm in defence of the Institution. At this time the Old Masters were exhibited in the winter, and the living artists in the summer. In 1816 Italian and Spanish works were shown, including two of the Raphael Cartoons
Raphael Cartoons
The Raphael Cartoons are seven large cartoons for tapestries, now in the Victoria and Albert Museum, London, painted by the High Renaissance painter Raphael in 1515-16 and showing scenes from the Gospels and Acts of the Apostles...
and several important works from the Orleans Collection
Orleans Collection
The Orleans Collection was a very important collection of over 500 paintings formed by the French prince of the blood Philippe d'Orléans, Duke of Orléans, mostly acquired between about 1700 and his death in 1723...
; most of the consortium who had split this up were Directors of the Institution.
The foreign schools rotated until 1825 when only selected loaned works by living British artists were shown, and for the next two years only works from the Royal Collection, essentially the new collections of the Prince Regent, by now King George IV. In 1830 all 91 works were by the recently dead Sir Thomas Lawrence
Thomas Lawrence
Thomas Lawrence may refer to:*Sir Thomas Lawrence, British artist, President of Royal Academy*Thomas Lawrence , mayor of colonial Philadelphia*T. E. Lawrence, "Lawrence of Arabia"*Thomas Lawrence , U.S. politician...
, including all the pictures from the Waterloo Gallery at Windsor Castle
Windsor Castle
Windsor Castle is a medieval castle and royal residence in Windsor in the English county of Berkshire, notable for its long association with the British royal family and its architecture. The original castle was built after the Norman invasion by William the Conqueror. Since the time of Henry I it...
; his nieces received the £3,000 of ticket sales. In 1838 the living French artist Paul Delaroche was treated as an Old Master to allow exhibition of two of his large works on British history including Charles I Insulted by Cromwell's Soldiers
Charles I Insulted by Cromwell's Soldiers
Charles I Insulted by Cromwell's Soldiers is an oil painting by the French artist Hippolyte Delaroche, depicting Charles I of England taunted by the victorious soldiers of Oliver Cromwell after the Second English Civil War, prior to his execution in 1649. Completed in 1836, it is thought to be one...
. In 1848 the designation was extended in the other direction with a group of early masters including Giotto and Jan van Eyck
Jan van Eyck
Jan van Eyck was a Flemish painter active in Bruges and considered one of the best Northern European painters of the 15th century....
(attributions that perhaps would not be maintained today). This was still somewhat bold for the time. The 1851 show, coinciding with vast numbers of tourists flocking to the Great Exhibition, had 120 pictures from 47 collections, intended to show the cream of British collections. The selection gives an interesting view of taste at the mid-century.
Later, by 1832 as reported by Passavant
Johann David Passavant
Johann David Passavant was a German painter, curator and artist.Passavant was born in 1787 in Frankfurt am Main, Germany. His interest in the arts was evidence by an early correspondence with the artist Franz Pforr . He moved to Paris in 1809 to further his business interests...
, the Institution's routine was to hold a spring exhibition of paintings by contemporary artists, available for purchase, followed by a summer exhibition of old masters. By the time of an 1835 visit by Thomas Carlyle
Thomas Carlyle
Thomas Carlyle was a Scottish satirical writer, essayist, historian and teacher during the Victorian era.He called economics "the dismal science", wrote articles for the Edinburgh Encyclopedia, and became a controversial social commentator.Coming from a strict Calvinist family, Carlyle was...
, the gallery had become known colloquially as the Pall Mall Picture Galleries or the British Gallery, and was still among the popular society haunts. The Times
The Times
The Times is a British daily national newspaper, first published in London in 1785 under the title The Daily Universal Register . The Times and its sister paper The Sunday Times are published by Times Newspapers Limited, a subsidiary since 1981 of News International...
called it "the favourite lounge of the nobility and gentry", and artists grumbled that it imposed aristocratic tastes on the viewing public. Tourist guides in the 1840s reported that the spring exhibition ran from the start of February to the first week of May, closing a week after the Royal Academy exhibition opened, and the old masters exhibition from the first week of June to the end of August, with some works remaining in the galleries for a month or more for artists to copy:
"Here are two exhibitions in the course of every year - one of living artists, in the Spring, and one of old masters, in the Summer. The latter exhibition is one of the most interesting sights of the London season to the lovers of the Fine Arts. Admission, 1s. Observe - Bas-relief of Shakespeare, between Poetry and Painting, on the front of the building, (cost 500 guineas), and a Mourning Achilles, in the hall of the Institution - both by Thomas Banks, R.A." from Peter Cunningham, Hand-Book of London, 1850
By 1850 the Queen was Patroness, and the Directors a new generation of Dukes, Marquesses and Earls, with a couple of bankers (Hope and Baring) and the ever-present Samuel Rogers
Samuel Rogers
Samuel Rogers was an English poet, during his lifetime one of the most celebrated, although his fame has long since been eclipsed by his Romantic colleagues and friends Wordsworth, Coleridge and Byron...
. Despite the apparently flourishing state of the Institution, when the term of the 1805 lease expired in 1867 it was dissolved; according to the The Art Journal
The Art Journal
The Art Journal, published in London, was the most important Victorian magazine on art. It was founded in 1839 by Hodgson & Graves, print publishers, 6 Pall Mall, with the title the Art Union Monthly Journal, the first issue of 750 copies appearing 15 February 1839.Hodgson & Graves hired Samuel...
the modern exhibitions had been declining in popularity, but not the Old Masters. Even so they reported that 150 pictures were sold from the modern exhibition in 1865, and 147 in 1864. A chance to buy the freehold in 1846 for £10,000 was missed, and it would have cost £25,000 by the 1860s. The remaining funds were used to establish scholarships for artists, and the Royal Academy took over the holding of loan exhibitions of Old Masters. When the gallery building was demolished during 1868–1869, the Banks sculpture from the building's façade was moved to Stratford-upon-Avon
Stratford-upon-Avon
Stratford-upon-Avon is a market town and civil parish in south Warwickshire, England. It lies on the River Avon, south east of Birmingham and south west of Warwick. It is the largest and most populous town of the District of Stratford-on-Avon, which uses the term "on" to indicate that it covers...
and re-erected in New Place
New Place
New Place is the name of William Shakespeare's final place of residence in Stratford-upon-Avon. He died there in 1616. Though the house no longer exists, the land is owned by the Shakespeare Birthplace Trust....
Garden.