Abraham Wildey Robarts M.P.

  General Notes:

His address is given as Hill Street and he was a partner in Watney Combe & Reid.

MP for Maidstone 1818-1837 as a Whig. He was a nephew of George Tierney who became leader of the opposition in the House of Commons in 1818 which seems to have got AWR in to parliament. A directory of MPs says that "his credentials matched his purse"! He appears not to have spoken during his first parliament in which he always voted with the opposition except on the public lottery and Catholic relief. The latter is interesting in view of our history.

He applied for an East India Company writership in China in 1794 where he was for 7 years (does this mean actually in China?) before joining his father in the bank partnership.

I have always believed that it was he who collected the Robarts pictures.

He was left by his father a farm and land called Bushollols at Wooburn, a farm called Clemmens also at Wooburn, a farm called Pinkneys near Maidenhead, land in Stepney and "a freehold estate at Lillingstone Dayrell".

AJR

From the National Dictionary of Biography:

Although William occupied an important position in the family concern, Abraham Wildey Robarts (1779\endash 1858), his eldest brother, was the main beneficiary of his father's success, and the vessel in which his aspirations continued to travel. Born on 1 August 1779, he was educated at the Revd Thomas Horne's school, Chiswick. In 1794 he gained an East India writership in China. After seven years he joined his father in the family partnership in Lombard Street. By the time he inherited his father's business in 1816, it had already been known as Robarts and Curtis for twelve years, and two years later it became Sir William Curtis, Robarts, and Curtis. He married Charlotte Anne, daughter of Edmund Wilkinson of Potterton Lodge, Tadcaster, Yorkshire, on 20 January 1808. Unlike the older partner, Curtis, who was leader of the tories in the City of London, the younger Robarts was a whig. It was thought he would inherit his father's seat in Worcester but he sat instead for Maidstone, in place of Sir Robert Thomas Wilson, and in every parliament from 1818 until he eventually retired in 1837. As the nephew of George Tierney and with resources gleaned from the family business, he came top of the poll. He voted with the opposition on most issues.

With Abraham Wildey Robarts as chairman of the committee of bankers, the company prospered, and it changed its name under his stewardship in 1833 to Robarts, Curtis & Co., a promotion of the family's position. As a noted collector of fine, mainly Dutch, paintings he left the social reputation of the Robartses in an even better condition than he found it. He died at his home, 26 Hill Street, Berkeley Square, Mayfair, on 3 April 1858, aged seventy-nine, after a very brief illness. The Robarts family interest went on to amalgamate with Sir John William Lubbock & Co. in 1860. As one of the last private banks, Robarts Lubbock & Co. itself amalgamated with Coutts & Co. in July 1914. At the time the business had nine partners, capital of £500,000, and deposits and current accounts of £4,130,850. It was a move that united a City bank and clearing-house with one based in the West End. It also had the effect of uniting country banking interests with those of the City of London. The place of the Robarts family in the polity had been consolidated and then advanced.

Internet search:

Part of the family was Abraham Wildey Robarts (died 1858), Esq., Writer for the EICo for seven years at Canton from 1794, MIP, member of the NZCo.; he married Charlotte Anne Wilkinson and inherited banking business in 1816. (See Christie, nonelite MPs.) See also Peter Adams, Fatal Necessity: British Intervention in New Zealand, 1830-1847. Oxford University Press, 1977., on the New Zealand Company. Robarts was in India at a time when Sir Wm Curtis was sending regular ships to China. He joined his father's bank in 1801. (Edna Healey on Coutts, p.406). Burke's Landed Gentry for Robarts of Lillingstone Lovell.

The New Zealand Company: circa 1839

Members of the New Zealand Company are listed by Adams. ([37]) They include Abraham Wildey Robarts, James Faden, William Mannings, Russell Ellice a merchant in East India trade, chairman of the East India Company in 1853. Edward Ellice (1781-1863), politician and merchant, involved in the Canadian land and fur trade, with a life connection with the Hudson's Bay Company, a radical Whig MP and government minister. Stewart Marjoribanks a merchant in the India trade, connected with the East India Company and in 1825 a founder of the Pacific Pearling Company ([38]); he was also associated with the Australian Agricultural Company. Ralph Fenwick, member of a family firm in shipping insurance. George Lyall (died 1853), politician and merchant, head of a family firm in East India trade and shipowners from 1805, chairman of The General Shipowners Society in 1832, Tory MP for Essex. Colonel Robert Torrens (1780-1864) of Royal Marines, political economist, a founder of South Australia, chairman of the South Australian Commissioners. ([39]) Hon Admiral Sir Courtenay Boyle (died 1844). Edward John Littleton (1791-1863), the first Baron Hatherton, landowner and politician, MP, chief secretary for Ireland 1833-1834. James Pattison MP, in 1818, chairman of the East India Company, governor of Bank of England in 1834-1837. ([40])

Internet search:

Maidstone. A. W. ROBARTS. Voted for the Question against Catholic Emancipation.; for repeal of taxes and reduction.; against Grant to D. of Clarence. A. W. Robarts is one of the few that supported Mr. Hume constantly.\emdash It would be well if his colleague were a better man. (1822).

The Times 12 Jan 1828

Mr Robarts, MP, residing at No 25 Hill street, Berkeley Square, attended on a summons from the parish officers of St George's, Hanover Square, calling upon him to show cause why he refused to pay the usual reward for the attendance of the parish fire-engine on the night of Christmas day when there was a fire, as alleged, at his house.

The watchman on duty that night at Hill street stated that about seven o'clock on Christmas night, he saw a large quantity of fire coming out of the kitchen chimney of Mr Robarts's house, and that he ran off immediately to give notice to the engine-keeper in South street: he did not, he said, give any alarm at Mr Robarts's house, although the fire was one of the worst he ever saw. He neither knocked at the door nor tapped at the kitchen-window, as he might have done, to give an alarm. And to other questions put to him by Mr Robarts he said that he did not get any Christmas-box at Mr Robarts's house this year, nor did he, he said, expect any benefit from the evidence he now gave.

Mr Robarts said that it was not for the amount of this demand, which was only 3l, and for which he cared nothing, that he resisted the claim, but because he felt satisfied that it was a gross attempt at imposition. A similar demand, he recollected, was made upon him two years ago, as groundless as this, but rather than losing his time, which was very valuable to him, in resisting it, he paid the amount; but he was now determined to resist this imposition to the last. The truth, he declared, was, that there was no fire whatever at his house on the night in question, and when the engine-keeper arrived, and was admitted to the kitchen, he himself saw that there was no fire whatever, or any appearance of it, in the chimney. Indeed, there was no occasion for any large fire in the kitchen on that day, as he had no dinner party; there was no one dined but Mrs Robarts, his son, and himself; and besides, when the engine came, and the alarm was for the first time given, there was not one person in the neighbourhood who had seen even a spark come out of the chimney-top, except this watchman, who, instead of giving an alarm at the house, if there was a fire, ran off half a mile for the engine. Lady Essex, who lives in the adjoining house to his (Mr Robarts's), has declared, that on hearing that some mention had been made by the watchman that he was going for a fire-engine at the time, she looked out very closely at all her own chimnies and his (Mr Robarts's) and she could not see a single spark issuing. He was satisfied, Mr Robarts said, that this was one of the many collusions between watchmen and engine-keepers to practice impositions of this kind. As he said before he cared not for the amount demanded; for if the worthy magistrate on the bench advised him to give 10l or 20l to any charity he would willingly do it, but he would not submit to such imposition as this. No man, as all his servants knew, was more particular than he was in seeing that all his chimnies were kept properly clean, for he had a great dread of fire.

Mr Robarts's man-cook, a foreigner, said, that when mention was made of the fire on the night in question, he examined every part of the chimney, both in the kitchen and on the roof of the house, and he could not see the slightest appearance of fire, either by sparks or otherwise; there was no grease or any thing thrown on the fire that could cause sparks to issue.

Turner. the engine-keeper, acknowledged that there was no appearance of any fire when he arrived, although he examined the chimney both at top and bottom: when he went into the kitchen there was not a large fire in the grate as there was only a pheasant down roasting at the time, but there had been a joint of meat, which required a larger fire, taken up a short time before.

The watchman persisted in declaring that he saw large bodies of fire and smoke issuing from the chimney, and that a greater chimney fire he had never seen: and that his attention was first called to it by four gentlemen who were passing on the opposite side: and if he were on his dying bed, he would swear this to be the truth.

The Magistrate said, that if the fire was of the violent kind described by the watchman, it was quite impossible, he should imagine, that it could have gone out of itself without any other person seeing it, and should have totally disappeared without leaving any appearance behind it on the arrival of the engine: he should therefore dismiss the summons, and not allow the reward.

Mr Robarts said, that if the case should be published in the newspapers, and if any gentleman alluded to by the watchman as having seen the fire shall come forward and say so, he (Mr Robarts) will instantly pay the demand.

From: 'Parishes : Akeley', A History of the County of Buckingham: Volume 4 (1927), pp. 144-147. URL: http://www.british-history.ac.uk/report.aspx?compid=62554 Date accessed: 08 May 2009.

The estate known in the 13th century and sub sequently as the manor of STOCKHOLT, and from the 14th century more usually called STOCKHOLT BARNES, appears to have been included in Akeley at the date of the Domesday Survey, and to have been granted by Walter Giffard as parcel of that manor to the priory of Longueville, whose prior made various grants in Stockholt early in the 13th century. In 1235 Gilbert Marshal, Earl of Pembroke, the overlord, included Stockholt among other Buckinghamshire manors, the issues of which were granted by him to his sister, Eleanor Countess of Pembroke, to hold until the payment of £400 which he owed to her was complete. It was accounted parcel of the manor of Akeley, and was held of New College as late as 1627.

The nucleus of the manor appears to have been 4 acres of wood in Stockholt granted to Ralf Briton in 1228 by the Prior of Longueville. These he received licence to inclose, and in the following year acquired from the priory 12 acres of land in Stockholt 'in augmentum terre sue de Stocholt.' In 1242 John de Ferentin had apparently acquired this property, a grant of Stockholt being made by him on 1 February to John de Gatesden, between whom and Thomas de Aldham a fine was levied of the manor of Stockholt in the time of Henry III. John de Gatesden's daughter Margaret held the manor with her husband John de Cameys in 1279, when other property was granted for life by them to Thomas de Aldham's widow Isabel and her then husband Richard de Pevenes. The manor had passed to Stephen de Trafford and Elizabeth his wife, apparently as the inheritance of Elizabeth, before 1332, in which year Edmund de Ayete surrendered to them all right which he had in the manor under a lease at 8 marks yearly which they had made to him. In the same year Stephen and Elizabeth granted a messuage and land in Akeley to Thomas de Useflete, clerk, for life, to hold at a rent of 10 marks, with reversion to themselves and the heirs of Elizabeth, and in 1345 Stephen son of Stephen de Trafford granted the manor for 100 marks to the same Thomas de Useflete, who in 1347, being then Dean of St. Martin le Grand in London, conveyed the manor to John Giffard, canon of St. Peter's, York, and to John Holt, parson of Althorp Church, and the heirs of John Giffard. In 1352 John Holt granted the manor, then first called Stockholt Barnes, to Adam le Lorymer of Leominster and Agnes his wife, to whom in 1358 John son of Roger Giffard, kinsman and heir of the late canon, released all his right in the manor. For more than a century the history of the manor is obscure. It was held in 1412 by Thomas Linford, who had been succeeded in 1473 by Thomas Littleton, by whom it was granted in that year to Richard Fowler. His son Sir Richard Fowler was lord in 1507, but Akeley had passed before 1540 to George Baldry, who died seised of it on 14 February of that year, when he was succeeded by Elizabeth, his year-old daughter and heir, who about 1555 married Robert, second Lord Rich. Robert Lord Rich died in 1581, and his widow, at her marriage with her second husband Robert Forthe, settled the manor in 1585 on herself and her husband for life, with remainder successively in tail-male to her second son Edwin Rich, and to her grandsons Robert and Henry, sons of her eldest son Robert Lord Rich. She died on 1 December 1591, and six years later the manor was sold by Sir Edwin Rich and his wife Margaret to John Lambert, or Lambard, of the Castle House in Buckingham. He held Barton or Lambards Manor in Buckingham, with which Stockholt descended to his granddaughter and eventual heir, Mary Lambert. She made a settlement of the manor in 1641 on her marriage with her second husband Edward Bagot, who succeeded his father as baronet in 1660. In 1670 they settled the manor on their son and heirapparent Walter, who succeeded his father in the estate and title in 1673. Three years later he conveyed Stockholt Barnes to Simon Bennett of Beachampton, and from this date it descended with Beachampton, until sold c. 1800 by James Marquess of Salisbury to Robert Lord Carrington, by whom it was conveyed to the Duke of Buckingham. The Duke sold it c. 1850 to Mr. A. J. Robarts (I'm fairly sure this was actually AW not AJ), whose grandson, Mr. Abraham Robarts, now owns it.

  Research Notes:

The Bankers' magazine and journal of the money market - 1858

DEATH OF A. W. ROBARTS, ESQ.-Our readers of all political parties will regret to learn that the death of Mr. Robarts occurred on the 2nd April, after an illness of two or three days only. He had been for many years at the head of one of the oldest and most respectable banking firms in the kingdom, and held a high position for integrity and sound judgment in the financial world, while, in private life he was universally esteemed by those who knew him. In several former Parliaments he represented the borough of Maidstone, to which he was first introduced in the year 1818, when he was returned at the head of the poll. Mr. Robarts was again returned at the general election which took place on the death of George the Third in 1820, and was replaced in his seat in the several Parliaments of 1820, '31, '32, the stirring periods of Catholic emancipation and the parliamentary reform agitation, and finally in 1835. After that period, Mr. Lewis, a conservative, who had unsuccessfully contested the borough in 1832, acquired an ascendancy, and introduced Mr. Disraeli as his colleague in 1837, since which Mr. Robarts has not been re-elected. Indeed, in 1838, he retired altogether from political life. Mr. Robarts had reached the ripe old age of seventy-nine years; and at the time of his death was chairman of the Committee of Bankers.

Letter to the Times 22 4 1858

Sir - When men are eminent for their rank, or make themselves eminent by the honourable and industriousapplication of their mental powers in contributing something for the public goos, it has been an honoured observance by you and the British press to recall attention to their career when they have passed away from among us. You, Sir, made a brief remark upon the death of a useful and honourable man who has recently died. That man was the late Mr Robarts. He, at the ripe age bordering upon fourscore years, has left behind him a character, unostentatiously made, of the strictest integrity, of unwearied attention, and of scrupulous exactness in the discharge of the important duties of a private banker. Since the year 1825 some rude and distressing exposures have tended to excite painful distrust as to the management of our banking system. No man has been more constantly consulted. His valuable opinions have been impressed upon the banking community of the City. He was their chairman. When those opinions prevailed, errors and miscarriages were prevented; when they have been disregarded (many times, unhappily) ruin and punishment have been the consequences.

As a member of Parliament during this period of his honourable existence, his attention and votes were invariably given in the support of measures which tended to give increased and healthy action to the civil and religious liberties of his country.

In private life he was adorned by the gentlest, kindest, and most liberal munificence. His collection of pictures attest his taste. It is due to the memory of such a man that his just career should receive a respectful and grateful record as of one eminently useful.

Galleries and Cabinets of Art in Great Britain: Being an Account of More ... By Gustav Friedrich Waagen 1856

COLLECTION BELONGING TO ABRAHAM ROBAHTS, ESQ., HILL STREET, BERKELEY SQUARE.

Considering the number and excellence of the collections of the Dutch school gathered together in England, it is no small compliment to the one before us to say that it occupies a place among them. Nor is this collection wanting in single specimens of merit of the Flemish, French, and Spanish schools. The pictures are tastefully arranged in the admirably kept apartments, and I had the advantage of being allowed to examine them without interruption. I was also indebted to the kindness of Mrs. Robarts for information on some particulars.

THE DRAWING-ROOM.

CUYP.-1. View of the river Maas towards evening, with slightly clouded sky, and perfect calm. On the right a large barge manned with soldiers, into which an officer is stepping from a boat. On the left other barges, leading the eye in lines of perspective towards the centre. Immediately in the front, in two small boats, are ladies and gentlemen besides rowers, and quite on the left a village with a pointed tower. This signed picture, which is of considerable size, is of the same period as the well-known views on the Maas in Lord Brownlow's collection (formerly Sir Abraham Hume's) and in the Bridgewater Gallery, and approaches these in beauty. The warm and clear reflections of every object in the evening light are admirable, and the execution broad and masterly in a full body.

2. View of the town of Dort, with the church with its well known blunt tower in the centre. Round about are six windmills. On the left, in the foreground, is a narrow piece of water, with three cows on its further shore, one of whom is drinking. A yellow cow reposing approaches Adrian van de Velde in delicacy. On the right, on the bank nearest to us, and next some beautifully painted large-leaved plants, is a shepherd recumbent with six sheep. Quite on the right are two horsemen on a brown and a gray horse. Next the latter a woman with a basket on her head, and a boy. The sky is cloudy, and over this and every other object is diffused a warm and powerful evening light. By means of this picture, which is as novel as it is beautiful in composition, and of considerable size, I became acquainted with a new phase of this great master. The keeping is excellent; the execution as careful as it is spirited, and the impasto solid.

JACOB RUYSDAEL.-In the foreground is a waterfall divided by impeding rocks into two parts. In the middle distance are two slightly overgrown eminences, between which runs the water. On the eminence on the left is a shepherd with his flock. The rocks and some of the clouds are lighted with the warm afternoon sun. The composition is very attractive, the treatment broad and spirited, and the water especially rendered in a masterly manner.

TENIERS.-In the foreground on the right, round a table, are six peasants smoking and drinking. On the left is a woman bringing a plate of food, and a jug from the cellar. In the background are four other peasants before a fire. Signed. On wood. In the very decided lighting of the foreground the white jacket of one of the peasants is particularly conspicuous. The background is kept in a dark but transparent chiaroscuro. This picture approaches Adrian Ostade in warmth and depth of tone, and is also of very solid treatment.

RUBENS.-The Virgin holding with her right hand the Child, who is standing on her lap, and whose right hand is on her left breast, while her left hand touches his left foot. Some architecture is in the dark background. To the knees. On wood. 3 ft. 3 in. high, 2 ft. 7^ in. wide. Although a picture of great merit, this is not comparable in transparency and solidity with the same composition in the collection of Mr. Edmund Foster (see vol. ii. p. 451), and is, as Mr. Smith observes in his Catalogue, vol. ix. p. 299, probably only retouched by Rubens.

BACKHUYSEN.-A somewhat agitated sea. In the middle a large vessel. In the left, in the distance, a harbour with many other ships. Some shadows of clouds on the water are happily varied by a ray of light. Transparent in tone, careful in execution, and of the best time of the master.

VAN DEU HEYDEN.-View of a Dutch town, with a canal through the whole breadth of the foreground. Its clear waters reflect a bridge in the middle distance, and a barge of masterly foreshortening on the shore on the right. In the background, illumined by the sun, is a church with a tower-like cupola. Some figures and two swans are introduced by the hand of ADRIAN VAN BE VELDE. Signed. Almost quadrangular in form, attractive in composition, of unusual warmth and power of chiaroscuro, and of far broader and more solid treatment than usual. A first-rate picture.

PYNACKER.-In the foreground is a barge laden with wares, putting over a stream. On the opposite side is a chain of rocks which recede in the picture ; the foremost crowned with a fortress.The cool, clear morning light, and the reflections in the water, are masterly, the execution very careful, and the whole very admirable.

CORNELIS DUSART.-1. Nine-pin players eating and drinking in a village. A rich and very happily arranged composition. Bright clouds are in the sky. The painter here approaches his master, Adrian Ostade, in power and transparency.

JAN STEEN.-An officer sitting in a tavern, with a girl on his knee. A mechanic, with a cap and bare chest, a glass in his hand, is looking at the group. A woman and two men are at a table on which is ham and bread. On a bench close by is a beer- glass, a cloth, a clay pipe, and some shrimps. Behind, in the doorway, are a boy and two men talking with a man outside the window. Signed. On wood. 1 ft. 2| in. high, 1 ft. 7 in. wide. For admirably rendered chiaroscuro, and broad, spirited, and very careful execution, this belongs to the best works of the master.

JAN and ANDREAS BOTH.-In the foreground on the right are two lofty trees; at their feet a woman on a mule, with two loaded mules following; next her a man on foot. Hills extend from the middle ground into the distance. More on the left are some trees; and further still on the left a piece of still water. A moderately large picture, of unusually powerful and yet transparent colouring. The treatment somewhat broader than usual.

GONZALES COQUES.-A lady in a blue dress and white lace, playing the lute, seated ; next her a man in black, his right hand on his hip. Quite on the left a table with a red cloth. In the background pillars and a curtain, and on the right a bit of sky. Of unusual delicacy and mastery of execution, approaching Metzu.

HOBBEMA.-View of a village. On the right in the foreground are large trees; rather more towards the centre and more behind some houses, whence issue a party in a carriage with two horses, who are addressed by two beggars. In the centre the distance is closed by trees and houses. On the left, in the deep shadows of trees, is a cottage. A very remarkable picture, the composition displaying more taste than usual. The rendering of the light, which falls directly on the centre of the objects in foreground, middle distance, and background, and also silvers the clouds, is particularly fortunate. The portions in shadow are also unusually juicy and clear. Form and size are very pleasing.

VAN SLINGELANDT.-At an open window with the sun shining on it is a maidservant occupied baking something in a vessel, and speaking to a little girl who is about to bake a cake. In point of composition, warmth of tone, and softness of treatment, this belongs to the most attractive pictures of the master.

THE BACK DRAWING-ROOM.

NICHOLAS BERGIIEM.-On the left are stately rocks receding into the extreme right. In the foreground a piece of water with an ox, a cow, and some sheep being driven through. Behind them a woman on a mule, and other figures on foot. On wood. Solidly executed in the cool blueish tones of his later time.

JAN WYNANTS.-In the foreground on the right is a nearly dead tree, behind which is a wood. In the centre, in the distance, is a hill. On the left in the middle distance, trees and a village. A horseman on a road, with other figures and animals, are introduced by LINGELBACII. Of agreeable composition and careful carrying out.

ADRIAN VAN DE VELDE.-Portrait of a stately man, in a yellowish brown dress, worked with gold, white falling collar and broad-brimmed hat; upon a black horse. Next him a dog. Cows are seen in the landscape, which terminates in hills. The sky is slightly clouded. Signed and dated 1658. Oval. About 8 in. high, 6 in. wide. Very delicately conceived, and of masterly though miniature-like execution in a very harmonious tone.

VAN DE CAPELLA.-A quiet piece of water animated by two groups of foreshortened ships. One of the finest pictures of the master, approaching Cuyp in solidity of execution and transparency of tone.

DAVID VAN TOL.-A woman selling fish and vegetables. On the parapet a relievo. Very clever, and quite in the taste of his master, Gerard Dow.

NICOLAS MAAS.-An old woman seated, taken quite in front, and reading the Bible in her lap through a glass which she holds in her right hand. Before her a spinning-wheel. Upon a chair is a red cushion. Very pleasing in feeling, and approaching Rembrandt in power and glow of colouring.

WILLEM MIERIS.-A woman selling vegetables and game, bargaining with a young man for two partridges, and pointing to a piece of beef in a basket . She is surrounded with cauliflowers, carrots, and small birds. On the window-sill is a relievo of children. On wood. 1 ft. 3 in. high, 1 ft. wide. Executed with his usual finish, but unusually pleasing. The tone is cool.

GREUZE.-A little girl hugging a very small spaniel, with a blue ribbon in her brown hair. The background grey. The childlike feeling is very charming, and the picture carefully
executed in a warm and powerful tone.

ADRIAN VAN OSTADE.-1. A lawyer seated in his room, reading papers. Writing materials on a table; a library behind. In point of truth, transparency of sunny effect, and masterly execution, this is a particularly choice specimen of a subject for which the master had a great predilection.

CUYP.-3. Five cows standing on the shores of the river Maas, partly in the water. Dark clouds overshadow the picture, which is illumined by a soft evening light. Of the best time of the painter. Of deep feeling for nature, and solid execution.

ADRIAN VAN OSTADE.-2. An old woman in a blue dress, a white kerchief round her head, standing with her spindle in the door, the upper half of which is open. Above is a rather thinly growing vine. Signed. The head, which is unusually large for him, is carefully finished in a warm brownish tone, and in admirable body.

CLAUDE LORRAINE.-A seaport, with several vessels. On the right, in the middle- distance, are hills receding deep into the picture. In front, on the shore, are eight female figures. The sky is slightly clouded; the horizon mild and warm. The broad treatment, and the somewhat gloomy and heavy tone of every part, excepting the sky, identify this large picture as one of the later works of the master.

CUYP.-4. Cows near the river Maas; four standing and two reposing. On the right the river is seen outspread; on the left tlie commencement of rising ground. A pendant to the former, and resembling it in lighting, and also in solidity of execution. It surpasses it, however, in beauty of composition.

ADRIAN VAN OSTADE.-3. A man with a jug in a door. Pendant to the foregoing, and still superior to it in transparency of golden tone.

VAN DYCK.-Bust picture of a man in black dress, with white collar. Refined in feeling, and executed in the yellowish luminous flesh-tones of his latest Netherlandish time.

MUUILLO.-A roguish, laughing boy, with a hat and feathers, pointing to the spectator. Very animatedly conceived and painted in a solid and glowing tone approaching Rembrandt.

CORNELIS DUSART.-2. A hand organ-player amusing a peasant family with his music. Happily composed and carefully finished in an harmonious but somewhat cooler tone than usual.

PHILIP WOUVERMANS.-A farrier's-shop, at which the driver of a post-waggon and others have halted with their steeds. Among them is a gentleman on a roan horse, the off forefoot of which the farrier is examining, while one of his workmen stands behind him ready to assist. A woman with a child is at the door of the house, near which is a man holding a bay horse. A grey and a bay horse stand together in the foreground, to the left of which are a woman and two travellers reposing. The distant country is a little hilly and hazy. Signed. On wood. 1 ft. 2^ in. high, 1 ft. 6^ in. wide. Although the general effect is somewhat dark, yet the tones are throughout clear, the composition rich and picturesque, and the execution very solid in his second manner.

DINING-ROOM.

WILLEM VAN DE VELDE.-A calm sea. On the right a small ship of war, with a strongly manned boat approaching it from the centre. On the left, foreshortened, another man-of-war. Here and there are various vessels. A few light sunny clouds in the sky. The foremost vessels are of great power, their reflections of singular transparency, and the gradation of aerial perspective into
the background of the utmost delicacy. In every respect one of the finest works of the master. About 2 ft. 8 in. high, 3 ft. 8 in.wide.

FERDINAND BOL.-Portrait of a young man in hat and feather, and a red coat, looking at the spectator with folded hands. In front a parapet, the background architecture. True and living in
conception, and approaching Rembrandt in power and clearness.

ANOTHER ROOM.

ISAAC VAN OSTADE.-On the left, intersected by the frame, is a house, with a flight of lofty steps leading up to the door. Above, before the door, a figure, and upon the steps two more. Below, in front of the steps, a hunting party resting, among whom a lady in a red dress is conspicuous. Two dogs are also by, with a keeper. On the left is a horseman coming up a hill; in the distance another hilL Very originally composed, and of unusual and almost Rembrandt-like depth of chiaroscuro. In solidity of treatment also this picture approaches the specimen of the master in the late Sir Robert Peel's possession.

ALDEHT VAN EVERDINGEN.-An agitated sea, enlivened with sailing vessels and smaller craft. In the distance the shore, with a three-masted vessel lying on it. Gleams of sunshine break the shadow on the waters, and illumine some clouds with a warm light Even in this unusual subject the great master is recognisable. The tone reminds us of Simon de Vlieger, whom, however, he does not equal in the truthful delineation of the waves.

MICHAEL VAN MUSCHER.-In a room with a high light is a family, with the man looking at himself in the glass. In a further room are two other figures. A very successful picture by this less known master, who in effect and in colouring stands halfway between Peter de Hooghe and Nicolas Maas.

SIMON DE VLIEGER.-View of the river Maas. In front is a strand on which are fishermen. Not far from them are three fishing-boats; further off two vessels of war, each of which is firing a gun. The admirable linear and aerial perspective, the mild glow of the lighting, the transparency of the reflections, the truth of the water, and the solid treatment, all render this picture one of the finest by the master.

LUDOLPH BACKHUYSEN.-A slightly agitated sea, with various vessels, among which a sailing-boat with a broad white flag, in strong foreshortening, is particularly conspicuous. A delicate and picturesque alternation of gleams of light with shadows of clouds varies the surface of the water. An excellent picture of the best time of the master.

JAN WYNANTS.- A large landscape of his late hard and crude time, with which a hunting party introduced by LINGELBACH well corresponds.

B. C. KOEKOEK.-A very meritorious daylight landscape by this popular but very unequal master of the modern Dutch school. Before the door, a figure, and upon the steps two more. Below, in front of the steps, a hunting party resting, among whom a lady in a red dress is conspicuous. Two dogs are also by, with a keeper. On the left is a horseman coming up a hill; in the distance another hill. Very originally composed, and of unusual and almost Rembrandt-like depth of chiaroscuro. In solidity of treatment also this picture approaches the specimen of the master in the late Sir Robert Peel's possession.
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  Noted events in his life were:

• Occupation/Address: Banker, 1841-1851, 26 Hill Street, Berkeley Square, London.

• Picture Gallery:

• 1:

• 2:

Abraham married Charlotte Anne Wilkinson, daughter of Edward Wilkinson and Ann Pearce, on 20 Jan 1808. (Charlotte Anne Wilkinson was christened on 11 May 1788 in Saint Peter, Leeds, Yorkshire ¹² and died on 29 Jul 1865.)