Two Glasses Commemorating Queen Christina of Sweden

Author(s): Joseph Philippe

Source: The Burlington Magazine, Vol. 112, No. 811 (Oct., 1970), pp. 695-698
Published by: The Burlington Magazine Publications, Ltd.
Stable URL: http://www.jstor.org/stable/876477
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SHORTER NOTICES
probable, though generally his drawing style is somewhat
looser.'3 In
any case,
the
drawing
is influenced
by Algardi
like
sheet
124314
in the Gabinetto Nazionale delle
Stampe
in Rome
which
represents
a
single angel carrying
a
sarcophagus.
A second
comparable
sheet
by
Ciro
Ferri,
now at the Metro-
politan
Museum in New
York,
shows a
design
for an altar
(Fig.47).14
Here two
angels,
flanked
by putti,
hold a cross. The
Malta
reliquary
is
certainly
connected to the series of ideas
represented
in these
drawings, as,
in a freer
way,
is
Ferri's
ciborium in S. Maria in Vallicella.
Ferri's
reliquary
in Malta shows
by
the
borrowings
from
Bernini,
Rubens and
Algardi
an eclectic character. Nonetheless
the
particular
combination of the different elements
produces
one of the most beautiful works at the end of the seventeenth
century.
The
reliquary fully
confirms the
opinion
of Nicodemus
Tessin,
who writes: 'Sonsten ist der
Sig
: r
Ferri
sehl universel
...
undt ist er in allerhandt Ornamentem so
reich, prompt
undt
bizzar, alss
ich heut zu
tage
keinen seines
gleichen wuste....
15
On the front of the Oratorium's altar is a bronze roundel
representing
the
Beheading of
St
John
the
Baptist (Fig.5i).16
Like
the ciborio itself the altar is decorated with the arms of
Gregorio
Carafa and
belongs
to the same
complex.
The theme of the
roundel
repeats
that of
Caravaggio's
canvas which stands behind
the
altar,
but the artist of the bronze was not influenced
by
the
painting.
The bronze was cast in Rome and the artist never saw
the
altar-piece.
Comparisons
with other works
by
Ciro
Ferri
strengthen
our
attribution of the work to this artist. Most
important
is the re-
lationship
to the
Ferri
designed
roundels in S. Maria Maddalena
de' Pazzi in
Florence.'7
The
spatial background
as well as the
drapery style
is
very
similar in both. The
figure
of the servant
carrying
the head of St
John
the
Baptist
is
very
much like the
Madonna who holds out the veil to Maria Maddalena de'
Pazzi. '8
The
problem
of the
identity
of the
executing
master is
just
as
hard to answer for this
piece
as for the
reliquary.
One
might
think
of
Foggini.
But
by 1677
he had
already
returned to Flor-
ence. He became court
sculptor
to the Medici in
1687
and would
probably
not have been interested in such a commission after this
date.19
However,
since the commission
may
have been
given
in
the
early eighties, Foggini,
who was
closely
connected with Ciro
Ferri
in the
project
of S. Maria Maddalena de'
Pazzi,
cannot be
excluded.
13 The difference between this
drawing
and most
drawings by Ferri known
until now
may
be due to the fact that this sheet is a finished
drawing.
A
pre-
paratory drawing by Ferri
in
Diisseldorf
for an
engraving recently published by
ECKHARD SCHAAR also differs
considerably
from
Ferri's usual looser
drawing
style
(Meisterzeichnungen
der
Sammlung Krahe, Catalogue, Dilsseldorf [1969],
No.78 Fig.7o).
14 The
drawing
was
kindly brought
to
my
attention
by
Miss
Jennifer Montagu,
London. The sheet
(3I
by 27.3 cm)
is executed in black
chalk,
brown ink
and brown wash. The
drawing
was
acquired by
the
Rogers
Fund for the Metro-
politan
Museum in
1965
at
Colnaghi
in London.
15 OSVALD SIREN: Nicodemus Tessin
d.y.
Studieresor i
Danmark, Tyskland, Holland,
Frankrike
och Italien,
Stockholm
[1914], p.194-
16
Diameter
54 cm.
17
LANKHEIT, op. cit., Figs.5, 6, 9.
18
LANKHEIT, op. cit., Fig.9.
19
We know from Baldinucci that
Foggini
made a relief of the
beheading
of
St
John
the
Baptist;
he is said to have done this work at the
age
of
thirteen;
but it is not stated that this work was a roundel
(cited
in
LANKHEIT,
op.
Cit., p.
233).
One can
hardly
relate this reference to the relief in Malta.
Soldani,
ac-
cording
to his Vita
by
P. M. Conti
(LANKHEIT, Op. Cit., p.241),
is also said to have
done a relief of the
beheading
of the Saint. But in this
case, too, there is no
reason to connect the reference with the roundel in Malta.
Two Glasses
Commemorating
Queen Christina
of
Sweden
BYJOSEPH PHILIPPE
ONLY
daughter of
King
Gustavus
Adolphus, champion
of Pro-
testantism
during the
Thirty
Years' War, and herself
Queen in
1632 at the
age of six, Christina of Sweden is a central
figure in
the
history
of her time. To do her
justice,
she deserves to be
regarded, in the
history
of
Europe,
as an
intelligent, independent
and artistic
sovereign
who broke innumerable traditional
bonds,
not the least of which was the
religion
of her
people. Christina
renounced her
right
to the Swedish throne in
1654-
It was then that her
long journeys
across
Europe began,
in the
Low Countries, in France and
Italy. Throughout
the last
thirty
years of her life she settled in Rome where she
played
a
leading
part in intellectual and artistic circles.
All those, in Sweden and
abroad,
who were able to visit the
great
exhibition devoted to the
memory
of Christina of
Sweden,
organized in Stockholm in
1966,
at the National
Museum, will
recall the crucial
importance
of this manifestation which
pre-
sented a vast
panorama
of
European
cultural life in the seven-
teenth
century, allotting
a
special place
to the life and
activity
of
Christina as a woman, as a
queen,
and as a
patroness
of the arts.
In
I654, Queen
Christina moved to the Low Countries. The
memory
of her
journey
to
Antwerp
is
preserved
in a wheel-
engraved glass (Fig.53)
with a
portrait
of her on horseback
(detail, Fig.56), including
the arms of the
city
and a horn-
blower
(detail, Fig.57)
who seems to be
announcing
the sove-
reign's
arrival. The
armorial bearings
of
Philip
IV which
appear
there remind us that the Southern Netherlands were at that time
under the
Spanish crown.
This
glass, acquired
in Brussels in
August 1931
and
preserved
in the Glass Museum at
Liege
(Inv.
No.
B/2283),
is
apparently
the
production
of the Bonhomme
workshop, master-glaziers
of
Liege
who,
about the middle of the seventeenth
century acquired
the
monopoly
of the manufacture of
glasses 'd
la
fafon
de Venise'
for the whole of the Low Countries. It was at the
special request
of the
King
of
Sweden,
on a visit to
Liege
on
2oth April 1966,
that
it was
brought
to the Stockholm exhibition.'
Since
then,
a second
glass
with two
images
of
Queen
Christina
has made its
appearance.
This is a
fltfte certainly engraved
in
the North Netherlands in the seventeenth
century (Fig.52).
Like the other
glass,
this one comes from the ancient
Liege
collection of Armand
Baar,
now housed in the Glass Museum
at
Liege.
It is a
transparent champagne glass2
(36.7 by 6.9 cm)
of the seventeenth
century coming
from the
Li*ge collection
of Schuermans
(1908). Its tall bowl is
separated from a cir-
cular ridged foot by a hollow
pearshaped stem. It has two
engravings cut by a diamond
showing two busts of
Queen
Christina, one dressed as a woman
(detail
Fig.55),3
the other
as a man (detail, Fig.54). We must remember that the
painter
Justus van Egmont (1602-74) did a
portrait of the
Sovereign
in armour in
1654.4
1
'Christina
Queen
of
Sweden', Exhibition
Catalogue,
Stockholm
[1966],
No.
543. See also: A. BAAR: 'Verrieries des
Flandres, Fabrication
li6geoise',
Revue
belge
d'archeologie
et d'histoire de l'art
[1938], p.225;
R. CHAMBON: Histoire de la
Verrerie en
Belgique
[I9551, p.32I
(pl.27).
2 Cf. 'Trois
mill6naires
d'Art
verrier', Exhibition
Catalogue, Liege [1958],
No.587, illus.
3
For the
hairstyle,
see
catalogue
'Christina
Queen
of
Sweden', No.43,
pl.3.
4
Catalogue
'Christina
Queen
of
Sweden', No.546, pl.33.
695 695
Two Glasses
Commemorating
Queen Christina
of
Sweden
BYJOSEPH PHILIPPE
ONLY
daughter of
King
Gustavus
Adolphus, champion
of Pro-
testantism
during the
Thirty
Years' War, and herself
Queen in
1632 at the
age of six, Christina of Sweden is a central
figure in
the
history
of her time. To do her
justice,
she deserves to be
regarded, in the
history
of
Europe,
as an
intelligent, independent
and artistic
sovereign
who broke innumerable traditional
bonds,
not the least of which was the
religion
of her
people. Christina
renounced her
right
to the Swedish throne in
1654-
It was then that her
long journeys
across
Europe began,
in the
Low Countries, in France and
Italy. Throughout
the last
thirty
years of her life she settled in Rome where she
played
a
leading
part in intellectual and artistic circles.
All those, in Sweden and
abroad,
who were able to visit the
great
exhibition devoted to the
memory
of Christina of
Sweden,
organized in Stockholm in
1966,
at the National
Museum, will
recall the crucial
importance
of this manifestation which
pre-
sented a vast
panorama
of
European
cultural life in the seven-
teenth
century, allotting
a
special place
to the life and
activity
of
Christina as a woman, as a
queen,
and as a
patroness
of the arts.
In
I654, Queen
Christina moved to the Low Countries. The
memory
of her
journey
to
Antwerp
is
preserved
in a wheel-
engraved glass (Fig.53)
with a
portrait
of her on horseback
(detail, Fig.56), including
the arms of the
city
and a horn-
blower
(detail, Fig.57)
who seems to be
announcing
the sove-
reign's
arrival. The
armorial bearings
of
Philip
IV which
appear
there remind us that the Southern Netherlands were at that time
under the
Spanish crown.
This
glass, acquired
in Brussels in
August 1931
and
preserved
in the Glass Museum at
Liege
(Inv.
No.
B/2283),
is
apparently
the
production
of the Bonhomme
workshop, master-glaziers
of
Liege
who,
about the middle of the seventeenth
century acquired
the
monopoly
of the manufacture of
glasses 'd
la
fafon
de Venise'
for the whole of the Low Countries. It was at the
special request
of the
King
of
Sweden,
on a visit to
Liege
on
2oth April 1966,
that
it was
brought
to the Stockholm exhibition.'
Since
then,
a second
glass
with two
images
of
Queen
Christina
has made its
appearance.
This is a
fltfte certainly engraved
in
the North Netherlands in the seventeenth
century (Fig.52).
Like the other
glass,
this one comes from the ancient
Liege
collection of Armand
Baar,
now housed in the Glass Museum
at
Liege.
It is a
transparent champagne glass2
(36.7 by 6.9 cm)
of the seventeenth
century coming
from the
Li*ge collection
of Schuermans
(1908). Its tall bowl is
separated from a cir-
cular ridged foot by a hollow
pearshaped stem. It has two
engravings cut by a diamond
showing two busts of
Queen
Christina, one dressed as a woman
(detail
Fig.55),3
the other
as a man (detail, Fig.54). We must remember that the
painter
Justus van Egmont (1602-74) did a
portrait of the
Sovereign
in armour in
1654.4
SHORTER NOTICES
13 The difference between this
drawing
and most
drawings by Ferri known
until now
may
be due to the fact that this sheet is a finished
drawing.
A
pre-
paratory drawing by Ferri
in
Diisseldorf
for an
engraving recently published by
ECKHARD SCHAAR also differs
considerably
from
Ferri's usual looser
drawing
style
(Meisterzeichnungen
der
Sammlung Krahe, Catalogue, Dilsseldorf [1969],
No.78 Fig.7o).
14 The
drawing
was
kindly brought
to
my
attention
by
Miss
Jennifer Montagu,
London. The sheet
(3I
by 27.3 cm)
is executed in black
chalk,
brown ink
and brown wash. The
drawing
was
acquired by
the
Rogers
Fund for the Metro-
politan
Museum in
1965
at
Colnaghi
in London.
15 OSVALD SIREN: Nicodemus Tessin
d.y.
Studieresor i
Danmark, Tyskland, Holland,
Frankrike
och Italien,
Stockholm
[1914], p.194-
16
Diameter
54 cm.
17
LANKHEIT, op. cit., Figs.5, 6, 9.
18
LANKHEIT, op. cit., Fig.9.
19
We know from Baldinucci that
Foggini
made a relief of the
beheading
of
St
John
the
Baptist;
he is said to have done this work at the
age
of
thirteen;
but it is not stated that this work was a roundel
(cited
in
LANKHEIT,
op.
Cit., p.
233).
One can
hardly
relate this reference to the relief in Malta.
Soldani,
ac-
cording
to his Vita
by
P. M. Conti
(LANKHEIT, Op. Cit., p.241),
is also said to have
done a relief of the
beheading
of the Saint. But in this
case, too, there is no
reason to connect the reference with the roundel in Malta.
probable, though generally his drawing style is somewhat
looser.'3 In
any case,
the
drawing
is influenced
by Algardi
like
sheet
124314
in the Gabinetto Nazionale delle
Stampe
in Rome
which
represents
a
single angel carrying
a
sarcophagus.
A second
comparable
sheet
by
Ciro
Ferri,
now at the Metro-
politan
Museum in New
York,
shows a
design
for an altar
(Fig.47).14
Here two
angels,
flanked
by putti,
hold a cross. The
Malta
reliquary
is
certainly
connected to the series of ideas
represented
in these
drawings, as,
in a freer
way,
is
Ferri's
ciborium in S. Maria in Vallicella.
Ferri's
reliquary
in Malta shows
by
the
borrowings
from
Bernini,
Rubens and
Algardi
an eclectic character. Nonetheless
the
particular
combination of the different elements
produces
one of the most beautiful works at the end of the seventeenth
century.
The
reliquary fully
confirms the
opinion
of Nicodemus
Tessin,
who writes: 'Sonsten ist der
Sig
: r
Ferri
sehl universel
...
undt ist er in allerhandt Ornamentem so
reich, prompt
undt
bizzar, alss
ich heut zu
tage
keinen seines
gleichen wuste....
15
On the front of the Oratorium's altar is a bronze roundel
representing
the
Beheading of
St
John
the
Baptist (Fig.5i).16
Like
the ciborio itself the altar is decorated with the arms of
Gregorio
Carafa and
belongs
to the same
complex.
The theme of the
roundel
repeats
that of
Caravaggio's
canvas which stands behind
the
altar,
but the artist of the bronze was not influenced
by
the
painting.
The bronze was cast in Rome and the artist never saw
the
altar-piece.
Comparisons
with other works
by
Ciro
Ferri
strengthen
our
attribution of the work to this artist. Most
important
is the re-
lationship
to the
Ferri
designed
roundels in S. Maria Maddalena
de' Pazzi in
Florence.'7
The
spatial background
as well as the
drapery style
is
very
similar in both. The
figure
of the servant
carrying
the head of St
John
the
Baptist
is
very
much like the
Madonna who holds out the veil to Maria Maddalena de'
Pazzi. '8
The
problem
of the
identity
of the
executing
master is
just
as
hard to answer for this
piece
as for the
reliquary.
One
might
think
of
Foggini.
But
by 1677
he had
already
returned to Flor-
ence. He became court
sculptor
to the Medici in
1687
and would
probably
not have been interested in such a commission after this
date.19
However,
since the commission
may
have been
given
in
the
early eighties, Foggini,
who was
closely
connected with Ciro
Ferri
in the
project
of S. Maria Maddalena de'
Pazzi,
cannot be
excluded.
1
'Christina
Queen
of
Sweden', Exhibition
Catalogue,
Stockholm
[1966],
No.
543. See also: A. BAAR: 'Verrieries des
Flandres, Fabrication
li6geoise',
Revue
belge
d'archeologie
et d'histoire de l'art
[1938], p.225;
R. CHAMBON: Histoire de la
Verrerie en
Belgique
[I9551, p.32I
(pl.27).
2 Cf. 'Trois
mill6naires
d'Art
verrier', Exhibition
Catalogue, Liege [1958],
No.587, illus.
3
For the
hairstyle,
see
catalogue
'Christina
Queen
of
Sweden', No.43,
pl.3.
4
Catalogue
'Christina
Queen
of
Sweden', No.546, pl.33.
Ruskin and Turner: A riddle resolved
BY LUKE HERRMANN
WHEN
working
on Ruskin and
Turner'
it
proved impossible
to
locate
any
information other than that
given by
Cook and
Wedderburn2 about the Mrs
Cooper
from
whom,
in
1858,
Ruskin
purchased
the Loire
drawings
which formed the nucleus
of his
1861
gift
of Turner
drawings
to Oxford.
By
an extra-
ordinary
coincidence a clue to her
identity
was
discovered,
within a few
days
of the
publication
of the
book, by
Dr Kurt F.
Pantzer,
of
Indianapolis.
At that time he
purchased
in America
a series of six notebooks
containing
various lists and other details
of the Turner collections of Charles
Stokes,
friend and stock-
broker of
J.
M. W.
Turner, and,
as has now been
revealed,
uncle of Mrs
Cooper.3
From the second of these notebooks it
appears
that Mrs
Cooper
inherited from her
uncle,
who died on 28th December
1853,
a considerable collection of
drawings
and water-colours
by Turner,
and some
examples by
several of his
contemporaries.
Though
Mrs
Cooper
is included as one of his
monetary
heirs in
Charles Stokes's
Will,
there is no
specific
mention of the
drawings,
and it must be
presumed
that these came to Hannah
Cooper
as
the result of a wish
expressed by
Stokes
during
the last weeks or
days
of his life
(his
Will was
signed
on
I Ith June 1853).
Nor does
the Will in
any way
refer to
Mary
Constance
Clarke,
who re-
ceived Stokes's well-known collection of Turner's Liber
Studiorum,4
probably
under the same circumstances.
Mary
Clarke does not
appear
to have been a
relative,
and it has so far
proved impossible
to discover
any
more
concerning
her.
As was
already known,
Mrs
Cooper
was the wife of the Rev.
James Cooper,
who was Third Master at St Paul's School from
1824
until his retirement in 1861. She was the
daughter
of
Mary
Anna and Thomas
Hughes,
her mother
being
the sister of
Charles Stokes. The
Hughes's
eldest
son,
also
Thomas,
was
Stokes's
residuary legatee,
and in the event of his
predeceasing
him this would have been Hannah
Cooper.
Her
brother,
Thomas
Hughes,
and her
husband, James Cooper,
were the two execu-
tors to whom administration of the Will was
granted
on
7th
January 1854.
From
James Cooper's Will,
which was drawn
up
in
April 1872,
we know that Hannah
Cooper
had died
by
that
date.5
The majority
of the
pages
which have been used in the second
of the six notebooks are devoted to several
lists,
in Hannah
Cooper's hand,
of the
drawings
which she received from her
uncle.
Among
these
pride
of
place
was
clearly given
to the
seventeen
drawings engraved
for Turner's Annual Tour
-
The
Loire in
1833.
We learn that there were
originally twenty-four
of these
drawings,
and that
they
were
purchased by
Stokes from
Turner
through
Mr Thomas Griffith of Norwood for 6oo
guineas
on
31St May 1850;
Stokes
'parted
with and
exchanged
some of
them
during
his lifetime'. Some idea of the
paper having
faded
with
great rapidity
is
given by
Mrs
Cooper's description
of the
drawings
as 'on blue,
or as it is sometimes called
grey, paper'."
On folio
9
of this notebook we find full confirmation of Ruskin's
purchase
of these
drawings
in the terse
entry: '17 Engraved
Drawings
of the Loire
parted
with
Febr.
i
Ith 1858
to Mr
Ruskin for 1000
gs.'7
These seventeen
drawings
are
Nos.29, 31,
35,
and
38
to
51
in the
Catalogue of
the Turner
Drawings
in the
Ashmolean Museum. Four of the
unengraved
Loire
drawings
at
Oxford
(Nos.32, 33, 34,
and
36),
and the
drawing
of the Coast
of
Genoa
(No.28),
were
among
the ten
unengraved drawings
which
Ruskin had
purchased
from Mrs
Cooper
on the
preceding day
for
50 guineas
each. Three of these ten
drawings, Namur, Huy,
and
Orleans,
later formed
part
of his 1861 Gift to the Fitzwilliam
Museum. Mrs
Cooper
had herself
acquired
some of these draw-
ings by exchange
on
I3th February
1854.
Unfortunately
Mrs
Cooper's
lists are somewhat confused and
repetitive,
and the titles she uses are too indefinite to make
possible
firm identifications of other
drawings
which
may
have
been
acquired
from her
by
Ruskin. His
long
letter to Dr
Acland,
written in March
I86I,8
describing
his
gift
to
Oxford,
states that
two further
drawings, (?) Yarmouth, Norfolk (No.23)
and Scene on
the Meuse
(No.27),
were
definitely purchased
from Mrs
Cooper.
From Ruskin we also learn that Mrs
Cooper gave
him the
early
sketch of The Tower
of Oxford Cathedral, from
the Garden
of Corpus
Christi
College,
which was
No.77
in the
1878
Exhibition of his
Turner
drawings,9
and from his note on that sheet we ascertain
that three other
drawings
in the same Exhibition
(Nos.56, 55,
and
53)
were
purchased
from Mrs
Cooper.
Two of these
three,
Rouen and
Dinant,
can be identified in Mrs
Cooper's
lists. This is
the first reference
by
Ruskin to Mrs
Cooper
since several made
in March
I861,
at the time of his
gift
to Oxford. In a letter
written that month to his
father,
Ruskin
gives
his reasons for
declining (against
the elder Ruskin's
wishes)
an invitation from
Lord Palmerston to
stay
at
Broadlands,
but continues: 'If
you
are
really
set
upon it, give
me four more of Griffith's or Mrs
Cooper's
sketches
(which will,
I
suppose,
be soon on the
market)
for the four
days
I lose . .
.'.10
The Rev.
James Cooper resigned
from St Paul's School in
1861,
and this is
presumably
the reason
for Mrs
Cooper's being likely
to undertake further sales of her
drawings.
Our knowledge
of Mrs
Cooper
remains minimal, but we have
one further valuable
piece
of information concerning
her contacts
with Ruskin. This comes from an
unpublished
letter written to
Ruskin on
31Ist July 1858, by
the artist
George Jones,
friend and
executor of Turner.
Having
commented favourably
on Ruskin's
recent
arrangement
of a selection of drawings
from the Turner
Bequest
at Marlborough House, Jones
continues: 'The mode in
which
you
directed Mrs
Cooper
to have her collection preserved,
is certainly
the best I have ever seen, for security
and con-
1
LUKE HERRMANN: Ruskin and
Turner,
London
[1968].
2The Works of John Ruskin,
edited
by
E. T. COOK and ALEXANDER WEDDERBURN,
Vol.XIII, p.462, n.4.
3 I am most
grateful
to Dr Pantzer for
sending
me
copies
of the
Cooper
Note-
books,
and for
allowing
me to
publish
the information
concerning
the Oxford
drawings
in this note. The earlier
history
of the Notebooks is,
as
yet, uncertain,
but
they
were
definitely seen,
and
perhaps owned, by
W. G. Rawlinson.
*See
Notes amd Memoranda
respecting
the Liber Studiorum
of J.
M. W. Turner,
R.A. written and collected
by
the late
John Pye,
edited
by J.
L. ROGET
[1879], pp.
92-3;
and
w.
G. RAWLINSON:
Turner's Liber Studiorum
[19o6],
pp.1-li
and 6.
5 I am also indebted to Dr Pantzer for
sending
me
copies
of Charles Stokes's
Will and
family
tree and of the Rev.
James Cooper's
Will. These were located
for him
by
Mr C. Matthew Farrer.
6
Cooper Notebooks, Vol.II, fol.Io.
The faded condition of the
paper
of the
Loire
drawings
is discussed on
pp.29
and
71
of Ruskin and Turner.
7
See also Ruskin and
Turner, p.28.
8
Quoted
in full on
pp.32-4
of Ruskin and Turner.
o
The Works
of John Ruskin, Vol.XIII, pp.462-3.
10
Loc.
cit., Vol.XXXVI, p.36o.
696
SHORTER NOTICES
Thus in
Liege,
where other artistic connections5 with Sweden
are
recorded,
two
glasses
commemorate a
Queen
who was a
great
European
avant
la lettre,
an
exceptional Sovereign
who still
intrigues
and fascinates us.
5
Cf.
J.
PHILIPPE: 'La Suede et
l'ancienne Principaut6
de
Liege. Correspond-
ances
esth6tiques',
Konsthistorisk
Tidschrift [1967],
pp.143-149.
SHORTER NOTICES
1
LUKE HERRMANN: Ruskin and
Turner,
London
[1968].
2The Works of John Ruskin,
edited
by
E. T. COOK and ALEXANDER WEDDERBURN,
Vol.XIII, p.462, n.4.
3 I am most
grateful
to Dr Pantzer for
sending
me
copies
of the
Cooper
Note-
books,
and for
allowing
me to
publish
the information
concerning
the Oxford
drawings
in this note. The earlier
history
of the Notebooks is,
as
yet, uncertain,
but
they
were
definitely seen,
and
perhaps owned, by
W. G. Rawlinson.
*See
Notes amd Memoranda
respecting
the Liber Studiorum
of J.
M. W. Turner,
R.A. written and collected
by
the late
John Pye,
edited
by J.
L. ROGET
[1879], pp.
92-3;
and
w.
G. RAWLINSON:
Turner's Liber Studiorum
[19o6],
pp.1-li
and 6.
5 I am also indebted to Dr Pantzer for
sending
me
copies
of Charles Stokes's
Will and
family
tree and of the Rev.
James Cooper's
Will. These were located
for him
by
Mr C. Matthew Farrer.
Thus in
Liege,
where other artistic connections5 with Sweden
are
recorded,
two
glasses
commemorate a
Queen
who was a
great
European
avant
la lettre,
an
exceptional Sovereign
who still
intrigues
and fascinates us.
Cooper's hand,
of the
drawings
which she received from her
uncle.
Among
these
pride
of
place
was
clearly given
to the
seventeen
drawings engraved
for Turner's Annual Tour
-
The
Loire in
1833.
We learn that there were
originally twenty-four
of these
drawings,
and that
they
were
purchased by
Stokes from
Turner
through
Mr Thomas Griffith of Norwood for 6oo
guineas
on
31St May 1850;
Stokes
'parted
with and
exchanged
some of
them
during
his lifetime'. Some idea of the
paper having
faded
with
great rapidity
is
given by
Mrs
Cooper's description
of the
drawings
as 'on blue,
or as it is sometimes called
grey, paper'."
On folio
9
of this notebook we find full confirmation of Ruskin's
purchase
of these
drawings
in the terse
entry: '17 Engraved
Drawings
of the Loire
parted
with
Febr.
i
Ith 1858
to Mr
Ruskin for 1000
gs.'7
These seventeen
drawings
are
Nos.29, 31,
35,
and
38
to
51
in the
Catalogue of
the Turner
Drawings
in the
Ashmolean Museum. Four of the
unengraved
Loire
drawings
at
Oxford
(Nos.32, 33, 34,
and
36),
and the
drawing
of the Coast
of
Genoa
(No.28),
were
among
the ten
unengraved drawings
which
Ruskin had
purchased
from Mrs
Cooper
on the
preceding day
for
50 guineas
each. Three of these ten
drawings, Namur, Huy,
and
Orleans,
later formed
part
of his 1861 Gift to the Fitzwilliam
Museum. Mrs
Cooper
had herself
acquired
some of these draw-
ings by exchange
on
I3th February
1854.
Unfortunately
Mrs
Cooper's
lists are somewhat confused and
repetitive,
and the titles she uses are too indefinite to make
possible
firm identifications of other
drawings
which
may
have
been
acquired
from her
by
Ruskin. His
long
letter to Dr
Acland,
written in March
I86I,8
describing
his
gift
to
Oxford,
states that
two further
drawings, (?) Yarmouth, Norfolk (No.23)
and Scene on
the Meuse
(No.27),
were
definitely purchased
from Mrs
Cooper.
From Ruskin we also learn that Mrs
Cooper gave
him the
early
sketch of The Tower
of Oxford Cathedral, from
the Garden
of Corpus
Christi
College,
which was
No.77
in the
1878
Exhibition of his
Turner
drawings,9
and from his note on that sheet we ascertain
that three other
drawings
in the same Exhibition
(Nos.56, 55,
and
53)
were
purchased
from Mrs
Cooper.
Two of these
three,
Rouen and
Dinant,
can be identified in Mrs
Cooper's
lists. This is
the first reference
by
Ruskin to Mrs
Cooper
since several made
in March
I861,
at the time of his
gift
to Oxford. In a letter
written that month to his
father,
Ruskin
gives
his reasons for
declining (against
the elder Ruskin's
wishes)
an invitation from
Lord Palmerston to
stay
at
Broadlands,
but continues: 'If
you
are
really
set
upon it, give
me four more of Griffith's or Mrs
Cooper's
sketches
(which will,
I
suppose,
be soon on the
market)
for the four
days
I lose . .
.'.10
The Rev.
James Cooper resigned
from St Paul's School in
1861,
and this is
presumably
the reason
for Mrs
Cooper's being likely
to undertake further sales of her
drawings.
Our knowledge
of Mrs
Cooper
remains minimal, but we have
one further valuable
piece
of information concerning
her contacts
with Ruskin. This comes from an
unpublished
letter written to
Ruskin on
31Ist July 1858, by
the artist
George Jones,
friend and
executor of Turner.
Having
commented favourably
on Ruskin's
recent
arrangement
of a selection of drawings
from the Turner
Bequest
at Marlborough House, Jones
continues: 'The mode in
which
you
directed Mrs
Cooper
to have her collection preserved,
is certainly
the best I have ever seen, for security
and con-
5
Cf.
J.
PHILIPPE: 'La Suede et
l'ancienne Principaut6
de
Liege. Correspond-
ances
esth6tiques',
Konsthistorisk
Tidschrift [1967],
pp.143-149.
Ruskin and Turner: A riddle resolved
BY LUKE HERRMANN
WHEN
working
on Ruskin and
Turner'
it
proved impossible
to
locate
any
information other than that
given by
Cook and
Wedderburn2 about the Mrs
Cooper
from
whom,
in
1858,
Ruskin
purchased
the Loire
drawings
which formed the nucleus
of his
1861
gift
of Turner
drawings
to Oxford.
By
an extra-
ordinary
coincidence a clue to her
identity
was
discovered,
within a few
days
of the
publication
of the
book, by
Dr Kurt F.
Pantzer,
of
Indianapolis.
At that time he
purchased
in America
a series of six notebooks
containing
various lists and other details
of the Turner collections of Charles
Stokes,
friend and stock-
broker of
J.
M. W.
Turner, and,
as has now been
revealed,
uncle of Mrs
Cooper.3
From the second of these notebooks it
appears
that Mrs
Cooper
inherited from her
uncle,
who died on 28th December
1853,
a considerable collection of
drawings
and water-colours
by Turner,
and some
examples by
several of his
contemporaries.
Though
Mrs
Cooper
is included as one of his
monetary
heirs in
Charles Stokes's
Will,
there is no
specific
mention of the
drawings,
and it must be
presumed
that these came to Hannah
Cooper
as
the result of a wish
expressed by
Stokes
during
the last weeks or
days
of his life
(his
Will was
signed
on
I Ith June 1853).
Nor does
the Will in
any way
refer to
Mary
Constance
Clarke,
who re-
ceived Stokes's well-known collection of Turner's Liber
Studiorum,4
probably
under the same circumstances.
Mary
Clarke does not
appear
to have been a
relative,
and it has so far
proved impossible
to discover
any
more
concerning
her.
As was
already known,
Mrs
Cooper
was the wife of the Rev.
James Cooper,
who was Third Master at St Paul's School from
1824
until his retirement in 1861. She was the
daughter
of
Mary
Anna and Thomas
Hughes,
her mother
being
the sister of
Charles Stokes. The
Hughes's
eldest
son,
also
Thomas,
was
Stokes's
residuary legatee,
and in the event of his
predeceasing
him this would have been Hannah
Cooper.
Her
brother,
Thomas
Hughes,
and her
husband, James Cooper,
were the two execu-
tors to whom administration of the Will was
granted
on
7th
January 1854.
From
James Cooper's Will,
which was drawn
up
in
April 1872,
we know that Hannah
Cooper
had died
by
that
date.5
The majority
of the
pages
which have been used in the second
of the six notebooks are devoted to several
lists,
in Hannah
6
Cooper Notebooks, Vol.II, fol.Io.
The faded condition of the
paper
of the
Loire
drawings
is discussed on
pp.29
and
71
of Ruskin and Turner.
7
See also Ruskin and
Turner, p.28.
8
Quoted
in full on
pp.32-4
of Ruskin and Turner.
o
The Works
of John Ruskin, Vol.XIII, pp.462-3.
10
Loc.
cit., Vol.XXXVI, p.36o.
696
52. Flute, showing Queen
Christina
of
Sweden in male Costume. Netherlandish, seven-
teenth
century. Engraved
with diamond.
(Musee
du Verre, Liege.) Copyright
ACL Brussels.
53. Glass, showing Equestrian
Portrait
of Queen
Christina
of
Sweden and Arms
of Spain, by
the
Liege
glass-making family
Bon-
homme.
Netherlandish,
mid-seventeenth
century. (Mus6e
du
Verre, Liege.) Copyright
ACL Brussels.
54.
Detail from
FlUte
reproduced
in
Fig.52, showing Queen
Christina
of
Sweden in male costume. Photo. Cl. Dessart.
55.
Detail from
Flute
reproduced
in
Fig.52, showing Queen
Christina
of
Sweden in Female costume. Photo Cl. Dessart.
56.
Detail from Glass
reproduced
in
Fig.53, showing Equestrian
Portrait
of
Queen
Christina
of
Sweden between the Arms
of Spain
and those
of Antwerp.
Enlargement.
Photo. Cl. Dessart.
57.
Detail from Glass
reproduced
in
Fig.53, showing
Arms
of Antwerp
and
Horn-blower.
Enlargement.
Photo Cl. Dessart.