Louis Huth - Knowledge

269:

pictures by John Crome were copies by other hands and purchased as such, but that he and his brother Louis passed them off as originals. And while the painter W. P. Frith RA regarded Charles a generous and intelligent patron, Evan R. Firestone considered Huth to be a dealer. While it is true that Huth did dispose of items from his collection during his lifetime, including several works he owned by Whistler, that factor in itself does not justify his classification as a dealer rather than a collector or connoisseur. Apart from discussion of his role in the purchase and sale of a number of works, less than ten, attributed to John Crome, insufficient examination and analysis of his buying and selling of art has been done to enable firm conclusions to be reached. Nevertheless, it seems unlikely that a man born into and inheriting considerable wealth, who continued to derive significant financial returns from his share in the bank of Huth and Co in which he was a partner until his death (albeit not actively involved in its management), would have had any need to find alternative sources of remuneration. It also seems unlikely, if not impossible, that Huth, a member of a leading banking family and partnership, would knowingly engage in sharp practice of the sort alleged regarding the paintings by John Crome – a practice that, if uncovered, would destroy his reputation and seriously damage to that of his family and the bank.

196:, who had close connections to the Pre-Raphaelite Brotherhood artists, including Dante Gabriel Rossetti (1828–82). These important busts, both inscribed with Munro’s distinctive monogram, were exhibited at the Royal Academy in 1860, although by 2009 they were recorded as untraced. The busts are very finely modelled and carved. The face of the young Helen is beautiful but not idealised. The sculptor has dressed her detailed hair with orange blossom, traditionally an indication by brides of their hope of fecundity, as the orange tree is prolific in its production of fruit; and the blossom, being white, is a symbol of innocence and chastity. Helen Huth was also painted by Watts in a head and shoulders portrait in the early 1860s. The importance of the Huths in Watts' oeuvre of portraits cannot be under-estimated. Apart from four other women, Watts painted more portraits of Helen than any other – four in total – which, as Bryant noted, 'sheds light on the interaction between sitter and portraitist.' Next Helen Huth was painted by Whistler, in a painting entitled 256:), albeit Louis' widow, Helen, took a life interest in the income from that sum; she also received £4,000 and the London house in Mayfair, as well as certain other personal effects at Possingworth and Mayfair. Huth bequeathed her a life-interest in the family portraits (those at Possingworth and at Mayfair) and in the furniture and pictures at the house in Mayfair; upon her death the family portraits were to become the property of his nephew, Edward Huth. Given her life-interest in the family portraits, Helen How must have agreed with her late husband's nephew Edward, the ultimate beneficiary of the family portraits, that he could sell her portrait by Whistler to Viscount Cowdray the year before Helen died. Edward would have been required also to agree to Helen’s private sale to Sir Hugh Lane of one of her portraits by George Watts, who gave it to the Dublin City Gallery in 1908. Helen's death resulted in the 'termination of life interest' and the artworks remaining with her were sold in April 1925. 260:

paintings by Corot (3) and Fantin-Latour (3) of the French school, and paintings described as by Van Dyck and Titian. While a number of the attributions given in the sales catalogue have with the passage of time been re-assessed by art historians, so that some works given to the masters are now regarded as copies only, and not necessarily by the master’s studio, nevertheless significant prices were paid for many of the pictures, and the sale, comprising 145 lots in total, raised the significant sum then of over £50,000. An important portrait in the collection, whose attribution of authorship has stood the test of time, was lot 98, by Thomas Gainsborough RA, ‘Portrait of Mr Vestris, a Celebrated Dancer, in pale blue coat, with white vest and stock, powdered hair. Oval, 28½ in by 23 in. Exhibited at the Grosvenor Gallery, 1885’. It was sold to Asher Wertheimer for 4,550 guineas. Wertheimer subsequently proudly announced his acquisition of the painting, having it reproduced as the frontispiece to the

243:

1867, after a fight with his brother-in-law, Francis Seymour Haden, in a Parisian café, over the latter’s shoddy treatment of one of Whistler’s friends. Haden was also a member of the Club and in the aftermath of the fight campaigned for Whistler to be excluded from the club, having brought to its attention several alleged previous incidents of assault involving Whistler. Whistler refused to resign voluntarily and insisted on having the subject considered officially. After numerous accounts and interviews with relevant parties, including Huth, Whistler was expelled at the special meeting of the Club on 13 December. Huth, a strong supporter of Whistler, was sympathetic to his position, and after the expulsion clearly went on to commission or purchase a number of important works by Whistler.

40:(1837-1924), were significant patrons of the arts, not only possessing a large number of paintings by some of the greatest British artists of the eighteenth and nineteenth centuries, but also commissioning works from contemporary artists. Their collection included paintings by artists of the Aesthetic and Symbolist movements, such as James McNeill Whistler RA (1834–1903) and G. F. Watts OM RA (1817 –1904), by both of whom Helen Huth was portrayed in important paintings. Huth, whose collecting extended to antique porcelain, was also a leading influence on the activities of one of the greatest art collectors and connoisseurs of the late Victorian era and the Edwardian years, George Salting (1835-1909), who ultimately left his outstanding collection of art to the British nation. 159:, East Sussex, a red-brick neo-gothic mansion, built by the Uckfield firm of Alexander Cheadle. Possingworth served as Huth's country house. Apparently, it contained 'forty-two bedrooms with a wealth of oak panelling and huge, intricately carved stone fireplaces in lofty reception rooms with beautifully moulded and painted ceilings. Squire Huth and his wife brought to Possingworth the graciousness of the Victorian age, holding elegant dinner parties and lavish dances and balls.' Huth was very generous to the local community near Possingworth, providing a range of social benefits and paying for certain improvements to and objects for the church. 289:, called a ginger-jar, which was sold at Christie's, when the Huth collection came under the hammer, for no less than £6,195, a huge sum in those days. This oviform (or egg-shaped) vase (lot 31 in the 1905 sale) measures 10¼ inches in height. It is decorated with branches of white prunus-blossom, upon a ground of blue which looks as if marbled. It is an example of the white upon blue, rather than blue upon white. On 3 August 1866, Rossetti had gone to see Huth's famous 'ginger-jar'. The vase's latest outing was also at Christie's, London, on 7 April 1997, where it was sold for £24,000 (an indication of how prices have fallen). 319:

oriental ceramics of great quality and in great quantity.’ In Salting’s collecting of ceramics, the influence of Huth – by whom ‘he had been introduced to the beauty of the art form’ – was pivotal, as is recorded by several writers. By his will, dated 14 October 1889, Salting also gave various pecuniary legacies, including £2,000 to Huth ‘who’, as Rubin has stated, ‘is credited with guiding salting’s early collecting’. Huth’s death in 1905 would have caused the legacy to lapse, but Salting obviously took no steps then or in the remaining four years of his own life to re-write the will or to add a codicil to it.

172:; whatever he did immediately became the fashion for all the bucks in town, and when he noticed a young lady (of whom there were a number of pretty ones) her fortune was made.' It was obviously something of a relief to his parents when in 1854, at the age of 33 Huth, ‘the great bachelor’, disclosed his secret romance with Helen Ogilvy, aged 17 (daughter of Thomas Ogilvy of Corrimony, Inverness-shire), whom he then married on 11 April the following year. Mrs Huth was some sixteen and a half years younger than her husband, having been born in September 1837. 19: 49: 252:

not his portrait of Mrs Huth. Her portrait by Whistler is in the collection of the Viscount Cowdray having apparently been sold to Weetman Pearson, 1st Viscount Cowdray, in 1923 (a year before Huth's widow died) by Edward Huth, a nephew of Huth. In that regard, Huth's will is instructive. Louis and Helen Huth had no children. Huth left £100,000 to his partners in the firm of Frederick Huth and Co., which included two nephews (one of them being Edward Huth) and one great-nephew (

89:, later Queen Regent, and in due course became financial agent for the Spanish government, for which Huth was rewarded with a knighthood by the Spanish crown. Gradually Huth and Co expanded its business in Europe, particularly Germany, and extended its operations to the Americas, becoming a major accepting house concerned with financing international trade and marketing securities; and by the end of the 1840s the Huths ranked 'immediately below such companies as 192:, Oxford) which has now disappeared, and he painted her again in a full-length portrait around 1857, two years after her wedding, a portrait that 'enjoyed considerable status as part of the noted collection of modern art featuring the work of Watts and Whistler that the sitter and her husband formed after their marriage in 1855.' Both Louis and Helen Huth were depicted in recently re-discovered marble portrait busts by a leading sculptor of the Victorian age, 298:

Victoria and Albert Museum) and the National Gallery, and which bequest ultimately meant that 'Over 2,500 objects went to the Victoria and Albert Museum (V&A), 153 prints and 291 drawings were selected for the British Museum, and 192 paintings were chosen for the National Gallery. The range, as well as the quantity and quality of the works, remains astonishing. They include such iconic masterpieces as Nicholas Hilliard's miniature of the

434:, including photographs from the collection of Barry K. Russell, Tartarus Press, Horam, Sussex, 2000 (hereafter Waldron), p. 49; and Chidson, pp. 14–18. The house, now called Holy Cross Priory, is owned and run by a modern order of nuns, the Sisters of Grace and Compassion, founded for the care of the elderly, and serves as a residential home for around forty elderly patients as well as a centre for respite care. 315:

recent years – before the pupil had seriously entered the pursuit of objects of art.' Another commentator has noted that following his father’s death and the receipt of his inheritance, Salting embarked on his ‘career’ as an art collector ‘with single-minded determination’ and ‘encouraged in his pursuits by the advice offered by his friend Louis Huth’.

97:.' It has been stated that Frederick 'Huth's reputation was second to none. Notwithstanding his small, slight stature, he had great presence had been known as 'Napoleon of the City'’. The firm, which operated from various premises, latterly 12 Tokenhouse Yard in the City of London (which in due course became the office of the famous stockbroking firm 278:

friend Rossetti with whom he vied for the pick of blue-and-white porcelain in the 1860s. At about this time Watts painted Helen again in a work that betrays the increasingly Aesthetic taste of the Huths, as the figure wears pale whitish grey, verging on blue, a colour scheme equally apparent in the first painting they bought from Whistler in 1865,

323:

how many of these paintings, particularly of the eighteenth and early nineteenth centuries, had already been acquired by Huth before his marriage in 1855, but it is clear that the development of the collection from the mid-1850s extended to the commissioning also of one of the leading sculptors of the day,

627:

One such lot that has since been re-assessed is the portrait of David Garrick in the character of Kitely in the play 'Every Man in his Humour' by Ben Johnson. The painting, which had been in the collection of Lord Holland and more latterly his relation General C. R. Fox, had been exhibited at the Art

509:

The portrait was given in 1941 to the Ashmolean Museum, Oxford, by Mrs Huth's second husband, Archibald Barwell How (1860–1947), a classical scholar and Fellow of Exeter College, Oxford. How was one of Huth's friends and an executor of his will. Mrs Huth married him in 1907, two years after the death

134:

Huth was a Director of The London Assurance for Fire, Life and Marine Assurance, although that seems to have been in a non-executive capacity, and he remained a partner in the firm founded by his father, although he was hardly ever involved in it operations following the death of his father. Huth was

322:

Huth’s collection of antique porcelain was first rate. By any parameters his collection of British paintings, let alone those of other schools, was of high quality, and Huth’s patronage of contemporary British or British-based artists, amongst them Watts and Whistler, was considerable. It is unclear

306:

in the National Gallery. They extend from Turner watercolours to Byzantine ivories, and encompass among other things, oriental porcelain, Italian Renaissance ceramics, Japanese netsuke, Limoges enamels, jewellery, ironwork, textiles, bronzes, furniture, illuminated manuscripts, etchings, engravings,

628:

Treasures Exhibition in Manchester in 1857. The original version is in the Royal Collection, and copy in a private collection is given by David Mannings to Reynolds’s studio, whereas the picture owned by Huth – now in the National Portrait Gallery, London – is regarded as a later copy: D. Mannings,

292:

It can also justifiably be claimed for Huth that he was a major influence on the activities of one of the greatest collectors and connoisseurs of the late Victorian era and the Edwardian years, George Salting (1835–1909), also a member of the Burlington Fine Arts Club, and described after his death

277:

Barbara Bryant has recently provided a more sympathetic opinion of Huth, who 'was noted for his taste and collecting', and she continued,'Helen and Louis Huth formed an extraordinary collection of modern paintings and decorative arts. Huth's tastes turned towards the Aesthetic preoccupations of his

264:

in July 1905. The portrait, which was illustrated in the Christie's sale catalogue, was Gainsborough's celebrated portrait of the Italian dancer, Gaëtan Apolline Balthazar Vestris, painted in 1781 (Private Collection), as distinguished from his son Marie Jean Augustin Vestris, also a famous dancer,

251:

On 20 May 1905, three months after Huth’s death, a significant part of his collection of eighteenth and nineteenth-century paintings was sold at Christie’s. The sale did not include any works by Whistler, although some of them had already been sold, but did include a large number by Watts, although

242:

In February 1867, Whistler became a member of the Burlington Fine Arts Club, a club for artists and connoisseurs, founded circa June 1866, an institution of which Huth was also a member. Indeed, he served on the Club’s committee. Whistler was expelled at a general meeting of the club on 13 December

167:

It seems that while as a young man he worked in the firm founded by his father, at least in his early days Huth exhibited little of the work-ethic that characterised his father and which had helped created the financial success of his business; rather Huth, described as ‘frivolous and philandering’

318:

Patricia Rubin has recorded that Salting’s ‘generous intentions were known to his friends and…influenced his collecting’, and that 'Of ‘eclectic mind and sensitive eye’, Salting was ‘cosmopolitan’ in his acquisitions from the outset. Inspired and guided by his friend Louis Huth, he was soon buying

297:

as 'the greatest English art collector of his age, perhaps of any age'. Salting, who was born in Australia of Danish parents, is famous for having left to the British nation his great collection of art, much of which had already been placed on long-term loan to the South Kensington Museum (now the

268:

Despite the richness of Huth's collection and that of his older brother Charles, which in terms of the pictures it contained arguably surpassed that of Huth, 'the names of Charles and Huth have recently been associated with trafficking in works of art'. It has been suggested that some of Charles's

259:

The items from Huth's collection sold at Christie's in London included watercolours by Gainsborough and Turner and paintings by Hogarth, Gainsborough, Reynolds, Stubbs, Constable, George Morland, John Crome, William Etty and James Ward, and numerous other artists of the English school, as well as

314:

in 1910 the year after Salting's death, W. Roberts commented:'Mr Salting, as is well-known, was a disciple of the late Mr. Louis Huth in the matter of art collecting, and he could have had no more competent a mentor. Mr Huth had for the most part formed his splendid collection – dispersed within

200:, for which Huth paid 600 guineas. Painted in 1872-3, some 13 years after the bust by Munro was modelled, the portrait reflects Whistler’s admiration for Velásquez, an appreciation shared by Huth. It was first shown publicly at Mr Whistler's Exhibition, Flemish Gallery, Pall Mall, London, 1874. 175:

Huth was apparently endowed with a strong sense of humour and was very particular in aspects of his appearance, so ‘that there cannot be many old men who keep a collection of wigs of different colour, that those around can be warned in time of the changing moods of the wearer!' Huth died at his

608:

Frederick Huth Jackson moved into Possingworth Park after Huth’s death and lived there with his family until his death in 1921: Chidson, p. 32. Frederick was a director of the Bank of England as well as being the senior partner in Frederick Huth and Co., Sheriff of London and President of the

81:, Spain, where he met his wife, an orphan believed to be the daughter of a prominent member of the Spanish Royal court. In 1809, following the invasion of Spain by France, Frederick and his wife and children emigrated to England from Spain and established the family merchant house in London, 284:

As regards porcelain, 'It was Rossetti who introduced to the beauty of the china of 'old Nankin' and Louis continued to collect it throughout his life'. Huth owned what at one time was regarded as one of the most important specimens of old Chinese Blue-and-White, the

550:

Letter from Whistler to Huth, 31 January 1873, University of Glasgow, Special Collections, MS Whistler H339. There are two surviving chalk and pastel drawings by Whistler for the portrait: A. M. Young, Margaret F. MacDonald, R. Spencer and H. Miles,

117:

The eldest son of Frederick Huth, his elder brother Charles Frederick Huth (1806–1895), also a collector of art, purchased Oakhurst Manor near Tunbridge Wells in Kent where he lived with his wife Frances and their large family. Another brother,

816:

Rubin, p. 2. Rubin has also noted, p. 8, that 'with respect to the 'modern' masters, assembled an impressive, and rather costly, group of Barbizon school landscapes, virtually creating the Gallery's French nineteenth-century holdings at the

559:, New Haven and London, 1995 (hereafter Whistler Drawings), pp. 165–8, nos. 454 and 455. A. B. How also presented to the Ashmolean Museum in 1941 one of Whistler’s drawings for his portrait of Mrs Huth: Whistler Drawings, no. 455. 68:

born in Germany, who 'came of very humble origins, the son of a soldier , with only his intelligence and appetite for hard work to single him out from other poor boys at the bottom of the social heap in the small village of

568:

Whistler Paintings, pp. 34–5, 64–5, cat. nos. 61, 105, and Whistler Drawings, 759, 808, 819, respectively; and University of Glasgow, Special Collections, MS Whistler H338-9.

717:, London, 1887-8, 3 vols., I, p. 196, in relation to a picture he exhibited at the Royal Academy in 1849; Evan R. Firestone, ‘John Linnell and the Picture Merchants’, 644:, Vol. II, no. XXVII. The portrait had once been in the collection of Sir Robert Peel: Ellis Waterhouse, 'Preliminary check list of portraits by Thomas Gainsborough', 953: 390:

P. R. Quarrie, ‘Huth, Henry (1815–1878)’, DNB, pp. 44–5. Louis Huth also bought rare books, and sold to his brother a copy of the 1512 Burgos edition of the

843:, ed. A. Griffiths, ex. cat. British Museum, London, 1996, pp. 189–203 (hereafter Coppel), at p.190; see also C. H. Read, ‘Salting, George (1835–1909)’, 750:

See the note to that effect in clause3 of Huth's will dated 18 November 1903, and see the 1901 census which describes him as a 'Foreign Banker'.

176:

London house in February 1905 aged 83 after developing pneumonia. He was buried at the Church of All Saints, Waldron, close to Possingworth.

933: 86: 943: 101:), was eventually wound up in 1936, with the partnership of Frederick Huth and Co being dissolved and the business absorbed into the 148: 211:(Freer Gallery of Art, Washington, United States), for which latter painting Huth paid 250 guineas; and the Venice watercolours 632:, New Haven and London, 2000, 2 Vols (the subject pictures catalogued by M. Postle) (hereafter Mannings), I, p. 211, no. 704a. 371:

See, e.g., 'Visits to Private Galleries of the British School: The Pictures of Chas. Fredk. Huth, Esq., Upper Harley Street’,

599:

Huth’s important collection of prints, many of them first states or artist’s proofs, were sold at Christie’s on 24 May 1905.

876:

National Gallery Catalogues. The Sixteenth Century Italian Paintings: Volume 1: Paintings from Bergamo, Brescia and Cremona

948: 759:

Bryant, pp. 29, 101. As regards Huth's collecting of porcelain and his connection with Rossetti, see G. C. Williamson,

555:, New Haven and London, 1980 (hereafter Whistler Paintings), p. 75-6, cat. no. 125, Pl. 78; and Margaret F. MacDonald, 483:

Huth’s death and a brief overview of his life and activities as a collector were reported in the ‘Obituary’ section of

400:

on 24 and 25 May 1905. It comprised 371 lots, including many first editions of Smollett, Sterne, Fielding and Hazlitt.

324: 193: 102: 23: 896:

Chidson, p. 19, states. ‘Louis was already a considerable collector of paintings before Helen came into his life.’

908: 203:

In addition to Whistler’s portrait of Mrs Huth, the Huths owned other works by Whistler, including the paintings

119: 609:

Institute of Bankers. His wife was painted in a ravishing full-length portrait in 1907 by John Singer Sargent.

94: 98: 32:(22 March 1821 – 12 February 1905), was a British company director and merchant banker. He was a partner in 253: 156: 106: 82: 33: 18: 590:

Letters between Whistler and Huth, University of Glasgow, Special Collections, MS Whistler B225, H333 -6.

185: 74: 803:

Cited in Patricia Rubin, '’The Outcry': Despoilers, donors, and the National Gallery in London, 1909',

77:.' After an apprenticeship to a Spanish merchant in Hamburg, Huth eventually established a business in 48: 938: 928: 923: 392: 188:, probably shortly before her marriage, 'looking like a mere girl' in a painting (formerly in the 122:(1815–1878), was a noted bibliophile, building a world-renowned collection of books at his home, 169: 785:, 17–19 and 22–23 May 1905, comprising some 681 lots, more than four hundred being porcelain. 189: 373: 123: 65: 737:, acquired 1873, sold in 1899 (Whistler Paintings, pp. 34, 64–5, cat. nos. 61, 105); and 397: 783:

The Louis Huth Collection of Oriental Porcelain, Objects of Art and Decorative Furniture

841:

Landmarks in Print Collecting. Connoisseurs and donors at the British Museum since 1753

61: 741:, owned by Huth but sold by him before his death (Whistler drawings, p. 304, no. 808). 147:. Between 1865 and 1869 Huth commissioned the architect Matthew Digby Wyatt to design 917: 152: 135:

extremely wealthy, at his death in 1905 leaving an estate then valued at £341,000.

85:. By 1829 Huth had become the banker and financial adviser to the Spanish Queen, 618:

Her sale (late of 20 Norham Gardens, Oxford), Christie's, London, 24 April 1925.

557:

James McNeill Whistler. Drawings, Pastels and Watercolours. A Catalogue Raisonné

78: 500:, National Portrait Gallery, Ex. Cat, London, 2004 (hereafter Bryant), p. 101. 239:(exhibited at the Royal Academy 1869, Lady Lever Art Gallery, Port Sunlight). 689:

Art and the Victorian Middle Class: Money and the Making of Cultural Identity

223:(Cincinnati Art Museum). They also owned other paintings by Watts, including 541:, New Haven and London, 2009 (hereafter Dictionary), p. 865, Nos. 60 and 62. 512: 70: 657:

See M. Postle, 'Thomas Gainsborough's 'Lost' Portrait of Auguste Vestris',

510:

of Huth, when she was 70 and he only 47. See 'Obituary', 'Mr. A. B. How',

454:

Home From the Hill: A biography of Frederick Huth, "Napoleon of the City"

265:

whose portrait, c. 1781 (Tate Britain) was also painted by Gainsborough.

57: 763:, London and New York, 1919 (hereafter Williamson), pp. 34–5, and 54-6. 286: 144: 90: 143:

Huth and his wife, Helen Huth, lived in London at 28 Hertford Street,

721:, vol. 182 , pp. 124–31, at p. 129, both cited by Macleod, p. 433. 47: 36:, the merchant bank established by his father. Huth and his wife, 17: 577:

These pictures were lots 77 to 80 in the sale at Christie’s of

207:(Barber institute of Fine Arts, University of Birmingham); and 847:, London, 1912, vol. 3, pp. 254–6, at p.255 (hereafter Read). 379:

Memorials of Christie’s: A Record of Art Sales from 1766–1896

346:, Waldron Community Players, 2007 (hereafter Chidson), p. 5. 539:

A Biographical Dictionary of Sculptors in Britain 1660–1851

498:

G. F. Watts Portraits: Fame and Beauty in Victorian Society

377:, 1857, pp. 90–91 (hereafter Art Journal); and W. Roberts, 630:

Sir Joshua Reynolds: a complete catalogue of his paintings

179: 826:

W. Roberts, ‘The Salting collection, part 1 – pictures’,

235:(sold Christie’s, London, 19 February 2003, lot 34), and 358:

C. Jones, 'Huth, (John) Frederick Andrew (1774–1864)',

396:: Quarrie, p. 44. Louis Huth’s own library was sold at 198:

Arrangement in black, no. 2: portrait of Mrs Louis Huth

830:, 26 (January –April 1910), pp. 203–15 at p.p. 203-4. 537:

Ingrid Roscoe, Emma Hardy and M. G. Sullivan (eds.),

180:

The Huth's patronage of artists and collecting of art

733:, acquired c. 1865, sold in the Spring of 1899, and 691:, Cambridge, 1996 (hereafter Macleod), p. 80, n. 83. 674:(1820; National Gallery, London) and David Wilkie's 579:

The Louis Huth Collection of Pictures & Drawings

307:drawings and paintings by old and modern masters.' 524: 522: 845:Dictionary of National Biography, 2nd supplement 678:(sold at Christie's, 10 November 1995, lot 34). 670:Charles's collection included John Constable's 456:, London, 1970 (hereafter Murray) pp. 143, 147. 362:, vol. 38 (hereafter DNB), pp. 42–4, at p. 43. 8: 344:Louis Huth 1821–1905: Squire of Possingworth 168:was ‘quite the cock of the roost, a sort of 909:University of Glasgow Manuscripts Catalogue 219:(Fogg Art Museum, Harvard University); and 215:(The Burrell Collection, Glasgow Museums); 430:See S. Russell, R. Parker and V. Chidson, 105:(which in turn was itself merged into the 878:, London, 2004 (hereafter Penny), p. 387. 661:, Vol. IV, no. 1, Spring 2003, pp. 64–68. 381:, 2 vols., London, 1897, II, pp. 262–64. 553:The Paintings of James McNeill Whistler 360:Oxford Dictionary of National Biography 354: 352: 335: 163:Character and Marriage to Helen Ogilvy 805:Journal of the History of Collections 432:Waldron: Portrait of a Sussex Village 7: 735:Variations in Pink and Grey, Chelsea 209:Variations in Pink and Grey: Chelsea 954:19th-century English businesspeople 52:Bust of Mrs Huth by Alexander Munro 715:My autobiography and reminiscences 213:The Bridge; flesh colour and brown 14: 304:Young Woman Seated at a Virginal 302:at the V&A, and Vermeer's 280:The Symphony in White, No. 3.' 44:Early life and business career 1: 700:D. Clifford and T. Clifford, 103:British Overseas Bank Limited 761:Murray Marks and His Friends 247:Sales from their collections 237:Una and the Red Cross Knight 64:(1774–1864), a merchant and 807:, (hereafter Rubin), p. 1. 970: 934:Art collectors from London 704:, London, 1968, pp. 274–9. 487:, 15 February 1905, p. 11. 184:Helen Huth was painted by 944:People from Finsbury Park 300:Young Man among the Roses 731:Symphony in White, No. 3 273:Assessment and influence 205:Symphony in White, No. 3 659:The British Art Journal 411:City Bankers, 1890–1941 83:Frederick Huth & Co 56:Louis Huth was born at 34:Frederick Huth & Co 254:Frederick Huth Jackson 107:Royal Bank of Scotland 60:in London, the son of 53: 26: 22:Bust of Louis Huth by 794:Williamson, pp. 55–6. 516:, 3 March 1947, p. 6. 186:George Frederic Watts 75:Electorate of Hanover 51: 21: 949:Bankers from London 887:Rubin, p. 17, n. 1. 687:Dianne S. Macleod, 648:, vol. 33 , p. 109. 642:Burlington Magazine 287:prunus-blossom vase 262:Burlington Magazine 739:The Storm – Sunset 465:Murray, pp. 207–8. 443:Chidson, pp. 24–6. 421:Chidson, pp. 12–13 217:The Storm – Sunset 54: 27: 342:Valerie Chidson, 310:In an article in 149:Possingworth Park 99:Cazenove & Co 961: 897: 894: 888: 885: 879: 872: 866: 863: 857: 854: 848: 837: 831: 824: 818: 814: 808: 801: 795: 792: 786: 779: 773: 770: 764: 757: 751: 748: 742: 728: 722: 711: 705: 698: 692: 685: 679: 668: 662: 655: 649: 639: 633: 625: 619: 616: 610: 606: 600: 597: 591: 588: 582: 575: 569: 566: 560: 548: 542: 535: 529: 526: 517: 507: 501: 496:Barbara Bryant, 494: 488: 481: 475: 472: 466: 463: 457: 450: 444: 441: 435: 428: 422: 419: 413: 409:Youssef Cassis. 407: 401: 388: 382: 369: 363: 356: 347: 340: 190:Ashmolean Museum 87:Maria Christiana 969: 968: 964: 963: 962: 960: 959: 958: 914: 913: 905: 900: 895: 891: 886: 882: 873: 869: 864: 860: 855: 851: 838: 834: 825: 821: 815: 811: 802: 798: 793: 789: 780: 776: 772:Chidson, p. 23. 771: 767: 758: 754: 749: 745: 729: 725: 712: 708: 699: 695: 686: 682: 669: 665: 656: 652: 646:Walpole Society 640: 636: 626: 622: 617: 613: 607: 603: 598: 594: 589: 585: 576: 572: 567: 563: 549: 545: 536: 532: 528:Bryant, p. 101. 527: 520: 508: 504: 495: 491: 482: 478: 474:Murray, p. 120. 473: 469: 464: 460: 452:Andrew Murray, 451: 447: 442: 438: 429: 425: 420: 416: 408: 404: 393:Cronica del Cid 389: 385: 374:The Art Journal 370: 366: 357: 350: 341: 337: 333: 325:Alexander Munro 312:The Connoisseur 275: 249: 194:Alexander Munro 182: 165: 141: 132: 124:Wykehurst Place 115: 66:merchant banker 46: 24:Alexander Munro 12: 11: 5: 967: 965: 957: 956: 951: 946: 941: 936: 931: 926: 916: 915: 912: 911: 904: 901: 899: 898: 889: 880: 867: 858: 849: 839:S. Coppel, in 832: 819: 809: 796: 787: 774: 765: 752: 743: 723: 706: 693: 680: 676:The Errand Boy 672:Stratford Mill 663: 650: 634: 620: 611: 601: 592: 583: 581:, 20 May 1905. 570: 561: 543: 530: 518: 502: 489: 476: 467: 458: 445: 436: 423: 414: 402: 383: 364: 348: 334: 332: 329: 274: 271: 248: 245: 227:, (untraced), 181: 178: 164: 161: 140: 137: 131: 128: 114: 111: 62:Frederick Huth 45: 42: 13: 10: 9: 6: 4: 3: 2: 966: 955: 952: 950: 947: 945: 942: 940: 937: 935: 932: 930: 927: 925: 922: 921: 919: 910: 907: 906: 902: 893: 890: 884: 881: 877: 871: 868: 862: 859: 853: 850: 846: 842: 836: 833: 829: 823: 820: 813: 810: 806: 800: 797: 791: 788: 784: 778: 775: 769: 766: 762: 756: 753: 747: 744: 740: 736: 732: 727: 724: 720: 716: 713:W. P. Frith, 710: 707: 703: 697: 694: 690: 684: 681: 677: 673: 667: 664: 660: 654: 651: 647: 643: 638: 635: 631: 624: 621: 615: 612: 605: 602: 596: 593: 587: 584: 580: 574: 571: 565: 562: 558: 554: 547: 544: 540: 534: 531: 525: 523: 519: 515: 514: 506: 503: 499: 493: 490: 486: 480: 477: 471: 468: 462: 459: 455: 449: 446: 440: 437: 433: 427: 424: 418: 415: 412: 406: 403: 399: 395: 394: 387: 384: 380: 376: 375: 368: 365: 361: 355: 353: 349: 345: 339: 336: 330: 328: 326: 320: 316: 313: 308: 305: 301: 296: 290: 288: 282: 281: 272: 270: 266: 263: 257: 255: 246: 244: 240: 238: 234: 230: 226: 222: 218: 214: 210: 206: 201: 199: 195: 191: 187: 177: 173: 171: 170:Count D'Orsay 162: 160: 158: 154: 153:Cross-in-Hand 150: 146: 138: 136: 129: 127: 125: 121: 112: 110: 108: 104: 100: 96: 92: 88: 84: 80: 76: 72: 67: 63: 59: 50: 43: 41: 39: 35: 31: 25: 20: 16: 892: 883: 875: 870: 865:Rubin, p. 4. 861: 856:Rubin, p. 1. 852: 844: 840: 835: 827: 822: 812: 804: 799: 790: 782: 781:Christie's, 777: 768: 760: 755: 746: 738: 734: 730: 726: 718: 714: 709: 701: 696: 688: 683: 675: 671: 666: 658: 653: 645: 641: 637: 629: 623: 614: 604: 595: 586: 578: 573: 564: 556: 552: 546: 538: 533: 511: 505: 497: 492: 484: 479: 470: 461: 453: 448: 439: 431: 426: 417: 410: 405: 391: 386: 378: 372: 367: 359: 343: 338: 321: 317: 311: 309: 303: 299: 294: 291: 283: 279: 276: 267: 261: 258: 250: 241: 236: 232: 228: 224: 221:Fishing Boat 220: 216: 212: 208: 204: 202: 197: 183: 174: 166: 142: 133: 116: 55: 37: 29: 28: 15: 939:Huth family 929:1905 deaths 924:1821 births 828:Connoisseur 719:Connoisseur 233:Sir Galahad 95:Rothschilds 918:Categories 903:References 874:N. Penny, 702:John Crome 398:Christie’s 38:Helen Huth 30:Louis Huth 513:The Times 485:The Times 295:The Times 71:Harsefeld 58:Finsbury 229:Galatea 157:Waldron 145:Mayfair 91:Barings 79:Corunna 73:in the 817:time.' 225:Daphne 130:Wealth 113:Family 331:Notes 139:Homes 120:Henry 93:and 293:by 109:). 920:: 521:^ 351:^ 327:. 231:, 155:, 151:, 126:.

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index