Works Of Wilkie

ONE of Wilkie’s most successful works is `The Letter of Introduction,’ painted in 1813. Lord Ronald Gower says: “It is in every sense a master-piece; it is redolent of the finest humor, and the technique is as admirable as the humor. . . . It is more human, more real, than the whole of his historical compositions together, and is worthy of a place in the Valhalla of British painting.”

The incident portrayed is taken from an experience in the artist’s early life. When Wilkie first went to London as a youth of nineteen he carried with him several letters of introduction, among which was one to Mr. Caleb Whitefoord, an antiquary and publicist of note. Upon presenting his letter, Mr. Whitefoord, struck by the youthful look of the bashful young Scotchman, inquired his age: “Really now,” said Wilkie, with characteristic hesitation. “Ha,” ex-claimed Whitefoord, “introduce a man to me who knows not how old he is!” and he regarded his visitor suspiciously. “This was in the artist’s mind,” says Cunningham,-“when he formed the resolution to paint the subject; and Caleb and his well-arranged bookcase, his little folding desk, bundles of papers regularly labeled, sword suspended from a nail in the wall to mark his gentle de-scent, for he was a Whitefoord of that ilk, and a china jar on the floor to mark the man of vertu, sat, as I may say, for his portrait.”

“The very top of Wilkie’s art,” writes Mr. D. S. MacColl, “is `The Letter of Introduction.’ He has got away from the slatiness of `The Blind Fiddler,’ and reached a summit of silvery fair color. For exactness of expression and dainty beauty of painting in the still-life it is like a Metsu.”

This painting measures two feet one inch high by one foot nine inches wide, and is here reproduced by permission of the owner, Thomas Brocklebank, Esq., of Heswall, England, who also owns Wilkie’s original pen and ink drawing for the picture.

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‘THE PENNY WEDDING’ PLATE II

THE PENNY WEDDING,’ or, as it was originally called, `The Scotch Wedding,’ is one of Wilkie’s most popular works. It was painted in 1819 for the prince regent, afterwards George Iv., as a companion picture for `Blindman’s Buff,’ and is now in Buckingharn Palace, London.

“The singular custom,” writes Lord Ronald Gower, “which in the early years of the nineteenth century obtained at country weddings in Scotland, called `Penny Weddings,’ had been sung by the poet king James, and, nearer to our own time, by Allan Ramsay. It originated in the guests at these wed-dings having to pay a penny or to bring some small gift of food or drink towards defraying the wants of the donor of the festival. Wilkie’s well-known painting, now in the royal collection, represents the interior of a barn converted into a ball-room. The festival is at its merriest; the famous fiddler, Neil Gow, is playing his best, assisted by another musician; the wedding guests are dancing gaily to their strains; the bride is being led out by the bridegroom, other visitors looking on; whilst in the background a table is spread with sup-per. Wilkie put his whole strength into this picture, and the subject was one peculiarly suited to his pencil.”

‘BLINDMAN’S BUFF’ PLATE III

THE celebrated picture of `Blindman’s Buff’ was exhibited at the Royal Academy in 1813. While still on the painter’s easel it had been greatly admired by the prince regent, afterwards George Iv., who purchased it for five hundred guineas.

“It is among the finest of Wilkie’s pictures,” writes Mr. William Bayne, “rich in color, admirable in composition, and full of life and movement. `You can almost hear the laughter,’ is an appreciation of Silvestre, the French critic. The delineation of the light-hearted, boisterous game of British homes of the olden time is managed with an accuracy and a spirit that are alike perfect.”

The picture belongs to the King of England, and hangs in Buckingham Palace, London. It measures two feet two inches high by three feet wide.

‘THE RABBIT ON THE WALL’ PLATE IV

`THE RABBIT ON THE WALL,’ or, as it is sometimes called in Sectland `The Hare amang the Kale,’ is suggestive of the artificial light effects of the Dutch masters. In many respects it shows Wilkie at his best. The scene is the interior of a cottage, and the interest of the six personages introduced—a father, mother, and four children—is centered upon the shadow cast upon the wall, which, owing to the ingenious position of the father’s hands, is in the form of a rabbit. The delight of the baby in its mother’s lap, the enjoyment of the other children, one of whom holds a lighted candle in such a way that the rabbit may be clearly defined, the look of comic gravity in the father’s face and of quiet amusement in the mother’s, are admirably portrayed.

The picture measures a little over two feet high by one foot nine inches wide. It is now at Craigside, Rothbury, England, the home of the late Lord Armstrong.

‘THE REFUSAL’ PLATE V

`THE REFUSAL,’ or `Duncan Gray,’ as it was first called, was inspired by Burns’s’ well-known song: —

Duncan Gray cam’ here to woo, Ha! ha! the wooing o’t; On blythe Yule night when we were fu’, Ha! ha! the wooing o’t. Maggie coost her head fu’ heigh, Look’d asklent, and unco skeigh, Gart poor Duncan stand abeigh; Ha! ha! the wooing o’t.

For the figure of the rejected lover it is said that the artist Mulready posed; for that of Maggie, Wilkie’s sister; while for the older woman he took his mother as his model. The coloring is in a low, warm key. The dark dress of the old man and the black coat of the younger one merge into the shadowy background of the room. In contrast to his black coat Duncan’s waistcoat is red and his breeches are yellowish. Maggie is dressed in a delicately tinted lilac gown and creamy white sacque, while over her chair is a scarf of bright colors. The old woman, looking so appealingly at her wayward daughter, is in dark red. All the accessories are painted with a care and a beauty of finish worthy of a Dutch “little master.”

The panel measures about two feet high by one foot nine inches wide. It is now in the South Kensington Museum, London.

‘THE VILLAGE FESTIVAL’ PLATE VI

IN 1809 Wilkie began his picture of `The Village Festival,’ called originally `The Ale-house Door.’ For over a year he bestowed indefatigable care upon it, frequently repainting various figures and altering details.

“It is a picture of merry England,” writes Mr. Edward Pinnington, “in which there is much quaffing of ale, brightened on one side with humor and laughter, dashed with rustic love-making and `daffin’, and shaded on the other with sottishness and excess. . . .

“The painter’s chief concern was no doubt to be true to fact, in both the broad significance of his work and its details. He went, for example, to Paddington looking for a public house suitable to his purpose. He bought a smock-frock in which to clothe his principal figure, and painted petticoats and gowns from the articles themselves. When one of his male models was ill, Wilkie sent for his blue jacket and began painting from it. `I went,’ he says in his journal, `to the shop of a Jew, and bought a pair of velveteen small-clothes to paint from; I also bought a jacket and apron for the same purpose.’ All the figures, including the dog running before the principal group, were painted from nature.”

“This picture, if any of Wilkie’s may claim to do so,” writes Mr. William Bayne, “crowns the artist as a worthy inheritor of the art of Teniers, and of itself distinguishes him as the greatest British master of his style of art.”

The canvas, which measures about three feet high by four feet two inches wide, is now in the National Gallery, London.

‘THE BLIND FIDDLER’ PLATE VII

PAINTED for Sir George Beaumont in 1806, when Wilkie was twenty-one, this picture is an admirable example of his early manner. Lord Ronald Gower says: “It was in giving effect, and portraying such a scene as this, that he gained the popularity that, with all the changes of fashion and feeling of nearly a century, makes his name still a household word, and places him amongst the well-remembered of his countrymen. Neither Brouwer nor Jan Steen ever put more action or life into their groups, and in `The Blind Fiddler’ we find that the details—the `still-life’—are painted with the skill of an Ostade or a Teniers. . . . But it is in the play of feature and in the vivid expression of action that the genius of the painter is revealed. In the face of the blind fiddler there is a world of pathos as he sits playing his best, with an anxious, hard-faced woman beside him, his wife presumably and the mother of the children, one of whom she holds upon her lap. The contrast between the toil-worn family and the prosperous tenants of the farm where the scene is laid is admirably shown. . . .

“While painting this picture Wilkie had before him near his easel a picture by Teniers, probably lent him by Sir George Beaumont, and the tone of color of his `Fiddler’ smacks strongly of the Flemish painter. But although the actual workmanship may recall the Dutch and Flemish masters of his admiration, the expression of the faces—the humor and merriment of some, the pathos of others—is Wilkie’s alone.”

`The Blind Fiddler’ was presented to the English nation by Sir George Beaumont, and is now in the National Gallery, London.

‘THE MAID OF SARAGOSSA’ PLATE VIII

THIS picture, painted while the artist was in Madrid, is one of the best examples of Wilkie’s later work, in which, having abandoned his former careful and more minute style, he adopted a freer method, in emulation of the Italian and Spanish masters. His works of this period never attained the popularity of his early efforts, to which they are distinctly inferior.

The incident here depicted occurred during the siege of Saragossa by the French in 1808-09. Agustina, the “Maid of Saragossa,” noted for her bravery in the defence of the city, is seen on the battery in front of the Convent of Santa Engracia, where, her lover being slain, she at once took his place at the gun and declared she would avenge his death. In the figure of the man dressed as a volunteer and putting his shoulder to the wheel Wilkie has portrayed José de Palafox, general of the Spanish garrison during the siege. In front is Father Consolacion, an Augustinian friar who served with ability as an engineer, and in the picture is seen with a crucifix in his hand directing at what object the cannon should be pointed.

`The Maid of Saragossa’ was one of eight pictures by Wilkie in the Royal Academy exhibition of 1829, and was bought by King George iv. for eight hundred guineas. It measures about three feet high by four feet eight inches wide, and is now in Buckingham Palace, London.

‘THE PREACHING OF JOHN KNOX’ PLATE IX

IN `The Preaching of John Knox before the Lords of the Congregation’—to give the picture its full title—Wilkie has depicted an incident which took place in the stormy days of the Scottish Reformation, when John Knox, the great Calvinistic preacher, having just returned from Geneva to Scotland, appeared in the pulpit of the cathedral church of St. Andrews, Fifeshire, on June 10, 1559, and, in defiance of a threat of assassination, preached the doctrines of his faith to a numerous assembly with such eloquence that it was harmoniously agreed by the provost, bailies, and inhabitants to set up the reformed worship in the town.

Beside the pulpit, on the preacher’s right, are grouped some of Knox’s closest friends. In the foreground, to the left of the picture, are a number of supporters of the reformed faith, among them the Earl of Morton leaning on his sword, Lord James Murray, afterwards Regent Murray, dressed in red, seated near, and the Earls of Argyll and Glencairne. Facing the pulpit, the Countess of Argyll and her lady in attendance sit listening intently to the preacher’s words, and behind them are ecclesiastics whose opposition to the doctrines of Knox is shown in their looks. Professors of the University of St. Andrews, students, provosts, and bailies are assembled in the gallery above.

This is considered by many the greatest of Wilkie’s historical paintings. The subject is one that interested him deeply, and he bestowed untiring pains upon its execution, gathering material and making numerous sketches for it in Scotland, and keeping it under his hands for a period of nearly ten years. The picture, which was exhibited in 1832, is now in the National Gallery of British Art (Tate Gallery), London. It measures about four feet high by five feet four inches wide.

‘CHELSEA PENSIONERS READING THE WATERLOO GAZETTE’ PLATE X

IN 1819 Wilkie received from the Duke of Wellington a commission for a picture which should have for its subject reference to the Napoleonic war and should deal with a gathering of soldiers. After submitting two preliminary sketches to the duke for approval, the plan of `The Chelsea Pensioners’ was agreed upon and Wilkie began a work which occupied much of his time and thought for the next three years.

The scene of his famous picture is laid in old Chelsea, where, in front of a public house, are assembled “soldiers from the four corners of the earth, wearing the hues of all climates, and bearing the scars of many a field—men of Wolfe and of Wellington, whom day of pension has summoned to Chelsea to receive the alms which their country awards for having helped to save it.” As the crowd increases the fun and jollity grow fast and furious. Suddenly into the midst of the feasting and merrymaking a soldier of the lancers rides at full speed bearing a gazette of the Battle of Waterloo. Instantly the revelry ceases; eager listeners fill windows and doors; the dancers’ feet are stilled, and in the silence that falls a veteran reads aloud the news of the English victory at Waterloo.

In the Royal Academy exhibition of 1822 the picture was given the best position, and so dense was the crowd that pressed about it that it became necessary to protect it with a railing. Cunningham says: “The Battle of Waterloo itself made scarcely a greater stir in the land than did this picture when it appeared in the Academy exhibition. . . . A crowd in the shape of a half-moon stood before it from morning to night. . . . Soldiers hurried from drill to see it; the pensioners came on crutches, and brought with them their wives and children to have a look; and as many of the heads were portraits, these were eagerly pointed out, and the fortunate heroes named, sometimes with a shout. To Wilkie, who was not conscious of making any unusual exertion, the public rapture was both startling and pleasing.”

The picture measures three feet four inches high by five feet two inches wide. It is in the Duke of Wellington’s Collection, Apsley House, London.

A LIST OF THE PRINCIPAL PAINTINGS BY WILKIE WITH THEIR PRESENT LOCATIONS

ENGLAND. ALNWICK CASTLE, OWNED BY THE DUKE OF NORTHUMBERLAND: The Gentle Shepherd—BEDFORD, THURLEIGH, OWNED BY G. THOMSON, Esq.: Cotter’s Saturday Night; Duncan Gray—BIRKENHEAD, MERE HALL, OWNED BY GRAY HILL, ESQ. : Wilkie ‘s Birthplace—BOWOOD,OWNED BY THE MARQUIS OF LANSDOWNE: The Sick Lady; The Jew’s Harp; The Wardrobe Ransacked; The Confessor Confessing; Lady Lansdowne with her Page; The Confessional—CHILLINGHAM, OWNED BY THE EARL OF TANKERVILLE: Portrait of the Earl of Tankerville — HAMPSTEAD, CAEN WOOD, OWNED BY THE EARL OF MANSFIELD: The Village Politicians—HATFIELD, OWNED BY THE MARQUIS OF SALISBURY: Portrait of the Duke of Wellington—HESWALL, THE ROSCOTE, OWNED BY THOMAS BROCKLEBAN K, ESQ.: The Letter of Introduction —LIVERPOOL, OWNED BY EDWARD CHAPMAN, ESQ.: The Rent Day —LIVERPOOL, MOSSLEY HILL, OWNED BY MRS. GEORGE HOLT: The Jew’s Harp—LONDON, NATIONAL GALLERY: The Blind Fiddler (Plate VII); The Village Festival (Plate vi); The Bagpiper—LONDON, NATIONAL GALLERY OF BRITISH ART: Portrait of Thomas Daniell; The Parish Beadle; The First Ear-ring; Landscape; Newsmongers; Preaching of John Knox ; Sketch of ‘ Blind-man’s Buff’ —LONDON, NATIONAL PORTRAIT GALLERY: Portrait of Wilkie; Sketch for Portrait of Queen Victoria—LONDON, ROYAL ACADEMY: The Rat Hunters —LONDON, SOUTH KENSINGTON MUSEUM: The Broken Jar; The Refusal (Plate v); Daughters of Sir Walter Scott; Landscape; A number of studies and sketches—LONDON, WALLACE COLLECTION: Scotch Lassies dressing; The Sportsman — LONDON, APSLEY HOUSE, OWNED BY THE DUKE OF WELLINGTON: Chelsea Pensioners reading the Gazette of the Battle of Waterloo (Plate x); Portrait of Lady Lyndhurst; Two Portraits of George Iv.—LONDON, BUCKINGHAM PALACE: The Penny Wedding ; Blindman’s Buff (Plate III); The Maid of Saragossa (Plate VIII); Guerilla Council of War; Guerilla taking Leave of his Confessor; Guerilla’s Return; Two Portraits of William Iv. ; Portrait of Queen Adelaide; Reception of George IV. at Holyrood; Two Portraits of George Iv. ; Pifferari playing Hymns; Roman Princess washing Pilgrims’ Feet; Portrait of Queen Victoria; The Duke of Sussex; The Sultan Abdul Medjid —LONDON, ST. BARTHOLOMEW’S HOSPITAL: Portrait of Matthias Prince Lucas, Esq.—LONDON, DORCHESTER HOUSE, OWNED BY CAPTAIN R. S. HOLFORD: Columbus in the Convent of La Rabida—LONDON, OWNED BY SIR DONALD CURRIE: Sketch for ‘The Rabbit on the Wall’—LONDON, OWNED BY MRS. GRANT: Portrait of Sir P. Laurie—LONDON, MERCHANT TAYLORS’ HALL: Portrait of the Duke of Wellington—LONDON, MONTAGU HOUSE, OWNED BY THE DUKE OF BUCCLEUCH: Portrait of Lord Montagu; Portrait of Wilkie — LONDON, OWNED BY VISCOUNT RIDLEY: ‘ Not at Home’—MIDDLEHAM, EAST WITTON VICARAGE, OWNED BY REV. DAVID WILKIE: Wilkie’s Father and Mother; Portrait of Wilkie; Portrait of Mr. Wilkie; The Duke of Wellington and his Horse; Queen Victoria on Horseback; Scene from ‘ The Gentle Shepherd’—NOTTINGHAM, CORPORATION ART MUSEUM: Sketch for ‘The Soldier’s Grave’—OXFORD UNIVERSITY: Portrait of William IV. and Queen Adelaide — PONTEFRACT, THE MOUNT, OWNED BY E. SHEPHERD, Esq.: Alfred in the Neatherd’s Cottage (small version) — RINGWOOD,SOMERLEY, OWN ED BY THE EARL OF NORMANTON; Sketch for ‘Reading the Will’—ROTHBURY, CRAIGSIDE, OWNED BY THE LATE LORD ARMSTRONG: The Rabbit on the Wall —TRENTHAM, OWNED BY THE DUKE OF SUTHERLAND: The Breakfast—TUNBRIDGE WELLS, OWNED BY S. HATCHARD, ESQ: Replica of ‘ The Village Politicians’—WINCHESTER, STRATTON, OWNED BY THE EARL OF NORTHBROOK: The Bounty Money or The Village Recruit; The Letter Writer; An Arab; Sketch for ‘The Chelsea Pensioners;’ Death of the Red Deer; The Sick Lady; Two sketches—WINDSOR, OWNED BY THE MAROUIS OF NORMANBY: Portrait of Queen Victoria— WOKING, THE FIRS, OWNED BY MRS. WILKIE: Sketch for Mother and Child in ‘The First Ear-ring’; Colonel Wilkie and his Sister as Children; Head of Mary Queen of SCOTS—WOKINGHAM, BEARWOOD, OWNED BY J. WALTER, Esq.: The Card-players—GERMANY. MUNICH, NEW PINAKOTHEK: Reading the Will—IRELAND. DUBLIN, NATIONAL GALLERY OF IRELAND: Pope Pius VII. and Napoleon at Fontainebleau; The Peep o’Day Boy’s Cabin—KILKENNY CASTLE, OWNED BY THE MARQUIS OF ORMONDE: Portraits of William IV. and Queen Adelaide—SCOTLAND. CAMBELTOWN, OWNED BY WILLIAM BRODON, Esq.: The Smugglers; The Fisher Boys—CUPAR, TOWN HALL: Portrait of the Earl of Kellie—DUNDEE, OWNED BY THE EARL OF CAMPERDOWN: The China Menders—DUNDEE, CORPORATION PICTURE GALLERY: Sketch for The Village Politicians’; Sketch for Guess my Name’; Sketch for ‘The Rabbit on the Wall’; Sketch for ‘ Nelson sealing Despatches’—EDINBURGH, NATIONAL GALLERY OF SCOTLAND: The Abbotsford Family; The Gentle Shepherd; Portrait of Mrs. Hunter; John Knox dispensing the Sacrament at Calder House (unfinished); Sketch for ‘Blindman’ s Buff’ — EDINBURGH, SCOTTISH NATIONAL PORTRAIT GALLERY: Portrait of Wilkie; Portrait of Wilkie; Wilkie and his Mother —EDINBURGH, OWNED BY MRS. C. KINNEAR: Pitlessie Fair—EDINBURGH, OWNED BY ARTHUR SANDERSON, Esq.: The Bride’s Toilet—FIFE, KINLOCH HOUSE, OWNED BY BOYD KINNEAR, ESQ.: Peasants (bis)—FIFE, MELVILLE HOUSE, OWNED BY MISS LESLIE MELVILLE: Princess Victoria with the Duchess of Kent —FIFE, NAUGHTON HOUSE, OWNED BY MRS. ANSTRUTHER DUNCAN: Portrait of James Morrison of Naughton—GLASGOW, CORPORATION GALLERIES OF ART: Turkish Mother and Child; Portrait of Queen Victoria; Portrait of a Lady—MELROSE, OWNED BY MRS. RIDDELL: Portraits of Mrs. Riddell’s Grandparents; Sketches for ‘The Letter of Introduction’ and The Breakfast ‘—PRESTONKIRK, NEWBYTH, OWNED BY SIR D. BAIRD: Sir David Baird discovering the Body of Tippoo Sahib—TURKEY. CONSTANTINOPLE, SULTAN’S PALACE: Portrait of Queen Victoria—UNITED STATES. CHICAGO, OWNED BY R. HALL MCCORMICK, ESQ.: Market Day at St. Andrews—NEW YORK, LENOX LIBRARY: Landscape with Water and Ducks; Highland Still; Landscape with Group of Ladies; Landscape with Gipsies; Landscape with Goats; The Crown of Scotland; Sketch of part of’ Blindman’ s Buff’—WALES. WELSHPOOL, LEIGHTON HALL, OWNED BY JOHN NAYLOR, Esq.: The Whisky Still; Grace before Meat; The Pope and Benvenuto Cellini; Sancho Panza; Reading the Will; Bathsheba; Sketch of ‘Knox dispensing the Sacrament.’

Wilkie Bibliography

A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLES DEALING WITH WILKIE

ARMSTRONG, SIR W. Wilkie (in Bryan’s Dictionary of Painters and Engravers). London, 1903-5 —BAYNE, W. Sir David Wilkie. London, 1903 —BURNET, J. Practical Essays on the Fine Arts. London, 1848 —CAW, J. L. Scottish Portraits. Edinburgh, 1903 —CHASLES, P. David Wilkie (in Blanc’s Histoire des peintres). Paris, 1867 —CHESNEAU, E. The English School of Painting: Trans. by L. N. Etherington. London, I 885 — COLLINS, W. W. Memoirs of the Life of William Collins, Esq., R. A. London, 1848 — CUNNINGHAM, A. Life of Sir David Wilkie. London, 1843 —DOBSON, A. Wilkie (in Dictionary of National Biography). London, 1885-190I—GOWER, LORD R. S. Sir David Wilkie. London, 1902—GRAY, J. M. Wilkie (in Encyclopedia Britannica). Edinburgh, 1883—HAMERTON, P. G. Etching and Etchers. London, 1868—HAZLITT, W. Lectures on the English Comic Writers. London, 1819—HEATON, MRS. C. Great Works of Sir David Wilkie. London, 1868—HENLEY, W. E. A Century of Artists. Glasgow, 1889—HODGSON, J. E., AND EATON, F. A. The Royal Academy and its Members. London, 1905—JERDAN, W. Men I Have Known. London, 1866—LAING, D. Etchings by Sir David Wilkie, etc. Edinburgh, 1875 —LESLIE, C. R. Handbook for Young Painters. London, 1855 — MACCOLL, D. S. Nineteenth Century Art. Glasgow, 1902— MOLLETT, J. W. Sir David Wilkie. London, 1881— MUTHER, R. The History of Modern Painting. London, 1896—PASTON, G. B. R. Haydon and his Friends. New York, 1905—PINNINGTON, E. Sir David Wilkie. London,1881—RAIMBACH, M. T. S. (editor). Memoir of Sir David Wilkie (in Memoirs and Recollections). Privately printed, 1843—REDGRAVE, R. AND S. A Century of Painters of the English School. London, 1866 —SILVESTRE, T. L’Art, les artistes, et l’industrie en Angleterre. London, 1859—SIMPSON,A. L. The Story of Sir David Wilkie. London, 1879—TAYLOR, T. (editor and compiler). Life of Benjamin Robert Haydon. London, ‘853 — TEMPLE, A. G. Art of Painting in the Queen’s Reign. London, 1897 — TIREBUCK, W. Great Minds in Art. London, 1888 — VAN DYKE, J. C. Old English Masters. Engraved by T. Cole. New York, 1902— WAAGEN, G. F. Works of Art and Artists in England. London, 1838 —WEDMORE, F. Masters of Genre-painting. London, SIR DAVID WILKIE’S Sketches in Turkey, Syria, and Egypt drawn on stone by Joseph Nash. London, 1843 —THE WILKIE GALLERY. London [18-J.

MAGAZINE ARTICLES

ARGOSY, 1894: A. Quarry; Sir David Wilkie, R. A.—L’ARTISTE, 1883: Feuillet de Conches; Sir David Wilkie—ART JOURNAL, 1896: G. D. Leslie and F. A. Eaton; The Royal Academy in the Present Century—ATHENIEUM, 1841 Anonymous; Sir David Wilkie —BLACKWOOD’S EDINBURGH MAGAZINE, 1842: Anonymous; Exhibitions of Wilkie ‘s Pictures. 1895: Anonymous; The Scottish School of Painting—ENGLISH ILLUSTRATED MAGAZINE, ‘883: Sir W. Armstrong; Some Forgotten Etchers—FRASER’ S MAGAZINE, 1842: Anonymous; Wilkie and his Works—GAZETTE DES BEAUX-ARTS,1868: J. Desrosiers; David Wilkie. 1869: J. Desrosiers; David Wilkie(Quelques extraits de sa correspondance) — LEISURE HOUR, 1881: Anonymous; David Wilkie, R. A. —MCCLURE’S MAGAZINE, 1896: W. H. Low; A Century of Painters— Museums OF FOREIGN LITERATURE, 1841: Anonymous; Sir David Wilkie—NEW MONTHLY MAGAZINE, 1843 Anonymous; Review of Cunningham’ s Life of Wilkie — PENNY MAGAZINE, 1841: Anonymous; Sir David Wilkie—PORTFOLIO, 1887: W. Armstrong; Scottish Painters—QUARTERLY REVIEW, 1843: J. G. Lockhart; Review of Cunningham’s Life of Wilkie—SHARPE’S LONDON JOURNAL, ‘848: W. T.; The Wilkie Gallery.

( Originally Published 1906 )

Masters In Art – Sir David Wilkie:Sir David WilkieThe Art Of WilkieJ. E. Hodgson And F. A. Eaton , ‘the Royal Academy And Its Members’T. Silvestre ‘l’ Art, Les Artistes, Et L’ Industrie En Angleterre’The Works Of Wilkie