Conserving the Watercolours of J.M.W. Turner

Henry Vaughan was a prominent and philanthropic Victorian art collector, having inherited a substantial fortune from his father, a wealthy hat maker. His encounter with JMW Turner in the 1840s spurred his passion for the artist’s drawings and watercolors, resulting in an extensive collection that spanned Turner’s entire career. Influenced by John Ruskin’s advocacy for public art bequests, Vaughan generously donated pieces to various museums and galleries throughout Britain, including the National Galleries of Scotland.

Harbour View by Joseph Mallord William Turner (Creative Commons CC by NC National Galleries Scotland.) This harbour view may depict Margate on the Kent coast in south-east England, one of Turner’s favourite places

Henry Vaughan made a significant contribution to Scotland’s National Collection in 1900. His donation of 38 watercolours by J.M.W. Turner was accompanied by a stipulation that they be exhibited to the public free of charge during the month of January each year. This careful curation has played a crucial role in preserving the spectacular colour and vibrancy of these works, ensuring their lasting impact for generations to come.


One significant aspect of Vaughan’s legacy was his awareness of the need to preserve watercolours, which are prone to fading if overexposed to light. That is why he specified that the watercolours should be “exhibited to the public all at one time free of charge during the month of January,” while at all other times they were to be stored in a dedicated cabinet in the Print Room.


Conservator James Berry: Preserving Watercolors

The Early Life of Henry Vaughan

Henry Vaughan, born on 17 April 1809 in Southwark, London, was brought up in a Quaker household alongside his elder brother George and sister Mary. Their father, George Vaughan, was a prosperous hat manufacturer. Henry received his education at a school in Higham Hill, Walthamstow, under the guidance of Eliezer Cogan. Notably, one of his fellow pupils at the school was none other than Benjamin Disraeli.

Tragedy struck in 1828 with the passing of Henry’s father, leaving him a considerable inheritance. Despite leading a seemingly self-indulgent life, Henry later established himself as an exemplary art collector and a remarkably generous philanthropist, leaving a lasting legacy in the world of art and culture.


Loch Coruisk, Skye by Joseph Mallord William Turner (Creative Commons CC by NC National Galleries Scotland),  This work was engraved in 1834 and published in Scott’s Poetical Works, in the volume containing his poem The Lord of the Isles.

Art collectors and benefactors play a pivotal role in promoting art by providing crucial support for artists, preserving artistic legacies, and fostering public access to art. Their contributions help to sustain and elevate the cultural landscape by safeguarding the works of artists, ensuring their preservation for future generations. By acquiring and maintaining art collections, they prevent the loss of significant cultural treasures and encourage innovation within the art world. Their financial support of artists encourage innovation within the art world, fostering creativity and cultural experiences for future generations.

Through purchases and patronage, art collectors provide financial stability for artists, enabling them to continue creating and contributing to the art world. They facilitate public access to art by often donating or loaning their collections to museums, galleries, and cultural institutions. This allows a wider audience to appreciate and engage with diverse works of art. They encourage innovation within the art world, fostering creativity and cultural experiences for future generations.

The Death of Leonardo da Vinci by Jean Auguste Dominique Ingres

On May 2, 1519, the world marked the passing of the great polymath Leonardo da Vinci. Three hundred years later in 1818, Jean-Auguste-Dominique Ingres paid tribute to this event through his reimagined painting “The Death of Leonardo da Vinci” , also known as Francis I Receives the Last Breaths of Leonardo da Vinci. This historical piece captures the poignant moment of Leonardo da Vinci’s passing at the Clos Lucé house in Amboise. Commissioned by Pierre Louis Jean Casimir de Blacas, the French ambassador in Rome, this masterpiece now resides in the Petit Palais in Paris.

The Death of Leonardo da Vinci by Jean Auguste Dominique Ingres (Public Domain via Wikipedia COmmons)

The depiction of Francis I cradling Leonardo da Vinci on his deathbed in Ingres’s painting is a symbolic representation rather than a historical fact. There is no historical evidence to support the claim that Francis I was present at Leonardo da Vinci’s death or cradled his head. It is likely that Ingres used artistic license to convey the idea of Francis I showing reverence for the great artist.

“The Death of Leonardo da Vinci” is an intricate portrayal of the moment when Leonardo da Vinci passed away. The painting draws inspiration from the account of Leonardo’s death in the Lives of Giorgio Vasari. In this depiction, King Francis I of France tenderly embraces the dying artist to receive his last breath, surrounded by other figures such as priests, servants, and the young dauphin Francis of Valois, who solemnly observes the scene. Additionally, a cardinal offers comfort by placing a hand on the dauphin’s shoulder, while a Bible and a small crucifix rest on a table beside Leonardo’s bed. Notably, the likeness of Francis I’s face in the painting is derived from a work by Titian dating back to 1538. This masterful composition captures the solemn atmosphere and the convergence of individuals from different walks of life in the presence of the great polymath’s passing.

Finally, having grown old, he remained ill many months, and, feeling himself near to death, asked to have himself diligently informed of the teaching of the Catholic faith, and of the good way and holy Christian religion; and then, with many moans, he confessed and was penitent; and although he could not raise himself well on his feet, supporting himself on the arms of his friends and servants, he was pleased to take devoutly the most holy Sacrament, out of his bed. The King, who was wont often and lovingly to visit him, then came into the room; wherefore he, out of reverence, having raised himself to sit upon the bed, giving him an account of his sickness and the circumstances of it, showed withal how much he had offended God and mankind in not having worked at his art as he should have done. Thereupon he was seized by a paroxysm, the messenger of death; for which reason the King having risen and having taken his head, in order to assist him and show him favour, to then end that he might alleviate his pain, his spirit, which was divine, knowing that it could not have any greater honour, expired in the arms of the King, in the seventy figth year of his age.

From Giorgio Vasari: “Life of Leonardo da Vinci”, in Lives of the Most Eminent Painters, Sculptors, and Architects, translated by Gaston DeC. De Vere, (London: Philip Lee Warner, 1912-1914), pp. 89-92, 95-101, 104-105 Source

The Card Players by Paul Cézanne

It’s so fine and yet so terrible to stand in front of a blank canvas.

Paul Cézanne

The Card Players is a renowned series of oil paintings created by the influential French Post-Impressionist artist Paul Cézanne. These remarkable works were produced during Cézanne’s culminating period in the early 1890s, encompassing five distinctive paintings. Each version exhibits variances in size, the quantity of players depicted, and the specific environment where the card game is situated. In addition to these paintings, Cézanne meticulously executed a multitude of drawings and studies as a prelude to The Card Players series.

Card Players (5th version) (ca.1894-1895) by Paul Cezanne, oil on canvas, Musée d’Orsay (Les Joueurs de cartes,) Public domain, via Wikimedia Commons


I could paint for a hundred years, a thousand years without stopping and I would still feel as though I knew nothing.

Paul Cézanne

Paul Cézanne, 1892-95, Les joueurs de carte (The Card Players), Courtauld Institute of Art, London Public domain, via Wikimedia Commons

The series is considered by critics to be a cornerstone of Cézanne’s art during the early-to-mid 1890s period, as well as a “prelude” to his final years, when he painted some of his most acclaimed work. This remarkable series showcases Cézanne’s mastery in capturing the nuances of human interaction and the atmospheric essence of the card game setting.

The Card Players (Les Joueurs de cartes) collection Al-Thani, Yorck Paul Cézanne, Public domain, via Wikimedia Commons

Paul Cézanne, born on January 19, 1839, in Aix-en-Provence, France, was a pivotal figure in the transition from 19th-century Impressionism to 20th-century Cubism. Despite facing initial rejection and criticism, Cézanne’s persistent exploration of form, composition, and colour laid the foundation for modern art.

His early works were influenced by the Impressionist movement, especially after meeting Camille Pissarro and developing a close relationship with him. However, Cézanne’s style evolved, leading him to depart from pure Impressionism and pursue a more structured approach to painting.

Cézanne’s innovative use of geometric forms and distinctive brushwork set the stage for the emergence of Cubism and Fauvism. His exploration of still life, landscapes, and the renowned Mont Sainte-Victoire demonstrated an unparalleled mastery of light and perspective. His innovative approach to form, composition, and colour left an indelible mark on the development of various art movements and styles, influencing prominent artists such as Pablo Picasso, Henri Matisse, Georges Braque, Paul Klee, Amedeo Modigliani, and Diego Rivera.

Paul Cézanne passed away on October 22, 1906, in Aix-en-Provence, leaving behind a transformative body of work that continues to inspire and influence artists and art enthusiasts worldwide.

The Card Players 1890–1892 (Les Joueurs de cartes) Barnes Foundation, Paul Cézanne, Public domain, via Wikimedia Commons

The day is coming when a single carrot, freshly observed, will set off a revolution.

Paul Cézanne

Paul Cézanne’s sentiments about his artistic achievements were complex. Despite his dedication and relentless pursuit of perfecting his craft, he often expressed feelings of inadequacy and a sense of unattained ambitions. In one notable quote, he stated, “I could paint for a hundred years, a thousand years without stopping and I would still feel as though I knew nothing.”

This declaration illustrates Cézanne’s belief that artistic mastery was an unattainable goal, regardless of the duration of his creative endeavors. His quote, “My age and health will never allow me to realize the dream of art I’ve been pursuing all my life,” further reflects his inner conflict and the persistent pursuit of an unattainable artistic ideal. These expressions reveal Cézanne’s deep introspection and the perpetual internal struggle to achieve artistic perfection.

Paul Cézanne’s profound impact on 20th-century art was acknowledged posthumously, securing his legacy as one of the most influential artists in the history of modern art.

My age and health will never allow me to realize the dream of art I’ve been pursuing all my life.

Paul Cézanne
The Card Players, 1890–1892, (Les Joueurs de cartes) Metropolitan Museum of Art, New York Paul Cézanne, Public domain, via Wikimedia Commons