Image Details
Date: 19 October 2025
Camera body: iPhone Xs
Lens: Wide Camera 26mm ƒ/1.8
Focal Length: 26mm
Aperture: ƒ/1.8
Shutter Speed: 1/125s
ISO: 25
Licensing: Image of a National Trust asset. This image cannot be licensed.

Provenance: Gift from Sir Charles Philips Trevelyan 3rd Bt

Marks and inscriptions: Back board: Bought by Charles Philips Trevelyan, at the sale of the Peel collection, in June 1990. Stuck on back board: Frederick Pollard Dealer in works of art 5. Spur Street Leicester Square South West corner London, w.c.

Text from National Trust website

Object description
Type: Engraving
Location: Wallington Hall, Northumberland
Material: Ink on paper
Artist: after Sir Joshua Reynolds PRA (1723 – 1792)
Date: unknown

Image Details
Date: 19 October 2025
Camera body: iPhone Xs
Lens: Wide Camera 26mm ƒ/1.8
Focal Length: 26mm
Aperture: ƒ/1.8
Shutter Speed: 1/32s
ISO: 400
Licensing: Image of a National Trust asset. This image cannot be licensed.

Provenance: Given with the property to the National Trust in 1941 by Sir Charles Philips Trevelyan, 3rd Bt (1870 – 1958)

Marks and inscriptions: (later inscription with name of sitter)

Text from National Trust website

Object description
Type: Easel painting
Location: Wallington Hall, Northumberland
Material: Oil on canvas
Artist: Enoch Seeman the younger (c.1694 – 1744)
Date: c. 1740

Image Details
Date: 19 October 2025
Camera body: iPhone Xs
Lens: Wide Camera 26mm ƒ/1.8
Focal Length: 26mm
Aperture: ƒ/1.8
Shutter Speed: 1/50s
ISO: 400
Licensing: Image of a National Trust asset. This image cannot be licensed.

Provenance: Given with the property to the National Trust in 1941 by Sir Charles Philips Trevelyan, 3rd Bt (1870 – 1958)

Marks and inscriptions: Back of frame (top center): English but illegible W.Cloaks possibly Bottom right front of canvas: later inscription with name of sitter Back of frame top right: Letter X

Text from National Trust website

Object description
Type: Easel painting
Location: Wallington Hall, Northumberland
Material: Oil on canvas
Artist: attributed to Enoch Seeman the younger (c.1694 – 1744)
Date: c. 1705

Image Details
Date: 19 October 2025
Camera body: iPhone Xs
Lens: Telephoto Camera 52mm ƒ/2.4
Focal Length: 52mm
Aperture: ƒ/2.4
Shutter Speed: 1/33s
ISO: 500
Licensing: Image of a National Trust asset. This image cannot be licensed.

Provenance: Gift from Sir Charles Philips Trevelyan 3rd Bt

Text from National Trust website

Object description
Type: Sculpture
Location: Wallington Hall, Northumberland
Material: Bronze
Artist: Edward Lantéri (1848–1917)
Date: 1912

Image Details
Date: 19 October 2025
Camera body: iPhone Xs
Lens: Telephoto Camera 52mm ƒ/2.4
Focal Length: 52mm
Aperture: ƒ/2.4
Shutter Speed: 1/33s
ISO: 500
Licensing: Image of a National Trust asset. This image cannot be licensed.

Provenance: Given with the property to the National Trust in 1941 by Sir Charles Philips Trevelyan, 3rd Bt (1870 – 1958)

Text from National Trust website

Object description
Type: Sculpture
Location: Wallington Hall, Northumberland
Material: Bronze
Artist: Gertrude Anna Bertha Hermes, RA OBE (1901–1983)
Date: 1953

Image Details
Date: 19 October 2025
Camera body: iPhone Xs
Lens: Wide Camera 26mm ƒ/1.8
Focal Length: 26mm
Aperture: ƒ/1.8
Shutter Speed: 1/60s
ISO: 125
Licensing: Image of a National Trust asset. This image cannot be licensed.

Wallington has some of the finest Rococo plasterwork in the country, by Pietro Lafranchini (i). Even so, in a house otherwise given over to proconsular and Ruskinian high-mindedness for a century and a half, and thus to a certain sobriety (in keeping with which the once lilac-blue walls of the stuccoed Saloon were repainted in sub-fusc in 1885), it is something of a surprise that almost the first thing that one should come upon after penetrating it is this picture, as an overmantel in the Entrance Hall: a purely hedonistic landscape in a sportive Rococo giltwood frame. It was one of only five pictures to strike Arthur Young when he visited Wallington in 1768, when it was in the Drawing-Room (now the Library, which is still in its dulled-down state): “The chimney-piece of polished white marble, with festoons of grapes, &c. Over it a landscape, architecture, and trees, in a light, glowing, brilliant stile; extremely pleasing, though not perfectly natural” (ii). It can only have been acquired shortly before that date by Sir Walter Calverley Blackett, 2nd Bt (1707-77), MP, born Walter Calverley, but who had inherited the Blackett estates, including Wallington, in consequence of having married the illegitimate daughter and heiress of their last and deceased Blackett owner in 1729, and of having changed his name within a year of doing so. Earlier in his life he was vastly energetic, getting Daniel Garrett to modernise the house, turning barren moorland into a “noble and well-ordered estate”, and endowing Newcastle (of which he was five times Mayor) with St. Nicholas’s Library and a hospital for “decayed burgesses”, and Hexham with its market-place and bridge. By the time that Reynolds had painted the full-length of him in the Saloon, however, and Arthur Young (who did not meet him) visited Wallington, another observer could write: “Sir Walter has a very great Fortune & keeps a large Family …. His fondness for his little Dogs [which he had had painted dancing, by Wootton: “grotesque enough”, in Young’s view] is quite ridiculous & Childish. He is what you may call a bon Vivant tho’ not a hard drinker, but in the Article of eating he is a vrai Gourmand, he has a prodigious Apetite and eats voraciously …. He is call’d a jovial Companion and yet seems to have no satisfaction in anything. He loves to have his House continually full of Company, yet seems tired of them, himself & everything else …. In a word, he seems surrounded by all the Advantages of this Life without having any Relish for any of them”. The probable inventor of this composition, Pierre Patel the Elder, was known as “le Claude Lorrain de la France” (usefully reminding us that the latter’s customary second name is a sobriquet, not a patronymic name; that Lorraine was not finally annexed to France until 1766; and that his entire working career was spent in Rome), or – in England – as “Old Patel”. This last was so as to distinguish him from his son, Antoine-Pierre Patel (1646-1707), whose oeuvre has still not been clearly differentiated from his father’s, any more than has that of occasional imitators of his father’s mannered but seductive way of painting landscape, such as Henri Mauperché (?1602-1686). It is for this reason that, although Natalie Coural has accepted this picture as an autograph work by Patel the Elder on the basis of a photograph , a little caution still seems in order. For it is clear that there is a difference in execution and quality between this picture and some of the paintings with which it is most comparable in its elements and composition, such as the Landscape with ruins and cowherds engraved by Vivares when it was in Dr Chauncey’s collection and now in the Louvre; or the three signed and dated Landscapes of 1652 with religious pretexts: the Christ and the Centurion in the Hermitage, St Petersburg; the Journey to Emmaus in the Chrysler Museum, Norfolk, Va.; and the Rest on the Flight into Egypt recently acquired by the National Gallery, London ; or two other Landscapes with the Rest on the Flight into Egypt (evidently a favourite pretext) that were on the market between the wars (iv). All these are – sometimes appreciably – smaller than the present picture, which was perhaps conceived from the first with some decorative use in mind; whilst the three signed and dated pictures of 1652 were painted with twenty-four years active career still before the artist. Most of the few datable or dated pictures of his fall within a decade either side of these: the oval Landscape painted for the Cabinet de l’Amour of the hôtel Lambert around 1646 , the Rest on the Flight of 1658 acquired by the Musée de Tours in 1985, and the two pictures of Moses painted for Anne of Austria in 1660 (Musée du Louvre). Only the little copper with the Rest on the Flight to Egypt in the Louvre is dated as late as 1673. We therefore do not know the extent to which Patel the Elder’s manner may have broadened, and even coarsened – as seems the case in the present picture – particularly in such larger-scale decorative pictures, as time wore on, and as he perhaps grew a little stale with self-repetition. His son’s signed and dated oils, by contrast, all seem to bear dates in the 1690s and 1700s, by which time Pierre-Antoine had already evolved a different, more northern and more congested, but less idyllic, way of presenting landscape, that is prefigured in some gouaches dated in the 1680s (v). This seems to leave the period of between about 1665 and 1685, when it is almost impossible to know whether we are dealing with a late phase of Patel the Elder’s work, with a period of collaboration with his son, or with the point at which the latter had become an independent practitioner through the death of his father. Already in the mid-18th century the great collector and connoisseur, Mariette, could say that: “sometimes a painting is attributed to the father that, in fact, belongs to the son” (vi). There are certain other pictures that are comparable to the present painting whose attribution seems, significantly, to have oscillated in just this way between father and son. Foremost amongst them, perhaps, is the Landscape with Antiochus precipitated from his chariot (wrongly called the Fall of Phaethon) now in the Musée de Picardie, Amiens as by Patel the Elder, but previously twice exhibited at the Finch College Museum of Art, New York, and sold , as by Patel the Younger. Then there is the River Landscape with Classical ruins and figures and animals crossing a bridge, that was in the Camperdown sale at Christie’s in 1921 as simply by ‘Patel’, but which was sold again there on 28 June 1974 as by Patel the Younger; or the Landscape with Classical Ruins and Herdsfolk that was advertised by the Pulitzer Gallery, London in 1966 as by the Elder, but sold at Sotheby’s on 16 February 1983 as by the Younger; or finally, the Landscape with Classical Ruins and Goatherds that was ascribed to the Elder when in the Ford collection , but which in the Gaekwad of Baroda’s collection has been ascribed to both Younger and Elder. Of all Antoine-Pierre’s signed pictures, on the other hand, the Landscape with the Exposure of the Infant Moses of 1705 in the Hermitage comes closest in compositional character to his father’s works, yet seems appreciably different in execution from the present picture. Perhaps the first metropolitan airing of the Wallington painting will enable its exact status between father and son to be better assessed. Patel’s paintings, though always scarcer than Claude’s, seem to have been quite eagerly collected in England in the 18th century. They appear with some regularity in sales; the Chauncey picture was engraved by Vivares and another was engraved by Benazech as The Calm, with a dedication to Dr. Philip De la Cour; whilst the familiar way in which the artist was referred to as ‘Old Patel’ shows that he was an accepted and cherished figure. Many of the fine examples now in America or back in France were sold from Britain in this century, so it is good both that the National Gallery should have recently imported such a fine example, and that this picture should have remained where it was first admired in the 18th century . Notes: (i) See Carlo Palumbo-Fossati, Gli Stuccatori Ticinesi Lafranchini in Inghilterra e in Irlanda nel Secolo XVIII, Lugano, 1982, pp.36, 49, 86-89, & pls. 75-79. (ii) Arthur Young, A Six Months Tour through the North of England, 1770, vol.iii, p.101. He further makes the interesting remark, à propos the ‘vails’ normally paid to servants by visitors to and guests in houses: “Sir Walter Blackett’s is the only place I have viewed, as a stranger, where no fees were taken” (p.102). (iii) Letter of 26 August [?1767], from a P. Poynings to an unknown correspondent, Wallington archives. (iv) Mariette, Abecadario, ed. Ph. de Chennevières & A. de Montaiglon (1857/8), vol.IV. p.88. Claude was not French by birth nor training: Lorraine was annexed to France only 1766. (v) Letter of 1987. (vi) See Natalie Coural, ‘Le Paysage avec ruines et pasteurs de Pierre Patel (1605—1676)’, La Revue du Louvre, 1990, no.4, pp.307-9. This, the only serious published study on the artist, is also a distillation of the author’s ‘thèse de 3e cycle’ for the Sorbonne on the artist, which it would be good to have published in its entirety. Her assumption that Dr Chauncey’s Patel remained in England until it was acquired by the Louvre in 1989 is, however, incorrect, since it was sold at Bukowski’s, Stockholm, 7-9 May 1941, lot 116, as by the non-existent Benoît Patel. (vii) Coural, art.cit., figs. 3, 4 & 5. (viii) Crampton sale, Christie’s, 16 May 1923, lot 156 (acquired by the Musée du Louvre in 1936). Anon. sale, Hôtel Drouot, Paris, 4 March 1931, lot 81 [quaere whether this is the p. acquired by Tours in 1985? 1931 p. was 40.5 x 57.5cm. (acquired by Louvre,. in Revue du Louvre, 1985-87, date 1658). (ix) See exh. cat. Le Cabinet de l’Amour de l’hôtel Lambert, Musée de Louvre, 1972. (x) There is no proper study of Patel the Younger, but see the useful entry on the Landscapes of the Months of 1699 in the San Francisco Fine Arts Museums catalogue by Pierre Rosenberg & Marion C. Stewart, French Paintings 1500-1825, 1987, pp.74-78. (xi) Abecedario, 1857/8, vol.iv, p.89. (xi) Sotheby’s 13 December 1978, lot 82. Acquired by Amiens in 19[ ]. Natalie Coural, 1990, pp.308 & 309, n.20, accepts the reattribution to the Elder, but calls it, impossibly, The Death of Hippolytus(?). (xii) Connoisseur, May 1920. (xiii) See Nadezhda Petrusevich, Five Hundred Years of French Painting, Leningrad, 1990, no.81. (xiv) There are also two Patel the Elders (one doubtful) at the Fitzwilliam Museum, Cambridge, and others at Glasgow and Sheffield (cf. the listing in exh. cat. Masterpieces of Reality: French 17th Century Painting, The Leicestershire Museum and Art Gallery, Leicester, 1985-86, pp.127-28, at which the last was exhibited, no. & pl. 59). The Landscape with Jephthah and his daughter acquired by the Birmingham City Museum & Art Gallery as a Patel the Elder in 1967 is, however, more probably by Henri Mauperché (exh.cat.cit. no.58, pp.121-22 & pl. 58). The Landscape with Cybele and Atys changed into a pine tree at Dinton House (NT) is signed and dated by Pierre-Antoine Patel, 1703. (adapted from author’s version/pre-publication, Alastair Laing, In Trust for the Nation, exh. cat., 1995)

Provenance: First when engraved by Vivares in 1762, in the collection of William Fawkener, Esq.; then in 1768 recorded at Wallington, in the possession of Sir Walter Calverley Blackett, 2nd & last Bt, MP (1707-1777); thence by descent from his sister’s son, Sir John Trevelyan, 4th Bt of Nettlecombe (1734-1828), to Sir Charles Trevelyan, 3rd Bt, of Wallington (1870-1958); by whom deeded to the National Trust with the estate and house of Wallington and its contents in 1941, taking effect at his death in 1958

Text from National Trust website

Object description
Type: Easel painting
Location: Wallington Hall, Northumberland
Material: Oil on canvas
Artist: after Pierre Patel the elder (c.1605–1676)
Date: 1700-1799

Image Details
Date: 19 October 2025
Camera body: iPhone Xs
Lens: Telephoto Camera 52mm ƒ/2.4
Focal Length: 52mm
Aperture: ƒ/2.4
Shutter Speed: 1/60s
ISO: 400
Licensing: Image of a National Trust asset. This image cannot be licensed.

Provenance: Gift from Sir Charles Philips Trevelyan 3rd Bt

Marks & inscriptions: Back board: Tate Gallery, Millbank, London SW1P 4RG label. Turner in the north of England 1797 Tate Gallery ; 22nd Oct 96 – Feb 97 Harewood house; 15 Mar – 8 Jun 97 Cat no ;47 J.M.W.Turner Dunstanburgh Castle from the south ? 1800-2 Pencil and watercolour on paper 30.5 x 43.2 Wallington, The Trevelyan Collection ( The National Trust ) Back board: PALACE OF ART , North East Coast Exhibition , Newcastle- Upton- Tyne 1929 label. Back board: Tho Agnew& sons Manchester 14 Exchange Street Liverpool Exchange Art Gallery , Dale Street. LONDON Old bond, Street Galleries Piccadilly. Back board: A hand written label which reads – J.W.Turner, Dunstanburgh..RT Hon Sir Trevelyan. Back board bottom left corner.: A National Trust label which reads- The National Trust item conserved by ……. M.G Re-mounted / Re-framed by….P. Ariss. Date completed.. Jun 1986 Special Treatments……….. Bottom left side of frame.: A small white round label with 21 wrote on in green ink.

Text from National Trust website

Object description
Type: Easel painting
Location: Wallington Hall, Northumberland
Material: Watercolour on paper
Artist: Joseph Mallord William Turner RA (1775-1851)
Date: Unknown

Image Details
Date: 19 October 2025
Camera body: iPhone Xs
Lens: Telephoto Camera 52mm ƒ/2.4
Focal Length: 52mm
Aperture: ƒ/2.4
Shutter Speed: 1/33s
ISO: 640
Licensing: Image of a National Trust asset. This image cannot be licensed.

Provenance: Gift from Sir Charles Philips Trevelyan 3rd Bt

Marks & inscriptions: Top middle: J W Turner Brinkburn Rt. Hon. Sir C.Trevelyan 1775-1851 Centre: THO.s AGNEW & SONS MANCHESTER 14 Exchange Street LIVERPOOL Exchange Art Gallery Dale St LONDON Old Bond Street Galleries Piccadilly Bottom Middle: This water-colour painting of Brinkburn Priory on the Coquet by JMW Turner, was bought by Sir Charles Trevelyan at the Palace of Art, in the North East Coast Exhibition in 1929. It has hung in the Parlour at Wallington since that time. July 1 1965. Centre bottom: PALACE OF ART North East Coast Exhibition Newcastle-upon-Tyne 1929 Bottom Right: The National Trust Item conserved by M. E. Remounted/Re-framed by P. Arris Date completed June ’85

Text from National Trust website

Object description
Type: Easel painting
Location: Wallington Hall, Northumberland
Material: Watercolour on paper
Artist: Joseph Mallord William Turner RA (1775-1851)
Date: Unknown

Image Details
Date: 19 October 2025
Camera body: iPhone Xs
Lens: Telephoto Camera 52mm ƒ/2.4
Focal Length: 52mm
Aperture: ƒ/2.4
Shutter Speed: 1/33s
ISO: 800
Licensing: Image of a National Trust asset. This image cannot be licensed.

Provenance: Lord Leighton (1830 – 1896) sale, Christie’s, 13 July 1896, lot 242; bought by Agnew; Joseph Ruston (1835 – 1897), his sale 21 May 1898, lot 29; Sir George Otto Trevelyan (1838-1928), 1898 (see his ms. Diary); given with the property to the National Trust in 1941 by Sir Charles Philips Trevelyan, 3rd Bt (1870 – 1958)

Marks & inscriptions: Back board: Partial torn label reads- WITH CARE then handwritten in black ink reads- Sir |G.O.Trevelyan Bart Back board : Partial label 242 A Woody Hill side. July 13 1896. Back board : Print reads – LORD LEIGHTON P.R.A Back board: A printed London gallery label THO AGNEW & SON Back board: A Royal Academy Winter Exhibition 1897. Back board: A torn label with large red numbers – 124 Back board: Stamped onto back board – 20/?

Text from National Trust website

Object description
Type: Easel painting
Location: Wallington Hall, Northumberland
Material: Oil on board
Artist: Sir Frederic Leighton, Lord Leighton PRA (1830–1896)
Date: 1850-1896

Image Details
Date: 19 October 2025
Camera body: iPhone Xs
Lens: Wide Camera 26mm ƒ/1.8
Focal Length: 26mm
Aperture: ƒ/1.8
Shutter Speed: 1/24s
ISO: 500
Licensing: Image of a National Trust asset. This image cannot be licensed.