Catalogue compiled by Krzyzstof Adamiec, Project Archivist.
John Anderson Stuart Ingamells was born on 12 November 1934, the son of George Harry Ingamells and Gladys (neƩ Rollett). He was educated at Hastings Grammar School; Eastbourne Grammar School, and Fitzwilliam House, Cambridge. 33 years of his career were spent working in museums and galleries. His first post in 1959 was as Art Assistant at York Art Gallery. In 1963 he beccame Assistant Keeper of the Department of Art at the National Museum of Wales. In 1967 he returned to York Art Gallery where he held the posts of curator (1967-1977) and Assistant to the Director (1977-1978). In 1978 he was appointed Director of the Wallace Collection, a post he held for 14 years. From 1992 until 2010 he was a Senior Fellow at the Paul Mellon Centre for Studies in British Art, working on a variety of research projects which culminated in the following publications:
-Brinsley Ford Archive et al. (1997) A dictionary of British and Irish travellers in Italy, 1701-1800 - compiled from the Brinsley Ford Archive. London: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press.
-Paul Mellon Centre for Studies in British Art, Smart, A. and Ingamells, J. (ed.) (1999) Allan Ramsay : a complete catalogue of his paintings. New Haven; London: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press.
-Paul Mellon Centre for Studies in British Art, Ingamells, J. (ed.) and Edgcumbe, J. (ed.) (2000) The letters of Sir Joshua Reynolds. New Haven; London: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press.
-Ingamells, J. (2004) National Portrait Gallery : Mid-Georgian portraits 1760-1790. London: National Portrait Gallery.
Other notable publications include:
-Ingamells, J. and Raines, R. A catalogue of paintings, drawings and etchings of Philip Mercier. Annual volume of the Walpole Society, Vol 46, 1976-1978, p.1-70.
-Ingamells, J. Andrea Soldi - a check-list of his work. Annual volume of the Walpole Society, Vol 47, 1978-1980, pp1.20.
-University of York, The Borthwick Institute of Historical Research and Ingamells, J. (1972) Catalogue of portraits at Bishopthorpe Palace. St Anthony's Hall, York: [University of York].
-Paul Mellon Centre for Studies in British Art and Ingamells, J. (1981) The English episcopal portrait 1559-1835 : a catalogue. [London]: The Paul Mellon Centre for Studies in British Art.
Ingamells also compiled collection catalogues for York Art Gallery, the National Museum of Wales, the Wallace Collection and the Dulwich Picture Gallery and published numerous articles in Apollo, The Connoisseur and Burlington Magazine. [Copies of all these publications are available in the Paul Mellon Centre's Library.]
In 1964 he married Hazel Wilson. They had two daughters. John Ingamells died in a nursing home in South London in November 2013.
Please note - this description is taken from: Who's Who 2010
The John Ingamells Archive consists almost entirely of material relating to Philip Mercier (c1689-1760) and Andrea Soldi (1703-1771). It includes mainly photographs, most of which are annotated by Ingamells, research notes and correspondence, the majority of which were compiled during research for the following catalogues:
-Ingamells, J. and Raines, R.. A catalogue of paintings, drawings and etchings of Philip Mercier. Annual volume of the Walpole Society, Vol 46, 1976-1978, p.1-70.
-Ingamells, J. Andrea Soldi - a check-list of his work. Annual volume of the Walpole Society, Vol 47, 1976-1978, pp1-20.
However, the collection also contains a considerable amount of information collected by Ingamells post publication including, in particular, copies of the published catalogues annotated with additional and updated information. The collection also includes a brief oral history recorded in 2010.
This collection is open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
The papers remained with John Ingamells until he donated them to the Paul Mellon Centre on 31 August 2010
In the mid 1960s whilst employed at York City Art Gallery, John Ingamells began work with Robert Raines (Medical Officer at Hull University and amateur art historian) on an exhibition of paintings and drawings by Philip Mercier. Ingamells applied to the Paul Mellon Foundation for a grant to cover research and publication costs. The application was successful and on 21 June 1969 the exhibition opened at York City Art Gallery. It ran at York until 20 July and then transferred to Kenwood House (29 July-28 September 1969). Ingamells and Raines continued to work on Mercier and in 1978 published a catalogue of his paintings, drawings and etchings in the Walpole Society.
Ingamells' interest in Mercier continued throughout his working life. He corresponded with owners and dealers, collected images and meticulously annotated the published text with amedments and information about additional works. The numbering system of the original catalogue was expanded with all newly identified works being assigned an alphanumeric code. For example, a new version of Young Artist, catalogue entry 136, is given the number 136a by Ingamells. All material collected and received by Ingamells was organised accordingly, with pre and post publication material filed together in order to create a comprehensive and up-to-date record of Mercier's works. In 2010, when the material was donated to the Paul Mellon Centre , Ingamells summarised all the the new information and annotations into a single document 29 page document (JSI/1/23).
Includes primarily research notes, correspondence, copies of original and published material, and images collected and created during research for the Mercier catalogue (Ingamells, J. and Raines, R. A catalogue of paintings, drawings and etchings of Philip Mercier. Annual volume of the Walpole Society, Vol 46, 1976-1978, p.1-70). Most of the images are anotated by Ingamells.
Also includes a considerable amount of material compiled post-publication, including further research, photographs, opinions correspondence, an annoated copy of the published text, and a list of addenda to the catalogue created by Ingamells.
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes annotated photographs and reproductions of Mercier paintings relating to the following catalogue entries:
-Adams, Miss (no.2)
-Amelia, Princess (no. 3)
-Ancaster, children of Peregrine, 3rd Duke of (no. 3a)
-Anne, Princess (no. 5, 6)
-Archbold Children (no. 8)
-Barnes, Miss Susana (no. 9)
-Belasyse, Catherine and Anne (no. 10)
-Boyd, Mrs Elizabeth (no. 11)
-Boynton, Sir Griffith (no. 12)
-Brewster, John (no. 13)
-Brewster, Richard (no. 14)
-Brodie, Captain David (no. 15)
-Brownlow, Sir John with his family (no. 16)
-Buchan, Thomas of Auchmacoy (no. 17)
-Buchan, Mrs Nichola of Auchmacoy (no. 18)
-Burton family (no. 18a). Also includes related correspondence.
-Cameron, Jannie (no. 18b)
-Caroline, Princess (no. 19)
-Craythorne, Sir Ralph, of Ness Hall (no. 21)
-Dalzell, Robert (no. 22)
-Dawson, Mr (no. 24)
-Dawson, Mrs (no. 25)
-De Jean, Louis (no. 26)
-Delamere, George (no. 27)
-Drake, Francis (no. 28)
-Fairfax, Anne (no. 28a)
-Fleetwood, Smith (no. 29)
-Fothergill, Marmaduke with his sister and mother (no. 30)
Those with an alphanumeric figure relate to additional catalogue entries compiled by John Ingamells post publication & transcribed into a copy of the published text (see file JSI/1/20)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes annotated photographs and reproductions of Mercier paintings relating to the following catalogue entries:
-Frederick, Prince of Wales (no. 33, 34, 35, 36, 37)
-Frederick, Prince of Wales with his sisters (no. 38, 39, 40)
-Goodricke, Margaret (no. 41)
-Gordon, Cosmo George, 3rd Duke (no. 42)
-Gordon, General Lord Adam (no. 44)
-Gordon, Harriet, Duchess of (no. 45)
-Gordon, Mrs or Miss Hamilton (no. 46)
-Gossip, Mrs Ann (no. 47a)
-Gossip, William (no. 47b)
-Gossip, William Jnr (no. 47c)
-Graham, Maria Elizabeth (no. 48)
-Hales, Sir Edward (no. 49)
-Hall-Stevenson, John (no. 50)
-Handel, George Frederick (no. 51)
-Harris, Quarles (no. 52)
-Harris, Mrs Quarles (no. 53)
-Hayes children (no. 53a)
-Hebden, John (no. 54)
-Hesilrige, Sir Arthur (no. 55, 56)
-Hesilrige, Lady (no. 57)
-Ibbetson, Lady (no. 59)
-Ingram, Colonel Charles (no. 60)
Those with an alphanumeric figure relate to additional catalogue entries compiled by John Ingamells post publication & transcribed into a copy of the published text (see file JSI/1/20)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes annotated photographs and reproductions of Mercier paintings relating to the following catalogue entries:
-Ingram, Henry and his wife (no. 61)
-Jenkinson, Lady (no. 62)
-Lefanu, Henriette (no. 63)
-Lefanu, William (no. 63a)
-Legard, Dorothy (no. 64)
-Ligonier, John (no. 65)
-Lowther, Martha (no. 65a)
-Lowther, Sir William and his wife (no. 65b)
-Lowther, Sir William as a boy (no. 65c)
-Lowther, Henry (no. 65d)
-Lowther, Mrs Frances, nee Baynes (no. 65e)
-Mercier, Philip (engraved after by J. Faber) (no. 68)
-Murray, Lady Charlotte (no. 69)
-Neale, John (no. 70)
-Neale, Mrs Frances (no. 71)
-Pack, Major (no. 73)
-Phillips, John (no. 75, 76)
-Rattray, Jean (no. 76b)
-Samwell, Sir Thomas, 2nd Baron of Upton, (no. 79)
-Samwell, Sir Thomas, 2nd Baron of Upton and his children (no. 80)
-Samwell, Sir Thomas, 2nd Baron of Upton and his friends, so called Bacchanalian Piece (no. 81)
-Samwell, Sir Thomas, 2nd Baron of Upton with John Neale of Allesey (no. 82)
-Samwell, Lady (no. 83)
-Samwell, Sir Thomas, 3rd Baron of Upton (no. 84)
-Schutz, Augustus with his wife and friends, also known as An Assembly on the Terrace (no. 85)
-Trimleston, Bamewall (no. 87a)
-Thomson, Richard (no. 87b)
-Trist, Agnes Hore: John Ingamells' sketch (no. 88) [see image below]
-Udney, Colonel of Udney (no. 89)
-Wemyss, the Hon. James (no. 90)
Those with an alphanumeric figure relate to additional catalogue entries compiled by John Ingamells post publication & transcribed into a copy of the published text (see file JSI/1/20)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes annotated photographs and reproductions of Mercier paintings relating to the following catalogue entries:
-Wentworth, Sir William (no. 91, 91a)
-Wentworth, Miss (no. 92)
-Watson-Wentworth, Thomas with his daughter Anne (no. 93)
-Watson-Wentworth, Lady Anne (no. 94)
-Westmorland, Elizabeth, Countess of (no. 94a)
-White, Elizabeth, portrait stolen in 1992 (no. 94b)
-Whytt, Mrs Louisa (no. 95)
-Willey, Francis I (no. 96). Also includes letter relating to the plates 96-98.
-Willey, Francis II (no. 97)
-Willay, probably Mrs Francis (no. 98)
-Wilmer, William (no. 98a)
-Winn children (no. 99)
-Worsley, James (no. 100)
-Worsley, Mrs Anne, nee Robinson (no. 101)
-Worsley, Anne (no. 102)
-Worsley, Elizabeth (no. 103)
-Worsley, Katherine (no. 104)
Those with an alphanumeric figure relate to additional catalogue entries compiled by John Ingamells post publication & transcribed into a copy of the published text (see file JSI/1/20)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes annotated photographs and reproductions of Mercier paintings relating to the following catalogue entries:
Please note that, as in the published catalogued, collection information (where known) has been given for unknown sitters.
-Male sitter, State Collection, Wawel Castle, Cracow (no. 105)
-Male sitter, Location Unknown (no. 106)
-Male sitter, National Gallery, London (no. 107)
-Male sitter, Musee du Luvre, Paris (no. 108)
-Male sitter, Location Unknown (no. 109)
-Male sitter, Location Unknown (no. 110)
-Male sitter, O.&P. Johnson, London (no. 111)
-Male sitter, Ham House, Twickenham (no. 113)
-Male sitter, Mr and Mrs Mellon (no. 114)
-Male sitter, York City Gallery (no. 115)
-Male sitter, Appleby Brothers, London (no. 116)
-Male sitter, Location Unknown (no. 117)
-Male sitter, Miss R. Wood (no. 118)
-Male sitter, Location Unknown (no. 118a)
-Male sitter, Location Unknown (no. 118b)
-Male sitter, Location Unknown (no. 118c)
-Male sitter, Location Unknown (no. 118d)
-Male sitter, Location Unknown (no. 118e)
-Male sitter, Location Unknown (no. 118d)
-Female sitter, Location Unknown (no. 119)
-Female sitter, Wakefield City Art Gallery (no. 120)
-Female sitter, Location Unknown (no. 121)
-Female sitter, Location Unknown (no. 122)
-Female sitter, probably Miss Foulkes (no. 124)
-Female sitter, J.F. Swannie, Edinburgh (no. 125)
-Female sitter, J.F. Swannie, Edinburgh (no. 126)
-Female sitter, Miss R. Wood on loan to the Geffrye Museum (no. 127)
-Female sitter, Location Unknown (no. 127a)
-Female sitter, Location Unknown (no. 127b)
-Female sitter, Location Unknown (no. 127c)
-Female sitter, Location Unknown (no. 127d)
-Female sitter, Location Unknown (no. 127e)
-Female sitter, Location Unknown (no. 127d)
-Female sitter, Location Unknown (no. 127e)
-Female sitter, Location Unknown (no. 127f)
-Female sitter, Location Unknown (no. 127g)
-Female sitter, Location Unknown (no. 127h)
-Female sitter, Location Unknown (no. 127i)
-Female sitter, Location Unknown (no. 127j) [see image below]
-Female sitter, Location Unknown (no. 127k)
-Child sitter, H.M. The Queen, Buckingham Palace (no. 128)
-Child sitter, J.H. Jolifee (no. 129)
-Lady and a child, Location Unknown (no. 130)
Those with an alphanumeric figure relate to additional catalogue entries compiled by John Ingamells post publication & transcribed into a copy of the published text (see file JSI/1/20)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes annotated photographs and reproductions of Mercier paintings relating to the following catalogue entries:
-Young Artist, (no. 160)
-Young Artist, (no. 165a)
-Bacchus, (no. 137a)
-Bon Jour, pendant,(no. 138)
-Bon Soir, pendant, (no. 139)
-Young Girl reading by Candlelight, (no. 139a)
-Boy with Drum, (no. 140a)
-Boy with a Bow and Arrow (no. 141)
-Boy Drinking (Le degustateur) (no. 142)
-Boy with a Top, after Mercier, engraving by J. McArdell, (no. 143)
-Boy holding a kitten, (no. 143a)
-Correspondence, after Mercier, engraving by R. Purcell, (no. 144). Please note that this photograph is mounted together with photograph of plate 146.
-Cupid in the character of Bacchus or Master Hope as Cupid, (no. 145)
-Dairy Maid's Occupation, after Mercier, engraving by J. Faber II, (no. 146). Please note that this photograph is mounted together with photograph of plate 144.
-Domestic Amusement: Playing on the guitar, after Mercier, engraving by R. Houston, (no. 147)
-A portrait of a young girl knitting, the property of a lady, (no. 148)
-Girl Sewing, also engraving by J. S. Negges, (no. 150). Also includes related letter from Robert Jones, owner of R.&J. Jones sales house (1983).
-The Elements - Air, (no. 151)
-The Elements - Earth, (no. 152)
-The Elements -Fire, (no. 153)
-The Elements - Fire (small size), (no. 153a)
-The Elements - Water, (no. 154)
-The Elements - Water (small size) , (no. 154a)
-The Elements - Fire and Water, (no. 153a and 154a)
-Girl Asleep, after Mercier, engraving by J. McArdell, (no. 155)
-Girl with Bird and Saucer, (no. 157)
-Girl with Bottle and Glass, (no. 157)
-Girl with a Cat, (no. 158 and 159)
-Girl with Cup and Ball, also engraving by J. McArdell, (no. 160)
-Girl with a doll, (no. 161)
-Girl in a jewelled cap, (no. 162)
-Girl at a mirror, (no. 163)
-Girl with oysters, (no. 164 and 165)
Those with an alphanumeric figure relate to additional catalogue entries compiled by John Ingamells post publication & transcribed into a copy of the published text (see file JSI/1/20)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes annotated photographs and reproductions of Mercier paintings relating to the following catalogue entries:
-Girl with tea-tray, (no. 168)
-Girl with tea-tray,(no. 168a). Also includes related correspondence with Hermitage, St Petersburg (2006)
-Girl threading a needle, (no. 169)
-Jester, Location Unknown, (no. 172)
-Pamela, various versions, (no. 174, 174a, 174b and 175b)
-Pierrot, Art Institute of Chicago, (no. 175d)
-Boy Playing the Musette, (no. 78)
-Boy Shearing sheep (no. 179 and 179a)
-Young woman at a churn, (no. 180)
-Young woman with a distaff (no. 181)
-Seamstress, after Mercier, engraving by R. Purcell, (no. 184)
-Spring (no. 185)
-Summer, after Mercier, engraving by R. Purcell, (no. 188)
-The Seasons II- Spring, (no. 189 and 189a)
-The Seasons II- Summer, (no. 190 and 190a)
-The Seasons II-Autumn, (no. 191 and 191a)
-The Seasons II- Winter, (no. 192 and 192a)
-The Times of the Day - Morning, after Mercier, engraving by J.S. Negges (no. 194)
-The Times of the Day - Midday, after Mercier, engraving by J.S. Negges (no. 195)
-The Times of the Day - Evening, after Mercier, engraving by J.S. Negges (no. 196)
-The Times of the Day - Midnight, after Mercier, engraving by J.S. Negges (no. 197)
-Venetian Courtezan, after Mercier, engraving by J.Faber II ( no. 201)
-Woman with a Bird (no. 202)
-Woman in Love (no. 203)
-Woman with a mask (no. 204)
-Woman taking off her stocking (The Toilet or Clementina Walkingshaw), (no. 205, 206, 206a and 208)
-Woman with a walking stick (Peg Woffington), (no. 212 and 212a)
Those with an alphanumeric figure relate to additional catalogue entries compiled by John Ingamells post publication & transcribed into a copy of the published text (see file JSI/1/20)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes annotated photographs and reproductions of Mercier paintings relating to the following catalogue entries:
-Two boys with a dueling pistol, (no. 214)
-Two children blowing bubbles, (no. 215 and 215a)
-Two children with changed costumes, (no. 216 and 216a)
-Two children with a rocking horse, (no. 217)
-Conversation piece (Lovers in a park), (no. 218 and 218b)
-The Drinker, (no. 219)
-Flora, (no. 220)
-Goddess of Love, (Cupid and Venus), (no. 221)
-Goddess of Painting, (no. 222)
-Goddess of Poetry, (no. 223)
-The Lacemaker, (no. 225)
-The Letter Writer, (no. 226)
-Sewing lesson, (no. 227)
-Shepherd and Shepherdess (no. 228)
-Shepherd and Shepherdess II (no. 229 and 229a)
-Venus and Cupid (no. 230 and 230a)
Those with an alphanumeric figure relate to additional catalogue entries compiled by John Ingamells post publication & transcribed into a copy of the published text (see file JSI/1/20)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes annotated photographs and reproductions of Mercier paintings relating to the following catalogue entries:
-The Young Artists (Three children), (no. 231)
-The Bible Lesson (Governess teachnig two children), (no. 232). Also includes related correspondence with Bonhams, New York , (2008).
-Game of Bowls, (no. 233a)
-Scene in 'The Carless Husband', (no. 234)
-Three Children, (no. 235). Also includes related correspondence with Sotheby's, New York, (2008)
-Three Children Blowing Bubbles, (no. 236)
-Three Children in a Garden (no. 237 and 237a)
-Three Children Setting a Dog Sentinel, (no. 238 and 238a)
-Comedians by a Fountain, (no. 240)
-Comedians in a Garden, (no. 240a)
-The Concert, (no. 241)
-The Conjuror, (no. 242)
-Damon and Sylvia, (no. 243)
-Fete Galante (no. 244)
-Figures in a Park, (no. 245, 245a and 245b)
-Elegant couples conversing in an interior, (no. 245c)
-The Gamblers, (no. 246)
-House of Cards, (no. 249)
-Italian Comedians, (no. 250)
-The Meeting, (no. 251)
-Musical Assembly, (no. 252)
-Musical Family, (no. 253)
Those with an alphanumeric figure relate to additional catalogue entries compiled by John Ingamells post publication & transcribed into a copy of the published text (see file JSI/1/20)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes annotated photographs and reproductions of Mercier paintings relating to the following catalogue entries:
-Music Party I, (no. 254)
-Music Party II, (no. 255)
-Music Party, (no. 256)
-Paying for a night's lodging, (Harpax, The Jeweller), (no. 257)
-Pilgrimage of Love, (no. 257a)
-The Proposal, (no. 258)
-Brothel Scene (Scene from a Play), (no. 259)
-Scene in 'The Recruiting Officer', (no. 260a)
-School for Boys (The Village School), (no. 261)
-School for Girls, (no. 262)
-The Secret, (no. 263)
-Hearing, (no. 264 and 269)
-Sight, (no. 265 and 270)
-Smell, (no. 266and 271)
-Taste, (no. 267 and 272)
-Touch, (no. 268 and 273)
-The Siesta, (no. 274)
-Vanity, (no. 275)
Those with an alphanumeric figure relate to additional catalogue entries compiled by John Ingamells post publication & transcribed into a copy of the published text (see file JSI/1/20)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes annotated photographs and reproductions of Mercier paintings relating to the following catalogue entries:
-Head of a young woman, (no. 276)
-Seated Woman (Francesca Cuzzoni), pl (278)
-Seated Woman holding a book, (no. 279)
-Seated Woman I, (no. 280)
-Woman seen from behind I, (no. 283)
-Woman seen from behind II, (no. 284)
-Woman with her arms crossed, (pl 285)
-Portrait d'Eleanor Viscountess Tyrconell, (no. 285a)
-Head of a Woman (drawing for The Bible Lesson, no. 232), (no. 285b)
Those with an alphanumeric figure relate to additional catalogue entries compiled by John Ingamells post publication & transcribed into a copy of the published text (see file JSI/1/20)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes annotated photographs and reproductions of Mercier paintings relating to the following catalogue entries:
-The Meeting, (no. 286)
-Philip Mercier, his first wife and family, (no. 287)
-La Colation, (no. 290)
-Le Danseur aux Castagnettes, (no. 291)
-L'ile de Cythere (Pilgrims leaving for Cythera), (no. 292)
-La Lecon d'Amour, (no. 293)
-La Promenade, (no. 294)
-La Toilette Intime, (no. 295)
-Figures in Tavern II, (no. 299)
-The Watchman, (no. 300)
-The Watchman, (no. 301)
Those with an alphanumeric figure relate to additional catalogue entries compiled by John Ingamells post publication & transcribed into a copy of the published text (see file JSI/1/20)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes research material, mainly notes and transcriptions of original documents, arranged chronologically, relating to important events in Mercier's life [see images below].
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes correspondence, notes and transcriptions of originals documents relating to Mercier's father, wife, children and house [see images below].
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes notes, correspondence and transcriptions of originals documents relating to Mercier and Frederick, Prince of Wales.
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes the following lists of works by Mercier:
-Farl collection lists
-Collins Baker list of Mercier sales
Also includes a list of biographical sources relating to Mercier and a transcription from the York Courant, 1739 relating to proposed sale of Mercier prints.
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes copies and offprints of sections of the following published material:
-Nichols, J. (1798) The History and Antiquities of the County of Leicestershire. London: Nichols and Son, pp. 749-750
-Baker, G. (1822) The History and Antiquities of the County of Northampton . London: Nichols and Son, pp. 225-226
-Chrisite, Manson and Woods (1898) Catalogue of Pictures by Old Masters the Property of Maurice Johnson, Esq and Portraits, the Property of William Butlin, Esq, London
-Parker, K.T. (1932) Mercier, Angelis and De Bar. in: Old Masters Drawings, Vol 7, No 27, Dec 1932 pp. 36-45
-Davis, F. (1936) Philippe Mercier: A notable follower of Watteau. in: Illustrated London News, 17 Oct 1936, p. 671
-Edwards, R. (1948) Mercier's Music Party. in: The Burlington Magazine, Nov 1948, pp. 308-312
-Wescher, P. (1951) Philippe Mercier and the French Artists in London. in: Art Quarterly, XIV, no3, Autumn 1951.
-Girgaut, P. L (1951) A Conversation Piece by Philippe Mercier.
-Beard, G.W. (1958) Philip Mercier in Yorkshire. in: Leeds Arts Calendar, Vol XII No 59, Spring 1958, pp. 9-15
-Raines, R. (1967) Philip Mercier an Eighteenth Century Painter. in: Proceedings of the Hugenot Society of London, Vol. XXI, No2, pp. 124-138
-Stuffman, M. (1968) Les tableux de la Collection de Pierre Crozat. in: G.B.A., vol. 72, pp. 27-28
-Ingamells, J. (1970) Two new acquisitions. in: The Preview, July 1970, pp. 827-828
-Ingamells, J. (1976) A hanoverian Party on a Terrace by Philip Mercier. in: The Burlington Magazine, Vol 118, Jul 1976, pp. 511-515
-Kerslake, J. (1976) Mercier at Upton. in: The Burlington Magazine, No. 884, vol. 118, Nov 1976, pp. 771-773
-Ingamells, J. (1977) A Hanoverian Party on a Terrace by Philip Mercier. in: Catalogue of Exhibition of Old Master Paintings, The Leger Galleries, London Nov-Dec 1977
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes copies and offprints of the following published material used by Ingamells for his research on Watteau as Mercier's coryphaeus:
-Mathey, J. (1959). Antoine Watteau, Peintures Reapparues, p. 17
-Societe de L'Histoire du Protestantisme francais (1967). John Lewis Ligonier. in: Bulletin Paraissant tous les trois mois Etudes, Documents, Chronique litteraire, CXIII Annee, Octobre-Novembre-Decembre 1967, pp. 428-472
-Eidelberg, M. (1969). Watteau's 'La Boudeuse'. in: The Burlington Magazine, Vol. 111, No. 794, May, 1969, pp. 273-278
-Eidelberg, M. (1975). Watteau Paintings in England in the Early Eighteenth Century. in: The Burlington Magazine Vol. CXVII, No. 870, September 1975, pp. 576-582
-Raines, R. (1977). Watteaus and 'Watteaus' in England before 1760. in: Extrait de la Gazette des Beaux-Arts, Fevrier 1977
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes two copies of the exhibition catalogue:
-Paul Mellon Foundation for British Art (1969) Philip Mercier 1689-1760 : an exhibition of paintings and engravings. [London]: [Paul Mellon Foundation for British Art]. [A copy is available in the Paul Mellon Centre Library see URL below]
Also includes press cuttings related to the exhibition.
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes an annotated and interleaved copy of:
-Ingamells, J. and Raines, R., 1969. A catalogue of paintings, drawings and etchings of Philip Mercier. Annual volume of the Walpole Society, Vol 46, 1976-1978, p.1-70 [see images below].
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes correspondence, notes, published material and images of works by Mercier compiled by Ingamells post publication.
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes correspondence and photographs relating to requests by the following institutions, for Ingamells' opinion on works by Mercier:
-Sotheby's
-York Civic Trust
-University of Leeds
-University of California
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes a list compiled by Ingamells summarising the additional information and annotations added to the published catalogue post publication (see file JSI/1/20).
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes images, some annotated, of works by Mercier, Soldi and other artists.
Also includes images of unidentified works.
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
In 1970, Ingamells began to research, collect and compile information concerning Andrea Soldi. This work culminated, in 1980, in the publication of a check list of Soldi's work in the Walpole Society.
Ingamells' interest in Soldi continued throughout his working life. He corresponded with owners and dealers, collected images and meticulously annotated the published text with amendments and information about additional works. The numbering system of the original catalogue was expanded with all newly identified works being assigned an alphanumeric code. All material collected and received by Ingamells was organised accordingly, with pre and post publication material filed together in order to create a comprehensive and up-to-date record of Soldi's. In 2010, when the material was donated to the Paul Mellon Centre, Ingamells summarised all the the new information and annotations into a single document 8 page document (see file: JSI/2/6).
Includes primarily research notes, correspondence, and images collected and created during research for the Soldi catalogue (Ingamells, J. Andrea Soldi - a check-list of his work. Annual volume of the Walpole Society, Vol 47, 1978-1980, pp1.20.). Most of the images are anotated by Ingamells.
Also includes a small amount of material compiled post-publication, including further research, opinions correspondence, published material and a list of addenda to the catalogue created by Ingamells.
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes annotated photographs and reproductions of Soldi paintings relating to the following catalogue entries:
-Beaufort, 3rd Duke of (no. 4, 5 and 6). Also includes letter of 15 Jan 1979 from Duke of Beaufort related to the plates 4-7)
-Beaufort, 4th Duke of with family (no. 8)
-Belasyse, Henry (no. 9)
-Bendyshe, Richard (no. 9a)
-Cerjat, Maximilen de (no. 10). Also includes notes related to the plate.
-A Naval officer, probably the Hon. Thomas Craven, (no. 10a). Also includes letter of 7 Sep 1978 related to the plate 10a.
-Baron Craven (no. 10b)
-Curzon, Lady with her two sons (no. 12)
-Defesch, William (no. 14)
-Digby, Lucy (no. 15a)
-Doddridge, Philip (no. 16)
-Drummond, Archbishop of York (no. 16a)
-Duncombe, Thomas with his family (no. 18)
-Fauconberg, 4th Viscount (no. 19, 20, 21 and 23)
-Fauconberg, Countess (no. 24 and 25)
-Gibbs, James (no. 28). Also includes correspondence with Temple Newsham House related to the plate (Nov 1971-Jan 1972).
-Gott, Henry Thomas (no. 32). Also includes correspondence related to the plate (1971-1978).
-Graham, Catherine (no. 33)
-Grening, John (no. 35). Also includes correspondence with the Royal Archives related to the plate (Aug 1978).
-Harborough, Philip Sherard (no. 35a). Also includes notes related to the plate.
-A Lady, possibly Countess of Harborough (no. 35b)
-Head, Sir Francis (no. 36)
-Holdernesse, 4th Earl of (no. 37)
-Huntingdon, 10th Earl of (pl.37 aa)
-Hunter, Henry Lannoy in oriental dress (no. 37aaa)
-Manchester, 2nd Duke of (no. 38)
-Isabella, Duches of Manchester (no. 39)
Those with an alphanumeric figure relate to additional catalogue entries compiled by John Ingamells post publication & transcribed into a copy of the published text (see file JSI/2/4)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes annotated photographs and reproductions of Soldi paintings used in research for the following entries in the catalogue:
-Manchester, 3rd Duke of (no. 40)
-Manchester, Duchess of (no. 41)
-Mildmay, Carew (no. 44 and 45)
-Nevil, Mr and Mrs with Mrs Hogshawe (no. 47). Also includes letter dated 14 May 1979, from Ingamells to the owner related to the plate.
-Roubiliac, Louis-Francois (no. 50 and 51)
-Round, William (no. 52). Please note that this photograph is mounted together with photograph of plate 53.
-Round, Mrs with her daughter (no. 53). Please note that this photograph is mounted together with photograph of plate 52.
-Rysbrack, John Michael (no. 56). Also includes correspondence with Yale Center for British Art (1978-1979) related to plates 54-56.
-Sheppard, Thomas (no. 57 and 58)
-Smyth, Sir Robert with his family (no. 58a)
-Soldi, Andrea (no. 59 and 60). Also includes correspondence with the Bowes Museum relating to the plate 60 (1976).
-Stamford, Lord (no. 60a)
-Stennett, Dr Joseph (no. 62). Also includes related correspondence with Bristol Baptist College (1972-1978)
-Wade, General (no. 64a)
-Ware, Isaac with his daughter (no. 65)
-A Gentleman wearing oriental costume (no. 69a)
-A Gentleman wearing oriental costume (no. 69b)
-A Gentleman wearing oriental costume (no. 69c)
-A Gentleman possibly John Vardy, (no. 72)
-A Gentelman, (no. 73)
-A Gentleman (no. 73a)
-A Gentleman (no. 73b)
-A Lady (no. 74a)
-A Lady (no. 74b)
Those with an alphanumeric figure relate to additional catalogue entries compiled by John Ingamells post publication & transcribed into a copy of the published text (see file JSI/2/4)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes correspondence and published material created and accumulated by Ingamells during his research on Soldi.
Includes the following publications:
-Ingamells, J. (1974), Andrea Soldi, in Connoisseeur, vol 185, March 1974.
-Finberg, H. Andrea Soldi, in Apollo Magazine (not dated)
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes an annotated copy of:
-Ingamells, J. Andrea Soldi - a check-list of his work. Annual volume of the Walpole Society, Vol 47, 1978-1980, pp1.20 [see image below].
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes correspondence and photographs relating to requests by the following institutions, for Ingamells' opinion on works by Soldi:
-Tate Britain
-Sotheby's
-Christie's
-Colnaghi
-Philip Mould
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Includes a list compiled by Ingamells summarising the additional information and annotations added to the published catalogue post publication (see file JSI/2/4).
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection
Recording location: Paul Mellon Centre for Studies in British Art
Interviewer: Victoria Lane, Project Archivist and Records Manager at the Paul Mellon Centre (2010-2011)
Abstract:
-Ingamells assigns copyright of his archive to the Centre
-Description of Ingamells' relationship with Robert Raines; how they met; Raines' manners and appearance; description of Ingamells and Raines working arrangements [to listen to this clip, please see URL below]
-Explanation of why Raines, a medical doctor, was interested in history of art; discussion of the possibility of the Paul Mellon Centre obtaining a likeness of Raines
Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection