Thomas Moore Slade (born 1751)[1] was an English art dealer and collector.

Life

He was the son of Thomas Slade who died in 1771. Inheriting a fortune, he set off on a Grand Tour in 1774.[2]

In Sicily Slade visited Ignazio Paternò Castello with a letter of introduction from Sir William Hamilton.[1] In Venice he made significant art purchases from the estate of the collector Bartolomeo Vitturi (1719–1776), with John Udny. Udny had difficulty meeting his share of the price, so Slade made a financial arrangement meaning that the whole collection came to him.[3][4] He also bought prints and drawings from Giacomo Durazzo, and further paintings to sell on in Ferrara.[5] Slade spent three years in Venice, and while there commissioned the 1775 Francesco Guardi Bird’s Eye View painting of the city.[6]

Initially, Slade displayed his collections in his house at Rochester, Kent. He later lost all he had in speculation.[3] He took a position working for the Victualling Office at Chatham.[7]

In the period after the French Revolution, Slade bought the paintings by Flemish, Dutch and German artists from the Orleans Collection, in 1792. There were 147 pictures involved, and Slade was acting on behalf of a syndicate.[8] These associates were connected to the London bank Ransom, Morland & Hammersley, founded in 1786: William Morland, Thomas Hammersley and George Kinnaird, 7th Lord Kinnaird.[9][10] The following year, Slade put the paintings up for sale in London.[11]

Slade was a dealer based in Bond Street in 1801, and a sales catalogue shows he stocked paintings by the English artists Joshua Reynolds, John Rathbone and James Thornhill, as well as many foreign masters.[12] He lost all he had in speculation;[3] he suffered bankruptcy in 1803.[13]

References

  • Michael Levey, An English Commission to Guardi, The Burlington Magazine Vol. 102, No. 689 (Aug., 1960), pp. 363–366, Published by: The Burlington Magazine Publications Ltd. Stable URL: http://www.jstor.org/stable/873044

Notes

  1. 1 2 Castiglione, Ruggiero Di (2014-09-13). La Massoneria nelle due Sicilie: E i fratelli meridionali del '700. Sei volumi in cofanetto (in Italian). Gangemi Editore Spa. p. 273. ISBN 978-88-492-7890-3.
  2. ↑ Levey, p. 365.
  3. 1 2 3 Richter, George Martin (1931). "Two Titian Self-Portraits". The Burlington Magazine for Connoisseurs. 58 (337): 161–168. ISSN 0951-0788. JSTOR 864636.
  4. ↑ Yarker, Jonathan (2012). "The last Resident: Richard Worsley and his collection of Venetian paintings". The Burlington Magazine. 154 (1306): 42. ISSN 0007-6287. JSTOR 41418901.
  5. ↑ Avery-Quash, Susanna; Huemer, Christian (2019-08-06). London and the Emergence of a European Art Market, 1780-1820. Getty Publications. p. 200. ISBN 978-1-60606-595-2.
  6. ↑ "Bird's Eye View of Venice". Government Art Collection.
  7. ↑ Chatterton, E. Keble (30 December 2016). The Fine Art of Smuggling: King's Cutters vs. Smugglers - 1700-1855. Fireship Press. p. 155. ISBN 978-1-61179-135-8.
  8. ↑ Donington, Katie (15 November 2019). The Bonds of Family: Slavery, commerce and culture in the British Atlantic world. Manchester University Press. p. 288. ISBN 978-1-5261-2950-5.
  9. ↑ "Ransom, Bouverie & Co., London – British Banking History Society". banking-history.org.uk.
  10. ↑ Gaskell, Ivan; Thyssen-Bornemisza Sammlung (1990). Seventeenth-Century Dutch and Flemish Painting: The Thyssen-Bornemisza Collection. Philip Wilson Publishers. p. 18. ISBN 978-0-85667-352-8.
  11. ↑ Marchi, Neil De; Goodwin, Craufurd D. W. (1999). Economic Engagements with Art. Duke University Press. p. 198 note 23. ISBN 978-0-8223-2489-8.
  12. ↑ "Sales Catalog Br-52". piprod.getty.edu.
  13. ↑ The Law Journal. Richard Phillips. 1803. p. 581.
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