Macushla Baudis

Tea parties at the museum...

The collector J.H. Fitzhenry and his Relationship
with the Victoria and Albert Museum
Dr. Macushla Baudis
0
Macushla Baudis
ABSTRACT
The art dealer and collector J.H. Fitzhenry was a well known figure in the London
and Paris art worlds of the turn of the twentieth century, with a well-deserved
reutation for connoisseurshi as well as his generosity as a atron of the arts. For
over forty years, until his death in !"!#, Fitzhenry was a rolific lender and donor to
the $%& 'useu'. (et today Fitzhenry is a forgotten figure in the history of
collecting. )rawing on hitherto unu*lished corresondence, this article *rings to
light the life and collections of Fitzhenry, and assesses his i'ortant role in the
e+ansion of the $%& collections during this eriod.
LIST OF KEYWORDS
J.H. Fitzhenry &rt ,ollector &rt )ealer Porcelain
$ictoria % &l*ert -useu'
!
Macushla Baudis
Tea parties at the museum.... The collector J.H. Fitzhenry an hi! Relation!hi"
#ith the $ictoria an Al%ert &'!e'(
.e+tract/ )ear -r. Fitzhenry,
)uring the course of last year you 'ade a large nu'*er of valua*le and i'ortant
gifts to this -useu'. &'ongst the' all there was none erhas so re'arka*le and so
welco'e an addition to the collection as that of the 'agnificent series of French
orcelain and French and )utch faience, which you gave the 0oard in &ugust and
1ete'*er. These two collections constitute what is ro*a*ly the 'ost valua*le and
generous gift which has ever *een 'ade to the -useu' during the lifeti'e of the
donor. They ena*le the -useu', which was hitherto la'enta*ly deficient in o*2ects
of this character, to stand co'arison with the collections of any 'useu' in 3uroe.
..../
1ir ,ecil 1'ith, )irector of the $%&, to J.H. Fitzhenry.
!
.e+tract/
Introduction
4n !"!0, the collector and dealer J.H. Fitzhenry 5!6#7-!"!#8 resented to the $ictoria
% &l*ert -useu', London 5$%&8 two collections of cera'ics, one of French
orcelain, the other of )utch faience. 4n the letter of thanks written *y the then
)irector of the 'useu', 1ir ,ecil 1'ith 5!69"-!"::8, these collections were 2udged
to ;constitute what is ro*a*ly the 'ost valua*le and generous gift which has ever
*een 'ade to the -useu' during the lifeti'e of the donor<.
=
This donation
undou*tedly for'ed a centre-oint for the 'useu'<s e+anding collection of
,ontinental cera'ics, and reresented the cul'ination of a forty year relationshi
*etween Fitzhenry and the $%&. (et if this was one of the ;'ost valua*le and
generous gift5s8< ever 'ade to the 'useu', why is Fitzhenry today a largely forgotten
figure in this history of its collections>
Joseh Henry Fitzhenry was a 'an of 'any talents, an art-collector, an art-
dealer, and a atron of the arts.
#
Little *iograhical infor'ation is known a*out hi',
and this a*sence 'ust 'ake the early years of Fitzhenry<s life and career 'ere
seculation. 4n his own lifeti'e he was erceived as a self-'ade 'an who, desite a
'odest *ackground achieved the education and e+erience to successfully work as an
art dealer in 'id-nineteenth-century Paris.
:
He was an acknowledged e+ert on the
fine and decorative arts, and he could count a'ongst his ersonal friends so'e of the
'ost well-known cognoscenti and greatest art-collectors of the nineteenth-century,
including 1ir ?ichard @allace 5!6!6-"08, and Aeorge 1alting 5!6#9-!"0"8, who he
counted as his closest friend. &s well as esta*lishing a reutation that would attract
so'e of the fore'ost art atrons of the day to enlist his services, 'ost nota*ly the
&'erican, J. Pieront -organ 5!6#B-!"!#8, with ti'e Fitzhenry a'assed a sufficient
fortune to retire as a Cgentle'an collectorC. )uring the last #0 years of his life he lived
at =9, Dueen &nneCs-Aate, Eensington, close to the $%& to which he was such a
generous *enefactor.
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Fn Fitzhenry<s death in !"!# it could *e u*licly stated that CGearly every
deart'ent of the .$%&/ -useu' contains loan e+hi*its fro' the Fitzhenry Aift-
nearly all -r. FitzhenryCs *est things, in fact, were confided to the safe custody of the
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Macushla Baudis
-useu'C.
7
Fver a forty year eriod, the art collector would lend well over #,000
ite's to the 'useu'H this aart fro' the resentation of 'any nu'erous and valua*le
donations.
B
(et today Fitzhenry is a largely forgotten figure *oth in the history of
nineteenth-century 0ritish collecting and the history of the $%&. The 'ost recent and
co'rehensive histories of the $%&, articularly A Grand Design: The Art of the
Victoria and Albert Museum, and Vision and Accident: The Story of the Victoria &
Albert Museum, fail to reference Fitzhenry.
6
?ecent years have seen 'uch interest in
the relationshi *etween dealers and the $%& during its early history, led *y the
research of curators &nn 3atwell and ,live @ainwrightH
"
yet again Fitzhenry is
overlooked.
!0

This article accordingly ai's to correct this oversight, to serve as an
introduction to Fitzhenry and to evaluate his role in the early history of the $%&.
This will *e acco'lished through an e+a'ination of the gifts and loans he 'ade to
the 'useu', his articiation in the collecting olicy of the $%&, and his
relationshi with the curatorial staff of the 'useu'. The ri'ary source for this
research is the large collection of unu*lished corresondence and aers *etween
Fitzhenry and staff at the $%& held in the $%& archives.
!!

A generous patron to the V&A
Throughout his life, Fitzhenry was a freIuent and generous atron of the arts in
0ritain and France. He 'ade loans and *enefactions to 'useu's across the Jnited
Eingdo', such as the 1toke-on-Trent ,era'ics -useu', to which in !"06 he lent
e+a'les of @edgwood and works of the 3nglish cera'ic factories.
!=
He also 'ade
gifts to French 'useu's, for e+a'le in !"09 he donated a collection of over =00
e+a'les of 3nglish earthenware and orcelain to the Jnion ,entrale des &rts
)ecoratifs, Paris.
!#

He was an active figure in the London art scene, regularly aearing as a
lender to high-rofile u*lic e+hi*itions, such as those held at the 0urlington Fine
&rts ,lu*. He was also involved at society level as an e+hi*ition organiser in his own
right, for e+a'le coordinating with 1alting in !"0B a select rivate e+hi*ition of
;'iniatures, and other o*2ects of artistic or historic value< to *e held in a rivate
residence.
!:
Fitzhenry<s reutation as a connoisseur was largely *ased on his e+ertise
in two fields, French cera'ics and 3uroean 'iniaturesH as such it is no surrise to
see hi' *eing selected to sit on the 0ritish co''ittee for the 4nternational 3+hi*ition
of -iniatures, held in 0russels in !"!=.
!9
4n addition, his u*lic reutation see's to
have *een greatly increased *y his association with J. Pieront -organH the New or!
Times descri*ed Fitzhenry at his death as "### for years $# %ier&ont Morgan's
confidential ad(iser and art re&resentati(e .in London/ ...<.
!7
Fitzhenry hi'self was
definitely very roud of this connection, and his corresondence is eered with
rather *oastful asides to his socialising at -organ<s London residence or on the
)orsair, -organ<s lu+urious yachtK
!B

0ut first and fore'ost in Fitzhenry<s attentions ca'e the $%&.
!6
The records
of the $%& show that Fitzhenry first started 'aking gifts to the 'useu' in !6B0,
when he was a young 'an in his thirties and resu'a*ly at the initial stages of his
career. The very first gift listed is a ;-echlin lace laet<. The second gift was not
'ade until !6BB, a ;French terra cotta shaft or flue<, along with an ;3nglish
earthenware 2ug<.
!"
Aifts over the twenty year eriod !6B0 - !6"0 were soradic and
'odest in value. Loans and gifts increased during the !6"0s, resu'a*ly *y which
ti'e Fitzhenry was well esta*lished and successful in his rofession. )uring these
#
Macushla Baudis
years he was also offering ite's for sale to the 'useu' within his caacity as a
dealer.
=0
Fro' !"0! onwards there is a dra'atic increase in *oth the Iuantity and
Iuality of gifts to the $%& fro' Fitzhenry. 0y this date he 'ay have cut *ack on his
rofessional work, and had the leisure and financial 'eans to indulge his interest in
the 'useu'.
Fitzhenry as a collector is distinguished *y the *readth of his collecting
ractices. This can *e seen fro' the contents of his entire collection which, after his
death, were sold at auction in London *y ,hristie<s. The collection was so large that L
even after the deduction of an additional large grou of ite's *eIueathed to the
$%&L the auction had to *e sread over two weeks in Gove'*er !"!#.
=!
His
collection was of an e+traordinary diversity and scale, featuring anything fro' French
'edieval wood carvings to 3nglish Aeorgian silver to a ortrait attri*uted to the
1anish ainter $elazIuez 5!9""-!7708. The total sale raised M#9,=79 Bs #d 5gross8,
and this figure did not include valua*le ite's of French origin such as eighteenth-
century orcelain and *ook-covers which were later sold searately at auction in
Paris.
The sa'e astonishing diversity characterised his loans and gifts to the $%&.
For e+a'le, in !"0= he resented to the 'useu' a collection of seventeenth- and
eighteenth-century ;silver unch ladles< and ;silver caddie soons<, 'uch areciated
*y Eeeer of -etalwork, H. P. -itchell 5;4 *elieve we have not a single e+a'le<8.
==
1hortly after he donated a ?enaissance terracotta $irgin and ,hild, attri*uted at the
ti'e *y one of the leading authorities on ?enaissance sculture, Aer'an art critic
@ilhel' von 0ode 5!6:9-!"="8, to the -aster of the Pellegrini ,hael
51ant<&nastasia, $erona8.
=#
@hen on a *uying tri to France in !"0", he wrote to 1ir
,ecil 1'ithN ;4 have secured so'e interesting ;architectural< frag'ents fro' a very
early chael 5*eing de'olished8 near ,ler'ont-Ferrand. 5Duite the *est locality for
that class of work8. They are != cor*els in stone of 'ost co'licated designO<
=:
5Fig.! resents si'ilar architectural frag'ents donated *y Fitzhenry to the $%&, of
the re'ains of an arched doorway fro' the early si+teenth-century church of 1t.
Hilaire le Arand, Poitiers8. Aeorgian silver, ?enaissance sculture, Aothic
architecture.... his corresondence to the 'useu' testifies that Fitzhenry was not 2ust
a 'agie of a collector, acIuiring o*2ects at whi'H rather his letters give evidence to
an i'ressive *readth of knowledge covering diverse fields and eriods of the
3uroean decorative arts.
0y !"0= Fitzhenry had *een allocated his own e+hi*ition cases in the u*lic
galleries of the $%&, a very visi*le sign of the restige Fitzhenry en2oyed through his
collectionN
.e+tract/ The little collection of snuff *o+es, watches, 'iniatures, etc, offered as an
addition to his loan *y -r. Fitzhenry got together *y hi' fro' the Pichon and Aavet
collections and other sources, are all of s'all size and 'any of the' of very fine
Iuality. 1ace was rovided for the' several weeks ago *y -r. 1kinner<s instructions
in one of the cases devoted to -r. Fitzhenry<s collection, which in conseIuence
stands artially e'ty waiting to receive the'. Their accetance would thus dislace
nothing *ut would ena*le us to co'lete the arrange'ent of the case.
=9
.e+tract/
Fitzhenry freIuently oened his ho'e to the $%& and gave curatorial staff
access to his rivate collectionN
:
Macushla Baudis
.e+tract/ -r. Fitzhenry during the last few weeks has *een 'aking considera*le
changes in the collection which he has hitherto ket in his roo's. He is desirous of
lending to our 'useu' and that of the Jnion ,entrale des &rts )Pcoratifs in Paris
those o*2ects which 'ay *e considered to *e 'ost suited for filling the e+isting
vacancies in the collection of these institutions.
He offered to lend us 3nglish and foreign silver and so'e 'ore foreign orcelain.
-essrs @ylde and -itchell accordingly went to -r. Fitzhenry<s roo's and 'ade
their selection with great care. -r. Fitzhenry has added also a few other things
hi'self.
=7
.e+tract/
4n his ractice of loaning ite's fro' his collection to the $%&, Fitzhenry was
following a co''on ractice of 3nglish collectors which had e+isted since the
founding years of the 'useu'. &nn 3atwell has shown how, during the nineteenth
century, the $%& ursued an innovative olicy which actively encouraged lending. 4t
was erceived as an efficient 'eans of e+anding the collection and filling dislay
sace. Fro' its earliest years the 'useu' had relied heavily on the good-will of
collectors and ursued a olicy of encouraging otential donors. )ue to lack of funds,
the 'useu' had used loans fro' connoisseurs to increase the Iuantity and Iuality of
its e+hi*itions, and 'any such loans eventually *eca'e er'anent gifts. & dedicated
Loan ,ourt was esta*lished to give a central osition to such loans.
=B
The foundation
of societies for collectors interested in the decorative arts, such as the Fine &rts ,lu*
in !69B, and its offshoot the 0urlington Fine &rts ,lu* in !677 5*oth of which were
founded *y the first art curator at the $%&, 1ir John ,harles ?o*inson 5!6=:-!"!#88,
facilitated the 'useu' 'aking contact with such collectors, winning their atronage
and o*taining ite's for the collections. They could *e actively encouraged to collect
to fill gas in the u*lic collections.
=6

&n internal 'e'o of !"06 already financially valued Fitzhenry<s
contri*utions to the 'useu'<s collections at M!9,:6:-7-0.
="
This was *efore 'any of
his 'ost i'ortant gifts to the 'useu' were 'ade.
The Fitzhenry collection of French porcelain
)uring his lifeti'e, Fitzhenry esta*lished a collection of French orcelain of
unsurassed Iuality that dislayed the technical and stylistic develo'ent of the
different orcelain 'anufactories fro' the late seventeenth century onwards. 0y !"09
a large art of it was on loan to the $%& 'useu', where it included seci'ens of
1Qvres, 1t.,loud, ,hantilly and -ennecy. ,.H. @ylde, curator of cera'ics at the
$%&, u*lished an article in The *urlington Maga+ine devoted to the loan collection.
He raised Fitzhenry for having ;*rought together *y years of indefatiga*le industry
*oth in 3ngland and the ,ontinent ro*a*ly the finest collection of French &,te-
tendre in the Jnited Eingdo'<, at a ti'e when little if anything was known a*out
early French soft-aste orcelain in 0ritain. @ylde saw the i'ortance of Fitzhenry<s
collection as lying not 2ust in the Iuality and *readth of the ite's, *ut ri'arily due to
the rarity of such a collection in 0ritain at that oint in ti'e in the early twentieth
century.
.e+tract/ ...it is only *y a thorough knowledge of the history of the develo'ent of
continental orcelain that our 3nglish roductions can *e roerly understood, and
the oortunity given *y -r. FitzhenryCs generous loan, which it is in his ower to
re'ove at any 'o'ent, is one of the e+tre'ely rare chances afforded to students and
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Macushla Baudis
collectors in this country of seeing and co'aring the various roducts of the early
French factories#
#0
.e+tract/
This loan was 2ust art of Fitzhenry<s overall orcelain collection held at his
Eensington aart'ent, and which art he later sold in Paris in !"0". The auction of
the collection of %orcelaines tendres anciennes, fran.aises & /trang0res was handled
*y F. Lair-)u*reuil, and took lace over four days, starting on the !#
th
)ece'*er
!"0". & reface to the auction catalogue was esecially written *y a leading French
authority on cera'ics, ,ount Ravier de ,havagnac 5!6:7-!"!!8. The 'otive for such
a sale see's to have *een to raise 'oney to ena*le Fitzhenry to continue to indulge
his assion for collecting. He see's to have reared carefully for what he lanned to
*e one of the 'ost i'ortant sales of French orcelain in recent years. He 'oved to
Paris over a 'onth *efore the auction was scheduled, in order to ersonally suervise
the rearations. His corresondence reveals he had high hoesN
.e+tract/ ;-y sale ro'ises to *e a great successK Peole think it will 'ake M!=,000.
4f there is co'etition 5very likely as there is no ;Pate Tendre< in the 'arket8 4 cannot
for' an idea of the resultsK &nyhow, 4 will get enough to ay for all 'y late
e+ensive art urchases 5with so'ething to sareK8.
#!
.e+tract/
His high e+ectations aear to have *een 2ustified, writing a 'onth later he
had ;a very successful sale in Paris< which would ena*le hi' ;to lay off all 'y ;arts<
de*ts as soon as settled uK<.
#=

4n !"0" Fitzhenry er'anently donated his re'aining collection of French
orcelain which had *een on view at the $%&. 1o'e of the 'ost *eautiful e+a'les
of early orcelain in the $%& collection today are gifts fro' Fitzhenry, such as the
e+Iuisitely si'le tea*owl and saucer 5c.!B00-!98 5Fig.=8, rare e+a'les of early
3uroean soft-aste orcelain fro' the 1aint ,loud factory, or an ela*orate
'ythological grou 5!B:9-9=8 in the sirit of the rococo artist FranSois 0oucher
5!B0#-B08 roduced at the 'anufactory of $incennes 5Fig.#8. This gift, along with an
i'ortant collection of )utch faience 'ade at the sa'e ti'e, was a highly valued
contri*ution to the national cera'ics collection. &s noted at the ti'eN
.e+tract/ This offer of -r. Fitzhenry is, ne+t to the 1chrei*er Aift, the 'ost generous
which has ever *een 'ade to the -useu', for although not so valua*le as the Jones
or the 1heeshanks 0eIuest, the gift of a valua*le collection in the donor<s lifeti'e is
far 'ore 'agnificent than the *eIuest after his death when it can no longer *e of any
value to hi'.
##
.e+tract/
Fitzhenry would see' to *e in good co'any.... Lady ,harlotte 1chrei*er
5!6!=-"98 had *een one of the earliest, 'ost active and 'ost successful 3nglish
collectors of cera'ics, along with other fields of the alied arts, including lace, fans
and laying cards. Her donation of 3nglish cera'ics to the $%& in !66: largely
esta*lished the national collection. Likewise, John Jones< i'ortant !66= donation of
French eighteenth-century furniture and orcelain, articularly 1Qvres, greatly
aug'ented the 'useu'<s holdings in this area, *egun in !69# with o*2ects fro' the
collection of Ja'es 0andinel.
#:
&ccordingly Fitzhenry<s donation was *uilding on and
enhancing a reviously e+istent orcelain collectionH and was erhas 'ore nota*le at
7
Macushla Baudis
the ti'e as the visi*le success of a conte'orary 3nglish collector, rather than for its
secific scholarly value as a totality. 4ndividual works were chosen for inclusion in
3dward )illon<s !"0: u*lication %orcelain, which ai'ed to ;rovide a definitive
general survey of the history of the 'anufacture of orcelain, *oth Friental and
3uroean, in the 3nglish language.<
#9
(et Fitzhenry<s orcelain collection was never
u*lished *y the 'useu' as a catalogueH erhas if he had not searated and sold the
collection *ut retained it as a whole it would have 'aintained a greater integral
scholarly value.
The role of the Fitzhenry Gift
& striking characteristic of Fitzhenry, and one which 'ust have *een a contri*uting
factor to his role as 'useu' atron, is his awareness of the *roader social otential of
design, and the social role that could *e layed *y his own collection. 4n the sirit of
the !69! Areat 3+hi*ition, Henry ,ole 5!606-6=8 and the origins of the $%&, he did
not 2ust collect for his own egotistical leasure or reward, *ut he hoed that his
collection would lay a art in the continuation of conte'orary 0ritish industrial
design.
#7
This is stated Iuite clearly in a letter of !"0"N ;4 have 'ade so'e lovely
urchases here esecially French silver fro' = noted silvers'iths and curio dealers
here, so the ;rovenance< is all right *ut 5as 4 always do8 4 *uy with the idea of
*enefitting our 'anufactures'.
#B
Fitzhenry erceived such designs could *e of cultural
interest and aesthetic insiration to future generations of artists and designers. &
central ele'ent of Fitzhenry<s i'ortance within the history of collecting lies in his
recognition of the value of the decorative arts, and the suort he gave to the
'useu's of design and the industrial arts which were founded in nineteenth-century
0ritain and 3uroe, one of the 'ost influential of which was the $%&.
)esite this however, his art collection was also undou*tedly a 'eans of
restige and status for Fitzhenry. &t the 'ost co''on level, it was a way of receiving
u*lic acknowledge'ent such as has *een seen in @ylde<s article on his orcelain
collection in the *urlington Maga+ine# The fact that o*2ects fro' Fitzhenry<s
collection were worthy of e+hi*it in a 'useu' reflected on his ersonal success, *oth
financially and acade'icallyN "-y triu'h however is not that *ut securing the
grandest ;$irgin< in walnut ;Tcole de 0ourgogne<. 4 2ust ca'e fro' that country, !:th
century and si'ly as grand a work as any 'useu' holdsK<
#6
Gor was Fitzhenry shy
in *oasting on the aesthetic and financial value of his collection, or of his donations to
u*lic collectionsH for e+a'le when in !"0" he was considering resenting his
valua*le collection of French orcelain to the $%& he wrote to 1ir ,ecilN ;4 want to
see you a*out the resenting to the -useu' 5at once8 'y suer* collection of Pate
Tendre. 4 own that it is a fine giftO'
#"

There were 'any instances when the $%& acceted unwanted loans or gifts
fro' Fitzhenry out of areciation for the 'any valued ast gifts, and the hoe of
future ones. Fne e+a'le of 'any occurred in !"0: when the 'useu' *oard re2ected
a gift of ewter offered *y Fitzhenry. The action 'otivated 'any of the curators to
urge the accetance of the gift, articularly &.0. 1kinner. 4n this instance, 1kinner
wrote a strongly-worded 'e'o to the directorN
.e+tract/O.He is, as you know, a great *enefactor of the -useu', having resented
us with 'any valua*le works of art which our funds would not allow us to *uy. To
'ention one or two, you will re'e'*er that he has given us a very valua*le
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Macushla Baudis
collection of 4talian tiles, which we could not ossi*ly have e+ected to ossess
e+cet through the generosity of so'e donor. He wished the other day to urchase
for the -useu', and to give, a ortion of the architectural details of the ,hUteau de
-ontal, *ut the lot for which he gave instructions to his *roker e+ceeded his li'it. 4
do not think it is really right that such generosity and interest should *e resected in
this way, and 4 *eg leave very strongly to reco''end that -r. Fglivie *e asked to
allow us to kee these seci'ens of ewter and to thank -r. Fitzhenry for his
kindness towards the 'useu'.
:0
.e+tract/
Fn this occasion, after 'uch discussion, the 'useu' *oard eventually agreed
to accet the gift. The ;valua*le collection of 4talian tiles< referred to *y 1kinner in
the a*ove 'e'o are a collection of earthenware ainted floor tiles co''issioned in
the !:"0s *y the Aonzagas of -antua. )ecorated with a variety of Aonzaga fa'ily
'ottoes and e'*le's, they were used to adorn the studio of 4sa*ella d<3ste.
:!

-ore disagree'ent arose when Fitzhenry wished to resent a ?o'an fresco,
a nineteenth-century coy of a fourteenth-century original and in oor condition,
icked u during Fitzhenry<s !"!0 tri to ?o'e. 4nternal 'useu' 'e'os show there
was general consensus a'ong the curatorial staff that the loan should not *e acceted,
there *eing no e+hi*ition sace for the o*2ect, and it *eing in such oor condition it
would not *e suita*le for e+hi*it anyway. However, once again Fitzhenry<s allies in
the 'useu' steed in, with 1kinner writing to the directorN
.e+tract/ Had this *een an ordinary loan 4 should have reco''ended its refusal
*ecause we have no roo' to e+hi*it it. 0ut 4 have heard there is so'e rosect of -r.
Fitzhenry<s loans *eco'ing eventually the roerty of the nation, so that if this fresco
were now refused, the -useu' 'ight lose it forever, while if it were acceted it
'ight so'e day *eco'e a er'anent ossession.
:=
.e+tract/
The loan was eventually acceted, though after 'uch de*ate.
The 'useu' was evidently courting Fitzhenry. 4ronically, Fitz see's to have
*een wise to this olicy of lacation L concerning one offered donation of !"0#, he
ad'onished that he didn<t "want it down as a favour, as 4 would rather give it to the
oratory of so'e ;Poish ,hurch< than have it stored away in a ;cornor< as it is a good
thing.<
:#
Relationships at the museum
Fitzhenry took an active art in the daily activities of the 'useu', at ti'es acting on
*ehalf of other i'ortant 'useu' donors such as J. Pieront -organ - for e+a'le in
!"0" he suervised the installation of a loan collection of Ao*elins taestries 'ade *y
-organ to the $%&. He took an interest in the 'ost 'inute details of how his loans
and gifts, and those of his clients, were resented L cases, lighting, roo' ositioning,
infor'ation cards L nothing was considered irrelevant.
Fitzhenry<s officious attitude does not always see' to have *een areciated
*y staff 'e'*ers, and erhas inevita*ly he see's to have steed on 'ore than a
few toes in his eagerness to articiate and 'anage how his collection was resented
and 'aintained. Gevertheless, he had close friendshis with the director, 1ir ,ecil
1'ith, as well as with 'any of the curatorial staff. & 'ark of what could *e erceived
as either e+traordinary generosity or arrogance was his offer to finance a study-tri of
6
Macushla Baudis
the Eeeer of 1culture and &rchitecture, &.0. 1kinner, with who' he 'aintained a
friendly relationshi.
::
@riting to 1ir ,ecil 1'ith on 1kinner<s *ehalf to etition for
three weeks leave of a*sence, Fitzhenry 'ade it clear he would organise and finance
the tri hi'self. 3vidently Fitzhenry very 'uch saw hi'self in the role as ;tutor<
i'arting knowledge to a student 5desite 1kinner<s rofessional e+ertise8N
.e+tract/ 4 a' so glad you find it feasi*le to let 1kinner co'e for a three-week tour
with 'e, in the ho'e of the ;&rts< 51culture and &rchitecture, 4talian and Areek, he
is so saturated with8. He has to ;chalk out< the tour, as 4 want hi' to see everything
we can 5in the ti'e8 likely to i'rove his knowledge and taste in those = categories.
:9
.e+tract/
The 'useu' acted as a second ho'e to Fitzhenry. 4n the su''er of !"!0,
when 'ost curatorial staff were away en2oying holidays, Fitzhenry could write to the
director that ;4 dwell in the 'useu' and have a )aily Tea Party<.
:7
4n such a sense,
the staff at the 'useu' see's to have al'ost fulfilled the role of surrogate fa'ily.
&s has *een noted a*ove, it was widely acceted *y 'useu' staff that at his
death, Fitzhenry would *eIueath everything on loan at the $ictoria % &l*ert to the
'useu'. Gevertheless to the surrise of all concerned, Fitzhenry changed his 'ind
shortly *efore his death, aarently due to increasing ill health and 'ounting 'edical
*ills. The event was recorded *y the director 1ir ,ecil 1'ith in a !"!= 'e'oN
.e+tract/ Fn the !9th inst. -r. Fitzhenry called on 'e. He infor'ed 'e that during his
recent illness his doctor had urged on hi' the necessity of 'aking so'e arrange'ents
for the disosal of his collection after his deathH and that in conseIuence he had 'ade
a will and aointed an e+ecutor. .O/ He e+lained to 'e that, although his desire is
that the whole of his collection now on loan to us shall *eco'e our roerty,
circu'stances are not such as to er'it hi' to 'ake a free gift of the' now, as he
would like to do#
:B
.e+tract/
&lthough Fitzhenry asired to create a national art collection which would
'irror those of friends such as 1alting and @allace, without the financial
indeendence they en2oyed, such asirations could not ulti'ately *e 'et. However,
Fitzhenry had directly contri*uted to official 'useu' olicy regarding the for'ation
of its collections. &fter Fitzhenry<s death, his entire loan collection to the $%& had
to *e sold, which created significant voids in the 'useu' collection. The director
wrote to one of the 'useu'<s trusteesN
.e+tract/ O -r. J.H. Fitzhenry who recently died, had on deosit here a large
collection which it was always understood he was going to *eIueath to the -useu'.
4t was, indeed, so 'uch regarded as an acceted fact that our olicy of urchase was
to so'e e+tent governed *y the idea that certain gas were already filled *y the
Fitzhenry e+hi*its.
:6
.e+tract/
Further corro*oration of this olicy is rovided *y the *urlington Maga+ine's
anony'ous reviewer of the ;Princial &cIuisitions of the $ictoria % &l*ert -useu'<,
who in !"!9 la'ented ;the re'oval of the late -r. Fitzhenry<s long loans to the
.$%&/ 'useu' caused great gas in the French and 4talian sculture<.
:"
& case-list
was co'iled of artifacts lent *y Fitzhenry to the 'useu' and still housed there at his
"
Macushla Baudis
death L over a forty year eriod fro' his earliest loan in !6B0, over #,!90 ite's had
*een lent, artifacts which now were re'oved and disersed.
90

onclusion
4n the oening Iuote of this article, 1ir ,ecil 1'ith descri*ed Fitzhenry<s donations to
the $%& as ;the 'ost valua*le and generous gift .../ ever 'ade .../ within the lifeti'e
of the donor.< &lthough an i'ortant figure in the history of the $%&, such fervent
raise should in hindsight *e viewed as words of gratitude in acknowledg'ent of
'any ast acts of generosity and with the hoe of 'any 'ore future ones. @hile his
osthu'ous reutation as an art collector has undou*tedly suffered due to the
*reaking u of the larger art of his collections, Fitzhenry nevertheless deserves to *e
re'e'*ered for the donation of 'any i'ortant gifts which heled to for' and
co'lete deart'ental collections, as well as for the suort, *oth rofessionally and
financially, he sought to give a young 'useu'. Fitzhenry offers an interesting insight
into the co'le+ relationshi *etween the 'useu' and such dealerLcollectors, and
the valua*le role layed *y 'ore 'odest donations in the overall shaing of the
national collection.
Dr. &ac'!hla Ba'i!.
)ational Colle*e o+ Art , De!i*n- D'%lin. %a'i!(.nca.ie
Ill'!tration Ca"tion!
Fi*. /0 Frag'ents of arched doorway fro' 1t. Hilaire le Arand, Poitiers. c.!900.
,arved li'estone. Fitzhenry Aift, $%&N &.!=N!-!"!!. 5$&)&?N =007&3":9:8.
Fi*. 10 1aint-,loud, Tea*owl and trembleuse saucer. c.!B00-!B!9. 1oft aste
orcelain ainted in underglaze *lue. Fitzhenry Aift, $%&N ,.:##%&-!"0".
5$&)&?N =007&H=:=:8.
Fi*. 20 $incennes, -ythological Arou 5$enus and &donis>8. !B90-99. 0iscuit
orcelain, with gilt 'etal 'ount. Fitzhenry Aift, $%&N ,.#97-!"0". 5$&)&?N
=00B0-B=6"8.
!0
Macushla Baudis
)ote!
!!

$%&N -&V!VF7BBV!# -?efN &- #=#:-0" V &- :7"0-0"H !"!0. The original unctuation, selling and
gra''ar are retained in the Iuoted e+tracts fro' the corresondence of J.H. Fitzhenry.
!
$%&N -&V!VF7BBV!# -?efN &- #=#:-0" V &- :7"0-0"H B June !"!0, Letter fro' 1ir ,ecil 1'ith to
Fitzhenry. The original unctuation, selling and gra''ar are retained in the Iuoted e+tracts fro' the
corresondence of J.H. Fitzhenry.
"
& reconstruction of the life and career of J.H. Fitzhenry is for the 'ost art reliant on the *ody of his
surviving corresondence in the archives of the $%&, as well as his !"!# o*ituary in The Times#
#
F*ituary, The Times, !6 -arch !"!#.
$
Jnfortunately no visual i'age of J.H. Fitzhenry has yet *een identified. &t least one ortrait of hi' is
known to have *een roduced, a !"06 ortrait *y 1ir @illia' Fren 5!6B6-!"#!8 which was sold *y
,hristies in !"!#. 4ts resent location is unknown.
%
The Times, =" &ugust !"!#.
&
$%&N -&V!VF7BBV== -4nternal 'e'o.
'
-alcol' 0aker and 0renda ?ichardson 53ds8 A Grand Design: The Art of the Victoria and Albert
Museum 5London, !""B8 and &nthony 0urton, Vision and Accident: The Story of the Victoria & Albert
Museum 5London,!"""8.
(
&nne 3atwell, ;0orrowing fro' ,ollectorsN The role of the Loan in the For'ation of the $ictoria and
&l*ert -useu' and its ,ollection 5!69=-!"#=8<, Decorati(e Arts Society $ournal 5=0008, =:, .=!-=".
,live @ainwright, ;The -aking of the 1outh Eensington -useu'N Part 444 L W,ollecting &*roadX<,
$ournal of the 1istory of )ollections, !:N!, .:9-7!H and ;X& gatherer and disoser of other 'enCs
stuffeX. -urray -arks, connoisseur and curiosity dealer<, $ournal of the 1istory of )ollections, !:N!,
.!7!-!B7.
)
However since the first draft of this article was written in the su''er of =00", the $%& has oened
Phase ! of the new ,era'ic Aalleries. Judith ,rouch<s online essay "The 2ormation of the )eramics
Galleries' acknowledges for the first ti'e Fitzhenry<s contri*utions to the 'useu'<s cera'ic
collection. 1ee
httNVVwww.va'.ac.ukVcollectionsVcera'icsVnewYcera'icsYgalleriesVfor'ationYcera'icsVinde+.ht'l.
.&ccessed !#V!0V=00"/.

$%&, Fitzhenry Files 5!6!B-!"!#8, -&V!VF7BBV! to -&V!VF7BBV== inclusive. To date no other

ersonal aers or corresondence relating to Fitzhenry have *een located *y this author.
!
$%&N -&V!VF7BBV6 -?efN 6!:7"H =0 January !"09, Letter fro' @.@. @atts to &.0. 1kinner.
"
$%&N -&V!VF7BBV6 -?efN !B#B"V09H # Gove'*er !"09, &.0. 1kinner, 'e'o.
#
The *urlington Maga+ine 5!"0B8 $ol.!!, .!!B.
$
;4nternational 3+hi*ition of -iniatures<, The Times, 7 Fe*ruary !"!=.
%
;Fitzhenry ,ollection to *e 1old<, The New or! Times, #! &ugust !"!#.
&
1ee for e+a'le $%&N -&V!VF7BBV!# -?efN &- ##:=H June ="
th
!"0", Letter fro' Fitzhenry to 1ir
,ecil 1'ithH $%&N -&V!VF7BBV!: -?efN &- =7:9V0"H -ay =!
st
!"!0, Letter fro' Fitzhenry to &rthur
0. 1kinner.
'
The 1outh Eensington -useu' was esta*lished in !69= following the success of the Areat
3+hi*ition of !69!, and was run *y the )eart'ent of 1cience and &rt. Fne of the ri'ary functions of
the 'useu' was to disse'inate knowledge a*out 'anufactures, aesthetics and culture, in the hoe of
fostering 'odern 0ritish industry. 4t was rena'ed the $%& in !6"".
(
$%&N -&V!VF7BBV!9 -?efN &- 7=7#H List of gifts fro' J.H. Fitzhenry, !6B0 to !"06.
!)
1ee for e+a'le, $%&N -&V!VF7BBV!- ?ef. !6!BH Letter fro' Fitzhenry to $%&.
!
The details of the Fitzhenry sale were reorted in The Times, =" &ugust, and !6-=B Gove'*er !"!#.
!!
$%&N -&V!VF7BBV9 -?efN ==9=!H = 1ete'*er !"0=, -e'o fro' H.P. -itchell to @.@. @atts.
!"
?egistration no. 7=-!"0#. $%&N -&V!VF7BBV9 -?efN "06#BH =# Fe*ruary !"0#, ?eort *y &.0.
1kinner. ,urrent scholarshi now eIuates the -aster of the Pellegrini ,hael with -ichele da Firenze
5active !:0:-:#8 5J.T. Paoletti % A.-. ?adke, Art in 3enaissance 4taly, 5London, =0098 #
rd
edition,
.##B8.
!#
$%&N -&V!VF7BBV!: -?efN &- 9#60H ! Gove'*er !"0", Letter fro' Fitzhenry to 1ir ,ecil 1'ith.
!$
$%&N -&V!VF7BBV9 -?efN ==9=!H = 1ete'*er !"0=, -e'o fro' H.P. -itchell to @.@. @atts.
!%
$%&N -&V!VF7BBV!! -?efN -B="V0BH !: Fe*ruary .!"0B/, Letter fro' &.0. 1kinner to -r. Fglivie.
!&
&nne 3atwell, ;0orrowing fro' ,ollectorsN The role of the Loan in the For'ation of the $ictoria and
&l*ert -useu' and its ,ollection 5!69=-!"#=8<, Decorati(e Arts Society $ournal 5=0008, =:, .=!-="
=6
The initial research on the toic was led *y &. 3atwell, ;The ,ollector<s or Fine &rts ,lu* !69B-
!6B:N the First 1ociety for ,ollectors of the )ecorative &rts<, Decorati(e Arts Society $ournal 5!"":8
Go.!6, .=9-#0!H and ,. @ainwright, The -aking of the 1outh Eensington -useu'N Part 444 L
W,ollecting &*roadX<, $ournal of the 1istory of )ollections 5=00=8 $ol.!:, Go.!, .:9-7!. 1ee also
u*lished histories on the $%& for cursory discussions on the 'ost ro'inent collectors.
!(
$%&N -&V!VF7BBV!9 -?efN &- 7=7#H List of gifts fro' J.H. Fitzhenry, !6B0 to !"06.
")
,.H. @ylde, ;-r. FitzhenryCs collection of early French Ute-tendre<, The *urlington Maga+ine,
5!"098 =6N .!66-=0!.
"
$%&N -&V!VF7BBV!: -?efN &- 9#60H Gove'*er !st !"0", Letter fro' Fitzhenry to 1ir ,ecil 1'ith.
"!
$%&N -&V!VF7BBV!: -?efN &- 7!70H )ece'*er !6
th
!"0", Letter fro' Fitzhenry to 1ir ,ecil 1'ith.
##
$%&N -&V!VF7BBV!# -?efN &- #=#:-0"H : &ugust !"0", -e'o fro' ,.H. @ylde to 1ir ,ecil
1'ith. @ylde valued the *eIuest at aro+i'ately M7,#!B. There is unfortunately no evidence in
u*lished sources to show that Lady 1chrei*er and Fitzhenry were acIuainted, though it is highly
feasi*le that the two 'ust have 'et, *eing *oth such active collectors of cera'ics and highly involved
with the $%&.
"#
1ee ,rouch for a concise history of the for'ation of the $%&<s cera'ic galleries.
httNVVwww.va'.ac.ukVcollectionsVcera'icsVnewYcera'icsYgalleriesVfor'ationYcera'icsVinde+.ht'l.
.&ccessed !#V!0V=00"/.
"$
3. )illon, %orcelain 5London, !"0:8. Five works fro' Fitzhenry<s collection, rincially eighteenth-
century French, were chosen to *e illustrated in the *ook.
"%
Henry ,ole was the first director of the 1outh Eensington -useu' 5later called the $%&8 fro'
!69B-B#.
"&
$%&N -&V!VF7BBV!: -?efN &- 7==#H #0 )ece'*er !"0", Letter fro' Fitzhenry to 1ir ,ecil 1'ith.
#6
5$%&N -&V!VF7BBV! -?efN #BBH !"

.January !6"!/, Letter fro' Fitzhenry to ?ichard Tho'son.
?ichard Tho'son had *een &ssistant )irector at the $%& retiring in !6"!.
"(
$%&N -&V!VF7BBV!# -?efN &- ##:=H =" June .!"0"/, Letter fro' Fitzhenry to 1ir ,ecil 1'ith.
#)
$%&N -&V!VF7BBVB -?efN T607!:H !6 Fe*ruary !"0:, 4nternal 'e'o *y &.0. 1kinner.
#
$%&N ?eg. Go. ##:N !-!"0# to ##:N7-!"0#.
#!
$%&N -&V!VF7BBV!6 -?efN ="!#-H 6 &ugust !"!0, -e'o fro' &.0. 1kinner> to 1ir ,ecil 1'ith.
#"
$%&N -&V!VF7BBV9 -?efN ="!#-H !! Fe*ruary .>/ !"0#, Letter fro' Fitzhenry to Jnknown.
##
&rthur 0anks 1kinner 5!67!-!"!!8 was )irector of the $%& fro' !"09 to !"06, until he was
relaced *y 1ir ,ecil 1'ith, who directed the 'useu' until !"=:. 1kinner was relegated to Eeeer of
the )eart'ent of &rchitecture and 1culture.
#$
$%&N -&V!VF7BBV!7 -?efN !0V!B:H = Fe*ruary !"!0, Letter fro' Fitzhenry to 1ir ,ecil 1'ith.
#%
$%&N -&V!VF7BBV!6 -?efN !0V#:B#BH #0 &ugust !"!0, Letter fro' Fitzhenry to 1ir ,ecil 1'ith.
#&
$%&N -&V!VF7BBV=0 -?efN 9#7!-H !6 Fcto*er !"!=, 4nternal record *y 1ir ,ecil 1'ith of interview
with Fitzhenry8.
#'
$%&N -&V!VF7BBV=!, # Fcto*er !"!#, Transcrit of letter fro' 1ir ,ecil 1'ith to 1ir @yndha'
-urray.
#(
The *urlington Maga+ine 5!"!98 =6N no.!9!.
$)
This figure did not include the nu'erous gifts he had reviously resented to the 'useu'. &lthough
the $%& were thwarted of so 'uch of Fitzhenry<s collection, the 'useu' was given referential
choice on artefacts fro' the collection *efore it went to auction at ,hristie<s.