Pieter Casteels III

Probably commissioned by Alexander Pope (1688–1744), Twickenham, c. 1729 (perhaps listed as 'a Duck Peice in Ditto [Gold Frame]' in a posthumous inventory drawn up of his villa on 30 May 1744);

Probably by inheritance to Martha Blount (1690–1763), London and Oxfordshire;

Probably by descent to her nephew, Michael Blount (1719–1792), Oxfordshire;

Possibly in the collection of David Garrick (1717–1779), Twickenham, or one of his descendants (according to a label previously attached to the reverse, that cites 'Garrick's Lodge or Stables', though this may be a misidentification of the house in the background);

Acquired by the great-grandmother of the present owner, Mrs Goodrich, London, c. 1895;

Thence by descent.

Probably M. Mack, The garden and the city: retirement and politics in the later poetry of Pope, 1731–1743, Toronto 1969, Appendix B, p. 252 (as 'a Duck Peice').

Hampshire, Mottisfont Abbey, on long-term loan, 2002–24.

Likely commissioned by Alexander Pope, one of the most prominent English poets of the early 18^th century, this signed and dated painting by Pieter Casteels III depicts ducks, fowl and an owl in front of Pope's villa at Twickenham, as seen across the River Thames. These birds may serve more than a decorative function. It has been argued that the owl, a traditional symbol of wisdom majestically perched in the upper right corner, represents Pope himself, while the other birds symbolise his personal enemies: Grub Street writers of muddy verse and pamphlets, or else anybody who was perceived to be undermining the Augustan values of eloquence embraced by the poet.¹

Indeed, just a year before this painting's execution, in June of 1728, Pope anonymously published the first edition of The Dunciad in Dublin. This narrative poem was an exercise in mockery, levelled by Pope against the 'Dunces' who degraded the arts and political discourse. The following year, in 1729, Pope published The Dunciad Variorum: an expanded version of the original text. The present composition, a Concert of Birds, surely illustrated Pope's satirical sentiments perfectly. The subject is drawn from one of Aesop's fables, The Owl and the Birds, in which the birds ignored the advice of the wise owl and mocked her. Upon realising that the owl had been right all along, the birds sought out her wisdom, but she ignored them, pondering the folly of her kind. This theme became popular in the 17^th century among artists such as Frans Snyders (1579–1657) and remained so among succeeding generations of painters.

Casteels' depiction of Pope's villa is similar to that in The Prospect of the River Thames at Twickenham of c. 1724–30 by Peter Tillemans (c. 1684–1734), Casteels' brother-in-law, which today hangs in the Orleans House Gallery, Twickenham.² The Orleans House picture is believed to have been commissioned either by Pope, or his neighbour John Robartes, later the 4th Earl of Radnor (1686–1757), as both of their houses feature prominently. As such, it is tempting to suggest that Casteels, perhaps encouraged by Pope, copied this compositional element from Tillemans' picture.³

Note on Provenance

Following Pope's death on 30 May 1744, an inventory was drawn up detailing the contents of his villa. This painting can perhaps be identified as the 'Duck Peice in Ditto [Gold Frame]' listed hanging in the Great Parlour: one of the principal reception rooms of the villa, leading to the balconied portico facing the Thames.⁴ The parlour was about 30 feet in length and had fireplaces at each end. This picture's frame, which contains a mirror in its lower half, appears to have been designed to be mounted over a fireplace.⁵

'Duck Peice' was inherited by Martha Blount: a friend of many English literary figures during this period and Pope's principal legatee. She occupied a small house on Berkeley Street, London, where there may not have been space for such a large overmantel, so it is possible that she sold the picture or transferred it to her family home, Mapledurham House in Oxfordshire. When Martha died in July 1763, her nephew, Michael Blount, took charge of her affairs and arranged a sale of her possessions. There was a printed catalogue of this sale, of which a copy has not yet been found.

An old Arnold & Co. (Fine Art Restorers London) label previously attached to the picture's reverse cites 'Garrick's Lodge or Stables'. Though this may be a misidentification of Pope's villa, it is reasonable to assume it unlikely that the poet's home – renowned within London and the surrounding territories – would not have been recognised by a picture restorer based in the same city. It is therefore possible that this painting was previously in the collection of David Garrick, or perhaps a later owner of this part of the Garrick Estate.⁶

The painting was acquired by the great-grandmother of the present owner, Mrs Goodrich, around 1895 and has remained in the same family collection since. It is thought to have remained at Mrs Goodrich's London home until c. 1940, when it was moved to her daughter's home in Henley. Upon the death of her daughter (the grandmother of the present owner) in 1974, the picture was transferred to the present owner's parents' house in Wiltshire, until it was loaned to the National Trust and displayed at Mottisfont Abbey, Hampshire, from 2002. It was exhibited at the Abbey until earlier this year.

¹ A. Beckles Willson and C. Parry-Wingfield, written opinion commissioned by the present owner of the picture, 2003, p. 2.

² Accession no. LDORL : 00886; oil on canvas, 65.5 x 135 cm.; https://www.orleanshousegallery.org/collection/the-prospect-of-the-river-thames-at-twickenham/.

³ Beckles Willson and Parry-Wingfield 2003, p. 1.

⁴ Mack 1969, Appendix B, p. 252.

⁵ Beckles Willson and Parry-Wingfield 2003, p. 1.

⁶ Beckles Willson and Parry-Wingfield 2003, p. 3.