Art collector.
John Henderson
1797 - 1878
This person is the subject of ongoing research. We have started by researching their relationship to the enslavement of people.
Biographical notes
Slavery connections
No known connections with slavery.
Abolition connections
No known connections with abolition.
National Gallery painting connections
Donor: bequeathed in 1879: NG1054–1061.
Bibliography
R. S. Checketts, 'Henderson, John', in C. Matthew et al. (eds), Oxford Dictionary of National Biography, Oxford 1992-, https://doi.org/10.1093/ref:odnb/12914
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History of Parliament Trust (ed.), The History of Parliament: British Political, Social & Local History, London 1964-, https://www.historyofparliamentonline.org/
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J. Turner et al. (eds), Grove Art Online, Oxford 1998-, https://www.oxfordartonline.com/groveart/
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UCL Department of History (ed.), Legacies of British Slave-ownership, London 2020, https://www.ucl.ac.uk/lbs/
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Paintings previously owned by John Henderson
(Showing 6 of 8 works)
On the banks of a wide meandering river, men and women are catching fish. Vernet has used the brightly lit woman in red and the jutting tree as devices to draw our eye into the composition. A man with a rod and a basket of fish sits next to the river with his back to a large mossy rock. His dog h...
Not on display
On 12 October 1654 – the date inscribed on the painting – one of the gunpowder stores in the city of Delft accidentally detonated, flattening a large part of the city. A local artist, Egbert van der Poel, was so fascinated by the event that he painted this scene at least 20 times. Judging from co...
Not on display
This painting can be read in two ways. One interpretation suggests that the woman has tempted the man into a game of cards – a metaphor for vice – and the moment shown is when she trumps his trick and reaches out for her winnings. He is the dupe, and the smile on the face of the man in the centre...
Not on display
A love-struck man stares lustfully at a young woman. She in turn stares directly at us with a knowing smile, holding his chin with her left hand – a look and a gesture which clearly underlines her power over him. Meanwhile, in the gloom at the back of the room, an old lady looks in at the door: s...
Not on display
In the Netherlands in the seventeenth century a vedette was a mounted sentry usually placed near an outpost – here, two of them are on watch by a stream. Wouwerman captures their watchfulness by turning their backs to us, making them look in opposite directions and leaning them forward as if they...
Not on display
Gondolas glide across the water, passing fishing boats which direct our gaze towards the mouth of the Cannaregio Canal, Venice’s largest waterway after the Grand Canal.The Ponte delle Guglie (‘bridge of the obelisks’) spans the water. We can just make out the tiny silhouettes of people crossing i...
Not on display
Imitator of Francesco Guardi
Venetian artists Canaletto and Guardi specialised in view paintings, which were so popular with local and foreign collectors in eighteenth-century Venice that countless imitations were made. These made their way, alongside genuine works by both artists, into art collections throughout Europe. Des...
Not on display
People are hard at work on boats beside the small island of San Pietro in Castello, the eastern part of Venice. While the nearby district of San Marco was popular with tourists, as it is today, this quieter corner of the city was largely a working-class neighbourhood. Its residents sailed between...
Not on display
You've viewed 6 of 8 paintings