Exhibition | The Challenge of White: Goya and Esteve
Press release for the exhibition now on view at the Prado:
The Challenge of White: Goya and Esteve, Portraitists to the Osuna Family
El desafío del blanco: Goya y Esteve, retratistas de la Casa de Osuna
Museo Nacional del Prado, Madrid, 20 June — 1 October 2017
Augustín Esteve y Marqués, Portrait of Manuela Isidra Téllez-Girón, future Duchess of Abrantes, 1797 (Madrid: Prado).
The recent addition to the Prado’s collection of Portrait of Manuela Isidra Téllez-Girón, future Duchess of Abrantes by Augustín Esteve y Marqués, acquired with funds from the Óscar Alzaga Villaamil donation, will allow for greater knowledge of this interesting painter who was in his day considered the finest court portraitist after Francisco de Goya. This work completes the Alzaga donation, which was accepted last March and comprises six important paintings plus funding for the acquisition of a seventh.
For the first time, the current exhibition brings together Esteve’s portraits of the Duke and Duchess of Osuna’s children, including outstanding works loaned by the Fundación Casa Ducal de Medinaceli, the Duque del Infantado collection, and the Masaveu and Martínez Lanzas-de las Heras collections, with the aim of providing a context for the portrait of Manuela Isidra. Furthermore, with this exhibition the Prado is the first museum to focus on Esteve with the aim of rescuing him from the secondary role unjustifiably assigned to him by art history.
In addition, Esteve’s works are accompanied by various portraits of the Duke and Duchess and their children by other artists, including the miniaturist Guillermo Ducker (doc. between 1795 and 1830) and Francisco de Goya, whose outstanding portraits of the family dating from the same period demonstrate the influence of his work on Esteve’s. The treatment of light and the skillful depiction of the transparent materials of the sitters’ clothes are the focus of attention of this exhibition, revealing Esteve and Goya’s ability to meet the difficult artistic challenge of representing the colour white.
The number of portraits housed in the Museo del Prado of the Duke and Duchess of Osuna and their children, from their infancy to adulthood, means that the Museum offers the best representation of this prominent family.
The portrait of Manuela Isidra Téllez-Girón (1794–1838), future Duchess of Abrantes, has been acquired for the Museo del Prado’s collection with funds from the Óscar Alzaga Villaamil donation. Painted in 1797 by Agustín Esteve y Marqués (1753–after 1820), it is undoubtedly the best known work by the artist due to its skillful technique, refined elegance, and evident charm. Its presence in the Museum will firstly allow for greater knowledge of this interesting painter, considered in his day the finest court portraitist after Francisco de Goya (1746–1828) and on occasions confused with him. Secondly, Esteve’s portrait clearly relates to 17th-century Spanish painting, particularly works by Velázquez and Murillo, and adds a new dimension to the Prado’s 18th-century collections. Esteve had previously worked for the 9th Duke of Osuna and his wife, but with this portrait, he became a type of official painter to the family, sharing this role for almost four decades with Goya, whose influence would be fundamental for his approach to painting.
The marriage of Pedro de Alcántara Téllez-Girón (1755–1807), future 9th Duke of Osuna, to his cousin María Josefa de la Soledad Alonso Pimentel (1752–1834), Duchess of Benavente, produced a union between two of the oldest, largest and wealthiest noble houses in Spain and gave rise to a family unparalleled at the time in terms of social prestige and intellectual and artistic interests. The Duchess, known for her wit, decided character and distinction, was considered by contemporaries to be the true head and heart of the Osunas given the Duke’s frequent lengthy absences on military campaigns. A mother at a late age, proud of her five children and accustomed to luxury and ostentation, the Duchess commissioned successive portraits of them in order to record their growth, progress and abilities, largely deriving from the privileged and innovative education they received and a reflection of the Enlightenment ideal of producing individuals of use to their country. The result was a true iconographic gallery of the family, in which Goya and Esteve played a fundamental role.
The acquisition of Portrait of Manuela Isidra Téllez-Girón, future Duchess of Abrantes, completes the Alzaga donation and joins the six paintings that entered the Museum’s collection last March through that donation. They encompass a broad chronological span from the late 16th to the mid-19th century, painted by artists from Italy (Jacopo Ligozzi), Spain (Sánchez Cotán, Herrera the Elder, Antonio del Castillo, Agustin Esteve and Eugenio Lucas Velázquez), and Bohemia (Anton Raphael Mengs).
New Book | Bernardo De Dominici e le vite degli artisti napoletani
From Officina Libraria:
Andrea Zezza, Bernardo De Dominici e le vite degli artisti napoletani: Geniale imbroglione o conoscitore rigoroso? (Milan: Officina Libraria, 2017), 112 pages, ISBN: 978 889976 5392, $30.
Bernardo De Dominici (Napoli, 1683–1759) è tra le personalità più controverse della storiografia artistica italiana. Modesto pittore di paesaggi, mercante di disegni ed aspirante letterato, pubblicò dopo una lunga elaborazione, tre tomi di Vite de’ pittori, scultori e architetti napoletani (1742–45). Concepita nel momento di maggior successo della scuola napoletana di pittura, tra i clamori dei successi internazionali di Luca Giordano, Paolo De Matteis, Francesco Solimena, l’opera costituisce il primo e il più ambizioso tentativo di costruire una storia dell’arte napoletana.
Nonostante qualche perplessità suscitata già al tempo della prima pubblicazione, le Vite costituiscono da allora un punto di riferimento essenziale per chiunque sia interessato alla storia dell’arte in Italia meridionale. Costruite attraverso un uso estremamente disinvolto delle fonti, con largo ricorso a manoscritti ignoti e più che sospetti, le Vite non passarono il severo vaglio critico degli studiosi del secondo Ottocento, che dimostrarono l’inaffidabilità di larga parte del testo, soprattutto delle parti relative al Medioevo e al primo Rinascimento, e bollarono il loro autore come ‘Il falsario’ (così si intitolava un saggio di Benedetto Croce sul nostro autore). Nel corso del Novecento, a cominciare dai primi studi di Roberto Longhi, l’opera è stata largamente riabilitata, soprattutto per le sue parti sei e settecentesche.
Il libro, elaborato al termine di un lungo lavoro di edizione e commento dell’opera, condotto dall’autore in collaborazione con Fiorella Sricchia Santoro e con altri studiosi, offre per la prima volta una approfondita analisi della storia dell’opera, del contesto in cui fu concepita, dei metodi utilizzati dal biografo, della sua altalenante fortuna e del ruolo che ancora oggi può e deve svolgere per la conoscenza e la comprensione dell’arte napoletana.
Andrea Zezza è professore associato di Storia dell’Arte Moderna presso l’Università della Campania ‘Luigi Vanvitelli’. Si occupa prevalentemente di storia dell’arte in Italia meridionale tra Cinquecento e Settecento. Con Fiorella Sricchia Santoro ha curato l’edizione commentata delle Vite de’ pittori, scultori e architetti napoletani (Napoli 2003–14). Tra i suoi scritti ricordiamo la monografia Marco Pino: L’opera completa (Napoli 2003).
New Book | De Dominici, Vite de’ pittori, scultori ed architetti napoletani
From ArtBooks.com:
Bernardo De Dominici, Vite de’ pittori, scultori ed architetti napoletani, edited by Fiorella Sricchia Santoro and Andrea Zezza (Naples: Paparo, 2017), 5 vols., 3206 pages, ISBN: 9788899130336, $340.
‘Stomachevole’, ‘geniale imbroglione’, oppure scrittore ‘a cui siamo sempre disposti a concedere credito’; ‘la cui posizione e i cui meriti nei riguardi della storia artistica di Napoli non sono lontani da quelli Boschini per Venezia e di Malvasia per Bologna’: Bernardo De Dominici e la sua opera sono stati per due secoli e mezzo oggetto di feroci stroncature e di risolute riabilitazioni, restando sempre al centro dell’attenzione di chiunque si sia interessato alla storia dell’arte napoletana tra il Medioevo e l’età moderna. Nel 1950 Giuseppe Ceci, studioso di non comune rigore, invitò a fuggire dalle facili generalizzazioni e a intraprendere ‘l’umile ma indispensabile lavoro’ di una analisi completa delle Vite, un testo che rimane unico e insostituibile, pur con tutte le sue pecurialità e i suoi difetti. Da allora, mentre aumentava la consapevolezza della utilità dell’opera per gli studi, si è fatta sempre più presente la richiesta di una edizione commentata, che ne favorisse la lettura e insieme un uso cauto e criticamente avvertito: a questa esigenza vuole rispondere l’edizione commentata che, dopo un lavoro quindicennale, viene finalmente conclusa con questo tomo dedicato agli indici
Prima edizione moderna, commentata, di un’opera fondamentale per la storia dell’arte napoletana, stampata per la prima volta tra il 1742 e il 1745. L’opera si compone di due volumi: il primo dalle origini all’inizio del Seicento, il secondo (diviso in due tomi) dal Seicento al Settecento, il terzo dedicato agli indici.
Edizione a cura di Fiorella Sricchia Santoro e Andrea Zezza. Coordinatore al commento del primo tomo Francesco Aceto. Coordinatore al commento del secondo e terzo tomo Andrea Zezza. Testi a cura di Daria Di Bernardo, Marina Milella Consulenza filologica Nicola De Blasi. Autori delle introduzioni e delle note di commento delle singole vite Anna Bisceglia, Paola D’Agostino, Rosanna De Gennaro, Daniela del Pesco, Ippolita di Majo, Stefano D’Ovidio, Viviana Farina, Pierluigi Feliciano, Elena Fumagalli, Paolo Giannattasio, Fabiola Lagalla, Riccardo Naldi, Cristiana Pasqualetti, Maria Gabriella Pezone, Valter Pinto, Antonella Putaturo Murano, Concetta Restaino, Renato Ruotolo, Donato Salvatore, Fabio Speranza, Fiorella Sricchia Santoro, Andrea Zezza.
• Dalle Origini alla prima metà del Seicento
• Seicento (da J. de Ribera a L. Giordano)
• Seicento e Settecento (da G. Farelli a F. Solimena)
• Indici
New Book | Chinese Wallpaper in Britain and Ireland
From I. B. Tauris:
Emile de Bruijn, Chinese Wallpaper in Britain and Ireland (London: Philip Wilson Publishers, 2017), 272 pages, ISBN: 978 17813 00541, £30 / $55.
Chinese wallpaper has been an important element of western interior decoration for three hundred years. As trade between Europe and China flourished in the seventeenth century, Europeans developed a strong taste for Chinese art and design. The stunningly beautiful wall coverings now known as ‘Chinese wallpaper’ were developed by Chinese painting workshops in response to western demand. In spite of their spectacular beauty, Chinese wallpapers have not been studied in any depth until relatively recently. This book provides an overview of some of the most significant Chinese wallpapers surviving in the British Isles. Sumptuously illustrated, it shows how these wallpapers became a staple ingredient of high-end interiors while always retaining a touch of the exotic.
Emile de Bruijn studied Japanese and museology at the universities of Leiden and Essex. He worked in the Japanese and Chinese departments of the auctioneers Sotheby’s in London before joining the National Trust, where he is now a member of the central collections management team. Emile has lectured and published on many different aspects of chinoiserie in historic houses and gardens. He was co-author (with Andrew Bush and Helen Clifford) of the catalogue Chinese Wallpaper in National Trust Houses (National Trust, 2014)
Exhibition | Jean-Baptiste Perronneau
Now on view in Orléans:
Jean-Baptiste Perronneau: Portraitiste de génie dans l’Europe des Lumières
Musée des Beaux-Arts d’Orléans, 17 June — 22 October 2017
Curated by Dominique d’Arnoult with Valérie Luquet and Olivia Voisin
Du 17 juin et au 17 septembre 2017, le musée des Beaux-Arts d’Orléans présente la première rétrospective consacrée à Jean-Baptiste Perronneau (v. 1715–1783), véritable portraitiste de génie à la personnalité artistique singulière et exigeante.
Cette exposition invite à visiter l’Europe des Lumières—moment du plus extraordinaire engouement pour le portrait jamais connu—à travers 120 oeuvres provenant de prestigieuses collections publiques (musée du Louvre, National Gallery…) et privées, souvent inédites, mais aussi du musée des Beaux-Arts d’Orléans qui conserve le fonds le plus riche d’oeuvres de l’artiste.
Dans un parcours chronologique, l’exposition retrace l’incroyable carrière de Perronneau (depuis sa formation et ses débuts fulgurants à Paris, marqués par sa réception à l’Académie royale en 1753, jusqu’aux voyages qui lui feront aborder les villes de France (Lyon, Toulouse, Bordeaux, Orléans) et d’Europe (Bruxelles, Rome, Londres) avant de faire d’Amsterdam un port d’attache et de départ vers les villes hanséatiques comme Hambourg ou vers Saint-Pétersbourg et Varsovie.
Illustrant le goût du XVIIIe siècle pour le brillant et l’éclat, les pastels de Perronneau côtoient ici ses portraits peints à l’huile et comme chez leurs commanditaires de l’époque, des peintures des maîtres anciens, des oeuvres de peintres et de sculpteurs contemporains de l’artiste, ainsi que des objets d’arts décoratifs. Tous réunis, ils offrent un regard neuf sur ce portraitiste trop rapidement classé comme le rival malheureux de Maurice Quentin Delatour (1704–1788) et qui s’avère être, au contraire, un artiste virtuose dont le parcours se distingue nettement de ses contemporains.
Ses réseaux de sociabilité embrassent en effet le siècle de manière plus complète que pour d’autres peintres, avec cette nouvelle composante de sa clientèle que représentent les acteurs du négoce et du grand commerce, qu’ennoblit la sociabilité artistique.
L’exposition reconstitue les liens que noue Perronneau lors de ces nombreux voyages avec les amateurs d’art et notamment sa longue amitié avec Aignan Thomas Desfriches—riche entrepreneur orléanais et futur fondateur du musée des Beaux-Arts d’Orléans—de laquelle naîtra une série de pastels parmi les plus importants de sa carrière.
Depuis 1860, le musée des Beaux-Arts d’Orléans, n’a cessé d’acquérir des oeuvres de Perronneau, jusqu’à l’achat en juin 2016 d’un chef-d’oeuvre—le portrait d’Aignan Thomas Desfriches—à la suite duquel le musée a souhaité restituer l’oeuvre de Perronneau dans son siècle avec cette première rétrospective.
Olivia Voisin and Dominique d’Arnoult, eds., Jean-Baptiste Perronneau: Portraitiste de génie dans l’Europe des Lumières (Paris: Réunion des Musées Nationaux, 2017), 192 pages, ISBN: 978 23590 62021, 29€.
Neil Jeffares provides a glowing review (in English) here»
New Book | Wedgwood: A Story of Creation and Innovation
From Rizzoli:
Gaye Blake-Roberts and Mariusz Skronski, with a foreword by Alice Rawsthorn, Wedgwood: A Story of Creation and Innovation (New York: Rizzoli, 2017), 304 pages, ISBN: 978 08478 60104, $60.
Founded in 1759, Wedgwood has a deep heritage in pottery making that represents timeless design and enduring style. The eponymous founder, Josiah Wedgwood, was an entrepreneur and visionary who quickly became Britain’s most successful ceramics pioneer, elevating pottery from a cottage craft into a luxury good and an art form. He was the mastermind behind Wedgwood’s most enduring pieces, including Queen’s Ware, Black Basalt, and Jasperware. That tradition of master craftsmanship and innovation continues today as Wedgwood works with celebrated designers such as Vera Wang and Jasper Conran.
With historic photographs, drawings, and watercolors from Wedgwood’s extensive archive, which display the craftsmanship and technical innovation, this book is a visual celebration of English design. It offers a lavish look at some of the most timeless china creations in history with a focus on Wedgwood’s 100 icons, in-depth essays on the brand and its history, and pattern books and sketches from the Wedgwood archives. While paying homage to the pioneering spirit of Wedgwood, this volume documents the achievements of a brand that is a symbol of elegance and timelessness, infusing classic craftsmanship with fresh design, and promises to impress fans of Wedgwood, old and new.
Gaye Blake-Roberts is a design historian and the curator of the Museum at Wedgwood. Alice Rawsthorn, OBE, is a British design critic who writes for the international edition of The New York Times. Mariusz Skronski is the creative and strategic director at Fiskars Living Brands.
Conference | Collections, Displays and the Agency of Objects
From the conference programme:
Collections, Displays and the Agency of Objects
Cambridge University, 20–22 September 2017
Registration due by 10 September 2017
Conference organized as part of the BMBF project Parerga and Paratexts – How Things Enter Language: Practices and Forms of Presentation in Goethe’s Collections in collaboration with the Department of Art History in Cambridge.
Brückenzimmer of Goethe’s House, Weimar.
2 0 S E P T E M B E R 2 0 1 7
6:00 Welcome and Introduction
6:30 Opening Lecture
• Ivan Gaskell (Bard Graduate Center), Display Displayed
2 1 S E P T E M B E R 2 0 1 7
9:00 Session I
Moderator: Johannes Grave (Universität Bielefeld)
• Ruth Bielfeldt (Ludwig-Maximilians-Universität München), Do Things Talk? On the Practice of Epigraphein in Greek Sanctuaries
• Elsje van Kessel (University of St. Andrews), The Street as Frame
• Peter Schade (National Gallery, London), The Framing of Sebastiano del Piombo’s The Raising of Lazarus
• Hannah Williams (Queen Mary University of London), Staging Belief: Immersive Encounters and the Agency of Religious Art in 18th-Century Paris
12:15 Lunch break
2:00 Encounters with Objects
4:15 Session II
Moderator: Wolfgang Holler (Klassik Stiftung Weimar)
• Eelco Nagelsmit (ETH Zürich), Interiority on Display: Models of Holy Sites in Halle Pietism
• Thomas Schmuck (Klassik Stiftung Weimar), Vestiges of Earth History: Objects and Order in Goethe’s Geological Collections
• Diana Stört (Martin-Luther-Universität Halle-Wittenberg), Goethe’s Cabinets as Epistemic Furniture
2 2 S E P T E M B E R 2 0 1 7
9:00 Session III
Moderator: Cindy Kang (The Barnes Collection)
• Mechthild Fend (University College London), Order and Affect: The Museum of Dermatological Wax Moulages at the Hôpital Saint Louis in Paris
• Juliet Carey (Waddesdon Manor, The Rothschild Collection), Staging Things: Framing the Rothschild Collection at Waddesdon Manor
• Dario Gamboni (Université de Genève), Ready-made Eye-opener: Models, Functions and Meanings of the Ironwork in Albert C. Barnes’s Displays
11:45 Lunch break
2:00 Encounters with Objects
4:15 Session IV
Moderator: Valérie Kobi (Universität Bielefeld)
• Noémie Étienne (Universität Bern), Unfolding the Specimen: Display and Diorama in New York, 1900
• Angela Matyssek (Philipps-Universität Marburg), Death by/Life by Wall Label
5:45 Final Discussion and Conclusions
Eike Schmidt Named Director of Vienna’s Kunsthistorisches Museum
As reported by The Art Newspaper (1 September 2017). . .
The director of the Uffizi galleries in Florence, Eike Schmidt, is stepping down to become head of Vienna’s Kunsthistorisches Museum (KHM). The German-born sculpture specialist will replace Sabine Haag in 2019, announced the Austrian culture minister, Thomas Drozda, at a press conference today (1 September).
Schmidt made waves when he was named the first non-Italian to lead the Uffizi in 2015, among 20 new ‘super directors’ appointed to modernise Italy’s top museums and heritage sites. Following curatorial posts at the National Gallery of Art in Washington, DC (2001–06), the J. Paul Getty Museum in Los Angeles (2006–08), and the Minneapolis Institute of Arts (2009–15), and a stint in charge of the European sculpture and works of art department at Sotheby’s London (2008–09), it was his first museum directorship. . .
The full article is available here»
New Book | Picturing India
From the University of Washington Press in conjunction with the British Library:
John McAleer, Picturing India: People, Places, and the World of the East India Company (Seattle: University of Washington Press, 2017), 224 pages, ISBN: 978 029574 2939, $40.
The British engagement with India was an intensely visual one. Images of the subcontinent, produced by artists and travelers in the eighteenth- and nineteenth-century heyday of the East India Company, reflect the increasingly important role played by the Company in Indian life. And they mirror significant shifts in British policy and attitudes toward India. The Company’s story is one of wealth, power, and the pursuit of profit. It changed what people in Europe ate, what they drank, and how they dressed. Ultimately, it laid the foundations of the British Raj.
Few historians have considered the visual sources that survive and what they tell us about the link between images and empire, pictures and power. This book draws on the unrivalled riches of the British Library-both visual and textual-to tell that history. It weaves together the story of individual images, their creators, and the people and events they depict. And, in doing so, it presents a detailed picture of the Company and its complex relationship with India, its people and cultures.
John McAleer is lecturer in history at the University of Southampton. He was previously curator of imperial and maritime history at the National Maritime Museum, Greenwich. He is the author of Britain’s Maritime Empire: Southern Africa, the South Atlantic and the Indian Ocean 1763–1820.
Exhibition | Louis-Nicolas van Blarenberghe and the Battle of Yorktown
Louis-Nicolas Van Blarenberge, The Siege of Yorktown, 1786; gouache on panel, 24 × 37 inches
(Private Collection of Nicholas Taubman)
◊ ◊ ◊ ◊ ◊
Press release (24 August 2017) from the Museum of the American Revolution:
Louis-Nicolas van Blarenberghe and the Battle of Yorktown
Museum of the American Revolution, Philadelphia, until 24 September 2017
Only one month remains to see two 18th-century paintings depicting the last major land battle of the Revolutionary War on display at the Museum of the American Revolution. The paintings, The Siege of Yorktown and The Surrender of Yorktown, are incredibly detailed and populated with hundreds of tiny figures, like 18th-century ‘Where’s Waldo?’ scenes. The original versions of the paintings were created for King Louis XVI by French artist Louis-Nicolas van Blarenberghe, the court Painter of Battles to the King. Those paintings are on display at the Palace of Versailles. The paintings on view at the Museum of the American Revolution are secondary versions created by Van Blarenberghe in 1786 for French General the Comte de Rochambeau, the commander of the French forces at Yorktown. The paintings remained in the Rochambeau family until about 15 years ago and are in pristine condition.
“We are thrilled to be able to offer our visitors the extraordinary opportunity to view these incredible, richly detailed paintings,” said Museum President Michael Quinn. “The discovery of previously undetected differences between the two sets of paintings is a fascinating detective story, making the paintings all the more intriguing.”
Louis-Nicolas Van Blarenberge, The Siege of Yorktown, 1786; gouache on panel, 24 × 37 inches.
Having researched the paintings, Christopher Bryant, a Massachusetts-based independent scholar and dealer of historical portraits and artifacts, believes that Rochambeau gave direction to Van Blarenberghe in the execution of the paintings on display at the Museum. Bryant argues that, given the interest taken by Rochambeau in the paintings as visual records of the crowning achievement of his career and the fact that he was an eyewitness to the events depicted, the differences between the paintings are likely corrections made from the originals, rendering Rochambeau’s copies even more historically accurate than those painted for King Louis XVI.
Louis-Nicolas Van Blarenberge, The Surrender of Yorktown, 1786; gouache on panel, 24 × 37 inches.
The most prominent alteration to the 1786 version of the Siege is the addition of a group of American officers near the figure of Rochambeau. While the original painting includes only one American officer holding a map, the replica depicts a group of ten officers gathered around that original figure, now identifiable as General George Washington. The map he holds can be identified as a plan drawn by Lafayette’s cartographer of the British fortifications at Yorktown. Interestingly, this same scene is reprised in Louis-Charles-Auguste Couder’s Siege of Yorktown (1836), a 19th-century copy of which is displayed on the Museum’s second floor.
“These paintings are remarkable in being superb works of art while also being extraordinarily accurate and detailed. It is very rare that you have that combination as those two circumstances are usually mutually exclusive,” said Bryant. “However, these paintings are both: they are wonderful paintings on an artistic basis, but there is also so much historical information within them that can be independently corroborated, that they can now be seen as important historical documents in their own right. The Surrender provides one of the most accurate accounts of this historic event known.”
Other changes to the paintings include alterations to the uniforms worn by Rochambeau and Washington, several topographical revisions, and the addition of a tree to obscure portions of a scene in Surrender. Van Blarenberghe also altered the location of the Metz Artillery, the senior French artillery present at the battle, within the Surrender painting. This change reveals the important role the Metz Artillery played in the surrender ceremony.
The paintings, on short-term loan from Ambassador and Mrs. Nicholas F. Taubman, are located in one of the Museum’s final galleries that explores the battles and skirmishes in 1781 that culminated with the Siege of—and ultimately, the Surrender of General Cornwallis’s 6,000-man British army at—Yorktown, Virginia. They will be replaced with two 18th-century prints from the Museum’s collection, one of British General Charles Cornwallis and one of British Lieutenant Colonel Banastre Tarleton.
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