Leeds City Art Gallery: 'Picture of the Month', 1946-1950

Includes the following issues of 'The Picture of the Month : treasures from Yorkshire houses', with annotations made in 1959:

-No. 1 December 1946: 'Madonna and child with donor' by Giovanni Bellini from Harewood House

-No. 2 January 1947: 'Landscape' by Thomas Gainsborough from Kirkdale Manor

-No. 7 June 1947: 'The Massacre of the Innocents' by Peeter Brueghel from Castle Howard

-No. 11 October 1947: 'Portrait of Francis I' by Titian from Harewood House

-No. 12 November 1947: 'The three Miss Griffiths' by Marc Geerarts from Burton Agnes Hall

-No. 13 December 1947: 'Sir George and Lady Strickland' by Arthur Devis from Boynton Hall

-No. 14 January 1948: 'Venice from the Guidecca' by J.M.W. Turner from Easthorpe Hall

-No. 15 February 1948: 'Portrait of a Gentleman' by Titian from Baildon House

-No. 17 April 1948: 'The Irish House of Commons' by Francis Wheatley from Lotherton Hall

-No. 21 August 1948: 'Portrait of Lady Thornhill' by William Hogarth from Nostell Priory

-No. 24 December 1948: 'The Coronation of the Virgin' by Vittorio Crivelli from Sandbeck Park

-No. 26 February 1949: 'The Deposition from the cross' by the Master of the St. Bartholomew Altar from Garrowby Hall

-No. 30 November 1949: 'A Family group' by Federico Zucchero from Hovingham Hall

-No. 32 January 1950: 'Lady Mary Howard as a child' by John Jackson from Castle Howard

-No. 33 February 1950: 'The Adoration of the Kings' by the School of Mabuse from Carlton House, Wakefield

Open for research. Readers must fill in an 'Reader Agreement Form' which outlines the reading room rules and conditions concerning privacy and Data Protection

Leeds City Art Gallery produced a series of small publications about famous individual pictures loaned from Yorkshire houses, which were shown for a period of one month. Starting in 1946 and continuing until 1952, the scheme was intended to provide the opportunity for the study of masterpieces not usually on public display. A black and white photograph of the relevant work of art appears in each publication, together with provenance information. It would appear that this material was acquired by Knoedler's London office, and Simpson used it for his research on collections.