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Wellington’s Dutch Masterpieces

An exhibition of Dutch paintings bought by the 1st Duke of Wellington

Featuring works by Nicolaes Maes (1634–1693), Pieter de Hooch (1629-1684) and Jan Steen (1626-1679), the exhibition will reveal an often-overlooked aspect of the Duke’s character and personality; that not only was he a brilliant military man, but also a discerning collector of fine art.

Shortly after his famous victory at the Battle of Waterloo, Wellington bought 21 Dutch paintings from sales in Paris with the intention of growing his collection of Old Masters. Using his agent Chevalier Féréol de Bonnemaison (1766-1827), a noted portrait painter, dealer and picture restorer, Wellington bought nine pictures at the April 1817 La Peyrière sale. In April 1818, Bonnemaison represented him at the Le Rouge sale, where he acquired twelve.

Although he employed an agent, Wellington selected what he liked at these sales. The paintings he acquired are all pre-eminent and reveal that he had an excellent eye. They were principally genre scenes – depictions of ordinary people doing everyday things – including masterpieces such as Nicholas Maes, The Eavesdropper (1650s), Peter de Hooch’s The Musical Party (c.1675) and Jan Steen’s The Egg Dance (1674) and The Wedding Party (1667). He also purchased landscapes and townscapes such as Van der Hayden’s Architectural Fantasy (1660s) and Ludolf Bakhuizen’s Soldiers of the Dutch East India Company embarking at the Montelbaans Tower, Amsterdam (1685).

For centuries, Dutch pictures had been popular collectors’ items in England, but they became especially desirable in the early 19^th century, mirroring the growth of the national school of narrative artworks at the time. The faithful realism of Dutch paintings and the artists exceptional ability to render textures, light, and detail was celebrated as a pinnacle of artistic achievement. Wellington’s pictures were some of the most masterful Dutch paintings to be seen in London during his lifetime. Their popularity was such that they were regularly requested for the British Institution’s annual exhibitions.

Today, these paintings are appreciated not only for their technical mastery but also for their layered meanings and the subtly incorporated moral or social commentaries on themes like love, temperance, and domestic virtue. Objects placed within the scenes often had symbolic significance, providing viewers with an ethical or reflective lens. For instance, oysters or wine glasses might allude to sensual indulgence, while musical instruments often suggested harmony or romantic desire.  

Entry to this exhibition is included with your ticket to the house.

Soldierly Splendour: The 1st Duke of Wellington’s military uniforms

From 27 March, five of Wellington’s military dress uniforms will be on display in the opulent setting of the Striped Drawing Room.

In recognition of his military victories in the Napoleonic Wars, Wellington was awarded the highest military rank of Field Marshal, or its equivalent, in eight nations’ armies. Four of the uniforms on display represent his appointments as Marshal-General of the Portuguese Army (1809), Captain-General of the Spanish Army (1809), Field Marshal of the British Army (1813) and Field Marshal of the Austrian Army (1818). The fifth uniform, is that of Colonel of the Grenadier Guards (1827), the most senior infantry regiment in the British army.

For each of these appointments, Wellington had a dress uniform for formal occasions and an undress uniform for everyday wear. Although some generals wore undress – or even dress – uniform in battle, Wellington was renowned for wearing civilian clothing – pale breeches, a dark coloured frock coat, a cloak and a cocked hat. Although much of our image of Wellington as a hero has been shaped by portraits depicting him in dress uniform – most notably by Francisco de Goya (1746–1828) and Thomas Lawrence (1769–1830) – the Duke, in fact, cared little for it.

Nevertheless, he understood its importance and symbolism, which the Apsley House display will evocatively demonstrate. Wellington’s magnificent dress uniforms are especially notable for their specific colour and decoration, with each one intended to make a highly visible show and indicate his rank at grand or ceremonial occasions, such as events at court or the annual Waterloo banquet held at Apsley House.