[590] Aside from the works of the Van de Veldes English public galleries have very few examples of landscape painting in England during the years 1660–1707. From Walpole’s “Anecdotes of Painting” and from standard dictionaries of art and biography a partial list of the foreigners painting in England at this time may be compiled. Chief among them were Hendrik Danckerts who, after painting landscapes in Italy, came to England about 1667 and was engaged by Charles II to paint views; Cornélius Bol who, during the same reign, was painting views of the Thames; John Looten (d. 1680), whose chosen subjects were “glades, dark oaken groves, land-storms, and waterfalls;” Henry Lankrink (1628–92), a successful imitator of Salvator Rosa in the depiction of rough country, was especially commended for “the beauty and freedom” of his skies, and employed by Lely to paint some of his backgrounds; John Sybrecht (1630–1703), a painter of pictures of the Rhine, who was in England after 1680, and whose “Prospect of Longleat” was one of the pictures at Newstead Abbey, Lord Byron’s home; Philip Boul who left a pocketbook of sketches of Derbyshire and the Peak, “worked out in the Salvator Rosa style;” Henry Verzagen who devoted himself to “ruins and landscapes;” Adrien Vandiest (1655–1704), who came to England in 1672 and seven of whose landscapes were in Sir Peter Lely’s collection; Jan Van Wyck (d. 1702) who painted “excellent landscapes” from scenes in Scotland and the isle of Jersey; and Jan Griffier (1645–1718) who painted mixed scenes of river and rich country in the manner of Ruysdael, and who was so much of an enthusiast that he bought a yacht and, “embarking with his family and pencils passed his whole time on the Thames.” [591] Streater’s “Boscobel House,” one of the pictures in James II’s collection, is at Hampton Court. At Dulwich a picture described in Cartwright’s catalogue as “A large Landschift done by Streeker” is now ascribed to Streater. [592] Francis Place is noteworthy as one of the first Englishmen, if not the very first, to practice the newly discovered art of mezzotint engraving (M. C. Salamon, “The Old Engravers of England,” pp. 52, 66). [593] There are fourteen sea-pieces by him in the National Gallery; eight in the Wallace collection at Hertford House; and several at Hampton Court. At Dulwich are two pictures by him, “A Calm” and “A Brisk Breeze” that are especially attractive examples of his style. [594] M. Rouquet was a French enamel painter who came to England in 1725. [595] Afterward brought together in Buck’s “Antiquities,” published in 1774. [596] “Humphrey Clinker” was published in 1771 and the supposed time of Matthew Bramble’s visit to Bath is not much earlier. Taverner was sixty-eight in 1771. [597] Cosmo Monkhouse, “The Earlier English Water-Colour Painters.” [598] Bequeathed by Miss Haines in 1898. [599] See Print Room, British Museum, for prints from his paintings.