When I went to see Maria Rossetti’s grave in Brompton Cemetery, I was pleasantly surprised to come across the grave of Frederick Richard Leyland, one of Dante Gabriel Rossetti’s best-known patrons.
A Liverpool ship-owner and canny businessman, Leyland represented a new breed of art buyer. Like other rich industrialists of the era, he was as interested in cultivating a reputation as a tastemaker as he was in accruing capital. The art market changed as the culture of aristocratic patronage was replaced by the acquisitive ambitions of self-made men with money to burn. In 1891, Harper’s New Monthly Magazine noted that Leyland’s home, cluttered with Italian Renaissance painting alongside Pre-Raphaelite works, embodied his ‘dream of living the life of an old Venetian merchant in modern London’.