7b 86-B 21741 CATALOGUE OF VERNON COLLECTION OH* « PAINTINGS BY BRITISH ARTISTS; WITS A GROUP IN MARBLE AND SIX BUSTS. PitESENTED TO THE NATION BY ROBERT VERNON ESQ. ALSO, OF OTHER ENGLISH PICTURES REMOVED FROM THE NATIONAL GALLERY IN TRAFALGAR SQUARE. WRITTEN BY S. C. HALL, F.S.A. LONDON: PBINTED BY GEORGE E. EYHE AND WD:.LIAM SPOTTISWOODE, PKINTEKS TO THE QDEEN'S MOST EXCELLENT MAJESTY* FOR HER MAJESTY'S STATIONERY OFFICE. 1853. Price One Penny, THE VERNON GALLERY. "JN placing in the hands of the public a Descriptive Catalogue of the collection so munificently presented to the country by the late Robert Vernon, Esq., it is unnecessary to dilate upon the magnitude and liberality of the gift. This Collection comprises One Hundred and Fifty-four pictures, the finest examples of the leading artists of the British School— the most prominent and popular painters of England. It was made over to the Nation by Deed bearing date the 22d of December 1847. Previously, however, to these examples of British Art becoming public property an especial grant, which was confirmed by assent of the Trustees of the National Gallery, was made to the proprietors of THE ART-JOURNAL, whereby permission was given them to engrave and publish in that Monthly Periodical, the series of pictures. This task has for some months past been carried on through the most eminent engravers of the country, who are thus employed in extensively circulating the best works of those men of whom England is justly proud — extending their renown, giving effect to the lessons inculcated by their genius, and exhibiting British Art for the appreciation of the world ; for, pubHshed at the very moderate cost at which the proprietors of the Art-JournaI/ are enabled to issue them, they are made accessible to the very humblest classes, and thus become sources of enjoyment and instruction throughout the kingdom and its dependencies It is necessary to append here the opinion of Mr. Vernon himself, as extracted from his answer to an Address from the engravers engaged on the work. " I am exceedingly glad that an opportunity has been afforded me of inspecting the proofs which have been taken of the engravings now finished. They appear to me to be most beautifully executed, and I trust that when published they will be appre- ciated by the pubUc, and, by their diffusion at so moderate a cost, improve and iiicrease the taste for the productions of our native artists." In order to meet the wishes of those who require copies of the Engravings for the portfolio or for frammg, A limited number of proofs and impressions on large paper are issued ; for these early application is necessary, as they are taken only for Subscribers. Artists' Proofs, Two Guineas tlie Part (of which only 150 are printed). These xoill he signed hy the JEngraver. THE PART. PAKT. Proofs, before Letters, India Paper -SI 1 0 Lettered Proofs, India Paper - - f 0 10 C (Of which only 200 are 'printed). \ (Of which only 200 are printed). OFFICE OF THE ART-JOUJiNAL AND VERNON GALLERY, 8, WELLINGTON STREET NORTH, STRAND SCULPTURE. VERNON MARBLES IN TflE IT ALL. No. 1. HYLAS AND THE WATER NYMPHS. GiBso>f, R.\. A group in marble. One of the principal pvoductions of this celebrated sculptor. No. 2. BUST OF THE LATE RIGHT HON. GEORGE CANNING. Buly,RA (After Nollekcus.) In this work, all the characteristic expression and refinement of featiu-e which distine-uished the tine liead of the statesman are admirably preserved. No. 3. BUST OF SCOTT. Chaxtrey, R.A. This repetition of the very famous bust of Scott is the last to which Chantroy put his liand liefore his decease. No. 4. DUKE OF WELLINGTON. (After Xolkkons.) Baily, E..\. An admirable likeness of the great soldier, taken when he was in the prime of life. No. 5. BUST OF NEWTON. (xVfter Roubilliac.) Baily, R.A. The head of Xewton was very fine, and this bears a strikina- resemblance to cxistina: portrait s of him. No. 6. BUST OF THE LATE MARQUIS WELLESLEY. Bacon, R. A. A small bust, in which a very perfect resemblance is preserved, of this nobleman, who, by his admirable conduct of public affairs when Governor-General of India, acquired great reputation. No. 7. DR. SAMUEL JOHNSON. Baily, R.A. This bust of the great lexicographer and moralist, is fvow a cast in the possession of tlie sculptor ; it bears ail the characteristic features of the distinguished original. No. 8. Presented to the National Gallery by Her Majesty the Queen, His Royal Highness P*rir.re Albert, and the Noblemen and Gentlemen whose names are inscribed on the pedestal T N the lirst two rooms ure arranged the Pictures of the English School, transferred from the National Gallery, and which form no part of the Vernon Collection : they are numbered according to the Catalogue of the National Pictures ; the Vernon Gallery commences in the third room. No. 78.— THE HOLY FAMILY. Sir J. Reynolds, P.R.A. No. 79.— THE GRACES. Sir J. Reynolds, P.R.A. No. 80.— THE MARKET CART. T. Gainsborough, R.A. No. 99.— THE BLIND FIDLER. Sir D. Wilkie, R.A. No. 100.— THE DEATH OF LORD CHATHAM. J. S. Copley, R.A. No. 105.— A LANDSCAPE. Sir G. Beaumont. No. 106.— A MAN'S HEAD. Sir J. Reynolds, P.R.A. No. 107.— THE BANISHED LORD. Sir J. Reynolds, P.R.A. No. 108.— VIEW OF MAECENAS'S VILLA AT TIVOLI. R. Wilson, R.A. No. 109— LANDSCAPE WITH CATTLE AND FIGURES. T. Gainsborough, R.A. No. 110.— A LANDSCAPE. R. Wilson, R.A. No. 111.— PORTRAIT OF LORD HEATHFIELD. Sir J. Reynolds, P.R.A. , No. 112-^~PORTRAIT OF THE PAINTER. W.Hogarth. THE ''MARRIAGE A LA MODE." W.Hogarth. No. 113. THE CONTRACT OF MARRIAGE.—No. 114. AFTER MAR- RIAGE. — No. 115. THE DISSIPATED HUSBAND. — No. 116. THE TOILET OF THE FINE LADY.— No. 117. THE DUEL.-^No. 118. THE DEATH OF THE COUNTESS. No. 1 1 9.— A LANDSCAPE. Sir G. Beaumont. No. 120.— PORTRAIT OF NOLLEKENS. Sir W. Beechey, R.A. No. 121.-CLEOMBROTUS ORDERED INTO BANISHMENT BY LEONIDAS. B. West, P.E.A. No 122.-THE VILLAGE FESTIVAL. Sm D. Wilkie, E.A. No. 123.— A LANDSCAPE— MOONLIGHT. Williams. xXo. 124.-PORTRAIT OF THE REV. WM, H. CARR. J. Jackkon, R. A No. 125.— PORTRAIT OF IZAAC WALTON. J. Huysmam. No. 126.— PYLADES AND ORESTES. B. West, P.R.A. No. 128— PORTRAIT OF THE RIGHT HON. W. WYNDHAM. SiK J. Reynolds, P.R.A. No. 129.— PORTRAIT OF MR, ANGERSTEIN. Sir T. Lawrence, P.R.A. No. 130.— A LANDSCAPE WITH FIGURES. J. Constable, R.A. No. 131.— CHRIST HEALING THE SICK IN THE TEMPLE. B. West, P.R. A. No. 132.— THE LAST SUPPER. B. West, P.R.A. No. 133.— PORTRAIT OF AN ACTOR. Hoppner. No. 142 — PORTRAIT OF JOHN KEMBLE. Sir T. Lawrence, P.R.A. No. 143.— PORTRAIT OF LORD LIGONIER. Sir J. Reynolds, P.R.A. No. 144.— PORTRAIT OF B. WEST, P.R.A. Sir T. Lawrence, P.R.A. No. 162.— THE INFANT SAMUEL. Sir J. Reynolds. P.R.A. No. 171.— PORTRAIT OF SIR JOHN SOANE, R.A. J. Jackson, R. A. No. 175.— PORTRAIT OF JOHN MILTON. VanderPiaas. No. 182.— STUDIES OF ANGELS. Sir J. Reykolds, P.R.A. No. 183.— PORTRAIT OP SIR D. WILKIE, R.A. T, Phillips, R.A. No. 188.— PORTRAIT OF MRS. SIDDONS. Sir T. Lawrence, P.R.A No. 217.— PORTRAIT OF W. WOOLLiTT. G. StVart. No. 220.— PORTRAIT OF JOHN HALL. G. Siuart, No. 231.-PORTRAIT OF THOMAS DANIELL. Sir David Wilkif;, No. 229.— PORTRAIT OF BENJAMIN WEST. Gilbert St part No. 233.— PORTRAIT OF WILLIAM PITT. By Hoppner. THE VERNON GALLERY, No. I STUDY OF A HEAD. C. II. Evstlake, R.A. UiidPT this title wo ha r o tlie portrait of a lady in Grook eostum(^ ; her face. thoug;h pensire, is inexpressibly sweet, ntid is painted in a quiet subdued tone that well harmonises with the feeling.— Engraved by R, Grates, A.R,.!., for the Art-Journal, Aug, 1850. No. 2. THE WAY TO CHURCH. T. Creswick, A.R.A. In the foreground appears a stile about to be passed by a village maiden, and beyond tlie immediate trees, which are charniingly painted, appeal's a "road winding through a held and leading up to the church. Tlie picture has every appeai-ance of having been most carefully studied on the spot. — Painted in 1839, Engraved by J, C. Bentlet, for the Art-Journal, Sept. 1819. No. 3. INTERIOR OF A SYNAGOGUE AT THE TIME OF THE ELEVATION OF THE LAW. S. Hart, R.A. An upright composition of imposing effect ; the interior is solemn, and the pi'incipal figures are forcibly i\'x\\iciL— Painted in 18:30. EnsraAcd by E. Challis, for the Art-Jotirnal, July. 1851. Nc. 4. THE BAGPIPER. Sir D. Wilkie, R.A. A small half-length figure. This picture was painted in 1813, the same year in which "Wilkie produced " Blind Man's Butt"." — Engraving by R. Bell, for the Art- Journal. No. 5. THE WOODEN BRIDGE. Sir A. W. Callcott, R.A. A small picture. Tlie bridge crosses a narrow streaiii, and leads to a house lying under the shadow of some high trees.— Engraved by J, C, Bextley, for the Art-Journal, Jan, 1849, No. 6. NYMPHS BINDING CUPID. T. Stothard, R.A. Trealed with that classic feeling with which the artist endowed all his my thological snbjects, —Engraving by E. R, Whitfikld, for the Art-Journal. No. 7. LAKE AVERKUS, THE SYBIL, AND THE GOLDEN BOUGH. J. M. W. Turner, R.A. Cue of the imaginative productions of the artist, partaking of the style of his recent works but much more detinite. The picture is luminous and rich with colour. The composition presents a breadth of foreground deriving life from a few figures mythologically treated, and the whole prospect graduates into a misty and indeterminable distance : it is one of the gems of iho Kvt']^l.—KvJ4iljited at the Royal Academy in 1834. Engi*aved by T. A. PfiiOR, for the ^W- Journal, May. 1851. • No 8, LORD AND LADY RUSSELL RECEIVING THE SACRAMENT. A, JoiINSTOX. Tills worii displays much elaboi*ate painting. In its present position it is seen to advantage — Exhibited at the Royal Acadeniy in 1845. No. 9. MALVOLIO AND THE COUNTESS. D. Maclise, R.A. Tills is the scene in " Twelfth Night," in which Malvolio presents himself before Olivia, cross-gartered in the garaen. The scene is well conceived and carried out.— Exhibited at the Royal Academy in 1840.— Engi-aved by R. Staines, in the Art-Jovrnal, Oct. 1849. THE VERNON GALLEllY. 5 No. 10. THE LUTIST LADY AND ATTENDANTS. W. Etty, K.A. The composition presents four figures— a gentleman ])laying a gviitar. two ladies, and a black servant with refreshments— presenting on the whole a group of much interest. No. 11. HAPPY AS A KING. W. Colliks, R.A. lie wlio is so happy, is a boy swung to and fro by his companions on a gate ; lie comes wc.ll out ill a ragged bright red waistcoat, and, in his exuberant joyfnlncss. does ample honour to the title.*— li.vhiOited at the Royal Academy in 1836. Engraved by C. Cousen, for the Art- Journal, Yah. IS.'iO. N o. 1 2. BATHERS. AV. E r i y, R.A . Two female figures playing with a swan. It is a comparatively recent y;or\i.— Exhibited at the Royal Academy in 1841. Engraved by E. J. PoiiTBUKY, lor the Art-Journal, July, 1849. No. 13. THE AGE OF INNOCENCE. Sm Joshua Reynolds, R.A. This charming picture Mr. Vernon purchased at the sale of the collection of the late Joshua Hannan, Esq., at the price of l,4o(» guineas. The work is in excellent preservation.— Engraved by F. JouBEET, for thr the Art-Journal. No, 4 1. STUDY. W. Hilton, R A. This is another of the studies made for " The Discovery of the Body of Harold," being the head of another figure which bends over the body, and is lighted by the taper held by the monk No. 42. SIR THOMAS MORE AND HIS DAUGHTER. J. R Herbert, RA The subject is derived from " Eoper's Life of Sir Thomas More." The resemblance to Sir Thomas is very striking, the features arc full of the humility of the expression of the text; while those of Margaret Roper declare the acute feelings under which she suffers.^- Engraved by J. OUTRIM, for the Art-Journal, May, 1850. No 4.3. FLORIMEL IN THE COTTAGE OF THE WITCH. F. E. PiCKERSGILL, A.RA. The si\bject is treated with much simphcity; the I'emarkable figvxre of the composition is the hag, who lies scowling on the \E,ro\xw\.—E.vhibited at the Royal Academy in 1843. No. 44. STUDY OF A HEAD. W. Hilton, RA. This is a study of the head of Edith for the large picture. No. 45. THE COUNCIL OF HORSES. J. Ward, R A. This picture, by the veteran artist, was exhibited at the Royal Academy in 1819 ; and though minted long after Mr. Ward had passed his threescore years and ten, it shows much of the power .of his best years.— Engraving by G. Paterson, for the Art-Journal. No. 46. ARABS DIVIDING SPOIL. Sir W. ^lan, RA. Two figures seated in a rocky recess disputing about their plunder. They are very charac- teristic, and the subject is well supported ; it is a good example of this artist.— Engraved by J. T. Smyth, for the Art-Journal, December, 1850. 47. RED CAP. G. Lance. Larger than, and altered from, the picture belonging to AY. J. Broderip, ^^({.-Exhmted a t the British Institution in 18i8. Engraved by W. D. Taylor, for the Art- Journal, J unc, 1851. • Purchased alter the death i.f Wilkk, but before the news of his decease had reached Eiiglaud, t T^is was the tir.t picture c:l. A A'cnerable Piscator, who, kept by a fit of the gout from the river-banks in IVlay, cndeaA ouvs to procure enjoyment on tlie jninciple that " necessity is the mother of invention." — Engraved by H, Beckwith, for the Art-Journal , December, 1850. No. 53. PORTRAIT, THE ARTIST'S DAUGHTER. H. Howard, R.A. A lady in an erect attitude. Tiic work is rather a pictm-c than a portrait.— Engraved by H. AV'agner, for the Art-Journal, May, 1851, No. 54. V E N I C E . J. M. ^\. Tlkjsek, R.A. This is a view^ of the Grand Canal, w ith the Dcgana, and all the well-know n edifices which group with it.— Engraved by J. T. AVillmoee, A.R.A., for the Art-Jo^irnal, Aug. 1849. No. 55. PORTRAIT OF HIMSELF. Sir J. Reynolds, P.R.A. This is a tliree-quarter portrait, painted for Mrs. Thrale. Tory carefully executed, in a rich tone of colour. No. 56. CHRIST LAMENTING OVER JERUSALEM. C.L. Eastlake, R.A. " O Jerusalem ! Jerusalem ! w Inch killest the prophets and stonest them that are sent to thee, how often would J have gatliercd thy children together as a hen doth gather her brood under licr wings, and v*- w ould not !" The divine apostrophe lias been rendered with all the depth and tenderness v. ilh which the living Saviour uttered it ; the scene is the Mount of Olives, i>ud lie is accomi)a)ned by Peter, John,' James, and Andrew; His head being turned from theuj. ;f iid looking dow n upon the city. Tlie centre of tlie composition is occupied by Peter, who w eaii :i liglil yellow drapery. ^o. 57. THE DAME SCHOOL. T. Welster, R,A. This picture sustahis the jn.st conception of the quiet orderly economy of a village sehool conducted by such a " dame" as her to whom we are here introduced. In the assemblage of pupils is presented a striking variety, comprehensive of every quality of intellect. Tlie school- mistress sits with her back to the light, which breaks here and there upon the ngure.—JCxhibitcd at the Royal Academy in 1815. No. 58. PORTRAIT OF A LADY. Sir T. Laavrence, P.R.A. 1 his is an unfinished work : tlie liead only is painted, the rest of the canvas being uncovered. It is probable that very little more would have been done to the face, as it was the known eustom of Lawrence to forward the heads of his w orks before drawing in the figures. As a work of the last year of the life of such a man, an enhancetl interest must attach to it ; it shows that lie advanced into life without exliiViiting the failings that usually mark its decline.^- Engraved by 11. A. Artlett, for the Art-Jourr.al. Sei)t. 1850. > VD? a coir.mission fiom Mr.Vcrncn, one of tlie very fcAv received bj the artist. Ilcd he lived to the present tJiiio, he Avould not have iutTered the pangs proverbially the lot of " patient merit." f Tht 'tiiiari group of doss, luev>ers, i^c, >vas sketched in hy E. Landseer, K.A. V 'Hiis ^^as intended for a full-k-ngth portrait of the l)o>\ag' r Countess of Darnlcy : it was jiurthaccd at Christie'.- the sale of La->vicncc's tiutinished worUs, ic. THE VEKNON GALLEliV. 9 No. 59. GRAND CANAL, VENICE. J. M. W. Tukner, K.A. The spectator looks towards tlie Rialto and the Doge's Palace. The picture is sufficiently detailed to render each object recf frnizable. Hence w e readily discover Canaletti painting in the open air on a kind of stage on the left of tlie pit ture ; but Canaletti painted Venice in sober tones very many degrees removed from the dazzling light and colour of Tumor— Exhibited at the Royal AcaOcunj in lb;53. Engraved by T. A. Peiob, for the Art-Journal, March, 1850. No. 60. THE DEAD ROBIN. H. Thompson, E. A. Two children, small life-size, lament the dcatli of their bird. The nearer of the two little figures is very forcibly relieved. No. 61. NYMPHS BATHING. T. Stotiiakd, K.A. A dark picture, of a retired scene.— Engraving by C. Cousens, for the Art-Journal. No. 62. THE LAST IN. W. Mulready, K.A. A village school, in whicli the master, witb ludicrously mock ceremony, hat in liand, and liand on heart, receives the " last in" — a louti: -i boy, whose deprecating look acknowledges the embarrassment of his position. Tlie style of this artist is peculiarly his own ; each of these figures is painted with the most elaborate care. The manner presents a curious and striking contrast in the flesli and costume ; the former is painted with the most perfect tenderness, while tJie latter is studiously disposed in thick folds, which contribute, in no small degree, to the effect of the worV..— Exhibited at the Royal Academy i,i 1835. Engraved by J. T. SJiyxn, for the Art-Journal, March 1850. No. 63. THE INSTALLATION. B. West, P.K.A. The interior of a cliapel, wherein are assembled a gioup of princes, nobles, and priests, to celebrate this im])osing ceremony. Erom the costumes and accessories it may be presumed that the period is one of early English History. The picture is painted in a warm harmonious tone and with considerable tinish.— Engraving by W. D. Tayloe, for the Art-Journal. No. 64. CROSSING THE BROOK. W. F. Witiierington, K.A. The scene is closed bv a dense screen of trees; in the forcevound are two llgures, m.otlicrand child— the latter, carefully stei)ping from stone to stone across a shallow stream, aided by the former.— Engraving by E'. Beakdakd, for the Art-Journal. No. 65. MY UNCLE TOBY AND THE WIDOW. C. Leslie, R.A. This is a w ell-know n picture, wherein the widow comidains of her eye. into which scmcthing has fallen ; Uncle Toby examines it, with all the simplicity of childhood, but i)rotests he can seo woihm^.— Exhibited at the Royal Academy in 1831. No. 66. VIEW IN ITALY. 11. Wilson, K.A. A companion w ork to another in this collection. Both are painted i: the clear warm tone Usually adoi)ted by the artist. No 07. THE VINTAGE IN THE CLARET VINEYARDS OF THE SOUTH OF FRANCE, ON THE BANKS OF THE GIRONDE. T. Uavins, K.A. The A icw of these fav-spreadiiiir > iiit-yards is far from monotoisons ; to all \yho hav(! seen the 1 -nd that ^ ields the odorous Bordeaux this prospect will be a refreshnig remnnscencc. Xo. 68. WOOD SCENE. .J. Linnkll. An undoubted transcript from nature. An open common on the skirts of a wood, with labourers felling timber, are the simple materials of which the picture is composed.— Engraved by T. A. Prior, for the Art-Journal. Xo. 69. DRY READING. A. Geuues, A.K.A. Two figures, a man and woman, both seated, the former slceping^.-Engraving by W.Greai- BACH, for the Art-Journal. So. 70. LANDSCAPE. Sir A. ^Y. Callcott, K. A. \ group of cows at early morning.-Engravcd by R. Brakdakp for the Art-Journal Marcli 1851. No. 71. THE SAVIOUR. W. Etty, K.A. One of tlie many finished studies of the master. " lY-rtrails of Terry the actcr and his wife, siatcr of P. Ka:r;iyt>i 10 .THE VEliNON GALLERY. No. 72. A MAGDALENE. W. Etty, R.A. She is semi-nude, and ensaged in devotion, with amissal before her. — Engi'avedby P. Bacon. tov the Art- Journal, lS-i2. No. 73. CHANCEL OF THE COLLEGIATE CHURCH OF ST. PAUL AT ANTWERP. D Eoderts, Il.A. To the lighter tones of the building the richly carved dark oak logcs of the college present a striking contrast. Although the manipulation looks facile and free, the spectator is struck by the nice distinctions maintained, to describe respectively wood and marble. The church is crowded vvith Spanish-looking figures : in short, in everything this picture is a good exami>le of the style of the artist. -Engraved by E. Ohallis, for the Art-Journal, October 1851. No. 74. SCENE ON THE LINCOLNSHIRE COAST. F. R. Lee, E.A. The whole of the near parts of the picture, an open slope, is disposed in shade : beyond is a glimpse of the sea. The treatment is broad and effective.— Pfl?'j?f erf rii 183i. Engi-aved by E. E-ADCLYPFE, for tlic Art-Jotcmal. No. 7o. WESTMINSTER BRIDGE.— 1745. S.Scott. This view, like its companion, by the same artist, is taken from the Surrey shore; it shows only four arches of the bridge, the remainder of the composition being made up of the pictu- resque gable-ended b\iildings of the period, represented under the effect of evening. — Engraved by J. B. Allen, for the Art-Jotmial. No. 76. LONDON BRIDGE.— 1745. S.Scott. A view of the old bridge, Avith its castellated gateway and houses overhanging the water, painted with great transparency of colour, and the finish of the Dutch school.— Engraving by J, B. Allen, for the Art-Journal. No. 77. COAST VIEW. Sir A. W. Callcott, E.A.. The picture is considerable in size, but the materials arc veiy simple— a jetty and a few figures, sands as at low water, with the minor incident of coast scenery. But, although so simple, everything greatly contributes to the effect .—Engraved by J. H. Keenot, for the Art-Journal, June 1850. No. 78. THE PRINCE OF ORANGELANDINGATTORBAY. Turner,E.A. The principal obje(;t in this picture is a boat full of people. The prominent figiire who lifts his hat, is, of course, the Prince of Orange ; and althongfi the boat is at some distance, and the figures consequently are not ^ ery distinct in outline, yet it is stamped most unetiuivocally as of the pei'iod proposed. The water heaves with a heavy ground-swell, Avhich crosses the canvas traus\'ei'sely, and as sweeping towards the land, lifts tlieloows of the boat out of the Avater.— J?a;- li ibited at the Royal Academy in 1832. Engraving by AV. i\TiLLEE, for the Art-Jormal. No. 79. A SCENE IN CUMBERLAND. T. S. Cooper, A. E.A. A group of cattle— cows, sheep, and a goat. The time of day is early morning, when the mist js clearing o{i— Exhibited at tlie Eoyal Academy in 1847. Engi'aved by J. CoFSEN, for the Art- Jotirnal, Jun 184<9. No. 80. THE DUTCH VILLAGE. Sir A. W. Callcott, E.A. On the right appear houses, under the shade of some trees ; and on the left the composition "opens, showing the course of a river, with boats and distant bank. The composition is of the .simplest "kind— Uxhib it ed at the Royal Academy in 1834, Engi'aved by R. Wallis, for the Art- Journal, Nov. 1850. No. 8L THE FISHERMAN'S HOME. P. Danby, A E.A. This composition is a very recent work. The " home " is on a rock, round Mdiich flows the tide, now seen luider the aspect of a gorgeous sunset. — Exhibited at the Royal Academy in 1846. Engraving by x\. Willmoee, for the Art- Journal. No. 82. COUNTRY COUSINS. E. Eedgeave, A.E A. On the one hand, the cold and impertinent reception is obviously set forth ; and on the ' other, a sense of intrusion is distinctly shown.— Engraving by H. C. Shenton, for the Art- Journal. No. 83. RETURNING FROM MARKET. Sir A. W. Callcott, E.A. The foreground presents a grou]) composed of, we may presume, a farmer's wife mounted upon a pony, by the side of Avhich is another bearing a child. They arc riding across a brook preceded by a girl with a basket on her head. The background affords a vicAv of the village, and on the right we see the road they are travelling. There is more of colour than we usually find in the pictures of Callcott ; the lights are also broader, and. as is usual in all the works of this painter everything keeps its -plTLCC—Exhlbi teriors of this artist is remarkable for the full and entire detail of th<; jjlaccs they represent.— Pam^erZ in 1835. Engraved by E. Challis, for the Art-Journal July 1849. No. 90. LAKE AND TOWER IN DE TABLEY PARK. J.Ward, R.A. This picture is much more vigorous in style than later works by the same hand. On the foreground. ))eing the shore of the lake, arc cattle— cows, a Imll, &c. The tower rises from an islet in tlic middle of the lake, the distant banks of which are shaded by trees. The whole is brought forward under a clouded aspect, which is everywhere sustained. The left distance of the compo- sition presents passages firmly painted, and' in close reference to w^iwvQ.t— Exhibited at the Itoyal Academy in 1815, Engraved by T. A. Prior, for the Art-Journal, Feb. 1851. No. 91. THE FIRST EAR-RING. Sir D. Wilkie, R.A. This picture was jjainted in 1835. "The First Ear-ring " is a domestic subject, showing in its execution the more free manner that Wilkie had gradually adopted. The point of the composition is sufhciently pei'spicuous. The little girl dreads the pain of the operation, but is exhorted to courage by her mother, who stands by her. The figure of the spectacled lady, so intent upon fixing the ear-riiig, is a most successful realization. §— Engraved 1 )V W. Gi^ katbacit, for the Art-Journal, Nov. 1819. No. 92. SPANIELS OF KING CHARLES'S BREED. Sir E. Landseer, R.A. This picture was exhibited at the British Instutiou a few years ago. The animals were the propcrtv of Mr. Vernon, for whom the picture was painted. The life expressed in the eyes of these dogs, and the warm sleekness of their coats, will be noticed.— Engraving by J. Outeim, for the Art' Journal. No. 93. INFANT BACCHUS. Sir M. A. Shee, R.A. He is laid upon his back, and holds up a bunch of gTnpes.— Engra^dng by T. Veenok, for the Art-Journal. No. 94. YOUTH AT THE PROW AND PLEASURE AT THE HELM. W. Ettv, R.A. This is one of the best compositions of the artist. We see Mythology and Poetry painted con- tinuall V by men of all schools. What style of painting soever Mr. Etty may have essayed, on this class of composition his fame will rest, and upon no other, for heroin he invested his originality —Exhibited at the Royal Academy in 1832. Engi-aved by C. AV. Sitarpe, for tlie Art-Journal, April 1850. * A study for the larger picture, but highly fiiiisUod, and iu many respects better. ,„,„.,,e.i u,.on ii f Th's picture was commenced by Mr. Mulready about th-rty-six years ago. H- luid roueatcdb tcu.J.ied Upoi. K. ind finished it up when transferred to the present collection, i Purchased at the sale of Lord DeTabley's collection § Painted for the late nuke of Bedford, and purchased of the Uo^va5er Duchos::. 12 THE VERNON GALLERY. No. 95. FARM-YARD WITH CATTLE. T. S. Cooper, A.R.A. The left ol" the composition shows a farm-house which is thrown into shade, and the imme- diate foregroiuid is closed hy a large oak, joined by other trees so as to form a screen— before which are presented the entire animal menage Of the farm-yard. — Exhibited at the Royal Academy in 1834. Engraving by J. GoDrREY, for the Art-Joiirnal. No. 96. THE DYING STAG. Sir E. Landseeu, R.A. The noble animal has striven hai'd for his life. He has crossed a lake, and, now exhausted on the rocky shore, has been torn down by two dogs, one of whom in the struggle is borne ofl" by a fall which flows over the rocks. The head of the stag is painted Avith great power.— Engraved by J. CousEN, for the Art-Journal, January 1S51. No. 97. GALILEO. H. Wi att. He holds in one hand a pair of compasses while pondering the solution of a mathematical problem. The figure is small life-size, accurately drawn, and relieved with force. — Painted in 1832. Engraved by R. Bell, for the Art-Jovrual, August 1851. No. 98. PORTRAIT OF MISS STEPHENS. T. Jackson, R.A. The present Dowager Countess of Essex, painted in the zenith of her fame. No. 99. NEBUCHADNEZZAR AND THE FIERY FURNACE. G.Jones, R.A. A dark composition, realizing to the letter the sciiptural version of the miracle —Exhibited at the Royal Academy in 1832. No. 100. DR. JOHNSON IN THE ANTE-ROOM OF LORD CHESTER- FIELD. E. M. AVard, A.R.A . Tliis composition will be remembered as constituting one of the works recently exhibited at the Royal Academy. In addition to the other merits of the picture, it has the value of being l>urely national, and, though not strictly historical, not less interesting than history. —Exhibited at the Royal Academy in 1845. Engraving by C. W. Sharpe, for the Art-Journal. No. 101. THE WATERING-PLACE. T. Gainsborolgii, R.A. In the foregrovuid of the picture, flows a rivulet crossed by a rustic bridge, on which stands a peasant who lias driven down his team to drink of the limpid current. The light and sunny distance has been painted with unusual care and corresponding success, and consists of more of detail than is generally found in the works of Gainsborough, who was, in subject and in style, essentially an English painter.*— Engraved l)y J. C. Eentley, for the Art-Journal Feb. 1849. No. 102. THE VINTAGE. T. Stothard, R.A. This picture presents numerous figures, some cro\vncd Avith vine-leaves, others bearing, in oaskets on their heads, the wealth of the vineyard to the press.— Engraving by E. Garner, for the Art-Journal. No. 103. DISCOVERY OF THE BODY OF HAROLD. W. Hilton, R.A. The dead king lies extended, with his face turned towards the spectator, sufficiently to show his death wound." The body is i)artially lifted by a monk, who holds a torch, and Edith rushes to the spot, tearing her hair in an agony of grief. — Engraving by E. Whiteield, for the Arl- JoiirnaL No. 104. MUSIDORA. T. GAiNsnoRouoir, R.A. A life-si/.e figure, so?.ted by a stream wherein she lia^s washed her feet, and is now dr.vin^r tliem. The colouring of this work seems to have lost somewhat of its original brilliancy; but there is enough of otlier qualities to render it an attractive picturcv No. 105. FRUIT. G. Lance. A comparatively early but admirable specimen of Mr. Lance : painted in 1832. No. 106. JULIET AND HER NURSE. II. P. Briggs, R.A. A scene from Shakspeare's " Romeo and Juliet.*' — Exhibited at the Royal Academy in 1827. Engraving by S. Sangster, for the Art-Journal. No. 107. FEMALE HEAD. E. V. Rippingille. The style of the picture is most studiously simple— its entire power being confided to the sentiment of the features. Engraved by T. W. Hunt, for the Art-Journal, April 1851. No. 108. NYMPH. T. Phillip?, R.A. The head and bust of a small life-size figure. * This picture was purchased at Christie's. It ■was the property of a grcntlcman living in Bedford Square, over wkoae chimncy-picce it had hung for a series of years without having been touched by the cleaner. THE VERNON GALLEllY. 13 No. 109. LANDSCAPE-VIEW IN ITALY. E. Wilson, R. A . « vZ^^'l'^. ^ •^^™Pf>«iti9". rather reminding us of Claude than Ponssin. The foreground show^ the v^Z%7^.f^t^\ lipme-graceful even in its solitary dilapidation. C)n S r ght hand the view IS closed by a lugh bank crowned with trees, and the middle distance nresents a lake tho wori- ""'"f ' high lands which are lost in the aerial gSdSed dX^^^^^^^ tone of I hS Aftjaaraal '^""'"^^ «f tlic artist. Engraving by T. A. Piuoi for No. 110. BATTLE OF BORODINO. G. Jones, K.A. the Rn'^tSn^'l^.m^'^rfo:^''^!'*'" f '''''' of the Dai'dest fought engagements wliich (xseun-ed during the Russian campa gn. Is a po eon with his staff occupies the right of the picture - he has n^^T"^^"^"^ ^'T ' ^^hich is held by an orderly. The Russian positioi S seeA on the P^^^i} ^ITnf I? T^' f"""^ ^^'^^ I^^'''^ «^ t^«0P« advancing to the attack! OcS«- 18?1. ^ca(Zei«y ./i 1829. Engraved by J. B. Allex, for the Arf.Jo7,rncd No. 111. THE VILLAGE FESTIVAL. F. Goodall. A picturesque reminiscence of old times. The subject is from " L'AlIearo,"— " Yomig and old come forth to play, On a sunshine holidajv" J-.MUed at the Royal Academy in 1847. Engraved by J. Carter, for the Art-JonrnaL *j Nov. 1850. No. 123. THE TREATY BETWEEN THE SPANIARDS AND PERUVIANS. H. P. Briggs, R.A. In considering this picture, we are struck with the way in which the artist has dwelt upon the distinction between the conquerors, as an ambitious race, and the simple Peruvians, a people whose policy was peace. The expression of the Inca is admirable ; that of the Spaniard with whom he treats, an epitome of all the evil passions which were indulged in the conquests.* Engraved by W. Geeatbach, for the Art-Journal, February, 1851. No. 124. THE SOUTH-SEA BUBBLE. A scene in 'Change Alley in 1720. — E. M. Ward, A.R.A. " The earth hath bubbles as the water hath. And these are of them." This is a severe satire on the speculating mania of the time. The title was accompanied in the Academy catalogue by a quotation from Lord Mahon's History of England, wherein it is stated that, during the rage for speculation which was excited by the Sovith Sea scheme, for the despatch of business the office tables were established in the streets ; and, in the motley throng that suiTOunded, all classes were represented — all professions, all parties — churchmen and dis- senters — Whig and Tory— country and town. The scene is most faithful to the letter of such description, presenting consequently a vast field for character, which has been occu]iicd with originality, truth, and satire of the keenest -i)o\\\%.— Exhibited at the Royal Academy in 1847. Engraving by J. Carter, for the Art-Journal. No. 125. COMPOSITION. T. Stothard, R.A. Representing a battle ; treated with much spirit. No. 126. COTTAGE, FORMERLY IN HYDE PARK. P. Nasmtth. This is a veritable locality of unattractive character, presenting only an angular brick dwelling with a few trees, but nevertheless affording an excellent picture, clearly stamped by the quahties of the painter.— Engraving by T. A. Prior, for the Art-Journal. No. 127. NEGRO. W. Simpson. A life-size circular picture, painted with vigoiu' and truth. No. 128. THE OLD PIER, LITTLEHAMPTON. Sir A. W. Callcott, R.A. An early production of this master, and valuable as an example of a class of works which originated in the practice of water-colour. The material is of the utmost simplicity ; but eveiy item of the composition is an important tributaiy to a grandeur of effect not the less impressive that the object is so ordinary .f Engraving by J. Cousen, for the Art-Journal. No. 129. FALSTAFF AND MRS. PAGE. G. Clint, A.R.A. The lady is seated in profile ; Falstafi' is seen behind her entering the apartment. No. 130. THE NEWSPAPER. T. S. Good. A small pictiu'e, in which is a man intently reading a ueAvspaper. No. 13L COAST SCENE. Sir A. W. Calcott, R.A. A small picture in the style of Vandervelde.— Engraving by J. C. Bentley, for the Art- Journal. * Mr. Vernon bought this picture from the artist, after it had gone through the exhibition without finding a purchased t This work was purchased at the sale of Lord De Tabley's coUection, The old pier at Littlehampton has long since been remored. THE VKRNON GALLEKY. No. 1.S2. THE SURPRISE. E. Dubufe. The picUiro is well known from engravings. It was formerly in the collection of Lord Charles Townsend. No. 133. UTRECHT. G. Jones, R.A. The objects in this picture compose well, being such as we find most striking in continental towns. — Painted in 1829. No. 134. THE MIDSUMMER NIQHT'S DREAM. T. Stothatit^, R.A. Enter Titania with all her train :— " Come, now, a roundel and a fairy song; Then for the third part of a minute hence." The crowd descend to the foreground, whence we trace them into the dark recesses of the wood ; the canvas is thronged with dancing figures, presented in the marked style of the painter.— Engraving by C. Cousen, for the Art- Journal. No. I3r,. ENTRANCE TO PISA FROM LEGHORN. Sir a. W. Callcott, R.A. A large pictui-e, presenting a highly picturesque assemblage of obiects— a river, quay, with bridge, and all the beautifully available material characteristic of Italian architectm-e. It is, as usual, sober in tone and co\Gm'.— Exhibited at the Royal Academy in 188:?. Engi'aved bv .1. CousEN, for the Art-Journal, September 1850. No. 136. CHRIST APPEARING TO MARY MAGDALENE AND THE OTHER MARY. W. Ettt, R.A. A small pictui-e, in which is seen the tomb, the stone having been rolled away, and the two angels watching. It is freely touched, effective, and luminous. No. 137. SKETCH FOR THE BATTLE OF TRAFALGAR. C. Stanfield, R.A. The sketch for the large picture painted for the United Service Club. Engraving by .T. COTTSEN, for the Art- Journal. No. 138 THE PLAY SCENE-HAMLET. D. Maclise, R.A. The position of Hamlet at the feet of Ophelia is in accordance with his own expressed choice. Behind the chair of Oplielia is Horatio ; the king and queen are on the right, the former wrung to despair hy the scene presented to him, the latter fixed and deeply attentive, so that only Hamlet marks the king's agony. Polonius is a figure of an old man in his dotage, on the right of the king and queen. Exhibited at the Boyal Academy in 1842. No. 139. LANDSCAPE. P. Nasmyth. A wooded scene, in which a brook flows to the near part of the composition over a rugged and Btony bed. A well-selected passage, painted with care. No. 140. VIEW IN ITALY. R. Wilson, R.A. The eye traverses a lake which occupies the nearer parts of the canvas, and beyond this lies the sea-coast, with an opposite shore very like that of the Bay of Naples.— Engraved by J. C. Bentlet, for the Art- Journal, August 1851. No. 141. A COAST SKETCH. E.W.Cooke. A boat-house cut in the chalk sea-wall of the Kent or Sussex coast, the depth of which is successfully represented.— Engraving by A. Willmoee, for the Art-Joimtal. No. 142. VIEW IN ITALY. R. Wilson, R.A. A small picture, in which the principal object is a ruin.— Engraved by J. Caetee, for the Art-Jotmial, November 1850. No. 143. PRAWN FISHERS. W. Collins, R.A. A coast view, flat, but diversified with light and shade. Coast scenery of this kind has been extensively dealt with by our English ViYti^is.*— Exhibited at the Royal Academy in 1831. Engraved by J. T. Willmoee, A.R.A., for the Art-Jotcrnal, May 1849. No. 144. THE ENTRANCE TO THE 2UYDER ZEE. C. Stanfield, R.A. One of those Dutch harbom's which this artist paints so often. A craft is going out with a stiff breeze and sea to correspond ; other vessels are seen in the offing, and upon the land side is the inevitable windmill. The Dutch subjects of this painter arc among his best productions.— Exhibited at the Boyal Academy in 1844. Engraved by R. Wallis for the Art-Journal, April, 1849. " Purchased at the sale of tlie late Sir F. Freeling's onUeetion, 16 THE VKUNON GALLEIJV. No. ur,. HIGH LIFE— LOW LIFE. Sm E. Laxdseer, R.A. Two concoptions long colebratoil. TIip biUohcr's dog is precisely as woll-conditionod a'^ whon we took leavt' of him yoars ajro; ami the better bred animal, with his more recherche a<'e<'SSories, looks not a whit the less refined that he is boiuid by the same frame which contains his despised assoc-iate. Enjrraved >)y 11. Bkckwith, for the Art-Jonrna', Dec. 1810. No. 146. EGYPTIANS. AV. Mlllkk. Two figures seated on the jrround facing the siKJctator; tliey are in an open scene. The picture is free in execution, rather a sketch than a picture. Painted iiil^^. Engraving by J. CousEX, for the Art-Jo a rnal. No. 147. THE CROWN OF HOPS. W. F. Withering roN, R.A. A group of children, one of whom is crowned by the others with a chaplet of hops. — Exhibited at the Royal Acadeirnj in ISi^i. Engraved by H. Boukn'e, for the Ai't-Jonrnal, January 1851. No. 148. GOING TO SCHOOL. T. Webster, R.A. We sec here one of those village schools so well known in the countiy. The door is open, and an aged dame listens to the well-thumbed legend of her tallest pupil; while an urchin, who ha-s been bird-nesting instead of attending school, peeps in at the door, holding in his right hand a strintc of birds' eggs.— -Exhihitcd at the Royal Academy hi ISW. Engraved bv J. Phillibrown, for the Art-Journal, Oct. 1819. No. 149. THE SCANTY MEAL. J. F. Hekrixg. Three horses' heads. The animals are assembled round a standing rack, whence they dozingly abstract tlu; thinly-scattered blades of grass, and quietly admit the farm-yard pigeons to a, benefit of their modiwwm.-— Exhibited at the Royal Academy in 1817. Engraved by E. Hacker, for the Art-Journal, Jan. 1850. No. 150. CUPID AND THE NYMPH. W. Hilton, R.A. The figures are small life-size. A nymph has deprived Cupid of his bow, and he is struggling to regain \t.~Exhibited at the Royal Acadtaiy in 1S28. Engi'aving by P. LranTFOOT. for the Art-Journal. No. 151. LANDSCAPE— SUNSET. T. Gaixsuorough, R.A. This picture is singularly ft-esh and brilliant. The subject is another " watering-place "— small, V)ut an infinitely better picture than that among the pictures removed fj-om the National Gallery. The materials are a pond and trees, with cattle drinking. No. 152. INTERIOR OF A HIGHLAND COTTAGE. A. Eraser. A successful study fi'om some humble dwelling. There are two llcures; a child in a cradle, which a boy is rocking.— Engraved by 0. Cousex, for the Art-Journal, Sept. 18.')(». No. 153. THE TIRED SOLDIER. F. Goodall. This is one of the numerous French subjects painted by the artist. The tired soldier is seated by the side of a well, from which a maiden, in the attire of the S'ornian peasantry, is drawing xvshter— Exhibited at the Royal Academy in 1842. Engraving by F, Okoll, for the 'Art-Tour,wl. No. 154. THE VALLEY FARM. J. Coxstable, R.A. This work makes a beautiful companion to another removed to these rooms from th* National Gallery.— P«i/i^t=cZ i/i 1805. Engraved ))y J. C. JBkntljjy. for Art-Jovrnal Mav 1849. . - . . No. 155. THE COUNCIL OF WAR. L. Hague. One of the water-colour productions of this artist, presenting numerous figures in the costume of the seventeenth century. The apartment i)i which they are avssembled is the Hall of Courtray.* • Purchased at the New Society of Painters in Water Colours. It was the first picture of imoortance mntrihnte,* bv the artist, and at once established his fame. Mr. Haghe works with the left hand. coninoutea Printed by GEOBaB E, Etbb and Wiiliam Spottiswoodb, Her Maj^jty's Printers.