A 
 
 'f 
 
 
 CATALOGUE 
 
 OF 
 
 ITALIAN, FLEMISH, SPANISH, DUTCH, FRENCH^ 
 
 AND ENGLISH 
 
 WHICH HAVE BEEN COLLECTED IN EUROPE AND BROUGHT TQ 
 
 THIS COUNTRY BY 
 
 MR^ RICHARD ABRAHAM^ 
 
 Of New Bond Street^ Londoriy 
 
 AND ARE 
 
 AT THE 
 
 ^wettcan ^catreiiig of .iFCne Erto* 
 
 3)EW YORK; 
 
 PRINTED BY CHRISTIAN BROWN, 
 211 WATER STREET. 
 
 1830. 
 
THIS collection will be found to contain some of the choicest specimens of 
 the Masters in their various Schools, and in the finest state of preservation^ 
 Also, two splendid Pictures — one of which is the Portrait of the late Mr« 
 West, by Sir Thomas Lawrence, which has been permitted to remain in the 
 room by the Directors of the Aeademy. to enrich ihis exhibition — the other 
 is St. John in the Island of Patinos, by Ribera, and is lent from the collection 
 of D. W, Coit. Esq. The whole forming an asscmWage worthy of notice. 
 
CATALOGUE, 
 
 No. 1, THE INTERIOR OF A CHURCH, 
 
 BY PETER NEEFS. 
 
 Born at Antwerp, A. D. 1570 — Died A. D, — , aged - • 
 
 This artist was a scholar of Henry Steenwyck the elder. He 
 painted similar subjects to those of his master, in which he ac- 
 quired much celebrity, representing the interior of Churches and 
 Temples, which he finished with a precision and neatness of pen- 
 cil that is altogether surprising. His knowledge of perspective 
 was so correct, that he would exhibit in the small space of a Cab- 
 inet picture, the most vast and magnificent gothic edifices, in * 
 which the beholder is deluded into a belief of the Teality and im- 
 mensity of the space the building represents. 
 
 DESCRIPTION. 
 
 This little picture which represents the interior of a Church, is 
 painted with all the excellence that characterizes this ingenious 
 Master. The architecture and the various decorations of the 
 Church are designed with the utmost correctness, touched with 
 a delicacy that is inimitable ; and by judicious management of 
 the chiar-oscuro he has produced a most lively and pleasing effect. 
 Neefs did not paint figures with that neatness that might be ex- 
 pected ; he therefore obtained other artists to introduce them for 
 him, and this specimen is enriched by Gonzarlez’s figures, who 
 has no less shown his talents in that branch of the art, than Neefs 
 has in his. The grouping and distribution of the numerous fig- 
 
4 
 
 ures are most admirably mar^aged : they possess the breadtli, 
 freedom of touch, and animated character of the portraits of Van 
 Dyck, and are designed with the utmost correctness, the colour- 
 ing has the freshness, and the drapery the ease that is so admira- 
 ble in that master* On viewing these inimitable figures, the mi- 
 nute scale on which they are drawn is lost sight of by their as- 
 suming the size of life. 
 
 This little gem was purchased by Mr. Abraham several years 
 ago, for his private use, but from what collection he does not 
 remember. 
 
 2. A GRAND LANDSCAPE. 
 
 JACOB RUYSDAEL. 
 
 Born at Haerlem A. D. 1636 — Died A.D. 1681, aged 45. 
 
 It is not known under whom this admirable landscape painter ' 
 studied, but Houbraken informs us that, although he had given - 
 proof of extraordinary ability, at the early age of fourteen, he did 
 not at first follow painting as a profession, but for some years 
 applied himself to the study and practice of surgery. He after- 
 wards lived in habits of intimacy with Nicholas Berghem and he 
 is said to have been advised, by that artist to devote his attention 
 entirely to painting. His success warranted the recommenda- 
 tion of his friend, his pictures w ere purchased w ith a\ddity, and 
 he soon became one of the most popular painters of his time. In 
 the pictures of Ruysdael it is evident that he designed every thing 
 from Nature, and he is unusally happy in the selection of it. His 
 trees and broken grounds are of the most pleasing forms, and 
 there is an agreeable freshness in his verdure which is alone pe- 
 culiar to himself. 
 
 The talents of Ruysdael were not confined to Landscapes ; he 
 painted sea-pieces with equal success ; and his pictures of fresh 
 breezes and gales of wind are equal to the production of any art- 
 ist who has treated those subjects. The pictures of this captivat- 
 
5 
 
 iiig painter are justly held in the highest estimatian, and are found 
 in the choicest collections, 
 
 DESCRIPTION. 
 
 ^ J . , 
 
 This grand Landscape exhibits an extensive view over a flat 
 country, illumined by a transient gleam of sunshine, beautifully 
 varied with woods, meadows, and corn-fields, and interspersed 
 with churches, cottages, and a windmill. The ruins of an ancient 
 fortification with a surrounding moat bordered with bushy trees, 
 occupy the whole extent of the fore ground. On a bastion on the 
 right, are a shepherd seated, a boy with a dog, and three sheep 
 near him ; a few more sheep are seen on the opposite bastion, and 
 a man standing in a breach. This is one of the finest productions 
 of this Master ; the touch is remarkably free and spirited, the coir 
 curing chaste and clear, and the masses of light and shadow are 
 conducted with a masterly intelligence. The cattle and figures 
 are painted by Adrian Vander Velde. 
 
 This picture was formerly in the collection of the Marquis of 
 Marialva from whom it passed to John Smith, Esq. of London, 
 and was purchased by Mr. Abraham at the sale of that gentle- 
 man’s collection. 
 
 3. THE VIRGIN OF THE ROCKS. 
 
 MONARDO DA VINCI. 
 
 Born at Florence, A. D. 1452, died A. D. 1519, ag:ed 67* 
 
 This illustrious painter, according to Vasari, Carlo Araoretti, 
 and others, received a technical education, and was placed under 
 Andrea Verocchio, a friend of bis father, who was an eminent 
 master of design, and possessed a distinguished reputation as a 
 sculptor, an architect and a painter. The extraordinary facul- 
 ties of the pupil,” says Vasari, secured the attentive cultivation 
 of the preceptor, and his progress in the art was such, that in a 
 short time he was able to assist his instructor as a coadjutor.” 
 
6 
 
 Verocchio having been employed by the monks of St. Salvi at 
 Valombrosa, to paint an altar-piece for their church, representing 
 the baptism of Christ, Lionardo was entrusted to paint the figure 
 of an angel, and performed his task with such beauty and cor- 
 rectness of design, and such felicity of execution, that the rest of 
 the picture was totally eclipsed, and tradition reports that Ve- 
 tocchio was so much mortified at the discomfiture that he relin- 
 quished the pencil for ever. 
 
 Lionardo now entered the world with the sanguine expecta- 
 tions of youth, beloved for the grace and urbanity of his manners, 
 and beheld with admiration for the extent and variety of his ac- 
 quirements. His studies had not been confined to painting.— 
 He was an able architect, had a perfect knowledge of anatomy, 
 was extremely well skilled in mechanics, a master of optics and 
 geometry, and had applied himself thoroughly to the study of 
 nature and her operations. To arts and literature he added the 
 accomplishments of the body. His person was vigorous and 
 finely formed; he was a poet, a skilful musician, and a master of 
 all the favourite exercises. He understood the management of 
 the horse, and was very dexterous in the use of arms. The pos- 
 session of such extraordinary qualities soon spread his reputation 
 mer all Italy.” 
 
 After painting some time at Florence, Lodovico Sforza, Duke 
 «f Milan, invited him to his court in 1494, where he appointed 
 him director of the academy of painting and architecture, which 
 he had recently revived with additional splendor and encourage- 
 ment. Lionardo had no sooner, according to Amorette, entered 
 on his office, than he banished all the gothic principles estab- 
 lished by his predecessor Michelino, and introduced the beautiful 
 simplicity and purity of the Grecian and Roman style. 
 
 Desirous of rendering the extensive capacity of Lionardo use- 
 ful as well as ornamental to his state, the Duke of Milan engaged 
 this distinguished engineer in the stupenduous project of conduct- 
 ing the waters of the Adda, from Mortesana, through the Valte- 
 line and the valley of Chiavenna, to the walls of Milan, a distance 
 
7 
 
 of nearly two hundred miles ; an enterprise which had hitherto 
 been regarded as impracticable. Lionardo was not insensible of 
 the arduousness of such an undertaking, and, in order to pursue, 
 with greater tranquility, his studies of those branches of philoso- 
 phy and mathematics which are most applicable to mechanics, be 
 sought retirement at Vaverola, the seat of his friend Francesco 
 Melzi, where he devoted himself to the most profound research 
 into history and antiquity. 
 
 He observed how the Ptolemys had conveyed the waters of 
 the Nile through the several parts of Egypt, and how Trajan 
 had opened a commerce with Nicodemia, by rendering navigable 
 the lakes and rivers lying between that city and the sea. The 
 impediments of nature gave way to the daring efforts of genius 
 and science, and he accomplished this immense work, to the 
 astonishment and admiration of all Italy.” 
 
 In 1503, the Council at Florence, where Lionardo then was, 
 leaving determined to decorate their chamber with the works of 
 the best masters, Lionardo was appointed to execute one side of 
 it, and Michael Angelo Buonaroti, who was then in his twenty- 
 ninth, year, and whose gigantic powers had already displayed 
 themselves, was fixed on as his competitor, in undertaking the 
 other. Jealousy of each other’s ability, excited anomisity be- 
 tween them, and the rivalry of these great artists divided Florence 
 into parties, who embittered their disputes, without endeavouring 
 to reconcile their differences. 
 
 Raffaelle, who had recently left the school of Pietro Perugino, 
 was induced, by the fame of this great contest of their transcend- 
 ant powers, to visit Florence. ‘‘ The grace and delicacy of 
 Lionardo’s style,” sa 3 ^s Bryan, compared with the dry and 
 gothic manner of Perugino, excited the admiration of the young 
 painter, and inspired him with a more modern taste. 
 
 As a painter, Lionardo may be regarded as the first who at^ 
 tempted to reconcile minute and elaborate finish with grandeur 
 of idea and dignity of form. He particularly attached himself 
 to the expression of character, and the juet delineation of the 
 affections of the mind. 
 
8 
 
 In his compbsitions, like the painters of antiquity, he was an 
 enemy to confusion, and to avoid it like them he only introduced 
 into his pictures such figures as were essentially necessary to his 
 subject* Although it does not appear that he ever sedulously 
 cultivated an acquaintance with the antique, he distinguished him- 
 self by an elevated taste, and a perfectly correct imitation of the 
 models he consulted* To him we are chiefly indebted for the 
 establishment of the principles of the chiar-oscuro, which gave 
 birth to that magical relief, for which his works, and those of 
 his disciples are so peculiarly remarkable.” 
 
 In 1514 he was invited by Francis I. to visit the court of 
 France; he was received by that monarch with the most flat- 
 tering attentions ; he was however incapable of undertaking any 
 work of importance in consquence of indisposition which lasted 
 five years, during which time he continued to receive the most 
 marked attention of that monarch’s esteem, who frequently visited 
 him during his illness, and he is said to have expired in his arms* 
 
 DESCRIPTION* 
 
 This magnificent work of art, known by the name of the 
 Virgin of the Rocks,” is one of the three pictures of the same 
 subject by the celebrated Lionardo ; one is in the Gallery of the 
 Louvre, the second is in the possession of Lord Suffolk, and the 
 third is now submitted to the American Public* In the centre of 
 the picture is the Virgin Mary, on her left hand is the infant 
 Saviour attended by an angel, on her right is St* John resting oh 
 ene knee and with uplifted hands bending towards the Saviour* 
 This scene derives a grandeur and solemnity from a seques- 
 trated rocky situation which the artist has chosen, and which is 
 so admirably suited to the subject* Da Vinci has in this pain- 
 ting brought every excellence in the art to assist in portraying 
 his sublime and heavenly conceptions* 
 
 In the face and figure of the Virgin there is a charm truly 
 irresistible. Dignity, grace, and feminine loveliness cannot fail 
 to strike the most casual observer* The figure of the infant Je- 
 
9 
 
 sus is a truly lovely conception, uniting with the most graceful 
 ease that intelligence, which may well be supposed, adorned the 
 Godlike child. The expression of fond adoration and humility 
 in St. John towards his heavenly master, is perfect; the celes- 
 tial air which pervades the whole composition is judiciously and 
 forcibly completed by the introduction of the angel. From such 
 an effort of art, it is easy to comprehend the grandeur and sub- 
 limity of the man’s imagination who feared to trust his pencil in 
 the completion of his greatest work, “ The last supper,” and 
 died leaving it unfinished. 
 
 It is presumed that too much cannot be said upon so magni- 
 ficent a picture painted by such an illustrious artist ; it has been 
 thought, therefore, not out of place to introduce in this catalogue 
 one of the several critiques which have been written upon this 
 picture, by men of acknowledged taste and judgment. 
 
 1 he following is from the London Review of 28th June 1828, 
 PAINTING OF LIONARDO DA VINCI. 
 
 • There is a very beautiful picture by Lionardo da Vinci, in 
 the possession of a gentleman at No. 131 New Bond-street, that 
 has excited the most enthusiastic admiration of all who have been 
 fortunate enough to see it. The subject of the picture is ‘‘ The 
 Virgin of the Rocks.” There are two well known paintings on 
 the same subject, and by the same master ; the one in the gallery 
 of the Louvre, and the other in the possession of Lord Suffolk ; 
 but the three pictures, though resembling each other considerably 
 in the composition and mode of treatment, have each certain tri- 
 fling peculiarities that prove they are neither of them slavish re- 
 petitions. Of the originality of the picture in Bond-stre^, no 
 person at all acquainted witli the style of Lionardo da Vinci, 
 could entertain a moment’s doubt. 
 
 In the centre of the picture is the figure of the Virgin. There 
 is a divine gentleness and grace in her expression, that cannot be 
 described. To the right is the infant Saviour attended by an an- 
 gel, whose form is aerial and divine. The holy child is a won- 
 derful conception. It has the meekness, the simplicity, the in- 
 nocence of an infant, iinited in an extraordinary manner to tb« 
 
 2 
 
10 
 
 intelligence of a god. The attitude and expression of St. John 
 are not less beautiful. His little folded hands, his earnest re- 
 verential air, his love, humility, and adoration, are full of truth 
 and interest. The scene that is hallowed by this celestial group 
 is admirably appropriate. The solemn surrounding rocks seem 
 formed for the echoes of unearthly sounds. The colouring of 
 the picture is in keeping with the subject : it is chaste, clear, 
 and harmonious. 
 
 This splendid work of art was ptirchased by Thomas Em- 
 merson, Esq. from a gentleman in whose family it had been for 
 upwards of a century, and Mr. Abraham purchased it, together 
 with the Adrian Van de Velde Our Saviour in the garden,” 
 from Mr. Emmerson in 1826. 
 
 4. A PORTRAIT. 
 
 DON DIEGO VELASQUEZ, 
 
 Born at Seville A. D. 1594. died A. D. 1660, aged 66. 
 
 This distinguished painter of the Spanish school studied under 
 Francesco Herrera the elder, a painter of considerable talents; 
 subsequently he entered the school of Francisco Pacheco under 
 whom he displayed great talents. In 1622 Velasquez left Se- 
 ville for Spain, where he succeeded in obtaining an introduction 
 to the king, Philip the 4th, who ordered him apartments in the 
 palace, and requested his portrait might be painted w hich the artist 
 did, and it is said, succeeded beyond his most sanguine expecta- 
 tioflfe; and the cognoscenti joined in giving the palm to Velas- 
 quez above all his predecessors. ‘‘ So complete” adds Bryau 
 “ was his triumph, that Olivarez, the king’s favorite minister, 
 was directed to inform his inmate, that the Roj al person of Phi- 
 lip would in future be intrusted to no other pencil but his.” In 
 the year 1648 the king entrusted him with a particular embassy 
 to Pope Innocent X, and also commissioned him to purchase 
 the finest works of art, both statutes and pictures, which he 
 could meet with in Italy, for the Royal collection. On this ex- 
 
11 
 
 pedition he embarked at Malaga, and having landed at Genoa, 
 he passed through Milan, Padua, and from thence to Venice, 
 where he passed some time in reviving his acquiantance with 
 the admirable productions of Titian, Tintoretto, and Paolo Ve- 
 ronese, and had the good fortune to purchase some capital pic- 
 tures by the Venetian masters. On his arrival at Rome he was 
 received with great favour and distinction by the Pope, and, as 
 the business confided to him afforded him leisure to exercise his 
 professional talents, he was engaged to paint the portrait of 
 Innocent X, and those of several of his cardinals, and the nobi- 
 bility of Rome. The pontiff, in token of his satisfaction, pre- 
 sented him with a gold medal. The Academicians of Rome 
 elected him of their body, and sent his diploma after him to Spain.^ 
 
 DESCRIPTION. 
 
 This splendid picture is supposed to be the portrait of one of 
 the Secretaries to Pope Innocent X. The penetrating eye, a[nd 
 shrewd intelligent character of the countenance, are painted^o 
 life ^ on the middle finger of the left hand he supports his cap, 
 while his right hand rests by the thumb in the black vestment 
 which is suspended from his left shoulder. The flesh exhibits 
 in its tints, the delicacy and harmony of Titian, and the masterly 
 manner in which the hands are drawn, cannot fail to excite the 
 admiration of every beholder. This picture is a fine display 
 of this great painter’s knowledge of the principles of chiar- 
 oscuro ; the splendour of the colouring and correctness of draw- 
 ing was never surpassed by any master, and it may be regarded 
 as a perfect model of Portrait painting. 
 
 5. THE HOLY FAMILY. 
 
 ANDREA DEL S|ARTO. 
 
 Born at Florence, A. D, 143B — died 1530, aged 42. 
 
 This celebrated painter at an early age was placed with an En- 
 graver to learq. that business* In this situation he was noticed 
 
by Giovanni Barile, an artist of little note, under whom be re*- 
 mained for some time ; and afterwards entered the school of Pie- 
 tro di Cosimo. He was, however, more indebted for the culti- 
 vation of his talents to his studies from the frescoes of Masaccio 
 and II Ghirlandajo, and subsequently to the cartoons of Lion- 
 ardo da Vinci and Michael Angelo Buonaroti, than the lessons 
 of his instructors. On leaving the school of Cosimo, he formed 
 an intimacy with Francesco Bigio who had been a disciple of 
 Mariotto Albertinelli, in conjunction with whom, it is said, he 
 executed some works in the public places at Florence, by which 
 he acquired considerable reputation. Lanzi observes, that his 
 advancement in the art, and his progress from one perfection to 
 another, w as not so rapid as that of many other artists, but was 
 gradual and slow from year to year. 
 
 Del Sarto possessed an extraordinary talent of imitating and 
 copying the works of other masters, with an accuracy which 
 sometimes deceived even the painters themselves; of this Vasari 
 mentions a very remarkable instance of which he was himself an 
 eye witness. 
 
 Raffaelle had painted for the Cardinal Giiilio de Medici, af- 
 terwards Clement VIL, the portrait of Leo X. seated between 
 jhat prelate and Cardinal Rossi, in which the drapery and back- 
 ground M^ere painted by Guilio Romano. Frederick II. Duke 
 pf Mantua, passing through Florence to Rome, had seen this 
 picture, and requested Clement VII. to make him a present of 
 it, when the Pope gave directions to Ottavio de Medici to send 
 the portrait to M antua. 
 
 Unwilling to deprive Florence of so interesting a work of art, 
 Ottavio employed Andrea del Sarto to paint an exact copy of it, 
 which was sent to the Duke of Mantua, at the time that Giulio 
 Romano was in his service. No person suspected the deception ; 
 even Giulio was himself deceived, and was only convinced of the 
 fact, by Vasari assuring him that he had seen it painted, and by 
 l^howing him the private mark of Andrea del Sarto. 
 
13 
 
 DESCRIPTION. 
 
 This exquisite cabinet picture affords sample pfoof of the great 
 talents of Del Sarto, iinitating the works of the illustrious Raf- 
 faelle ; for it is precisely in the latter style and manner of that 
 master; and has been cQnsidered by many good judges to be by 
 that artist, but on a more critical exammation the handling of 
 Del Sarto will appear evident in the face of Elizabeth. 
 
 The subject represents the Holy F amily. The infantile and 
 divine expression of the Saviour, who is seated on the knee of 
 the Virgin is peculiarly attractive ; the air and grace of the Vir- 
 gin and the beauty of her countenance, are finely contrasted with 
 the more marked character and general contour of the aged 
 Elizabeth, who is sitting next to her, supporting the right arm of 
 Christ. The young harbinger of glad tidings, dressed in his 
 coat of camels’ hair, rests on his right knee and supports himself 
 by the left hand with his reed cross, to which the Saviour points. 
 The expression of St. John is full of earnest reverence. 
 
 St. Joseph is seen on the left of the picture — the back ground 
 is in perfect accordance with the suavity of character and expres- 
 sion which pervades the figures — the group is full of grace — the 
 draperies are judiciously varied, and the colouring is most chaste 
 and ricli. This little picture truly represents innocence and hap- 
 piness. 
 
 [From the collection of the late Richard I. D. Ashworth, Esq. 
 af England.] 
 
 6. THE MARRIAGE OF ST. CATHERINE. 
 
 BERNARDINO 
 
 Born nt Luini, A. D. 148O-.pi(0d 1550, aged 7Q. 
 
 This eminent artist was a disciple of Lionardo da Vinci, of 
 \j;dipse style he was the most celebrated imitator. It is impossi- 
 ble for one artist to approach nearer to the style of another than 
 Luini does to that of Da Vinci ; the same taste in his composi- 
 
14 
 
 tions and design, the same peculiarity and beauty of color and 
 extraordinary relief ; and it requires an intimate acquaintance 
 with the works of Lionardo, to discriminate between them. This 
 collection will afford that opportunity to lovers of art, to dis- 
 tinguish the two masters ; as it contains a noble specimen of da 
 Vinci, as well as this beautiful cabinet picture of Luini. 
 
 DESCRIPTION. 
 
 This splendid little picture represents the mystical marriage of 
 St. Catherine, which has been a favourite subject of the painters 
 and their employers. To the first it afforded materials for an 
 agreeable combination of the graces*; while the latter not unfre- 
 quently encouraged the legendary tale, as tending to excite in the 
 unpractised bosom of a daughter, where the family were numer- 
 ous, a desire to embrace the seclusion of a cloister. At the first 
 glance, it might be imagined that, through inadvertence, the pain- 
 ter suffered the ring to be placed on a finger of the right hand of 
 the bride ; but the biographer of the saint (Antonino) asserts the 
 ceremony to have thus occurred : The finger and the ring are 
 preserved in the church of St. Catherine in the Strada Guilia of 
 Rome, and are carried in procession annually on the 2d day of 
 May. The Saint was a native of Siena ; she suffered martyr- 
 dom A. D. 1830, in the thirty-third year of her age.” 
 
 The most perfect grace and beauty is expressed in the face of 
 St. Catherine, while with virtuous softness she gazes on the in- 
 fant bridegroom, who is about placing the ring on her finger ; 
 the virgin mother, who supports the Saviour and completes the 
 group, possesses all the unobtrusive dignity which characterized 
 her life. 
 
 The colouring and the castings of the draperies are little infe-' 
 rior to Da Vinci. The whole possesses a harmony and sweet- 
 ness which cannot fail to attract the admirers of sacred history. 
 
 [From the collection of the late Richard I. D. Ashworth, Esq. 
 <>f England.} 
 
IS 
 
 7. A SEA-PORT. 
 
 JOHN IiIN«^ELBACH. 
 
 Born at Frankfort, A. D. 1625, died A. D. 1687, aged 62. 
 
 According to Bryan, this eminent painter visited Amsterdam 
 when very young, and in 1642, at the age of 17, he visited Paris. 
 A residence of two years in that city, where his works met with 
 admirers, supplied him with means of prosecuting his original 
 project of visiting Italy. He passed six years in Rome ; in 1650 
 he returned to Amsterdam with the studies he had accumulated 
 during his residence in Italy. ‘‘ His works,” he adds, “ frequently 
 represent Italian sea-ports, in which he introduced an infinite 
 number of figures, habited according to their different nations, 
 touched with great spirit, and of a character as expressive as va- 
 ried; he also embellished his pictures with architecture, and the 
 ruins of ancient monuments and statues, he introduced with the 
 happiest effect.” 
 
 DESCRIPTION. 
 
 This Picture corresponds in every respect with Bryan’s opin- 
 ion of this great painter. It represents a Seaport in the Levant, 
 with the remains of an ancient triumphal arch ; on the quay, 
 which forms the foreground, are numerous figures in their various 
 costumes and busied in various occupations ; vessels and boats 
 within the harbour and in the offing : among the group are Turk- 
 ish merchants bartering and superintending slaves, and labourers 
 loading a mule with bales of merchandize, while others are lading 
 boats to transport the merchandize to the vessels anchored in the 
 harbour ; on the right is seen a negro on a camel descending a 
 hill leading to the shore, where another group of figures surround 
 and are drinking at a fountain. 
 
 This is a most highly finished picture ; the sky and distances 
 are treated with a strict attention to nature ; the colouring is clear 
 and harmonious, and is considered the chef d’ oeuvre of this artist, 
 
 It was formerly in the collection of Mr. Eycoot, and recently 
 from the collection of M. M. Zachary, of England. 
 
IB 
 
 8. A LANDSCAPE AND CATTLE. 
 
 KAREL DU JARDYN. 
 
 Born at Amsterdam, A. D. 1640— Died A,D. 167«, aged 38. 
 
 This chahning painter \Vas a disciple of Nicholas Berghem. 
 With the advantage of such ah instructor, his progress was ex- 
 traordinary, and to perfect himself, he travelled to Italy. After 
 a residence of several years in Rome, he returned to Holland, 
 where his pictures Were not less admired than they had been in 
 Italy. The works of Du Jardyn generally exhibited a warmth 
 and briltiahcy of atmosphere resembling that of Italy more thaii 
 Holland ; his pictures are always highly wrought, and this beau- 
 tiful specimen gives ample proof of his great talents. 
 
 DESCRIPTION. 
 
 It is a small richly composed landscape, with a hilly meadow 
 for the foreground, on which are seen a bull, horse and sheep, 
 with children on the opposite declivity, and a tree on the right ; 
 the stump and roots of a tree, behind which is a dog, fills the 
 Ifft of the picture ; the sky is clear and sparkling ; the land- 
 scape spirited and free, and the figures and animals are painted 
 with the truth and finish of Paul Potter. 
 
 This little gem adorned the collection of M. M. Zachary, 
 Esq. 
 
 9. A SPANISH PEASANT FAMILY. 
 
 BARTOLOME' ESTEV ANMURI LLO. 
 
 Born at Pilas, near Seville, A, D. 1613 — dieJ A, D, 1685, aged 72, 
 This admirable artist studied under his uncle, Don Juan d^l 
 Castillo, who was a painter of some eminence and established ah 
 academy at Seville. The fame of Velasquez, who was in the 
 height of his reputation, reached Seville, and Murillo conceived 
 the project of visiting Madrid for the purpose of introducing him- 
 self to the notice of that distinguished artist, in which he was suc- 
 cessful; for it is said that Velasquez not only admitted him into 
 
17 
 
 his academy, but treated him with the greatest kindness and liB-* 
 erality ; he procured hini the best means of improvement, inde- 
 pendent of his own instfuctioh, and obtained for him access to 
 the rich treasures of art deposited in the royal collections. H!e 
 directed his attention particularly to the works of Titian, Ru^ 
 bens, and Vandyck, and, after a few years’ study under such 
 favourable circumstancesv with the advantage of the counsels of 
 Velasquez, Murillo returned to Seville, and resumed the prac- 
 tice of his art with alactrity and the most flattering success. 
 
 DESCRIPTION- 
 
 This magnificent picture represents a Spanish Pea*sant family J 
 an old woman with spectacles on ; her hands on the head of a 
 little boy who is lying on a form before her. She appears to be 
 looking up, surprised at something that has been said by a young 
 man who has just entered the room on the right, while a young 
 female who leans on his shoulder seeitis to express her displea- 
 sure.— The contrast between the aged Crinkled female, and the 
 jocose healthy young man, is managed with peculiar efiect ; in 
 the foreshortening of the little boy the artist has been most hap-‘ 
 py, and not less so in the casting of the drapery and the ma- 
 nagement of the chiar-oscuro. The colouring is equal to aiiy 
 master that ever painted, and the whole possesses a force and 
 excellence which only requires to be seen to be appreciated. 
 
 This extraordinary fine work of art lately adorned the cob 
 lection of Charles B. Plestow, Esqv' of England. 
 
 10. A LANDSCAPE WITH FIGURES. 
 
 mNIXERHOUT HOBBRUf A. 
 
 Born at Haerlem A. I>. 1629— Died A. D. 1699, aged TO. 
 
 This eminent Landscape painter is said to have had Ruys*- 
 dael for his master, but certain it is that he studied principally, 
 if not wholly aftei^ nature. His grounds are always agreeably 
 
 3 
 
18 
 
 broken, and he was fond of describing slopes, diversified with 
 shrubs, plants, or trees, which conducted the eye to some build- 
 ing, river, grove, or piece of water, and frequently to a delicate 
 remote distance ; every object perspectively contributing to de- 
 lude the observation to that point. 
 
 DESCRIPTION. 
 
 in this charming picture, on the right, the artist has introdu- 
 ced his favourite Watermill, the water from which empties itself 
 into a pond where a man is seen angling ; just beyond in the 
 centre of the picture, is a winding road judiciously broken, 
 which to the right leads through a vista across some fields, and 
 terminates on the left with cottages illumined by the sun’s rays ; 
 in the foregi’ound on this side is another cottage, and labourers 
 seen passing ; in front of this cottage, is a beautiful cluster of 
 trees. The touch is light, free, and firm, and has a very striking 
 effect by the happy distribution of light and shadow for which 
 this artist is so remarkable ; the colouring is extremely fine ; the 
 airy form and graceful disposition of the clouds are inimitable. 
 This picture has ever ranked a chef d’oeuvre of the master ; the 
 works of this artist are uncommonly scarce and pre-eminently 
 esteemed, particularly, when found of the rich and high quality 
 of this brilliant specimen. It is from the collection of the late 
 Richard I. D. Ashworth, Esq. of England. 
 
 11. A FLOWER PIECE. 
 
 R£CARD1« 
 
 This Italian artist is a native of Rome, and is now living. It 
 is evident from the few specimens known of this master, that he 
 studied the works of Van Huy sen and Van Os. 
 
 DESCRIPTION. 
 
 This beautiful picture possesses the mellowness and beauty of 
 
19 
 
 colouring of those great painters. The touch is flowing and 
 free, the grouping of the various beautiful flowers is admirably 
 managed. The pictures of this master are held in high esteem 
 and are purchased with avidity. 
 
 12. A MAGDALEN READING. 
 
 liODOVICO CARACCI. 
 
 Th is fine little cabinet specimen, representing the Magdaleu 
 reading in a Landscape, is copied by that admirable artist Lo- 
 dovico Caracci from the well known picture in the Dresden Gal- 
 lery by the illustrious Corregio. Ludovico in this picture has 
 most faithfully delineated the just principles upon which the great 
 author of the subject executed his works. There are a number 
 of fine copies from this picture by different artists, and it is pre- 
 sumed that this will not be surpassed, if equalled by any of them. 
 
 From the collection of Charles B. Plestow, Esq. England. 
 
 13. LANDSCAPE AND FIGURES. 
 
 HOBBEMA.— (Co/iy.) 
 
 This picture, though a copy, possesses a great deal of force 
 and beauty, and may with propriety be called the attested me- 
 moranda of the profound skill of the master from whose worlc 
 it was copied. 
 
 14. A STAG HUNT. 
 
 ABRAHAM HONDIXJS. 
 
 Born at Rotterdam, A. D. 1638, died A. D. 1695, aged 57- 
 This great painter’s favourite subjects were huntings andani-^ 
 mals, which he treated in a masterly style ; he also painted con- 
 
jlagratioos and towns pn fire, but his chief excellence was in the 
 representation of dp^s^ in which few artists have surpassed Inni* 
 
 DESCRIPTION. 
 
 This capital picture represents a Stag hunt; the expression of 
 agony in the face of the Stag, which is run down by its furious 
 enemies, is wonderful. The freedom of touch, the excellence of 
 the design, and the beauty of the colouring, is not inferior to 
 Snyder or Rubens. 
 
 This Picture was formerly in the collection of Thomas Tur- 
 ner, Esq. of England. 
 
 IS. THE FINDING OF MOSES. 
 
 HERMAN SWANEVELT. 
 
 Born at Woerden, A. D. 1620 — Died A. D. 1690, aged 70. 
 
 According to Huber, this eminent Landscape painter studied 
 under Gerard Douw , whose style he for some time followed. — 
 When he left his master he went to Italy, where he painted 
 Landscapes. On his arrival at Rome he was indefatigable in 
 iiis studies ; he w as frequently seen in the most sequestered 
 plains, (Jesigning the most interesting views, and the most re- 
 markable vestiges of antiquity in the vicinity of that capital. 
 These studious and solitary promenades procured him the ap- 
 pellation of the Hermit of Italj". In 1640 he became the disci- 
 ple of Claude Lorraine. 
 
 DESCRIPTION. 
 
 This little picture represents the finding of Moses ; the fig- 
 ures are admirably drawn and highly finished, and the Land- 
 scape is painted with the brilliant and glowing effect of Claude. 
 
 ^his little gem was fortncrl}^ in the collection of Robert Hin- 
 ley. Esq. of England. 
 
21 
 
 16. A LANDSCAPE AND FIGURES. 
 
 DAVID TEMIERS, ths tottngeb, 
 
 Bora at Antwerp, A. D. 1610, died A. D. 1694, aged 84. 
 
 This celebrated painter was the son of an artist, under whom 
 he studied, afterwards under Adrian Brouwer, and had the ad- 
 vantage of receiving lessons from Rubens in the principles of 
 colouring. Teniers was a constant and faithful follower of 
 Nature ; his favourite subjects were village festivals and merry- 
 makings, Flemish fairs and incantations : he displayed a charac- 
 teristic originality and a naivete of expression, in which he is 
 unrivalled. 
 
 DESCRIPTION. 
 
 This little gem is known by the name of the Wood-cutters : 
 in the fore-ground are three men employed about a tree which 
 they have Just felled; another figure is standing by who is speak- 
 ing to those at work, and points to a road on the left. A village 
 is seen in the distance. The pencilling is light and dexterous, 
 the trees are touched with spirit and taste, the sky is light and 
 floating, and there is that silvery charm in the colouring which 
 is so peculiar to the master. This beautiful little cabinet speci- 
 men was formerly in the collection of John Webb, Esq., and 
 subsequently in that of Thomas Emmerson, Esq. of England. 
 
 17. AN INTERIOR. 
 
 DA.VID TENIERS, the younger. 
 
 Born at Antwerp, A, D. 1610— died A, D. 1694, aged 84, 
 
 This fine Cabinet picture represents the interior of an 
 apartment, where, at a table, is seated a Doctor, who is exami-^ 
 ning the contents of a bottle, of which an aged female, who 
 stands near him, appears anxiously waiting to hear his opinion ; 
 on the right are three other figures busily engaged in conversa- 
 tion. This picture is touched with great ^irit and is in an 
 
22 
 
 .agreeable and clear tone of colour ; the drawing is correct, and 
 the expression of the countenances is admirable. From the 
 collection of Thomas Emmerson, Esq. of England. 
 
 18. THE MAGDALEN IN THE WILDERNESS. 
 
 TlTlA/r, 
 
 Born at the castle of Cadore, at Friuli, 1477 — died 1576, aged 99. 
 
 This distinguished painter was the founder of the true princi- 
 ples of colouring. Having shown an inclination for the art, he 
 was sent by his father at the early age of ten years to Venice, 
 and placed under the protection of his uncle. He is said by 
 Lanzi to have received his first instruction in the art from Se- 
 bastiano Zuccati, and was afterwards successively the disciple 
 of Gentile and Giovanni Bellini. As soon as he saw the works 
 of Giorgione, he quitted the tame style which characterized the 
 works of his first instructors, and adopted a bolder outline, 
 greater freedom of hand and a broader effect of light and sha- 
 dow. In 1496, when he w^as only eighteen years of age, he was 
 employed in conjunction with Giorgione in an important work, 
 and his portion of the undertaking having been preferred to that 
 of his competitor, served to establish more firmly his growing re- 
 putation. In 1550 Titian was invited by Charles the 5th to 
 Bologna, where he painted a portrait of the Emperor; from 
 thence he w as invited to the Court of the Duke of Mantua, 
 whose portrait he painted, and his twelve Caesars for the grand 
 saloon of the palace. In 1548 he went to Rome, where he w as 
 lodged in the Belvidere, and painted for the second time, the 
 portrait of Pope Paul the 5th sitting between the Cardinals 
 Farnese and Prince Ottavio. Here he likewise painted his 
 picture of Danae : it was at this time that Michael Angelo Buo- 
 norati paid him a visit, and expressed his admiration of the beau- 
 ty of the colouring, but lamented that Titian had not studied 
 the antique as accurately as he had nature, in which case 
 
23 
 
 his works would have been inimitable, by uniting the perfec- 
 tion of colouring with correctness of design. He next visited 
 Madrid in 1550, where he remained about three years, during 
 which time he painted several fine pictures and had the honour of 
 being knighted. The Emperor Charles the 5th, it is said, dis- 
 tinguished him also by his personal friendship and frequently 
 visited him when at work ; on one occasion the pencil fell out of 
 his hand and Charles took it up, saying as he presented It to the 
 astonished artist, “ It becomes Caesar to serve Titian.” Philip 2nd, 
 no less showed his esteem for Titian than his father — ^he paint- 
 ed several pictures for him, one of the finest of which was the 
 sleeping Venus. Velasco says that when the palace of Pardo 
 was burnt, the King impatiently asked if the Titian Venus had 
 escaped, and being informed that it was safe, he replied, “ then 
 every other loss may be supported.” His female figures and 
 children, says Bryan, are preferable to those of his men, and 
 he has given them an air of naivete and ease, which, though 
 not absolutely grace, is nearly allied to it ; and it is generally 
 supposed that both N. Poussin and the Sculptor Fiammingo, who 
 excelled in design of infantile beauty, formed their idea of it, by 
 Contemplating the works of Titian. As a colourist he stands 
 unrivalled — no painter has viewed nature with so chaste an eye — 
 his tones are so subtilely melted as to leave no intimation of the 
 colours which were on his palette ; it is in this respect that his 
 system of colouring differs so materially from that of Reubens 
 who was accustomed to place his colours, one near the other, with 
 a slight blending of the tints : he observed that in nature every 
 object differed in the strength of its tints, and the depth of its 
 shadows ; hence, as Mengs remarks, in imitating nature, he took 
 the prevalent for the whole, and represented his fleshy tones, 
 chiefly composed of demi-tints, totally by demy-tints,* and di- 
 vested of demi-tints those passages in which few were discerna- 
 ble in nature ; by these means he arrived at an indiscribable 
 degree of perfection of colouring which approaches to illusion. 
 
24 
 
 DESCRIPTION. 
 
 This picture represents^the Magdalen in the wihferness in the 
 attitude of supplication. The expressidni of her countfenf^ce is 
 a wonderful effort ; resignation, penitence, and deVotion> are 
 most exqinsitely portrayed. The right hand is fervently press-* 
 ing, on her breast ; with her left she Supports a- piece' of drapery, 
 which encircles the left arm and passes thVbttgh the hand, at the 
 same time compressing her beautiful hair' Which* flows ittbsf 
 gracefully and envelopes her person. The dratwirtg of the whole' 
 figure, particularly the arms and hands are adnairable'; the piece 
 of drapery around the arm, and the small am in fhe^ foregroJund 
 on the right are inimitably painted ; the dark ba*Ck gfound'whicH 
 is so appropriate tO' the figure, added to' the skilful treatment of 
 the chiar-oscuro, and Extraordinary beautiful colouring, gives* 
 a harmony to the whole which is impossible to describe. 
 
 This splendid picture is from the collection of the late Richard 
 I. D. Ashwortii,, Esq. of England. 
 
 19 ST. JOHN THE EVANGELIST. 
 
 JOSEF RIBERA CALLED IL. SPRAGHVOLETTO. 
 
 Born at Xatavia, in Valencia, A.D. 1589, died 1656, aged 67. 
 
 This eminent painter was placed as a student* with Francisco 
 Ribalta under wliom he remained a few years, but before he was' 
 sixteen years of age he visited Italy in search of improvement. 
 In l &06'he saw the works' of Michael Angelo Caravag^o, who 
 had at that time taken refuge in Naples to avoid the consequen- 
 ces of a hoimcide he had committed in Rome; The powerful 
 andi effective* style of that painter, had particular attraction for 
 Ribera, who paid'his court to Caravaggio with so much address,, 
 that he favored him with his instructions during his residence at 
 Naples. The progress of the young Spaniard was remarkable, 
 and his early productions were so much admired that he acquir- 
 ed the appellation, of II Spagnoletto. His genius led him to 
 
26 
 
 paint gloomy and anstcresubjectSy which were peculiarfy aece|»* 
 table to the Neapolitans and Spauiardsy such as Hermits and 
 Saints, emaciated by abstinence and severity ; he also selected 
 for the subjects of his pictures, images of savage greatness,^ and 
 terrific sublimity These subjects he treated with fidelity and 
 with a correctness of design, w hich might serve as a study for the 
 anatomist* 
 
 DESCRIPTION. 
 
 This extraordinary fine picture represents St. John in the 
 island of Patmos, where he wrote liis book of Revelations. The 
 subject is taken from the 1st chapter of the Revelations of 
 John. I, John, was in the Isle of Patmos for the word of Gcjd v 
 and the testimony of Jesus Christ. I was in the Spirit on the 
 LiOrd’s day, and beard behind me a great voice, as of a trum- 
 pet, saying I am Alpha and Omega, the first and the last ; and 
 what thou seest, write in a book, and send it unto the sevee 
 churches which are in Asia. 
 
 And I turned to see the voice that spake with meJ^ 
 
 The forcible and sublime expression exliibited in the counte- 
 nance of St. John, who is represented as turning towards the 
 skies from whence the voice proceeds is indeseribable ; wMcIi^ 
 added to the correct anatomy, the skilful management of the 
 chiar-oscuro, and the powerful, yet chaste colouring, must im- 
 press one who views the picture with amazement and awe^ 
 This splendid work of art is lent from the collection of D. W. 
 Coit, Esq. and was purchased during his residence at Lima m 
 Pern. 
 
 20. SHEEP IN A LANDSCAPE. 
 
 ADRIAN VAN DE VELDE. 
 
 Korn at Amsterdam, A.D. 1659, died 16T2, aged 33. 
 
 This beautiful little cabinet gem represents two sheep lying 
 down in a landscape under a tree, on the opj^site side ofwHdi 
 the herdsman is seen reclining, apparently asleep : this is a most 
 highly finished specimen of this great and much esteemed mMWr, 
 
 4 
 
aiid po^sei^ses all that beauty of colouring and excjuisite touch 
 for which he is so l*emarkable. 
 
 21. SHEEP IN A LANDSCAPE. 
 
 ADRIAN VAN DE VELDE. 
 
 The companion picture to the preceding, equally fine. 
 These two little gems were formerly in the collection of 
 Joseph Barchard, Esq. and purchased at that gentleman^s sale^ 
 at Mr. Christie’s Rooms, 6th of May, 1826, by Thos. Emmer- 
 son Esq. of whom Mr. Abraham subsequently purchased them. 
 
 22. LANDSCAPE AND CATTLE. 
 
 PHILIP JAMES DE LOUTHERBOURG. 
 
 Born at Strasburg, A. D. 1734, Died A. D. 1812, aged T8. 
 
 This charming painter was instructed in the first elements 
 oftheartby Francis Casanova, a painter of battles : subse- 
 quently he studied the inimitable works of Nicholas Berghem. 
 The productions ofLoutherbourgwere universally admired, and 
 in 1763 he became a member of the Academy at Paris, but 
 shortly after he quitted France for London, where he passed the 
 remainder of his life. 
 
 DESCRIPTION. 
 
 In this fine specimen which represents Early Morning, a 
 herdsman accompanied by a female riding, is seen driving cattle, 
 sheep, and goats through a beautiful, and richly cultivated land- 
 scape. In the management of this little picture, Loutherbourg 
 has portrayed all the excellence in the art of landscape painting. 
 The natural effect of the sun, the delicate gradation of the aerial 
 perspective, the beauty and mellowness of the sky, the free and 
 exquisite touch, and the natural and delightful tone of colouring 
 is not inferior to Both, or Berghem. 
 
2 ? 
 
 23 LANDSCAPE AND FIGURES. 
 
 PHILIP JAHES DE LOUTHEEBOURG. 
 Companion picture to the preceding. — Equally fine. 
 
 These two beautiful little cabinet pictures were purchased by 
 Thomas Turner, Esq. at the sale of Lord Berwick’s collection 
 at Phillip’s Rooms, A. D. 1824, from whom Mr. Abraham pur* 
 chased them in 1826. 
 
 24. FRUIT PIECE. 
 
 OTTMAi^r ELLIGER, 
 
 Born at Gottenburg, A, D. lG33--dieil A. D, 1705, aged 72, 
 
 This extraordinary clever painter at an early period of his 
 life went to Antwerp, where he became a scholar of Daniel Se- 
 gers, he painted flowers and fruit in the highly finished style of 
 his master. His pictures are very scarce, being principally con- 
 fined to the best collections in Germany. 
 
 DESCRIPTION. 
 
 This Picture represents Fruit, Corn, and Flowers, painted in 
 the form of a Garland, with an innumerable variety of insects : 
 this is a most exquisitely painted picture, the representation of 
 the various objects are truly natural : on the left of the picture 
 is seen a cunning mouse feasting himself on the delicious fruit ; 
 the exquisite pencilling, the richness and splendour of the co- 
 louring, and the skilful management of the chiar-oscuro are 
 equal to the productions of Rubens or Snyder, while the finish 
 is not surpassed by Van Huysen. 
 
 The name of the artist with the date 1664 is on the right . 
 hand corner at the bottom of the picture. 
 
25, A DUTCH BCHOOL, 
 
 REMER BRAKENBURG. 
 
 Bom at •HaerleiH, A« D. 1649, diet! A. D. — , aged— 
 
 Tlik clewr master studied under Mommers, a landscape 
 fiiamter, but he afterwards became a disciple of Bernard Schen- 
 del whose style was more suited to his genius. He painted si- 
 milar to those of his master, representing merry-makings, and 
 drunken assemblies, which are ingeniously composed, and well 
 coloured. He had the felicity, like Teniers, of imitating dif- 
 ferent masters ; and like that great artist, he took great care in 
 all such subjects to retain his own handling, but so disguised, 
 as to give all the effect and manner of tlie master, whose style 
 he was portraying, which this little picture amply proves, 
 
 DESCRIPTION, 
 
 It represents the Interior of a School: the expressions of the 
 various countenances are admirable, particularly that of the 
 master, who is threatening a little girl who appears to have been 
 brought, reluctantly, by her mother to school. It is painted 
 with all tlie truth and finish of Jan Steen, wbose style Braken- 
 burg intended it sliould represent. 
 
 2G. INTERIOR OF AN APARTMENT, 
 
 RENIER BRAKENBUHC. 
 
 ^lie companion picture to the preceding. It represents the 
 Interior of an apartment with figures smoking and drinking, 
 %vhile a female is grating sugar to mix with a cordial ; in the 
 front of the table near her is a child, and in tlie foreground on 
 the left is a dog. The picture is painted with infinite skill, 
 and in the style of that inimitable master Petei’ De Hooge. 
 
 This pair of pictures ai'e from the collection of Charles Har- 
 iington. Esq. of England. 
 
i9 
 
 27, AN ITALIAN PICTURE, 
 
 BARTOLLOMMEO SHIDONI. 
 
 Bom at Modena, A. D, 1560 — died 16 16, aged 56. 
 
 This captivating painter studied in the Caracci school, and, 
 subsequently, the works of Raffaelle, Corregio and Parmigiano^, 
 particularly those of Corregio, His management of the chiar- 
 oscuro, exhibits the breath and intelligence of that admirable 
 painter, and his colouring partakes of tire purity which distin- 
 guished those great men whose works he so successfully studied, 
 The pictures of this master are very scarce, held in high esti- 
 mation, and are very valuable. 
 
 DESCRIPTION, 
 
 This splendid picture is a group, composed of the Virgin 
 Mary, the infant Saviour, St, John, and an Angel who is pre- 
 senting the Saviour a Bird, The expression of dread in the 
 countenance of the holy child, who clings to the drapery which 
 passes over the head and shoulders of tlie Virgin is truly natu- 
 ral, and is beautifully contrasted with that of St. John, who is 
 seen patting and playing witli the bird. The parental affection ex- 
 pressed in the face of the virgin Mother is inimitable, while she is 
 encouraging her infant to become familiar with the object of 
 his fear. In the foreground, near the feet of the Angel, the ar- 
 tist has judiciously introduced a Book, upon which is placed a 
 white Vase, that gives a depth and force to the whole composi- 
 tion, Tlie beauty of the colouring, and the grandeur of the de- 
 sign, will vie with the productions of Parmigiano. 
 
 This picture adorned the collection of Charles Wade, Esq, 
 of Enland, 
 
HEAD OF A MADONNA, 
 
 SASSOFERRATO. 
 
 Born near Urbino, A. D. 1605— -died A. D. 1585, aged 80« 
 
 This artist studied the works of Guido, Albano, Baroccio and 
 Raffaelle. His subjects generally represent the Virgin and in- 
 fant Christ, and he seldom has more than two figures in his 
 pictures. 
 
 DESCRIPTION. 
 
 This beautiful head of the Madonna possesses great sweet* 
 ness of expression. The drapery is cast in a masterly style, and 
 the colouring is vei^ pleasing and not unlike to Guido. 
 
 29. A MERRY-MAKING. 
 
 ISAAC VAN OSTADE. 
 
 Born at Lubeck, A. D. 1617r-*died A. D. 1650, aged 33* ' 
 
 This clever painter was brother to Adrian Van Ostade, un- 
 der whom he studied. Although he did not equal his instruc- 
 tor, yet he was an artist of no ordinary talents, and his pictures 
 are highl}^ esteemed. He painted similar subjects to those of his 
 brother Adrian, and touched them in a very masterly manner, 
 particularly his exteriors. 
 
 DESCRIPTION. 
 
 This little picture is an excellent example of his abilities. It 
 represents peasants dancing in front of a village public house. 
 In painting this picture, the artist has given the most lively and 
 natural expression to the various characters. The colouring is 
 rich, clear and glowing, and the landscape is touched with 
 great spirit, and at the same time with a light and delicate pencil.. 
 
 From the collection of J. Taylor, Esq. of England. 
 
31 
 
 30. A PASTORAL SCENE. 
 
 ANTHONY WATTEAU. 
 
 Boil'd at Valenciennes, A. D. 1684— Died A. D. 1721, aged 5T, 
 
 This eminent painter studied under Claude Gillot, an artist 
 who had acquired some celebrity as a painter of grotesques and 
 Subjects froAi the fable; but Watteau soon surpassed his in- 
 structs', and then studied the splendid works of Rubens, from 
 which he acquired an admirable system of colouring, in which 
 he may be said to have excelled every painter of his country. 
 He painted balls, masquerades, gallant and pastoral subjects, in 
 a style which has given rise to a host of imitators, without pro- 
 ducing a rival. Lord Orford observes, that he painted imagi- 
 nary nymphs and swains, and described a kind of impossible pa- 
 storal, a rural life, led by those opposites of rural simplicity, 
 people of rank and fashion. Watteau’s shepherdesses, nay, his 
 very sheep are coquettes ; yet he avoided the glare and clin- 
 quant of his countrymen; and though he fell short of the digni- 
 fied grace of the Italians, there is an easy air in his figures, and 
 that more familiar species of the graceful which we call gen- 
 teel.” 
 
 DESCRIPTIOi^. 
 
 This beautiful little cabinet specimen, maybe regarded as the 
 chef d’oeuvre of this inimitable painter. It represents a pasto- 
 ral scene, such as Lord Orford so admirably describes. The 
 figures are designed with finesse, and have the suppleness of 
 nature. The colouring is fresh and splendid, and the tenderness 
 of the carnations are equally admirable ; and it may be said, that 
 in this picture the national taste of the French prevails. 
 
 This little gem is from the collection of the late Richard I. 
 Ashw orth, Esq. of England. 
 
32 
 
 31. LANDSCAPES AND FIGURES. 
 
 J. VAN STRY. 
 
 This admirable artist, who is a native of Haeriem, and Is row 
 living, has studied the works of the celebrated A. Cupy. 
 
 DESCRIPTION. 
 
 A small upright landscape, in which an equestrian fi^re is 
 seen riding through a gate, held open by a child, whose mother 
 is close by with an infant in her arms, while the father is soli- 
 citing alms from a gentleman passing through. On the left are 
 some sheep grazing, and on the right is a cottage. The whole 
 is touched with a great freedom and spirit, and the colouring is 
 clear and mellow. 
 
 From the collection of I. Johnson, Esq. of England. 
 
 32. VIEW OF DIEPPE HARBOUR. 
 
 JOHN WILSON. 
 
 This artist is a native of London, and is a painter of marine 
 views. 
 
 DESCRIPTION. 
 
 This little picture represents a view of Dieppe Harbour at low 
 water, it is painted with a free and flowing pencil, and in a 
 pleasing and clear tone of colour. 
 
 33. LANDSCAPE, BUILDINGS AND FIGURES. 
 
 ZAMPIERRI, CALLED DOMENICHINO. 
 
 Born at Bologna, A. T>. 15U1, died A. 1>. 1641, aged C©. 
 
 This admirable master painted History and Landscapes, and 
 was excelled by no artist of his time. This beautiful and clas- 
 
33 
 
 sical little picture is an undoubted specimen of this master, and 
 Is painted with great skill. 
 
 34. A FULL LENGTH PORTRAIT. 
 
 SIR THOMAS LAWRENCE. 
 
 This admirable portrait painter was a native of England, and 
 was chosen President of the Royal Academy in London, imme- 
 diately after the death of Mr. West, which place of distinction 
 he filled until his death, which lately happened. In his particu*^ 
 lar branch of the art he was surpassed by no artist of his time. 
 
 DESCRIPTION. 
 
 A full length and faithful portrait of the illustrious Benjamin 
 West, who was so justly ranked the first historical painter of the 
 age. Sir Thomas in painting this portrait has no less shown 
 his talent in portrait painting, than did Mr. West in the higher 
 walk of the art. 
 
 This splendid picture has been permitted by the Directors of 
 the American Academy of Fine Arts to remain in the room to 
 enrich this exhibition. 
 
 35. OUR SAVIOUR IN THE GARDEN OF 
 GETHSEMANE. 
 
 ADRIAN VAN DE VELDE. 
 
 Born at Amsterdam, in 1039 — Died 1672, aged 33, 
 
 This admirable artist was placed under John Wynants, the 
 landscape painter, who was one of the ablest of his time ; 
 under whom he made so extraordinary a progress that it surpri- 
 sed his instructor. Wynants educated his phpil in the system 
 he had himself pursued, of studying every thing from nature. 
 Van de Velde passed the greater part of the day in the fields, de- 
 
34 
 
 signing evei^ thing that was essential to his pursuits ; and he 
 was soon convinced that in the particular branch of the art to 
 which be devoted himself, the conceptions of the happiest and 
 most inventive genius, fall short of the abundance, the variety, 
 and the truth which the study of nature afibrds. He did not 
 however confine himself to Landscape and Animals ; he drew 
 from the model, and became a correct designer of the human 
 figure. 
 
 Although Adrian Van de Velde was brought up in the school 
 of a landscape painter, and had not the advantage of a regular 
 education in the higher walk of historic painting, yet such was 
 the extent of his genius and the variety of his powers, that he 
 acquired considerable reputation by an altar piece he painted for 
 the Roman Catholick Church at Amsterdam, representing the 
 taking down from the Cross ; he has also painted several histo- 
 rical subjects taken from the life of Christj of which this grand 
 picture is one. 
 
 DESCRIPTION. 
 
 The subject is Our Saviour praying in the garden of Gethse- 
 mane. The artist has chosen the time when the angel appears 
 to comfort and strengthen him during his sorrows ; “ yet they 
 overwhelmed him and threw him into an agony, upon which he 
 still continued to pray more earnestly,” in these words, O my 
 F ather, if this cup may not pass away from me except I drink 
 it, thy will be done.” On the left of the picture, the three dis- 
 ciples whom their master left to watch, are seen sleeping ; in 
 the distance, the soldiers are entering the garden to arrest our 
 Saviour, headed by the treacherous Judas. The group is illu- 
 mined partially by the light of the moon, and partly by the 
 lighted torches which are borne by some of their party, produ- 
 cing a different and extraordinary effect ; from the figure of the 
 angel who is supporting the Redeemer, emanates a splendour 
 which reflects on Christ, that rivals the light of the sun. The 
 colour is in harmony with the subject ; the expression in the 
 
35 
 
 countenance of the Saviour, is such as could only result from 
 the most pathetic imagination ; it exhibits all the divinity which 
 sacred history designates in the person of the Redeemer ; no 
 sorrow was ever more deeply delineated — the eyes are suffused 
 with tears, yet the divine beauty of the visage is not disturbed, 
 nor its majesty impaired — meekness and resignation are truly 
 characterized, but it is a meekness that does not detract from 
 dignity ; and a resignation that has no connexion with despair ; 
 a look of celestial complacency and benevolence which seems 
 to triumph over pain and sorrow, illumines the whole visage, 
 and affects the beholder with the most irresistible emotions* 
 From the collection of Thomas Emmerson, Esq. of England* 
 
 36. TIGERS IN A CAVE. 
 
 TOWNE. 
 
 This clever artist is a native of England and is now living. 
 His pictures, which generally represent animals are highly es- 
 teemed, and produce liberal prices. 
 
 DESCRIPTION. 
 
 This Picture is a fair example of his talents ; it represents 
 three Tigers in a cave : the light which is cleverly diffused 
 through the picture is introduced from the top ; the colouring 
 is remarkably good and the touch free and spirited. 
 
 37. LANDSCAPE. CATTLE AND FIGURES. 
 
 LE BRUN. 
 
 This pleasing artist is a native of France, and is believed to 
 be now living. The subjects of his pictures are Landscapes 
 and Cattle ; he is called the French Paul Potter, from his ha- 
 ving studied the works and painted many of his pictures after 
 the style of that great master. 
 
36 
 
 DESCRIPTIOiN. 
 
 This is a very pleasing little landscape ; in the fore-ground, 
 on the bank of a river is a group of three figures ; just beyond 
 on the right, is a cottage and two cows sheltered by a tree, a 
 little to the left is another cow, and a female carrying a pail of 
 w^ater which she has just taken from the river ; on the extreme 
 left is an old tower built of bricks, painted with all the minute- 
 ness of Vander Hey den; every brick might be counted, the ef- 
 fect of the sun dispersing the dark clouds after a shower of rain, 
 is admirably managed ; the picture throughout is highly finished 
 and in a clear tone of colour. 
 
 38. LANDSCAPE AND CATTLE. 
 
 WILLIAM VAN ROMEYiV. 
 
 This clever artist was doubtless a native of Holland^ and is 
 sLipposed to have studied under Karel du Jardyn, but it is not 
 positively known w ho w as his master : his pictures are frequent- 
 ly met w ith in good collections, and partake of the style of the 
 great cattle and landscape painter^ Du Jardyn. 
 
 DESCRIPTION. 
 
 This is a rich landscape with a hilly meadow for the fore- 
 gi’ound, on which is a group of sheep and cattle, with a second 
 group of sheep and goats on the opposite declivity ; on the left 
 of the picture is a woman, a boy, and an ass laden descending a 
 hill; the herbs in the foreground are painted with delicacy and 
 truth, and the general tone and effect of the landscape is remark- 
 ably good. This picture was highly prized by its late posses- 
 sor, J. Johnson, Esq. of England. 
 
39. A PORTRAl'J'. 
 
 WILLIAM DOBSON, 
 
 Born in London, tdlO, died in 1646, aged S6. 
 
 This painter, whom king Charles I. styled the English Tuu 
 toretto, studied under Robert Peake a portrait painter ; from 
 this master’s instruction he was not likely to profit much ; but he 
 procured him the means of stud34ng some of Titian and Van- 
 dyck’s spendid works, by which he acquired an excellent princi- 
 ple of colouring and great freedom of hand. On leaving his 
 master, Dobson appears to have lived in indigence and obscurity, 
 until Vandyck passing a shop on Snowhill, London, perceived a 
 picture exposed to sale in the window, which had sufficient merit 
 to excite his curiosity to discover the painter, whom he found at 
 work in a miserable garret: the well known liberality of Van- 
 dyck soon relieved him from his wretched situation ; he after- 
 wards introduced him to the king, and zealously recommended 
 him to his majesty’s protection. On the death of this great 
 artist, Dobson was appointed sergeant painter to the king, whom 
 he accompanied to Oxford, where he painted his portrait, that of 
 Prince Rupert, and several of the nobility. 
 
 DESCRIPTION. 
 
 This splendid portrait of Charles L is painted in the best 
 time of the master, and is considered to be a most faithful like-^ 
 ness of that most amiable prince ; he has been most happy in the 
 correct expression of the eye, and not less so in giving that 
 melancholy cast of countenance which is said to have character- 
 ized this unfortunate monarch. For trtith and purity of colour- 
 ing, for the delicacy and fineness of the touch, this picture will 
 vie with the works of Vandyck. 
 
40. A HEAD. 
 
 SPAGNOLETTO. 
 
 Born at Xativa in Valencia, in 1589, died in 1656, aged 6T. 
 
 The head of St. Peter. This is one of the&iest productions 
 9 f this great master ; in drawing, it possesses the grandeur of 
 Michael Angelo, in colouring, the warmth and beauty of Titian, 
 and in touch, the force and effect of Guido. This picture is 
 from the collection of Thomas Emmerson, Esq. of England. 
 
 41. THE VIRGIN AND CHILD. 
 
 ANTHONY STJSLBA. 
 
 Born at Lyons in 1630, died in 1682, aged 52. 
 
 t 
 
 This artist was instructed by his uncle, and became a reputa- 
 ble painter and a member of the Royal Academy at Paris. 
 
 DESCRIPTION. 
 
 Tliis little picture is a beautilul specimen of the master, the 
 subject of which is the Virgin and Child ; there is a sweet ex- 
 pression in the face of the Virgin, and is painted with a delicate 
 pencil ; the casting of the drapery is cleverly managed, and the 
 colouring is remarkably good. From the collection of John Bv 
 Bastede, Esq. of England. 
 
 42. DEAD BIRDS. 
 
 WILLIAM VAN AELST. 
 
 Born at Delft in 1620, died 16r9, aged 59. 
 
 This ingenious painter was a nephew of Evert Van Aelst, by 
 whom he was instructed in the art. His pictures, like those of 
 his uncle, represent dead game and still life. They are, how- 
 ever, much more neatly finished, and are even more preciously 
 wrought up than the highly valued works of Weeninx. 
 
39 
 
 DESCRIPTION- 
 
 This little picture is a fine specimen of the master. A group 
 of dead birds placed on a marble slab. It is painted with a flow- 
 ing and clear pencil ; and the colouring is not inferior to Wee- 
 ninx. The name of the artist is in the left corner of the picture, 
 ahd bears the date of 1665. 
 
 43- DEAD BIRDS. 
 
 WILLIAM VAN AELST. 
 
 The companion to the preceding picture^ — equally fine. 
 
 This pair of pictures are from the collection of R. Artis, Esq- 
 of England. 
 
 44. BOORS FIGHTING. 
 
 ADRIAN BROUWER. 
 
 Born at Haerlem, in 1608, die*! 1640, aged 32. 
 
 This extraordinary artist was a pupil of Francis Hals, an emin- 
 ent painter at Haerlem, at the same time that Adrian Van Os- 
 tade was studying under that master, who advised Brouwer to 
 escape from the tyranny and injustice which he had to bear with 
 from his instructor, which he soon effected, and took refuge at 
 Amsterdam. Bryan relates the following anecdote, in which 
 this fine specimen of Brouwer is mentioned: ‘‘ In a few days af- 
 ter Brouwer had arrived at Amsterdam, having escaped from 
 the tyranny of his instructor, Francis Hals, he painted a picture 
 of boors fighting, which he gave to the master of the inn where 
 he lodged, requesting him to endeavour to dispose of it for him. 
 The host returned in a short time, and presented the painter 
 with a hundred ducats, which he had received for the picture. 
 The astonishment of Brouw er was extreme ; with difliculty he 
 could persuade himself that it was not a dream. Instead of 
 
40 
 
 producing in him the efl'ect that might have been expected, of 
 stimulating him to an industrious exertion of those abilities, 
 which promised him both fortune and reputation, it unfortunate- 
 ly furnished him with the means of indulging his natural pro- 
 pensity for prodigality and intemperance ; he took leave of his 
 host, who saw no more of him for ten days ; and on being as- 
 ked, on his return, concerning his money, he cheerfully replied, 
 
 thank heaven, I am disencumbered of it, and I, feel myself 
 more at liberty.” 
 
 DESCRIPTION. 
 
 This little picture represents the inside of a shed, in front of 
 u house, where a group of three figures are fighting over a 
 barrel : just behind, another figure is seen driving his compa- 
 nion out of the door. On the right, a man is advancing to- 
 wards the group with a pitcher, which as it might be supposed, 
 he had gone to replenish with ale. At the door of the house, i^ 
 an old woman, who is calmly looking on^ indicating the frequent 
 occurrence of such scenes. The accessories are most judiciously 
 placed, which much contributes to the perfection of the whole. 
 There is all the exquisite truth, life and character, in this speci- 
 men, for which this artist was so remarkable, and so justly ad- 
 mired. The colouring is clear and brilliant; and the manage- 
 ment of the chiar-oscuro is equal to Ostade. 
 
 This little picture is from the collection of Richard Artis, 
 Esq. of England, and has been handed down as the identical 
 picture alluded to in the anecdote above quoted. 
 
 45. SMUGGLERS. 
 
 DE KONINGH. 
 
 Porn in Amsterdam, in , died 1828, aged 
 
 This admirable painter studied the works of Cuyp and Rem- 
 brandt, and his pictures partake of that beauty of colouring and 
 force of effect of those great masters. This little picture is 
 
41 
 
 known by the name of The Smugglers. It represents a boat of 
 figures rowing into a cove towards which one of the men is 
 pointing, for the purpose of landing their contraband merchan- 
 dize ; on the opposite bank of the river are some cows grazing, 
 beyond which in the extreme left is a Windmill : the richness of 
 colouring and the intelligence of light and shadow which ispro^- 
 duced in this picture, is little inferior to Rembrandt ; while the 
 broad facile and crisp touch resembles that ofCuyp. It may be 
 considered one of the best specimens of this much esteemed art- 
 ist. From the collection of I. Taylor, Esq. of England. 
 
 46. THE HOLY FAMILY. 
 
 PELLEGRINO TIBALDI. 
 
 Bom at Bologna, 1527, died 1600, aged 7S. 
 
 According to Zanotti, this eminent artist was a disciple of 
 Bartolomeo Ramenghi, and distinguished himself as an archi- 
 tect as well as a painter : his principal studies at Bologna were 
 from the works of Giorgio Vassari. In 1547 he went to Rome, 
 where the works of Michael Angelo and Rafiaelle were the par- 
 ticular objects of his attention. His compositions partake of the 
 grandeur of Michael Angelo, and the sweetness and grace of 
 Raffaelle, which will be observed in this fine specimen of the 
 master 
 
 DESCRIPTION. 
 
 T^his picture represents the Virgin Mary with the infant Sa*» 
 viour on her knee, to whom St. John is presenting a basket of 
 fruit. St. Joseph stands behind, looking over the right shoul- 
 der of the Virgin, with affectionate admiration towards St. John. 
 The composition is sublime, the figures are models of correct- 
 ness, and designed in a free and masterly style, with great attenr 
 tion to truth and nature : the colouring is chaste and rich, and 
 the chiar-oscuro is treated with the greatest skill. 
 
 6 
 
42 
 
 47. A SNOW SCENE. 
 
 PHILIP WOUVERMANS. 
 
 Born at Haerlem, in 1620, died in 1668, aged 48. 
 
 This charming painter received his first instructions from his 
 father a painter of little celebrity, and afterwards studied under 
 John Wynants ; his progress in the art was so rapid that it be- 
 came a matter of surprise to every person who knew him. From 
 his indigent circumstances he was prevented leaving his native 
 place, notwithstanding his works possessed every excellence 
 that could he ^\ishe4^br. 
 
 DESCRIPTION. 
 
 This little specimen of landscape will afford a great proof o 
 his talents : the truly natural effect of a snow scene is admirably 
 managed. In the centre of the picture is a figure driving an 
 Antelope attached to a sledge : on the right a second figure is 
 seen coming out of the wood driving with great speed another 
 ofthese beautiful animals. The touch, though fine, is exquisite, 
 and possesses all that high finish for which he is so celebrated.. 
 The figures are drawn with the correctness of nature, and the 
 sky is in perfect keeping with the rest of the picture. It former- 
 ly adorned the collection of Richard Artis, Esq. of England. 
 
 48. AN ITALIAN LANDSCAPE. 
 
 -S, CLAUDE DE LORRAINE. 
 
 Bom aPLorraine in 1600, died, in 1682, aged 82. 
 
 It is recorded of Claude that, from an early period of his ca- 
 reer, his talents were so universally appreciated, that he w^as un- 
 able by the most unremitting application to his art, during the 
 course of long protracted life, to satisfy the desire to possess his 
 productions. Of this, more thananyother painter that ever lived, 
 it might be said, that he dipped his pencil in the rainbow, and 
 
4S 
 
 triknsferred its magic hues, in all their endless variety of cowlbi- 
 nation, to his canvas. He gave to water its depth, its coolness, 
 Its lustre, and its transparency; he represented t^lve due grada- 
 tions of vapour in his distances; he distinguished by character- 
 istic touches the different hours of the day, and was the first, and 
 perhaps the last, who may be said to have painted air; to this 
 perfection in c^douring, he joined more perfect knowledge of 
 linear perspective, than was perhaps ever possessed by any other 
 artist. The different plains of his landscapes come forward or 
 recede with a truth of effect bordering on illusion ; every object 
 keeps its just place, every thing appears reality. 
 
 A late Italian writer observes, that a large Landscape of 
 Poussin or Salvator, is seen in half the time that is required to 
 examine the beauties of even a small picture by Claude. “ The 
 latter,” he adds, ‘‘ amuses the spectator in a hundred different 
 ways ; it leads his eye through so many chatinkels, whether by 
 land or water, and calls his attention to so rnatiy .objects woxtby 
 of remark, that he feels, as it were, obliged, as w hen actwall^' 
 travelling, to stop occasionally to take breath ; it opens to his 
 view, so great an extent of distant country, that he alitlQSt anti- 
 cipates the fatigue of a long journey.” Lanzi . — It may be ad- 
 ded that the near objects of his pictures are not less worthy pf 
 praise ; the leafage of his trees possesses all the lightness and 
 variety of nature, and the herbs jn his foregrounds xu:e finished 
 with delicacy and truth. 
 
 description;. ' 
 
 This picture which is one of the most choice productions of 
 this justly esteemed master, represents Early Morning ; the sun 
 just dispersing the dew ; in the foreground, on the bank of a ri- 
 ver is a goatherd tuning his reed to a herd of goats, on the op- 
 posite side is seen a herdsman driving cattle down a declivity, 
 on the right of which, in the middle distance, is a view of Ti- 
 voli. 
 
 The easy and picturesque manner in which the river winds 
 
> 
 
 44 
 
 through a highly cultivated country, is truly poetical. The in- 
 troduction of a rustic bridge which crosses the river, has a most 
 happy effect, beyond which in the extreme distance is a view of 
 the sea ; several small vessels are interspersed, which complete 
 the perspective, and carries the eye over, an immense space. 
 This picture was painted for Palermo in 1647, and will be found 
 in the Liber Veritatis, No. 172. It lately adorned the collection 
 of Charles B. Plestow, of England. 
 
 49. THE ADORATION. 
 
 RAFFAELLE SANZIO DE URBINO. 
 
 Born at Urbino in 1483, died in 1520, aged 3T, 
 
 « 
 
 This illustrious artist, has, by the general approbation of man- 
 kind, been styled the prince of painters, and is universally ac- 
 knowledged to have possessed a greater combination of the 
 higher excellencies of the art than has fallen to the lot of any 
 other individual. 
 
 According to Bryan it appears he was the son of Giovanni 
 Sanzio, a painter of little celebrity. After being instructed in 
 the first elements of the art, by his father, he was sent to Peru- 
 gia, where he became a disciple of Pietro Vanucci, called Pe- 
 rugino, whose works were at that time held in high estimation. 
 Mengs considered it fortunate for the fame of Raffaelle that he 
 was born at an era which he ingeniously denominates ‘‘ the in- 
 nocence of the art, and before it had been debauched by affecta- 
 tion and manner.” The powers of this sublime artist, did not,, 
 like those of Michael Angelo Buonnaroti, blaze forth at once to 
 the astonishment of the world ; his progress from his commence- 
 ment under Perugino, to the pinnacle of greatness, to which he 
 subsequently soared, would doubtless be interesting ; and it is 
 to be regretted that the limits of this catalogue will not all allow 
 of entering into detail ; but the reader is respectfully referred 
 to Pilkington, in whose work he will find an elaborate account 
 of this great artist. 
 
45 
 
 DESCRIPTION. 
 
 This sublime little cabinet gem, represents the Adoration to 
 our Saviour, of the Virgin Mary, St. Joseph, and St. John, at- 
 tended by two angels, who complete this admirable group, in a 
 landscape. In the foreground, is the young Redeemer resting 
 on a pillow ; a portion of the drapery which adorns the Virgin, 
 who is kneeling in the centre of the picture, forms his bed ; on 
 the left is St. Joseph, on the right just above the Saviour is the 
 young St. John, beyond whom are two heavenly messengers. 
 
 The expression of the Virgin mother of our Saviour, is full 
 of sweetness, and grace ; while St. John on bended knee, and 
 with uplifted hands, seems to lisp his infant praises to him who 
 was to be the Joy of all nations.” The expression of St. Jo- 
 seph as well as that of the angels, is no less admirable. The 
 unaffected gracefulness, which reigns throughout this little pic- 
 ture, and especially the exquisite beauty of the thought and ex- 
 pression, combine to Justify its being ranked among the happiest 
 effusions of its author, in his Perugino, or first manner. 
 
 This valuable work graced the collection of Thomas Emmer- 
 merson, Esq. of England, where it was much admired. The 
 late Sir Thomas Lawrence pronounced it to be one of Raf- 
 faelle’s finest productions in his Perugino «tyle. 
 
 50. THE BAPTISM OF OUR SAVIOUR. 
 
 LODOVICO CARACCI. 
 
 Born at Bologna in 1555 — died in 1619, aged 64. 
 
 This great painter studied in the school of Prospero Fontana. 
 Having derived all the improvement he could from the works of 
 art in his native place, he visited Venice, where he studied the 
 works of Titian and Tintoretto — at Florence, Andrea Del 
 Sarto, and at Parma, made his principal studies from the sublime 
 
 productions of Corregio: he afterwards returned to Bologna. 
 
 \ 
 
46 
 
 At this period the art had fallen into some degree of decadence, 
 and it was by the powers and energy of Lodovico, assisted by 
 his relatives Agostino and Annibale, that it was rescued from 
 a state of languor and debility, which threatened its entire annihi- 
 lation, and placed on that proud and transcendant elevation 
 to which they raised it. This reform was not, however, ef- 
 fected without much opposition. It is said that all the Pain- 
 ters of Bologna formed a league against the new style of the 
 Caracci : at length, however, the extraordinary merit of their 
 productions triumphed over cabal, and they succeeded in esta- 
 blishing that celebrated Academy, in which the talents of Do- 
 menichino, Guido, Albano, and other able disciples were elicitecU 
 
 DESCRIPTION. 
 
 Ludovico, has, in this picture, which represents the Bap- 
 tism of our Saviour, by St. John, in the river Jordan, fully 
 realized the opinions given of his great talents by many of 
 the best judges in the art, ‘‘ as that which approaches near- 
 est to perfection.” “ His breadth of light and shadow,” says 
 Sir Joshua Reynolds, ‘‘ the simplicity of his colouring, and the 
 solemn effect of that tvilight that seems diffused over his pic- 
 tures, is better suited to the grave and dignified subjects he gener- 
 ally treated, than more artificial brilliancy of sunshine, which 
 enlightens the picturtes of Titian.” This sublime work of art 
 cannot fail to delight : the expression of the angel holding the 
 mantle towards Christ, equalling that of Corregio, the meekness 
 and grace of the Saviour, the dignity of St. John, and the 
 grouping of the angels above, is perfect. 
 
 This splendid picture was formerly in the collection of the 
 late Richard I. D. Ashworth, Esq. of England. 
 
 51. A FINISHED SKETCH. 
 
 GIOVANNI BATISTA TIEPOLO. 
 
 Born at Venice in 1697 — died 1770, aged 73. 
 
 This great artist is recorded to have been one of the la*st 
 
41 
 
 eminent painters of the Venetian school. He was a scholar of 
 Gregorio Laizarni, whose carefully studied style was an useful 
 check to the natural impetuosity of his genius ; he also painted 
 in the manner of Batista Piazetta, though in a clearer and more 
 lively tone of colouring. He afterwards studied with success 
 the works of Paolo Veronese ; he approached that distinguished 
 painter in the airs and turn of his figures, in the splendor of his 
 colouring, and in the breadth of his light and shadow. He was 
 subsequently invited to Spain, where he painted several splendid 
 frescoes for the palace of Madrid, which were so gradually ex- 
 ecuted and so much admired, that they excited the jealousy of 
 Mengs, the popular court painter, who was then in the height 
 of his celebrity. Of these pictures an elaborate description will 
 be found in Mr. Cumberland’s Catalogue of the collection in 
 the palaces of the king of Spain. 
 
 DESCRIPTION. 
 
 This beautiful cabinet specimen represents the presentation of 
 banners, after a conquest, to one of the Roman Emperors, who 
 is seated on his throne under a triumphal arch, the grouping of 
 the figures on each side of which, is admirable ; the foreshorten- 
 ing of the two musicians in the foreground is inimitable ; the 
 drawing is perfect, the casting of the draperies, the grandeur 
 of the colouring, the distribution of the lights and shadows, and 
 the bold, free, and spirited pencilling is not inferior to P. Ve- 
 ronese. 
 
 This beautiful picture adorned the collection of J. Taylor, 
 Esq. of England. 
 
 S2. HEAD OF AN ANGEL. 
 
 RAFFAELLE. 
 
 Dorn at Urbino, in 1483, died in 1520, aged 37. 
 
 This little gem is painted iii the master’s second style, after 
 he left the school of Perugino, and possesses all that celestial 
 
beauty, modesty, and grace, which characterises the works ot 
 this illustrious artist: it cannot fail to captivate the eye on the 
 first glance* 
 
 This beautiful little picture was highly prized by the late Ri- 
 chard I. D. Ashworth, Esq. of England, whose collec:ion it 
 adorned for several years. 
 
 53. AN INTERIOR BY CANDLELIGHT. 
 
 GODFREY SCHALCKEN. 
 
 Born at Dort in 1643, died in 1?^06, aged 63» 
 
 This painter studied under Solomon Van Hoogstraten, and 
 afterwards became a scholar of Gerard Douw, under whom he 
 acquired great delicacy of finishing, and a competent acquain- 
 tance with the principles of light and shadow ; he remained 
 un der the tuition of that master until he had established a repu- 
 tation by painting small pictures of domestic scenes, chiefly re- 
 presented by candlelight, subjects which his instructor has trea- 
 ted with such distinguished success. On leaving the school of 
 Douw he attempted for some time to aggrandize his style by 
 studying the works of Rembrandt ; but despairing to equal 
 the vigorous touch and magical effect of that extraordinary ar- 
 tist, he pursued his first principles, and his pictures were sought 
 after with avidity. 
 
 DESCRIPTION. 
 
 This little picture represents the interior of an apartment, with 
 three figures at a table. The female is asleep in her chair, while 
 one of her male companions is playing off a joke, by placing his 
 segar to her nose ; the other has just risen from his seat for the 
 purpose of lighting his pipe by the candle on the table ; a fourth 
 figure is seen coming in at the door with a light in her hand, while 
 on the floor in the foreground is a third light which proceeds 
 from a lantern. The management of the chiar-oscuro in this 
 picture satisfactorily proves the perfect knowledge the artist had 
 of its use and effect. The touch is sweet and mellow ; the col- 
 
49 
 
 curing clear and good ; and the accessories are placed with 
 care and precision. 
 
 There is a picture now in the possession of A. Hope, Esq. of 
 England, of the same subject, by G. Douw ; and this picture 
 has been considered, by many excellent judges, to be by that 
 great artist, but that is not deemed to be the fact, although little 
 inferior to that Master. 
 
 It was formerly in the collection of David Holt, Esq. of Eng- 
 land. 
 
 54. SEA PIECE. A CALM. 
 
 WILLIAM VAN DE VELDE, THE YOUNGER. 
 
 Born at Amsterdam, 1633. died 1707, aged 74. 
 
 This inimitable marine painter, was the son of an artist who 
 also painted marine views ; from whom he received his first in- 
 structions, afterwards he studied under Simon de Vlieger, like- 
 wise an eminent painter of sea pieces, whose works were held in 
 high estimation. Young Van de Velde’s progress under that 
 master was extraordinary ; he not only surpassed his instructor, 
 and all his contemporaries, but he arrived at a perfection in the 
 particular branch of the art to which he devoted himself, which 
 is universally allowed to be unrivalled. The palm,” says Or^ 
 ford, is not less disputed with Raffaelle, for history, than with 
 Van de Velde for sea pieces.” The compositions of young Van 
 de Velde are distinguished by a more tasteful arrangement of 
 his objects than is found in the productioiis of any other painter 
 of marines. 
 
 DESCRIPTION. 
 
 This cabinet picture may be considered one of his most choice 
 specimens : the vessels are most correctly designed, the cordage 
 and rigging are finished with delicacy, and at the same time with 
 an unexampled freedom : the figures are drawn with correct- 
 ness, and touched with a spirit which is inimitable. The sky is 
 brilliant and sunny, and in the glassy smoothness of the water, 
 every object is reflected with a luminous transparency. 
 
 7 
 
5b 
 
 This choice work of art adorned the collection of the late 
 Richard I. D. Ashworth, Esq. of England. 
 
 55. AN ITALIAN LANDSCAPE. 
 
 RICHARD WILSON. 
 
 Born in England 1714 — died 1782, aged 68. 
 
 This distinguished landscape painter, was the son of a cler- 
 gyman. He was sent to London at an early age, and placed 
 under the tuition of Thomas Wright, an obscure painter of por- 
 traits. To this branch of the art, Wilson devoted himself for 
 several years. After practising some time in London, he went 
 to Italy, where he continued to paint portraits. He was quite 
 unacquainted with the genuine bias of his genius ; and proba- 
 bly would have remained long ignorant of the peculiar bent of 
 his talents, but for the friendly advice of Zuccherelli and Vernet, 
 the celebrated painters. Wilson painted a landscape, in the 
 moments of relaxation from his ordinary pursuits, which was 
 accidentally seen by Zuccherelli. This artist was so struck 
 with the performance, that he strongly recommended Wilson to 
 follow that branch of the art in future. About the same time, 
 another occurrence took place, which confirmed him in the de- 
 termination to follow that pursuit. Vernet being in Rome at 
 this time, where his works were held in the highest estimation, 
 and happening to visit Wilson’s painting room, was so struck 
 with the landscape he had painted, that he requested to become 
 the possesssor. The proposal was readily accepted. Ver- 
 net placed it in the exhibition room, and recommended the pain- 
 ter to the attention of the Cognoscenti. Wilson from that time 
 pursued his studies in landscape painting ; and his works were 
 so much admired, that Mengs painted his portrait and presented 
 it to him, and Wilson, in return, presented this great artist a 
 landscape. He returned to London in 1758, and his celebra- 
 ted picture of Niobe was in the first exliibition of the society of 
 
51 
 
 artists in 1760 ; and at the institution of the Royal Academy in 
 London, Wilson was chosen one of the founders. He has been 
 called the English Claude. Fuseli says, “ that Wilson’s taste 
 was so exquisite, and his eye so chaste, that whatever came from 
 his easel, bore the stamp of elegance and truth.” It is not sur- 
 prising, that this acknowledged judge of the arts, and profound 
 critic, should have passed so high an encomium upon Wilson, 
 for his pictures need only be seen to be appreciated. 
 
 DESCRIPTION. 
 
 This beautiful cabinet specimen is a richly composed Italian 
 Landscape ; in the foreground are two figures seated near a 
 tree, sheltering under an umbrella from the heat of the sun ; a 
 man is seen riding his horse towards a river which occupies the 
 middle distance, from which rises a rude cliff, on the top of 
 which are two figures prostrating themselves before a cross ; in 
 the extreme left, on the highest pinnacle, is a temple, beneath 
 w hich is seen a rustic bridge and a waterfall. 
 
 The colouring is chaste and natural, the touch is free and 
 spirited, the lights and shadows are broad and distributed with 
 consummate skill, the middle tints are most inimitably managed, 
 the sky is beautifully clear, and the whole produces a pleasing 
 and harmonious effect. 
 
 This Splendid picture w^as in the collection of George Tunni- 
 cliff, Esq. of England. 
 
 56. LANDSCAPE AND CATTLE. 
 
 PAUL POTTER. 
 
 Born at Enkhuysen, A, D. 1625, — Died A, D. 1654, aged — 29. 
 
 This admirable painter of Animals was instructed in the art 
 by his father, whom he soon surpassed. His pictures during 
 his life time were so much sought after, that with more than 
 * ommon assiduity, he could with difficulty keep pace with the 
 
52 
 
 demand for his works. The landscapes of Potter are usually 
 subordinate to his cattle, and seldom extend beyond a pasture 
 with a stump of a tree, a farm house or a hovel, but they are re- 
 presented with uncommon fidelity. It is evident from his works, 
 that he designed every object from nature, and Bryan states 
 “ that it was his constant practice in his walks in the fields, the 
 only recreation he allowed himself from constant application, 
 to sketch in a book every object that attracted his attention.” 
 
 DESCRIPTIOxN. 
 
 This cabinet specimen may be justly termed a transcript of 
 nature, embellished by the beauties of art. The scene is laid 
 near a grange which is seen in the left of the picture ; in the 
 fore-ground is a sheep lying down near a brook, on the oppo- 
 site side are two goats, one of which is drinking from the brook ; 
 in the centre of the picture is a group of cows, delineated and 
 coloured with the characteristics of truth which evinces the 
 superior excellence of the master, as a painter of cattle. A 
 milk-maid attending to her rural occupation is in character with 
 the subject ; it is painted in a full and flowing pencil, at the 
 same time highly wrought ; the touch is firm and free, and the 
 sky is in a clear and warm tone, producing the tranquil effect 
 which is observable of a Summer’s evening. 
 
 This admirable work of art is from the collection of Thomas 
 Emmerson, Esq. of England. 
 
 57. THE MARRIAGE OF ST. CATHERINE. 
 
 INNOCENZIO FRANCUCCl DA IMOLA. 
 
 Born at Imola, A. D. 1494. — Died A. D. 1550, aged 32. 
 
 This artist was a pupil of Francesco Francia of Bologna, 
 afterwards studied under Marietta Albertinelli at Florence ; he 
 also studied the works of Raffaelle. He was much esteemed du- 
 ring his life time, and his works are now very scarce. 
 
53 
 
 DESCRIPTION. 
 
 This picture represents the marriage of St. Catherine ; the 
 Virgin, St. Joseph, and Infant Christ, in a landscape. This is 
 one of the finest productions of this scarce master, and one of 
 the only two ever known to have been in England. 
 
 From the collection ofM. M. Zachary, Esq. of England. 
 
 58. A SERIES OF CASTS, (proof impressions,) from the 
 Napoleon Medals — by Andrieu. Elegantly fitted up. F rom 
 the collection of Thomas Turner, Esq. of England. 
 
 59. A TURKISH SWORD — inlaid with gold. 
 
 60. A TWO-EDGED SWORD — mounted with silver. 
 
 61. HOUBRAKEN’S COLLECTION OF HEADS of Il- 
 lustrious Persons of Great Britain — -fine impressions. 
 
 FINIS.