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'.A r.v 1 ' W xV- ■ ' \ x X' ■ X ' 7 r > A /A Y A Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/descriptivecatalOOamer r bm i American Academy of Ftne Arts May !8 tt l£}35 LIBRARY NO. M. Knoedler & Co. 14 East 57th St. New York ACC. S^U. AMERICAN ACADEMY OF FINE ARTS, BARCLAY STREET. DESCRIPTIVE CATALOGUE OF THE COLLECTION OF CELEBRATED PAINTINGS, INCLUDING W0RK3 OP THE FIRST CLASS BY THE OLD MASTERS OF THE ITALIAN, VENETIAN, SPANISH, FLEMISH, DUTCH, ENGLISH, AND FRENCH SCHOOLS, WHICH WERE OFFERED THE LAST SESSION OF CONGRESS, NOW SEPARATELY ON SALE (BY EXHIBITION), AND TO BE SUBJECTED TO PUBLIC AND POSITIVE SALE ON THE 18TH OF MAY. DANBY’S OPENING OF THE SIXTH SEAL, WILL FORM PART OF THE EXHIBITION. ADMISSION 25 CENTS,-CATALOGUES 12£ CENTS. Open from 8 in the morning, and well lighted in the Evening. NEW YORK : WILLIAM VAN NORDEN, PRINT. 1835. J. W. Brett cannot omit this opportunity of calling the particular attention of connoisseurs, patrons of art and artists, to the high character and rare merits of this collection. It will be found to contain specimens of nearly all the cherished masters, and to exhibit the meridian powers of their authors in their respective styles, many of which are in nearly as high a state of preservation as when taken from the easel. The Paintings are generally in antique carved frames of rare value and workmanship. INTRODUCTION. The excellence and originality of the paintings, the moderate sum at which they were to be offered, and their suitableness for the foundation of a public gallery, were the great inducements for exporting this collection to the United States—encouraged by the belief that the increasing regard for the Fine Arts, and the evidence of the advantage and value of such a collection to this country, would ensure an immediate sale. The value of the paintings In this collection, at a low estimate, would be sixty thousand dollars, (setting aside the late great advance in prices on works of first class in Europe,) which will become permanently more and more valuable; choice works of art being rarely found out of the established galleries of Europe, and then only at exorbitant prices. To a lover of the Fine Arts, desirous of possessing an unique gallery, that should combine choice works by the old masters, or to academies or public galleries, this opportunity may be said to be without precedence, and that so favorable an one will again present itself is scarcely possible. J. W. Brett cannot omit this opportunity of calling the particular attentions of connoisseurs, patrons of art and artists, to the high character and rare merits of this collection. It will be found to contain specimens of nearly all the cherished masters, and to exhibit the meridian powers of their authors in their respective styles, many of which are in nearly as high a state of preservation as when taken from the easel. The Paintings are generally in antique carved frames of rare value and workmanship. INTRODUCTION. The excellence and originality of the paintings, the moderate eum at which they were to be offered, and their suitableness for the foundation of a public gallery, were the great inducements for exporting this collection to the United States—encouraged by the belief that the increasing regard for the Fine Arts, and the evidence of the advantage and value of such a collection to this country, would ensure an immediate sale. The value of the paintings In this collection, at a low estimate, would be sixty thousand dollars, (setting aside the late great advance in prices on works of first class in Europe,) which will become permanently more and more valuable; choice works of art being rarely found out of the established galleries of Europe, and then only at exorbitant prices. To a lover of the Fine Arts, desirous of possessing an unique gallery, that should combine choice works by the old masters, or to academies or public galleries, this opportunity may be said to be without precedence, and that so favorable an one will again present itself is scarcely possible. PAINTINGS, WORKS, &c. No. J. TWILIGHT. DOMENICHINO. Born at Bologna, 15S1; died 1641; aged 60. The picture before us is a wonderful proof of this master’^ power. It displays, at one comprehensive grasp, a combination of the sublime—sea and land, flowing rivers, rocks, mountains, pasture, and lofty trees; the magnificent and the pastoral in beau¬ tiful unison; the trees breathe the breeze, and the objects seem to live in a second creation. Every passage in this specimen of the master is his monogram ; it is full of deep poetry and beauty, and requires repeated and abstracted attention to feel its force. “ He was considered the most distinguished pupil of the Carracci, and even preferred by Count Algarroti to the Carracci themselves. Poussin ranked him directly next to Raphael. He shunned all society, that he might better devote his whole time to the art.” The highest praise on the merits of this picture, is the circum¬ stance that it was purchased by Sir Joshua Reynolds from the Colonna Palace, and formed one of his private collection till his- death. It was purchased at the sale of his effects. [On canvass—5 feet 2 inches by 3 feet 9 inches.] No. 2. ST. JEROME. BY LEONARDI DA VINCI. Born in 1452, at the Castle of Vinci, in the Vale of Arno; died in the arms of Francis the First, 1519 ; aged 67. The picture before us is a rare specimen, and in wonderful preservation. It is extraordinary in finish—every hair of the beard and eye-brows is distinctly marked, and almost the pores of the skin ; and may prove to us the truth of his passing four years in the painting of the portrait of Gioconda. The moral of the picture is striking and philosophical. The saint, with a skull at his feet, and the cardinal’s cap, the insignia of pomp, laid aside, is reflecting on the vanity of worldly honors; the left hand is raised in acknowledgment; while the right, placed on the breast, allude to a vital principle, which shall live beyond the wreck of mortality. The Bible, open, the character of the varied landscape and ruins, convey much reflection to the mind of the spectator. “ He was more solicitous to improve the art than multiply his pictures.” He had two styles: the one abounded in shadow, which gives admirable brilliancy to the contrasting lights ; the other was more quiet, and managed by means of middle tints. In each style, the grace of his design, the expression of the mental affections, and the delicacy of his pencil, are unrivalled : every thing is lively: the foreground, the landscape, the adventitious ornaments, flowers, and architecture.” This unquestionable work of this rare master was purchased about twenty-three years since from the Aldobrandini Palace, by Lieut. General Maitland. It bears date 1465, with L-da-Vinci’s monogram. “ Mengs is of opinion that no artist could surpass Vinci in the grand effect of his chiaro-oscuro. He instructed his pupils to make as cautious use light as of a gem, and was the first who succeeded in uniting those*“opposing qualities, minuteness with sublimity. In subjects which he undertook fully to complete, he was not satisfied with only perfecting the heads, counterfeiting the pores of the skin, the roots of the hair, and, it is said, even the beating of the arteries, but likewise portrayed each separate garment, and every accessory, with minuteness; every single herb, leaf, or tree, was a portrait of nature. While he bestowed his attention upon the minutiae, lie, at the same time, observes Mengs, led the way to an enlarged and dignified style of art; he labored to carry things to its greatest height. It was his custom gradually to strengthen his shadows until he reached the highest degree ; so, also, in the composition of his figures, to proceed in heightening them, until he had obtained the perfection of passion and motion.” “ Never pleased with his labors, if not executed as perfectly as he had conceived them, he sometimes devoted so long a period as to renew the example of the ancient who employed seven years over a picture ; but, as there was no limit to the discovery of fresh beauties in that work, so, in the opinion of Lomazzo, it happens with the perfection of Vinci’s paintings, including even those which Pasari and others allude to, as left imperfect.” “ The portrait before alluded to, which occupied him four years in painting, and then considered by him as imperfect, was minutely examined by Mariette, in the collection of the King of France, and declared by him to be carried to so high a degree of finish’that nothing could surpass it.” His works are extremely rare, and of the highest value. It is to be lamented that the color of his pictures is generally unpleasing, from the consequence of his chemical labor to preserve his works against the effects of time, which proved abortive; but 6 they are held, in the estimation of the artist and connoisseur, as corner stones by one of the greatest founders of the art. This specimen is in its genuine preserved state. [On thick panel—3 feet 6 inches by 4 feet 3 inches.] No. 3. FAMILY GROUP OF LORD CLIVE. SIR JOSHUA REYNOLDS. A beautiful group, characteristic of the great charm of portrait; a noble simplicity and expression, wherein the passing soul is made visible. The colored girl is inimitable for a truth of character and expression only to be surpassed by life. Sir Thomas Lawrence was of opinion that this picture was originally painted cool and quiet in color; he pronounced it one of his finest specimens, and desired to become its possessor. It came from the collection of Lord Morley. [On canvass—5 feet 8 inches by 4 feet 7 inches.] The two works, this and the Bishop, may be considered to exhibit the great characteristics of this most celebrated artist of modern times, and would alone form a school for portrait painting. The Clive Family, of his middle and careful time, is not to be surpassed for fidelity of character and beauty of execution; and the simplicity of arrangement is so true to nature, that we forget the portrait in the almost conscious reality. The bishop is of his late time, when, in the full exercise of his power, a few bold and daring touches of his pencil were sufficient to inspire the canvass with life, and give to color a soul and an identity. No. 4. Dr. JOHN THOMAS, Lord Bishop of Rochester, Dean of Westminster , and tutor to the late King „ SIR JOSHUA REYNOLDS. This portrait of Sir Joshua’s distinguished friend may be said' not to be surpassed even by his celebrated portrait of Lord' Heathfield in the National Gallery, the face is made to breathe with individuality and truth of expression. It has been repeatedly engraved by S. W. Reynolds, who. pro¬ nounced it one of the finest of Sir Joshua’s works. [On canvass—3 feet 4 inches by 4 feet.] 7 No. 5. LOUIS XIV. AND HUNTING PARTY. VANDER MEULEN. Bom at Brussels, 1634; died 1690 ; aged 56. “ He was invited to Paris, aud appointed painter to Louis XIV. with a pension of two thousand livres, besides being paid for his work. He attended that enterprising monarch in most of his expeditions in the field, and designed on the spot the sieges, attacks, encampments, and marches of the king’s armies.” This is one of the finest specimens of the master, and was in all probability painted expressly for Louis XIV. It represents the king, with his favorite attendants. The coloring is rich, and the execution spirited and masterly. [On canvass—4 feet by 3 feet 7 inches.] No. 6. THE GARDEN OF LOVE. VANDYCKE. The combination and beauty of color in this painting, place it among his highest works. The figures are beautifully varied, and the subject expressed with delicacy; a repetition of several of his beautiful studies may be recognised, particularly the one so often painted by him as a Magdalen. The style of coloring in this picture, is that which he adopted after studying the works of Correggio. [On canvass—4 feet 6 inches by 3 feet 8 inches.] No. 7. THE ENTOMBMENT OF OUR SAVIOUR. TITIAN. Born at the Castle of Cador in Friuli, in 1480 ; died aged 99. It combines all the powerful characteristics of this great master. The dead body of Christ appeals to the mind, and satisfies in points of art, first, from its design and truth; and, secondly, from its finely managed fore-shortening. The expression of the heads is worthy the scrutiny of the amateur; the grandeur and depth of light and shadow invests the subject with a solemn harmony, and carries conviction of the whole being a master-piece. The heads representing Joseph of Arimathea and Mary Magdalen are portraits of the artist and his daughter. This surprising artist, honored by all the courts of Europe, vigorous in energy, and the practice of his pencil to the last, 8 fell a victim to the plague when within a year of completing a century. [On canvass—3 feet 3 inches by 4 feet 3 inches.] No. 8. THE OPENING OF THE SIXTH SEAL. F. DANBY, A.R.A. Sixth chapter of Revelation, from the twelfth to the seventeenth verses:— “ And I beheld when he had opened the sixth seal, and lo, there was a great earthquake; and the sun became black as sackcloth of hair, and the moon became as blood: “ And the stars of heaven fell unto the earth, even as a fig-tree casteth her untimely figs, when she is shaken of a mighty wind. “ And the heaven departed as a scroll when it is rolled together; and every mountain and island were moved out of their places. “ And the kings of the earth, and the great men, and the rich men, and the chief captains, and the mighty men, and every bond- man, and every free-man, hid themselves in the dens and in the rocks of the mountains; “ And said to the mountains and rocks, Fall on us, and hide us from the face of him that sitteth on the throne, and from the wrath of the Lamb: ' “ For the great day of his wrath is come; and who shall be able to stand ?” No. 9. THE CRUCIFIXION. i TINTORETTO. Born at Venice, 1512 ; died 1594 ; aged 82. A truly magnificent picture of the master. While contemplating this work, we are not surprised that Annibal Carracci should say he equalled Titian. We observe that his composition is grand and judicious; his pencil energetic; and his coloring faultless. The powerful impression conveyed in this picture is its best eulogy. “He was a disciple of Titian, and applied to the study of Michael Angelo. Possessed of a fiery daring, and disdaining to be a fol¬ lower of Titian, he burned to become the head of a new school, which should carry his manner to perfection, adding to it all that was yet wanting; a rash idea, the offspring of a grand and fervid genius, bold as it was great. Constrained by circumstances to confine himself to an incommodious apartment, he ennobled it with specimens of his early studies. Over the door of it he wrote, Michael Angelo’s design, and the coloring of Titian.” [On canvass—3 feet 6 inches by 4 feet 2 inches.] 9 No. 10. THE AGONY IN THE GARDEN. BARTOLOMEO MURILLO. Born at Pilas, near Seville, 1613 ; died 1685 ; aged 72. A sublime and touching specimen of this wonderful artist. The scene is a solemn and poetic landscape. The time, night. The Saviour is represented kneeling, with that holy humility of prayer and anguish of soul—“ Father, if it be possible, let this cup pass from me. Nevertheless, not my will, but thine be done.” It is a chaste and faithful representation of what his mind con¬ ceived ; truth and simplicity are never lost sight of, and we might imagine the following words of Isaiah to have suggested to the painter his subject:— “ For he shall grow up before him as a tender plant, and as a root out of a dry ground: he hath no form nor comeliness; and when we shall see him, there is no beauty that we should desire him. “ He is despised and rejected of men; a man of sorrows, and acquainted with grief: and we hid as it were our faces from him; he was despised and we esteemed him not.” The coloring is clear, tender, and harmonious, and its simple quiet tones suited to the subject. To say too much of this picture would be to diminish its excellence, and leave little to the eye of good taste. [On canvass—5 feet by 5 feet 8 1-2 inches.] No. 11. EVENING. GASPER POUSSIN. Born 1600 ; died 1663; aged 63. Fresh, dewy, and warm; rich in verdure; the trees glory in beauty, and sport in sunny vapor. The eye roams to a distance, where the sun sheds its mellow splendor on the horizon, covering the mountain tops with its evening gold; the mountain rivulet bounds from rock to rock, till lost in beds of foliage, displaying only its partial silver gleams. The scene is one of many wind¬ ings, gentle slopes, and hills on hills, until lost in the aerial vapor of a sunny sky. A beautiful realization of the artist, of whom it is said “ he selected the most enchanting scenes, and the most beautiful aspects of nature—the graceful poplar, the spreading plane-tree, limpid 2 10 fountains, verdant meads, gently undulating hills, and villas delight¬ fully situated, calculated to dispel the cares of state, and to add to the delights of retirement.” “ Notwithstanding the extreme passion for grace and beauty, it is the opinion of many that there is not a greater name among landscape painters.” [On canvass—5 feet 2 inches by 3 feet 6 inches.] No. 12. DOGS AND GAME. FYT. Born at Antwerp, about the year 1625. “ He lived some time at Venice, and was an excellent painter of all kinds of animals, to which he gave a natural, bold, and elegant expression. He studied nature incessantly, and imitated her with the utmost truth and exactness. His coloring is strong, and his touch firm, with a wonderful freedom of hand, and manner of pencilling peculiar to himself, which easily distinguish the works of Fyt from any other master. His general subjects were live and dead game, wild boars, hares, dogs, fruit, flowers, and birds., particularly partridges, which he touched with surprising truth, nature, and strength ; describing the hairs of his animals and the plumage of his fowl with wonderful spirit, exactness, and freedom of pencil.” Some of his pictures passed into Spain, from which place the two specimens by him were originally brought. They are ex¬ tremely scarce and valuable, as are also his etchings. [On canvass—4 feet 10 inches by 3 feet 11 inches.] No. 13. SAMPSON AND DELILAH. RUBENS. Born at Cologne 1577—died 1640. The story is well told—the breathless fear, and doubtful expect¬ ation of the lookers on; the trembling barber approaching hia task with hair on end, and the soldiers not daring to advance beyond the door—while the coloring is rich, the execution vigor¬ ous, and the fore-shortening of the figure of Sampson skilfully arranged. [On canvass—5 feet 8 inches by 3 feet 10 inches.] 11 No. 14. FAMILY OF DE WITT. REMBRANDT. Born near Leyden, 1606 ; died '1674; aged 68. A surprising specimen of the excellence of the master, and the power attainable in portraiture, probably unequalled of its kind. It possesses all his gorgeous depth, and splendor of color ; a care of execution only to be found in 'his best works; a sweetness and simplicity of expression; and an admirable truth to nature. The objects appear to live, and the infantile beauty of the children cannot be surpassed. Not any other artist could have treated the subject in so prepossessing and beautiful a manner; even Van- dycke wants that charm and simplicity which makes this picture a transcript of nature, and, for harmony, a piece of glowing gold. It is said of him, that his objects are only to be equalled by nature; that his carnations are as true, as fresh, and as perfect, as they appear in Titian; and in chiaro-oscuro his power is beyond 4hat of any other master. [On canvass—6 feet 9 inches by 5 feet.] No. 15. LANDSCAPE AND CATTLE. BERGHEM. Born at Harlaem, 1624 ; died 1683. A repose at the shade of evening; the scene is Italian and re- plet^with interest. It is a choice work of his inimitable pencil; harmonious in color, touched with a correctness and breadth of pencil; distinguishable for its grandeur of light and shade, and a judicious choice of nature. It bears name and date 1670, and it was purchased from a gallery in Holland, by De Bleine; is understood to have belonged to Noel Desenfans. [On canvass—4 feet 10 inches by 3 feet 10 inches.] No. 16. DOGS AND DEAD GAME. FYT. The companion of No. 12—4n which, while the Dog may be almost heard to crack the bone of the worried hare, in this, we can imagine the whining complaint of the pent dog to fill the atmosphere; the significant regard of the Spaniel is no less striking, and the dead fowl and hare touched to the truth. i 12 No. 17. A HOLY FAMILY. SIR ANTHONY VANDYCKE. This is a beautiful specimen of the chaste pencil of the master. The painting is extremely delicate; the attitudes graceful and natural. Partaking all the character and composition of Rubens, united to the chaste feeling and refinement in which Vandycke was so inimitable. The humility and veneration of the infant St. John leaning on a lamb is one of those brilliant touches of genius not to be surpassed. [On canvass—4 feet 10 inches by G feet.] No. 18. JUDITH WITH THE HEAD OF HOLOFERNES. GUIDO REM. Bom 1574 ; died at Bologna, 1642 ; aged 68. This figure is powerful and majestic, expressive of conscious energy and greatness of sotal, with the simple grandeur of an antique statue ; and remarkable for that elevation of human nature for which this artist was so celebrated. It is said of him that he drew faces of Paradise, and that the beauty of his heads have never been surpassed. Apocrypha, Judith xiii. “ 3. And Judith was left alone in the tent, and Holofernes fcdng along upon his bed, for he was filled with wine. “ 4. Then Judith standing by his bed, said in her heart, O Lord God of all power, look at this present upon the work of mine hands, for the exaltation of Jerusalem. “ 5. For now is the time to help thine inheritance, and to exe¬ cute mine enterprises, to the destruction of the enemies which are risen against us. “ 6. Then she came to the pillow of the bed which was at Holofernes’ head, and took down his falchion from thence; “ 7. And approached to his bed, and took hold of the hair of his head, and said, Strengthen me, 0 Lord God of Israel, this day. “ 8. And she smote twice upon his neck with all her might, and she took away his head from him.” This picture is considered one of Guido’s finest works. It formerly graced the walls of the Colonna Palace. [On canvass—4 feet 10 inches by 7 feet.] 13 No. 19. ASCENSION OF THE VIRGIN. GUIDO RENI. Born 1574; died at Bologna, 1642 ; aged 68. Passing by the rare attributes of this great artist, language is too poor to convey an idea of the merit ostensible in this exquisite picture. The conception of the subject is of such noble import, and the execution of so high a beauty, that the eye and mind are taken captive in admiration. The group is balanced in atmosphere, (like a floating cloud,) while the transition from an earthly to the glory of a higher region, conveys an idea of the artist’s intention and ability, which the limits of praise could not satisfy. In truth, for composition, fore-shortening, and harmony of color, it is a wonder in art. [On canvass—3 feet 5 inches by 3 feet 3 inches.] No. 20. PORT AT VENICE. CLAUDE LORRAINE. Died 1682; aged 82. The excellence of this picture, its vapory light and modest truth, although void of many of the catching and superlative attractions of this master, it will be found to be one of his best works, and to grow in favor by repeated acquaintance. The date gives it to him at the age of 30, when careful of fame;—and the introduction of his own portrait may be considered a proof of his approbation. The figures are^painted with a care wanting in his best works; and the successful imitation of morning fresh¬ ness may be said to be a reach beyond an evening glow; the eye may be supposed to pause while measuring the extent of the prospect, and the aerial perspective to be perfectly illusive. [On canvass—4 feet 4 inches by 2 feet 10 inches.] As a singular circumstance—it was purchased in India of the Rajah of Bhurtpore, and brought to England by General Moreland. No. 21. THE WARNING, OR FLIGHT INTO EGYPT. ANNIBAL CARRACCI. Born at Bologna ; died 1609 ; aged 49. “ Behold, the angel of the Lord appeareth to Joseph in a dream, saying, Arise and take the young child and his mother, and flee 14 into Egypt, and be thou there until I bring thee word ; for Herod will seek the young child to destroy him. “ When he arose, he took the young child and his mother by night, and departed into Egypt.”—Matthew ii. 13, 14. This picture is truly astonishing for its energy; it appears rather moulded into being by a daring effort of imagination, than produced by the labor or care of painting. The head of the infant Christ, as also the Angel and the St. Joseph, are three fine exam¬ ples of fore-shortening. For mastery of pencilling, color, power, and chiaro-oscuro, it is a noble example of the equal powers of this great master. In conception, design, and execution, it is of the grandest gusto. As an evidence of its excellence, the composition was copied by Pesareso, (see musee Napoleon,) but the artist failed to convey its, simple and solemn grandeur. [On canvass—7 feet 7 inches by 5 feet 4 inches.] No. 22. A FLOWER PIECE. JOHN VAN HUYSUM. Born at Amsterdam, 1682 : died 1749 ; aged 67. A charming and very perfect specimen, painted with that aston¬ ishing truth and beauty that, in this branch of the art, has defied competition with all other painters. “ His reputation rose to such a freight, at last, that he fixed immoderate prices on his works ; so that none but princes, or those of princely fortunes, could pretend to become purchasers. “ This illustrious painter surpassed all who have ever painted in that style; and his works attract as much surprise by their finish¬ ing, as they excite admiration by their truth. “ It is universally agreed that he has excelled all who have ever painted fruit or flowers before him ; nor does it appear that any future artist will become his competitor.” As an evidence of the value attached to this Artist’s works: This picture is understood to have cost seven hundred pounds sterling, not many years since. [On panel—1 foot 10 inches by 2 feet 6 inches.] No. 23. DANCE OF THE SEASONS. NICOLO POUSSIN. Bom at Andely, in Normandy, 1594 ; died 1655 ; aged 71. This classic and charming morceau of the artist is a rare spe¬ cimen of beauty in design. Spring, Summer, Autumn, and Winter, 15 are represented by four females dancing, expressive of the seasons -as they glide round ; while Time beguiles the hours with his lyre, accompanied by an infant, who exhibits its fleetness by an hour¬ glass. A monument of Janus, looking back on the past, and to the future, crowned with the same garland, reminds us that both youth and age are alike subject to its call; another infant is in the act of blowing bubbles, intimating the vanity of life; their ascending one after another, making the brilliant show of a moment, and then passing away; the hours, gliding through the clouds, bestow their gifts of plenty on the earth, unmindful of the changes of time. (This picture is beautifully engraved by Raphael Morghen.) [On canvass—3 feet 1 inch by 2 feet 5 inches.] No. 24. A HOLY FAMILY. MATURINO. Born in Florence, 1490; died 1527; aged 37. The sweet simplicity of the virgin cannot be surpassed, and the innocence of the infant Saviour and St. John are equally touching. “ A favorite disciple of Raphael, who instructed him in the principles of the art, and employed him in many of his works • remarkable for his inseparable attachment to Polidoro; those two friends lived and associated as companions in study. The troubles that involved Rome at that time compelled Maturino to fly from it, and tore him away from his beloved companion, Polidoro, though Vasari says their souls were so united by a sincere friendship, that they were determined to live and die together. He was carried off by the plague, at the age of thirty-seven.” The picture before us ds a charming specimen; it possesses the purity, innocence, and simplicity of Raphael, with a greater sweetness of color, and a surprising power of light. His works are very rare. This picture was brought from Italy by Webb, known as the ♦celebrated writer on the Fine Arts. [On panel—1 foot 8 inches by 2 feet 1 1-2 inch.] No. 25. AN ITALIAN LANDSCAPE. VAN LINT. This specimen is sweet and clear; admirable in its details, almost to the separate leafing of the trees. The whole scene sparkles with animation and life, and each object finished with a sweetness of touch rarely attainable. He studied all the beautiful scenes of nature near Rome, and, from his remarkable application to the pencil, was named II Studio, by the artists of Rome. It so nearly 16 resembles Claude, that it was originally purchased, and retained for many years in tjie collection of an amateur of distinguished taste, in England, for a specimen of that master, from whose hands it passed into this collection. His pictures are so scarce as to be seldom found in collections. [On canvass—2 feet 6 inches by 2 feet 2 inches.] No. 26. A CALM. WILLIAM VANDERVELDE. Born 1633 ; died 1707 ; aged 74. This picture is an evidence of its name, the still quiet of a bright morning, the silent bosom of the deep, the numerous vessels lying becalmed, make it a picture of charming truth and interest. “ A native of Amsterdam, where he passed the early part of his life, the latter of which was spent in England, though the exact time of his arrival is not known. The paintings of this master have, in every respect, such a degree of perfection, as is not dis¬ coverable in any other artist. Whether we consider the beauty of his design, the correctness of his drawing, the graceful forms and positions of his vessels, the elegance of disposition, the lightness of his clouds, or the liveliness of his coloring, we find in it the look of genuine nature. All is clear, bright, and sparkling, and full of lively truth.” This picture was probably painted in Holland from whence it was brought by Bonelli. [On canvass—3 feet 6 inches by 2 feet 6 inches.] No. 27. A BRISK GALE. BACKHUYSEN. Born 1631; died 1709. It represents an approaching storm ; the dark waves dash briskly on, the sails are reefed, and heavy clouds are gathering over the sky; nature seems preparing for a scene of gloomy turbulence,, yet a bright ray of hope remains in the gleam of the distant horizon. This eminent master was a native of Embden. The piece before us is a powerful specimen of his pencil. The chiaro-oscuro is grand and effective. It was his custom, whenever he could, to procure mariners to go out to sea in a storm, in order to store his mind with grand images, and to delight in the majesty of scenes that would fill a weak heart with terror. He was a complete master 17 of effect, and united the charm of science to a wonderful beauty of execution; and we are struck with admiration at the truth of the perspective in the distance of the vessels. “ His works are easily distinguished, by the observant eye, from the freedom and neatness of touch ; from the clearness and natural agitation or quiescence of the water; from a peculiar tint in his clouds and skies; and from the exact proportion of his ships, and the gracefulness of their position.” “ No painter was ever more honored by the visits of kings and princes than Backhuysen. The King of Prussia was one of the number, and the Czar Peter the Great took delight in seeing him paint, and often endeavored to sketch vessels which he had de¬ signed.” [On canvass—4 feet 3 inches by 3 feet.] No. 28. THE COTTAGE GRANDFATHER. RUSSELL, R. A. A faithful picture of the rustic simplicity of English life. The countenance of the cottager beams with health and contentment; the little girl runs to meet his embrace with spirits light as air, and a blooming face that would vie with the freshness of the mountain daisy. “ The touch of kindred, too, and love he feels ; The modest eye, whose beams on his alone Ecstatic shine ; the little strong embrace Of prattling children, twin’d around his neck, And emulous to please him, calling forth The fond paternal soul.” Thomson. This picture has all the pleasing qualities of Gainsborough. Russell’s works are highly esteemed. For the one before us the artist received eighty guineas for the right of publishing, and few engravings of rustic life have been so popular. [On canvass—6 feet 9 inches by 4 feet 9 inches.] No. 29. PORTRAIT OF SIR JOSHUA REYNOLDS, P. R. A. PAINTED BY HIMSELF. Born at Plymouth, in Devonshire, July 16, 1723 ; died Feb. 23, 1792 ; aged 69. This portrait is valued as a representation of so talented an individual. As a work of art, being one of those hasty sketches painted in strong driers, it has suffered by time, and is wanting in the beautiful characteristics of his excellence, to be observed in those choice performances of his pencil, Nos. 3 and 4. 3 18 No. 30. GAMESTERS DISPUTING THE DIE. GUISEPPE CAVALIER RECCO, OF THE SCHOOL OF RIBERA. Born at Naples, 1634; died 1695. Probably a study for a fresco of the soldiers casting lots in the crucifixion ; vigorous, and painted with great solidity and decision. He was admired for his beautiful coloring, which he acquired in Lombardy. He resided for many years at the court of Spain. [On canvass—3 feet 5 inches by 3 feet 5 inches.] No. 31. ST. JOHN PREACHING IN THE WILDERNESS. LE BRUN. Born 1619 ; died 1690 ; aged 7i. “ Styled the Guilio Romano of France, and the most celebrated painter of his time. He showed abundance of grandeur in the disposition of his subject; in all his compositions he had a par¬ ticular attention to express the passions of the soul agreeably to nature; and, excepting a few of his capital performances, there is predominance of one tint. The airs of his heads are often the same, though well chosen, graceful, and full of elegance.” The specimen before us is finely colored. The attitude of St. John is bold and expressive. No. 32. THE ROYAL FAMILY OF ENGLAND. BY THE LATE RICHARD LIVESAY AND BENJAMIN WEST, P. R. A. This is supposed to be the most general group of the family ever painted. It represents the introduction of the Duchess of York to the Royal Family. King George III., Queen Charlotte, and George IV. occupy, with the Duchess of York, the centre group. Immediately behind George III. is the Princess Royal; next in succession, Augusta, Elizabeth, Mary, Sophia; and Amelia, the youngest, in front. The present King, William IV., is in conversation with the Duke of York, who occupies the extreme right of the spectator. Purchased at the sale of the late Queen Charlotte. [On canvass—4 feet 1 inch by 3 feet 3 inches.] 19 No. 33. THE DENIAL OF PETER. GHERARD DE LA NOTTE. Born at Utrecht, 1592; died 1660; aged 68. Admirable for its expression, and truth to nature: “ Thou also wast with him,” is the momentary accusation of the female; and Peter, before resolved even unto death, denies with fear and trembling. The face of Peter is strong in expression, and the hands, checked in the moment of being stretched for heat over the burning char¬ coal, speaks the unexpected surprise. The revengeful eagerness of the foremost soldier is equally well told, by the breathless anticipation with which he waits the reply, so well expressed in the strained eye, mouth, and nostrils, and the pressing forward of the body. No. 34. ST. SEBASTIAN. MURILLO. Born at Seville, 1613; died 1685. This is a fine specimen of this master, in power of color, drawing, and expression. The rotundity and relief of the figure are admi¬ rable, the carnations very pure, and the landscape powerfully ex¬ pressed and boldly painted. [On canvass—3 feet 6 inches by 5 feet 2 inches.] No. 35. THE CROWNING OF VENUS. LUCA GIORDANO. The Goddess is represented reposing on a sunny cloud—young love brings an offering of flowers, and a Zephyr, in the form of a cloud, fans the atmosphere. No. 36. THE DEATH OF HYPPOLITUS. G. H. HARLOW. Born in London, 1787 ; died 1819. For execution, spirit, and splendor of color, scarcely to be sur¬ passed by Rubens. / 20 This distinguished painter of the celebrated picture of the Kemble Family, for which the present proprietor refuses 2,000 guineas, was cut off at the early age of thirty-two, after giving full promise of becoming the greatest genius of modern art. [On canvass—2 feet 6 inches by 1 foot 9 inches.] No. 37. SATYR AND FRUIT. JACQUES JORDAENS. A spirited picture of this master, and equal in color to Rubens’; forcibly and admirably painted. [On panel—2 feet 6 inches by 3 feet 3 inches.] No. 38. NOBLE VIEW OF HASTINGS. (Calais in the distance.) No. 39. GAINSBOROUGH. PAINTED BY HIMSELF. No. 40. A CARVED CUP. BY BENVENUTO CELLINI. Purchased at a sale of the effects of the late Doge of Venice. The carving of the lower part of the cup is an entire piece of Ivory: the subject, Battle of Alexander with the Persians—the chasing on the lid, and the spirit, grace, and execution of the entire work, places it almost without a rival. No. 41. THE MUSEE NAPOLEON. Four Volumes, large folio. Copy in perfect preservation, and elegantly half bound. * >r 'p p4 4 \y '44 ' \ 7 4.4444v444)y^^^ -' < -', 4 ^..; h' ' v ; 44/*.':<4' 4> ■ )>4 > \ ' - r y V/% y > ■ y■- 4 . 4, 7 4? •! ;5*fy y-4 ; 'Vss^ ; ' ' 4^4-' y r ' > 4. 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