THE GETTY CENTER LIBRARY Digitized by the Internet Archive in 2013 http://archive.org/cletails/criticalcommerciOOsegu 1 pz^ €>CcU?:i^ A^^,JL^ DICTIONARY OF THE WOEKS or PAINTERS I.ONnON; PHINTICn BT SPOTTISVVOODli AND CO., N 1\V- STI; tiET SQl'AUK AND PAKf.lAMKNT MTHliKT A CRITICAL AND COMMERCIAL DICTIONARY OF HE WORKS OF PAINTERS COMPRISING EIGHT THOUSAND EIGHT HUNDRED AND FIFTY SALE NOTES OF PICTURES AND NINE HUNDRED AND EIGHTY ORIGINAL NOTES ON THE SUBJECTS AND STYLES OF VARIOUS ARTISTS WHO HAVE PAINTED IN THE SCHOOLS OF EUROPE BETWEEN THE YEARS 1250 AND 1850 BY FREDERICK PETER SEGUIER PICTURE-KKSTOKEH IN ORDINARY TO THE yUEKN' MEMBER OF THE SOCIETY l-'UK THE EXCOURAGEilENT OF AllTS, MANUFACTURES, AND COMMEHCE Survey the walls, and there we see Ai'L's power in great variety Pkter Coxe's Social Day LONDON LONGMANS, GREEN, AND CO. 1870 NIP PREFACE The articles or subjects contained in the several English Dictionaries of Painters may be divided into three classes — namely, Lives of Known or Popular Painters, compiled from published sources ; Lives of Rare and Obscure Painters, likewise compiled from published sources, and whose works are almost exclusively confined to foreign cities ; whilst the third division is appropriated to New Lives, or additional matter collected by the compiler. In this Dictionary a different plan is followed, and the painters may be divided rather into TWO classes than three — namely. Known or Popular ].-*ainters ; and Scarce Painters, whose names have not previously appeared in other works on art. Although virtually a Dictionary of Old Painters, yet a few modern artists are introduced ; for instance, some celebrities who died during the first half of the present century. We are indebted to George Stanley for many useful and original notes in his edition of Bryan's ' Dictionary of Painters.' Messrs. Bohn, Ottley, Redgrave, Sandby, William Smith, and others, have likewise been actively and successfully engaged in compiling the histories of Modern Painters ; and the Print Room of our British Museum has been recently enriched by a large and most valuable collection of illustrated manuscripts on the History of our British Schools of Painting, the gift of the author, Mr. J. H. Anderdon. All former Dictionaries of Painters, known to the witer, are Biographical Dictionaries ; but, with scarcely any exception, the biographical information in this work is merely confined to a statement of the school and period to which the artist belongs ; so that the work may be viewed as a kind of appendix to former dictionaries, such as Pilkington's and Bryan's, and should be read with them. It will be found that the dates of the ' birth and death ' of painters assigned by different writers occasionally vary a little, but rarely so much as to confuse the beginner. The commercial title of the Dictionary refers to the Sale Notes. The valuing of pictures is unquestionably one of the most difficult pursuits connected with art, and is, moreover, a most uncertain study. Any information on this subject is always acceptable, and vi PREFACE. we all know how popular a work Siiiitli's ' Catalogue Kaisonnc ' is, and how interested all conoscenti are in reading Messrs. Christie's sale reports in the * Times ; ' and there are few recreations more exciting or interesting to a picture-fancier than a sale of valuable pictures by the 'hammer.' Chefs- d'oeuvre, however, are not frequently seen in the market ; yet our country is very rich in five- thousand-guinea pictures ; one might almost venture to say in ten-thousand-guinea pictures. The writer trusts that the Sale Notes in this work will prove of great use to collectors and amateurs. Although the number of Notes may appear large, yet they are not really so when compared with the comprehensive character of the pursuit ; still they are sufficiently numerous to answer the purpose of most picture collectors, and to occupy the attention of the student for many years. The variations in the given prices should be regarded as indications of the difference which exists in the ' quality ' and ' condition ' of pictures, rather than as conclusive evidence of the doubtful originality of many of the works introduced. In this Dictionary will be found notices of several j^ainters, the prices given for whose works indicate an entire disregard on the part of the public. This, again, is not conclusive evidence of the position which they may have attained in their profession, as instances may be adduced of some of our greatest painters meeting with little or no encouragement in early life ; thus it may have been with some of the painters in this division of the work, and yet they may ultimately have gained a reputation either in this country or abroad. Again, when we find only a single picture, and that, possibly, a very bad specimen, the Monetary Note may be of no value, but is merely intro- duced to index, as it were, the painter's name ; whilst the Descriptive Note, if there be any, may be referred to as some guide for ascertaining the position and merit of the painter. In addition to this explanation, it must be borne in mind, that whilst the present work contains a register of many very valuable pictures, yet it does not profess to be a 'catalogue raisonne.' The value set on the most important works of the great masters appears to be increasing yearly. The appraisement of our National Gallery pictures, made many years ago by William Seguier, does not necessarily represent their present value ; and, in many cases, the largest prices obtained for pictures are the result of private negotiation. The reader who is curious to ascertain the highest sums given for the finest examples of the Old Masters will do well to consult Smith's ' Catalogue Raisonne,' Buchanan's ' Memoirs of Painting,' and Mrs. Jameson's ' Private Picture Galleries.' The last-mentioned work ogives the prices of many of the valuable Dutch and Flemish pictures in the Royal Collection, which may be estimated at figures varying from 500/. to 4,000/. j PREFACE. Vii The prices lately given by the Trustees of our National Gallery for the works of certain masters, as well as the enormous sums which are now realised in the Paris picture mart for fine examples of Greuze and other eminent French painters, must all be kept in view by the picture speculator. The reader will find further allusion to this subject in the note on Murillo in this work. The writer has appended Descriptive Notes on the subjects and styles of all the principal masters introduced in the work, as well as Notes on a considerable number of rare painters whose names have not appeared in former dictionaries. F. P. SEGUIER. Russell Coubt, St. James's, Ldndox : April 1870. INTRODUCTION. The materials of this Dictionary refer almost exclusively to various collections of pictures, which have been dispersed, or brought to the ' London hammer,' during the present century. The Sale Notes are sufficiently copious to furnish the reader with a fair history of the English picture-market for the last fifty years ; but there are so few notices of eighteenth-century sales in the work, that the amateur may be led to infer that the pleasures of the sale-room were hardly known to our ancestors of that age. As the writer does not wish to increase the bulk of the Dictionary by entering further into the subject of English picture-sales during the present century, he would prefer devoting the pages of the Introduction to some remarks on the state of painting in England during the latter half of the eighteenth century, partly by way of apology for representing the art records of that period by so few notices in the Dictionary. Many are apt to feel that the reign of George III. was a dull period of art history ; and the student may naturally enquire. Were our ancestors of that time able to enjoy the charming collections of modern pictures which afford us so much pleasure summer after summer ? There were annual exhibitions of pictures then as now, and, if we like, we can visit an exhibition at the Royal Academy. We select the year 1774, and find that the collection is by no means a small one, for, including a few pieces of sculpture and some miniatures, three hundi-ed and sixty-four works of art are there. We cannot call this a small collection, although it may appear so when compared with the monster exhibitions of the present day. On examining the catalogue more closely, we are surprised to find how little we know of most of the exhibitors — Ave recognise only about thirty painters whose names we know, and whose works we care for at the present day; still it was a brilliant display for the year 1774, both as regards the intrinsic merit of the pictures, and also if we remember the circum- stances under which the collection was formed. We are to bear in mind that the Royal Academy was neither the original nor only institution of the kind in England in 1774. There were two other Societies exhibiting their works in London, and we can visit their collections for that year. The original Society exhibited a greater number of works than the Royal Academy, yet we cannot call their exhibition a success, as several of their best members had seceded; and the familiar names which we see in the catalogue, such as Ber- ringer. Carver, Gilpin, Hackert, Mortimer, Marlow, Powell, Wright of Derby, Wheatley, &c., are not artists of great talent. The other Society, called the Society of Artists, or the Free Society of Artists, like the Royal Academy, was an offshoot of the Society of British Artists, and their exhibition in 1774, in Mr. Christie's Rooms, which the writer believes was their last exhibition but one, was far from being an uninteresting collection. The elder Morland, father of the famous animal-painter, sent a large number of his works : at the present day we rarely meet with his pictures, and it appears that his works are some- times erroneously ascribed to other artists. Cassali is represented in this collection, and the old-fashioned animal-painter Elmer; there is a head of a man by Groombridge, although most people only know him as a landscape-painter ; Abraham Pether, Sartorius, and Swaine are likewise amongst the exhibitors; the travelling painter Hodges sent a view of the Cape of Good Hope, and some scenes in the islands of St. lago and Madeira - a X INTRODUCTIOiNT. and the famous Gainsborough contributed a portrait of a nobleman. Annual exhibitions of pictures are comparatively modern, but we read of Schools of Painting in almost every period of art history. As in this work, however, we have comparatively little to do with art history, according to the ordinary application of the term, we need not devote any space to the re-writing of old gossip about Sir Godfrey Kneller's Academy, and the meri- torious exertions of Sir James Thornhill in endeavouring to form a British Academy of Fine Arts. Sir James was a kind-hearted and liberal man, and the ten years of art history which we associate with his name should be remembered with feelings of grati- tude by artists. Neither must we forget the Foundling Hospital, and how strangely it was connected with the origin of annual exhibitions of pictures in London. There are people who may ask. Are the exhibitions of the last century worth revisiting ? Can they be compared with the gay and apparently inexhaustible displays of oil paintings and water-colour drawings which year after year are brought forward by our living artists ? It may be asked, What are the three exhibitions of 1774 compared with our first Manchester Exhibition, our Exhibition of 1862, our Leeds Exhibition, or even to an ordinary annual Exhibition at the Royal Academy? Whatever view we may think proper to take of such questions, we must not forget that if our British School, viewed as a whole, was only in its infancy in the middle of the last century, yet we find in that school a few English artists of prodigious talent — men who gave a name to the art period in which they lived, men whose names will never be forgotten, and whose works were as planets shining in the midst of the galaxy. When Reynolds passed away, unusual honours were shown to his remains by the nobility of the day; and soon after his death, in 1792, Mrs. Mary Robinson published a long monody to his memory, which she inscribed to the members of the Royal Academy. Whatever may be its merit as a poem, it is valuable as showing the spirit and taste of the times, and that people were willing to take more trouble about such things than most of us are now disposed to do. Nor was she the only one who endeavoured to celebrate in verse the charms of this great painter ; for when Sir Joshua was compelled through declining health to resign the chair at the Academy, the Earl of Carlisle, in 1790, composed and published a few verses, with the view of testifying the nation's regret. Such reminiscences are sufficient to show that our ancestors of the last century loved art, and felt a pleasure in studying it; in fact, we meet with many quaint verses and poems written in praise of members of our infant British School. One of the most curious poems of that time is George Keate's ' Epistle to the Paintress Angelica KaufFman,' which was published in 1781, about eight years before her death. The effusion of admiration and esteem expressed in the poem is most extrava- gant, and the poem may also be called a song of joy at the discovery of a new pigment, which Angelica KaufFman informed the writer was prepared from the gums which envelope the mummies from Egypt. The following lines are selected from the poem : — I see the pounded ' mummy ' laid, To give the soft transparent shade, Warm the cold tints, the dark ones raise, Or all the finished picture glaze. Then again he writes : — Sweet paintress! mixed with these, be laid The * mummy,' and still lend its aid ; Rich with the gums of ages past, 'Twill bind each fleeting colour fast ; Make every shadow clearer show, And every light more brilliant glow. The history and progress of our English school of painting are very much confined to our metropoHs, the great market-house of modern art. Our book, however, is in no way confined to modern art, and is far from being a history of painters of the latter part of the last century, or of the first half of the present century. The work is especially a / INTRODUCTION. xi Dictionary of Old Painters, including a few eminent artists of modern date. Our work carries us rather away from modern Academies and Art Institutions ; it leads us to the picture-mart. The history of the picture-mart, as contained in this work, is marked by a great peculiarity; we observe how strangely it was confined to sales of old pictures, differing in this respect from most of the sales at the present day, which generally consist of modern pictures and water-colour drawings. Whence came all these collections of old pictures? by whom and when were they formed? are questions easily asked, yet very difficult to reply to. Fortunately for art, there are many patient recorders and pains- taking collectors of art materials who spare neither time nor labour in hoarding up historical information respecting- the lives of painters, and the origin and early history of many important collections. Their information is always interesting, and would be more valuable than it is if our world Avere not such a changing world; for a collection of pictures may be with us one day and gone the next, perhaps never to be seen as a collection again. Pictures are also great travellers, and occasionally visit the most distant parts of the earth. Some artists are also great travellers, and transport the influence of their school to a distant country; thus we read of Jacques d'Agar leaving the school of ■Vouet at Paris, and spending the greater part of his life in the court of Denmark. We are too well aware of this to think of confining our researches to London ; we will leave London for a time, and go to Brighthelmstone by the coach. We are living in the latter half of the eighteenth century, and we see the citizen and his family, whom Anthony Freshwater describes, on the point of starting for a journey to Brighthelmstone by the coach. We will go with them, and imagine the citizen to be Daniel Paterson, a coach- road historian of the last century, who proves an excellent guide, and we no sooner leave the smoke of the city than he appears to forget his ledgers, and his temper and spirits rapidly improve. The mode of travelling in the last century was most conducive to conversation ; we feel sure that coach travellers often talked about art, and then we recall to mind Peter Coxe's lines : — Shew'd where, like Claude, the landscape smiled, Or where it frowned, like Rosa wild, Or where, with Gainsborough, rustic art; It spoke to every cultured heart ; Thus made the ride, the drive, the walk, Endearing by instructive talk. We may not feel that these lines quite apply to the citizen whom Freshwater describes, still he is a useful guide, and throughout the journey he constantly draws our attention first to one fine house on the right, and then to another on the left ; his knowledge of art is not extensive, yet he refreshes our memory by recalling the names of art patrons, and speaks of houses stocked with pictures, which we had almost forgotten. To all this, some may reply, There is no difficulty in assuming that England was rich in fine country seats before the present century. True, but if we can satisfy ourselves on this point, by referring to published facts, it is best not to assume anything. The guide-books of the day show us that there were a great many country seats between London and Brighton in the latter half of the last century, and from the same sources we see that the whole of England was studded with the houses of the nobility and the wealthy of the land. We are told that many noble houses were built close to the principal roads, for the convenience of travelling, nearly in the same way as some people of our own day prefer living close to railway stations. As a rule, the larger seats were occupied by the nobility, and the smaller ones by the long-famed squires of Old England, by merchants, and others of the same class; whilst professional people and tradesmen, whether wealthy or not, usually preferred residing at their places of business in the metropolis, and most of them were satisfied or dissatisfied with an annual visit to Gravesend, Brighthelmstone, or Dandalion. If space would permit, we should like to dwell for a while on the histories of some of the families which the citizen speaks of, to know whether many a 2 xii INTRODTJCTION. of these families are still represented, and above all to enquire whether they cared for pictures. We do not ask whether they possessed pictures, we take that for granted, for we know that at the present day it would be almost impossible to go into a large house without finding pictures of some sort or other. In admitting this, we must not forget that our view is a retrospective one, that at present we are speaking of a time when the gay English painters in oil and water colours, whose works we know and love, and go to see year after year, were not — that is, were either not born, or were too young to be thought of. Then we naturally ask, What could have been hung on the drawing-room walls of Kidbrook ? what were the treasures of the Sheffield cabinet ? or what family portraits adorned the dining-room of Stanmer ? If it were possible, we should like to get out of our coach and visit some of these mansions, just to see what the pictures are, instead of being obliged to depend so much on contemporary catalogues and topographical works, which so often contain misrepresentations and mistakes. We cannot do this, fate compels us onwards; the great present is so engrossing, every day brings its own work. So busy is man that he scarcely dares stop to talk about the social accomplishments of his ancestors a hundred years ago. The histories of the Orleans, the De Calonne, and a few other important collections are sufficient to prove to us that there were in the latter part of the last century many purchasers of pictures and lovers of art in Great Britain. Then, again, there were sales which, possibly, only contained one or two pictures of inter- est. Thus in looking over the collections of Earl Waldegrave, John Barnard, and Jacob More, which were sold respectively in 1763, 1787, and 1796, we notice that a Scriptural subject by Luca Giordano sold for two hundred and four pounds fifteen shillings, possibly the largest sum ever given for a Luca Giordano in the market. The Death of Seneca, by the same master, sold at Willett Willett's sale, in 1813, for seventy-eight pounds fifteen shillings. At Jacob More's sale, in 1796, a landscape by Gainsborough sold for four pounds fourteen shillings and sixpence, whilst one by Jacob More, whose landscapes are not thought much of now, sold for one hundred and ten pounds five shillings. It is not necessary to suppose that all the picture collectors who frequented the auction-rooms of Mr. Christie, Mr. Prestage, Mr. Greenwood, and others, in the latter part of the last century, were men of the position of the Duke of Bridgewater, Lord Temple, Mr. Angerstein, and others, who could afford to give enormous prices for pictures; on the contrary, there were a great many collectors, and some of them men of acknowledged taste, who formed interesting collections of genuine pictures, although rarely spending more than ten or fifteen pounds on a single picture. The writer has in his possession contem- porary memoranda which show that many interesting examples of painters were sold for very trifling sums in the latter half of the eighteenth century. In order to show that people of the middle class formed collections, we will speak of Thomas Hudson, Sir Joshua lieynolds's master, ' who retired to a small villa at Twickenham, and furnished his best room with a well-chosen collection of cabinet pictures and drawings by great masters, having purchased many of the latter from his father-in-law, Mr. Richardson.' We feel that it is hardly necessary to seek for further information, in order to prove that a taste for pictures was very general in England, and we are more disposed than ever to believe that many of the fine houses which the citizen pointed out in our journey from London - to Brighthelmstone were well stocked with interesting works of art. Another point to which the writer would draw attention is this : whether we go back to the classical court of Charles I., or whether we are determined, more properly, to notice only the collectors and connoisseurs of the latter half of the eighteenth century, we can trace or discover the same feeling or taste displayed by an appreciation of works of art, based on their intrinsic merit, an intense affection for good pictures, a desire to collect into one cabinet or gallery all that were fine or beautiful, without enquiring whether the examples were by painters long deceased or by artists of our own time. Such was the taste of the age; and who was he who, when resigning the chair at the Academy through declining health, said : * I should desire that the last words which I should pronounce in / INTRODUCTION. xiii this Academy, and from this place, might be the name of Michael Angelo ' ? At the pre- sent day, a very different sentiment frequently prevails ; some of our largest collectors will only buy modern pictures, whilst others are bigoted to particular schools. Now, if we wish to understand and enjoy art thoroughly, we must cultivate a taste for all that is lovely, for every species of excellence, and ought never to think of excluding from, our galleries any particular school or period of art. A lady once told the writer that she did not know whether her father's pictures were old or modern. How stupid such a remark appears, and yet in sentiment how good it is ! She knew that he had some pictures, and she probably loved the pictures, only she loved them for their own sake, for their own intrinsic merit, without ever enquiring whether they had been painted two hundred years ago, or whether they were painted in her own time. There is no space here to admit of our entering fully into the subject of the art collections of the last century. Our journey to Brighthelmstone is sufficient to show its vast extent. If we count the books in the British Museum, and in other museums, published in the latter half of the eighteenth century, and which refer to the history of art and the art collections of Europe during that period, we see at once that comparatively little can be related in a work of this size. This fact may be offered as an apology for the cursory character of the notes, but the words of Pope are a more fitting apology : So pleased at first, the tow'ring Alps we try, Mount o'er the vales, and seem to tread the sky : The eternal snows appear abeady passed, And the first clouds and mountains seem the last ; But, these attained, we tremble to survey The growing labours of the lengthened way ; The increasing prospect tires our wandering eyes, Hills peep o'er hills, and Alps on Alps arise. In regard to the Descriptive Notes contained in this work, it may be asked. Are they addressed to people generally, or are they addressed only to those who profess to understand art, and who are called artists and dilettante people ? If addressed to the latter, some may assume that they cannot be of general interest ; they may compare the subject to the study of music, and will say that people must be musical before they can compose music ; and when this is granted, they will add, There must likewise be music in those who aspire to act as arbiters or lunpires on the compositions of others. Yet, how true soever this may be, we know that professional men are not always the best and most impartial judges of their brethren ; on the contrary, they too frequently take a narrow or one-sided view of each other. Such reflections dispose us to feel that another class of persons is required in order that artists may be properly and duly encouraged. There must be patronage — artists cannot exist without it ; and Art always has had her patrons and her connoisseurs, to reward, criticise, and encourage the efforts of her children, and by their generosity and kindness to stimulate them to renewed exertion and emulation. If we refer to ancient history and ancient fables, we can read about Alexander the Great and Mnason of Elatea as patrons of artists, and of the former giving 4,000Z. for a battle piece by Aristides. We also hear of Attains, King of Pergamus, giving 24,000/. for a picture of the same painter. We know that the Egyptians were patrons of artists, and we read of Ptolemy 1. of Egypt offering Nicias 14,000/. for one of his pictures, but Nicias preferred presenting it to the city of Athens.^ Now it miiy be urged that there is so much mystery in art. Thus an old French writer speaks of it when he calls it ' a mystery universal.' There is so much mysterious poetry in what is called ' taste,' Many feel that, however much they may love art, yet they have no time for it, and never shall have any opportunity for studying it with that attention which it demands. Others have the time, but have no ear, as it were, for the music of art, and are thus constitutionally prevented from making any progress in the study. Again, it may be asked, Who will * See T. J. GruUick's quotations from Pliny, &c., in 'Painting Popularly Explained.' xiv INTRODUCTION. undertake to decide on questions of taste ? The most abstruse works on the ' Philosophy of Taste ' rarely satisfy us, and we confess that we might read them for ever without becoming * men of taste.' Clare says : Taste is from heaven, An inspiration Nature can't bestow. Some writers, like Samuel Neil, treat the subject philosophically or scientifically; whilst Professor Westmacott, in a lecture delivered before the Society of Arts, takes a plainer and more practical view of the question. The Professor cautions picture collectors against being deceived by false notions. He declares that, whatever a person may think, a bad picture is still a bad picture, a vulgar picture is still a vulgar picture. His remarks appear so convincing that they can scarcely fail to produce feelings akin to mortification or mistrust in the minds of many who have long thought highly of their own taste for art. Instead of despising his candid remarks, let the amateur and all who are ambitious of being accounted learned in art listen to them patiently, and if they cannot accept them, yet they may find them of use in tempering their enthusiasm, and possibly may save them from many unfortunate investments. If there be a few who are con- stitutionally incapacitated for making any advances in connoisseurship, yet we know that such is not the case with most people. We know that most people can become musicians in the ordinary sense of the word. And how ? Simply by submitting to a prescribed routine of study. And on precisely the same conditions must we proceed if we wish to become connoisseurs of pictures. We may read learned works on ' taste,' but, further than encouraging an enthusiasm for art, they will not help us much. What we chiefly require is time, because the study is so vast, whilst our corresponding oppor- tunities of acquiring information are so few. This would appear to be the case with every pursuit. Wardrop, in his work ' On Diseases of the Heart,' says : ' Although I have been many years employed in collecting and condensing the materials of these pages, yet on a subject so comprehensive as that on which I profess to treat, whatever industry I have employed, the field of enquiry is far too extensive to be satisfactorily explored by any one individual.' In regard to method, there is, perhaps, no difficulty in discovering what our course should be. There are some who have professedly acquired their chief knowledge from books or from reading — and European libraries are very rich in works on art; and we meet with educated men who pride themselves on their extensive acquaintance with the works of the best writers on art, whether ancient or modern. The importance of such reading must not be undervalued ; in fact, a course of reading is indispensable in acquiring a scholarly knowledge of the principles of art. Many noblemen and gentlemen have been famous for their general knowledge of art ; whilst a few have contributed to the art literature of their countries. As a rule, such people are in a favourable position for acquiring a taste for art, and they have many opportunities of studying the literature of art from which the vocations of professional people to a great extent debar them. It will be seen from these remarks that the writer does not wish to undervalue the importance of READING ; he rather holds with Dr. Hamilton, when he says : ' Reading is of ten thousand- fold the importance of any other science, because it is the mother of them all ; ' only, we must not forget that it merely represents one line or course of procedure. Unquestion- ably it is of great importance, yet the writer cannot conceive it possible for any one to become a connoisseur simply by reading works on art, or by listening to lectures. The student must go through a practical course of study, either with or without the aid of oral instruction. It may be asked. What is meant by a practical course of study ? It means this — let the student examine again and again all the beautiful pictures which come within his reach. But then he must not examine them casually, as it were, but he must examine them with the same thoughtful closeness with which a naturalist examines a fossil or a plant; and his object in doing so will be, not merely to store the memory with the names and subjects of painters, but rather to impress INTRODUCTION. XV on his mind the characteristic points which distinguish schools, as well as the works of individual painters. Let us only give careful attention to the beautiful pictures which we see year after year at our modern exhibitions, and to the treasures of various periods of art which are collected in public and private galleries, and we shall find our acquaint- ance with art rapidly improve, and we shall become more intimate with the theories on which the study of ' taste ' is founded, than by reading the best works of the best writers on art. Let the beginner do this, and he will be surprised to find how soon he will be able to understand the fine and the beautiful in art, and then he will aspire to something beyond this, and will not rest until he is able to judge correctly on the more difficult questions of connoisseurship, the questions which bear on the discovery of authorship or the detection of fraud. This appears to be the best and only course, if we wish to become connoisseurs ; let us read as many books as we can, the more the better, but let us read them in a conservative spirit, and above all, let us read them in the firm belief that almost every observation of value contained in them is translated from the sources which are more or less within the reach of every one of us, namely, the works of ancient and modern painters. Returning to the historical part of our subject, we find that the Royal Academy had another rival in the last century, in the Society of Painters in Water-Colours. We read of more than one Society of Painters in Water-Colours. The exhibition at the old Royal Academy Rooms, in Pall Mall, in 1807, is described on the catalogue as their third exhibition. It was evidently a good exhibition, and the names of many of the exhibitors are familiar to us. In 1810, we travel to Ireland, to visit the first exhi- bition of the Society of Artists in Dublin ; two hundred and thirty -nine pictures were exhibited on the occasion. The names of the artists appear very new to us, and pro- bably many of them were amateurs. The people of Ireland, however, continued to take an interest in pictures, and in 1813 the first exhibition took place of the Royal Irish Institution, and the collections consisted of examples of the old masters. In 1816, sixty- seven pictures were exhibited by this Institution, the largest number being contributed by the Earl of Famham.^ It will be found that the feeling which prompted old- fashioned dilettante gentlemen to furnish their houses with examples of all schools, without reference to any particular period, providing the examples were only good, continued to be very prevalent in England during the latter part of the last century and the early part of the present. It was this fine feeling which led to the forming of our National Gallery. Dr. Waagen writes : — ' The late Lord Dover first brought the subject before Parliament in 1823, and in the following year the collection of the late Mr. Anger- stein, consisting of thirty-eight pictures, was bought by the nation. The price given for it, according to the valuation of Messrs. Seguier and Woodburn, was 57,000/. sterling ; but, to defray some incidental expenses, the Parliament granted the sum of 60,000/.' To the same fine and liberal feeling are we indebted for our pleasant recollections of the British Institution, and it is only necessary to read the history of that Institution in order to acknowledge that it was one of the most useful and valuable institutions connected with art that have ever been formed. The British Institution was established in 1805, under royal patronage. Now before these two important steps were taken for the encourage- ment of the fine arts in England, we find, independently of ordinary sales of pictures by public auction, that attempts were made to get up exhibitions of the works of the old masters, for the purpose of sale. Plow true it is that there is nothing new under the sun ! for this is precisely what some picture dealers of the present day do. In 1802, Joseph Count Truchsess, of Zeyl Wurzach, Grand Dean of the Cathedral Church of Strasbourg, and Canon of the Chapter of Cologne, published a pamphlet, described as ' Proposals for establishing by Subscription a Public Gallery of Pictures in London. The profits of their * For further information respecting the fine arts in Scotland and Ireland, tlie reader is referred to W. B. Sarsfield Taylor's work ' On the Origin of the Fine Arts in Great Britain and Ireland,' published in 1841. xvi INTRODUCTION. exhibition and subsequent sale to be divided among the subscribers.' We also read of a large collection of pictures exhibited for sale in the ' Great Room, in the Strand, opposite to Beaufort Buildings, formerly occupied by the Society of Arts and Sciences.' Many of the notes appended to the pictures are quaint specimens of descriptive writing. The book is headed ' Catalogue with Succinct Annotations.' Our foreign neighbours were not idle at this time, and the fine arts were duly appreciated in France and other parts of the Continent ; the following names may be mentioned amongst the numerous French picture collectors of the period which we are considering : — the Duke de Chaulnes, the Duke de Tallard, the Bishop of Lizieux, the Cardinal Polignac, the Abbots Peroux and Jevigny, Madame Pompadour, and Messieurs de St.-Maur, Le Doux, Pollatici, Julienne, July de la Live, D'Arville, Lempereur, Bouiller, and Girard. The continental picture sales by public auction might be treated in the same way as the present work, so as to form a Commer- cial Dictionary of Painters. In a little treatise addressed to amateurs in pictures, by M. Francois Xavier de Burtin, Member of the Royal Academy of Brussels, we find the following note by the translator, Mr. Robert White. Speaking of French picture sales, he writes : ' Since the date of M. Burtin's work, hoAvever, another has been published at Paris, by M. Gault de Saint- Germain, in which he gives a list of various prices at the most important public sales in France, from that of the Countess de Verrue, in 1737, down to the date of his publication in 1818. He states that he includes among these Le Brun's prices.' The Geldermeister Collection, consisting of three hundred pictures, was sold at Amsterdam in 1800. It was considered an interesting collection, and some scarce painters were brought to light ; the best pictures, however, sold for comparatively small sums. In this Introduction the writer does not wish to dwell on the art records of our own age. The history of the Royal Academy down to the present day, and the history of the British Institution, have already been written, and the Sale Notes contained in the present work refer almost exclusively to the present century. DICTIONARY OF THE WORKS OF PAINTERS. A ABATI, NiccoLO, called NiccoLO dell' Abate, and Nic- COLO DA MODEXA. iSee Pkimaticcio. ABBOTT (or ABBOT), Lemuel. Born in Leicestershire; died in 1803. Pupil of Francis Hayman. English School.^ Sale in 1832,= George Watson Taylor. Esq., M.P. Portrait of Simon Taylor, Esq £31 10 Abbott was most successful in his portraits of naval oifi- cers ; and, with tlie exception of Hoppner's portrait at St. James's, we are indebted to him for the best portraits we possess of our great captain. Nelson.^ As a rule, we do not like Abbott's full-length portraits, j-et we must not call him a bad painter; but we may describe him as 'unequal.' "When Abbott took pains, he could paint a life-sized head very nicely ; he pencilled fairly, and introduced a great deal of brown in the face shadows. In some of his most pleasing heads we notice a peculiar kind of hatching about the fiesh tints ; in this hatching a different tint is used, which is balanced by the sparkling grey and white touches on the eyes. Abbott painted the court-dresses and epaulets of his sitters in the quiet sensible manner of Copley and Mather Brown. John Webber's portraits class very well with Abbott's; he was probably a different painter from John Webber, R.A., the artist who accompanied Captain Cook in his last voyage. The foreign drawings, in body-colour, by the latter painter, are very curious, and are elaborately finished ; they class with Glover's and Gatta's body-colour drawings, only Webber's figures are better than Glover's. "We meet with classical compositions in water-colour by Gatta; the figures most likely are intended to represent il- lustrations of stories ; the landscape part is of a scenic cha- racter, and his moonlight scenes are generally the best : although the figures are small, j'et they are prettily finished. AC HEN (or ACH), John Van. See Baetholomew Speanger. ACLAND. Sale in 1829. John Webb, Esq. A Miniature of Mr. Addison £0 9 ABRIANSEN, Alexander. See Van Son. AERTSEN, Peter. Born at Amsterdam in 1519; died at Amsterdam in 1573. Pupil of Alaert Claessen. Dutch School. — Clay, Esq. An Intei-ior Sale in 1813. £0 13 It appears that this artist studied under a portrait- painter ; he afterwards practised as a painter of interiors and culinary utensils : growing tired of this laborious ST)e- cies of painting, he suddenly cliangcd his style, and devoted the rest of his life to religious and liistorical art. The well- known Dutch artist, William Kalf, who flourished nearly a hundred years after Aertsen, commenced his studies as an historical painter, which branch he afterwards forsook, and acquired celebrity as a painter of culinary utensils. ' For biographical information, the reader is referred to Stanley's edition of ' Bryan's Dictionary of Painters, &c.,' with Ottley's ' Supplement: ' (^onUrs ' Dicli(»iary of Paint- ers, &c. ;' Maria Far(iuhar\s ' Catalnguc of 1 t.iliiin' Painters ;' Snniuel Tle(]Ki-av(;'s ' ( 'atalogue of the Special Exhibition of Portrait IMiiiiatiii* s in 1865;' and to other modern works on the history ol' i);iiiiling. Most (;f the collections referred to in this work were sold by Messrs. (Jliristic k Co. ^ There are so.no neatly -painted porti'aits of Nelson by Fuger and Guzzardi. AGGAS. See Ftt. AGLIO, Andrea-Salvatore di Antonio di Arzo. Born at Lugano in 1736 ; died in 17SG. Sale in 1830. Viscount Hampden. A Pair of small Landscapes £3 AGRICOLA, Christopher Ludwig. Born at Ratisbou (or Regensburg) in 1GG7 ; died in 1719. Sale in 1802. Guy Head, Esq. A small Landscape £1 14 6 AIKMAN, William. See Hogarth. ALBANO, Francesco. Born at Bologna in 1578 ; died at Bologna in 1(360. Pupil of Denis Calvaert, and of the Cai-acci. Bolognese School. Sale in 1763. Earl Waldegrave. St. John Preaching £21 1766. A Drawing in water-colours 3 li 1801. Earl of Besborougli- Joseph and Potiphar's Wife 16 16 Bacchus and Ariadne 10 id Cupid and Psyche 12 12 William Young Ottley, Esq. Venus attired by the Graces ; from the Corsini Palace 199 10 1802. The Holy Family 72 9 TheReposo 17 6 G Venus attired by the Graces ; from the Duchess of Bourbon's collection ... 36 15 Lord Darnley. Joseph and Potiphar's Wife .... 34 13 1803. llohert Thistlewaite, Esq. Christ appearing to Mary Magdalen . . . 26 15 6 St. John baptizing Our Lord . . . . 29 8 1:^04. — JBoxellis, Esq. A Magdalen 30 9 — Bryan, Esq. A Choir of Angels 1806. Marquis of Lansdowne. The Reposo 1812. riifirJrs Lnmhrri, Esq. A LniHlsciipc, with the Story of Salmacis and Ik'fui.'iphroditus 27 C 43 1 35 14 1S13. The Virgin, Saviour, and St. John. Bought in at 120 15 John Willctt Wdlett, Esq. The Conununion of the Magdalen ; fi-om the Orleans Collection 110 5 ISIG. Henry Hope, Esq. The Triumph of Bacchus and Ariadne . . 43 6 Dancintr ( 'n()ids 2-i 1 Apollo rccMllcd to Heaven !)0 IG The Jiath of Diana . 154 7 ALB CKITICAL AND COMMERCIAL DICTIONARY OF 1819. John Knight, Esq. The Salutation £37 16 The Assumption of the Virgin . . . . o9 is ' Noli me tangere.' Eought in at . . , 294 1S21. Venus at her Toilet, attired by the Loves and Graces 47 5 John Webb, Esq. Venus and Adonis 49 7 1822. Marquis of Bute. The Holy Family, with Angels , . . . 19 8 6 1823. Madame diurat. A Landscape, with the Story of Apollo and Daphne 14-7 Pan and Syrinx 38 17 1829. Lord Gtvydir. A Group of Nymphs sacrificing to Bacchus . 12 12 George Ilibbert, Esq. The Virgin and Infant Clirist, with Angels ; from the collection of M. Robit 67 4 John Webb, Esq. St. Jolni in the Wilderness 1831. John Maitland, Esq. A Landscape, with St. John Preaching; from the Orleans Collection ' Noli me tangere ; ' from the Orleans Collec- tion 23 2 48 6 78 15 George James Cholmondeley , Esq. A Landscape, with Figures 61 19 1833. Chevalier Sebastian Erard. Four oval pictures of the ' Seasons; ' from the Santa Croce Palace 1,102 10 1836. The Virgin in Adoration 60 18 1838. M. 31. Zachary, Esq. The Assumption of the Virgin . . . . 76 13 1839. John Knight, Esq. ' Noli me tangere ' . .- 472 10 1840. William Hastings, Esq. The Holy Family, in a Landscape . . . 27 6 The Holy Fasmily, with Angels, in a Landscape 31 10 Sir Simon H. Clarke, Bart. Diana and her Nymphs disarming Cupid . . 76 13 1841. Marquis of Camden, K.G. The Holy Family, with Angels, in a Landscape . 78 15 1844. Jeremiah Harman, Esq. St. John baptizing Christ, attended by Angels ; from the Prince de Conte's collection . . 73 10 1850. Earl of Ashburnham. St. John baptizing Christ ; from Sir Luke Scliaub's collection 315 o The works of Francesco Albano are very numerous, and are frequently met with in this country, as well as in Bo logna and other places on the Continent. His illustrations cf familiar passages from the Bible are very delicately a}id sweetly treated ; he also frequently employed his pencil in painting mythological subjects; and his stories of Apollo, Adonis, Venus, Cybele, and Actaeon are great favourites. In his pictures of the ' Holy Family' and the ' Reposo,' we see much of the grandeur and dignity which characterise the M-orks of the Caracci ; in Albano this is particularly striking in his manner of painting the Infaiit Jesus and attendant angels, whilst he was less successful in his Josephs and male figures ; his female figures are very beautiful, and are generally characterised by delicate lozenge-shaped or oval eyes, of an unusual length; but lovelier still are the little amorini which cluster around his sacred and profane sub- jects. Not only in his pictures of the ' Reposo,' but also in other subjects, Albano loved to paint landscape back- grounds ; they are brilliantly coloured and tastefully com- posed, the foregrounds being enriched with columns, bas- reliefs, and other architectural fragments. Albano was fond of painting cabinet jjictures, which in some cases he would finish very highly, yet the highly-finished specimens are generally less agreeable than his slighter and less laboured pictures; but m both classes may be noticed his fondness for bright and cheerful colouring, his figures being often gorgeously apparelled in ultramarine, vermilion, and rich yellow draperies. The last colour is particularly fine in Albano's pictures, and is brilliant without appearing rank or chromy : it is rather a rich golden ochre, and apparently much brighter than our ochres of the present day. It is not uncommon to find Albano's pleasing style reproduced in the works of other painters ; for instance, we may speak of Lodovico Garzi as one who was successful in preserving an Albanesque feeling in his pictures. ALBERTINELLI, Makiotto. See Pokta, or I'ra Bar- TOLOMEO. ALDEGREVER. Henrt. Altdorper. ALEXANDER, William. See Cozens. ALLAN, Sir William, R.A. See Wile:ie. ALLAN, Daviu. Born at Alloa in 1744; died in 1796. English School.' Sale in 1796. Jacob More, Esq., and 31ons. Liss. A Pair of Emblematical Pictures . . . .£190 1801. Sir W. Hamilton. Two small Pictures of Neapolitan Figures in Devotion . . . . " 2 10 1813. John Willett Willett, Esq. A Shipwreck 14 14 David Allan employed his pencil on a variety of subjects ; perhaps the most interesting are his scenes of rural life in Scotland. His cottage interiors remind us of Paye's early works ; there is a melancholy sombreness about some of them, a want of daylight, and a gaol-like atmosphere seems to surround the old-fashioned furniture as well as the figures. Allan also painted life-size portraits of children, in the backgrounds of which he would introduce pleasing landscapes ; he gave a pretty feeling to his pictures of this class, although we cannot say that they are painted with much spirit. We may speak in the same way of the female figures in his small interiors ; they are pretty, but are usually rather tame. ALLEGRI, Antonio, called II Correggio. Born in Cor- reggio in 1494 ; died in Correggio in 1534. Lombard School. Sale in 1801. William Young Ottley, Esq. Virgin and Child £304 10 1802. John Udny, Esq. Christ appearing to Mary; from the Orleans Collection 325 10 The Virgin and Child 99 15 1804. — Boxellis, Esq. Two Angels 126 1813. John Willett Willett, Esq. Mercury teaching Cupid to Read. Bought in at 199 10 1816. Henry Hope, Esq. Danae ; from the Orleans Collection . , . 183 15 1821. Ifarchioness of Thomond. The Marriage of St. Catharine , . . , 225 15 1823. Angels' Heads; formerly in the collection of Hart Davis, Esq 120 15 Danae 2«5 iU 1826. Admiral Lord Badstoclc. The Virgin seated, in a Landscape, with the Infant upon her Lap 33G 1829. John Bobert Udny, Esq. ' Noli me tangere ;' from the Orleans Collection 14115 1831. Hon. Mr. Vernon. Portrait of a Man Reading lOG 1 1833. Chevalier Sebastian Erard. Venus caressing Cupid 89 5 The Incredulity of St. Thomas . . . . 107 2 1850. Earl of Ashburnham. Holy Family, with St. John, in a Landscape; from the collection of Sir Luke Schaub . . 99 10 1856. Samuel Bogers, Esq. The Holy Family ; from the Orleans Collection . 252 The term ' English ' is used in this work for ' British.' 3 THE WOEKS OF PAUS^TERS. A M E 1862. A Study of two Angels ; a drawing in black and red chalk ; from Penou's collection . . .£300 Of all the great masters who adorned the schools of Italy during the early part of the Ciuquecento period, not one excelled Correggio in the technical capacity of the art, or surpassed him in the determination and spirit with which he sought to free himself of the conventionalisms of the Quattrocento schools. From his youth he appears to have thoroughly comprehended Art's highest aim or calling, in the words of Winkelman, that of ' sketching the soul and painting the mind;' and, like a true knight, he was ever seeking for difficulties and challenging the most operose or delicate sub- jects which nature can invite art to contend with. Correggio's finest works are redolent with life and beauty, there is a loveliness about his infants which even Sir Joshua Reynolds, Greuze, and other great masters in modern times, with all the advantages which they enjoyed of studying what had been done before them, never surpassed. And not merely in 'motive' is Correggio great, but his works are especially dear to art in virtue of the way in which he carried out or materialised his brilliant ideas, bequeathed to us in such language, that the shortest sentence, or the smallest com- pass of pencilling, gives pleasure to the connoisseur, or will stand the criticism of those who profess to understand the meaning of ' quahty ' in painting. It is true that subjects intended to illustrate the sublime poetry of religious art were attempted by artists long before the time of Correggio, but on many of them all that we can bestow is praise for the purity of their thoughts, whilst we lament their feeble inability to express the thousandth part of what they felt; but with Correggio it was far different, his manner of treat- ing the most difficult subjects of sacred *and symbolical art, together with the subtle curiosities of his materials and the terhnical secrets so mysteriously committed to his trust, htlve, since the days of the Caracci and Christoforo Allori to the present time, been regarded as canons of art, and have been studied with enthusiasm by our greatest painters. In Correggio's treatment of mythological and allegorical sub- jects we discover the germs of many of the works of the Bolognese and early French painters ; some of these designs by Correggio are weakened by the unnecessary display of the most difficult effects of figure perspective, or, as it is usually called, 'foreshortening,' which, curiously, he de- lighted in, although one of those hard points in the mechanism of painting which most artists studiously, and perhaps wisely, avoid. Again, the 'extremities,' over which so many artists stumble, seeking to disguise them by means of drapery, or else with a few unmeaning dashes of colour which are intended to pass for sketchiness or freedom of handling, or anything rather than bad drawing, were the delight of Correggio; for he loved to play with the pretty hands of his models, and would paint them in the most difficult and fanciful positions. The mastery vrhich he en- joyed over his profession did not rest here, for remark like- wise the dignity of his profiles, and his skilful management of features in full— positions in which an unskilful artist is almost sure to fail. Correggio vi'as also a landscape-painter, and his most charming compositions are those in which landscape is introduced, in preference to a confined or in- terior background ; the trunks of the trees are so round and nice, the trees are also well grouped, and the quiet stillness of the distant scenery, if undisturbed by any figure subject, in small, but merely enlivened with a few Poussin- like arches or buildings, is very agreeable ; the foreground foliage, often consisting of large leaves, intermixed with flowers, is finished in a costly manner, with bright me- tallic kind of tints. Even if Correggio had possessed feebler conceptions of the beautiful with infinitely less power as a draughtsman, and immature understanding of the nature and properties of ' quality,' he would still, in all probability, be considered a great master, and in memoriam a proof that excellence is as attainable in one age as in another. The writer is speaking of him as a colourist, in its application to ' light and shade ;' in this fort Correggio was very great, his flesh tints are marvellously luminous, whilst at the same time he gave such extraordinary relief to his figures. It is difficult to discover how the brightness of Correggio's flesh tints is produced; doubtless much is dependent on the management of the cool, and likewise rich brown shadows, which govern the flesh tints of his figures; and we may add, that the labour and finish which he bestowed on the various passages which compose the backgrounds of his pictures have greatly enhanced the splendour and brilliancy of the principal parts, whilst they appear to interpret many of the reflected lights which play so deliciously on the figures ; yet with all his enthusiastic zeal for faithfully rendering everything which assisted him in composing his work, we rarely feel that the inferior or accessorial passages carry us away from the centre objects of attraction, they rather lead us to the points in which the soul and poetry of the idea lies. As Correggio's finest works are valued at thousands, one naturally feels sceptical when his name is mentioned. An eminent coimoisseur used to say, 'Now don't show me any of your Correggios;' yet there is every reason for believing that original works by Correggio have occasionally exchanged hands during the present century, either incog., or anyhow only half believed in. The prefixed sale notes seem to favour this advancement, aTid it is very necessary to remember that the best masters occasionally painted slight or hastily-finished pictures, or little more than studies, whilst the original beauties of others are rendered all but invisible by the condition tliey are in : under such circumstances we cannot feel surprised that people are unwilling to speculate largely in them. ALLORI, Alessandro. See Bronzing. ALLORI, Cheistofano. See Bronzing. ALST (AALST, or AELST), William Van. Born at Delft in 1020 ; died at Amsterdam iu 1679. Pupil of Evert Van Aelst. Dutch School. Sale in 1807. Edward Coxe, Esq. Grapes, Peaches, and Insects . . . . £16 IG 1836. Still Life 3 10 Dead Game 7 1848.' Dead Birds, and a Dead Hare . . . . 33 12 1860. Dead Game 17 6 6 The works of this painter remind us of several artists ; in his pictures of dead game he loved to introduce a landscape background in the manner of Weenix; the animals are oftt n lying' at the foot of some fine old tree, the trunk being care- fully and elaborately finished, and exhibiting curious forma- tions of bark strata, other parts being enriched with a variety of mosses. The dead birds in his pictures are very nicely painted, and he particularly excelled in painting cool silvery plumage ; the butterflies and other insects intro- duced in his pictures are finished in the elaborate and beautiful manner of De Vree, and his pictui-es of fish may be compared to Adriansen's. Van A(^lst always finished his pictures with a smooth and delicate pencil, consequently not only his flower pieces, but also his other compositions, strongly remind us of the works of Mignon. The works of Isaac Denies closely resemble Vander Aelst's. ALTDORFER, Albert. Born at Altdorf, in Bavaria, iu 1488. German School. Sale in 1866. Henry Farrer, Esq. A Pair of Panels, with Sta. Lucia and three other Saints standing beneath festoons . . £19 8 6 Although we do not find the force and richness of Albert Durer in the works of Altdorfcr, still the latter was a painter of considerable taste, and the contours of his tall figures are exceedingly graceful ; and his works on the whole are more Italianesque and refined than the works of Lucas Cranach. Like most of the German painters of his time, he loved to embellish the backgrounds and draperies of his pictures with gold. Henry, or Albert Aldegrever was a more severe painter than Altdorfer, and, like the latter, is better known in this country as an industrious and elaborate engraver than as a painter. ALUNNO, Niccolo. See Giotto. AMBBRGER, CnEisTOPHER. See Holbein. AMEDULA, GiULio Di. Sale in 1864. Earl of Clare. The Virgin and Infant Saviour enthroned, at- tended by St. Peter and St. Paul . . . £-2G 5 AMERIGI, Michael Angelo, called l^>i n at Caravaggio in 1569; died in 1609, at Porto-Ercolo. Roman and Lombard Schools. Sale in 1796. Jacob 3Iore, Esq., and Mons. Liss. A Meeting of Gipsies and Gamesters . . . £14 14 1801. Earl of Beshoroiigli. Portrait of a Bolognese Locksmith . . . 36 15 1802. The Holy Family, with St. Elizabeth . . . 189 John Udny, Esq. „ w ^ St. Sebastian 28 7 1803. Richard Walker, Esq. The Locksmith of Bologna; from the Earl of Besborough's coUeotion 16 16 ' The Duke of Buckingham's collection was sold at Stowo House, in 1848, by Messrs. Christie & Manson. Tlie collection is not entered in this work, but the writer beluives that the 438 pictures in the collection sold for £11,000. An in- teresting illustrated account of Stowo was published by B. Seeley in 1773. B Z AMI CEITICAL AND COMMEECIAL DICTIONARY OF Walsh Porter, Esq. Infant Card Players; from tho Aldobrandiui Palace £;:SS 10 Earl of Godolphin. A Musical Conversation 17 6 ISOK The Gamesters; from the Palazzo Bolognetti . 131 5 1807. Edward Co.ve, Esq. Portrait of Caravaguio, with a Mii-ror in his Hand . . 51 19 Abraham about to sacrifice Isaac ; from the Orleans Collection 21 1808. The Battle of Constantino 27 G 31 13 Sir Jlicliard Sullivan, Bart. St. Peter denying Christ .... 1815. Edtvard Coxe, Esq. Abraham about to sacrifice Isaac ; from the Orleans Collection 11 6 1821. Ifarchioness of Thomond. Study of a Head 11 6 1827. Viscotmt Cremorne. Our Saviour, with Mary and Martha . . . 31 10 1831. Hon. Mr. Vernon. Portrait of the Poet Marini; from tho collection of the Marchese Benveniiti . . . . 42 Christ with His Disciples at Eminaus . . . 120 15 18W. Jeremiah Harman, Esq. A Young Roman Girl tasting Grapes, behind her an Old Woman and a Peasant Boy . . 67 4 1850. Earl of Ashburnham. St. Peter accused by the Damsel ; from Sir Gregory Page's collection 115 10 It is not recorded in the life of this painter that he visited Spain, but we may regard his style as a compound of the S])anish and Venetian. Caravaggio was an excellent head- painter, but he lost himself in many of his grand subject pictures. Chiai'oscuro, and effects of candle-light, have done much for art; they are often powerful auxiliaries in pro- ducing a good picture, but they will not make up for want of taste, in which gift Caravaggio, unfortunately, was not over favoured ; his whole-length figures are often clumsy and stupid-looking, and his style of painting the Infant Saviour is generally very inferior to the great Italian painters liis contemporaries. Perhaps the best way of enjoying Cara- vaggio's large pictures is to separate them into i)arts ; when we examine some of the heads in this way, we are struck by their boldness and fullness of character : many of them have a resemblance to Ribera's heads. Through Ribera, the Spanish School profited by the compositions and works oi Caravaggio ; and, considering that Ribera studied painting in his own country before he became acquainted with Cara- vaggio, it seems fair to infer that the profit or advantage was mutual ; the former acquiring additional power from the study of his friend's bold ideas of light, shade, and breadth, whilst the latter looked with advantage at Ribera's wonder- ful firmness of touch, his square and vigorous irapasto. Cara- vnggio's smoother pictures may be compared to Valentino's, AVe are told that Leonard Vander Cooghen, or Kooghen, was a pupil of Jacob Jordaens; but there are pictures by him which certainly seem to be painted in emulation of Cara- vaggio ; at the same time it may be observed that his pencil- ling is considerably smoother than Caravaggio's. AMIGONI (or AMICONI), Jacopo. See Pieteo da Coe- TOXA. ANDERSON, W. Flourished in the latter part of the eighteenth and early part of the nineteenth centuries. English School. Sale in 1802. A Calm and a Presh Breeze ; a pair A Cahn, with Shipping and Figures A Sea Piece Ditto A Pair of Sea Pieces Ditto .... 1819. £4 14 5 5 5 4 12 4 4 8 8 5 18 6 6 1825. The Interior of Westminster Abbey . 18.32. A View on the Thames, and a View of Hastings 10 10 1862. Thomas Garle, Esq. A Sea Piece, with Men-of-war and Boats in a Breeze 4 A View of Erith, with Figures A Calm, with Men-of-war and Boats I8r,9. A Calm, with Shipr)ing and Figures £3 10 6 10 1 18 The above sale notes show that Anderson did not confine his style to sea and river views ; although his small pictures of the latter class are best known to collectors. Notwith- standing the small prices his pictures obtain in the "market, they are worthy of a ))lace in the best collections of the works of early English painters. Anderson finished liis pictures very neatly, and usually painted with cool silvery colours; he may be called our English Zeeman. Daniel Turner, an English artist of the early part of the present century, painted some views of the metropolis; they are v/orked up in the neat manner of Anderson, and are rather prettily coloured. L. de Koningh probably painted about thirty or forty years before the time of Anderson, but his quiet marine views remind us a little of Anderson's. Ko- ningh's pictures are prettily coloured, especially the skies and distant scenery ; but he was not always so successful in painting the water. J. Besters painted canal views, and views of towers, partly in the manner of Anderson. Brigers painted marine views, and small portraits of men-of-war, in the latter part of the eighteenth century. ANDRE ANI, Andeea. See Albeet Dueee. ANGELICA. Sale in 1803. Head of Helen £6 10 ANGELIS (or ANGELLES), Petee. Born at Dunkirk in 1G85 ; died at Reiines in 1734. Flemish School. Sale in 1801. — Slade, Esq. A Fishmonger's Stall £3 4 1803. Robert Thisfletoaife, Esq. Fruit and Dead Game, with Herbage and Fi- gures ; a pair, after Rubens and Siiyders . 78 15 Ditto; a pair, after ditto 63 182L Jo?m Webb, Esq. A Flemish Cabaret 24 3 6 1827. Robert Grave, Esq. A Cottage Door, with a Man playing on the Hurdy-gurdy 6 1829. Lord Gwydir. A Flemish Festival ; in imitation of Teniers . 7 15 Angel les may be described as a painter of conversations and still life. In some of his conversations he appears to have introduced the portraits of his employers; in these l)ictures the figures are cleverly grouped, and they may be classed with C.Philips's best works ; although thinly painted, and usually rather brown, yet it may be observed that the finures sit with a great deal of ease, and the hands are pret- tily drawn. Angelles, we are told, copied Rubens' ' Four Markets,' the Houghton pictures. At Kedleston there are some very large landscapes, which some say are copies from Rubens by one of the Moi'lauds. ANGELO, Michael, Buonaeeoti. See Buonaeeoti. ANGELO, Michael Ameeigi, da Caeavaggio. See Ameeigi. ANGELO, Michael Ceequozzi, called dalle Battaglia. See Ceequozzi. ANGELO, Michael, called II Campidoglio. Born at Rome in 1610 ; died in 1670. Pupil oi Fioravanti. Roman School. Sale in 1812. Charles Lambert, Esq. Fruit Piece, with a Rabbit .... 1813. John Willett Willett, Esq. A Fruit Piece 1819. W. N. Heivett, Esq. A Fruit Piece 1825. A Girl with Fruit 1827. Robert Grave, Esq. A Group of Fruit 1844. Jeremiah Harman, Esq. A Fruit Piece . £9 5 6 16 6 6 16 6 6 6 2 10 13 6 Whilst we must admit that the works of this painter are inferior to the fruit and flower pieces of De Heem, and other eminent painters of the Dutch School, we are, nevertheless, often pleased with the vigour of his manner and the bold impasto of his handling. Like Maltese, he would sometimes 5 introduce a ricTily-oolouved mat or rus in one corner of his picture, whilst in tlie centre of his fruit pieces we may expect to see one or two enormous pumpkins, one of them hems usually cut into slices. CiinipidoKlio had quite a knack lor painting pumpkins, melons, and other varieties of lar^e fruit. In some of his pictures of fruit and llowers he would introduce wine-Khtsses, musical instruments, and even figures in the background ; at other times, inst(>ad of arrang- ing his fruit and flowers on a table, in a room, he would pile them on the steps of a terrace, relieving them with foliage and sky. Campidoglio's works are usually large, and, as already observed, we miss the transparency and quality which please us so much in the fruit and flower pieces of the Dutch and Flemish painters ; there is a decorative cha- racter about Ciinipidoglio's pictures which is' greatly ex- aggerated in imitations, of which there is no lack. Maltese fruit pieces may be compared to Campidoglio's, although the former are inferior works. Maltese particularly excelled in painting rich table-covers. He was a native of Malta, and flourished in the latter half of the seventeenth century ; his works are not frequently met with, and the writer does not recollect seeing any in Malta. There were two scarce painters who imitated Maltese's manner of painting richly- worked table-covers; one may be known by the monogram GIO. PLO. GTTO. FIT., and the other by the monogram J. hupin. f. The former painted groups of fruit, and would introduce table-covers or drapery, richly coloured and highly embossed in the manner of Maltese's painting. The latter painted similar subjects, and his flowers remind us a little of Baptiste, the pencilling of the curtains or table-covers in Hupin's pictures is so like the pencilling of Maltese, there is the same full impasto given to the touch, that one might be induced to ascribe such parts of the work to the hand of Maltese ; but on carefully examining the works of Hupin, it will be seen that other parts are put m with the same broad touches ; for instance, we can trace them in some of the flowers. An artist of the name of Georgio Garvi painted flower pieces in the manner of Campidoglio. ANGOSCIOLA (or ANGUISCIOLA), Sofonisba. Born at Cremona in 1530 ; died about 1620 at Madrid. Pupil of Bernardino Campi and Bernardo Gatti. Cremouese School. Sale in 1807. Edwa7'd Coxe, Esq. Her own Portrait ; from the Besborough Col- lection £13 13 1815. W. Comyns, Esq. Her own Portrait 5 5 1823. George Watson Taylor, Esq.. M.P. Her own Portrait; from the Besborough and Coxe Collections 2S 5 1832. George Watson Taylor, Esq., M.P. A Miniature in oil-colours of Herself . . . 10 10 This excellent paintress, who had the advantage of study- ing in Spain as well as in Italy, occasionally painted re- ligious and historical subjects, but she is better known as a portrait-paintress. The style she adopted is very pleas- ing, and is distinguished by a semi-miniature neatness. In the setting and costume of her portraits we are reminded of Sir Antonio More's small portraits, the female faces being usually round and full, with the hair drawn back and secured* in a net or headdress of pearls. Large lace collars, and not ruffs, generally adorn the necks of her b(!auties. She loved to introduce a great deal of rich brown about the background and dresses of her portraits, the latter being ornamented with jewels and orange trimmings. It may be fairly said of Sofonisba that she had a delicate eye for colour, and as a portrait-paintress may be considered in advance of her time ; her colouring may be described as warm and harmonious. Although such an early paintress, we notice nothing tiiat is hard or formal about her works; on the contrary, the features and hands are stippled in with a mhiiature neatness, the flesli tints are carefully blended tog(,ther, and a little ultramarine may be traced in the shadows of the sauie. ANTINONI. Sale in 1806. Marquis of Lansdowne. Four Views in Naples £14 14 ANTOLINEZ DE SARABIA, Feaxcesco. See Murillo. ANTONELLA DA MESSINA. See John Van Eteck. ANTONISSEN, Heney T. Born at Antwerp in 1737 ; died in 1794. Dutch School. Sale in 1790. Jacob More, Esq., and Mans. Liss. A Landscape and Figures £8 8 1816. Henry Hope, Esq. A Landscape and Cattle 20 9 6 DiLtp 22 1 ARN 1825. Peasants with Cattle, in a woody Landscape on the Bank of a River £11 6 1827. Viscmaii Cremorne. A Landscape, with Cattle and Figures . . . 5 15 The works of this painter slightly resemble Ommeganck's landscapes. The style he followed flnds few admirers at the present day ; in some cases his pictures remind us of Van Huysum's landscapes ; often agreeable in effect, yet in toucli too weak and laboured to be valuable. On his cabinet pictures Antonissen bestowed the greatest pains, neaily every leaf is carefully made out, or, as it were, separately finished, the trunks of the trees being worked up in a similar manner ; we see on them a variety of tints, repre- senting different vegetable formations, whilst numerous knots and clefts in the bark are indicated with very fat touches of colour. The same painstaking industry may be observed in the foregrounds of his pictures, his tulips and other plants being little pictures of themselves. Antonissen's landscapes, although light and gay in eflTect, appear feeble for lack of harmony in the several parts, and correctness of gradation ; his trees are unquestionably well relieved, but his highly-finished distances come too forward, more by reason of injudicious management of the colours than from the careful finish of the details ; and lastly, his garden fore- grounds do not assimilate well with the figures, J. B. do Roy's highly and delicately-finished cattle pieces class very well with the works of Antonissen, Meyer, and similar painters of the same period. The foreground of Bouquet's landscapes are worked up in the curious and elaborate manner of Antonissen. APOLLODORO, Francesco (or APOLLODORO DI PORCIA). Pupil of Dario Varotari. Veronese School. Living in 1608. Sale in 1805. Portraits of Alcano Federici and his Son . . £59 17 APPELMAN, Beknard (or Barent). Born at the Hague in IGIO ; died in 1680. Dutch School. Sale in 1836. Count de Balch Poleff. View of the Old Custom' House at Rome . . £1 11 6 View of the Tomb of Cecilia Metella, near Rome 18 Like Both and other Dutch painters, Barent Appelmau appears to have adopted Italy as the fittest country for the exercise of his landscape art. Although his studies and slight sketches appear of little value, his highly-finished pictures are very nicely composed; the skies are broken with bold rolling masses of light clouds, and we notice pleasing gradations of light and shade about the mountains and hills. Views of the famous mountain scenery and lakes of Frescati may be found amongst the productions of this comparatively obscure painter. His landscapes may be described as carefully finished and effective, because he endeavoured to introduce pleasing effects of sunshine play- ing on the foreground, or illuminating his Bamboccio kind of figures. His lofty but delicate foreground trees ai'e elaborately finished in the manner of De Heiisch, APPIANI, Andrea. Born at Milan iu 1754 ; died in 1818. Lombard School. Sale in 1821. Jo7m Webb, Esq. A Mother Weeping over her Child . . . £10 13 1829. JoJin Webb, Esq. Jane Shore 2 2 This pleasing painter was a kind of Italian Boucher, only he pencilled more in the manner of Chevalier d'Arpino. APSHOVEN. Sale in 1822. 3Iarqnis of Bute. Interior, with Card-players £16 4 ARCHER, A. ^eeZoPFANT. ARLAUD, James Anthony. Born at Geneva in 1668; died at Geneva in 1743. Sale in 1807. Edward Coxe, Esq. Jupiter and Leda; after a bas-uelief of M. An- gelo's . £99 15 1815. Ed ward Coxa, Esq. Jupiter and Leda; alter a bas-relief of M. An- gelo's 44 2 ARNALD (or ARNOLD), George, A.R.A. Born in 1763; died in London in 1841. English Sciiool. Sale in 1819. A View of St. Alban's £10 10 1827. Bobert Grave, Esq. London, from Greenwich Hill . . . . 1 11 6 THE WORKS OF PAINTERS. ARP CRITICAL AND COMMERCIAL DICTIONARY OF 6 £1 11 G 1837. Sir Francis Freeling, Bart. A Lake Scene 1838. William Esdaile, Esq. A Landscape, with a Waggon and Figures, near a flooded Road 7 17 George Arnald's pictures of romantic scenery remind us of Wright of Derby. Arnald's favourite green can hardly be called an agreeable green ; it is a cold slaty green, yet it seems to have been Arnald's favourite tint. Most artists have a favourite colour or tint; Morland had a favourite green only it is a far prettier green than Arnalds. In leafage-painting, Arnald followed the careful, almost me- chanical, style of linish which was encouraged by the paint- ers of his day— the round, se]jarate leaves, expressed witii liquid touches, as seen in the early works of Stubbs and Ibbetson. It may be observed that there is some variety ot subiects in the above sale notes ; for example, we have two views of cities, the latter probably little more than a sketch ; then one of his northern views ; and, lastly, a country road scene. Arnald was likewise a lover of moonlight scenes, yet there is a w^ant of force in his representations of the same ; it is sometimes hardly apparent whether the effect be in- tended for sunlight or moonlight. His night scenes, how- ever, and those already mentioned, are far from being his only pictures, or his only class of pictures ; for Arnald tra- velled through some of our most picturesque counties, and adapted his pencil, with considerable success, in delineating the varied beauties of British scenery and British anti- quities. His views of ancient castles, and old abbeys and churches, display considerable taste in composition, and cleverness in the execution; in fact, they may be considered capital examples of early English landscape-painting. Ar- nald was successful in representing extensive scenery; cities seen from distant hills, sueh as his view of London from Greenwich. In his pictures of northern scenery, if, in addition to a distant city, he was able to introduce a wind- ing river, crossed by a bridge or two, the subject became at once genial to him. When painticg an abbey or a mansion, he occasionally made the same the picture, by shutting out the landscape distance, and honestly working up the details in a laborious and painstaking manner, whilst he would save them from being mere architectural sketches by the introduction of busy groups of figures, and different acces- sories. If we cannot speak very highly of Arnald's skill in figure-painting, yet his figures must be noticed, as they are very characteristic of the painter ; they are busy figures. His lovers are not sleepy lovers, but are quite awake to the pleasure of each other's society. His most characteristic figures are those of women and girls, often in pretty atti- tudes, and busy in washing clothes on the banks of the rivers and ponds which he was so fond of introducing in his pictures. ARPIXO, IL Cavaliere d'. See Cesaei. ARTHOIS (or ARTOIS), Jaqxtes. Born at Brussels in 1613 ; died about 1666. Flemish School. Sale in 1802. — BecJcford, Esq., ofFonthill. A Landscape, with Soldiers on a March, by Artois and Vander Meulen .... £27 1803. Robert Grave, Esq. A Landscape and Figures 7 17 6 1821. Marchioness of Thomond. A woody Landscape, with Figures . . 6 16 6 1826. Lady IloUand. A woody Landscape, with Cattle on a Road . 5 5 1827. Viscount Cremorne. A Landscape, with Figures, by Both . . . 53 11 A Landscape, Preparing for the Chase . . 38 17 1830. Viscount Hampden. A Landscape, with an Obelisk, Ruins, &c. . . 21 1839. A woody Landscape, with Figures by Teniers . 21 In this country the name of Artois is chiefly remembered in conjunction with other masters, painting the landscape for figures by Vander Meulen, Teniers, and others. When Artois painted without the aid of figure-painters, his com- positions have the general effect of Van Uden's pictures. Commencing with the foreground, we find stumps or trunks of large trees, round which are entwined leaves and parasi- tical plants, moss, &c., all very brown and rich. His fore- ground roads are gravelly and light, and are put in with breadth, as artists call it. On either side of them, it is not unusual to notice large octagon-shaped masses of stone, probably not very geologically placed ; as Artois, like a great many other painters of his class, did not keep very strictly to nature. He was fond of painting ' compositions,' when, iu the manner of Paul Bril, he would make the foreground trees of an enormous size, in order to give distance and force to the rest of the subject. His handling, as seen in the sliaping of the stems or trunks of the trees, is similar to Paul Bril's, but his foliage is more truthful, and not so mechanical, and in colouring reminds us of Wildens and Teniers, although often more agreeable than the former. There is nothing very striking in Artois' own figures ; they generally represent sportsmen, or women driving cattle, and his men, in brown coats and bandit hats, class very well with Waterloo's figures. Artois was likewise fond of representing river scenery, with rich woody foregrounds, surrounded by avenues and clusters of tall trees. Some of these trees appear to come very forward, as the stems are touched up with light colour. The formality of these avenues is cleverly avoided, by bringing across them fallen trees, lying on the ground, but unstripped of their branches and leaves. Artois further reminds us of Van Uden by his partiality for high horizontal lines, whilst above the distant trees towers the delicate spire of some ancient church. Artois' skies are clear and pleasing; and his rolling white clouds harmonise agreeably with the often too prevailing red tints of his landscapes. His name is generally spelt Artois ; but his pictures are sometimes signed with a small delicate pencil, Jaques . d . Arthois . f. AS, P. Van. See Wateeloo. ASH FORD, W. Sale in 1801. A View near Wicklow £18180 1832. George Watson Taylor, Esq., 31. P. A View of the Bay of Dublin 17 17 W. B. Sarsfield Taylor speaks very highly of Ashford in his notices of Irish painters. Like Mullins, and other land- scape-painters of that school, he occasionally introduced stories or illustrations of books into his landscapes. His style reminds us partly of De Loutherbourg, and partly of Arnald. ASSCHE, Henet Van, Born at Brussels in 1775 ; died in 184il. Pupil of De Roy. Flemish School. Sale in 1827. Robert Grave, Esq. A Road Scene through a Wood, with a Horse- man and Peasant travelling . . . . £1 15 1842. A Dutch Village, among Trees, on the Bank of a Canal, with Figures in Boats .... 550 1863. John Allmift, Esq. A Landscape, with a Cottage on a Bank, and Figures on a Road 3 15 ASSELYN, John. Born at Antwerp in KUO ; died in 16(10. Pupil of Esais Vandevelde and Jan Miel. Flemish School. Sale in 1801. A Landscape and Figures £1-7 5 1802. A View in Italy 5 15 G 1804. — Bryan, Esq. A Landscape, with Figures passing a Brook . 21 An Italian Landscape 11 11 G 1807. Edward Coxe, Esq. View of the Colosseum 15 15 1821. A Landscape, with Cattle and Figures, by Berghem 31100 1822. Marq^tis of Bute. A Cavern Scene, with Figures . . . . 42 The Campagna 50 8 O 1827. Bake of Bedford. A River Scene, with the Ruins of a Roman Bridge 73 1829. Earl of Liverpool. Landscape, with Peasants, near the Ruins of an Aqueduct 71 John Webb, Esq. A Landscape, with Buildings, and Cattle fording a River 10 10 1830. Cattle in a Landscape, with Italian Buildings, &c. 10 The Ford, with Figures by Wouwermans ; for- merly in Mr. Barchard's collection . . . 57 5 1836. Sir Charles Bagot, G.C.B. A Landscape, with Cattle and Figures ; from the collections of Schmet Van Alphen and the Due d'Alberg 178 10 THE WORKS OF PAINTERS. BAG 1811. Marquis of Camden, K.G. A Landscape, with a Ruined Bridge, Cattle and I'igures lording a River £44 2 Hon. Lady Stuart. A Landscape, with a Booth, and Figures drink- ing 294 1 1848. Count de Morny. A Landscape, with Feasants and Cattle crossing a River; from the King of Bavaria's coUec- tiou 28 7 1861. Charles ScarfshricTc, Esq. A Landscape, with a Horse and two Goats rest- ing near some Roman Ruins . . . . 85 1 Ruins of a Roman Theatre, with a Peasant driving a Horse and Mule, &c 63 An Italian Landscape, with Peasants leading Mules through a Brook towards an Archway . 27 6 1863. Robert Craig, Esq. A River Scene 13 2 6 Asselyn, in freeing himself of the Brueghel type, pursued a different route from Solomon Ruysdael or Van Goyen, for, unlike them, he was fond of cool and dark tints; conse- quently, in colouring, his works are more like the pictures which Bamboccio painted when he was in Rome ; in these, the colours, although dark, are silvery, and the lighter parts are carefully blended into the darker. The views which Asselyn painted about the environs of Rome are capital pictures of their class ; there is so much breadth in the painting of them. There is often a similarity about the fore- grounds of Asselyn's pictures ; for instance, on either side are massive ruins, painted with his favourite grey and dark tints ; then we notice a succession of plains, and in the dis- tance lofty hills warmly coloured. In some of his pictures we find low round towers, with pyramidal roofs— the same kind of towers which Both and Swanevelt delighted to paint. Like Bamboccio, Asselyn occasionally painted interiors of caverns, or court-yards, with cavaliers attending to their horses ; in treatment, the former may remind us of his ca- nonical foregrounds of great dark rocks, formidable towers, or ruins of ancient castles. Asselyn's river views, enlivened with boats, and crossed in the distance by neatly-built bridges, and his moonlight pieces, remain to be noticed. The finish and neatness of the former class have induced some writers to compare them to Claude, although the comparison is not a very happy one ; his moonlight pieces are sometimes warm and Cuyp^ike, and are interesting as showing that Asselyn's works are not always cool and grey ; he introduced a pretty kind of foliage in them, or shrubs pencilled in the manner of Both. The figures in his small cabinet pictures are nicely finished and very spirited, and resemble the figures of Jan Vande Velde, his master's brother. Asselyn sometimes signed his pictui*es J. A., ciphered with a very fine pencil. ATKINSON, J. A. Sale in 1827. Lord de Tahley. A Baggage Waggon, escorted by a Party of Military £30 9 Atkinson displayed considerable freedom of pencilling in his small pictures ; his light touch appears to put every- thing in motion. AUGUST IN, J. B. J. Flourished about the end of the last century. Sale in 1829. John Webb, Esq. A Miniature of a Lady £5 Several of this painter's works were exhibited at the Loan Collection, at Kensington, in 1865; amongst them may be noticed, as a nice exami)le of this miniaturist, a ' Portrait of a Lady,' in a white dress, painted on ivory ; lent by Miss Fraser. AVERCAM (or AVERCAMP), Henet Van. Born at Kam- pen about the end of the sixteenth century; died at Kampen. German School. Sale in 1823. George Watson Taylor, Esq., M.D. A Frost Piece 1833. A River Scene, with Figures .... £17 17 7 7 This painter generally contrived to make the flgwres an important feature in his pictures. Some of his pictures are crowded with figures. The ladies and gentlemen are so carefully finished that they appear to be portraits, and they are represented in the rich fancy costume of the time of James I. His humorous figures remind us of Old Brueghel's. AVONT, Peter Vander. Born at Antwerp in 1619. F lemish School Sale in 1801. Earl of Beshorough. A Magdalen in a Desert £15 15 1802. Bacchanalian Boys 13 AVONT, Van. See Van Balen. B. D. Flourished in the eighteenth century. French School. Sale in 1822. Marquis of Bute. A Pair of Interiors, with Figures .... £20 BAAN, J. DE. Born at Haerlem in 1633 ; died at the Hague in 1702. Pupil of Piemans and Jacob de Backer. Dutch School. Sale in 1836. Portrait of a Lady, with Flowers, in a Garden . £8 18 6 BABUREN, Theodorus. See Frank Hals. BACKHUYSEN, Ludolph. Born at Embden in 1631 ; died in 1709. Pupil of Albert Van Everdingen, and of Dubbels. Dutch School. Sale in 1796. Jacob More, Esq., and Mons. Liss. A Brisk Gale, with Shipping £115 10 1801. Earl of BesboroiigJi. A Gale, with Shipping 30 9 View of the Brill, in Holland 46 4 1802. A Sea Piece 17 16 6 Diito 15 15 Ditto 26 15 6 A Sea Piece, with Boats and Ships . . . 31 10 Sir Simon Clarice, Bart., and George Ilibbert, Esq. A Storm on the Coast of Holland . . . . 252 A Brisk Gale 48 Embarkation of King William for England . 207 13 1803. Robert Thistlewaite, Esq. A Sea Piece 120 15 1805. A Sea Storm 105 1809. A Gale Rising; formerly in the collection of Mons. Thys, of Brussels £73 10 1811. Henry Hope, Esq. View of an Arsenal, with Vessels, &c. . . . 32 11 Vessels of War, at the Mouth of a River . . 220 10 Embarkation of King William at Rotterdam. Bought in at 525 1813. 3L La Fontaine. A Brisk Gale, with Vessels 130 10 Vi(!W of the Mouth of a River, with Boats and Ships 257 5 John Willett Willett, Esq. A Brisk Gale ; from M. Robit's collection . . ]26 A Fresh Breeze. Bouglit in at . . . . 50 9 A Sea Storm 116 11 1815. W. Comyns, Esq. A Sea Piece 16 10 View of the Harbour arul East India Warehouses at Antwerp ; from the Hope Collection . . 38 17 1819. W. N. Hewett, Esq. A Sea Piece 65 2 A Fresh Breeze, with numerous Vessels . . 47 5 1821. John Webb, Esq. A Shore Scene, with Fishermen . . . . 31 10 A Sea Piece 29 19 1824. Ralph Bernal, Esq. A Sea-shore, with Vessels, Figures, &c. . . 152 15 BAG CrvITICAL AND COMMERCIAL DICTIONARY OP 1826. Lady Holland. A Sea Piece, with Vessels" £175 7 View in the Texel, witli the Royal Yacht, Vessels, &c 143 17 Admiral Lord Radstock. A Bay in the Mediterranean, with Ships and Boats 63 1827. Viscount Cremorne. Ships in a Storm 20 5 A Sea Piece, with Shipping 46 4 BtiTce of Bedford. A Harbour, with Boats 72 9 1828. M. 31. Zacliary, Esq. A Fresh Breeze 61 19 1829. Earl of Liverpool. A Harbour, with Ships of War, and other Vessels 174 6 Thomas Emmerson, Esq. A Sea View, representing tlie Landing of King William 111. in Holland 28 7 Ditto; the companion 32 11 A Fresh Breeze 31 10 1836. Lord Charles Totonsliend. A Sea Piece, with two Dutch Men-of-war . . 150 Sir Charles Bagot, G.C.B. A Squall, with a Boat near a Jetty ; from the Tolozan Collection 65 2 A Breeze, with Lighters and Boats on the Dutch Coast 388 10 1839. Men-of-war in the Zuyder Zee . . . . 189 Sir Henry Oxenden, Bart. A Dutch Arsenal, with Yachts and Vessels . 42 1840. William Hastings, Esq. A Gale, with Men-of-war in the distance; from the Duke of Bedford's collection . . . 56 14 Sir Simon H. Clarke, Bart. A Storm, illustrating the Shipwreck of St.Paul; formei ly iu the collection of M. Robit . . 194 5 1841. The Hon. Lady Stimrt. View on the Texel 446 5 1842. The Port of Amsterdam 52 10 1844. Jeremiah Harman, Esq. A View from the Shore, with Fishing-vessels, &c. ; from the collections of the Due de Choi- seul, M. Lambert, and M. Le Brun . . . 540 15 1848. William Wells, Esq. A small Sea Piece, with Vessels . . . . 113 8 A Fresh Breeze 163 16 Richard Sanderson, Esq. A Dutch Yacht, with a Party of Ladies and Gentlemen leaving a Jetly . . . . 39 18 Count de 3Iorny. A Marine View, in the Neighbourhood of Flushing 252 10 1858. Colonel Hugh Baillie. A Sea Piece, with a View of Amsterdam in the distance 420 1861. Charles Scarisbrick, Esq. A Coast Scene 27 16 6 A Sea Piece, with Dutch Men-of-war . . . 37 16 Ditto, with Vessels in a Storm . . . . 37 16 1863. A Sea View off the Coast of Holland . . . 115 10 A Stiff Breeze, with Men-of-war and Fishing- boats 120 15 1804. The Prince of Orange's Yacht off Amsterdam ; from the collection of M. Braamcamp . . 110 5 This excellent master, who happily forsook commerce for art, received his first instructions from Albert Van Everdin- gen and Henry Dubbels; but wliatcver profit he may have received from them in tiie commencement of his career, we do not associate his name with theirs, but rather speak of I him as a master whose works are analogous to William I Vande Velde's. His cabinet pictures are often as charm- ; ingly finished as Vande Velde's, and some of them can hardly i be distinguished from Vande Velde's, unless it be in the pencilling of the water, for they are entirely free from the redness in the sky which is so characteristic of Backhuysen. In the 'technical quality' of his grand sea-storms, in the workmanship of his large vessels, and in the magnificent labour which he bestowed on the details of his distant sea- ports, he was not inferior to William Vande Velde; but judging from his works as a whole, he appears inferior to Vande Velde — most of his works want that simplicity and freshness which make us love the pictures of Vande Velde and the cabinet shore scenes of Capella ; further, we may notice that the red and yellow tints which Backhuysen so frequently introduced into the skies of his pictures con- siderably deteriorate their value. The figures in Backhuy- sen's pictures are elegantly finished, and are usually coloured with cool and silvery tints; the larger ones may be com- pared to Lingelbach's, whilst the smaller ones resemble Vande Velde's. We are told that amongst his other accom- plishments, Backhuysen was in the habit of teaching writ- ing ; his signature, as it appears on some of his most im- portant works, is very beautifully written — it is, in fact, the finest monogram known. There were two marine painters of the name of Rietschorf; the elder, viz. John Klaasz, studied under Backhuysen. His sea-ports, with numerous vessels, are beautifully painted, but we should like them better if they did not remind us quite so strongly of Back- huysen, if they appeared kss like copies of the same. Amongst later and weaker followers of Backhuysen, may be noticed Boom and Sild. BACON, Sm N. See C. Jansen. BACKER (or BAKKER). See Beower. BAGNACAVALLO. See Feakcia. SAILII, David. See Steenwtck. BALEN, Hendrik Van. Born at Antwerp in IHOO ; died at Antwerp in 1632. Pupil of Adam Van Oort (or Noort). Flemish School. Sale in 1801. Earl of Beshorough. The Rape of Eurojja 1802. William Beckford, Esq., of Fonthill. The Virgin and Child, attended by Angels . £15 15 23 2 The Crucifixion 5 15 1806. Marquis of Lansdowne. Virgin and Child with Angels in a Garden ; the Fruit and Flowers painted by Brueghel . . 35 14 1813. The Virgin and Child, in a Circle of Flowers ; the latter painted by D. Sogers. Bouglit iu at . 19 10 1816. Luke of Norfolk. The Bath of Diana 21 10 6 Henry Hope, Esq. The Virgin and Child, in a Landscape; the latter by Brueghel 21 10 6 1819. 3fat7iew 3[itchell, Esq. Mythological Subject 13 1822. 3Tarquis of Bute. Diana and Nymphs, with landscape background by Brueghel 16 16 1824. Sir 3Iark 3Iasterman Sykes, Bart. A Legendary Composition 26 5 1827. Christ with Martha and Mary . ^ . . 10 10 Viscount Cremorne. St. Augustine, Bishop of Hippo, in a Trance . 13 13 1838. William Esdaile, Esq. The Adoration of the Magi, and the Adoration of the Shepherds ; a pair 13 13 1840. Lady Stuart. The Adoration of the Magi 15 15 The cabinet pictures of Hendrik Van Balen, and of his son Jan Van Balen, have often the appearance of Rubens in miniature ; the infant angels which surroiind their sacred groups, and the amorini which play about their gods and goddesses, are charmingly painted. When the subject will admit of it, their figures are represented nude; the limbs are nicely drawn, and look round and pretty ; the colouring is very fresh and pink, in fact quite Rubenesquc. It will be seen, on referring to the sale notes, that llendrik's THE VYORKS OF PAINTERS. BAR cal)inot pictures arc froquently enriched with backf^rounds by Jan JiruoKlicl, whilst otiiers are surrounded with circlets of flowers painted by D. Segers. Most of these pictures are small, and do not a|)pear to realise lar?ve not the eye for enjoying Giorgione's style of colouring, to such it appears artificial and unmeaning; yet we know how easily the eye can become reconciled to nature— when viewed through a piece of coloured glass, everything apjjears beautiful and natural, so long as the harmony is preserved. In the same way the most golden-coloured works of Giorgione should not distress us; let us rather endeavour to feel tiiat we are enjoying the subject under the eft'ect of a powerful sun. The beautiful lakes which Giorgione used, so far as we are able to judge, seem almost as bright as when first put on Ids pic- tures ; which is curious, because lake is generally considered a fugitive or evanescent colour. It was freely used by portrait- painters in England, during the latter part of the eighteenth century, as a glaze over white and light-red dresses ; in many cases s'carcely a vestige of it remains, except in the parts covered by the frame, yet how wonderfully are the lake tints preserved in the works of Giorgione and other early masters I Besides his single heads and portrait groups, all more or less remarkable for sweetness of expression and ha})py rendering of character, we meet with Giorgione as a painter of reli- gious subjects. In treatment or com})osition they seem to belong to a more primitive type than his other works ; and if we cannot admire them as a whole, yet we can generally select passages from them of great beauty, and very worthy of study. His most advanced works, in regard to conception and finish, are his pastoral and mythological subjects; in these the nude is freely displayed, but in a chaste and simple manner; the contours are particularly elegant, the figures easily grouped, and they appear untheatrical and engrossed in each other's society. Giorgione was fond of painting land- scape backgrounds; they recall the colouring of Bellini and Cima da Conegliano, a conveiitional style of painting, yet possessing considerable merit. The foreground trees are round and carefully finished, and on the bright golden-co- loured plains appear a few quiet, unobtrusive houses, in shape not unlike the houses which children build with cards ; beyond them are trees and shrubs coloured with the richest browns, whilst in the extreme distance we may ex- pect to see some prettily-formed hills or unnintaiiis. BATIBIERI, Giovanni Feancesco, called Guekctno. Born in Ferrara in 1592; died at Bologna in lliGG. Bolognese School. Sale in 1706. £2 .'5 A Drawing in bistre Ditto, in red chalk 1801. A Child refusing to drink a Medical Draught 1 2 29 9 The Virgin and Infant Christ, with St. .John and St. Bartholomew 157 10 Sh' William Hamilton. Miniature in oil of Himself A Drawing of the Prodigal Son in his Pride ) A Drawing of the Prodii^al Son in his i'overty | Willinm Young Ottley, Esq. A Warrior in Armour ; from the Albani Palace . St. Jerome 3 13 21 680 189 1802. The Presentation in the Temple; from the Or- leans Collection 546 Sir Simon Clarice, Bart., and George Tlihherl, Esq. ' Mater Dolorosa ' ()3 St. Jerome, attended by an Angel . . . 21 John Udny. Esq. 'Angelica and Medora' £21 St. Sebastian 42 1803. George Graves, Esq. A Drawing in bistre of St. Cecilia playing on the Organ 8 8 A Pen Drawing of the Head of a "Warrior . . 6 16 6 St. Josepii and the Infant Saviour ; a drawing in red chalk 6 16 6 Abigail meeting David ; a drawing in bistre . 21 The Triumph of David 100 16 Apollo and JMarsyas 519 Susarnia and the Elders ; a drawing in red chalk 4 11 6 Sophonisba 142 16 Semiramis receiving the News of the Defeat of her Army . . ' 110 5 Lot and his Daughters 588 1804. St. Isidore 40 19 — Boxellis, Esq. Samson and Dalilah 252 1805. The Infant St. John, in a Landscape . . . 49 7 St. Anthony of Padua, with the Infant Jesus in his Arms 73 10 An Angel Praying 40 7 The Madonna Reading 178 18 St. Joseph Reading 131 5 1806. Marquis of Lansdowne. Nine Sketches 5 10 Sir George Yonge, Bart. Susanna and the Elders 168 1807. Edtvard Coxe, Esq. Cleopatra 53 11 Joseph and Potiphar's Wife ; from the collec- tion of Sir Joshua Reynolds . . . . 59 17 Judith giving the Head of Holofernes to a Female 45 3 1812. Charles Lambert, Esq. St. Dominick adoring the Virgin . . . 94 10 1813. John Willett Willett, Esq. The Virgin, Saviour, and Saints .... 50 8 A Magdalen. Bought in at . . . . . 48 6 1815. Madonna and Child 84 Edward Coxe, Esq. A Drawing in pen and ink of a Female . . 4 1816. Henry Hope, Esq. The Virgin nursing the Infant Christ . , 48 1819. John Knight, Esq. The Virgin and Child SO 9 Cleopatra 23 4 St. Catherine 81 St. Jerome . 21 Cassandra delivered from Captivity. Bought in at 89 5 .Judas betraying Christ 30 9 St. Thomas 32 11 1821. John Webb, Esq. The Dead Christ, with Angels . . . . Ill 6 Portrait of a Musician 24 13 6 1822. Ifarqnis of Bute. St. Jerome 21 1823. Madame Murat, Ex-Qncen of Naples. The Prodigal Son tending Swine . . . 52 10 18:24, Sir Mark Masterman SiiL-cn, Bart. St. Joseph and the Infant Clu-ist . . . 58 IG 18:^6. Admiral Lord Radstock. St. Sebastian, with an Angel kneeling at his Side 231 Arria inflicting upon herself the Mortal Wound, before she presents the Dagger to Paetus . 183 15 1827. F. H. StajuUsh, Esq. Cassandra delivered from Captivity ... 84 1829. Thomas Emmerson, Esq. An Italian Landscape, with Travellers . . 54 12 Ditto, the conipaniou 46 4 11 THE WORKS OF PAINTERS. BAR Jolm Webb, Esq. A Miniature of Himself JEarl of Liverpool. Busfc of a Female . £2 18 18 32 11 U 2 George Hibbert, Esq. • Mater Dolorosa ' ; from the Orleans Collection 33 12 1830. Viscount Hampden. Christ and the Woman of Samaria . . . 95 11 1831. Hon. Mr. Vernon. A Magdalen before a Crucifix 1832. John Eioer, Esq. The Madonna and Child .... 1833. Alexander Day, Esq. The Apotheosis of St. Paul ; from the Church of St. Grisognano at Rome 745 10 Head of an Angel 31 10 1837. Sir G. Warrender, Bart. ' Assalone con Tamar ' ; from the Cornaro Palace at Venice 300 1840. Sir Simon H. Clarke, Bart. St. John 43 1 Christ and the "Woman of Samaria ; from the Balbi Palace 325 10 A Soldier in a Cuirass and Helmet . . . 52 10 1844. St. Petron ilia; from Mr. Irvine's collection . 47 5 The Virgin supporting the Infant Saviour, and listening to an Angel vpho is playing on a Violin ; from the Lanceliotti Palace, Rome . 43 1 1848. William Wells, Esq. A small Picture of St. Jerome Writing . . 25 4 Richard Sanderson, Esq. Semiramis receiving Intelligence of, the Revolt of Babylon ; from the collection of W. Hal- dimand, Esq 467 5 1850. Earl of Ashburnham. St. Joseph and the Virgin presenting the In- fant Christ to the High Priest ; from the Orleans Gallery and the Duke of Sutherland's collection 420 1856. Samuel Rogers, Esq. A Female and Child ; from the Borghese Palace and Mr. Ottley's collection . . . . 315 The Dead Christ watched by two Angels . . 162 15 1861. Charles Scarisbrick, Esq. St. Petronilla 26 5 1862. Susanna surprised by the Elders ; a drawing ill red chalk 3126 Guercino enjoyed to a great extent the power of diversify- ing his style of painting. We might select at least five varieties of his works as examples of this ; even a greater number might be chosen, unless we prefer regarding them as links uniting his more decided varieties of style. Some of his largest and most important works were executed at a time when he preferred introducing a great deal of red and brown in the shadows of the faces, and when his fondness for certain models, or a certain cast of face, tended to man- nerism. The brilliancy of the colours and the grandeur of the compositions, and, we may add, the general correctness of the painting, render these works justly valuable. To the second style belong i)ictures in which the nude is very freely displayed; in these the limbs are as round and pretty as the limbs in Guido's pictures of a similar class; the models are good, and we lose much of his characteristic redness in the flesh tints. The flesh tints, however, are not particularly vivid; in some cases we even find an opaque tone j)assed over them in the form of a scumble. It will be found that in these pictures the draperies and background tints are rarely brilliant. Guercino has left other works which display far greater brilliancy than eitiier of the styles described ; he appears in them as a great master of chiaroscuro. Many of them differ sufiicicntly to require separate notice ; his I heads of warriors and his heads of old men often belong to I this class, they are finished with a very linn jjencil, ajid ; the colouring is bright and powerful, but the llesh tints I would be better if they [were not quite so yellow. Again, i wo meet with Guereino's works when he appears to have ! forsaken tliis peculiar firmness of pencilling, which in the contours of his nude figures, and in the hands, occasionally approached to hardness; but he did not give up his gay colouring, nor did he relinquish his fondness for chiaro- scuro eft'ects ; on the contrary, in these points his pictures are more striking than ever. For, whilst the features are put in with a light sketchy pencil, we observe the greatest pains displayed in the introduction of a variety of shadow tints and ivfiected lights, which play on and give brilliancy to the flesh tints: we find in these pictures gaily-coloured draperies, and light and agreeable skies. Guereino's works do not display the high feeling or the sentimental passages which distinguish the pictures of ma)iy of the great masters who preceded him, yet there is a charming^ ' quality ' in the execution and details of most of his pictures. Guereino's landscapes do not show his powers as a painter; in the colouring they are soiretimes brown and conventional, and the subject or composition is homely and uninteresting. Guercino was a good draughtsman, and his sketches in red chalk are favourites vi'ith collectors. Pilkington informs us that Paolo Antonio Paderna, a pupil of Guereino's, was suc- cessful in imitating his master's landscapes. BARDWELL, Thomas. See Highmore. BARKER, Thomas, of Bath, Pupil or follower of Gains- borough. Flourished in tlie early part of the nineteenth century. English School. Sale in 1824. Lord de Hunstanville. A Landscape, with a Figure and Donkeys . £7 17 6 1828. Earl of Carysfort. A Peasant Boy tending Pigs . . . . 11 11 1829. John Webb, Esq. A Beggar Boy 9 19 6 Thomas Barker's works are better known to the people of Bath than to Londoners. His pictures exhibit consider- able merit, and are happy remembrances of Gainsborough, when he painted in the neighbourhood of Bath. Barker's subjects are well exemplified in the above notices; although he occasionally painted landscapes, either richly wooded, or else to illustrate the effect of a rainbow, or some other sky efi'ect. His figures of peasant boys and gipsies display a Gainsborough feeling, yet they are often very unlike liim in pencilling and colouring ; but the donkeys which he was so fond of introducing in his pictures are like Gainsborough's, they are painted with the same warm reddish colour, and are expressed with a light facile pencil. Thomas Barker's portraits are clever ; but, on the whole, we prefer his rustic subjects. BARKER, Bexjamin, of Bath. Pupil or follower of Gains- borough. Flourished in tlie early part of the nineteenth century. English School. Sale in 1827. Lord de Tabley. A Skirmish of Cavalry £13 1 1828. Earl of Carysfort. A small Landscape . . ... . . . 11 11 A Landscape, with Cattle and Figures. . . 8 8 A Landscape, with a Waterfall . . . . 5 15 6 1887. Sir Francis Frceling, Bart. ViewofLlancottHeatli, looking over the Severn. 7 10 Benjamin Bai'kcr, probably a brother of Thomas Barker's, was another great admirer of the pastoral subjects and landscapes of Gainsborough; yet it would appear that ho sometimes painted in a dilferent style, as in his ' Cavalry Skirmish.' His landscapes are brighter in colour than Thomas Barker's ; and notwithstanding that his Itlucs and greens are rather crude, and his pencilling coarst;. yet we can admire his works as good examples of ohl-lashioiied English landscape-painting. There is a genuiiu^ riistifily about his landscaj)es, which seems to speak of a tiuic when railways were unknown, and a peculiarly local character about his figures; sometimes his small figures of {teasaufc children are so pretty that they form quite; as much of the l)icture as the cottages and trees which surround tliem. BARLOW, Francis. Born in Lincolnshire about the year 1626. Pupil of Shepherd. English School. Sale in 1821. Three Paintings of Birds £0 15 1825. A Landscape, with Birds, &c., rei)resenting diffe- rent Fables 2 8 Barlow occasionally painted landscapes, but he is better known as a painter of animals ; although brown and poorly coloured, tht-y (!xliibit a certain amount of spirit. He was a capital hand at painting an old owl. Barlow had also a good notion of drawing figures— there is a kind of Morland free- dom al)out th('ni, they appear to belong so completely to the farm-house scenes in which they are represented; in fact, he may be called a good farm-yard painter. Barlow's pasto- ral drawings and illustrations of fables are exceedingly good. Descamps, the btraw-artist, made a clever copy of one of c 2 BAR CRITICAL AND COMMERCIAL DICTIONARY OF 12 Barlow's fable subjects; it is a mosaic composed of minute pieces of coloured straw. BARNEY, . Flourished in the early part of the present century. English School. Sale in 1809. Belshazzar, after West £6 6 1816. TTenry Hope, Esq. A Flower Piece 83 12 This favourite flower-painter was probably a son, or some relation, of J. Barney, the man who nsed to paint children so prettily, in a style slightly resembling Owen or Thomson. BAROCCIO (or BAROCCl), Federigo. Born at Urbino in ir)28; died at Urbino in 1612. Pupil of Francesco Men- zocchi, and of Battista Franco. Roman School. Sale in 1763. Eat'l WaMegrave. The Virgin, Saviour, and St. Joseph . . . £47 15 6 1802. Paul d'Aigremont. The Reposo, with Angels 42 Sir Simon Clarke, Bart., and George Hibbert, Esq. The Holy Family ; from the Orleans Collection . 46 4 1804. — Boxellis, Esq. Christ calling Andrew 30 9 St. Francis receiving the Stigmata . . . 301 10 His own Portrait; from the Bolognetti Palace . 16 16 Two Paintings on Alabaster of the Virgin in Glory, with St, Francis receiving the Infant Jesus ; and St. Francis Entranced . . . 37 16 Christ in the Garden 246 15 — Brynn, Esq. The Holy Family 53 11 1805. The Madonna, with the Infant Jesus sleeping on her Lap 252 1809. The Entombment 147 1815. Edivard Coxe, Esq. The Fhght into Egypt. A drawing ... 400 1816. Henry Hope, Esq. The Annunciation 23 12 6 1819. John Knight, Esq. A Choir of Fo«r Angels 29 8 1821. John Webb, Esq. Tlie Adoration of tlie Saviour . . . . 29 8 The Holy Family, in a Landscape .... 32 11 1822. Marquis of Bute. The Entombment ; painted on copper . . 30 10 6 1833. Alexander Day, Esq. The Holy Family; from the Salviati Palace . 45 3 1836. John Parke, Esq. Christ and the Virgin appearing in a Vision to St. Francis 21 1839. Sir Henry O.renden, Bart. A small Picture of the Entombment . . . 21 1840. Sir Simon H. Clarke, Bart. The Virgin in Prayer 40 19 1856. Sanniel Pagers, Esq. ' La Madonna del Gatto ' 210 The Entombment 42 18(51. Charlef! Scarisbrick, Esq. 'JVoli nic tangere;' from the collection of Cosmo de'Medici,&c 756 'Sentiment' and ' clever flights of fancy,' 'chiaroscuro ' and examples of 'foreshortening,' are more or less associated with this painter, who is usually described as a lover and imitator of the worlvs of Correggio. His passion for tender- ness in art, and his bold, although not always successful, attempts at decurting the draperies and foreshortening the limbs, alike remind us of the great ' Caposcuola ' of Parma. Baroccio's pictures of the ' Holy Family' may be cojisidered the happi(>st ot his productions; they are elegantly com- posed, and the happy smiling expressions he has given to the Infant Saviour and St. John are usually admired. Sometimes, in the manner of the Bolognese painters, he would represent the 'Holy Fugitives' in a wood, in which the dark trees and distance are agreeably managed ; at other times his subjects are more allegorically- treated, and infant a)igels and saints appear to complete the composition. Baroccio was a i)ainter of refined feeling and taste, but, on the whole, he was greater in design, whether in fancy sub- jects or portraits, than he was in execution. In composition "his important works are charming, and they have quite a Sir Joshua Reynolds' feeling about them. Many of liis pictures would possess greater value, were they painted with more firmness. The features are touched up with warm transparent colour; there is us.ially a great deal of red and brown about the shadows of the flesh tints, blended here and there with cool tints, until the whole appears toned or subdued in colour. He most carefully avoided outlines, and painted the backgrounds and draperies in iieutral or undecided colours. We are led to feel that notwithstanding the great beauty of Baroccio's important works, they lack firmness, and to regret that his manner of colouring causes the flesh tints to become absorbed or mixed in texture with the drapery colours. These faults are often more striking in liis studies and inferior pictures; the flesh tints are some- times too red, at other times too purple, and the pencilling is woolly and undecided. As some writers compare the works of Ventura Salimbeni to Baroccio's, we will take this opportunity of mentioning the former. Ventura Salimbeni was a fine designer, and we are often pleased with his groups of the 'Virgin and Child,' and there is a boldness or daring in the painting of his infant angels which leads us to suppose that he carefully looked at the designs of Michael Angelo and other great masters. Ventura was not afraid of difficulties, and he would thus attempt difflcult examples of foreshortening, sometimes with tolerable success ; at other times we feel that we should like his subjects better were they more simply treated. He devoted much time in finish- ing" the landscape backgrounds of his pictures, many of them are worked up in a very curi* us manner; the trees have an immense number of branches, which are carefully rounded or defined. Maria Farquhar mentions Christoforo Roncalli araoi'gst the followers of Baroccio. His works api)ear to vary in style, some of them certainly exhibit greater strength than Baroccio's ; the female her.ds are grand, and the hands are large, and boldly drawn in t!ie Parmegiano manner. His smiling infants, however, remind us of Baroccio. BAREET, George, R. A. Born at Dublin in 1732; died in London in 1784. English School. Sale in 1796. Jacob More, Esq., and Mons. Liss. A View in a "Wood £13 1801. Landscape, with Tobit and the Angel . . . 3 3 — Slade. Esq. View of an Abbey 3 13 6 1802. View of Tintern Abbey, South Wales . . . 2 View of Valle Crucis Abbey, near Llangollen, Denbighshire ; Figures by Wheatley . . 6 16 6 1803. A Landscape with a Mill 3 5 Robert Thistlewaite, Esq. Ruins of Melrose Abbey, with Horses and Figures 770 1805. View of a Ferry in Cumberland, with moun- tainous Scenery, and Figures by Gilpin . . 37 16 A View from Richmond Hill 15 4 6 1806, Marquis of Lansdoivne. A View in Wales, with Cattle and Figures by Gilpin 37 16 1819. 3Iathew Mitchell, Esq. A Pair of small Landscapes, with Cattle . . 9 9 1830. Sir Thomas Lawrence, P.R.A. A Study of a Plane Tree 2 12 6 18G3. John AJlnutt, Esq. A Laiulscape, with Horses, Cattle, and Sheep on the Bank of a River ; Animals by Gilpin . . 20 9 6 Ditto 42 This excellent artist was one of the stars of the early Eng- lish school of landscape-painting; he was not simply an imitator of Richard Wilson, for he had his own views, or feelings, on art, which he often carried out very successfully. At times he appears to have been quite fascinated witJli Richard Wilson's sunny landscapes, and imitated them in a most resolute manner; such good pasticci are they, that it is difficult to detect Barret's touch. Most of Barret's largo pictures are too slightly painted to be valuable ; yet there is always something fresh and taking about them, with their 13 TII'E WORKS OF PAINTERS. ^ BAT clear pale blue skies, and trees clad in autumn tints, whilst the foregrounds are eni'iched with figures painted in the manner of Paul Saudby; at other times we meet with horses and cattle in them, by the hand of Gilpin. Barret was also great as a water, or body colour painter; many of his works are clever examples of monochromatic painting, the colour being nearly uniform — a pale blue. His drawnigs of this class have an agreeable hazy effect ; in size some are quite miniatures, yet they are full of truth and effect. Barret likewise painted woody landscapes, with towering moun- tains in tlie distance, but they are not so agreeable as his homely or pastoral compositions. Amongst Barret's pupils and followers, we may mention a clever amateur artist of the name of Ainslie. In style, some of his landscapes re- mind us of Barret, whilst others have more of the feeling of De Wint and the Varle^'s. Mr. Ainslie's sketches, made in the vicinity of the metropolis, possess considerable topo- graphical as well as artistic interest. His son, Mr. John Ainslie, studied at the Royal Academy, but never followed painting as a profession. He was gifted with a line eye for colour, and Sir Thomas Lawrence once spoke highly of one of his studies. Later in life he visited Italy, and made some interesting sketches of a few of the fine pictures in Rome. Mr. Jolm Ainslie was also considered a good judge of pictures. Amongst other early water-colour painters and draughts- men, we may mention Keiserman. He preferred making his highly-finished drawings of ruins and rocky scenery in sepia, and, as a rule, they are much better than his bril- liantly coloured landscapes in water-colours. Joseph Rhodes, of Yorkshire — a i)ainter of the early part of the present century— preserved in his landscapes the cool, deli- cate tints of the Barret and Arnald schools. Rhodes' figures and cattle remind us a little of l)e Loutherbourg; and he was happy in his representations of early morning ett'ects— he put in the distant haze so well. W. Groombridge was a pleasing landscape-painter of the Barret period ; his small pictures are neatly finished; his large ones are coarsely painted — the foliage being put in with long wavy strokes, a little in the manner of Gainsborough. He contrived to give a sunny, pleasing effect to his landscapes, but iiis figures are poor. BARRET (or BARRETT), George, JuN. Elourished in the early part of the present century. English School. Sale in I860. John Allnutt, Esq. Westminster Abbey and Bridge, from Lambeth; in water-colours £28 7 A Lake Scene, ditto 105 A Landscape, with a Team of Hoi-ses, ditto . C9 6 A Bay Scene, with ruined Temples and other Buildings, ditto 99 15 A Classical Composition, ditto , . . . 61 19 A Swiss Scene ; a sketch in water-colours . . 3 15 A Classical Landscape, with a Valley opening to the Sea, ditto 115 10 Solitude, ditto 42i» A Classical Lake Scene, ditto . . . . 262 10 A River Scene, with a Cascade falling among Rocks, ditto 64 1 A Landscape, with a Lake surrounded by Trees, ditto 21 The Vale of Cashmere, with Oriental Figures Dancing, ditto 65 2 Some writers say that this great water-colour painter was the son of the earlier George Barret, R.A. His pictures, both in subject and touch, are very distinct from his father's. His drawings remind us of the works of the brothers Varley ; but his grand sunny landscapes are very Turner-like in eifect. BARRY, James, R.A. See Benjamin VTest. BARTOLOMEO. See Beeembeeg. BARTOLOMEO, Tea. See Pohta. BARTOLOZZI. Feancisco, R.A. Born at Plorence in 1728 ; died at Lisbon in 1815. Pupil, in drawing, of Hug- fort Eerretti. Sale in 1803. Richard Walker, Esq. A Drawing of Cupid and Psyche . . . . £3 5 1S15. Edward Coxe, Esq. Drawing of a Eciiiiile and Cupid .... 440 A Drawing of .Xvinphs IjMlhing .... 1 15 A Drawing of Two Yoiiiiii uacciianals . . . 6 16 6 Head of Atlonis, a drawing 4 11 6 A coloured Drawing of a Head .... 3 i;j 6 1S22. Four Drawings in black and red chalk . . 9 6 The name of this celebrated engraver is very precious in the memory of i)rint-collectors and dilettante people ; tlierc- fore we are glad of the oi)p()rtunity of introducing liini as a designer, and of jilacing liis name in this book. W ithout attemfiting to descrilx' ti)o merits of his various engravings, we will only acknow Icdfrc liow much we are indebted to him for the skilful and (ii-ligiil ful manner in which he has translated the couiposilioiis of many of our early English painters. BASAITI, Maeco. See Gio. Bellini. BASSANO. /SeePoNTE. BASSEN, B. Van. Flourished about the middle of the seventeenth century. Flemish School. Sale in 1821. The subject of Dives and Lazarus ; the former represented in a grand Saloon with a panelled Ceiling £25 4 The interiors of churches and other buildings, by the hand of this master, are generally excellent pictures ; without appearing black, they have so much depth, and are so richly coloured. His cathedrals are sometimes decorated with numerous shrines and pictures, all finished in a most elabo- rate manner. His lighter pictures are painted more in the style of Franckes; and he preserved the Steenwyck fancy for leaving fine outlines about the arches and round the columns. The Rubenesque figures which we see in some of his pictures are possibly by the hand of Van Thulden. BATTISTA, Jean. See Dobson. BATTONI (or BATONI), Pompeo. Born at Lucca in 1702 ; died at Rome in 1787. Pupil of Francesco Fernandi. Roman School. Sale in 1803. Robert Thistlewaite, Esq. A Grecian Story £8 18 6 1825. The Holy Family, after Raftaelle . . . . 10 10 Pompeo Battoni painted religious subjects, large historical and mythological works, and portraits! His large pictures are carefully drawn in the manner of the historical painters of his time, but there is a brownness and sameness about the colouring which is not agreeable; besides, the graiul subjects which he selected were l)eyond his power, for he was not a Caracci in vigour, and his passionate subjects are often painfully tame in the execution. The portraits of Battoni are remarkable for firmness and neatness of finish, and are very clever pictures of tlieir kind; he usually painted them on reddish-brown grounds, which give additional brilliancy to the blues and greens which are passed over them. Some of his best painting may be seen in the hands, which are highly finished, and frequently drawn in difficult positions. Battoni's elaborate manner of painting the lace cuffs and cravats of his portraits is so noticeable, that we may almost call it his monogram. It is reasonable to suppose that one so careful in painting his figures would not be negligent in the backgrounds and accessories of his por- traits. The green and red curtains, the books, and other parts of his pictures are all very nicely and sensibly finished. We are told that when William Hoare, R.A. (commonly called Hoare of Bath) was in Rome, he was intimate with Pompeo Battoni ; in decision, his style slightly resembles Battoni's, yet not sufficiently so for their works to be classed together. Hoare painted solidly, and mixed a considerable quantity of white with his tints. He gave a great deal of character to his best portraits, and they are very well designed ; the features, however, in some of his portraits are expressed with touches which are too sharp and wiry to be agreeable, so that there is a want of breadth in the pencilling of the features. His eldest son Prince Hoare was an artist or amateur painter. In colouring, his portraits remind us a little of La Guerre; the flesh tints are brown and opaque. But Prince Hoare occasionally gave value to his portraits by introducing sunny landsca{)e l)ackgr()unds and bright skies: his semi-Morland kind of hackgrounds enliven his soberly-coloured portraits very much. Uiyaii speaks of four painters of the name of Vanloo, viz. Jaiiics, John Baptist, Charles Andrew, and Louis Michael N'anloo. All of them were more or less associated with the French School, and in Paris their name is written Van Loo ; but, judging from the signature of J. B. Vanloo, our manner of writing the name is correct. In this country they are best known as portrait-painters, but they also painted religious and mytliological subjects. J. B. Vanloo's portraits are as solidly jiainted as Pompeo Battoni's, although in other respects tli('r(! may not be much resemblance between them. His i)()rtraits have a bii^iht appearance, as he was fond of intro(hicii;g brightly-coloured curtains in the backgrounds, and I he l!( sh tints an; iMirplish and red. \V(! occasionally meet with jtortraits ascribed to Illanchel. which are highly and i.rellily (iinshed, a little in the nianncr of \'aidoo; any- how, lik(' \ aiiloo, he would introduce, very bright colour in the lips and ^l<■^h tints. Tlu; lacework of IJlanchet's portraits is very well done. Then? are semi-decorative pic- tures of children, treated in th<' manner oC lloueher, which are most hkely by Carlo Vanloo. The skies of the-i' works are blue and pearly, and then? is a great deal of vei-nidion in the flesh tints and in the fiesh shadows. Henry Tiech- bein, the elder, was a pupil of Carlo Vanloo. His portraits an; occasionally met with in this country; he was not si)ai iMg ol bri^llt colours, particularly of ultramarine in the background landscape. The rich lace on the court dress, the jewelled hilts of t he swords, and otiier accessories, are worthy of the firm pencil ol Hattoni. Although there is careful drawing in his porliails, particularly in the hands, still there is a certain formality or want of case about tiuiu which prevents our enjoying them as fancy pictures. The B AU CRITICAL AND COMMERCIAL DICTIONARY OF 14 flesh tints aro rather hrown or red in tone, and the features are expressed with tliin wiry strokes of nearly the same colour as tlie face shadows. It may be further noticed that Tiechbein's fitjures do not always stand well, some are so awkwardly outlined as to appear to be tumblinfj over. Penne's portraits are ^aily coloured and minutely finished, and class very well with Tiechbein's ; nnd, like Tiechbeinand Battoni, he bestowed fjreat care on tlie drawing of the hands. This painter must not be confounded with J. Van Penne, men- tioned by Ottley. C. L. Ciiristineicke was another portrait- painter of the same type. The faces of his portraits are nicely drawn, and he was happy in the expressions, but the colour of the flesh tints is too yellow or ' under-tone.' The industry and patience of the artist are seen to advantag;e in the elaborate lace work and golden embroidery in his portraits. EAUR Jonx William. Born at Strashurg in 1600; died at Vienna in 1640. Pupil of Frederick Brendel. Sale in 1827. A Pair of small Drawings of Architecture . £1 10 Eaur did not confine his pencil to architectural subjects, but employed it on a variety of compositions ; like Panini, the furniture and architectural parts of his works please us more than the fif^ures. His portraits are nicely designed, and the large lace collars and cuffs remind us of Cornelius Jansen's works ; yet they are not so neat as Jansen's, The features of Baur's portraits generally appear large, and they are boldly marked in. BEACH, T. See Fkancis Cotes. BE VLE, Mart. Born in Suffolk in 1632; died in 1697. Pupil of Sir Peter Lely. English School. Sale in 1803. Robert Grave, Esq. A Portrait of Drydeu £1 10 1806. Marquis of Lan.tdowne. Study of Heads, a Boy and Girl .... 1 18 1823. George Watson Taylor, Esq. Portrait of Cowley, when young . . . . 34 11 1824. Sir William Temple. Portrait of a Lady ; after Vandyck . . . 2 17 1832. George Watson Taylor, Esq., M.P. Portraits of Mr. and Mrs. Beale .... 220 Portrait of Abraham Cowley 10 10 Lely's influence is discernible in the works of this paint- ress, although they never have the appearance of servile iniitnticms or copies. In her portraits of men we are par- ticularly struck by the masterly modelling of the features, and the agreeable use of neutral tints about the eyes, Mrs. Beale was very great in her slight pictures and studies, and was happy in painting the hair of fair cliildren. Her finished portaits are often painted on thinly-primed canvass, consequently the threads of the cloth are visible. The pencilling o'l' the features is decided ; notice especially tlie dark reddish touches about the nostrils and moutli. The flesh tints in her portraits are varied according to the age or sex of the model, bvit there is usually a warm sunny tone given to them, and the shadows are brown. Her fancy decidedly leant towards a simple palette, or a paucity of colours. The liackgrounds of her pictures are usually sombre and uniform in tone; and her favourite colour for coats or fancy robes is a tint of burnt umber and Indian red. Like many of the painters of her time, she was fond of painting her three-quarter heads in an ornamental spandel. There are portraits by Gerard Soest and by Henry Tilson which class very well with the works of Mrs. Beale. Michael Wright was a clever portrait-painter of the Mrs. Beale perioii, and there are portraits by him which in colouring are not unlike Mrs. Beale's. Like the paintress refen-ed to, he gave a warmth or glow to the flesh tints, painted the (Iraix'ri'js and accessories with little colour, and introduced Indinn ri'd in the shadows. Wright, however, does not resemble Mrs. Beale in his severe way of pencilling the features with strokes of dark red. The reader will find a short account of this painter in Gould's Dictionary. We an; iilso told in Gould's Dictionary, tliat Sarah Hoadly, the wife of Dr. Hoadly, Bishop of Winchester, was a paintress before her marriage, and studied under Mrs. Beale. BEAUMONT, SiE Geoege Howland. Born in England in 1753 ; died in 1827. English School. Sale in 18o0. Sir Thomas Laiorence, P.B.A. View of the Lake of Albauo £40 19 1856. Samuel Rogers, Esq. Conway Castle ; with a Horseman and Figures by Sir David Wilkie 8.i 1 A View of Patterdale Church .... 660 1863. John Allnutt, Esq. A small Landscape 7 Ellianan Bicknell, Esq. A woody Landscape £22 1 England can boast of many amateur painters of talent, men who are conspicuous, not only in one age or period of her art history, but shine rather as elegant pendants to all. Sir George Beaumont was an ornament to our early English School, for he was a painter of considerable taste, as well as a passionate admirer of the ' old masters.' He was a good tactician in the art, and was skilful in changing his manner and touch, so that they might harmonise with the require- ments of the subject. His works remind us of several painters ; his woody scenes are a kind of English Ruysdael's ; in others we can see a little of Richard Wilson ; or, again, in his pictures of mountainous scenery, with water flowing over large masses of dissevered rock, we are strongly reminded of some of Dietrichy's compositions. We like the way in which he introduced distant blue hills, peeping between the trees of liis rich forest scenes ; the sun plays prettily on the hills, whilst all around is in deep shade. Like Sir Francis Bourgeois, he was partial to richly-glazed foregrounds, but his skies, are light and silvery. BECCAFUMI, DoMENico. See Michael Angelo Buonar- EOTI. BECK, David. See Vandyck. BEECHEY, Sir William, R.A. Born in Oxfordshire in 1753 ; died in 1839. English School. Sale in 1859. Hon. Edmtmd Phipps. A small Landscape, with Buildings . . . £3 15 The name of Sir William Beechey is remembered more as a court portrait-painter than as a painter of fancy subjects. He was hapi)y in preserving the likeness as well as the general character of his sitters. His modelling is good, and whether we take one of his life-sized heads, or one little more than a miniature, we are equally pleased with its truthfulness, and the honest, intelligent painting bestowed on it. Beechey ranks with the followers of Sir Joshua Riynolds, his pictures have the general effect of Sir Joshua's portraits, especially if viewed from a little dis- tance; but on a closer inspection it will be found that the colouring is smoother and thinner. The hands, although well drawn, have considerably less impasto than Reynolds', but, like Reynolds, he glazed his flesh tints ; we find on them a slight glaze of vermilion and brown pink, yet the whites and very light colours in different parts of his portraits are frequently left pure and untoned. Beechey's full-length portraits stand well, being easily and nicely outlined ; many of them are in military and naval costumes, and the high boots of the time are generally ref)resented in them. The landscape backgrounds of his portraits are nicely painted and usually toned with brown pink, asphaltum", or some similar colour. An anecdote is told of Beechey, that on one occasion he had given too much tone or gl'aze to the foreground details of one of his portraits, so that the eye rested unpleasantly on the ^ilt sword-hilt in the portrait. On pointing out the grievance to Sir Joshua Reynolds (who happened to come in at the moment). Sir Joshua took tlie palette from his friend, and introduced some untoned or unbroken colour in the right corner of the ])ortrait, the lightness or prominence of which immediately drew the eye from the sword-hilt. BEELDEMAKER (or BEEDLEMACHER), John. Born at the Hague in 1636. Dutch School. Sale in 1828. Fox Hunting £2 The works of this painter are not frequently met with. He sometimes painted dark woody landscapes, introducing in the same sportsmen and animals. The animals are un- equal in merit; the large plants which we see iu the fore- grounds of his pictures remind us of Weenix. BEELT, K. See Molenaer. BEERSTRAETEN, John. Died in 1G87. Dutch School. Sale in 1801. — Boxellis, Esq. A Winter Scene £5 2 6 — Bryan, Esq. The Castle of Muyden. (A Winter Scene) . 52 10 1830. A View of Vordum in Friesland. (A Snow Scene) 16 16 1863. A Coast Scene, with Buildings and Shipping . 15 BEGA, Cornelius. Born at Haerlera iu 1620; died in Holland in 16G4. Pupil of Adrian Ostade. Dutch School. Sale iff 1802. Gounte.9s of Holderness. . Interior of a Dutch Cabaret .... £23 2 Sir Simon Clarke, Bart., and George Hibhcrt, Esq. A Conversation ; from M. Le Brun's collection 61 19 15 THE WORKS OF PAINTERS. BEL 15 1806. 3[arquis of Lansdowne. An Interior; Merry-making .... £1010 1813, John Willett Willett. Esq. An Interior, with Boors Drinking ... 43 1 1819. An Interior, with Figures 30 9 1821. John Webb, Esq. A Blind Musician 1823. A Village Peast IG 5 G 1824. Lord de Dtnisfanville. A Smoker, and a Woman with a Pitcher . . 6 IG G 18-27. Interior of a Chemist's Shop .... 44 2 1829. Tfiomas Emmerson, Esq. A Landscape, with a Cottage, and Peasants at Play 23 12 6 Lord Gwydir. Interior of a Cabaret, with Figures . George Hibbert, Esq. Interior, with Figures . 1831. George J. Cliolmondeley , Esq. A Dutch Interior, with Figures . 1837. Sir G. Warrender, Bart. Boors Talking ; an Interior . 1842. 2G 5 42 6 16 5 6 16 16 An Interior, with Boors Drinking 1861. Charles Scarisbrick, Esq. An Interior, witli Male and Female Peasants . 6 16 6 Ditto, with two Smokers and a Female . . 8 8 Ditto, with a Man and Woman seated before a Fireplace 5 10 Ditto, with a Woman nursing a Child, a Smoker in conversation with her, and two Figures in the background . . . . 52 10 Although his pictures are often brown and thin, still we may say of Bega that he studied with advantage the charm- ing works of his master. His interiors are full of subject, and skilfully arranged ; his figures never appear to come in front of, or ci'owd each other, so that there is always a nice breadth and perspective about his pictures. Like his great master, Ostade, Bega often took a pleasure in depicting de- formed and hideous specimens of humanity; at other times his female figures, although vulgar, display a dash of rustic beauty in their faces ; the features of his men are larg(^r, squarer, and considerably less finished than Ostade's. His children also differ considerably from Ostade's models, except in costume, for in Bega's pictures we notice Ostade's whim of painting the little ones with their fathers' hats- gigantic Ijattered * wideawakes '—which seem to be retained by resting on each shoulder. Although comicnl, the ap})ear- ance is somewhat picturesque. Seeing that Bega possessed a fair share of descriptive talent for stories of every-day life, it is pleasant to remember that he was not always sketching in alehouses, for sometimes he would sally out with his mate- rials, aiul pencil in rich little bits oC local scenery ; these are often very truthCuI, and display a knowledge of many of the points which have since been taught by landscape-painters of higher education and refinement. His acquaintance with the laws of perspective (or perhaps we ought to say artistic perspective, as there is mu(;h to learn between them and the common rules of arcliitectural perspective) may be seen in his skilful use of acute angles and low horizons. His land- scapes ar(^ enriched with ])iclures()ne figures of villagers trudging T'lrth to their daily hihour ; his slieej) and cattlf^ arc ijrettiiy toueiied in, and wit h a little of the tenderness and feeling of his contemporary Eerghem. BEGYN, Abeaham. Born in 1C50. Dutch School. Sale in 1801. A Landscape, with Cattle and Figures. . . £8 18 6 1824. A woody Landscape, with Cattle and Figures . 13 2 6 1830. A woody Landscape, with Diana and her Nymphs . . . . ^ . . . . 10 Samuel Rogers, Esq. A Landscape, with a Female Peasant tending Cattle and Sheep . 14 3 G 1861. Charles ScarisbricTc, Esq. A Landscape, with Ruins, and a Peasant .Girl keeping a Cow and Sheep £16 16 So far as regards the grouping and painting of his cattle, Begyn may be classed with the imitators of Berghem. His works may also be compared to Van Gool's, yet he did not finish his cattle and sheep in the careful manner of that painter. Begyn's figures are usually richly coloured, but they are not particularly good. His landscapes vary more or less in composition and character; sometimes he gave them an extensive distance, in the style of Van Uden. BEIJREN, Abeet. Sale in 1815. IV. Comyns, Esq. Dead Game, Grapes, and Lemons . . . £9 9 BELCAMP (or BELKi'vMP). See Vandtck. BELLINI, Giovanni. Born at Venice in 1422; died in 1512. Pupil of Jacopo Bellini, Venetian School, Sale in 1804. Head of St. John the Baptist ; from the Aldo- brandini Palace £72 9 Venus and Cupid Sleeping ; from the Borghese Palace 40 19 Virgin and Child, with Saints and xlngels; from the Palazzo Bolognetti 99 15 1807. Edward Coxe, Esq. Saints adoring the Saviour, who is held in the Arms of the Virgin ; from the Purling and Pembroke Collections 38 17 Some of the works of this master exhibit, rather strongly, a pi'imitive type; we notice this in his way of representing the ' Sacra Conversazione.' In the centre we have the Virgin with the Infant Jesus, whilst on each side two or three saints ax'e painted in a very stift" manner ; they are usually represented as half-length figures, yet, notwithstanding their primitive character, Bellini's early works are fine, and very full of colour. The composition just alluded to subse- quently became a standard fashion or type, and was zea- lously copied by many of Bellini's followers, and often with little art or taste. Occasionally such compositions are re- presented on a large scale; the Virgin, with the Bambino in her arms, is placed on a throne in the centre of the pic- ture; on one side are four or five male figures, who are kneeling, and have their hands clasped in veneration : they gradually diminish in size, as though the picture were in- tended to be placed in the facade of a pediment. On the op- posite side are the same number of female figures, pendent in size and attitude; such are some of the quaint composi- tions of the followers of Giovanni Bellini. The general eii'ect of the landscape backgrounds of Bellini's v?orks is striking and fine, and his pictures of the ' Holy Family ' are frequently enriched with beautiful scenery ; but his knowledge of ani- mal-painting was not good, his horses and cattle have a strange uncouth appearance, Giovanni Bellini's portraits possess great merit and force of expression, and his «olour- ing, although conventional, is rarely unpleasant ; in his poi-- traits we may notice his singular n)anner of introducing cool touches of colour in diil'erent parts of the sunny tlesli tints. It is simply an act of justice to Bellini to say that he anticipated, in a certain degree, that perfection of colouring which his eminent scholars Giorgione and Titian attained. The well-known master, Marco Basaiti, is spoken of as a competitor of Giovanni Bellini. In colouring, the llesh tints of this painter remind us forcibly of Bellini ; his land- scape backgrounds are very curiously finished, and the skies and rock scenery of his large pictures are finely i)ainted. We find greater breadth and perspective in them than wo see in the curious backgrounds of his cabinet pictures ; yet Basaiti's large figures apjiear feeble and not so interesting- in point of finish as his small figures. Bissolo was a jjupil of Bellini's; his works are pleasing and refined, and ins co- louring is very golden. There is a great deal (,r character in the works of Bonsignori, a still earlier V enetian jiaiiiter, and, like Bissolo, he introduced a conside)al)l(! quantity of yellow in the flesh tints. The outlines which we find in" his pictures are expressive of an earlier type, such as that of Cri- velli. Andrea Previtale was a scholar of Bellini's. The back- grounds of his pictures are very brilliant, and his style re- minds us a little of the Brescian painter liumaniuo, BELLOHE, V, See John Wyck, BELLOTTI, Beenardo. Born in Venice in 1721 ; died at Warsaw in 1780. Pupil of Antonio Canal. Venetian School. Sale in ISIG. Duke of Norfolk. Archite(!lure and fi-iires .£24 13 6 View on a ( 'anal at \'eiiice 19 8 6 View of St, Mark's Place 15 15 18G7, Colonel Hugh Baillle. A View of Di'csden 283 10 BEL CRITICAL AND COMMERCIAL DICTIONARY OF 16 Bellotti paintod in different styles; some of liis views of Venice are eaily coloured, and have a srreat deal of blue in the sky, which "is broken by large yellow or warm clouds. About "tlie pictures maybe seen figures in all directions, and as busy as the figures in Occhiali's j)ictures. There are other pictures by this painter, which appear to be copies of his uncle's works (viz. Canaletti), and, in fact, often i>ass for tliciu. A third class of Veiiclian views, attributed to Bellotti, arc painted tor tlie eilect of light and sliade,yet they are far from being brilliant examples of ' chiaroscuro ' painting, because they are very brown and dark in colour ; even tlie skies are under-toned, and seem to be painted with terra- verte. In the buildings we miss the delicate outlines whicli are so characteristic of Canaletti; on the contrary, tiie pen- cilling is undefined and sketeliy. In some cases Canaletti appears to have painted the figures in his nephew's pictures. EELLUCCI, Antonio. Born at V(-.iico in died at Trevisa in 17-6. Pupil of Uomenico Dilinico. \euetian School. Sale in 1803. John Willett Willett, Esq. Apelles and Campaspe £15 15 BEMMELL, William Van. Born at Utrecht in 1630; died in 1703. Pupil of Herman Sachtleeven. Dutch School. Sale in 1804. View in Italy £5 The patient labour which Sachtleeven bestowed on the numerous figures and details of his pictures is more or less preserved in some of Bemmell's little groups of cattle and figures, as well as in his manner of painting the remains of walls and buildings. We need jiot always expect to see the influence of Saclitleeven in his works, as he subsequently studied in Italy. The distances of his later pictures are very pretty; he was happy in giving effect to them with comparatively few touches : large foreground trees are also characteristic features in his pictures. BENAZEE,BENEZECK(orBENASECH),CHAKLES. Died in 1794. French School. Sale in 1821. Interview between Fi'ancis I. and Charles V. ; a drawing £13 2 6 BENEDETTO. ^See Castiglione. BENT, John Vander. Born at Amsterdam in 1(150 ; died in 1690. Pupil of Peter Wouwermans and Adrian Vande Velde. Dutch School. Sale in 1861. Charles Scarisbrick, Esq. An Italian Landscape, with a Mounted Peasant and a Female with Cattle £6 1(5 6 1862. W. W. Burdon, Esq. Peasants, with a Cow, Sheep, and Poultry, be- fore a Cottage 8 5 BENVENUTO, Giovanni Battista, called L' Oetolano. See Benvenuto Tisio. BERG, S. Sale in 1842. A Landscape with Cattle £21 BERGEN (orBERGHEN),DiRK,orTHEODOKEVAN. Born at Haerlem in 1645; died in 1689. Pupil of Adrian Vande Velde. Dutch School. Sale in 1802. Sir Simon Clarke, Bart., and George Ilibhert, Esq. A Landsicape and Cattle £50 5 1819. Mathew Ilitchell, Esq. A Landscape, with a Female Peasant and Cattle 14 1823. A Laiulscape, and Figures 9 5 1827. A Landscape and Figures 17 17 1829. Lnrd Chnidir. A T,:iihl,si aiH'^ with a Female Peasant and Chil- dren 14 3 6 1830. Yiscoant JIampden. A Pair of Landscapes, with Cattle . . . 15 15 1836. • Sir James Stuart. Bart. A Peasant watchintr Cows and Sheep . . . 7 7 Ditto ; from the Lockhorst Collection . . . 22 1 1838. M. M. Z 'Chary, Esq. Peasants keeping Cattle near some Roman Ruins 22 11 6 1840. Sir Simon II. Clarke, Bart. Two Cows, Sheep, and a Goat, in a Landscape . 77 11 1842. Peasants keeping Cattle and Sheep, near some Roman Ruins ; from Mr. Zachary's collection £17 6 6 1818. William Wells, Esq. A Dutch Farm 82 19 The finest works of this painter are those which most resemble the works of his eminent master ; his inferior T)ictures are painted more in the style of Van Gool. Dirk Van Bergen was an exceedingly careful painter, and his love for his art is shown in the pains he took to do justice to the rendering of even the less important parts of his compo- sitions. His best pictures are warm or sunny in colour. BERGER, of Rome. Sale in 1802. A Picture of Cain and Abel £8 8 The Presenting of Josepli's Garment ... 660 Milo rending the Oak Tree 5 5 1803. R thert Thistlewaite, Esq. Jacob viewing Joseph's Garment . . . . 7 17 6 1805. The Taking of Briseis from Achilles . . . 15 15 BERGHEM (or BERCHEM), Nicholas. Born at Haer- lem in 1624 ; died at Haex'lem in 1683. Pupil of Van Goyen, N. Mojaert, P. Grebber, J. Wils, and of J. B, Weenix. Dutch School. Sale in 1801. A Landscape, with Cattle .... Ditto, with Figures Ditto, with Cattle and Figures £26 3 152 5 252 Sir William Hamilton. A Landscape, with Figures and Cattle . 1802. Cattle in a Landscape A Landscape, with Buildings and Figui'es . Countess of Ilolderness. A Landscape, with a Shepherdess and Cattle Duke of St. Alban's, An Emblematical Picture of the Rise and Great- ness of the Commerce of Holland . 199 10 33 2 30 9 294 115 10 Guy Head, Esq. A Landscape, with Buildings and Figures The Companion 31 10 28 7 Paul d'Aigremont, Esq. A Landscape, with Cattle and Figures . Lord Darnley. An upright Landscape, with Cattle and Figures A Landscape, with Cattle and Figures . — Nesbiit, Esq. Jupiter and Calista 1803. 29 8 68 4 82 19 Sir Simon Clarke, Bart., and George Ilibbert, Esq. A Landscape, witii Cattle and Figures . . . 36 15 A Halt of Travellers ; formerly in the collection of Count de Vence 105 A Landscape, with Cattle and Figures . . 325 10 An Italian Sea-port ; from the collection of Mr. Gildemester 199 A Landscape, with Figures ..... 178 10 9 A small Landscape 42 The Commerce of Holland, represented by Alle- gorical Figures 62 1804. — Bryan, Esq. Cattle, in a Landscape 52 10 A Landscape, with Cattle and Figures . . . 231 1806. 3Iarquis of Lansdowne. A View of Tivoli 22"- 15 A Morning Scene 267 15 1809. A Landscape, with Cattle and Figures ; from the collection of M. Trochin 43 1 1811. Henry Hope, Esq. A Female upon an Ass, at the Door of a Cabaret 88 4 A rocky Landscape, with a Halt of Cavaliers and Ladies after Hawking 215 5 1813. ]\r. La Fontaine. A Landscape, with Peasants and Cattle at a Fountain 43 1 17 THE WOEKS OF PAINTERS. B E R John Willett Willett, Esq. A Landscape, with Figures crossing a River A small Landscape ; Evening Scene . 1819. W. N. Hewett, Esq. A mountainous Landscape, with Cattle and Figures Matliew Mitcliell, Esq. Peasants and Cattle crossing a Ford; from the collection of M. de Calonne .... 1821. John Webb, Esq. A Landscape, with Buildings .... 1822. 3Iarquis of Bute. A small Landscape, with Cattle and Figures . 1826. Lady Holland. A woodj Landscape, with pastoral Figures Admiral Lord Radstock. A Landscape, with a Peasant and two Females driving Cows and Sheep 1827. Viscount Creinorne. A mountainous Landscape, with Cattle and Figures Dulce of Bedford. Peasants driving Cattle 1828. 3t. 31. Zachary. Esq. A Landscape, with Buildings and Figures . A Landscape, with Sportsmen and Horses ; from tlie collections of Sir R. Hesketh and Sir Wil- liam Hamilton View of a Hermitage, with Cattle and Figures . 1829. Thomas Emm er son, Esq. A Landscape, with Figures preparing for Hawk- ing • A View in Italy, with Cattle and Figures passing a Ford The Repose after the Chase £263 11 SO 9 46 4 40 19 52 10 53 10 73 10 194 5 31 10 273 215 5 Lord Gwydir. A Study of Heifers' Heads A Landscape, with a Cavalier halting at a Bird- catcher's Hut A mounted Peasant driving a Cow to Water Earl of Liverpool. A Landscape, with a Peasant driving Cattle George Hibbert, Esq. An Italian Landscape, with Cattle and Figures . Ditto; from the collection of M. Robit 1830. Viscount Hampden. A Landscape, with a Cascade and Figures . 1831. Hon. 3Ir. Vernon. A small Landscape, with Fisjures; from the collection of the President St. Victor John 3Iaitlnnd, Esq. A Landscape, with Buildings, Cattle, and Fi- gures ; from Mr. Barnard Haiikey's collection 1832. A Landscape, with Cattle and Figures; from the collection of the Duke of Bedford 1836. Sir James Stuart, Bart. An upright Jjandscape, with Figures . Brook Greville, Esq. An upright Landscape; from the collections of M. Robit and George Hibbert, Esq. . Sir Charles Bar/ot, G.C.B. A Landscape, with Figures and Cattle; from the collection of Randon de Boisset A Landscape, with a Female Peasant nursing a Child, and a Man with a Hurdy-gurdy . 1837. Sir G. Warrender, Bart. A mountainous Landscape, with Figures driving Cattle towards a River 372 10 341 5 84 236 5 477 10 16 16 309 5 236 5 ISO 12 372 5 610 10 787 10 105 114 9 210 5 47 15 6 320 5 561 15 142 172 1839. Sir Henry Oxenden, Bart. A Landscape, with a mounted Peasant in con- versation with a Girl 1840. Sir Simon H. Clarke, Bart. Roman Ruins, with a Bridge and Cascade . Ruins of a Roman Aqueduct, with a Female Peasant driving Cattle over a Ford . 1841. Hon. Lady Stuart. A hilly Landscape, with a Shepherd and Shep- herdess sitting on a Bank 1844. Jeremiah Harman, Esq. A Halt of Cavaliers at a Blacksmith's Shop 1848. Count de 3Iorny. A Landscape, with a Hay-cart and Peasants Ditto, with a Hawking Party .... Ditto, with Peasants going to Market . 1850. Enrl of AshburnJiam. View near an extensive Valley, with a Peasant driving Cattle through a Ford ; from Sir Gregory Page's collection 1859. Hon. Ed7nund Phipps. A small mountainous Landscape, with Cattle and Figures 1861. Charles Scarisbrick, Esq. A Landscape, with a Female Peasant milking a Goat, and another with a Basket on her Ann An Italian River Scene, with Figures by Wou- wermans A small Landscape, witli a Woman nursing a Child, and a Man playing the Hurdy-gurdy . A Landscape, with Women milking, &c. A Landscape, with a Female Peasant keeping Cows and Sheep, near a Roman Monument . A Landscape, with a Female nursing a Child, a second milking a Cow, &c 1863. A Landscape, with Female Peasants milking Cows and Goats £88 4 211 10 404 5 1G8 10 231 136 10 136 10 472 10 27 6 32 6 315 183 15 241 10 173 5 152 5 262 10 183 15 The works of Berghem may be conveniently divided into four classes. His earliest works, painted with little more than brown and white, are scarce ; they are delicately pen- cilled, but are not sufficiently important to be valuable. They are to us, as examples of talent, cramped by erroneous teaching; even in his second manner, when he selected grander scenes for the exercise of his abilities, we can still trace Van Goyen's influence in the brown and heavy hills, although at times they remind us more of the distant scenery in the elder Molyn's pictures. The figures add considerably to the value of Berghem's early works, for as a painter of figures and animals he was always great ; his cattle may be said to rival Adrian Vande V'elde's, and, when there is little to interest us in his heavy clouds ami stormy scenery, we love to dwell on the life-like groups lu the foreground, and justly regard them as pictures of them- selves. His third manner, in many cases, does not dificr from the second, as regards selection and composition, yet the i)ictures v/hich belong to this class are painted with greater impasto, and are full of lire and colour; horsemen in vermilion coats, and skies painted in the sparkling man- ner of Karel du Jardin, are characteristic of this class. Wo may notice a fourth style, in which Berghein showed his greatest power, namely, when he i)ainted with paler colours, and seemed thereby to give greater s})ace and breadth to his pictures, and these are especially enhanced in value by the; deli(;ate treatment and (luality of the figures ; some of theiu are almost facsimiles of the groups in his beautiful etchings. Besides being an excellent drauglitsuian, Herglicm was a great colourist ; in many of his caliiuct pictures lu; used uTtramarine most lavishly, yet lu; coiiLrived Lo balance the same by the sunny atul almost startling brilliancy of the foregrovuid, as \v('ll as l»y l)n^;hL touches of colovn- on the cattle and ligures. The drawing of the heads of his cattle is excjuisile, but his goats and sheei)are sometimes a litth; liard and mannered. Jiergliem had a marvellous eye for appre- eiatimr linish and quality, and a sweet manner of painting urass and foliage under the ell'ect of a brilliant sun. Many of Ins .fvn-egrovnids deserve ijarticular study, and, in point of linish, are e(iual to Wynants and Vander Heyden ; there is a nice variety of colour in his foregrounds, and we find in them sand, llowers, and leaves of a puri)le tint. Soon after Berghem had abandoned the Van Goyeii manner, we ob- serve an improvement in the painting of the figures and horses; at a distance they seem to possess all the spirit and vivacity of the figures and animals which a(l(jrn his grandest works, "yet, when examined closely, it will br seen that the colouring is consideral)ly nH)re oj)a(pu;, and the drawing rather hard. His landscapes of tins period are usually D BEE CRITICAL AND COMMERCIAL DICTIONARY OP 18 tainted on alight-brown ground, which be would purposely oave uncovered in parts; it is visible in the trees, as well as ill the foresround, and gives relief to his pretty green leafage. Eerghein was very happy in his foliage tints, as well as in his ultramarine distances: few artists.'could venture to use ultramarine so freely as he did. Notice algo his manner of breaking the blue colour of his distances with lines or strokes of yellow, intended probably for distant corn-fields: these touches ofton prevent the bright blue from appearing to intrude, and at the same time balance the brightness of the foreground iiarts, as well as the gay red and orange garments of the, figures. Some of Berghem's later pictures are painted in the manner of Both, although, in pencilling, thov vary sufficiently to be distinguished from them ; Berg- heiii's touch l)i'ing thin, small, and three-pointed, and con- sequently more like Pynacker's. There is also a greater variety of tints than we see in Both's pictures ; we find m the foreground trees a succession of agreeable contrasts of gr(!cn, brown, and yellow tints, then a succession of hills, in wliieh ultramarine predominates; in the distance still more brilliant hills and fields, which seem to disappear in misty bhie mountains. Berghem's frost pieces are very clever, and, like Liuvsdael, he was careful not to make them appear too wiiite. Herghem's pictures painted in the manner of Nicolas Vrooniaiis remain to be noticed. They are compositions of wild-fiowers and plants, on which and in the loreground he would represent reptiles and insects, the accessories in them being painted in the style of one of his masters, namely, Weenix. His pictures of this class are admirably painted, and the pasticcio may often be detected by exa- mining the sky and landscape distance, which he usually introduced in one corner. Berghem signed his pictures differently ; sometimes he wrote his name in full, in a bold flourishing hand, andhavingthe initial N ciphered with the B ; at other times it is written in a small neat manner, and without the initial N ; and again he spelt it differently. We find Berghem and Berchem on his pictures, generally the latter; yet he is commonly called in this country Berg- hem. It is 'supposed that his real name was Klaasze. BRRKHEYDEN, Gerard. Born at Haerlem in 1G45; died at Amsterdam in 1693. Dutch School. Sale in 1806. 3Iarquis of Lansdoivne. A Landscape, with Buildings . . . . £22 1 Ditto 18 7 6 1819. A View in Holland, from a Terrace, showing Shipping, &c 54 12 View of a Tower in Holland 27 16 6 1822. Marquis of Bute. View of the Stadhuis at Amsterdam, with Figures 17 6 6 1827. View of the Nave of a Church in Holland . . 33 12 1828. View on the Canal at Rotterdam . . . . 24 13 6. 1829. Thomas Emmerson, Esq. View of the great Church at Haerlem . . . 28 7 1832. George Watson Taylor, Esq., 31. P. A Town Scene in Holland 15 15 A Street Scene in Holland 15 15 1833. A View in Haerlem 52 10 1836. Sir CJiarles Bagot, G.CB. A View of the Cathedral of Haerlem, with Figures by Job Berkheyden 22 i A View of the Jaan Straat and Cathedral of Haerlem, with Figures by Job Berkheyden . 39 7 6 1842. A View in Amsterdam 17 6 6 1859. Hon. Edmund Phijws. Haerlem Church, with Figures . . . . 31 10 1860. A Market-place 16 16 1861. Charles Scarishrick, Esq. A Street in a German Town, with a Church and a (Gothic Cross, near which is a Group of .Market Figures 27 6 Interior of a Dutch Church, with Figures . . 23 2 A \'\v.\v in Amsterdam, with a Church, Vessels, and Figures 21 10 6 A View outside one of the Gates of Utrecht, with Figures 43 1 ( ;( rard l>(irkheydeu's pietures do not sell for large prices in tlie uKu-kel , yet most of them are exceedingly clever. His biuidings arc drawn almost as tastefully as Vander Heydeirfs, and he was very happy in the management of ' light and shade ; ' in fact, were it not for his judicious treatment of the same, some of his pictures would appear flat and mono- tonous. But this is avoided by his clever way of letting the sunshine appear through an open door or archway, or it plays on the ground, whilst the sun itself is hidden by the wall of some lofty cathedral. His buildings are carefully but not elaborately finished, and the figures, although very good of their class, have not the spirit of tliose of Adrian Vande Velde, There is a charming series of Gerard Berkheydeu's pictures in the Hope Collection. BERKHEYDEN, Job. Born at Haerlem in 1643; died in Holland in 169S. Dutch School. Sale in 1829. Viscount Banelagh. An Interior, with Figures, by Candle-light . . £32 Job Berkheyden sometimes painted interiors of churches in the manner of Emanuel de Witte ; they are prettily painted, and the figures in them are usually very clever. When he painted landscapes with buildings and figures, the landscape part reminds us of De Koning. BERNARD, of Brussels. See Van Orley. BERNINI, Giovanni Lorenzo. Boru at Naples in 1598 ; died in 1660 (?). Sale in 1801. Earl of Beshorough. Portrait of Chevalier Bernini .... £28 7 BERRE riNO, PiETRO. See Cortona. BERTIN, N. See Le Brun. BERTUTIUS. See Paul Bril. BESTERS, J. See Anderson. BIGG, William Raumoke, R.A. Born in 1755 ; died iu 1828. English School. Sale in 1827. F. II. Standish, Esq. A Landscape, with Figures £3 1833. Children relieving a Distressed Sailor . . . 4 14 6 The works of this early member of the Royal Academy are not frequently met with. He appears to have delighted in a homely style of painting. There is a truthfulness about his rustic scenes which seems peculiarly to adapt them as illustrations to books. The foliage of his woody scenes is worked up in a careful and elaborate maimer, which reminds ns a little of the sunny landscapes of Groombridge and J. T. Young, both of whom were his contemporaries. Hut we must regard Bigg as a figure-painter, as well as a landscape- painter: his rustic figures are simply and honestly painted. We cannot compare them to Gainsborough's ; on the whole, they are more analogous to some of Stubbs' early figures. BIKYADEL, R. See Netchee. BINDON. >S'eeJEEVAS. BIRD, Edward, R.A. Born at VTolverhampton in 1772; died in 1819. English School. Sale in 1836. Hector and Andromache £6 The Raffle for the Watch 70 1837. Sir Francis Freeling, Bart. The Tale of Waterloo 15 4 6 1839. A Set of Eight small Subjects from the Old Tes- tament 15 15 A Set of Five ditto from the Apocrypha . . 12 1 6 A Set of Ten ditto from the New Testament . 24 3 1856. Samuel Rogers, Esq. The Di ath of Cleopatra 4 4 1863. Elhanan Biclcnell, Esq. A Girl with a Pitcher C 16 6 Stothard, Smirke, Bird, and other early members of our Royal Academy, constantly employed their pencils on studies and small illustrations to different works. However clever they may be, it is rarely that pictures so small and slightly painted realise large sums. The writer alludes to this be- cause, otherwise, the above sale notes, with the exception of ' The Raffle for the Watch,' would give one unacquainted with Bird's works a poor impression of his merits as an artist. From a painter of tea-trays. Bird rose to considerable emi- nence as an artist, and was honoured with royal patronage. He excelled in a variety of subjects : preference is generally given to his scenes of rural life, and he was a capital painter of cottage interiors. Some have called him Wilkie's rival, but even his best works appear hard and tame by the side of Wilkie's. So far as regards ' quality,' his miniature pic- tures and small studies are e(iual, if not superior, to his finished works; yet the colouring of them is not brilliant, they urc rather fawny in colour. Perhaps they please us 19 THE WORKS OF PAINTERS. B L Vx'cnuso the fi^currs are so prettily drawn, and there is so niui'li fccliiit^ ill the subjects. Eird's labours were not con- fined to tlic painting of lutinely scenes ; lie ultimately l.iiiiichod into ' the grand,' and ))aint('d Scriptural and his- torical subjects, l)ut unfortunately not with much success; the characters in them are often theatrical and extravagant. One of his most important works in the latter style is ' The Death of Eli,' which Sandliy informs us was purchased by tlie ]\Iarquis of Stafford for 500 guineas, to which the British Institution added their premium of 200 guineas. Bird was unquestionably a good designer, and Murphy, speaking of him, says, ' His sketch-book was filled with sub- jects fit to expand into pictures.' BISCAINO, Baetolomeo. Born at Genoa in 1632; died in 1657. Pupil of Valerie Castelli. Genoese School. Sale in 1829. Lnrd Gwydir. The Adoration of the Shepherds .... £7815 Most of this painter's subjects are selected from the Bible, yet he occasionally painted profane or mythological pictures. Considering the short time that he was permitted to })ursuo his studies, much praise is due to him for the pvosition which he attained in the Genoese School. In most cases his style may be described as free and bold. He also was an admirer of liroad effects of 'light and shade;' the painting of the face shadows may remind us of Earoccio.but the high lights are consideraV)ly more separate or vivid. Biscaino was an attentive observer of the fine and beautiful in the pictures of the great masters, and made a judicious use of them in his own works. He was particularly happy in the grouping of liis subjects, and the outlines of his female figures and infants are very cliarming. The backgrounds of his pictures remind us of Castiglione, and they are composed in a very original manner; but Biscaino's is not severe— it may be free and bold, but still there is tenderness in it. BISCHEY, BESCHEY (orBESSCHEY), J. F. Born at Ant- werp in 1739 ; died at Antwerp in 1799. Flemish School. Sale in 1802. Yenus and Adonis £6 16 6 The small pictures of this painter are often excellent imitations of Rubens and other masters; they are fre- quently painted on copper, and are smoothly and neatly finished. There were two other painters of this name, although they are not mentioned in the dictionaries. One wasBalthasarBeschey, a Flemish painter of ' Conversations,' who died in 1760. He is rejirosented in the Museum of the Louvre by a picture of ' A Flemish Family.' The other was C. Beschey, who painted in the neat and elaborate manner of John Brueghel; his pictures are signed thus : c. beschey . f. J. F. Beschey signed his pictures very dilferently, viz. J. Beschey, written in a light but rather Ihnirishing hand. John Van Alen, or Olen, is mentioned in the dictionaries as a successful copyist and imitator of other masters. BISCHOP, John de. Born at the Hague in IGIG; died at Amsterdam in 1686. Dutch School. Designer and en- graver. Sale in 1S09. Sir Georrje Pauncefote, Bart. The Israelites fed with Manna . . . ) ,.01 n n ftlelchisedek ]- £32 11 BISET, C. E. See PvOTTEKHamer. BISSOLO, P. F. See Giovanni Bellini. BLAKE, William. See Henry Fuseli, ll.A. BLAKE, B. Died about the year 1830. Sale in 1829. Interior of a Larder £8 15 1836. A Picture of Game 19 8 6 1862. A Picture of Still Life 12 12 1803. John Allnutt, Esq. Interior of a Larder, with dead Hares, Phea- sants, Utensils, &c 21 Blake's pictures are usually small, and are finished in a neat and delicate manner; he particularly excelled in panitnig dead hares and vegetables. His works resemble the original pictures of d«ad birds painted by General Thwaites,' who in the early part of his life was an amateur ' Lieutenant-General Thwaites was Secretary of the Na- tional Gallery for many years. The following account of him IS coined from the ' Illustrated London News,' Obituary of Emnient I'ersoiis, January 12, 1H67 :— 'Lieuteimnt-dJeneral George Saunders Thwaites, who died on the 3(il:h ult., at his house, 48 Sydney Street, J^rompton, atred eighty-eight years, entered the British army in 17i,t5, and was actively and with great distinction employed uj) to 1S17. He served in the^ expedition to the coast of Holland in 179(5; in the Last Indies tn;iii ITDl); Wnm was on mariiH! dutv on l)oai'd l\.^\.'!i>.La FuHc till wrecked in the Red Sea. He was in the campaign of 1801 in Egypt, having volunteered crossing painter and a capital cojiyist. Blake sijiued his pictures in small letters: I?. HIake. The writer recollects seeing tliedate 1S3(I on one; we may therefore pn'snnie thai Ik; died rather later than is;iu, t he date assigned by his biojii aidier, Stanley. The dead animals in Uanx's landscapes are linished in the careful manner of Blake, lluix's dogs are rather quaint, and he occasionally introduced figures of spoilsmen in his pictures. In colouring and ])cncilling, theivi is a slight resemblance between the works of Ilaux and Theojjh Hain- rick, an Hungarian i)ainter. The works of Blake and his imitators remind us of the highly-finished pictures of dead birds and insects by an old painter of the name of T. \). Fromantion, who painted in the latter part of tlic seven- teenth century. BLANCHARD, Jacques. Born at Paris in 1600; died at Paris in 1038. Pu)»il of Nicholas Butteri and of Horace Le Blanc. French School. Sale in 1802. Paul d' Aigremont, Esq. The ' Roman Charity ' £2 5 The above sale note may merely refer to a sketch or study for some picture, as it does not represent the average value of Blaiichard's pictures. He was a free and agreeable painter, and knew well how to manage rosy flesh tints. He excelled in painting subjects similar to the above, and especially in the once favourite suliject called 'Charity.' There is a specimen of the same by this artist in the cele- brated collection of George Perkins, Esq.; it is a very pleasing i)icture, and in style re:iiiiids us of the works of Signora Pozzo. Several of his f>ictures are in the Louvn;. On some of his works we find iiis name inscribed with the date. BLECK (or BLEECK). Designer and engraver. Flourished in the latter part of the eigliceeutli ceiiLury. Flemish School. Sale in 1823. George Watson Taylor, Esq. Johnson and Griffin in the characters of Tribu- lation and Ananias, in ' The Alchemist ' . . £1111 BLES, Hendsik de. See Albert Durer. BLIEK (BLICKE, BLICK, or BLIECK), D. Flourished about 1650. Sale in ISOl. Earl of Besborough. Interior of a Church £5 5 1829. John Webb, Esq. Interior of a Church, with Figures . . . 16 16 The dictionaries appear rath(!r uncertain as to the spell- ing of this artist's name; the last seems tlu; c<»rrect way. He was a careful painter: his manner of inixing his tints, and his way of applying them so :is to pi-o luce sudden effects of light and shade, as well ;is his warm colouring, all remind us of the style of De Lorine. His liy;ures may be compared to the slightly painted ligun's of Teniers. BLOEMAERT, Abraham. Born at ( ^orcinn in 1567 ; died at Utrecht in 1617. Pupil of Joseph de Beer and Francis Fioris. Dutch School. Sale in 1802. Portrait of the Painter, by himself . . . £2 10 1803. The Holy Family 16 5 6 1806. Marquis of Lansdmvne. Abraham dismissing Hagar 18 7 6 1815. W. Comyns, Esq. Christ in the Garden 8 10 1S32. ■Sir (/nny,- l)iirh, !f, ll irl. An Egyptian I'l'inah; and Child .... 500 lsl.2. Interior of a Barn, with a \V(Muan and Child seated, &c 17 17 the Desert of Suez with Colonel Lloyd's detachment, with which he joiiKid the Grand Vizi(>r's army on the advance to, and surrender of Cairo. He was wit h the tsth licgimeut friiin isll to isl,",, as Cajttaiii of Light infantry, in the Peninsula, and shared t he gloricis of the siege and storming of Badajoz in 1S12, of i\w l)attle of Salamanca (wher(! lie was wounded) of the advance to, and occujtation of \ladrid, of the battles of Vittoria and the Pyrenees (where lie was wounded, commanding the brigade's liirht companies), and of numerous minor engagements. He received the Sultan's gold medal of the Order of the Crescent, and the silver war medal, with five clasps, for Egypt, Badajoz, Sala- manca, Vittoria, and the Pyrenees. Thwaites became a caj)tain in 1803, a major in 1814, a colonel in I sfO, a major- general in 1854, and a lieutenant-general F(;iiriiaiy 13, 1861.' Thwaites was l)y profession a soldier, but painting was his love and his hobby ; and beyond all dispute he was one of tlie best judges or coniunsseurs of ancient i)ictures of his day. 1) 2 B L CRITICAL AND COMMERCIAL DICTIONARY OF 20 TliPi nairips of Francis Floris and Abraham Bloomaort should be remembered in connection with the transition period of Flemish art. Tiie former left the school of Lam- bert Lombard, one of the last of the early Flemish painters of religious subjects, and launched into a classical style. Abraham Eloemaert followed up successfully the same style; yet his works are not confined to classical and his- torical compositions, for he was a gre.it lover of landscape and cattle-painting, a line of art in which the Dutch and Flemish paint(>rs subsequently became so eminent. The numerous talented painters whom Blo:nnaert had the honour of instructing naturally adds to the interest we take in his name and works; but" it should be remembered that his important works ai'e not often seen in this country. Eloe- maert was unquestionably an industrious T)ainter; in some of his works he introduced life-sized figures, and was equally ready in composing: altar-pieces and mythological subjects. Like his master, Francis Floris, Eloemaert fre- (luentlv painted undo fitrures; they nre usually simr)le and nnnfTccted : the liinl)s of both sexes are large and boldly drawn reminding usmor<> of the Ilonian than of the Dutch and Flemish pointers. There is usually a richness of colour- ing in his pictures, and, when the subject admits of it, a great deal of landscape in the background, which is enriched with numerous trees and flowers. His love for the Italian School is especially noticeable in his relicious subjects; they possess considerable merit, yet we sometimes feel that there is too much excitement in them, and an affectation in the foreshortening and flourishing of the hands. The Dutch and Flemish artists were rarely famous for their skill and taste in representing religious subjects, still there is a fine Italian character about some of Bloemaert's sacred pieces, and they are the more strikine: wiien we consider the general character of the school and period to which he belonged. Some of his works remind us of the designs of Theodore Bernard. Eloemaert spelt his name differently; on his picture of the 'IVativity,' in the Louvre, his Jiame is spelt Bloemart. but on a portrait liy him in the same Museum it is spelt Eloemaert, and the writer has seen it written A. Blommaert, with several flourishes— the ' 1 ' being of an enormous size, more than twice the height of the capital letter. BLOEMEN. Peteb Van. Born at Antwerp in 1649 ; died in 1719. Flemish School. Sale in 1802. A Pair of Battle Pieces £6 6 1803. A Pair of Cattle Pieces 6 6 1808. Sir Ricfiard ^nUivnn. Hart. Horses and Figures in a Landscape . . . 7 7 1813. Travellers on a Journey. Bought in at . . 20 9 6 1822. 3Tnrquis of Bute. Two Pictures of Horses 7 5 1825. An Attack of Cavalry 3 3 Horses and Figures at a Farrier's Shop ; and a Night Scene, the companion .... 870 1827. A Landscape, with Peasants driving Cattle through an Archway . , . . . . 7 5 An upright Landscape, with Figures going out Hawking 5 5 Ditto 12 1 6 1839. William Mellifsli, Esq. Cavaliers at a Farrier's Shop, and the com- panion 13 2 6 1861. Charles Scarishrick, Esq. A Landscape, with a Man feeding Horses, and Cavaliers and Women at the Door of a Tent . 10 10 1803. A Landscape, with Figures and Cattle ... 880 Peter Van Bloemen's pictures are neatly and agreeably finished, and class very well with Peter Wouwermans' and Barent Gaal's. There is frequently a sameness in his man- ner of arranging his pictures. In the foreground we see cavaliers or soldiers standing by the side of their horses, whilst on either side are some loitering peasants, perhaps with a dog or two, and scattered about are stones and bushes, painted with rather bright colours, in the manner of Wouwermans. He was also fond of introducing high walls and archways in the foregrounds of his pictures, and, like Barent Gaal, he would frequently paint the distant fields under the effect of a powerful sun. Tlie trees and foliage of his pictures are generally thinly painted, and the skies of his inferior works are ' foxy ' in colour. BLOEMEN, John Francis Van, called Oeizonti. Born at Antwerp in 1656; died in 1710. Flemish School. Sale in 1801. Landscape and Figures, and the companion . £t 4 Ditto, a single picture 4 4 Ditto 440 1802. A Pair of Views in the Environs of Rome . . 5 5 A Landscape 500 1803. A Pair of oval Landscapes, with Figures . . 8 18 6 A Landscape and Figures 10 10 Ditto, the companion 8 18 6 1809. Sir George Pauncefote, Bart. View in the Environs of Rome . . . ) i c\ Ditto, the companion J •> u 1827. Robert Grave, Esq. An Italian Landscape 3 5 Viscount Cremorne. Ruins and Figures 6 6 1832. A woody Landscape, with classical Figures . 18 7 6 1836. Alexander Copland, Esq. A Pair of classical Landscapes . . . . 12 1 6 1837. Sir Francis Freeling, Bart. Landscape, with the Reposo 21 W. G. Coesvelt, Esq. A classical Landscape, with a Waterfall . . 47 5 A mountainous Landscape, from Soria, in the Roman States 47 5 1839. Prince Poniatowski. Roman Ruins, with Figures 21 10 6 Ditto 21 An Italian Landscape, with a Waterfall . , 16 5 6 An upright oval Landscape, with Figures . . 9 9 1810. Sir Simon H. Clarke, Bart. The Sibyl's Temple at Tivoli, with a Group of Fishermen .- . . 80 9 A classical Landscape, with Figures . . . 77 14 1860. A classical Landscape 12 12 This well-known artist was particularly fond of painting Italian scenery. In general character and colouring, his cabinet pictures remind us of Gaspar Poussin's— he was very happy in imitating Poussin's ragged touch ; yet there is something mechanical and careless about Orizonti's paint- ing which seems to debar his works from competition with Gaspar Poussin's. The most we can say of Orizonti is, that had he devoted more time to his pictures, their value would have been greatly enhanced. Like Poussin, he was partial to semi-classical figures ; they are usually expressed with rough brown touches of colour, and are quite Italianesque in cha- racter. Orizonti occasionally painted large gallery-land- scapes : although admirably coloured, we can only esteem them as excellent examples of decorative painting. The Rev. Mr. James, in his notice of the life of Orizonti, says :— ' His etchings, chiefly compositions of garden scenery, ruins, trees, vases, &c,, afCord excellent examples of the best taste in landscape-gardening, after the Italian manner.' Ori- zonti's style has been imitated by other painters— the coarse semi-decorative landscapes of Adrian Henn bear a certain resemblance to them. The closest imitations of Orizonti are by the hand of a painter of the name of Bunnik ; he is most" likely the artist described by Bryan under the name of John Van Bunnick. He painted classical landscapes, the foliage being particularly warm and brown in tone. There is a certain peculiarity in his manner of introducing the figures, for in the same landscape are nude classical ligures, painted in the style of Poussin and Orizonti, and homely peasants, or figures in the character of pilgrims. BLOND, CnRisTOPHER Le. See Alb icrt Durer. BLOOT, Peter Van. Born in Holland ; flourished about 1650. Dutch School. Sale in 1802. A Landscape, with Buildings and Figures . .£250 A Frost Piece 5 5 1838. 3T. 31. Zachary. Esq. An Interior, with Peasants at their Repast . 51 It would appear from the above sale notes, that Van Bloot occasionally spent much time on his works; but, as a rule, the ' heads' and 'brawls' ascribed to him are painted in a quick and rather slovenly manner. He pencilled with a small tool ; his touches are very distinct, and there is a great deal of colour in them. 21 THE WOKKS OF PAINTERS. BON BOADBN. Flourishefl in the early part of the present cen- tury. English School. Sale in 1819. A Lady with a Basket of Fruit . . . . £7 17 6 In style, this painter reminds us of Sir Thomas Lawrence and Harlow, and he was particularly successful in pamtuig rustic beauties. BOASE. Sale in 1803. Portrait of the Kinf? of France . . . . £12 BOOKMAN. /S'^e Kneller. EOEL, Peter, See Sntders. BOGDANE, James. Born in Hungary ; died in 1720. Sale in 1S03. Robert Grave, Usq. Fruit and Flowers ; a pair £1 18 1833. Birds, &c 3 10 1836. A Flower Piece 2 12 6 Flowers and Birds Ditto . 2 10 4 12 1839. William. Mellish, Esq, Parrots, with Fruit, and a Basket of Flowers . 3 9 Bogdane painted in the manner of .Tean-Baptiste Mon- nnyer. Some of his works are so neatly finished, that they will bear Iteing compared with Van Aelst's ; at least, as re- gards the plants and larger objects. The insects, nuts, and other minute objects, scattered about the foi-egrounds, are very inferior to Van Aelst in quality and flnish. BOILLY, Louis-Leopold. Born at Bass^e in 17G1 ; died in Paris in 18i5. French School. Sale in 1802. A Pair of humorous Subjects £12 This artist exercised his pencil on a variety of subjects. Ills road-side scenes and conversations are characterised by a (jroat deal of spirit and humour, and he was happy in introducing a variety of incidents in his compositions. BOIS, Du. Sale in 1804.. A Landscape £10 10 There was a clever portrait-painter of this name, who painted in the latter part of the seventeenth century. There is a great deal of taste displayed in his female portraits, al- though they lack the richness of Lely and Houseman. He painted the eyes prettily, and his draperies are woll ar- ranged ; he gave power to some of his portraits by throwing th(riight on the face, and keeping the rest of the picture much subdued, BOISVAL, F. Sale in 1861. Charles Scarishriclc, Esq. A View on the Rhine, with a Church and Build- ings on the Bank £15 15 BOIT, — . Born at Stockholm ; died at Paris in 1726. Sale in 1829. John Webb, Esq. Miniature of a Child £115 Ditto of the Duke of Argyle 10 Ditto of a Lady 10 6 BOL, Ferdinand. Born at Dort in 1611 ; died in 1681. Pupil of Rembrandt. Dutch School. Sale in 1804. — Bryan, Esq. A Philosopher £(50 18 T^13. Jolrn Wnit fl Wilhlf, 7';.7/. The Woman taken in Adultery . . . . 05 2 1823. Georcje Watson Taylor, Esq. His own Portrait 107 1836. Sir Charles Bayot, G.C.Ii. Portrait of a Lady with a Fan in her Hand ; from the collection of Van Ryndaers of Brus sel.< The Archery Prize 46 4 121 10 1839. 19 19 Portrait of a Lady . This master is best known as a clever portrait-painter of the Rembrandt School. There is a beautiful golden tone about his works, which is greatly heightened by his fa- vourite and judicious style of painting his portraits in dark or black dresses. His heads are wonderfully effective when seen from a little distance, but when examined closely it will be found that the pencilling is weak compared with Rem- brandt's. Bnl did not confine himself to portraits, but oc- casionally painted historical pictures, \yeyerman mentions his grand pictures of ' Moses breaking the Tables,' and ' Fa- bricius in the Camp of Fyrrhus,' which he painted for the Chamber of the Burgomasters, and also the historical picture which he painted for the Admiralty at Amsterdam. BOL, Hans (John). Born at Mechlin in ISSt; died at Amsterdam in 1593. Flemish School. Sale in 1850. Earl of Ashburnham. A Sea-port on the Levant, with a Group of Oriental Figures £12 1 6 BOLOGNESE, II. See Grimaldi. BOMBELLI, Sebastian. Born at IJdina in 1635. Pupil of Guercino. Bolognese and Venetian Schools. Sale in 1807. Edward Coxe, Esq. A Miniature of Nicold Poussin ; from the collec- tion of Mr. Strange £7 17 Ditto of a Female Singer 2 2 1S15. Edtvard Coxe, Esq. Small Portrait of a Lady 2 12 Ditto of Poussin, and one other . . . . 2 15 BONARIO, C. Sale in 1802. Caligula's Bridge from Baia to Puteoli . ]^ City and Temple of Baix ; the companion . j £29 8 39 18 60 18 An Italian Sea-port View of the Bay of Naples .... 1803. View in the Levant, with Siiipping and Figures. 25 4 Ditto ; the companion 31 10 Robert Thistlewaite, Esq. A Pair of Italian Scenes . 3 5 BONE, llENRT. R.A. Born in Cornwall in 1755; died in 1834. English School. Sale in 1816. Henry Hope, Esq. Portrait of His Majesty (an enamel) . Ditto of the Queen", ditto .... Venus, after Titian, ditto .... Danae, after Titian, ditto .... £30 9 15 15 59 17 37 16 1826. Admiral Lord Radstock. A Pair of Miniatures, in enamel, of George III. and Queen Charlotte; after .Sir \V. i> 'ecliey . 31 10 Miniature of Admiral Lord Nelson ; after Hopp- ner 11 11 Ditto of Mrs. Siddons; after Sir Thomas Law- rence ....... 880 Ditto of Charles I. ; after Van dyck . .' 2110 6 Ditto of Henrietta Maria ; afier \',ui(Iyek . . 37 6 (5 Ditto of Agostino Caracci; aiti I- Aiii'.):il(! Caracci 11 G Ditto of Marc Antonio ; after i':iir;i( !le . . ]5 15 Dittoof Rembrandt; after U'MulMaiult . . 10 10 Ditto of Ctiesar Borgia : al ter Tit ian . . . 15 15 Ditto of the Constable De Bourbon ; after Rem- brandt 19 19 1810. Sir Simon H. Clarice, Burt. The ' Good Shepherd' (an enamel); after Mu- rillo 59 7 The Infant St. John ; after Murillo . . . 48 6 1S48. Sir Thomas Baring, Bart. Christ Disputing with the Doctors (an enamel) . 31 10 William Sandby, in his interes! iii;.': ' Historv of llie lloyal Academy,' tells us that Mr. (J. i;,.\vl.s. ef ( 'av,' lelis'i S^iKU'e, paid gnineas for iMine's eopy \\\ I'w.w.w] ot 'I'liiinrs 'Bacchus and .\riadne.' The .si/.r l^[ Ihe eieuiiel is |S hy 16 inches. Sudam/)eeasionally paiiited m iiiia I ii n s on eujipeV plates; his drawing is very cari.ti:!, and his manner of linisU- ingis minute and curious. BONIFACIO (or BONIFAZIO), called Bonifazio Vene- ziANO. Born at Verona in 1491 ; died in 1553. Pupil of Palma Vecchio. Venetian S(;hool. Viscount Ranelagh. The Reposo Sale in 1829. £67 4 1830. R. Wcstall, Esq., R.A. Christ Healing the Blind 42 An ornament to the Venetian School was Bonifacio, who built his stylo on the works of Titian and Palma Veccliio. liis BON CRITICAL AND COMMERCIAL DICTIONARY OF 22 pictures of the ' Holy Family,' and of the 'Virgin and Child attended by Saints,' are great favourites with connoisseui-s. It may be noticed, that he frequently repeated his composi- tions: he was fond of representing the Virgin seated, with the Infant standing on her lap, the head of the Virgin being iu semi-prolile; the expressions of the faces are very touching and beautiful. It has been remarked that he could not paint feet well, therefore he often covered them with drapery; if this be so. it is rather singular, as the hands in his pictures are remarkably pretty. Like most of the Venetian painters of that time, he understood the art of casting over his pic- tures a sunny glow or tone ; his best works are very harmo- nious in colouring, but his studies or slight pictures are sometimes lowered in transparency and force by the intro- duction of a brick-dusty orange in the draperies. The backgrounds of his pictures are usually slightly painted ; in the di>tant scenery he would introduce a pile or succession of singularly humble buildings, with gable-pointed roofs, with here and there a slender solitary tree. The reputation of the Venetian artists of that time for painting animals is not great. Bonifacio did not excel his brethren in this line ; his animals are queer, comical-looking creatures, especially his dogs. Bonifacio's predella-shaped pictures are occa- sionally met with in this country, and are much liked by collectors; they vary considerably in ' quality,' and are diffi- cult to meet with in good condition ; the subjects of them are not always selected from Sacred Writ, but are sometimes taken from ancient secular history — treated of course with- out any regard to the costume of the period or to the his- torical minutiae. The figures in his long narrow pictures are sometimes only six or seven inches high, and are thinly ])ainted with the fine transparent colours peculiar to the Venetian School. Some of liis other works appear to be little more than studies for larger pictures, the female figures and children in them are full of poetry and feeling; they please us especially because the desired effect seems pro- duced at once, free of successive or multiplied layers of touches. As already observed, Bonifacio was not in the habit of finishing the landscape backgrounds of his pictures highly, for example, in his pictures of the ' Reposo,' and similar subjects; and we notice the same in his interiors, if he added anything to the plain walls, it would seldom be more than a column or two, or perhaps a square opening in the centre for a window. The furniture in his pictures is equally plain ; and his figures are sometimes seated on square boxes, instead of chairs ; his tables are frequently covered with a white cloth, on which arc placed numerous spechnens of glass and other things, very prettily done. When he introduced in his predella-shaped pictures a little landscape, or distant scenery, we notice that it is of the same simple character as the backgrounds of his more important works; scattered about are the small box- like houses, painted with a tint of yellow-ochre and Venetian red, and outlined with sharp light touches. The skies, in colour, partake more of a green than a blue, and he was particularly fond of drawing across tho horizon a little yellow or reddish colour, against which he would introduce the distant scenery or hills, painted with nearly the same colour as the sky. The foreground parts of the landscape are usually painted with fine transparent brown, one of the favourite colours of the Venetian painters of the Vecel- lio School. EONITO, Giuseppe. Born at Catell' a Mare in 1705 ; died at Naples in 1789. Pupil of Francesco Solimena, Nea- politan and Bolognese Schools. Sale in 1801. Right lion. Sir WiUiain llainilton. A Study of two Heads £110 Sketch for an Altar-piece 1 11 G BONNINGTON, Richard Paekes. Born at Arnold, near N(;ttiiigham, in 1801 ; died in England in 1828. Pupil of Gros. English and French Schools. Sale in 1830. Sir Thomas Lawrence, P.ILA. 'The Turk' £(3t 1 1836. Bight Hon. Lord Charles Totonshend. Two Venetian Gentlemen, with a Lady, looking from a Balcony on a Canal 52 10 The Virgin and Child ; a sketch . . . . 4 10 A Shej)h('rd tending Sheep ; a sketch . . . 4 18 A Sea-shore, with Figures ; a sketch . . . 10 10 Lord Byron's Greek Page 19 8 6 The Holy Family ; a sketch 4 10 1837. Sir G. Warrender, Bart. A Sea-shore, with two Children standing near some Fish ; a Cart, and Boats, with Figures in the distance 72 9 1839. View on t he Canal at Venici ; a sketch . . 3 An ui)rigiit Landscape, with :i Fif^ure on a grey Horse . . . , 5 5 Vi<".v on Ww Cii:n,ii,., iJlysi;, ;, 3 10 View of Venice, lookniiJ, u^) Lu the Dogana . . 22 1 1818. Sir Thomas Baring, Bart. A View on the Grand Canal at Venice . . . £1 15 1856. Samriel Rogers, Fjsq. A Turk enjoying the Siesta 2 i 1859. Hon. Edrmind Phipps. ' The Widow and Child'; an interior . . . 1 >9 1863. Elhanan Biclmell, Esq. A Sea-shore ; a sketch 3 13 6 The preceding sale notes describe clearly enough the general character of Bonnington's subjects; and the pic- ture in the Louvre of Francis I. and the Duchesse d'Etampes, in treatment, will class with them; that is to say, he has made a fancy picture of the subject. The prefixed prices which have been given for his pictures and sketches likewise testify his merit as a painter. His works are de- servedly admired, and will probably continue to increase iu value; for, independently of general excellence, his pictures are interesting as examples of a new style of i)aintuig— a style which chiefly depended for success on a bold and free use of brilliant colours, in direct opposition to the sombre charged palettes of our early English painters of ' Conversa- tions.' Some may describe Bonnington's style as an imita- tion of the Titianesque manner, or of the Veronese painters. Be this as it may, let us acknowledge our obligation to him for the introduction of a legitimate and skilful adaptation of a mode or style of colouring long discovered, yet too long forgotten by our English painters. It may be remarked that Etty, and other eminent artists, fully appreciated this style of painting, and supported its influence in their works. Brilliant pigments are mighty weapons in the hands of a clever painter; and so long as it be remembered that the application of thein requires more thought and greater me- chanical skill than is necessary for the management of neutral and subdued tints, all will go well, and a palette set with gorgeous tints will greatly aid in aggrandising the painter's art. The lessons which Bonnington has bequeathed to us in his works are simply endorsements of a very ge- neral opinion, viz. that an artist's eye, so far as regards co- lour, may be greatly improved by studying in Italy and Spain. Some of Bonnington's most brilliant pictures, such as his 'Venice,' for example, illustrate well Du Fresnoy's lines :— Hope not that praise to gain by sickly white, But amply heap in front each splendid dye. Then thin and light withdraw them from the eye. B(3NSIGN0RI. See Bellini. BONVICINO, Alessandro, called II Moretto da Brescia. Born at Brescia about 1500; died at Brescia about 1560. Pupil of his father and of Floriano Ferra- mola. Venetian School. Sale in 1805. A Landscape, with a Pilgrim presenting an Apple to the Madonna and Child . . . £74 11 1848. Sir Rohert Gordon, G.C.B. The Marriage of St. Catherine; from the Zam- pieri Palace 95 In merit. Bonvicino's works rank better with Palma Vecchio's than with Titian's. He was unquestionably an agreeable colourist, and had an excellent taste for painting the Virgin and Infant Saviour, he was also successful in his pictures of male saints, painted on a small scale, but his life-sized figures of male saints often appear unwieldy and ungraceful. Bonvicino's colouring is warm, and his tints are agreeably arranged; yet his touch is solid and heavy compared with Titian's, neither has it the transparency of the Veronese painters. The redness of his flesh tints is sometimes relieved by the silvery tone of the shadows. On the whole, it may be remarked that he was greater as a head- painter than as a composer of large sul)jects. His heads of old men are very fine, and a nice variety of expressions may be noticed in his groups, Bonvicino was also a good drapery-painter, but the colours of the same are not strik- ingly brilliant. BOON, Daniel. See E. Hemskerk. BOONEN, Arnold. Born at Dort in 1669; died in 1729. Pupil of Arnold Verbuis and Godfrey Schalcken. Dutch School. Sale in 1804. Portrait of John Van Huysum . . . .£550 This painter was a careful imitator of Schalcken's candle- light pictures ; and, like his master, he occasionally painted other suV)jects. BOQUET, D. Sale in 1840. Sir Simon H. Clarice, Bart. A Ijiinilscai)(% with an Army crossing the River Po ' £20 9 G 23 THE WORKS OF PAINTEES. B T BORDONE, Paris. Born at Trevi^i in 1500 ; died at Venice in 1570. Pupil of Tiziano Vccellio. Venetian Scliool. Sale in 1803. Earl of Godolphin, The Holy Family, with St. Catherine . . . £13 12 1822. 3Iarquis of Bute. Venus Recliriing ; architectural background . 16 5 6 1825. The Holy Family, in a Landscape . . . 22 1 1830. B. Westall, Esq., R.A. Diana punishing Pan 36 15 1837. Sir G. Warrender, Bart. The Virgin seated in a Landscape, with the Infant Saviour, St. Joseph, and a youthful Saint 240 The radiant lustre of many of Paris Bordone's pictures fascinates people ; there is a brilliancy or vividness in the painting of them, especially in the flesh tints, which we rarely see in Venetian pictures. In fact, there is that lucid- ity about the flesh tints of some of his works which is seen in the flesh tints of Correggio, a-nd in the works of the Lom- bard painters. Great as Bordone was in the art of giving refulgence to his pictures, yet he was very inferior to Titian and Paolo Veronese in regard to taste and quality of touch. It maybe further reujarked, that his portraits are not always equal ; some, of course, are very fine, but occasionally he g;ave an insipid inanimate character to them. His lieads are often increased in power by the flesh tints being almost the only bright part of the picture, the rest consisting of black drapery and richly-toned background. In his ' Sacra Con- versazione,' Bordone would sometimes represent St. Joseph with naked limbs, which has an unpleasant appearance; his 'Madonna ' reminds us of his ' Venus ' and other mythological female figures, they are too masculine, and are not the lovable class of women that we see in the pictures of Titian, Palma, and Bonifacio. The landscape backgrounds of Paris Bor- done's pictures are painted in a classical and elegant man- ner. BORGOGNONE. See Cortese. BORSUM, Adam Van. Flourished in the latter part of the seventeenth century. Dutch School. Sale in 1801. Earl of Beshorough. Landscape, with Cows and Sheep . . . £32 11 BOS, Jerome. See Peter Breughel the Elder. BOSCH (or BOSSCHE), Balthasar Vanden. Born at Antwerp in 1675; died in 17 1 5. Pupil of Thomas. Flemish School. Sale in 1802. Interior of a Painter's Shop £11 6 BOSSCHAERT, A. See Van Os. BOTH, John. Born at Utrecht about the year 1610 ; died at Utrecht in 1650. BOTH, Andrew. Born at Utrecht ; died at Venice in 1645. Pupils of x\.braham Bloemaert. Dutch School. An Italian Fair Sale in 180L A Landscape and Figures 1802. A Lime-kiln in the Environs of Rome A Landscape and Figures £27 6 16 16 7 17 6 28 7 — Beckford, Esq., ofFonlhill. A mountainous Landscape, with Figures . . 17 17 A Landscape, with Figures ". 31 10 Sir Simon Clarke, Bart., and George Hihhert, Esq. A Landscape and Figures 147 1803. Robert Tliistlewaite, Esq. An upright Landscape, with a Waterfall . . 69 6 1806. Sir George Yonge, Bart. A Landscape 91 7 1807. Edivard Coxe, Esq. A Landscape and Figures 304 lo Sir II. T. Gott. A Landscape, with Figures and Cattle . . 47 5 l^itto 162 15 1815. Edward Coxe, Esq. A Landscape, with FMgures £157 10 1819. Earl of Upper Ossory. A Road Scene at the foot of a Range of woody Hills John Kniglit, Esq. A small Landscape, . 41G 5 73 12 1821. A woody Scene, with a Man watering Cattle . 100 16 1823. David Garrick, Esq. A Landscape 95 11 1824. Ralph Bernal, Esq. Landscape and Figures, called the * Ferry on the Tiber' 260 8 1826. Admiral Lord Radstock. Landscape, with the Ruins of a Convent ; in the foreground Peasants with loaded Asses . . 84 1828. M. M. Zachary, Esq. A View near Rome, with Figures . . . . 86 2 1829. Thomas Emmerson, Esq. A Landscape, with Horses and Figures . . 122 17 Lord Gtoydir. A Landscape, with Figures by Poelemburg . 483 Landscape and Figures, called * The Farewell Picture,' having been painted by the two bro- thers before Andrew's departure for Venice ; from the collection of Feitama Vottenhoven, of Amsterdam 3S2 15 George Hibbert, Esq. A mountainous Landscape, with the Story of Diana and Calisto 414 5 1831. John Maitland, Esq. A Female Peasant driving Cattle on the Banks of a River ; from the Wood house Collection . 24 3 lion. Mr. Vernon. ' The Farewell Picture ' 297 3 1833. Chevalier Sebastian Erard. A Landscape, with Towers and a Bridge, a Pea- sant Boy watching a Cow, and other Figures 409 10 . 1,260 A Landscape, with Figures . 1838. William E.sdaile, Esq. A mountainous Landscape, with Peasants and Mules ■ • 26 15 6 Landscape, with a Waggon, and a Peasant with a Horse and Donkey 54 12 31. M. Zachary, Esq. Roman Ruins, and Peasants Gaming . A Landscape, with Figures representing the ' Judgment of Paris,' by Poelemburg 1839. S>r Ilenry Oxenden, Bart. An Italian View, showing the Ponte Rotto 1841. Hon. Lady Stuart. A Peasant with Mules on a Road near a Wood . Men drawing a Net near a Watfirfnll. and a Peasant driving a Waggon drawn by ( ).\cn A woody Landscape, with a Peasai'iL driving Mules 19 19 320 5 220 115 10 105 145 19 1844. Jeremiah Ilarman, Esq. A Landscape, with Peasants watering their Cattle at a Fountain 1848. Willia7n Wells, Esq. The Musical Muleteer; from the collections of M. Danser Wyman and Mr. Crawford Count de Morny. A moiuitainous Landscape, with a Peasant driving Cattle Landscape and Figures, with the distant View of a Sea- port 162 15 288 15 126 178 10 EOT CEITICAL AND COMMERCIAL DICTIONARY OF 24 1861. Charles Scarisbrich, Esq. Interior, with two Pea^allts playing at Cards, two others looking on, by A. Both . . .£990 An Italian Landscape, with Peasants, Cattle, and Mules crossing a Ford 172 4 A rocky Landscape, with Peasants and laden Mules 16 5 6 Landscape, with a Cascade and Pigures . . 178 10 An Italian Landscape, with Peasants, Cattle, and Mules, on a Road beneath a wooded Height 315 1862. Landscape, with a wooden Bridge ; a drawing . 4 4 1863. Eohert Craig, Esq. A rocky Landscape, with a Halt of Cavaliers and other Figures in the foreground . . 168 An Italian Landscape, with Peasants, Mules, and Sheep on a winding Road 139 13 A View on the Banks of the Tiber, with Build- ings and Figures 106 1 Writers frequently draw comparisons between the works of Both and Claude. It is possible that the brothers Both may have admired and studied the works of Claude during their sojourn in Italy; yet their works ought not to be classed with, or coiuparefl to Claude's, for not only do their compositions vary considerably, but in their handling, or what may be termed the modus operandi, we are unable to trace anything like resemblance or analogy. And again, although the landscapes of Both mostly represent Italian scenery, yet in style they are unmistakably Dutch. On the other hand, we may say that Claude's pictures of Italian scenery, although exhibiting the inlluence of the French School more than the Italian, yet. if they breathe a little of the Italian feeling, we must admit that there is not a single feature in them which reminds us of the Dutch or Flemish Schools. Although writers speak of the advantige which the brothet s enjoyed of studying the works of Claude, yet we shall attain a fairer estim.ate of their abilities, and a clearer impression of their style, by separating them from the names of other artists— even from that of their master, Bloemaert— and describe them not simply as admirable painters, but also as very original painters. Bryan, in his ' Life of Both,' tells us the following anecdote :— ' M. Vander Hulk, a burgomaster of Dort, a great encourager of art, engaged Berghem and Both to paint each a picture, for which he stipulated to pay them a liberal remuneration, and a certain sura as a premium to the artist whose work should be esteemed to be preferable. Berghem, animated by emulation, exerted the utmost effect of his art, and painted a picture of extraordinary beauty, representing a grand mountainous landscape, richly embellished with figures and cattle of every description. The effort of Both was no less successful, and he produced an admirable Italian scene, glowing under the clear atmosphere of that delightful country, and painted with all the charm of pen- cilling for which he is so distinguished. The competitors produced their works, and their patron pronounced his judgment in terms as honourable to his liberality as they were creditable to the talents of the artists. He assured them that their admirable performances had deprived him of the possibility of preference, and that, as they had both reached the perfection of the art, they were both entitled to the premium— the prize of fame.' This anecdote is worth repeating, as the student will (ind that it is as difficult now as it was in the time of M. Vander Hulk to decide which is the greater painter— Berghem or Both. Then, again, in conversation the names of Berghem and Both are fre- quently introduced together, and they occasionally worked on the same pictures. It will be remembered that Andrew Both usually painted the figures in his brother's pictures, and, when they are very fine, it is not an uncommon mis- take to give the credit of them to Berghem. In general character and costume, the figures of the two pairiters bear a strong reseuiblance, but in pencilling they differ considerably; Berghem's figures, when introduced into Both's pictures, always show a greater or less reluctance to unite with the handling of the rest of the picture, whilst Andrew's figures assimilate so closely with the rest of the picture that we can hardly believe them to be by a distinct hand ; besides, they are pencilled in with rounder and less horizontal touches than Berghem's. We are not informed whether the trial of skill between the two painters, under the umpir(i De Heere Vander Hulk, took place at Dort or in Italy ; although Italian subjects, they might have been painted in Dort from sketches made in Italy. Both intro- duced in his sunny pictures a greater variety of tints than Cuyp. In addition to the brilliant display of warm tints in the landscape, he would throw into the sky a powerful contrast, loading it with ultramarine as pure and bright as we see it in the landscapes of Ruysdael and Wouwermans ; a bolder application of colour can hardly be conceived, and only the hand of a great master could attempt it. Most of Both's pictures ai-e painted more in accordance with the ordinary laws, or manner of arranging colours. The foreground masses, in his grand mountainous landscapes, he would relieve by touching up the trunks of the trees with light bluish colour, which adds much to their expression. Andrew Both's pictures of muleteers refreshing themselves, merry- makings, and similar subjects, painted a little in the manner of Bamboccio, are not generally valuable, as reference to the sale irotes will show. They possess a good deal of merit, but as tliey are usually painted on dark absorbent grounds, much of their power is now lost. They are frequently painted so as to display an effect of sunshine. The round towers in the background are heightened with bright yellow touches ; the faces of the figures, and the high lights, are painted with warm and sparkling tints ; and, lastly, one or two of the figures are generally dressed in vermilion or lake cloaks, a favourite colour of Andrew Both's. The heads of the horses and other animals are painted in a masterly man- ner, and seem to recall the charming groups which he used to insert into his brother's landscapes. BOTTICELLI, Sandeo. See Tommaso Guidi. BOUCHER, Feancis. Born in Paris in 1704 ; died in Paris in 1770. Pupil of Francis Le Moiue. French School. Sale in 1766. A Landscape and Figures, in Indian ink . 1827. F. II. StnndisJi, Esq. A Group of Cupids and Children . &\ 14 5 7 6 A Bacchanalian Scene 11 11 1833. A Pair of Cupids 5 10 1837. Venus and Cupid 5 15 1842. Cupids in a Landscape ) r ia n Ditto ) ^ i« " 1818. Count de 3forny. ' La Marchande la Toilette ' 57 15 1864. Right Hon. Lord Lyndhwst. ' La Courtisane amoureuse ' 32 11 Earl of Clare. Diana and Calisto 25 4 This pleasing painter of pastoral groups, mythological subjects, and conversations, had many imitators. There is something of the Wattean feeling about Boucher's works, although they are altogether slighter and coarser ; on the whole, we can trace a closer affinity between this painter's works and the j)ictures of Cupids, and similar subjects, by Carlo Vanloo. Boucher's pictures are always pretty ; his flesh tints are pink and pearly, and there is a great deal of hatching about his pencilling : in other words, his pencilling is characterised by long and wiry strokes. He loved to paint nude figures, and his amorini are particularly charming. Boucher painted the backgrounds of his pictures in alight and agreeable manner; his skies seem to be painted with cobalt blue, and he introduced a great deal of light blue and light green in the landscape part— a little in the manner of Pater, only in a broader style. Boucher's light, easy way of painting pleases us, whether the subject be one of his favourite pas- toral scenes of shepherds and shepherdesses playing with children, or a Venus surrounded by the Loves. We generally feel that there is something masterly about them, something which redeems them from the scandalum of being decorative paintings. Bryan tells us that Jean-Baptiste Le Prince studied under Boucher, but in the catalogue of the Museum of the Louvre we read :— ' The name of his (Le Prince's) master is unknown.' There are also in the Louvre some fancy pictures by A. Xavier Le Prince, who, we are told, died at Nice in 1826. The works of Jean-Baptiste Le Prince vary a little in style ; sometimes he i)ainted a kind of dramatic scenes, at other times his pictures are simply figures in landscapes. The latter examples are prettily finished, the colouring being cool and delicate, and the figures look like Boucher's in miniature. The landscape backgrounds of his pictures are as delicately and minutely finished as Beschey's. Some of Berchet's bacchanalian subjects are painted in the slight and sketchy manner of Boucher, but Berchet died many years before Boucher was born. John Raoux's por- traits remind us a little of Boucher— he was fond of throwing an effect of sunshine on the faces. BOURDON, S£bastien. Born in Montpelier in 1616 ; died in Paris in 1671. Pupil of Barth61emy. French School. Sale in 1763. Ea7'l Waldegrave. Moses and the Brazen Serpent .... £158 11 1801. Earl of Besborough. Portrait of Pierre Paget 13 13 1S02. ' A small Picture of the Holy Family . . . 25 4 25 JViUiam Beclcfnrd, Esq., of FontliilL Tlio Takiiif; Down from the Cross The lleposo THE WORKS OF PAINTERS. £12 53 11 68 15 A Land Storm . — Slade, Esq. A Landscape, wiih Cattle Christ Blessing Little Children . 1803. Rohrrf Tlii^tJewaite, Esq. Peasants Suiukin^' 23 2 1804. — J^OA'dlis, Esq. A Landscape 30 19 6 1806. Iiln rquis of Lansclotvne. The Uoly Family 94 10 1809. A Peasant's Family Hegaling . . . . 20 9 6 1813. John Willett Willett, Esq. Noah's Sacrifice; from Lord Londonderry's col- lection 26 5 A Pacchanalian Sacrifice ; from the Duke of Argyle's collection 105 1819. John Knight, Esq. Tlie Murder of the Iiuiocents . . . . 25 4 1828. F.arl of Carysfort. Christ Receiving Little Children . . . . 35 14 1829. Earl of Liverpool. Landscape, with a jMounted Female driving Sheep on a Road, &c 36 15 isn. John Maitlayul, Esq. Portrait of Christina, Queen of Sweden ; from the Orleans Collection 13 13 George J. CholmnncMey, Esq. The Baptism cf Our Lord 47 5 1832. Earl of 3Ivdgrave. The poly Family, with Angels . . . . 26 5 1850. Earl of Ashburnham. The Marriage of St. Catherine . . . . 25 4 1804. Earl of Clare. A Group of Gipsies resting near a Building . 31 10 The figures in S6bastien Bourdon's pictures sometimes remind us of the grand productions of Nicold Poussin, wliilst the landscape backgrounds often resemble the backgrounds of Stella's pictures. Taking him altogether. Bourdon was not a good colourist : he introduced too much brown and . red in his figures. His pictures do not present an agree- able effect to the eye, the effect being destroyed by the number of bright colours vv'hich he introduced in the dra- peries ; and, in a gallery, they rarely arrange well with other pictures. His skies are also very brilliant ; and he was successful in casting landscape shadows, or in giving depth of tone to the distant scenery. Even if the effect be not always natural, we can admire them as fine examples of forceable colouring. The backgrounds of his pictures are enriched with numerous clusters of Italian buildings, and also with what apjiear to be architectural monuments of various fjui s and countries, heaped together in somewh;it confused masses. These classical kinds of backgrounds, as they are called, do not harmonise well with such j);)SNages of the New Testniiient as the 'Nativity,' or tlie 'Ri'jioso.' There is a very nice reeling di played in the drawing or de- signing of the figure s in his illustrations of the N^ew 'i'esta- ment ; his figures of the ^iladonna are very graceful. In fact, many nice passages may be discovered by earelully ex- amining his works, on'y the walk he selected, or the, style of painting wliieh he followed, was not likely to lead to any very great results. In his biography we are told that, when in Italy, he studied the works of Claude Lorraine, fiacchi, Caravaggio, and Bamhoeeio— rather an iiHongruous aca- demy for a student. On the wiiole, his works are not very Italianescjue in character, and many of them have; a jiecu- liarly scenic effect. His love; for the antitjiie, and his tasU; for bas-relief models, are very consi)icu(;us in his works. Bourdon's portraits are painted with coiisideraljle eil'eet of * light and shade ; ' he ornamented them with numerous ac- cessories, and finished the draperies highly. Bourdon had a nephew, an artist, of the name of .I;imes i'arinentier ; the French writer L'Argen, and WalpoU;, give an aceonnt of some of the large historical works winch he painted in England. BOURGEOIS, Sir Francis. Born in London in 1756 ; died in 1811. Pupil of De Loutherbourg. English School. Sale in 1801. A Pair of Pictures, of a Sea View and Land Storm £10 10 A Landscape . Cattle-watering by Sunset A Land Storm . 1802. B U . £i 14 6 2 2 10 10 1S03. 1804. 42 10 William Clay, Esq. Figures landing Horses from Flanders . . 25 4 Grooms bathing Horses at Brighton . . . 31 10 1827. View of the East Cliff, at Brighton, with Boats and Figures 15 15 1837. Sir Francis Fredinri, Bart. Landscape with Cows, and a Mounted Peasant at a Fountain 13 13 1863. John Alhmtt, Esq. A Lund Storm 3 5 The Stage-coach 6 16 6 Sir Francis Bourgeois has left us some capital pictures '■> atid we like them all the better for not being servile imita- tions of De Loutherbourg. In some of his works he has shown us that lie could appreciate Wilson and Barret, and in others his cattle exhibit a little of the taste or style of a later period of English painting. Bourgeois felt a pleasure in studying Nature as she appears to all of us, whether we are artists or not, and his aim was to produce an honest copy of what he saw. His landscapes generally appear lovely and natural to the eye of the most casual observer. Occasionally he varied his style, and painted in a less simple manner; and some knowledge of the laws of light and colour is necessary, in order to understand the painter's intention. There are various ways of describing scenery, numerous conventional styles, as they are termed ; but the great aim of the landscape-painter should be to make us feel at home, as it were, or in the scenery depicted. This is always more or less dependent on the quality of the execu- tion. Bourgeois' pastoral compositions are very nice; his gipsies and country people are picturesquely put in — some- times arranged in little groups, with asses and cattle, in tlie nianner of Gainsborough. His trees are remarkably pretty, and were probably most carefully copied from his sketch- book. Notice particularly his old half-dead trees, with knotty roots bulging out from a gravelly bank, overhanging which are a few curly branches, adorned with spring leaves. Bourgeois touched in the foliage of his trees in a light and pleasing manner, and his thatched high-roofed cottages remind us of some of Barker's cottages. BOUT, Francis (?), and N. (?) BOUDEWYNS. Natives of Brussels. Flourished about the year 1700. Flemish School. Sale in 1802. A Landscape and Figui-es £16 A Pair of small Landscapes A Landscape and Figures 6 6 3 10 ISO;? Robert Thistleivaite, Esq. A Village in Flanders, with numerous Figures . 2 12 1805. A Landscape and Figures 3 13 6 1806. Marquis of Lansdowne. A Pair of Landscapes, with Figures . . . 42 1810. Sir H. T. Gott. A Landscape and Figures 37 1 6 1821. Blarchioness of Thomond. A large Landscape, with Buildings and Figures 16 16 1825. A Landscape, with Riiins and Figures . . 4 10 A small Landscape, with Buildings and Figures 13 2 6 1820. Lady Hollayid. A Pair of Landscapes, witli Buildings and Figures 5 1827. Robert Grave, Esq. A Road Scene, with Figures and Mules . . 10 5 13 13 11 11 A Landscape, with Buildings and Figures . Ditto These two well-known artists generally painted in con- junction ; the former, as is supposed, inserting the figures B U CRITICAL AND COMMERCIAL DICTIONARY OF 26 into Boudewyn's landscapes. Their works may be classed with those of the followers of John Bruegh(il. They are usually small ; the skies of them are hri,a:ht and aerial, but the landscape part appears brown and dark ; no doubt they were much bri^jliter when first i)aint('d. Tlio fiirui'cs which Bout put in then) are usually about an inrh and a hi^h, some of them are decked 'in garments of vermilion and other bright colours, and there is a great deal of character in them. Bout was far from being an idle painter; he selected for the exercise of his pencil such subjects as Flemish wakes, processions, or merry-makings on the ice ; in short, any subject that would admit of the introduction of numerous figures. BOUTTATS, J. B. See William Vande Velde. BOYDELL, John. Born at Dorrington in 1719; died in 1804. Pupil of Toms. English School. Sale in 1836. Seneca in the Bath; a drawing from a picture by Luca Giordano, at Burghley . . . . £0 16 Drawing of a Boy with Doves ; after Murillo . 17 Although the name of Alderman Boydell is not likely to be forgotten, yet it is pleasant to be able to introduce it in a work like the present. How honourably his name is asso- ciated with British art will be seen by the following sketch, which is taken from Sandby's 'History of the Royal Aca- demy ' :— ' The year 1789 was memorable in the annals of art, as being that in which Boydell's Shakspeare Gallery in Pall Mall was opened to the public. A few years previously the enterprising alderman had given commissions to the best English artists of the time to paint a series of pictures in illus- tration of the works of our great bard; and the 170 works thus produced were gathered together in Pall Mall for exhi- bition in a gallery built expressly for the purpose. Sir Joshua Reynolds, at the suggestion of Edmund Burke, pro- posed the health of Alderman Boydell at the Royal Academy dhnier of 1789, as "the commercial Majcenas of England," and the Prince of Wales and the whole company joined heartily in the toast. The collection of pictures thus formed was afterwards (in 1^05) disposed of by lottery, when this great patron of British art found that his means had been impoverished by the long career of earnest enterprise by which he had freed the artists of England from foreigii rivalry on their own soil, and spent £350,000 in his efforts. The plates he published, as well as his own engravings, tes- tify to the large amount of employment which he providi d for the artists and engravers of his day.' If Alderman Boydell were only known as an eminent engraver and patron of art, his name could hardly appear in the present work ; but it should be remembered that he was also a de- signer and pauiter in water-colours. Amongst other original sketches, he made a good one of the ' Interior of his Gallery.' now known as the British Institution. Josiah Boydell painted a few pictures for his uncle's edition of Shakspeare. His style in designing figure-subjects is hardly the style of to-day, although probably good passages might be pointed out in them ; they remind us of the designs of the Rev. Mr. Peters, Woodforde, and similar artists. The writer is not certain that the above sale notes refer to drawings by the alderman, as no initial is given in the catalogue. BRADLEY, William. See Sik T. Laweence. BRAKENBURG, Renier. Born at Haerlem in 16,-0; died at Haerlem in 1702. Pupil of Mommers and Bernard Schendel. Dutch School. Sale in 1802. A Pair of Conversations £!8 18 1813. Boors Merry-making. Bought in at . . . 15 4 6 Jolin Willeit WiUett, Esq. An Interior, with a Party Merry-making . 1825. Interior of a Printing-house .... 1827. Interior of a Lying-in Chamber . 1829. Satmicl Tansley, Esq. A small Picture of a Country Showman 7 7 8 15 28 7 John Webb, Esq. Interior, witii Pigures enjoying the Festivities of Twelfth. Night 18 18 1859. ITo7i. Edmund PJiipps. Interior of a Lying-in Chamber . . . . 53 11 1869. An Interior, with Figures 15 15 Some of this painter's works remind us of Zorg's. He was fond of painting interiors; his figures vary in quality, and in his inferior works they have very little character or force : in general effect these specimens are too grey and sombre. His better works remind us of Ostade ; there is a sunny glow about the flesh tints; and when he introduced a great number of figures in one picture, ho always managed to separate them well. The persjjective of his rooms is very good. BRAMANTE. See Lazzari. BRAMANTINO. See Dosso Dossi. BRAMER, Leonard. Born at Delft in 1596; died at Delft. Dutch School. Sale in 1802. Christ Preaching to the Multitude . . . £63 1 Tamar delivering the Bracelets .... 330 The Judgment of Solomon 26 5 1803. Walsh Porter, Esq. The Judgment of Solomon 7 17 6 A Musical Conversation, and the companion . 9 15 1816. Sir II. T. Gott. A Hermit 440 1813. The Sacrifice of Iphigenia 5 5 1828. Christ driving the Money-changers out of the Temple 3 IS 1836. Portrait of Sobicski 2 12 6 1848. Pilate washing his Hands, and the High-Priest rending his Clothes ; a pair .... 550 The works of this painter vary in importance ; some are highly esteemed, but we occasionally meet with religious subjects, painted apparently in emulation of Rembrandt, which are treated in rather a vulgar and unpleasant manner. BRAY, Solomon de. See W. Honthorst. BREE, Van. See A. Kaupfman. BREEMBRRG. Bartholomew. Born at Utrecht in 1620; died in 1663. Dutch School. Sale in 1801. Earl of Besbormigh. A Landscape and Figures £14 3 6 A small Landscape 10 A Bacchanalian 13 13 A Landscape, with Ruins and Figures . . 23 2 1803. Walsh Porter. Esq. A Landscape, with Buildings and Figures . . 5 5 1809. Landscape, with the subject of Moses Changing the Waters 19 19 0' 1816. Henry Hope, Esq. A Fair 43 1 1823. George Watson Taylor, Esq.. M.P. A Villaire Scene, with Ruins and Figures; from Mr. Purling's collection 93 9 1825. Simon M. Gillivray, Esq. Small Landscape, with the subject of the ' Con- version of St. Paul' 12 12 1827. F. II. Standish, Esq. A Landscape, with Ruins and Figures . . 6 10 1828. Charles Brick, Esq. A Sunny Landscape 10 10 1831. Hon. Mr. Vernon. Landscape, with the siibjcct of the 'Woman taken in Adultery ' 5 5 George James Cholmondeley , Esq. Landscape, with Figures . . . . . 11 11 1836. Sir James Stuart, Bart. An Italian Landscape, with a Fortified Town; from the Duchesse de Berri's collection . . 53 1 A Landscape, with the Story of Mercury and Argus 10 1850. A Sea-port in the Levant 11 11 1859. A Landscape, with Figures 21 10 6 Most of Breemberg's pictures are small landscapes, views 27 THE WOUKS of Italian scenery with ruins. He finished highly, or rather minutely, and frequently enriched his pictures with figures illustrating passages of sacred and profane history. Whilst he was in Italy, he appears to have seen and studied some of the landscai)es left there by Poelemburg, and for a time made tliem his models. Breemberg was particularly fond of painting on coi)per; his tints are pure ami simple, and, notwithstanding the small scale of his works, we always feel that there is atmosphere and breadth in them. The skies of his finest pictures are not inferior to Poelemburg's or Elsheimer's in brilliancy or quality. His small pastoral figures are quite different from Poelemburg's; he also in- troduced in his landscapes mounted cavaliers, and gentle- manly-looking cattle-drivers dressed in long cloaks : these figures are prettily painted, and will bear examining with a glass, they are finished in light delicate dots or touches, Breemberg occasionally painted figui-e-subjects of conside- rable merit, and could design an infant saint almost as sweetly as Sasso Ferrato, and other painters of that ciass, "When he introduced landscape background to a figure- picture, he would work it up in the neat manner of his ordinary landscapes, introducing a great deal of his favourite blue and light-brown foliage, Pillemet's landscapes are painted in Breemberg's style, but they are inferior. BREKELENIiAMP (or BBECKELENCAMP), QuiEiN Van. Flourished about tlie year 1650. Dutch School, Sale in 1802. Interior of a Dutch Farmhouse, with a Woman frynig Pancakes £5 15 Ditto ; the companion 5 15 G A Girl with Fish 8 18 6 Interior of a Cobbler's Shop 16 5 1807. JEdxvard Coxe, Esq. Interior of a Dutch Bedchamber, with a Lady at Her Spinning-wheel 26 5 1827, A Village Scene, with Figures bargaining for Poultry 880 F. H. Standish, Esq. An Interior, with Figures 8 18 6 1836. Sir Charles Bagot, G.C.B. A Conversation; Interior 15 4 6 1839. Interior, with an Old Man in conversation with a Woman spinning 26 5 1840. William Hastings, Esq. A Tailor's Shop 38 17 1861. Charles Searishriek, Esq. Interior of an Apartment, with an Old Woman and a Boy 9 9 Interior, with an Old Man instructing a Child near a Window, a Woman seated at a Distaff ; from Mr. Beckford's collection . . . . 24 3 Breckelencamp was a clever painter of homely scenes. His best works are finished with a delicacy which is scarcely inferior to Maas or Metzu. It will be noticed that his figures are rather tall, and occasionally he would introduce a warm sunny effect, which reminds us of De Hooge's well-known representations of sunshine. The works of the scarce painter Lambreckts may be classed with Breckelencamp's. Lambreckts' interiors are sometimes treated in the manner of De Hooge's, and the accessories are nicely put in. He appears to have made the heads of his figures rather snjall, but he has given a great deal of expression to them, so much so, that some of them look like portraits; tiiey are smartly dressed in the ruffs and fancy coats of the period. His women would be better looking had he made their foreheads higher. We likewise meet with interiors by Lambreckts, or J^am- brechts, which, in colouring, remind us more of Jan Steen than of Breckelencamp. The class referred to are usually his best pictures, and we are particularly pleased with the painting of the animals and accessories. Tliey may be spoken of as clever and efiective works ; the figures in them are sometimes eight or ten inches high, and the light is well centred on the principal groups. BREDA, .John Van. See Wouwermans. BRIGGS, Henry Perrouet, R.A. Born at Norfolk in 1792; died in London in 1844. English School. Sale in 1837. Sir Francis Fred in;/, li'irl. The First Scene of ' ilume(> and Juliet' . . £52 10 1801. The Shipwreck of Prince Henry . . . . 85 11 6 Good colourists are always welcome, and the c(;loiiring alone is snincient to reeomnieiid most of this iiainler's works; but they possess many excellencies Ix'suh's nice colouring. Some of his j)ictnres were paiiit(!d at a time when there were fewer fine English colourists to study from OF PAINTEKS. B E I than there are now. Sometimes he painted historical sub- jects, at other times theatrical compositions, a little in the maimer of George Clint; and he also painted cottage or domestic subjects. He was a rich coloiirist, and may even be called, like Etty, a gay colourist; in his ' Conversations' there is a great deal of humour, and in his grander works we find freedom in the compositions, with a judicious dis- play of elegant contours. Briggs was likewise a capital portrait -painter, particularly of men. His heads are re- markably well relieved, and we do not find too much of his favourite lake in the flesh tints; the dresses and draperies of them are judiciously subdued. BRIL, Paul. Born at Antwerp in 1554; died at Rome in 1626. Pupil of Damien Oortelman. Flemish School. Sale in 1801. Earl of Beshorotigh. A Landscape, with Buildings and Figures . . £14 14 A Landscape, with Figures 13 13 TheReposo; Figures by Elsheimer . . . 29 8 Bight Hon. Sir William Hamilton. A Pair of Landscapes 6 6 A Landscape, with Figures 5 5 1802, Landscape, with the Figure of St. Hubert . . 6 16 6 Paul d' Aigremont, Esq. The Building of the Tower of Babel ... 660 Lord Darnley. A Landscape ; from the Orleans Collection . 25 4 1803. A Landscape, and Figures by Caracci . . . 23 2 A Landscape and Figures 8 18 6 Ditto 6 16 6 1804. — Boxellis, Esq. A Landscape 12 12 Ditto 3 13 6 Ditto 380 1806. Sir George Yonge, Bart. A Landscape, with Figures 18 18 1809. Sir George Pauncefote, Bart. A View in Holland ) oc^ k n Ditto I 5 1812. Charles Lambert, Esq. Landscape and Figures 15 15 1822. Marquis of Bate. Landscape, with Figures shooting Ducks . . 14 14 1823. Bev. Edward Bahne. A Landscape, with Figures and Cattle . . . 14 14 1826. Lady Holland. A Landscape, with the Story of St. Hubert . 27 6 1829. Earl of Liverpool. A Flemish Farm 3 5 Landscape, with Christ and two of His Dis- ciples 660 John Webb, Esq. The ' Flight into Egypt ' 18 18 1831. George J. Cholmondeley , Esq. A Landscape, with Satyrs and Nymphs . . 18 18 1838. William Esdaile, Esq. Landscape, with ' The Flight into Egypt' . . 6 16 6 1840. Sir Simon H. Clarke, Bart. Landscape, with the Story of Diana and Ac- ta;on by Rottenhamer 315 The earliest works of this painter are very uninteresting, and were it not for his signature on them we should scarcely feel disposed to ascribe; them to him. The trees in tlieso early jtictures are nearly black, and the foliage is worked (»nt in sc jiarate touches in the manner of Vinkerboouj, yet without the cheerful brilliancy of Vinkerboom's colouring ; a tew brown or sandy-looking lields complete the composi- tion of th(! landseaiu; i)art. In the foreground he would often represent horsemen or figures engaged in the chase, which are put in with little more than brown ami white, and in a strikingly weak mnnner. Such are I'aul Hril's earliest productions; afterwards he adopted a far more carefid manner of painting, which for brightness aiul delicacy of finish has hardly been surpassed by Jirueghel. There is much in the landscape part of Bril's pictures of this i)eriod that reminds us of Brueghel, only there is less blue iu the E 2 BRI CRITICAL AND COMMERCIAL DICTIONARY OF 28 foliage of the former; the colouring leans rather to a bright preen. In the foreground of his pictures of this period Bril was fond of introducing deer and other animals graz- ing ; these animals are neatly finished, and are represented treading amongst flowers and scrubs, which are painted in a luxuriant mannei% in precision and exactness not unworthy to be compared with tlie foregrounds of some of our modern pre-Riiphaelite ))ictures. Gigantic trees are also character- istic of Paul Bril's landscapes; sometimes they are too tall for the picture, and abruptly disappear when they reach the frame. The stems or trunks of liril's trees are very round, and so are the small branches, which terminate in fine vertical filaments. Although the lower portions, or body, of the foliage of the trees are represented in masses, still we observe the same care, only modified, for divid- ing or separately exj)ressing the forms of the leaves, us we notice in the foregrounds of the pictures. Connoisseurs of the present day do not greatly admire Paul liril's style ot painting, yet we must admit that in the best examples, even of his second period, we can trace not decision simply, but quality in the touch ; whilst the semi-metallic appearance of the colour also pleases us, for he appears to have used the best ultramarine, which has given a gritty or mineral- like imjiasto to his touch. For a painter of that time Bril was very successful in composing landscapes representing mountainous scenery, under the shadow of which repose numerous herds of cattle and flocks of sheep, whilst high above the mountains are piled masses of ruins and towers.' Paul Bril subsequently acquired a name on visiting Italy, where, according to Pilkington, he studied the landscai)es of Titian, and also enjoyed the honour of painting in conjunction with Anibale Cai-acci. Paul Bril improved his manner wonderfully by studying in Italy. He always had a good eye for composition ;'and when lie forsook his light- green style of ])ainting, we arc almost astonished at the excellence of some of his works ; even when they are not ornamented with figures by Caracci, they are very present- able pictures, and are worthy of a place in a good gallery. Valuable examples of this "painter rarely appear in the market. Paul Bril had a brother named Malthew, who painted elaborate compositions, worked up in a similar manner to Paul's pictures; sometimes he introduced mytho- logical subjects in them. When Bertutius painted figures of saints in elaborately finished landscapes, we are reminded of Caracci's figures in Bril's landscapes. Bertutius's flesh tints, however, are very pink, and the landscape back- grounds are brilliant and metallic in texture. A Flemish landscape-painter of the early part of the seventeenth century, of the name of Sebastian Vrancx, coloured his pictures in the mariner of Paul Bril. BRINCKMAN, Philip Jeeome. Born at Spires in 1709. Pupil of J. G. Dathan. German School. Sale in 1830. A Pair of small Landscapes and Figures . . £2 BROMPTON, RiCHAED. See Mengs. BRONZING, Angelo. Born at Montecelli in 1502 ; died in 1572. Pupil of Pontormo. Tuscan School. Sale in 1801. Unrl of Beshorough. Christ Disputing with the Doctors . . £10 10 1804. The Nativity and Annunciation (on alabaster, painted on both sides) ; from the Aldobran- dmi Palace . \ 213 A Portrait, in the character of St. George ; from the Palazzo Bolognetti 37 IG 1831. lion. 3rr. Vernon. Portrait of Leo X. when a Boy, with a Book in his Hand 34 13 1856. Samuel Rogers. Usq. Portrait of Leonora di Toledo . . . . 46 4 yasari and Angelo Bronzino were men of similar taste, yet it is not necessary to draw :iny comparisons between their works. It is well known that Broiizino was an enthusiastic admirer of Michael Angelo; he was influenced by Michael Angelo's style, but in his works he was not an imitator of Michael Angelo. There is much to admire in the bold- ness and wonderful relief of the figures in Alessandro ' Bronzino s historical and mythological pictures. In giving relief to his figures he was almost equal to Correggio; but we cannot find in his pictures Correggio's purity and taste. His colouring is brilliant— that is, he ventured to introduce startling contrasts of gay, almost unbroken colours ; still there is great want of richness and harmony in some of his works. The iin))asto of his flesh tints is singularly smooth and metallic; this is partly due to the firmne.ss of his out- lines, and i)art]y to tiie bright contrasting colours, which he would bring against the tUish tints. Angelo Bronzino was a distinguished portrait-painter ; his portraits area kind of Italian Holbems, they have green backgrounds ; over ' Alessandro AUori, called Bronzino, was Angelo Bron- zino's nephew. the shoulders he would cast cloaks, lined with rich brown fur, or with ermine, whilst the flesh tints arc brighter and more luminous than Holbein's most richly coloured por- traits. Bronzino was fond of throwing a powerful light on the faces of his portraits ; he would cast over the face a kind of yellow or golden tone, keeping the rest of the picture very dark and subdued. In texture his portraits remind us of Leandro da Ponte's portraits, only Bronzuio's are smoother. As a rule, he was successful in giving gran- deur and dignity to his portraits; neither does the elaborate manner in which he has finished the dresses of some of them destroy this character. Christoforo AUori, also called Bronzino, was Bronziiio's grand-nt;phew. BROOKING, C. Born about 1720 ; died in 1759. English School. Sale in 1801. A Fresh Breeze £29 8 A Sea Piece 8 16 6 1802. The Whale Fisheries 4 4 1S03. Robert Grave, Esq. A Calm, with Shipping 3 10 A Brisk Gale 2 2 A Brisk Gale 4100 Richard Wallcer, Esq. A Sea Piece, with Shipping 2 12 6 1804. — Bryan, Esq. An Eiigageuient at Sea .- 32 11 1819. IidHietv 3Iitchell, Esq. A Sea Piece 2 12 6 1829. Richard Mortimer, Esq. A Brisk Gale, with Vessels 4 4 1839. William Hellish, Esq. A Frigate, with other Vessels, off Margate . . 7 7 Anyone who is familiar with' the semi-coloured sea pieces which are commonly called Vande Velde's English sea pieces, will recognise a similarity between them and the works of Brooking. There were, in fact, several painters of sea pieces and naval engagements, whose works may be classed with Vande Velde's English pictures- Among others, we may mention Peter Mononiy, Richard Paton, Dominic Serres, and Robert Woodcock ; but if we compare them together we can trace more of the Dutchman in Brooking's pictures than in any of the others. There is more of the De Vlieger style about Brooking's works, for, like him, he was a capital painter of rough water. Generally, his colour- ing is not clear and blue ; there is a river hue about his water, and sometimes his colouring is brown and dark, but always more or less relieved by an agreeable transparency of touch. His Christian name is not given in the diction- aries, but some of his pictures are signed C. Brooking. We may also class Francis Swaine with some of the fore- mentioned painters. Although Svvaiue's appearance in the English School, as a marine jiainter, was rather early,yet ho was something more than a UK'i e portrait-painter of vessels. For an Etiglish painter of that time, he had a very fair idea of sky-painting, and we like his March skies very much. His vessels and fishing-boats are painted with a great deal of taste, and we also admire his manner of painting distant rocks and harbour scenes. On tlie whole, Swaine was more successful with his colouring than his pencilling, which is ratiier hard and opaque. B ROWER, Adrian. Born at Hacrlem in 1608; died at Antwerp in 1640. Pupil of Frank Hals. Dutch School. Sale in 1706. Jacob More, Esq., arid 3Io)is. Liss. A Conversation £9 9 1801. Earl of Besborozcgh. A Smith's Forge 8 8 1802. William Beckford, Esq., of Fonthill. The Pancake Woman 22 11 6 Lord Darnley, Boors at an inn-yard 14 14 The Pen-cutter 2 12 Sir Simon Clarke, Bart., and George Hibbert, Esq. A Landscaj)e 03 A Group of Dutch Peasants 40 19 1803. Richard Walker, Esq. Boors Regaling 31 9 180G. Sir George Yonge, Bart. A Smith's Forge 21 29 THE WORKS OF PAINTERS. B RU :i8io. Sir U. F. Gott. Dutch Boors Quarrelling 1812. Charles Lambert, Esq. A Dutch Boor 1819. W. N. Hewett, Esq. An Interior, witli numerous Figures . 1821. John Webb, Esq. A Boor taliing Physic .... Landscape, with Figures by Teniers . 1823. David GarricJc, Esq. An Interior, with Boors at Cards . 1824. A Legendary Subject .... £19 19 3 13 6 24, 3 49 7 15 15 16 16 5 10 Ralph Bernal, Esq. A Landscape, with Figures and Sh<;ep . . 50 8 1827. An Interior, with a Man and Woman shiging a Ballad IS 18 John Dent, Esq. An luterior, with a Group of Sm.okers 1829. Lord Gwydlr. A Brawl George Ilibbert, Esq. A small Landscape, with Bowls .... Figures playing at 7 10 5 5 51 9 Thomas Emmerson, Esq. A Philosopher Reading 4 4 An Old Woman 4 4 Interior of a Painter's Study 15 4 An Interior, with Boors Fighting . . . . 14 3 6 1831. George J. Cholmondeley, Esq. A Boor taking Physic 37 16 18:33. Chevalier Sebastian Erard. Interior of a Cabaret, with Boors Smoking and Suiging 38 17 1841. Ilarquis of Camden, K.G. A Dutch Boor, with a Jug in his Hand . . 16 16 1842. Interior of an Apartment, with Cavaliers play- ing at Draughts 5 14 6 1848. William Wells, Esq. A Landscape, with three Peasants playing at Bowls 19 8 6 A Surgeon dressing a Wound on the Arm of a Peasant 22 1 185G. Samuel Rogers, Esq. A Landscape, with tive Peasants . . . . 11 11 1859. Hon. Edmund Phipps. A Brawl 15 4 6 1861. Charles Scarishrick, T'Jsq. An Interior, with Peas;aits playing at Cards . 6 6 Adrian Brower is cliielly known as a i)aiuter of small inte- riors. Like A'.iriau Van Ustade, lie loved to throw a gn at deal of warm colour into the llesh tints; yet he never linished up the whole of his subject or jjicture with the ex- quisite taste of Ostade, neither did he succeed any better in the 'keeping' of the distant objects or atmosphere of his pictures ; in other words, we niks the daylight and fresli- ne>s which are so chai'ming in C).stad(;'s works. If we like to lose sight of Brewer's eminent fellow-student, and, instead, study the works of the former by themselves, we shall find ourselves more ready to acknowledge their merit ; for his best and most carefully linished productions are unques- tionably capital i)icturcs— ill fact, are so good that we do not feel disr)os( d tu cavil at the story told of the great llubens being such an enthusiastic admirer of this artist's works. Brovver showed great aptness for painting hideous and comical faces. Some of his single ligures, in style, if not in colouring and pencilling, rcmiiul us a little of liis imistcr, Frank Hals: exaiuinc, for exniutilc, his '(iula,,' ' A varitia,' and ' Invidia,' which sccni to i xlubit a roijclitiou of frank Hals' favourite whim of jiaiiiling the lealuns laughing or grinning. Brower sometimes tried his hand at painting landscapes. They partake a little of the feeling of Rem- bi-andt and Fhilip de Koning. There is something very luminous and nice about the skies of his landscapes. Wo are told by Pilkington that Jacob Backer painted a portrait of Brower. Backer was a vigorous head-painter, and pro- bably made a good portrait of Brower; he made the eyes large and brilliant, and pencilled in the nostrils and mouth with dark and lirm touches. Backer also painted historical subjects. BROWN, Mather. Died in 1810. English School. Sale in 1828. Marriage of Henry VII £21 Mather Brown occasionally painted fancy pictures, but is best known as a portrait-painter, and was patronised by several English families of distinction. Some of his pictures are coarsely painted ; and he seems to have been most suc- cessful in his portraits of head-size, it may be noticed that his tou(!h is particularly dry, almost as dry as Benjamin West's ; yet his portraits have not that hard effect which characterises many of West's iieads, because Brown was careful in leaving the outlines delicate. We can also trace in his best portraits nice wiry strokes about the features, similar to what we see in chalk-drawings. As there is cha- racter and considerable variety of expression in Brown's portraits, we are encouraged to conclude that he was suc- cessful in preserving the likenesses of those who sat to him. Had he painted with greater richness of colour, and given more force and impasto to the draperies and accessories of liis portraits, they would hold a higher place in the estima- tion of the lovers of our early English School. Some of Brompton's portraits class very well with Mather Brown's, and a painter of the name of William Miller reminds us a little of him. Tilly Kettle's portraits are scarcely so well coloured as Mather Brown's, but he contrived to give a certain amount of character or force to his heads; some of his works remind us of American Stuart's. BROWNOVEB, S. See Riley. BRUEGHEL, Peter, the Elder. Born in Brueghel, near Breda, in 1530 ; died in Brussels about IGOO. Pupil of Peter Koeck. Flemish School. S.ilc in 1824. Sir Marie Iflasfermau S/j/ces, Dart. The Horrors of War £4 15 1828. A Kermesse, with numerous Figures . . . 4 1829. Samuel Tansley, Esq. A woody Landscajie, with the Story of Latona and the Lyciau Peasants GOO 1834. : Viscountess Hampden. The Woman taken in Aduitery; from the collec- tion of Van Alma, Bishop of Ypres . . . 10 10 St. John Preaching in the Wilderness . . 8 Peter Brueghel the Elder is chiefly known as a pahiter of allegorical subjects, and drolls. Bryan is most likely correct in saying that he adopted that style of painting after seeing the works of Jerome Bos, whose pictures at that time were to be met with in various eountries. Although Bos occa- sionally painted religious subjects in a serious manner, in the style of Lucas Cranach, and other religious j)aiiitcrs of Flanders and Germany, yet such was not his usual style; generally there is more of the Dutch peasant aL)uut his models ; and the convivial semi-burlesque groups which are gathered together in his interiors, were it ncjt for the costume, would almost seem to carry us on to the time of Jan Steen, and other convivial ists of the seventeen! h century. Bos's rooms ai'e not like Ostade's, with 1 heir rieh casement- windows, overgrown with the ivy and the vine, whilst the interiors are stocked with numerous utensils ; but there is an air of austerity about the interiors of Bos's juctures that reminds us of the rooms which are represented in some of Lucas ..(Jranach's religious j>ictures, with tlieir plain un- furnished walls and small glassless windows, or rather s(iuares for the admission of light only, being too hi^',li to look out of. It is curious that in JJos's pictures we set; the same three-legged stools which Adrian Van (Jstatle was so fond of introducing in his ancient cottages: tliey seem tu have been ini.iie very liriiily, and doubtless in Ostade's tiin<' many of tlie'in were ;i Innuired yiars old; the, Itack of the chair or stool consistinl of a sinf^le spoke, across which was inserted a small curved bar of W(;od tor the Imck to rest against. Bos designed his figures freely, and ajiitarently without labour, notwithstaiiduig the nunil)er of ligures which he would introduce into oii<; iticlure. lie, was nlso ,'i -ooil drnpery- painter; his draperies ar(,' not cut up by uniii<:iiiing (olds,' nor do they ajipear Hat Ironi excessive miissi's of liuht. 'fho costume of his liLLin i s is (|uaint and interest niu, and often dramatical or biirles(iue llie iiiijrning coat w oin l)y tho peasants of his time ;ii)pe:ifs to li.u'e Ik i n a jacket with sleeves secured at the sides wiiii t ipe- strings ; round tho bottom of this jacket were siindi y holes, (.•orresponding with similar holes in the trowse'rs, which are united to the above by pieces of tape. The womeu are sometimes rei)resented in wooden clogs about two inches thick. Such was the painter whom Peter Brueghel ajjpears to have selected for his model in preference to his master, Peter Koeck. Brueghel occa- BRU CRITICAL AND COMMEECIAL DICTIONARY OP 30 sionally painted heavy clumsy figures, which do not possess any of the attractions of tlie comic painters of tlie seven- teenth century ; the colouring, if rich, is not harmonious, and the figures appear hard and flat. Afterwards he adopted a neater style of painting, not only in his moral and religious subjects, but also in his drolls and incaiitation scenes. These partake less of the manner of Jerome Bos and Jerome Cock ; the figures are smaller, and more delicately finished ; there is even some attempt at grace in the angels and a few of the female li,:iures. Tlie backgrounds, or rather the distant scenery of Bruegliers llgure-pictures are very prettily put in Willi brilliant light-blue and green tints; the gable-roofed houses, however, again remind us of similar buildings in some of Bus's works ; tiiey are of a very ancient character, and we might su{)pose that the original designer borrowed the idea from a hay or corn-stack. Similar buildings may be seen in the works of Albert Durer, and other masters who preceded Bos. It would appear that the fondness of the ligure-painters of that time for introducing in the back- grounds of their pictures rich little bits of scenery, some- times river views with numerous boats and figures busily engaged in various occupations on the banks, induced Brue- ghel occasionally to forsake his allegorical style of painting for the quieter art of landscape. There is something droll even in his landscapes ; in one of his frost scenes, which has been engraved, there is a good deal of the Ostade humour. In the foreground a remarkably small child has managed to fix itself into the lower jaw-bone of a horse, and with the aid of two sticks contrives to row on dry ground; farther on may be seen a stout gentleman under the guidance of two ladies, whose faces are ingeniously protected, in the event of a fall, by enormous shades fastened to the top of the head, and projecting about six inches beyond the nose ; behind these figures may ba noticed an expert skater, who has just caught hold of "the coat-tail of a timid one ; and, in the distance is a youth who has apparently put on skates for the first time, and with his chest resting on his knees, and the palms of his hands distended within a few inches of the ground, is preparing to make his fall as easy as possible. Although Brueghel's frost pieces are quaint things, and have no pretension to the artistic merit of the painters of the next century, yet the figures are certainly arranged with con- siderable skill, and in a manner to amuse us. In these pic- tures the buildings and landscape part are usually subordi- nate to the figures, but sometimes he made the landscape the picture, merely introducing a few figures to give life or perspective to the subject. The type or style of his pictures of this class is simply an improvement of, or an adaptation from, the little pictures already alluded to, which he was in the habit of introducing into the backgrounds of his drama- tical or incantation scenes; we notice in them the same lofty gabled houses with pigeon-hole windows, and sur- rounded with delicate thread-like trees or shrubs. Brue- ghel's landscapes are little regarded at the present day, yet there is reason for believing that they were favourites with many of his contemporaries, and, like Paul Bril and many other painters, he may be spoken of as representing a * School,' or a particular period or style of art. His views of towns are not the least interesting of his productions; and in the best specimens may be traced the germs of tliat pecu- liar truthfulness of detail and excellency of finish which ripened into perfection in the schools of the Low Countries in the following century. To archeologists and searchers after the curiosities of manners and customs, Old Brueghel's town-views are decidedly interesting ; the wells in the market-places, and the primitive stall-shops for hosiery and edibles, which are exposed on trays projecting from what we now call private windows, and instead of curtain-awnings for protecting the wares from the sun or rain, fixed wooden awnings may be seen at nearly every shop. Humble as these shops appear, the vendors are represented of a superior class, habited in large white ruffs and white cuffs, whilst the dress, which is of a brilliant colour, is protected by an apron reaching almost to the feet. We may also see in these pictures other curious examples of costume; turban hats with veils attached, forming a kind of cloak, and dropping nearly to the feet, seem to have been worn by ladies of dis- tinction. The landscape distance of these views reminds us of the pictures of his more celebrated relative John Brue- ghel. Peter Brueghel occasionally painted views of Rhenish scenery, to which he would give enormous space, and, like John Brueghel, spared no labour in working up the details ; sometimes m the skies he would introduce allegorical figures of gods and goddesses. BRUEGHEL, Peter, the Younger, in 1025. (?) Flemish School. Sale in ISOl. 1802. * Born in 1569 : died — Slade, Esq. A Landscape and Figures Temptation of St. Anthony £1 4 3 3 G A Landscape, with Allegorical Figures 182;}. George Watson Taylor, Esq., M.P. The Plundering of the Town of Haerlem by the Spaniards 10 10 This artist was the son of the first Peter Brueghel, and is often called Hellish Brueghel, because of his fancy for painting such subjects as the ' Temptation of St. Anthony,' revelries of evil spirits, &c. Some critics say that he was placed under the tuition of Gilles Coningsloo, but his style usually resembles the early works of his father, only the accessories or landscape parts are more modernised. Before leaving this singular school, we might notice some of the works of Jodocus Winghen; he belonged to an advanced style or school of painting, yet he sometimes painted sym- bolical subjects, and introduced grotesque figures of men and animals. Winghen studied in Italy, and this is seen to considerable advantage in his works. BRUEGHEL, Jan. Born at Brussels: died in 1642. Pupil of Peter Goe Kindt. Flemish School. Sale in 1801. xi small Landscape £1 14 6 1802. Countess of Holderness. A Frost Scene 6 16 6 A View in Flanders 11 1 6 Ditto 16 16 Ditto, on the Canal at Brussels . . . . 21 Buke of St. Allan's. Building of the Tower of Babel . . . . 11 6 View of a Village in Flanders .... 900 Ditto of a Canal and Village 3 5 — Neshitt, Esq. An upright Landscape, with Figures ... 880 Fruit Piece 3 13 6 1803. Richard Walker, Esq. A View on the Scheld, with the Village of Boom in the distance 10 10 View of a Village on the Rhine . . . . 1116 1804. — Bryan, Esq. An upriglit Landscape 8 18 6 1806. Marquis of Lansdowne. Christ and the Woman of Samaria, by Brueghel and Old Francks 8 8 Moses striking the Rock, by Brueghel and Old Francks 17 6 6 1807. Edward Coxe, Esq. A Road Scene, near Antwerp . . . , 21 1810. Sir H. T. Gott. A Pair of Landscapes 21 1811. Henry Hope, Esq. View of a River and Landing-place at a Town in Flanders 16 5 6 The Nativity, with landscape background . . 32 6 A Landscape, with numerous Animals prepar- ing to enter the Ark 60 18 1813. — Clay, Esq. A Landscape and Figures 6 6 A Pass through a Wood, with Sportsmen . . 31 10 1816. Henry Hope, Esq, A Fair 43 1 The Judgment of Midas 11 6 A Landscape and Figures 8 18 6 The ' Judgment of Paris ' 22 11 6 1819. Mathew Mitchell, Esq. A Vase of Flowers 2 15 A Sea Shore, with Boats 6 15 1821. A Sea Fight of Corsairs and Turkish Vessels; formerly in the collection of Rubens . . 7 7 1822. Marquis of Bute. A Market Scene 5 5 The Reposo (by Brueghel and Rottenhamer), and a Picture of Diana and Actason . . . 19 19 A Landscape, with Figures Hawking . . . 12 1 6 1823. A View on the Banks of a River . . . . 11 10 A Landscape, with numerous Figures . . . 12 12 1825. A River Scene, with Cottages and Figures . . 7 A mountainous Landscape, with Figures . . 6 31 THE WORKS OF PAINTERS. B RU 1827. St. John Preaching £10 10 Robert Grave, Esq. „ « Christ preaching to the Multitude from a Ship . 6 15 F. H. Standish, Esq. A Landscape, with Caravans and Figures . . 10 A River Scene, with Boats and Buildings . . 9 9 John Bent, Esq. A Landscape, with Buildings and Figures ; from the Holderness Collection 19 19 Buildings and Figures on the Bank of a River . 15 3 6 Market Waggons and Figures on a Road through a Village 13 13 John Dent, Esq. A View of a Village on the Banks of a River . 5 5 1831. Hon. 3fr. Vernon. A Pair of Village Scenes 81 10 1836. A woody Landscape 5 5 1838. William Esdaile, Esq. A Dutch Town, with a Post-waggon, and nume- rous Market Figures ; from the Colonna Col- lection 15 The Reposo; from Mr. Hope's collection . . 18 18 1839. William Mellish, Esq. A Dutch Village on a River 7 7 Prince Poniatowski. The Burning of Troy ...... 12 5 18i2. A Winter Scene in a Dutch Town ... 880 1848. William Wells, Esq. An open Landscape, with Post-waggons and Peasants 40 19 Count de 3Iorny. A Landscape, with Figures and Accessories re- presenting Autumn 19 19 1860. A Village Fair 11 6 1863. John Allnutt, Esq. A Landscape, with Figures and Post-waggons . 3 10 1865. JoJm Winsfanley, Esq. Allegorical Figures presenting Offerings to Apollo ; by Brueghel and Rottenhamer . . 13 10 High-class cabinet examples of this painter are so brilliant that they resemble ancient illuminated missals more than anything else. The skies and distances are painted with the finest ultramarine, and the trees and distant woods have a semi-golden brightness, the foliage and branches of the trees being put in with a pencil almost as minute and deli- cate as the pencil of De Libri, the great miniaturist. The foreground groups of carts and baggage-waggons, which he was so fond of introducing on his road scenes, are master- pieces of minute painting. If fortunate enough to meet with a fine example of this master, we feel no surprise that he should have governed the taste of the landscape art of his day, or that his aid should have l)een souglit by so many eminent artists of his tim ; for painting the landscape part of their works. Miniatures as they are, there is an ele^^-uit neatness displayed in the drawing of the mounted cavaliers, which is rarely seen in Flemish art. His peasants are not like the sombre, under-toned, dressed peasants of the pre- sent day, but enliven his pictures by tlieir gor,iz;(;ous garments of green, blue, and red. Most of Hrucfiliel's picturesare smaJl. and are painted on cojTpl'r, but TTo\ibraken nKnitinns one, tfireeTeet hif^li and four bro:id, wliieli he says was once sold at Amsterdam for about £280. Some of his i)i('tiii-< s are siLriicd BRVEGHFL, with a very fine i»encil; hut his relative, Peter Brueghel, s})elt the iiauHs dill'erently— viz., P. JiRI'JV- GtlEL. Jan Brueghel i)ainted Ilowers vei-y nieely, and was occasionally engaged by Kiihens, and other painters, to introduce festoons of Ilowers round their jiirlures of the Madonna and Child, &e. 'I'he dictionaries alhide to two other Bruegiiels, wiio wen; also llowcir and fruit i)ainters— viz., Abraham and Jan IJaptistc Brueghel; in addition to whoarrfn^(r"Was a flower iintl fruit painter, who signed his works PB, and Ik; is sui)pose(l to have been one of the Brueghel family. He may h;ive been a son of John Brue- ghel's; his works would ns to infer that he nuist have studied under Jolni IJrueKhel. His j)ictur(!S are UJii)retend- ing, but cannot fairly be called weak ; lu; was fond u\' paint- ing small vases of fiowers, and would also introduce into his pictures butterfiies, caterpillars, &c. His name is not in the dictionaries. John Brueghel's style was followed by several painters ; Adam Willaerts' delicately-finished coast scenes, in which are crov/ds of busy figures, on a small scale, can be included in the list. In some examples Willaerts' colouring is very green, but in others it is silvery, and more agreeable. BRUN, Charles Le. Born in Paris in 1619 ; died in Paris in 1G90. Pupil of Fran^jois Perrier and of Vouet. French School. Sale in 1803. Count de Ilagen. Four small Pictures of the Battles of Alexander ; formerly in the possession of Marechal Saxe . £16 5 G 1812. Charles Lambert. Esq. The Holy Family in Egypt 51 9 1816. Henry Hope, Esq. The Sacrifice of Iphigenia 16 5 6 The Family of Tabac, the Sculptor ... 48 6 Hymen clipping the Wings of Love . . . 17 17 1819. John Kniylit, Esq. The Battle of the Centaurs 173 10 1822. Marquis of Bute. Holy Family, with Angels 32 11 1823. Madame Murat. The Presentation of tMe Family of Darius to Alexander 29 8 1826. Lady Holland. The ' Flight into Egypt ' 11 15 1827. The Plague of Athens 36 4 6 From the biography of this well-known paiTiter, it appears that his talent for painting was first noticed by the chan- cellor Peter Seguier, who placed him in the studio of Simon Vouet. At Paris are numerous examples of his works, which at once display both his fertility of imagination and skill as a painter ; many of them are pictures from the Life of Our Lord, and there are, likewise, numerous subjects from ancient history. In his picture of 'The Tent of Darius,' and others of the same class, may be seen his easy manner of arranging ditficult compositions. The elegant contours of his figures may also be studied with profit, as well as the correct drawing of the extremities. Unlike many of the French painters of his time, he preferred not the meagre type of beauty, but lovecl to give roundness and fullness to his female models ; possibly this fancy may have induced some writers to comi)are his works to Rubens'. The landscape part of his cabitset pictures is curiously and highly finislaed, which is i)articularly observable in the foliage of the trees and the delicate plants which adorn the foregrounds. It is desirable to remember, that in the time of Le Brun, the works of the great Roman and Tuscan masters were considered the best models the French student could have, which will account for the semi-Italian influence or style which characterises the works of many of the French painters of that time. Le Brun was very successful in his pictures of the Holy Family ; he was a good draughts- man, and gave great relief and roundness to the limbs ; few could paint a pretty hand or arm belter than Le Brun, or express dimples more truthfully. Le Brun often preferred painting on rough, thinly-primed cloth, which gives a ti'sse- iated texture to some of his pictures. His colours are usually sombre or subdued, and, in this respect, remind us of Nicol6 Poussin ; but the landscape distances of his tures are richly coloured in the manner of Mola, and dther painters of that class. Le Brun was also a portrait-painter ; liis })ortraits display an accomplished knowledfre ol' draw iim-, and the enormous wigs which adorn them (low eiei:anl l \ over the shoulders of his subjects ; round the necks of his nial(; portraits he i)ainted collars of rich lace, beaul irnlly linished with a neat and rather wiry pencil. He signed his })ictnres differently; sometimes as follows: — Car. Le ibaui ; at other times with a monofrram composed of C, L, and W, in(erl;ice(l. Fine exaiH()les of Le Biain's ar(^ of considerable value, i Chai'les d(^ la Fosse was one of Le IJrnn's impils. ilewasau ! ind\ist rious man, and a i)ainter of considerable imai^inal ion, lie devoted a, ^reat deal of time to his i)ictiires, yet they are very decorative in character. His m.vt holouMcal female figures are usually i):irfly mule, and he strove to make I heir faces as pretty as possible. Wean; told that I he w el l-kiio\\ ii French j)ainter Jean .louvenet studied in the school of Lo Brun. Jouvenet chielly eonlined himself to sidijects from the Bible, ami Ik; was i)artial to scenes in which he could introdu(!e a number of fif;ures. H(> f;av(! a great deal of action to his figures, aiul his designs maybe studied with I)rofit, the contours being often very elegant, lie appears to have bestowed considerable labour on his works ; tho draperies and accessorii s arc highly finished. Ijo\iis La- guerre— the painter of the (irand Staircase at Marlborough House, and of many other imi)ortant decorative paintings — was at one time a i)upil of Charles Ije Hrun ; y(,'t his namo is more associated with Antoruo Verriu's, whom he assisted in some of his great works. Laguerre was a painter of con- siderable talent, as may be seen by examining his small B E U CRITICAL AND COMMERCIAL DICTIONARY OF 32 battle-pieces and portrait battle-pieces of the campaij^ns of the Duke of M.-uiWorouijli. As a rule, his colouring; is browner and heavier than Wootton's, and the face-sliadows of his li^ures are often uni)]easant].v red. Some of his por- traits arc suiiKilhly fiuislied, and coloured more in the niaiuier (if Vn-rio : uiiMiy ol' tlu'iii, however, are not works of a h\'j:]\ class, then; is a wauL of force and character in tlieni, and IIktc is too much red and brown i)i the shadows. Tliere was a cli ver portrait-painter of the latter part of tlie last century of llie name of J. B. Le Brun. He jjainted the tlesli tints with a trreat deal of impasto, and put in tlie featnres witi\ a sliicht, or one mi^ht almost say feathery, pencil, the lake about the nostrils and mouth beinp; sub- dued, lletrave a fancy character to his portraits by intro- dnciiiir llowers and other objects in a tasteful manner. The draperies of liis jiictures are solidly painted. Nicolas Bertin was a pupil of .louvenet's. The former is represented in the L uivro l)y his pictn.re of Saint Philip baptizing the Eunuch. His subjects are f>racefal and pleasing, and he paid p^reat atteiitii)u ti) the contours. The paintress Elizabeth Sophia Chei-on may !»;■ noticed here, as we are told that she was intrcxhieed to the Academy at Paris by Le Brun in ] 676. Slie ))ainted portraits and fancy subjects, and was fond of introducina,- nude figures in her landscapes in the manner of Nicold Poussin and other French painters of that time. It would appear that a taste for painting nude figures was very general amongst the pupils and followers of Le Brun, and in many cases their bacchanalian subjects are far from agreeable, as in some of the works of Louis Dorigny. Le Brun was not the only artist wiTo was indebted to the chancellor Peter Seguier, for we read that when Bartolet Flemael was in Paris, he was employed by the chancellor in painting some pictures at Versailles. There is a great deal of elegance in Bartolet's semi-allegorical compositions. He was fond of making the prominent, or foreground, figures very pretty, and finished them highly. The land- scape backgrounds of his pictures are often full of subject. We are told in the dictionaries, that Peter Berchet, a French painter of the early part of the eighteenth century, was employed in England, like Verrio, in painting ceilings and mural pictui-es— amongst others is mentioned the ceiling of Trinity College, Oxford, the summer-house at Ranelagh, &c. It appears that Andrea Casali, when in England, was employed in painting some ceilings for Mr. Beekford's house at Fonthill. We also read that he was employed, in 1748, to paint the transparencies which forme;! a part of the decorations of the fireworks exhibited in the Green Park, St. James's, on the celebration of the peace of Aix-!a-Cliape!le. There are so many descriptions of mural paintings and artistically-decorated ceilings and corridors by the old paijiters, that they form quite a study by themselves. There are some interesting exarai)los of the same in the Governor's Palace, in Malta, and in England we occasionally meet with curiously painted rooms— we may notice, for example, several of the rooms in the Earl of Pembroke's house, at Y/ilton. Mural paintings are not unfrequently of a grotesque character. Vasari refers to Felto da Morto, a Florentine artist of the fifteenth century, as a painter of grotesque decorations ; he tells us that he was a careful student of ancient vestiges of grotesque art. TVe are also told by t!)e same author that Sebastiano del Piombo is mentioned as the inventor of the art of painting on walls vpith oil-eolours. on a ground composed of quicklime, pitch, and mastic. The dictionaries speak of Francis Cleyn as a decorative painter of walls, and refer to his paintings in Holland House; they describe one ceiling as painted in grotesque, and also speak of small compartments on the chinnieys, painted somewhat after the manner of Parme- giano. In reference to the last remark, we may observe that it is not uncommon to meet with medallions on chiuniey-pieces, and other places, on which are represented elegant little figures of the Parmegianesque type. The French painter Jouvenet is noticed in this article. We are informed by his biographer that he lost the use of his right hand, at the age of sixty-nine, V^y a stroke of palsy; heat- tempted to paint with his left, and succeeded, to the astonisinnent of everyone. In this manner he painted the * Magnificat,' in the choir of Notre-Dame. Jouvenet's small historical works are sometimes pencilled very di-yly, they have a semi-tempera appearance. BHUSSEL.Pai'L TnEODORE Van. Born at Zuid-Polsbroek ; died in the early part of the present century. Pujiil of Jean Augustini and of II. Meyer. Dutch School. Sale in 1802. Dulce of Bridgewater, &c. Flowers and Fruit £14 14 Flowers, with a Bird's Nest 14 14 Fruit and Flowers, with a Bird's Nest . . 21 1825. Fruit and Flowers 12 1 6 Van Brussel's flower and fruit pieces are skilfully arranged, and very neatly finished. Some of his pictures would be better if the colours were less brilliant and the outlines of the flowers less decided. Most of his works, in ' quality,' rank with A.Bosschaert's and G. Van Spaendonck's; as the former was painting as early as 1634, he may have been the fatlier, or the grandfather, of Nicholas IJosschaert, the llower-painter. We are told in the dictionaries that Brussel i died in 170.'), but the writer once met with a specimen dated 1803. Some of his works are signed in large bold letters, the capitals Ijoing about an inch high. BRUYN, T. DE. Died in 1804. Sale in 1S02. Astronomy, painted in chiaroscuro . . .£200 A TIeati'.cn Sacrifice, painted in imitation of bas-relief 1 11 G Many painters have shown great talent in imitative art; thus we occasionally meet with paintings in imitation of stojie bas-reliefs, bronzes, or tablets covered with fragments of documents or prints, in front of which perhaps the ghiss of the frame is repre>ented as broken. One of the most clever imitators of stone bas-reliefs was Jacob de Witte; his Cupids are particularly artistic and pretty. BRYDAEL (or BREYDEL), Charles. Born at Antwerp in 1677 ; died in 176o. Pupil of Rysbrack. Flemish School. Sale in 1801. — Slade, Esq. A. Pair of Landscapes, with Figures . . .£260 1802. A Pair of Battle Pieces 15 15 A Battle amongst Peasants 4 4 A Horse Market 5 15 G A Pair of Battle Pieces 13 2 G 180?. A Pair of Battle Pieces 11 6 A View in Flanders 5 15 6 A Pair of small Battle Pieces 12 12 A Pair of small Battle Pieces 5 15 G Robert Th-istleivaile. Esq. Two small Pictures of Horses and Figures . . 2 12 6 1S2:>. Rev. Edward Bahne. A Composition of numerous Figures ... 360 A Horse Fair 23 2 1824. William Clay, Esq. A Battle Piece 4 4 1825. A small Battle Piece, and a Landscape . . 3 5 1827. A Pair of small Battle Pieces . . . . 5 15 6 Cavalry attackin.g an Escort of Baggage-wag- gons 21 A Skirmish of Cavalry 6 G John Bent, Esq. A Pair of Battle Pieces 27 6 1845. A Pair of Battle Pieces 21 Although the skies of Brydael's pictures are often broken with ratiier heavy masses of orange and yellow clouds, yet, taking him altogether, he was not a * foxy ' painter ; on'the contrary, there is a silvery coolness al)out some of his pic- tures which pleases us. His figures and horses are gene- rally very small, and are put in with a sliarp wiry touch. He painted with consideraljle enthusiasn), and there is a spirit about his little fighting horses which reminds us of the works of Parocel. BUNNIK. See J. F. Bloemen. BUONAMICI, Antonio, called Antonio Tassi. Born at Perugia in 1566; died at Rome in 1644. Roman School, Sale in 1796. Jacob iirore, Esq., and Mons. Liss. A Landscape, with the Meeting of David and Abigail £11 6 We not unfrequently meet with dark classical landscapes which are ascribed to Tassi, who is generally called Claude's first master. Tassi's colouring appears to b(i brown and dark in most of his works, and is more like the colouring of Banister than of Claude. BUONARROTI, Michael Angelo. Born in Tuscany in 1474 ; died in 1563. Pupil of Domenico Ghirlandajo. Tuscan School. Sale in 1801. William Young Ottley, Esq. The Samaritan Woman at the Well (an un- finished picture) £29 8 1802. The Holy Family ; from the Orleans Collection UO 15 33 THE WOllKS OF PAINTERS. C AG 1801. The Crucifixion ; painted for the Oratory of tlie Cavalieri Palace £724 10 — Brynn, Esq. The Holy Family 189 1821. The Madonna and Bambino; from the collection ofMr. Parm6 105 1833. Ganymede and the Eagle 115 10 The few cabinet pictures which at different times have been ascribed to Michael Angelo are now in almost every case condemned by those who profess to know most about Italian art. Still it seems strange that a man so active as Michael Angelo could not find time to paint studies and cabinet pictures ; especially as they were so much appreciated in Italy in his time. There may be a few in different parts of Europe, although at present unknown. After comparing Michael Angelo's works with the productions of the greatest masters who have flourished in Italy since the revival of art, it must be acknowledged that he excelled them all in his tasteful appreciation and wondei-ful adaptation of the most beautiful remnants of antiquity. Notwithstanding all his boldness — all his grandeuf — there is great simplicity in many of his designs; and it is this which so much enhances their value. When we behold Michael Angelo's grand de- signs we feel more ready to believe those writers who say that the ancient Greeks and Romans were great painters as well as great sculptors. Michael Angelo certainly was ; and as a painter he had not many advantages. His compositions from Sacred Writ are charmingly simple and easy, such as the 'Reposo' or 'The Holy Family;' and his infants are particularly elegant in form. Like Raffaelle, Michael Angelo was gifted with extraordinary genius and invention. He gave to painting many new ideas ; and his compositions have been wisely preserved by some of his able followers. We can believe that Michael Angelo will always retain his distinguished rank in the history of art ; yet there are some who cannot sympathise with him, and condemn the seve- rity of the general treatment of his subjects, and the un- couth proportions of some of his figures. We find unpleasing passages and faults in some of the designs of this great mas- ter, amongst others in the 'Last Judgment,' however fine it may be in certain parts or as a whole. Besides the pupils who assisted him in his frescoes, several eminent painters studied his works, with the view of preserving his style in their own pictures; amongst others may be mentioned Domenico Beccafumi and Baccio Bandinelli. Marcel lo Ve- nusti made some interesting cabinet copies from Michael Angelo's works ; but Sebastiano del Piombo and Daniello di Volterra were two of the most powerful followers of Michael Angelo. Jacopo Carucci da Pontormo imitated the style of Michael Angelo; yet Pontormo did not confine him- self to the Michael Angelo school, for it appears that he also studied in the schools of Leonardo da Vinci and Andrea del Sarto. We occasionally meet with pictures ascribed to Pontormo, which are like the Titian school fur richness and brilliancy of colour, yet the fk-sh tints are heavier and less transparent than the flesh tints of th(; Venetian jjainters of that time. We are told that Michael Angelo admired and even imitated the works of Luca Signorelli. Tiie fontineiilnl works of Signorelli are thought very highly of. His style, as exhibited in some of his pictures, is singidarly severe and unattractive; we may almost describe it as grotesque. AVe are told that when in Rome, Battista Franca studied with much attention the works of Michael Ani^elo. There is a great deal of taste and refinement in the religious suVijects of this master. Giles Coignct, a Flemish painter of various subjects, appears to have imitated the grand designs of the Michael Angelo school in certain of his works. When paint- ing under the influence of the school referred to, Coignet was very successful in his female heads. His nude figures are treated in the free manner of Bronzino. BTJRCH, Geeoekt ter. See Vander Helst. BURG (or BURGH), Adrian Vander. Born at Dort in 1093 ; died in 1733. Pupil of Arnold Houbraken. Dutch School. Sale in 1829. A Vv^oman cleaning Fish £l 6 This artist's portraits appear to be goo;l likenesses; his pencilling is dry and rather hard, but he flnislieil the back- grounds and accessories of his pictures very prettily. BURGKMAIR, Hans or John. See Albert Dueer. BURNELL. Sale in 1813. — Clay, Esq. Boys Bathing £2 5 Belshazzar's Feast 4 16 A Boy riding on an Ass 2 10 Cherubs' Heads { r n A Girl picking up Shells . . . . j *J " BURNET, James. See Van Stet. BURNET, John. See Wilkie. BUS. Sale in 1802. Flowers and Insects £3 BUSINA, Battista. Sale in 1822. 3Iarqtiis of Bute. The ' Flight into Egypt,' in a large Landscape . £22 1 Ciirist and His two Disciples on the Road to Emmaus 21 10 G BUTTER WORTH. See N. PococK. BYLERT (or BYLART), John. Born at Utreclit in 1'^.03. Dutch School. Sale in 1802. Esther accusing Ilaman £7 li) G CABEL (or K ABEL), Adrian Vander. Born at Ryswick in 1631 ; died at Lyons in 1695. Pupil of Van Goyen. Dutch School. Sale in 1829. John Webb, Esq. A Landscape, with mountainous Scenery . . £4 14 G Cabel was a clever designer of landscapes; his composi- tions are wild and classical, and the perspective of his works is very good; he was particularly happy in representing distant scenery. His trees are high, and the foliage on them thinly painted. CAGLIARI, Paolo, called Paolo Veronese. Born at Verona in 1528 ; died, in 1588. Pupil of Antonio Badile. Venetian School. Sale in 1763. Earl Waldegrave. Our Saviour and the Samaritan Woman . . £30 19 C 1801. Earl of Besborough. The Marriage Feast at Cana 60 18 William Young Ottley, Esq. The Marriage of the Virgin ; from the Corsini Palace 588 1802. Diike of Bndgeioater, dec. Jupiter and Leda ; from tlio Orleans Collection 362 10 Sir Simon Clarke, Bart., and George Ilihhert, 7<:sq. The Baptism of Christ 294 1803. The ' Judgment of Paris ' 63 Jlicliard Walker, Esq. The Holy Family, with Angels .... 52 Sketch tor the ' Marriage at Cana ' . . . 16 16 Jacob watering Jethro's Flock .... £73 10 o Earl of Godnlpltin. A Female Saint, and Angels descending with the Cross 13=) 13 1806. Sir George Yonge, Bart. A small Picture of the Circumcision . . . 47 5 isds. Sir Richard Sullivan, Bart. The Baptism of Our Saviour; from the Orleans Collection 73 10 1813. James Poole, Esq. Portrait of Francis I., Duke of Etruria, in Armour 40 19 John Willctt Willctt, Esq. Mars and Venus. Hou^iit in at . . . . .52 10 Tilt! Rape of Euroi);i; Iruui the Orleans Collec- tion 117 1815. W. Comyns, Esq. A V(!netian Noldeman Praying in the presence of :in Abl).)t 63 The Cross discovered to St. Helena in a Vision . 162 15 4 Edioard Co.ve, Esq. A Drawing of the Ra sing of Lazarus ... 770 1816. Henry Hope, Esq. Mary anointing the Feet of Christ . . . 99 15 1826. Admiral Lord R:tdstock. St. Cecilia playing on a Guitar, attended by an Infant Angel " . 91 7 F C AG CRITICAL AND COMMERCIAL DICTIONARY OF 34 1829. The Woman taken in Adultery £105 George Hibbert. E^q. The Baptism of Our Saviour 63 1830. Sir TJwmas Lawrence, P.R.A. l\Tars, Venus, niid Cupid 43 1 Yenus at her Toilette 85 1 1810. Sir Simon II. Clarl-c, B((rt. Venus and Cupid; Irom the Colonna Palace . 325 10 1844. Jeremiah Ilarman, Esq. The Wise Men's Offering 43 1 1850. Earl of Ashburnham. Christ and! the two Disciples at Emmaus . . 36 15 1856. Samuel Rogers, Esq. Mary anointing? the Saviour's Feet ; from the collection of U. Hope, Esq 399 1862, The Martyrdom of St. Catherine ; a Drawing . 7 5 This magnificent painter inherited much of the feeling of his great predecessor. Yet the texture of his pictures, as well as the modns and colouring, is so different from Titian's, is so original, that he seems entitled to rank as the head of a particular division of the Veronese School. Like most of the historical painters of that period, he loved to select grand passages from Sacred Writ, as well as imposing sub- jects from histoiy and mythology. Even in his pictures of single figures, Veronese showed great power, and his children are often marvellously beautiful. The peculiarly grand cha- racter of his figures and compositions appears to be increased by placing them in relief against the columns and terraces of magnificent buildings (the painting of which is sometimes ascribed to his brother Benedetto). Paolo Veronese usually preferred outdoor compositions. Did not Rafiaelle and other great masters prefer the same ? It would seem that there is a grandeur about their designs which will not bear the confinement of walls. Sometimes the backgrounds of Veronese's pictures are remarkably simple, and consist merely of a column or two, and a portion of a terrace, space being secured by the introduction of a lofty sky. In some cases there is a jjlainness about the draperies which almost approaches to clumsiness, yet the weaker parts in Veronese's works are lost sight of in the many excellences which adorn them ; we are reconciled to a stiff or rather heavily painted arm when we notice the beautiful hand which completes it. Veronese had a refined and agreeable manner of treating mythological subjects ; the Cupids which play about in them are valuable examples of pencilling and colouring. If he introduced landscape backgrounds into pictures of this class, it may be noticed that the trees are lightly but mas- terly sketched in, and the other accessories are arranged in a way so as not to intrude on the centre groups. His illus- trations of the life of our Lord show great power, and an intensity of feeling worthy of Raffaelle and Correggio. We feel that there is the same power when we follow him to his grandest compositions, in which he loved to introduce nume- rous figures and horses, and in the clouds above not un- frequently the apotheosis of the blessed, the whole being arranged in grand and powerful groups. Some of these groups are so fine that their full merit can hardly be felt or appreciated at once, almost every head and every figure being a study of itself. Very rarely do we meet with any crude or unsightly figures in the works of this great painter ; besides, he had an agreeable way of arranging his large compositions, so as not to allow all thought or attention to be directed towards the principal or speaking figures; thus the eye is never fatigued by dwelling on one part, but is refreshed by glancing from one part to another, and is thus able to enjoy those portions of the composition which, whilst accessory in some degree to the story, are yet suffi- ciently independent to be considered jiictures of themselves. These remarks .-ire equally applicable to his small composi- tions: for examj)le, to some of his pictures of females and children ; perhaps in one corner are children playing with dogs, or other little groups similarly amused. Paolo Veronese was also distinguished as a portrait-painter. Lanzi says that Giovanni B;itiista Grassi was most likely brought up 'in the school of Titian. Tlie landscape backgrounds of Ni- cole Grassi's pictures remind us more of Paolo Veronese. His figures are highly finished, but it is that kind of Ihiish or execution which verges on tameness. CAGLIARI, Carlo, Born at Venice in 1570 ; died in 1596. Pupil of Paolo Veronese. Venetian School. Sale in 1807. Edward Cooce, Esq. The Adoration of the Magi £:>1 19 1815. Edward Coxe, Esq. The Adoration of the Magi . < . . , 29 8 1834. Sir Culling Eardley Smith. The. Raising of Lazarus 10 10 The early death of this master was a loss to the Venetian School, as his works are worthy of great praise. He seems to have caught quickly his father's feeling for colour, as well as his taste hi expressing the contours ; ajid he rounded the limbs of his female figures in the same beautiful manner. Although he sometimes threw great power and expression into the eyes of his figures, yet altogether his touch is slighter, and the texture of his pictures thinner than his father's. In Paolo Veronese's works we can trace a great many red outlines, and other examples of ' draught-pencil- ling.' Paul Veronese appears often to have relied on this style of pencilling; and he would correct a rather clumsy figure by expressing certain parts, such as the hands, for example, with broad red-shadow strokes, and would thus give a full and masterly effect to them. Carlo Veronese sometimes attempted the same kind of pencilling, only not so frequently as his father. Carlo's shadows are very grey, and appear to blend into the rich draperies of the figures. His colouring, as seen in the backgrounds, draperies, and accessories of his pictures, is rich and agreeable ; and there is a masterly character about his figures which induces us to infer that had he lived longer he might have rivalled his illustrious father. CAGNACCI, GuiDO. Born at Castel Durante, Bologna, in 1600; died in 1680. Pupil of Guido Eeni, Bolognese School. Sale in 1801. Sir William Hamilton. Lucretia Walsh Porter, Esq. A Female Martyr . — Bryan, Esq. Andromeda 1803. 1804, ]80- £43 1 29 8 43 1 31 10 42 The Madonna nursing the Infant Jesus 1816. Henry Hope, Esq. Susanna and the Elders Although far less eminent than his charming master, yet Cagnacci has shown us in his best works that he merits a distinguished place in the Bolognese Academy. Whilst unable to compete with so eminent a painter as Guido in touch and expression, yet he preserved many of his charac- teristics, and sought to make the figures in his pictures of the ' Reposo ' and ' Sacra Conversazione' as lovable as possi- ble. He carefully avoided everything like hardness or ugli- ness in his compositions, and laboured to blend his tints so as to give as much roundness as possible to the limbs. It may be further observed that some of Guido Cagnacci's pictures exhibit a combination of the styles of Guido and CUiercino, yet these are not always the most successful of his works. CALABRESE, II. See Cavalier Mattia Preti. CALCAR (or KALCKER), JouN Van. See Titian. CALIAVARI. >S'ee Carle varus. CALLCOTT, Sir Augustus Wall, R.A. Born in London in 1779; ,died in London in i84k Pupil of Hoppner. English School. Sale in 1821. John Webb, Esq. A Landscape £,;9 li 1827. Lord de Tabley. Scene on the River Arno The Pier at Little Hampton 1848. Sir TJiomas Baring, Bart. A Study of Rocks and Water, with a Heron on the foreground A Hay-waggon drawn by two Horses, and a Horse in a shallow Stream 1859. Hon. Edmund Phipps. A distant View of Dort, with a group of Figures and Horses in the foreground .... 18 130 4 162 15 13 13 16 5 6 283 10 1861, Henry WaUis, Esq, A Rui'al Village ; from the late Mr, Brunei's col- lection 73 10 The Nave of a Cathedral in Spain , . . . Ill 6 1863. John Allnutt, Esq. A Landscape, with Sheep grazing on Broken Ground ; a Peasant and a Woman with a Dog in the foreground , y25 10 Elhanan Biclcnell, Esq. Rochester Bridge and Castle ..... View near Southampton An English Landscape, with Cattle ; finished by Sir PJdwin Landsecr 511. 10 105 3,097 10 35 THE WORKS OF PAINTERS. CAM 1865. J. G. Robinson, Esq. View near Southampton ; from the Bicknell Col- lection £60 18 It appears that Sir Augustus Callcott commenced his career as a portrait and fif^ure-painter, but subsequently acquired a greater name as a landscape-painter. His talent is universally acknowledged, and his works have been ably commented on. He may be called a versatile painter— that is, he excelled in a variety of styles. Take, for exanii)le, his • Milton dictating to his Daughters,' in which the figures are of life-size, as one style of his painting; then there are his portraits and smaller figure pictures; and lastly, how diffe- rent many of his landscapes are! We have his grand classical landscapes, which remind us of Turner. They are characterised by an agreeable mellowness or warmth of tone, which is very powerful in the foreground, and seems gradually to pervade the whole of the landscape; and there is a creaininess about his skies which is much admired, or, as some would express it, a Cuyp-like warmth about then). Then there are his architectural })ictures, remarkable for extraordinary breadth and distance ; of course much of this effect is produced by the enormous height of the foreground, buildings, and trees. The small figures in his architectural pictures are very beautiful, and are far from being accesso- ries or mere decorations to the landscape ; there is a sweet- ness about them which is very taking, so that we would fain separate them from the rest of the picture, and study them alone. In reference to his colouring, it may be noticed that he was fond of passing tints of yellow and green over dry touches of brown and red, which appear to increase the power or force of certain parts. Some of Callcott's early pictures, representing views of old houses, and river scenes, with men fishing, &c., are, in the writer's opinion, amongst the most charming of his works ; there is a truthfulness about them, and a genuine English character, that render them fine examples of that particular period of our own school of landscape-painting. AVe have also landscape pas- ticci by Sir Augustus Callcott, painted perhaps in imitation of Claude, Van Goyen, or any other painter he may have cared to imitate. In the best period of his painting Callcott was very successful in representing effects of mist or haze, and we must not forget to notice that the foreground objects in his landscapes, such as dogs, fowls, baskets, &c., are re- markably well put in : they are put in with so much sharp- ness and force that the eye involuntarily rests upon them, and they appear to compel the distant landscape or scenery to recede. These remarks apply especially to his lovely river views, painted during the early mist of a hot summer or autumnal morning; the effect is frequently quite illusive, and we feel that we are standing by the foreground figures or objects, and are looking from them into the landscape beyond us. There are landscapes by Callcott which remind us strongly of Turner, but Turner's classical compositions are usually preferred to Callcott's ; for subjects of this class Turner was possibly a master of greater imagination. There is much that is curious in Callcott's manner of painting, and we are told that he was fond of trying experiments; still, there is certainly more that is curious and mysterious in Turner's ' modus.' ' I want to see you paint,' said a pushing amateur to Turner, on a ' varnishing day.' * We have not much time for talking here,' was Turner's reply. Now, people talk a great deal about Sir Joshua Reynolds's secrets, and certainly Turner must have discovered some secrets in the mechanism of painting and the power of colours. Clarkson Stanfield told the writer that he used to see Turner apply water-colours with his fingers as a finishing glaze to certain passages in his oil-paintings.' There are a trans- parency and a lightness in Turner's water-colour drawings, with a delicacy of manipulation in the architectural parts, which the writer fancies have never been successfully imi- tated, although the writer is not very|partial to Turner's red and brown tints. Mr. Callcott Horseley, in his interesting report on the water-colour drawings at the French Inter- national Exhibition of 1865, makes some valuable remarks on water-colour painting, and endorses Mr. Munro's statement that Turner had a strong objection to the introduction of ojiaque colour in water-colour painting of any description. The writer believes that Mr. Horseley's observations are very correct, and that the style described by him represents the purest sj)ecies of water-colour painting ; but, as one loves variety in art, he would not wish to lose the otiier methods altogether, and we know that there are many beautiful works in which body-colour has been very largely used : examine, for example, some of the beautiful miniatures of ' Speaking of artists trying experiments, we may mention Arnaud Vincent Montpetit. According to his biographer, he discovered a mode of painting which he called ' eludoric,' or a method of supporting a design in water-colours with a coat of oil. We are told that he wrote a pamphlet on the subject, and painted several ))ortraits after this manner, particularly of Louis X V. It appears that he also discovered a white paint preferaljlo to while lead. The manufacturing of white paint has often engaued the; attention of chemists and scienliiie i)e(jplc. James Sfjwi ri/y,the painter, although better known as a naturalist, matle some experiments in connection with the same, and Ihoui-'ht very liighly of his preparations of ' baryta white.' Thorburn, which are so solidly painted that they have been mistaken for oil-colour miniatures. Tiien, again, we do not wish to lose the clever body-colour drawings of the elder Barret, and other draughtsmen of his time, who were fond of combining the two methods of water-colour painting. And lastly, it has been remarked that white cannot be pro- duced on ivory without the aid of body-colour. The writer believes that he has sometimes seen landscapes painted partly with crayons and partly with water-colours, which have a pleasing effect. Sir Edwin Landseer has occasioiuilly enriched the landscapes of Callcott by inserting animals into them. Lady Callcott, the wife of Sir Augustus, painted a great many beautiful sketches in water-colours. The two Chalons are usually classed with the contemporaries of Callcott ; they were versatile painters, and excelled in a variety of subjects. There is a sliglit resemblance between the classical landscapes of Callcott and J. J. Chalon. Some of Alfred Chalon's portraits, treated as fancy groups, would be better if the accessories were less distracting. In Ottley's 'Supplement to Bryan's Dictionary of Painters' the reader will find an account of William Turner the water-colour painter, who was born about 1770, and died in ISIO. There was also a portrait-painter of the name of F. E. Turner, but his works are not often seen. CALLOT, Jacques. Born at Nancy, in Lorraine, in 159H; died at Nancy in 1635. Pupil of Giulio Parigi. French School. Sale in 1803. George Graves, Esq. A Pair of Merry-makings, with numerous Figures £5 5 Ditto, an Italian Seaport ^ 1 11 6 1830. A Mountebank, with a dancing Dog . . ) Figures performing Funeral Rites . . | 5 1848. William Wells, Esq. A Pair of Military Subjects 6 Jacques Callot is chiefly known as an industrious aiul elaborate engraver. See J. H. Green's description of 1.450 of his pieces, published in IsOl. Bryan, when alluding to the works of Robert Van Hoeck, compares them to the compo- sitions of Callot. In England very little is kjiown of the works of Hoeck; it appears that his name ought to be spelt 'Hocke.' There is a great deal of merit in his crowded compositions, and he managed the perspective of them par- ticularly well. CALVART (or CALVERT), Denis. Born at Antwerp in 1555 ; died at Bologna in 1619. Pupil of ProspQro Fontana and Lorenzo Sabbatini. Bolognese School. Sale in 1839. William Mellish, Esq. The Last Supper £8 15 CAMBIASO (or CANGIAGIO), LucA. Born at Genoa in 1527 ; died'ni Spain in 1585. Pupil of Giovanni Cambiaso. Genoese School. Sale in 1801. — Slade, Esq. Tarquin and Lucretia £15 4 q Ditto 16 1804. — Bryan, Esq, Venus caressing Cupid 43 1816. Henry Hope, Esq. Venus caressing Cupid 7 45 3 1823. vi a 42 Iladame Murat. The Marriage of St. Catherine 1822. John Robert Udny, Esq. A Female at a Bath . 1831. George James Cholmnndcley, Esq. The Flagellation of Christ 28 17 6 The round and apj)arently rapid strokes of Cangiagio's pencil remind us of the pencilling of Luca Giordano. As It desirous of avoiding that meagrencss which cliaraeterises the style of many of the painters of his time, Can^iai^io not unfrequently fell into the o|)[)osite extreme of ma kin" Ins female figures too bulky or heavy. In this couiil i-y \i ?<. ii,,t uncommon tonuictwiLli small si uilies and (loarse picdii i - of nude figures bearing his name, many of ihoin very nilerio'r as works of art. But in Spain and olhei- places on Hp- Continent his name is honourably mentioned and his works esteemed as the f)ro(iuctions of a vi-orons i.-iinlcr - certainly his boldly outlined inlanl. anucls and Cn uds are excellent studies of th(! Midnel An-eln si vie of (leM-ni'iP- Ho appears to have paid parliei lar all (.■iit'mn to llie^sdury mg, and Lo the drawing <,r Llie extr,.„iitie;. IS somefiiries I nni 1 nous, ycL more tVe<(nentlv It i,arta,kes l(,o mneh (d' a hnnvn or red hue, |..;uliiig us to suppose tljatin most cases he painted over an absorbent red gnauu u hieii has destroyed in a irreat degree the ori- giiia hngh ness of his colours. iiiica Januensis was .•\ pamter ot the same scliool, and appears to have aimed at the same vigour of stylo in his works. F 2 of foresl Jlis eolo CAM CRITICAL AND COMMERCIAL DICTIONARY OF ^6 CAMPAGNOLA, Domenico. Flourished about 1543. Pupil of Titian. Venetian School. Sale in 1829. John Robert Udny, J^sq. The Assumption of tiie Virgin, with Figures of the Apostles below £157 10 There are vi^fonr and boldness in theVorks of this master, altiiouuh his lieads arc not always pleasing. He was very l)apj),v in desiyninfr infants and Cupids; they remnad us a little of Canibiasi's infant figures. CAMPANA, Pedro. See Peking del Vaga. CAMPHUYSEN, Theodore Raphael. Born at Gorcuin in 1586 ; died in 1G2G. (i") Pupil of Dietric Govertze. Dutch School. Sale in 1830. Frederick Benjamin King, Esq. Peasants in a Market-cart £5 10 This painter's works are prettily coloured ; they are warm and sunny, and there is a little of the M. Carrey feeling ni them. His cattle are generally thin and bony, like the cows in Cuyp's etchings. The landscape backgrounds of his pic- tures are sometimes classical in character. CAMPIDOGLIO. See Angelo. CANAL, Antonio, called Canaletto. Born in Venice in 1697 ; died in 1768. Venetian School. Sale in 1766. Church of Prancesca della Vignia ; a drawing in Indian ink £110 Ditto of St. James's Park, with the Old 'Horse Guards' Ditto of Westminster Abbey, from York Build- ings Ditto of London, from the centre Arch of West- minster Bridge Ditto of Old London Bridge Ditto of St. Mark's Church Ditto of the Church of San Giovanni, Venice, . 1801. Earl of Beshornugh. A View of Part of St. Mark's Place, Venice A View in Venice Ditto 4 2 10 2 5 3 4 1 17 17 6 5;i 11 43 1 A Pair of Views in Venice Sir William Hamilton. A Pair of Views in Venice — Slade, E-^q. View from the Gardens of Old Somerset House A Pair of Views in Venice 1802. A Pair of Views af St. Peter's at Rome W. Beckford, Esq., of Fonthill. View of the Doge's Palace Ditto of the Rialto .... Guy Head, Esq. The Market-place at Milan Paul d'Aigremnnt, Esq. View of Chelsea Hospital and Ranelagh, from the Thames View of St. Mark's Place ; Canal View 1803. Robert Thistletoaite, Esq. A View of St. Mark's Place, Venice Ditto of St. Gregory's Church, Venice Count de Jlagen. View in Venice Earl of Oodolphin. A P.iir of Seaports . A Pair of Views in Venice Ditto 39 8 27 8 3 18 33 12 40 19 12 12 24 3 34 13 6 8 18 6 18 7 6 89 5 99 15 30 9 27 G 26 5 31 10 A View in Venice 1804. Sir George Yonge, Bart. A View in Venice Ditto 1806. 98 11 57 15 45 3 A View in Venice Ditto . 1819. 23 2 23 2 John Knight, Esq. View of St. Mark's Place A View in Venice 1821. 63 25 4 JoJm Webb, Esq. St. Mark's, Venice . £63 1823. A View in Venice Ditto 1826. Lady Holland. A View in Venice Ditto of the Doge's Palace and St. Mark's Quay 1828. diaries Birch, Esq. The Carnival at Venice 1829. Lord Gwydir. View of St. Mark's Quay and the Doge's Palace, Venice Ditto of the Church of Santa Maria, Venice Ditto of the Scuola di San Rocco .... 1831. George J. Cholmondeley, Esq. View of St. Mark's Square, Venice . . Hon. 3Ir. Vernon. Church of the Salutation, Venice . Canal View in Venice 61 19 59 17 32 11 29 8 4t 2 33 11 39 18 16 16 21 76 13 64 1 52 10 60 75 115 10 105 105 91 77 14 George James Cholmondeley, Esq. View of St. Mark's Square, Venice 1836. Brook Greville, Esq. View of the Ducal Palace and Quay, looking towards the great Canal and San Giorgio Maggiore Henry John HinchcUjfe, Esq. View of the Caiupanile and Piazza, Venice ; painted for Dr. Hinchclift'e, Bishop of Peter- borough View of Whitehall A View of the Diical Palace 1838. 3L M. Zachary, Esq. View of the Campanile and St. Mark's, Venice . 1839. View of an Italian Street Entrance to a Town, with Ruins and a Bridge . 1842. View of the Doge's Palace, Venice .... 1844. Jeremiah Harman, Esq. A Palace on the Grand Canal .... The Church of St. Theresa ..... A View on the Grand Canal Canal View, with Gondolas, showing the Church of St. Theresa 1848. William Wells, Esq. View of the Doge's Palace and Quay of St. Mark's The Library of St. Mark's and Church of Santa Maria della Salute 1856. Front of the Library of St. Roch, at Venice, with Figures 1859. Hon. Edmund Phipps. View of the Dogana, from St. Mark's Quay, with Boats and Figures View of San Giorgio Maggiore .... View of the Thames, from the Temple Gardens . 1861. Charles Scarisbrick, Esq, View in Venice, with Figures on the Quay, and in Gondolas A View on the Grand Canal, with a Gondola Race, during the Carnival 325 10 1864. Right Hon. Lord Lyndhurst. View of St. Mark's Place, with numerous Figures The Grand Canal, Venice 1865. John Winstanley, Esq. A View on the Grand Canal, Venice . 157 10 148 148 87 16 52 10 76 13 76 13 178 10 173 5 31 10 231 42 After studying the rudiments of the art in the studio of his father, who was a scene-painter, Canaletto went to Rome, where his ready eye at once enabled him to take impressions of the many beauties around liim, and to place on canvas, with almost stereoscopic accuracy, numerous vestiges of ruined arches and columns, the old pensioners of time. In the opinion of some, these Roman views of Canaletto are even liner than his Venetian canal views. The writer, however, much prefers the latter, and therefore heartily welcomes the return of the great painter to Venice, 37 THE WORKS OF PAINTERS. whore he painted the greater part of his works, and whore his style seems to have associated his name inseparably with the canal views of his birthplace. Venice may well bo proud of her Canaletto, as a painter who redeemed the honour of her academy at a most opportune period— at a period when the last stars of the Titian and Veronese schools had long vanished. Canaletto, of course, is not in any way associated with these schools, but is respected as the caposcuola of a distinguished family of artists, subsequently represented in Italy by Bernardo Eellotti, Guardi, and the Mariesques ; and in England by Leprieur, James, Scot, and other artists : omitting the numerous copyists who possibly may claini to be members of his school. Speaking of the copies of this master's works, it may be noticed that the closest imitations are tho^e in which the imitators have copied the sharp curved strokes or touches which outline and particularly characterise Canaletto's figures. Some of these are won- derfully deceptive ; yet there are points in them, although not always the same, which seem clearly to tell us what they are. Sometimes the secret is disclosed to us by observing a greater variety of colours in the dresses of the figures ; perhaps there are touches of lake, green, and lemon colour all on the same figure, when it will be seen by comparison that Canaletto was more sparing of his colours, his figures being habited in more neutral tints. The sharp outlined figures just alluded to may be seen in Canaletto's finest works, yet it should be remembered that he did not always paint his figures in that style. If the subject re- quired it— if it were a large picture, for example— he would round and finish the foreground figures more highly. Notice some of his figures leaning on the terraces of the mansions in the foreground, or lounging on the foreground Siers. How admirable they are ! what action and freedom are isplayed in them ! yet the coats and dresses are rarely bril- liant, and we have the same greys and slaty browns that we usually see round his small figures. A few of the figures, however, are enlivened with coats or stockings of vermilion, his favourite, and, it might be added, almost only brilliant colour, which he cared to introduce about the dresses of his figures. A few of Canaletto's Venetian views differ in some respects from the bulk of his canal views. They are alto- gether more luminous, and are so elaborately finished as to make us feel that he considered them his chefs-d'oeuvre ; not only is unusual labour bestowed on them, but they are unhke the texture of his other works. Instead of the peculiarly dry impasto which is so noticeable in the works of Canaletto, we have an oily imijasto, and altogether less of the tempera appearance. The drawing in these pictures 6 wonderfully precise, and the figures curiously distinct and sparkling. How remarkable was Canaletto's industry as displayed in the immense number of figures which he intro- duced in his works— perhaps not fewer than two hundi-ed in a single picture I Canaletto's pictures of Venetian festivals and carnivals often have a singular effect, and in some cases the eye is distressed by the glaring display of the pleasure barges, decorated with gold, and awnings of crimson lake. Canaletto's London views, although highly interesting works, rarely possess the fine quality of his Venetian views ; some of them are injured in value by a semi-foxiness of colour in the skies. It may also be remarked that he seems to have failed as a tree-painter. The prettiest are generally in his Roman pictures ; but in some of his other works they strike us as unsightly, and he appears to have adopted a mechanical way of painting them, laying in, first of all, masses of yellow and dark green, afterwards expressing the leaves by little fat touches of very bright colour. As already stated, Cana- letto had some talented followers ; their works are often so good as almost to make it a question of taste whether they are or are not inferior to Canaletto's; and in reference to some of the close imitations of his works, the question may arise, Who are they by? When found in the company of original Canalettos in collections where it can be proved by authentic documents that Canaletto was employed, we may reasonably infer tliat they are by his nephew Bernardo Bellotti : in some cases they appear to represent the joint work of the uncle and nephew, the buildings being drawn or lined in by the uncle, the figures and the working up of the whole being left to the nephew. The distinction is more noticeable in the figures than in any other part. There is a peculiar grittiness about the figures of Bernardo Bellotti, and a raggedness of touch about the boats and the rigging, which is never seen in Canaletto's works. Cana- letto's interiors remain to be noticed. They are very mas- terly, but rarely brilliant in effect ; the general colouring of them is not 'assisting;' partaking not unfrequently of a general yellow tint throughout, but the perspective is as excellent as in his other works. We must not forget the interest of the subjects which he represented ; such as the interiors of some of the Italian churches and i)alaces, and, in our own country, the interior of Henry VII. 's Ciia]Hjl at Westminster, Ranelagh, and various other places, if the colouring of these interiors be not particularly ell('ctive, we can admire them for their architectural accuracy, and can also study with pleasure the busy little grouits of ligui-es which ornament them, and often feci asti^iushed at the spirit and variety of attitudes wliich he was able to produo'C with a few yellow lines and dots. CANDITO (or CANDIDO), Peter (or De Witte). Sec Yasaiu. CAP CxiNO, Alonso. Born at Grenada in 1001 ; died at Madrid in 1(307. Pupil of Francisco Pacheco and J uan del Castillo. Spanish School. Sale in 1841. Hon. Lady Stuart. St. Francis with the Infant Saviour . . . £45 3 Some of the compositions of this master are very grand; but in execution or modus his pictures may be described as pretty rather than vigorous. A few of his works are almost as highly and as delicately finished as Carlo or Agnes Dolci's. CANTARINI, SiMONE, called Simon da Pesako. Born at Pesaroin 1612; died at Mantua in 1648. Pupil of Gio. Giacomo Pandolfl, Claudio Ridolfi, and Guido Reni. Bolognese School. Sale in 1801. Christ and St. John £39 18 1805. St. Matthew writing his Gospel . . . . 178 10 1819. JoJm Kniglit, Esq. The Reposo 25 4 1850. Earl of Ashburnham. The Virgin with the Infant in her Arms, and St. John about to kiss the Infant's Foot; from the Earl of Waldegrave's collection . . . , 33 12 The Virgin with the Infant on her Lap, and St. John presenting a reed Cross . . . . 27 G The two pictures in the Earl of Ashburnham's collection are very descriptive of Cantarini's favourite style of painting. He appears to have devoted most of his time to painting subjects from the New Testament, the ' Reposo,' or ' Flight into Egypt,' forming his favoui-ite composition. His Ma- donnas and Infants are sweetly pretty, and are surrounded by landscape and foliage most tastefully painted. It will be seen that he profited much by the lessons which he received in the school of Guido, whilst his compositions of the Holy Family partake more of the general character of Albano and Carlo Maratti. About this period a taste for painting cabinet pictures of the ' Reposo ' was very general in the Bolognese School; there were many who imitated the compositions of Albano and Mola, their works being characterised by an agreeable freedom and lightness of painting, whilst the lozenge-shaped eyes of the Madonna and female angels show more plainly the period of the work. There is a brilliancy about the colouring of many of these Bolognese pictures which is very charming, the purest ultra- marine and other bright colours being introduced in the draperies ; yet, with all the brightness displayed in them, they rarely appear inharmonious, which is the more sur- prising when we remember that many of the pictures of this school were painted on absorbent brown or red grounds ; consequently the more transparent colours of the back- ground are necessarily in some degree enfeebled or absorbed. Cantarini was particularly happy in his compositions, and in the management of the allegorical accessories. His Italian peasants appear natural and unaffected in the sacred cha- racters which they represent ; sometimes we may expect to find great pains bestowed on the figure of an attendant angel, a St. Catherine, or a group of cherubim, finished highly, in order that the eye may not rest solely on the Infant Christ, or Holy Trio, which is far better than making the landscape the secondary attraction in such compo- sitions. CAPEL, Vandee. Sale in 1848. Count de Morny. A Bouquet of Flowers in a Vase .... £19 19 CAl^PELA (or CAPPELLE), Jan Vandee. Born about 1635. Sale in 1801. Earl of Bcshorough. View on the Maese £49 7 1803. View on the Maese 23 2 1824. Ralph Bernal, Esq. Sea View, with Vessels, &c 1G2 15 1826. Lady Holland. A Harbour Scene, with Boats . . . . 17 17 1827. Boats in a Calm 41 9 6 Duke of Bedford. A Calm, with Fishing-smacks at anchor . . 31 10 1829. A Sea View, with Vessels, &c 120 1831. George J. Cholmondeley , Esq. A Sea-shore, with Fishing-boats .... 34 13 18;i6. Sir James Stuart, Bart. A River Scene, with Boats and a Town in tho distance 40 8 6 CAR CRITICAL AND COMMEKCIAL DICTIONARY OF 38 Sir Charles Bagot, G.C.B. A Calm, with a variety of Sliipping and a Ferry- boat £147 1848. William Wells, Esq. A Calm off the Dutch Coast, with Vessels and Boats 325 10 Count de Iforny. A Marine View ; a Calm with Vessels . . . 21 1859. Hon. Edmund Phipps. A Calm, with Vessels and Figures] . . . 178 10 1861. Charles Scarisbrick, Esq. A Harbour Scene, with a Man-of-war firhig a Salute, &c 63 A Scene off the Dutch Coast, with a Man-of-war at anchor. Figures in a Boat, and Porpoises sporting in the ripple in front . . . . 152 5 1864. Right Hon. Edward Ellice. A View near the outh of a Dutch River, with Vessels and Fifi* res 168 A River Scene, with a State Barge, and nume- rous Boats and Figures 535 10 It is generally stated that this talented marine-painter selected William Vande Velde for his model. Although he may have profited in some degree by the study of Vande Vefde's pictures and drawings, yet, on the whole, he does not appear to have imitated him so closely as Backbuysen often did. In many of Vander Cappela's pictures it may be observed that the skies seem to want perspective; we do not find that beautiful stereoscopic effect which is so charming in most of Vande Velde's pictures, where the clouds, and different parts of the sky, are so wonderfully separated from each other. Cappela was fond of introducing a great deal of yellow in the light parts of his skies, balancing the same with a proportionate quantity of warm and rich colour about the boats and figures: in some cases he has carried this style of colouring to such an excess that his pictures have quite a De Koning effect. It will be seen, by referrmg to the above sale notes, that he appears to have delighted chiefiy in painting calms and river-views; many of tbem are small' pictures— small silvery pictures— and they are usually the most beautiful of his works ; they bear a resemblance to the best picturesof De Vlieger, and also toCuyp's marnie views. They are painted with a decided, but yet rather a delicate touch, the various parts are beautifully balanced, and the atmosphere of the whole well regulated; thus they can never be condemned for opacity, however firmly they may be pencilled. CARACCI, LoDOVico. Born in Bologna in 1555; died in Bologna in 161V. Fupil of Prospero Fontana. Bolognese School. Sale in 1766. An Historical Drawing £1 10 1801. Christ Crowned with Thorns . . . . 105 The Right Hon. Sir William Hamilton, The Virgin, Jesus, and St. Joseph . . . 42 William Young Ottley, Esq. The Entombment 294 1802. Lord Barnley. The Descent from the Cross 85 1 A Magdalen 78 15 Buke of Bridgewater. The Saviour Crowned with Thorns; from the Orleans Collection 52 10 1804. — Boxellis, Esq. Venus lamenting the Death of Adonis . . . 74 11 Pan and Syrinx 63 A Piet^; from the Borghese Palace . . . 126 — Bryan, Esq. Christ taken down from the Cross . . . 106 5 1806. Marquis of Lansdowne. Death of St. Francis 63 Lot and his Daughters 52 10 The Sibyl Libica 26'/ 15 1807. Edward Coxe, Esq. The Adoration of tii'j Shei)hords; from the col- lection of Dr. Ncwlon, Bishoj) of Gloucester . 220 10 1S08. Sir Richard Sullivan, Bart. St. Francis Tempted 204 15 1819. John Knight, Esq. The Holy Family £216 15 1824. Lord de Bunstanville. A Piet^i ; from the collection of the Hon. Charles Greville 91 10 St. Lucia offering her Eyes to the Virgin ; from the Zampiere Collection 231 1826. Admiral Lord Radstock. The Nativity—' A Notte ' 136 10 St. Francis in Retirement ; from the Colonna Palace 252 1829. George Hibbert, Esq. A small Picture of the Infant Saviour sleeping on the Lap of the Virgin 30 9 1830. Richard Westall, Esq., R.A. The Holy Family 325 10 Sir Thomas Lawrence, P. R.A. The Madonna and Child ; after Correggio . . 131 5 1832. Earl of 3fulgrave. Lot and his Daughters 105 1833. The Virgin and Child ; from the Colonna Palace 99 Chevalier Sebastian Erard. The Virgin, Infant Christ, and St. John . . 129 3 1836. Bacchus and Ariadne; from the Colonna Palace . 106 1844. Jeremiah Harman, Esq. The Virgin and Infant Saviour, attended by Saints 92 8 1848. William Wells, Esq. The Holy Family 52 10 The Virgin and Infant Saviour . . . . 32 11 1856. Saynuel Rogers, Esq. The Virgin and Infant Saviour, attended by Saints 168 The principal painters of the family of Caracci were Lodo- vico, Agostiuo, and Annibale. The position which they hold in the history of Italian art is a high one ; it may be fairly said of them that they preserved the honour of the Italian school at a period when many of her great stars were no more, yet we cannot speak of them as very original painters ; their most passionate admirers can only describe their stylo as a happy combination of the characteristics of various schools skilfully developed. It may be further remarked, that although few names in art-biography are better re- membered than the names of the above trio, yet few masters are less understood by collectors. This fact is scarcely sur- prising when we remember how much they painted together, and how they were assisted by their younger relatives — Francesco and Antonio— and a host of pupils besides ; and then, again, how their works were copied and imitated by almost countless painters— some of whom were their con- temporaries—whilst others produced works which, ulti- mately, have been ascribed to the Caracci, although painted nearly a hundred years after their death. In the colouring of Lodovico Caracci's figures we can trace the influence of the Lombard School, whilst his landscape backgrounds are more in the manner of the Venetian School. His ' Sacrse Familiae ' are usually different from Annibale Caracci's ; they seem wanting in that sweet, homely simplicity which is so taking in that great master's groups. As already remarked, we can trace much that is Lombard in Lodovico's works ; his pictures of the Virgin and Infant Saviour often display a Leonardo da Vinci feeling, and some of his figures, like the figures of Parmegiano, seem on too large a scale for the size of the canvas or panel on which they are painted. In some of his early works we notice a stiffness in the contours of the figures, and in the folds of the draperies, more like the style of his great Bolognese predecessor, Francia, than the masters of the Lombard School. When Lodovico attempted a ' Piet^,' or a subject of that kind, he displayed considerable feeling in the composition, as well as skill in the execu- tion. The subjects are simply and agreeably composed, and when a ' Pietfl,' he would introduce beautiful angelic beings, who share the grief of the mourners : this, of course, is in accordance with the feelings of earlier painters. Although it is not impossible to point out errors and deficiencies in the i)aintiiigs of Lodovico Caracci, yet all admirers of the Bolognt se School leel that there is a great deal in his compo- sitions that is lovely and tender, as well as much to admire in his colouring. Lorenzo Garbieri studied in this master's school. Hi.s designs from Sacred Writ are simply treated, and are very bcautilul. He managed the extremities well ; his pencilling is also good,and will bear comparing with the pencilling of the Caracci. 39 THE AVOUKS OF PAINTERS. CAE CARACCI, Agostino. Born at Bologna in 1558; died in 1601. Pupil of Prospero Fontana and Bartolomeo Passe- rotti. Bolognese School. The name of Agostino Caracci is well known as an emi- nent engraver and teacher of painting; but in reference to Ills pictures, writers on art generally tell us that they are not numerous. Mr. Buchanan, in his ' Memoirs of Painting,' speaks of the following pictures which were formerly in tlie Orleans Gallery :— 1. ' The Martyrdom of St. Stephen,' which sold for 100 guineas. 2. ' Christ appearing to the Magdalen,' which sold for 500 guineas. He also speaks of one which was brought to this country by Alfred Campernowne, Esq. Dr. Waagen, in his ' Art Treasures of Great Britain,' mentions nine or ten pictures ascribed to Agostino Caracci. As an engraver we need not speak of Agostino Caracci in this work. As a draughtsman he holds a very high position in art; his drawings may be classed with the finest Italian sketches which the European museums can boast of. In some of his pictures Agostino reminds us of Annibale Caracci ; and like his brother, and his cousin Lodovico, he assiduously studied the works of the great masters who ijreceded him ; and whilst it may be said of Lodovico that on the subject of models his choice seemed to tend towards the Lombard School, so it may be said of Agostino that he gave the pre- ference to the Venetian School. His figures are generally round and fleshy, the expressions of the heads quiet and simple, and the draperies and accessories are broadly painted in the manner of Annibale. Sometimes he painted land- scapes with small figures, which are difficult to distinguish from the works of Annibale. CARACCI, Annibale. Born in Bologna in 1560; died in Rome in 160 J. Pupil of Lodovico Caracci. Bolognese School. Sale in 1801. Earl of Besborough. Venus and young Satyrs £6Ji 1 William Young Ottley, Esq. A Magdalen ; from the Borghese Palace . . 283 10 Susanna and the Elders ; from the Aldobrandini Palace 388 The Infant Jesus sleeping, attended by Angels ; from the Borghese Palace 735 Christ Crowned with Thorns ; from the collection of the King of Naples at Capo di Monte . . 1,155 1802. Christ with the Samaritan Woman, on copper . 43 1 Sir Simon Clarke, Bart., and George Hibbert, Esq. Jhristand the Samaritan Woman; from the Orleans Collection 257 10 1803. Walsh Porter, Esq. A Landscape ; from the Borghese Palace . . 77 9 The Holy Family ; from the Aldobrandini Palace 120 15 Christ Crowned with Thorns 50 8 1807. Edward Coxe, Esq. Two small pictures of Cupids . . . . 19 19 1813. Charles Griffin, Esq. Dead Christ, attended by Joseph of Arimathea and the Maries 64 1 Jolin Willett Willett, Esq. Holy Family and Angels; from the Corsini Palace 48 6 Portrait of Himself 27 6 Portrait of his Wife 21 Tiu; Holy Family ; after Corrcggio . . . i:il 5 St. Roche invoking the Virgin ; from the Orleans Gallery 19i50 1815. Edward Coxe, Esq. An Historical Drawing 2 5 1816. Henry Ho'pe, Esq. St. John in the Wilderness 52 10 ! >iana and Actaion 117 12 ' hrist with the Samaritan Woman . . . 98 14 1819. John Knight, Esq. i lie Baptism of Our Saviour 1.^2 10 1821. John Webb, Esq. The Ferry 84 1823. Madame Murat, ex-Queen of Naples. The Infant Jesus asleep; St. John near Him, holding the Cross 126 The Piet^, with St. Joseph and Mary Magdalen . 60 18 George Watson Taylor, Esq. Christ and the Woman of Samaria . . . 325 10 Landscape, with the Figure of St. John pointing lo the Saviour 68 5 1825. Simon M'Gillivray, Esq. A Landscape, with Buildings and Figures . . £iii9 10 Ditto 147 U 1826. Admiral Lord Radstock. Landscape, with St. Francis in Ecstasy sup- ported by an Angel 412 The Reposo q Portrait of Agostino Caracci . . . . '. 63 4 The Dead Christ in the Lap of the Virgin ; an Angel is kneeling on one side and an Infant on the other 262 10 The Temptation of St. Anthony ; from the Borghese Palace , 787 10 1829. John Robert TJdny, Esq. The Virgin, with the Infant and St. John . . 105 Thomas Em^nerson, Esq. A Piet^; from the collection of the Due de Crosse 1G2 15 John Webb, Esq. A Magdalen in a Desert 73 10 1831. Jolm Maitland, Esq. 'Le Calvaire;' from the Orleans Collection . 117 Landscape, with a Procession leaving a Convent 2.j3 1 1833. A lexander Day, Esq. The Crowning of the Virgin ; from the Aldo- brandini Palace 367 10 1S40. Sir Simon II. Clarke, Bart. The Assumption of the Virgin . . . . 220 10 The Holy Family, with St. John . . . . llo 5 1841. Hon. Lady Stuart. ' Parce somnum rumpere ' 97 13 18i4. Jeremiah Harman, Esq. An Angel kneeling in Adoration over the Dead Body of Our Saviour 43 1 Christ in conversation with the Woman of Snmaria; from Lord Cawdor's collection . . 286 5 The Stoning of St. Stephen ; from the Orleans G^allery 189 1844. William Wells, Esq. Clytie seated in a Landscape, holding a Sun- flower in her right Hand, and pushing a ihorn uito the Side of Cupid with the other ^^"d 215 5 1850.. Earl of Ashburnham. The Reposo 315 1856. Samuel Roger's, Esq. The Coronation of the Virgin by the Trinity from the Pamphili Palace at Rome . . ! 420 The great masters of the Roman, Lombard, and Venetian Schools were to the Caracci what tiie figures of classical sculptors were to Michael Angelo and other early masters. The figures of Annibale Caracci are often surprisingly grand and dignified; there is a masterly character about them which we can rarely trace in the works of the most dis- tniguished of Ins followers. Even Guido's Madonnas and pictures of the Reposo, intensely beautiful as they an; rarely ( isplay that thorough knowledge of what had already beeii done in painting, that desire to reproduce in new aspects the seemingly uispired thoughts of the great early painters As Rome was once called the great storehouse of Grecian works ot art in like manner we may speak of Annibale Caracci as a skilful store-preserver of early chefs-d'duivre in painting. In his important pictures of the Holy Family is seen a sanctity or religious feeling worthy of Ralfaolle, and his models often well convey the impression of ideal beam v • there is something about his most simi)le subjects wliic'-li seems tons more than pretty-we would rather say that there is something about them which is always line always grand. He threw great power into the head^of the Infant Saviour and that ol St. Join., making them fine studies, as It were. Some ol the Hol.j.-nose painters who came after nm seemed to delight n, throwing all the power into the hejid of the Madonna: and others show their greatest skill 111 the head ot St. Josepii, whilst the heads of the Infant Saviour and St. John are weakly finished, and seem almost Jiccessory to the rest of the composition. The flesh tints of Annibale Caracci s pictures have a subdued tone; at times they seem very red, which reminds us of the colouring of Giu 10 Romano; and, when warm and trans],areiit, we de- serib(! them as coloured in the manner of Titian; the re- fleeted lights which we notice about his flesh tints are very charming, liierc is an mteiiMly of feeling about his figures I CAE CEITICAL AND COMMERCIAL DICTIONARY OF 40 which is much admired ; we feel that the whole intention of the painter is so happily expressed. Annibale Caracci's knowledge of the 'chiaroscuro' is at once seen in the draperies and landscape backgrounds of his pictures; his draperies are often bi'illiant, yet tlie brilliancy is of a deep and rich character, the pencilling being remarkably firm and stony. Even when he introduced very few colours in the draperies and background of a picture, there is still something Correggiesque and brilliant about the same: much of this may be explained by the transparency which he obtained by his wonderful skill in the management of reflected lights. Annibale was a good draughtsman ; we see this in the placing of his draperies as well as in the skilful outlining of the extreniities, and his not unfrequent exam- ples of foreshortening. The landscape backgrounds of Annibale's pictures are very fine ; they are generally classical, and harmonise well with the figures of his pictures. His large landscapes belong to a class or type of painting which can hardly be appreciated except by those who have made old pictures their particular study : connoisseurs love to separate the passages in Caracci's dark landscapes, so as to enjoy and study the same by themselves. CARAVAGGIO, Polidoeo Caldaea, called Da. Born at Caravaggio in the Milanese in 1495; died in Sicily in 1513. Pupil of Raffaelle and Giovanni da Udine. Roman School. Sale in 1801. Right Hon. Sir William Hamilton. The Nativity £21 10 6 Drawing for the Trieze of a Roman Palace . . 1 11 6 1803. The Last Judgment 30 9 1806. Marquis of Lansdowne. The Adoration of the Shepherds . . . . 89 5 1815. Edward Coxe, Esq. Alexander taming Bucephalus ; a drawing . 2 5 1821. John Webb, Esq. Study for a Prieze 28 7 Little is known of the works of Polidoro in this country ; some only know him by his drawings, and studies in oil for friezes. Polidoro was an excellent designer, and, like many of the Academic painters who flourished about a hundred years after his time, he appears to have devoted more atten- tion to drawing than to colouring. He delighted to paint triumphal processions and mythological subjects, and dis- played great freedom and elegance in the management of the limbs and contours ; he also possessed the art, in a high degree, of giving motion or action to his figures. His figures are generally represented in lively and violent atti- tudes ; thus, in his triumphal sketches, the scene appears to be rapidly passing before our eyes. In his religious compo- sitions we can trace more of the feeling of the great master under whom we are told he studied. The subjects are quietly and simply treated ; the figures are slightly draped, and are easily and gracefully grouped. The forms of his amorini are remarkably pretty, and they are pencilled with a nice crisp touch. We are told that Baldassare Peruzzi occasionally painted bas-reliefs in the manner of Polidoro. Peruzzi is usually associated with the school of Raffaelle. His colouring reminds us of Giulio Romano and of Mazzolini da Ferrara. His figures are beautiful, and we cannot trace any stifi"ness in the arranging of them. Like Mazzolini, he bestowed great pains on the heads and hands of his figures. His pictures are very rich and brilliant in colour, and are so curiously finished that the different passages or groups in them will admit of being studied separately. We have a profile portrait of Baldassare Peruzzi, published by Odieuvre. CARAVAGGIO, M. A. See Ameeigi. CARDI, LuDOVico, called Cigoli. Born at Cigoli in Tus- cany in 1559; died at Rome in 161.). Pupil of Alessandro Allori, of Buontalenti, and of Santo di Tito. Fiorentiue School. Sale in 1850. Earl of Ashhurnham. The Flight into Egypt £22 1 There is a great deal of grandeur in the works of this master, and he was fond of introducing glories of angels above the other figures. His angels are fine, and some of them are quite Correggiesque in feeling. Like Caravaggio, he delighted in powerful effects of light and shade, the eyes and hair of his figures being often very dark. Cigoli was a vigorous draughtsman, and it will be noticed that the bones in the extremities are well expressed. CARLEVARIIS, LucA. Born at Udina in 1G65; died at Venice in 1729. Sale in 1802. JPaul d'Aigremo7}t, Esq. View of the Dogana at Venice . . , . £i 10 1S03. Riclinrd Walker, E'^g. View ui Venice on tht Grand Canal . . . 4 4! o 1832. View of an Exchange, with Figures , . .£770 Carlevariis was fond of painting views about Venice and seaports, but his works are more analogous to the pictures of Cimaroli than to the Canaletti school. Unless of the best quality, they are not sufficiently attractive to demand good prices in the market. Like Fabris, he was successful in giving character and spirit to his foreground figures, but the colouring of his pictures is not lively. CARLIGARNI, Caelo. See Cignani. CARPENTIERS, Adeian. See Hogaeth. CARPIONI, Giulio. Born at Venice in 1611 ; died in ir.74. Pupil of Alessandro Varotari, called Paduunino. Venetian School. Sale in 1802. Duke ofBridgewater, &c. Figures sitting at a Table £4 4 The Martyrdom of St. Januarius . . . . 15 4 6 1806. Sir George Yonge, Bart. An Emblematical Picture 7 7 1821. Marchioness of Thomond. A Pair of Mythological Pictures . . . . 7 17 6 1829. Samuel Tansley, Esq. Danae 1116 1833. Dancing Cupids 6 16 6 Some of this painter's compositions, when seen at a little distance, remind us of Nicold Poussin's; the figures being very red, whilst the landscape is brightly coloured, in the manner of Bourdon's. But on closer examination it will be found that the colouring is more opaque, and the figures less finished than the figures of Nicold Poussin. The flowers which he introduced in his pictures of infant bacchanals remind us of Nuzzi. There are also works by him which appear to be copies or imitations of Paolo Veronese. CARRE (or CARREY), Michael. Born at Amsterdam in 1666; died in Holland in 1728. Pupil of Nicholas Berghem. Dutch School. Sale in 1802. Landscape and Cattle £8 18 6 1803. Cattle, in a Landscape 5 15 6 A Landscape and Cattle 2 2 A Cattle Piece 3 Walsh Porter, Esq. Cattle in a Landscape 5 15 6 1821. 3Tarohioness of Thomond. Cattle in a Landscape 6 16 6 1827. JoJin Dent, Esq. A Landscape and Cattle •• 6 6 M. Carrey was an exceedingly delicate and pleasing painter, and his works remind us of Berghem's and Adrian Vande Velde's, although it must not be supposed that they possess the quality and value of either of these masters. On the whole, his works are more analogous to the small cattle pieces of Vander Leeuw. Carrey's best landscapes are usually very sunny ; the horizons are high, whilst in the foreground and other parts he would introduce fragments of classical architecture. Like Vander Meer, he did not al- ways succeed in giving relief to his cattle and sheep ; still, for all that, they are very clever and prettily pencilled, par- ticularly the sheep and goats. His elder brother, Henry Carrey, is described as a landscape and conversation painter. We are further told that he studied under Juriaen Jacobsz and Jacques Jordaens. His works are rarely seen in Eng- land. Sometimes he painted mythological subjects, which are elaborately and curiously finished, partly in the style of Rottenhamer and Brueghel. We are informed that he died in 1721, but the writer believes that he has seen a picture by him dated 1737. CARRUCCI. See M. Angelo Buonaeeoti. CARSE. Sale in 1835. Italian Boys with their Monkeys . . . .£360 Cows and Figures in a Landscape . . . 16 A Scotch Village, with Figures merry-making . 4 CARTER, G. -See ZoFFANT. CASALI, Andkea. Born at Civita Vecchia about the year 1720. Sale in 1801. Earl of Beshorovgh. A Chiaroscuro picture of the Three Graces . . £14 14 A Magdalen at Devotion 6 16 6 Martyrdom of St. Catherine 6 16 6 41 THE WOKKS OF PAINTERS. C E R 1802. W. Beehford, Esq. A Chiaroscuro Picture .... An Historical Subject in Chiaroscuro . £7 7 5 15 6 1 13 7 17 6 2 4 4 Paul d'Aigremnnf, Esq. The ' Judgment of Paris ' . . . . 1819. W. N. Hewitt, Esq. Portrait of a Spanish Lady .... 1829. Samuel Tansley, Esq. A Saint bound for Martyrdom Lucretia, &c 1840. Sir Simon H. Clarke, Bart. Flora seated, in a Landscape 10 10 The historical subjects of this painter are designed in a grand and elaborate manner. He sometimes attempted very difficult compositions, and, as we may naturally suppose, dis- played a certain amount of weakness in parts ; still we may find nice passages in his works, and tlie backgrounds of his important pictures are a little in imitation of Paul Vero- nese's backgrounds. CASANOVA, Prancesco. Born in London in 1732 died in 1805. Pupil of Francesco Simonini. French School. Sale in 1796. Jacob More, Esq., and Hons. Liss. The March of an Army_ £4 4 1821. A Landscape, with a Sporting Party refreshing 13 13 Although the prices affixed to the above sale notes are low, yet we may speak of Casanova as an excellent painter of his class. It is true that his colouring is often too brown, at other times too foxy, but then in his best pictures we find a great deal of spirit and a freedom of touch almost equal to Eourgognone. His works are not so frequently met with as the works of his pupil De Loutherbourg. Casa- nova's skies, and his sketchy manner of touching in the foreground, intermingling broad touches of green with the brown, sometimes remind us of the works of his pupil. Casanova's bold battle-pieces, although somewhat red m tone, are generally clever vigorous pictures. It may be no- ticed that there is nothing unequal in them ; the horses are as well painted as the figures, and the sky is as good as the landscape and accessories. This power of balancing or car- rying out a composition is always to be admired in a picture. Casanova occasionally painted seaports and lake scenery: some of his pictures of this class remind us a little of Salvator Rosa. CASSANA, NicoLb. See Knellee. CASSEL, Van. Sale in 1802. Buke of Bridgewater, &c. A woody Landscape £7 17 6 CASSTEBLS, Petek. Born at Antwerp in 1684; died in 1749. Flemish School. Sale in 1827. A Peacock and Turkey, with Rabbits and Flowers £5 5 Peter Cassteels was successful in painting groups of flowers, which he finished in the neat manner of Verendael. Some of his pictures are signed in an elegant manner, the P being ciphered with the C, and the name is spelt with double s ; but in the dictionaries his name is spelt Casteels. CASTAGNO, Andrea del. See Tommaso Guidi. CASTELLI, Valebio. Born at Genoa in 1625 ; died in 1659. Pupil of Domenico Fiasella. Genoese School. Sale in 1801. — Slade, Esq. An Angel appearing to Hagar 1802. Sir Simon Clarke, Bart., and George Hibhert, Esq. Vanity 50 8 1809. Esther before Ahasuerus 12 1 6 1824. The Marriage of St. Catherine . . . . 30 9 1828. Earl of Carysfort. Moses striking the Rock 13 2 6 1829. Lord Gwydir. The Virgin, Infant Christ, and St. John . . 89 5 1839. William 3IeUish, Esq. The Murder of the Innocents . . . . 13 13 1840. Sir Simon II. Clarke, Bart. Vanity 42 CASTIGLIONE, Giovanni Benedetto. Born in Genoa £19 8 in 1616; died at Mantua in 1670. Genoese School. Pupil of G. Battista Paggi, and of Gio. Andrea de' Ferrari. Sale in 1801. Earl of Besborough. Landscape and Cattle £5 5 Sir William Hamilton. Two Drawings in red chalk .... 1802. 18 1 10 4 4 The Judgment of Midas . Tobias burying the Dead Sir Sivion Clarke, Bart., and. George Hibbert, Esq. A Pair of small Historical Pictures . . . 15 15 1803. The Overthrow of Pharaoh 8 8 Jacob's J ourney 7 12 1821. Marchioness of Thomond. Bacchanalian Figures in a Landscape, with Ob- jects of still Life, Utensils, &c 4 4 1822. Marqiiis of Bute. idsc 20 9 G 5 10 A Pair ot Landscapes, witli Shepherds 1823. A Magdalen 1830. Viscount Hampden. Jacob's Journey 21 1836. The Departure of the Israelites . . . . 18 7 6 1839. A Study of Sheep 2 8 Castiglione was particularly fond of painting animals, but he usually introduced one or two figures in his pictures of poultry-yards and farm subjects. He was a bold and vigorous painter, and delighted in broad effects of light and shade ; his works are sometimes compared to Rosa da Tivoli's, but they are far more natural and agreeable. The colouring of his landscapes is rich and brown, but his painting is neither hard nor unpleasant, his aim often being to give a sunny effect to his pictures. The taste which he displayed in grouping sheep and goats is often equal to that of Vander Meer de Jonghe, whilst he surpassed tiie latter in his free and broad pencilling— Vander Meer's sheep being generally too smoothly painted. The landscape-back- grounds of Castiglione's pictures are truthfully and broadly put in, but, like the landscapes of Zuccarelli's, possibly few would care for them were it not for the animals of the former and the figures of the latter painter. Castiglione sometimes painted studies, in imitation of Parmegiano and other great masters ; there is a good deal in the touch and colouring of these studies which reminds of Vandyck : the reader will find, by referring to his biography, that he met Vandyck in Genoa, and received some instruction from him. We occa- sionally meet with studies of animals on paper by Casti- glione, which are uncommonly clever, and are surprisingly lull of lite and character. Those who only know Castiglione as an animal-painter will be rather surprised to find how delicate he was in his religious subjects, which have almost the tenderness of Carlo Maratti. Castiglione occasionally painted pictures in a semi-humorous style : they are painted with a great deal of transparent brown, like a particular period of Murillo's painting. CASTILLO, Juan del. Born at Seville ; died at Cadiz in 1640. Pupil of Luis de Vargas. Spanish School. Sale in 1813. James Poole, Esq. An Old Woman £7 17 6 CASTRO, De. Sale in 1803. Interior of a Church £2 15 CATALA.NI, Antonio, called II Romano. See Lan- FRANCO. CAVEDONE, GiACOMO. Born at Sassuolo in the Modenese in 1577 ; died in Bologna in 1660. Pupil of Annibale Caracci. Bolognese School. Sale in 1802. Sir Simon Clarke, Bart., and George Hibbert, Esq. Susanna £100 16 CAWSE, J. Sale in 182 i. William Clay, Esq. Portrait of a Cobbler £13 A Market-girl, with a Basket of Eggs ... 110 1834. FalstafT with his Recruits 3 10 Peasants at Cards, in a Public-house ... 500 CERQUOZZI,Micii \ A ngelo, called Dalle Bat^aglia. Born at Ronu; ni ICiiii ; died in 1660. Pupil of Pietro Paolo Bonzi. Roman School. C E S CRITICAL AND COMMERCIAL DICTIONARY OF 42 Sale in 1801. JSarl of Beshonntoh. Italian Peasants £15 4 6 Sir WiUifim ITiimiUon, Stripping the Dead after a Battle ... 770 1802. A Battle Piece 9 9 Dnke of Jlriihieioater, cCr. An Army, witli an Altaclc on the Baggage . . 5 5 1803. Richard Walher, 'Esq. Landsciipe, with Italian Peasants dancing . . 7 17 6 1804. — Bryan, Esq. Blowing Hot and Cold 10 10 1807. Edward Cnxe, Esq. Laii(ls(*a{)e and Pignrcs 7 7 Ditto, the companion 5 Sportsmen regahug themselves before an Inn . 18 7 6 1813. JoJin Willett Willett, Esq. A Pield of Battle ; from the collection of Mrs. Furnese. Bought in at 31 10 1819. Willett WiUetf, Esq. Halt of an Army on a Pield of Battle . . . 42 1826. Lady TloUa)id. Italian Mounteban.ks and Pigures, and Italian Peasants in a Landscape ; a pair . . . 15 4 6 1833. Figures Wrestling ) i7i'7n Ditto, playing at Cards J 1850. Earl of Ashburnliam. Cavaliers and Fortune-tellers, in a Landscape . 8 8 CESAIR of Everdingen. Sale in 1803. An Indian Widow £21 CESARI, Cavaliere Giuseppe, called D'Arptno. Born at Rome about 1568; died at Rome in 1(340. Pupil of his fatiier, and of Christofano Roncalli. Roman School. Sale in 1801. Earl of Besborough. Hero and Leander £29 8 180L Death of St. Joseph 38 17 An Engagement of Cavalry 12 1 6 1819. John Knight. Esq. The Sheplierds' Offering 11 16 1829. John Webb, Esq. A Battle Piece 3 3 The Triumph of Titus 5 15 6 1831. Hon. Mr. Vernon. The Annunciation 10 10 1836. Sir James Sttiart, Bart. A Battle Piece 53 11 1856. Samuel Rogers, Esq. St. James of Spain, in gilt Armour, on a white Horse ; from Sir J. Reynolds's collection . 16 16 The above sale notes show that D'Arpino varied his sub- jects considerably; and it may also be said tliat he varied his style of painting considera,bly. He is seen to advantage in such subjects as Diana and Actaeon, or of nymphs bath- ing. His pictures of this class are very bright, and are smoothly and delicately finished. They are not unlike some of the v/orks of Albano, the flesh tints being painted with consid rable impasto, but the imj^asto appears smooth and pearly. The figures in some of D'Arpino's cabinet pictures are richly and warmly coloured. CHALON, A. E., R.A. See Callcott. CHALOX, J. J., R.A. See Callcott. CilAMBERLIN, M., Jun. Sale in 1824. William Clay, Esq. A Pair of La!idscH|)''s and Figures . . . £5 15 6 This painter was })i'Oi)al)ly the son of Mas(jn C'liamberlin, one of tlie <';a-iy members of the Royal Academy, As the writer is not acquainted with the works of the younger Chamberlin, perhaps the reader will allow him to' make a few remarks in this place on the portraits of the elder Chamberlin. Chamberlin, like Hogarth, was a capital painter of heads; not that his works carry us away, like many of the portraits of Sir Joshua Reynolds and Gains- borough, from the mere portrait into the actual company of the party. Altliough Chamberlin's portraits are no- thing more than portraits, still we can trace in his works finer pencilling than we see in most of the works of his con- temporary portrait-painters. Tliey remind us of some of Gainsborough's early portraits, particularly in the pencil- ling of the mouth. That pretty kind of hatching about the lips which we like so much in the portraits of Gainsborough may often be seen in the works of Chamberlin. Like Francis Cotes, Chamberlin was very happy in giving expression to the eyes of his portraits. His ladies are often represented with powdered hair, black lace scarves, large open sleeves trimmed with lace, and dresses of a subdued colour. CHAMBERS, George. Born at the close of the last cen- tury; died in 1840. English School. Sale in 1863. Elhanan Biclcnell, Esq. Sheer ness £115 10 Boats and Shipping 204 15 George Chambers was an excellent portrait-painter of ships, and his naval engagements are admirably composed. The above sale notes are sufficient proof that some of his works are valuable ; yet generally they would possess greater value if he had given more power to them— more ' light and shade' — as they are altogether too light, the lightness of the foreground parts interfering with the proper receding of the distant scenery. Stanley, in his edition of ' Bryan's Dictionary of Painters, &c.,' furnishes us with an interesting sketch of George Chambers's short but useful life. Chambers is seen to advantage in his small pictures of seaports, in which are vessels and boats tossing about in the breeze; and his water-colour drawings are also very clever. An artist of the name of Buthuid jminted sunny river views about Erith and other places; they class very well with Chambers's and McEv/en's small pictures. CHAMPAIGXE, Philippe de. Born in Brussels in 1602; died in Paris in 1674. Pupil of Bouillon, Michel Bour- deaux, Fouqui^re, and L'Allemand. French School. Sale in 1801. Earl of Besborough. Portrait of Descartes £16 5 6 1805. An Angel appearing to Abraham and Isaac . 19 8 6 1836. Portrait of a French Lady 27 6 1859. Hon. Edmimd Phipps. Portrait of Madame de la Valli6re, in a Nun's Dress 41 As a student under several masters, we are not surprised to meet with Champaigne sometimes as a landscape-painter, at other times as an historical painter ; yet he is best known as a portrait-painter, and capital portraits many of them are. We admire his graceful outlines, delicate finish, and sometimes above all the sparkling brilliancy of the eyes, which is not unlike the painting of the eyes in some of Nanteuil's portraits. Champaigne frequently painted his three-quarter heads of gentlemen in spandels. There is al- ways a dignity about his portraits, particularly his full- lengths ; and his royal portraits happily proclaim the rank of the sitters. The high lights of the flesh tints are brilliant, whilst the half-tints are remarkably cool, being mixed with ultramarine. In the shadows he would introduce Indian red, relieved here and there by cool touches. Champaigne was fond of ultramarine, and would frequently introduce it rather conspicuously into other parts of his portraits. The hair, and, in the case of gentlemen, more commonly the flowing wigs, are worked up with a finish which almost apjn-oaches to wiriness. Many of his male portraits have large white collars. He does not appear to have grudged time in his works; and the dresses of his portraits are finished with the care and delicacy of Cornelius Jansen ; others are decked in costly embroidery, elaborately worked coats, with ornamental button-holes, &c. CHANCOURTOIS. See Patel. CHANDLER. /See HOPPNEK. C HARDIN, Jean-Baptiste-Sim^on. Born in Paris in 16G9 : died in Paris in 1779. Pupil of Gazes and of Noiii- Nicolas Coypel. French School. Sale in 1801. Sir William Hamilton. A Woman and three Children .... £17 17 1809. A Court of Justice 14 3 6 1828. A Nurse giving a parting Charge to a School- boy 14 14 1837. Sir G. Warrender, Bart. Interior, with a Lady brushing the Hat of her Son. ... ... . 29 8 43 THE WORKS OF PAINTERS. C I M ISGl. Lord Lyndhurst. Portrait of Madaiuo Geoffrin, seated at a Table, taking Chocolate £7.5 10 The pictures of this painter are more higrlily valued in France than they are in Eufjlaud; but connoisseurs always feel that there is much to admire in Ohardin's light, cheerful style of painting. He treated his subjects in a lively man- ner, and was a most industrious painter of accessories. Some of his pictures of kitchen utensils are very nicely finished. When he painted figure subjects or portraits, iie introduced a great deal of red and brown in tlie shadows ; yet tliey 'rarely appear heavy, as he managed to preserve a nice trans- parency throughout. In some examples the flesh tints and light draperies are painted with a great deal of impnsto. His female figures are graceful and Greuze-like in character ; and he gave richness and power to liis pictures without introducing too great a variety of colours. CHATEL, Charles du. Sale in 1827. Portrait of a Lady with a Lapdog and a Vase of Flowers £5 15 6 CHERON, Elizabeth Sophia. See Le Brun. CHIARI, Giuseppe. Born at Rome in 1G54; died in 1727. Pupil of Carlo Maratti. Bolognese School. Sale in 1806. Sir George Yonge, Bart. The Judgment of Paris £14 3 6 1850. Earl of AsMurnham. An Angel announcing the Incarnation . . 33 12 This painter was a pupil of Carlo Maratti ; some of his works are much richer and warmer in colour than Maratti's, but are inferior in taste or refinement. CHRISTINE ICKE, C. L. See P. Batoni. CIGNANl, Carlo. Born at Bologna in 1628; died at Forli in 3719. Pupil of Battista Caii-o and of Francesco Albano. Bolognese School. Sale in 1801. Jupiter and Antiope ; after Correggio . . . £43 1 1807. Edward Coxe, Esq. An Allegorical Picture of Ciiildreu; from the Londonderry Collection 51 9 1815. W. Comyns, Esq. Charity ; from the Udny Collection . . . 15 4 6 1816. Henry Hope, Esq. Cupids . 12 12 The Virgin and Infant Christ . . . 30 9 Jupiter and Antiope So 14 1819. John Knight, Esq, The Five Senses .... . 52 10 1821. John Webb, Esq. A Magdalen 28 7 Joseph and Potiphar's Wife . . . . 57 15 1825. Bacchanals celebrating the Vintage . . . 36 15 1831. John 3Iaitland, Esq. The Marriage of St. Cattierine . . . . 45 3 A frequent painter of Bible subjects and scenes illus- trating the legends of the Church was Carlo Cignani he also painted mythological subjects, and, like Guido, now and then a few i)ortraits. His religious pictures are sweet, pleas- ing works.although some of tliem, in regard to the drawing, are more pleasing than correct ; still we may speak of the best as fine examples of Bolognese art, and wortiiy to rank with the best productions of the followers of the Caracci. His mythological and nuil(j subjects disphiy greater care in the drawing, aud tlie suiiliui;' luces ol'thtiB icchaiials remind us of tiie works of Nicolo Poussin. Ca-uacci occasionally painted studies of amorini in little more than two colours— Viz., red and white: although very slight, these i)icturcs possess considerable merit, and the drawing in quickness and freedom rciuinds us of Luca (xiordano. Some of his other semi-studies are put in witii a powerlul cU'ect of light and shade, in th;; maniKU- of CaravagKio. The backgr(junds of his figure subjects are often ciilivcn(;d witli trreadthand atmosphere to them, and the figures are put in with sharp si)irited touches, a little in the manner of Ca- naletto. There is an interesting collection of Clevely's drawings in the possession of the Hon. W. B. Warren Vernon. Many of them are signed ' J. Clevely,junr.;' but the dates on them correspond with the dates given above. Tlie perspective of them is beautiful, and they are pencilled or penned in the neat and delicate manner of our early English painters of the Sanby school. The sketches of Lieut. W. Elliott and G. G. Lenneck are very prettily exe- (Hited, and may be noticed here, but they do not possess the arlistie taste; of Clevely's works. V»^e occasionally meet wit.li ixtrtraits of vessels and marine views, by a Yorkshire artist of the name of Harwood. He most likely painted his pictures about 1820 or 1830. His portraits of vessels in water-colours appear to belong to an earlier school, and remind us strongly of Clevely's drawings. CLOMP (or KLOMP), Albert. Flourished in the early part of the seventeenth century. Sale in 1802. Guy Head, Esq. A Pair of Camp Scenes £7 1803. A Landscape, with Cattle 7 1804. — Bryan, Esq. Landscape and Cattle 3 13 6 Ditto 660 1819. Ifathetv 3Iitchell, Esq. Cows in a Landscape 3 3 1824. A Landscape, with a Shepherd watching Sheep . 2 1827. F. H. Sfandish, Esq. Cattle grazing 7 7 1831. JoJm Maitland, Esq. A Pair of Landscapes, with Cattle . . . 12 12 1832. A Battle Piece 4 4 Clomp finished his cattle pieces in a smoother manner than Van Gool; they are, however, well painted. The skies of his best pictures are brightly coloured, and may be com- pared to Karel du Jardin's. CLOSTERMAN, John. Born at Osnaburg in 1G56 ; died in London in 1710. Pupil of Riley. English School. Sale in 1806. 3Iarquis of Lansdoivne. Portrait of Dr. Harvey £7 1827. Portrait of William Lloyd, Bishop of Worcester 3 15 The above sale notes show us how little portraits were cared for a few years ago, even when painted by known artists ; for Closterman, although not always equal, occasion- ally painted very pleasing pictures. Possibly some may see in his works more of the feeling of Lely than of Riley; yet there are portraits by him which are painted with a very dry pencil, and are decidedly more like Kueller than Lely. There are several examples of this painter in the fine collection at Longford Castle. CLOUET (or CLOET), Francois, called Jehannet. Born at Tours about 1500 ; died about 1572. Pupil of his father, Jean Clouet. French School. Sale in 1823. George Watson Taylor, Esq. Henry II., King of France £52 10 1863. Portrait of the Due de Guise 34 13 Janet, or Jehannet, introduced a style of portrait-painting which was much admired. In many res))eets his style is analogous to the miniature-sized works of Holbein and Zucchero ; yet there are certain characteristics which enable us readily to distinguish the works of the three painters. In the Museum of the Louvre is a valuable col- lection of portraits by Janet, He preferred painting on grounds of a light bluish green, not unfrequently intro- ducing a green silk curtain behind the figure. The heads have considerable force ajid expression, and the features are worked up with a remarkably fine pencil. He spared no labour in the draperies and accessories ; the trimmings, feathers, and precious stones are in such profusion as to give his pictures almost the appearance of skilfully coloured prints. As a whole his pictures do not appear to possess the force and spirit of Holbein's; they have too frequently a cold smooth appearance, and this smoothness or want of firm pencilling has enabled his followers and other copyists to imitate him very successfully. CLOVIO, GiULio. See GiuLio Romano. COCK, Jerome. See Peter Breughel the Elder. CODAGORA, ViviANO, called A^viani. Painted about the middle of the seventeenth century. Roman School. S.xle in 1801. Sir William Hamilton. Architecture £2 5 Ditto 2 10 Ditto 350 1821. 3[archioness of Thoinond. Architecture and Figures 2 12 6 183*. Viscountess Hampden. An Italian Seaport, with Figures by Jan Miel ". 42 45 THE WORKS OP PAINTERS. COO The reader is referred to Stanley's edition of * Bryan's Dictionary of Painters ' for some remarks on this artist, and also on Ottavio Viviani, his contemporary. COELLO. See Mueillo. COIGNET, Giles. See Michael Angelo Buonaeeoti. COLLANTES, F. Sale in 1804. — Bryan, Esq. Landscape, View in Spain £10 10 COLLET, John. Born in London in 1725 ; died in 1780. Pupil of Lambert. English School. Sale in 1821. 3Iarchioness of Thnmond. A View in St. James's Park, before Buckingham . House, with Portraits of Lady Coventry, Lady Greenwich, &c £8 8 1825. An Interior 15 COLLINS, William, R.A. Born in London in 1788 ; died in 1847. English School. Sale in 1827. Lord de Tahley. A View in Westmoreland £189 A Sea-shore at Sunrise 210 1834. Going to Market 34 13 6 1836. A Beach Scene, with Figures 126 1837. Sir Francis Freeling, Bart. The Shrimpers 128 2 1848. Sir Tliomas Barhig, Bart. Boulogne, with a Fisherman and Girls with Mussels; the Town and Boats seen in the Distance 241 10 Scene in the Chapel of St. Onofrio, at Rome . 158 11 Taking Sea-fowls' Eggs 257 5 1859. Hon. Edmund Phipps. The Boat-builders ; a group of Figures on the Beach 231 10 1860. Henry Wallis, Esq. A Jewish Rabbi 12 12 1862. The World or the Cloister ; from the collection of Charles Meigh, Esq 21 1863. Elhanan Bichnell, Esq. Early Morning on the Sussex Coast . . . 1,008 • Selling Fish ' 1,228 10 1864. Return from the Haunt of the Sea-fowl . . 136 10 William Collins was not only a charming painter of figures, particularly of rustic children, but he also had great taste in landscape-painting. We sometimes hear people say that such or such a work would be better witliout the figures, but this can never be said of CoUins's pictures ; yet we can say that, if his figures were taken out, many of his land- scape backgrounds are so pretty that they would still be pictures of themselves. His best pictures are landscapes with figures, and figures in landscapes at the same time ; for Collins commenced his studies at a period when the English School delighted to treat art in that way. Collins's selections are very charming ; sometimes he painted woods and running streams, and sometimes river views and coast scenes. He gave great depth and richness to his woody landscapes, the foliage being remarkably expressive and well formed, whilst the trunks or stems, although numerous, are well separated and in good perspective. Like Sir Augustus Callcott (and like Mulready, when housed to paint small landscapes), Collins paid great attention to the fore- grounds of his pictures ; his fallen trees, dock-leaves, and other plants and shrubs are put in with so much taste that they are quite little pictures of themselves. His horizons are somt^times rather low, and there is a great deal of light and perspective in his skies ; he was fond of rei)resenting in his skies sudden bursts of light or sunshine. As a painter of rustic children Collins stands very higii in the English School. His children are not only natural, but they are such busy lively cliildren, and always ajtpear so thoroughly interested in their work or in their sport. Collins ccnil'd also paint animals very well ; some of thein remind us of those of the Dutch painters of the seventeenth century. COLOMBA, J. B. Sale in 1834. Viscountess Hampden. Itinerant Beggars, in a Landscape . . . £3 5 This artist painted some curious fanciful compositions. which are ornamented with architectural fragments, and semi-classical ruins. In colouring, his works x-emind us of Zuccarelli, but they are finished in a neater and more elabo- rate manner. COLON I A, Adam. Born at Rotterdam in 1634; died in London in 1685. Dutch School. Sale in 1803. Richard Walker, Esq. A Landscape, with Cattle £9 9 CONCHA (or CONCA), Sebastiano Cavalieee. Born at Gaeta in 1676; died in Naples in 1764. Pupil of Fran- cesco Solimena. Roman School. Sale in 1802. Noah's Sacrifice I 4?"^ q n Moses striking the Rock | s-oo y o CONEGLIANO, Giambattista Cima da. Flourished be- tween 1493 and 1517. Venetian School. Sale in 1856. Samuel Rogers, Esq. The Virgin with the Infant Saviour, who is holding a Cross to St. Francis .... £38 17 An elegant name is not to be despised, although an elegant taste is of greater importance to a painter : the subject of the present note has a fair claim to both, and his works are particularly admired by lovers of the early Venetian School. The colours of this painter are so peculiarly bright and clear that we would fain call him the Lorenzo di Credi of the Venetian School ; for, like Di Credi, his manner was to introduce into the backgrounds of his pictures of the Ma- donna and Child, or of the Holy Family, light and bril- liant landscape, clear blue sky, with buildings and trees finished in the elaborate manner of the early Italian missal painters. And again he reminds us of Di Credi in selecting ultramarine and other almost unbroken colours for the draperies ; but Conegliano's flesh tints, although always luminous, seem pale when contrasted with the singularly warm flesih tints of Di Credi. It is usually stated that Conegliano imitated the style of Giovanni Bellini ; but, view- ing his works generally, he has a right to be considered a very original painter. CONSTABLE, John. Born at East Bergholt in Suffolk in 1776 ; died in 1837. Pupil of Farington. English School. Sale in 1848. Sir Thomas Baring, Bart. The Embarkation of George IV. to the Opening of Waterloo Bridge £33 12 1861. Henry Wallis, Esq. The Opening of Waterloo Bridge in 1817 . . 462 E. Gambert, Esq. The Lock 231 1863. John Allnutt, Eaq. A Lane Scene at Melton, Suffolk ; in water- colon is 9 10 Haymaking ; a drawing in water-colours . . 12 1 6 A Hayfleld ; ditto 7 7 The works of this painter are great ornaments to the English School ; we are indebted to Constable for opening out, as it were, a new and lovely walk in landscape art. He did not simply repair or beautify the paths already made and traversed by Wilson and Gainsbox'ough ; but his treat- ment of English scenery is entirely different from theirs. There is wonderful freshness in all his works, and his power of giving brilliancy both to the sky and the landscape, with- out destroying the force of either, is very extraordinary. The blue of his skies, however, is more broken or subdued than we find it in the works of many of our modern painters; Constable was very happy in his manner of introducing warm masses of cloud, which appear to float about. Wo may also notice his light green distant fields, which are so prettily introduced between the cornfields, or which tell so well against the horizon. Some complain of the unpleasant spottiness of Constable's foregrounds, and compare them to the scrapings off of a palette. This kind of thing, what(^ver may have been his aim, is certainly one of the weak points in Constable's painting, and may he compared to the un- meaning pencilling in what are called Turner's pyrotechnical pictures ; but then we do not find that kind of thing in all Constable's pictures, for in his best works there is a great deal of nice painting in the foregrounds. On the other hand, we may not assert that Constable's power or forte was pencilling. What we most admire is his line reeling f()r landscape art, and his great success in producing charming efleets of 'shower and sunshine;' and we feel that his colouring is much finer than his pencilling. The trees in his best pictures are earelully painted, and rennnd us of some of the trees in Turner's early works ; his figures and animals are usually rather roughly painted, but they tell well in his pictures. COOGHEN (or KOOGHEN), L. Van. See Amerigi, coo CRITICAL AND COMMERCIAL DICTIONARY OF 46 COOK, R., R.A. See Smirke. COOKE, Heney. See Henry Stone. COOPER, Samuel, Born in London in 1609; died in London in 1672. Pupil of Hoskiiis. English School. Sale in 1796. Jar oh Moore, Esq., and Mons. Liss. Miniature of a Nobleman £11 6 Ditto of Oliver Cromwell 11 18 6 Dittoof Charles II 4 4 Ditto of Elizabeth Villiers, Vicountess of Pur- beck 3 13 6 1809. Sir George Pauncefote, Bart. A Miniature of Prince Rupert . . . . 47 5 1829. John Webb, Esq. Miniature of Dr. Bate 2 5 Samuel Cooper was well represented in the large collection of miniatures which was exhibited at the South Kensingtoji Museum in 1805. Cooper's style of painting is far from being a close imitation of his master's. The miniatures of the elder Hoskins, as well as of the younger— who, by the bye, was inferior to his father as an artist— are executed with much of the feeling of Cornelius Jansen, the flesh tints being usually very pale, whilst the large white collars are masterpieces of rninute painting. Now the style which Cooper adopted is wholly different from this, for he painted the heads with an irapasto and with a freshness of colour which reminds us more of Lcly than of Var.dyck or Cor- nelius Jansen, whilst the draperies and accessories are put in with a full and easy pencil. There is a breadth about the works of Cooper which many prefer to the more elaborately finished productions of the miniaturists who preceded him. Most of his miniatures are small, but in the Kensington Collection the Duke of Richmond exhibited a large minia- ture, by Cooper, of Charles II., signed ' S. C: 1665.' COPLEY, John Singleton, R.A. Born at Boston, in America, in 1737 ; died in London in 1815. English School. Sale in 1813. The Sketch for his Picture of a Youth rescued from a Shark. Bought in at . . . . £39 18 1827. Viscount Cremorne. The Holy Family, with St. Jerome ; after Cor- reggio 80 1864. The Right Hon. Lord Lyndhurst. Samuel and Eli : engraved by Valentine Green for Macklin's Bible 105 Portrait of Lord Mansfield, in his Robes ; en- graved . . 252 St. Jerome; after Correggio 53 11 The Virgin, Child, St. Catherine, and an Angel . 25 4 Saul reproved by Samuel 28 7 A Boy with a Squirrel 241 10 The Red Cross Knight 73 10 The Battle of the Pyrenees 5 15 6 George IV., when Prince of Wales, at a Review . 5 The Offer of the Crown to Lady Jane Grey. . 23 2 The Death of Major Peirson; engraved by Heath 1,600 Family Group of the Copleys ; engraved by R. Thew 1,000 Portrait of Mr. Bransdon 19 19 Abraham's Sacrifice; engraved by R. Dun- karton 25 4 Hagar and Ishmael in tlie Wilderness . . . 33 12 Their Royal Highnesses Princess Mary, Princess Sophia, and Princess Amelia, Children of George III., in the Garden at Windsor; finished sketch 257 5 The Siege of Gibraltar ; a sketch for the picture at the Guildhall 16 16 Portraits of Colonel Hugo and Schleppegrell . 10 10 Ditto of Major-General De la Motte . . . 10 10 Ditto of Colonel Dachenhausen .... 10 10 Head of a Negro 11 11 The Death of the Earl of Chatham ; a sketch . 4 14 6 The Death of Major Peirson ; a sketch , . 110 Cliarles I. demanding the Arrest of the Five Members ; a sketch 5 15 6 Head of an American Lady 21 Portrait of one of the Misses Copley . . . 10 Ditto of the Artist 26 5 Portrait of Lord Howe ; engraved . . . i7 17 Ditto of Admiral Barington 11 11 Ditto of Admiral Viscount Duncan, afterwards Lord Camperdown ; engraved .... 246 15 Ditto of Admiral Duncan 7 17 6 Head of Lord Heathfield 39 18 Head of an Officer 8 10 Cupid caressing Venus 10 10 Portrait of a Lady ; dated Boston, 1772 , . 56 14 A Youth rescued from a Shark ; engraved by V. Green 11 11 The Nntivity ; engraved £10 10 Charles I. demanding tlie Arrest of the Five Members; a sketch for the picture in the Gallery of Boston 13 13 Monmouth, before James II., refusing to give the Names of his Accomplices . . . . 8 18 6 Copley's style of painting, and his best works, are so well known that it is not necessary to say much about either. He was a very clever artist, and a better painter than Benjamin West, and many of his pictures would be mucii finer than they are if they were not so neutral and sombre. Unfortunately for art, Singleton Copley lived and died be- fore our modern colourists introduced their new method of pahiting. Copley's subdued style of colouring is seen to greatest advantage in his portraits, which are very rich, and Sir Joshua-like in effect. Lastly, there are a few pictures by Copley which, although painted with his customary firmness, are far from being sombre or ojjaque; as a fine examf)le, we may mention his large picture of the Three Princesses, at Buckingham Palace. Copley was successful in giving dignity to his portraits, and we feel that they are good likenesses. We may notice George Francis Joseph, in this place, as an early English historical and portrait painter. He was considered a successful painter of his time, and was rewarded by the Academy and British Insti- tution. His portraits are considered good likenesses, but there is a meagreness in his style which does not quite please the taste of the present day. Samuel Woodforde's portraits are dryly painted, and, in pencilling, remind us a little of Copley. Woodforde painted a number of historical and fancy subjects, COQUES, Gonzales. Born at Antwerp in 1618; died in 1684. Pupil of David Ryckaert the Elder. Dutch School. — ' Slade, Esq. Portrait of a 'Jeweller Sale in 1801. Walsh Porter, Esq. A General on Horseback 1803. 1807. £1 11 6 10 10 Edtvard Coxe. Esq. Portrait of Sir Theotiore Mayne, Physician to Charles 1 8 18 6 1810. Sir. n. T. Gott. A Market-woman selling Herbage to a Servant . 25 4 1813. A Spanish Nobleman and his Family . . . 21 1819. John Knight, Esq. The Prince of Orange on Horseback. Bought in at 37 16 1823. George Watson Taylor, Esq. Interior of an Apartment, with a Family Group 95 11 1824. IVilliam Clay, Esq. A Palace, with many Figures— some mounted on Horseback 42 1826. Admiral Lord Radstock. The Verbiest Family assembled in the paved Vestibule of their Country Seat . . . 483 5 1827. Portrait of a Flemish Barrister , . . . 6 15 1834. Viscountess ILamY>den. Portrait of a Gentleman delivering a Book to a Page 15 15 1839. William 3Iellish, Esq. A Mathematician and his Wife . . . , 73 10 1841. ITarqnis of Camden, IC.G. Small oval Portrait of Anna Maria Schurman . 7 7 Small Portrait of a Man 7 7 Ditto, in a religious Habit . . . . . 7 10 A Gentleman in his Study 26 5 ILon. Lady Stuart. A Family Group; in the background a black Servant bringing in a Greyhound . . . 483 1S48. William Wells, Esq. Al Cavalier and a Lady with an Infant in her Lap, seated on the Terrace of a Chateau . 70 7 Sir Thomas Baring, Bart. A Miniature Portrait of Vander Werf . 16 5 6 Richard Sanderson, Esq. A woody Scene, with Girls in a Goat chaise, and Boys blowing Bubbles 58 16 47 THE WOKKS OF PAINTERS. COR 1801. Charles Scarishricic, Usq. _ A Terrace, with a Geiitleuuui conversing witu a Lady, who holds a Child in her Arms . . £257 5 Coques, commonly called Gonzales, was indebted in some degree to two painters for the excellence which he attained in his profession— to his master, David Ryckaert, and to Sir i Anthony Vandyck. By the former he was taught how to i paint conversations, and by the example of the latter he was i induced wisely to forsake the semi-worn out subjects of merry-makings and scenes of domestic life among the lower i classes, whilst he pursued instead a style of painting better i suited to his position in society. He is often called the i Vandyck in miniature, yet his pencilling and colouring are i very different from Vandyck's; but then we may admit that i there is the same elegant refinement in Gonzales' small I figures which we love to study in Vandyck's dignified por- i traits. His works were greatly admired during his lifetime ; i he was patronised by Charles I., the Archduke Leopold, and the Prince of Orange ; the Prince of Orange, Pilkington says, I presented him with his bust in a medallion of gold, sus- I pended by a rich chain of the same metaL Gonzales was a remarkably delicate oolourist ; his small portraits are so i lightly touched in that they have the appearance of being I painted on ivory ; they are often in black dresses, the large i collars and cuffs which were worn at the time being painted ' with rather subdued white; as a background he would in- troduce a pale grey sky, with a little ultramarine in the ' distance, and, on either side, perhaps a column, or a red ; curtain much subdued. His flesh tints are silvery, and he ' seems to have introduced ultramarine in the shadows. His 1 manner of painting the hands has often been admired, for ' he was very liappy in giving graceful forms to them, and it I will be found on close examination that they are sometimes I thinly painted or sketchy. Gonzales' most important pic- i tures are his garden scenes ; by the side of a fountain or a { floral temple he would represent several ladies and gentle- i men seated, whilst around them are children with their i attendants ; or perhaps the children are in the foreground I playing with the most beautiful dogs. In finish and delicacy ! of touch the white draperies of the figures may be compared I to the draperies in Metzu's pictures; and his dogs are worthy of the pencil of Wouwermans or Weenix. The trees i and background scenery of his terrace pictures are well i arranged and bright in colour. It may be presumed that i Gonzales' pictures of this class were always painted as por- trait pictures or family groups ; yet, were it not for a little formality in the composition of them (sometimes the figures appear all in a row, as though they were looking at the i spectator), they would pass very well for fancy pictures. ; Many of the old painters were fond of painting fancy sub- I jects, interiors, or landscapes, in which they would introduce : portraits on a miniature scale ; yet there were few who were : so successful as Gonzales. The p'icture of the Verbiest family, I mentioned in the sale notes, is now in the Queen's Collec- ' tion at Buckingham Palace. CORNEILLB, Michel. (?) Born at Orleans in 1603 ; died inParis in 1664. (?) Pupil of Simon Vouet. French School. Sale in 1802. A Pair ; Christ driving out the Money-changers, and St. John Preaching £11 3 6 CORNELISZ (or CORNELUS), LucAS. See Holbein. CORRADI, DoMENico, called G.hielandajo. See Michael Angelo Buonaeeoti. CORRADI, RiDOLFO, called Ghielandajo. Born at 1 Florence in 1482 ; died about 1560. Pupil of Era Bartolo- meo di San Marco. Tuscan School. Sale in 1819. The Marriage of the Virgin £33 12 1823. Madame Murat, ex-Queen of Naples. The Holy Family 78 15 1863. Virgin and Child with a Saint ; formerly in the collection of Edward Solly, Esq. . . . 52 10 See PORTA (or FRA BARTOLOMEO). CORREGGIO (or COREGGIO). See Allegei. CORT, Henei de. Born at Antwerp in 1742 ; died in London in 1810. Pupil of Antonissen and G. Herrcyus. Dutch School. Sale in 1802. A Landscape, with Gothic Architecture A View in Flanders . £14 14 12 1 6 Landscape, with a Bridge 11 11 1803. Landscape, with a View of an Abbey . . . 6 16 1811. Henry Hope, Esq. View of the Approach to a City, with a Gateway, River, and Outworks 21 1823. Rev. Edivard Balme. A Landscape . . £3 10 1827. Viscount Cremorne. A View in Wales 19 A View of Conwav Castle 7 7 A View of the Holy Well in Fliutshire . . 9 9 Views ill Antwerp 7 Church of the Recollets in Antwerp . . . 9 19 6 1828. B. Home Gordon, Esq. A River View, with mountainous Scenery . . 4 10 1841. Lady Sttcart. View of a. Ruined Tower, at the entrance of a Dutch Town, with Figures 38 7 The statement that De Cort was a pupil of Antonissen's will hardly enlighten those who are unacquainted with the works of the former, as there is not much that is analogous between the master and his pupil, Antonissen was alto- gether so light in his manner of painting. He never lost this lightness, how elaborately soever his pictures may be finished. De Cort, on the other hand, may be described as a dark painter. It is true that he finished his landscapes elaborately, as well as Antonissen ; but as he finished he seemed to fill up the openings between the branches of his trees and hedge scenery until they became rich, almost un- broken masses of foliage, in colour of a deep brownish-green. Although sometimes too heavy in effect, yet his trees rarely appear opaque or disagreeable in colour. De Cort evidently was fond of broad effects of light and shade, and would cast on the ground from his ponderous trees powerful sha- dows, whilst between the trunks perchance the light sky is seen, or the sun playing on the distant buildings. Besides figures, he was fond of introducing deer in his pictures. Al- though De Cort preferred painting his foliage of a rich co- lour, his skies are usually painted with cool and silvery colours, in the manner of Farington and painters of that class. CORTESE, Jacopo, called II Boegognone. Born at St. Hippolyte, in Franche Comt^, in 1621 ; died at Rome in 1676. Pupil of his father, Jean Cortese, and of Jerome. French School. Sale in 1703. Earl Waldegrave. A Battle £22 1 A Landscape, with Figures and Boats . . . 73 10 1801. Sir W. Hamilton. Two small Pictures of Soldiers on Horseback . 5 15 6 1804. — Bryan, Esq. A Battle Piece 8 18 6 1806. Sir George Yonge, Bart. A Battle Field 42 1819. W. N. Hewett, Esq. A Landscape, with Banditti 18 18 1822. Marquis of Bute. Landscape and Figures 75 12 1825. A Pair of Battle Pieces 41 9 6 1826. Lady Holland. A Battle Piece 6 15 Ditto 6 16 6 1827. A Battle Piece 5156 A Battle Field after an Engagement . . . 45 3 1829. Lord Gwydir. A Pair of Battle Pieces 16 16 1830. B. West all, Esq., R.A. A Landscape, with a Waterfall . . . . 10 10 1832. Earl of Mulgrave. A Battle Field 53 11 The Retreat 40 19 1839. A Battle Piece 10 2 6 Sir Henry Oxenden, Bart. A M616e of Cavalry near the Walls of a fortified Town 09 15 IS 10. A Landscape, with Banditti attacking Tra- vellers 11 COR CRITICAL AND COMMERCIAL DICTIONARY OF 48 1841. Marquis of Camden, K.G. A Battle Piece £16 5 6 Hon. Lady Stuart, The March of an Army 59 17 1845. Sir George Hayter. A Battle Piece 14 3 6 1856. Samuel Rogerft, Esq. A M61(ie of Cavalry, under the Walls of a Town ; from Lady Holland's collection . . . . 15 15 A Battle Piece 12 1 6 Borgognone may be regarded as the head or master of a school of pupils and imitators. Pictures bearing his name, and painted in his style, are frequently met with ; yet many of them are so inferior in ' quality ' that wo are unwilling to ascribe them to him. The boldness of his style may be dis- tinctly seen in his etchings ; all his figures are in action ; and he loved to paint the hottest scenes of a battle-fleld, confining his battle pieces perhaps invariably to cavalry charges, being pre-eminently a horse-painter. Some of his sketches may be classed amongst the best of his works ; tliey are usually painted on red grounds, a great deal of the red' being visible in various parts of the picture. The blue of the sky, and the brilliant yellow touches about the build- ings and distant scenery, remind us of Marco Ricci's land- scapes. These bright touches of yellow give a gay and remarkably luminous effect to Borgognone's sketches. The foreground figures are touched in with tints of rich brown and red. We are told that George Philip llugendas studied the works of Borgognone. We do not often see good ex- amples of this painter. Some of his works remind us more of Casanova than of Borgognone. He introduced a great deal of brown and red in his pictures; his skies are warm or sunny, but on the whole he was not very happy in his effects of ' light and shade.' The foreground accessories of his pictures are neatly or rather highly finished. Robert Streater, or Straater, painted in England in the reign of Charles II. He attempted various subjects or branches of painting. Walpole, when referring to him, quotes the lines of Robert Whitehall :— That future ages must confess they owe To Stx'eater more than Michael Angelo. Certainly Streater had an eye for colour; and his semi- topographical landscapes display considerable skill. He was a good painter of foliage ; and the figures and animals in his landscapes remind us of Cortese. CORTONA, PiETRO Beeretini da. Born at Cortona in 1596 ; died in Rome in 1669. Pupil of Andrea Commodi and of Baccio Carpi. Roman School. Sale in 1763. Uarl Waldegrave. Hagar and Ishmael . ...... £315 1766. A Drawing in bistre 110 1796. Jacob More, Esq., and Mons. Liss. A Design for a Ceiling, emblematical of the Triumph of the Church 8 8 1801. Earl of Beshorough. The Annunciation 49 7 — Slade, Esq. Two Sketches for Ceilings 2 10 1802. A Scriptural Subject 13 2 6 Sir Simon Clarke, Bart., and George Hibbert, Esq. The Flight of Jacob 336 1804. — Bryan, Esq. The Virgin and Child 9 9 The Stoning of St. Stephen 39 18 Jacob's Plight ; from the Orleans Collection . 420 1806. Sir George Yonge, Bart. The Temple of Delphos ; Caesar consulting the Oracle concerning the Battle of Pharsalia . 32 11 1809. The Sabine Women interfering for their Hus- bands 32 12 1816. Henry Hope, Esq. An Historical Sketch 4 8 Hagar and Ishmael 15 15 The Virgin and Infant Christ, with St. Ca- therine 51 19 6 The Decollation of St. John 19 19 The Holy Family, with Angels supporting the Cross 136 10 1826. Lady Holland. Jacob and Laban £23 2 1829, Lord Gwydir. St. Catherine , . 7 1830, Viscotint Hampden. Isaac and Rebecca 12 1 6 R. Westall, Esq., R.A. The Birth of St, John 18 18 1834, Viscountess Hampden. Erminia and Tancredi 21 1863. St. Cecilia holding a Palm-branch . . . 40 19 Coarse and very inferior pictures are often attributed to this painter; but in order to see some good examples of his pencil, it is not necessary to go farther than Paris. Tliere are pictures by him in the Louvre which are painted with singular freedom, and coloured in a very light and pleasing manner. It will be remembered that both Luca Giordano and Sebastian Ricci often executed grand and boldly- painted pictures on a large scale, representing subjects from Sacred Writ, or passages of mythological history. Not- withstanding that these works are painted with considera- ble vigour and ofl"ect, still much of their power is lost for want of colour; they are usually so brown and dark. Now, Pietro da Cortona was happier in his manner of colouring large pictures of this class ; he managed to enliven his sub- jects by introducing bright blue skies, and there is some- thing gay as well as elegant in the pahiting of the palaces and trees which form the backgrounds of his compositions. And it may be added that the care which he bestowed on the landscape part considerably enhances the value of his cabinet pictures of the ' Reposo ' and similar subjects. Cor- tona's small pictures of the class just mentioned are very tenderly and sweetly treated, the colouring being always so cheerful ; for, as already shown, he did not care to confine himself to sombre tints, but would scatter about his pic- tures lake, purple, and other bright colours. The flesh tints in his fancy pictures are very pink and fresh in colour ; his drawing is very correct for that style of painting which he usually followed. In some cases, however, the angels appear too heavy, and by the flourishing of the hands, and other attempts at effect, seem to lose in simplicity and appear rather affected. Pietro da Cortona bestowed great pains on his pictures of single figures, some of them reminding us of the works of Benedetto Gennari. The flesh tints are warmly coloured, and are painted with considerable im- paste ; the lips and mouth are drawn in with rather dark colour— a tint of red and brown. He had a nice way of in- troducing cool tints about the eyes, particularly under the eyes, and also as reflected lights on the neck. These cool tints contrast agreeably with the brown shadows on the cheeks and about the nostrils. Then again the shadows about the fingers are often cool, being painted— or rather partly painted— with lake and black ; but, as a general rule, Pietro da Cortona preferred warm rich colours, the hair, for instance, being painted of a golden brown colour ; and for the draperies he would select orange, crimson, and other bright colours. Jacopo Amigoni, the Venetian, who came to England in 1729, reminds us a little of Pietro da Cortona in some of his grand semi-decorative works. Like Cortona, he introduced a great deal of pink in the flesh tints, but, as a rule, his touch or handling is smoother than Cortona's. Amigoni sometimes painted portraits. The face shadows in them are warm and brown, the costume is like the costume of Pompeo Batoni's portraits ; but his touch is rather ' woolly,' and unlike Batoni's firm pencilling. Vasari says that Mario Milani imitated the style of Pietro da Cortona. CORTONENSIS, Lucas. Sale in 1806. Marquis of Lansdowne. The Circumcision £32 11 COSTANZI, Placido. Born at Rome in 1688 ; died in 1759. Pupil of Benedetto Luti. Roman School. Sale in 1829. Lord Gtvydir. The Interview of Coriolanus with his Family . £19 8 6 COSWAY, Richard, R.A. Born in Devonshire in 1740; died in 1821. Pupil of Hudson and of Shipley. English School. Sale in 1803. Portrait of a Nobleman, in the Character of a Huzzar £1 10 1816. Henry Hope, Esq. Bathsheba 45 3 1830. Sir Thomas Lawrence, P.R.A. Joseph and Potiphar's Wife .... 550 Venus kissing Cupid 3 49 THE WOEKS OF PAINTEES. c oz 1832. A Female Head ; a miniature on ivory 1859. Hon. Edmund Phipps. Small whole-length of the Hon. Constantine Phipps £10 6 Cosway's great forte was miniature-painting. There are a charm and a refinement about bis miniatures of ladies which render them worthy to ranii witii the most beautiful heads of Reynolds. There is more of the feeling of Sir Joshua Reynolds in the miniatures of Cosway than can be found in the works of any other English miniaturist. Some fancy that Cosway's miniatures have faded considerably ; whether this be so, or whether as a rule he preferred painting his miniatures in light and delicate colours, it is difficult to judge. From his partiality for light backgrounds and white dresses, it is proljable that most of his miniatures were ori- ginally rather pale in colour. Cosway's industry was not confined to miniature-painting; yet it may be doubted whether he added to liis reputation by his attempts at fancy or historical subjects, or by his life-sized portraits in oil : perhaps 'original fiights were beyond his power.' He was most successful wlu3n he painted anything small, such as his cabhiet pictures of 'Venus' and 'Cupid,' and subjects ot that kind, which are tenderly finished; and he had a pecu- liar way of giving a grain or tone to them, so that they have the appearance of old pictures. His portraits in oil are the least successful of his works, particularly his life-sized portraits of gentlemen ; his portraits in oil of ladies, how- ever, are usually more graceful, in composition not unfre- quently reminding us of Reynolds. But it will be seen that the vtodus is different, the pencilling being full and opaque, whilst ultramarine is freely used in the fiesh tints. The hands of his oil-portraits are not always well painted ; sometimes they look raw and purple, as though they required an additional ' work ' of colour. Cosway was happy in the landscape backgrounds of his pictures, which enliven liis subjects very much. Amongst Cosway's best pictures in oil maybe noticed his small family groups, which are treated a little in the manner of Zoffany. COTES, Francis, R.A. Born in London in 1725 ; died in London in 1770. Pupil of George Knapton. English School. Sale in 1819. Emma; from Prior's poem of 'Henry and Emma.' £9 15 Cotes's portraits in crayons have always be n admired, and we may call him the Sir Joshua Reynolds of crayon- painters. His portraits in oil are often good pictures, although they may be somewhat hard and coarsely pencil- led. There are pictures by Allan Ramsay that remind us of CJotes. We notice in the faces a pecular woolliness in the blending of the tints, which is like crayon-painting. Ramsay did not seek to make richly coloured glazed portraits in tlie manner of Reynolds and his followers, but whs satisfied with using simple colours, and at the same time would introduce a great deal of white in his pictures ; and, further, he gave value to his portraits by his skilful management of the half- tints. The colours in the backgi ounds of his pictures are often blended together, appearing like the backgrounds of large crayon-pictures. Such are, perhaps, his most agreeable portraits. Yet the foregoing remarks are not descriptive of all his works. In some examples we find the tints over- loaded with white, the colours becoming too op .que, or too neutralised. Then, again, we find that his touch or mode of pencilling, instead of being woolly and undecided, is re- markably firm and sharp ; yet in the same exauijjles there may still be that absciice of variety in the colours, as well as of powerful or dark colour, which the writ< r has already referred to. There are a few portraits which may be spoken of as his bright or rosy pictures. They will bear classing with his most carefully finished works, the features and hands being well drawn ; and although the ))encilling may be firm, yet we cannot find any unpleasant contours or cutting lines that annoy us. The accessories in Ramsay's portraits are put in very neatly ; and he was particularly fond of placing by the side of his portraits a fancy table, on which may be lying perhaps a work-basket or some books bound in old brown calf. There is a considerabk; degre<; of refinement .in Ramsay's portraits, and he was particularly happy in his representations of infant beauty. David x^lartin was a pupil of Ramsay's. We don't know much of his works, but he appears to have painted some powerful or ell'ective portraits ; the shadows in his pictures are very dark. Some of T. Beach's portraits of the same period are very ell'ectively coloured. COTMAN, John Sell. See Ceome. COURTOIS. ^eeCoETESE. CO WEN. Sale in 1830. Sir Thomas Lawrence, F.B.A. The Entrance to an Italian Village . . . £11 5 Outside of an Italian Town; a Female on her Knees before a Madoinia 2 5 A Fountain, seen through an Arch . . . 2 12 (i Interior View of an Italian Village ... 250 COWPER. Sale in 1836. Bunches of Grapes £2 12 6 COXCIE (or COXIS), Michael. Born at Mechlin in 1497 ; died at Antwerp in 1592. Pupil of Van Orley. Flemish School. Sale in 1823. Tlie Last Supper £9 1830. Head of St. John, in a Salver . . . . 11 6 COYPEL, Noel. Born in Paris in 1028; died in Paris in 1707. Pupil of Poncet, of Vouct, and of QuUlevier. French School. Sale in 1802. Adam and Eve £14 14 1803. Richard Walker, Esq. Susannah and tiie Elders 2 12 6 1819. John Knight, Esq. The Nativity 49 7 1824. The Triumph of Galatea 11 6 1827. St. Peter denying Christ 12 1 6 Nymphs Bathing, betrayed by Cupid . . . G IG 6 The religious and classical subjects of Noel and Antoine Coyitel may be conveniently studied at Paris. 1 here were also two younger Coypels— viz., Noel-Nicholas and Charles- Antoine Coypel. The elder Noel gave a great deal of cha- racter to his portraits, although some are rather too tlieatri- cal. Antoine Coypel the eider particularly excelled in his pictures of single figures, the hands and every part being finished with great delicacy arul refinement; in character, tliey remind us of Vouet's highly finished pictures. COZENS, John. Died in 1799. English School. Sale in 1802. William Beckford, Esq., of Fonthill, A Sunset and a Moonlight Piece ; a pair . , £6 6 A Pair of Landscapes 1 12 1805. A Drawing of the Tomb of the Plautian Family, near Tivoli 3 3 Ditto, the Tomb of Scipio Africanus, near Capua 8 l;3 6 Ditto, the Temple of Minerva . . . . 6 10 Ditto, the Villa Sanazzaro, Na{)les . . . 2 8 Ditto, View on tlie River Adigi, near Verona . 6 15 Ditto, the Capo di Bove 5 5 Ditto, tlie Convent at Vietri 6 15 Ditto, the Euganian Hill, from the Walls of Padua 700 Ditto, a Halo or Lunar Rainbow, seen from the Banks of the Tiber 5 Ditto, Marechiaro, on the Coast of Pausilipo, at Naples 5 Ditto, Lake of Vico, betw( en Rome and Florence 5 10 Ditto, View of Part of Terracina .... 400 Ditto, Mount Circello, between Rome and Naples 400 Ditto, View between Vietri and Salerno , . 2 15 Ditto, View from Salerno 4 4 Ditto, Part of the Belvidere at Rvime . . . G 10 Ditto, Villa Barberiui, at Rome .... 500 Ditto, a Cuiivent on the Walls of Naples . . 4 Ditto, Pagliaro, a Shepherd's Hut near Gaeta . 3 Ditto. Part of the Isola Bella, Lake Maggiore . 5 5 Ditto, Vii-w at the Entrance of the Tyrol . . G 10 Ditto, a Shepherd's Hut on tins Borders of the Pontine Marshes, between Velitri and I'er- racina 2 Ditto, View on the Walls of Naples, near C;ipo di Monte 5 10 Ditto, a View of Salerno 5 5 Ditto, ditto, between B:.lsauo and Trent, in the Tyrol 4 16 Ditto, Entrance to the Valley of the Grand Chartreuse in Daupliiny 5 5 Ditto, General View of the Grand Chartreuse, and surrounding Country 5 5 Ditto, ditto 5 5 Ditto, the Pyramid of Astus at Rome, with the Funeral of Sir James McDonald, by Torch- lifil't 2 18 6 JJitio, Citania, a Fishirig-town in the Bay of Salerno 6 Ditto, a View near Fuesen, in the Tyrol . . 2 12 G Ditto, a View near Mirabeilo, in the neighbour- hood of I'adua 2 15 Ditto, tlu; I'alace at Portici, Bay of Naples . 4 4 Ditto, St. (;iustina at I'adua 5 8 Ditto, St. (^iorgio in Alga, at Venice, the Eu- ganian Hills in the Distance .... ISO 11 C R A CRITICAL AND COMMERCIAL DICTIONARY OP 50 A Drawing; View between Balsano and Trent, in the Tyrol £i 12 Ditto, Monte ddla Madonna, near Arqua, the Residence of Petrarcli 4 -i Ditto, tlie Ruins of Pestum, near Salerno . . 3 3 Ditto, the Ruins of Pestum 5 8 Ditto, Temples at Pestum 5 8 Ditto, Bay of Salerno, near Rieta . . . . 1 15 Ditto, Bf'ividere at tlie Vatican . . . . 3 13 Ditto, a View of Terracina 4 8 Ditto, a View of the Capo di Bove . . , 5 10 Ditto, Tombs in the Campo Eliseo, nearCumse . 2 15 Ditto, ditto, in the Tyrol, between Brixen and Balsano 2 10 Ditto, Part of Vietri 8 12 Ditto, ditto, Convent near Vietri . . . . 4 10 Ditto, ditto, in the Gardens of the Colonna Palace at Rome 5 5 Ditto, ditto, Villa Lanti, at Rome. . . . 4 10 Ditto, ditto. Part of Vietri and Rieta ... 550 Ditto, the Ferry over the Garigliano, near Capua 3 10 Ditto,aGeneralView of Naples, from Sir William Hamilton's Villa on Mount Vesuvius . . 9 Ditto, View of Padua 9 Ditto, Villa Brentano, at Erescati . . . 3 Ditto, View in tlie Tyrol, near Brixen . . . 2 8 Ditto, Villa Dracone. at Fresoati . . . . 4 14 6 Ditto, Gardens of the Villa Lodovici, at Rome . 4 Ditto, Vietri and Rieta, Bay of Salerno . . 4 Ditto, View in the Bay of Salerno . . . 2 18 Ditto, a View between Salerno and Vietri . . 4 4 Ditto, ditto, in the Woods of Tivoli . . . 5 10 Ditto, ditto, the Gardens of the Villa Negroni, at Rome 6 16 6 Ditto, the Villa Dracone, at Fresoati . . . 6 Ditto, ditto, Astruni. near Naples . . . 3 13 6 Ditto, ditto, of St. Peter's, from the Villa Bor- ghese, Rome 6 8 Ditto, ditto, at Terracina 2 12 6 Ditto, ditto, in Lhe Bay of Salerno . . . 5 10 Ditto, ditto, on the Lake Maggiore, Lombardy . 5 15 6 Ditto, ditto, of Monte Somma, from Sir William Hamilton's Villa at Portici, Naples ... 880 Ditto, Tomb of the Horatii and Curiatii. at Albano 2 15 6 Ditto, ditto, Chigi Palace, near Albano . . 9 9 Ditto, ditto, from Mirabello, the Villa of Count Algarotti, on the Euganian Hills . . . 12 1 6 Ditto, Temples of Pestum 8 Ditto, Farnese Gardens, Mount Palatine, Rome . 4 8 Ditto, Sepulchral Remains in the Campania, near Rome 6 15 Ditto, ditto, and the Clandian Aqueduct between Rome and All)ano 5 5 Ditto, ditto, in the Astruni. near Naples . . 5 5 Ditto, ditto, of tlie Villa Mattel. Rome . . 5 8 Ditto, ditto. Gardens of the Villa Negroni . . 6 10 Ditto, ditto. Villa Madama, near Rome . . 10 Ditto, ditto, of the Cnpo di Bove . . . . 3 15 Ditto, ditto, the Villa d'Este, at Tivoli. . . 7 12 Ditto, ditto. Villa Borgliese, near Rome . . 9 9 Ditto, ditto, of the Gardens of the Villa Aldo- brandini, at Frescati 9 12 Ditto, ditto, between Vietri and Salerno . . 11 15 Ditto, ditto, between Salerno and Esali, on the Road to Pestum 12 12 Ditto, ditto, Rome from the Villa Madama. . 21 Ditto, ditto, of Sepulchral Monument, in the Campania, near Rome 13 2 6 Ditto, ditto, in the Gardens of the Villa Pam- phili, Rome 4 14 6 .John Cozens was an industrious yet unassuming painter. His subjects, although simply treated, display a })oetical and refined taste. He was a close studier of the various forms and characteristics of trees, so that botnnists may easily distinguish them in liis ski^tchos. He was also happy in giving atmosphere to his works, and in producing the clear charm of an Italian sky. William .Alexander w.'ss .mother admired English landscape-painter of this period; only liis name is associated with China instead of Italy, His landscape sketches in Indian ink are greatly admired by connoisseurs; they are painted with singular delicacy, and the perBpeotive of them is very pleasing, in the foreground he was foiul of introducing buildings, or old water-mills in a senji'dilai)idated state, wliilst he usually contrived to show his knowledge of perspective by introducing a portion of a river or some distant hilly scenery. CRADDOCK (or CRADOCK). Luke. Born at Ilchester about the year 1660; died in 1717. English School. Sale in 1802. A Picture of Fowls £2 15 1813. A Picture of Eagles and Swans . . . . 1 10 Ditto of Fowls, &c 3 3 The works of this artist are not frequently met with, and by the above sale notes it would appear that they are of little value; still his name ought not to be omitted when we speak of our early English painters. We are told that he was a self-taught' artist. There is something very original about his pictures, and his subjects are treated with a certain amount of humour. They are not geiuM-ally very brilliant, but there is an in)pasto about his colouring, and at the same timea iirniness f)f ppucilling, u'hich is agreeable. There .'ire a few examples of this artist in the hall of the Painters' Stainer.s' Company ; audit maybe fairly assumed that his works have in some instances been sold for much larger sums than mentioned in the above notes. CRAEX, Laurens. See Db Heem. CRAESBECKE, JoSsE. Born at Brussels in 1608; died in 1688. Pupil of Adrian Brower. Dutch School. Sale in 1803. Walsh Porter, Esq. 1804. — Bryan, JEsq. A Tapagie 13 13 1825. 1826. An Interior, with Boors Carou.sing 4 4 1827. Soldiers in a Cavern playing at Cards . 6 16 6 1S28. The Acts of Mercy ...... 9 15 1832. George Wntson Taylor, Esq. Interior of a Hovel, with Figures . . . 6 6 The humorous com|)ositions of Adrian Brower were repeated with a certain degree of success by Craesbecke ; but wc must not speak of him as a careless imitator of Brower, for he was a viry painstaking artist, and always appears to have done his best, though the subject be merely a head or a single figure, and possibly not one of the most beautiful of Nature's children. He managed to give a cha- racter to his figures, and to delineate faithfully the story or meaning of the pi(rture. It may be further noticed that wiien lie painted single figures, or an interior with two or three figures, his aim was to make the figures everything ; consequently there is little in the backgrounds to amuse us. CRANACH (or KRANACH), Lucas. Born at Cranach in 1472 ; died in 1553. German School. Sale in 1860. Tlie Judgment of Solomon £106 1 1863. Portrait of Frederick, Elector of Saxony '. . 28 7 Ditto of the Electress of Saxony . . . . 29 8 The works of this stern German master are still looked after and prized by some of our dilettante men. The severity of his style is very distinctly seen in his engravings; it may be remarked that there is more that is analogous between his engravings and the engravings of Ali^ert Durer than will be seen in comparing the pictures of the two painters. Lucas Cranach followed a style of painting peculiarly his own, a style which found few imitators in tlie painter's life- time ; neither would it appear that many have cared to imi- tate or copy his works in more recent times. As already remarked, his style is peculiar, and there is a mannerism in liis drawing and colouring whereby his pictures may be re- membered and their originality certified, with less difficulty than attends the naming of tiie works of other early German l)ainters. It will be seen, by referring to the biography of this painter, that there is an historical interest attached to his name, by reason of the interesting portraits wliicli he has bequeathed to us of some of the heroes of the Reforma- tion. His portraits, like most of the heads in his fancy pictures, are characterised by a total contempt of flattery, and a painstaking desire to convey to the beholder the ex- pression and cl'.aracter of the jjarty rci)resented. His fancy pictures vary very much in quality : the llnest are remark- able for elaborate finish. His nude figures are outlined and pencilled with the same singular accuracy and firmness of touch which are so surprising in the works of Albert Durer ; notice especially the skill displayed in the drawing (.f the extremities. The line works of Lucas Cranach, which, by the bye, liave at different times been sold for large prices, are usually enriched with landscape backiirounds, exhibiting an amount of detail and a variety of brilliant tints of ultra- marine and chromy greens, the wiiole reminding us of the landscape backgrounds in rich missals. The scenery will often terminate in a succession of lofty rocks, studded all overvi'ith numerous gahle-roofed houses and trees; the skies are painten, as to give the whole a semi-enamel api)earance. Lucas Ci'aiiach's interiors remind us of the works of some of the early Flemish painters ; were I it not for the figures, the rooms would appear empty, tlie box-like sides being only relieved by a single door, with one 51 THE WOEKS OF PAINTERS. C EI or two prison -like windows placed far above the height of the iiiaiates, wiiilsfc the interior of tlio room is almost wholly devoid of furniture. After this d(;seriptioii, it will be sei'u that we must generally exj)ect inCranach's interiors to find tiie whole picture in the figures ; of these it may be said that there is more in the finish that j)leases us than in the taste or higher qualities of the painter's art. His sub- jects are sometimes so quaintly treated that we would fain suppose that the artist liiinself intended to be funny, or to give a humorous character to his picture; still this is hardly likely, when we consider how common it is to dis- cover laughable passages in the pictures or in the style of nearly all the early painters, particularly of the German and i'leuiish Schools, Cranach wisely avoided the use of gold in his pictures, but was particularly fond of introducing trim- mings and other ornaments, painted in bright orange and yellow, the high lights being put in with wiry strokes of a lighter colour; the whole, when viewed from a little dis- tance, having a semi-golden effect. He also loved to ))aint the hair red, or of a light-brown colour, the same being pencilled in a very wiry manner. His liesh tints are i)ure and pearly, and about the features may be traced curious lines of a pale blue, as though the first sketching had come through ; and in his coarser works may be noticed a black outline about the features, hands, and other parts, which gives them slightly the appearance of coloured prints. For the walls of his interiors he preferred cool greys and'other light colours. Some of Cranach's pictures are signed L. C. ; on others he painted the arms of Saxony; and more fre- quently a small 'flying dragon,' which Stanley says was his own crest by patent of nobility, granted to liim by the Elector Frederick. We now and then meet with landscapes by Lucas Cranach ; they are interesting, but in style are rather inferior to Old Erueghel; neither do they appear to be so curiously or elaborately finished as the landscape backgrounds of his figure pictures. Lastly may be noticed his religious subjects, i-epresented of life-size ; we find in them more refinement, particularly in his figures of the Infant Saviour, than we might expect, after noticing the severe treatment exhibited in his smaller figures. CHANCK. Sale in 1790. Jacob 3[ore, Esq., and dions. Liss. A Frost Piece £18 A Laundress 1 16 1819. 3Iatheto Mitchell, Esq. A Subject from the ' Beggars' Opera' . . . 14 There was a painter of the name of Cranke, who used to paint portraits a little in the style of Dandridge. CRA-YER, Gaspar de. Born at Antwerp in 1582; died in Ghent iu 1669. Pupil of Raphael Coxcie. Flemish School. Sale in 1819. Matheiv Mitchell, Esq. A Group of dancing Nymphs ; from the Colonna Palace £43 2 1827. Tancred and Erminia 20 9 6 It will be seen by referring to the biography of this painter that he was greatly esteemed during his lifetime, and Vandyck painted his portrait amongst the illustrious painters of his day, which was afterwards cleverly engraved by Esme de Boulonois. He Crayer's works are not well known in this country ; some are attributed to him which display a Spanisli feeling, particularly in the landscape i)art. He was fond of painting saci'cd subjects, in which he would introduce various saints of the Christian Church. He Crayer occasionally painted portraits. CREDI, Lorenzo di. Born in Florence in 1453 ; living in 15:j6. Pupil of Andrea V'erocchio. Florentine School. Sale in 1856. Samuel Rogers, Esq. The Coronati(m of the V^irgin by the Saviour, with Saints in Adoration ... . . . £399 To enjoy thoroughly the works of Di Credi, and of other painters of like feeling, may be fairly described as the fruit or relish of an acquired taste ; and it may be remarked tiiat there are some who. after long study — after allowing tue works of tile early Italian paiute'rs to occu)}y their attention for many years, even to the total exclusion of the works of other ami later schools— are not unfrequently inthiced to imagine that they are gui(h.-d by the purest taste in the selection tiiey m:ike. It is impossible to aecjuirc a know- ledge of pictures without much labour and aLt<'nt,ion, and, further, it may be reasonably inferred tiiat labour and attention are of little use unless the studcit bi; favoured with what is connnonly termed a taste fen- ai't, a ret(;ntive memory, and, above all, a symijatiiy for the 'motives' of others, even vi'hen such ' motivi's ' arc in opposition to or are very dill'erent from his own views of jjain! I'i'x. if there \k less feeling and jioetry in tiie ])i' tur. of i/i Credi than are revealed in the cumpositioiis of Fiesole, si ill in a iiicturc gallery the eye can rest on them with mon; pleasure, be- cause the singular briglitness of the works of the latter painter seems to extinguish the colours of all other pictures. Di Credi, however, was also a brilliant colourist, which, added to his religious feeling for art and the purity and simplicity of his compositions, justly elevates him to the rank of a great master in the early Florentine School. Speaking critically, it may be remarked that the harmony of his pictures is iu some degree interfered with by his strange manner of intro- ducing so much yellow in the flesh tints, whilst the back- grounds are so strikingly cold. It is difficult to interpret the painter's desire in doing this, and still more to sliow how his style could be more correctly carried out or repre- sented. In the first place the eye is attracted by the bril- liancy of the flesh tints; then we feel that there is some- thing refreshing and beautiful in the ultramarine and erimson draperies in which the sacred figures are clotiied. The eye afterwards travels with pleasure over the landscape distance, which is generally remarkable for the clearness and pureness of the colours, and we are sensible of a serenity, of a feeling of poetry, which the clear blue sky and exten- sive distance awaken in our breasts, and we try to feel wiiat Di Credi felt when he painted his holy subjects ; how he sought to represent amidst the natural beauties of his favoured country the sacred beings of his creed. Sloro than three hundred years have passed since Di Credi put on panel his lovely colours, especially the clear blue, which is so pleasing to the eye; and it is flattering to his memory to notice how beautifully his colours have lasted; for, with an imjiasto almost like enamel, his pictures promise to pre- serve their brilliancy for an almost indefinite period. CRESPI, DA?riELLO. Born at Milan in 15D0; died at Milan iu 16:50. Pupil of Giovanni Battista Crespi. Milauese School. Sale in 1829. John Webb, Esq. The Entombment £6 6 CRESPI, Giuseppe Maria, called Lo Spagnuolo. Born in Bologna in 1065 ; died in 1747. Pupil of Angelo Michielo Toni, of Doraenico Maria Canuti, and of Carlo Cignaui. Bolognese School. Sale in 1813. John Willett Willett, Esq. The Murder of the Innocents . . . . £3 10 1816. Henry Hope, Esq. Alexander and Diogenes 9 13 6 1819. 3Iathew Mitchell, Esq. An Halian Fair; from the collection of Sir Joshua Reynolds 10 10 1822. 3Iarquis of Bute. The Nativity 5 15 6 1856. Samuel Sogers, Esq. A Girls' School 35 14 1860. A Scene from the ' Decameron ' . . . . 9 9 AVe are told that this Crespi studied under several masters, and his works show us that he loved to gather ideas froiu various painters, and then would recompose them accord- ing to his own fancy. Although his works rarely command good prices in the market, still we must admit that they <'x- hibit considerable taste, and a freedom and sweetness iu parts, if these be not found in the whole composition. Ho usually preferred painting small pictures, and his females and children are very Bolognese in character. Unlike most of the painters of his school, Crespi would sometimes paint conversational pieces; these are ra,ther dark in colour, the flesh tints being very yellow, and the pencilling is in tlie style of Solimena. CRESTI, Cavalieee Domenico, called Passigxaxo. Born at Passignano, near Florence, in 1558; died iii V\;\H. Pupil of Battista Naidini and of Federigo Zuccaro. Flo- rentine Scliool. Sale in 1833. Christ healing the Sick, with many Figures . £11 CRETI, DoNATO. Born in Cremona in 1071; died in 17i;>. Pupil of Lorenzo Pasinelli. Bolognese School. Sale in 1766. A Pen-and-ink Drawhig £2 3 ClllVELLI, Carlo. Flourished between and l!9(). Pupil of Jacobeilo del Fiore. Venetian School. Sale in 18G4. E irl of Clare. The f.ast Sapper £30 This anci(!nt painter is not likely to sink into olilivion; his works find many admirers at the present day. ami for some of his i)ietures large |u-ices are ooeasionaliy given. His mnnii.-r of paintimi- is singularly sever(!— considi'rabl v mo;-o sevin-e than ll-at of llotticelli or Signorelii. !^,tt we (•.•iii adinii-n his rcat nrinness of touch, and can fee;! that t!iere is a p'athos (;veu in the most grotes(jue of his producl-ions. 'J'he ba'^kgrounds and accessories iu ('rivelli's pichires display an amount of labour or finish worthy of the clabo- jr 2 CEO CRITICAL AND COMMERCIAL DICTIONARY OP 52 rate pencil of Quintin Matsys, or other early painters of the Plemish School. CROCE, G. DA Santa. See Vecellio. CROME, John, Horn at Norwich in 1769 ; died at Norwich in 18il. English School. Sale in 1862. William Coxe, Esq. Fishiiig-boats departing from Yarmouth . . £45 3 A Landscape ; from the Sherrington Collection . 35 14 1663, — Bryant, Esq. A Farm house, witli a Group of Trees . . , 12 1 6 This interesting painter is usually called the father of the Norwich landscape-painters of the early part of the present century. His pictures ai-e tolerably well l>xe, Esq. A T'l awing of the Arch of Titus ; from the col- li cLion of Sir William Hamilton . . . 21 CROSSE, Lewis. >See Henry Stone. CRUYL, Levinus. Born at Ghent about the year 1640. Sale in 1856. Samuel Rogers, Esq. The Quirinal Palace at Rome, with Figures . £5 5 GUMMING, P. R. H. A. See Sir J.Retnolds. CUYLENBURG, AsEAnAM Van. Born at Utrecht in 1639. Dutch School. Sale in 1802. Nymphs in a Landscape £3 5 1805. Nymphs Bathing, with Architectural Scenery . 2 5 1807. Edward Coxe, Esq. A woody Landscape, with Nymphs Bathing . 7 7 1821. Sir Mark 3Iasterman Sykes, Bart. A Nj mpli at a Fountain ..... 600 1830. Frederick Benjamin King, Esq. Diana and her Nymphs 5 5 1837. William Esdaile, Esq. Nymphs near some Ruins, in an upright Land- scape 4 10 Mr. Edward Coxe's example of Cuylenburg, which was sold in 1807, is described in the catalogue as painted in the style of Poelcmburg; and George Stanley, in his edition of Bryan's Dictionary, when speaking of Cuylenburg, con- finus the remark liy saying that his figures are abortive imi- tations of Poelemburg. Although it is clear that Poelera- Imrg's pictures are very difficult to imitate or copy, being so elaborately finished, yet it is well known that otlier painters besides Cuylenburg made the style of Poelemburg their model ; we may mention, for example, Vertange and Hans- bergen. In regard to the subject of this note— viz., Cuylen- burg, or Cuylemburg— it may be observed that his small figures are most like Poelemburg's,and, as a rule, his figures are more like Poelcmburg than the landscape backgrounds of his pictures. Cuylenl)urg occasionally painted single figures, and the figures in his bacchanalian and mytholo- gical subjects are sometimes about a foot high. CUYP, Jacob Gereitze, called Olt> Cutp. Born at Dnrt about the year 1580. Pupil of Abraham Bloemaert. Dutch School. Sale in 1838. 3f. M. ZacJiarjf, Esq. Portrait of a Young Woman, in a Black Dress with a Ruff £7 15 Old Cuyp, as he is called, was one of the many scholars of Abraham Bloemaert. Although his name seems half eclipsed by that of his highly gifted son, still he deserves a separate notice in the history of the Dutch School. We may fairly say of him that he was a clever painter, and one who seemed at home in a variety of subjects. He could paint landscapes and battle pieces, yet is better known as a portrait-painter ; •and his skill in arranging family groups, so as to give them the appearance of fancy pictures, is much applauded. Further, as a portrait-painter we may speak of him as an excellent colourist; and it seems only fair to his memory to assume that the beautiful sunny glow which he contrived to give to many of his portraits may have first suggested to his son his views of harmony, and his taste for making the effects of sunshine his particular study, and which he brought to the greatest perfection. In the general character of his portraits, and his fondness for dark dresses and quiet back- grounds, as well as in the large white ruffs in which his por- traits are usually painted, we are reminded of Vander Heist ; and if they be not so vigorously drawn as the portraits of the latter painter, yet they appear to us not inferior, because there is something about tiie sunny colouring of Old Cuyp's pictures which always pleases us. CUYP, Albert. Born at Dort in 1606; living in 1672. Pupil of his father Jacob Gerritze Cuyp. Dutch School. Sale in 1796. Jacob Wore, Esq., and 3Io7is. Liss. A View on the Scheldt ...... £105 1801. Earl of Beshorough. A Landscape and Cattle 409 10 A View of Dort 64 1 Cattle and Figures 20 9 6 Morning and Evening; a pair . . . . S3 12 A View of Dort 37 16 A Landscape with Cattle 78 15 Ruins and Figures, in a Landscape . . . 178 Sir William Hamilton. A Land^cape, with Cattle and Figures . . 94 10 A Landscape, with Cows 19 19 1802. Countess of Holderness. A L aidscape, with Ruins, Cattle, and Figures . 25 4 A View in Holland ; a Winter Scene . . . 64 1 Lord Darnley. A View of Dort, with Shipping . . . . 121 16 Duke of Bridgctvater, &c. A View ill Holland; a Frost Scene . . . 147 Sir Simon Clarke, Bart., and George Hibbert, Esq. A Landscape and Cattle; afterwards in the Bridgewater Collection 54 12 A Landscape, with Travellers ; formerly in Mr. Barnard's collection 189 A Landscape and Figures; formerly in the Le Brun Collection 309 15 A Landscai)e, with Cows in the Water; from Mr. Barnard's collection 126 — Nesbitt, Esq. A Village on the Sea-coast .' . . . . 31 10 A Landscape, with a Horse and Cattle . . 79 16 A Sea Piece 178 10 1803. Richard Walker, Esq. A View of Dort 63 A Landscape, with a White Horse and Sheep ; from Mr. Tarling's collection . . . . 157 10 Walsh Porter, Esq. The Prince of Orantre on Horseback, with At- tendants going out to the Cliase . . . 145 53 THE WORKS OF PAINTERS. CUT A Landscape, with Figures on Horseback ; from Mr. Dclme's collection Walsh Porter, Esq. A Group of three Cows in a Lanascape 1804. — Boxellis, Esq. A Winter Piece £101 17 315 26 5 — Bryan, Esq. A Landscape and Cattle A Landscape, with Cattle and Figures A Frost Piece 1811. Henry Hope, Esq. The Angel appearing to the Shepherds 1813. M. La Fontaine. A Piebald Horse, near a Sutler's Booth A Cow in a Landscape A Saddle-horse tied to a Tree ; distant Figures, &c., by De Vlieger Interior of a Stable, with Cows at rest A Landscape, with Horses and Huntsmen . John Willett WiUett, Esq. A Landscape, with Figures and Cattle A View on the Coast of Holland .... 1815. Edward Coxe, Esq. A View in Holland; a drawing . . . . John Knight, Esq. A Cattle Piece 1821. John Webb, Esq. Christopher Columbus in his Study . Cattle, in a Landscape 1822. Marquis of Bute. The Prince of Orange and others at the Siege of a Fortified Place A Halt at a Sutler's Booth Peasants watching Cattle by a River . 1823. George Watson Taylor, Esq. A small octagon Picture of a Peasant, with four Cows Ralph Bernal, Esq. A Landscape, with Cattle 1824. 1826. Lady Holland. Portrait of a Nobleman Admiral Lord Badstock. Portrait of a Lady in Black Drapery, holding a Fan 1827. Duke of Bedford. A Brown Horse in a Stable A Group of Sheep A Flemish Prize Ox, preceded by a Man beating a Drum, and Groups of Cliildren A Landscape, with a Peasant watching his Sheep ; from the collection of Mr. Rigby . 1828. A Woman milking a Cow M. M. Zachary. A Landscape, with Portraits of a Dutch Lady and Child • A Landscape, with Lake Scenery, and a !\Iounted Cavalier conversing with a Peasant ; formerly in the collection of Mr. Crawford 1829. Richard Mortimer, Esq. Preparing for the Chase, with a Port ra t of Prince Maurice, and other Figures . 57 15 226 614 52 10 23 2 12 1 6 22 1 40 19 262 10 283 10 105 2 157 10 105 94 10 63 136 10 118 13 85 1 313 19 28 7 52 10 73 10 94 10 73 10 598 10 52 10 31 10 1,3G5 462 Thomas Emmerson, Esq. The Conversion of St. Paul . Cattle and Figures, in a Landscape 'La Partie de Chasse du Prince d'Orange the collection of M. De la Peyri6re . . 155 69 from . 1,0G3 Loi'd Gwydir. Exterior of a Stable, with Grooms watering Horses 60 18 Interior of a Barn, into which a Peasant is leading some Cows 58 16 Peasants, with a Group of Cattle on the Bank of a River 53 11 A Scene on the Ice 194 5 Earl of Liverpool. A Landscape, with a View of a Village near a Coast £203 1831. Hon. dfr. Vernon. A View on the Banks of a Lake . . . . 204 15 JoJin Maitland, Esq. A Landscape, with a Horseman in conversation with a Peasant ; from the Le Brun Collection 1832. George Watson Taylor, Esq. A small Picture of Cattle and Figures . 1833. Chevalier Sebastian Erard. Portrait of a Man, in a Black Dress and RufF, holding his Gloves in his left Hand . A Landscape, with two Men reposing on the Ground, near them a Woman with a Crook in her Hand, and some Cattle. 1834. Viscountess Hampden. A Landscape, with a Ruined Building, and Figures keeping Cows and Sheep 1836. Sir Charles Bagot, G.C.B. Slieep in a Stable 80 17 134 8 42 399 105 30 9 1838. 3L M. Zachary, Esq. A Woman milking a Cow, three other Cows seen in tlie Distance 178 10 1839. John Knight, Esq. A Landscape, with Cattle and Figures . . 1,010 Five Cavaliers exercising near a Chateau . . 55 12 1840. Sir Simon H. Clarke, Bart. The Angels appearing unto the Shepherds . . 95 11 A Castle, on a precipitous Rock, overlooking a Bay, in which Vessels are lying; a brilliant Moon is shining on the Water .... 357 A View near the River Maes, with a Woman milking a Cow; from the collection of M. Robit 955 10 1841. Hon. Lady Stuart. A View on the Maes, looking towards the City of Dort 1,102 10 Ditto 1,50S 10 Cattle on the Banks of a River .... 577 lo 1842. Cows on the Bank of a River . . . . 89 1844. Jeremiah Harman, Esq. A Group of four Cows 420 A View of Dort from the River .... l,oG0 10 1848. Richard Sanderson, Esq. A Landscape, with the Prince of Orange and his Sons going out Coursing ; fi'dm the collection of Count de Morny ...... 566 10 Count de Morny. The Embarkation of Prince Maurice . . . 189 A Landscape, with Ruins, Cattle, and Sheep . 63 Interior of a Rustic Cottage, with Figures and Cows in the background 598 10 A Meadow, with Cows and Sheep .... 514 10 William Wells, Esq. A Landscai)e, with two Horsemen near a Shep- herd Richard Sanderson, Esq. A small Landscape, with Peasants and Cattle; from Mr. Watson Taylor's collection 1850. Earl of Ashburnham. A Ruined CliMeau, towards the Gateway of which a Cavalier is riding. Bought in at 1858. Colonel Hugh Baillie. A Landscape, with Figures, a Church Spire, and other Buildings in the Background . 1861. Charles Scarishriek, Esq. A Pastoral Subject, with a VYoraan milking a Cow, two Peasants watching tlia Boats on the River; from Alton Towers .... 1864. Two Cavaliers halting before a ChMcau 315 Cows and Oxen at Pasture 409 10 117 12 2,100 588 420 63 D AH CRITICAL AND COMMERCIAL DICTIONARY OF 54 According to Pilkineiton, the only painter whom Cuyp received instruction from was his father. It is true that in his profession he was sometimes associated with Arnold Vandcr Necr, and would occasionally insert fig'ures in his pictures ; yet, when we come to compare their works, we cannot reasonably suppose that Cuyp was indebted to Vander Neer for instruction. Nature was evidently Cuyp's chief instructor; from her he acquired his exquisite taste in representing ' daylight ' and ' sunshine.' The prices affixed to some of the pictures above show how highly his works are prized, and it may be added that £5,000 was once offered for the landscape by Cuyp whicli adorns the collection of Major Martin. It is" wonderful to notice in Cuyp's land- scaj)es how he produced the most charming effects of sun- shine, with apparently little trouble, in a simple and easy way. His tints are few, and his pencilling does not vary j much in modus; yet with simple colours, and an almost studied omission of contrasts, he contrived to throw sun- shine over his pictures in a manner so cheering and so i lovely tliat his very name has become an 'art term,' and we I all know what is meant when a picture is described as being ' Cuyp-like' in effect. Cuyp's figures are very excellent, and, when introduced into his sunny pictures, seem, in an extra- ordinary manner, to feel the hot sunshine in which Cuyp has placed them, and his peasants appear to sympathise with their thirsty cattle. Cuyp and Karel du Jardin occa- sionally painted figure subjects on a large scale, but they do not interest us so much as their ordinary landscapes ; and even when Cuyp introduced figures about two or three feet high into his landscapes, they rarely please us so well as his landscapes with small figures. D DAHL, Michael, Born at Stockholm in 1656; died in 174;i. Pupil of Ernstraen Klocke. Sale in 1796. Jacob 3Iore, Esq., and Mans Liss. A Pair of Views in Lancashire . . . .£110 The nnir.crons Hue examples of this painter in the gal- leries ;\l i'ct worth are sufficient to attest Dahl's merits as a j)ainLi^r. it will be remembered that he painted in England during the same time as Kneller, and there is much that is analogous in their portraits ; as a rule he blended his tints more than Kneller did, and, as it is with Kneller, we notice too great a sameness in his female portraits. Bryan does not tell us anything about Dahl's landscapes, and the above sale note cannot refer to John Christian Dahl, the landscape- painter, because he was not born until 1788. DANCE, B.A., Sir Nathaniel. Born in London in 1734; died at Winchester in 1811. Pupil of Francis Hayman. English School. Sale in 1826. Lady Holland. The Worn-out Soldier £6 6 A Landscape, with Horsemen halting . . . 3 5 1830. A Portrait of Arthur Murphy . . . . 15 4 6 Some writers draw comparisons between the works of Dance and the works of Sir Joshua Reynolds. There may be something about the more richly coloured pictures of Dance — for example, in his historical pictures — which seems to ex- hibit a precognition of the ' glazed style,' which Reynolds car- ried to such perfection; yet, should the student always seek for this kind of painting in Dance's works, he will simply look for it in vain. First of all it should be remembered that Dance could not only turn his pencil to various subjects, but was likewise gifted with tiie knack of varying his pencilling and style of painting at pleasure. We sometimes meet with him in what maybe described as his Hayman or Hogarthian style, in which the face-shadows are heavy and dark, and when he was particularly fond of painting his gentlemen in red coats; but the red is not a bright red, it is the opaque dull red of the old English School. It will be seen how different these portraits are from his later and highly finished works. In the first place, the latter strike us as being very light pictures, and on closer inspection we find that they are smoothly painted, whilst the delicate finish of the draperies, and the pains displayed in painting the jewellery and other accessories, remind us neither of Rey- nolds nor Hayman, but are more like the work of Pompeo Battoni and other foreign artists of the same class. Dance's style of head-painting is very well exhibited in William Daniell's lithographs from his portraits. DANDRIDGE.B. /S'ee Bance. DANIELL, Thomas, R.A. Born at Kingston-on-Thames in 1749 ; died in 1840. English School. Sale in 1819. Mathew Mitchell, Esq. A View in the Interior of India . . . . o£5 10 1825. View of a great Pagoda in Hindostan . . . 81 10 1830. A View on the Thames at Twickenham 1836. Alexander Copland, Esq. View of an Indian Palace, with Elephants . 1862. William Cox, Esq. View at Rajemalil, on the River Ganges, East Indies 1863. John Allnutt, Esq. St. Michael's Mount ; in water-colours Anglers near a wooden Bridge A View in India, with the Temple of Agra The Upas Tree; engraved • . 8 12 22 1 2 1 3 4 4 •-> 10 1861. The Battle of the Nile £42 1865. Samuel Cartwright, Esq. Indian Women floating their Lamps upon the Ganges ; Moonlight 22 1 A View of East Deen, in the Isle of Vv^ight . . 5 An Indian Grass-gatherer on the Banks of the Ganges 3 10 View of East Deen and Bonchurch, Isle of Wight (1827) 4 10 The most interesting works of Thomas Daniell are the pictures which he painted when in India; and we like these pictures all the more for their original character; they do not appear to remind us of any other English painter. His views of Indian palaces and other subjects of the sauie class, although thinly painted, are nicely finished ; he loved to represent powerful effects of 'light and shade,' and his skilful way of showing buildings and other objects reflected in water is not easily forgotten. Like Sir George Beau- mont, he would frequently pass over his pictures a rich golden glaze; the effect of this is very pleasing, except on the sky, which sometimes appears too brown. At other times we notice an inequality in the skies, which may be attributed to some imperfection in the priming of the can- vas, causing stains to api)ear in different parts. DANKAERTS. Sale in 1830. A Pair of Interiors £2 5 There is no mention of this painter in ' Bryan ; ' whether the name be intended for Dankers is a question for con- sideration. It seems that there are two Dankers ; the Rev. J. T. James only alludes to them in the following manner : — 'Henry Dankers — W, En.gland — D. Norfolk— landscape — B. Hague— fl. 1674.' 'John Dankers— history— fl. Amster- dam.' Some of the landscapes of the former are a kind of topographical pictures, in which are introduced portraits of eminent people on a small scale ; his figures are executed with a certain amount of taste, and he loved to give a sunny glow to his pictures. In some of his works Dankers may be described as a superior kind of decorative painter, a kind of Edema; only there is a richness and depth of tone in his landscapes which we rarely find in Edema's. DAVID, Jacques Louis. See Mengs. DAVIS, R. B. Sale in 1827. Portrait of a favourite Racer, and Figures at Newmarket Elhanan BicJcnell, Esq. Shooting the Popinjay . 1863. £9 9 5 This artist was an amusing painter, and spent a great deal of time in finishing carefully the little figures which he crowded into his sporting pictures. Connoisseurs who are interested in turf history will probably find in his works faithful portraits of some of the byuone heroes of the turf. There is another Davis— viz., J. P. Davis, a portrait-painter. His works are pleasing in colouring, particularly in the flesh tints; they remind us of the Raeburn School, but his Wiiy of dressing his figures is more like Lawrence. DA WE, George, R.A. See Sir T. Lawrence, P.R.A. DATES, Edward. See A. Pether. DEAN. Sale in 1801. Sir William TIaniilton. Two small oval Pictures of the Rising and Setting Sun, with Figures by Fabris . . . . £14 DECKER (or DEKKER). Dutch School. Flourished tovi'ards the latter part of the seventeenth century. Sale in 1801. — Slade, Esq. An upright Landscape £3 15 55 An uprij^ht Landscape A Landscape THE WORKS OF PAINTERS. DEN 1802. Duke of Brklgeivater, Ac. A View in Flanders . A Landscape, with a Cottage . 1803. A View on a River, with Buildings A View on a River .... A small Landscape, with a Cottage A View in Holland 180i. — Bryan, Esq. A Landscape 1809. Sir George Paunrefote, Bart. A Landscape, with a Cottage, Cattle, and Figures 1813. A Landscape, with Buildings and Figures. Bought in at £12 12 4 10 7 17 6 5 5 6 16 6 23 1 5 10 12 6 32 11 25 14 21 10 5 73 18 6 39 18 37 16 6 15 15 — Clay, Enq. A Landscape, with Cattle and Figui'es . 1821. JoJui Webb, Esq. A Water-mill 1823. A Landscape, with Ruins and Figures George Watson Taylor, Esq. A Landscape, with Water and Buildings . 1825. View of a Village ; Evening Scene 1827. Viscount Cremorne. A woody Landscape, with Figures 1828. 31. 3L ZacJiary, Esq. View on a Canal in Holland, showing the Resi- dence of Ostade, with Portraits of Isaac Ostade and his Family ; by Isaac Ostade and Decker . 86 2 Road Scene on the Bank of a River ... 400 1829. George Ilibbert, Esq. A River Scene, with Vessels and Figures . . 32 11 A Landscape and Figures 3 18 Richard 3[ortimer, Esq. A Landscape, with Figures by Isaac Ostade . 189 1836. A River View, with Buildings and Figures . . 22 11 6 14 14 14 3 A woody Landscape .... 1848. William Wells, Esq. Buildings on the Bank of a River ; a pair Count cle 3Iorny. A woody Landscape, with a Cottage in Ruins . 11 11 1801. Charles Scarisbric.lc, Esq. A Landscape, with Figures 13 13 A Laridscai)p, w itli a rustic Cottatre among Trees, a Girl cleauMig a Pail near a Pump . . . 15 15 Those who are acquainted with Paiysdaol's dark landscapes, and with the small wooiiy latidsraix's of Dc Vrics and Waterloo, can easily picture to tlieuiselves the works of this painter. It will be s(;on by reCen-iiig to the; .sale notes that his most important works appc'ar to be tliosi; wliich have figures in them by ls;inc Ostad.c; but we also liiul ()ne de- scribed as'A Water-null' selliiig lorn f-vood price, nlllK it docs n(.>t seem that th')-e ;u-e any htriUTs mil by !s:i:ic ( )Nt;i<(c. Decker, liowever, like Rnys:!;ic!, wa.s an c.\e(!ileiit. j)aiiiti'r of running water, as well as of river-bank seenei-y. In refei'- ence to the general colour of his ijiel iir<'s, we may say that they are rather dark ; and the lea!'a,i;-e of iiis trees, iti colour, usually inclines ni(. re to a dark-^'recn than a brown. Kis landscapes ;u-e (,!lcn relieved by ))leasanl silveiy skies, whilst the (utrrecl i)ers|)ecLi ve of his av<'iiues, the neal jieneilling of his cottages, and the j)ains whieii he b<'Slo\\cd on his works generally, combine to make thciu favourites with c(^lleetors ; 80 that we lind him ropresentcd in many important gal- leries. DEHAYS. La Surveillante £32 £9 9 DELEN, Dike, or Theodore, Vax. Eorn at Heusden about 1635. Pupil of Frank Hals. Dutch School. Sale in 1806. 3farqnis of Lansdotvne. Interior of a Church, of Grecian architecture, enlivened with numerous Figures 1822. 3Iarquis of Bute. Interior of a temple, with Figures representing the Circumcision A Church Piece 1827. Viscount Cremorne. Architectural Front and Garden Scene, with Figures by Frank Hals The Pool of Bethesda, with Figures by Frank Hals 8 15 14 14 Bulte of Bedford. Interior of a Nobleman's Hall, with Groups of Figures 1830. A Mansion, with Figures by Teniers . 1836. Henry Joh n Ilinchcliffe, Esq. Entrance to a Palace, with Figures by Francks . 1839. William 3Tellish, Esq. A Ball in the Court of a Palace, with Figures by Apshoven 1859. Hon. Edmund Phipps. The Courtyard of Rubens's House at Antwerp, with Figures seated at a Table .... 1860. Exterior of a Palace, with Classical Figures 1862. W. W. Bur don, Esq. View in the Courtyard of a Palace, with Figures by Palamedes c ..... . Sale in 1836. 16 5 6 60 18 12 65 12 22 1 9 19 6 15 15 It seems that Van Delen was particularly fond of seeking the aid of other painters to insert ligures into his church pieces and architectuial subjects. There are no fewer than five different figure-painters mentioned in the above notes; and Bryan adds that Van Harp sometimes painted the tigures in Van Delen's pictures. When we consider that the principal Dutcli and Flemish cathedrals and churches were painted over and_ over again by numerous churclt-painters of the seventeenth century, it is not strange that there should be a considerable resemblance in their productions. Thus in the pencilling and manner of finishing Van Delen re- minds us of De Lorrae; but in colouring his works are very different from De Lorme's, the latter being usually so yellow, whilst Van Delen's are generally cold or pure iu colouring. Van Delen's interiors are as ch srmingly finished as Abel Grimer's, only the church pieces of the latter are usually on a smaller scale. DELLON, R. or B. See Pine. DELRIEME. Sale in 1823. A Picture of Still Life £10 10 DENIES, Isaac. See Vanbek Aelst. DENIS (or DENYS), Simon. Born at Antwerp in 1750; dieil at Naples in 1815. Pupil of Antonissen. Dutch School. Sale in 1802. An Italian Landscape, with Figures ; an Evening Scene £15 4 6 1S21. A Landscape, with Cattle 20 isan. Prince PoiU'ifDWslc/. A Bay on the Coasi of Sicily 11 6 View of tiie Acroi,olis of Athens . . . . 7 17 6 IS 1(1. Sir Simon JT. Clarice, Bart. A '/ai-i:i struck lt.\ i,!,;ihLning, with Cattle and riL'ures escapin- 8 IS 6 A View in Sicily, with hiiildings on the Shore, ami C.ittie and Figun s in the foregrcjund . 27 6 DENNMR, i;Ai,TnASAi{. Born at Hamburg in 1685 ; died in 1747. German Sciiool. Sale in 1801. Earl of Besborough. Head of an Old Woman £:6 14 1803. W. Bccliford, Esq., of Fontkill. Portrait of an Old Latly 51 9 Paul d'Aigremont, Esq. Portrait of Uenncr; by himself . . . . 8 IS G DEN CRITICAL AND COMMERCIAL DICTIONARY OF 56 1803. A Pair of Female Heads £26 5 1809. Head of an Old Woman 37 16 1812. Charles Lambert. Esq. Portrait of his Father 7 17 6 1821. His Own Portrait ; from Mr. Pawne's collection 31 10 Portrait of his Wife ; from the same collection . 29 18 1827. Portrait of an Old Man 10 10 1S31. John 31aitland. Esq. Portrait of Deniier's M(jther reading the Bible; from Mr. Van Zantere's collection . . . 33 12 18;'>6. Head of an Old Man, in a Brown Dress . . 27 6 1818. Count De Morny. Head of an Old Man 178 10 Portrait of a Woman ; signed and dated 1724 . 525 1861. Charles Scavishrick, Esq. An Afied Man, seated at a Table, his arm resting on a Book 22 1 O This singnlar portrait-painter finished his pictures so highly that there now seems something synonymous be- tween the painter's name and the manner of painting which he delighted in. The present fashion of condemning his works is strangely opposed to the large prices which have occasionally been given for them. Whatever writers may think proper to say against them, his pictures have so long occupied places in choice British cabinets that their author's name is in little danger of being erased from the catalogue of ' known painters.' There is an originality about Denner's heads which pleases us. His heads are of life-size, and they exhibit a surface almost like enamel painting ; many of them would possess greater value were they better coloured. Some of Denner's portraits are very good, and display a greater amount of dignity than we usually see in his fancy heads. We feel that there are force and expression given to the features, whilst the quiet dark dresses in which he liked to paint his sitters harmonise agreeably with the large but neatly finished ruffs and flowing wigs. Like many of the old Flemish painters, he preferred h aving the backgrounds of his portraits dark, and without any subject represented in them. Amongst his fine portraits we may mention one of Handel, in the possession of Lord De la Warr. Bryan compares Enoch Seeman's portraits with Denner's, but the comparison is not a very happy one. As Seeman painted George IL, we may call him Kneller's successor ; at the same time we must admit that he was a very inferior painter to Kneller. According to Bryan, there were three other painters of the same name and family. The portraits of E. Lilly, who was rather an earlier painter, remind us a good deal of Seeman's. Lilly's portraits possess some merit, although his style is too hard and dry to be agreeable; and he failed when he attemjited to place his figures, or the hands of his figures, in difficult positions. In the beginning of the present century there was a miniature-painter of the name of Peter Lily ; he was represented at the Loan Collec- tion of Miniatures at South Kensington in 1865. If we cannot say nnu h in favour of Enoch Seeman's portraits of men, yet we may admit that when he was fortunate in se- curing a pleasing female sitter he succeeded in making a very fair picture, the same being brightly and agreeably co- loured. Tliere was a portrait-})ainter of the name of Divnner, who lived about the same time as Denner. His portraits are clever and effective, although painted with very little co- lour. Ed. Loving's portraits slightly resemble Seeman's ; they are painted in a hard dry style, and there is a great deal of red in the colouring. By way of contrast with the patient Deinier, we may mention Jacoi) Bacher, a Dutch painter of the early part of the seventeenth century. We are told in the dictionaries that his facility of execution was so surprising that he painted a half-length portrait of a lady, adorned with rich drapery and jewels, in one day. If this be true, one might infer that Cornelius Jansen, and other portrait-painters of the same class, did not spend so mvich time on the dresses and jewels of their pictures as one might suppose. DENNY. Sale in 1802. Four Scenes from Domestic Life . . . . £5 15 6 Ditto 4 14 6 Ditto 4 14 6 DERICK (or DERYCK), Peter Coknelius. See C. Jansen. DESIDERIO. Sale in 1856. Samuel Rogers, Esq. A View in Front of a Castle, with numerous Figures witnessing a Public Execution . . £9 9 DESPORTES, Feancois. See J. Wootton. DE (JSEN, O. V. See Teebukg. DEVIS, Aethue. Born at Preston in Lancashire about the year 1708; died in 1787. Pupil of Peter Tillemans. English School. The works of Arthur Devis and Downman bear some re- semblance to each other. Both of them may be called por- trait-painters in miniature; not that they were miniaturists in the common acceptation of the term, yet they bestowed a miniature-like finish on their small portraits. It will be seen that Devis bestowed great pains on the drawing of the heads and hands. His portraits are usually small whole- lengths, about fifteen or eighteen inches high, and his fancy was to represent them seated in a room, or else he would place behind them a landscape background, highly finished, so that there is generally a fancy character about his works, Devis loved to take pains in finishing the accessories and furniture of his interiors ; and few painters of his time could excel him in his neat way of j)ainling books bound in old brovFM calf, which are lying on tables or on bookshelves. His pictures are rarely brilliant in colour, for he was partial to cool and broken tints. His chief aim was to give power to the heads ; and if these be sometimes thinly painted, yet they never appear dry or wanting in expression. Some of Rigaud's small portraits, with elaborately finished back- grounds, resemble Arthur Devis's works. The works of Thomas Hill, a portrait-painter of the same period, are very neatly finished, and are not without character. Guzzardi's small wliole-length portraits appear to belong to the same school of painting, and tliey are as highly finished as Arthur Devis's. The works of the former, however, are not always pleising likenesses. De Wilde's small whole-length por- traits and theatrical subjects may be mentioned here. Many of his works are neatly and prettily worked up in the manner of Arthur Devis and Rigaud; still we notice that his pencilling is broader, and in some examples approaches to coarseness. Seaton's small full-length portraits in land- scapes are nicely painted and highly finished ; his figures, however, occasionally appear too tall ; his works may be classed with the above. Henry Walton's portraits are pen- cilled very lightly ; so that in this respect they remind us more of Gainsborough's early and semi-miniature portraits than of Devis's works. Gauffier's small full-length portraits, painted in the latter part of the last century, may be classed with Rigaud's, but in style they are more severe, his touch being singularly dry and hard. The landscape backgrounds of his portraits are finished in the elaborate manner of Antonissen. Gautfler likewise painted historical subjects. J. Lauwers was an artist of the latter part of the last cen- tury, and his style belongs to the Rigaud type. He was a later painter than Hoet, but his manjier of painting is not unlike Hoet's. A large and very interesting collecticm of Anthony Devis's landscapes are in the possession of Dr. Martin F. Tupper, at Albury, Guildford— a house long occu- pied by the painter. Some of his landscapes are composi- tions, and others are faithful views of English scenery. Most of his pictures are carefully and elaborately finished in the manner of George Smith of Chichester. Although it is true that Devis's style of landscape-painting is wholly unlike the landscape art of the present day, still his works can always be looked at with pleasure ; and we feel that he was successful in producing the effects which he aimed at. DEVIS, Aethue William. Born in England in 1762; died in 1822. Pui)il of his father, Arthur Devis. English School. Sale in 1827. Lord de Tahley. Whole-length Portrait of Mademoiselle Parisot as Hebe £21 Arthur William Devis launched into a style of painting which is very unlike his father's ; for example, he attempted portraits in a semi-theatrical style, or would give a Lawrence- like character to his female figures. Afterwards we find him competing with the historical painters of his day ; and all must feel how strikingly superior his great picture of the death of Nelson, at Greenwich Hospital, is to Benjamin West's picture of the same subject. In the Queen's gallery at Buckingham Palace is an excellent sketch of the former picture. In the opinion of the writer it possesses more artistic merit than the large finished picture. Notwith- standing that some of his works may be declaimed as brown and thin, yet we must not forget that he had the power of designing and grouping his figures in a most creditable manner, that he had correct ideas of light and shade, and, more important than all, was a good portrayer of character. His life-size portraits are often excellent works of their class. DHENNIN, A. Stella. DIEPENBECK, Abeaham. Born at Bois-le-Duc in 1607 ; died hi 1675. Pupil of Rubens. Flemish School. Sale in 1803. Walsh Porter, Esq. The Assumption of the Virgin .... £17 17 1801'. —Bryan, Esq. 'A Subj<'ct from Virgil 11 57 THE WORKS OF PAINTERS. DIE 1827. The Daughter of Herodias presenting the Head of John the Baptist £28 7 1832. George Watson Taylor, Esq., M.P. The Inauguration of St. Robert . . . . 26 5 1856. Samuel Rogers, Esq. The Virgin and two Angels in Adoration before the Infant Saviour 18 7 6 Diepenbeck was an inprenious and facile painter, and could readily adapt his pencil to a variety of subjects. First of all we hear of him as a skilful painter on glass; then we re- member him as one of Rubens's eminent assistants; aiul, lastly, as a good original painter. Amongst his portraits is one of himself, painted in the manner of Vandycik, only rather coarser. Diepenbeck was also a good animal-painter, and was particularly fond of introducing horses into his sketches and pictures. When he painted in conjunction with Rubens, he seems to have given more impasto to his touch than Rubens did; the parts painted by him are smo ther, and the colours more blended. And the same remark, of course, applies to his Rubenesque studies, which are generally so difficult to distinguish from the studies of the great man. On examining the works of Rubens closely, many are surprised at the roughness of tl)e pencilling, it appears so slight and coarse, and the shadows are brown and transparent : thus it seems strnnge that hi> works should appear so bright and finished when seen from a little dis- tance. Now it is not difficult to understand how it is that people not familiar with the nature of 'quality' in painting should so readily take to Rubens's school pictures, and even prefer them to the rough dashing pictures of the caposcuola. To such people there seems something prettier about the smooth, highly finished, and brightly coloured Eubenses, caring little whether Rubens be merely the desiuner of the subject or the actual painter of it. Although Diepenbeck was a figure-painter, yet he had an excellent notion of carry- ing out the backgrounds and accessories of his pictures. It mattered little to him whether the subject called for the sea in the backuround ; houses and terraces, richly wooded landscape, rocks with romantic lake-scenery, or river-banks adorned with bulrushes and other water-plants, all came alike easy to him. The skies of his works are usually bril- liant, and he was very liberal in the use of h.is ultramarine, and the colour of his landscapes generally partakes more or less of the Brueghel tint. DTEST, Adrian Van. Born at the Hague in 1655 ; died in London in 1701. Pupil of his father. Dutch School. Sale in 1806. Marquis of Lansdoione. A Landscape and Figures £2 10 1807. Edward Coxe, Esq. A View of one of the small Lakes in Switzerland 2 12 6 1829. Earl of Liverpool. A Pair of Landscapes 8 12 We are told that this painter learnt the rudiments of his profession under his father, William Van Diest, a marine- painter. As we are not furnished with any separate notice of this painter in our dictionaries, it will be well to say a few words about him before speaking of his son. Although his works are rarely met with, yet lie appears to have been the greater painter of the two. 'His style of colouring does not resemble Van Goyen's, being particularly grey and silvery; the blue of liis skies is pale, and he was fond of introducing large grey clouds, the edges of which are lit up with a delicate yellovi^, like Naples yellow; the same being reflected in the water produces a sunny Vander Capella-like effect. His men-of-war and his small fishing-boats are very carefully and prettily finished ; they are thinly painted, and for colour he usually kept to his light and dark grey tints ; but some of his boats are enlivened by a pale-red or light-brown sail. His foreground figures are more spirited than the figures which Bonaventura Peters used to intro- duce into his mnrij;e ))ictures. Adrian Van Diest, although h(> occasionally ])ainted portraits, is chiefly known as a land- scape; painter. Some of his pictures are large, and, according to Pilkington, are ornnment(ul with figures l)y Adrian Coloni. In the market, A'an Diest's lan(lscai)es are of little value, being regarded merely as decorative jjictures; y(!t it must not be assumed from the above sale iKjtes that tiiey possess little or no merit, for many of his pictures are capitally painted, especially his cabinet pictures ; not that his wf)rks have any pretension to rank with the productions of the great landscape-painters ol the Dutch and Flemish Schools of the seventeenth century, yet we feel that he displayed in them a good feeling for i\\v. i)icturesque. His comi)ositions pl(!ase us, particularly tlidse which represent river scenery. Some of the landscapes which he painted when in Kiigland are compositions, and we fiml in them Italian buildings, and small round towers with jiyramidical roots, similar to the towers which we see in BoilTs Italian laiulscapes; but the figures are English, and even the landscape is like some of our inland river scenery. We may say of Van Diest that although his landscapes are usually classed with decorative pictures, yet many of them are bold and effective works. He was fond of introducing a great deal of yellow and other warm colours into the sky; consequently his skies often remind us of Marco Ricci's. Van Diest \vas not a careless painter, he did not hurry his work, and the foliage of his most carefully finished pictures is worked out in a neat wiry manner, a little in the style of Huysman. DIETRICH (or DIETRICV), Christian William Er- NEST. Born at Wiemar in Saxony in 1712; died in Dresden in 1774.. Pupil of his father and of Alexandre Thiecle (or Thiele). German School. Sale in 1796. Jacob More, Esq., and 3Ions. Liss, 1 Christ and the Adulteress .... A L;indsca})e, with Arcadian Nymphs . The companion A Pair of Landscapes 1802. £8 8 89 18 49 7 17 17 4 4 14 14 A Landscape, with Cattle and Figures Ihilce of Bridgeivater, cOc' A Pair of upright Landscapes Sir Simon Clarke, Bart., and George Hihbert, Esq. A Landscape, with a Waterfall .... 15 4 1803. Robert Tliistleioaite, Esq. A small Landscape and Figures .... 20 An Interior 6 6 A River Scene 10 Count de Ilagen. A Landseai)e, with Hermits; in the style of Sal- vator Rosa 4146 1811. Henry Hope, Esq. A Tiieatrical Scene by Moonlight ; in imitation of Watteau 53 11 1812. Charles Lambert, Esq. A Pair of Landscapes 27 16 6 Christ among the Doctors ; in the style of Rem- brandt 21 10 6 1830. The Blind leading the Blind 4 1833. Figures crossing a Ferry 12 15 1834. Viscountess Hampden. A Landscape, with Dancing Bears and nume- rous Figures 8 1836. The Judgment of Solomon . . • . . 4 10 3 5 30 9 Henry John Hinchcliffe, E-!q. A Landscape, with a Cottage and Figures . 1840. Sir Simon H. Clarke, Bart. A Peasant Girl in a Straw Hat . , 1848. Count de 3[orny. Interior of a Grotto, with a Hermit kneeling in Prayer before a Figure of the Saviour on the Cross 770 1861. Charles Scarisbrick, Esq. A classical Landscape, with Ruins, Peasants, and Sheep 15 10 T! 10 Adoration of the Shepherds . . . . 14 3 6 Christ driving the Money-changers out of the Temple 32 11 1864. The Adoration of the Sheplierds .... 33 12 David Teniers was fond of painting pasticci, yet ho did not spend so much of his time in that kind of painting as Dietricy did. Dietricy was particularly fond of it. un(l l)erhaps more than half his works an; imitations of tlio niast(!rs of various schools, and, as he had a fair notion of painting, most of his i)asticci are clever little iiietures. Still it will be seen that geiK^rally the iuiitations are not suflieiently good to deceive ajjractised eye. i<\ir example, in his imitations of Dutch figure-i)ietures lie was almosl- sur() to lose himself before he got to the eml of ins work, and a carelessly finished head or two in one corner, or in tin; back- ground, will often jiroclaim tke imitator's touch. Souk; of his landscapes are brilliantly coloured, and he was fond of I ' This was a joint collection contributed by the Dnko of j Bridgowater, Earl of Carlisle, Earl Gowcr, Ciiarles Long, Esq., and — Mathison, E-q. DIN CRITICAL AND COMMERCIAL DICTIONARY OF 58 painting rocks and waterfalls, whilst on the heip;hts are groups of pastoral figures, and poats climbing about. Many artists besides Dieti'icy exhibit great versatility of talent. The painter Amman is spoken of as one who seemed at home in every class of subject. Vertue says that Laroop was very successful in his pasticci. We may noticre here that Laroon's coloured drawings are singularly like his pictures in pencilling and effect. DINXE, Vandek. Sale in 1830. Viscount Hampden. A Vase of Flowers £15 4 6 DOHSOX, William. Born in London in IfilO; died in IGiO. Pupil of Robert Peake. English School. Sale in 1801. Earl of Beshorough. A Head of Iiiigo Jones . . . . . .£440 Portrait of Lord Arundel 12 1 6 Ditto of VA'illiam Dobson 12 12 5 5 8 10 2 57 15 Right lion. Sir William Hamilton. Portrait of Prince Eupert .... 1827. F. H. Standish, Esq. Portrait of a Lady 1829. John Webb, Esq. A Miniature in Oil of the Earl of Dorset . 1S3-2. Oeorqe Watson Taylor, Esq., M.P. A Portrait of William Dobson 1839. William Mellish, Esq. Portrait, whole-length, of Queen Henrietta Maria, in a Black Hat and Feather, attended by a Page with a Monkey Sfi 15 6 1860. A Portrait of the Marquis of Montrose . . 54 12 A Portrait of a Cavalier 15 15 There is something in Dobson's fine portraits which re- minds us of both Vandyck and Lely, yet his style is not sufficiently like either for his works to be mistaken for theirs. His flesh tints are usually different from Vandyck's, and the backgrounds of his portraits are heavier and smoother in painting than Vandyck's. Dobson was an ex- cellent draughtsman and a good colourist. Sometimes his touch is curiously dry, the impasto having a gritty or tem- pera surface. This kind of touching or pencilling in Dobson's portraits is much admired by connoisseurs; it is not un- j likely that this peculiarity in Dobson's pencilling induced ! King Charles I. to call him ' the English Tintoret.' In some i examples by Dobson the face-shadows are very dark, but he | was not in the liabit of marking in the features with dark I strokes, in the manner of Hanneman. Jean Battista's por- \ traits are very good, and there is a great deal of the dignity of Dobson's style in them. Bryan speaks of David Loggan as an engraver, but we occasionally meet with portraits by an artist of the name of D. Loggan ; they are of the period of the engraver, and, like Dobson's works, they remind us partly of Vandyck and partly of Lely. Snelling (not Snel- lincks) was another portrait-painter of the same type, but his works appear weak after seeing some of the former painters. Tlie works of Tuer may be classed with the same school; the heads of his portraits are better than the hands. DOES, Simon Vandek. Born at Amsterdam in 1653 ; died in 1717. Pupil of his father, Jacob Vander Does. Dutch Scliool. Sale in 1801. — Slade. Esq. Cows and Sheep drinking ; a pair . . . £2 15 1802. A Landscape, with Cattle and Figures . . 9 9 Duke of Bridgetvater, &c. Figures and Cattle in a Landscape . . . 6 16 6 1813. — Clay, Esq. Sheep in a Landscape 5 5 1825. Peasants with Cattle in a Landscape . . . 6 1827. F. H. Sfandish, Esq. A Hunting Party halting beside the Ruins of a Castle 800 1829. Lord Gwi/dir, Fi'iures and Cattle halting at a Fountain ; after Berghem 8 18 6 There were two or three painters of the name of Vander Does. Simon occasionally painted portraits and conversa- tions, as well as landscapes. In his landscapes he was fond of broad eflccts of * light and shade ; ' his colouring is rather yellow, so that his pictures have a semi-Cuyp-like effect. Some of his figures likewise remind us of Isaac Ostade. His figures and sheep are often smoothly and delicately finished. DOLCI, Carlo or Caelino. Born at Florence in 1616; died in 1086. Pupil of Matteo Roselli, and of Jacopo Vignali. Tuscan School. Sale in 1801. Earl of Beshorough. The Holv Family, with St. John .... £47 5 A Magdalen 42 1803. Walsh Porter, Esq. St. Catherine 43 1 1804. Head of the Saviour when young . . . . 42 The Virgin with the Infant" Christ . . . 120 15 1805. St. Jerome Writing 126 1806. Sir George Yonge, Bart. A Madonna 69 6 1807. Edward Coxe, Esq. St. Francis 42 A Madonna; formerly in the Pembroke Col- lection 63 1815. The Ecce Homo 30 9 1816. Henry Hope, Esq. A Madonna 54 12 1819. John Knight, Esq. St. ApoUonia 53 11 1824. Ralph Bcrnal. Esq. Head of a Madonna 32 11 Lord de Dunstanville. A Female Head 1826. 52 10 Admiral Lord Radstoclc. St. Agnes 128 2 1829. Lord Gtoydir. The Virgin, Child, and St. John . . . . 147 1831. Hon. Mr. Vernon. Head of the Virgin ; from the Altieri Collection 42 1832. Jnhn Eioer, Esq. Christ breaking Bread 162 15 1833. Cardinal Borromeo 11050 St. John 241 10 1836. Head of the Virgin ; a Sketch for part of his Picture of the Annunciation .... 103 19 6 1839. Prince Poniatoivski. St. Cecilia 58 16 1840. Sir Simon H. Clark. Bart. St. John, in Green and Red Drapery, holding a Pen and Book ; from the gallery of Lucieii Bonaparte 504 St. Matthew writing his Gospel, attended by an Angel; from the same gallery .... 955 10 , 1844. ' Jeremiah Harman, Esq. The Magdalen contemplating the Cross . . 724 10 1850. Earl of Ashhurnham. The Martyrdom of St. Andrew. (?) Bought in at 210 At the present day there are many passionate admirers of the works of Carlo Dolci ; and if there be some who care less about them than others, yet most connoisseurs are willing to admit that he was a great master of his own style, that he was a gifted painter, and possessed an extraordinary control over his modus, as well as over his subjects. Although his compositions of many figures may not always quite please us, still we feel that the painter himself was satisfied with them, and rested not until he had bestowed, even on the most distant or unimportant parts, all the labour and pains that could possibly be required. Like Sasso Ferrato, he was fond of repeating his subjects ; for example, his valuable and highly finished picture of our Saviour blessing the ' Ele- ments,' the ' Madonna del Dito,' and his grrureful picture of the daughter of Herodias with the head of St. John. Inde- pendently of the copies which he made hiujself. Carlo Dolci had many imitators: amongst others, Benedetto Genuari ;but a more successful imitator was his daughter, Agneso Dolci. 59 THE WOKKS OF PAIJfTEKS. DOU Many may be deceived by these imitations, especially when seen by themselves; yet their inferiority is striking enough when seen at the same time as the original works of the great master, there is so much difference in the quality of the touch, in the impasto, the force and vitality of the upturned eyes. Besides all this. Carlo Dolci was pre-emi- nently superior to his followers when he attempted heads on a small scale. Like Domeniciiino, Carlo Dolci preferred keeping his colours bright and pure, his draperies being often wonderfully brilliant. Morales, the Spanish painter, called El Divino, flourished about a hundred years before the time of Carlo Dolci, yet in sentiment or feeling his subjects will bear comparing with Carlo Dolci's. The genuine works of Morales show a considerable knowledge of ana- tomy; but the aim or ambition of Morales was not merely to pass for a correct draughtsman, but he loved powerful colouring dearly, and was an enthusiastic admirer of the great masters of the Lombard School. There is a severity in his style which is scarcely appreciated at the present day ; yet it must be confessed that Morales was successful in pro- ducing extraordinary effects of colour, and brilliant liesh tints, even when separated from the contrasting portions, such as the jet blacks and brilliant reds, which he was fond of introducing in strong relief against them. Even when the dark rich colours are removed from the flesh tints, his bright Correggiesque tlesh tints retain extraordinary bril- hancy or lustre, and may be regarded as curious examples of painting. Morales introduced a rich brown in the face- shadows, on which he would sometimes mark in the hair, or rather part of it, with the finest lines, as though they were put in with an engraving tool. This, of course, is a primitive manner of working, but it seems to correspond with the elaborate finish of other parts of his pictures. Morales was unquestionably a fine painter, and produced several reputable works, notwithstanding the high and difficult walk of art which he selected. In regard to Carlo Dolci, it must be remembered that his works vary consider- ably in ' quality : ' there are some which appear brown and heavy in tone when compared with his well -known bril- liantly coloured pictures; in the former the face-shadows are unnaturally brown and Spanish-like in tone. Still, Carlo Dolci's least valuable pictures possess merit ; we find in them more life, with greater intcnsiiyof feeling or passion, than we usually see in the works of his imitators. As a rule, we like his female figures better than his male figures ; his Madonnas and female penitents are so graceful, and he painted the hands so prettily. DOMENICHINO. See Domenico Zampieri. DOMER, Jan. Flourished about 1680. Dutch School. Sale in 1766. £110 A coloured Drawing ; View on the Loire DORIGNY, Lewis. See Le Beun. DORNER, Jacob. Sale in 1816. Henry Hope, Esq. The Roman Charity £7 16 6 DOSSI, Dosso. Born at Dosso, near Ferrara, about 1490 : died about 1560. Pupil of Lorenzo Costa. Ferrarese School. Sale in 1804. The Nativity ; from the Aldobrandini Palace . £40 19 The works of this master are better known on the Con- tinent than in England ; yet it will be found, on ex- amining his pictures, that lie is not one of the most difficult masters to remember. There is something very peculiar and decided about his pencilling which, after a little careful study, is not easily forgotten. Dosso Dossi ranks among the fine colourists of the Ferrarese Sciiool. The landscape backgrounds of his pictures often exhibit an extraoi'dinary degree of brilliancy, the trees being painted with a fine metallic kind of green, and present that peculiar surface and brightness which painters before Dossi's time pro- duced by laying their colours over gold grounds. Dosso Dossi was likewise fond of introducing a great deal of ultramarine about the distant hills of his pictures, as well j as in the skies. When he introduced sm;ill figures and animals into his pictures there is usually a stiffness or pri- ' mitive character about both, particularly the animals ; but j in his larger works, the works which made his reputation, it will be seen that he displayed in the figures a style or manner of painting which is free and masterly, with a'noble I desire of making the figures in his compositions reach a | high standard of beauty. In the flesh tints he shows a love j for contrasts, the fairness of some of his figures being | arranged with others of very sunny hue. Aljout his figures there is usually more finish than impasto, and he was fond of giving a glazed or transparent effect to his works, whilst, like many of the early Italian painters, he gave to his colouring, in parts, a semi-tempera appearance. The peculiar colour- ing of the Ferrarese painters may be traced in other schools ; we notice it, for instance, in the works of Kramantino, an i early Lombard painter. The embossed goldwork of Bra- mantino's pictures is very pretty. We can also trace the influence of the same school in the works of Girolamo dai Libri and iu tlie works of Moranda. DOUDYNS, William. Born at the Hague in 1630; died in 1697. Pupil of Alexander Petit. Dutch School. Sale in 181G. Henry Hope, Esq. An Allegorical Subject £3 13 6 DOUW (or DOW), Gerard. Born at Leyden in 1613 ; died in 1674. Pupil of Rembrandt and of Peter Kowenhoorn. Dutch School. Sale in 1801. Earl of Besborough: An avaricious Woman weighing her Money . £84 1802. An Interior, with Figures 57 13 — Nesbitt, Esq. A Portrait of Gerard Dow's Mother . . . 26 5 1803. Richard Walker, Esq. A Woman weighing Money 21 Portrait of Himself touching the Violin ; from the Orleans Collection 304 iO A Dutch Girl ........ 21 1804. — Bryan, Esq. A Woman with a lighted Candle . . . . 52 10 1807. Edward Co.re, E^q. A Dutch Servant-gii'l purchasing Herrings . 58 16 1809. An Offering to Diana 71 8 1812. Charles Lambert, Esq. ' La Cuisini^re' 46 4 1813. John Willett Willett, Esq. A Philosopher in his Study 61 19 A Philosopher in his Study, writing . 1821. An Old Lawyer reading a Letter which a Female has presented John Webb, Esq. A Fortune-teller A Hermit in Adoration 131 5 42 41 19 152 6 1823. 43 1 David Garrick, Esq. Portrait of a Boy, and the companion . 1824. Ralph Bernal, Esq. A Boy, with Kitchen Utensils, &c. . . . 48 6 1826. Admiral Lord Radstock. An Old Woman at a Window, with a Pail in one Hand, and a lighted Candle in the other . 157 10 1830. A Girl at a Window 86 2 1831. Hon. 3Ir. Version. A Lady at a Table, with Money and Deeds before her; engraved 105 1833. Chevalier Sebastian Erard. An Interior, with the Artist looking from the Window of his Study ; from the collection of M. Vayer d'Argenson of Amsterdam . . . 603 15 1836. Sir Charles Bagot, G.C.B. An Old Woman at an arched Window 205 16 1844. Jeremiah Harman, Esq. Portrait of the Father of the Painter; from Paignon Dejonal's and Count Morel de Vinde's collections 73 10 His Own Portrait ; from the same collections . 131 5 A Dentist drawing a Woman's Tooth, at a Window 97 13 1848. William Wells, Esq. Portrait of an Elderly Female, of the size of life. 36 15 Interior, with Figures, and a Lady playing on a Virginal; from the. collections of Mar6chal d'Issenhoim, Count dii Bury, Prince de Conti, Gildermeester, and N. Desenfens . . . 357 Richard Sanderson, Esq. An Old Wcmian at a Window, with a lighted Candle ; from M. Robit's collection ... 85 1 2 1 D U CEITICAL AND COMMEKCIAL DICTIONAEY OF 60 1861. JEarl of Clare. An Astrologer holding a Candle, and leaning over a Book ; foruiei ly in the collections of Hesse Cassel, M. Six, La Perrier, and Mr. Bai'chard £703 10 Prom anecdotes related of this painter it would seem that his works during his lifetime were lield in higher estimation than the works of his master Rembrandt. James says that 'M. Si)ieriiigs (the Swedish Minister nt the Hague) made him an annual present of a thousand floi'ins, merely to be allowed the first choice of all his pictures painted within the year, paying for them afterwards their regular fixed prices. One of his pictures, the subject of which was a woman with a child on her knees playing with a little girl, was purchased by the Dutch East India Company, and thought worthy to be made a present by them to Charles II. as a congratulatory offering upon his return to take pos- session of the throne of England.' It will be found that the prices alfixed to most of the above sale notes do not represent the value of Gerard Dow's finest works; at the present day many of his fine pictures are probably worth from nine to fifteen hundred pounds. We can trace Rem- brandt's infiuence in Gerard Dow's pictures, and it will be seen that he varied his style occasionally ; for instance, his life-sized heads are pencilled less firmly than the heads in his cabinet pictures, whilst he managed to cast over the former a fine golden glow. Although in his valu- able cabinet pictures we can trace Rembrandt's teaching, yet we find in them so much that is original and new to us that there is little fear of our mistaking or confounding the v/orks of the two painters. The most striking point or feature in Gerard Dow's pictures is the firmness or decision of the touch, whilst the llesh tints are usually redder than Rembrandt's : the former obtained his rich effects by solid painting, whilst about the figures of the latter there is ever more or less of transparency and glaze. Gerard Dow loved to carve out the figures in his pictures, giving a peculiar roundness and precision to every part ; he liked to finish his figures in the same way that Paul Potter finished his cattle, and the writer remembers having seen in a corner of one of Gerard Dow's celebrated pictures a stunted leafless tree, worked up or finished in fat bright touches of colour, having the knots marked in with a vigour and force very similar to the style of Paul Potter. AVhen Gerard Dow attempted street views he was very successful in giving a picturesque character to ancient houses. How well he used to manage old arched windows and projecting turrets ! Notice also his clever way of painting darkened rooms or passages taken from the street or outside; the gradations are so well pre- s< rved, the perspective so nice, that we really feel that we can see into the rooms and passages. And it is just the same if the subject be an interior : the bow-window does not appear to be the end of the picture ; we feel that there is landscape beyond; or perhaps we can see the tops of some houses and trees which keep their places as properly as they appear to do when such subjects are seen through a stereo- scope. In his draperies he usually preferred dark colours, yet they are not dark enough to appear heavy. And when he painted a composition of several figures the picture is generally enlivened by the introduction of some crimson or lake dresses. Gerard Dow may also be noticed as a painter of candle-light scenes : these examples rarely contain more than one or two figures ; the faces of the figures are lit up with a colour almost like vermilion, whilst the darkness of the background against the dazzling brightness of the candle flame produces a startling, but not un pleasant, eftect. We all know how much these works were admired by his scholar Godfrey Schalken, and how many pictures the latter painted in the same style. The anecdote of the ' broom ' (see Pilkington) may serve to remind the student of Gerard Dow's painstaking style of finishing the accessories of his pictures. In fact, this is a point which calls for much attention in studying the works of the old Dutch and Flemish painters,— the accessories often assist us in detecting spurious works. Exan)ine the painting of the brooms and pans, and you will not find three days' work in a broom painted by a hungry copyist. DOUW, S. V. See Wouweemans. DOW, S. V. Sale in 1837. Sir Francis Freeling, Bart. A Halt of Sportsmen £1 10 DOW G AN, Dee. Sale in 1819. W. N. Ilewett, Esq. Cattle in a Landscape £1J) 14 DRAKE, Natuan. See Hudson. DREOHSLER. — . See J. B. Monnoyer. DROLLING, Maetin. Born at Obergheim, near Colmar, in 1752; died in Paris in 1817. 3T. La Fontaine. A Swiss Cottage Sale in 1813. In the Museum of the Louvre is a picture by this painter, representing the interior of a kitchen, with several figures. DROOGSLOOT, Nicholas. Born at Dort in 1650 ; died in 1702. Dutch School. Sale in 1801. — Slade, Esq. View of a Town in the Netherlands . . .£270 1802. A Village Scene, with Peasants regaling A Tapagie, with many Figures 1823. A Village Scene, with Beggars Samuel Tansley, Esq. A Village Scene 1829. Beggars Merry-making 1833. 1836. Sir James Stuart, Bart. A Dutch Village, with Cavalry conducting Pri- soners John Knight, Esq. A Sea Piece £7 10 14 14 18 7 6 26 5 £4 3Iarqms of Bute. A Frost Piece . 1822. 6 16 6 1829. Richard 3Iortimer, Esq. A Harbour Scene, with Vessels and Figures , 52 10 1830. Viscount JIawpden. A Harbour, with Ships and Figures ; formerly in the Hope Collection 194 5 1861. Cha7'les Scarisbrick, Esq. A Coast Scene, with a Fishing-boat in a Breeze . 19 19 A Coast Scene, with a Fishing-boat and Vessels, off a wooden Pier 23 2 There are four painters of the name of Dubbles men- tioned in the dictionaries— Henry, Thierry, Peter, and Jan. All of them appear to have enjoyed some reputation as marine-painters; and good examples are occasionally met with bearing the signature ' Dubbles,' but without ini- tials. The works of Henry Dubbles have been compared to Backhuysen's and Vauder Capella's ; they may also be 6 6 9 9 9 12 2 6 8 8 6 16 6 Most art-biographers mention this painter, although his works at the present day are not much sought after. His pictures generally rei)resent fairs, village scenes, or mar- kets, as he preferred painting subjects in which he could introduce an almost innumerable exhibition of figures. In his best pictures the figures are. finished in the neat and sharp manner of Thiers; but usually his merry-makings are inferior to Barent Gaal's in lightness and spirit, and are altogether too brown and thinly painted to be valuable. His figures are sometimes large for the size of the picture, being perhaps nine or ten inches high in a landscape about two feet wide. The perspective of his best pictures is very good, and we admire the sunny glow which he cast over the landscape. DROST, N. .See Rembeandt. DRUMMOND, Samuel, A.R.A. Born in 1770 ; died in 1844. English School. Sale in 1863. Elhanan BicJcnell, Esq. A River Scene, after Richard Wilson . . . £11 6 Drummond's Wilson-like landscapes representing sunsets are very red in colour, and red or pinky sunsets are not often pleasing; the least agreeable of the great Cuyp's sunsets are his red or pinky ones. Drummond's best landscapes are well composed and agreeable in effect; but as a landscape- painter he was very inferior to Richard Wilson in the management of the details, as well as in the ' quality' of his touch, parts being so washy and feeble as to make one sup- pose that he sometimes finished or retouched his pictures after they were varnished. It should be remembered that he loved to imitate Wilson's Florentine pictures, and tliere ' is often something very pleasing in his rustic figures, and in the grouping of his sheep and cattle. Drummond is better known as a portrait-painter than as a laiulsca))e-painter ; in feeling his portraits remind us of Sir Tiiomas Lawrence. DUBBLES, Heney. Flourished in the latter part of the seventeexitli century. Dutch School. Sale in 1801. A Sea Piece 1809. A Landscape, with a Sportsman . 1819. A Sea Piece 61 THE WORKS OF PAINTERS. DUG compared to some of Everdingen's simply yet truthfully painted coast scenes. It is not unlikely that the 'Frost Piece' mentioned in the sale notes is an example of Peter Dubbles, who signed his pictures in small indistinct letters. He does not appear to have been a painter of much note; the most we can say of his pictures is, they are neat, pleasing pictures, the composition as a whole bein^? generally indif- ferently painted, whilst the figures are better than the landscape. Sometimes his pictures have a weak appearance, arising from a fancy which he indulged of working up the brickwork of the houses in the manner of Vander Heyden, squaring it out with minute white lines round each brick. Meyer would sometimes do the same kind of thing. One of the painters of this family allowed a blue slaty colour to pervade his works, not merely in the sky and the water, but also in the rocks and foreground parts; the figures, however, are nicely touched in^ and remind us of Lingelbach and Eackhuysen. DUBOIS, Cornelius. See Jacob Rutsdael. DUG (or DUCQ), Jan le. Born at the Hague in 1636 ; died in 1685. Pupil of Paul Potter. Dutch School. Sale in 1802. Paul d'Aigremont, Esq. A Corps de Garde £6 6 WilUam Young Ottley, Esq. Landscape, with Figures; from the Corsini Palace £ Ditto, the companion View of Nemi, near Rome ; from the Colonna Palace 252 252 735 Lord Barnley. A Landscape and Figures A Landscape . 1802. •Interior of a Dutch Cabaret . 1803. Richard Walker, Esq. Interior of a Corps de Garde 8 18 11 Interior, with Figures 4 16 1804. — Bryan, Esq. A Corps de Garde 16 5 1813. A Corps de Garde. Bought in at . 1815. A Musical Party 1822. Marquis of Bute. Interior, with Robbers dividing their Spoil Banditti dividing their Spoil .... 1827. John Dent, Esq. Sampson sleeping in the Lap of Delilah 1S28. Charles Birch, Esq. A small Interior, with a Burgomaster and his Wife 28 17 6 10 8 10 10 7 Sir Simon Clarke, Bart., and George Hibbert, Landscape, with tlie Story of Antiope A Landscape 1803. Walsh Porter, Esq. Landscape, with the Story of Pyramus and This be Landscape, with a View of a Lake Ditto, the companion George Graves. Esq. Landscape and Figures . Ditto, the companion 38 17 52 10 Esq. 147 126 1829. Thomas Emmerson, Esq. An Interior, vvitii a Corps de Garde . 18G0. A Guard -room 186L Charles Scarisbrick, Esq. Officers and Ladies in a Corps de Garde 7 2 6 33 12 13 10 10 Le Due does not appear to have long followed the manner of his master, Paul Potter ; but the style of his own select- ing he followed most perseveringly. His figures are very highly finished, and remind us a little of Palamedes. There is a miniature finish about the heads of his guardsmen and other figures, and they are often exceedingly clever, and are touched in with great force. In many of his pictures there is too great a sameness in the colouring— too much yellow and brown in them. Again, he was sometimes unfortunate in composing the backgrounds of his interiors; there is a want of subject in them, or the background figures do not recede well ; altogether, he was often at fault in tlie per- spective of his rooms, the horizontal line appearing too iiigh. DUCK,G. SeeYYT, DUCROX. SeeBvCROS. DUGHET, Gaspar, called Gaspar PorssiN. Born at RomeinlG]3; died at Rome in 1675. Pupil of Nicholas Poussin. Roman School. Earl Waldegrave. Landscape and Figures Ditto .... Sale in 1763. Earl of Besborough. landscape and Figures . A Land Storm . Ditto Landscape, with Figures 1801. — Boxellis, Esq. View of Tivoli . 1804. Landscape, with the Story of Latona ; figures by F. Lauri — Bryan, Esq. A Landscape . 1806. Marquis of Lansdotvne. A Land Storm, formerly in the possession of Mr. Delme ; figures by N. Poussin . Ditto, the companion Sir George Yonge, Bart. A small Landscape Ditto, Evening ; the companion .... 1807. Edward Cnxe, Esq. Landscape, with a View of the Campagna; from the Delme Collection 1809. A Landscape, showing part of the Walls of Ancient Rome ; from the Corsini Palace . 1813. James Poole, Esq. Landscape and Figures 76 13 27 6 14 14 12 12 56 14 14 3 6 John Willett Willett, Esq. Landscape, with Buildings and Figures A Landscape 1815. Edward Coxe, Esq. A Landscape, with Figures View of the Campagna ; formerly in the Delme Collection 1819. John Knight, Esq. A Land Storm ....... John Webb, Esq. Landscape and Figures A Landscape Ditto \ Landscape, with a Lake Ditto A small Landscape 1823. George Watson Taylor, Esq. An upright Landscape, with distant View of the Campagna 126 65 2 16 13 46 4 45 3 52 10 66 3 420 493 191 15 126 178 10 273 30 9 367 10 51 9 24 13 6 115 10 49 7 262 10 1821. 42 37 16 31 10 131 5 126 52 10 A Landscape and Figures 1824. Ralph Bernal, Esq. Small Landscape and Figures Sir Mark M. Sykes, Bart. A Land Storm Landscaj)o, with Buildings and Fishermen' ! View of Tivoli 1826. Admiral Lord. Radstock. A Landscape, with Buildings and Figures; from the Falconieri I'alace Landscape ; in the foreground a group of Figures, representing Venus mourning over Adonis, by Mola Landscape, with a Castle and Lake Scene ; from Mr. Champeruowuc's collection. 378 157 15 40 71 11 113 8 152 5 252 320 5 357 D U P CRITICAL AND COMMERCIAL DICTIONARY OF 62 Viscount Cremnrne. A Landscape and Figuresj 1827. Buke of Bedford. A small Landscape, with Figures .... 1828. Landscape, with Lake Scenery . . . . Landscape, with classical Buildings and Figures £103 10 73 10 409 10 210 1842. Landscape, with a Convent among Trees; for- merly in the collection of Theodore Jacobsen, Esq. A Rocky View M. M. Zachary, Esq. Landscape, with Buildings and Figures; from Mr. Purling's collection 273 1829. Lord Givydir. Landscape and Figures 69 6 Viscount lianelagli. Landscape, with a Road by a River . . . 51 9 A Lake Scene, with Figures Bathing . . . 65 2 Landscape, with two Monks conversing by the Side of a Pool 101 17 Landscape, with Figures 21 Thomas Emmerson, Esq. A Landscape and Figures ; Morning . . . 69 6 Evening; the companion ..... 69 6 1831. Hon. Mr. Vernon. The Flight into Egypt ; in a Landscape . . 46 4 Jolm Maitland, Esq. Landscape, with Buildings and Figures . . 94 10 G. J. Chohnondelei/, Esq. Landscape, with Buildings ; in the foreground a Shepherd and Shepherdess with a Dog; for- merly in the collection of Mr. Burke . . 37 16 Landscape, with Figures . . . . . 78 15 1832. George Watson Taylor, Esq. An Italian Landscape 73 10 Earl of 3fulgrave. Landscape, with Figures ; formerly in the col- lection of Mr. Pratt 50 8 18S3. Chevalier Sebastian Erard. A Mountainous Landscape, with Figures . . 97 13 1836. Brook Greville, Esq. A classical Landscape 77 14 1837. W. G. Coesvelt, Esq. View of the Grotto Ferrata ; from the Due de Jesso's collection 147 Landscape, with a River and Boats; from the Champernowne Collection .... 162 15 1838. William Esdaile, Esq. Landscape, with Buildings and Figures, on the Bank of a River 33 12 M. 31. Zachary, Esq. Landscape, with Figures driving Sheep . . 82 11 Landscape, with a Waterfall .... 178 10 1839. Sir Henry Oxenden, Bart. Landscape, with Buildings near a Lake . . 54 12 A classical Landscape, with Figures . . . 21 View near Tivoli 546 1840. Sir Simon H. Clarke, Bart. Landscape, with a Castle near a Waterfall . . 35 14 1841. Lady Stuart. A Waterfall near a Town 36 4 6 A small Landscape, with Buildings and Figures 74 11 The companion 65 2 Earl of Upper Ossory. Landscape, with Buildings near a W'aterfall A Mountainous Landscape, with Buildings 1844. Jeremiah Harman, Esq. Landscape, with Figures overtaken by a Storm 106 1 162 15 183 15 194 5 210 5 John Penrice, Esq. Landscape, with a Shepherd attending a Flock of Sheep ; from the Lancilotti Palace, at Rome £399 1848. William Wells, Esq. Landscape, with Figures and Sheep . . . 55 13 1850. Earl of AshburnJiam. View of Tivoli; from the collections of Lord Waldegrave and Mr, Fleming . . . . 430 10 A romantic Mountainous Landscape, with Figures in Boats on a River .... 105 A View on the Coast of Italy, with Buildings on a woody Height, and Figures in the fore- ground . . , 105 1856. Samuel Rogers, Esq. A woody Landscape, with Peasants reposing near a Stream ; from the Colonna Palace . 174 6 A classical Landscape, with Buildings, a Flock of Sheep near a Pool of Water, and Shepherds reposing ; from the Colonna Palace . . . 158 11 Some connoisseurs prefer Gaspar Poussin's landscapes to Claude's; they feel that there is more real art in them. His style is conventional, yet on the whole it is less so than Claude's. He had a sweet taste for art, and both his touch and colouring are marvellously pleasing. His compositions are generally called classical, and they are very suggestive of poetry. His fondness for expressing the foliage in dis- tinct and ruiiged touches should be studied, as it is one of the points which his imitators generally fail in. When we see his works in good condition, the skies are light and rather brilliant, yet they are not usually finely pencilled. His rolling clouds remind us of Orizonti's skies.' Poussin's dark heavy landscapes, although they are very grand, are not his most valuable pictures, either commercially or technically. The purest and most feeling touches of this great master may sometimes be traced about the rock scenery of his works. Nicolo Poussin occasionally inserted figures into his brother- in-law's pictures; and the small semi-nude, or classical figures, as we call them, which Gaspar usually painted, har- monise remarkably well with his landscapes. On examining these little figures carefully, it will be found that many of them are very Raflfaelesque in design. Gaspar Poussin ap- pears to have painted a few pictures without figures, but there is something so deep and refreshing in the colour of his foliage that we can almost afl'ord to take away the figures. Amongst the followers of Gaspar Poussin we may mention Peter Rysbraeck, who was an etcher as well as a painter. Poussin's pupil Crescenzio di Onofrio painted classical landscapes. His pencilling is very good, and there are pas- sages in his landscapes, particularly in the skies and in the distant scenery, which remind us of Mario Ricci. The woody landscapes and classical compositions of Ferrante may likewise be studied in connection with the works of Poussin. Tambroni, in his classical landscapes, reminds us of Gaspar Poussin ; he was successful in giving distance to his pictures, and his colouring is lighter than Orizonti's. Carlo Antonio Tavella may likewise be mentioned amongst the imitators of Gaspar Poussin. Anthony Feistenberger was another imitator of Poussin. The compositions of the former are grand and effective, although there is occasion- ally a baldness or want of subject in them. As a rule, he made the foliage of his trees very large. DUPLESSIS, M. H. Sale in 1813. M. La Fontaine. A Pair of small circular Landscapes . . .£580 Duplessis painted small pictures, in which he would intro- duce a great many figures. He finished his works elabo- rately, and some of his pictures remind us a little of Wouwcrmans. DUPONT, Gainsborough. See Gainsborough. DURER, Albert. Born at Nuremberg in 1471 ; died at Nuremberg in 1528. Pupil of Martin Hapse and of Michael Wolgemut. German School. Earl of Beshorough. The Annunciation . Sale in 1801. 1802. W. Beckford, Esq., of Fonthill. The Presentation of the Virgin j The Circumcision — Boxellis, Esq. The Adoration of the Magi 1804. Portrait of Leo X. ; from the Colonna Palace . 1806. Marquis of Lansdowne. Uriah conveying the Letter which led to his Destruction £28 17 6 147 45 13 6 170 2 58 16 63 1833. Chevalier Sebastian Erard. Two Ma>2;i, bearing Golden Vases, rendering Homage to the Infant Jesus .... £75 12 1838. William Esdaile, Esq. The Virgin, with the Infant Christ standing on a Table 59 17 18M. Jeremiah Harman, Esq. The Bagpiper 28 17 6 1856. Samuel Rogers, Esq. A Falconer 48 6 Albert Durer is better known as an engraver and designer and carver, than as a painter ; yet there are some excellent pictures by him., not only on the Continent, but in England. Whilst admitting that there are some of his pictures in England, we must at the same time remember that there are not many, and, being a master little understood, it is not uncommon to find pictures in private collections as- cribed to him, when in reality they are the productions of Flemish and German painters who practised their profession fifty years or more after his death. The incidents preserved of the life of this great man are few. The artists who had the honour of instructing him were Martin Hapse and Michael Wolgemut. As a designer, the latter was very inferior to Albert Durer, but as an engraver his name is en- i titled to some respect as the supposed inventor of ' cross- hatching.' Still lie was a bold designer, and his works, like i the works of Michael Ossinger and other early wood-en- ! gravers, were admirable models for a man like Albert Durer I to work on, leading him to a bolder style than he would i have acquired had he commenced his education under \ Martin Schoen.as his friends had designed. Martin Schoen, , however, was eminent in his way, peculiarly so for the period in which he lived ; but there is nothing about his works that can be called ' Italianesque.' While beautifully neat in execution, viewed as a whole there is always a Gothic meagreness in his compositions, and a strange fancy for enlivening them by introducing grotesque faces. Albert i Durer spent the greater part of his time in designing and i painting religious subjects, yet he occasionally made en- gravings or drawings of landscapes and animals. Some of the latter have been carefully engraved by Hollar. 'The Fox playing the Fiddle to a number of Fowls ' is a clever example of Albert Durer's power for depicting humour. We have also by him comical figures of men and women dancing or walking together, executed something in the manner of Beliam, an artist who worked rather after the time of xVlbert Durer. Albert Durer's father being a goldsmith, it is not unreasonable to infer that his son's early attention to that business partly conduced towards that excellence of mani- pulation and clearness of stroke which are so much admired both in his pictures and etigravings. Whether he after- wards studied the works of Martin Schoen or not is hardly known ; if he did, he certainly did not follow Schoen's style or fondness for representing skinny people, but appears* to have studied anatomy with profit, at the same time that he paid considerable attention to the drawings and designs of the great Italian masters, his contemporaries. His know- ledge of aerial perspective, and even linear perspective, will not bear modern criticism. The profusion of colours which he introduced into his pictures, against the brilliant greens and blues of the background, often give to them, espe- cially if viewed from a little distance, a flat appearance. There is much that is wanting in the arrangement of the colours, as well as in the management of the neutral shades. Albert Durer painted and engraved some charming minia- ture pictures of the Madonjia and Infant Christ, treated eith(;r allegorically, as an 'Assumption,' or rustically en- throned, and attended by angels. In quality and tenderness of feeling tlu'se miniature works are exquisite. In accord- ance with the taste which prevailed in the German School wlien Albert Durer lived, we may suppose that his works rose in estimation with the degree of manipulation bestowed on them, the brilliancy of the colours, and the number of figures or heads which the picture contained. These were the points chiefly studied by the German connoisseurs of that time. Now, some of Albert Durer's pictures would be really better if there were fewer figures in them, and if the distant scenery and buildings were not carried up into the clouds. Finally, when we come to analyse his works— to cut them into pieces, as it were— what l)eautiful passages we find in them ! how often may be discovered separate little groups, or even portions of figures, hands, contours, all full of sentiment and beauty, displaying a tast(! rivalling that of Marc Antonio and Eonasoni ! AVe occasionally m(;et with curiously finished pictures ascribed to Hans 'Burgknuiir. They are not equal to Albert Durer, but class very well with the works of his followers. Hans Burgkmair is better known as an engraver; and he is one of the few Germans who practised chiaroscuro engraving. Our best chiaroscuro prints are by Italian artists, niid perhaps Andrea Andriani was the most distinguished in this line. There is a chiaroscuro woodcut ascribed to this master, representing the ' Taking Down from the Cross,' in which the figures are of life-size. The impression is believed to be unique. Chris- D U S topher Le Blond's coloured prints of the seventeenth cen- tury are quite different from Andriani's coloured prints ; Le Blond's are a species of coloured mezzotinto. Some of them are very pretty, and are curiously illusive. Le Blond's were intended to represent oil-paintings, and Andriani's were in- tended to represent coloured drawings. The well-known painter Gregory or Giorgio Pentz was one of Albert Durer's pupils. Pentz's, or Peins's, portraits partake of the cha- racter of Cranach and Holbein. His heads are generally very clever, but the hands are not always so good. He in- troduced gold rather lavishly in some of his pictures, but it is pretty gold— the tone of it is agreeable. Like Holbein, he occasionally made use of green backgrounds, and then he would make the drapery colours very rich and brown. Some- times we find landscape backgrounds to his portraits, which we admire very much ; they are so refined and Italian in character. Holbein was fond of introducing transparent browns in the face-shadows of his portraits ; and Peins's are even browner and richer than Holbein's, whilst the ' drawing-lines ' of the features are expressed with curiously minute and delicate strokes, which appear like the touches of a miniaturist or an engraver. Amongst the Flemish painters of the early part of the sixteenth century may be mentioned Hendrik de Bles. He chiefly painted religious subjects ; and some of his large works consist of numerous compartments, or perhaps a centre siibject surrounded by small medallion paintings. His figures are inferior to Mem- ling's in delicacy and taste, but the landscape backgrounds and accessories of his pictures are generally beautifully finished, partly in the style of Albert Durer. It appears that he was in the habit of introducing an owl into some of his pictures, as his mark or monogram. This kind of thing was not an uncommon practice with early painters : thus we find a dog in the works of Scliongauer, and an ape in the works of Martin Van Cleef. The fine picture at Windsor Castle of the ' Calling of St. Matthew ' is most likely by the latter painter. DURNO, James. Born about 1752; died in 1795. Pupil of Andrea Casali and of Benjamin West. English School. Sale in 1803. An Historical Subject £6 The Departure of Hector for the Siege of Troy . 7 12 1806. 3{arquis of Lansdoivne. An Italian Landscajje 3 3 DUSART, Cornelius. Born at Haerlem in 1665 ; died at Haerlem in 1704. Pupil of Adrian Van Ostade. Dutch School. Sale in 1802. Countess of Holderness. A Merry-making £44 2 1803. Walsh Porter, Esq. A Family at a Repast ; engraved in the Le Brun Collection 157 10 1804. — Bryan, Esq. Dutch Peasants at the Door of a Cabaret . . 34 2 6 1813. M. La Fontaine. A Village Scene, with Peasants Merry-making . 163 16 1821. John Webb, Esq. A Dutch Fair 102 18 1824. Sir Mark Masterman Sykes, Bart. A Peasant with Children at the Door of a Cottage 31 10 A Musician and Boys at the Door of a Cottage . &4 1 1826. Admiral Lord Badstock. Interior of an Apartment, with Boors and a Female looking out of Window . . . . 160 16 1829. Lord Gioydir. An Interior, with Figures at a Door; in the Background a View of a Public-house . . 173 5 1836. Sir Charles Bagot, G C.B. Interior of a Dutch Cottage, with Boors dis- cussing 44 2 1848. William, Wells, Esq. A Pedlar offering his Wares to a Man and Woman 97 3 1861. Charles Scarisbrick, Esq. A Village Scene, with a Fisherman in conversa- tion with a Child 33 12 1R63. , Peasants Merry-making 84 THE WORKS OF PAINTERS. DU V CRITICAL AND COMMERCIAL DICTIONARY OF G4 This painter is described as a close imitator of Adrian Ostade, so much so that in some cases their works can hardly be distinguished ; and Pilkington informs us that he had more dignity and spirit than Ostade. Neither of these statements is vei-y correct or useful. Dusart was a lively painter, and loved to represent his figures in action ; we notice a tossing about or straggling of the limbs, which is peculiar to liiiii ; his fiddlers are uneasily balanced on their three-legged stools, and the children are often re- presented dancing or tumbling about. He introduced a greater variety of colours in his interiors than most of liis fellow-disciples; his draperies are painted with silvery colours, yet his flesh tints are usually very red ; the faces liave a flushed appearance. Although on the whole a very nice painter, yet liis j)icturos lack the simplicity, Rem- brandtisli power, and perfection in execution which dis- tinguish the works of his eminent master— points which, artistically speaking, are more worthy of being called * spirited ' than the mere vivacity of Dusart's laugliing and dancing figures. It seems strange that amidst the fumes and quarrels which are so frequent in alehouses and at village fairs— scenes which no doubt were frequently parti- cipated in by the painters of this school, if we may judge from the number of pictures, drawings, and etchings of such subjects which they have bequeathed to us, — it seems strange that in such society, and amidst such resources, they were able to preserve alacrity and talent sufficient to do their work so uncommonly well. Dusart occasionally painted landscapes: they are good examples of what may be done with a few figures and trees, and a cottage or two: if sometimes confined and appearing to want distance, yet there is ever a truthfulness in the touch which i)leases us. 'i'he peasants in these landscapes are sometimes humorously attired. DUVARDIN. Sale in 1829. John Webb, Esq. Landscape, with Rocks and a Waterfall . ,£550 BUYS. W. C. Sale in 1802. A Spanish Masquerade Scene • ,£250 E ECHARDT (ECCARDT.or ECKARDT), John Giles. See Van Loo. EDEMA, Gerard. Born at Friesland about the year 1652 ; died at Richmond, near London, in 1700. Pupil of Albert Van Everdingen. Dutch School. Sale in 1803. Eobert Thistlewaite, Esq. An upright Landscape, with a Waterfall . .£100 Earl of Godolphin. Three Landscapes ; for door-pieces ... 330 Ditto 2 15 Four Landscapes 10 Three ditto 10 6 Ditto 13 Two ditto 140 Ditto 1 11 6 1809. Sir George Pauncefote, Bart. A Winter Scene on a River in Holland . . 8 8 1813. — Clay, Esq. A Pair of Landscapes 3 4 As Van Everdingen was inferior to Ruysdael, so was Edema inferior to Van Everdingen. Like his master, Edema was fond of painting the mountainous scenery of Norway and Swit- zerland. We are told that the figures in his pictures were sometimes painted by John Wyck. Now, as Wyck had a very good notion of painting figures, we may assume that when they are badly painted they are by Edema himself; the figures in Edema's pictures are generally such poor puerile things that they are enough to destroy what little value the pictiu-es may possess. Edema's trees have not the richness of Everdingon's,the chief merit of his works being generally shown in the water, for he really had a very clever way of touching in the colour and splashing effect of falling water. His slightest i)ictures, as well as his gallery works, belong to the purely decorative class of painting. Although of little value, yet we are often pleased with the manner in which the subjects are composed, and we feel that there is something to admire in his ready and facile pencilling. EDMONSTON. Sale in 1848. Sir Thomas Baring, Bart. Savoyard Boys, with Instruments ; a study . £57 15 EDRIDGE, Henry, A.R.A. Born in England in 1768; died in 1821. Pupil of Pether. English School. Sale in 1832. George Watson Taylor, Esq., M.P. Children of Watson Taylor, Esq. ; a drawing . £16 16 Miniatures done with blacklead on paper were fashion- able at one time, and Edridge's beautiful drawings must be classed with this species of art. Although he sometimes painted miniatures on ivory, yet his delicately tinted pencil portraits on paper are better known. EDWARDS, Edward. Born in England in 1738; died in 1806. English School. Sale in 1819. Matheiv Mitchell, Esq. An Allegory £1 18 There is a neat engraving by Cardon from a portrait of this painter, painted by himself, and placed as a frontispiece to the 1808 edition of his 'Anecdotes of Painters in England.' EECKHOUT, Gerbkant Vanden. Born at Amsterdam in 1621 ; died in 1074. Pupil of Renibi'andt, Dutch School. Sale in 1804. — Bryan, Esq. An Historical Subject £21 Portrait of a Young Man 1827. £16 5 6 1839. The Continence of Scipio . . . , . 22 1 A ])upil of Rembrandt's, but, like Maes, he was not a ser- vile imitator of his master; in fact, there is much by which we can distinguish the works of the two painters— viz., Rembrandt and Eeckhout. As a rule, Eeckhout i)referred finishing his pictures in a smooth and laboured manner : his colouring is rich, and by many may be considered fine, •yet, somehow or other, we miss in his colouring that light- ness and transparency which are so delicious in Rembrandt's works. Eeckhout painted in a pleasing and original niannei*, and excelled in various subjects, such as portraits and in- teriors, as well as historical compositions. In arrangement, some of his interiors remind us of Terburg, and we find in them dashing cavaliers dressed in the gay costume of the period. His most interesting works are his religious and historical pictures; most of these are finely coloured, and some of them have charining landscape backgrounds ; the stems of the trees are small and delicate, and the branches are naturally and tastefully arranged; the distant scenery is often mountainous and grand, whilst the perspective of the nearer plains is agreeably kept, and enlivened by figures engaged in agricultural pursuits. Eeckhout, unlike some of theotlier followers of Rembrandt, did not merely aim at painting fine efl"ects of ' light and shade,' but usually pre- ferred making the composition and finish of his subject hia first study, and would afterwards get up the colour and power of his picture to the best of his ability. EGMONT, Justus Van. Born at Leyden in 1G02; died at Antwerp in 1674. Pupil of Rubens. Flemish School. Sale in 1827. A View in the Grand Square at Antwerp . 1840. The Virgin and Child, with Saints EKELS. J. /S'ee F. Meters. ELKEMA, E. Telles. Sale in 1864. A Group of Flowers in a Basket .... £11 11 This artist painted in the early part of the present cen- tury. His pictures are beautifully finished, and his groups of flowers are well relieved. He represented flowers agree- ably and truthfully ; the leaves, petals, insects, and dewdrops may all be examined with pleasure. Perhaps the best flowers in his pictures are the blue flowers. Some flower-))ainters get their groups too flat ; we see too many full-faced flowers and leaves in their baskets and vases; but Elkema's perspec- tive may be favourably noticed. ELMER (or ELM AR), Stephen, A.R.A. Died at Farnham, in Surrey, in 171)6. English School. Sale in 1803. Robert TJiistleivaife, Esq. A Cat, with a Mackerel and a Lobster . . .£990 1813. — Clay, Esq. Dead Birds, Lobsters, &c 2 10 1819. 3Iathew Mitchell, Esq. A Hawk trussing a Plover 3 5 A Brace of Tench 4 £8 8 14 10 W. N. Eetvett, Esq. A Snared Hare .... Four pictures of Cock-fighting A Dog and Fox ? A Hare S ' ' ' G 6 9 5 5 65 THE WORKS OF PATXTERS. EVE A Cat, Kittens, and a Dog ) J^^. q q A Cat and a Fish f Three pictnres of Dead Game and Fish . . 6 6 Tliree of Live Game 7 7 1836. Dead Game 3136 We occasionally meet with this painter's worlis in ohl- fasliioned collections. We also meet with neatly i)aiiiLed tVuit pieces by a painter of the name of Elmer, who may have been a son of the preceding. ELSIIEIMER (or ELZHEIMER), Adam. Born at Frankfort in 1574 ; died in Home in 16-20. Pupil of Philip Olfenbach. German School. Sale in 1801. A small circular Landscape &2.4i 3 1802. W. Becl-ford, Esq., of Fonthill. Tobit and the An^el 27 16 6 Sir Simon Clarke, Bart., and George Hibbert, Esq. Clu'ist and the Disciples at Emmaus . . . 9 9 1803. Landscape, with the Flight into Egypt . . 19 8 6 1815. Edward Coxe, Esq. A Landscape ; a drawing from the Knapton Col- lection 200 1819. IF. K Heioett, Esq. The Plight into Egypt 22 12 6 1823. Georqe Watson Taylor, Esq., 3I.P. Tobit and the Angel 74 11 1832. George Watson Taylor, Esq., M.P. Tobit and the Angel 39 18 1859. Hon. Edmund PJiipps. Tobit and the Angel; from the collection of George Watson Taylor, Esq 162 15 Although overlooked during his lifetime, the works of Elsheimer are now much esteemed. We find in his pictures many excellences, which deserve the greater praise when we recollect that he was really a very early painter, and flourished rather before the time of many of the great Dutch and Flemish painters of cabinet pictures. Elsheimer most likely improved his taste by studying in Italy; and his drawing, as seen in tlie contours of his figures, reminds us of both the Italian and French Schools. Like Rembrandt, Claude, and many other masters, he loved to dive into the study of 'light and shade;' and we lind in his pictures many excellent treatises or illustrations of such effects. If the general effect of some of his candle-light scenes be rather too violent, and too much in the style of Jan Vande Velde's, yet we can always enjoy the elegant Roman(!sque character of the figures, or the'beautiful miniature finish of the backgrounds and accessories. In some of his pictures tlie trees, foliage, ajid flowers are so sweetly painted that they may be compared to the garlands which Fiore used to introduce round the works of other painters. His flowers are sometimes so highly finished that they will hardly class with the usual accessories of a picture, but appear in tlie picture like the work of another haiul ; as when Rubens and Brueghel painted in conjunction, or Kierings and Poelem- burg. Elsheimer was a successful painter of moonlight scenes; in the landscape he would generally introduce some Scriptural story or allegory, such as ' The Flight into Egypt.' There is a gloomy stillness about these i)ictures which is very charming, and which reminds us a little of Asselyn's night scenes. In his daylight landscapes he w;is particularly fond of introducing the subject of ' Tobit and the Angel.' Repeathig the same subject so frequently may appear puerile, yet he showed his ingenuity in tlie variety of ways in which he grouped the two figures. Sometimes they are accompanied by a small dog; in others the angel is a semi-colossal figure; wliilst in the distance may be seen horsemen and cattle-drivers, who appear unmoved by the phenomenon. Or, again, he would represent Tobit walking familiarly by tlie side of the angel, the latter having a gourd bottle suspended from his side, wliilst on his shoulders are wings of majestic import. Elsheinnir would also vary the size of the ' fish,' according to fancy, from a good-sized cod toa fish five feet ](n\ti. Beyond his knowledge and feeling for 'light and shade,' Elsheimer does not rank very high as acolourist; there is a want of breadth in the arrangement of his brighter colours; neither is it to his advantages that he 80 often painted on copper, it being more difiicnlt to give what artists call 'quality' to colour when l;iid on copi)er, than on any other niaterial in common use. Had he ])ainted on Flemish panels, and on a larger scale, his bright colours would appear clearer and more agreeable than they gene- rally do. Elsheimer's most charming landscapes are his evening scenes; small as they are, they are composed in an unusually grand manner. Commencing, perhaps, with ; highly finished foreground hills, on the summit of which \ are lofty trees, we are carried by successive slopes from castles down to small towns lying in distant valleys ; whilst ill the extreme distance the sci'uery will somelimes rise and [ form a bold horizontal line, stretching acr(;ss the picture. In these pictures the gradations of 'ii^ht and shade' are j most successfully managed. How wonderfully he used to ! represent that peculiar stillness in the sky which we notice after the sunset of a brilliant day— a serenity broken only ! by a few bright golden touehes over our heads, after the sun i has sunk below the horizon ! Elsheimer's pictures of rock scenery and waterfalls are generally less pleasing than his evening and night scenes. The small nude figures in Gou- ff-edi's dark landscapes remind us of Elsheimer's figures. ELST, Van. — Clay, Esq. Dead Birds Sale in 1813. 1819. £5 8 W. X. Ilewett, Esq. A Fruit Piece 10 10 For information respecting the life and works of this painter, the diccionaries refer us to the flower-painter Vcr- helst or Verliuist ; but the writer is rather disposed to think that the sul)ject of the above notes was not the same painter as Verhelst. He appears to have been an artist who used to finish his cabinet pictures very neatly, and a little in the style of Bogdani. He was a capital painter of insects, nuts, and other accessories, wJiich he used to introduce round ins flower and fruit pieces. Tliere was another painter of the name of Van Elst or Verhelst, who may have been a pujiil of Gerard Dow ; he painted bright little ])ictures in the manner of Schalken and Van Tol. EMPOLI, Jacopo da. See VelasiJuez. ERMSTUVEN. Sale in 1S29. Sir John Tkorold, Bart. A Fruit Piece . A Flower Piece £6 15 ES, Jacob Van. See De Heem. ETTY. William, R.A. Born at York in 1787; died at York in 1819. English School. Sale in 1830. Sir Tliomas Lawrence, P.U.A. A Bacchanalian Scene ; a sketcii . Pandora £iS 7 loo 5 1S36. Sir James Stuart, Bart. Head of a Lady 8 1837. Sir Francis Freeling, Bart. Head of a Young Girl with a Wreath of Flowers ; a sketch 3 M1 Sabriiia and Nymphs 13 Cupid and I'syehe 61 19 The Embarkation of Cleopatra .... 220 10 1SG3. Elhanan Bickiull, Esq. A Child's Head 102 18 Some people know this master best by his numerous Academy' fif.';ures and sketches, and they are still the admira- tion and emulation of many of our English students. i\lost of them are beautiful things; only v.e feel that we should like them better if there was more variety of colour in them ; we tire of the rosy flesh tints and crimson-lake curtains. His mythological pictures are often the finest examples that we are able to show of English colouring. EVERDINGEN, Albekt Vax. Born at Alkmaer in 1621 ; died in 1675. Pupil of Rolandt Savery and Peter Moiyn. Dutch School, Sale in 1802. A Landscape, with a Waterfall .... £1111 Lord Darnley. A View in Norway, with a Waterfall . . . 61< 1 The companion. 40 19 1803. Richard, Walker, Esq. A View in Norway 39 18 A View in Norway . — Bryan, Esq. A View in Norway . Ditto . . . - . Ditto .... Ditto .... 1804. 2 10 5 5 32 II 11 11 J\r. La Fontaine. A Scene in Noi v.ay . 1813. -12 10 E Y C CRITICAL AND COMMERCIAL DICTIONARY OF 66 1815. A View in Norway £11 n o 1826. Lady Holland. A View in Norway, with a Cascade 18:i7. Duke of Bedford. A woody Landscape, with Cattle and Figures A River Scene 1828. 1836. A View in Norway, with Vessels . Sir Charles Bagot. G.C.B. View of a Dyke in Holbnd ; from the collection of M. de Vos, of Amsterdam .... 1839. A rocky Landscape, with a Waterfall . 1856. Samuel Rogers, Esq. A View in Norway, witli wooden Buildings, and a rocky Height, crowned witli Eirs ... 22 10 5 65 2 6 5 8 10 171 3 7 5 1 1861. diaries ScarisbricTc, Esq. A View in Norway, with a rustic "Watermill, and a Cottage among Fir Trees 7 17 6 186*. Dutch Fishing-boats running for Port, in a Squall 13 13 The works of Everdinaren form a link between those of his master, Peter Molyn, and what are commonly called Jacob Ruysdael's 'INorway pictures.' Everdingen was par- ticularly lond of introducing into his landscapes Norwegian pines and cascades. According to Pilkington, he adof)ted this style of painting after making a voyage up the Baltic, and being wrecked on the coast of Norway. In the touching in of the pines and bushes in his small woody pictures he reminds us strongly of Rnysdael, but usually his pencilling is thinner and more feathery than Ruysdael's. Viewing his works as a whole, they exhibit greater taste in composition than power or quality in execution ; and some of his sea pieces are too brown or too dull in colour to be agreeable. \ye occasionally meet with landscapes by him representing flat but extensive scenery, not unlike De Koning's bird's-eye views ; they please as very much, and are good character- istic specimens of Everdingen. The works of his elder brother, Cfiesar Van Everdingen, are not frequently seen in England ; we are told that he painted history and portraits. His portraits are decidedly clever, and are painted with a little of the spirit and hmnour of Frank Hals. The land- scape backgrounds of them appear in some cases to be by the liand of Albert Van Everdingen. John Teunisz Blan'khof is mentioned amonfj:st the pupils of Everdingen. His coast scenes are very prettily composed, and he was fond of paint- ing stormy seas. EYCK, Jan Van. Born at the town of Maeseyk on Maes in 1370; died in 1441. Pupil of his father. Flemish School. Sale in 1801. Earl of Besborough. Portraits of Hubert and Jan Van Eyck . . £23 2 The Entombing of a Cardinal . . . . 8y 5 1838. William Esdaile, Esq. The Virgin and Child enthroned, with an Angel presenting an Apple, and a Bishop in adora- tion £28 7 1848. Sir Thomas Baring, Bart. St. Jerome in his Study 139 13 1856. Samnel Rogers, Esq, The Virgin with the Infant on her Lap, seated in a Gothic Niche; from the collection of Mr. Aders 267 15 It is not uncommon to meet with pictures ascribed either to Jan or Hubert Van Eyck, althougli it is well known that the geiuiine works of these masters are very scarce, the highly finished examples being of immense value. The specimen in Trafalgar Square is usually regarded as one of the gems of our national collection. Whether we study these masters in tiieir single figures, or in their elaborate processions and altar pieces, we cannot fail being struck by the extraordinary power which they possessed over their pencils, and the marvellous brilliancy of their colours; and, whatever may have been the medium with which they painted, we feel that we have nothing that will surf)ass it at the present day. in those works in which Jan Van Eyck or the brothers Van Eyck introduced a great number of figures, it will be seen that they preserved a nice variety in the expressions and characters of the heads, that kind of variety which we often notice as being so beautiful in costly missals of the fifteenth and sixteenth centuries, in many resj)ects the works of the brothers Van Eyck are analogous to the works of Henanelinck. Like; Hemmelinck, they were fond of introducing a gn.'at many figures in their pictures, which are sometimes strangely crowded together, rising above each other in successive groups; whilst high above them, and reaching nearly to the top of the panel on which the picture is painted, may be seen stately rocks, studded in various })arts with cities and lofty trees. We are not sur- prised at finding a certain feebleness or Gothic character dis- played by these artists when composing landscape scenery, whilst we must remember that the peculiarities which ofl'tiud us arise not so much from ignorance of the laws of perspective, as they are the result or eft'ect of that peculiar conventional teaching which found so many followers amongst the early painters of Flanders and Germany. Their subjects are often so alletjorically treated that we feel that it would be extremely difiicult to alter their compositions so as to gain any advantage by the alterations. The extra- ordinary degree of labour and finish which tin y display ' in their figures naturally lead ns to look for a similar degree of labour or finish in the flowers and stones of the fore- ground, as well as in the castles and rocks of the background. Their subjects would not appear in 'keeping' were they finished or cariied out in any other way, however much may be wanting in the aerial perspective of their pictures. Like Hemmelinck, Hubert Van Eyck was very successful in giving a mild and pleasing expression to his portraits of the Mudoinia. Some writers say tiiat Antonello da Messina in- troduced Van Eyek's new vehicle or varnish into Italy. The works of Antonello are little known in England, :ind the few specimens ascribed to him are rather disappointing. The works of Christopher Schwarts or Scliwartz are very curiously and beautifully finished, and he introduced in them a great variety of colours, but his pictures are not equal to Van Eyek's in 'quality.' EYCK, Caspar Van. Born at Antwerp in 1825. Flemish School. Sale in 1802. Two Battle Pieces £5 5 F F.VBRTCTUS (or FABRTCE), Charles. Born at Delft 1()24; died at Delft in 1654. Dutcii School. Sale in 1806. 3farqiiis of Lansdorvne. View of St. Peter's at Rome, with a variety of Figures £3 10 £2.1 5 35 14 4 8 Perspective View of the Interior of St. Peter's . 10 10 Ditto of San Giovanni in Lateranno ) ])itto of Santa Maria Maggiore \. . . 7 7 Ditto of San Paolo J 18:51. George James Cholmondeley, Esq. Neapolitan Fishermen, in a Landscape ; Sunset 2 FABRIS. Sale in 1801. Right Hon. Sir William Hamilton. A Night Scene at Pausilipo Tiie Fete of the Madonna del Arco, near Naples The Caia Gate at Naples Two Views of Sir \V. Hamilton's Villa near Naples, showing the first appearance of the 17G7 Eruption of Vesuvius 6 6 Virgil's Tomb ; in water-colours . . . . I A Pair of Views ; in water-colours ! Four ditto I Four ditto I A Marine View, and the companion, represent- j ing the Lava of Vesuvius running into a Vine- ; yard i The Eruption of Vesuvius by Night ; in water- ) I colours [ Ditto by Day ; in ditto j View of Pausilipo, with Figures dancing . The companion, showing the Ruins of the Palace of Donna Anna Two small Views of the Capuchin Convent in the Latoriue of Syracuse Interior of a Cobbler's House ) Ditto of a Turner's Shop j- . . . . A Cottage oti a Heath, after a Fall of Snow ) Interior of the same Cottage j A Drawing, in water-colours, of Mount Vesu- vius by Moonlight Scene near Puzzuolo £0 10 1 10 2 5 1 1 3 3 3 5 17 6 18 18 1 5 4 7 3 4 14 6 2 12 6 67 THE WORKS OF PAINTERS. FEE i Ditto of the Largo del Castello . . . .£550 View of Pausilipo 1 11 6 i Eruption of Vosuvius in 1767 4 14 6 1 Study of a Li parian Sailor 3 3 1 View near Pausilipo 4 4 I Ditto, the companion 4 4 j View of an ancient Ruin on the Point of Pau- silipo ]■ 6 6 1 Ditto, the companion j I View of the Erujition of Vesuvius in 1766 . . 12 1 6 j Landscape, with Fitrures 6 6 i The companion, a Night Scene, with Figures . 5 5 ; 1802. I A Landscape, with Rocks and Figures . . 13 i Four Neapolitan Costumes ; in water-colours . 13 i Ditto 110 ' Ditto 110 1823. David Garrick, Esq. View of tliH Bay of Naples, and a View of the Quay at Naples 5 5 View of an Eruption of Mount Vesuvius ; a trans- parency 2 12 6 ('Painted under the dii-ecti(m of Sir William Hamilton, and by him presented to Garrick.' — ' A letter from" Sir William, descriptive of a mechanical contrivance to heighten the effect of the eruption, will be given to the pur- 1 A Pair of Views in Rome 15 15 ! Ditto 11 6 1827. John Dent, Esq. A River Scene in the South of France, with a ; Ferry-boat and Figures 4 4 Ruins and Figures 3 3 View of a Part of the City of Naples, and Vesu- 1 vius in the Distance V 12 12 View of the Mole at Naples J 1836. Sir James Stuart, Bart. A Pair of Views of the Bay of Naples ; in body- colours 11 2 Ditto 1 18 There is no account of this painter in Bryan's Dictionary ; his name is commonly i)ronounced Fabre, but he must not be confounded with Fabre the historical painter, who flour- i ished rather after his tiuie. Fabris's works ai'e not very i well known in England. Most of his pictures appear to be views in the vicinity of Naples. It also seems that he ! visited Malta, and painted some interesting views of the island; and examples of this painter may still be seen in - some of the private collections in Valetta. Fabris's works I are far from being equal in merit, and he varied his style of I painting a good deal. His most interesting pictures are his i perspective or architectural views, which bear a slight resem- • blance to Canaletto's English pictures. He painted very neatly, and in his best pictures would introduce numerous figures and carriages. The figures have a great deal of charac- : ter in them, but are palely coloured. The build of the carriages ■ and other vehicles is the same as shown in the works of 1 Occhiali, but his figures are not heightened with the bright red touclies which we are almost sure to see in Occliiali's pic- ! tures. Fabris's figures in his best pictures are very nice of their kind, but generally lie showed himself a bad horse- painter. Some of his pictures are as neatly worked up as the landscapes of Van Lint, but it does not appear that he came up to that master, either in freshness or brilliancy of co- • louring. There is generally a sombreness about Fabris's works. The architectural pictures of Agostino Mitelli may be classed with Fabris's ; the skies of the former painter are usually pale and delicate in colour. PAGE, Raymond de la. Born at Toulouse in 1648 ; died in 1690. French School. Sale in 1801. — Slade, Esq. The Bath of Diana £13 13 The Discovery of Calista 6 16 6 1802. A Bacchanalian Scene 3 5 1803. The Discovery of Calista 5 10 18;?0. A Pair of small Bacchanalian Sul)jects . . 2 15 1836. Zephyr and Flora, and Bacchus and Ariridne; a i)air 9 9 FAIRFIELD, C. Sale in 1802. A Landscape, with a Waterfall . . . . £3 10 A Landscape 4 14 6 1829. Samuel Tansley, Esq. A River Scene by Moonlight £1 U 6 FALCONE, A NIELLO. Born at Naples in 1600 ; died in 166j. Pupil of Ribera. Neapolitan School. Sale in 1803. Count de JIagen. The Battle between Alexander and Darius . . £i 4 FALENS, Charles Van. Born at Antwerp in 1684; died at Paris in 1733. Dutch School. Sale in 1827. Grooms watering Horses, in a Landscape . . £3 5 1861. Charles Scarishrick, Esq. A Landscape, with two Peasants and a White Horse near a Shed 8 18 6 Some of this painter's works are direct imitations of Wou- wermans, and we occasionally meet with curious imitations of the Italian School painted on glass which are ascribed to him. There are also battle pieces by him which are like an- ticipations of the Casanova type. JFALTURINI. Sale in 1802. The Visitation of Elizabeth £9 19 6 FARABOSCO. Sale in 1822. Marquis of Bute. Boys with Cherries £5 5 FARGUE, P. C. La. See S. Scott. FARINATO, Paolo. See Tiziano Vecelli. FARING. Sale in 1829. John Webb, Esq. An Historical Subject £8 8 FARRER, Nicholas. See R. E. Pine. FARRINGTON, Joseph, R.A. Born in 1742; died iu 1821. Pupil of Richard Wilson. English School. Sale in 1830. A View of Caernarvon Castle . . . .£900 1836. Alexander Copland, Esq. A Water mill, in a Landscape . . . . 12 1 G A woody Landscape 11 6 Joseph Farrington may be classed with the clever fol- lowers of Richard Wilson. He was a capital painter of park scenery, and generally contrived to preserve in his pictures that pretty bluish tint or hazy tone which is so agreeable in Wilson's pictures. Farrington would sometimes change his usual style of painting; and his river views remind us a little of Canaletto. FASOLO, Giovanni Antonio. See Rent. FAULKNER, B. R. See Shee. FEARNLEY. Sale in 1833. A Land-storm, with a Horseman on a Road . £2 FEGAN. Sale in 1S03. A Female Figure £6 FEGEO. Sale in 1829. The Good Samaritan 4 FEISTEXEEIU; ER, Anthony. See Duguet. FERG, Paul Fijancis. Born at Vienna in 1689; died about 1740. Pupii of Bascliueber, of Hans GJraaf, and of Orient. Sale in 1801. A Pair of Cabinet Pictures of Landscapes and Figures £22 11 6 1802. A Pair of Views in Switzerland .... 1414 1810. Sir II. T. Gott. A small Landscape, with Figures .... 13 13 1811. Henry Hope, Esq. A Landscape, with Figures representing Joseph sold to tlie Ishmaelites 68 5 Rebecca and Abraham's Servant at the Well, in a Landscape 46 5 1813. John Willett Willett, Esq. A Landscape, with Ruins, Cattle, and Figures . 22 11 6 1815. A Landscape and Figui-es 8 8 F E R CEITICAL AND COMMERCIAL DICTIONARY OF 68 1816. 1 Henri/ TTnpc, Esq. ' A small upri^'iit Landscape £13 13 Th(^ coiiipaiiioii 19 19 ! A Landscape, with Figures 15 4 6 l The companion 21 j 1819. W. N. Heivctt, Ef)ecome too fond of, or too wedded to, particular colours, which give to their works the appearance of mannerism. We all know how fond Morland was of a particular kind of green, and, by the way, we may say that it is a prettier colour than Gainsborough's rich brown ; yet it would have been better had Morland sought for fresh tints more frequently. The writer can re- member noticing in one of Morland's important works how strangely a large tree in the centre of the picture seemed to sink into the mass of the landscape round it, all from want of expression or variety in the management of the colours. Having briefly noticed these comparisons, it now remains for us to say a few words upon his different ' styles ' of jjainting. The importance which some may attach to his apprenticeship under Hayman, or to the knowledge which he may have acquired by studying the colouring of Rubens, or by endeavouring to imitate Wynants in his delicate ma- nipulation, are, after all, questions of little moment, as all alike must acknowledge that he was one of the most ori- ginal of our English painters. Like most eminent painters, his talent for the art was seen at a very early period of his life, and the sketches made by him when little more than a child are now most jealously preserved by connoisseurs and artists. Gainsborough excelled in a variety of subjects, but his pictures may be conveniently classed under the following heads :— Landscapes; Landscapes in which he Introdu* ed por- traits on a small scale; Portraits; and Fancy Pictures, in which the figures are occasionally the size of life. We have also to notice his drawings, as well as the copies and imitations which he made of the old masters. There are landscapes by Gainsborough earlier than tliose which seem to remind u*s of Wynants. The pencilling of these pictures is very dif- ferent from that of any of his later works, being consi- derably heavier and more opaque. As they are prettily composed, and the figures cleverly grouped, they seem to improve very much by viewing them from a little distance. His Sudbury landsenpes, with sandy banks, warm skies, and neatly lini.shed ligurcs and cattle, belong to his second period. Later in lile he appears to have painted his land- scapes in a greater variety of ways; and about the same time he got into th(i style of representing foliage with light wavy strokes — a style of pencilling ever afterwards peculiarly chai-acteristic of the painter, whether we study him in his landscapes or in his portraits. When he first accustomed himself to this style of pencilling, it will be seen that the strokes are considerably more opaque than they are in liis later works; there is an impasto abo\it the pencilling, and less transi)areiiey in the general colouring. The sunny eflVct which he gave to his l:indseaj)es of this period adds niuch to their value. With the varieties of this period may be found specimens in which lie introduced a greater number ! of tints, touihing up the foliage with a bluish green, I whilst he would heighten the foregrounds with strokes of brown and red, but the red is quite different from the sandy reds of his Sudbury pictures. The trees in his pic- tures of this class appear to want more glaze on them, or more finish, and come too forward. There are also sea pieces and shore views by him which seem to belong to his middle period of painting; many of these are curiously coloured, and have a great deal of Jake in them, and it may L G AN CEITICAL AND COMMERCIAL DICTIONARY OF be noticed that they are often the slightest and most sketchy examples of his painting. Again there are a lew landscapes by him which are painted with a heavier touch, and a pi-eater variety of tints than will be found in any of the former varieties which have been described, when the pencilling reminds us more of Wootton than of any other painter. His last and most important landscapes are the richly coloured ones, in which he introduced so much of that line transparent brown. Many may give the preference to Gainsborough's earlier and more carefully finished landscapes; only it must not be forgotten that his most charming groups and figures are found in his richly coloured and highly glazed landscapes. We have now to speak of those landscapes by Gainsborough into which he was in the habit of introducing small whole- length poi-traits. In these the landscape is sometimes little more than garden scenery, or he would introduce terraces or portions of houses. Some of these are very early works, yet they are always pleasing, and, simply as the sub- jects are treated, we can trace in them the germs or first ideas of many of the sweetest passages which delight us in his later and more esteemed works. Vor example, those bright semi-orange-coloured clouds, which he was so fond of painting in heavy impasto, and which seem to burst from the thin hazy colour which covers the rest of the sky, will occasionally" be found in a modified form in his earliest works. Or, again, there are his well-remembered decayed trees, the great hollow trees which he so frequently painted, with their bark gone, and their vitality represented only by a few straggling branches, which appear to be contending with the parasitical mosses for a scanty subsistence. Now, these trees are found in Gainsborough's early works, only, of course, painted in an inferior manner. When speaking of Gainsborough's earliest portraits it may be asked, Do they exhibit that spirited and pretty hatching which cha- racterises the pencilling of his later works? are we to look for the delicate lake and white lines about the lips of his female beauties, and the brown transparent lines about the eyes? No; that is to say, his earliest portraits seldom ex- hibit this peculiar pencilling; being thinly painted, there are few characteristic touches about them, and many of them may be easily mistaken for the productions of a copyist. Gainsborough's early portraits, whether they are simply heads or small full-lengths in a landscape, should be judged of in a different way. It will be well to stand at a Jittie distance from the work, when it will be felt that they are nicely drawn, that he gave dignity to them : whilst many of them exhibit the simplicity of treatment, ease, and gracefulness of his great works, some are like shadows of them, although in pencilling and in the execution of the details they exhibit nothing like the ' quality ' of his later works. Gainsborough's portraits of ladies, which he painted later in life, rank with the finest of his fancy pictures. We con speak of these works as we can of Sir Joshua Reynolds's portraits, and can feel that the expression or life touches are put on the canvas at the right moment, the sitters aj)pearing quite unconscious where they are, and in the same way we can approach them all unobserved, and feel that we are with them in the field or in the drawing-room. Many a great portrait-painter has succeeded in preserving the likeness of his sitters, and even the character of them ; but how few can capture such moments as Gainsborough and Sir Joshua Reynolds captured! How few can take us by the hand and lead us into the presence of their models, w'here we find them gracefully and exquisitely attired— attired with all that care and judgment which seem neces- sary to make a fine picture, whilst their faces are beaming witli smiles and intelligence, or perhaps are painted in deep meditation ! But let the subject or intention be what it may, the disguise is always complete, the models unconscious tliat they are sitting for their portraits. Next we come to the fancy pictures of this master, in which he introduced life-sized figures of children : on some of these pictures he bestowed all his art ; his intentions and his ideas of beauty are more plainly written in them than in any of his other works. Gainsborough was also a good animal-painter, and very full of expression, and very capital are some of the annuals which he put into his fancy pictures. If not a mannerist in the usual sense of the term, yet Gainsborough dearly loved his own manner or way of painting; but it will be seen that he varied his pencilling and colouring more in his fancy pictures than in his portraits, and we like them all tlie more for this. It should be remembered that many of the old masters enjoyed the power of varying their pen- cilling considerably, Gainsborough's favourite style was slight and sketchy ; he loved to produce a desired effect with a few touches, and in a short time. There is something very beautiful in Gainsborough's sketchy style of painting; the trees seem almost to wave about under the influence of the breeze, yet the foliage is painted with little more than a wash of transparent colour passed over the common ground of the picture. We find the same slightness and celerity of touch in different parts of the figures ; notice particularly his style of painting lace and other light drapery ; whilst in his slighter fancy pictures, and j)ortraits introduced into landscapes; this extraordinary facility of touch or thinness of painting is just as apparent in tlie faces. When Gains- borough copied or painted in imitation of the old masters (for in some cases these pictures appear more like pictures painted in emulation of certain masters than sinii)ly copies of them) we cannot fail noticing how well he always managed the white draperies, and other white parts of the picture, the light parts never appearing too white or too high in the picture. Many of the old masters, knowing the advantage of this, used to })aint over dark grounds, which, i for the time, had the desired effect of preventing their pic- tures from appearing chalky, but otherwise is objectionable, on account of the absorbent nature of all dark grounds, and the consequent inclination of the colours to darken or blacken by time. Much of the spirit of Gainsborough's pencilling, as well as the freshness of his skies, is preserved in his drawings. Many of them are very slight, and we | meet with them in black and white chalk, and sometimes sketched in with a brownish-red chalk; instead of leaving i the paper for the high lights, he usually expressed them with i rather sharp or prominent touches of white chalk. His 1 studies in oil on coarse paper are painted with so little \ vehicle that, when seen from a distance, they have exactly j the appearance of chalk drawings. The artists whose names , are most associated with this great painter are his nephew, i Gainsborough Dnpont, the two Barkers of Bath, and Jack- 1 son, a musician ajid amateur painter. Gainsborough Dupont i was an artist of considerable ability, and completed most successfully some of his uncle's unfinished works. The ' Barkers have been already noticed in this work. Little is known of the last painter beyond what is mentioned of him in the Life of Gainsborough.' The writer has been informed that amongst Jackson's portraits is a good one of the Dnke of Marlborough. Of course this painter must not be con- founded with John Jackson, the eminent Yorkshire portrait- painter. As already stated, it appears that Gainsborough left some unfinished pictures, which were afterwards finished in a most masterly manner by his nephew Dupont. It seems strange that a man who could paint so well as Dupont is not better known. He imitated Gainsborough's light sketchy style of painting to perfection; but in com- paring their works it will be seen that the dark lines in- tended to express the upper lids of the eyes are darker and heavier that Gainsborough's similar touches; then, again, lie exaggerated Gainsborough's chalky or wiry manner of paint- ing the hair. His name is commonly spelt thus — Dupont; but the writer believes that correctly it ought to be written Dupon. GANATIS, P. D. Sale in 1827. Duke of Bedford. The Virgin, Child, and three Saints . . . £4 10 GAND, Vander Meere de. Sale in 1861. Charles Scarishrick, Esq. The Virgin, witii the Infant in her Lap, sur- rounded by Saints £67 4 GANIERE, La. Sale in 1803. Richard Walker, Esq. The March of an Army £3 3 GARBIERI, Lorenzo. See Lodovico Caracci. GARBO, Raffaellino del. See Tomaso Guidi. GAROEALO. See Benvenuto Tisio. GARRARD, Mark. See Guerards. GARVEY, Edmund, R.A. See R. Wilson. GARVI, G. See CAMPiDoaLlO. GARZI, L. See F. Albano. GASCAR, Henry. /SeeVERELSX. GATTA. See ABBOTT. GATTA (scholar of Fabris). Sale in 1801. Right Hon. Sir William Hamilton. A Dniwing in Water-colours of the Eruption of Mount Vesuvius £2 10 GAUFFIER, L, See Arthur Devis. GEDDES, Andrew, A.R.A. Born at Edinburgh in 1780; died in i84-i. English School. Sale in 1836. Sir James Stuart, Bart. A Young Falconer £11 6 Andrew Geddes is chiefly remembered as a portrait- painter, but he was happy in being able to turn his hand to a variety of subjects ; we read of an altar piece by him, as well as other subjects out of his usual walk. Some of his copies of the old masters are likewise considered fine, and iie had a very good eye for landscape-painting. He was successful in preserving the likenesses of his sitters, and his drawing is seen to advantage in the pencilling of the eye- lids, as well as in the bold modelling of the mouths; and not the least successful of his works are liis portraits of children. Like Lawrence, he was fond of introducing a great deal of red and lake in the backgrounds of his t>or- traits. In his landscapes he loved to represent l)road eflVA-ts of * light and shade; ' leaving the colour out of the sky, he 75 THE WORKS OP PAINTERS. GEL would paint buildings find cornfields prettily lit up V)y the sun, tlie contrast, of course, heightened V)y the dark slaty clouds of tlie sky. Some of his small landscape studies are canal views, and" are exceedingly pretty. GELDEMACKER. Sale in 1802. Eebccca giving Drink to Abraham's Servant . £18 GELDER, Arnold de. Born at Dort in lGi.5 ; died at Dort in 1727. Pupil of Samuel Van Hoogstraeten and of Rem- brandt. Dutch School. Sale in 1812. Charles Lambert, Esq. Esther and Ahasuerus . £16 16 GELL:SE (or GILLEE), Claude, called Le Lorrain. Born in 1600 in the Castle of Cliamagne, on the banks of tiie Moselle, in the diocese of Toul; died at Rome in 1682. Pupil of Geoffrey Walls and of Agostino Tassi. French School. Sale in 176;3. Earl Waldegrave. A Marine View £50 A Landscape 231 Jacob 3Iore, Esq., and Blons. Liss. A View in tlie Environs of the Campagna . The Debarkation of Cleopatra 1801. Earl of Besborough. A Landscape ; from Lady B. Germain's sale A Landscape, with Cattle and Figures , Ditto, a Sunset An Italian Seaport . Sir William Hamilton. A Sea Piece William Young OttJey, Esq. A View on the Tiber, near the Palace Colonna . A View on the Tiber A Landscape, with the story of Ascanius killing Silvia's Stag ; from the Colonna Palace . A Sea Piece, with the story of Dido and ^neas . 1802. W. Beclcford, Esq., of Fonthill. An Italian Landscape 60 18 3S8 10 46 i 840 Lord Darnley. A Landscafje ; Irom the Bristol Collection . A Landscape Ditto 220 10 Ditto, with a View of the Colosseum . D.tto, with the Riposo ; from Lord London- derry's collection 76 16 115 10 2i0 Buke of Bridgewater, &c. A Sea View, with Shipping and Figures Robert Thistlewaite, Esq. A Landscape and Figures Ditto, with Men Fishing. 82 19 67 4 1,.522 10 1,050 1804. — Boxellis, Esq. A Landscape, with Shepherds .... Ditto, the companion Landscape, with the story of ^neas taking Shelter on the Coast of Africa .... -Sineas led by the Sibyl to the Difernal Regions A Landscape ; from the Colonna Palace 1805. A woody Landscape, with a River and Buildings 1806. Marquis of Lansdowne. Evening 535 10 51 9 . 262 10 56 14 210 210 4 31 10 55 13 273 157 10 Sir Simon Clarke, Bart., and George Hibbert, Esq. I A Landscape; formerly in the possession of Prince Charles of Lorraine .... 504 ! Ditto ; from the collection of Mr. Barnard . . 94 10 Ditto 105 1803. Walsh Porter, Esq. I An Italian Landscape; from the collection of the I Due de Clioiseul 735 Ditro, with the story of Mercury and Battus; from the same collection 682 10 162 15 45 8 Sir George Yonge, Bart. Morning, a View in the Campagna . . . 178 10 Evening, the companion 194 5 1807. Edward Cn.re, Esq. A Landscape, with a View of the Church of Trinita di Monte £105 1811. Henry Hope, Esq. An Italian Landscape, with Buildings and Fi- gures 1813. M. La Vontnine. Landscape and Figures John Willett Willett, A Landscape, Sunset A small Vievs^ on the Mediterranean, Bought in at 1815. Edivard Coxe, Esq. A Landscape, with Figures; a drawing froin the Knapton Collection The Cainpo Vacino ; a drawing from the saun; collection An Italian Seaport 1816. Henry Hope, Esq. A Landscape, with Cattle and Figures , A Landscape, Morning . . . . A Seaport, Evening . . . . , 1819. JiJni Knight, Esq. A Ijaiidscape A sni.ill Landscape . . . . , A Landscape 267 15 51 9 232 1 94 10 2 2 16 5 6 210 116 11 282 1 282 9 173 5 6,3 2 131 5 1824. Lord de Dmtstanville. A small upright Landscape, with Figures of Tobit and the Angel 127 1 1826. Admiral Lord Radstock. An oval Landscape, Evening; formerly in the collections of the Comte de Merla and of W. Smith, Esq., M.P 735 1828. M. M. Zachary, Esq. An Italian Landscape, with subject from Ovid; formerly in the galleries of M. de Calonne and of Lord Berwick 1,627 10 1829. Thomas Emmerson, Esq. A Sea View, with a Fight between the Turks and the Venetians 81 18 Mount Parnassus, with Minerva visiting the Muses ; at the foot of the hill is seen the City of Delphos, with the Ocean and distant Mountains ; painted for the Constable Colon- na, and purchased from the Colonna Palace by M. Durand, of Paris 577 10 Lord Gioydir. A Landsca()e, with Figures passing a Brook A Landscajje, with the story of Europa 115 10 2,100 A Seaport, with Figures ; from the collection of the Due de Brissac 420 Hon. Mr. Vernon. A View in a Bay 1831. 157 10 George James Cholmondcley , Esq. A Landscape, with the Angel appearing to Hagar ; formerly in the collection of Mr. Agar, and afterwards in that of Lord Grosvenor 1832. Earl of Mulgrave. A Morning Scene; from the Gavotti Palace at Savona An Evening Scene 367 10 1833. An upright Landscape, veith Figures crossing a Brook 152 10 273 246 15 Chevalier Sebastian Erard. A Landscape, with a Shepiierd driving his Flock along a shady Road 231 1834. Viscountess Hampden. A Landscape, with a River, on which are Boats and Merchandise 195 1836. Brook Greville, Esq. A \iew in a Bay, with numerous Vessels . . 242 11 L 2 GEM CRITICAL AND COMMEKCIAL DICTIONARY OF 76 1837. W. G. Coesvelt, Esq. A Landscape; from the gallery of the Constable Colonna £640 10 1838. William Esdnile, Usq. A Landscape, with a circular Temple . . . 47 5 Ditto, with a River and a Chateau on a rising JBank ; from Sir George Yonge's collection . 241 10 1839. Will in m MelliftJi, Esq. A Landscape, with Buildings on a Bridge . . 231 1840. Sir Simnn IT. Clarke, Bart. An Italian Landscape, with the story of Paris . 95 1 The Riposo * . . . 262 10 A Staport at Sunrise; from the collections of Madame Bandeville and of M. Robit . . 735 Hon. Lady Stuart. A Seaport 1841. 610 10 798 1844. John Penriee, Esq. A Landscape, with the • Flight into Egypt' Jeremiah Ilarman, Esq. A Seaport, with the story of ^neas and his Father visiting Hplenos at Delos ; formerly in tlie collection of Henry Hope, Esq. , . . 1.837 10 Tlie Embarkation of the Queen of Sheba . . 210 1848. William Wells, Esq. A Ljnidscape, with a Herdsman tending Goats . 315 Mercury lulling Argus to sleep with the music of his Pii)e 316 10 'The Enchanted Castle;' formerly in the col- lection of Walsh Porter, Esq 2,000 18.j0. Earl of Ashhvrnham. A View in the Bay of Naples 1,123 10 A View near Rome, with the Ponte Molle in the Distance 1,890 1856. Samuel Rogers, Esq. A Landscape, with a Shepherd, Cattle, and Goats, and a Mill on theBaiik of a River . 693 A Roman Archway and Villa, with Mountainous Background on the Sea-shore; from the Or- leans Collection 141 15 18^cesco Mile. GENOESE, PiETKO. Sale in 1803. Robert TJiistletvaife, Esq. A Priest delivering a Holy Vessel .... £23 2 GENTILESCHI. /See Oeazio LoMl. GERARD, Francis. See Mengs. GERBIER, Sir Balthazar. See Rubens. GERBRANDT. Sale in 1801. Earl of Beshorough. Interior of a Gothic Church £2G 5 GERICAULT. *See Verxet. GERMAN, Llorente Bernardo. Born at Seville in 1685 ; died at Seville in 1757. Spanish School. Sale in 1806. 3rarquis of Lansdotvne. Portrait of La'Compte de la Lippe Buckberg Ditto of Le Mar^sclml Compte Daun . Virgin and Child, with St. John GESSI, Francesco. See Reni. GHEYSELS, Peti R. ^ee Gtsells. GHIRLANDAIO, Ridolfi Corradi GHISI, A. Sale in 1819. John Knight, Esq. Venus and Adonis . . ... GHISOLFl, Giovanni. Born at Milan 1(583. Pupil of Girolamo Chignolo, of Antonio Volpini, and of Salvator Rosa. Sale in 1801. Earl of Beshorongh. Ruins in the Environs of Rome .... £27 8 £5 15 2 8 4 4 See Corradi. . £30 9 16J3; died Ruins of a Roman Gate 1802. Bight Hon. Earl Grosvenor. Two Views of Architecture, Ruins, and Figures . Architectural Ruins 1803. 2 5 4 4 GILLRAY, James. See Thomas Rowlandson. GILPIN, Sawret. RA. Born at Carlisle in 1733; died in 1807. English School. Sale in 1803. Cows, in a Landscape £18 1832. George Watson Taylor, Esq. Two small Views of Park Scenery, with Cattle . 10 10 1836. Mare and Foal, in a Landscape by Barret, R.A. . 2 1863. John Allnntt. Esq. A Landscape, witli two Cows . . . . 6 15 Some of the works of this painter have been already noticed in conjunction with his contemporary George Barret. The neatly painted horses and cattle which he so frequently inserted. into Barret's landscapes are well worthy of study • their merit alone would entitle the painter to a separate notice, and we must remember that he sometimes painted animals on a large scale, and apparently without ajiy assistance from Barret in the landscape part. VVe are also told that he occasionally painted historical subjects. ^\'hen seen from a little distance, the colouring of some of Gilpin's pictures reminds us of Stubbs's. Like Stubbs, he was particularly fond of giving a sunny effect to his pictures, but it should be noticed that he did not load his leafage with yellow and crome as Stubbs did, but maiiaged to produce the desired brilliancy by leaving the ground very slightly covered in parts, over which he would pass transi)arent colour. It will he seen that this style of painting the back- grounds is very characteristic of Gilpin in most of his large pictures of animals, the landscape backgrounds appearing brightand sunny when viewed from a little distance; but on closer inspection we are rather surprised to find how thinly and slightly they are painted. The heads of his animals are not wanting in character, being fairly S'6'e Mannozzi. GIRARDET (GIR^RDOT, or TRIOSON), Anne Louis. Born at Montargis in 1767 ; died at Paris in 1824. Pupil of David. French School. Sale in 18'23. George Watson Taylor. Esq., M.P. A whole-length Portrait of General Murat . . £22 1 Girardet painted numerous portraits of the nobles of France, but in England is best remembered by his i)icture of • The Deluge,' in the Louvre, and a few other works. GIRARDON. Sale in 1802. Guy Head, Esq. The Death of Adonis £9 19 6 GIRTIN, Thomas. Born im775; died in 1802. Pupil of Edward Dayes. English Scrhool, Sale in 18(35. Ruins of an Abbey ; in water-colours . . . £5 15 6 Earl of Upper Ossory. A Landscape, with Figures by Lairesse . £15 15 1826. Lady Holland, A small Landscape, and Figures . . . . 2 13 18:;0. A Landscape, with Buildings and Figures . . 5 1836. A Landscape and Figures 13 There is something very classical about Glauber's cabinet landscapes, and the inlluence of the French School is strongly seen in them. Most of his pictures show little of the feeling of his master Berghem, but the foreground flowers are worked up in the careful manner of Wynants. Like Van Huysum, he would adorn his landscapes with prettily designed buildings, whilst scattered about are archi- tectural fragments, portions of bas-reliefs, &c. Although some of his pictures bear his signature, yet it appears that at the best period of his painting he rarely worked without the assistance of Gerard Lairesse, whose charming little figures, which are usually painted to illustrate some histo- I rical passage or fable, add considerably to the interest and I value of Glauber's landscapes. GLOVER, John. Born in Leicestershire in 17G7 ; died in 1849. English School. Sale in 1827. A Landscape and Figures £11 11 1828. Earl of Carysfort. Cattle, in a J^andscape ; in water-colours . Darkworth Hermitage: in water-colours . 11 Some very interesting examples of this artist were exhi- bited in London at the Internatioiial Exhibition of 1862. His drawings, although simply treated, are very truthful and pleasing, and they class very well with Paul Sandby's, and also with some of Turner's early views of towns. He was fond of giving a yellow or sunny tone to his sketches. AVe see fewer outlines in his drawings than we do in Sand- by's. He had a peculiar way of introducing a number of sharp touches or dots in the foregrounds of his landscapes, and also about the buildings; it is a kiiul of touch that we never expect to find in water-colour drawings of the present day. GISELAER. S:ile in 1S27. The "Woman taken in Adultery . . . .£700 GLAUBER, John. Born at Utrecht in 1616; died at Am- .st(!rdam in 1726. Pupil of Nicholas Berghem. Dutch School. Sale in 1796. Jacob More, Esq., and Mons. Liss. A Pair of Landscapes, with Figures by Lairesse . £6 6 1802. An upright Landscape 5 1803. A Pair of Landscapes, with Figures by Lairesse 19 8 6 1806. Sir George Yonge, Bart. A Landscape, with Figures by Lairesse . . 30 9 Ditto, ditto 2u 1-5 6 1819. Nathew Mitchell, Esq. A Landscape, with Figures by Lairesse . . 4 13 13 15 1829. Samuel Tansley, Esq. A Group of Cows, reposing on a Bank near the Sea 1840. Sir Simon II. Clarke, Bart. Sicily, with a distant View of Etna . . . 52 10 View from the Winde Cliff, looking across the Severn 21 10 G Ditto, of Chepstow Castle and Bridge, looking towards Piercefield 21 10 6 1863. John Allmitt, Esq. A Mountainous Scene in Wales . . . . 21 10 A River Scene in Devonshire 17 17 Greenwich Hospital, from the Park . . . 110 6 Perhaps there is something fatiguing in the elaborate finish which Glover bestowed on many of his large pictures ; cer- tainly we can enjoy his style of'painting more in his small pictures. It is curious to notice how most of our early Eng- lish landscape-painters loved to imitate Claude, and this feeling may be traced in the works of Glover. The fore- grounds of his pictures are often enriched with flowers and leafage of bright yellow and green; altogether the foliage of his cabinet pictures is singularly bright and refreshing in colour. Glover had evidently a good eye for painting the varied gradations of foliage; and we may notice that his most pleasing colours are not his rich autunnial tints, but rather his cool olives— that pretty cool foliage which lie so happily introduced about his slaty and madder-coloured rocks. For his subjects Glover usually selected charming spots, and some of his views of rocky scenery are very pretty. As his style of painting is so careful and elaborate, we feel at a loss to say what class of figures his })ictures require. Perhaps his own are best after all ; yet they rarely please us. Sometimes they are so brilliant that they apj)ear like spots in the picture; at other times they seem alto- gether too heavy and too homely in character, our attention being drawn to them, yet without interesting us. GOLTZIUS. See Francis Flokis. GONFREDI. /See Elsheimer, GONOTAR, J. See Lingelbach. GONZALES. SeeCoqv-ES. GOOD, T. S. Sale in 1828. Earl of Carysfort. The Triumph of Music ; a pair .... £26 5 1837. Sir Francis Freeling, Bart.* Study of a Boy's Mead 110 An Interior, with a Peasant seated at a Table . 7 10 The Village Lawyer 20 9 6 Good's small interiors, with figures and other similar sub- jects, are remarkably pretty. His pictures class very well witli Wilkie's early works, and also with sonu; of Bird's; only, as a rule, his colouring is lighter than Bird's. ' Th(i writer is not certahi that the above pictures are by the same painter. GOO CRITICAL AND COMMERCIAL DICTIONARY OF 80 GOOL, John Van. Born at the Hague in 1685 ; died at the Hague ill 1763. Pupil of Terwesten and of Simon Vander Does. Dutch School. Sale in 180.3. Peasants and Cattle, in a Landscape . . . £20 9 6 A Landscape, with Cattle and Figures. . . 18 18 1800. Marquis of LansrJowyie. Cows, in a Landscape 11 6 1823. Cattle, in a Landscape 16 16 I8;3i. John 3IaitJanfl, Esq. A Dutch Dairy-farui, with Figures milking Cows 88 17 There may have been two John Van Gools, as we meet with pictures bearing the signature, and yet varying considerably in merit. The best, in the landscape part, remind ns of M.Carrey, and the cnttle are as Berghemesque or as prettily drawn as Carrey's; but they are coloured and finished dif- ferently, the colour being laid on very thickly, more in the manner of Paul Potter. In the less important Gools we find the landscape part smoothly painted, the foliage hard, and the general colour too green ; likewise the figures are very tamely painted, but the animals are curiously and neatly finished— in fact, finished more in the style of the better works already described. GORDON, Sir J. Watsox, R.A. See Reynolds. GOSSAERT (or GOSSARD). Jan, called Jan de Mabuse. Born about 1496 at Maubeuge ; died in 15o2. Fleujish Sciiool. Sale in 1802. Countess of Holderness. Two Portraits in one frame, representing a Lady and Gentleman at Devotion .... £39 18 1804. — Bt'yan, Esq. The Virgin and Child 43 1 1807. Edtcard Coxe, Esq. Portraits of a Man and Woman, in one frame ; from the Holderness collection . . . . 34 13 His Own Portrait ; from the collection of Sir J. Reynolds 7 17 6 1819. John Knight, Esq. Adam and Eve 51 9 1831. John Maitland, Esq. Portrait of Margaret Queen of Scots, eldest daughter of Henry VII 22 1 1856. Samuel Rogers, Esq. A Lady as the Magdalen, holding a Silver Vase of Ointment - 21 1861. Charles Scarisbrich. Esq. A Triptycli, with the Adoration of the Magi in the Centre 31 10 The preceding sale notes hardly give one a favoui-able impression of the rarity and interest associated with this painter's works. There is great delicacy of feeling displayed ia his pictures, and his modus is remarkable for precision and neatness. His heads have much I'orce and expi*ession ; yet, owing possibly to the cartiation tints having faded, there is often a coldness in the flesh tints which is striking. He finished the backgrounds and details of his picture very highly, and at the same time with considerable taste. The metallic lustre which he gave to some of the b.ickground objects in his pictures reminds us of the accessories in pic- tures ascribed to Quintin Matsys. GOULDSMITH, Miss. Sale in 1837. Sir Francis Preeling, Bart. A View of Vale Crucis Abbey £10 A Farmyard, with Figures driving Sheep . . 10 A Fisherman's Cottage, on the Bank of a River 27 6 View in Ventnor, Isle of Wight .... 660 GOIIPY, Joseph. Born at Nevers in 1729; died in London in 17S3. French School. Sale in 1801. Earl of Beshorough. A Pair of small Landscapes £6 6 Ditto, after Rubens and Domenichino; drawings 11 6 Venus and Cupid 6 6 A Pair, Liberality and Modesty, after Guido ; and Apollo rewarding Merit, after Andrea Sacchi ; drawings 24 13 6 1815. Edivard Coxe, Esq. A Landscape, after Rubens . . . . ) n « Ditto, after Domenichino . . . _ )- *14 14 ' Liberality and Modesty,' after Guido; a draw- ins 18 7 6 Apollo rewarding Merit, after Andrea Sacchi ; a drawing 15 4 6 1829. John Webb, Esq. A Miniature of Matthew Prior ... . 120 GOVOERTS (or GOVERT). Flourished in Amsterdam about the middle of the seventeenth century. Sale in 1830. A Landscape, with a Merry-making . . .£330 GOYEN, Jan Van. Born at Leyden in 1598 ; died at the Hague in 1656. Pupil of Jan Nicolai and Schilderpoort, of Esais Vandevelde, of Van Mann, of Henri Klok, and of William Gerritz. Dutch School. Sale in 1801. A Landscape £3 5 A View of the Town of Dordrecht . . . 14 14 1802. A View on the Banks of a River . . , . 4 14 o A small Sea View 4 10 A View near Scheveling, with Fishermen . . 8 18 6 A View on the Coast of Holland, with Fishing- bo!its 21 A View on the Scheldt 3 5 Paul d'Aigremont, Esq. A River View 5 View of a Town in Holland 15 4 6 Duhe of Bridgewater, d.c. A small Sea View 2 2 A Landscape 10 10 1803. Robert Grave, Esq. A Landscape and Figures 7 12 A View of Dort 4 8 A Landscape 5 15 6 A Landscape, with Boats and Figures ... 360 A Coast Scene 2 18 Richard Walker, Esq. A View in Holland 4 16 A View in Holland, with Boats and Figures . 6 6 A River View in Holland, with Boats . . . 6 15 A Sea Piece 4 A River Scene in Holland 24 8 Robert Thistlewaite, Esq. A View in Holland 4 14 6 A small Landscape 2 18 1804. — Bryan, Esq. A View in Holland 8 18 6 1806. 3iarqitis of Lansdotone. A Village on the Banks of a River, with a Ferry- boat and Figures 12 12 1807. Edivard Coxe, Esq. A small Sea Piece 12 1 6^ 1813. — Clay, Esq. A Sea Piece 11 6 A River Scene 8 10 1815, W. Corny ns, Esq. Moutli of a Harbour, with Fishing Smacks . 22 11 6 1819. Ilathew Mitchell, Esq. A River Scene 3 13 6 A View of Scheveling 26 5 W. I^. Ilewett, Esq. A River Scene 26 5 38 17 A View of Amsterdam . , . . . . 43 1 81 THE WORKS OF PAINTERS. GEE 1821. A Land Storm £11 o A Landscape, with larsje Figures . . . . 15 15 1822. Marquis of Bitfe. A Pair of circular Pictures of Loading a Market Cart, and a River View 1823. George Watson Taylor, Esq., M.P. A River Scene A Lan(lscai)e. showing the Windings of the E/iver Sclieldt Lord de Dunstanville. A River View . 1824. 1825. A River Scene, with Buildings and Figures 1827. F. II. Standish, Esq. A River Scene 16 16 8 18 6 45 3 11 9 9 6 6 28 7 6 8 16 16 5 6 31 10 The Shore of Scheveling A River Scene, with Boats and Figures 1828. Boats going out of Harbour 1829. Richard Blortimer, Esq. A Pair of small circular Landscapes, with Fi- gures ; from the Bute Collection A Marine View, with many Vessels, and the Town of Haerlem in the Distance . 1S:V2. George Watson Taylor, Esq., 3I.P. A River Scene 23 2 Sir George Diickett. A River Scene, with Boats and Figures 1833. A Landscape, with Boats and Figures . 1836. A Post-waggon and Figures near a Cottage Henry John Hinchcliffe, Esq. A Dutch River Scene, with Fishermen and Boats 10 15 7 7 17 6 6 10 9 9 12 1 6 15 4 6 8 15 25 4 A View of a Chateau and a on the Bank of a River, with Figures in a Boat .... A Landscape, with a Barn and Fi^^ures 1838. William Esdaile, Esq. A River Scene, with Men in the Foreground drawing a Net 1840. William Hastings, Esq. A River View 1841. Lady Stuart. Dutch Fishing-boats on a River .... 1842. Dutch Boats on a River 29 8 1848. William Wells, Esq. A View of Scheveling 7 7 i A small Landscape, with a Town in the Distance, and Figures on a Road 15 15 1856. Samuel Rogers, Esq. A Dutch River Scene, with Figures in a Boat . 113 6 Ditto, with Boats moored near a Gateway . . 11 11 1859. Hon. Edmund Phipps. A View of Haerlem 27 6 8 1801. Charles Scarishrick, Esq. Jl River Scene, with a lolty Tower and other Buildings 17 17 A Dutcii River Scene, with Cottages among Trees, and Figures in a Boat .... 9 19 6 Although most of Van Goyen's pictures are of little monetary value, yet connoisseurs generally like tliem for their truthfulness to nature, and admire tlie free niid ' nsy pencilling which characterises them. We are imi, lihd i-, Van Guyen for introducing a far more aa:ree;il)l(' stvie of colouring than \v(; find in the Dutch lainlscape-p.-uiiters who preceded him. His favourite sul>icers were river views, enlivened with fislnn'r-lionts and i/( ;i;-ii,v.|,,,ats ; on the banks he oflen iuti-<)(iuecil j-i'markal)! v !)icturesf|ue churches and cottaL-es. 'I'iiri-e is ;i iVeshness' about iiis pictures which is truly chanuiug, especially when lie intro- duced a good deal of blue in the sky, and finished the trees carefully ; for the trees are sometimes the weakest part of h.is pictures. At one time he indulged a fancy for painting the foliage of a li^',lit-brown colour, expressing the leaves with small roun in I 15 15 1821. A View in the Adriatic . Ditto of the Rialto, and other Buildings Venice 1828. EarlofCarysfort. APairofsmallViewsof St. Mark's Place . . 14 1830. A Pair of Views in Venice 34 1;? 1836. A View of St. Mark's, Venice 10 10 Ditto of San Giorgio 10 10 1842. A Ruined Archway, with Figures .... 15 15 A View of San Giorgio Maggiore, at Venice . . 49 7 1848. William Wells, Esq. The Clmrch of San Giorgio Maggiore, at Venice 37 16 TheDogana; the companion . . . . 32 11 1861. Charles Scarishrick, Esq. View of San Giorgio Maggiore, at Venice . . 52 10 1865. John Winstanley, Esq. A Pair of small Coast Scenes 22 1 Spaniels and Ducks 1836. 9 2 The works of this painter vary considerably in merit. His early productions are, for the most part, very poor things, his weakness being very apparent when he attempted to paint live dogs engaged in the chase; sometimes, in their eagerness to seize the deer or fox, or whatever the animal may be, their bodies are extended beyond all natural pro- I portions, as though they were elastic, like things made of india-rubber. GryefT, like Abraham Hondius, preferred ' painting his subjects on a small scale ; and in his early pic- ' tures the colouring is generally better than the drawing. ! His later works display considerable improvement, both as I regards composition aiid the quality of the execution. His I pictures of this period are usually landscapes, in which he I introduced sportsmen and other figures, with their doL's, I whilst lying on the ground are a number of dead birds, with implements of the chase. The figures in these pictures are prettily painted, and the birds and dogs are pencilled almost j as cleverly as Gheysels'. GUARDI, Francesco. Born at Venice in 1712; died in 1793. Pupil of Canaletto. Venetian School. Sale in 1801. Earl of Beshorough. A View on the Grand Lake at Venice . . . £15 4 6 A View on the Grand Canal at Venice . Right Hon. Sir William Hamilton. Two small Landscapes, with Architecture . A View in Venice 1802. 5 15 6 3 3 7 17 6 — Bryant, Esq. San Giorgio Maggiore, with Boats and Figures . 10 10 Although a pupil of Canaletto, Guanli's style of painting is very original. He was a very lively and spirited painter, and the almost countless figures and gondolas which he in- troduced in some of his views of the Venetian canals are wonderfully full of life and motion. His figures are cha- racterised by a remarkably ragged touch, whilst about their outlines and those of the boats are sharp strokes and dots of very light colour, which give to his pictures a strange spai-k- ling effect. Like Marieschi, he was particularly fond of re- presenting powerful effects of ' light and shade ; ' thus some of the buildings in his pictures are brilliantly lit up by the sun. We also observe a certain degree of raggedness or coarseness in the pencilling of the buildings; and it should be particularly noticed that they are never ruled out in the careful manner of Canaletto. Many of his pictures would be finer if the skies were lighter and more natural in colour, but he seems to have rejoiced in sombre tints, both fm- the water and the sky ; his greys and blues are often far too dark or too green to be agreeable. GUDIN. Sale in 1863. A View of Marseilles, with Boats near a Buoy . £17 17 A Coast Scene, with Boats and Figures . . 14 14 GUERARDO (or GARRARD), Mark. Born at Bruges about the year 1530 ; died ni 1598. Flemish School. Sale in 1841. 3farquis of Camden, K.G. Portrait of a Lady £14 14 Mark Garrard's portraits remind us of Zucchcro's ; only the drawing is generally weaker and less correct than Zucchero's; and there are other points of distinction wiiic^n practice assists one in discovering. His name is often dif- ferently spelt, and there are portraits ascrilied to him \\ liich are very difl'erently pencilled. The authors of most of the portraits of the time of Zucchero and Mark Gimvird are very difficult to distinguish witii accuracy. Some ni;iy n ni'i i k that there is frequently an iiiequniity in the paint uig of the jewels and accoNSorics of the poitrails ascrilx'd lo Mark Garrard: whilst in some cases llicy :ii'<' (luitc as bcaiil il'nlly finished as they are in the works of Ziiccnrio and iloli)cin, in other examples the pearls and odicr ornaincnis are poorly and thinly painted. In (•xi)lana1 i(ni of this, wo aro told that tiiere were several artists who spent their time in assisiing the fashionable portrait-pninters of that day by covering tin; dresses and coats of the. noble sitters witii countless pearls and elaborate ornaments in astonishing variety. If there were many artists who obtained employ- ment in this way, it will account for (jur noticing so inneh diflerence in the ' quality ' of tin; paint ing of the dresses and jewels. Few artists at thepres' nt day would care to con- fine themselves to the workmanship ol j; weilery-painting or clal;)orately ornamenting the works ofoi ncr i)ainters ; hut the costly fasiiion of the reign of lliizaliet :i doiilttless uave em- ployment to many artists who could not have olitaiiicd it in any other way. it was Roger Aschain who said tliat 'men onuht to go a'nout matters which they should do and be fit foi-, and not sucli things which wilfully they desire, and yet be unlit for.' Whether the mechanical [(ainters who as- sisted Zucchero, Mark Garrard, and otiier emnient itainbers of that early period were unfit to labour in tlie higher walks of art we cannot judge ; and it is only fair to their memory and to their abilities to acknowledge that what M 2 G U E CRITICAL AND COMMERCIAL DICTIONARY OF tlipy did do they did remarkably well. There is somethiiif? about the neat semi-niiniature-like finish of the portraits of this period which seems to demand a profusen ess of orna- ment in the drapery, in order to carry out tlie general idea of the subject, and to preserve the harmony of the whole ; consequently, the more delicate the finishing of the dresses, the greater the relief given to the pearls and jewels, the sharper, the more embossed and metallic the metalwork, the more highly do we value the portraits of this early period, GUERCINO. See Giovanni Peancesco Baebieri. GUEST, Thomas Douglas. Flourished in the early part of the present century. English School. Sale in 1803. A Study ; after Correggio £15 15 1816. Henry Hope, Esq. Mauricius refusing to swear on the Altar of the Heathens 20 10 6 There is no account of this painter in Bi-yan's Dictionary, but his name occurs in Sandby's ' History of the Royal Aca- demy ' as one of the recipients of the Academy's gold medal in 1805, for his picture of ' The Bearing of the dead Body of Patroclus to the Camp.' His name is also mentioned in Mr. Tliomas Smith's ' History of the British Institution.' His works are not frequently met with ; in the vestry-room of the old parish church in Salisbury there is, or there was UTitil lately, the remains of an altar-piece by this painter. GUIDI, Tommaso, called Masaccio (or Tommaso di San Giovanni). Born in 1402 ; died in 1443. Pupil of Masolino da Panicale. Tuscan School. Sale in 1804. A small Triptych Altar-piece of Figures of Saints £30 9 Considering the early period in which Masaccio worked, he appears to have been a master of considerable power. The life-sized heads in his frescoes, and the small heads in cabinet pictures ascribed to him, are very inteUigent and dignified ; they vary remarkably in character, and appear to have been i)ainted after considerable thought and study. The features in cabinet pictures ascribed to him are gene- rally slightly outlined, or else so firmly pencilled as to have that appearance. His colouring is quiet and simple, and is very different from the rich colouring of the early Venetian painters. The works of Fra Filippo Lippi, Pesello, and Sandro Botticelli may be conveniently studied and com- pared with the works of Masaccio. Sandro Botticelli in- troduced gold into his pictures, but more sparingly than tlie painters who preceded him ; it is possible that he some- times painted over a gold ground, which may account for the singular brightness of his pictures. He painted several pictures of the Holy Family, and of the Virgin with the Bambino ; they vary in ' quality ' and value ; there are a still- ness and a golden tone over the landscape backgrounds of his pictures which are very charming. Like most of the )iainters of his time, Sandro Botticelli's style is very severe. His Jladonnas appear grave and melancholy; they are usually represented with light hair, the features are very firmly drawn, and we can sometimes trace round them the indentations of the stylus or tracing tool ; but we notice these scratches or lines more particularly in the folds of the drapery. His female figures are usually painted in di'esses with very tight sleeves. For that period, we may speak of him as a fine drapery-painter. His best drawing may be seen in some of his profiles. In works ascribed to Pesello, or Peselli Pesello, we notice that the drawing is fine and vigorous for the period ; in fact, this firmness of drawing is much to be commended in the painters we are considering. Like Botticelli, he introduced gold judiciously or sparingly, perhaps only in the nimbi. The expressions of the heads are fine and Masaccio-like in character-, the contours are graceful, although the outlines or drawing lines are rather conspicuous. His draperies are agreeably and brilliantly coloured. Andrea del Castagno was a contemporary of Masaccio, and, like the latter, may be regarded as one of the fine head-painters of the early Tuscan School. Raffaellino del Garbo was an early Tuscan painter, and a pupil of Filippino Lippi. We occasionally meet with pictures at- tributed to him which are more agreeable and refined than Botticelli's sacred subjects. Filippino Lippi's profiles may be compared to the elegant although conventional profiles of Pietro della Francesca; and Lippi painted the hair with sharp wiry strokes in the manner of his master Sandro Botticelli. Filippino, we are told, was the natural son of Fra Filippo Lippi. The former was a great admirer and copyist of the works of Masaccio. \\\ connection with the Tuscan painters of this period, the reader should examine the works of Cosimo Rosselli, who is generally represented in national picture galleries. GUIDO, Reni. See Rent. GUTTENBRUNN, L. Born at Dresden. Flourished about j the latter part of the eighteenth century. German School. Sale in 1816. Henry Hope, Esq. The Sleeping Venus £15 15 1819. Matheio 3Iitcliell, Esq. A Neapolitan Female at a Window . . . 4 13 GUZZARDI, Leonaedus. See Aethue Devis, sen. GYSELLS (or GHEYSELS), Petee. Born at Antwerp in 1636 ; was living in 1687. Flemish School. Sale in 1819. Dead Game and small Birds, in a Landscape . £40 19 1830. Females drawing Water at a Fountain, in a woody Landscape 9 5 i 1861. Charles Scarishrick, Esq. A Dead Hare, suspended to a Tree, watched by a Spaniel ; a Gun and small Birds lying on the Ground 75 12 It is not unlikely that there were two painters of the name of Peter Gheysels, the above dates referring to the animal- painter, who was a son of a Peter Gheysels, the pupil of John Brueghel. In regard to the younger Peter Gheysels, his most interesting works are his small pictures of dogs and dead game. His subjects are usually rejtresented on terraces and in gardens, the trees and landscape part being elabo- , rately finished. In the foregrounds of his pictures he would \ paint little mounds covered with moss and other plants, and would introduce about the same numerous flies and insects, which are worked up in the manner of Nicolas de Vree. Many of Gheysels' pictures are so beautiful, so per- fect of their kind, that we feel inclined to examine them with a microscope. The fairs and views on the Rhine attri- buted to the elder Gheysels are interesting works of their ' class. He introduced in them an immense number of ; figures, and. compared with Brueghel's, his works exhibit rather an advanced style of painting. H HAANSBERGEN, John Van. See Poelembfeg. HACKAERT, Jan. Born at Amsterdam in 1635. Dutch School. Sale in 1802. Mountainous Landscape, with Figures by Vande Velde £30 19 1821. A Landscape, with Cattle and Figures fording a Stream ; the cattle and figures by A. Vande Velde 100 16 1822. Marquis of Bute. Landscape, with Mountainous Scenery and Figures 87 16 1824. Ralph Bernal, Esq. A Landscape, with Figures . . . . . 36 15 1827. F. H. Standish, Esq. Landscape, with Ruins of a Bridge and a Group of Figures 27 6 1830. The Retreat ; figures by A. Vande Velde . . £252 1836. Sir Charles Bagot, G.C B. A View in a Wood, at the Hague ; with Figures returning from Hawking by A. Vande Velde . 200 11 1861. Charles Scarisbrick, Esq. A Landscape, with a Cavalier on a White Horse, and other Figures 77 14 An Italian Landscape, with Cavaliers and Ladies on Horseback 81 18 A Landscape, with a Cavalier on a White Horse, followed by Attendants with Dogs; Moun- tainous Background 56 14 The works of this charming painter may be generally re- cognised by his fondness for painting avenues of tall trees, or lakes richly wooded on every side. Most of his scenes are represented under the effect of sunshhie, in the manner of Both : the way in which the sun is seen shining between the trees and playing on the ground is very wonderful ; in this forte he was not surpassed by any of the Dutch or Flemish painters, Hackaert usually painted with less body of 85 THE WORKS OF PAINTEKS. HAL colour than Both, but his trees are highly and beautifully finished— finished, perliaps, more in the manner of De Heusch than of Eoth. His finest worlds are adorned witli fiijures and animals by the exquisite pencil of Adrian Vaiide Velde, and are generally figures of sportsmen with their horses and dogs : at other times he introduced large parties of ladies and gentlemen returning from hawlviiig. HACKEN, Van. Sale in 1802. A Music Party £2 2 HACKERT, James Philip. Born at Prentzlau in 1737; died at Florence in 1807- Pupil of N. B. le Sueur. German School. Sale in 1801. Right Hon. Sir William Hamilton. A View of the English Garden at Caserta, with Part of l.he Royal Palace and Mount Vesuvius ; a drawing Ditto, the companion ; ditto Two Drawings from the English Garden at Ca- serta Three Drawings in Water-colour of Scenes about Mount Vesuvius £32 11 31 10 3 4 14 G A Boy's Head Higlit Hon. Sir William Hamilton. A Portrait 1813. John Willett Willett, Esq. .V Portrait of a Lady in a Rutf .... 1819. John Knight, Esq. A Humoruus Scene 1821. A Lady and Gentleman Singing and accompany- ing themselves on Guitars 1823. George Watson Taylor, Esq., M.P. A Girl in a Chair, with a Kitten in her Lap, and another Girl kneeling before it ; from the col- lection of Greffier Fagel, Esq A Girl seated in a Chair, playing at Cards, and a Boy on the Ground before her Rev. Edward Balme. A Laughing Boy, and companion picture . 1830. A Miser 1831. Hoyi. Mr. Vernon. A Man's Portrait, in a Ruff and Black Dress 1832. George Watson Taylor, Esq., ilf.P. Hackert painted in oil as well as in water-colours, and his best works in oil, his views about Florence and other parts of Italy, are curiously and beautifully finished. At the same time we must admit that it is a kind of finish not much ap- preciated at the present day. His pale azure skies are nearly as smooth as ivory ; the buildings and figures are marked in with singular sharpness and precision, and brightly co- loured ; the trees are most brilliantly coloured, and the ^ _ . ^. leafage expressed in segregated touches. The foregrounds ! A Portrait Group of Van Goyen and his Family of his pictures are particularly curious, being covered with numerous plants, flowers, leaves, and pebbles, which are finished in a most laborious manner, and are remarkably well done ; only work of this kind must necessarily weaken 01- destroy the breadth of a landscaiie. Hackert possibly V)orrowed the idea from the foregrounds of some of Claude's ])ictures ; only Claude put so much tone over the details of his foregrounds, and Hackert did not. £7 17 6 7 17 6 11 11 43 1 10 10 36 15 37 16 14 14 5 5 11 11 50 8 of HAERLEM, Coknelitjs Van. See Haelem. HAGEN, Jan Van. Born at the Hague in 1635; died in 1G79. Dutch School. Sale in 1822. Marquis of Bute. A woody Landscape, with Sportsmen and Dogs £11 11 A woody Landscape, with Figures reposing . 69 6 1828. Portrait of a Lady in a Pastoral Character, in a Landscape, with Cattle 2 2 i8ri4. Viscoiodess Hampden. Land-cape, with Figures passing through a Wood 13 1836. Sir Charles Bagot, G.C.B. Portrait of the Burgomaster Guldewagens Haerlem Ditto of M. de Waal, of Utrecht . . . . Ditto of Van Goyen, the Painti-r, and his Family IG 16 13 13 31 It) His Own Portrait Portrait of a Man 1839. 6 6 fniliam Hastings, Esq. A Dutch Lady . A Card Party . 1840. 4 10 6 G 1859. Hon. Edmund Phipps. Portrait of Frank Hals, with a Pig 7 2 6 Hals's vigorously painted heads are general favourites with collectors ; and we feel that there is talent shown in them, however slightly they may be painted. It may be observed tiiat he was peculiarly wedded to laughing faces, and could rarely paint a head without indulging the whim of represent- ing the model laughing or grinning. As he did this kind of thing very well, we scarcely object to it in his fancy heads ; on the contrary, it is a species of humour characteristic of the painter, and which we rather look for in his fancy pic- I tures. ■ But it may be questioned whether we require the ' grinning or laughing expressions so frequently repeated in his I portrait pictures; the effect is unnatural, and, consequently, The works of Van Hagen are analogous to the works of j gives an air of mannerism or vulgarity to some of iiis works. De Vries, Waterloo, and other painters of the same class. 1 Francis Hals painted with a great deal of iuipasto, and his In his compositions he was particularly fond of introducing I flesh tints are rather the reverse of ruddy. Many of his a river, the clear water of which reflects the richly coloured pictures are painted with comparatively few colours, parti- 1861. Charles Scarishrick. Esq. A woody Scene, with Cavaliers on Horseback . A woody Landscape, with Peasants on a Road . A Landscape; a Cascade falling among Rocks; a Cavalier and Peasants on a Road . 16 16 4 14 42 trees which are on the banks ; thus we have nice broad effects of light and shade in his landscapes. His road scenes are also very prettily painted, and are enlivened with a variety of picturesque figures, laden asses, and other ob- jects. HAINE. Sale in ]809. Sir George Pauncefote, Hurt. Portrait of Sir G. Smith, in Armour . . . £4 14 6 Ditto of King Charles 1 4 14 6 HAKKERT. See Hackaeet and Hackert. HALL. Born in Sweden; flourished in the latter part of the eighteenth century. Sale in 1829. John Webb, Esq. A Miniature of Dr. Henckerman . . . . £0 15 There were several examples of this painter in the collec- tion of miniatures exhibited at the South Kensington Mu- seum in 1865. HALS (or HALLS), Francis. Born at Mechlin in 1584 ; died in 1666. Pupil of Karel Van Mander. Flemish School. Sale in 1801. Earl of Besborouqh. A Lady's Portrait £12 16 cularly his small full-lengths, which are coloured with little more than brown and a yellowish white ; but in some of his larger works he dashed in a good deal of bright colour, par- ticularly vermilion, which gives considerable eflect and spirit to his otherwise rather sallow-coloured portraits. His carefully finished portraits are often painted in black dresses and large white ruils, in the maiuuT of Vander I llelst. Peter Roestraeten was one of FVancis Hals's piiijils. I He painted portraits, but is better known as a i)aintrr of I works of virlti and curiosities, or of still life. His )»ie.tures j are neatly drawn, only some of them aj)p(;artoo smootii .and Hat, or perhaps they are too dark to he agreeable. Veenen- I dael's quietly coloured portraits, with tlie large rufis worn i by Dutch people in the seventeenth century, class very well I with Hals's portraits. Theodorus Baburen was a painter of I fancy figures, such as men playing musical instruments, &c. I There is a great deal of force or clfect in his piciunis, and liis fondness for representing laughing faces reminds us of I Frank Hals. I HALS, Dirk (or Theodore). B )rn at Mechlin in 1589; died in 1656. Pupil of Abraham Bloe.uaert. Flemish School. Sale in 1802. A Music Party £18 18 We are told in the dictionaries that this artist, who was the brother of Frank Hals, chiefly confined himself to painting drolls and merry-makings. HAM CRITICAL AND COMMERCIAL DICTIONARY OF 86 HAMILTON. Gavin. Died in 1797. English School. Sale in 1801. Right Hon. Sir TV. Hamilton. The Genii of Poetry and Painting; two half- length fignres ; a drawing £14 14 A Sleeping Venus and Cupid 27 6 1816. Henry Hope, Esq, The Death of Lucretia . . . . . . 16 16 1819. Earl of Upper Ossory. Cupid tying the Girdle of Venus . . . . 19 8 6 Independently of his large works and his classical pictures, Gavin Hamilton sometimes painted cabinet pictures ; for instance, interiors of rooms, with small portraits, in the manner of Hogarth. Although brown, and sombre in colour, yet there is a great deal of humour and character in the heads. William Cochran, the Scotch painter, was one of Gavin Hamilton's pupils. HAMILTON, William, R.A. Born in London in 1751; died in 1801. Pupil of A. Zucchi. English School. Sale in 1802. W. Beckford, Esq., of Fonthill. Moses receiving the Tables £38 17 Moses displaying the Brazen Serpent . . . 38 17 1813. — Clay, Esq. A Sacrifice 3 8 Charles Griffier, Esq. Scene from Richard II 14 14 1822. Three Drawings in Colour, including Bacchus and Ariadne, and Children at Play . . . 2 .5 1834. Viscountess Hampden. A Subject from Roman History .... 240 1836. Hop-picking 3 3 Haymaking 2 6 Apple-gathering 3 16 Hoeing 2 17 1839. Celadon and Amelia 2 8 1862. Thomas E. Flint, Esq. The Seasons crowning a Bust of Thomson ; a drawing ......... 2 12 6 William Hamilton is remembered as a popular designer of illustrations for books ; and, like many of the early Eiiglish painters, sometimes painted religious and historical subjects on a grand scale. Occasionally he })ainted scenes from the book of Ruth, or landscapes with pastoral figures, in a very decorative style. They are prettily coloured, and have a light cheerful appearance when arranged with pictures of a similar class. His small pictures of rural scenes, however, are more interesting than the class just alluded to ; the figures in them are nicely arrangets to great advantage. Now, it may be remarked that a simi)le secret of this kind ought not to serve an artist throughout his career; a painter must have something more to depend upon than black dresses, white collars, and quiet backgrounds in order to give power to his pictures, and to make them look well. This is perfectly true ; and all who know the works of Vamier Heist will admit that they claim our admiration independently of the costume which adds so much to their pleasing effect. As already remarked, there is a dignity about^'ander Heist's portraits; he varied the characters and expressions of them to a great extent, and the ( yes are generally beauti- fully painted; the face-shadows are rarely dark or h' avy, and he managed the long hair, which was so much worn at that time, remarkably well. Although he sometimes painted smihiig faces, a little in the manner of Frank Hals, yet he was happier in his heads of grave burgomasters. His flesh tints are usually put in with a great deal of impasto, and there is a warmth (.r glow about the colour of them which reminds us of Old Cuyp. As a concluding comparison, it may be remarked that what Houbraken was in engraving, "Vander Heist was in painting. We occasionally meet with neatly finished and warmly coloured portraits by a painter of tlie name of Vylert, which remind us a little of Vander Heist ; and the heads in Geraert ter Burch's assemblies of Dutch dignitaries also remind us of Vander Heist. HEMLTNG (HEMMELINCK, or MEM LING), John (or Hans). Born at Damme, near Bruges, about 145(» ; was living in 1499. Pupil of Roger of Bruges, and student in the School of Van Eyck. i'lemish School. Sale in 1830. Sir Thomas Lawrence, P.R.A. The Death of thy Virgin £71 11 1836. General Viscomfe d'Armaynao. ' La Cha})elle de Charles-Quint.' In the centre, the Dtnid Christ, supported by the Virgin, with St. .John and St. Joseph. On the side doors ai e CIn-ist appearing to Mary, and the Virgin with the Infant. ('This picture constantly accompanied Charles V. in his campaigns, and was placed on the altar at Mass. It was found in the cathedral at Burgos, by Viscount d'Ar- magnac, on the entry of the French army into that city in 1809.') £325 10 M. 3[. Zachary, Esq. The Death of the Virgin; from Sir Thomas Lawrence's collection 81 1856. Samuel Rogers, Esq. An Abbess presenting a Nun, who is kneeling in Prayer before her 178 10 Portrait of an Artist, in a Crimson Dress and Black Cap ; from Mr. Ader's collection . . 90 6 Two small Portraits of a Lady and Gentleman . 23 10 Memling is well remembered as a successful imitator and preserver of Van Eyck's style. Little is known of his im- portant works in this country, but we occasionally meet with single figures and portions of triptychs which appear to be by his hand. His compositions are rather cramped and unpleasant, but the contours of his female figures are gene- rally elegant. His small pictures of the Virgin with the Bambino, and of single figures, are finished in an extremely delicate and pleasing manner ; nevertheless, his sacred figures are purely Flemish in character. He pencilled the features very neatly, and the colouring of the flesh tints is fresh, and simple in tone ; i.e., is rather void of richness or of glaze. The landscape backgrounds and buildings are finished in the prominent and elal)orate manner of Albert Durer, the colouring being peculiarly briglit and metallic. HEMSKERK, Maetin van Veen. See Martin van Veen. HEMSKERK, Egbert. Born at Haerlem about the year 1510. Dutch School. Sale in 1802. A Sick Man £0 15 Gny Head, Esq, A Conversation 3 18 Boors Regaling 3 16 6 1803. Robert Graves, Esq. The Temptation of St. Anthony .... 9196 A Quakers' Meeting-house 12 1809. A Group of Humorous Figures .... 13 13 1813. A Quakers' Meeting 16 Monks at their Devotions 17 Boors Quarrelling 6 10 The Procession to Calvary 5 5 John Willett Willett, Esq. An Interior, with a Man dying and surrounded by his Friends 3 3 1819. Matheiv 3TitcheU, Esq. A Pair; a Man eating Porridge, and a Ballad- singer 260 A Political Allegory 12 1 6 1829. Samuel Tansley, Esq. The Temptation of St. Anthony .... 550 1841. Lady Stuart. A Peasant confessing to a Monk .... 350 1861. Charles Scarisbrick, Esq. A small Pair of Interiors, with Peasants . . 5 Egbert Hemskerk the eld(>r used to imitate Bega and the other painters of that school. There is considerable merit in liis works, although some writers speak contciiiptiioiisly of them. True, they are often very dark; yet when we examine them closely we are generally pleased with the drawing and spirit of the figures ; and, like Bega and Dusart, lie was fond of introducing a great deal of red in the faces. Egbert Hemskerk the younger used to paint similar subjects to his fatli(>r, and ou coming to England was patronised by Lord Ilocliester. Whether his lord- ship ever invited Hemskerk to jjaint him in any of tiie humorous characters, such as ' Tlu; ]\Iountebank,' ' The Por- ter,' or 'The Beggar,' whicli we are told he personated at N HEN CRITICAL AKD COMMERCIAL DICTIONARY OP 90 difforoiit times with soinnch success, tlie writer knows not. If Egbert Heniskerk the yoiinprer was patronised by Lord Rochester, Brvaii and Scarsfield Taylor, both of whom pos- sibly take their information from Wulpole. are wron^ in saj ing- that lie came toEnM;land in the reijiii of William III.; for. if so, he could not have been patronised in England by Lord Rochester the wit, because he died nine years before Kinff William was crowned. As already remarked, many of the ijictures of Egbert the younger are similar to his father's, and the ' Quakers' Meetings,' which are so well known, are usually ascribed to this painter. Although re- markably sombre in colour, many of these pictures are capital examples of the style of painting followed by the family. Walpole mentions, and the writer thinks correctly, a third Hemskerk, who was probably a son of the second Egbert; he painted in the style of his father, and it is not un- common to meet with pictures sufficiently like the father to be called Hemskerk, but, at the same time, very inferior to the painting of the 'Quakers' Meetings,' or to the spirited boisterous brawls and other subjects which are painted by the first Hemskerk. The works of the grandson, wiiose talent, such as he possessed, seemed perpetually centred in taprooms, may not be entirely without interest to persons curious in collecting local pictures of the habits and dress of the working-classes about a hundred and forty years ago ; those who do so may also find in this man's pictures truth- ful representations of the old-fashioned beer and spirit shops, ' mug-house' clubs, and similar retreats of political interest of the day. Daniel Boon, a Dutch painter, came to England about tlie same time as Egbert Hemskerk the elder. He was a painter of some merit, and was fond of representing hideous and humorous faces. He worked vip the accessories of his subjects very nicely, and would sometimes introduce a landscape or open background in his pictures. Another painter whose subjects class very well with the elder Hemskerk's was Peter Quast, but the pencilling of the two painters is dissimilar, and the models they selected are of different types. Quast was fond of painting ugly faces, but he usually represented large- featured clumsy people ; whilst Hemskerk generally painted small-featured, wrinkled faces. Quast's pencilling, as seen in the draperies and other parts, is in long wiry strokes or touches, and his colouring is rather bright and silvery. HENDRTKS (or HENDRICKS), Wtbrand. Born at Amsterdam in 1744 ; died in 18;30. Dutch School. Sale in 1828. B. Home Gordon, Esq. Dead Game £9 HENN, A. D. See Van Bloemen. HERMANN. Sale in 1803. A Landscape £9 HERP, C. V. See Tenieks. HERWEEGEN. Sale in 1801. Earl of Besborough. Inside of a Church, with Figures . . . . £7 17 6 HEUSCH, William de. Born at Utrecht in 1638 ; died in 1702. Pupil of Jan Both. Dutch School. Sale in 1706. Jacob More, Esq., and Muns. Liss. A "View in the Alps £21 8 1802. Paul d'Algremont, Esq. A Landscaije, with Figures by Stoop . . . 10 10 Bulce of Bridgeioater, &c. A Landscape and Figures 40 19 — Nesbitt, Esq. A Landscape, with Figures and Cattle . . CI 19 1803. Walsh Porter, Esq. View of the Lake of Geneva 51 9 1822. Marquis of Bute. A River Scene, with Fishermen and other Fi- gures 42 Ditto, the companion 43 9 1829. Earl of Liverpool. A Mountainous Landscape, with Peasants and Cattle 37 16 A Landscape, with Figures by A. Vande Velde . 72 9 1836. A Landscape 19 18 6 1839. William Mellish, Esq. A Landscape, with Ruins and Figures . . 13 2 6 1840. William Hastings, Esq. A Pair of small Landscapes, with Figures by Poelemburg £28 7 1841. Marquis of Camden, K.G. A Landscape, with a Bridge, and a Group of Cattle and Figures in the foreground . . 20 9 6 1861. Charles ScarisbricTc, Esq. A classical Landscape, with Nymphs bathing, by Poelemburg; from the collection of Mr. Cankrien 40 19 An Italian Landscape, with Italians driving Cattle and Sheep on a Road . . . . 74 11 An Italian Landscape, with Bandits attacking a Post-waggon by Lingelbach .... m 6 A woody Landscape, with Peasants keeping Cows and Sheep on the Bank of a Stream . 21 1803. Robert Craig, Esq. A Pair of small River Scenes, with Figures . 30 9 This excellent landscape-painter was one of the most suc- cessful scholars of John Both ; in fad, his compositions are not inferior to Both's ; however, the works of the latter may be distinguished by greater breadth and lightness of pen- cilling. In the works of the former we find a greater variety of tints. 111 the foliage of his high and elegant trees, and in the foreground manipulation. Then, in regard to the figures, although De Heusch obtained the assistance of other painters, yet more frequently the figures are inserted by his own hand ; and it will be seen that they are very different from the figures which Andrew Both painted for his brother. De Heusch's figures are usually small, and are neatly pencilled and richly coloured, more in the manner of Adrian Vande Velde. As already remarked, De Heusch's scenery is very charming, and his pictures are often com- posed in this way : in the centre he would introduce an Italian river winding between lofty masses of mountain scenery, the distant hills sjjarkling with brilliant touches of Naples yellow and ultramarine; at the foot of these hills may be seen some of those small round towers which Both was so fond of painting ; there are also ruins of bridges, and other picturesque objects. In his views of mountain passes there IS generally a bridge near the foreground, over which are passing Italian peasants with their heavily laden mules ; the mules have generally long food-bags attached to their noses. The foregrounds are again enriched with figures, horses, and cattle, and the high trees are painted with rich brown and yellow tints, the foliage exhibiting a greater variety of tints than we see in Both's trees. Such is a description of De Heusch's sunny Both-like pictures; but there are also landscapes by him which are composed or arranged very ditterently, and are of a more local or Dutch character, being probably painted either before or after his visit to Italy. These exam|)les represent sandy banks and woody scenery; in the distant fields are old churches, wind- mills, &('.; Ill the foreground are figures having the api)ear- ance of Dutchmen on the tramp, with their knapsacks on their backs ; there are also figures driving sheep, and other groups. According to the dictionaries, De Heusch had a brother, named Abi-aham, who was a painter of plants, reptiles, and insects. HEYDEN (or HEYDE), John Vander. Born at Gorcum m 1637; died in 1712. Dutch School. Sale in 1796. Jacob IFore, Esq., and Motis. Liss. View of a Village in Holland, with Figures by A. Vande Velde £07 4 1801. Earl of Besborough. View of the Castle of Lazensuberg . . . 46 4 A View in Hohand 47 5 1802. W. Beckford, Esq., ofFonthill. A small Landscape, with Boys Bathing . . 26 5 View of a Town in Holland, with Figures by A. Vande Velde 72 9 View of a Town in Holland ...'.* .' 56 14 Countess of Holde mess. View of a Town in Holland, with Figures by A. ^ ande Velde 64 1 View of a Village in the North of Holland, 'witli Figures by A. Vande Velde 65 2 A View in Holland, with Figures by A. Vande ^el^e .... . . . . 40 19 Duke of Bridgeivater, &c. A small Picture of Buildings 15 15 The Gate of Utrecht, with Figures by A. Vande VeWe .... . . . . . 157 10 Sir Simon Clarke, Bart., and George Hibbert, Esq. Buildings, with Figures by A. Vande Velde : from M. de Calomie's collection . . . . 74 11 91 THE WOKXS / 1807. Edward Coxe, Esq. View of a Town in Flanders, with Fignres by A. Vande Velde ; from the Holderness Collection [£60 3 1815. W. Comyns, Esq. Gate and Entrance into a City in Germany, with Figures by A. Vande Veldc 35 14 1821. A View in Holland M 12 1824. William Clay, Esq. Buildings and Trees, on the Bank of a Canal in Holland 50 8 1827. View of a Moat and Fortification . . . . 23 2 John Dent, Esq. View of a Town in Holland, with Figures by A. Vaiide Velde ; from the Holderness Collection 63 1829. Thomas Emmerson, Esq. A View in Amsterdam, with Figures by A. Vande Velde ; from the collection of AValsh Porter, Esq . 74 11 View of the Old Park at Brussels, with Figures by A. Vande Velde 70 7 18:56. Sir Charles Baiyot. G.C.B. A View of a Town in Holiaml, with the Proces- sion of the Host by A. Vande Velde ; from the Holderness Collection 210 Sir James Stuart, Bart. View of a Dutch Town, with Figures by A. Vande Velde; from the Lockhorst Collection . . Ill 6 1838. William Esdaile, Esq. Ruins of a Gothic Cathedral, with Figures and VVater in the foreground 23 12 6 1839. Prince Poniatowski. A View in Cologne 159 12 1841. Jeremiah TIarman, Esq. A View in Amsterdam, witli i^'igures by A. Vande Velde 162 15 1848. William Wells, Esq. View of a German Town, with Figures by A. Vande Velde 107 2 Count de Morny. View in the Garden of a R-ligious Institution ; Figures by A. Vande Velde . . . . 610 10 View of Westerkeerk and surrounding Build- ■ ings, at Amsterdam ; Figures by A. Vande Velde 966 1861. Charles Scarishrick, Esq. View of a German Town, with numerous Figures by A. Vande Velde 126 1863. View of a Dutch Town, with Figures by A. Vande Velde; from the collection ot the Earl of Shaftesbury 110 5 Vander Heyde is chiefly known as a painter of interiors of towns— a line of art in which he has probal)ly never been surpassed; for, notwithstanding the exquisite finish which he has given to them, and the ' life-labour' which he seems to have bestowed on each picture, yet tlie ' quality ' of the touch is so ' expensive,' so delicions, tiiat such expressions as •mechanical' or 'servile' have no ai)i)liial ion to his works. We hnd in his ])i(!tures tin; picturcstjuc iialtle-roofed houses which are so cliaractcristic of Diilcli towns in the seventeenth century. There are also in his ihcLures singu- lar-looking churches witli high (Jothic windows and narrow spires. A striking feature m tin.' works of N'andiT lle.vd(! is the pencilling or dividing of the brickwork of the liouscs and walls by delicate white lines: so lincly are these inies drawn that, if it were not for the trouble, one might count the bricks in the buildings. \ ery few artists could venture to paint in this way without risk to the vahu; of their work. And it is irue (hat many painters of Diilrh towns have attempted to imitate Vandt r Heyde by covmiig llif icd walls of the houses with coiuillcss lines, to r( iircs.'iil the brickwork ; but how bad most of ih' ir w orks look \vh'-n com- pared with Vander lieyde's ! It is suniil.v liccanse Vander Heyde was such a splendid colourist, iiis knowledge of lij^^ht and shade was so perfect, the rellected lints i»lai, sob( auti- fully about the weath<;r-beaten and uneven siii lares of ins old red brick walls and gateways, that the while lines wliich are intended to represent the mortar entirely lose their OF PAINTERS. HIG mechanical appearance. Vander Heyde's style of touching in the foliage of his trees reminds us of Wynants' best pe- riod of painting— viz., the period when Wouwermans used to put the figures into his pictures— the leafage being ))ut in with rich colour and a great deal of impasto, tlie high lights of the masses being expressed with short three-jjointed touches. The high lights on the steins are also put on with very fat touches of colour, the shadow-tints being of a dark grey or cool colour. The roads in his town views are also worthy of notice, the perspective of the ground lines is always so true and agreeal)le, whilst the stones and inequa- lities of the road are painted with wonderful patience and precision. Vander Heyde's finest pictures are adorned with ligures by Adrian Vande Velde; but Eglon, Vander Neer, and other artists now and then assisted him. The dictionaries tell us that he occasionally i)rnited ])ictures on jjarchtnent by some secret process. The writer has never met with any printed on parchment, but he once had an oi)portunity of carefully examining one of Vander Heyde's printed ])ielures, and it was manufactured in this way: thepicture, or coloured plate, was impressed, not on a sheet of parchment, but on a smooth i)anel prepared for its reception ; over the panel a transparent sheet of gelatine, aboul the thickness of note- paper, was placed, and securely fastened to the jjicture, and oil this coat of gelatine the (inislnng touches were put. Vander Heyde's early works, although not without merit, are very brown and thinly painted; there is also very little blue in the skies to enliven them. It would api)ear that Vander Heyde's fascinating style of paintinii l)uildings and towns was imitated by various artists at ditlerent jieriods; amongst others, we may notice Karssen's views of Dutch towns. Accord- ing to the dictionaries, the painter Bernardo Buontalenti must have been a man of similar taste to Vander Heyde, lor we are told that he was clever as an engineer; he fortilied several places in Tuscany, and built several superb edilices. He invented some hydraulic machines, and was well skilled in mathematics. As a rule, artists have very little time to engage in pursuits which carry them away from their pro- fession, and it is rarely wise to make the attempt ; we are told that Anna Deyster died in poverty, by quitting painting for constructing organs and harpsichords. When noticing Vander Heyde's ^extraordinary patience in working up the brickwork and details of his buildings, we may remark that Houbraken compares Emanuel Murant's views of Dutch towns to them, and speaks very highly of the beautiful way in which he hnished his works; Muraat, however, was a pupil of Philip Wouwermans. HILDER, R. See Reinagle. HIGHMORE, Joseph. Born in London in 1692; died in 1780. English School. Sale in 1829. Sir John Thorold, Bart. A Portrait of Heidigger £4 8 Highmore, like a great many other English artists of his day, occasionally indulged in historical painting, although properly his line of art was half-lengths of ladies. He was exceedingly happy in his i)ortraits of ladies ; there are a re- linement and gusto about tlu ni which remind us of Philip iMercier, who was painting in England aliout the same time. Highmore's male portraits are generally less interesting; the long white vests and ])ale-coloured' coats give to his pictures a flat dull appearance. They class very well with Hudson's portraits, only they have less force. Tiiomas Bardwell, the portrait-i)ainter,'was a contemporary of High- more's, and he was an artist of about the same merit. 11 is portraits of gentlemen are rather highly hnished, but they are finished in a very neat quiet manner. He was not particularly happy in x-epresenting variety of tex- ture, which is so desirable in portrait-i)ainting ; for nothing looks worse than to see every variety of garment haiidl(Ml in the same manner, or repi( seiitc" 2 HIL CRITICAL AND COMMERCIAL DICTIONARY OF 92 sunny backgrounds of his portraits. Bryan alludes to B. riesshier as a painter of sea pieces, landscapes, and fruit. But we meet with portraits which are most likely by the same hand : in pencilling they remind us of Highmore, although painted lonj; before his time. The flesh shadows of his pictures sometimes appear too blue, but we admire his manner of finishing generally, and the delicate painting of the lacework. HILL, Thomas. See Arthuk Devis, sen HILLIARD, Nicholas. See Holbein. HILTON, William, R.A. Born at Lincoln in 1786; died in London in 1839. Pupil of his fatlier. English School. Sale in 1816, Henry Hope. Esq. The Judgment of Solomon £31 10 Lord de Tabley. The Rape of Europa 1827. 315 1863. Elhanan BicJcveU, Esq. The Triumph of Amphitrite 283 10 Hilton is much admired as a painter of grand historical subjects, and the English School is justly proud of his memory. His style or type is a great advance on that of West's or Haydon's. Liiritain,' by artists and amateurs. How this reminds us of a recent exhibition at Christie's of Leech's illustrations to ' Punch,' &c. ! HOGG, J. Sale in 1829. Sir John Thnrold, Hart. Brutus and his Friends near the Body of Vir- ginia £5 HOLBEIN, Hans (or John). Born at Augsburg in 1498; died in 155i. Pupil of his father. German School. Sale in 1801. Ditto of Bishop Gardner .... Earl of Beshorough. A Portrait of Francis I. . £27 6 26 5 Portrait of a Philosopher 1802. 1803. 21 Richard Walker, Esq. A Portrait of Francis, Husband of Mary, Queen of Scots 13 2 6 Marquis of La^isdoione, A Portrait Sir George Yonge, Bart. Head of a Man . 180(5. 4 1813. A Portrait of Thomas Wyndham. ('Thomas Wyndham was drowned on the coast of Guinea in 1552.'— See Hackluyt's ' Voyages.') Bought in at 210 5 1826. Lady Holland. A Portrait of Henry VIII 1827. Bailee of Bedford. A Portrait of Sir Thomas More . 1829. Lord Givydir. A small Portrait of Catherine of Arragon . John Webb, Esq. A Miniature of Erasmus .... 18 7 6 73 10 10 10 1 10 1831. Hon. 3Ir. Vernon. A Portrait of a German Divine, seated at a Table 55 13 John Maitland, Esq. Portrait of a Divine holding a Book and Pen ; from the collection of Lady Holderness . . 27 fi Poatrait of a Nobleman 10 10 U 1832. Sir George Buckett. Portrait of Anne Boleyn ; half-length, dated 15^6 10(3 1 77 10 Sir Francis Norland, Bart. A Portrait of his Sister, seated 1841. Jeremiah Harman, Esq. Portraits of a Lady and Gentleman, in a Land- scape 38 17 Portrait of a Divine 10 1(5 1848. Richard Sanderson, Esq. A Portrait of Sir Brian Tuke . , . . 74 11 1861. Charles Scarisbrick, Esq. The Holy Family ; from a convent at Alost 45 3 1863. Portrait of a Man ; formerly in the collection of Edward Solly, Esq 37 16 For a list of Holbein's religious pictures, portraits, minia- tures, drawings, &c., the reader is referred to Bryan's ' Dic- tionary of Painters.' In accordance with the plan of the present work, a few remarks on his style of painting will suffice. His style, however, is pretty familiar to most collectors; yet a great number are deceived by imita- tions. We naturally associate Holbein's name with Henry VIII. and his times. His manner of representing that king is well known ; yet the mistakes which are made ni ascribnig all the portraits of King Henry to Holbein are quite as frequent as the errors which are made in reference to old copies of portraits by Vandyck. Portraits of about the period and in the style of Vandyck are all by Vandyck ; and, similarly, all the full-faced portraits of King Henry, in the rich dress of the period and painted on panel, are by Holbein ; even when the ' quality ' and texture of the colour show plainly enough that tiiey were painted liltv or seventy years after Holbtnii's death. Holbein's best jiort raits are very fine, and we like them all tin; better when ihe heads are represented not quite in full. His llesh tints aic uai-in and agreeable in colour, and 1h> paid part iciiiar at tent ion to the shadows. There is niiieli delicacy dis;, I, lyed in t lie manage- ment of them ; he contrived to preserv(\ not only in the face-shadows, but throii-liout the shadows of his jiortraits, a nclmess and t ransitareiicy w liicli are ((uite \'en(;tiaii iu' ellect. liolbcin's way ot i»aiuling the shadows is a feature in his works which must never be lost sight of in judging of the originality or quality of portraits attributed to him. There is a kind of Venetian richness or transparency about the shadows of Iloll)ein's portraits w liieli we rarel y'lind iu those which are termed his school picl iires, and ' ju'rhajjs never in the coj)ies which were niaih; of his best portraits fifty or seventy years after his death. The delicate grey ' dfawing-hnes ' which can be traced about the features and hands of his portraits, the same being hatched or cross-lined in parts, may be studied as another guide or mark of ori- ginality. The jewels, accessories, and goldwork of Holbein's portraits should likewise be carefully examined. At a period when fashion gave so mu(;h emi)loyment in this kind of painting it is possible that Holbein, like other early portrait- painters, would sometimes engage artists to assist him iu HOL CRITICAL AND COMMERCIAL DICTIONARY OF 96 this laborious part of his pictures ; still he does not always ap- pear to have done so. There are portraits by him which are painted with a very crisp or semi-tempera touch, and we can trace tliis kind of touch throughout the work, which, together with the general freedom displayed in the paint- ing of the jewels and accessories, favours the opinion of its being by Holbein's own hand. "When the jewels and drapery are painted by other artists we are generally sensible of a certain want of unity in the ' quality ' or in the pencilling, or perhaps a want of harmony, the pupil's or assistant's work appearing too bright. Further, it will be well to examine the goldwork of Holbein's portraits ; there is something very charming about his embroidery, always a beautiful tone about it— in fact, there is a very striking difference between tlie goldwork of Holbein's genuine portraits and the imitations already alluded to. Holbein occasionally painted on a brownish-red ground, and was fond of green or blue backgrounds to his portraits. In his cabinet pictures the malachite-coloured backgrovxnds have a pretty effect, especially as his cabinet portraits are usually painted without the assistance of gold or of brilliant colours in the drapery, the caps and dresses being of a uniform dark colour, or else simply enriched with a little brown fur. The landscape backgrounds of Hol- bein's pictures may be compared to those of Albert Durer's works. Holbein's drawings are always interesting; many of them have been engraved by Bartolozzi ; and it will be seen by examining either these drawings, or Bartolozzi's prints from them, that Holbein's semi-profiles h;ive gene- rally more power or force than his front faces. Holbein's miniatures remain to be no ticed ; they are sometimes palely coloured, and have light-blue backgrounds ; they are finished in a manner worthy of the great man, every part being very round and well relieved; and the heads and hands are painted in a remarkably pretty and delicate manner. Hol- bein's pupil Christopher Amberger was likewise an inge- nious painter. His portraits are not unlike Holbein's; only he finished with a smoother touch, and they are slightly Italianesque in character. Although Holbein was Henry VIII. 's principal painter, yet we are told that he patronised Lucas Cornelus, the portrait-painter and copyist of early pictures. The portraits ascribed to this painter are designed in a dry and Gothic manner, and, as we may naturally expect, appear very flat. At the same time we find in them a species of manipulation or management of the colours which shows considerable acquaintance with their properties and power; in other words, a better know- ledge of 'quality' than many would suppose. Nicholas | Hilliard, the famous miniaturist, vi'as a great admirer of the works of Holbein; but in style and costume his pictures belong to a later period, and class better with the works of the elder Hoskins. Hilliard painted with considerable vigour, and gave great expression and force to the eyes. He was well represented in the Loan Collection of Miniatures exhibited at South Kensington in 1865. Van Cleef's richly coloured works, and some of the portraits by the rare painter Jan Mostaert, may be conveniently classed with Holbein's. Mostaert's portraits are rather brilliant, and he introduced a great deal of pink in the flesh tints. HOLSTEIN. Sale in 1827. F. H. Standish, Esq. A Pair of Interiors, with Figures in conver- sation £6 10 HOME. /S'eeHoNE. HONCKGEEST, G. Sale in 1827. Interior of a Church, with Figures . . . £8 8 HONDECOETER, Melcitiok. Born at Utrecht in 1636; died in 1695. Pupil of his father, and of John Baptiste Weenix. Dutch School. Sale in 1801. Earl of Beshorough. Live Poultry £43 1 1802. Countess of Holder ness. A Nobleman on Horseback, with his Game- keeper and Dogs 21 10 6 Ditto, with Horses, &c 26 5 Ditto, ditto 25 14 6 Duke of St. Albans. Poultry, in a Landscape 21 Poultry ■ . . . 10 10 1803. Earl of GodolpJiin. A Fox in a Poultry -yard 15 15 1806. Marquis of Lansdoivne. Ducks and Poultry, in a Landscape . . . 13 1 1811. Henry Hope, Esq. Ducks, with their Brood of Young . . . 15 15 1819. Geese and Ducks, in a Landscape . . . £36 15 Dead Game, in a Landscape 210 1827. John Dent, Esq. A Cock and Poultry, in a Landscape . . . 19 8 6 1828. Ducks, in a Landscape . ... . . . 51 9 1830. Viscount Hampden. Poultry, in a Landscape 31 10 1831. John Maitland. Esq. A Hare, and other Dead Game . . . . 19 8 6 A Hen and Chickens 12 16 1836. Sir Charles Bngot, G.C.B. ' A Dead Hare and Pheasants 37 16 1848. William Wells, Esq. A Spaniel with a Dead Partridge, in a Garden Scene 36 15 1861. Charles Scarishriclc, Esq. A Cock, Ducks, and Ducklings, at the Foot of a Tree 106 1 A Garden Scene, with a Peacock, Peahen, and other Birds 147 1862. Thomas E. Flint, Esq. Poultry and Birds in a Garden . . . . 22 1 1863. A View in the Garden of a Chateau, with a Pea- cock, a Peahen, Ducks, &c 46 4 A Garden Scene, with Dead Game . . . 69 6 We find this painter's name spelt in various ways : Bryan spells it in the following manner, HojidecooteV ; in "the Louvre catalogue it is spelt Hondekoeter; and there are pictures signed Hondecoeter and Hondekuter. As there were three paintersi of this family, all of whom painted live and dead birds, and other animals, it is not unlikely that they signed their names differently. We find a very consi- j derable difference in the 'quality ' of pictures ascribed to Melchior Hondecoeter. Whilst k few are pictures of im- portant merit and value, there are others which, although similar in composition, and apparently works of surpass- ing pretension, are notwithstanding remarkably heavy and common in the pencilling and general painting. We are told that Hondecoeter studied undpr Weenix, and the sunny, highly finished landscape backgrounds of his pic- tures remind us of Weenix, yet in other points there is not much that is analogous between the painters. The genius of Hondecoeter shines transcendently in his pictures of live birds ; his representations of other animals, whether alive or dead, are seldom so successful. There are a vivacity and playfulness about his birds which are very wonderful; they appear all in action, whilst many of theni are busy in seek- ing for the necessaries of life. Then it should be remem- bered that Hondecoeter was altogether an aristocratic painter. His birds are choice and costly specimens of the feathered tribe, and not merely poultry-yard or farmhouse birds The same style may be seen in the backgrounds of his works, where we see terraces, fountains, and the tops of princely mansions, whilst about the distant terraces and marble courtyards his tall bipeds may be seen strutting about majestically. His best pictures are highly finished, the plumagp of the birds being delicately worked up in the manner of Weenix, whilst in the firmness and vigour of his pencil, and the life and fire which he gave to the heads of his birds, particularly of his cocks, he may be compared to Van Utrecht; only his painting is altogether prettier, and his style more developed. HONDIUS, Abraham. Born at Rotterdam in 1638 ; died in London in 1695. Dutch School. Sale in 1802. Hunting the Heron £0 12 1803. Robert Thistlewaite, Esq. Hunting the Wild Boar 5 5 1810. Sir H. T. Gott. A Boar Hunt 7 7 1819. 3Iafheto Mitchell, Esq. A Boar Hunt 7 15 1826. Lady Holland. Dogs and Cranes ; a pair 8 8 1827. Dogs baiting a Bear 36 A wild Boar Hunt 7 THE WORKS OF PAIXTERS. H F. 11. Stnndisii, Esq. A Pair of I>ogs' Heads ; studies . . . .£350 1838. William Esdaile, Esq. Dogs attacking wild Boars in a Thicket . . 10 1839. William Mellish, Esq. A Tiger Hunt 2 4 1840. Sir Simon H. Clarke, Bart. A Spaniel and Poodle 4 4 Abraham Hondius occasionally painted fire scenes and conliagrations of towns, but his most interesting works are i his small hunting })ie(;es, fights of wild animals, dogs at- tacking game, and similar subjects. He has sometimes been described as 'a Snyders in miniature,' yet there is notiiiug very assisting in the comparison. Eotli artists paintey in the management of these efiects that his works rank with tlie finest and most cheering specimens of the Dutch School. His 'interiors' often consist of two rooms: in the front room are figures engaged in domestic occupations, or fashionable parties playing at cards ; in the second or dis- tant room he generally introduced his favourite effect of sunshine; the rays, not unfrequently, shine through a picturesque bow-window, or perhaps a stained-glass window, every part of the room being lit up in a singularly illusive manner, even the dust of the carpet appearing to rise and to cast a golden mist between the spectator and the distant obiects. De Hooge's exterior views are usually courtyard and garden scenes, and are always extreni(!ly picturesque, the high walls of fancy brickwork being covered with plants and vine-leaves in the manner of the brothers Ostade and Jan Steen. The houses are generally of the curious build of the early part of the seventeenth century, and have high gable-roofs, with usually red bricks and stone dressings. The ])ainting of sun-effects was not De Hooge's only forte; for his figures are very capitally painted, are wonderfully well separated from each other, and few could paint figures in motion better than he ; in fact he was a kind of Dutch Velasquez in the roughness and spirit of his touch. He was fond of introducing in some cases bright reds and other rich colours for the dresses, and in this respect, as well as in the pencilling and colouring of his flesh tints, his works often remind us of some of N. Maes's sunny pictures. An artist of the name of Natas painted merry-makings and interiors, with figures in conversation. His pictures are coloured a little iu emulation of De Hooge. IIOOGEST. Sale in 1832. Earl of Mnlffrnve, Interior of a Dutch Church .... £64 1 1856. Samuel Eopers, Esq. Interior of DeUt Cliurch, with a Group of Peasants near the Pulpit 35 14 HOOGSTRAETEN, Samuel Van. Born at Dort in 1627; died at Dort in 1678. Pupil of Rembrandt. Dutch School. Sale in 1827. A Mother and Nurse watching an Infant lying in a Cradle £33 12 There were three painters of this name— viz., Dirk or Theodore, and his two sons, Samuel and John. The father painted landscapes and still life, and the sons painted history, portraits, and a variety of subjects. We liave a vignette portrait of the father, engraved by R. Gadlard, after a picture or drawing by C. Eser. HOPKINS. Sale in 1802. The Misers ; after Q.. Matsys .... £52 10 HOPPNER, John, R.A. Born in London in 1759 ; died in 1810. English School. Lord de Tahley. Portrait of a Lady . A Sleeping Nympli . Sale in 1827. Portrait of the Right Hon. William Pitt £22 1 472 10 73 10 John Dent, Esq. Portrait of the Right Hon. William Pitt . . 42 1832. George Wafson Taylor, Esq., M.P. Portrait of William TV. when Duke of Clarence 16 16 (> Portrait of the Right Hon. William Pitt . . 105 1865. — Bryant, Esq. A whole-length Portrait of Nelson . . . 100 Hoppner was one of the fine English colourists who fol- lowed in the track of Sir Joshua Reynolds ; vet, on the whole, he was less an imitator of Reynolds than Jackson was. In many of his works Hoppner seems to have emu- lated Reynolds when painting the backgrounds, draperies, and accessories; but we can rarely trace much of the Reynolds feeling in the faces. His heads often remind us of another painter— viz., Lawrence. Although he j)ainted the hair more solidly that Lawrence did, still, in the colour- ing, and in the broad sweeps of tlie tool, the two artists were singularly alike. The warm glow which plays on the flesh tints of some of his female portraits is very charming, the features being often heightened with touches of ver- milion and lake; the cheeks are sometimes tinted with a delicate wash of the same, appearing in lines or strokes, as though it were put on with a very fine pencil. A stronger tint of lake may be traced about the shadows of the fore- head nearest the hair, and about the ears. It will be re- membered that Lawrence was very fond of using vermilion and lake in this way. Although Hoppner laid on his tints solidly, yet there is generally something slight, and unde- fined about the painting of the hair of his portraits ; this is not surprising, when we remember that even the features are hastily painted; and the hands and arms are in many cases even poorly painted. It may be asked, Did Hoppner glaze the faces of his portraits? Not to the extent that Reynolds did ; yet in some cases he would pass over the face and hands a slight glaze, apparently of vermilion and brown-pink. Hoppner's state portraits are very good ; he managed the robes remarkably well, and gave greater rich- ness to them than Lawrence did ; notice, for example, the agreeable tone which he passed over the blue and red drape- ries, whilst the white stockings and vests have a semi-yellow tone over them, which is too transj)arent to appear dirty, and prevents the light colours from obtruding too much. Another point which may be observed in Hoppner's favour is that his full-length portraits generally stand well. It is right to notice that not merely the general effect, but even the pencilling, of a picture will appear different, and will vary in character, according to the kind of cloth or material on which it is painted. This change may be remarked in Hoppner's portraits; for instance, when he painted on a slightly primed twill cloth his pencilling appears very differ- ent from his usual style, and reminds us more of the pencil- ling of Beechey than of Lawrence. In these examples, even if there appear that freedom and fulness about the eyes which we are accustomed to see in his works, yet the painting of the mouth is almost sure to be diU'eren't, the pencilling in most cases to appear dry and wiry. In the wood or in the field Hoppner was quite at home, and the landscape back- grounds of his portraits have often been extolled by his l)iographers. The country was his love, and nothing de- lighted him more than to be able to paint his female sitters in rustic characters; for example, as gipsies or shepherd- esses, the surrounding landscape giving a charming fancy character to the work. ' The Sleeping Nymph,' formerly in Sir John Leicester's collection, is one of the most im- portant of his fancy pictures. Some of them are very slight, and do not possess the richness of colour which gives so much value to his portrait pictures, treated as fancy works. Chandler was a good head-painter, but, as with Hoppner, we find weakness in the arms, hands, and inferior parts of his portraits. HOPPNER, Belgeave. Sale in 1827. Lord de Tabley. A Harbour, with a Ship of War furling Sails £22 1 Mr. B. Hoppner designed sea views with shii)ihng very 99 THE WORKS OF TAINTEKS. HUB 38 17 prettily, and with a little of the feeling of the old Dutch niariiie-paiiiters. HOREBOUT, Gerard Lucas. Born at Ghent in 1498; died at London in 1558. I'leuiish School. Sale in 1840. A Portrait of Francis de Talis .... £'3 15 HORREMANNS, John. Born at Antwerp in 1(385 ; died in 1759. Flemish Sciiool. Sale in 1801. — Slade. Esq. Spring and Harvest; a pair £2 4 Card-players 2 2 1827. John Bent, Esq. A Village Schoolmaster and his Pupils A Village Schoolmistress and her Pupils The works of this painter most likely vary in 'quality.' Some of his subjects are treated in a burlesque or allcgoricral manner. His works are neatly finished, and are pnucilled in a sharp, dry style, the draperies and accessories being in some cases better tlian the heads. As a rule, he preferred to paint with cool and subdued colours. HOSKINS, John. Flourished in the reign of Charles L ; died in 1664. English School. Sale in 1829. John Webb, Esq. Miniature of a Lady £15 Two Miniatures of Gentlemen . . . . 1 11 6 Miniature of Himself 12 There were two miniature-painters of this name, who are described in Bryan's Dictionary as father and son. Tlieir works are differently marked or inscribed, and the produc- tions of the elder ])ainter are superior to the younger. In feeling they remind ns of Cornelius Jansen. The faces are delicately pale, the features well expressed, and every part beautifully linished, particularly the large white lace collars, which are masterpieces of microscopic painting. The works of the younger Hoskins are also very good, but the faces havSTBiore colour in them, and the finish of the whole is not : so exquisite. The grand collection of miniatures at South Kensington in 1865 afforded the public an opportunity of studying several fine examples of both these miniaturists. HOUBRAKEN, Arnold. Born at Dort in 1660. Pupil of William Van Driilenbourg and of Samuel Van Hoog- straeten. Dutch School. Sale in 1825. The Sacrifice of Iphigenia at Aulis . . . £11 5 1829. John Webb, Esq. A Miniature of a Swedish Officer .... 120 This painter was the fatlier of the eminent engraver Jacob Houbraken. HOUSEMAN (or HUYSMAN), Cornelius. Born at Ant- werp in 1648 ; died in 1727. Pupil of Gaspar de Wit and of Jacques Arthois. Flemish School. Sale in 1801. A small Landscape £8 8 1821. A Landscape and Figures . . . , . 7 10 1826. Lady Holland. A Landscape and Figures 7 10 A small Landscape, with Cattle and Figures . 4 10 A Landscape, with Figures 3 1861. Charles Scarisbrick, Esq. A classical Landscape, with Figures, Sheep, and Cattle 52 10 A woody Landscape, with Figures on a Road, beneath a Bank 19 19 I; The works of this clever landscape-painter, although not < vaUiable, are beginning to be more appreciated than they ; were a few years ago. His touch or pencilling is very de- , cided, and may be remembered without mu(!h difficulty. I We are often charmed with the brightness of liis skies. His I colouring altogether is so rich and luminous as to permit us i to speak of him as a kind of Fl(!mish Titian. He was fond , of painting massive white clouds rolling over a sky of the most brilliant ultramarine. His compositions resemble . Arthois's. but the pencilling of his trees is very different ; in fact, Houseman had rather a curious way of painting his trees. They are very richly coloured, and'the foliage is re- presented in large solid masses, the leaves being expressed ; by a succession of inclined touches or strokes. Altliough , apparently mechanical in style, yet his trees look remark- ably well, and harmonise agreeably with his brilliant skies. Sometimes his heavy masses of foliage are relieved by tlie trunk of a huge tree, which stands leafless and withered, as II destroyed by a recent storm; the trunk and broken parts II are most likely heightened with touches of rich brown and yellow colour, like Salvator Rosa would })aint them. Anoth r striking feature in Houseman's landscapes are the gravelly or sandy banks, which he used to put in so nicely; the sun shines brilliantly on them, and they relieve the otherwise dark appearance of his landscapes. His figures and cattle are generally truthful and meaning. In reference to the pencilling of his trees, it m:iy be noticed that Prins, who painted in the early part of the present century, used to pencil his trees in the same wiry manner; but in oilier respects there is no analogy between the two painters. James Huysman, or Huysmans (possibly a relation of the former), was an excellent portrait-painter. He came to England in the time of Charles J I., and is frequently sf)okeu of as Catharine of Braganza's favourite painter. His por- traits are very Lely-like in feeling, and he introduced a great deal of ti-ansparent red and brown in the features. HOVE, B. Van. See J. H. Prins. HOWARD, Henry, R.A. Born in London in 1769; died at Oxford in 1847. Pupil of Philip Reinagle. English School. Sale in 1818. Henry Hope, Esq. A Copy of Rembrandt's * Storm ' £14 14 Cupids Wrestling 34 13 1827. Lord de Tabley. The Pleiades disappearing before the rising Sun 220 10 1830. Sir Tliomas Laiorence, F.R.A . The Angel of Light reproving Satan . . . 18 18 1832. George Watson Taylor, Esq., M.P. Portrait of Miss Watson Taylor . . . . 21 1837. Sir Francis Freeling, Bart. A Child with Shells, holding one to her Ear . 34 13 1839. Cicero carried by the Roman People to the Capitol, upon the News that Anthony had abandoned the Siege of Mantua . . . 2 5 1844. Jeremiah Harman, E-^q. The Allegory relating to Queen Elizabeth and Mary Queen of Scots, from the ' Midsummer Night's Dream' 18 7 1862. Thomas E. Flint, Esq. The Escape of ^neas from Troy .... 990 Howard was a versatile painter, and we meet with a great variety of subjects by his hand. The ligures in his cabinet pictures are tastefully and skilfully drawn, although dark in colour. Like Westall, he was very fond of painting beau- tiful profiles, yet in his later works we do not trace the Westall feeling either in his colouring or in his forms, be- coming lighter or paler in his colouring. His portraits are usually rather solidly or heavily painted. HO WITT, Samuel. Died in 1822. English School. Sale in 1819. W. N. Heioett, Esq. A Moose Deer £5 15 G 1822. Eleven Drawings of Horses and Dogs; in Indian ink and tinted 17 Seven Drawings, including Groui)s of Stags, &c. ; in Indian ink and tinted . . . . . 19 Six, including Horses, Farmyard with Cows, Pig-stye, &c 12 Ditto, including Groups of Cattle . . . 19 Ditto, of Sheep, Oxen, &c 1 1. Five, including Cows, Rabbits, Dead Hare, &c. . 10 6 Four, including Daniel in the Lions' Den, and three of Lions and Lionesses .... 170 Three ; Hunting of the wild Boar, and two of Horses 1 12 Five, including Live and Dead Game, &o. . . 15 Two, of Pheasant and wild Duck Hunting . 1 13 Ditto; a Park with Deer, and Cattle in a Brook 12 A Pair of Park Scenes, with Stags, &c. . . 3 A Pair of Hunting Pieces 1 12 Hunting Hare and wild Ducks . . . . 2 11 Dead Larks ; a pair 2 Quails and wild Ducks ; a pair . . . . 211 Dead Sparrows ; a pair "12 Partridges ; a pair 3 13 6 HUBER, Sale in 1802. W. Beckford, Esq., of Fouthill. A Landscape £5 15 6 A View through a Cavern, with Peasants, &c. . 9 19 View of a Farm in Wiltshire 9 T.i 6 Landscape and Cattle 13 13 A Mountainous Ijandscape 22 1 Q An Italian Landscajie 18 18 O 2 HUD CRITICAL AND COMMERCIAL DICTIONARY OF 100 1830. Viscount TTnmpden. A Pair of small Cattle Pieces ^65 5 HUDSON, TnoMAS. Born in Dcvoiishirp in 1701 ; diod at Twioketiham in 1779. Pupil of Jonathan Richardson. English School. Sale in 1821. MnrcJiioness of Thomnnd. A Pair of whole-length Portraits of George II. and Queen Caroline £29 8 1824. A Portrait of Admiral Vernon, accompanied by a Young Midshipman 15 1807. Portrait of Lady Eliznbeth Montague, fourth Daughter of George, Earl of Halifax, . . 53 11 The portraits or works of this artist are character- ised by great firmness or solidity in the pencilling. On the whole, his pictures are more analogous to the works of Joseph Hierhmore than to those of his master, Richard- sou. Like Highmorc, he was a capital painter of white vsts and white dresses. Sometimes his ladies are fan- cifully attired, or are holding wreaths of flowers, &c. ; mid when we examine the landscape backgrounds of his portraits, and the fancy attitudes of the figures, we cannot fail to notice in many of the works of Hudson and other painters of this period the embryo of that style of fancy portrait-T)ainting which Hudson's great pupil, Reynolds, and also Gainsborough, brought to perfection. These, how- ever, are not the only points of resemblance between Hudson and Reynolds ; for Hudson partly anticipated Reynolds, by his judicious manner of painting epaulettes, gold lace, and other accessories, which are so likely to in- trude in naval and military portraits. Then, again, we have a few portraits by Hudson which are so admirably pencilled that, were it not for the difference in tone, many might mistake them for examples of a particular period of Sir Joshua's painting; and it is very interesting to notice that that peculiar square stroke of the tool which is so con- spicuous in the painting of most of Reynolds's portraits may often be traced in Hudson's full-length portraits of children, and these may be generally classed with the best and most careful of his works. Nathan Drake painted portraits about the same time as Hudson ; his drawing is weak, but he treated his subjects prettily. We may remark here that Cotes's oil-paintings class very well with Hudson's, particularly his portraits of children. HUEN {or HUENS). Sale in 1802. The Marriage at Cana £9 19 Christ blessing little Children .... 250 1809. Christ blessing little Children . . . . 36 15 1831. Viscountess Hampden. The Adoration of the Magi . . . . ) « q n Tlie Descent from the Cross. The pair . ) » « ^' A small Picture of the Assumption of the Virgin 4 8 HUG GINS. See N. PococK. HUGHTENBURGH, John Van. Born at I[aerlem in 1016; died in 1733. Pupil of John Wyck. Dutch School. Sale in 1801. Earl of Beshnrough. Going out a Hawking, and the Return . . £18 7 6 1804. — Bryan, Esq. An Attack of Cavalry 21 A Battle Piece 42 1821. John Webb, Esq. A Battle Piece 73 10 1839. A Horse Fair in the Neighbourhood of Rome . 22 1 1861. Charles Scarisbrick, Esq. Infantry pursuing Cavalry through a Wood . 28 7 A Market Scene in the Forum of Rome, with ") Figures, Horses, and Mules . . . .1- 35 14 An Italian Market ; the companion . . .) We are told that Hughtenburgh received instruction in the art, not only from John Wyck. but likewise from Jacob Hughtenburgh, his brother. And we are further informed that during his stay in Paris he enjoyed the friendship and advice of Vander Meulen. Hughtciihurgh was a capital hand at representing a ' cavalry charge.' Battle scenes are difficult subjects to paint nicely. We know how much distinction there is between painting live animals and dead animals, the former being the far more difiicult study. Now a similar comparison may be drawn between battle pieces and simple landscapes with cattle and pastoral figures. The former subjects, if they are to be good pictures, call for such a display of vigoiir and spirit, in addition to the drawing and colouring— meaning that proper attention to the same which wo expect to fiinl in every i)icture. In painting a ' charge of cavalry,' the artist should make ns feel that we really hear the noise or clattering: of the hoofs of the horses, whilst galloping over the bodios of the fallen warriors; at the same time wo hear the shouts of the captains, and the ceaseless reports of musketry. In such a moment not a touch should be lost, and every horseman in the composition should be so painted as to seem to be the hero, or principal figure. In pictures of this class it does net do for the artist to take pains only with one or two of the centre figures, who, perhaps, are seen passing deadly thrusts at each other, whilst with their bodies slightly bent they grasp their horses tightly with their knees, and at the same time the poor horses also appear to be struggling fiercely for victory. Now battle- painters will sometimes dash in their centre ring with great vigour and spirit, yet the fighting men on either wing, as well as the more distant figures, are wanting in energy and reality. Of course there must be subordinate parts in all pictures ; but the wines of a battle-field, and even the distant com- batants, however slightly they may be painted, should possess meaning and show the nature of the scene. The fighting men on either side of those who are immediately engaged in the contest should appear alive to the nature of their position, the hazard of the approaching struggle. Artists too often fail in conveying to us that interest and excitement which we naturally associate with a battle-field. Hughtenburgh was very successful in his battle pictures; many of his productions may be examined and studied with considerable pleasure. We "feel that there are many points of interest in his works, and the eye can travel from one passage to another without losing the excitement of the scene : and thus we feel that every man is interested in the struggle. In the best examples of this painter we find the skies almost as full of colour and atmosphere as Wouwer- mans'; and the light green of the landscape background balances airreeably with the dashes of colour on the dresses of the soldiers. His manner of introducing bright touches of colour about the uniforms and scarfs of his soldiers, and the accoutrements, he probably acquired from Vander Meulen ; but in other respects his works are more analo- gous to Philip Wouwermans' and Wyck's. Although his horses possess a great deal of spirit, yet they are generally smoothly pencilled. He was less fond of white horses than Wouwermans was, but generally introduced one or more light piebald horses in his battle pieces, as well as in his pastoral subjects. Bryan speaks of Tlieodore Maas as a pupil of Hughtenburgh. Maas's battle pieces are boldly painted, and there is some similarity between his style and that of Casanova's. HUIS. SeeBBUBBM. HUMPHREY, OziAS, R.A. See SiE Joshua Reynolds. HUYSUM. Jan Van. Born at Amst(;rdam in 1082 ; died at Amsterdam in 1749. Pupil of his father, Justus Van Huysum. Dutch School. Sale in 1801. A Flower Piece £51 9 1802. Countess of Holder ness. A Vase, with Flowers GO 18 Duke of St. Albans. A Flower Piece 89 6 1803. A Landscape, View on a River . . . . 9 9 Richard Walker, Esq. A Vase, with Flowers and Insects . . , 24 13 6 1804. — Bryan, Esq. A Flower Piece 42 1809. A Flower Piece 47 5 1813. M. La Fontaine. A Vase of Flowers 136 10 1816. Henry Hope, Esq. A Landscape and Figures 13 2 6 A Landscape 64 1 1822. 3rarquis of Bute. Landscape, with Buildings and Figures, called the Island of Cithera 52 11 1827. A River Scene, with Cattle and Figures . . 11 10 1833. Chevalier Sebastian Erard. A Group of Flowers in a Yellow Vase, with a Bas-relief of Children ; from the collections of Mr. Gildermeistcr and Sir Francis Baring. 174 6 101 THE WORKS OF PAINTERS. J AC 1S3G. Sir Charles Bagot, G.C.B. A Bouqiu^t of Flowers in a Vase, with a Bird's Nest and Ej^gs £183 15 1848. William Wells, Esq. A Vase of Flowers .... A Yellow Vase, with Flowers . 55 13 Count de 3Iorny. A Boiujuet of Flowers in a Vase on a Marble Table, on which is also aChalhnch's Nest, con- tahiing Kgf^s 1G2 15 The companion, a Group of Fruit and Flowers . 220 10 18G1. Charles ScarishricTc, Esq. A classical Landscape, with a Temple near a River ; Figures and Cattle on a Road . . 42 1864. Earl of Clare. A Group of Roses, Peonies, &c., in a Jar; from the collection of Sir Charles Bagot . . . 525 Jan Van Huysum is usually considered the prince of flower-painters. Pilkiiigton says that 'he had greater freedom than Mignon or Brueghel ; more tenderness and nature than Mario da Fiori, Michael Angelo di Campidoglio, or Seghers; more mellowness than De ITeem, and greater force of colouring tluui r.aptiste.' Now, as the works of none of these painters bear any analogy (o the pictures of Van Huysum. the coinpnvisoiis arc useless. J t may he justly acknowledged of this i)ainter that he has iiever'heen sur- passed in the art of flower-drawing, or in the exquisite 'quality' of his touch. If there lie any fault in his works, it is a slight coldness or want of life about the colouring; and, from some deficiency possibly in the management of the backgrounds, some of his vases of flowers and Ijaskets of fruit are not sufficiently relieved, sink too much into the background; yet his works are always great, because every flower, every leaf, every minute insect, it might almost ha said every dew-drop, is a picture of itself. When we con- sider how microscoi)ic and elaborate his style of painting is, it surprises us that any have been found patient enough to imitate it. Yet he has" had many imitators ; amongst others maybe mentioned his brother, Jacob Nan IliiyMiin. .Jau and Jacob Van Os, Paul Theodore Van ISrussel, ami the two Spaendoncks. Van Huysum painted several small highly finished landscapes, of a semi-classical style. They usually represent sunsets or are otherwise brilliantly coloured, the foliage of the trees being expressed in minute; layers of golden touches ; the classical buildings, ruins, and temples are all very neatly finished and lirightly coloured, and the faces of his dancing shepherds and other figures are heightened with vermilion. HISSING, Hans. See Knellek. I AND J IBBETSON, Julius Cjesak. Born in Yorkshire ; died in 1817. Pupil of George Morland. English School. Sale in 1802. Wm. Bechford, Esq., of Fo7ithill. A Mountainous Landscape ..... 1804. — Bryan, Esq. A View in Cardiganshire 1813. A View near Windermere. Bought in at . 1815. A Landscape and Figures Ditto 1819. John Knight, Esq. A View of Nant Mellan, North Wales, and com- panion 1824. Sir Mark 3Iasterman Sykes, Bart. Shipwrecked Figures on a Sea Shore . Fishermen landing on the Shore of a Bay 1826. A View of Flamborough Head .... 1827. Richard Grave, Esq. Interior of a Barn, witli Cattle, and a Woman Milking A Scotch Fair £22 1 6 15 4 G 5 15 G 5 15 G 18 18 13 2 G 14 3 G 13 13 5 15 G 5 15 G Joh7i Dent, Esq. A View of Lancaster, showing the Church and Castle W. W. Burden, Esq. A View at Tivoli 1862. John Allmiti, Esq. Tigers in a Cavern . 1862. 9 15 4 15 4 4 Ibbetson's mountainous landscapes, which are often his best pictures, exhibit a i)leasing combination of the styles of Richard Wilson and Morland. His farmhouse scenes, although very good of their kind, lack the freedom and boldness which are so taking in Borland's lectures of the same class ; then, again, liis partiality lor small figures- figures about two inches high- (.fleii giv<'s to hisMorlaiid- likc subjects an amateur character, and in som(> of ihem a niggling appearance. For the trees in his luetures of this class he kept to a briglit yellowish green ; in tact, nearly the same colour that Morland used so freely, only Ibbetson put in the leafage with smaller touches ; the skies and distances are brightly coloured, yet his clouds have not the aerial lightness of Morland's. Ibbetson was a famous painter of pigs, and, in the opinion of some connoisseurs, could paint them better than Morland. Pigs arc capital subjects for an animal-painter; our late famous animal- painter, James Ward, occasionally painted jjigstics in emu- lation of Morland ; they arc of course very good, but when he painted pigs accordiiig to his own faiu-y or style, they are often much l)etter. One of tlu; best jiictures of pigs that the writer has seen is a little picture by James Ward, about six inches by four inches in size, rtipreseuting half a dozen young pigs, all eagerly striving to feed out of one bowl at the same time. Thus much for Ibbetson in his IMorland style. Although he kept with Morland a great deal, and, it is said, in many cases assisted him with his i)ictures, yet Ibbetson had a style of liis own. The latter in the colouring is very cool and blue, and more like the colouring ot Wilson and Barret than of Morland, Tliere is a relinenieut aliout him in his own style which jdeases us, ami we admire his way of introducing a littkilake in the extreme distance, and in the sky, the latter half covt^ring the sunny masses or light-coloured clouds, Ibbetson, like his master Morland, was fond of painting rapidly and slightly, yet he often en- riched his foreground mounds and trees with a little trans- parent glaze. The figures in the class just described will generally assist the student in identifying them ; for there is a strong family likeness about all Ibbetson's figures; many of them are very clever, and stand out well in his j)iclures ; some of them are quite little portraits, and are dotted in a neat but spirited manner, Ibbetson occasionally ])ainted small whole-length portraits in the manjier of old Arthur Devis, and other painters of the same class; they are inter- esting works of their kiiul, and have often })li.'asing land- scape backgrounds. The figures, if of gentlemen, are neatly attired in thecocked hats, knee-breeches, and buckled shoes of the period, whilst the clothes are usually rath(;r sombre in colour; of course they are painted in an iirtistic manner, but it will be found on comparison that the features and hands are not so nicely drawn as they are in old Devis's portraits. IMOLA, Innocenzio r>A, See Francucci. IMPERIALI, GiEOLAMO, Born at Genoa; and flourished about the year IGiO. Genoese School. Earl of Bcsborovgh. Mercury, Argus, and lo Rinaldo and Armida Sale in 1801. 1802. £15 4 G 3 10 1803. 5 12 4 IG 4 10 10 £9 5 Earl of Godolphin. Jacob and Rachel at the Well Narcissus The Riposo INQtJlDONAS, J. Lopez, Sale in 1836. General Viscomte d'Armagnac. Three Subjects of Fruit IRIARTE. See Geimaldi. JACKSON, JonN, R.A, Born in Yorkshire in 1778; died in London in 1831. English School. Sale in 1830. Sir Thomas Latorence, P.li.A. St. Peter with the Keys £14 14 1831. George James Cholmondeley, Esq. Head of an Old Man 13 5 1832. Georqe Watson Taylor, Esq., M.P. Portrait of the Duke of York . . . . 33 12 J AC CRITICAL AND COMMERCIAL DICTIONARY OF 102 JEarl of 3Tulgrave. Christ in the Garden ; a copy of the Correggio at Apslev House £18 6 Copy of Caracci's Dead Christ, with the Maries 45 3 1856. Samuel Rogers, Esq. A Portrait of Stothard 36 15 1859. Hon. Edmund Phipps. Portrait of Henry, First Earl of Mulgrave, when a Child, with a Dog 17 17 Small full-length of the Hon. Constantuie Phipps, in Uniform 5 15 6 A Man and Woman seated near a Group of Plowers 4 14 6 Small full-length of the Duke of Wellington, standing near a Cannon 89 5 The Earl of Mulgrave. the Hon. Aug. Phipps, the Hon. Edmund Phipps, and Sir George Beaumont, seated at a Table; a Portrait of the Painter hanging on the Wall . . . . 31 10 1863. Elhanan Bicknell, Esq. Portrait of T. Stothard, R.A 37 16 Jackson was an admirable head-painter, particularly of gentlemen, and in his simple three-quarter portraits and small heads he was one of the best colouristsof the English School of that period. Some of his portraits are richly toned in the manner of Sir Joshua Reynolds; yet he possessed such an excellent eye for colour that it was never necessary for him to depend on glaze for effect. He was a painter who could freely use reds and other warm colours in the flesh tints without his portraits appearing brickdusty or heavy. His copies of the old masters are much admired ; and he has also left us some copies of the works of Reynolds. World-famed pictures copied by known artists— artists of repute — always seem to the writer to be works of very great interest, and should be more highly valued than they are. Jackson, in his fancy studies and pictures, like Lawrence and Wilkie, was particularly fond of the assistance of a red curtain in the background. His works are all more or less clever; and however much he may have profited by the lessons of his great predecessor Reynolds, yet we feel that they display a great deal of originality of thought, and his pictures of infants are very charming. We occasionally meet with portraits by George Chirmery which remind us a little of Jackson's. The flesh tints in Chinnery's portraits would be better if they were not so red, but his pencilling is rather nice. Watson, the Scotch artist, was a clever por- trait-painter, particularly of children. He coloured richly, in the manner of Jackson. J. Graham, a painter of the latter part of the last century, likewise coloured his por- traits in the manner of Jackson. Graham's female portraits are very pleasing. JACOBS, Lucas, called Lttcas Van Letden. Born at Leyden in 1494 : died in 1533. Pupil of his father, Hugo Jacobs, and of Cornelius Engelbrechtsen. Dutch School. Sale in 1844. Jeremiah Harman, Esq. The Virgin, with the Infant in her Arms, count- ing her Beads £56 14 1856. Samuel Rogers, Esq. Portrait of a Gentleman holding a Gold Badge, in the centre of which is a Skull . . . 39 Although such an early painter, Lucas Van Leyden has a name in the history of Dutch art, and his works are venerated as fine examples of a transition period. He bestowed great labour on all his pictures. The dresses and robes on the figures of his earlier works are wonderfully finished, whilst in the backgrounds may be scon extensive scenery and a variety of buildings ; but the faces in these early examples are often crude and serai-grotesque. However, Lucas Van Leyden was far from being a bigot in the art ; he was not foolishly wedded to the early lessons which he received ; on the con- trary, he tried hard to correct tlie Gothic weaknesses which had been instilled into him by his first instructors, and he sought to get out of that dry and angular style which fet- tered the hands of the first Dutch and German painters. In his more advanced works we find the muscles of the human frame less severely expressed, the limbs, especially the ex- tremities, carefully rounded, and the contours altogether more agreeable. Thus there is much in his style of painting which reminds us of Albert Durcr and Gregory Pentz. Like many other eai-ly Dutch and German })ainters, Lucas Van Leyden seems to have been duly impressed by the excel- lences of the Roman and other Italian Schools. We trace this study in his energetic attempts at depicting expression and in giving character to his heads. Lucas Van Leyden also paid considerable attention to the foreshortening" of his figures when required. Then again in his finer works there is less of that tiring finish in the backgrounds and accessories, besides many other points which evidence a profitable study of the best contemporary painters of Italy. Yet it is possible that he chiefly studied their works by the aid of prints and drawings, for, like many other painters, he does not appear to have travelled much. JAMES, William. Flourished in the latter part of the eighteenth century. Described as a pupil of Canaletto's. English School. Sale in 1806. Marquis of Lansdoivue. Three Views of Egyptian Ruins . . . . £5 15 6 As it is believed that this painter never visited the East his Egyptian and other Eastern views were probably either copies or compositions. However, it a])f>ears from Edwards's 'Anecdotes' that some of them were exiiibited in the Academy. His name is better remembered jis a copyist of the works of Canaletto, and for the interestinji: views which he has left us of our Thames scenery, and other places in the vicinity of the metropolis. His pictures are not bril- liant in colour, but his touch is crisp and ni(!e, and he was a closer imitator of the pencilling of Canaletto than Scott was. JAMESONE (or JAMIESONE), George. Born at Aber- deen in 1586; died at Edinburgh iu 164-1.. Studied in the School of Rubens at Antwerp. Sale in 1811. Henry Hope, Esq. Portrait of Mary Queen of Scots . . . . £4 6 The best works of this painter are thought very highly of. In pencilling his portraits remind us more of Dobson than ofVandyck. They are usually well drawn, and he intro- duced a great deal of transparent brown in the face-shadows. His touch may be described as crisp or dry. JANET (or JEHANNET). See Clouet. JANSON, Jacob. Flourished about the end of the eighteenth century. Dutch School. Sale in 1804. — Bryan, Esq. A Landscape aud Cattle £7 7 Ditto, the companion 8 1811. Henry Hope, Esq. A Landscape, with Peasants and Cattle . . 15 15 Two Cows iu a Meadow 13 13 1825. Two small Landscapes 7 5 JANSSEN (JANSEN, JOHNSON, or JONSON), Cor- nelius. Born at Amsterdam about the year 1590; died at Amsterdam in 1665. Dutch School. Sale in 1801. Earl of Beshorotigh. Portrait of a Nobleman £29 8 — Slade, Esq. Portrait of a Gentleman 110 Ditto of an Old Man 14 1802. Portrait of Mary Queen of Scots .... 660 William Beckford, Esq., of Fonthill. Portrait of a Gentleman 10 10 Duke of St. Albans. Head of a Young Man 18 Portrait of a Nobleman 2 2 1803. Earl of Godolphin. Two Portraits of Gentlemen 7 17 6 Ditto, a Lady and Gentleman . . . . 12 12 1813. John Willett Willett, Esq. Portrait of Sir Edward Coke 8 18 6 A Portrait, in a Ruff 11 6 1823. George Watson Taylor, Esq. Portrait of Fletcher the Poet 29 5 1825. Portrait of a Gentleman in Armour ... 660 1827. A Man's Portrait 4 4 1829. John Webb, Esq. Miniature of a General 110 In most of Cornelius Janssen's portraits his touch is very characteristic and defined, yet he was in no way a slave to one particular style of pencilling and colouring. He often varied the general effect of his pictures very much, the por- traits which he painted in England l)eing different from the smooth and ])early portraits which he painted on the Conti- nent; and, as if to add to the distinction, his English por- traits are generally signed differently from his foreign works, his name being transformed from Janssen or Jansen into Johnson. Janssen was an excellent draughtsman, and a dis- tinguished head-painter ; in fact, in his own particular line or style he was a master ; and whilst many of his best por- traits were painted during the period that Vandyck was in 103 THE WORKS OF PAINTERS. J A E tlie zenith of his fame, yet we never hear him spoken of as one of that great master's school, or as seeking to profit in any way by the lessons of his distinguished contoraporary. He appears to have formed his own style rather before the time tliat Vandyck's works became the standard of taste on the Continent, as well as in England; and we like him all the more for following a style of l)is own. His small portraits, which are usually on panel, are smoothly painted and highly finished; the flesh tints are pale and pearly in colour; we can often trace ultramarine in them. He studied the eyes very care- fully, and never failed in giving them a powerful and expressive character. The dresses of his ladies are exqui- sitely ornamented with jewels and pearls ; and none of the artists of his time excelled him in painting the beautiful lace collars and cuffs which were the reigning fashion of the time. There are early portraits by him, even of a three- quarter size, which have the lace collars as microscopically penned out as they are in the works of the miniaturist Isaac Oliver, The backgrounds of his portraits are usually painted of a cool grey or a cool brown colour; and he was not in the habit of breaking the backgrounds of his pictures by intro- ducing a curtain or a perspective landscape. His life-sized heads are very spirited and well relieved, and the best of them seem to start from the boards on which they are painted. He was very happy in his portraits of gentlemen in academic costume ; his heads look best in the plain white collars worn by these societies; and the black gowns, richly braided, assist in throwing up the i)Ower of his expressive and delicately pencilled heads. The hands of his portraits are well drawn and carefully finished, quite in the style of the Dutch portrait-painters of the seventeenth century. As already asserted, there is nothing like a monotony in the portraits of this painter. Some are broadly and even coarsely pencilled; others, again, are very thin and brown in the shadows ; yet the master may be generally discovered by seeking for the delicate ultramarine touches about the eyes, by examining the quality of the lacework, and by no- ticing that nice bluish tint which he gave to his black dresses and black robes. Still it is well to remember that his style of painting was imitated by several clever artists. Paul Van Somer, or, as his name is commonly written, Van- somer, may be noticed in this article. He painted in Eng- land in the early part of the seventeenth century. His works are not superior to those of Mytens, yet he en- deavoured to throw more force and effect into his portraits than Mytens did. As regards the costume, his portraits remind us of Cornelius Janssen's, but his manner of painting is much coarser, and we find a variety of rich browns and reds in his pictures. He was always a good head-painter, and a few of his highly finished portraits resemble Zucchero's. The landscape backgrounds and accessories are not always pleasing. It should further be noticed that a few of Van Somer's portraits resemble very closely a particular period of Cornelius Janssen's painting. They are usually painted on panel, and are represented in large white collars and fancy black dresses. There was a portrait-painter of the seven- teenth century of the name of Lutterhuys ; his heads are forcible and good, and are not very unlike Janssen's ; and the costume of his portraits, viz., the large white collars and fancy black coats, are also like Janssen's. Sir Nathaniel Bacon's portraits may be classed with the above. It will be remembered that C. Janssen painted some nice por- traits of the Queen of Bohemia; a pairiter of the name of Peter Cornelius Deryck likewise painted this lady. Dcryck was a powerful colourist, and was lavish in the use of dark browns and reds, yet his portraits are wanting in eft'ect ; possibly his colours are not arranged with sufficient r gard to contrast. De Piles and Pilkingtoii speak of him as a suc- cessful imitator of Bassano. Bryan tells us that a painter of the name of William Derick, or Deryke, visited I]ugland in the reign of William 111., and painted historical pictures and portraits. JANSSENS, Abraham. Born at Antwerp in 1569; died about 1050. Flemish School. Sale in 1S09. A Surgeon dressing a Wound .... £12 1 6 We occasionally meet with life-sized figures ascribed to this painter. They are boldly painted, and the llesh tints are warmly coloured. It would appear that there wei'e several Flemish painters of this name. There are small conversations, usnally on copper, hy one of the family, which are rather infei'ior to tlie works of Victor Uonorius Junssens. They are palely coloured, a great deal of white being mixed with the tints; and in the outdoor subjects we lind more grey and pink than blue in the skies. The figures in the groups are well separated, and the perspective is agreeable. There was also an artist of the name of P. Jans- sen, who painted small pictures of dead game very nicely. We read in the dictionaries that Abraham Janssens chal- lenged Rubens to i)aint a picture with him only for fame, whieii he was willing to submit to impartial judges; lait Rubens rejected the i)roposal, answering with modesty that he freely submitted to him, and the world would certainly do justice to them both. JANSSENS, Victor Honorius. Born at Brussels in IGGf ; died iu 1739. Pupil of Voidera. Ficmisii School. • Sale in 1803. The Rape of Lucretia £li o The Death of Cleopatra 7 17 G Victor Honorius Janssens is best known as a painter of conversations, generally assemblies of people of rank. He was a good colourist, and exhibited to advantage the rich dresses of the figures iu his subjects ; and, as a rule, his figures appear to be very tall. JARDIN, Karel du. Born at Amsterdam in 1640 ; died at Venice iu 1678. Pupil of Nicholas Bergliem. Dutch School. Sale in 1796. Jacob More, Esq., and Moris. Liss. A small Landscape, with Cattle .... £34 l.S A Group of Italian Travellers . . . . 55 10 1801. Cattle, in a Landscape 16 16 1802. William Bechford, Esq., of Fonthill. Peasants and Cai Lie, in a Landscape . . . 11 11 o Gtiu Head, Esq. A Landscape, with Cows . . . . . 11 11 Cattle and Figures i;i 13 o Lord Darnley. Cattle, in a Landscape 47 5 Duke of Bridgewater, &c. The Flight into Egypt 152 5 Sir Simori Clarke, Barf., and George Ilibbert, Esq, A Landscape, with Cattle and Figures . . 51 9 A Landscape and Figures; from M. de Calonne's collection 30'j 15 1819. A Landscape, with Figures 40 19 1821. Cattle in Repose 19 19 John Webb. Esq. The Fatigued Traveller 26 5 1823. A Landscape and Figures 26 5 6 1828. M. M. Zachary, Esq. A Landscape, with Cattle and Figures . . 315 1829. Thomas Emmerson, Esq. A View near an Italian City, with Figures ; from the Cabinet de Choiseul 50 8 A Landscape ; in the foreground a shallow Lake, through which are passing Travellers, and Peasants conducting Cattle and Sheep . . 577 10 1831. John Maitland, Esq. A Male and Female Peasant in conversation, in a Landscape; from the Gildermeister Collec- tion 342 6 1838. TV'illiam- Esdaile, Esq. A Landscape, with an Ass loaded with Panniers; from the Duke of Coigin's collection . . 43 1 18;59. Peasants, with Cattle and Sheep . . , . 54 2 1840. Sir Simon H. Clarke, Bart. A Pastoral Subject; from the collection of M. liobit 976 10 1841. lion. Lady Stuart. Travellers Halting; from the collection of Che- valier Verhulst 4^0 10 1844. Jeremiah Ilarman, Esq. A Pastoral Subject 262 10 1848. William Wells, Esq. Peasants, with a Horse, Cattle, and Sheep, near a Roman liuilding 89 5 An Italian Landscape, with a Woman and a Boy standing in a Stream of Water; Cattle and Sheep in the distance 3S3 10 A rocky Glen, with a Cavalier standing by the side of a White Horse . . . . . . 672 Count de Morny. A Landscape, with a Sportsman, Dogs, &c. ; en- graved by Kobell 210 A Landscape, representing a View in the South of France, enriched with Buildings and j)as- toral Figures; from the cabinet of M. Raudon de Boisbct 777 JE A 1861. Charles Scarishriclc, Esq. A Party of Peasants resting and reealing before an Alborgo, a Man on a VVliite Iforse in con- versation with them £21 10 6 A Group of Soldiers before a Tent . . . 27 6 An Italian Landseape, with a Peniale Peasant, a Donkey, and a Goat, &c 172 4 1803. A Cavern Scene, with a Soldier, a Beggar, and a Peasant playing at Mora 190 10 This excellent painter is usually spoken of as Bergliem's most successful follower; his finest works are et^ual to Eerghem's in quality. When a pupil of that master, he l)ecame eiuunoured with his brilliant ultramarine skies, making that p^ii'ti^'idar period of Eerghem's paintiiiir in which the sky is perha))s the best of tlie j)icture his es[)ecial study; and he soon equalled his master as a sky-painter. The elfects which he loved to paint are famihar to all ; he was very great in representing a summer sky after a heavy stoi'm of rain ; the clouds an^ of a pale bluish colour, arc laid in with a great deal of impasto, whilst l){'twe('n the masses the sun is seen bursting out, thus giving to the picture a marvellously bright and dazzling appearance, and at the same time a silvery elfect is pnvscrved in every jtartof the sky. Karel du Jardiu was far from being a monotonous })aiuter, and his landscapes vary considerably in style and composition. His fame as a horse and cattle paint(>r stands very high ; sometimes he made his animals the pic- ture, introducing a little scenery, and a ruined building or two, merely as background. In the costly examples of this master the figures and animals are very highly linished, the limbs of the former being delicately rounded, and the features of his peasants and other figures care- fully worked up. His animals are well foreshortened, and he frequently indulged a whim of painting the vertebral hne of his horses and otiier animals very much inclined, as though the forelegs were elevated in some way. The ' quality ' of the finish, as well as tlie life and spirit which l)e often gave to liis animals, is very beautiful, and often shows more of the feeling of Adrian Vande Velde than of Berghem. In otlier examples of this })ainter,the landscape, instead of the figures and cattle, forms the i)icture. True, these pictures are generally ornamented with figures, cattle, and asses ; only they are on a very small scale, are merely introduced to give life to the composition, or to sliovi' the height of the trees or the grandeur of the rocks. Although less pleasing than liis cattle pieces, these specimens are generally beautiful works, and arc usually much enhanced in value by the charming skies. Karel du Jardin occasion- ally painted figure })ictures, in some instances of the size of life; although many of them are works of considerable in- terest, yet, as a rule, they do not enjoy the commendation which is lavished on his landscapes. Some i)ractice is neces- sary in order to know them, for at first sight the colouring and i)encilling appear so unlike the handling of the land- scai)e-painter ; after a little practice, however, or on closer insjiection, we find that we can more readily associate Karel du Jardin the landscape-painter with Karel du Jardin the historical and portrait painter. We can remember that some of his landscapes are not merely highly finished, as regards manipulation, but he gave an enamelled smoothness to them ; and we can also remember how sunny and warm the flesh tints of many of his small landscape figures are. Then, again, his landscapes are often sunny pictures ; instead of his brilliant blue skies, we find a great deal of red and yellow in them, whilst the landscape part inclines to a brown tone. Now njany of these points may be traced in his large and small figure pictures; the flesh tints are smoothly pen- cilled, and are very warm, and, in some examples, almost Cuyp-like in colour. The landscape distance and skies are also warm in colour, and are touched up with a great deal of yellow and red, and are similar in feeling to the back- gromids of Weenix's pictures. Karel du Jardin was careful in tlie drawing of his figure pictures ; he gave character and expression to the heads, and generally aimed at making the figures as graceful as possible ; the draperies and accessories are enlivened with a few bright tints, every part being smoothly and carefully worked up. The horses and other animals in these figure pictures are faii-ly drawn, and are neatly and prettily finished; yet they have not the pic- turesque appearance, nor do they dis))lay the spirited touch- ing, which delight us so much when we see them in his landscaj^es. JEAN, St. Sale in 1848. Count de BTorny. A Bouquet of Flowers arranged in a Vase . . Ai% G JERVvVS, Charles. Born in Ireland ; died in 1739. Pupil of Sir Godfrey Kneller. English School. Sale in 1801. Earl of Beshoroiigh. A Portrait of Joseph Addison . . . . £8 8 1 :s:;2. George Watson Taylor, Ksq.,jU.P. Portraits of Alexander I'ope and Mrs. Martha Blouut 17 17 104 1842. Earl of Upper Ossory. A Portrait of Pope, seated in his Library, his Head resting on his Hand £150 3 A Portrait of John Gay 6 1856. Samuel Rogers, Esq. A Portrait of Pope, in a Crimson Dress and Black Cap ; presented by the Duke of Rutland to Crabbe, and by the sons of Crabbe to Mr. Rogers 81 18 The works of this painter class very well with Kneller's and Richardson's. When we can meet with good examples of the portrait-painters of this period, and in good condition, they are far from being unpleasing works, and always look remarkably well in old English mansions. Jervas's por- traits of ladies are simply attired ; the necks and arms are usually bare, the dresses are of sombre tints, and unorna- raented ; yet there is generally something graceful and lady- like about his portraits. He had a pretty way of arranging the hair, and the hands are often nicely "drawn. The fault sometimes found with the school of portraiture of this period is, that there were too many who painted in the same style; consequently there is a mannerism about their works, and too great a sameness in the portraits of each painter, viewed individually. In his most important works Jervas took great paijis in giving expression and character to the heads, aiid was generally most successful when he painted with only two or three colours, the light colours being con- fined to the flesh tints, the rest of the figure being painted with little more than brown and yellow. Kneller, it will be remembered, often did the same kind of thing. It is not necessary that we should praise all Jervas's i)ortraits, be- cause there is a tameuess or poverty of colouring about many of them, the same as there is about many of Richard- son's portraits. The backgrounds of his pictures are pretty and bright in colour. We are told that on the death of Jervas, William Kent became ' principal painter of history and portrait to the King.' At the present day we do not often meet with Kent's works, but the reader will find an account of him in Gordd's Dictionary, and in Ottley's Sup- plement to Bryan's Dictionary. Some of Kent's portraits are very brown and coarsely painted. They may be classed with the works of a portrait-painter of the name of J. Wells, but, on the whole, the latter appears to have been more successful in giving character to his heads. Kent's portraits likewise bear a slight resend)lance to West's. A painter of the name of Bindon pericilled his portraits a little in the manner of Jervas. Bindon's manner of finishing does not produce power, but his style may be described as lively. JOHNSON, Cornelius. See Janssen. JOLI, Antonio. Born at Modena in 1700; died in 1777. Pupil of Gio. Paolo Pannini. Roman School. Sale in 1801. Sir W. Hamilton. The Interior of St. Peter's £26 9 6 A Perspective View 2 Two Pictures, representing the Arrival of the King of Spain at Gaeta and Naples . . . 6 6 A View of the Campo Vaccino at Rome . . 18 1856. Samuel Rogers, Esq. A Roman Bath, with Figures . . . . 22 1 For a notice of Antonio Joli, see Samuel Scott. JONES. Sale in 1801. Sir W. Hamilton. A View of the Lake of Albano . . . .£990 JONG (or JONGHE), Ludolpit de. Born at Overschie, a village near Rotterdam, in 1616; died in 1697. Pupil of Cornelius Sachtleven, of Anthony Palamedes, and of John Bylaert. Dutch School, Sale in 1836. A Landscape, with Horses and Cattle . . . £6 10 There were several artists of the name of De Jonghe. Stanley says that the name of one of them was Jan Martss, or Marssen, and he took the name of De Jonghe, to dis- tinguish himself from Ludolph De Jonghe. He was an engraver as well as a painter, and, according to Bryan, signed his plates I. M. d. I. We meet with boldly painted land- scapes signed by a painter of the name of be Jonghe, but without any initials. Ottlcy, in his Supplement to Bryan's ' Dictionary of Painters,' mentions Jean Baptiste de Jonglie, a landscape-painter, and a pupil of Ommeganck. Lastly, we may notice a painter of the name of Claude de Jongh ; he appears to have excelled as a painter of topographical views of our metropolis, and flourished in the middle of the seventeenth century. His pictures are palely coloured, and he suc ceeded in giving an agreeable Cuyp-like haze to them. Although there is a want of colour in his [)ictures, still they are clever, and the buildings are curiously and elaborately finished. JORDAENS, Jacob. Born at Antwerp in 1594; died at Antwerp in 1(578. Pupil of Adam Van Oort, or Noort, antl-btudied ni the School of Rubens. Flemish School. CRITICAL AND COMMERCIAL DICTIONARY OF 105 THE WORKS OF PAINTERS, K E S Sale ill 1801. Sir W. Hamilton. A Peasant's Feast £126 1802. Lord Darnley. A Landscape, with a Farm -yard . . . . 21 Ditto, with Mercury and Argus . . . . 21 1804.. The Infant Jupiter, Amaltliea, and Satyr; from the collection of Sir Gregory Page . . . 110 5 1803. Marquis of Lansdowne. Scene from the Fable of the Satyr blowing Hot and Cold 105 1813. John Willett Willett, Esq. The Nativity. Bought in at 9i 10 1816. Henry Hope, Esq. Jupiter and Amalthea 64 1 1823. George V/atson Taylor, Esq., 3r.P. Head of an Old .Man 12 12 The Holy Family 43 1 18J0. Sir Simon H. Clarice, Bart. Portrait of a Dutch Merchant, in a Black Dress and a Ruff 51 12 A Lady, in a Black Dress ajid Ruff . . . 25 li The drawing of thiss distinguished master is sometimes I slight and rapid, yet he was sueli a splendid colourist, and ! we generally enjoy his pictures so much, that we rarely notice tlie wealvness alluded to. He was particularly happy in giving health and humour to his faces; and, like Van Harp, was fond of painting interiors, with numerous lile- sized figures assembled round a table. The tables in these compositions are covered with fruit, wine-flasks, and game, painted in rich transparent colours in the manner of Siiyders. Generally speaking, there is much of the feeling of Rubens in the colouring of his flesh tints, and in richness and brilliancy he was not inferior even to that great ma>ter. His passion for colour may be studied in some of his candle- light pictures, the effects being very dexterously produced. JordaeJis' subjects are amusing, and his heads are full of character; there is nothing sleepy or tame about them ; if the faces are repiesentrd laughing, we are siiown the cause of the mirth; the wit is really in the picture, as well as tlie mirth whicii it excites. Nearly all Prank Hals's portraits and studies are painted laughing, but as we never know what they are laughing at, the repetition of the idea fatigues us and appears vulgar. Although Jordaens profited by studying in the school of Riiltens, yet it must not be forgotten that there is great originality in ali his works, both as relates to his compositions and aiso to his manner of pencilling. JOSEPH, George Fhancis, A.R.A. See Copley. JOUVENET, Jean. See Le Bkun. JUANES, Juan Bautista. See Giotto. JUNKERS. A Doctor's Study An Alchemist Sale in 1819. &\) 1(5 K KABEL. >S5eCABEL. KALF, William. Born at Amsterdam in 1030; died at Amsterdam in 1693. Pupil of Hendrick Pot. Dutch School. Sale in 1802. * Buke of Bridgewater, <&c. A Girl's Head . . £3 13 6 1806. Sir George Yonge, Bart. A Dutch Kitchen . 18 7 William Wells, Esq. Interior, with a dead Pig 1848. 5 It appears that this artist soon gave up figure-painting for a line of art better suited to his taste and abilities. He painted objects of still-life and virtu, and particularly ex- celled in representations of kitchens ; the latter only require two or three of Ostade's figures to make them very valuable pictures; for the rooms are often of the same build as Ostade's kitchens. AVe notice tlie large flues projecting into the rooms, the same as we see in Ostade's interiors ; whilst a flat stone, placed on a level with the floor, serves instead of a stove. The rest of the picture consists of various culinary utensils made of metal, vegetables, and kitchen accessories. He was not always in the habit of introducing figures in his pictures of this class, and really the objects which he in- serted in his pictures are so well painted that we hardly look for any figures in them ; yet, in specimens in which tliere are no figures, he has sometimes introduced a cat or a dog, just to break the quietness of the scene. Kalf some- times painted dead aiiimals on a large scale, yet his works of tliis class are not always so pleasing as liis kitchen scenes. Van Mander tells us tliat Christopher Pierson gave up his- torical painting to follow the style of Leemens, a painter of huntirjg utensils and similar objects. KARSSEN. See Vander Hetden. KAUFFMAN, Marie Anne Angelique Catherine, R A. Born at Coire, the capital of the Grisons, in 1712; died at Rome in 1805. Pupil of her father, Jean Joseph Kautt'- man. English School. Sale in 1801. Helen ; a portrait Sir William Hamilton. A Muse with a Mask in her Hand 1802. Dulce of Bridgewater, <&c. The Holy Family 1803. Paris and Helen 1819. Matliew Mitchell, Esq. Eurydice £14 3 6 31 10 4 14 6 7 15 8 5 1S23. George Watson Taylor, Esq., 31. P. A small Head of Laura .... 1832. Ariadne and Penelope ; a pair Georg Cordelia Eurydice Watson Taylor, Esq., M.P. 1834. . £17 6 6 G 6 [ 27 6 3frs. West. Ariadne deploring the Flight of Theseus . 18G3. John Allnutt, Esq. Beauty, supported by Reason, rejecting the Al- lurements of Folly 19 6 7 John Knight, Esq. Penelope 14 .3 6 Venus and Cupid . . . . i . . 34 13 Considering the large sliare of patronage which this lady enjoyed, it may appear surprising that her works are not more frequently met with. Sometimes we meet with pic- tures attributed to her on good authority which altogether disappoint us; but the greatest painters are generally un- equal in their works. Let us therefore look after some more of her pictures before we dismiss this favoured paintress. If souje of her portraits are tame and heavy, we are pleased to find that there are others V( ry beautifully painted. Thoy are life-sized portraits, and luive the features, liands, and other parts pencilled in an exceedingly delicate and beauti- ful manner; her di-awing is also very iiice, although we can detect a mannerism or weakness in her way of bringing the nose and chin too near together, Angelica Kauffman loved to make a picture or composition of her portraits ; and this kind of thing she did remarkably well. The figures in them are generally about three feet high ; and when tlie sul)ject is treated as an interior, the children are not unfreqncntly re- presented naked, and in some cases as Cupids. We liavo also similar groups by this lady artist, with pretty land- scape-backgrounds. Her landscape comi)ositions' are so prettily glazed, and there is such a Sir Joshua Reynolds-like feeling about her groups, as to lead us to think that she must liave studied his works very carefully ; but the reader must not be led to supjjose that she was more of an imitator of Reynolds than Cosway was; tliey were simply partakers of Iteynolds' hapiiy thoughts. Angelica Kaullinairs jiortrait groups prepare us for knowing her in licr purely i)astoral subjects, as well as in her classical figures. One great point of beauty in them is the graceful attitudes of the figures; and we can also study with pleasure the care and labour vvhich she bestowed on the hands. Matthew Van Bree's large clas- sical figures will bear comparing witli Angelica Kauffman's. and his works likewise remind us a little of VVestali and Wil- liam Hamilton. Matthew's brother and impil, Philippe Jacques Van Bree, died at Antwerp in 1840, Lady Diana Beauclerc's large classical drawings of Nymphs and Cupids will also bear classing with the works of Angelica Kaufl'man. KENT, William. See Jervas. KESSEL, JouN Van. Born at Antwerp in 1626. School. Flemish K E T CPJTTCAL AND CO^IMERCIAL DICTIONARY OF 106 Sale in 1802. A Lobster £0 10 A Plower Piece, with a Centre by Teniers . . 9 9 Two Pictures of Fishes 4 14 6 1821. John Webb, Esq. A Pestoon of Sliells 40 8 1831. John 3Taitland, Esq. A Concert of Birds, and an Assembly of Birds ; a pair; from Marie-Antoinette's collection . 39 18 1837. William Yovng Ottley, Esq. A Monkey, with Fruit 2 There were several painters of the name of Van Kessel. The landscape-backfirounds of John Van Kessel's pictures, if by hun, are painted brifjhtly, partly in the manner of Paid Brill, and partly in the manner of Kierinpjs. His son Ferdinand followed his ftither's style. Tliere was also a Nichol.is Van Kessel, who painted in the style of Teniers, and another John or Jan Van Kessel, whom Stanley com- pares to Jacob Ruysdael. The works of the latter are scarce ; thev are slijflitly pencilled, but are very masterly and Rem- brandtish in effect. KETEL, Cornelius. See Zuccheeo. KETTLE, Tilly. See M. Brown. KIDD, William. Sale in 1863. John Allnntt, Esq. The Town Hall at Abingdon ; a drawing . . £0 8 This artist's works are not frequently seen. His best pic- tures are interiors; they are generally clever, and will bear classing with the works of Bird and other painters of the same kind. There is a great deal of humour and spirit in his ligures, particularly in those of the working-classes, for he was not quite so successful in his representations of fashion- able life. Sometimes he painted pictures of children, and they are often engaged in riotous play. Like Bird, in his colouring he was partial to pale yellows and light browns, and paid great attention to the accessories and minutiae, which are very prettily painted. His outdoor, cottage, and street scenes remind lis more of Eraser; they are very clever, although we must not look at them after seeing his capital pictures of interiors of kitchens, in which are farmers and their servants regaling, meetings of tenants, and other similar suljjects. Kidd put in the edibles and accessories witii a truthfulness and spirit almost worthy of the pencil of Wilkie. He was quite at home in painting dead birds, but the skill of the painter is seen to still greater advantage when he introduced flsh and oysters amongst the accessories. KIERINGS (or CIERINCX), James. Born at Utrecht in 1580. Dutch School. Sale in 1802. A Landscape, with Buildings . . . . £4 10 Duke of Bridgewater,