THE 
 
 CAT ALOGUE 
 
 OF 
 
 THAT MOST VALUABLE 
 
 AND 
 
 important selection of original 
 
 THE PROPERTY OF 
 
 Mr. ANDREW WILSON, 
 
 PURCHASED BY HIM AND BROUGHT TO ENGLAND 
 
 ■ FROM 
 
 PALACES OF THE FIRST CONSEQUENCE 
 
 (§enoa t 
 
 Embracing the finest Works of those great Masters: 
 
 CLAUDE LE LORAINE, 
 
 RUBENS, MAZZOLINO D1 FERRARA, 
 
 JACOMO PUNTORMO, 
 ANDREA MANTEGNA, 
 
 perino del VAGA, VADDER, 
 
 GBERCINO, DIONYSIUS CALVERT, 
 
 STc. 
 
 ^NNIBAL CARACCl, 
 
 AGOSTINO CARACCl, TINTORETTO, 
 
 LUDOVICO CARACCl, VAN DYCK, 
 
 GUIDO RHENI, 
 
 TITIAN VICELLI, 
 
 toill te ^oli3 iJ? Auction 
 
 by oubSe, of the proprietor, 
 
 BY 
 
 peter coxe. 
 
 ON 
 
 w E D N 
 
 ESDAY, the 6th Day of MAY, 180/ 
 
 at twelve o’clock, 
 
 Jt Mr. Squihb’s Great Room, SaviUe Passage. 
 
 „ -\e pufifiC, vrewea Tfiree pr«el,^ 
 
 . ..rnutea on .e D. oI ^ . Saie. 
 
Coirtitiotts of ^ale. 
 
 I. HAT the highest Bidder be the Purchaser ; but should any Dispute arife 
 
 between two or more Bidders, the Lot or Lots, to be put up again 
 and refold. 
 
 II. That no Person advance less than HalLa-Crown. Above Five Pounds, Five 
 
 Shillings; Ten Pounds, Half-a-Guinea ; Twenty Pounds, One Guinea ; 
 and fo on in Proportion. 
 
 III. That the respective Purchasers give in their Names and Places of Abode, 
 
 if required ; and pay down immediately a proportionate Part of the Purchase 
 Money after the Rate of Twenty Pounds per Cent, and pay the Remainder 
 on or before the Delivery of the Lots purchased. 
 
 IV. That the Lots fhall be abfolutely taken away within Three Days after 
 
 the Sale, with all Faults, by whomfoever they were painted, under 
 
 any and every Defcript’on, and at the Expence of the Purchafers. 
 
 And Laftly. That upon Failure of complying with these Conditions, the 
 
 Money deposited in Part of Payment shall be forfeited ; all Lots 
 
 uncleared after the Time limited shall he re-sold by Public or Private 
 Sale ; and the Deficiency, if any, attending such Re-sale, together with 
 all Incidental Charges, be made good by the Defaulters at the present 
 Sale. 
 
^ti^erti0ement* 
 
 It is not to be presumed that any thing which can be said in 
 the following Descriptive Catalogue of this small but invaluable 
 Collection, will influence the Opinion of the Man of Taste, or in- 
 telligent Connoisseur, as every Picture must eventually stand on 
 the ground of its own extraordinary merit alone ; it may not how- 
 ever be unacceptable to those Noblemen and Gentlemen who are 
 anxious to become Purchasers, to state a few simple facts in addition 
 to announce the rich sources from whence these noble Specimens 
 of Art were drawn, and the Events that occasioned their being 
 brought into this Country. 
 
 When those dreadful occurrencies took place on the Continent 
 that disturbed the repose of nations, Genoa felt the effects of the 
 political hurricane equally with other States, and many of the Genoese 
 Nobility were compelled, for their personal safety, to leave their 
 habitations. But when General Suwarrow had forced the French 
 to retrace their steps, the Nobility returned to their Palaces, and again 
 took possession of their Property before it was plundered. Existing 
 circumstances however would not permit them to keep their splendid 
 Collections entire, and the present Proprietor, who was then in Italy 
 
% 
 
 IV 
 
 and on the Spot, embarked a considerable Capital, and spared no 
 expence to secure some of the finest Works of Art now extant, and 
 which no consideration, but that of imperious necessity could have 
 induced their owners to have taken down from their walls, where 
 they had so long remained the pride of their families, and the 
 boast of the Genoese people. 
 
 TheDuRAZzo, Lercari, Doria, Gavotti, Marano, Gentile 
 and Cataneo Palaces, surrendered some of their best stores and 
 particularly that of the Marquis Balbi. 
 
 It would be impracticable within the compass of this Note, 
 to enter into a description of all the celebrated performances that 
 gave eclat to Collections which were so long famous, and the enquirer 
 must be referred to the account given of Genoa in French and Italian 
 by Giuiseppe Ratti, to the Descriptive Catalogues of Cochin and 
 Martin, or to any Traveller of note who has visited the North of 
 Italy, and been familiar with the Arts. 
 
 < n a w Mww i i» i 
 
A 
 
 CATALOGUE, 
 
 &;c. Sfc. &;c. 
 
 WEDNESDAY, MAY 6th, 1807. 
 
 1 Raphael - - xAN early copy of the great Painter’s Portrait. From 
 
 the D UR Azzo Palace. 
 
 2 Franceschini - An allegorical Subject, representing an Angel having 
 
 descended to Earth to conduct an Infant to 
 Paradise. Painted after the Fresco manner. 
 There is a simplicity and grace in the whole 
 of this beautiful subject that is singularly pleas- 
 ing. From the St. Angelo Palace. 
 
 3 Quintus Matzis The Woman accused of Adultery brought before 
 
 the Doctors ; who are represented in the cha- 
 racters- of Luther and the other early reformers. 
 From the Lercari PalacL 
 
 4 Orazio Titian St. Jerome in the Desert. From the Doria Palace. 
 
6 
 
 5 Andrea 
 
 Historical Subject, painted in Chiaro Oscuro. From 
 
 Mantegna 
 
 the Lercari Palace. 
 
 6 Venusti - - 
 
 • A Holy Family. From the Durazzo Palace. 
 
 7 Gentileschi - 
 
 ■ St. Cecilia ; a beautiful clear and animated picture, 
 with all the force of Caravaggio, without his 
 sombre tints. — The figures completely alive. 
 From the Cambiaso Palace. 
 
 8 II Capucino *• 
 
 Tobit and the Angel. A noble specimen of this 
 favorite Genoese painter’s abilities, accom- 
 plished with great force and scientific manage- 
 ment, and replete with expression and character. 
 From the Spinola Palace. 
 
 9 Guercino 
 
 - Lot and his Daughters. The story told with great 
 propriety and judicious sense of feeling and 
 expression, and the whole performance ad- 
 mirably coloured. From the Cattaneo Palace. 
 
 10 Rubens - - - 
 
 Philosophers studying the Motion of the Spheres at 
 Midnight. From the Durazzo Palace. 
 
 11 Ditto - - - 
 
 The companion. — Philosophers contemplating the 
 Sun through the Aid of the Telescope, and 
 laying down Rules for the Formation of the 
 Sun-Dial. Also from the Durazzo Palace. 
 
 t 
 
 12 Guercino - - 
 
 The Martyrdom of St. Catherine. A grand gallery 
 picture, in which this great painter has marked, 
 in a most affecting manner, the meekness of 
 the Saint’s submission opposed to the ferocious 
 
 J 
 
7 
 
 conduct and character of the unfeeling ex- 
 ecutioner: — the ■ back ground is painted with 
 unusual clearness* From the Doria Palace. 
 
 13 V ADDER - - A Magnificent J^andscape, representing a forest 
 
 setne in the fore-ground, consisting of lofty trees, 
 • enriched with the imagery of a waterfall rushing 
 
 down a mountain, with a distant view in the 
 other part of the picture, forming altogether a 
 ' ■ ' ‘ dignified subject. In the immediate fore- 
 
 ground is introduced the temptation of the 
 Saviour. This extraordinary performance vies 
 with Titian for grandeur of composition and 
 
 . charm of effect. From the Durazzo Palace. 
 
 14 D IT TO - - - A noble Landscape, the companion, of equal merit, 
 
 equally grand in all its forms, and enriched with 
 figures representing the Woman of Canaan 
 supplicating our Saviour to recover her Daughter. 
 This landscape, like the preceding, is effected 
 upon that grand principle that arrests attention, 
 and reminds the intelligent of the great art of the 
 most renowned landscape painters of the Italian 
 I school. Also from the Durazzo Palace. 
 
 15 Perino DEL Vaga The Infant Christ and St. John. This beautiful 
 
 little picture has been ascribed to Leonardo 
 DA Vinci. But satisfied in giving to every 
 picture its proper title, and confident that the 
 judicious connoisseur will estimate its merits by 
 sense and not by sound ; it is unnecessary to 
 attempt to add to its consequence by a de- 
 signation that does not belong to it. This 
 
3 
 
 delightful performance, speaks for itself, is full 
 of infantine sweetness, that would have done 
 credit to Raphael : the caraations l>eautiful, 
 and the whole disposition delightful. From the 
 Gentile Palace. 
 
 16 Dionysius Cal- Allegorical. A curious specimen, of singular effect 
 
 VERT - - - and colour, tail of variety, arid spiritedly ac- 
 
 complished. Calvert was the master of 
 Guido. From the Cattaneo Palace. 
 
 17 Proccacini - The Assumption of the Virgin. From the Doria 
 
 Palace. 
 
 18 Van Dtck - - His own Portrait in a Spanish Dress. Spiritedly 
 
 drawn and vigorously coloured. From the 
 Balbi Palace. 
 
 i 
 
 19 Titi ANO Vicelli St. Jerome in the Desert. The head singularly 
 
 fine and impressive ; the body admirably drawn, 
 with a sweet disposition of colour and loose- 
 ness of pencil, while the distant landscape, 
 as well as immediate scenery, evince his know- 
 ledge of nature and power of representation. 
 From the Balbi Palace. 
 
 20 Ludovico Caracci The Intombing of Clirist. A charming upright 
 
 cabinet picture, representing the body of the 
 Saviour removing from the spot where he was 
 crucified to the place of his interment, and 
 conveyed by torch I’ght. The learning of 
 
 the Caracci school is evident throughout the 
 
 » 
 
 whole of this composition. The various scenes 
 
9 
 
 of distress are finely pourtrayed in separate parts 
 of the picture, without distracting the eye from 
 the main subject of the narrative. From the 
 Spinola Palace. 
 
 21 Paggi - - The Legend of St. Christopher, who having passed 
 
 the water, bearing the infant Saviour on his 
 shoulders, kneels for the purpose of his de- 
 scending with ease, assisted by a group of 
 protecting and subservient angels. Paggi was 
 the scholar of Cambiaso. From the St. Angelo 
 Palace. 
 
 22 Jacomo Bassano The Money-Changers driven out of the Temple. — 
 
 In small life. There is a glow of colour in this 
 
 admirable performance that will vie with Titian 
 
 in his best time, and under the influence of his 
 
 most vigorous pencil. The whole perfection of 
 
 the Venetian school being introduced in various 
 
 parts of this admirable picture, accompanied by 
 
 excellent drawing as well as character. Pur- '^5 
 
 chased at Leghorn. 
 
 23 Guercino - - The Saviour and the "Woman of Samaria. In sub- 
 
 jects of this description, where the story is of 
 a confined and simple nature, and does not 
 afford any great latitude of variety, it is the 
 great art of a painter to make up in character 
 and colour all that is required to record the 
 story with proper effect to satisfy the judgment 
 and in this picture instead of a labored atten- 
 C 
 
10 
 
 
 tlon to all the minutise of collateral circum- 
 stances, Guercino has thrown all his powers 
 into sentiment and character, giving an appro- 
 priate dignity to this interesting and sublime 
 conversation. It is a performance that rivets 
 itself still stronger on the judgment the more it 
 is contemplated. In the best manner of the 
 master. From the Balbi Palace. 
 
 2i JacomodaPun- 
 
 The Holy Family, with Elizabeth, St. John, and 
 
 TORMO - - 
 
 other saints in an interior. This master was 
 the favorite scholar of Andrea del Sarto, 
 and this interesting performance proves he was 
 deserving his master’s affectionate regard. This 
 is a rare and valuable cabinet picture. From 
 the Lercari Palace. 
 
 25 Claude le Lo- 
 
 A Morning Scene. This very beautiful cabinet pic- 
 
 RAINE - 
 
 > 
 
 ture represents a delightful Italian scene, com- 
 ' bining the grand and elegant both in art and 
 
 %■ 
 
 nature j on the left, as the picture presents 
 itself, is a mass of broken rocks with trees 
 sprouting from and growing out of the fissures. 
 
 ^ C " N. 
 
 1 
 
 whence a pellucid stream rushing down the cen- 
 tre and traversing several small falls, forms a rivu- 
 let, apparently the source of a larger stream, 
 while the trees in the immediate fore-ground, 
 the buildings in the middle distance, and remote 
 scenery of the blue mountains, render the whole 
 a complete and captivating subject, full of 
 brilliancy and replete with spirit of execution. 
 The figures by Bamboccio, representing a 
 
11 
 
 group fishing, enliven the scene with appro- 
 priate effect. This truly enchanting perform- 
 ance of the superior order of art, presenting all 
 that wonderful effect of clear vapor for which 
 Claude has been ever accounted unrivalled, 
 came from the Gavotti Palace at Savona, 
 
 26 Ditto - - - Evening; the companion to the preceding picture; 
 
 an Italian scene, with the Appenines in the 
 neighbourhood of the Campagna at Rome ; 
 beautifully clear in all its parts, and pencilled 
 with a soft tone of captivating colour that must 
 delight the most fastidious critic. In the im- 
 mediate fore-ground of this sweet composition, 
 cattle are feeding on the bank of a river, over 
 which is a picturesque bridge of a single arch, 
 and through which the eye introduces itself to 
 an immediate perspective pleasing and grati- 
 fying. The two ends of the bridge from 
 whence the arch springs are partly hidden by 
 small trees, while the overspreading branches 
 of the arbeal poplar, so various in its effects and 
 forms, presents an interesting feature in the 
 composition, and enriches the whole scenery. 
 The river meandering in the valley winds its 
 course through the centre of the subject, hiding 
 itself by means of an intervening hill, enriched 
 with buildings and backed by mountains ; thus 
 producing altogether a delicious landscape 
 worthy of this great master’s pencil. The 
 figures, as in the former picture, are from the 
 
12 
 
 
 judicious pencil of Bamboccio, uniting with 
 the composition in masterly excellence. Also 
 from the Gavotti Palace at Savona. 
 
 27 Mazzolino di 
 
 The Holy Family with St. Francis ; a small upright 
 
 Ferrara 
 
 cabinet picture of this scarce master, the con- 
 temporary of Pietro Perugino. Considerable 
 character and expression pervades this sacred 
 subject, while the subordinate parts on the basso 
 relievo are pencilled with great chastness and 
 proper effect. From the Lercari Palace. 
 
 28 Titian - - - 
 
 \ 
 
 The Adoration of the Magi. This extraordinary 
 performance, so full of subject and variety, 
 presents a noble specimen of the painter’s art, 
 in which he has displayed his perfect knowledge 
 of the human character and countenance, and 
 given commanding expression to every face and 
 figure suitable to their rank and pursuits. 
 The principal group is grand and impressive ; 
 the form and countenance of the Virgin and 
 the Saviour extremely interesting; the coun- 
 tenance of Joseph benevolent and pious, whilst 
 the group of Wise Men presenting their offerings, 
 shew themselves impressed with the divine 
 origin of the Child, and prostrate themselves 
 before him with respect and veneration : the 
 group of attendants are of no less importance in 
 their subordinate capacities ; the heads of the 
 boys are particularly beautiful, and the coun- 
 tenances of the other figures admirably managed 
 and forcible, whilst the effect of the horse in the 
 
15 
 
 i 
 
 
 fore-shortening, and the natural introduction of 
 the dogs is of the first order of art ; the land- 
 scape is appropriate and dignified j and the 
 whole is a rich glow of colour and harmony. 
 From the Balbi Palace, and was ever esteemed 
 the finest Titian in Genoa. 
 
 29 Tintoretto 
 
 - A Portrait of_a noble Venetian, that will vie with 
 
 
 Titian for character and energy of delineation. 
 This admirable performance displays extraordi- 
 nary merit, and would do honor to any collec- 
 ' tion in the country. From the Balbi Palace. 
 
 30 Van Dyck 
 
 - The Virgin and sleeping Saviour. A beautiful ca- 
 binet picture, painted with equal facility and 
 vigor as well as judgment and beauty : the 
 countenance of the Virgin equal to Domeni- 
 CHiNO ; — round the picture is a delightful fes- 
 toon of flowers, painted by Giovanni Rosa, 
 in rich and resplendent perfection. From the 
 Balbi Palace.. 
 
 31 Ditto = - 
 
 - The Portrait of General Spinola. This portrait is 
 arrayed partly in armour, and the right-hand 
 holds a marshal’s truncheon, emblematical of 
 command, while the countenance of the war- 
 rior is depicted with appropriate character, and 
 in the happiest stile of Vandyck’s art. It 
 displays with due energy the man of under- 
 standing, and the cool and collected, yet de- 
 termined soldier, at once animated and dignified. 
 This Picture was considered the chef d’ceuvre 
 
 of Van Dyck in Genoa. From the Balbi 
 
 Palace. 
 
 D 
 
14 
 
 32 Van Dyck * - An Ecce Homo. Did not every Picture stand on 
 
 the ground of its own merits, the infinite num- 
 ber of performances that have been painted on 
 this subject, would render description unne- 
 cessary, and to speak of an Ecce Homo would 
 • be but a repetition of the same story. But 
 
 every great artist treats the subject according to 
 his own preconcerted manner, and displays the 
 dignity of his mind and powers of execution. 
 It is stated that those who derided the Saviour 
 knew not what they did, and in what way can 
 that declaration be more forcibly proved than 
 in the savage delight expressed in the features 
 of the ^Ethiopian triumphing over the afflictions 
 of the meek Saviour of the world. This inimi- 
 table performance is a master piece. Something 
 more than human pervades the countenance 
 and whole attitude, in resignation to the will of 
 the Father, and concern for the depraved state 
 of mankind. Such is the subject, while the 
 executive part for correctness of drawing and 
 > propriety of color, speaks its own praise to the 
 eye and understanding of the judicious. From 
 the Balbi Palace. 
 
 33 AeosTiNO St. Jerome and the Angel. This Picture compared 
 
 Caracci with the same subject by Guido in this collec- 
 
 tion, shews the versatility of powers that can 
 be exerted by different painters in pourtraying 
 the same subject, and though told in a different 
 manner, may be ranked equal in merit and 
 in value. The pictures of Agostino Caracci 
 
15 
 
 are known to be very rare, and it seems ex- 
 traordinary, that he who could paint so well 
 should decline pursuing the nobler science of 
 the pencil and pallette, to take up the tool of 
 the engraver, and surrender his greater powers 
 for the sake of an imitative pursuit in a subor- 
 dinate capacity ; but this dereliction of his own 
 fame adds to the importance of his pictures, 
 which being more rare become more valuable 
 from their scarcity. This picture combines all the 
 merits of Ankibal and Ludovico Caracci, 
 more perhaps than equally grand with Annibal 
 in the naked, and equally beautiful and graceful 
 with Ludovico in the attitude and expression 
 of the angel. The noble figure of the saint 
 is of the higher order of humanity, partaking 
 in some degree of the strength and marking 
 of the Farnese Hercules, while the drapery is 
 distributed in grand folds, and serves at the 
 same time, by the judicious choice of colour, 
 to heighten the carnations in the body of the 
 Saint, and head and arm of the expressive 
 and beautiful Angel. This Picture would of 
 itself give celebrity to any collection, and 
 would add, not derive honour from being placed 
 in the first gallery in the kingdom. From the 
 Bale I Palace. 
 
 34 Annibal Caracci St, Francois d’Assize, one of the principal Saints 
 
 in the Roman Calendar, and founder of four 
 
16 
 
 orders of Mendicants, who retired into solitude 
 for the sake of uninterrupted devotion, and who 
 is here depicted at that period, when his hands 
 and feet had received the stigma. The solemn 
 gloom that pervades this picture is suited to the 
 subject, and the recorded scene of the Saint’s 
 retirement, while the attitude and countenance 
 of St, Francis is in the first stile of art, and 
 the most convincing proof of the uncommon 
 excellence of the great founder of the Caracci 
 school j not only the expression of the coun- 
 tenance, is of the first order in painting, but 
 the extremities are equally excellent, admirably 
 drawn, and the drapery grand and appropriate, 
 while the sober tone of color that pervades the 
 whole performance is in unison, and the pers- 
 pective wonderfully managed. This capital 
 performance was purchased from the Balbi 
 Palace. 
 
 35 Guido - - - St. Jerome and the Angel. This picture it may 
 
 be properly stated, combines at one and the 
 same time, grace, dignity, elegance, beauty and 
 expression in the most masterly and happy man- 
 ner ; tender wdthout weakness, clear yet forcible 
 in colour. The attitude of St. Jerome is grandly 
 composed and throwm into a noble position, 
 while the whole canvass is filled in all its relations 
 ir:r with propriety and true science, it is therefore 
 
 impossible to contemplate this elegant com- 
 position but with perfect satisfaction and delight. 
 
17 
 
 The floating figure of the angel is exquisitely 
 managed and uncommonly interesting, as well 
 as graceful ; there is a sweet attractive charm that 
 pervades the whole form, truly characteristic of 
 the Benign Messenger from on high, and most 
 judiciously contrasted as a work of art, with 
 the body of the saint, the marking of whose 
 muscles gives additional softness, as well as 
 roundness to the angel by a skilful opposi- 
 tion. The mechanical part is no less to be 
 admired, than the merits of the composi- 
 tion j and to those who know the difficulty of 
 painting, the execution will arrest the judgement 
 with equal attention, for the whole handling is 
 inimitable, and shews the powers of a great 
 master’s hand exerted to a great and successful 
 purpose. This picture improves more and more 
 every moment the eye rests upon it, till it 
 becomes absolute delusion in the continued 
 contemplation, and stamps itself irresistibly in 
 every sense of the expression, as a devout and 
 sublime composition. This most admirable per- 
 formance was selected from the Balbi Palace, 
 as one of the first objects of solicitude. 
 
 • 
 
 36 Rubens - - - The Elevation of the Brazen Serpent. This renowned 
 
 and splendid performance embraces all the re- 
 sources and vigor of this great master’s pencil 
 and mind. To adopt the language of Sir Joshua 
 Reynolds, they seem to have flow^ed wdth a 
 
 E 
 
18 
 
 freedom and prodigality as if they cost him 
 nothing, and to the general animation of the 
 composition there is a correspondent spirit in 
 the execution of the work. The striking bril- 
 liancy of colors and their lively opposition to 
 each other, the flowing liberty and freedom of 
 his outlines, the animated pencil with which 
 every object is touched, all contribute to awake 
 and keep alive the attention of the spectator; 
 awaken in him in some measure correspondent 
 sensations, and make him feel a degree of that 
 enthusiasm with which the painter was carried 
 away. 
 
 The subject chosen by Rubens to display 
 himself, is admirably calculated for the utmost 
 exertion of these acknowledged powers. It 
 represents that scene of distress described in the 
 twenty-first chapter of the Book of Numbers, 
 when the anger of the Lord sent fiery serpents 
 among the discontented Israelites for their sin 
 and rebellion against his high will; and, what 
 subject could be fitter chosen to represent the 
 afflicting expressions of the human countenance, 
 and the agonizing positions of the human 
 frame, while the dignified deportment of Moses 
 with uplifted hands directing the unhappy 
 people to fix their eyes on the brazen serpent 
 upheld by Aaron, which was to restore them to 
 health, takes off from all terror in the scene. 
 
19 
 
 This wonderful effort was painted by Rubens 
 when in Italy, under all the advantages of his 
 eye and mind, being full of the noblest works 
 the art of painting could produce to direct his 
 hand, and store his palette by example, with 
 the richest and most appropriate colors, in the 
 use of which he himself at the same time so 
 pre-eminently excelled from his own knowledge. 
 “ There is a complete uniformity in all the 
 “ parts of the work, so that the whole seems to 
 “ be conducted and grow out of one mind, 
 “ every thing is of a piece and fits its place.” 
 
 Had Rubens painted no other than this 
 picture his fame would have been established. 
 It is a blaze of splendor accomplished when his 
 soul was full of enthusiasm, and where every 
 touch has marked the magic charm of his own 
 powerful and unassisted pencil. From the 
 Marano Palace, where it was ever deemed one 
 of the most conspicuous ornaments. 
 
 finis. 
 
 J. Smkbton, Printer, 148, St. Martin’s Lane, 
 
I