mr! + i ’ ' A CATALOGUE NINE PICTURES, OF THE FIRST CLASS; The genuine Property of = Mr. RAPHAEL WEST, This Collection, though small, will be highly appreciated, being the last relic of the valuable Gallery of BENJAMIN WEST, ES Lg Q. LATE PRESIDENT OF THE ROYAL ACADEMY, IT INCLUDES The Head of Christ GUIDO The Deluge B. WEST The Last Supper TITIAN Adam and Eve expelled from Paradise DITTO The Bath of Diana _ . TITIAN The Bard DITTO A spirited Landscape CLAUDE The Crucifixion DITTO And Mark Anthony’s Oration over the Dead Body of Cesar, by Ditto. It is believed that it may with confidence be asserted, that amongst this small Collection will be found some of the most perfect specimens of the Ancient Masters, and the very finest compositions of DEG PENBRABLE WES 3 Also, a small but valuable Collection of Paintings, THE PROPERTY OF A GENTLEMAN OF CONSIDERABLE TASTE, _ And introduced by permission of Mr. RapHagEL West, to be Sold unreservedly ; amongst which will be distinguished A Landscape ' HOBBIMA Holy Family J. PUNTORNO A Portrait REMBRANDT Interior WYCKE A Landscape RUYSDAEL Landscape WEENIX _ ‘Travellers at an Inn Door D. MAES Holy Family SEB BOURDON Nymphs Bathing POLEMBERG Cottages Pe Gardens VAN HEYDEN Landscape and Figures N. POUSSIN Crucifixion OTHO VENIUS ALSO, AN EXCELLENT BUILT Er WHICH WILL BE SOLD BY AUCTION, BY it At his great Room, Piazza, Covent Garden, On SATURDAY, THE 16TH Day or JULY, 1831, AT TWELVE O’CLOCK. Ma be Viewed and Catalogues had at the Office of Messrs. Smith, Wainwright & Geraud, 7, Furnival’s Inn, ., the Auction Mart, and at Mr. GEORGE ROBINS’ Offices, Covent Garden. PRINTED BY W. SMITH, KING STREET, SEVEN Diss AY Mr. GEORGE ROBINS, me CONDITIONS OF SALE. os FIRST. The highest bidder to be the buyer, and if any dispute arise between two or more bidders, the lot so disputed shall be immediately put up again and re-sold. < SECOND. 7 Ye | No person to advance less than one shilling at.each bidding —above two pounds, two shillings and sixpence—above five pounds, five shillings; and so on in proportion. THIRD. The purchasers to give in their names and places of abode, and pay a deposit of twenty-five pounds per cent. in part of payment of the purchase-money; in default of which, the lot or lots so purchased, will be put up again and re-sold. a FOURTH. The lots to be absolutely cleared away with all faults and errors of every description, at the purchaser’s expence within ONE DAY after the sale. FIFTH. 7 The auction duty to be paid by the buyer. SIXTH. As this auction is made on condition of prompt payment, the remainder of the purchase-money must be paid on or before the delivery of the lots. LASTLY. Upon failure of complying with the above conditions, the money deposited in part o payment shall be forfeited, and all lots uncleared after the time aforesaid, will be re-sold, — by public or private sale; and any deficiency attending — such re-sale, together with all charges, shall be made good by the defaulters at this present sale, who shall have no claim to any of the surplus they may sell for, CATALOGUE, &c. ,.* On SATURDAY, tue 1l6tH Day or JULY, 1831, AT TWELVE O’CLOCK. The following smali but valuable Collection of Pictures, the Property of a Gentleman of comsiderable Taste, is introduced into this Sale by Permission, and will be Sold unreservedly. — DUTY TO BE PAID BY THE BUYER. sig { Meleager and Atalanta, on copper BROOKING sersese4s+ 2 Shipping Piece i ‘TUCKER tees eeseeees 8 Moonlight ee: DAMPIER «+++++++++ 4 Paul and Virginia, a Woody Scene, hand- 7 as ja somely framed VANDY KE coseeeeeee 65 Portrait of the Countess of Portsmouth ee 6 Portrait of the Marquis of Camden TUCKER eeeceseeess+ 7% Moonlight Piece, large | BAPTISTE «-+++++++- 8 Flowers BERGHEM «coveee+++s 9 Cattle, large, handsome frame ROGERS +-ee++>e++++ 10 River Scene, in ditto frame SALVATOR RosA -++- 11 Waterfall and Rocks, handsome frame CARVER «eeeeeeseeee 12 Landscape with Figures VERNETeccceevecees 18 Shipwreck, oval DAVIS «ccrceccesccce DITTO:+<+e+0.6 Van DIEST LARESSE + ces sccccces VAN STAVEREN +++ ISIRANI ccsvcecsccee Dirk Maes, 1680 -- SEB. BOURDON«e+ee RUBENS, after ++>+++ PAUL VERONESE ++:+:+ VANDER HEYDEN -;- POLEMBERG ++ «eeees HOBBIMA WYCKE REMBRANDT «+++ ek eeeeoo eevee JAS. PUNTORMO «+++ RUYSDAEL:- OTHO VENIUS +eeees N. POUSSIN e@eeeee ed WEENIX seecccecoses 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 4 Equestrian Troop at a Country Fair, in Land- scape, gilt frame Barnet Horse Fair, ditto Romantic Landscape Nymphs Dancing Hermit in a Cave Magdalen’s Head TRAVELLERS AT AN INN Door listening to a Blind Musician mounted on an Ass Hoty FAMILY, in a Landscape, attended by Angels St. George and the Dragon, a copy of the celebrated picture by Rubens in the collection of His Majesty JAcos and RAcHAEL at the Well CorrAGes and Figures, elaborately finished Nymphs Bathing A LANDSCAPE withWatermill and Figures Interior of a Chemist’s Laboratory A SPLENDID PORTRAIT OF AN OLD MAN, in richly gilt and carved frame Hoty FAMILY, a curious early specimen LANDSCAPE, with Rivulet THE CruciFixion, anoble large picture LANDSCAPE and FIGURES BY A LAKE, from the Collection of the late Lorp Rapstock LANDSCAPE, wiih a Reposo, very fine 5 The following Lots are the Genuine Property of Mr. RAPHAEL WENT, Who very respectfully submits them to the liberal consideration of those who patronize the Fine Arts, and, with the assurance, that, from circumstances over which he hath no controul, they must of necessity be offered to Public competition, without a limited price. Ii is believed, that it may with confi- dence be asserted, that amongst this very small Collection, will be found, some of the most perfect Specimens of the Ancient Masters, and the very finest Compositions of THE VENERABLE WEST. LOT 34.—Titi1an. THE LAST SUPPER. Truly hasit been observed of late, with reference to the ship loads of old masters that succeed each other for the English market, that, all the pictures that have ever been painted, from a century before the age of Michael Angelo to the present Year of our Lord, One Thousand, Eight Hundred and Thirty-one, have by some Guardian Spirit, been miraculously preserved from the common fate of almost all the other handy works of man.,—Pictures alone seem indistructible. It happens, however, that of these importations of almost countless Raffaell’s and Correggio’s, Titian’s and Tintoretto’s, and a host of other works of high sounding name, that scarcely one in a hundred is worth the amount of its freight: hence a genuine picture is still as estimable in the market, as sterling gold; for those which are known to be the works of the illustrious hands to which they are assigned, are not to be obtained, but through channels that are rarely open, and when opened, are exposed to that spirited competition, which will enrich a gallery, at a commensurate expense. That this sketch is the work of the hand of Titian, is obvious from its own evidence.—It is substantiated moreover, by the collateral evidence of veritable picture history, on the authority of which, this has been held, without dispute, to be the first sketch by Titian for his famous picture of the same subject, in the gallery of the palace of the Escurial. As agenuine specimen of this great master of the Venetian School, it may be pronounced worthy a place in a collection of first rate repute. LOT 35.—Tit1an. THE BATH OF DIANA. This splendid sketch, as indisputably the work of his masterly hand, is a study for the magnificent picture of the same subject by Titian, which forms one of the graphic stars of the Stafford Gallery. It should be added, that these sketches were possessed by Mr. West, for at least half a century, and were held by him and his learned coterie, in the highest estimation, as invaluable specimens, to the artist at least, of the pouring forth of the first thoughts of this inimitable colorist. 6 LOT 36.—Guipo. ECCE HOMO. The most enlightened amongst the contemporaries of the late Mr. West, held his connoisseurship, particularly with reference to the works of the great Italian masters, in the highest estimation. Indeed, scarcely a valuable picture was imported to this country, during many years, that was not submitted by its proprietor, or those to whom it was consigned, for his opinion: hence, on his authority a picture might almost without dispute, be received as an original. Sir Joshua Reynolds, himself an able connoisseur, frequently referred bis own opinion for the confirmation of Mr. West, candidly acknowledging, that his “perception of hands” was. superior to his own. Indeed, not excepting that of the late Mr. Tresham, his authority upon this point was considered superior to that of any other judge of art. If this fine picture then had not been the property of the late Mr. West, it might enhance its value to give his opinion of its transcendant merit; yet, as Mr. West could never be tempted to part with it, and as he was not suspected to be wanting in candor and. integrity, his word may be quoted, in conjunction with that of his friend Sir Joshua, who was of opinion that it “ might be considered as one of tlie very finest productions of the painter’s art.” This indeed has been the opinion of all the most distinguished judges of the age. As an exemplar to the rising school of painters, this magnificent Guido, it is presumed, would be judiciously appointed, by a conspicuous plave in the National Gallery. LOT 37.—CLAUDE DE LORAINE, It rarely occurs that so small, and at the same time so genuine aspecimen of this incomparable master is consigned for public sale. An opportunity now is afforded to the amateur to add a graphic gem to the choicest cabinet collection. LOT 88.—BENJAMIN West, P.R.A. MARK ANTHONY READING THE WILL OF JULIUS CASAR. Whatever epic subject came under the consideration of this distinguished painter, the same vigor of perception is displayed in the general arrangement of the design, wherein all the action tends to elucidate the story. In this composition the painter has exhibited his usual mastery of expression, in giving to the countenance of every individual the impress of the workings of the mind, as wrought upon by the eloquence of Mark Anthony, thus appealing to their passions on beholding the bleeding corse of the murdered sovereign. ‘The whole scene, even to the most minute feature of its many episodes, tends to one point, the public commotion which is suddenly excited by the skilful address of the friend of Ceesar, in his appeal to the passions of the multitude. The composition is imposing and grand, and may be considered as a splendid Gallery picture. LOT 39.—BENJAMIN WeEsT, P, R. AA—THE CRUCIFIXION. It is well known that for many years objections have very generally prevailed against the admission of pictures into our churehés or chapels, so much so indeed, that although the noblemen and gentlemen directors of the British Institution, in their enlightened and patriotic zeal for the promotion of the fine arts of the country, purchased certain fine pictures of subjects taken from the Old and New Testament, for the purpose of presenting, them as altar. pieces to the chureh, yet the proffered gift has been declined, upon the general feeling that the adorning of a protestant place of worship with pictures, was derogatory to the spirit of devotion as intended by the reformation. ‘oa 7 There have been and still are those however, whose opinions upon this subject from their religious consistency, and holiness of life may be quoted as authorities opposed to such narrow views. His Majesty George III. a sovereign whose orthodoxy as a protestant prince, and holiness of life are recorded in the memory of the pious, it is well known was so desirous that our places of public worship should be adorned with works of art, that he had projected a chapel to be erected by Mr. James Wyatt, within the ancient palace of Windsor, which was to be enriched with paintings and sculpture. His Majesty was of opinion indeed, that the best efforts of human genius, could not be better employed, than in the illustration of the awful and sublime events recorded in the Holy Scriptures, and that no place was so befitting to receive them as the national temple dedicated to the solemnities of devotion. This very masterly composition embraces in its various groupings all the prominent circumstances of the awful and sublime event which it records, and cannot be contemplated but with reverence for the Divine Being who is thus pathetically represented, accomplishing in his Holy Person, the last and most inestimable act of that Heavenly mission by which mankind became heirs to immortality. Mr. West, of all the painters who have studied Biblical history with reference to their art, has, it is believed, produced the greatest number of subjects taken therefrom, and however others may have excelled in certain professional mastery, in their pictoral repre- sentations of sacred events, few have equalled, and none perhaps have excelled him in that dramatic perception, which is indispensable in painting the story proposed, so as to speak to the general understanding of every class of readers of the Old and New Testament. LOT 40.—BENJAMIN WEsT, P.R.A. ADAM anp EVE EXPELLED FROM PARADISE. The late Sir Thomas Lawrence, than whom no one held the genius and talent of Mr. West in higher estimation, expressed, as his opinion, that this picture was in pathos, one of the finest compositions that had emanated from any school of art, There have heen several pictures of the olden schools representative of this useful subject, the expulsion of our first parents from the Garden of Eden, certain of which exhibit many of the finest properties of the art; but it would be difficult to name any one of the many, which in the attributes of thinking, or design, can compete with this. It has been objected, and indeed with truth,on too many occasions, that Mr. West did not render justice to his own fine perceptions, by neglecting to bestow that patient consideration upon the completing of his compositions, which they demanded. This fault, however much it may be Jamented, has been common to those painters, who have been gifted by nature, with an aptitude for invention, such having found it irksome to dwell long upon the same subject: the fecundity of their imaginations indeed being impatient to give birth to new compositions, long before all that was demanded to the perfection of the last could be accomplished. These pictures however, on which Mr. West bestowed the full exertion of his powers, and on which he laboured for the maintenance of that reputation, which he acquired early in life, were not only studied with becoming care, but as highly wrought, and as finely executed as the best works of the old Italian masters. The present it might be presumed, would be a congenial period for the disposal of this very fine and impressive Scriptural picture, for as an altar-piece, it would from its convenient size, suit one of the many new and elegant chapels, which have been lately erected, and which haye contributed so much to the architectural improvement of the British metropolis. 8 LOT 41.—BENJAMIN WeEsT, P.R.A. THE DELUGE, Should it happen that any great personage were about to erect a chapel on his demesne, the three Scriptural subjects, about to be submitted to the amateurs of art, afford an opportu- nity of displaying them therein, with a compatibility of effect, that could not fail to meet the approbation of the whole world of taste’ Supposing that the altar of such a chapel, were so constructed, as to admit of three compartments, richly ornamented, with suitable marble frame work, or borders, the centre to admit of the upright picture of the Crucifixion; that to the right, the Expulsion, and that to the left, the Deluge. These would supply an uniform series, descriptive of three of the most awfully impressive events recorded in the Old and New Testament. One is a record of the first manifestation of the displeasure of the Almighty towards the being, man, in the expulsion of Adam and Eve from Paradise, for disobedience to his holy command. The second records the still more awful consequences of Sin, in the Wreck of a World, swallowed by the Raging Waters, and the Destruction of the whole Human Race, saving one Righteous Family; and the third, the awful Death of the Divine Christ, through whom the countless myriads of the posterity of Noah, who had again re-peopled the earth, obtained the promise of Eternal Life. Such a series so placed, could not but tend to awaken even the most torpid mind, to a certain sense of serious meditation. These three impressive compositions, were painted by command of His late Majesty King George the Third, for the projected Royal Chapel, in Windsor Castle. It is sufficiently known that they were not only considered rt his Majesty, but by all the skilled in the know- ledge of the art of painting, to be three ofthe finest specimens of the British School, and worthy of comparision with the best works of the old masters, LOT 42.—_BenyAmMIN West, P.R. A. THE BARD. Many attempts had been made by the painters of our school to personify the descriptions of our native poets, but rarely with success. Few subjects selected for the painter’s or the sculptor’s art are more difficult to embody, than those which have been sketched by the pen a of a master poet. The extensive powers of poetic description, admit of similies that are not He within the compas of those graphic arts. The imagination is wrought upon by the commanding influence of words, and the reader of a poem like this, fancies a pleasing, though perhaps au indefinite vision of the person of the inspired bard, as described :— ** Loose his beard and flowing hair, Streams like a meteor to the troubled air.” But this undefined vision, which constitutes one of the many charms excited by poetr : is too often dispelled at once, by the painter’s or the sculptor’s attempt to personify it by | translation into this respective art. ' Notwithstanding these difficulties, this personification of Gray's Bard, on its appearance on the walls of Somerset House, obtained for the venerable president the unqualified applause of contemporary painters, and all who possessed a genuine feeling for this imitative art. Mr. West’s greatest powers perhaps were developed in the perception of character. His King Lear and the Bard, have always been quoted amongst the finest examples illustrative of this very difficult department of design. The lofty rock on which he has placed the Bard, is the summit of a site, as romantic as the imagination of the poet, and the eagles skimming in mid-way air over the glen, is a pictorial episode in perfect accordance with the sentiment of the poem, It is a finely conceived and masterly illustration of the thinking of Gray. PROG _ The late Mrs. Siddons on beholding this composition in Mr. West’s studio, immediately # on ‘its completion, with a voice, and gesture, which none but herself could express, quoting eee the line of the Bard, exclaimed, “ Ruin seize thee ruthless king !” tic ries This great actress complimented Mr. West by observing, “ had the poet been the painter ey of the Bard, he must have painted it thus.” ee saga 43 A HANDSOME CHARIOT, body painted green, lined with blue cloth, and _- silk Jace, Venetian blinds and lamps, swinging boot before, a bell box upon ditto, town seat and seat cloth, swinging hind foot board, with standards FINIS. Sail ‘a day hw pe “+ a5 y