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Digitized by the Internet Archive 
 in 2019 with funding from 
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CATALOGUE 
 
 OF A 
 
 SELECT AND SINGULARLY VALUABLE COLLECTION 
 
 OF 
 
 ^Paintings, 
 
 TIIE PROPERTY OF A GENTLEMAN OF FORTUNE, 
 
 WHOSE TASTE WILL DISPLAY ITSELF IN TIIE CHOICE OF THE NOBLE 
 
 PRODUCTIONS OF THOSE 
 
 GREAT MASTERS, 
 
 DOMENICHINI, 
 
 LEONARDO DA VINCI, 
 
 SIR PETER PAUL RUBENS, 
 NICOLA POUSSIN, 
 
 MICHAEL ANG. BUONAROTTI, 
 CANALETTI, 
 
 SPAGNOLETTO, 
 
 RAPHAEL, &c. 
 
 mm) brill be bp Auction, 
 
 BY PETER COXE, 
 
 IN MADDOX STREET, HANOVER SQUARE, 
 
 On FRIDAY, the 12th of JUNE, 1812, at Two o’Clock precisely. 
 
 May be Viewed Three Days preceding the Sale; when Catalogues may be had, at One 
 Shilling each, in Maddox Street, and at No. 33, Throgmorton Street, 
 
 Royal Exchange. 
 
ADVERTISEMENT. 
 
 The names of great Masters are so often given to works 
 of a very inferior quality, that the eye is too often sur¬ 
 feited with reading a repetition of high sounding titles, 
 which only occasion disappointment to the spectator, and 
 throw contempt on Art by their injudicious and idle 
 application. It may he said, on the contrary, of the 
 Collection described in this Catalogue, that they “ who 
 <f run may read A that the most cursory glance will 
 satisfy the pidicious admirer ee whose image and super- 
 “ scrip lion they bear while a repetition of examina¬ 
 tion, it is presumed with confidence, will rivet them 
 more strongly in the esteem of those conversant in the 
 higher order of Art, hy the manifestation which will 
 display itself in their superior and self-evident excel¬ 
 lence. 
 
A 
 
 DESCRIPTIVE CATALOGUE. 
 
 FRIDAY, THE TWELFTH OF JUNE. 
 
 Lot I. SPAGNOLETTO. 
 
 A Spanish Peasant, habited in the Costume of his 
 Country, holding a large Onion in his Hands. 
 
 Painted with all that contrast of strong light and deep shadow that was 
 this eminent Painter’s prevailing principle of art and great delight. 
 
 Lot II. VERNET. 
 
 A View on the Mediterranean. 
 
 A Sea Port: a small glowing and interesting Picture of this deservedly 
 favourite French Master. A Sunset, with Figures and Shipping. 
 
Lot III. TITIAN. 
 
 Venus Rising from the Sea. 
 
 The counterpart, in composition, of the celebrated Picture of the same 
 subject at Cleveland House, in the possession of the Marquis of Stafford. 
 
 Lot IV. MOUCHERON. 
 
 Landscape, with Cattle and Figures.—Evening. 
 
 The effect of the rays of the declining Sun is beautifully and naturally 
 described by the gleam of light that spreads over the tender foliage of the 
 groups of trees, and illumines the fore-ground bank. The passage at the 
 turning of the path, with the light tinging the extreme branches of the 
 bushes which form the hedge, and the entrance through the rustic gate, are 
 truly rural. The transparency of the trees upon the brilliant evening sky 
 is well managed; and the distant mountains are melting into air. The 
 Animals are painted with freedom; and the whole scene is so chastely 
 coloured, that we may pronounce this one of the most natural repre¬ 
 sentations of a warm and serene evening that we have seen from the pencil 
 of this admired Landscape Painter. 
 
 Lot V. PAUL VERONESE. 
 
 A Roman Warrior pleading his Cause before a Magis¬ 
 trate of the Western Empire. 
 
 The character not inferior to Titian. The whole Scene is appropriate. 
 The Secretary is employed in taking notes. The attendant Guards stand 
 
7 
 
 perfectly natural; and the Figures listening, and in conversation, are equally 
 characteristic. The architectural back-ground is in perfect harmony of 
 classic representation. There is a suitable tone of grey, but rich, colour 
 pervading the Picture, which proves the Painter worthy of the high rank 
 he attained in the Venetian School. 
 
 Lot VI. LUDOVICO CARRACCI. 
 
 St. Francis, 
 
 Recognised by the Sigma on his hands and feet, is represented in 
 a reclining position, with an Angel supporting him in his last moments. 
 Other Angels, accompanied by a Cherub, are hovering above him, resting 
 on a Cloud, and waiting as if to accompany his departing Spirit into 
 Heaven. The Saint is dressed in the habit of the Order of which he was 
 the Founder. A sober tone of colour pervades the whole Performance, and 
 leaves the mind more at leisure to be impressed solely with the piety of the 
 story. 
 
 Lot VII. NICOLO POUSSIN. 
 
 A Grand Romantic Landscape.—From the 
 Falconieri Palace. 
 
 A species of poetic grandeur pervades the works of this celebrated 
 Painter, which excites our admiration of his original powers. In contem¬ 
 plating the Landscapes of Nicolo Poussin, we are led to feel that every 
 
8 
 
 town is peopled with philosophers; and all his figures, however scattered 
 over his classic scenes, are truly such as Virgil has described. Of this cast 
 is the Goatherd, whose action, as he drives the Animals before him up the 
 rude path, displays an intelligent mind : he is addressing the solitary contem¬ 
 plative figure, who is reposing upon the grassy borders of the still water. 
 The trees in this composition are well designed, the colouring is rich, the 
 effect solemn, and the painting is masterly and bold. 
 
 Lot VIII. RAPHAEL. 
 
 The Holy Family.—Small Figures. 
 
 An Upright: 
 
 The Virgin is sitting, and the Infant Saviour is standing in her lap, whose 
 head is irradiated by a crown of glory. St. Lucia, and another female 
 Saint, are attendant on each side of the Virgin. The Serpent, as the 
 great Enemy of Man, is judiciously introduced ; the scene in which 
 they are placed is an open and mountainous country. The figure of 
 the Saviour is beautiful and elegant. The faces of the Virgin and At¬ 
 tendants are expressive, and sweetly penciled. The draperies are well 
 arranged in ample folds and rich harmony of colour, and show how 
 attentively this great Master had considered, in his early days, the Works of 
 Pietro Perugino and the great Performances of Leonarda da Vinci, on which 
 he grounded part of his own unrivalled excellence. 
 
9 
 
 Lot IX. MICHAEL ANGELO CARRAVAGIO. 
 
 The Saviour crowned with Thorns, and shown to the 
 
 Jews. 
 
 It cannot but appear singular, that a Master who could send from his 
 easel so extraordinary a Performance as this,—whose pencil could be so 
 clear and delicate, and yet so forcible, so luminous, and yet so tranquil, 
 who could contrast beauty of countenance, strong opposition ol character 
 devoid of extravagance, and who could spread so irresistible a charm over 
 his subject, uniting mind and judgment with facility and perfection of 
 mechanical execution,—could capriciously have deviated from this sure and 
 resplendent path to fame. This Picture is the perfection of his Art, and 
 the pure soul of Painting. Here is every thing, that suits the subject; 
 every thing is in harmony. Pontius Pilate shows the Saviour to the Jews, 
 with the reed placed in his hands in derision, and crowned with thorns. 
 The dignified deportment of the Roman Governor is finely contrasted by 
 the rude and savage conduct of the attendant Executioner, who, with a 
 debased and abject mind, insults the meek and suffering Victim with 
 taunting clamour, as he is rudely stripping the garment from his shoulders: 
 whilst the obedient Soldiers, in the discharge of their duty, remain earnest, 
 but silent spectators. The Painter, with the true pathos of his art, has not 
 harrassed the feelings by an unnecessary display of the bodily sufferings of 
 the Saviour, anticipating the agony he was to suffer upon the Cross; but 
 depicted his patient and pious countenance looking up to Heaven as if he 
 was saying, “ Lord, thy will, and not mine, be done.” The Saviour of 
 the human race knew what he was to undergo; he did not debase his 
 character by showing an example of impatience under affliction: he felt 
 
 B 
 
10 
 
 for the human race, and not for himself, and evinced no unbecoming ex¬ 
 travagance of deportment. This the Painter seemed to feel, when he 
 accomplished this wonderful performance. 
 
 LOT X. CANALETTI. 
 
 View of the Clmrch of St. George Majore, as seen from 
 the Corner of St. Mark’s Square. 
 
 Amongst the most pleasing inquiries of an enlightened mind, must be 
 reckoned those which tend to the attainment of a knowledge of the habits, 
 customs, and manners of Foreign Nations: and we feel indebted to all 
 those persons, whether historians, travellers, or artists, whose labours have 
 provided us with the means of gratifying so laudable a pursuit. This 
 extraordinary City of Palaces, rising, as if by magic, out of the waters of 
 the Adriatic, is the admiration of the world. And the accounts from all 
 travellers to this renowned place, have excited a general interest to become 
 acquainted with its pictorial beauties. The numerous fine Works from the 
 pencil of this justly admired Artist have afforded us an intimate knowledge 
 of its grandeur, with which we readily associate our feelings of respect for 
 the illustrious men to whom Venice has given birth. Thus at once raising 
 in our estimation the utility and interesting powers of this topographical 
 branch of art. From the faithful Pictures representative of the architectural 
 beauties of this City we feel almost as well acquainted with every feature 
 thereof as though we were natives of Venice. This Picture, and its 
 Companion, are of the same class with the fine Paintings by this Master 
 that adorn the walls of Buckingham House; Works that were held in the 
 highest esteem by our Sovereign. This composition is grand and pic- 
 
11 
 
 turesque, the perspective is faithfully delineated, the colouring ic- natural, 
 the effect broad, and the figures and vessels are executed with the most 
 masterly spirit. Indeed the happy combinations of the graphic art in this 
 Picture renders the scene completely illusive. 
 
 Lot XI. CANALETTI. 
 
 V iew of the Doge’s Palace, seen from St. Mark’s 
 
 Square. 
 
 So deceptive is this magnificent mass of buildings, as seen across the 
 water, that we cannot but fancy ourselves upon the spot from whence the 
 Painter made his view. The perspective of the foreground, with the con¬ 
 tinuity of regular pavement approaching the lofty obelisk, on the side of 
 St. Mark’s Palace, leads the eye of the spectator to the waters of the 
 Adriatic, which through the opposite opening is seen to expand its unruffled 
 bosom to the horizon. The various vessels that gayly adorn its surface are 
 disposed with the usual good taste of the Master, whose judgment in the 
 arrangement of vessels, figures, and all the necessary accompaniments of 
 such designs, was above competition. The vessel, with its mast and pro¬ 
 jecting oars, is finely foreshortened, and aids the effect of the general 
 composition, which is so varied and so truly grand, that it is worthy of 
 being placed as a companion to the View of the Church of St. George 
 Majore. 
 
n 
 
 Lot XII. JORDAENS: 
 
 The Holy Family. 
 
 r 
 
 The Virgin, Saviour, Joseph, and St. John, are described by this forcible 
 and most respected Artist as in the act of devotional singing— 
 
 “ Hymning the great Creator.” 
 
 This luminous Picture ought to be deemed worthy the pencil of the 
 great Rubens, for clearness of tone as well as richness of colour. The 
 subject is unusually treated. The Sacred Family are employed in the most 
 devout and reverential pursuit that the human mind could possibly con¬ 
 ceive. The Painter has introduced his own Portrait and that of his Wife ; 
 and it may naturally be supposed, although there is no history of the fact, 
 that the Saviour and St. John are the likenesses of his children ; such 
 personifications being admissible liberties in the hands of the great Masters, 
 of which there are numerous examples. The friendship of Rubens for 
 Jordaens, it is well known, was sincere and affectionate ; and the Picture 
 presents itself to the spectator of so very brilliant a quality, that it cannot 
 be doubted but the generous hand of Rubens, dictated by a regard for the 
 reputation of his favourite disciple, contributed the additional graces of his 
 own pencil, to give animation to the likeness of Jordaens, and resplendent 
 beauty on the head of the Saviour. 
 
n 
 
 Lot XIII. Sir PETER PAUL RUBENS. 
 Diana returning from the Chase. 
 
 The Goddess of the Chase is represented in this fine Picture returning 
 from the.field at the head of her Nymphs, each of whom is armed with a 
 spear: one is bearing upon her shoulder a hare, another is caressing a dog, 
 whilst Silenus is eyeing the chaste Goddess, and the rosy children are 
 stealing the grapes, which in luxuriant bunches he is bearing before him. 
 This was a favourite subject with the great Flemish Painter, in which he 
 delighted to display his knowledge of colouring the naked figure: and, in 
 the instance before us, his talent for splendour of effect is strongly mani¬ 
 fested. This Picture is from the celebrated Collection of the late Duke of 
 Orleans. 
 
 Lot XIV. NICOLO POUSSIN: 
 
 The Plague of Ashdod. 
 
 The subject of this noble work of art is taken from the sacred Scriptures, 
 and is descriptive of the Plague that the offended God of the Israelites 
 visited upon the Philistine city of Ashdod. The moment selected by the 
 Painter is that when the idolatrous inhabitants of the city assembled to 
 offer their morning sacrifice to the idol Dagon.—“ And when they of 
 Ashdod arose early on the morrow, behold, Dagon was fallen upon his face 
 to the earth, before the Ark of the Lord,”—“ And the head of Dagon, and 
 
14 
 
 both the palms of his hands, were cut off upon the threshold; only the stump 
 of Dagon was left to him.”—“ But the hand of the Lord was heavy upon 
 them of Ashdod, and he destroyed them, and smote them with emerods.” 
 
 The awfulness of this scene of woe is here pourtrayed with circumstances 
 so naturally arising out of the spreading calamity, that were we not 
 •acquainted with the inventive powers of the mind of such a Painter as 
 Poussin, we should conclude the imagery must have been collected by one 
 who had witnessed the horrors of a populous city devastated by a plague. 
 The feelings excited in contemplating this affecting picture, are suited to the 
 subject, which is recorded in that book where all that is described is sublime. 
 The buildings bespeak this to be a city of note—its inhabitants are such as 
 accord with our notions of the people of that age—all the composition ; s 
 remote from modern times. The high priest is represented in consternation 
 on discovering the fallen idol; and the surrounding witnesses exhibit 
 astonishment and terror at the catastrophe. The utmost pathos of the art 
 is displayed in the group upon the foreground of the picture, wherein we 
 behold a mother dead of the fatal disease, with one infant breathless by her 
 side; and another, though living, yet unconscious of its misfortune, in the 
 act of endeavouring to excite the maternal attention to its wants ; whilst a 
 man is humanely engaged, at the risk of his own safety, in separating the 
 innocent victim from its danger. Indeed there is not a figure, nor an 
 incident, in the composition, but tends to the developement of the story 
 recorded by this extraordinary epic Picture. 
 
 The figures are drawn with classic elegance, the draperies are finely 
 designed, the effect is solemn, and the colouring accords with the general 
 sentiment of the subject. 
 
 This Picture, which is from the Collection at the Colonna Palace, was 
 held in high estimation upon the Continent, and is mentioned by Felibien 
 as one of the finest works of Nicolo Poussin. 
 
15 
 
 Lot XY. LEONARDI DA VINCI. 
 
 Portrait of a Female. 
 
 Beauty, united with expression, which so eminently characterise the fine 
 faces of the Italian women, is happily delineated in the countenance of this 
 Portrait. The drawing of which, together w r ith the neck and hands, is 
 correct and chaste, the chiaro oscura bold, the colouring rich and har¬ 
 monious, and the execution, though highly finished, is masterly. The 
 Works of this extraordinary and accomplished man are scarce, and de¬ 
 servedly held in high repute. This Picture was brought to England from 
 Milan some years ago, and has remained in the Collection in which it was 
 then placed to the present period. 
 
 Lot XVI. DOMENICHINO. 
 
 Saint Sebastian. 
 
 The utmost knowledge of the contour of the human form is manifested by 
 this great artist. In the design of this elegant figure, whose soul, amidst 
 the agony of his corporeal sufferings, seems suddenly elevated by observing 
 the heavenly messengers, bearing the symbols of reward for his holy zeal. 
 There is a grandeur in the conception of this subject, worthy of the great 
 mind of Domenichino, whose severe style diffuse dignity to the graphic art. 
 The composition is of the highest order of painting; that simplicity of style 
 which delights in breadth of effect and solemnity of colour, disdaining me¬ 
 retricious ornament, is here exhibited to the intelligent mind in its fullest 
 power. These elevated subjects, when treated by men of inferior abilities, 
 
16 
 
 produce sentiments of disgust; but in the hands of a Domenichino, raise 
 none but those which exalt the human mind. The buildings, the landscape, 
 and the whole of this fine composition, are of the highest order of merit. 
 
 Lot XVII. MICHAEL ANGELO BUONAROTTI. 
 
 Leda. 
 
 This celebrated Picture, which shows the grandeur or this great Master s 
 idea of the human figure, attached to gracefulness of form, long remained the 
 principal ornament of the late Earl Spencer’s drawing room, at his Seat at 
 Wimbledon, in Surrey, and was subsequently a highly valued treasure in the 
 Collection of that accurate judge of art Sir Joshua Reynolds, in whose house 
 it remained at his death. The memorable words of this illustrious Painter, 
 in his last public address to the pupils of the Royal Academy, evince his 
 decided reverence for the talents of this great Master of the Italian School. 
 
 FINIS. 
 
 Printed by J. Moyes, Greville Street, Hatton Garden, London. 
 
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