CATALOGUE 
 
 OF A VERY 
 
 CHOICE AND VALUABLE COLLECTION 
 
 OF 
 
 CAPITAL PAINTINGS, 
 
 PURCHASED FROM THE GALLERY OF THE LATE DUKE OF 
 
 IN THE KINGDOM OF NAPLES, 
 EXHIBITED AT 
 
 No. 65, PALL-MALL. 
 
 1812. 
 
Printed by W. Glindon, Rupert-Street, 
 Hayraarket, London, 
 
 THE 6BTV CEKfth 
 UBRARY 
 
j&LMOST the whole of the Paintings we submit to 
 the Judgment of a Public, who loves and patron- 
 izes the Fine Arls y is from the private Collection of 
 the late Duke of San Pietro, in the Province 
 of Bari, in the Kingdom of Naples. We 
 purchased them only, because they had long 
 and generally been known as Works select and of 
 true Merit. We have brought them to England^ 
 and now offer them for general Inspection, but 
 only after having been convinced, by the unanimous 
 Opinion of all the distinguished Artists and Con- 
 noisseurs, who have seen them on the Continent, 
 as well as in London, that we had not raised 
 our Estimatian too high, either respecting the 
 ensemble of our Collection, or the importance of 
 its principal Pieces* 
 
IV 
 
 On its Arrival in London, last Summer, we 
 wished to make a public Sale of it, and entrusted 
 it to Mr. Christie. The Honor of the Fine Arts, 
 and our Interests could not have been confided to 
 more worthy Hands; but it was loo late in the 
 Year, and we withdrew our Paintings, intending 
 to present them again, at a more favourable 
 Season. 
 
 In opening our Exhibition, we most respectfully 
 acquaint the Lovers of the Fine Arts, that the 
 Whole, or any Part of this Collection, may be 
 purchased only by private Contract ; and that our 
 Demands will be as moderate as the considerable 
 Expence incurred, and the Regard due to tfie 
 Fine Arts will allow. 
 
 This Collection, composed of Pictures, not only 
 of the Italian, but also of the Spanish, Dutch, 
 and Flemish Schools, and more deserving Notice 
 
V 
 
 from their Choice than their Number seems to us 
 of a Nature capable of satisfying the Ambition 
 of any Man of Taste, who, by granting his Esteem 
 to all the fine Productions of the Art, without 
 Distinction or Partiality, has not yet formed his 
 Gallery. 
 
 In Case our Pictures should not be sold toge- 
 ther, we venture to hope that the most Classical 
 among them, will quit us only to be placed in one 
 of those national or private Collections, formed by 
 the Munificence of noble and real Patrons, for 
 the Improvement of the Science, the Delight of 
 Amateurs, and the Glory of the Fine Arts in 
 England. 
 
 g^r Address by Letter, to Mr. Lasalle^ BruneVs Hotel, 
 Leicester Square* 
 
Digitized by the Internet Archive 
 in 2013 
 
 http://archive.org/details/catalogueofverycOOunse 
 
A 
 
 CATALOGUE, 
 
 &c. &c. &c. 
 
 JOSEPH RIBERA, 
 
 SURNAMED LO SPAGNOLETTO. 
 
 1. « SAINT SEBASTIAN having sent so many 
 "martyrs to heaven before him, was himself im- 
 <c peached before the emperor Diocletian, who 
 tc having grievously reproached him with in- 
 " gratitude, delivered him over to certain archers 
 C( of Mauritania, to be shot to death. His body 
 <( was covered with arrows, and he was left for 
 (C dead. Irene, the widow of St. Castulus, going 
 ec to bury him, found him still alive, and took 
 cc him to her lodgings, where, by the care taken 
 (< of him, he recovered of his wounds/' &c. 
 
 From the Lives of the primitive Fathers, 
 Martyrs^ §c. 
 
8 
 
 Though a picture of such merit may not stand 
 in need of any commendation in the eyes of 
 connoisseurs, yet we will give the following 
 extract, inserted iu the catalogue of the gallery 
 of the duke of San Pietro. 
 
 <c To day we are to speak of that great man, 
 cc Guiseppe libera by name, who, from his 
 fC country, was surnamed Lo Spagnoletto ; by 
 cc his great talents he contributed so much to 
 ee the glory of Italy, and particularly to that of 
 <c our kingdom, that the universal approbation, 
 se and the rewards he received from the sovereigns 
 sc of his times, were equally due and honourable 
 cc to him : the Pope made him knight of Christ, 
 ** and our Viceroy, first painter of the court, 
 <( loading him with gifts," &c 
 
 After having described the famous descent 
 from the cross, of the Certosa of Naples, the 
 author continues : 
 
 cc A few months after, he undertook to draw 
 " another picture, for the chapel of the prince 
 <c of Bari, representing the martyrdom of St. 
 
9 
 
 • ' Sebastian : in this new work, Ribera infused 
 " as much of his powerful genius as was possible 
 ic for him; so that having exhibited it to the pub ~ 
 es lie admiration, it was unanimously declared,, 
 tc and is still pronounced, to be one of his most 
 " perfect performances, and one of the most va- 
 sc luable among our treasures of painting Zam- 
 " fieri, who was at that time at Naples,, painting 
 r% the Treasury of St. Januariug, when he saw 
 <f this picture by his rival and enemy , he could 
 * f not help exclaiming — f This is the highest power 
 tf of art !' And in fact : what expression in the 
 (e whole head of the holy martyr; in the mouth, 
 w which seems to give up the last breath ; in the 
 " body, that so naturally leaves life and drops ! 
 " What affection, what pity, in the action of 
 sc that holy woman, who with anxious hands 
 " draws out the murderous arrow! What a 
 (C grave look in her maid who holds the balsam 
 " ready; she being so well placed for the har- 
 (< mony of the composition, and to give a relief 
 " to the principal figures ! What strength, 
 " what truth of colouring ! What beautiful 
 " and grand anatomy ! What a magical diV 
 ** tribution of light and shades! What firm 
 
10 
 
 ness and perfection of design ! What mastery 
 and yet what delicate touches ! ■* &c* 
 
 Critical Letters upon Painters and Sculptors 
 of the kingdom of Naples, by Abbe Andrea, 
 Vincenzo de Grandis. Letter III. 
 
 * " Oggi vi ho da parlare di quel valent' uomo per nome 
 " Giuseppe Ribera, il quale dalla sua patria venne soprannomato 
 ci lo Spagnoletto, e da' suoi gran talenti tanto illustro 1' Italia ed 
 u i! nostro regno particolarmente, che gli furono giustizia non 
 u meno di onore gli universali applausi e le rimunerazioni ch* 
 u egli ricevette dai contemporanei sovrani ; essendo stato dal 
 " Sommo Pontefice fatto Cavaliere di Cristo, e dal nostro Vicer& 
 ^ Primo Pittor di Corte, e colmato di doni, ec 
 
 " Pochi mesi dopo fu da lui intrapreso un altro quadro per la 
 u Cappella del Principe di Bari, il di cui soggetto era il martirio 
 
 di San Sebastiano. — A questa nuova sua produzione, diede il 
 iC Ribera quan to potea, somministrargli il suo possente genio ; 
 " sicche essendo stata per lo spazio di alcuni giorni esposta alia 
 * 6 pubblica ammirazione, fu universalmente dichiarata, ed e ancora 
 " tra di noi giudicata, uno de' piu pregevpli che abbiamo tra le 
 * c nostre ricchezze pittoriche. Il Zampieri che nel medesimo 
 u tempo trovavasi a Napoli a dipingere il Tesoro di San Gennaro, 
 u quando vide il quadro del suo rivale e nemico, non pote a meno 
 (* di non esclamare : Questa e V ultima pot enza dell 1 arte ! Ed 
 u infatti ; che espressione in tutta quella testa del santo martire ! 
 ^ In quella bocca che par che renda 1' ultimo sospiro ; in quel 
 ^ corpo che si naturalmente lascia la vita e cade ! Che affetto che 
 i6 piet& nelP azione di quella santa donna, che colle ansiose man! 
 
11 
 
 ALEXANDER VERONESE. 
 
 % THE MURDER OF THE INNOCENTS. 
 The most capital and noble picture of that great 
 master, during his residence at Rome ; and one 
 of the most valuable that can be offered to the 
 Patrons of the Fine Arts. The lower part presents 
 a beautiful assemblage of figures, admirably ex- 
 pressive of the different passions analogous to the 
 subject. The upper part, a group of angels, 
 designed in the most elegant and graceful atti- 
 tudes, offering to the young victims the crowns 
 and palms of martyrdom. This grand picture, 
 possessing the beautiful and very rare union of 
 the fine expression of the Roman, and the rich 
 
 toglie I* omicida freccia! Che grave sembiante in quella sua 
 serva, che tiene pronto il balsamo, la quale e cosi ben disposta 
 per I' armonia della composizione e per dar rilievo alle figure 
 principali ! Che forza e verita di colore ! Che anatomia bella 
 e grande ! Che magica distribuzione del lume e delle ombre ! 
 Che fermezza e perfezione di disegno ! Che maestria e pure che 
 soavita di pennello ! &c." 
 
 Lettere Critiche sopra i Pittori ed i Scultori del Regno 
 di Napoli y daW Abate Andrea Vincenzo de Grandi* 
 Lett. III. 
 
 > 
 
\2 
 
 and true colouring of the Venetian schools,, has 
 been attributed to II Domenichino. We think 
 we ought to preserve the name by which it was 
 known in the collection of the Italian nobleman, 
 whose property it was. It is not our intention 
 to offer a name, but a work of real and true 
 merit to the amateurs. 
 
 LEONARDO DA VINCI. 
 
 3, PORTRAIT OF A WOMAN, in a white 
 Boddice, and a low embroidered Turban Cap. 
 A charming and beautiful gem. The simplicity 
 of composition and colouring in this admirable 
 performance, attracts the eye of the spectator, 
 whom a thousand graces will further detain. 
 The female Leonardo has celebrated, is a brunette, 
 with the most pleasing regularity of features and 
 shape of countenance. The light head-dress 
 serves finely to heighten the oval contours. The 
 superior knowledge of chiaroscuro of the master 
 is admirably employed, while the means of pro- 
 
13 
 
 during it are almost imperceptible The figure 
 is finely relieved by a curtain of emerald green. 
 
 We dare offer this painting as one of the most 
 rare productions of the art ever brought into this 
 country ; and by no means inferior to the celebra- 
 ted Belle Feronniere and MonaLisa. (onpannel) 
 
 P. P. RUBENS. 
 
 THE CALLING OF ST. MATTHEW. 
 
 €C And as Jesus passed forth from thence, he 
 ce saw a man named Matthew, sitting at the 
 €c receipt of custom, and he saith unto him, 
 4f follow me, and he arose and followed him. 
 
 St. Matthew, chap, ix. 
 
 One of the most capital and beautiful cabinet 
 pictures, by Rubens; painted with great spirit 
 of outline, and the most brilliant, transparent, 
 and harmonious display of colour.— ( on pannel) 
 
14 
 
 REMBRANDT. 
 
 5. SEMIRAMIS AT HER TOILET, hearing 
 of the revolt of Babylon. She is expressing by 
 an Oath, her Determination to reduce her People 
 to Obedience. 
 
 This capital and very rare performance is in 
 the first and most finished style of Rembrandt. 
 The colouring is very harmonious and rich, and 
 the illusion in this fine painting is carried to a 
 surprising and uncommon degree, particularly 
 in the beautiful satin and Tel vet draperies of 
 Semiramis's dress, and the carpet vf hich covers 
 the table. 
 
 ESTEVAN MURILLO. 
 
 6. A SPANISH BOY, SLEEPING. Admirably 
 painted from nature, with a very free and bold 
 pencil. One of the most select and precious 
 perns of that celebrated Spanish painter. 
 
15 
 
 REMBRANDT. 
 
 1. PORTRAIT OF AN OLD SPANISH GE- 
 NERAL, with a hat and feather, and a gold 
 chain. One of the most perfect old men's heads 
 of the master. 
 
 VICTORS. 
 
 8. ELEAZAR SENT FROM JACOB, depart- 
 ing from La ban , takes with him Rachel, des- 
 tined in Marriage for his Master. 
 
 This picture is considered one of the most in- 
 teresting Dutch performances ; because it com- 
 bines with all the qualifications which render 
 that school so valuable, a knowledge of the 
 manners, and an historical fidelity, seldom to be 
 found in it. The works of this master are few. 
 This is one of the most capital paintings ever 
 drawn by him, 
 
16 
 
 P. P. RUBENS. 
 
 9, A grand and splendid Picture of a beautiful 
 SPANISH PRINCESS, seated in a Chair, in 
 the same Dress as in the Infanta Clara Isa- 
 bella's Portrait, by this great Master. This 
 noble performance, with some others in our 
 collection, were sent from Spain to Naples, in 
 consequence of the marriage of the duchess 
 of Frias, with the Duke of San Pietro. 
 
 CARLO CIGNANL 
 
 10. RINALDO AND ARMIDA. 
 
 Armida is employed in curling her hair ; the 
 enamoured knight seated near her, leans with an 
 air of langour on the knees of that inchantress, 
 He holds a mirror to her. His eyes fixed ten- 
 derly upon her, seem to say with Tasso : 
 
17 
 
 " Non pud Specchio ritrar si dolce imago, 
 ec Ne in picciol vetro e un Paradiso accolto; 
 ec Specchio t'e degno il Cielo e ne le stelle 
 " Puoi riguardar, le tue sembianze belle." 
 
 A cupid has taken possession of Rinaldo's 
 arms, and laughs at the warrior's defeat. Ubaldo 
 and the Danish knight appear behind the foliage. 
 That charming subject has been treated with 
 all the gracefulness and poetical beauty that 
 could be expected from a man of reputation in 
 the Bolognese school, and who received his first 
 lessons from L'Albaiw. 
 
 PIETRO DA GORTON A e 
 
 11. The Disciple ANANIAS restores the Sighi\ 
 and gives Baptism to St. PAUL. This 
 finished study for the great Picture of the 
 Capuchins at Rome, offers one of the most 
 admirable compositions, and one of the most 
 
 beautiful cabinet pictures by this master, who is 
 
 c 
 
18 
 
 Justly famed for the nobleness and magnificence 
 of the works, with which he has enriched the 
 palaces and churches of Rome. 
 
 P. P. RUBENS- 
 IS. PORTRAIT OF THE CARDINAL IN- 
 FANT FERDINAND, Governor of the Low 
 Countries for his Brother Philip IV. on 
 Horseback, as in the great Picture at Dussel- 
 dorf, engraved by Paul Pontius; with a fine 
 Landscape, instead of the Battle of Nortlinghen. 
 A very pleasant and fine cabinet picture. 
 
 JOSEPH RIBERA, 
 
 SURNAMED LO SPAGJVOLETTO. 
 
 13. SAINT JEROME. A very fine and highly 
 admired specimen of the powerful and sweet 
 pencil of this great Valentian painter. 
 
19 
 
 JOHN FRANCIS PENNI, 
 The Friend and Pupil of Raphael^ 
 
 SURNAMED IL FATTORE. 
 
 14. A very fine and finished PORTRAIT OF A 
 MAN, in a black Dress. ( on pannel) 
 
 QUIRIN BREKELENCAMP. 
 
 15. AN INTERIOR, WITH LACEMAKERS. 
 An easel and very pleasing picture, painted with 
 the greatest truth and delicacy, by one of the 
 best pupils of Gerard Dow. ( owpannel) 
 
 LUCA GIORDANO. 
 
 16. MARTYRDOM OF SAINT PETER. 
 
 17. MARTYRDOM OF SAINT ANDREW. 
 
 Two classical, very spirited, and finely co- 
 loured specimens of that celebrated Neapolitan 
 
 master. 
 
20 
 
 LUDOLF BAKHUYSEN. 
 
 18. A SEA VIEW,, with some Ships in a strong 
 Breeze. Painted with his usual science and free 
 pencilling : a true imitation of nature., and a 
 very pleasant cabinet picture. 
 
 BARTOLOMEO SCHEDONE. 
 
 19 DEATH OF SAINT JOSEPH. Scenery 
 Torch-Light, giving a beautiful Effect of 
 Chiaroscuro. A very capital and elegant 
 Specimen of that follower of Correggio, i 
 
 POMENICO ZAMPIERI. 
 
 20. HEAD OF SAINT PETER, SLEEPING. 
 An early picture of this master, but possessing 
 much of the grandeur and truth which distin- 
 guished his latter Performances. 
 
21 
 
 JOHN FRANCIS BARBIERI DA CENTO, 
 
 SURNAMED IL GUERCINO. 
 
 21. JAEL AND SISARA. Figures larger than 
 life. A very fine gallery picture, in the best 
 colouring of Guercino. 
 
 TITIAN. 
 
 22. PORTRAIT OF THE CELEBRATED 
 MACHIAVEL. Painted with the usual truth 
 and warm colouring of that great master. 
 
 VELASQUEZ. 
 
 23. SAINT ANDREW, THE FISHERMAN; 
 Half length, A very spirited and expressive 
 specimen, in the style of Caravaggio. 
 
22 
 
 BARTOLOMMEO PASSEROTTI. 
 
 -24. PORTRAIT of UGO BONCOMPAGNX, 
 POPE GREGORY XIII. the Author of the 
 Gregorian Calendar: a yery spirited,, true., and 
 well-colored Picture, by the founder of the great 
 School of Bologna; the Rival of Titian for 
 Portrait Painting. ( Vide Lanzi, Storia Pitto- 
 rica, dell' Italia.) 
 
 PHILIP DE CHAMPAGNE, 
 
 25. A CRUCIFIXION. Mary, John, and Mary 
 Magdalen, stand at the Foot of the Cross. A 
 very beautiful, sweet and well composed perfor- 
 mance of the Guido of the Low Countries, whose 
 reputation is sufficiently established by his admi- 
 rable portraits, his grand pictures in France, and 
 particularly by his celebrated performance of La 
 JReligieuse mourante, in the Museum of Paris. 
 
23 
 
 PAUL POTERc 
 
 A VIEW ON THE BANKS OF THE 
 MEUSE. The fore-ground represents a stony 
 soil, with thorny plants, and several oxen on 
 it; in the middle ground is seen, the Rape of 
 Europa. It is evident, this poetical subject has 
 been executed by a different hand than Poter's ; 
 for he certainly would have represented the fi- 
 gures with an inferior degree of taste ; but much 
 better the two animals, which are foreign to his 
 composition. 
 
 This scarce and pleasing cabinet picture, offers 
 in the animals, in the prospect, as well as in the 
 light and transparent clouds, that exact imitation 
 of nature, which the master has carried to the 
 highest degree of perfection in his subsequent 
 performances. It bears the monogram P. P. — 
 some have considered it as a fine Pasticcio of 
 Tenters, (On Wood J 
 
DOMENICO ZAMPIERI, 
 
 SURNAMED JL BOM EN IC H I NO. 
 
 27. A very fine and curious small round PO RTR AIT 
 OF THIS GREAT MAN, % himself, in the 
 JBolognese costume ; originally belonging to the 
 Cardinal Aldohrandini. The inscription, noli 
 altum tendere, is expressive of the well-known 
 modest, and unambitious character of the painter. 
 A very rare and precious gem. (on copper) 
 
 CLAUDE LORRAIN. 
 
 28. ITALIAN LANDSCAPE, evening, twilight, 
 with figures and cattle 
 
 29. A SUN SET; warm summer's evening*: cattle 
 and figures. Etched in the Liber Vkritatzs, No.18. 
 
 Two charming small pictures, undoubtedly by 
 this celebrated master 
 
25 
 
 RAPHAEL. 
 
 30. THE DESCENT FROM THE CROSS, 
 a composition of nine principal figures : this 
 picture, extremely valuable for the history of 
 the art, is in the manner of // Perugino, under 
 whose instruction, Raphael, aged only 19 years, 
 still was at that time. The two figures which ter- 
 minate the picture on the right of the spectator, 
 are portraits of II Perugijio, and of Raphael him- 
 self. 
 
 This early and truly venerable performance of 
 the prince of painters, originally belonged to the 
 house of Villamarina, counts of Salerno, for 
 which it seems to have been painted. ( Vide the 
 inscription, with the date, 1503.) (Ontvood). 
 
 FINIS. 
 
 GHndon, Printer, Rupert Street, 
 Hayraarket, London. 
 
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