iJi!i!i i ili'i i'i! i i' ill! :h Vi!i!i 
 
Sales in this volume are hound in chronologically 
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 except Mar. 21, 18(1)6, which is the fourth from 
 the end and June 12, 1806, which is at the end. 
 
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 4 .. y/i . /99 Netscher — 
 
 M'.2> —''^lOO W. Micris 
 4*> .. A. 101 Francesco Albani 
 
 /d - dtP ^ 102 Robert •— 
 
 
 103 Barrett — 
 
 u __ 
 
 104 Wilson — 
 
 
 105 Gainsborough 
 
 2i.. S' "106 Slingelandt — 
 
 [ 8 ] 
 
 Portrait of Queen Anne, Consort to William the Third. 
 
 —highly valuable. 
 
 A Hermit—«. highly finished admirable Performance. 
 
 A Reposo, with the attendant Angels beautifully grouped 
 in various positions, and happily introduced 
 in an elegant and interesting Landscape. 
 
 Tivoli—a grand Scene magnificently framed. The view 
 highly interesting, and embracing great variety 
 of Subject, judiciously treated. 
 
 A View in Wales, with Cattle and Figures, by Gilpin, 
 Cipriani, and himself—delightfully dispersed 
 in different parts of the Picture, part in th e 
 Foreground, part crossing in a Ferry-Boat— 
 the time morning, and the whole performance 
 most interesting. 
 
 A most beautiful Performance—exquisitely painted—the 
 figures animated, the distance tender and de¬ 
 lightful, the tout ensemble admirable, in his best 
 Italian Manner. 
 
 Figures on Horseback, in a Landscape, with Cows in 
 the Foreground, and Village Church in the 
 Distance; true to Nature, and British Scenery 
 —a capital Performance. ^ 
 
 An Artist, with his Easel and other accompanyments, a 
 very high finished Performance, painted with 
 all the neatness and Effect of Gerard Douw.«. 
 
 F I N I . 
 
 H*. 
 

 CATALOGUE 
 
 OF 
 
 ALL THAT WELL-KNOWN VALUABLE COLLECTION 
 
 OF 
 
 Capital Jiaiutuiss, 
 
 THE PROPERTY OF 
 
 THE LATE 
 
 Most Noble the Marquis ofLansdowne, 
 
 Which have long been considered as one of the great Ornaments 
 
 OF 
 
 t 
 
 LUDOVICO CAIUCCI, 
 CORREGGIO, 
 SALVATOR ROSA, 
 GUIDO, 
 
 GUERCINO, 
 
 VELASQUEZ, 
 
 PROCACCINI, 
 
 &C. 
 
 CANALETTI, 
 PAOLO PAN INI, 
 REMBRANDT, 
 ALBERT DURER, 
 JORDAENS, 
 GONSALVEZ, 
 MURILLO, 
 VANDERVELDT, 
 
 &c. 
 
 COMPRISING 
 
 THE BEST EFFORTS OF THOSE ADMIRED MASTERS, 
 
 RUBENS, CLAUDE, 
 
 LEONARDO DA VINCI, NICOLO POUSSIN, 
 
 GASPAR POUSSIN, 
 
 PAOLO VERONESE, 
 
 TITIAN, 
 
 TENIERS, 
 
 BERGHEM, 
 
 VERNET, 
 
 BASSAN, 
 
 &c. 
 
 tottt be $>old bp Auction, 
 
 BY 
 
 Peter Coxe, Burrell and Foster, 
 
 By Order of the Executors, without the least Reserve, 
 
 ON THE PREMISES, 
 
 JLnAJVSJBQWJVE MOUSE , MERKEEY SfWdLRE, 
 
 ON 
 
 Wednesday 19 th , and Thursday 20 th of March, 1806, 
 
 AT TWELVE O’CLOCK. 
 
 — \Lf\P%S f ' Sglo 
 
 May be Viewed Two Days preceding the Sale, when Catalogues, at 2s. Gd. each, (without 
 which no Person can possibly be admitted) may he had at the Lodge at Lansdowne House, 
 and of Messrs, Peter Coxe, Burrell and Foster, 88, Pall Mall, 
 
 r- ~ 
 
Conbtttons of 
 
 I. Th*t 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 Half-a-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 r«jviivj , ».iO [/uj dunu i*..—— |/w^ui»aojij 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 ftiall be abfolutely taken away within Three Days after 
 
 the Sale, with all Faults, by whorafoever they were painted, under 
 any and every Defcription, 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 be 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. 
 
A HE Pictures in this Collection, of which this Catalogue gives 
 the Description, were the Property of the late Marquis of 
 Lansdowne ; chosen with great Care and Judgment, and have 
 long Ornamented the Walls of Lansdowne House , where they 
 have attracted the Attention of the judicious Connoisseur, by 
 their Excellence and Beauty : „ They are brought unsophisticated 
 before the Public in their pure State, without even a Varnish 
 to call forth those Beauties. They doubtless will be prized in 
 proportion to their great Merit: Many of them are Matchless, 
 deserving to be placed in the first Collections or Galleries in 
 the Kingdom; and will be submitted without the least 
 
 RESERVE WHATEVER, TO THE CHOICE AND PURCHASE OF A 
 DISCERNING PUBLIC. 
 

 A 
 
 
 rfirtit ferfr 
 
 WEDNESDAY, the 1 9th of MARCH 1$Q0. 
 
 
 / 7 > 
 
 j 1 German 
 
 J - S - 
 
 s — 
 
 
 ^2 Cipriani 
 
 3 Lemoine 
 
 T 
 
 WO Pictures, St. Francis, and the Portrait of 
 Clovis. 
 
 Female Figures with Cupids—a pair, uprights; painted 
 from the Antique 
 
 Historical, and 
 A Female Figure reclining. 
 
 " /J l - 4 Titian . . . . . Portrait of Aretin: 
 
~ ft - 6 
 
 7 
 
 /O >' /O — 8 
 9 
 
 2 Jj - io 
 
 // >• // - n 
 
 n JlT ■ ' 14 
 
 2/ '- 15 
 
 */.. /y - is 
 / 
 
 .? .. Z - 17 
 
 2Z, /~ 18 
 
 /]9 
 
 /if../«> 
 
 /g«q - 21 
 
 /Z „ /Z ... 22 
 
 *•*».. 
 Old Franks' . 
 
 C. Bega . . 
 Italian . . v . 
 Rembrandt 
 Guardet . 
 
 ? h 49 , .> if.£ i 
 
 S. Bourdon . 
 Stella . . . 
 Guardet . . 
 Moucheron . 
 
 Mazzuolo . . 
 
 Cornelius Jansen 
 Berkheyd . 
 
 Ditto ... 
 
 A. Durer . . . 
 Rubens . . . 
 
 Zuccarelli . . . 
 
 View in Florence. 
 
 A small Female Figure j an Oval^ — 
 
 Portrait of St. Lawrence. o2 2<ncjij> 
 
 Virgin and Child—a curious early specimen of the art. 
 
 An Interior—a Merry Making. 
 
 Lot and his Daughters. /cr-222n-<s 
 
 View in Venice, an upright picture, representing the 
 Marriage of the Doge. 
 
 Holy Family—small. 
 
 Virgin and Child—small. L rc </ 
 
 View in Venice—small 
 
 An upright Landscape in a Black Frame, in beautiful 
 preservation and singular clearness, the Figures 
 by Linsrelback. ^ 
 
 The Saviour praying in the Garden—an cai ly and curious 
 specimen of the art. 
 
 Heads—a pair. 
 
 A small Head. 
 
 
 f 
 
 2^/ </> ^ 
 
 
 ^ _ '2/ 
 
 
 A Landscape, with an antique Building, Cattle and 
 Figures. w . //" C'/tsi'Vi'j <yz\j 
 
 A Ditto, Companion to the preceding Lot. 
 
 Virgin and Child—small, c. 
 
 Conversation, a sketch—a group of beautiful female 
 figures. sy'y^lr 
 
 A small Landscape with Figures—painted with singular 
 spirit. ^-/z( /r 
 
0 
 
 
 [ « ] 
 
 A ^ * 
 //. //- ** 
 
 T '° Vliecer 
 
 JL/v , „ ^ 
 
 
 Mortimer . 
 
 /Z ■■ /2 
 
 Tintoretto . 
 
 $ „ J ~ 26 
 
 Jordaens . 
 
 & 
 
 Zuccarelli . 
 
 /AT- M -- 8 
 
 Gainsborough 
 
 A Sea View—a beautiful grey tint pervades this inter¬ 
 esting perioriuauCC. 4 
 
 
 A Sketch for a Picture of the same size, representing 
 the Law-giver Moses. 
 
 The Marriage in Cana. dL OcS 
 Head of a Saint, ft 
 
 V 
 
 A Landscape with Sheep and Figures—painted with 
 equal spirit with Lot 22. 
 
 An animated and glowing Copy in small, of the celebrated 
 Picture of Titian, being Portraits of the Cornaro 
 Family, in the Collection of the Duke of Nor¬ 
 thumberland. y^Z /r ' 
 
 6 ~ 29 Steenwyck 
 
 32., //- 30 
 
 The Decollation of St. John-introduced in a grand 
 architectural perspective of a prison, ysA#* 
 
 Serres 
 
 An animated Description of the spirited Action of the 
 present Lari St. Vincent when Sir John Jervis, 
 
 
 in the Foudroyant, capturing the Pegasus. 
 
 . SI Ditto 
 
 Another Representation of the same Action, at a dif¬ 
 ferent Period of Time. dZa ' 
 
 6 ^ 32 
 
 Af>• /f~33 
 
 3Z : //- 34 
 
 2 /~ jT- 35 
 
 Gonsalvez .... 
 Canaletti .... 
 
 Ditto. 
 
 Paolo Caliari V eronese 
 
 A Child Sleeping—small. c -<4^^ 
 
 An upright View in Venice, representing the Carnival, i 
 A Ditto View in Venice, companion to the preceding Lot. —? 
 
 Stf . //~36 
 /fA „S~~2 7 
 
 Weenix 
 
 Velasquez 
 
 Our Saviour entering the Temple—a beautiful cabinet 
 picture, of extraordinary perfection. w . 
 
 Dead Game with large Dog in a Landscape—excellent. 
 
 Portrait of a Knight of Malta—a picture of exquisite 
 
 management and noble effect of execution, ^ 
 
 3/. /0 ~ 38 G uercino 
 
 Representation of David with the Sling, going out to 
 Battle. 
 
 
I 7 ] 
 
 fa -- 39 Ludovico Caracci 
 
 Z/i - - 40 Francis Pourbus 
 
 I 
 
 41 Guercino . . , 
 
 /A * /A v 42 Lagrenee « . . 
 //i , JZj .v.43 John Van Eyck . 
 
 ♦^5 / Albert Durer . . 
 
 2$- 45 Gaspar Poussin 
 
 2 A - 3-* 6 Ditto • • • 
 
 fe„ J7- 
 
 47 Rubens - 
 
 A/j >■ % - 48 Velasquez 
 
 /S~2 Vernet 
 
 Death of St. Francis—painted with his usual Judgment 
 
 and thorough knowledge of his art A3 'A'tn- 
 
 The Portrait of the celebrated English Navigator, Sir 
 Francis Drake—an interesting and noble per¬ 
 formance of this extraordinary character, 
 
 Female with a Lute—an animated performance of the 
 
 master, gracefully interesting. %^A T ' Arz. 
 
 Maternal Affection—a beautiful group. —» 
 
 The Wise Men’s Offering—a curious specimen of this 
 early time. ^iAAc-i/A \ 
 
 A high finished Picture of the Offering of the Wise Men, 
 with a procession in the distance : accompanied 
 by two compartments representing the Nativity 
 and the Flight into Egypt. 0 ^ 0 —' 
 
 A Rocky Scene w** 1 * Fi s»™ -offootod with gueat spirit. oA+uA,Sf? 
 
 A Landscape with Mountainous Scenery, and Goats and 
 Figures. u-' 
 
 The Portrait of Sir Theodore Mayne, Physician to Charles 
 the First—in the usual rich tone of coloring of 
 this master—capital, /A*^ 
 
 A Child in a Cradle ; evidently an Infant of distinction, 
 and sweetly painted. <. 
 
 A First Rate Cabinet Picture of this favorite and justly 
 admired French Artist.—The tremendous acts 
 of nature producing affecting scenes of extreme 
 distress, are scientifically and forcibly described 
 in this wonderful performance, with peculiar 
 feeling and energy, and stamp it as an extra¬ 
 ordinary production of the pencil, executed 
 with the happiest facility—it was painted in 1755, 
 when he was in full possession of all his great 
 powers. &AA '/?■' /fy 
 
t 8 3 
 
 2 .. 2 - 
 
 2S--7- 
 
 3 o ■■ <} - 
 2f. A ■ 
 
 *9- V • 
 
 2z~/ ~ 
 AA •/ 2 - 
 
 AfA * S ' 
 
 AS.. /- 
 
 30 Poussin le Mer 
 
 5 1 Paul Potter . 
 
 52 Old Palma 
 
 53 Hans Holbein 
 
 54 Isaac Ostade . 
 
 55 Paolo Panini . 
 
 36 Luca Giordano 
 
 Tlie Destruction of Troy, with the introduction of the 
 Wooden Horse, and Meeting of iEneas with 
 Anchises. 
 
 Pigs—painted with his usual truth and neatness, where 
 high finishing does not destroy effect, but con¬ 
 stitutes additional merit^^iv rfC 
 
 Mary’s Lamentations over the Body of the Saviour, a Story 
 told with great expression and feeling—a valued 
 and important work of this respected master *df*v***n^y 
 
 A Portrait. 
 
 View of Scheveling, enlivened by a great variety of Figures 
 judiciously introduced—an harmonious effect 
 throughout, 
 
 Interior of the Pantheon at Rome, enriched with Figures 
 and painted in his best manner, 
 
 
 A mucti adm^J Pai-fnfmunre of this Master’s Pencil— 
 painted by him with unusual vigor of colour and 
 transparency of carnations; might vie even 
 with Rubens for management; and is a proof 
 of his great abilities and facility of execution. 
 
 57 David Teniers, Junh A Landscape and Figures, the Door of a Cabaret with 
 
 the View of a Village and distant Country, 
 
 ft 'A t.' v "*" jWy ' 
 
 painted in his forcible manner and rich effective 
 
 stile of colouring—a celebrated picture from the 
 collection of Monsieur Horion—the figures most 
 capital. 
 
 58 Nicolo Poussin . . A Repose of River Gods—a grand classical performance 
 
 —finely drawn, and judiciously executed; pre¬ 
 senting one of those favorite subjects, in the 
 management of which this Artist stands un¬ 
 rivalled for taste and fancy. 
 
 
[ ® 1 
 
 /M-tf- 
 
 M - A 
 
 fpf — 
 
 59 Nicolo Pouasin . . Venus and Cupid attended by a Faun—companion to 
 
 the preceding Lot, evidently painted at a 
 time when he was contemplating and felt the 
 colouring of the Venetian School. Acy 
 
 60 David Teniers 
 
 Figures in a Landscape.—The Entrance of a Village with 
 a harvest scene occupying the middle ground, 
 the labourers reaping and binding up the 
 sheaves; giving an animated representation 
 of that time of the year, when abundance 
 gladdens the heart of man, and enlivens the 
 appearance of Nature by the bounty of her own 
 produce—the figures exquisitely beautiful—the 
 deserved companion of Lot 57 Ay 
 
 6l Jordaens .... The Fable of the Satyr Blowing Hot and Cold.-The 
 
 surprise of the Rustics expressed with great 
 spirit—a perfect Comedy on canvas, where 
 the whole Dramatis Personae fill their parts with 
 propriety; and a rich glow of colouring is thrown 
 over the whole, in the happiest stile of ju¬ 
 dicious art, to give the tale full effect, and 
 heighten the powers of graphic eloquence—a 
 first rate performance. 
 
 Rubens ..... A grand Landscape; scene, the Sun setting in fervid Heat, 
 
 
 y- 
 
 darting its fierce Rays from behind a Wood, in 
 that richness of vivid splendor that art can 
 seldom describe, and none but the daring hand 
 of a great Painter would attempt to accomplish— 
 it almost dazzles the eye to look at it. To ap¬ 
 preciate Art properly, Nature must be under- 
 
 B 
 
4 
 
 [ 10 ] 
 
 //- //- 
 /$ ■■ /i 
 sz .. U 
 
 stood in all her forms; and those who have thus 
 read nature, must admire Rubens, and pronounce 
 liis eulogium in the gratifying, contemplation 
 of this wonderful performance, and covet the 
 possession of this most extraordinary production. 
 
 63 Apollodoro Caravaggio The Adoration of the Shepherds—a noble gallery picture. 
 
 64 Raphael .... St. Michael and the Dragon—an admirable Copy of 
 
 that renowned performance. 
 
 65 Rubens.Venus and Adonis—a grand and noble composition, full 
 
 of all the glow of the great Master’s mind, 
 
 66 Ludovico Caracci . Lot and his Daughters—a combination of the graceful and 
 
 / p /o.-c'-O S rand —* n highest principle of the art, the 
 
 delightful figure on the left hand of the Picture, 
 equal in design to Raphael; the character of 
 the father, the attitude of the female on the 
 right hand, are all judiciously correct in the 
 detail, and th© whole admirably composed, 
 while a sweet chasteness of color without mono¬ 
 tony, force and variety without gaudiness, stamp 
 it as a performance of the first importance of the 
 famed Caracci, and deserving a distinguished 
 situation in the first gallery in the kingdom. 
 
 
 67 Lucas Cortonensis 
 
 The Circumcision—a noble gallery picture, treated with 
 great propriety—the perspective admirable. 
 
 IN THE HALL. 
 
 / • ^ 0 \ 
 
 Beautiful Copies from Murillo, being Correct Representations of celebrated 
 
 Pictures by that great Master, at Seville in Spain. 
 
 y*,, ^ 68. The Vision of a Male and Female Saint, zvith the Vir¬ 
 
 gin and Infant Saviour in the Clouds, a legendary 
 Subject. 
 
*j: : “ ' 
 
 y,, y „ 69 .. The Patriarch Abraham entreating the Angels to enter 
 
 his Cabin. 
 
 /i..3 .VlO . . . . . The Return of the Prodigal Son. cbuJ 
 
 %/ 71 .- The Saviour healing the lame Man at the Pool of 
 
 Bethesda. 
 
 End of the First Day's Sale. 
 
 
§5>econto Sap’s g>ale, 
 
 THU RS DAY, MARCH the 20th, 1806. 
 
 
 
 
 <r~> i 
 
 Vernet. 
 
 Small upright View of Tivoli. 
 
 ✓x /* - a 
 
 Raphael .... 
 
 A Copy of the celebrated Picture of the Holy Family, in 
 
 /, 3 
 
 • - • 
 
 the possession of the Marquis of Stafford. 
 
 Hemskirk and . . ] 
 
 P. Breughel . . . J 
 
 j- Drolls, Exterior and Interior. 
 
 A . A - 4 
 
 German .... 
 
 The Virgin and Child with St. John—in a center, sur* 
 
 
 
 rounded with beautiful flowers, on copper. 
 
 - 
 
 
 without a frame. 
 
 
 Schidone .... 
 
 Charity—after. 
 
 <A '■ /3 Sq 
 
 Guido. 
 
 Joseph and his Mistress—after. 
 
 <5o ~ ~ 7 
 
 S. Ruysdael . . . 
 
 A Flemish Fair. 
 
 //. - / /s 
 
 Breughel and . . 
 
 Old Franks . . • 
 
 | Moses Striking the Rock—a highly finished and elaborate 
 
 
 
 performance, replete with meri t. 
 
 /- ^ /s 
 
 Dominichino . . . 
 
 Sybil—after. 
 
 „ - 10 
 
 Guercino . . . . 
 
 Sybil—after. 
 
 SA~^\\ 
 
 Lucas Van Leyden . 
 
 Portraits. 
 
f'r. X - 12.. . . 
 
 /3 .. S3> -• 13 Peter WouVennans 
 x. yy.. fu Poussin le Mer . 
 
 i/ 
 
 15 Vandyck , . 
 
 S^3 ■ // -16 Vemet. 
 
 yj>.. /Z - 17 Teniers. 
 
 — 18 Both and Bauduin . 
 19 Procaccini . . . 
 
 /Z,JZ- 20 Vandyck . . . . 
 
 / -21 Rothenhamer. . . 
 
 /S.. Py . -Az Zuccarelli .... 
 
 /* ,,/ff - 2 3 -Ditto . . . . ♦ 
 
 /- 24 Corre<xio .... 
 
 d 2,, /V - 25 Gainsborough . . 
 
 J~3 ■. //■/ -> 20 Giacomo Bassano 
 
 Z/ 
 
 -27 Carlo Maratti 
 
 So 
 
 [ '3 ] 
 
 Autumn—an allegorical. 
 
 Our Saviour calling to St. Peter. 
 
 Historical Subject—with figures, buildings, and sepul¬ 
 chral monument. 
 
 Head of an Old Man. 
 
 Moonlight. 
 
 A Group of Figures—a small upright. 
 
 Landscapes and Figures—a pair. 
 
 The Sacrifice of Isaac—a sacred historical subject,- ad¬ 
 mirably painted. 
 
 Sleeping Child—a study, deliciously coloured, X. 
 
 The Death of St. Cecilia. 
 
 An upright Landscape with Figures Dancing—a spirited 
 performance. 
 
 Ditto, the Companion, with Figures, Sheep and Waterfall. 
 
 Venus and Cupid, whole-length Figures, a copy from 
 the celebrated picture of Venus and Cupid, 
 one of the most admired productions of this 
 great master. 
 
 Landscape and Figures—there are very few performances 
 of this English Artist in this stile of compo¬ 
 sition, and is the more valuable from being 
 the more singular and rare. //P2 pp^. /P^ ^ 
 
 Christ driving out the Money Changers—told with his 
 usual effect of color, and propriety of manage¬ 
 ment throughout. 
 
 Copy of the celebrated Picture by Corregio, of the 
 Marriage of St. Catharine. ^ pP^ ^ PCc. 
 
 
 2/ - 28 Paolo Panini ... A Pair Ruins and Figures, clear and brilliant. 
 
 Ll 
 
[ 1 * ] 
 
 
 ^22.. 22 29 Salvator Rosa 
 
 2-2/ ■■ 22/ _ 3 0 
 2d r. 6~ - 31 
 22 .. S'" / 32 
 2(T„6 „ 33 
 2/3 . /- 34 
 
 W atteau 
 
 Rubens 
 
 Weenix 
 
 A Banditti in the midst of rude solemn Scenery—a small 
 picture, painted with great spirit 
 
 A Conversation. 
 
 Portrait of his Wife—brilliant. 
 
 Ruins and Figures. ^2/ oJ^2-c 
 
 ' C/ <r~ir 
 
 L C/~ 
 
 Rubens.A Sketch—allegorical. 22^2 i 
 
 -V 
 
 , 
 
 Zs 
 
 35 
 
 Hondicooter 
 
 Carlo Maratti and 
 Marie de Fiori . 
 
 <J3 ■ 2k 36 Ditto 
 
 JT- ^ - 3 7 
 2 s. z - 3s 
 
 Albert Durer 
 Paolo Paiiini 
 
 2l 
 
 39 Leonardo da Vinci 
 
 Foreign Ducks and Poultry, in a Landscape, painted 
 with great sweetness of effect and lightness of 
 pencil—capital. 
 
 Boys with a Festoon of Flowers—a combination of 
 excellence in their different lines of painting, 
 happily managed throughout. 22, 22&-J*^-> 
 
 Ditto, the companion to the preceding Lot, of equal 
 
 merit in every respect. 
 
 * 
 
 Uriah conveying the Letter that led to his Destruction. 
 
 An Outside View of the Pantheon at Rome, with other 
 Antient Buildings—in his best manner. 
 
 Pandora—painted with all the delicacy so much admired 
 in the works of this extraordinary master, a 
 performance of great consequence and value. 
 
 222/ , S' 40 
 2 
 
 Vernet.A grand View of the Sea Shore in the Mediteranean, 
 
 enriched with Buildings, Shipping and Figures 
 —painted purposely by this esteemed master 
 for the late Marquis of Lansdowne, and was 
 ever regarded by him as one of the great 
 ornaments of his Collection—the price paid to 
 the Artist was 500 Guineas. 
 
 223 . /T- 41 Berghem 
 
 An upright Landscape. The View of Tivoli,, with Cattle 
 and Figures, an admirable work of this admired 
 
 y -Nw O ' 
 
 c ^ '' ' ar tist, treated with sublimity, in the rushing 
 
 of the impetuous Waters; happily executed. 
 
/ 
 
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 ? 
 
 [ 13 3 
 
 0,^0 - jT- 42 Vernct ..... A Land Storm—a grand mountainous scene, enriched 
 
 with Figures and rushing Waters, painted as a 
 companion to Lot 40, held in equal estimation 
 by the late Marquis of Lansdovvnc, and for 
 which the Artist had the same price as for the 
 former picture—a noble performance. 
 
 43 Salvator Rosa . 'X An Incantation—treated with that singular boldness of 
 
 
 
 
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 •p 
 
 ant ^ execut ion that marks the great 
 , works of this extraordinary master—it is full 
 
 of energy and terrific excellence. 
 
 44 Gaspar Poussin . . A Land Storm—That well known picture, formerly in the 
 
 
 
 /«>/,. r- 45 W. Vandevelde 
 
 /Q6 
 
 ..r- 46 Gaspar Poussin 
 
 Possession of Mr. Deline, painted with infinite 
 boldness and effect, harmonious in color, and 
 rich in execution and management. The marks 
 of the passing storm is finely expressed by the 
 tree broke asunder in the foreground, while the 
 awfulness of the dreadful gloom is admirably 
 
 contrasted by the clearing of the horizon in the 
 
 \ 
 
 distance. The Figure by Nicolo Poussin. 
 
 A Brisk Gale, with a rolling Sea, painted with great 
 vigor and thorough knowledge of that Element, 
 in which he took so much delight—a capital 
 performance. The Boats and Figures admirable, 
 
 A beautiful Landscape of this favorite and extraordinary 
 Master, which w r as also a principal ornament 
 in M. Delme’s collection. Nothing can exceed 
 the beautiful tranquillity of this scene, in the 
 happy effect of light and shadow in the re¬ 
 ceding distances, or the delightful tenderness 
 of the remote mountains—it is the perfection 
 of his Art. The Figures by Nicolo Poussin. 
 
t h? ] 
 
 
 - 47 
 
 
 48 
 
 
 
 y^>/~ 
 
 ^ Z <? r f /5~~t. 
 
 Leonardo da Vinci 
 
 y 
 
 X^ ^ ■ 
 
 
 50 
 
 51 
 
 An upright Picture, representing the Virgin, the Infant 
 Saviour, St. John and Elizabeth—-judiciously 
 grouped and chastely coloured—capital. 
 
 David Teniers Jun. . A Landscape with Building and Figures, in which he 
 
 has introduced the Portraits of himself and his 
 r-r Wife, in conversation with a Gardener; and has 
 given the representation of his own Castle in 
 the back ground, across the water.—It is not 
 the first impression only, but the contemplation 
 of a fine picture that discovers its great merit, 
 and every moment’s contemplation of this extra¬ 
 ordinary performance will point out new merits, 
 and bring forth fresh beauties.—The principal 
 figure is a master piece of perfection, in 
 management, colour and execution, happily 
 uniting with the other Figures, while the sweet 
 stillness of rural scenery, is inimitably beautiful— 
 most capital. 
 
 The Holy Family—rich in color, and excellent in com¬ 
 position. 
 
 Murillo .... A Laughing Boy—deliciously treated in every part—one 
 
 of those performances so rare to be met with, 
 and in his best stile of perfection. 
 
 Portrait of a Girl—treated with the same tone of harmo¬ 
 nious coloring as the preceding Lot, to which it is 
 a companion, in the same happy effect of ma¬ 
 nagement. 
 
 49 Correggio 
 
 
 I f > ZV 
 
 Murillo . 
 
 52 Stewart 
 
 A whole-length Portrait of that celebrated character. 
 General Washington, late President of the 
 United States of America. 
 
^6 / 
 
 4 
 
 [ ” ] 
 
 . 53 Berg hem . . . „ 
 
 zty' 
 
 A Morning Scene in an interesting Paysage—a most 
 beautiful performance of this iuestimable Painter, 
 in which he may be said to have vied with the 
 great Claude for air, vapor and clearness of 
 atmosphere, animated by his own superior 
 talent in the display of groups of Cattle and rustic 
 Figures, introduced with all the charm of his 
 incomparable pencil, in his first stile of perfection 
 and beauty. 
 
 Sf~ 54 Ludovico Carracci . The Sybilla Libica—a noble composition of this renowned 
 
 painter, grandly composed with all the mind of 
 Michael Angelo Buonaroti, and chastely colored. 
 
 /d -55 Claude Loraine . . Evening. One of those enchanting scenes that Claude 
 
 / ~ ,, ? alone could paint, and which no artist could equal. 
 
 &^' true and beautiful representation of Nature 
 
 in a sea prospect, with a delightful middle dis¬ 
 tance, breaking the horizon, by the rich foliage 
 of intervening trees on a small island, enliven¬ 
 ed with ships in various positions; nothing can 
 exceed the charm of the whole scene ; the rays of 
 the setting sun play delightfully on the surface of 
 the ocean; the waves appear in motion impelling 
 each other forward in endless succession, no less 
 actuated inappearance by the influence of 
 the tide, than by the effect of a steady refresh¬ 
 ing breeze, tempering the atmosphere; while the 
 judjcious introduction of figures in the foreground 
 penciled with singular effect, (conveying in forcible 
 language, the simply affecting story of St. Paul 
 canied into bondage,) produces an additional 
 charm, and arrests the mind at one and the same 
 time, w r ith sympathy, and general admiration of 
 this great painter’s abilities in this incomparable 
 display of his extraordinary powers. 
 
 c 
 
2AI 
 
 
 [' 18 J 
 
 
 
 •5G Nicolo Poussin 
 0 
 
 
 ° c- ri^ry 
 
 A Reposo. The Virgin, infant Savior and Joseph—Word8 
 cannot do justice to this extraordinaryperformance. 
 The group of interesting angels, who “joyful about 
 them and around them play the graceful sim¬ 
 plicity of the Virgin; her expressive counte¬ 
 nance ; the animation of the Saviour, gratified 
 with the respect and attention paid him; the 
 venerable appearance of Joseph; the delicate 
 tone of coloring and sweet sobriety that pervades 
 the whole, stamp it as a work of the very first 
 perfection. 
 
 
 57 Ruben9.The Adoration of the Magi—a most magnificent work 
 
 of this renowned master. In originality as un¬ 
 questionable as it is great in design, and splendid 
 in execution. This picture was painted for the 
 Altar Piece of the chapel of the White Nuns, 
 at Lovain, and was ever esteemed on the Con¬ 
 tinent as of the highest excellence of his great- 
 art, universally admitted to be every touch from 
 his own pencil, and now displays itself as a 
 •commanding effott of his art, in the same pure 
 and brilliant state in which it originally came from 
 the palette of this wonderful painter: It presents 
 itself, a composition of thirteen figures as large 
 as life, judiciously grouped, where each figure is 
 almost of equal consequence, without subtracting 
 fromthegrand principal design,the representation 
 in sweeuSimplicity of the Divine Infant Saviour 
 in the care of the Virgin. Art cannot go higher. 
 
 FINIS. 
 
AT is again repeated that this Valuable Collection of Pictures is 
 brought before the Public, speaking a plain unvarnished Tale, in the 
 same unsophisticated state, in which they came into the hands of 
 the EXECUTORS, in whom the Property is vested; and that 
 
 BY THEIR STRICT INJUNCTION, EACH PICTURE, WHATEVER 
 STAY BE ITS IMPORTANCE, WILL BE SUBMITTED TO THE CHOICE 
 AND PURCHASE OF A DISCERNING PUBLIC, WITHOUT THE LEAST 
 
 RESERVE WHATEVER. 
 

 
 
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