THE LAWRENCE GALLERY 
 
 ^econtr 
 
 A CATALOGUE 
 
 OF 
 
 ONE HUNDRED ORIGINAL DRAWINGS 
 
 BY 
 
 SIR ANT. VANDYKE 
 
 AND 
 
 REMBRANDT VAN RYN, 
 
 COLLECTED BY 
 
 SIR THOMAS LAWRENCE, 
 
 LATE PRESIDENT OF THE ROYAL ACADEMY. 
 
 THIS EXHIBITION IS A PORTION OF HIS SPLENDID COLLECTION OF THE WORKS 
 OF THE GREAT MASTERS OF THE ITALIAN, GERMAN, DUTCH, FRENCH, 
 AND FLEMISH SCHOOLS; CONSISTING OF THE CHOICEST 
 SPECIMENS OF 
 
 RAFFAELLE 
 
 ANDREA DEL SARTO 
 
 THE THREE CARRACCI 
 
 M. ANGELO 
 
 FRA BARTOLOMEO 
 
 CLAUDE 
 
 L. DA VINCI 
 
 POLIDORE 
 
 REMBRANDT 
 
 COREGGIO 
 
 ZUCCHERO 
 
 RUBENS 
 
 PARMIGIANO 
 
 TITIAN 
 
 VANDYCK 
 
 P. DEL VAGA 
 
 JULIO ROMANO 
 
 POUSSIN 
 
 PRIMAT1CCIO 
 
 ALBERT DURER 
 
 &C. &C. 
 
 FORMING TEN EXHIBITIONS, OF WHICH THIS IS THE SECOND. 
 
 Admittance to each Exhibition One Shilling, — Catalogue Sixpence. 
 Tickets of Admission during each Exhibition, Five Shillings. 
 'I'ickets to admit at all times during the Nine Exhibitions, One Guinea. 
 
 HOURS FROM TEN TILL SIX. 
 
RICHARDS, PRINTER, 100 , ST. MARTIN’S-LANE, CHARING-CROSS 
 
Copy of a Letter from Lieutenant-General Sir Herbert 
 Taylor , Bart. Secretary to His Majesty , $c. fyc. fyc. 
 
 Windsor Castle, June 10, 1830. 
 
 Sir, 
 
 I regret that the continued pressure of business 
 has prevented me from acknowledging earlier the receipt of your letter 
 of the 25th ultimo, enclosing a “ Catalogue of the First Exhibition of 
 the Lawrence Gallery,” and acquainting you that I had the honor to 
 submit them to the King. 
 
 His Majesty has ordered me to assure you of the satisfaction with 
 which he notices the steps you have taken to render by this Exhibition, 
 accessible to the Public, and available to Artists for the purpose of 
 Study, the valuable and important Collection of Drawings by the 
 Ancient Masters, formed by the late Sir Thomas Lawrence ; and, as 
 an encouragement to your undertaking, and with a view to promote 
 one of its most essential objects, His Majesty has been pleased to 
 order me to send you Fifty Guineas, to be applied to the gratuitous 
 Admission of such Students of the Royal Academy as may be 
 desirous of availing themselves of this facility to the Ten Exhi- 
 bitions. I have the honor to be, Sir, 
 
 Your most obedient humble Servant, 
 
 FI. TAYLOR. 
 
 Samuel Woodburn, Esq. 
 
 His Majesty having been graciously pleased thus to signify 
 to the Proprietors his approval of the steps taken to make 
 known to the Artist, the Amateur and the Public, this match- 
 less Collection of Drawings, and having in a most liberal and 
 spontaneous manner, purchased Fifty of the Guinea Tickets, 
 for the use of the Gentlemen Students of the Royal Academy ; 
 
4 
 
 — the Proprietors consider it their duty to endeavour to merit 
 this mark of Royal favour, and accordingly take this oppor- 
 tunity of announcing to the Students, that they are at 
 liberty to make studies of parts of any of the Drawings 
 exhibited (not fac-similes), but as far as may be of use to 
 them in the furtherance of their art. 
 
 The Proprietors are highly gratified by the very handsome 
 manner in which the First Exhibition has been noticed by the 
 Press; no less than ten of the most leading journals having 
 spoken in very flattering and scientific terms of it. This cir- 
 cumstance encourages the Proprietors in their idea, that works 
 of Art, truly fine, need only be seen to be duly esteemed ; 
 and has determined them, even at the risk of a pecuniary 
 loss, to give the public an opportunity of judginghow far this 
 matchless collection is or is not most important to the ad- 
 vancement of the Fine Arts in this kingdom. If the majority 
 of the scientific persons in this peculiar department of Art, 
 differ from them, they have only to state, that having been 
 born and educated among the Fine Arts, they themselves 
 cannot but prefer the pencils of Raffaelle and Michael Angelo 
 to the arithmetic of Cocker. 
 
 S. & A. WOODBURN, 
 
 112, St. Martins Lane, 
 July 1, 1835. 
 
THE LIFE OF 
 
 SIR ANTHONY VANDYKE. 
 
 Anthony Van Dyke was born at Antwerp in 1599 : his hither was 
 a painter on glass, and his mother an embroidress. His first studies 
 in art were made under Van Baelen, a fellow pupil of Rubens, in the 
 School of Adam Van Oort. Having, however, acquired at an early 
 period, a decided taste for the superior talents of Rubens, he entered 
 into the School of the latter in 1615. Here his own previous dispo- 
 sitions and natural taste, soon led to the development of his elegant 
 and creative genius ; and his preeminence and success were in con- 
 sequence rapid. 
 
 For several years he was employed on the pictures executed for 
 Mary de Medicis and the Jesuits’ Church, by which he became a 
 rival to his Master both in style and colouring. Under the advice of 
 Rubens, and with his assistance and introductions, he visited Italy in 
 1620, and studied with an intensity of ardour, at Venice, the splendid 
 works of Titian and Paul Veronese. These sunk deep in his mind, 
 and caused a revolution in his taste and style, which in consequence 
 became more refined, without detracting in any degree from his rich 
 and delightful colouring. But, though enraptured with the brilliant 
 productions of his great examples, his constant employment in por- 
 trait painting must have precluded much continued application to 
 history. 
 
 His fame spread quickly through all the neighbouring cities, and 
 procured him patrons in Turin, Genoa, and other places of note. In 
 the latter city he remained three years, executing a surprising number 
 of portraits from his incredible facility in rendering likeness, and in 
 catching air and manner : he also painted in Palermo and Milan. 
 
 He returned to Antwerp in 1626; shortly after which he produced 
 his celebrated pictures, — “ The Marriage of Saint Catherine ,” “ The 
 Elevation of the Cross,” and “ The Crucifixion between the Thieves; 
 and about this time also, besides numerous portraits of distinguished 
 persons, he painted his admirable Series of Artists and other cele- 
 brated characters. 
 
6 
 
 Charles I. not being able to retain Rubens in his court, invited Van 
 Dyke to England, who arrived accordingly in 1631, and was most 
 favorably received. The first results of his visit were portraits of the 
 Royal Family ; and the King to express his high gratification at the 
 artist’s talents, knighted him in 1632, presenting him with his portrait 
 set in diamonds, a valuable gold chain, and a pension of £200. The 
 princely monarch passed much of his time in the painter’s studio ; 
 bringing him everywhere into notice and employment. Van Dyke 
 was, however, profuse and dissipated ; lavish in his expenditure, and 
 splendid in his establishment, which kept him always poor and em- 
 barrassed. 
 
 His friends saw this with pain ; and desirous to improve his affairs 
 and to see him married, by the influence of the Duke of Buckingham 
 he was united to the daughter of Lord Ruthven. Soon after his mar- 
 riage, he visited Antwerp and Paris, his declining health being the 
 prevailing motive for this excursion. But the journey did not restore 
 him ; he returned to England with a shattered constitution, and died 
 at his residence at Blackfriars in 1641, in the 42nd. year of his age, 
 leaving behind him scarcely an equal in the exquisite delineation of 
 portrait in every class and of every character. 
 
 This illustrious Artist having died at an early age, his Drawings 
 are of much rarer occurrence than those of Rubens ; but the inde- 
 fatigable exertions and liberality of the late talented possessor, suc- 
 ceeded, nevertheless, in bringing together a finer collection than was 
 ever before made. 
 
 The present proprietors have no hesitation in asserting, that no 
 other Cabinet in Europe, whether royal or private, possesses half the 
 number or quality of original Studies by this great Master, that are 
 here described. 
 
A CATALOGUE, 
 
 ETC. ETC. 
 
 Second Exhibition . 
 
 SIR ANTHONY VANDYKE. 
 
 1. Portrait of a Lady — whole length. Her left hand 
 rests on some object supported by a tressel ; perhaps the coffin of 
 an infant. Pen, and Indian ink. 
 
 Size, 6 inches by 12 inches. From the Collection of 
 Marquis Vinde. 
 
 2. Ecce Homo — the figure of the Saviour in that subject 
 which he afterwards etched : a spirited drawing, free pen and 
 bistre ; perhaps, a study for the picture in the Potsdam Gallery. 
 
 Size, 3J inches by 5 inches . From the Collections of 
 J. Hudson and J. Richardson. 
 
 3. The Brazen Serpent — a spirited sketch. The dignity 
 of the Lawgiver, and the eager confidence of the opposite group in 
 the healing power of the serpent, are finely expressed. Free pen, 
 and bistre. 
 
 Size, 8£ inches by 6J inches. From the Collections of 
 J. Richardson and Barnard. 
 
 4. Portrait of Franciscus Franck, Junr. — an admirable 
 drawing ; one of the series of Illustrious Artists, and engraved by 
 Hondius : executed in black chalk. 
 
 Size , 7£ inches by 9£ inches. From the Collection of 
 J. Barnard. 
 
 5. Portraits of the Nassau Family — whole lengths: well 
 known by Baron’s engraving. The picture is in the Collection of 
 
8 
 
 Earl Cowper. In the Drawings, the heads only are by Van Dyke, 
 the rest by another hand : executed in black chalk, on vellum. 
 
 Size, 15i in. by 18. From the Collection of the Stadtholder , at 
 the House in the Wood, near the Hague. 
 
 6. The Marriage of St. Catherine — a free sketch, with a 
 reed pen ; finely composed. 
 
 Size, 9f inches by From the Collection of M. Norblin. 
 
 7. Six Studies of Heads — of great expression. Free pen. 
 
 From the Collections of Mariette and Lempereur. 
 
 8. Portrait of Henry Van Baelen — a beautiful spirited 
 drawing, one of the series of Illustrious Artists : a study for the 
 picture in the Collection of the Duke of Buccleuch. In black 
 chalk. 
 
 Size, 7\ inches by 11 inches. From the Collection of 
 B. West , P.R.A. 
 
 9. Portrait of a Jesuit — half-length figure, sitting in a 
 chair. Free pen, bistre. 
 
 Size, 19i inches by 9 inches. From the Collections of 
 T. Houlditch and Barnard. 
 
 10. The entombment of Christ — a spirited sketch. Free 
 pen, with bistre wash. 
 
 Size, 6 inches by 8|. From the same Collections. 
 
 11. Six studies of old Men’s Heads — each in a circle: 
 free pen; finely drawn and full of expression. 
 
 Size of the sheet, 12| inches by 9 inches. From the Collections 
 of Mariette and Lempereur. 
 
 12. Portrait of Daniel Mytens, Painter — an exquisite 
 and spirited Drawing, engraved by Pontius ; one of the series of 
 Illustrious Artists. Black chalk. Superb. 
 
 Size, 7 inches by 9f inches. From the Collection of 
 M. Dargenville. 
 
9 
 
 13. Portrait of Nicholas Rockox, in an oval — a most 
 admirable study for the picture formerly in the Hall of Assembly, 
 at Antwerp ; exquisitely finished with pen and bistre wash ; the 
 face heightened with chalk. 
 
 Size, inches by 7i inches. From the Collection of 
 Marquis Legoy. 
 
 14. The Virgin distributing Rosaries. She holds in 
 her arms the infant Saviour : on each side is a saint. A very 
 beautiful drawing ; executed in oil and water colour. 
 
 Size, 7 inches by 10 inches. From the Collection of 
 M. Paignon Dijonval. 
 
 15. Peter and John at the Gate of the Temple — a very 
 spirited study : pen and bistre. 
 
 Size, 1 1 inches by 8i. From the Collections of R. Houlditch, 
 Richardson, and Lord Spencer . 
 
 16. Christ crowned with thorns — a bold, spirited, and 
 vigorous sketch : free pen, bistre wash, and chalk. 
 
 Size, 7 inches by 1\ inches. From the Collection of 
 J. Barnard. 
 
 17. Portrait of Cornelius Sachtleven— one of the series 
 of Illustrious Artists, and engraved by Vorsterman, an admirable 
 drawing: in pen, and bistre wash. Full of expression. 
 
 Size, 7 inches by 9 inches. From the Collection of 
 M. Mariette. 
 
 18. The Adoration of the Shepherds. On blue paper, 
 in black chalk, heightened with white. Study for the picture in 
 the Collection of the Countess de Grey. 
 
 Size, IO2 inches by 1 inches. From the Collections of 
 Lankrinck, Richardson, Sir J. Reynolds . 
 
 19. Portrait of Sir Theodore Mayernf. — Physician to 
 Henry the Fourth of France, and Charles the First and Second, 
 
 B 
 
10 
 
 three-quarter length ; a masterpiece of art and intelligence : the 
 face executed in oil colour, the rest in black chalk. Superb. 
 
 Size, If inches by 12J inches. From the Collection of 
 M. Gruyter, of Amsterdam. 
 
 20. The Martyrdom of Saint Catherine, a most spirited 
 study : in free pen, bistre, and color : of the finest quality. 
 
 Size, 1 1 7f inches by 8| inches. From the Collection of 
 M. de Vos , of Amsterdam. 
 
 21. Rinaldo and Armida — a superb grisaille for P. de Jode 
 to engrave from. This is one of the most finished works in this 
 manner executed by Vandyke, in oil color, brown and white, in 
 perfect condition, very capital. With the Print. 
 
 Size, 16£ inches, by 22J inches. From the Collection of 
 M. Van Loo, of Amsterdam. 
 
 22. Portraits of Christian and Constantine Huygens 
 — a matchless example of the artist’s talent, and executed with sur- 
 prizing truth and effect : in chalk, and bistre wash. Superb. 
 
 Size, 8 inches by 1 1 inches. From the Collection of 
 Lempereur. 
 
 23. Study for the Drapery of Queen Henrietta Maria 
 in the picture at Hampton Court; in which the Queen is repre- 
 sented seated, and holding in her arms the infant James the 
 Second. On blue paper, in black chalk, heightened with white. 
 
 Size, 9i inches by 15 inches. From the Collections of 
 P. H. Lankrinck, Hudson, Sir J. Reynolds. 
 
 24. Portrait of Thomas Howard, Earl of Arundel — the 
 early and generous patron of the arts in Fngland ; he is sitting at 
 a table : one of the master’s finest studies — black chalk heightened 
 with white. 
 
 Size, 10? inches by 13. From the Collection of J. Barnard. 
 
25. The constancy of Mutius Sc^vola — a bold .and spi- 
 rited design. Free pen, of the first quality. 
 
 Circular, 8i inches. From the Collection of Mariette, who ex- 
 changed it, ivith a celebrated amateur of Amsterdam, from 
 whose possession it passed into the Collection of M. Verstegh, 
 and was purchased for Sir Thomas Lawrence from this last 
 Cabinet. 
 
 26. Rome triumphant — an allegory, -with many figures, 
 captives, & c. Pen, and bistre wash, heightened with white. 
 
 Size, 13f inches by 9£ inches. 
 
 27. Our Lord buffetted and crowned with thorns — a 
 very spirited study. Free pen, and bistre wash. 
 
 Size, 7| inches by 9. From the Collection of J. Hudson 
 and R. Houlditch. 
 
 28. Portrait of James de Cachiopin — an exquisitely spi- 
 rited drawing ; engraved by Vorsterman, in the series of Illustrious 
 Artists : executed in crayon, and bistre wash. Superb. 
 
 Size, 7\ inches by 10 inches. From the Collection of 
 Mariette. 
 
 29. Portrait of the Earl of Arundel — an exquisite and 
 finished drawing, full of expression; executed in red and black 
 chalk. 
 
 Size, 5i inches by 7 inches. From the Collection of 
 Thos. Ditnsdale, Esq. 
 
 30. Christ bearing his Cross — a spirited study for the pic- 
 ture exhibited in the Louvre, in 1814 : free pen, and bistre, 
 slightly heightened with crayon. 
 
 Size, 6f inches by 8 inches From the Collection of 
 M. Goll van Falkenstein. 
 
12 
 
 31. Nine Studies of Heads — of great expression; 8 in co- 
 des, the centre in a square. Free pen. 
 
 Size of the sheet, lOf inches by 13 inches. 
 
 From the Collections of Mariette and Lempereur. 
 
 32. Portrait of Lucas Van Uden, Painter. A superb 
 drawing, full of the finest expression ; a study for the picture in 
 the Munich Gallery. This is one of the series of Illustrious 
 Artists. Indian ink. 
 
 Size, 64 inches by 9 inches. From the Collection of 
 Mariette. 
 
 33. Study — First Idea, for the Portrait of Cardinal 
 Bentivoglio, in the Palazzo Pitti : he is seated in a chair, in 
 meditation, after reading. Bistre. 
 
 Size, 10i inches by 154 inches. From the Collection of 
 M. le Chevalier, Vicar of Rome. 
 
 34. Judith slaying Holofern^s — a spirited study: free 
 pen, and bistre wash. 
 
 Size, 6£ inches by 8 inches. From the Collection of 
 J. Barnard, Esq. 
 
 35. Six Studies of Heads — of fine expression ; 4 in circles, 
 2 in squares. Free pen. 
 
 Size of the sheet, 1 8 inches by inches. From the Collections 
 of Mariette and Lempereur. 
 
 36. Portrait of a Lady — three-quarter length : she holds 
 her drapery with her right hand, while her left is placed lightly on 
 a table. Black chalk — highly finished. 
 
 Size, 8| inches by 114 inches. From the Collection of 
 Thomas Dimsdale, Esq. 
 
 37. Portrait of Anthony Trieste, a Counsellor of Ghent, 
 a magnificent drawing : executed on grey paper, in black chalk, 
 
13 
 
 eightened with white. The picture is in the Collection of Sir 
 Abraham Plume. 
 
 Size, 14P inches by 16P. From the Collection of M. Brunet. 
 
 38. A Bacchanalian subject — a most spirited design. Free 
 pen, and bistre wash, slightly tinted with color. 
 
 Size, 8f inches by 6i inches. From the Collection of 
 M. Goll van Falkenstein . 
 
 39. An unknown subject, probably a Catholic Legend. Three 
 monks are seated at a table, one of whom is writing in a book ; 
 the two others are in attitudes of surprise, regarding with a stern 
 air two other monks entering the door, — one of whom, with fierce 
 looks, extends his right hand, as in the act of denunciation. Pen, 
 and bistre wash. 
 
 Size, Ilf inches by 7f inches. From the Collection of 
 Thomas Dims dale, Esq. 
 
 40. Portrait of Hubert Vandkn Eynden, a sculptor : a 
 beautiful specimen ; engraved by Vorsterman, in the series of 
 illustrious artists : in chalk and Indian ink — superb. 
 
 Size, 7f inches by 9 inches. From the Collection of 
 Mariette. 
 
 41. Portrait of Prince Charles — whole length, walking. 
 In his left hand he holds his hat, and in his right a stick, on 
 which he rests. Black chalk — highly finished. 
 
 Size, 8 inches by 12f inches. From the Collection of 
 M. Verstegh. 
 
 42. Fighting for the Standard— from the Cartoon of 
 Lionardi da Vinci. Rubens also copied the same subject. 
 Carefully finished, with pen and Indian ink. Very interesting. 
 
 Size, 9 inches by 7 inches. From the Collection of Dijonval. 
 
14 
 
 43. The Martyrdom of St. Lawrence — a spirited study : 
 free pen, and bistre wash. 
 
 Size, 7 inches by 9§ inches. From the Collection of 
 M. Norblin, of Paris: 
 
 44. The constancy of Mutius Sc^evola — a spirited study: 
 tinted. 
 
 Size, 13f inches by 12i inches. From the Collection of 
 T. Dimsdale, Esq. 
 
 45. The body of the Saviour supported by two 
 Angels : another angel kneeling holds the crown of thorns. A 
 splendid and effective drawing of his early time. 
 
 Size, 1 1 \ inches by 13 finches. From the Collection of 
 Marquis Vinde. 
 
 46. Part of the Composition for the picture of the 
 Christ betrayed by Night — a spirited model, on dark paper: 
 black, and white chalk. 
 
 Size, 21£ inches by 15 inches . From the Collection of 
 Thomas Dimsdale, Esq. 
 
 47. The Crucifixion. The finished study for the celebrated 
 picture, in the Church of St. Michael, at Ghent. Superb. 
 
 The Saviour is seen in the act of expiring, while a soldier raises 
 to him the sponge with hyssop, on a spear. Two other soldiers 
 are beside him, on horseback. The Magdalen is embracing the 
 cross, about to kiss the feet of the Saviour, while the Virgin and 
 St. John, whose right hand is on her shoulder, are regarding the 
 dying Redeemer with looks of intense love and adoration. This 
 magnificent drawing is executed in bistre, heightened with white. 
 
 Size, 17| inches by 24 J. 
 
 A proof before any writing (perhaps unique) of the admirable 
 engraving by Bolswert is added, — in which the Saviour appears, as 
 in the drawing, withont the crown of thorns. Also, a lettered 
 impression of the same print, with the address of the first pub- 
 
15 
 
 lisher, Van den Enden, in which the crown of thorns is on the 
 head of the Saviour ; but the hand of St. John is erased from the 
 shoulder of the Virgin. 
 
 From the Collection of M. Brunet, of Paris. 
 
 48. Venus bewailing the Death of Adonis. Venus, in 
 a passionate attitude of grief embraces the body, which Cupid en- 
 deavours to support : a very bold sketch. Free pen, and bistre, 
 heightened with white. 
 
 Size, 6 inches by 8i inches. From the Collection of 
 the Marquis Vinde. 
 
 49. Perseus and Andromeda — a capital finished model, 
 slightly tinged with color. 
 
 Size, 16| inches by 22 i inches. From the Collection of 
 B. West, Esq. P.R.A. 
 
 50. Portrait of James the 2nd, when an infant, holding a 
 peach with both hands ; a lovely and interesting drawing, in red 
 and black chalk. 
 
 Size, 12 inches by 15f inches. From the Collection of 
 Sir Joshua Reynolds. 
 
 There are several other Drawings by Vandyke in this Collection, 
 which, added to the present Catalogue, would amount in value to above 
 £1500. 
 
 The Proprietors, desirous that this Collection should be kept entire, 
 will sell the whole by this great Master for £1000, if purchased accord- 
 ing to the will of the late possessor. 
 
 Should they not be sold to be kept entire, the price will be £1200. 
 
16 
 
 THE LIFE OF 
 
 REMBRANDT VAN RYN. 
 
 This surprising genius, who, like Shakspeare, seems to have 
 arrested the general attention of mankind, was born on the 15th of 
 June, 1606, of humble parentage, near Leyden. 
 
 After some attempts at classical education in the College of that city, 
 Rembrandt decided on pursuing the art of Painting as a profession ; 
 and having for short periods been under various indifferent Artists, he 
 left them all for a most persevering study from nature, founded on the 
 most extraordinary eye for effect and colour that ever fell to the lot of 
 any individual. In 1630, he established himself in Amsterdam, where 
 he married, and painted most of his finest Pictures. 
 
 M. de Piles and some other writers assert that Rembrandt visited 
 Venice about 1635, and cite, as a proof, the three etchings, of heads, de- 
 scribed in Bartsch’s Catalogue under the Nos. 286, 287, 288 ; but this 
 is so vague a conclusion, owing to the indistinct character of the words 
 supposed to be ‘ Venetiis ,’ that Bartsch and others who dispute the point 
 are generally considered as correct : however, the singular circumstance 
 of the existence of No 96 in this Catalogue, a copy from the celebrated 
 Last Supper of L. da Vinci at Milan, which has, nevertheless, consi- 
 derable alterations from the divine original, and is dated in the very 
 year cited by De Piles, must be allowed to make the matter at least 
 doubtful ; which doubt is almost changed into certainty on seeing the 
 beautiful drawing No. 69 in this Catalogue, which is so decidedly 
 Italian, and evidently from Nature, that it is almost impossible he could 
 have executed it, had he not visited that part of the world. 
 
 It is an extraordinary circumstance, that this Artist appears to have 
 incurred the envy and dislike of many of his contemporaries ; he is de- 
 scribed by Baldinucci and Sandrart as an avaricious, low-minded man, 
 heaping up wealth, and using unfair means to enhance the price of his 
 Etchings; and to crown all, Baldinucci informs us, he was a heretic. 
 That he could not be avaricious is certain, from the fact of his being 
 insolvent and obliged to quit Amsterdam ; which is proved from very 
 interesting documents in the possession of the Earl of Aylesford, which 
 shew that his friend Abraham France, whose portrait he etched, was a 
 
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17 
 
 sort of trustee to his estate ; that his property was sold by auction, and 
 the produce paid over (after satisfying the claims on him) to his son 
 Titus. No doubt can exist on this point, as his Lordship possesses the 
 printed catalogue of the sale of the artist’s effects, and also the notice 
 which was printed for the announcement of sale. 
 
 The proprietors of the Lawrence Gallery are in possession of 
 a curious letter which they have had executed in lithography for the 
 present catalogue — a letter from Rembrandt to M. Van Zuylechem : 
 it would not be candid, did they not state, that when first this curious 
 document was shewn to them, they had some doubts of its authenticity, 
 which doubts, however, are removed, from enquiries made, and also 
 comparison with two letters now in Holland also written by this 
 artist. 
 
 It is uncertain what became of him after his bankruptcy, or where 
 he died. A search has been made among the burials at Amsterdam 
 until the year 1674, but his name does not occur : probably Baldinucci 
 is correct in stating that he died at Stockholm in 1670. On this 
 point the most scrupulous enquiry is now being made, by the desire 
 of the proprietors of this Gallery, and should they obtain any satisfac- 
 factory information, it shall be noticed in a future Catalogue. 
 
 It would be impossible in the space of this brief account to enter 
 into a discussion of his merit ; however, the proprietors of the 
 Lawrence Gallery cannot help asserting that no collection existing 
 can approach this exhibition of his talents; and they also beg 
 to observe that the drawings from the collections of De Vos and 
 Goll van Falkenstein were purchased since the death of Sir Thomas 
 Lawrence, and added to the collection in consequence of their impor- 
 tance, and also in pursuance of some commissions which Sir Thomas 
 Lawrence had previously given, in case these fine collections should 
 ever be sold. 
 
 c 
 
18 
 
 REMBRANDT VAN RYN. 
 
 51. Jesus with Mary and Martha. Our Lord is seated, 
 with Mary beside him, while Martha, in the foreground, reproves 
 Mary’s inattention to household affairs : Our Saviour, pointing to 
 the latter, is making his remarkable reply. Very spirited sketch ; 
 free pen. 
 
 Size, 7§ inches by 6. From the Collection of M. Zoomer. 
 
 52. Landscape view near the Rhine. In the foreground 
 to the right are cottages, near a piece of water ; and in the middle 
 ground clumps of trees, behind which is seen a range of high 
 mountains. A beautiful drawing. Free pen, and bistre, heigh- 
 tened with white. 
 
 Size, in. by inches. From the Collection of 
 Lord Hampden. 
 
 53. Study of a couchant Lion — an exquisite drawing ; full 
 of truth. Free pen, and bistre wash. 
 
 Size, 8 inches by 5L From the Collection of the Baron Denon. 
 
 54. Four Turks seated under a tree, taking coffee. In 
 the background is a conical mountain. This is probably a copy 
 from an eastern drawing; but all the characters are admirably 
 expressed. Free pen, and Indian ink. Engraved by J. Rogers. 
 
 Size 5 inches by 7f . From the Collection of 
 T. Dimsdale, Esq. 
 
 55. Nathan reproving David. The expression of both the 
 characters is most admirable. Free pen, and bistre. 
 
 Size, 10 inches by 7\. From the Collection of 
 Mr. Richardson. 
 
19 
 
 56. Landscape — A view in Holland in Winter; an open 
 country, intersected by a canal : in the centre, cottages and leafless 
 trees. Free pen, and Indian ink. Of the first quality. 
 
 Size, 1\ inches by 3 inches. From the Collection of 
 M. Goll Van Falkenstein. 
 
 57. Landscape — Cottages seen between high trees ; on the 
 left a wall or inclosure, with an archway. Free pen, and bistre. 
 
 Size, 7 i inches, by 5 inches. From the Collection of 
 J. Barnard. 
 
 58. Landscape — View on the River at Amsterdam. On 
 the right bank a village, with a church ; two small vessels are 
 sailing, and a boat is making towards the left bank : a drawing of 
 surprising truth and effect. 
 
 Size, 6f inches by 4. From the Collection of 
 M. Goll Van Falkenstein. 
 
 59. Esau selling his birthright for a mess of pottage 
 — a very spirited sketch. Free pen. 
 
 Size, 6 i inches by 62 . From the Collection of' 
 
 T. -Dims dale, Esq. 
 
 60. A Young Girl leaning over a Gate — she wears a 
 very broad-brimmed Dutch hat, and round her neck is a scarf, 
 which she has twisted round her left arm. The light falls full on 
 the right cheek, and the expression is admirable. This is one of 
 the most finished of the Artist’s drawings. Pen, and bistre wash, 
 and tinted : equal to any painting for force of effect. Capital. 
 
 Size, 7\ inches by 9L From the Collection of Ploos van Amstel, 
 in whose series of imitations it is deceptively copied. 
 
 61. Landscape — in the foreground to the right, a mill on the 
 bank of a canal, behind it a mansion ; on the left, a man is seen 
 dragging a boat. Free pen, and bistre : admirable. 
 
 Size, 8f inches by 5£. 
 
20 
 
 62. An Old Man, seated in an easy chair — behind appears 
 his wife, leaning on the top of the chair : full of character 
 and expression, of the first quality. 
 
 Size, 64 inches by 7£. From the Collection of 
 T. Dimsdale, Esq. 
 
 63. Judas returning the thirty pieces of silver. The 
 high priest is seated under a canopy in the centre ; on his left is a 
 scribe at a table. Judas is kneeling in front, opposite to the table, 
 wringing his hands in despair ; close beside him, on the ground, is a 
 purse ; and near are several Jews seated, one of whom appears to 
 taunt him : slightly sketched. 
 
 Size, 1 1 inches by 74. From the Collection of Zoomer , 
 of Amsterdam. 
 
 64. A Farm-house, surrounded by trees: admirably drawn 
 with a reed pen, on tinted paper, producing a fine effect. 
 
 Size, 10 j inches by 6f inches. From the Collection of 
 Zoomer, of Amsterdam. 
 
 65. Jacob lamenting the supposed death of Joseph. — 
 The disposition of the group is very similar to Rembrandt’s etch- 
 ing of the same subject. Jacob is seated near the door of his 
 house, lifting his hands, and reclining his head in an abandon- 
 ment of grief at the coat of his son, displayed to him by Simeon 
 who is kneeling. Levi stands beside him holding a staff; in the 
 background is a well : a very spirited and effective drawing. Free 
 pen, and bistre wash. 
 
 Size, 1 1 inches by 84 inches. 
 
 66. An old Man seated in a chair — his hands are placed 
 together; an admirable study. Free pen, and bistre. 
 
 Size, 34 inches by 44. From the Collection of 
 T. Dimsdale. Esq. 
 
 67. Adoration of the Shepherds— similar in composition 
 
21 
 
 to No. 79 ; but of bolder effect in the chiaroscuro : free pen, and 
 bistre wash. 
 
 Size , 9i inches by 9i inches. From the Collection of 
 B. West , P.R.A. 
 
 68. Study of a female, seen from behind : her left hand rests 
 on a table : — admirably treated. Free pen, and bistre. 
 
 Size , 6 inches by 10|. From the Collections of J. Richardson 
 and B. West, P.R.A . 
 
 69. View of a town on a promontory. A group of ele- 
 vated and castellated buildings forming the centre ; the town 
 shelves down to the left. In the foreground, a broad causeway 
 leads to the buildings : drawn with magical and Titianesque effect. 
 Free pen, and bistre wash, the sky and water tinted. Superb. 
 
 Size 1 1 1 inches by 5i. From the Collection of 
 T. Dimsdale, Esq. 
 
 70. The Woman taken in Adultery. — Our Lord is standing 
 near a pillar of the Temple. Before him, near the base of the 
 pillar, on the pavement, which is a step less, and elevated, kneels the 
 female, her hands raised towards the Saviour, in an imploring 
 attitude, — while immediately behind her, a Jew, with his right 
 hand extended, and his left pointing to the woman, is accusing her. 
 Various spectators are regarding the scene with eager interest. 
 Other Jews are in the background, between two of whom, a head, 
 with the marked features of Rembrandt, may be discerned. The 
 light falls magically on the principal group : the whole composition 
 is of masterly arrangement, and the chiaro’scuro of admirable 
 effect. This drawing, which is perhaps the most finished and per- 
 fect ever executed by the master, is a study for the celebrated 
 picture in the National Gallery. Free pen, and bistre wash, 
 slightly tinged. Superb. 
 
 Size, 11 inches by 7^ inches. From the Collection of 
 M. De Vos, of Amsterdam. 
 
22 
 
 71. Landscape — a large cottage and outbuildings, with high 
 trees ; a very bold and spirited drawing, signed, and dated 1649. 
 Free pen, and bistre wash. 
 
 Size, 17f inche by 1 1 4 inches. From the Collection of 
 B. West, P.R.A. 
 
 72. Portrait of Rembrandt, seated at a table, on which 
 his left hand rests : his dress is open at the neck, and his head is 
 uncovered. Indian ink, heightened with white. 
 
 Size, 54 inches by 6. From the Collection of M. Goll Van Fal- 
 
 kenstein. The resemblance- of this Portrait to that of Sir 
 
 Joshua Reynolds is remarkable. 
 
 73. An Interior. An old woman is seen cooking at a low 
 fire-place, while a younger woman and two children are looking 
 on. Full of effect — the chiaroscuro superb : of the first quality. 
 
 Size, 12 inches by 74. From the Collections of the Marquis 
 Vinde, and Thomas Dimsdale, Esq. 
 
 74. A young female at a window — her right hand is ex- 
 tended along the sill, while her left arm leans upon it supporting 
 her head, in an admirable position of thought. Free pen, and 
 bistre. Capital. 
 
 Size, 74 in. by 94 in. From the Collection of M. Vinde. 
 
 75. Landscape — View of a high road, along the shore of a 
 river — cottages and wood to the right; on the river are seen a 
 sailing boat, and a barge drawn by one horse. Free pen, and 
 bistre. Capital — some verses by de Koning are on the back of the 
 Drawing. 
 
 Size, 104 inches by 5f. From the Collection of 
 M. Goll Van Falkenstein. 
 
 76. The parable of the Widow’s Mite. In this admirable 
 study, one of the finest and most effective compositions of the 
 master, the chief Pharisee is seated in the centre of the subject. 
 
23 
 
 which represents the temple. The Saviour is standing near, en- 
 forcing the parable, and pointing to the widow, who is seen in 
 shadow on the right, under the arches of the building, depositing 
 her mite in the treasury urn ; the chiaroscuro of the receding 
 architecture is admirable. It is remarkable, that the head of the 
 seated figure in the first thought was averted from our Lord, which 
 Rembrandt considering as indecorous, had retouched the figure, and 
 drawn another head to it, in the attitude of attention to our Lord’s 
 discourse, without having erased the averted head. Pen, and 
 bistre wash. Superb. 
 
 Size , 12i by 8. From (he Collection of M. de Vos. 
 
 77. Our Lord betrayed. The Redeemer is seen standing 
 under a large tree; Judas approaches to kiss him, and appears in 
 the act of saying “ Hail Master.” A lantern, from which the 
 whole light on the subject proceeds, is held opposite to our Sa- 
 viour’s countenance by a Jew ; others appear following with 
 weapons and lanterns : in the background is seen the garden 
 entrance. The effect of the light and shade is truly astonishing, 
 and the relative expression of the two principal figures admirable. 
 Pen, and bistre. Capital. 
 
 Size, 11 inches by H. From the Collection of M. Goll Van 
 Falkenstein . 
 
 78. Portrait of the Mother of Rembrandt. She is seated 
 meditating after reading ; both her hands are placed on an open 
 book. Free pen, and bistre wash. Engraved in Mr. Rogers’ imi- 
 tations of Original Drawings. 
 
 Size, 4i inches by 5 inches. From the Collection of 
 B. West, P. R. A. 
 
 79. The Adoration of the Shepherds — an admirable 
 example of chiaroscuro. Free pen, and bistre wash, heightened 
 with white. 
 
 Size, inches by 8 inches. From the Collection of 
 Thomas Dimsdale, Esq. 
 
24 
 
 80. Christ among the Doctors. The chief doctor is seated 
 in a posture of attention to our Saviour, who is sitting near him in 
 the act of expounding some point of doctrine : many Jews are 
 standing or sitting near. A fine spirited study : free pen, and 
 bistre wash. 
 
 Size, inches by 6J. From the Collection of 
 W. Y. Ottlcy, Esq. 
 
 81. Landscape — an open country, with a group of cows in 
 the middle ground, two of which are being milked : a very spirited 
 and pleasing drawing. Free pen, and bistre — very fine. 
 
 Size, 20£ inches by lOf . From the Collection of 
 Lady Bentinck . 
 
 82. View in the City of Dort. In the centre runs a canal 
 between buildings ; that on the left is richly ornamented. A bridge 
 of three arches crosses the canal, and connects the buildings. This 
 is a beautiful example. Bistre, and Indian ink. 
 
 1\ inches by 5f. From the Collection of 
 T. Dimsdale, Esq. 
 
 83. Studies of nine Heads of Old Men and Women — 
 on one sheet; very spirited and expressive. Free pen. 
 
 Size of the sheet, 7i inches by 7. From the Collection of 
 W. Y. Ottley , Esq. 
 
 84. Figure of a Lady — whole length, walking, her left hand 
 holding her dress ; she wears a long veil, and a rosary. This 
 figure is, for Rembrandt, unusually elegant. Pen, and bistre wash. 
 
 Size, 5J inches by 7i. From the Collections of 
 Houlditch and Richardson. 
 
 85. Portrait of Renier Anslo, Anabaptist Minister — whole 
 length. He is seated in a chair, on the arm of which his right 
 hand rests, while his left hand is raised, and his head turned, in 
 the attitude of speaking : near him is a table, with an open book. 
 
25 
 
 This is one of the most exquisite and finished of the Master’s 
 drawings. His admirable etching of this character is well- 
 known : the print, however, varies much in the composition. Free 
 pen, Indian ink, and bistre wash, heightened with white. Dated 
 1640. Superb. 
 
 Size , 8 inches by 10. From the Collection of 
 M. Goll Van Falkenstein. 
 
 86. The Annunciation. The Virgin is seated under an 
 arch, near an open window ; the angel is seen to the right, the 
 sudden appearance of whom, and the heavenly light, causes the 
 Virgin to shrink; her basket with work, has fallen to the ground. 
 
 This interesting drawing has been originally executed by one of 
 the scholars of Rembrandt, probably Eckhout, and has been cor- 
 rected in many parts by the masterly hand of Rembrandt, which 
 is particularly remarkable in the angel, which he has considerably 
 altered. 
 
 Size, 9i inches by 7 inches. From the Collections of 
 J. Hudson and Sir Joshua Reynolds. 
 
 87. Landscape — an open country, with a distant view of 
 Haerlem. Lightly touched ; free pen, and bistre. Admirable. 
 
 Size, 6 inches by 3i. From the Collection of 
 M. Goll Van Falkenstein. 
 
 88. Landscape — a wood, with cross roads, in every direction. 
 The stem of a tree, with one branch, is to the right : a drawing 
 full of fine effect. Free pen, and bistre wash, heightened with 
 white. 
 
 Arched, size, 7\ inches by 4£. From the Collection of 
 M. Zoomer. 
 
 89. The Good Samaritan. The patient is extended in bed : 
 a female is near the head of the bed, while the Samaritan, in leaving 
 the apartment, is explaining to one near him his orders. Free 
 pen, and bistre — very fine. 
 
 Size, 9 inches by 5 j. From the Collection of 
 T. Dimsdale, Esq. 
 
 D 
 
28 
 
 100. An Allegorical Subject — the Misfortunes of 
 Apelles — described by Lucian. — Apelles was accused by An- 
 tiphelus, a painter, who envied him, to Ptolemy, of having con- 
 spired against him. The king, enraged, was about to put him to 
 death : one of the real conspirators compassionating him, unde- 
 ceived the king, who, repenting his own credulity, gave Apelles 
 100 talents, and presented to him his accuser as a slave. Andrea 
 Mantegna made a drawing of this subject. The king is seated on the 
 left ; the two figures near him are Mistrust and Ignorance. The 
 first figure facing him is Envy, conducting Calumny , who holds 
 in one hand a burning torch, and with the other is dragging Inno- 
 cence by the hair ; Deceit follows, crowding on her, Villany push- 
 ing her on, and Penitence and Truth bring up the rear. 
 
 The drawing by Mantegna was in the collection of Mr. Van der 
 Schelling, of Amsterdam, and was brought into England by Mr. 
 Gautier about 1718. Rembrandt saw this drawing while in Hol- 
 land, and made an exact copy of it. The drawing by Mantegna, 
 and the copy hy Rembrandt, were in Mr. Barnard’s possession in 
 1771, who, on the back of the original, has noticed these curious 
 facts. They were afterwards separated, and are here again united. 
 
 Size, 17i inches by 8. 
 
 From, the Collections of J. Richardson, Esq., A. Pond, Esq., 
 
 J. Barnard, Esq., and B. West, P.R.A. 
 
 Of the works of this great Artist, this Collection is very rich, those 
 described in this Catalogue being only one half the number which it 
 contains. Consequently the value of them, according to the present 
 rate at which the works of this Master are held, would amount to a very 
 considerable sum. 
 
 However, the Proprietors of the Lawrence Gallery having resolved 
 to be regulated in their values of the Collection according to the merits 
 of each Artist, without attention to what has hitherto ruled the price of 
 works of Art, (i. e. fashion) have valued the whole at £2000 ; and will 
 sell them, if kept entire, for £1500.