Exhibition of Pictures Painted by V'ashington A.llston Californa UNIVERSITY OF CALIFORNIA EXHIBITION ^-cv^L J^ PAINTED B Y WASHINGTON ALLSTON, 3LIL SCHOOL STREET. BOSTOiN: JOHN H. EASTBURN, PRINTER, No. 13 State Street. 1839. Art Library h 137 r ff >. THE friends of Mr. Allston, have desired to express in some public DC manner their high sense of his pre-eminence as an Artist and their esteem and affection for him as a man. No mode of doing this seemed so appropriate as to collect all his pictures which are accessible in an exhibition, the proceeds CM of which might be presented to him as a token of those feelings. They have ir> omitted no efforts and spared no expense to bring together a collection which : will richly reward the visitor, and be, in their opinion, of very great value to artists ; they confidently trust that the result will be such as to sustain the character of this community for a true and elevated taste, and to be a gratify- X ing testimonial to the Artist of the regard in which he is held by his country- * men. To the Proprietors of the Paintings, the warmest acknowledgements are due for the liberality with which they have been lent for this occasion. (At I 456704 N. B The visitors are requested not to touch the Pictures, and to leave their canes and umbrellas with the door-keeper. - V&01S PICTURES. No. 1 Date 1813. THE DEAD MAN RESTORED TO LIFE, by touch- ing the bones of the Prophet Elisha. ^" And the bands of the Moabites invaded the land at the coming in of the year. And it came to pass as they were burying a man, that behold, they spied a band of men, and they cast the man into the Sepulchre of Elisha : and when the man was let down, and touched the bones of Elisha, he revived." ii Kings, chap. xm. v. 20, 21. The Sepulchre of Elisha is supposed to be in a cavern among the moun- tains ; such places in those early ages being used for the interment of the dead. In the foreground is the Man at the moment of reanimation, in which the Ar- tist has attempted, both in the action and the color, to express the gradual recoiling of life upon death ; behind him, in a dark recess, are the bones of the Prophet, the skull of which is peculiarised by a preternatural light ; at his head and feet are the two bearers of the body, the ropes still in their hands, by which they have let it down, indicating the act that moment performed : the emotion attempted in the figure at the feet is that of astonishment and fear, modified by doubt, as if still requiring further confirmation of the miracle before him, while in the figure at the head is that of unqualified, imrnoveable terror. In the most prominent group above, is a Soldier, in the act of rushing from the scene : the violent and terrified action of this figure was chosen to illustrate the miracle by the contrast which it exhibits to that habitual firmness, supposed to belong to the military character, shewing his emotion to proceed from no mortal cause. The Figure grasping the Soldier's arm, and pressing forward to look at the body, is expressive of terror overcome by curiosity. The group on the left, or rather behind the Soldier, is composed of two Men of different ages, earnestly listening to the explanation of a Priest, who is directing their thoughts to heaven, as the source of the miraculous change ; the boy clinging to the old man is too young to comprehend the nature of the miracle, but, like children of his age, unconsciously partakes of the general impulse. The group on the right forms an episode, consisting of the Wife and Daughter of the Re- viving Man. The Wife, unable to withstand the conflicting emotions of the past and the present, has fainted ; and whatever joy and astonishment may have been excited in the Daughter by the sudden revival of her Father, they are wholly absorbed in distress and solicitude for her Mother. The Young Man with outstretched arms, actuated by impulse, f not motive,"] announces to the Wife by a sudden exclamation the revival of her Husband ; the other Youth, of a mild and devotional character, is still in the attitude of one conversing 4 the conversation being abruptly broken off by his impetuous companion. Tha Sentinels in the distance, at the entrance of the cavern, mark the depth of the Picture, and indicate the alarm which had occasioned this tumultuary burial. ACADEMY OF FINE ARTS, Philadelphia. No. 2. JEREMIAH DICTATING HIS PROPHECY OF THE DESTRUCTION OF JERUSALEM TO BARUCH, THE SCRIBE. Vide Jer. Ch. 36. Miss GIBBS, Boston. No. 3. THE TRIUMPHAL SONG OF MIRIAM ON THE DESTRUCTION OF PHARAOH AND HIS HOST IN THE RED SEA. " Sing ye to the Lord, for he hath triumphed gloriously ; the horse and his rider hath he thrown into the sea." Exodus, Ch. XV. DAVID SEARS, Boston. No. 4. THE WITCH OF ENDOR RAISING THE SPIRIT OF SAMUEL BEFORE SAUL. Vide I Samuel, 28 Ch. COL. PERKINS, Boston. No. 5. THE FLIGHT OF FLORIMEL. Vide Spenser's Faery Queen. JAMES F. BALDWIN, Boston. No. 6. POLYPHEMUS IMMEDIATELY AFTER HIS EYE WAS PUT OUT, GROPING ABOUT HIS CAV- ERN FOR THE COMPANIONS OF ULYSSES. Drawn on ship-board. JAMES F. BALDWIN, Boston. No. 7. 1805. SWISS SCENERY. ISAAC P. DAVIS, Boston. No. 8. A MOTHER WATCHING HER SLEEPING CHILD. JAMES McMuRTRiE, Philadelphia. No. 9. EDWIN. Vide Beatie's Minstrel. ROBERT GILMOR, Baltimore. No. 10. ? BEATRICE. SAMUEL A. ELIOT, Boston. No. 11. ITALIAN SCENERY. SAMUEL A. ELIOT, Boston. No. 12. THE VALENTINE. GEORGE TICKNOR, Boston. No. 13 1810. LANDSCAPE. ITALY. EDMUND DWIGHT, Boston. No. 14. AMERICAN SCENERY. Time, afternoon, with a southwest haze. EDMUND DWIGHT, Boston. No. 15. A ROMAN LADY. EDMUND DWIGHT, Boston. No. 16. LANDSCAPE. WARRSTN DUTTON, Boston. No. 17. THE EVENING HYMN. WARREN DUTTON, Boston. No. 18. >c LANDSCAPE. Time, after sun-set. CHARLES CODMAN, Boston. No. 19. ISAAC OF YORK. Vide Ivanhoe. THE ATHENJECM, Boston. No. 20. SKETCH OF A POLISH JEW. THE ATHEN.EUM, Boston. No. 21. PORTRAIT OF BENJAMIN WEST, LATE PRESI- DENT OF THE ROYAL ACADEMY, LONDON. The head painted in London, 1814, the drapery and back-ground added in 183J, Cambridge. THE ATHENJEUM, Boston. No. 22. AN ITALIAN SHEPHERD BOY. ROBIRT C. HOOFER, Boston. 45G704 No. 23. 1805. PORTRAIT OF THE ARTIST. Painted in Rome. NATHANIEL AMORY, Newport. No. 24. MOONLIGHT. DR. BIGELOW, Boston. No. 25. LANDSCAPE. POWELL MASON, Boston. No. 26. HEAD OF ST. PETER. A study for the large picture afterwards painted for Sir George Beaumont, now in a Church at Ashby de la Zouch, England. GEORGE BANCROFT, Boston. No. 27. 1311. COAST SCENE ON THE MEDITERANEAN. T. WILLIAMS, Boston. No. 28. A SKETCH OF A POLISH JEW. J. S. COPLEY GREENE, Boston. No. 29. A SKETCH OF A POLISH JEW. THOMAS DWIGHT, Boston. No. 30. 1811. A POOR AUTHOR AND A RICH BOOKSELLER. T. H. PERKINS, JR., Boston. No. 31. LANDSCAPE. REV. DR. LOWELL, Boston. No. 32. 1804. RISING OF A THUNDERSTORM AT SEA. PILOT BOAT GOING OFF TO A SHIP. S. D. PARKER, Boston. No. 33. DONNA MENCIA IN THE ROBBERS' CAVERN. Donna Mencia, after the murder of her husband by Capt. Rolando's band, had been conveyed, in a state of insensibility, to their cavern. The moment represented is when she recovers from her swoon. The nearest figure is the Captain, the figure on his right, sitting at the table, is Gil Bias. Vide Gil Bla#. COL. WILLIAM DRAYTON, of South Carolina Philadelphia. No. 34. PORTRAIT OF SAMUEL WILLIAMS, Es*. TIMOTHY WILLIAMS, Boston. No. 35. ROSALIE. Oh, pour upon my soul again That sad, unearthly strain, That seems from other worlds too plain ; Thus falling, falling from afar, As if some melancholy star Had mingled with her light her sighs, And dropp'd them from the skies. &c. NATHAN APPLETON, Boston. No. 36. 1810. LANDSCAPE. ISAAC P. DAVIS, Boston. No. 37. THE TUSCAN GIRL. How pleasant and how sad the turning tide Of Human Life, when side by side The Child and Youth together glide Along the vale of years ; The pure twin-being for a little space, With lightsome heart, and yet a graver face : Too young for woe, though not for tears ! &c. DAVID SEARS, Boston. No. 38. JESSICA AND LORENZO. Lorenzo. How sweet the moonlight sleeps upon this bank ! Here will we sit, and let the sound of music Creep in our ears : soft stillness and the night Become the touches of sweet harmony. Jessica. I am never merry when I hear sweet music. Merchant of Venice. Act V. PATRICK T. JACKSON, Boston. No. 39. THE SISTERS. N. B. The air and color of the head with the golden hair was imitated from a picture by Titian, called a portrait of his Daughter, but not the charac- ter, or the disposition of the hair, which in the portrait is a crop ; the action of the portrait is also different holding up a casket with both hands. The rest of the picture, with the exception of the curtain in the back-ground, is original. FRANCIS ALEXANDER, Boston. No. 40. THE YOUNG TROUBADOUR. 8 There stood within a lonely dell A broken fountain, called of yore The lover's fount, where, bending o'er r A marble cupid once did pour, The sweetest drops that ever fell. ****** But long the stream had ceased to flow ; Yet still the marble- urchin stops, As if to watch the feigned drops. ****** And then he tried the Tournament, And sang how Julian's mighty lance O'erthrew the Chivalry of France ; Then how he fell beneath a glance From one bright eye which through him went. Ah, now he touch'd the magic chord That wak'd his soul through all her springs. His true guitar itself now sings, As if alive its happy strings, Mingling its life with every word ! &c. J. BRYANT, JR., Boston. No. 41. 1806. FALSTAFF AND HIS RECRUITS AT JUSTICE SHALLOW'S. Falstaff. Come, prick me Bullcalf till he roar again. Bullcalf. Oh, lord ! good my lord captain Falstaffl What, dost though roar before thou art prick'd ? Bullcalf. Oh, lord, sir, I am a diseased man. Second Part of King Henry IV. Acl III. WILLIAM SULLIVAN, Boston. No. 42. 1811. PORTRAIT OF THE LATE Mrs. WM. CHANNING. REV. DR.. CHANNJNG, Boston. No. 43. 1799. LANDSCAPE. Painted when at College, Cambridge. GENERAL SUMNER. No. 44. 1799. LANDSCAPE. In possesion of the Artist. Painted when at College, Cambridge. N. B. These youthful efforts are exhibited aa objects of curiosities. No. 45. STORM AT SEA. The ship Galen, in which the Artist returned from Europe. Drawn on ship board. COL. PERKINS, Boston. OP AT LOS ANGELES Lithomount Pamphlet Binder Caylord Bros., I nc . Makers Stockton, Calif PAT. JAN. 21. 1908 University of California Library Los Angeles This book is DUE on the last date stamped below. UCLA ARld LIBRARY GENERAL PHONE RENEWALS 310/823-9188 JAM 1 6 2001| MAR 6 2001 Ah i > LIBRARY