|
|
|
|
£ |
s. |
d. |
| Col. Denby. |
|
1 |
RUINS—small, unfinished, upright |
0 |
10 |
6 |
| Vernon. |
|
2 |
A View of the Lakes, Ditto |
1 |
1 |
0 |
| Jenings. |
|
3 |
Ditto |
1 |
13 |
0 |
| Borrow. |
|
4 |
A View with a Bridge, Ditto |
2 |
3 |
0 |
|
in. |
5 |
A mountainous Landscape, Ditto |
0 |
12 |
0 |
| Rook. |
|
6 |
A Castle, by Moonlight, in dead Colour |
1 |
15 |
0 |
| Marshall. |
|
7 |
A Fire in a Forest, by Moonlight |
0 |
11 |
0 |
|
in. |
8 |
A mountainous and woody Landscape, Oval |
2 |
2 |
0 |
| Dorset. |
|
9 |
Ruins of a Roman Temple, by Fire-light |
1 |
9 |
0 |
| Heath. |
|
10 |
A Boy with a Dog |
0 |
15 |
0 |
| Denby. |
|
11 |
A Landscape in the Stile of Artois |
3 |
15 |
0 |
| Maria Wright. |
|
12 |
A Hilly Landscape, with a slated Barn |
7 |
0 |
0 |
| Goulding. |
|
13 |
A small Mountainous Ditto |
2 |
7 |
0 |
| Vernon. |
|
14 |
A small pleasing View of a Harbour by Moonlight,
and an unfinished Landscape the Companion |
5 |
15 |
6 |
| Jenings. |
|
15 |
A Lake Scene unfinished |
5 |
10 |
0 |
| Borrow. |
|
16 |
A warm mountainous Landscape, small upright |
5 |
5 |
0 |
| Goulding. |
|
17 |
A View of Carnarvon Castle by Fire and Moonlight, unfinished |
5 |
15 |
6 |
| Vernon. |
|
18 |
An Italian Landscape with Ruin |
6 |
6 |
0 |
| Rawlinson. |
|
19 |
A Landscape, a Rock Scene |
6 |
0 |
0 |
| Vernon. |
|
20 |
A View of the Ponte Nomentano, near Rome, unfinished |
3 |
0 |
0 |
| Heath. |
|
21 |
The Dead Soldier, unfinished |
5 |
0 |
0 |
| H. Wright. |
|
22 |
A View of the Lake of Nemi, a warm Evening Scene |
12 |
12 |
0 |
| Long. |
|
23 |
Lady and Beggar Boy, unfinished |
1 |
7 |
0 |
| Vernon. |
|
24 |
The Glass-House, a Sketch: the Fire exceedingly well expressed |
3 |
10 |
0 |
| Shackman. |
|
25 |
A small View of an Eruption of Mount Vesuvius by Moonlight |
4 |
4 |
0 |
| Brown. |
|
26 |
A Landscape unfinished |
1 |
1 |
0 |
|
in. |
27 |
View of an Eruption of Mount Vesuvius by Moonlight,
with a View of the Bay of Naples |
18 |
18 |
0 |
| Tate, in. |
|
28 |
A Landscape, and Figures with a tilted Cart; a View of Matlock High Tor in the
Distance—very rich and glowing Effect |
51 |
9 |
0 |
| Borrow. |
|
29 |
Portrait of a Beggarman |
6 |
0 |
0 |
| Mr. Cade, in. |
|
30 |
A Landscape with a Monumental Ruin by Moonlight |
14 |
3 |
6 |
| Tate. |
|
31 |
A Landscape, Sun-set |
10 |
10 |
0 |
| Mr. Cade, in. |
|
32 |
A pleasing View of a Lake by Moonlight |
9 |
19 |
6 |
| Goulding. |
|
33 |
An Italian, rocky Landscape and Figures |
10 |
10 |
0 |
| Borrow. |
|
34 |
An Eruption of Vesuvius by Moonlight, viewed through
the Fog—singularly fine Effect |
16 |
16 |
0 |
| Heath. |
|
35 |
A View on the Lakes in Westmoreland |
16 |
16 |
0 |
| Maria Wright, in. |
|
36 |
A Ditto |
15 |
15 |
0 |
| Rawlinson. |
|
37 |
Virgil’s Tomb—a pleasing, high finished picture |
17 |
6 |
6 |
| Mr. Cade, in. |
|
38 |
A mountainous and woody Landscape,
a View in the Neighbourhood of Matlock |
20 |
9 |
6 |
| Jennings. |
|
39 |
A small Italian Landscape, after Wilson |
21 |
10 |
6 |
| Jo. Wright, in. |
|
40 |
A Boy and Girl with a Blown Bladder:
the Countenances full of lively Expression,
and the Whole delicately and highly finished |
40 |
19 |
0 |
| Borrow. |
|
41 |
A Landscape viewed through a Cavern by Moonlight |
26 |
5 |
0 |
| Sters. |
|
42 |
A View of Ulleswater Lake and Skiddaw |
21 |
0 |
0 |
| Vernon. |
|
43 |
An upright View in the Convent of the Latomie at Syracuse |
16 |
5 |
6 |
| H. Wright. |
|
44 |
A Rocky Landscape, with a River by Moonlight |
47 |
5 |
0 |
| Smith, M.P. |
|
45 |
A Mountainous Landscape in the Neighbourhood of the Lakes |
9 |
19 |
6 |
| Tate, in. |
|
46 |
A Landscape with a Rainbow, View near Chesterfield in Derbyshire |
59 |
17 |
0 |
| Borrow. |
|
47 |
The Cascade of Terni, near Tivoli |
40 |
19 |
0 |
| Poole & Tate. |
|
48 |
A Pair of elegant Views of the Lake of Albano, with the Castel Gandolfo, and the
companion the Lake of Nemi |
63 |
0 |
0 |
|
in. |
49 |
Sterne’s Maria, an elegant Figure delicately painted |
38 |
17 |
0 |
| Borrow. |
|
50 |
A Landscape, View of the Lake of Albano, a beautiful warm Scene |
53 |
11 |
0 |
|
in. |
51 |
Romeo and Juliet in the Sepulchre, a spirited Composition; the Interest considerably
heightened by the Shadow of Figures approaching the Tomb, capital |
47 |
5 |
0 |
| Tate. |
|
52 |
View of a Cottage in Needwood Forest |
63 |
0 |
0 |
|
in. |
53 |
William and Margaret, from the popular Ballad, capital |
39 |
18 |
0 |
| Borrow. |
|
54 |
The Colosseo at Rome with Figures, a highly finished View of this grand and interesting
Monument of Antiquity |
74 |
11 |
0 |
| Borrow. |
|
55 |
A View of Ditto by Moonlight, with a Figure of a Friar at his evening Devotion to
the Virgin |
85 |
1 |
0 |
|
in. |
56 |
A philosopher in his Study by Lamplight—a highly
finished and brilliant coloured Picture |
19 |
19 |
0 |
| Carr for Arkwright. |
|
57 |
A large and romantic View of the Head of Ullswater Lake from Lyson’s Tower in
Graystoc Park, the Seat of the Duke of Norfolk |
315 |
0 |
0 |
|
in. |
58 |
The Allegory of the Old Man and Death in a picturesque Landscape, a River Scene
with Gothic Ruins—a very correct Knowledge of Anatomy is displayed in the Figure
of Death; the Alarm of the old Peasant is finely expressed, and the Lights throughout
the Picture are uncommonly brilliant |
51 |
9 |
0 |
|
in. |
59 |
Lusignan in prison—The interior finely illumined, capital |
60 |
18 |
0 |
| Smith for Wakefield. |
|
60 |
A small Prison Scene, with a single Figure |
31 |
10 |
0 |
| Borrow. |
|
61 |
A Ditto |
17 |
17 |
0 |
|
in. |
62 |
The Alchymist in his Elaboratory with Assistants. This admirable Performance presents
a happy Display of the Artist’s Talents. The Effect of Light issuing from the
Sand-heat, and reflected from the Retort and surrounding Implements is contrived with
surprising Effect, amounting to perfect Illusion—truly capital |
80 |
17 |
0 |
| Borrow. |
|
63 |
The Hermit, companion to the preceding, capital |
70 |
17 |
0 |
| Borrow. |
64 |
|
THE INDIAN WIDOW. This elegant painting is replete with poetical Beauties: the
Contest of the Day is over, but the War is still waged among the Elements, and a
Volcano on the Right adds to the Turbulence of the Scene. The Apathy of excessive
Grief is conspicuous in the distressed Female, who is thus admirably contrasted with
the agitated Objects of the Back Ground |
73 |
10 |
0 |
|
in. |
65 |
A grand ERUPTION of VESUVIUS, seen across the Bay by Moonlight—
This magnificent Scene so often attempted by the Pencils of various Masters,
has surely, never been expressed with more Grandeur than in this Effort of Mr.
Wright—the Effect is awful beyond Description—Earth, Air and Water appear as but
one Element. It is thus that real Genius can manage Nature at its Will; and the
Artist who transfers her to the Canvas with so much Truth, kindles a Light, which
will ever be reflected with Lustre upon his own Name |
304 |
10 |
0 |
|
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|
£2075 |
3 |
0 |