Mr. HORNBY, Wimbledon Common.

83. Execution of a Letter de Cachet. The fhocking difplay of the, favagenefs of Tyranny. This picture appeals to the feelings of every individual.

84. A Dungeon in the Baftile, containing an English Prifoner. The horrible gloom of the feene, and the fufferings of the Captive Briton, are forcibly delineated. The whole compofition denotes the experience of a Profeffor.

85. The Reprefentatives of Hell. This well-coJoured Tableau abounds with fertility of imagination and truth of chara&er.

Mr. NORTHEY, Banbury.

86. The Corfican Fairy. A happy fimilitude. 87. A Secretary of State, in Miniature. This eleegant little Bijou does not appear likely to laft long. 88. Portrait of King Theodore: Ridiculously defpicable.

89. Sancho Panza, Governor of Barataria. The archnefs, the penetration, and the fimplicity of the celebrated Efquire are not at all difcernible.

FOURTH DAY'S SALE without reserve.

Mr. SMITHSON, Abroad.

90. A Frigate on a Cruife. Totally without effect. 91. Animal Magnetifm. An inexplicable medley of nonfenfe.

92. A Courtier. Ariftocratic importance is here capitally difplayed."

1.93. Burning of a Fleet. A miferable performance; nor is the character of the British failors well preferved. Mr. MESURER, Walbrook...

94. The City Cavalry charging an old Apple-woman. True Military Courage is in this picture moft happily difplayed. The laughing and biffing groups in the back ground are very entertaining

95. A Lord Mayor in his Chain of Gold. This figure

denotes

denotes the moft abject fervility; the refpectable and impartial magiftrate looks like a more Treasury Runher. In truth, if it were not for the chain, which is very vifible, the reprefentation would have been totally unintelligible.

96. The Commitment of two English Jacobins for reading a Paper in an Eating-houfe. Abominably done; the French Emigrant Witness is in every refpect difgufting.

97. Inhumanity. Cruelly bad.

Mr. JAMES SAUNDERS, Fifh Street Hill.

98. A Kicked Alderman. A droll conceit. The hinder parts of the Magiftrate are all dirtied by the operation it is a fpirited sketch.

99. A Reptile. It is difficult to fay to what genus this creature can belong, though it is evidently a minute copy from nature.

"

Mr. CLARENSON, Petersham.

100. Neptune afleep in the River Jordan. There certainly is no want of keeping here, but the fea-god is laughable; the prominence of the boisterous deity alfo abfolutely deftroys the charming and natural cffect of the Jordan.

IQI. The Paradife of Negro Slaves. A more daring outrage on common feeling, common fenfe, and common juftice, was never before prefented to the public. 102. Royal Tiger-cub. Very correctly drawn. : 103. A Chip of the Old Block. A most excellent

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caricature.

Mr. JOHN FIDDLESTICK, Surry. 104. The Refurrection. A ridiculous affectation of fomething great.

105. A Corpfe. The colours very dead indeed. It is much to be wifhed that Painters would employ their talents on living fubjects. The public has abfolutely been fatiated of late by the too frequent representations of dead ones.

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106. Balaam's Afs. The furprife of Balaam on

hearing

hearing an Afs fpeak, is ludicrously expreffed; the flavish apathy of the beaft is aftonishingly exact.

107. A Time-ferver. Mean and pitiful, but the defign natural enough.

Mr. MUMFORT, Bromley.

108. A Baboon-Miniature.

picable.

Inexpreffibly def

109. Privilege. A Burlesque Sketch. This is indeed a fcandalous degradation of the art.

Mr. STEPHEN, Weftminster.,

IIO. A Nubble Lud.

113. A Right Uneruble Gentleman with a Riband on his Shoulder. Childishly pompous, and feriously contemptible.

114. A Pyramid in Freeftone. Suppofed by many to be a type of the British Conftitution. This celebrated piece of fculpture, for want of care, has been very much injured; it fhews decay in all its parts, particularly in the Bafe, which is abfolutely rotten; unlefs it receive an immediate and fubftantial repair, it muft inevitably moulder into duft.

115. The Mines of Peru. In this extraordinary compofition there are upwards of five hundred figures, and most of them feem to have worked the mine with much advantage to themfelves, as they are evidently laughing at, and infulting the proprietors.

116. Confpirators. A daftardly fet of mifcreants, the majority of whom are fo ably characterized, that the most common obferver may almost fwear they are equal to any outrage upon fociety, and that they would even fell their fouls for a mefs of porridge.

117. A Dag-kennel. An exact delineation. 118. A War of Affes. Shockingly ridiculous. 119. The Temple of Jargon. The figure of Nonfenfe in the chair, is well enough; that of Humbug alfo is not amifs; but Loquacity has no meaning, and Selfishness,

Selfifonefs, Pride, and Ignorance occupy the whole of the fore-ground.

120. An Affembly of Beafts. Mules, apes, tigers, and boars- Now this is worshipful fociety:" if the animals they are fuppofed to reprefent are like them, they must be Beafts indeed.

121. An Hydra-formidably ferocious.

122. The Infide of the Houfe of Peers. The hollownefs of the chamber is well drawn; the groups are abominable, and the lights all false.

123. Statue of a Defpot. The marble is coftly, but the head miferable.

FIFTH DAY'S SALE.

Mr. ENGLISH, Little Britain.

124. A Political Suicide. The horror in this picture is admirably expreffed.

125. A Blind Beggar. A melancholy piece indeed. 126. 4 Bully-highly characteristic.

127. Head-dreffes for the prefent Year. N. B. To be fold by private contract, if powdered, at one guinea each.

128. Adoration of the Devil. Fanaticism and brutal ignorance v never more forcibly difplayed. 129. A Mifer robbing himself. This comical piece difcovers great originality.

130. Nobody. The head appears fwelled to an unnatural fize, while the legs and arms are withered.

131. A Sirloin of Beef. This master is very capital in all culinary exertion: the famifhed figures, however, that are eyeing the beef at a distance, are rather more affecting than humorous.

132. A Cock on his own Dunghill. It fhould have been a game bird.

133. A Bull in Chains. The creature has no fpirits, but is evidently broken-hearted.

134. A Rich Man wallowing in Luxury, Riot, and Diffipation. A remarkably correct painting.

135. A Poor Man fruggling with Cold, and Hunger, and Defpair. In every refpect equal to the foregoing.

136. An Idol of Gold. A rich and capital caft. It is well worthy the attention of the city of London, as it would cut a figure in Guildhall; it might, how-, ever, be fet up with effe in any part of England. 137. The Plunder of the Eaft. In red Indian ink; a moft difgraceful performance."

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138. A Majacre of Negroes. The flaughter and, fufferings of these unfortunate human beings is horribly expreffed.

139. A Sea Fight. Mr. English has an uncommon excellence in this line; indeed he would do well to confine him:felf to it entirely 3 yet even here the figures feem too much preffed, as it were, into the canvafs; on which account, the freedom, if not the fpirit of the ar compofition, is in a great meafure deftroyed."

-M WELCH, Pall Mall,

.0.1

140. Alfred fbaring his Loaf with the Pilgrim. There is certainly a mistake in the claffing of this picture, as r it cannot be by this mafter; it is not at all in his

manner.

141. Fliogabalus. A lively reprefentation. The felfre ifhness, foppery, and prodigality of the young Emperor are ftrongly marked."

142. Narcissus, A Chef-d'œuvre.

144. Neglected Genius. 145. Starving Merit.

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143. A Mafquerade Hero. Vulgarly confpicuous. Thefe pictures have been flurred over without the flighteft attention. J 146 The Altar of Hymen. Mr. WELCH has here adopted a totally new ftyle. The public will judge how far he is likely to be fuccefsful in it. In all the works of this painter there is a wild unmeaning extravagance, a negligence of character, and a total want d of difcrimination. Whatever may be the poverty of the subject, his colours are always equally glaring.

Mr.