The Liverpool Standard and General Commercial Advertiser.
Liverpool, Merseyside, England, 1838-10-16 00:00:00

THE EXHIBITI,ON OF PAINTINGS.

We resume our observations on the Exhibition of Paint-
ings.
.No. 76. " A Friend in Need."—This is a bold drawing
and clever painting of a large Newfoundland dog, by Mr.
Richd. Ansdell, a young and rising artist. There is a great
deal of naturally drawn character in the picture.
Nos. 77. " Coast Scena"-78. " Morning Prayer"—and
79. " Mill in Kirkdale"—are small bits of canvas, too high
for observation.

No. 82. "The Roman Forum"—is a large painting, of no
great pretensions, of the ruins of what was once the Roman
Forum. It is, in fact, a very indifferent painting of ruins.
Two bullocks are painted in the foreground, which it is
doubtful %shether the painter meant for Pular bears or bul-
locks.

No. 87. " Crombie Point—Culross Bav—a fresh breeze"
—is a very characterless sea painting—a -picture of troubled
water.

No. 88 " Portrait of the Hon. Mr. Justice Littledale"—
is a fine painting, and tolerable likeness; but represents the
learned judge in much better "case" than he has appeared
in for many ayear.

No. 89. -"
The Salmon Trap," by F. R. Lee, R.A.—is an
exquisite painting. It represents a retired water-mill, with
salmon hecks in the course of the stream. Fine trees hea-
vily clad with foliage overhang the stream, which are painted
with a depth of shade and colouring, and a volume of light,
which is very beautiful. The whole painting betrays the
finished touch of a master.

No. 90. " A Scene at Canterbury—Loading Baggage."—
This painting represents the usual busy scene attendant on
soldiers loading their luggage. It is well drawn, but poor
and faded in colouring.
No. 95. " Coast Scene, North Shore, Cheshire."—This is
a tolerably painted landscape, sufficiently like the original to
cause it to be recognized. _

No. 96. " WaterAlill."—This is a miniature painting, by
F.R. Lee, of considerable merit.

No. 104.. " Bridge, North Wales,"—is a very beautiful
small landscape painting. There is great richness of autum-
nal colouring about it, and it is very well drawn.
No. 106. " Scene on the Lake Zurich,"— by A. Vickers,
with a little mose care bestowed on finish, would be a very
-fine painting, The perspective is beautiful. It is an exten-
sive view, full of incident, and is a fine study for a landscape,
No. 110. " View at Lea Mills, near Clifton,"—by Mr. A.
Vickers, is a small landscape painting, exhibiting masterly
drawing and colouring.
No. 114. " Morning."—This is a small landscape sketch
of cattle feeding early in the morning. That peculiar fresh
appearance, as the dews and mists of nightare being dispelled
by the rays of the rising sun, which characterises early morn-
ing, is here exquisitely shown.
No. 115. "'The Pets."—This is a well drawn little paint-
ing of children with rabbits, watching them feed, and is full
of points of character.

No. 116. " Windmill, Jersey."—Tbis is a very beautiful
landscape sketch; the perspective natural, and the scenery
round in good keeping.
No. 117. " Portrait of the Rev. Thomas Fisher"—is a
large, well-finished, and handsome portrait.
No. 121. "Seyseia, Calm Morning,"—appears to be a fine
sea view, but is hung too high for observation.
No. 123. " View on the Thames,"—and 124, " Stormy
Sunset, Boulogne,"—are both clever miniature paintings.
No. 126. " Portrait of a Lady of distinction and her Child,"
—is a very fine specimen of portrait painting.
No. 127. "Fruit Piece."—This is a little painting by
Lace, and is distinguished by his superiority in this descrip-
tion of painting.
No. 129. "The Percy Shrine—Beverley Minster"—is a
very fine painted interior. The richly coloured light, stream-
ing through the painted windows, is shown with fine effect on
the gothic carved interior. The whole is beautifully drawn,
and the colouring laid on with good effect.
No. 131. " River Scene, Moonlight,"—represents a land-
scape, with the moon shining brightly, and reflecting her
shadow on a piece of water, while the sky all around is made
dark. This is not the aspect that nature puts on. The
painting in other respects is well drawn.
No. 132. " Landscape and Cattle."—This is a wretched
daub, Cooper's Cattle Pieces make it unbearable.

No. 134. "Interior of a Drover's Stable,"—by T. S. Coo-
per, represents a bay galloway standing saddled, and another
small white pony, with a dog and farmer, in the interior of a
stable. Every thing is characteristic and true to nature.
The painting of the bay poney is exquisitely natural. The
white poney is rather too short legged. The colouring and
shading are rich and natural, every object standing out in
bold relief.

No. 135. "The Tiber, near the Apieeetosa Roma,"—by
W. Haven. It is no uncommon thing for artists to plagiarize
themselves. Mr. Havell had a painting of the Tiber in last
year's exhibition, which scarcely varies in any of its objects
from this. It is a richly-coloured landscape, after the artist's
peculiar style. The perspective is also very beautiful. We
wonder Havell never tried his hand at some greater concep-
tion than a pretty landscape or sunset scene. We think he
would succeed. The present painting, we see, has already
been sold.

No. 137. "Glenshire, near Inverarv, Arg,yleshire,"—by
Alexander Nasinyth. This is a painting of very considera-
ble merit. The drawing is bold, and free, and natural, and
the colouring shows great study of the varied dress in which
nature adorns the trees and the herbage of the glen. There
is no straining after effect, but the whole strikes the observer
at once as natural.