The Liverpool Standard and General Commercial Advertiser.
Liverpool, Merseyside, England, 1842-10-04 00:00:00

8. The Favourite. J. T. EglingtOn, Islington, Liver-
This is a well-painted portrait of a lead-coloured

Italian greyhound. • Such an oild-" favouiecl"dog deserves
being put on canvas.

123. A Visit of Rich Relations ; and 130. A Visit of
Poor Relations. F. P. Stephanoff.—Two capital little pic-
tures, conveying a moral too plain to be misunderstood. In
one a hearty welcome is given to some newly-arrived visitors,
while in the other the poor widow and her children are seen

lingering at the rich min's door'in a state of doubt and un-
certitude. The pretended deafness of the old gentleman,
and the prim stiffness of the-old lady nursing her quadru-
pedal pets, are very well managed.
124. Scene near Beddgelert. Coply Fielding.—A charm-
ing landscape, sweetly painted.
140. The Effects of Poaching. S. Eglington, Islington.
—This picture reminds us of Repingille, not only in the
moral of the scene, but in the management of the actors in
it. A wounded man is seen stretched on a bed in a garret,
attended by women. One of them is bandaging his hurts ;
another is administering a potion. At the casement is a ruf-
fianly fellow on the look-out :on the floor are hares, phea-
sants, &c. A broken gun, and other details, make up the
subject. The idea is excellent, but the colouring throughout
too vivid. The window-curtains are rich enough in tint
for a palatial ball ; the valance of the low bed is more like
the lace of a state couch ; while the hangings seem as if made
of shot silk. Time will no doubt subdue all this brightness,
but at present the fittings of the room appear too costly :
there is too comfortable an appearance to be real : poachers'
dwellings are generally desolate places. The composition of
the picture is good.
144. Banks of the Medina, Isle of Wight. A. Vickers.—
An exquisite river scene, faithfully put on the canvas.
155. Aspiration. S. Gamberdella.—A lovely half-length
female, sweetly painted.
162. Juliet and the County Paris, at the Friar's Cell. J.
Hollins.—County Paris is depicted by the artist as an inani-
mate coxcomb, while the divine Juliet is a complete piece of
milk-and-waterism.
177. Portrait of a Red Deer in Knowsley Park, 21 years
of age. R. Ansdell.—Mr. Ansdell has been very successful
in this picture. The subject of his pencil is a fine animal,
and stands in all the pride of years, before the spectator,
" waving his antlers high."

196. Antique Interior at West Bill House, Hastings.
W. Collingwood, Russell-street.—A. picture of an antique
chamber. A lady is seen sitting at a window. It is a very
cleverly-painted picture : the shadows deep, the lights bril-
liant in the extreme, the colours all of a most vivid hue.
198. Kirkstall Abbey; and 200. Cattle on the Moor. J.
T. Eglington.—Mr. James Eglington is making rapid strides
in his profession : a manifest improvement is perceptible
since last year.
199. Greenwich Pensioner. H. Pidding.—A good head
of an old veteran.

214. Nature. R, Rothwell.—A half-naked child, with
flaxen locks, sitting on the ground, looking the spectator
full in the face. The bead is very clever : the legs, hands,
and arms appear unfinished. The head reminds us of Sir
Thomas Lawrence.

232. Boys dressing Guy Fawkes. T. Clater.—A lot of
lads in a barn are actively employed dressing up a Guy
Fawkes, the face of which, and that of the quadruped near,
strongly resemble a local dramatist. This picture has con-
siderable merit.

239. Portraits of the Children of S. Jackson, Esq., S.
Bishop ;-288. Flowers, Miss Hunt ;-255. Portrait of
Miss Mocatta, E. Warren ;-256. Portrait of a Lady, P.
Westcott ;-261. Portrait of a Gentleman, P. Westcott,—
are all by Liverpool artists.
268.—The Man and his Two Wives. E. Prentis.—An
excellent little picture. The unhappy bigamist appears
greatly to suffer from the infliction he is destined to undergo.
Youth and age are happily contrasted.
275. Sally Paddock. P. Corbett.—A cleverly-painted
bead of an old woman, a resident in Lord Tanterville's
almshouses, Shrewsbury.

276. Taylor's Mill, North Shore, as it appeared on the
night of the 2d November, 1816. Turmeau, Liverpool.—
The representation of this fire must have an additional in-
terest at the present time, from the fact that the building is
now the Rotunda Tavern, situated immediately in the vici-
nity of the late disastrous conflagration. The spectator will
observe that great changes have taken place in that locality
since the circumstance depicted took place.
279. Nero. R. Ansdell, Liverpool.—A portrait of a fine
animal, the property of C. Buchanan, Esq.
284. Dudley Castle: Sunset. A. Hunt, Bold-street.—
Mr. Hunt's pictures may be known by his constantly intro-
ducing great glares of yellow in the sky. His picture of
Sephton Church, exhibited last year, was remarkable for the
jaundiced hue of the sky. The present little picture exhibits
it ; and the large picture-372. Moel Gwdion, near Fesliniog
. .

is noticeable for this strange love of an unsightly colour.

294. A Portrait. T. Hyland, Liverpool.—This young
artist, we see, has but one work this year.
307. The Cottar's Saturday Night. T. F. Marshall.—A
very pleasing and interesting picture, illustrating Burns's
exquisite poem.
312. Action of the St. Fiore;zzo and Piedmontaise. S.
Walters, Nelson. street, Liverpool.—A. very spirited repre-
sentation of a gallant naval action. for particular,: of which
see catalogue.

328. Broadstairs Pier: Morning. C. R. Stanley.—A
very sweetly-painted and correct view. Although wanting
in interesting objects, it is still a pleasing picture. Round
the rocks at the furthermost point stands the North Fore-
land Lighthouse. Many a Ramsgate voyageur has felt
heavy qualms on weathering this headland.

329. Androcles and the Lion. W. Huggins.—Another of
Mr. Huggins's lion pictures. In this work the animal is
admirably painted. The king of the forest is seen exhibiting
Ins thorn-pierced foot to Androcles, who lies on the ground
half raised by his left arm. The scene of this encounter is a
den, and at the mouth of it is the open country. The Arms
of Androcles are placed on a ledge, to be out of the way, we
suppose, in case of necessity. Would Androcles, as a sensi-
ble man, have so stowed away his means of defence in such
a locality ? The figure of Androcles is but a repetitio❑ of
Daniel in the picture exhibited last year by the same artist,
only placed in a different attitude. "What a fine subject
would be the meeting of Androcles in the arena with his
royal patient! What a masterpiece of art might not such a
picture prove !—one well worthy of a prize, if worked out
with ability. What a lesson does not the story convey—of
gratitude for a past favour !
Mr. Huggins has another picture in this room-
-342. An Old House in Chester, the Birthplace of a Sculp-

!or.—lt has but little merit.
331. The Barefooted Friar. J. P. Phillips.—This is an
Illustration of " Ivanhoe." The Friar Tuck is seen in all

his glory, before 7gOOd-wine and fat venison," as the old
Roman hath it.

335. Christ and Nicodemus, A. Reping:lle ;-339. Fish-
erman and Children, T. F. Marshall ;-340. Portraits of
Mrs. Black and Children, J. Bishop, —are all by Liverpool
artists ;—as well as 345. Sty Head and Summit of Scaufell
Pikes, by Collingwood.