DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61252#0112
68
THE QUEEN’S GALLERY.
184 The Royal Academy in 1773.* * * §—In the centre is 2
Sir Joshua Reynolds, holding his trumpet to his ear,f ap-
parently in conversation with Francis Hayman, the librarian,
who is sitting down on his right; on the left of Sir Joshua,
the celebrated Dr. W. Hunter, Professor of Anatomy, with
his hand on his chin; next to Hunter is Bartolozzi, the
engraver; beyond him Carlini, and behind, and leaning
against the chimney, is Richard Wilson, the landscape
painter. Below, viewing the living model preparing for
the students, are Samuel Wale, R. Yeo, F. Zuccarelli;
George M. Moser, the Keeper, is placing the figure; and
near him are Edward Penny, Peter Toms,| N. Hone; and
on the left side of the picture, in front, are Edward Birch,
Joseph Nollekens, Richard Cosway, and W. Hoare; in the
immediate front, Charles Cotton. § On the right hand of
Sii’ Joshua, are the following members, viz.—the secretary,
T. M. Newton, Esq.; Sir W. Chambers, architect; John
Richards, landscape painter; W. Tyler, Thomas Sandby,
Paul Sandby, Dominick Serres, marine painter; Jeremiah
Meyer, George Barret, Joseph Wilton, sculptor; Benjamin
West, Tan Chet Gua, a Chinese painter; Cipriani, John
Gwyn. On the left of the picture, in front, sitting down
with his palette in his hand, is Zoffany, the painter, between
whom and Hayman is Mr. Mason Chamberlain. Against
the wall are the portraits of the two female academicians,
Angelica Kauffman, and Mrs. Mary Moser. ||
Purchased by George III. 3 ft. 2 in, by 4 ft. 6 in.
PORTRAITS IN THE YELLOW DRAWING ROOM.
(Over the doors three oval portraits, forming rather a
* About five years after its institution in 1768, and the firstyearthat its meet-
ings were held in Somerset House.
t “ When they talked of their Raphaels, Correggios, and stuff,
He shifted his trumpet, and only took snuff.”
t He was employed by Reynolds and West to paint in draperies.
§ Cotton painted the panels of carriages, and Wale painted signs.
II As the principal value and interest of these two pictures consists in the
genuineness of the cotemporary portraits, it is to be regretted that they hang so
high—almost out of sight. Many other most interesting pictures here, of small
and delicate subjects, are under the same disadvantage.
THE QUEEN’S GALLERY.
184 The Royal Academy in 1773.* * * §—In the centre is 2
Sir Joshua Reynolds, holding his trumpet to his ear,f ap-
parently in conversation with Francis Hayman, the librarian,
who is sitting down on his right; on the left of Sir Joshua,
the celebrated Dr. W. Hunter, Professor of Anatomy, with
his hand on his chin; next to Hunter is Bartolozzi, the
engraver; beyond him Carlini, and behind, and leaning
against the chimney, is Richard Wilson, the landscape
painter. Below, viewing the living model preparing for
the students, are Samuel Wale, R. Yeo, F. Zuccarelli;
George M. Moser, the Keeper, is placing the figure; and
near him are Edward Penny, Peter Toms,| N. Hone; and
on the left side of the picture, in front, are Edward Birch,
Joseph Nollekens, Richard Cosway, and W. Hoare; in the
immediate front, Charles Cotton. § On the right hand of
Sii’ Joshua, are the following members, viz.—the secretary,
T. M. Newton, Esq.; Sir W. Chambers, architect; John
Richards, landscape painter; W. Tyler, Thomas Sandby,
Paul Sandby, Dominick Serres, marine painter; Jeremiah
Meyer, George Barret, Joseph Wilton, sculptor; Benjamin
West, Tan Chet Gua, a Chinese painter; Cipriani, John
Gwyn. On the left of the picture, in front, sitting down
with his palette in his hand, is Zoffany, the painter, between
whom and Hayman is Mr. Mason Chamberlain. Against
the wall are the portraits of the two female academicians,
Angelica Kauffman, and Mrs. Mary Moser. ||
Purchased by George III. 3 ft. 2 in, by 4 ft. 6 in.
PORTRAITS IN THE YELLOW DRAWING ROOM.
(Over the doors three oval portraits, forming rather a
* About five years after its institution in 1768, and the firstyearthat its meet-
ings were held in Somerset House.
t “ When they talked of their Raphaels, Correggios, and stuff,
He shifted his trumpet, and only took snuff.”
t He was employed by Reynolds and West to paint in draperies.
§ Cotton painted the panels of carriages, and Wale painted signs.
II As the principal value and interest of these two pictures consists in the
genuineness of the cotemporary portraits, it is to be regretted that they hang so
high—almost out of sight. Many other most interesting pictures here, of small
and delicate subjects, are under the same disadvantage.