on the right with half a boat set on end to form an outdoor seat. Behind are other houses at the shore end of a long timber pier, over which are seen the masts of fishing-craft. Beyond, but still on the right, are chalk cliffs with the nave and square tower of a church near the edge of the nearest. Off the pier a frigate leaving the coast under easy sail; the red ensign at her mizen. Dark clouds in the sky, but with clear blue at each higher corner of the picture. Wind from the right.

See replica, No. 244. Since the death of the late owner the picture has belonged to his niece, Miss Garland, of Fonthill, Mount Radford.

MR. H. HUGHES, 6, SUMMERLANDS.

195. Off Dungeness.

On canvas; 111X8. Signed and dated, 1816.

A fishing-smack is sailing from left to right, on which side of the picture is a boat with a crew of three sailors hauling in a net. In the distance, to right, a square tower and two houses are seen on a point of low-lying land. Off this point is a large brig in full sail towards the front of the picture. In the distance are two other vessels in the rear of the brig, and a third on the clear horizon on the extreme left. A dark mass of cloud, to left, in the otherwise clear sky.

This picture was purchased by its present owner at the sale by auction, in 1875, of the collection formed by the late Mr. J. C. Wilcocks, of Colleton Crescent, Exeter.

MR. EDWARDS, SOUTH STREET.

196. Pilot-boat and sinking Cutter.

On canvas; 23×15. Signed and dated, 1783.

This is curious as an early example of Luny's work, being produced when he was only twenty-four years of age. It is far inferior to his later work, but shows that even at that time he must have acquired technical knowledge of shipping, and have been familiar with wave forms.

A pilot-boat, near the centre, with a crew of four, is going to the rescue of a crew of a cutter, to left, which has already half sunk bow foremost, and with white ensign hoisted. Her five men have taken to a boat, to right of the pilot-boat, but apparently have saved but one oar, with which one of their number is sculling. A stiff breeze from the left; sky cloudy; no land visible.

The incident was probably well known at the time, but the record is lost.

MR. EDWIN BRODIE, SOUTH STREET.

197. View of the Entrance to Teignmouth Harbour.

On canvas; 34X24. Signature and date undecipherable if there. Painted from the beach, in front of the Den, looking towards the red mass of the Ness Rock which bounds the view in the centre. Two sloops under full sail are issuing from the river. One end of a seine has just been landed from a boat in the centre of the foreground, whilst the other end (further off) is being drawn on shore by three men and a woman. To the left is a woman leading a horse, which is to bear away the catch of fish.

The somewhat vivid green of the hills to right of the Ness is intersected by map-like hedges, and the absence of Lord Clifford's Marine Villa (Col. Brine's residence), suggests that this must have been one of the pictures treated by Gompertz.

MR. SYDNEY TEMPLER, 8, ST. JAMES PLACE.

198. The First Regatta at Teignmouth.

On canvas; 19×11.

The line of coast is shown from the Den to the Great Rock off Hope's Nose. The summer sea is studded with boats flying gailycoloured flags. There are three black bathing machines on the beach, which is crowded with people. The Ness Rock to right.

This picture was shown at the Teignmouth exhibition, and is valuable rather as commemorating an event than as a work of art.

MR. F. FAULKNER WHITE, EXETER.

199. Dutch Fishing Boats at Sea.

On canvas; 19×14. Signed and dated, 1818.

The principal figure is a heavily-built Dutch fishing-boat to left of centre, with a crew of three men lowering the mainsail. A small tricoloured flag at the masthead. In a smaller boat, to right, are three men, one of whom holds the tiller with his left hand, whilst with the right he points towards the larger boat which they are about to join. The brown foresail conceals the bow of a frigate riding at anchor in the distance. Farther to the right, and nearly on the horizon, is a small vessel under sail; and, in the middle distance to left, is a companion, the principal figure, under full sail away from the spectator. No land is visible. A fresh breeze drives the waves from right to left. A strong light is concentrated on the firstnamed boat, whilst behind the frigate is a mass of cloud, beyond which a ruddy glow lights up the sky.

200. Plymouth Sound.

On panel; 15 × 11. Signed and dated 1837.

A companion to the last, and painted from the rocks under the Citadel. The point of Mount Edgcumbe is just visible on the right. The whole of Drake's Island shown. A frigate in the centre under easy sail towards Hamoaze, and other ships are scattered over the Sound. Two men are on the rocks in foreground, to left, and near the centre is a boat with two men, one of whom is about to jump ashore from the bow. Another man is fixing the anchor on the rocks, and two women stand by. There is a light wind from the south, and masses of cloud rest on the horizon under blue sky.

201. Plymouth Sound from the entrance to Hamoaze.

On panel; 11 x 8. Signed and dated 1831.

Looking towards the Mewstone, and Mount Batten in the distance. A two-decker is leaving Hamoaze before a fresh land breeze, her figure being backed by the rocks and foliage of Mount Edgcumbe. Two boats are tossing on the waves in the foreground. The whole of Drake's Island is seen in the middle distance to left. Clouds in upper right corner.

202. Sunset on Teignmouth Estuary.

On panel; 15 x 11. Signed and dated 1827.

This presents some variations from Luny's usual treatment of a favourite subject. It is a view up the river from a foreground of beach near the New Quay, alongside which (to right) a brig lies at anchor, with sails set. Towards the left two women stand by a man, who stoops over a basket of fish. More to the right three men are pushing a boat towards the water. On the river, near centre of middle distance, is a boat with square sail. Men are furling the sails of a brig at anchor, to left. Midway between this and the shore is a boat with two rowers, and a third man in the stern holding a net. The masonry approach to the then new bridge is fully shown, with the toll-house and arch; but the Shaldon end of the bridge is not shown. The river is full, and the after sunset glow rests on its surface, and on the Dartmoor hills in the distance.

MR. JOHN BRunt, Clevelands.

203. Naval Engagement.

On canvas; 27X16). Signed and dated, 1781.

This earliest known example of Luny's work exhibits his characteristic merits and defects at its date. It was purchased by its present owner, about twenty-five years ago, of Mr. Burgess, an auctioneer at Burncoose, near Carn Brea, in Cornwall, where it had previously passed through many hands, and had been little valued and greatly neglected. It

was then sent by Mr. Brunt to the late Mr. John Gendall, of Exeter, for restoration, and is now in fair condition.

It represents a naval battle between English and French fleets. No land is visible. The sea is calm, and most of the ships are sailing on a light wind blowing from right to left. Prominent on the right is a British two-decker, with the name Berwick painted on her stern, bearing down on a crowd of the enemy's ships in the right distance. Two other British men-of-war occupy conspicuous positions—one in the centre middle distance, the other on the left of the picture. All three carry the blue ensign at the stern. The French ships exhibit the tricolour. There is a floating spar in the centre foreground. From its date it may be conjectured that the picture represents one of Admiral Rodney's victories, apparently a closing incident in the engagement, as the sails of all the ships are riddled with shot.

MISS BUDD, SOUTHERNHAY.

204. The Honourable East India Company's Ship "Belvidere." Captain Charles Christie, Commander.

On canvas; 56×32}. Signed and dated, 1801.

This fine picture apparently represents the same armed ship on three different tacks. In the principal and central position she is in stays, and the full hull, presented to the spectator, occupies a length of no less than twenty-two inches. Every detail is given with remarkable distinctness. The figurehead, to left, is a full length female figure (Diana?) partially draped in white, and with bow in right and arrow in left hand. To the right the ship is seen advancing, and on the left receding. In all three the red ensign flies from the mizen-mainsail, and the ports of the upper tier of guns are open. There is a fair breeze from the left.

In the distance a coast line extends from the left, nearly to the right side of picture, showing houses, batteries, &c., near the water-level, with higher ground beyond. Clouds, darkest in upper right corner, cover about three-fourths of the sky.

The picture was painted for Captain Christie, and passed to his daughter (Mrs. Turquand), whose daughter became the wife of the late Dr. Samuel Budd, of Exeter, the father of the present owner.

Devon and Exeter Institution, Exeter.

205. The Bombardment of Algiers.

206. British Fleet leaving after the Bombardment.

On canvas; each 49×32). Signature and date, if any, undecipherable. These are copies, on a smaller scale, of the pair at Canonteign, painted under Lord Exmouth's immediate direction. See also Nos. 14, 15, 163, 209, 210. (Fourth Report, 1883.)

MR. W. COTTON, 2, MANSTON TERRACE, EXETER.

207. Three Frigates in a Gale on a Lee Shore.

On canvas; 2 ft. 4 in. x 1 ft. 11 in. Signed, but not dated. Very dark foreground. A strong gleam of sunshine on the breakers and rocks on the right. Tempestuous sea. A boat putting off from the nearest frigate, which is apparently abandoned. Another boat in critical position near the shore, whilst a third, in the distance, seems to have escaped the peril.

This picture formed one of the collection of the late Mr. W. R. Bishop, of Bedford Circus, Exeter, and was purchased by the present owner in 1882. (Sixth Report, 1885.)

208. Harbour; Evening.

On canvas; 11 in. X10 in. Signed and dated, 1835.

This picture represents large merchant ships dropping out of harbour on the tide at sunset. End of an old wooden pier on the right with group of sailors and fishing folk. A soft glow hangs over the distance.

This picture differs from Luny's usual style in that there is greater warmth and colour, more detail, and the ships are the least prominent objects. The picture was purchased by its present owner in 1864. (Sixth Report, 1885.)

OTHERS IN DEVONSHIRE.

THE RIGHT HON. VISCOUNT EXMOUTH, CANONTEIGN HOUSE. 209. The Bombardment of Algiers in 1816. 210. The British Fleet Leaving Algiers.

On canvas. Companion pictures. 69×46.

Although no signatures or dates can be discerned on these pictures, they may be assumed to be those originally painted under the personal direction of the first Lord Exmouth, as memorials of his most conspicuous naval achievement. Their features are described in the accounts of Nos. 14 and 15 (Rev. Anson Cartwright's); of No. 163 (Mr. H. T. Hartnoll's); and Nos. 205 and 206 (Devon and Exeter Institution). As Mr. Anson Cartwright's are dated 1819, it is probable that the Canonteign pictures were painted in 1817-18.

[N.B.-Between these two large pictures is very appropriately hung the fine three-quarter length life-sized portrait of the first Lord Exmouth by Sir W. Beechey. On the lower part of the frame is suspended the sword in its rich sheath, with an inscription stating that it was worn by