by
Tom Gurney
Tom Gurney BSc (Hons) is an art history expert with over 20 years experience
Email:
tomgurney1@gmail.com
/ Phone:
+44 7429 011000
Agrippina Landing at Brundisium with the Ashes of Germanicus: Introduction
A veiled woman carries a small urn into a crowded harbour. Children walk beside her, soldiers make room, and mourners watch from the waterfront above. Benjamin West brings this Roman story into focus through the quietness of its central figure. His Agrippina Landing at Brundisium with the Ashes of Germanicus , signed in 1768, is an oil painting now in the Yale University Art Gallery. [1]
The crowd gives the arrival its public scale, but the urn establishes its human meaning. A person whose importance has gathered all these witnesses is present only through his remains. West makes that absence the centre of an elaborate scene, asking viewers to move between a family's bereavement and a city's response.
At a Glance
- Artist Benjamin West
- Date 1768
- Medium Oil on canvas
- Dimensions, height × width 163.8 × 240 cm
- Subject Agrippina returning with her husband's ashes
- Commissioner Dr Robert Drummond, Archbishop of York
- Collection Yale University Art Gallery, New Haven
- Credit Gift of Louis M. Rabinowitz
- Accession number 1947.16
Object information follows Yale's collection record. [1]
This work across Benjamin West’s career
Penn’s Treaty
1771–1772The Artist and His Family
c. 1772Christ Rejected
1814Christ Healing the Sick (Philadelphia)
1815; sent 1817Contents
- The arrival described by Tacitus
- A patron chooses a Roman subject
- The urn and the central group
- A harbour full of witnesses
- Classical models and controlled emotion
- From Drummond's picture to royal patronage
- The painting at Yale
- Annotated details
The arrival described by Tacitus
The story comes from the Roman historian Tacitus. At the beginning of the third book of his Annals , Agrippina approaches Italy carrying the ashes of her husband, Germanicus. His former soldiers, friends and people from neighbouring towns gather at Brundisium to meet her. Crowds fill the harbour, city walls and rooftops as the ships come slowly towards the shore. [2]
Tacitus gives the scene a precise emotional rhythm. Those waiting hesitate over whether silence or an audible expression of grief would be appropriate. Agrippina then leaves the ship with two children, holding the urn, and “fixed her eyes on the ground.” The crowd responds together. Yet the historian distinguishes the newly stirred feelings of those greeting her from the exhaustion of companions who have already endured a long journey of mourning. [2]
That difference helps illuminate West's arrangement. His central group remains comparatively contained, while reactions spread outwards through more varied gestures. The picture can therefore be read as an encounter between people at different stages of the same loss. Some lower their heads; others look towards the arriving party or reach into the space around it. Grief joins the assembly without making every person behave alike.
The Roman narrative also has a political edge. In the following chapters, Tacitus describes public enthusiasm for Agrippina and suspicion surrounding the emperor Tiberius. The popularity of the dead general makes mourning a matter of power as well as affection. However, the text does not establish a simple murder verdict: when it reaches the accusations against Piso, Tacitus acknowledges the weakness of the poisoning charge. West's scene belongs to this charged historical tradition; it cannot prove how Germanicus died. [2]
Benjamin West, Agrippina Landing at Brundisium with the Ashes of Germanicus, 1768. Yale University Art Gallery, Gift of Louis M. Rabinowitz, 1947.16. Public-domain image supplied through Yale Open Access.
Image source
.
Public domain
. Whole supplied image, proportionally resized; no appearance adjustment.
Annotated Details from Agrippina
The numbered points identify visible features discussed in this article. Return from each detail to the whole composition. Benjamin West, Agrippina Landing at Brundisium with the Ashes of Germanicus, 1768. Yale University Art Gallery, Gift of Louis M. Rabinowitz, 1947.16. Public-domain image supplied through Yale Open Access. Image source. Public domain. Numbered overview: markers added. Detail images are crops from the same public-domain reproduction.
Details from AGRIPPINA
Look from the urn and the children to the veiled figures and the harbour witnesses.
The urn and the lowered gaze
Agrippina lowers her eyes towards the vessel held against her body. The hands, the gleaming urn and the pale folds draw attention into a small, concentrated area within the much larger gathering.
Children at the front of the procession
The two children stand forward of the veiled adults, their faces and sandalled feet interrupting the broad pale draperies. Their small gestures connect the central figure with the figures nearest the viewer.
Faces, veils and repeated gestures
Bent heads and hands raised near the face repeat across the neighbouring women. The changing angles of their veils make a sequence of pale shapes, while their individual faces remain distinct.
The harbour as an audience
Small figures gather along the distant terrace above the foreground procession. Their reduced scale, the parapet and the buildings extend the scene into a populated harbour, beyond the immediate circle around the urn.
A patron chooses a Roman subject
Dr Robert Drummond, Archbishop of York, commissioned the painting. John Galt's later biography connects the choice to conversations in the archbishop's household about the value of patronage. In his account, Drummond had a son fetch Tacitus, read the relevant passage and explained how he wanted the subject treated. West returned home inspired and prepared a sketch that evening, bringing it back the next morning. [3]
Galt wrote from materials supplied by West, and his narrative is sympathetic to both artist and patron. The overnight sketch is therefore best understood as an episode in that remembered account, rather than as a reconstructed studio timetable. What it makes particularly clear is the active role assigned to Drummond: he supplies a text, discusses its moral possibilities and encourages a substantial historical composition. [3]
The episode also places the painting within a practical question about an artist's livelihood. Galt describes Drummond's unsuccessful attempt to raise a fund that would allow West to concentrate on history painting. Ambitious subjects required patrons willing to support them. Agrippina shows one such relationship taking visible form: a learned Roman narrative becomes a large painting made for a particular household. [3]
The urn and the central group
West gives Agrippina a clear position without isolating her from her companions. Pale fabric covers her head and falls in long folds towards the ground. Her face inclines towards the vessel she carries, and the arms close around it. The urn occupies little space within the whole canvas, yet its brightness and placement make it the point around which the surrounding figures acquire meaning.
The two small children draw the eye downwards. Their shorter figures interrupt the long vertical movement of the adults' clothing, making the family legible within the procession. One stands close to Agrippina's side; the other opens the group towards the viewer. The difference in scale makes the loss tangible without requiring a separate dramatic incident.
The dead general's military importance reaches the viewer through this woman and these children. Armed men remain conspicuous, but they do not occupy the principal position or perform the action named in the title. Agrippina carries what everyone has come to honour. Her prominence changes the balance of the historical scene: a commander's reputation is encountered through the surviving family's responsibility for his remains. The picture makes room for military identity while giving the bereaved woman the task that holds its narrative together.
Nearby veiled women extend the pale central grouping towards the right. Their inclined heads and gathered drapery repeat parts of Agrippina's posture, but they do not form an exact row of copies. Small changes in position allow the group to remain unified while retaining the sense of several individuals. West uses repetition to establish a shared mood, then variation to keep it alive.
Look beyond this group and the colour becomes more assertive. Red military cloaks, a green garment and a yellow dress punctuate the surrounding space. Against them, the central whites appear especially restrained. The arrangement gives Agrippina prominence through a quieter concentration of colour, allowing the painting's most important figure to remain absorbed in her burden.
A harbour full of witnesses
The people closest to the viewer occupy the scene differently from the arriving family. At lower left, figures kneel or sit close to the ground; at right, a nearly bare-backed man turns beside an armoured soldier. These bodies give weight and movement to the edges. Between them, the central party advances through a comparatively open area of paving.
This opening matters. The crowd is dense, but West leaves enough room around Agrippina for the urn, children and trailing folds to remain readable. The viewer can approach the family visually before exploring the surrounding reactions. The painting offers a path into a busy event rather than presenting every figure with equal insistence.
The ship at the right supplies the immediate setting for disembarkation. Its mast, ropes and carved ornament lead the eye upwards and outwards. Across the middle distance, smaller spectators gather along the raised waterfront, and others occupy the buildings above. Tacitus's account of people seeking every available vantage point becomes a visible distinction between the near assembly and a much larger public beyond it. [2]
At left, the dark colonnade frames another cluster of spectators, including a child lifted near a column. Adults and children share the desire to see, although their views are unequal. This small incident helps the crowd feel inhabited. The event extends beyond its principal participants into ordinary acts of looking, waiting and finding a place.
The architecture also prevents the gathering from becoming a shallow band of figures. Receding buildings, the waterfront and distant slopes establish several depths. Light opens the harbour behind the darker foreground. West gives the ceremony room to unfold while keeping its emotional centre close enough to inspect.
Watch: Benjamin West
Choose a film to explore the artist’s work, its interpretation and its wider setting.
The making of an American myth: Benjamin West, Penn's Treaty with the Indians
Smarthistory examines the construction of an American historical myth in Penn’s Treaty with the Indians.
Watch on YouTubeClassical models and controlled emotion
Yale's 1983 handbook connects the central figures to a published detail of the Ara Pacis relief and the architecture to an illustration in Robert Adam's Ruins of the Palace of the Emperor Diocletian at Spalato . These are specific curatorial explanations of how West assembled an antique setting. They help distinguish his composed harbour from a claim to reconstruct the historical port exactly. [4]
The sculptural connection is especially useful when looking at the central drapery. Long edges, overlapping folds and relatively clear outlines give the figures a firm collective shape. The pale clothing stands against darker surroundings, allowing the family to be read almost as a group in relief. This does not turn the people into stone; their small gestures and differing inclinations preserve the human action within the ordered design.
The same handbook frames the work as a major example of Neoclassicism, emphasizing moral subject matter, restrained colour and linear clarity. Agrippina's dignity allows personal feeling to become an example for viewers. The ethical force depends partly on restraint: emotion is made visible through posture and relationships rather than through a single extravagant gesture. [4]
Restraint here has several registers. The widow holds herself together; a foreground mourner bends low; a soldier directs attention towards the arriving group. West can include strongly felt responses around the central figure without surrendering the composition to disorder. His style becomes easier to understand when these local differences are followed through the whole scene.
From Drummond's picture to royal patronage
Galt makes the finished Agrippina a turning point in West's career . According to his account, Drummond gathered favourable opinions of the painting and then spoke about it to George III. The king asked to see both artist and picture. During the audience, Galt says, he sought a better light for viewing the canvas and introduced West to the queen. [5]
The narrative culminates in another commission: The Departure of Regulus . Galt presents the king choosing a related Roman subject and having the relevant history brought to him. The story deliberately echoes Drummond's earlier reading of Tacitus. Patronage passes from one setting to another through a shared interest in history and its pictorial treatment. These lively details survive through Galt's later telling, rather than through a verbatim record of the audience. [5]
Agrippina also offers a strong point of comparison with Regulus. The woman returns carrying the remains of her husband, while the second subject concerns a man's departure from family and country. Arrival and departure can both expose the relationship between domestic attachment and public duty. Galt's linked commission story makes that comparison more than a coincidence between two Roman titles. [5]
The painting at Yale
Yale records the picture with Drummond from 1768 and subsequently with his family. Its later provenance passes through E. and A. Silberman Galleries and Louis M. Rabinowitz, both about 1947. Rabinowitz's gift brought it to Yale, where its accession number is 1947.16. The current record gives dimensions of 163.8 × 240 centimetres. [1]
Its broad format allows the small family to coexist with an extensive public setting. Viewed from a distance, the pale procession holds the picture together. Closer attention restores the surrounding gestures, the elevated witnesses and the modest vessel at its centre. West makes a public history depend on these changes in scale: a harbour acknowledges a general's death, while a widow and two children carry its immediate weight.
Benjamin West artworks and catalogue records
This directory combines identified works with the complete list in John Galt’s 1820 catalogue. Historical entries may group several works or record studies, copies and repeated versions. The entry numbers are modern finding aids; old spellings may be retained. Their titles and locations describe the 1820 account; they do not establish present ownership or a count of unique paintings. Dates and media are left unspecified where the evidence does not settle them. Later catalogue reports are labelled, and recto/verso records may describe two sides of one sheet. Linked articles provide references for the individual works they discuss. The historical list is Galt’s Appendix II, pages 216–234. [6] The labelled 1995 records follow the National Gallery of Art catalogue. [7] Additional object details come from the Gallery’s collection index. [8] The Pyrrhus study and related exhibited painting are documented in Christie’s catalogue. [9]
| Name | Date | Medium |
|---|---|---|
| The Death of General Wolfe (Ottawa original) | 1770 | Oil painting |
| The Death of Wolfe (Royal Collection repetition) | 1771 | Oil painting |
| Penn’s Treaty with the Indians | 1771–1772 | Oil painting |
| Penn’s Treaty with the Indians (compositional study) | c. 1771 | Ink, wash and Chinese white |
| The Expulsion of Adam and Eve from Paradise (Washington painting) | 1791 | Oil painting |
| Installation plan for the exhibition of Christ Rejected | 21 December 1813 | Pen and brown ink |
| King Lear (Detroit sketch) | c. 1788 | Oil painting |
| Death on the Pale Horse (Detroit painting) | 1796 | Oil painting |
| Benjamin Franklin Drawing Electricity from the Sky | c. 1816 | Oil on slate |
| Saul and the Witch of Endor (Hartford painting) | 1777 | Oil painting |
| The Death of Nelson (Walker painting) | 1806 | Oil on canvas and panel |
| Hagar and Ishmael | 1776; reworked 1803 | Oil painting |
| Pyrrhus Brought before Glaucias (oil study) | Undated | Oil on paper laid on canvas |
| The Artist and His Family | c. 1772 | Oil painting |
| Pylades and Orestes Brought as Victims before Iphigenia | 1766 | Oil painting |
| Self-Portrait (Smithsonian) | 1819 | Oil on paperboard |
| The Cave of Despair (graphite tracing) | Undated | Graphite tracing |
| The Battle of La Hogue (Washington painting) | 1778 | Oil painting |
| Agrippina Landing at Brundisium with the Ashes of Germanicus | 1768 | Oil painting |
| The Battle of La Hogue (West and Trumbull studio version) | Dating debated | Oil painting |
| Dr. Samuel Boude | 1755–1756 | Oil painting |
| Mary Bethel Boude (Mrs. Samuel Boude) | 1755–1756 | Oil painting |
| Sarah Ursula Rose | 1756 | Oil painting |
| Study for The Battle of La Hogue [recto] | 1778 | Pen and brown ink |
| Study for Pylades and Orestes (pencil drawing) | Undated | Pencil |
| The Immortality of Nelson | 1807 | Oil painting |
| The Expulsion of Adam and Eve from Paradise (Chicago study) | 1791; retouched 1803 | Oil painting |
| Death on the Pale Horse (Philadelphia painting) | 1817 | Oil painting |
| Death on the Pale Horse (Royal Academy drawing) | 1783–1803 | Pen, brown ink, wash and gouache |
| Christ Healing the Sick in the Temple (Philadelphia painting) | 1815; sent 1817 | Oil painting |
| Sketch for the Demoniac in Christ Healing the Sick in the Temple | 1815 | Ink, graphite and wash |
| Christ Rejected (Philadelphia painting) | 1814 | Oil painting |
| King Lear (Boston painting) | 1788 | Oil painting |
| Joseph Banks (Usher Gallery portrait) | 1771–1772 | Oil painting |
| The Departure of Regulus | 1769 | Oil painting |
| The Oath of Hannibal | 1770 | Oil painting |
| The Cave of Despair (Yale painting) | 1772 | Oil painting |
| Study for Saul and the Witch of Endor (Morgan drawing) | Undated; reported 1812 watermark | Ink, chalk and wash |
| American Commissioners of the Preliminary Peace Negotiations with Great Britain | c. 1783 | Oil painting |
| Self-portrait of Benjamin West, P.R.A. (Royal Academy) | 1793 | Oil on panel |
| Maternity | 1784 | Red chalk |
| Preservation of St Paul after a Shipwreck at Malta (Greenwich altarpiece) | Commissioned 1786 | Painting |
| Nelson in the Victory’s Cockpit (West’s painting) | 1808 | Painting |
| Self-Portrait (Baltimore original; catalogued 1995) | c. 1776 | Oil painting |
| Sailing Vessels and Longboats (catalogued 1995) | c. 1778 | Black chalk |
| A Naval Battle (catalogued 1995) | c. 1778 | Black chalk |
| The Expulsion of Adam and Eve (Morgan drawing) (catalogued 1995) | c. 1791 | Black chalk |
| Sketch for a Seated Woman with a Musical Instrument [recto] (catalogued 1995) | c. 1799 | Black chalk |
| Sketch for a Seated Woman with a Musical Instrument [verso] (catalogued 1995) | c. 1799 | Black chalk |
| Pyrrhus Brought before Glaucias (painting exhibited in 1767) | Exhibited 1767 | Oil painting |
| Telemachus and Calypso | c. 1809 | Oil on canvas |
| Colonel Guy Johnson and Karonghyontye (Captain David Hill) | 1776 | Oil on canvas |
| The Adoration of the Shepherds | 1805 | Pen and brown ink with brown wash and blue gouache heightened with white on wove paper mounted to board |
| This is my Beloved Son | 1802 | Lithograph |
| Angel of the Resurrection | 1801 | Pen-and-tusche lithograph |
| The Flight into Egypt | c. 1800 | Pen and brown ink and wash, heightened with white gouache, on laid paper |
| Maria Hamilton Beckford (Mrs. William Beckford) | 1799 | Oil on canvas |
| Elizabeth, Countess of Effingham | c. 1797 | Oil on canvas |
| The Crucifixion | 1796/1797 | Pen and brown and black ink with blue, black, and red chalk on laid paper |
| The Disobedient Prophet | 1793 | Pen and black ink with wash heightened with blue and cream oil paint over chalk |
| George III Resuming Royal Power in 1789 | c. 1789 | Pen and brown ink with brown wash on laid paper mounted to board |
| Vagabond Family [recto] | 1788 | Pen and brown ink with brown and blue wash on wove paper |
| Christ Healing the Sick in the Temple (London painting) | 1811 | Painting |
| Regulus (1820 catalogue, entry 1) | Not stated in 1820 list | Medium not stated |
| Hanibal (1820 catalogue, entry 2) | Not stated in 1820 list | Medium not stated |
| Epaminondas (1820 catalogue, entry 3) | Not stated in 1820 list | Medium not stated |
| Bayard (1820 catalogue, entry 4) | Not stated in 1820 list | Medium not stated |
| Wolfe, the first and second (1820 catalogue, entry 5) | Not stated in 1820 list | Medium not stated |
| Cyrus and the King of Armenia with his Family, captives (1820 catalogue, entry 6) | Not stated in 1820 list | Medium not stated |
| Germanicus and Segestus with his Daughter, captives (1820 catalogue, entry 7) | Not stated in 1820 list | Medium not stated |
| The Apotheosis of Prince Alfred and Prince Octavius (1820 catalogue, entry 8) | Not stated in 1820 list | Medium not stated |
| The picture of the Damsel accusing Peter (1820 catalogue, entry 9) | Not stated in 1820 list | Medium not stated |
| The Queen, with the Princess Royal, in one picture (1820 catalogue, entry 10) | Not stated in 1820 list | Medium not stated |
| Prince Ernest and Prince Augustus; Princesses Augusta, Elizabeth, and Mary, in one picture (1820 catalogue, entry 11) | Not stated in 1820 list | Medium not stated |
| Prince William and Prince Edward, in one picture (1820 catalogue, entry 12) | Not stated in 1820 list | Medium not stated |
| Prince Octavius (1820 catalogue, entry 13) | Not stated in 1820 list | Medium not stated |
| The whole-length portrait of His Majesty in Regimentals, with Lord Amherst and the Marquis of Lothian on Horseback, in the back-ground (1820 catalogue, entry 14) | Not stated in 1820 list | Medium not stated |
| The whole-length portrait of Her Majesty, with the fourteen Royal Children (1820 catalogue, entry 15) | Not stated in 1820 list | Medium not stated |
| The Queen with fourteen royal children (repetition) (1820 catalogue, entry 16) | Not stated in 1820 list | Medium not stated |
| The Battle of Cressy, when Edward III. embraced his son (1820 catalogue, entry 17) | Not stated in 1820 list | Medium not stated |
| The Battle of Poitiers, when John King of France is brought prisoner to the Prince (1820 catalogue, entry 18) | Not stated in 1820 list | Medium not stated |
| The Institution of the Order of the Garter (1820 catalogue, entry 19) | Not stated in 1820 list | Medium not stated |
| The Battle of Nevil's Cross (1820 catalogue, entry 20) | Not stated in 1820 list | Medium not stated |
| The Burgesses of Calais before Edward III (1820 catalogue, entry 21) | Not stated in 1820 list | Medium not stated |
| Edward III. crossing the Somme (1820 catalogue, entry 22) | Not stated in 1820 list | Medium not stated |
| Edward III. crowning Ribemont, at Calais (1820 catalogue, entry 23) | Not stated in 1820 list | Medium not stated |
| St. George destroying the Dragon (1820 catalogue, entry 24) | Not stated in 1820 list | Medium not stated |
| The design of our Saviour's Resurrection, painted in colours, with the Women going to the Sepulchre; also Peter and John (1820 catalogue, entry 25) | Not stated in 1820 list | Painted design; technique unstated |
| Resurrection of our Saviour (cartoon for the east window at Windsor) (1820 catalogue, entry 26) | Not stated in 1820 list | Cartoon; technique unstated |
| The design of our Saviour's Crucifixion, painted in colours (1820 catalogue, entry 27) | Not stated in 1820 list | Painted design; technique unstated |
| Crucifixion of our Saviour (cartoon for the west window at Windsor) (1820 catalogue, entry 28) | Not stated in 1820 list | Cartoon; technique unstated |
| The cartoon of the Angels appearing to the Shepherds (1820 catalogue, entry 29) | Not stated in 1820 list | Cartoon; technique unstated |
| The cartoon of the Nativity of our Saviour (1820 catalogue, entry 30) | Not stated in 1820 list | Cartoon; technique unstated |
| The cartoon of the Magi presenting Gifts to our Saviour (1820 catalogue, entry 31) | Not stated in 1820 list | Cartoon; technique unstated |
| Hymen leading and dancing with the Hours before Peace and Plenty (watercolour) (1820 catalogue, entry 32) | Not stated in 1820 list | Watercolour |
| The picture, in water-colours, of Boys with the Insignia of Riches (1820 catalogue, entry 33) | Not stated in 1820 list | Watercolour |
| Boys with the Insignia of the Fine Arts (companion watercolour) (1820 catalogue, entry 34) | Not stated in 1820 list | Watercolour |
| Genius calling forth the Fine Arts to adorn Manufactures and Commerce, and recording the names of eminent men in those pursuits (1820 catalogue, entry 35) | Not stated in 1820 list | Medium not stated |
| Husbandry aided by Arts and Commerce (1820 catalogue, entry 36) | Not stated in 1820 list | Medium not stated |
| Peace and Riches cherishing the Fine Arts (1820 catalogue, entry 37) | Not stated in 1820 list | Medium not stated |
| Manufactory giving support to Industry, in Boys and Girls (1820 catalogue, entry 38) | Not stated in 1820 list | Medium not stated |
| Marine and inland Navigation enriching Britannia (1820 catalogue, entry 39) | Not stated in 1820 list | Medium not stated |
| Printing aided by the Fine Arts (1820 catalogue, entry 40) | Not stated in 1820 list | Medium not stated |
| Astronomy making new discoveries in the Heavens (1820 catalogue, entry 41) | Not stated in 1820 list | Medium not stated |
| The Four Quarters of the World bringing Treasures to the Lap of Britannia (1820 catalogue, entry 42) | Not stated in 1820 list | Medium not stated |
| Civil and Military Architecture defending and adorning Empire (1820 catalogue, entry 43) | Not stated in 1820 list | Medium not stated |
| The Expulsion of Adam and Eve from Paradise (1820 catalogue, entry 44) | Not stated in 1820 list | Medium not stated |
| The Deluge (1820 catalogue, entry 45) | Not stated in 1820 list | Medium not stated |
| Noah sacrificing (1820 catalogue, entry 46) | Not stated in 1820 list | Medium not stated |
| Abraham and his son Isaac going to sacrifice (1820 catalogue, entry 47) | Not stated in 1820 list | Medium not stated |
| The Birth of Jacob and Esau (1820 catalogue, entry 48) | Not stated in 1820 list | Medium not stated |
| The Death of Jacob in Egypt, surrounded by his Twelve Sons (1820 catalogue, entry 49) | Not stated in 1820 list | Medium not stated |
| Moses and Aaron before Pharaoh; their Rods turned into Serpents (1820 catalogue, entry 50) | Not stated in 1820 list | Medium not stated |
| Pharaoh and his Host lost in the Red Sea, while Moses stretches his Rod over them (1820 catalogue, entry 51) | Not stated in 1820 list | Medium not stated |
| Moses receiving the Law on Mount Sinai (1820 catalogue, entry 52) | Not stated in 1820 list | Medium not stated |
| Moses consecrateth Aaron and his Sons to the Priesthood (1820 catalogue, entry 53) | Not stated in 1820 list | Medium not stated |
| Moses showeth the Brazen Serpent to the People to be healed (1820 catalogue, entry 54) | Not stated in 1820 list | Medium not stated |
| Moses shown the Promised Land from the top of Mount Pisgah (1820 catalogue, entry 55) | Not stated in 1820 list | Medium not stated |
| Joshua crossing the River Jordan with the Ark (1820 catalogue, entry 56) | Not stated in 1820 list | Medium not stated |
| The Twelve Tribes drawing Lots for the Lands of their Inheritance, 6 feet by 10 (1820 catalogue, entry 57) | Not stated in 1820 list | Medium not stated |
| The Call of Isaiah and Jeremiah, each 5 by 14 (1820 catalogue, entry 58) | Not stated in 1820 list | Medium not stated |
| David anointed King, 6 by 10 (1820 catalogue, entry 59) | Not stated in 1820 list | Medium not stated |
| Christ's Birth, 6 by 10 (1820 catalogue, entry 60) | Not stated in 1820 list | Medium not stated |
| The naming of John; or, the Prophecies of Zacharias (1820 catalogue, entry 61) | Not stated in 1820 list | Medium not stated |
| The Kings bringing Presents to Christ, 6 by 12 (1820 catalogue, entry 62) | Not stated in 1820 list | Medium not stated |
| Christ among the Doctors, 6 by 10 (1820 catalogue, entry 63) | Not stated in 1820 list | Medium not stated |
| The Descent of the Holy Ghost on our Saviour at the River Jordan, 10 by 14 (1820 catalogue, entry 64) | Not stated in 1820 list | Medium not stated |
| Christ healing the Sick in the Temple (1820 catalogue, entry 65) | Not stated in 1820 list | Medium not stated |
| Christ's Last Supper, 6 by 10 (1820 catalogue, entry 66) | Not stated in 1820 list | Medium not stated |
| Christ's Crucifixion, 16 by 28 (1820 catalogue, entry 67) | Not stated in 1820 list | Medium not stated |
| Christ's Ascension, 12 by 18 (1820 catalogue, entry 68) | Not stated in 1820 list | Medium not stated |
| The Inspiration of St. Peter, 10 by 14 (1820 catalogue, entry 69) | Not stated in 1820 list | Medium not stated |
| Paul and Barnabas rejecting the Jews, and receiving the Gentiles (1820 catalogue, entry 70) | Not stated in 1820 list | Medium not stated |
| John called to write the Revelation, 6 by 10 (1820 catalogue, entry 71) | Not stated in 1820 list | Medium not stated |
| Saints prostrating themselves before the Throne of God (1820 catalogue, entry 72) | Not stated in 1820 list | Medium not stated |
| The opening of the Seven Seals; or, Death on the Pale Horse (1820 catalogue, entry 73) | Not stated in 1820 list | Medium not stated |
| The overthrowing the Old Beast and False Prophet (1820 catalogue, entry 74) | Not stated in 1820 list | Medium not stated |
| The Last Judgment (1820 catalogue, entry 75) | Not stated in 1820 list | Medium not stated |
| The New Jerusalem (1820 catalogue, entry 76) | Not stated in 1820 list | Medium not stated |
| The picture of St. Michael and his Angels fighting and casting out the Red Dragon and his Angels (1820 catalogue, entry 77) | Not stated in 1820 list | Medium not stated |
| The Women clothed in the Sun (1820 catalogue, entry 78) | Not stated in 1820 list | Medium not stated |
| John called to write the Revelation (1820 catalogue, entry 79) | Not stated in 1820 list | Medium not stated |
| The Beast rising out of the Sea (1820 catalogue, entry 80) | Not stated in 1820 list | Medium not stated |
| The Mighty Angel, one Foot upon Sea and the other on Earth (1820 catalogue, entry 81) | Not stated in 1820 list | Medium not stated |
| St. Anthony of Padua (1820 catalogue, entry 82) | Not stated in 1820 list | Medium not stated |
| The Madra Dolo Roso (1820 catalogue, entry 83) | Not stated in 1820 list | Medium not stated |
| Simeon, with the Child in his arms (1820 catalogue, entry 84) | Not stated in 1820 list | Medium not stated |
| A picture of a small Landscape, with a Hunt passing In the back-ground (1820 catalogue, entry 85) | Not stated in 1820 list | Medium not stated |
| Abraham and Isaac going to sacrifice (1820 catalogue, entry 86) | Not stated in 1820 list | Medium not stated |
| A whole-length figure of Thomas à Becket, larger than life (1820 catalogue, entry 87) | Not stated in 1820 list | Medium not stated |
| The Angel in the Sun assembling the Birds of the Air, before the destruction of the Old Beast (1820 catalogue, entry 88) | Not stated in 1820 list | Medium not stated |
| Four half-lengths (subjects not named) (1820 catalogue, entry 89) | Not stated in 1820 list | Medium not stated |
| The small picture of the Order of the Garter, differing in composition from the great picture at Windsor (1820 catalogue, entry 90) | Not stated in 1820 list | Medium not stated |
| The picture of the Shunamite's Son raised to Life by the Prophet Elisha (1820 catalogue, entry 91) | Not stated in 1820 list | Medium not stated |
| Jacob blessing Joseph's Sons (1820 catalogue, entry 92) | Not stated in 1820 list | Medium not stated |
| The Death of Wolfe, the third picture (1820 catalogue, entry 93) | Not stated in 1820 list | Medium not stated |
| The Battle of La Hogue (1820 catalogue, entry 94) | Not stated in 1820 list | Medium not stated |
| The Boyne (1820 catalogue, entry 95) | Not stated in 1820 list | Medium not stated |
| The Restoration of Charles II (1820 catalogue, entry 96) | Not stated in 1820 list | Medium not stated |
| Cromwell dissolving the Long Parliament (1820 catalogue, entry 97) | Not stated in 1820 list | Medium not stated |
| A small portrait of General Wolfe, when a Boy (1820 catalogue, entry 98) | Not stated in 1820 list | Medium not stated |
| The Picture of the Golden Age (1820 catalogue, entry 99) | Not stated in 1820 list | Medium not stated |
| The picture of St. Michael chaining the Dragon, in Trinity College, Cambridge, 15 by 8 (1820 catalogue, entry 100) | Not stated in 1820 list | Medium not stated |
| The Angels announcing the Birth of our Saviour, in the Cathedral Church at Rochester, 10 by 6 (1820 catalogue, entry 101) | Not stated in 1820 list | Medium not stated |
| The Death of St. Stephen, in the church of St. Stephen, Walbrook, 10 by 18 (1820 catalogue, entry 102) | Not stated in 1820 list | Medium not stated |
| The Raising of Lazarus, in the Cathedral of Winchester, 10 by 14 (1820 catalogue, entry 103) | Not stated in 1820 list | Medium not stated |
| St. Paul shaking the Viper off his Finger, in the chapel at Greenwich, 27 by 15 (1820 catalogue, entry 104) | Not stated in 1820 list | Medium not stated |
| The Supper, over the communion-table in the Collegiate Church at Windsor, 8 by 13 (1820 catalogue, entry 105) | Not stated in 1820 list | Medium not stated |
| The Resurrection of our Saviour, in the east window of the Collegiate Church at Windsor, 28 by 32 (1820 catalogue, entry 106) | Not stated in 1820 list | Stained-glass design |
| Crucifixion (Collegiate Church at Windsor window) (1820 catalogue, entry 107) | Not stated in 1820 list | Stained-glass design |
| Angel announcing our Saviour’s Birth (Collegiate Church at Windsor window) (1820 catalogue, entry 108) | Not stated in 1820 list | Stained-glass design |
| Birth of our Saviour (Collegiate Church at Windsor window) (1820 catalogue, entry 109) | Not stated in 1820 list | Stained-glass design |
| Kings presenting Gifts to our Saviour (Collegiate Church at Windsor window) (1820 catalogue, entry 110) | Not stated in 1820 list | Stained-glass design |
| The picture of Peter denying our Saviour, in the chapel of Lord Newark (1820 catalogue, entry 111) | Not stated in 1820 list | Medium not stated |
| The Resurrection of our Saviour, in the church of Barbadoes, 10 by 6 (1820 catalogue, entry 112) | Not stated in 1820 list | Medium not stated |
| Moses with the Law and John the Baptist (Barbados church entry) (1820 catalogue, entry 113) | Not stated in 1820 list | Medium not stated |
| The picture of Telemachus and Calypso (1820 catalogue, entry 114) | Not stated in 1820 list | Medium not stated |
| Angelica and Madora (1820 catalogue, entry 115) | Not stated in 1820 list | Medium not stated |
| The Damsel and Orlando (1820 catalogue, entry 116) | Not stated in 1820 list | Medium not stated |
| Cicero at the Tomb of Archimedes (1820 catalogue, entry 117) | Not stated in 1820 list | Medium not stated |
| St. Paul's Conversion; his Persecution of the Christians; and the Restoration of his Sight, under the hands of Ananias, in one frame, divided in three parts (1820 catalogue, entry 118) | Not stated in 1820 list | Medium not stated |
| Mr. Hope's Family, containing nine figures as large as life (1820 catalogue, entry 119) | Not stated in 1820 list | Medium not stated |
| Large figures of Faith, Hope, Charity, Innocence, St. Matthew, St. Mark, St. Luke, St. John, St. Matthias, St. Thomas, St. Jude, St. Simon, St James the Major, St. Philip, St. Peter, St. Andrew, St. Bartholomew, St. James the Minor, Malachi, Micah, Zachariah, and Daniel (1820 catalogue, entry 120) | Not stated in 1820 list | Medium not stated |
| Paul shaking the Viper from his Finger (1820 catalogue, entry 121) | Not stated in 1820 list | Medium not stated |
| Paul preaching at Athens (1820 catalogue, entry 122) | Not stated in 1820 list | Medium not stated |
| Elimas the Sorcerer struck blind (1820 catalogue, entry 123) | Not stated in 1820 list | Medium not stated |
| Cornelius and the Angel (1820 catalogue, entry 124) | Not stated in 1820 list | Medium not stated |
| Peter delivered from Prison (1820 catalogue, entry 125) | Not stated in 1820 list | Medium not stated |
| The Conversion of St. Paul (1820 catalogue, entry 126) | Not stated in 1820 list | Medium not stated |
| Paul before Felix (1820 catalogue, entry 127) | Not stated in 1820 list | Medium not stated |
| Two whole-lengths of the late Archbishop of York's two eldest Sons (1820 catalogue, entry 128) | Not stated in 1820 list | Medium not stated |
| A whole-length portrait of the late Lord Grosvenor (1820 catalogue, entry 129) | Not stated in 1820 list | Medium not stated |
| The picture of Jacob drawing Water at the Well for Rachael and her Flock (1820 catalogue, entry 130) | Not stated in 1820 list | Medium not stated |
| The picture of the Citizens of London offering the Crown to William the Conqueror (1820 catalogue, entry 131) | Not stated in 1820 list | Medium not stated |
| The Queen soliciting the King to pardon her son John (1820 catalogue, entry 132) | Not stated in 1820 list | Medium not stated |
| Moses showing the brazen Serpent (1820 catalogue, entry 133) | Not stated in 1820 list | Medium not stated |
| John showing the Lamb of God (1820 catalogue, entry 134) | Not stated in 1820 list | Medium not stated |
| Three of the Children of the late Archbishop of York, with the portrait of the Archbishop, half-lengths (1820 catalogue, entry 135) | Not stated in 1820 list | Medium not stated |
| The Family-picture, half-lengths, of Mrs. Cartwright's Children (1820 catalogue, entry 136) | Not stated in 1820 list | Medium not stated |
| Sir Edmund Baker, Nephew and Niece, half-length (1820 catalogue, entry 137) | Not stated in 1820 list | Medium not stated |
| Children of — Lunis (half-lengths; family name incomplete) (1820 catalogue, entry 138) | Not stated in 1820 list | Medium not stated |
| A Lady leading three Children along the Path of Virtue to the Temple (1820 catalogue, entry 139) | Not stated in 1820 list | Medium not stated |
| A picture of Madora (1820 catalogue, entry 140) | Not stated in 1820 list | Medium not stated |
| The picture of the late Lord Clive receiving the Duannic from the Great Mogul (1820 catalogue, entry 141) | Not stated in 1820 list | Medium not stated |
| Christ receiving the Sick and Lame in the Temple (Philadelphia Hospital entry) (1820 catalogue, entry 142) | Not stated in 1820 list | Medium not stated |
| The picture of Pylades and Orestes (1820 catalogue, entry 143) | Not stated in 1820 list | Medium not stated |
| Original sketch of Cicero at the Tomb of Archimedes (1820 catalogue, entry 144) | Not stated in 1820 list | Sketch; medium unstated |
| The picture of Leonidas ordering Cleombrotas into Banishment, with his Wife and Children (1820 catalogue, entry 145) | Not stated in 1820 list | Medium not stated |
| The Marys at the Sepulchre (1820 catalogue, entry 146) | Not stated in 1820 list | Medium not stated |
| Alexander and his Physician (1820 catalogue, entry 147) | Not stated in 1820 list | Medium not stated |
| Julius Caesar reading the Life of Alexander (1820 catalogue, entry 148) | Not stated in 1820 list | Medium not stated |
| The Return of the Prodigal Son (1820 catalogue, entry 149) | Not stated in 1820 list | Medium not stated |
| The Death of Adonis (1820 catalogue, entry 150) | Not stated in 1820 list | Medium not stated |
| The Continence of Scipio (1820 catalogue, entry 151) | Not stated in 1820 list | Medium not stated |
| Venus and Cupid, oval (1820 catalogue, entry 152) | Not stated in 1820 list | Medium not stated |
| Alfred dividing his Loaf (1820 catalogue, entry 153) | Not stated in 1820 list | Medium not stated |
| Helen brought to Paris (1820 catalogue, entry 154) | Not stated in 1820 list | Medium not stated |
| A small sketch of the Shunamite's Son restored, &c (1820 catalogue, entry 155) | Not stated in 1820 list | Sketch; medium unstated |
| Cupid stung by a Bee, oval (1820 catalogue, entry 156) | Not stated in 1820 list | Medium not stated |
| Agrippina surrounded by her Children, and reclining her Head on the Urn containing the Ashes of Germanicus (1820 catalogue, entry 157) | Not stated in 1820 list | Medium not stated |
| Death of Wolfe (fourth picture; Lord Bristol entry) (1820 catalogue, entry 158) | Not stated in 1820 list | Medium not stated |
| Death of Wolfe (another fourth picture; Prince of Waldeck entry) (1820 catalogue, entry 159) | Not stated in 1820 list | Medium not stated |
| Death of Wolfe (small fifth picture; Moncton family entry) (1820 catalogue, entry 160) | Not stated in 1820 list | Medium not stated |
| A small picture of Romeo and Juliet (1820 catalogue, entry 161) | Not stated in 1820 list | Medium not stated |
| Small picture of King Lear and his Daughters (1820 catalogue, entry 162) | Not stated in 1820 list | Medium not stated |
| Belisarius and the Boy (1820 catalogue, entry 163) | Not stated in 1820 list | Medium not stated |
| Sir Francis Baring and part of his Family, containing six figures as large as life (1820 catalogue, entry 164) | Not stated in 1820 list | Medium not stated |
| Simeon and the Child, as large as life (1820 catalogue, entry 165) | Not stated in 1820 list | Medium not stated |
| The late Lord Clive receiving the Duannic from the Great Mogul, a second picture (1820 catalogue, entry 166) | Not stated in 1820 list | Medium not stated |
| The second picture of Philippa soliciting of Edward III. the pardon of the Burgesses of Calais (1820 catalogue, entry 167) | Not stated in 1820 list | Medium not stated |
| Europa on the back of the Bull, at Calcutta (1820 catalogue, entry 168) | Not stated in 1820 list | Medium not stated |
| The Death of Hyacinthus (1820 catalogue, entry 169) | Not stated in 1820 list | Medium not stated |
| The picture of Venus presenting the Girdle to Juno (1820 catalogue, entry 170) | Not stated in 1820 list | Medium not stated |
| Rinaldo and Armida (1820 catalogue, entry 171) | Not stated in 1820 list | Medium not stated |
| Pharaoh's Daughter with the Child Moses (1820 catalogue, entry 172) | Not stated in 1820 list | Medium not stated |
| The Stolen Kiss (picture) (1820 catalogue, entry 173) | Not stated in 1820 list | Medium not stated |
| Angelica and Madora (picture) (1820 catalogue, entry 174) | Not stated in 1820 list | Medium not stated |
| Woman of Samaria at the Well with Christ (picture) (1820 catalogue, entry 175) | Not stated in 1820 list | Medium not stated |
| Paetus and Arria (1820 catalogue, entry 176) | Not stated in 1820 list | Medium not stated |
| Rebecca coming to David (1820 catalogue, entry 177) | Not stated in 1820 list | Medium not stated |
| The Drawing respecting Christ's Nativity (1820 catalogue, entry 178) | Not stated in 1820 list | Drawing |
| Rebecca receiving the Bracelets at the Well (1820 catalogue, entry 179) | Not stated in 1820 list | Drawing |
| Drawing of the Stolen Kiss (1820 catalogue, entry 180) | Not stated in 1820 list | Drawing |
| Drawing of Rinaldo and Armida (1820 catalogue, entry 181) | Not stated in 1820 list | Drawing |
| Drawing of a Mother and Child (1820 catalogue, entry 182) | Not stated in 1820 list | Drawing |
| The whole-length portrait of Sir Thomas Strange, in the Town-hall of Halifax (1820 catalogue, entry 183) | Not stated in 1820 list | Medium not stated |
| Whole-length portrait of Sir John Sinclair (1820 catalogue, entry 184) | Not stated in 1820 list | Medium not stated |
| Agrippina landing at Brundusium (first picture) (1820 catalogue, entry 185) | Not stated in 1820 list | Medium not stated |
| Agrippina landing at Brundusium (second picture; Exeter entry) (1820 catalogue, entry 186) | Not stated in 1820 list | Medium not stated |
| Agrippina landing at Brundusium (third picture; Hatch entry) (1820 catalogue, entry 187) | Not stated in 1820 list | Medium not stated |
| Jupiter and Semele (small picture; large version reported lost at sea) (1820 catalogue, entry 188) | Not stated in 1820 list | Medium not stated |
| Hector parting with his Wife and Child at the Sun Gate (1820 catalogue, entry 189) | Not stated in 1820 list | Medium not stated |
| The prophet Elisha raising the Shunamite's son (1820 catalogue, entry 190) | Not stated in 1820 list | Medium not stated |
| The raising of Lazarus (1820 catalogue, entry 191) | Not stated in 1820 list | Medium not stated |
| Edward III. crossing the River Somme (1820 catalogue, entry 192) | Not stated in 1820 list | Medium not stated |
| Queen Philippa at the Battle of Nevil's Cross (1820 catalogue, entry 193) | Not stated in 1820 list | Medium not stated |
| The Angels announcing to the Shepherds the Birth of our Saviour (1820 catalogue, entry 194) | Not stated in 1820 list | Medium not stated |
| The Magi bringing Presents to our Saviour (1820 catalogue, entry 195) | Not stated in 1820 list | Medium not stated |
| A view on the River Thames at Hammersmith (1820 catalogue, entry 196) | Not stated in 1820 list | Medium not stated |
| View on the banks of the River Susquehanna in America (1820 catalogue, entry 197) | Not stated in 1820 list | Medium not stated |
| The picture of Tangire Mill, at Eton (1820 catalogue, entry 198) | Not stated in 1820 list | Medium not stated |
| Chrysëis returned to her father Chyses (1820 catalogue, entry 199) | Not stated in 1820 list | Medium not stated |
| Venus and Adonis, large as life (1820 catalogue, entry 200) | Not stated in 1820 list | Medium not stated |
| The sixth picture of the Death of Wolfe (1820 catalogue, entry 201) | Not stated in 1820 list | Medium not stated |
| The first and second picture of the Battle of La Hogue (1820 catalogue, entry 202) | Not stated in 1820 list | Medium not stated |
| The sketch, of Macbeth and the Witches (1820 catalogue, entry 203) | Not stated in 1820 list | Sketch; medium unstated |
| The small picture of the Return of Tobias (1820 catalogue, entry 204) | Not stated in 1820 list | Medium not stated |
| The small picture of the Return of the Prodigal Son (1820 catalogue, entry 205) | Not stated in 1820 list | Medium not stated |
| Ariadne on the Sea-shore (1820 catalogue, entry 206) | Not stated in 1820 list | Medium not stated |
| The Death of Adonis (1820 catalogue, entry 207) | Not stated in 1820 list | Medium not stated |
| John King of France brought to the Black Prince (1820 catalogue, entry 208) | Not stated in 1820 list | Medium not stated |
| Antiochus and Stratonice (1820 catalogue, entry 209) | Not stated in 1820 list | Medium not stated |
| King Lear and his Daughter (1820 catalogue, entry 210) | Not stated in 1820 list | Medium not stated |
| The picture of Chryses on the Sea-shore (1820 catalogue, entry 211) | Not stated in 1820 list | Medium not stated |
| Nathan and David:--"Thou art the Man!" as large as life (1820 catalogue, entry 212) | Not stated in 1820 list | Medium not stated |
| Elijah raising the Widow's Son to Life (1820 catalogue, entry 213) | Not stated in 1820 list | Medium not stated |
| The Choice of Hercules (1820 catalogue, entry 214) | Not stated in 1820 list | Medium not stated |
| Venus and Europa (1820 catalogue, entry 215) | Not stated in 1820 list | Medium not stated |
| Daniel interpreting the Hand-writing on the Wall (1820 catalogue, entry 216) | Not stated in 1820 list | Medium not stated |
| The Ambassador from Tunis, with his Attendant, as he appeared in England in 1781 (1820 catalogue, entry 217) | Not stated in 1820 list | Medium not stated |
| The drawing of Marius on the Ruins of Carthage (1820 catalogue, entry 218) | Not stated in 1820 list | Drawing |
| Cato giving his Daughter in Marriage on his Death (1820 catalogue, entry 219) | Not stated in 1820 list | Drawing |
| Belisarius brought to his Family (1820 catalogue, entry 220) | Not stated in 1820 list | Drawing |
| The large picture of the Stag, or the rescuing of Alexander the Third (1820 catalogue, entry 221) | Not stated in 1820 list | Medium not stated |
| Cymon and Iphigenia; Endymion and Diana (Wentworth Castle grouped entry) (1820 catalogue, entry 222) | Not stated in 1820 list | Medium not stated |
| Cymon and Iphigenia; Angelica and Madora (Mitton grouped entry) (1820 catalogue, entry 223) | Not stated in 1820 list | Medium not stated |
| Small picture of the Battle of Cressy (1820 catalogue, entry 224) | Not stated in 1820 list | Medium not stated |
| Small sketch of the Order of the Garter (1820 catalogue, entry 225) | Not stated in 1820 list | Sketch; medium unstated |
| Mr. West's small picture of his Family (1820 catalogue, entry 226) | Not stated in 1820 list | Medium not stated |
| The sketch of Edward the Third with his Queen, and the Citizens of Calais (1820 catalogue, entry 227) | Not stated in 1820 list | Sketch; medium unstated |
| West’s small copy after Van Dyck’s Cardinal Bentivoglio (1820 catalogue, entry 228) | Not stated in 1820 list | Medium not stated |
| West’s copy after Correggio’s St. Girolemo (1820 catalogue, entry 229) | Not stated in 1820 list | Medium not stated |
| The large Landscape from Windsor Forest (1820 catalogue, entry 230) | Not stated in 1820 list | Medium not stated |
| The picture of Mark Antony showing the Robe and Will of Julius Caesar to the People (1820 catalogue, entry 231) | Not stated in 1820 list | Medium not stated |
| Ægistus viewing the Body of Clytemnestra (1820 catalogue, entry 232) | Not stated in 1820 list | Medium not stated |
| The large sketch of the window at Windsor, of the Magi presenting Gifts to the Infant Christ (1820 catalogue, entry 233) | Not stated in 1820 list | Sketch; medium unstated |
| The small sketch of the Battle of Nevil's Cross (1820 catalogue, entry 234) | Not stated in 1820 list | Sketch; medium unstated |
| The second small sketch of the Order of the Garter (1820 catalogue, entry 235) | Not stated in 1820 list | Sketch; medium unstated |
| The small picture of Ophelia before the King and Queen, with her brother Laertes (1820 catalogue, entry 236) | Not stated in 1820 list | Medium not stated |
| The Recovery of His Majesty in the year 1789 (1820 catalogue, entry 237) | Not stated in 1820 list | Medium not stated |
| Miranda and her Two Companions (from Thomson’s Seasons) (1820 catalogue, entry 238) | Not stated in 1820 list | Medium not stated |
| Edward the Third crowning Ribemont at Calais, a sketch (1820 catalogue, entry 239) | Not stated in 1820 list | Sketch; medium unstated |
| The picture of Leonidas taking leave of his Family on his going to Thermopylæ (1820 catalogue, entry 240) | Not stated in 1820 list | Medium not stated |
| A Bacchanté, as large as life, half-length (1820 catalogue, entry 241) | Not stated in 1820 list | Medium not stated |
| First sketch of the Battle of Cressy (1820 catalogue, entry 242) | Not stated in 1820 list | Sketch; medium unstated |
| The picture of Phaëton soliciting Apollo for the Chariot of the Sun (1820 catalogue, entry 243) | Not stated in 1820 list | Medium not stated |
| The second picture of Cicero at the Tomb of Archimedes (1820 catalogue, entry 244) | Not stated in 1820 list | Medium not stated |
| The small picture of Belisarius and the Boy, different from that in the possession of Sir Francis Baring (1820 catalogue, entry 245) | Not stated in 1820 list | Medium not stated |
| The small picture of the Eagle giving the Vase of Water to Psyche (1820 catalogue, entry 246) | Not stated in 1820 list | Medium not stated |
| The Death of Adonis, from Anacreon (1820 catalogue, entry 247) | Not stated in 1820 list | Medium not stated |
| Moonlight and the "Beckoning Ghost," from Pope's Elegy (1820 catalogue, entry 248) | Not stated in 1820 list | Medium not stated |
| The Angel sitting on the Stone at the Sepulchre (1820 catalogue, entry 249) | Not stated in 1820 list | Medium not stated |
| Angel sitting on the Stone at the Sepulchre (second picture; different composition) (1820 catalogue, entry 250) | Not stated in 1820 list | Medium not stated |
| Angel sitting on the Stone at the Sepulchre (small sketch) (1820 catalogue, entry 251) | Not stated in 1820 list | Sketch; medium unstated |
| A sketch of King Lear and his Daughter (1820 catalogue, entry 252) | Not stated in 1820 list | Sketch; medium unstated |
| The second picture of Angelica and Madora (1820 catalogue, entry 253) | Not stated in 1820 list | Medium not stated |
| A Damsel and Orlando (1820 catalogue, entry 254) | Not stated in 1820 list | Medium not stated |
| Mr. West's portrait, half-length (1820 catalogue, entry 255) | Not stated in 1820 list | Medium not stated |
| Sketch of his two Sons, when Children (1820 catalogue, entry 256) | Not stated in 1820 list | Sketch; medium unstated |
| Sketch of West’s two sons when boys (1820 catalogue, entry 257) | Not stated in 1820 list | Sketch; medium unstated |
| Sketch of West’s two sons when young men (1820 catalogue, entry 258) | Not stated in 1820 list | Sketch; medium unstated |
| Portrait of the Rev.---- Preston (1820 catalogue, entry 259) | Not stated in 1820 list | Medium not stated |
| Picture of the Bacchanté Boys (1820 catalogue, entry 260) | Not stated in 1820 list | Medium not stated |
| The Good Samaritan (1820 catalogue, entry 261) | Not stated in 1820 list | Medium not stated |
| Picture of the Destruction of the Old Beast and False Prophet:--Revelation (1820 catalogue, entry 262) | Not stated in 1820 list | Medium not stated |
| Christ healing the Sick, Lame, and Blind, in the Temple (1820 catalogue, entry 263) | Not stated in 1820 list | Medium not stated |
| Tintern Abbey (1820 catalogue, entry 264) | Not stated in 1820 list | Medium not stated |
| Death on the Pale Horse; or, the Opening of the Seals (1820 catalogue, entry 265) | Not stated in 1820 list | Medium not stated |
| Jason and the Dragon, in imitation of Salvator Rosa (1820 catalogue, entry 266) | Not stated in 1820 list | Medium not stated |
| Venus and Adonis looking at Cupids bathing (1820 catalogue, entry 267) | Not stated in 1820 list | Medium not stated |
| Moses and Aaron before Pharaoh (1820 catalogue, entry 268) | Not stated in 1820 list | Medium not stated |
| The Uxbridge Passage-boat on the Canal (1820 catalogue, entry 269) | Not stated in 1820 list | Medium not stated |
| St. Paul and Barnabas rejecting the Jews, and turning to the Gentiles (1820 catalogue, entry 270) | Not stated in 1820 list | Medium not stated |
| Picture of the Falling of Trees in the Great Park at Windsor (1820 catalogue, entry 271) | Not stated in 1820 list | Medium not stated |
| Diomed and his Chariot-horses struck by the Lightning of Jupiter (1820 catalogue, entry 272) | Not stated in 1820 list | Medium not stated |
| The Milk-woman in St. James's Park (1820 catalogue, entry 273) | Not stated in 1820 list | Medium not stated |
| King Lear in the Storm at the Hovel (1820 catalogue, entry 274) | Not stated in 1820 list | Medium not stated |
| The Expulsion of Adam and Eve from Paradise (1820 catalogue, entry 275) | Not stated in 1820 list | Medium not stated |
| The Order of the Garter (1820 catalogue, entry 276) | Not stated in 1820 list | Medium not stated |
| Orion on the Dolphin's back (1820 catalogue, entry 277) | Not stated in 1820 list | Medium not stated |
| Cupid complaining to Venus of a Bee having stung his finger (1820 catalogue, entry 278) | Not stated in 1820 list | Medium not stated |
| The Deluge (1820 catalogue, entry 279) | Not stated in 1820 list | Medium not stated |
| Queen Elizabeth's Procession to St. Paul's (1820 catalogue, entry 280) | Not stated in 1820 list | Medium not stated |
| Christ showing a Little Child as the Emblem of Heaven (1820 catalogue, entry 281) | Not stated in 1820 list | Medium not stated |
| Harvest-home (1820 catalogue, entry 282) | Not stated in 1820 list | Medium not stated |
| A View from the east end of Windsor Castle, looking over Datchet (1820 catalogue, entry 283) | Not stated in 1820 list | Medium not stated |
| Washing of Sheep (1820 catalogue, entry 284) | Not stated in 1820 list | Medium not stated |
| St. Paul shaking the Viper from his Finger (1820 catalogue, entry 285) | Not stated in 1820 list | Medium not stated |
| The Sun setting behind a group of Trees on the banks of the Thames at Twickenham (1820 catalogue, entry 286) | Not stated in 1820 list | Medium not stated |
| The driving of Sheep and Cows to water (1820 catalogue, entry 287) | Not stated in 1820 list | Medium not stated |
| Cattle drinking at a Watering-place in the Great Park, Windsor, with Mr. West drawing (1820 catalogue, entry 288) | Not stated in 1820 list | Medium not stated |
| Pharaoh and his Host drowned in the Red Sea (1820 catalogue, entry 289) | Not stated in 1820 list | Medium not stated |
| Calypso and Telemachus on the Sea-shore; second picture (1820 catalogue, entry 290) | Not stated in 1820 list | Medium not stated |
| Gentlemen fishing in the Water at Dagenham Breach (1820 catalogue, entry 291) | Not stated in 1820 list | Medium not stated |
| Moses consecrating Aaron and his Sons to the priesthood (1820 catalogue, entry 292) | Not stated in 1820 list | Medium not stated |
| Picture of the View of Windsor-Castle from Snow-Hill, in the Great Park (1820 catalogue, entry 293) | Not stated in 1820 list | Medium not stated |
| A Mother inviting her little Boy to come to her through a small Stream of Water (1820 catalogue, entry 294) | Not stated in 1820 list | Medium not stated |
| The naming of Samuel, and the prophesying of Zacharias (1820 catalogue, entry 295) | Not stated in 1820 list | Medium not stated |
| The Ascension of our Saviour (1820 catalogue, entry 296) | Not stated in 1820 list | Medium not stated |
| The Birth of Jacob and Esau (1820 catalogue, entry 297) | Not stated in 1820 list | Medium not stated |
| The Brewer's Porter and Hod Carrier (1820 catalogue, entry 298) | Not stated in 1820 list | Medium not stated |
| Venus attended by the Graces (1820 catalogue, entry 299) | Not stated in 1820 list | Medium not stated |
| Samuel when a Boy presented to Eli (1820 catalogue, entry 300) | Not stated in 1820 list | Medium not stated |
| Christ's Last Supper. (In brown colour.) (1820 catalogue, entry 301) | Not stated in 1820 list | Medium not stated |
| The Reaping of Harvest, with Windsor in the back-ground (1820 catalogue, entry 302) | Not stated in 1820 list | Medium not stated |
| Adonis and his Dog going to the Chace (1820 catalogue, entry 303) | Not stated in 1820 list | Medium not stated |
| Christ among the Doctors in the Temple (1820 catalogue, entry 304) | Not stated in 1820 list | Medium not stated |
| Moses shown the Promised Land (1820 catalogue, entry 305) | Not stated in 1820 list | Medium not stated |
| Joshua crossing the River Jordan with the Ark (1820 catalogue, entry 306) | Not stated in 1820 list | Medium not stated |
| Christ's Nativity (1820 catalogue, entry 307) | Not stated in 1820 list | Medium not stated |
| Mothers with their Children, in water (1820 catalogue, entry 308) | Not stated in 1820 list | Medium not stated |
| Cranford Bridge (1820 catalogue, entry 309) | Not stated in 1820 list | Medium not stated |
| The sketch of Pyrrhus when a Child, before King Glaucus (1820 catalogue, entry 310) | Not stated in 1820 list | Sketch; medium unstated |
| The Traveller laying his Piece of Bread on the Bridle of the dead Ass. From Sterne (1820 catalogue, entry 311) | Not stated in 1820 list | Medium not stated |
| The Captivity (from Sterne) (1820 catalogue, entry 312) | Not stated in 1820 list | Medium not stated |
| Cupid letting loose Two Pigeons (1820 catalogue, entry 313) | Not stated in 1820 list | Medium not stated |
| Cupid asleep (1820 catalogue, entry 314) | Not stated in 1820 list | Medium not stated |
| Children eating Cherries (1820 catalogue, entry 315) | Not stated in 1820 list | Medium not stated |
| Sketch of a Mother and her Child on her Lap (1820 catalogue, entry 316) | Not stated in 1820 list | Sketch; medium unstated |
| The small picture of the Eagle bringing the Cup to Psyche (1820 catalogue, entry 317) | Not stated in 1820 list | Medium not stated |
| The picture of St. Anthony of Padua and the Child (1820 catalogue, entry 318) | Not stated in 1820 list | Medium not stated |
| Jacob, and Laban with his Two Daughters (1820 catalogue, entry 319) | Not stated in 1820 list | Medium not stated |
| The Women looking into the Sepulchre, and beholding Two Angels where the Lord lay (1820 catalogue, entry 320) | Not stated in 1820 list | Medium not stated |
| The Angel loosening the Chains of St. Peter in Prison (1820 catalogue, entry 321) | Not stated in 1820 list | Medium not stated |
| The Death of Sir Philip Sydney (1820 catalogue, entry 322) | Not stated in 1820 list | Medium not stated |
| The Death of Epaminondas (1820 catalogue, entry 323) | Not stated in 1820 list | Medium not stated |
| The Death of Bayard (1820 catalogue, entry 324) | Not stated in 1820 list | Medium not stated |
| The small sketch of Christ's Ascension (1820 catalogue, entry 325) | Not stated in 1820 list | Sketch; medium unstated |
| The sketch of a Group of Legendary Saints. In imitation of Reubens (1820 catalogue, entry 326) | Not stated in 1820 list | Sketch; medium unstated |
| The picture of Kosciusco on a Couch, as he appeared in London, 1797 (1820 catalogue, entry 327) | Not stated in 1820 list | Medium not stated |
| The Death of Cephalus (1820 catalogue, entry 328) | Not stated in 1820 list | Medium not stated |
| Abraham and Isaac:--"Here is the Wood and Fire, but where is the Lamb for Sacrifice?" (1820 catalogue, entry 329) | Not stated in 1820 list | Medium not stated |
| The sketch of the Bard. From Gray (1820 catalogue, entry 330) | Not stated in 1820 list | Sketch; medium unstated |
| The Pardoning of John by his brother King Henry, at the Solicitation of his Mother (1820 catalogue, entry 331) | Not stated in 1820 list | Sketch; medium unstated |
| St. George and the Dragon (1820 catalogue, entry 332) | Not stated in 1820 list | Sketch; medium unstated |
| The picture of Eponina with her Children, giving Bread to her Husband when in Concealment (1820 catalogue, entry 333) | Not stated in 1820 list | Medium not stated |
| The sketch on paper of Christ's Last Supper (1820 catalogue, entry 334) | Not stated in 1820 list | Sketch; medium unstated |
| The picture of the Pardoning of John, at his Mother's Solicitation (1820 catalogue, entry 335) | Not stated in 1820 list | Medium not stated |
| The Death of Lord Chatham (1820 catalogue, entry 336) | Not stated in 1820 list | Medium not stated |
| The Presentation of the Crown to William the Conqueror (1820 catalogue, entry 337) | Not stated in 1820 list | Medium not stated |
| Europa crowning the Bull with Flowers (1820 catalogue, entry 338) | Not stated in 1820 list | Medium not stated |
| Mr. West's Garden, Gallery, and Painting-Room (1820 catalogue, entry 339) | Not stated in 1820 list | Medium not stated |
| The Cave of Despair. From Spenser (1820 catalogue, entry 340) | Not stated in 1820 list | Medium not stated |
| The picture of Christ's Resurrection (1820 catalogue, entry 341) | Not stated in 1820 list | Medium not stated |
| The sketch of the Destruction of the Spanish Armada (1820 catalogue, entry 342) | Not stated in 1820 list | Sketch; medium unstated |
| The picture of Arethusa bathing (1820 catalogue, entry 343) | Not stated in 1820 list | Medium not stated |
| The sketch of Priam soliciting of Achilles the Body of Hector (1820 catalogue, entry 344) | Not stated in 1820 list | Sketch; medium unstated |
| The picture of Moonlight. (Small.) (1820 catalogue, entry 345) | Not stated in 1820 list | Medium not stated |
| The small sketch of Cupid showing Venus his Finger stung by a Bee (1820 catalogue, entry 346) | Not stated in 1820 list | Sketch; medium unstated |
| The drawings of the Two Sides of the intended Chapel at Windsor, with the Arrangement of the Pictures, &c (1820 catalogue, entry 347) | Not stated in 1820 list | Drawing |
| The drawing of St. Matthew, with the Angel (1820 catalogue, entry 348) | Not stated in 1820 list | Drawing |
| Alcibiades and Timon of Athens (1820 catalogue, entry 349) | Not stated in 1820 list | Drawing |
| Penn's Treaty (1820 catalogue, entry 350) | Not stated in 1820 list | Drawing |
| Regulus (1820 catalogue, entry 351) | Not stated in 1820 list | Drawing |
| Mark Antony, showing the Robe and Will of Cæsar (1820 catalogue, entry 352) | Not stated in 1820 list | Drawing |
| The Birth of Jacob and Esau (1820 catalogue, entry 353) | Not stated in 1820 list | Drawing |
| The Death of Dido (1820 catalogue, entry 354) | Not stated in 1820 list | Drawing |
| The large sketch, in oil, (on paper,) of Moses receiving the Laws on Mount Sinai (1820 catalogue, entry 355) | Not stated in 1820 list | Oil sketch |
| The large drawing of the Death of Hippolytus (1820 catalogue, entry 356) | Not stated in 1820 list | Drawing |
| The large sketch, in oil, of the Death of St. Stephen. On paper (1820 catalogue, entry 357) | Not stated in 1820 list | Oil sketch |
| The drawing of the Death of Cæsar (1820 catalogue, entry 358) | Not stated in 1820 list | Drawing |
| The Swearing of Hannibal (1820 catalogue, entry 359) | Not stated in 1820 list | Drawing |
| The Expulsion of Adam and Eve (1820 catalogue, entry 360) | Not stated in 1820 list | Drawing |
| The Deluge (1820 catalogue, entry 361) | Not stated in 1820 list | Drawing |
| The sketch, in oil, of the Landing of Agrippina. On paper (1820 catalogue, entry 362) | Not stated in 1820 list | Oil sketch |
| Leonidas ordering Cleombrotus into Banishment (oil sketch on paper) (1820 catalogue, entry 363) | Not stated in 1820 list | Oil sketch |
| The drawing of the Death of Epaminondas (1820 catalogue, entry 364) | Not stated in 1820 list | Drawing |
| The sketch, in oil, of the Death of Aaron. On paper (1820 catalogue, entry 365) | Not stated in 1820 list | Oil sketch |
| The drawing of the Death of Sir Philip Sydney (1820 catalogue, entry 366) | Not stated in 1820 list | Drawing |
| The sketch, in oil, (on paper,) of David prostrate, whilst the destroying Angel sheathes the Sword (1820 catalogue, entry 367) | Not stated in 1820 list | Oil sketch |
| The drawing of the Women looking into the Sepulchre (1820 catalogue, entry 368) | Not stated in 1820 list | Drawing |
| St. John Preaching (1820 catalogue, entry 369) | Not stated in 1820 list | Drawing |
| The Golden Age (1820 catalogue, entry 370) | Not stated in 1820 list | Drawing |
| Antinous and Stratonice (1820 catalogue, entry 371) | Not stated in 1820 list | Drawing |
| The Death of Demosthenes (1820 catalogue, entry 372) | Not stated in 1820 list | Drawing |
| The large sketch, in oil, (on paper,) of Death on the Pale Horse (1820 catalogue, entry 373) | Not stated in 1820 list | Oil sketch |
| The drawing of King John and the Barons with Magna Charta (1820 catalogue, entry 374) | Not stated in 1820 list | Drawing |
| La Hogue (1820 catalogue, entry 375) | Not stated in 1820 list | Drawing |
| Jacob and Laban (1820 catalogue, entry 376) | Not stated in 1820 list | Drawing |
| Destruction of the Assyrian Camp by the destroying Angel (large drawing) (1820 catalogue, entry 377) | Not stated in 1820 list | Drawing |
| The large sketch, in oil, (on paper,) of Christ raising the Widow's Son (1820 catalogue, entry 378) | Not stated in 1820 list | Oil sketch |
| Water gushing from the Rock when struck by Moses (oil sketch on paper) (1820 catalogue, entry 379) | Not stated in 1820 list | Oil sketch |
| The drawing of the Death of Socrates (1820 catalogue, entry 380) | Not stated in 1820 list | Drawing |
| The Boyne (1820 catalogue, entry 381) | Not stated in 1820 list | Drawing |
| The Death of Eustace St. Celaine (1820 catalogue, entry 382) | Not stated in 1820 list | Drawing |
| The sketch, in oil, (on paper,) of the Procession of Agrippina with her Children and the Roman Ladies through the Roman Camp, when in Mutiny (1820 catalogue, entry 383) | Not stated in 1820 list | Oil sketch |
| The drawing of the Rescue of Alexander III. of Scotland from the Fury of the Stag (1820 catalogue, entry 384) | Not stated in 1820 list | Drawing |
| The Death of Wolfe (1820 catalogue, entry 385) | Not stated in 1820 list | Drawing |
| The sketch, in oil, of King Alfred dividing his Loaf with a Pilgrim (1820 catalogue, entry 386) | Not stated in 1820 list | Oil sketch |
| The sketch, in oil, of the Raising of Lazarus (1820 catalogue, entry 387) | Not stated in 1820 list | Oil sketch |
| The small whole-length of Thomas à Becket, in oil, on canvass (1820 catalogue, entry 388) | Not stated in 1820 list | Oil painting |
| The small picture of the Death of the Stag (1820 catalogue, entry 389) | Not stated in 1820 list | Medium not stated |
| Death of the Stag (drawing) (1820 catalogue, entry 390) | Not stated in 1820 list | Drawing |
| Nathan and David (1820 catalogue, entry 391) | Not stated in 1820 list | Drawing |
| Joseph making himself known to his Brethren (1820 catalogue, entry 392) | Not stated in 1820 list | Drawing |
| The drawing of Narcissus in the Fountain (1820 catalogue, entry 393) | Not stated in 1820 list | Drawing |
| The Duannic received by Lord Clive (small drawing sketch) (1820 catalogue, entry 394) | Not stated in 1820 list | Drawing |
| The Continence of Scipio (1820 catalogue, entry 395) | Not stated in 1820 list | Drawing |
| The Last Judgment, and the Sea giving up its Dead (1820 catalogue, entry 396) | Not stated in 1820 list | Drawing |
| The Bard. From Gray (1820 catalogue, entry 397) | Not stated in 1820 list | Drawing |
| Belisarius and his Family (1820 catalogue, entry 398) | Not stated in 1820 list | Drawing |
| The sketch, in oil, of Aaron standing between the Dead and Living to stop the Plague (1820 catalogue, entry 399) | Not stated in 1820 list | Oil sketch |
| Messenger announcing to Samuel the Loss of the Battle (oil sketch on paper) (1820 catalogue, entry 400) | Not stated in 1820 list | Oil sketch |
| The drawing of Sir Philip Sydney ordering the Water to be given to the wounded Soldier (1820 catalogue, entry 401) | Not stated in 1820 list | Drawing |
| The sketch of Christ Rejected (1820 catalogue, entry 402) | Not stated in 1820 list | Sketch; medium unstated |
| The great picture of Christ Rejected (1820 catalogue, entry 403) | Not stated in 1820 list | Medium not stated |
| Death on the Pale Horse (great picture entry) (1820 catalogue, entry 404) | Not stated in 1820 list | Medium not stated |
| The second picture of Christ healing the Sick (1820 catalogue, entry 405) | Not stated in 1820 list | Medium not stated |
| The third great picture of Lord Clive receiving the Duannic (1820 catalogue, entry 406) | Not stated in 1820 list | Medium not stated |
| Portrait of the Duke of Portland (1820 catalogue, entry 407) | Not stated in 1820 list | Medium not stated |
| Self-portrait left unfinished (1820 catalogue, entry 408) | Not stated in 1820 list | Medium not stated |
Frequently Asked Questions
She is the widow of Germanicus. The scene follows Tacitus's account of her return to Italy with his ashes and two children, greeted by a large gathering at Brundisium. [2]
The vessel is the urn containing her husband's ashes. Its small scale contrasts with the large public gathering that his death has brought together. [2]
West signed the painting in 1768. It belongs to Yale University Art Gallery, accession 1947.16. [1]
Its Roman narrative, controlled gestures, clear figure grouping and sculptural references connect it with the Neoclassical interest in antiquity and exemplary conduct. Yale's handbook discusses both its moral purpose and classical sources. [4]
Galt's later biography says that Drummond showed its merits to George III, who met West and commissioned a painting of Regulus. The detailed audience story is Galt's remembered narrative, not a surviving verbatim conversation. [5]
Discussion
Look again at the images and ideas explored in Agrippina Landing at Brundisium with the Ashes of Germanicus. These editorial prompts invite your observations.
Reader Insights
The urn is physically small but gives the surrounding crowd its reason for gathering. Its importance depends on relationships rather than size alone.
Agrippina's lowered gaze contrasts with the many people trying to see her. The picture makes private absorption and public attention occupy the same space.
Spectators on the waterfront and buildings extend the event beyond the foreground. West lets the city participate without giving every distant witness an individual story.
Join the Conversation
Share a detail, comparison or question about Agrippina Landing at Brundisium with the Ashes of Germanicus below.
References
- Yale University Art Gallery , Agrippina Landing at Brundisium with the Ashes of Germanicus , 1947.16, collection text, signature, dimensions and provenance. Accessed 17 October 2026. View source
- Tacitus , Annals , III.1–6, III.12 and III.14, English translation in the Loeb Classical Library, vol. III (1931), reproduced by LacusCurtius. The consulted translation is not identified as the edition used by West. View source
- John Galt , The Life and Works of Benjamin West , Part II (1820), chapter II, pp. 11–13. Later account compiled from materials furnished by West. View source
- Alan Shestack , ed., Yale University Art Gallery: Selections (New Haven: Yale University Art Gallery, 1983), p. 54. Current Yale dimensions in reference 1 supersede the older entry's width. View source
- Galt , Life and Works , Part II (1820), chapter III, pp. 21–26, Agrippina's reception and the Regulus commission. View source
- John Galt, The Life, Studies, and Works of Benjamin West (1820), Part II, Appendix II, A Catalogue of the Works of Mr. West, pp. 216–234. Historical catalogue entries can group works or repeat titles; their number is not a unique-painting total. View source
- Ellen G. Miles and contributors, American Paintings of the Eighteenth Century (National Gallery of Art, 1995), selected West, Stuart and Trumbull passages and West object entries. Selected passages only: West biography and object entries; Stuart and Trumbull biographies for studio relationships. Directory records reported from this publication retain their 1995 scope; underlying archives were not independently inspected. View source
- National Gallery of Art, Benjamin West artist and collection index, selected object tombstones. Selected artist-page objects and the first collection-results page; this is not a complete census of the 35 indexed collection entries. View source
- Christie’s, Study for Pyrrhus when a child brought before Glaucias, object description and discussion of the related exhibited painting. The oil study and the painting exhibited in 1767 are separate records; the latter was untraced when catalogued. View source
- Splash image source.
Benjamin West, Agrippina Landing at Brundisium with the Ashes of Germanicus, 1768. Yale University Art Gallery, Gift of Louis M. Rabinowitz, 1947.16. Public-domain image supplied through Yale Open Access. Public domain . Whole supplied image, proportionally resized; no appearance adjustment.
View source
