published by Rudolph Ackermann in 3 volumes, 1808–1811.

FOUNDED JUNE 4, 1805 — OPENED JANUARY 18, 1806.

The Kings Most Excellent Majesty, Patron.

His Royal Highness the Prince of Wales, Vice-Patron.

The Earl of Dartmouth, President.

The avowed purpose of this excellent Institution was, to give to the painters a facility in selling their works, and to form a school of painting for the rising generation, by furnishing exemplars by the old masters, from the collections of the nobility and gentry who formed and supported the plan. 

At a meeting of subscribers of fifty guineas or upwards, in June 1805,

PRESENT,

Earl of Dartmouth in the chair

VICE-PRESIDENTS,

• The Marquis of Abercorn,
• Sir Francis Baring, Bart.
• Sir George Beaumont, Bart.
• Right Hon. Isaac Corry, M. P.
• Thomas Bernard, Esq.
• Lord de Dunstanville,
• Charles Duncombe, Esq. M. P.
• John Egerton, Esq.
• William Fitzhugh, Esq. M. P.
• Sir A. Hume, Bart.
• Henry Hope, Esq.
• Thomas Hope, Esq.
• Lord Viscount Lowther,
• E. L. Loveden, Esq.
• Samuel Lysons, Esq.
• P. Metcalf, Esq. M. P.
• W. Morlafnd, Esq. M. P.
• Lord Somerville,
• W. Smith, Esq. M. P.
• Richard Troward, Esq.
• Caleb Whitefoord, Esq.

After resolving that the Earl of Dartmouth be desired to wait on the Prince of Wales, to request that his royal highness will do the Institution the honour of accepting the situation of vice-patron, — It was ordered, that a select committee be authorized to purchase or hire a place for the exhibition. Their choice fell on the Shakespeare Gallery, Pall-Mall, which, in the preceding January, had become the property of Mr. Tassie, from his possessing the fortunate ticket in Alderman Boydell’s lottery; and from Mr. Tassie they purchased the premises, and remaining sixty-three years of the lease, for 5500/.

On the 18th of January, 1806, it was opened with an exhibition of the works of British artists on sale: they sold forty-eight pictures, which produced 2800/. The exhibition closed about the time that the Royal Academy opens; and during this summer the gallery was furnished with many fine pictures by the old masters, from the collections of the founders of the Institution, in order to form a British School of Painting, which had so long been a desideratum. Benjamin West, Esq. P. R. A. wishing to give it some eclat, copied a picture by Vandyke of Govastius, and the Cradle Scene from Rembrandt. It was attended by many pupils of both sexes.

In the ensuing spring the exhibition again commenced; and before it closed, ninety-three pictures were sold for 3950/.

The following season the gallery was again opened to the students, but upon a different plan. It had been suggested by Sir Joshua Reynolds, in one of his lectures, that to take a fine picture by one of the old masters, and paint a companion to it, was a preferable mode of study to that of cold laborious copying: under this idea, the British Institution offered three prizes of 100/. 60/. and 40/. for the three best pictures painted as companions to such of the old masters as the artists chose.

The annexed print is a representation of the gallery at the time these students are at work.

The first premium given by the Institution, anno 1807, was gained by Mr. J. Pocock. The subject is, The insolent Visit of Thomas a Becket to King Henry the Second, A. D. 1164; painted as a companion to Vandyke’s Theodosius, in the collection of Mr. Angerstein.

The second premium was given to Mr. James Green, for his picture of Gadshill and the Carriers; painted as a companion to The Candlelight, by Rubens, in the possession of Mr. Duncombe.

The third premium was given to Miss C. Reinagle — The Interior of a Wood, with Banditti; painted as a companion to Mercury and Admetus, by Salvator Rosa, in the collection of Lord Grantham.

From so fine a school of art, where British genius is countenanced by so liberal an encouragement, what may we not expect? The present sale bids fair to exceed the two former. One of the regulations of the British Institution may be sufficient to give a general idea of the nature of the works admitted.

“Artists who are natives of, or resident in, the United Kingdom, may be exhibitors in the British Gallery; and their works, if originals, and their own property, will be received therein for exhibition and sale; such works being either historical subjects or landscapes painted in oil, statues, basso-relievos, or models in sculpture.  But portraits whether large or in miniature, drawings in watercolours, and architectural drawings, are inadmissible.”

The artists pay towards the fund two and a.half percent. on those pictures which are sold; and they have since gratuitously added another two and a half percent. to Mr. V. Green, the the keeper, a very proper compliment to his unremitting attention and gentlemanly conduct in his office.

The annexed print gives a correct and interesting view of this very fine suite of rooms, and the figures have great spirit and  appropriate character.

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