Ventes d'œuvres le 1773.03.06

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  • 1773.03.06/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Passage of the Red Sea, from Poussin. It is to be remarked that the engravings which have been published of this picture and its companion, have, in all probability, been done from these admirable copies of Le Brun, because in the print of this subject we do not find the pillar of fire behind Moses, which is certainly in the picture painted by Poussin, in the collection of the Earl of Radnor. For what reason Le Brun had ommitted this, is best known to himself (Le Brun)|The Passage of the Red Sea, from Poussin. It is to be remarked that the engravings which have been published of this picture and its companion, have, in all probability, been done from these admirable copies of Le Brun, because in the print of this subject we do not find the pillar of fire behind Moses, which is certainly in the picture painted by Poussin, in the collection of the Earl of Radnor. For what reason Le Brun had ommitted this, is best known to himself]] réalisée par Le Brun, vendue par Robert Strange au prix de 64 gs. [51]
  • 1773.03.06/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[An historical landscape, The Scene of this picture represented a prospect of the antient City of Terracina, in the kingdom of Naples. It was in the neighbourhood of this city, in the morass of Pontius, that the catastrophe which gave rise to the subject of this picture, happened in the year 1641. For a more particular description of it, see that beautiful dialogue which Fenelon, archbishop of Cambray, subjoined to his life of Mignard, supposes between Poussin and Leonardo da Vinci, upon the propriety and excellence of painting, and in which this picture is cited as an example. Felibien, in his life of Poussin, in mentioning several pictures he had painted for Pointel, says: "Ce fut encore dans le même temp qu'il fit pour le même Pointel deux grands paisages: dans l'un il i a un homme mort et entouré d'un serpent, et un autre homme affragé sic. qui s'enfuit. Ce tableau que M. de Plessis Rambouillet, acheta apres la mort du Sieur Pointel, est presentement dans le cabinet de Monsieur Moreau premier valet de Garderobe du Roi, il doit être regardé comme un des plus beaux paisages que le Poussin ait fait." Since the death of Moreau this picture has been in the collection of Monsieur des Niert first valet de chambre to the king, from whose family it was lately purchased. Mr. Demaso has in his custody a series of letters wrote by the hand of Poussin to several of his friends, and amongst others one to the above Pointel, dated from Rome the last of August 1648, and wherein he gives him advice of his having finsihed the above picture, &c. These circumstances, it is presumed, will certify the authenticity of it beyond a doubt (Nicolas Poussin)|An historical landscape, The Scene of this picture represented a prospect of the antient City of Terracina, in the kingdom of Naples. It was in the neighbourhood of this city, in the morass of Pontius, that the catastrophe which gave rise to the subject of this picture, happened in the year 1641. For a more particular description of it, see that beautiful dialogue which Fenelon, archbishop of Cambray, subjoined to his life of Mignard, supposes between Poussin and Leonardo da Vinci, upon the propriety and excellence of painting, and in which this picture is cited as an example. Felibien, in his life of Poussin, in mentioning several pictures he had painted for Pointel, says: "Ce fut encore dans le même temp qu'il fit pour le même Pointel deux grands paisages: dans l'un il i a un homme mort et entouré d'un serpent, et un autre homme affragé sic. qui s'enfuit. Ce tableau que M. de Plessis Rambouillet, acheta apres la mort du Sieur Pointel, est presentement dans le cabinet de Monsieur Moreau premier valet de Garderobe du Roi, il doit être regardé comme un des plus beaux paisages que le Poussin ait fait." Since the death of Moreau this picture has been in the collection of Monsieur des Niert first valet de chambre to the king, from whose family it was lately purchased. Mr. Demaso has in his custody a series of letters wrote by the hand of Poussin to several of his friends, and amongst others one to the above Pointel, dated from Rome the last of August 1648, and wherein he gives him advice of his having finsihed the above picture, &c. These circumstances, it is presumed, will certify the authenticity of it beyond a doubt]] réalisée par Nicolas Poussin, vendue par Robert Strange. [57]
  • 1773.03.06/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Our Saviour with the Virgin and St. Joseph, &c. This is one of the few pictures which Leonardo painted during his residence at the court of Francis the 1st. The portrait of Mona Lisa, commonly known by the name of the Giocondo, who was the favourite of that monarch, is here introduced. The beauty, grace, and delicacy of this head is not inferior to the finest things of Raphael. The characters of the Christ and St. Joseph, are no less worthy of admiration. The whole of this picture conveys to us an idea of the uncommon abilities of Leonardo, and may with propriety be ranked amongst the most elegant productions which painting produced about the beginning of the fifteenth century. I was informed it had been upwards of a hundred years in the possession of the family from which I purchas'd it; and to which we may in great measure ascribe its preservation (Leonardo da Vinci)|Our Saviour with the Virgin and St. Joseph, &c. This is one of the few pictures which Leonardo painted during his residence at the court of Francis the 1st. The portrait of Mona Lisa, commonly known by the name of the Giocondo, who was the favourite of that monarch, is here introduced. The beauty, grace, and delicacy of this head is not inferior to the finest things of Raphael. The characters of the Christ and St. Joseph, are no less worthy of admiration. The whole of this picture conveys to us an idea of the uncommon abilities of Leonardo, and may with propriety be ranked amongst the most elegant productions which painting produced about the beginning of the fifteenth century. I was informed it had been upwards of a hundred years in the possession of the family from which I purchas'd it; and to which we may in great measure ascribe its preservation]] réalisée par Leonardo da Vinci, vendue par Robert Strange, achetée par Lord Clive au prix de 1270 gs. [58]
  • 1773.03.06/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape representing the coolness of the morning, with the departure of Jacob. From the beauty of composition, the elegance of pencil, the transparency of colouring, and the admirable preservation of this picture, it must be ranked amongst the capital works of this inimitable painter. From a drawing of its by Claude, in the collection of his Grace the Duke of Devonshire, we learn it was painted for the Abbé Chevalier at Rome in the year 1677 (Claude Lorraine)|A Landscape representing the coolness of the morning, with the departure of Jacob. From the beauty of composition, the elegance of pencil, the transparency of colouring, and the admirable preservation of this picture, it must be ranked amongst the capital works of this inimitable painter. From a drawing of its by Claude, in the collection of his Grace the Duke of Devonshire, we learn it was painted for the Abbé Chevalier at Rome in the year 1677]] réalisée par Claude Lorraine, vendue par Robert Strange au prix de 400 gs. [59]
  • 1773.03.06/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Queen Elizabeth's Prayer Book, wrote by herself, on vellum, in English, French, Latine and Greek, with a fine miniature of the Duke D'Alanson's head at the beginning, and another of her own portrait at the end, both by Hillier, in a shagreen case with ruby clasps (Hillier)|Queen Elizabeth's Prayer Book, wrote by herself, on vellum, in English, French, Latine and Greek, with a fine miniature of the Duke D'Alanson's head at the beginning, and another of her own portrait at the end, both by Hillier, in a shagreen case with ruby clasps]] réalisée par Hillier, vendue par James West, Esq; Deceased; Late President of the Royal Society, achetée par [[[iileg.]]] au prix de 22.1 gs. [63]
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