Ventes d'œuvres le 1778.04.11

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  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Reposo. The Virgin supporting the Saviour, who holds his cross, with angels presenting fruits, &c. in a posture of adoration. This is, perhaps, one of the most exquisite performance of this great artist, in the world. -- From the cabinet of the Abbé Peroux (Albano)|A Reposo. The Virgin supporting the Saviour, who holds his cross, with angels presenting fruits, &c. in a posture of adoration. This is, perhaps, one of the most exquisite performance of this great artist, in the world. -- From the cabinet of the Abbé Peroux]] réalisée par Albano. [44]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Apotheosis of Lewis XIV. This capital panegyric on the patron of the painter is also that of the artist. It is scarce possible to imagine, much less to execute, any thing more sublime or more beautiful. The detail would be too tedious, and is therefore left to the candour of the unprejudiced spectator, who will certainly do it justice. -- From the cabinet of the Abbé Jevigny (Le Brun)|The Apotheosis of Lewis XIV. This capital panegyric on the patron of the painter is also that of the artist. It is scarce possible to imagine, much less to execute, any thing more sublime or more beautiful. The detail would be too tedious, and is therefore left to the candour of the unprejudiced spectator, who will certainly do it justice. -- From the cabinet of the Abbé Jevigny]] réalisée par Le Brun. [46]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Music-master smitten with the Charms of his Pupil. It is not without good grounds that this master is in such high esteem with persons of taste all over Europe. It is a mistake to think it is high finishing alone with occasions our surprize. It is the elegance, the naturalness, the truth, the harmony which comple universal admiration. -- From the cabinet of the Abbé Peroux (Mieris)|The Music-master smitten with the Charms of his Pupil. It is not without good grounds that this master is in such high esteem with persons of taste all over Europe. It is a mistake to think it is high finishing alone with occasions our surprize. It is the elegance, the naturalness, the truth, the harmony which comple universal admiration. -- From the cabinet of the Abbé Peroux]] réalisée par Mieris. [47]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Virgin and Child. The curious, it is hoped, will look attentively into the execution of this delicate and undoubted cabinet picture of this great man, which is also in the highest preservation. Its other qualities are such as might be expected from Leonardo. -- From the cabinet of Mons July de la Live (L. Da Vinci)|The Virgin and Child. The curious, it is hoped, will look attentively into the execution of this delicate and undoubted cabinet picture of this great man, which is also in the highest preservation. Its other qualities are such as might be expected from Leonardo. -- From the cabinet of Mons July de la Live]] réalisée par L. Da Vinci. [49]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[This capital Landscape is the joint production of two of the most eminent artists in the world. As its merit and preservation are conspicuous of themselves, it will be needless to add any thing in its praise. -- It is from the cabinet of the Abbé Peroux (Van Uden)|This capital Landscape is the joint production of two of the most eminent artists in the world. As its merit and preservation are conspicuous of themselves, it will be needless to add any thing in its praise. -- It is from the cabinet of the Abbé Peroux]] réalisée par Van Uden. [51]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Concerto between a Lady who sings, and a Cavalier playing on the Guittar. Neither Gerard Dow, nor Mieris, nor Vanderwerf, nor any of the high-finishing masters, have ever surpassed this performance. 'Tis a jewel cut and polished with infinite taste and labour. No miniature, no enamel was ever more delicately finished. -- It is from the cabinet of Mons. Coquerell (Le Maur)|A Concerto between a Lady who sings, and a Cavalier playing on the Guittar. Neither Gerard Dow, nor Mieris, nor Vanderwerf, nor any of the high-finishing masters, have ever surpassed this performance. 'Tis a jewel cut and polished with infinite taste and labour. No miniature, no enamel was ever more delicately finished. -- It is from the cabinet of Mons. Coquerell]] réalisée par Le Maur. [54]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Landscape representing the Morning, with Figures and Cattle. This is a genuine picture of this great luminary of the Venetian school. Neither colouring, nor the magic of light and shade, can be carried farther. -- This admirable picture is from the collection of the celebrated Mons. Crozat (Bassan)|A Landscape representing the Morning, with Figures and Cattle. This is a genuine picture of this great luminary of the Venetian school. Neither colouring, nor the magic of light and shade, can be carried farther. -- This admirable picture is from the collection of the celebrated Mons. Crozat]] réalisée par Bassan. [60]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Virgin and Child. The Virgin supports the bambino with one hand, and with the other her head, in which graceful attitude she is employed in reading, and pious meditation. The attention of the bambino is extremely interesting. -- From the Marquis de Gravelle (Ciro Ferri)|Virgin and Child. The Virgin supports the bambino with one hand, and with the other her head, in which graceful attitude she is employed in reading, and pious meditation. The attention of the bambino is extremely interesting. -- From the Marquis de Gravelle]] réalisée par Ciro Ferri. [61]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The History of Masinissa and Sophonisba. The story of this piece being generally known, it will be unnecessary to repeat what is related with so much eloquence concerning it, in the Roman historians. With regard to its picturesque merit, there is still less occasion for entering into a detail, it being extremely capital on whatever side it is considered, drawing, colouring, or expression. -- From the same cabinet of the Marquis de Gravelle (Lairesse)|The History of Masinissa and Sophonisba. The story of this piece being generally known, it will be unnecessary to repeat what is related with so much eloquence concerning it, in the Roman historians. With regard to its picturesque merit, there is still less occasion for entering into a detail, it being extremely capital on whatever side it is considered, drawing, colouring, or expression. -- From the same cabinet of the Marquis de Gravelle]] réalisée par Lairesse. [63]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Sea Port. There can be no question concerning the genuineness of this picture. Though in the most perfect preservation, it is so superiorly painted that none but a Claude could have produced it. It represents a subject from the Eneid, the Hero landing near Carthage. -- This beautiful piece is from the collection of the Marquis de Gravelle (Claude)|A Sea Port. There can be no question concerning the genuineness of this picture. Though in the most perfect preservation, it is so superiorly painted that none but a Claude could have produced it. It represents a subject from the Eneid, the Hero landing near Carthage. -- This beautiful piece is from the collection of the Marquis de Gravelle]] réalisée par Claude. [65]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A capital Landscape, with the Story of Mercury and Argus. Love and Eloquence as this picture shews, will always prove an overmatch for Jealousy with all its eyes. Music comes in for a share of the glory of subduing this watchful monster. The landscape is singular, beautiful and romantic. The whole forms one of the noblest pieces in being. -- It is from the same collection of the Cardinal Polignac. (Ann. Caracci)|A capital Landscape, with the Story of Mercury and Argus. Love and Eloquence as this picture shews, will always prove an overmatch for Jealousy with all its eyes. Music comes in for a share of the glory of subduing this watchful monster. The landscape is singular, beautiful and romantic. The whole forms one of the noblest pieces in being. -- It is from the same collection of the Cardinal Polignac.]] réalisée par Ann. Caracci. [67]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Achilles discovered by Ulysses. The scene is a palace of the King of Scyros, in a portico of which are seen the daughters of that monarch, and among them, in a female dress, the youthful Hero of the piece. Nature, as this piece shews, will shine forth in spite of every effort. The warlike boy, at the sight of arms, cannot conceal his joy, and by that betrays himself to the artful chief, who undertook to bring him to the assistance of his countrymen then warring in a distant land, and almost wearied out with a series of misfortunes. One warrior made a total change in the fortune of the war, and brought victory to the Grecians heretofore overwhelmed with despair. The picture before us is the best commentary on the poem whence it is taken. The picturesque part, or execution, will best speak for itself. -- From the cabinet of Mons. le Doux (Nic. Poussin)|Achilles discovered by Ulysses. The scene is a palace of the King of Scyros, in a portico of which are seen the daughters of that monarch, and among them, in a female dress, the youthful Hero of the piece. Nature, as this piece shews, will shine forth in spite of every effort. The warlike boy, at the sight of arms, cannot conceal his joy, and by that betrays himself to the artful chief, who undertook to bring him to the assistance of his countrymen then warring in a distant land, and almost wearied out with a series of misfortunes. One warrior made a total change in the fortune of the war, and brought victory to the Grecians heretofore overwhelmed with despair. The picture before us is the best commentary on the poem whence it is taken. The picturesque part, or execution, will best speak for itself. -- From the cabinet of Mons. le Doux]] réalisée par Nic. Poussin. [68]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Liberality characterised by a Woman, holding in one hand the symbols of the rewards due to extraordinary merit, in the othe the symbol of the justice which accompanies or should accompany acts of real munificence. Her countenance is open and amiable, to express that affability and easiness of access which should attend on those endued with the noble propensity to protect blushing desert. From the collection of Mons. Romagnese (Guercino)|Liberality characterised by a Woman, holding in one hand the symbols of the rewards due to extraordinary merit, in the othe the symbol of the justice which accompanies or should accompany acts of real munificence. Her countenance is open and amiable, to express that affability and easiness of access which should attend on those endued with the noble propensity to protect blushing desert. From the collection of Mons. Romagnese]] réalisée par Guercino. [69]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[St. Sebastian. This is a true Guido, whatever opinion prejudice or timidity may entertain concerning it. Indeed, it requires by no means so much mechanical knowledge to make the distinction between the copy and the original, as some adepts would persuade us. The former have neither the spirit nor the freedom of the latter: as to grace, the mechanics who follow copying never knew what it meant. From the cabinet of the Count de Lassay (Guido)|St. Sebastian. This is a true Guido, whatever opinion prejudice or timidity may entertain concerning it. Indeed, it requires by no means so much mechanical knowledge to make the distinction between the copy and the original, as some adepts would persuade us. The former have neither the spirit nor the freedom of the latter: as to grace, the mechanics who follow copying never knew what it meant. From the cabinet of the Count de Lassay]] réalisée par Guido. [70]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[St. Peter delivered from Prison by the Angel. This is the chef d'oeuvre of Vouet, who is a great artist in this picture. In it we easily discover the master of those great geniuses Le Sueur and Le Brun. The master is known by the pupils, and so may the pupils be known by the works of their master. From the collection of the famous Boucher (Vouet)|St. Peter delivered from Prison by the Angel. This is the chef d'oeuvre of Vouet, who is a great artist in this picture. In it we easily discover the master of those great geniuses Le Sueur and Le Brun. The master is known by the pupils, and so may the pupils be known by the works of their master. From the collection of the famous Boucher]] réalisée par Vouet. [71]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Rural Festivity. Comedy gives at least equal delight with the tragic scene, because the imitation of Nature is equally the object of both. It has been observed, that though tragedy may be more agreeable to the humour of this nation, as being more suited to the nature of our climate, yet it is believed that objects of a contrary tendency, would be productive of more salutary effects. Such ornaments therefore as excite gay and pleasing ideas, should be prescribed to dispel that gloom occasioned by the moisture of the atmosphere, and which makes us pleased rather than dissatisfied with every thing about us. There never was any thing better calculated to promote this state of calm satisfaction, than the view of the picture before us. A contented mind is a perpetual feast. Here is a perpetual feast, which will, as much as any thing human can, produce content, reconcile us to the present state of things, and help us to make the most of every thing. How happy are these peasants, though free from those cares which attend the great and ambitious! What an instructive lesson to us to be happy while we may, and to enjoy the hour given us by Providence. This copious performance is from the cabinet of Mons. Harriette. (Teniers)|A Rural Festivity. Comedy gives at least equal delight with the tragic scene, because the imitation of Nature is equally the object of both. It has been observed, that though tragedy may be more agreeable to the humour of this nation, as being more suited to the nature of our climate, yet it is believed that objects of a contrary tendency, would be productive of more salutary effects. Such ornaments therefore as excite gay and pleasing ideas, should be prescribed to dispel that gloom occasioned by the moisture of the atmosphere, and which makes us pleased rather than dissatisfied with every thing about us. There never was any thing better calculated to promote this state of calm satisfaction, than the view of the picture before us. A contented mind is a perpetual feast. Here is a perpetual feast, which will, as much as any thing human can, produce content, reconcile us to the present state of things, and help us to make the most of every thing. How happy are these peasants, though free from those cares which attend the great and ambitious! What an instructive lesson to us to be happy while we may, and to enjoy the hour given us by Providence. This copious performance is from the cabinet of Mons. Harriette.]] réalisée par Teniers. [72]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Virgin and Bambino. Albert was the Raphael of Germany. He contributed more to the perfection of his art than any artist, though deprived of many advantages which they possessed. He never saw Rome, nor the ancient models of Grecian beauty. Yet he saw nature with the same eyes. Raphael, who knew and admired his genius, did ample justice to it. This picture, which is in high preservation, is a specimen of that extraordinary talent which had the good fortune to please so great a judge. In it we see more perfectly the singular merit of the master: Raphael saw only his prints. This rariety sic is from the cabinet of the Abbé de Jevigny (Albert Durer)|The Virgin and Bambino. Albert was the Raphael of Germany. He contributed more to the perfection of his art than any artist, though deprived of many advantages which they possessed. He never saw Rome, nor the ancient models of Grecian beauty. Yet he saw nature with the same eyes. Raphael, who knew and admired his genius, did ample justice to it. This picture, which is in high preservation, is a specimen of that extraordinary talent which had the good fortune to please so great a judge. In it we see more perfectly the singular merit of the master: Raphael saw only his prints. This rariety sic is from the cabinet of the Abbé de Jevigny]] réalisée par Albert Durer. [73]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Christ interrogated by the Jews. The pictures of this master justly admired, and being scarce, are eagerly sought after. There is little room to fear from imposture, as his manner is so extraordinary and so peculiar to himself, that it is almost impossible to copy him. -- It is from the cabinet of the Abbé Peroux (Caravaggio)|Christ interrogated by the Jews. The pictures of this master justly admired, and being scarce, are eagerly sought after. There is little room to fear from imposture, as his manner is so extraordinary and so peculiar to himself, that it is almost impossible to copy him. -- It is from the cabinet of the Abbé Peroux]] réalisée par Caravaggio. [74]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Perseus and Andromeda. The invention of this picture is as ingenious as the execution has been happy. The eagerness of the hero, the reward of whose heroism is to be the Beauty he is delivering, is visible in his countenance and gesture. The virgin too by her blushes, betrays the secret satisfaction of her heart, to be delivered by so amiable a youth. Love seated on his steed, seems to exult at his own triumphs. From the cabinet of Mons. Vanloo (Rubens)|Perseus and Andromeda. The invention of this picture is as ingenious as the execution has been happy. The eagerness of the hero, the reward of whose heroism is to be the Beauty he is delivering, is visible in his countenance and gesture. The virgin too by her blushes, betrays the secret satisfaction of her heart, to be delivered by so amiable a youth. Love seated on his steed, seems to exult at his own triumphs. From the cabinet of Mons. Vanloo]] réalisée par Rubens. [75]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Story of Dryope. For the fable expressed in this beautiful picture, see Ovid as translated by Pope. The poem and picture mutually illustrate each other. The ingenious connoisseur will doubtless recollect the similarity between these two geniuses. Both are tender, natural and sublime. But the painter is certainly the greater master, as he never indulged himself in those cold puerile conceits for which his countryman Ovid is justly censured. -- From the cabinet of Mons Buret (Dominichino)|The Story of Dryope. For the fable expressed in this beautiful picture, see Ovid as translated by Pope. The poem and picture mutually illustrate each other. The ingenious connoisseur will doubtless recollect the similarity between these two geniuses. Both are tender, natural and sublime. But the painter is certainly the greater master, as he never indulged himself in those cold puerile conceits for which his countryman Ovid is justly censured. -- From the cabinet of Mons Buret]] réalisée par Dominichino. [77]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Flora. The goddess is sitting holding a vase, with flowers, the emblem of her dominion over this pleasing part of vegetable Nature. She is attended with genii, representing the three seasons in which flowers are seen. The whole forms a miracle of grace and beauty. -- From the cabinet of Mons. St. Germain (Parmegiano)|Flora. The goddess is sitting holding a vase, with flowers, the emblem of her dominion over this pleasing part of vegetable Nature. She is attended with genii, representing the three seasons in which flowers are seen. The whole forms a miracle of grace and beauty. -- From the cabinet of Mons. St. Germain]] réalisée par Parmegiano. [79]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[St. Peter denying Christ. Nothing can equal the expression in this picture; the earnestness of the young woman who interrogates the apostle, or the boldness of his denial of his divine master. The attendants discover equal inquisitiveness, and seem rather to suspect his sincerity. The pictures says many things besides, which would take up too much time to enter upon. (Sal. Rosa)|St. Peter denying Christ. Nothing can equal the expression in this picture; the earnestness of the young woman who interrogates the apostle, or the boldness of his denial of his divine master. The attendants discover equal inquisitiveness, and seem rather to suspect his sincerity. The pictures says many things besides, which would take up too much time to enter upon.]] réalisée par Sal. Rosa. [80]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Woman taken in Adultery. These are companions; yet there is a striking contrast between them. The former expressed boldness and effrontery; this, modesty and repentance. The contrition and confusion of the fair culprit is such, that he must be a greater than she to condemn her. She has here a merciful judge, who will not sacrifice her to the vengeance of persons, perhaps, more guilty than herself. -- From the cabinet of the Prince de Rubanpré (Sal. Rosa)|The Woman taken in Adultery. These are companions; yet there is a striking contrast between them. The former expressed boldness and effrontery; this, modesty and repentance. The contrition and confusion of the fair culprit is such, that he must be a greater than she to condemn her. She has here a merciful judge, who will not sacrifice her to the vengeance of persons, perhaps, more guilty than herself. -- From the cabinet of the Prince de Rubanpré]] réalisée par Sal. Rosa. [81]
  • 1778.04.11/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Aeneas carrying his Father Anchises from Troy. This capital painting has the suffrages of one half of Europe in its favour. The artist's reputation is universally acknowledged, and it is imagined no one will doubt its authenticity, as the author appears in every touch. -- From the cabinet of the Marquis de Gravelle (Carlo Vanlo)|Aeneas carrying his Father Anchises from Troy. This capital painting has the suffrages of one half of Europe in its favour. The artist's reputation is universally acknowledged, and it is imagined no one will doubt its authenticity, as the author appears in every touch. -- From the cabinet of the Marquis de Gravelle]] réalisée par Carlo Vanlo. [82]
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