Ventes d'œuvres le 1789.12.10

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  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Two studies of heads These pictures were purchased from the celebrated collection of Joseph Smith, Esq; late British Consul at Venice. Giulio Carpioni was the disciple of Alessandro Varottari, commonly called Paduanino, being a native of Padua. Carpioni's chief merit consisted in small figures, and bacchanalian subjects. He is mentioned, with much esteem, in the excellent work Della Pittura Veneziana, &c. pag. 370, of the late learned Antonio Maria Zanetti, formerly librarian of St. Mark's Library at Venice (Giulio Carpioni)|Two studies of heads These pictures were purchased from the celebrated collection of Joseph Smith, Esq; late British Consul at Venice. Giulio Carpioni was the disciple of Alessandro Varottari, commonly called Paduanino, being a native of Padua. Carpioni's chief merit consisted in small figures, and bacchanalian subjects. He is mentioned, with much esteem, in the excellent work Della Pittura Veneziana, &c. pag. 370, of the late learned Antonio Maria Zanetti, formerly librarian of St. Mark's Library at Venice]] réalisée par Giulio Carpioni, vendue par John Strange. [1]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Two others, ditto studies of heads; companions. These pictures were purchased from the celebrated collection of Joseph Smith, Esq; late British Consul at Venice. Giulio Carpioni was the disciple of Alessandro Varottari, commonly called Paduanino, being a native of Padua. Carpioni's chief merit consisted in small figures, and bacchanalian subjects. He is mentioned, with much esteem, in the excellent work Della Pittura Veneziana, &c. pag. 370, of the late learned Antonio Maria Zanetti, formerly librarian of St. Mark's Library at Venice (Giulio Carpioni)|Two others, ditto studies of heads; companions. These pictures were purchased from the celebrated collection of Joseph Smith, Esq; late British Consul at Venice. Giulio Carpioni was the disciple of Alessandro Varottari, commonly called Paduanino, being a native of Padua. Carpioni's chief merit consisted in small figures, and bacchanalian subjects. He is mentioned, with much esteem, in the excellent work Della Pittura Veneziana, &c. pag. 370, of the late learned Antonio Maria Zanetti, formerly librarian of St. Mark's Library at Venice]] réalisée par Giulio Carpioni, vendue par John Strange. [2]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The original model, in oil, of his celebrated painting in Fresco, on the cieling of the Room called the Anti Collegio, in the Ducal Palace at Venice; representing the famous city, by the figure of a woman seated, with many other Figures. See Zanetti, as before Della Pittura Veneziana, pag. 175; Ridolfi in the life of Paul Veronese; Boschini, and the other Writers, on Venice; being one of this great master's principal publick works (Paulo Veronese)|The original model, in oil, of his celebrated painting in Fresco, on the cieling of the Room called the Anti Collegio, in the Ducal Palace at Venice; representing the famous city, by the figure of a woman seated, with many other Figures. See Zanetti, as before Della Pittura Veneziana, pag. 175; Ridolfi in the life of Paul Veronese; Boschini, and the other Writers, on Venice; being one of this great master's principal publick works]] réalisée par Paulo Veronese, vendue par John Strange. [8]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A landscape, representing the morning Pedoni's landscapes are very scarce; he was the master of Zuccarelli, the great modern favourite, of landscape, in this country, and whose manner is easily traced here; particularly in the trees and figures; in the picutre of evening especially (Pedoni)|A landscape, representing the morning Pedoni's landscapes are very scarce; he was the master of Zuccarelli, the great modern favourite, of landscape, in this country, and whose manner is easily traced here; particularly in the trees and figures; in the picutre of evening especially]] réalisée par Pedoni, vendue par John Strange. [11]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Its companion, being the evening. Pedoni's landscapes are very scarce; he was the master of Zuccarelli, the great modern favourite, of landscape, in this country, and whose manner is easily traced here; particularly in the trees and figures; in the picutre of evening especially (Pedoni)|Its companion, being the evening. Pedoni's landscapes are very scarce; he was the master of Zuccarelli, the great modern favourite, of landscape, in this country, and whose manner is easily traced here; particularly in the trees and figures; in the picutre of evening especially]] réalisée par Pedoni, vendue par John Strange. [12]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Hercules dragging Cerberus from the infernal regions being his 12th labour; admirably painted, on copper by this great master of the Venetian school; the chief of the Bassan's; and whose true cabinet pictures are rather scarce. No master, perhaps, has had a greater number of imitators than Giacomo Bassano, besides his many relations; yet every judicious eye confesses, that he still stands eminently distinguished above them all; even that great genius of the Dutch school remains evidently Teniers, whenever he imitates Giacomo Bassano, vile copies, and imitations of whose pictures, are common, one may almost say, throughout Europe (Giacomo Bassano)|Hercules dragging Cerberus from the infernal regions being his 12th labour; admirably painted, on copper by this great master of the Venetian school; the chief of the Bassan's; and whose true cabinet pictures are rather scarce. No master, perhaps, has had a greater number of imitators than Giacomo Bassano, besides his many relations; yet every judicious eye confesses, that he still stands eminently distinguished above them all; even that great genius of the Dutch school remains evidently Teniers, whenever he imitates Giacomo Bassano, vile copies, and imitations of whose pictures, are common, one may almost say, throughout Europe]] réalisée par Giacomo Bassano, vendue par John Strange. [14]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A head, being a Magdalen, with the book open before her; from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Carlo Cignani)|A head, being a Magdalen, with the book open before her; from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Carlo Cignani, vendue par John Strange. [15]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The portrait of an Italian nobleman, from the same Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Vandyck)|The portrait of an Italian nobleman, from the same Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Vandyck, vendue par John Strange. [16]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The marriage of St. Catharine, from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Sebastiano Conca)|The marriage of St. Catharine, from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Sebastiano Conca, vendue par John Strange. [21]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[St. Sebatian, most hightly finished, and expressive, in this pathetic master's usual manner; from the same Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Carlo Dolce)|St. Sebatian, most hightly finished, and expressive, in this pathetic master's usual manner; from the same Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Carlo Dolce, vendue par John Strange. [22]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Another St. Sebastian, very expressive, also from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Alessandro Varottari, called Paduanino)|Another St. Sebastian, very expressive, also from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Alessandro Varottari, called Paduanino, vendue par John Strange. [23]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Christ bearing the cross, finely painted, in distemper, on board, by this very rare master, the disciple of John Van Eyck, and who, dying in 1475, gives great antiquity to this picture which is also in high preservation They were both purchased, accidentally, out of private collections (Antoniello da Messina)|Christ bearing the cross, finely painted, in distemper, on board, by this very rare master, the disciple of John Van Eyck, and who, dying in 1475, gives great antiquity to this picture which is also in high preservation They were both purchased, accidentally, out of private collections]] réalisée par Antoniello da Messina, vendue par John Strange. [24]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The original model of a publick work in Florence, representing the miraculous draft of fishes; in which even the great Raphael is strongly traced, in several characters; his study of the early Florentine school being also well known. Giotto dying in 1336, gives, to this picture, a much higher antiquity than the former: they were both purchased, accidentally, out of private collections (Giotto)|The original model of a publick work in Florence, representing the miraculous draft of fishes; in which even the great Raphael is strongly traced, in several characters; his study of the early Florentine school being also well known. Giotto dying in 1336, gives, to this picture, a much higher antiquity than the former: they were both purchased, accidentally, out of private collections]] réalisée par Giotto, vendue par John Strange. [25]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Hope, with Angels, a fine character, in the stile of Guido. Balestra, who was a Veronese, studied much at Rome, and afterwards, in Lombardy; and has left many publick works, much esteemed in Venice. Zanetti, who was an excellent judge, describing them, speaks of him, pag. 433, as before Della Pittura Veneziana, in the highest terms; especially for the correctness of his drawing, as well as for his great grace, and elegant compositions; evidently imbibed from the school of Lombardy. He died at Verona in 1740; aged 74 (Antonio Balestra)|Hope, with Angels, a fine character, in the stile of Guido. Balestra, who was a Veronese, studied much at Rome, and afterwards, in Lombardy; and has left many publick works, much esteemed in Venice. Zanetti, who was an excellent judge, describing them, speaks of him, pag. 433, as before Della Pittura Veneziana, in the highest terms; especially for the correctness of his drawing, as well as for his great grace, and elegant compositions; evidently imbibed from the school of Lombardy. He died at Verona in 1740; aged 74]] réalisée par Antonio Balestra, vendue par John Strange. [28]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Flora, also with Angels; being a companion to the former picture. This master is better known than the former, and likewise much esteemed. He had great invention; painted with spirit, and gracefully, having also studied the Lombard painters; and was, like most of his school, a good colourist. Zanetti, in the book before mentioned Della Pittura Veneziana, gives him a great character; which he seems to have maintained in this picture (Sebastiano Rizzi)|Flora, also with Angels; being a companion to the former picture. This master is better known than the former, and likewise much esteemed. He had great invention; painted with spirit, and gracefully, having also studied the Lombard painters; and was, like most of his school, a good colourist. Zanetti, in the book before mentioned Della Pittura Veneziana, gives him a great character; which he seems to have maintained in this picture]] réalisée par Sebastiano Rizzi, vendue par John Strange. [29]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A view of the principal square, called La Piazza de' Signori, at Padua. Canaletto's manner is easily seen in this picture, which is a good one of the master; the first, of any note, who painted views of Venice; though his pictures are scarce (Luca Carlevaris)|A view of the principal square, called La Piazza de' Signori, at Padua. Canaletto's manner is easily seen in this picture, which is a good one of the master; the first, of any note, who painted views of Venice; though his pictures are scarce]] réalisée par Luca Carlevaris, vendue par John Strange. [30]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The saluation, from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Simone da Pesaro)|The saluation, from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Simone da Pesaro, vendue par John Strange. [33]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The Virgin, Child, and Saints, with a Lily, from the same Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Pietro Liberi)|The Virgin, Child, and Saints, with a Lily, from the same Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Pietro Liberi, vendue par John Strange. [34]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The salutation, one of this painter's best pictures; also from the Negri collection. Lazarini, from an obscure master, Francesco Rosa, was the first modern painter, of the Venetian school, who, from that dark, unpleasant manner, before used, changed his stile, to the lively, and graceful; followed, with so much success, by his cotemporaries, and imitators; especially by Balestra before mentioned. Lazarini was also an excellent draftsman; and is highly spoken of by Zanetti, as before Della Pittura Veneziana, pag. 417, who describes many of his publick works the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Gregorio Lazarini)|The salutation, one of this painter's best pictures; also from the Negri collection. Lazarini, from an obscure master, Francesco Rosa, was the first modern painter, of the Venetian school, who, from that dark, unpleasant manner, before used, changed his stile, to the lively, and graceful; followed, with so much success, by his cotemporaries, and imitators; especially by Balestra before mentioned. Lazarini was also an excellent draftsman; and is highly spoken of by Zanetti, as before Della Pittura Veneziana, pag. 417, who describes many of his publick works the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Gregorio Lazarini, vendue par John Strange. [35]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[St. Carlo Boromeo, of Milan; from the Negri collection the Entire and Geuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Carlo Dolce)|St. Carlo Boromeo, of Milan; from the Negri collection the Entire and Geuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Carlo Dolce, vendue par John Strange. [39]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A warrior, having his armour put on; from the same Negri collection the Entire and Geuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Giorgione)|A warrior, having his armour put on; from the same Negri collection the Entire and Geuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Giorgione, vendue par John Strange. [40]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The martyrdom of Santa Guistina, finely composed, and coloured, by this great master; from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Paulo Veronese)|The martyrdom of Santa Guistina, finely composed, and coloured, by this great master; from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Paulo Veronese, vendue par John Strange. [49]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The salutation; being also one of his choice cabinet pictures; from the same Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Paulo Veronese)|The salutation; being also one of his choice cabinet pictures; from the same Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Paulo Veronese, vendue par John Strange. [50]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The baptism of our Saviour, with landscape; being a companion to the former picture; and a choice one of this celebrated Master of the Venetian school; who otherwise is commonly too dark; also from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Giacomo Tintoretto)|The baptism of our Saviour, with landscape; being a companion to the former picture; and a choice one of this celebrated Master of the Venetian school; who otherwise is commonly too dark; also from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Giacomo Tintoretto, vendue par John Strange. [51]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Being his own portrait, embracing painting, and done with great force. This master, however sometimes rather too free, in the choice of his subjects, and also, a little too hasty with his brush, was, nevertheless, a great artist, as well as a learned man; being therefore, highly extolled, chiefly for his grace and elegance, by Zanetti, pag. 379, as before Della Pittura Veneziana; and Boschini, in his Carta del Navigar Pittoresco; and also often quoted, with distinction, by Vaillant, in his book of medals, for his knowledge therein. Honour and riches were likewise the reward of his merit (Pietro Liberi)|Being his own portrait, embracing painting, and done with great force. This master, however sometimes rather too free, in the choice of his subjects, and also, a little too hasty with his brush, was, nevertheless, a great artist, as well as a learned man; being therefore, highly extolled, chiefly for his grace and elegance, by Zanetti, pag. 379, as before Della Pittura Veneziana; and Boschini, in his Carta del Navigar Pittoresco; and also often quoted, with distinction, by Vaillant, in his book of medals, for his knowledge therein. Honour and riches were likewise the reward of his merit]] réalisée par Pietro Liberi, vendue par John Strange. [52]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Fortune casting her riches into the lap of Prudence; also one of this master's choice, and pleasing pictures; from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Pietro Liberi)|Fortune casting her riches into the lap of Prudence; also one of this master's choice, and pleasing pictures; from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Pietro Liberi, vendue par John Strange. [53]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The Angel appearing to Joseph in a dream. This master also followed the pleasing, graceful stile of the modern Venetian school; though he is not mentioned by Zanetti, having left no publick work in Venice, the particular object of that learned author's book Della Pittura Veneziana (Arigoni)|The Angel appearing to Joseph in a dream. This master also followed the pleasing, graceful stile of the modern Venetian school; though he is not mentioned by Zanetti, having left no publick work in Venice, the particular object of that learned author's book Della Pittura Veneziana]] réalisée par Arigoni, vendue par John Strange. [55]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A capital portrait, supposed of a Venetian nobleman, painted on board, with the greatest force of expression and colouring; being one of this great master's best works; in which, the bit of landscape also is touched in the most masterly manner; from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Giorgione)|A capital portrait, supposed of a Venetian nobleman, painted on board, with the greatest force of expression and colouring; being one of this great master's best works; in which, the bit of landscape also is touched in the most masterly manner; from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Giorgione, vendue par John Strange. [60]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A head, of a woman, painted, on board, with great force of colouring: from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Old Palma)|A head, of a woman, painted, on board, with great force of colouring: from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Old Palma, vendue par John Strange. [62]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[St. Sebastian, with women; fine expression and colouring; from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Carlo Cignani)|St. Sebastian, with women; fine expression and colouring; from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Carlo Cignani, vendue par John Strange. [68]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[David with the head of Goliah richly coloured, in the great master's best stile; from the same Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Giorgione)|David with the head of Goliah richly coloured, in the great master's best stile; from the same Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Giorgione, vendue par John Strange. [69]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A full length portrait of the celebrated warrior Gaston de Foy; painted with great force of expression, and colouring; from the collection of the late Sig. Guarienti; formerly collector, at Venice, for the late king of Poland; and author of the edition under his name, of the Abecedario Pittorico of Orlandi (Giorgione)|A full length portrait of the celebrated warrior Gaston de Foy; painted with great force of expression, and colouring; from the collection of the late Sig. Guarienti; formerly collector, at Venice, for the late king of Poland; and author of the edition under his name, of the Abecedario Pittorico of Orlandi]] réalisée par Giorgione, vendue par John Strange. [70]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Moses striking the rock, with many figures, and a rich landscape; the figures by Sebastian Rizzi, the landscape by his nephew Marco Rizzi; who also jointly repeated the same favourite subject in Fresco in the church of St. Cosmo and Damiano at Venice; and of which Zanetti Della Pittura Veneziana, pag. 441, 2, and other authors, speak in the highest terms. This picture belonged to Canaletto, and was purchased of his executors at Venice (Marco Rizzi)|Moses striking the rock, with many figures, and a rich landscape; the figures by Sebastian Rizzi, the landscape by his nephew Marco Rizzi; who also jointly repeated the same favourite subject in Fresco in the church of St. Cosmo and Damiano at Venice; and of which Zanetti Della Pittura Veneziana, pag. 441, 2, and other authors, speak in the highest terms. This picture belonged to Canaletto, and was purchased of his executors at Venice]] réalisée par Marco Rizzi, vendue par John Strange. [73]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Our Saviour and the woman of Samaria, finely copied, from the celebrated original of Paul Veronese. Le Febre's pictures are scare; he was a good painter, as well as engraver; as several pictures in this collection testify. His favourite master was Paul Veronese; whose manner he much followed, and whose pictures he mostly engraved; as he has done this (Le Febre)|Our Saviour and the woman of Samaria, finely copied, from the celebrated original of Paul Veronese. Le Febre's pictures are scare; he was a good painter, as well as engraver; as several pictures in this collection testify. His favourite master was Paul Veronese; whose manner he much followed, and whose pictures he mostly engraved; as he has done this]] réalisée par Le Febre, vendue par John Strange. [74]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The presentation at the temple, an excellent picture by the same master; but of his own composition, though quite in Paul Veronese's rich stile. Le Febre, however, can hardly be called an imitator; much less a plagiarist; having still formed an original manner of his own; evident enough in all his pictures. The present was purchased out of a private collection at Venice (Le Febre)|The presentation at the temple, an excellent picture by the same master; but of his own composition, though quite in Paul Veronese's rich stile. Le Febre, however, can hardly be called an imitator; much less a plagiarist; having still formed an original manner of his own; evident enough in all his pictures. The present was purchased out of a private collection at Venice]] réalisée par Le Febre, vendue par John Strange. [75]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The portrait of a Venetian nobleman; very expressive, like all this excellent master's works, and finely coloured. Zanetti Della Pittura Veneziana, pag. 386, speaks with enthusiasm of Forabosco; who was born at Padua in 1600, and being a contemporary of Vandyck's, was much esteemed by him, during his studies at Venice, when that favourite master of portrait profited not a little, as well from Forabosco, as from the other great painters of the Venetian school, so particularly celebrated in this branch of the art These three portraits were purchased from private collections at Venice (Girolamo Forabosco)|The portrait of a Venetian nobleman; very expressive, like all this excellent master's works, and finely coloured. Zanetti Della Pittura Veneziana, pag. 386, speaks with enthusiasm of Forabosco; who was born at Padua in 1600, and being a contemporary of Vandyck's, was much esteemed by him, during his studies at Venice, when that favourite master of portrait profited not a little, as well from Forabosco, as from the other great painters of the Venetian school, so particularly celebrated in this branch of the art These three portraits were purchased from private collections at Venice]] réalisée par Girolamo Forabosco, vendue par John Strange. [76]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Another portrait of a gentleman, though equally unknown, finely painted, like the former, by this great master, who excelled in portrait, as well as history, and also in expression. These three portraits were purchased from private collections at Venice (Leandro Bassano)|Another portrait of a gentleman, though equally unknown, finely painted, like the former, by this great master, who excelled in portrait, as well as history, and also in expression. These three portraits were purchased from private collections at Venice]] réalisée par Leandro Bassano, vendue par John Strange. [78]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The vestal Tutia, or Tuccia, as Pliny writes it, Hist. Nat. Lib. 28. c. 2, carrying a sieve full of water, from the Tiber, to the temple of Vesta, in proof of her innocence. This picture, a capital one of the master, was painted, by Carlo Maratti, for a Venetian Ambassador at Rome, and engraved there, by the celebrated Jacopo Freij, in 1720 (Carlo Maratti)|The vestal Tutia, or Tuccia, as Pliny writes it, Hist. Nat. Lib. 28. c. 2, carrying a sieve full of water, from the Tiber, to the temple of Vesta, in proof of her innocence. This picture, a capital one of the master, was painted, by Carlo Maratti, for a Venetian Ambassador at Rome, and engraved there, by the celebrated Jacopo Freij, in 1720]] réalisée par Carlo Maratti, vendue par John Strange. [79]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The marriage of St. Catharine; one of this master's very best works, and formerly belonging to Sig. Guarienti formerly collector, at Venice, for the late king of Poland; and author of the edition, under his name, of the Abecedario Pittorico of Orlandi, before mentioned. Farinato was of Verona; a graceful follower of Paulo Veronese; and, with him, a disciple of Antonio Badile, likewise of Verona : Zanetti, Della Pittura Veneziana, pag. 286, mentions him with great distinction; though only a single work of his be extant in publick at Venice, in the church of St. Cosmo and Damiano (Paulo Farinato)|The marriage of St. Catharine; one of this master's very best works, and formerly belonging to Sig. Guarienti formerly collector, at Venice, for the late king of Poland; and author of the edition, under his name, of the Abecedario Pittorico of Orlandi, before mentioned. Farinato was of Verona; a graceful follower of Paulo Veronese; and, with him, a disciple of Antonio Badile, likewise of Verona : Zanetti, Della Pittura Veneziana, pag. 286, mentions him with great distinction; though only a single work of his be extant in publick at Venice, in the church of St. Cosmo and Damiano]] réalisée par Paulo Farinato, vendue par John Strange. [80]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Esther before Ahasuerus, a rich and capital work of this great modern master of the Venetian school; of whom the late celebrated Chev. Mengs used to say, "That he was born a painter;" and indeed, he cultivated every part of the art, instinctively, in a manner, with true genius. Mengs, who worked with him at Madrid, both in the service of the king of Spain, collected with avidity, at his death, every stroke of his brush, or pencil, that he could possibly meet with; as it is mentioned, somewhere, in the life of Mengs, lately printed, in Italy. Tiepolo died at Madrid, in 1769, aged 77, and is most highly spoken of by Zanetti Della Pittura Veneziana, pag. 464, 5 (Giambatista Tiepolo)|Esther before Ahasuerus, a rich and capital work of this great modern master of the Venetian school; of whom the late celebrated Chev. Mengs used to say, "That he was born a painter;" and indeed, he cultivated every part of the art, instinctively, in a manner, with true genius. Mengs, who worked with him at Madrid, both in the service of the king of Spain, collected with avidity, at his death, every stroke of his brush, or pencil, that he could possibly meet with; as it is mentioned, somewhere, in the life of Mengs, lately printed, in Italy. Tiepolo died at Madrid, in 1769, aged 77, and is most highly spoken of by Zanetti Della Pittura Veneziana, pag. 464, 5]] réalisée par Giambatista Tiepolo, vendue par John Strange. [81]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The Marriage of Cana in Galilee, highly finished, in small, and most spirited figures, by this great master, who has repeated the same subject in a different manner, in Fresco, in his most celebrated picture in the refrectory of the convent of S. Giorgio Maggiore, at Venice, where this picture was also purchased, out of a noble collection (Paulo Veronese)|The Marriage of Cana in Galilee, highly finished, in small, and most spirited figures, by this great master, who has repeated the same subject in a different manner, in Fresco, in his most celebrated picture in the refrectory of the convent of S. Giorgio Maggiore, at Venice, where this picture was also purchased, out of a noble collection]] réalisée par Paulo Veronese, vendue par John Strange. [82]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The portrait, seemingly, by the accessories, or allusions, of some celebrated man, though unknown; from the Negri collection. The portraits of this master, which are raterh scarce, are in the highest estimation; he was the fervid imitator of Titian and Giorgione, ane is most deservedly praised by Ridolfi and Zanetti Della Pittura Veneziana, pag. 210, having left several capital publick works at Venice the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Paris Bordone)|The portrait, seemingly, by the accessories, or allusions, of some celebrated man, though unknown; from the Negri collection. The portraits of this master, which are raterh scarce, are in the highest estimation; he was the fervid imitator of Titian and Giorgione, ane is most deservedly praised by Ridolfi and Zanetti Della Pittura Veneziana, pag. 210, having left several capital publick works at Venice the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Paris Bordone, vendue par John Strange. [83]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The three Graces, finely drawn, and coloured, much in the stile of Giorgione; whom this master particularly imitated; and often, most happily. In studying academical figures, after nature, it was his constant practice to colour them immediately, on the spot, (see Zanetti, Della Pittura Veneziana pag. 388.) which gives to his works, of this kind particularly, a strong character of truth. He was also graceful; and the Air de Tête of one of these Graces, on the right hand, has all the elegance of Parmegiano, whilst that on the left, has something of Rubens, who probably studied, amongst others, also this master, his cotemporary, during his stay at Venice. Ridolfi, Zanetti, and others, speak highly, of course, of Pietro Vecchia, who possessed himself so fully of Giorgione's manner, that his pictures are continually mistaken, for those of that great master; and are often little, if at all inferior to them. From a private collection at Venice (Pietro Vecchia)|The three Graces, finely drawn, and coloured, much in the stile of Giorgione; whom this master particularly imitated; and often, most happily. In studying academical figures, after nature, it was his constant practice to colour them immediately, on the spot, (see Zanetti, Della Pittura Veneziana pag. 388.) which gives to his works, of this kind particularly, a strong character of truth. He was also graceful; and the Air de Tête of one of these Graces, on the right hand, has all the elegance of Parmegiano, whilst that on the left, has something of Rubens, who probably studied, amongst others, also this master, his cotemporary, during his stay at Venice. Ridolfi, Zanetti, and others, speak highly, of course, of Pietro Vecchia, who possessed himself so fully of Giorgione's manner, that his pictures are continually mistaken, for those of that great master; and are often little, if at all inferior to them. From a private collection at Venice]] réalisée par Pietro Vecchia, vendue par John Strange. [86]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The portrait of Titian, in his old age; probably done, from the life, by this able Paduan painter, who was not only his cotemporary, and scholar, but excited jealousy even in Titian himself, according to Zanetti Della Pittura Veneziana, pag. 220, especially by the capital works painted by Campagnola at Padua, having left few publick ones at Venice: his private pictures are also scarce; this was purchased at Padua; and, perhaps, belonged, originally, to the painter himself; who has represented his master thus, with all the marks of extensive genius (Domenico Campagnola)|The portrait of Titian, in his old age; probably done, from the life, by this able Paduan painter, who was not only his cotemporary, and scholar, but excited jealousy even in Titian himself, according to Zanetti Della Pittura Veneziana, pag. 220, especially by the capital works painted by Campagnola at Padua, having left few publick ones at Venice: his private pictures are also scarce; this was purchased at Padua; and, perhaps, belonged, originally, to the painter himself; who has represented his master thus, with all the marks of extensive genius]] réalisée par Domenico Campagnola, vendue par John Strange. [87]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The Virgin and child, with Angels, highly finished and well painted, on board, and in distemper, by this very old painter, the master of Andrea Mantegna, and in whom the dawn of Correggio's divine grace and sweetness is evidently seen in the Madonna in this picture; it being well known that Coreggio was the disciple of Andrew Mantegna; of whom an Ecce Homo, in chiaro-oscuro, in the Pamphili palace at Rome, is absolutely in the very character of Coreggio's tender expression; the idea of which he first caught, probably, from this old and respectable master; as Andrea Mantegna evidently did from Squarcione; some of whose pictures existing, particularly at Padua, his native place, being still more in the stile of Coreggio. This picutre also was purchased out of a private collection at Padua (Francesco Squarcione)|The Virgin and child, with Angels, highly finished and well painted, on board, and in distemper, by this very old painter, the master of Andrea Mantegna, and in whom the dawn of Correggio's divine grace and sweetness is evidently seen in the Madonna in this picture; it being well known that Coreggio was the disciple of Andrew Mantegna; of whom an Ecce Homo, in chiaro-oscuro, in the Pamphili palace at Rome, is absolutely in the very character of Coreggio's tender expression; the idea of which he first caught, probably, from this old and respectable master; as Andrea Mantegna evidently did from Squarcione; some of whose pictures existing, particularly at Padua, his native place, being still more in the stile of Coreggio. This picutre also was purchased out of a private collection at Padua]] réalisée par Francesco Squarcione, vendue par John Strange. [88]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A family piece, representing father, mother, and children, &c. of the noble family Lodoli, of Spoleto, in the Pope's dominions in Italy; as appears from the original inscription, marked on the picture, by the painter himself; who has also added his own name, on the back of a letter, with the date, seemingly, of 1658, or 53; though this, as well as the name, Saucerrs, or Suacerrs, is rather obscure. Nor does the name of this Flemish painter, however respectable, occur, indeed in any book which the writer of these anecdotes has been able to consult; owing, probably, to his having lived mostly in Italy; where he is much esteemed, and well known, by the name of Michel Fiamingo, or the Flemish Michael, and still more competently, and respectably, by that of the Italian Vandyck. Indeed this picture, very capital in its way, sufficiently proves the great merit of this rare painter, who seems, herein, to have Italianised, in a very masterly way, Vandyck's manner of composition, and characters, though quite in an original stile. This picture was purchased from a private collection at Venice, where it also appears, from the inscription, to have been painted; and, doubtless, from the life, upon some occasion, probably, of the family's being then there (Michiel Saucerrs)|A family piece, representing father, mother, and children, &c. of the noble family Lodoli, of Spoleto, in the Pope's dominions in Italy; as appears from the original inscription, marked on the picture, by the painter himself; who has also added his own name, on the back of a letter, with the date, seemingly, of 1658, or 53; though this, as well as the name, Saucerrs, or Suacerrs, is rather obscure. Nor does the name of this Flemish painter, however respectable, occur, indeed in any book which the writer of these anecdotes has been able to consult; owing, probably, to his having lived mostly in Italy; where he is much esteemed, and well known, by the name of Michel Fiamingo, or the Flemish Michael, and still more competently, and respectably, by that of the Italian Vandyck. Indeed this picture, very capital in its way, sufficiently proves the great merit of this rare painter, who seems, herein, to have Italianised, in a very masterly way, Vandyck's manner of composition, and characters, though quite in an original stile. This picture was purchased from a private collection at Venice, where it also appears, from the inscription, to have been painted; and, doubtless, from the life, upon some occasion, probably, of the family's being then there]] réalisée par Michiel Saucerrs, vendue par John Strange. [89]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The school mistress, &c. Dario Varottari, like his son, and disciple Alessandro, commonly called Paduanino, followed the manner chiefly of Titian, whom he happily imitated, by his great force of colouring, particularly; as is very observable in this picture, which is one of his best; his works being also very scarce indeed; and Zanetti Della Pittura Veneziana, pag. 364, mentions only, with well deserved praise, two publick ones of this master in Venice; where, however, this picture was purchased, from a noble collection (Dario Varottari)|The school mistress, &c. Dario Varottari, like his son, and disciple Alessandro, commonly called Paduanino, followed the manner chiefly of Titian, whom he happily imitated, by his great force of colouring, particularly; as is very observable in this picture, which is one of his best; his works being also very scarce indeed; and Zanetti Della Pittura Veneziana, pag. 364, mentions only, with well deserved praise, two publick ones of this master in Venice; where, however, this picture was purchased, from a noble collection]] réalisée par Dario Varottari, vendue par John Strange. [90]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Two portraits, capital, of men; the subject unknown; though this picture is mentioned by Boschini, in his Carta del Navigar Pittoresco, and by Ridolfi in the life of Giorgione. From the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Giorgione)|Two portraits, capital, of men; the subject unknown; though this picture is mentioned by Boschini, in his Carta del Navigar Pittoresco, and by Ridolfi in the life of Giorgione. From the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Giorgione, vendue par John Strange. [91]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Tarquin and Lucretia; a capital picture of the master; greatly in the stile of Titian, whom he so studiously and happily imitated These two choice gallery pictures were purchased out of the Nani collection at Venice. Zanetti Della Pittura Veneziana, pag. 364, speaks in the highest terms of A. Varottari, who has also left several publick works in Venice, much esteemed (Alessandro Varottari)|Tarquin and Lucretia; a capital picture of the master; greatly in the stile of Titian, whom he so studiously and happily imitated These two choice gallery pictures were purchased out of the Nani collection at Venice. Zanetti Della Pittura Veneziana, pag. 364, speaks in the highest terms of A. Varottari, who has also left several publick works in Venice, much esteemed]] réalisée par Alessandro Varottari, vendue par John Strange. [93]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[It's companion, being a sequel of the same story, in which the profile of Lucretia is uncommonly sweet and expressive; in the best stile of Guido, though with a much greater warmth of colouring. These two choice gallery pictures were purchased out of the Nani collection at Venice. Zanetti, Della Pittura Veneziana pag. 364, speaks in the highest terms of A. Varottari, who has also left several publick works in Venice, much esteemed (Alessandro Varottari)|It's companion, being a sequel of the same story, in which the profile of Lucretia is uncommonly sweet and expressive; in the best stile of Guido, though with a much greater warmth of colouring. These two choice gallery pictures were purchased out of the Nani collection at Venice. Zanetti, Della Pittura Veneziana pag. 364, speaks in the highest terms of A. Varottari, who has also left several publick works in Venice, much esteemed]] réalisée par Alessandro Varottari, vendue par John Strange. [94]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The Virgin, Child, and Saints, most diligently painted, like all the old Venetian masters, on board; from the same collection the Nani collection at Venice. Zanetti Della Pittura Veneziana, pag. 78, mentions Catena with great respect, observing, that he was the only one of the old masters who preserved, invariably, that manner, notwithstanding he lived twenty years after the death of Giorgione. The same author describes several publick works, also of this master, in Venice (Vincenzo Catena)|The Virgin, Child, and Saints, most diligently painted, like all the old Venetian masters, on board; from the same collection the Nani collection at Venice. Zanetti Della Pittura Veneziana, pag. 78, mentions Catena with great respect, observing, that he was the only one of the old masters who preserved, invariably, that manner, notwithstanding he lived twenty years after the death of Giorgione. The same author describes several publick works, also of this master, in Venice]] réalisée par Vincenzo Catena, vendue par John Strange. [95]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A Magdalen; strong effect of light and shade, but rather manieré, as the French term it; though Zanetti also speaks of this master with great esteem, describing, Della Pittura Veneziana pag. 456, his many publick works in Venice. He was excellent in chiaro-oscuro, as is well known (Giambatista Piazzetta)|A Magdalen; strong effect of light and shade, but rather manieré, as the French term it; though Zanetti also speaks of this master with great esteem, describing, Della Pittura Veneziana pag. 456, his many publick works in Venice. He was excellent in chiaro-oscuro, as is well known]] réalisée par Giambatista Piazzetta, vendue par John Strange. [98]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Ditto A view of a part of the great canal, with the buildings, at Venice. Guardi is a painter still living at Venice; and who, though he has taken to Canaletto's department, has still followed a particular manner; which is spirited, and quite his own (Francesco Guardi)|Ditto A view of a part of the great canal, with the buildings, at Venice. Guardi is a painter still living at Venice; and who, though he has taken to Canaletto's department, has still followed a particular manner; which is spirited, and quite his own]] réalisée par Francesco Guardi, vendue par John Strange. [102]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The Virgin, child, and Saints; a high finished and fine picture of this great master, of Bergamo, the cotemporary of Old Palma, and disciple, with Titian, of Giovanni Bellini, and a great admirer of Giorgione. Zanetti, Della Pittura Veneziana pag. 207, describing his few publick works at Venice, stiles him dotto ed amoroso Pittore. See also Dolce in his Dialoga dalla Pittura, pag. 220. Ediz. Firenze, 1735. This picture was purchased of Sig. Valle of Bergamo; and this master's works, especially of such merit, are very scarce (Lorenzo Lotto)|The Virgin, child, and Saints; a high finished and fine picture of this great master, of Bergamo, the cotemporary of Old Palma, and disciple, with Titian, of Giovanni Bellini, and a great admirer of Giorgione. Zanetti, Della Pittura Veneziana pag. 207, describing his few publick works at Venice, stiles him dotto ed amoroso Pittore. See also Dolce in his Dialoga dalla Pittura, pag. 220. Ediz. Firenze, 1735. This picture was purchased of Sig. Valle of Bergamo; and this master's works, especially of such merit, are very scarce]] réalisée par Lorenzo Lotto, vendue par John Strange. [103]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A companion to the former picture, representing Susanna and the two elders. Ghirardi was a Lucchese, and a disciple of Pietro da Cortona; whose manner is seen in this picture. He is mentioned, with esteem, by Zanetti, Della Pittura Veneziana pag. 513, having done one publick work at Venice (Ghirardi)|A companion to the former picture, representing Susanna and the two elders. Ghirardi was a Lucchese, and a disciple of Pietro da Cortona; whose manner is seen in this picture. He is mentioned, with esteem, by Zanetti, Della Pittura Veneziana pag. 513, having done one publick work at Venice]] réalisée par Ghirardi, vendue par John Strange. [105]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Circe, with her Characteristicks, the poisonous cup and wild beast; this picture is engraved in Patina's celebrated Italian work, printed in folio, at Padua, and containing such prints illustrative of the like celebrated works of the Venetian painters purchased, with the three former pictures, out of a noble collection at Venice (Nicolo Renieri)|Circe, with her Characteristicks, the poisonous cup and wild beast; this picture is engraved in Patina's celebrated Italian work, printed in folio, at Padua, and containing such prints illustrative of the like celebrated works of the Venetian painters purchased, with the three former pictures, out of a noble collection at Venice]] réalisée par Nicolo Renieri, vendue par John Strange. [108]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A Magdalen; being esteemed the chef-d'oeuvre of this distinguished master, who united, most agreeably, the Flemish, with the Italian manner; painted in a great stile; similar, in that respect, to the celebrated Magdalen of Le Brun at Paris; a fine character, in the peculiar manner of the master, and reputed to be the portrait of one of his four beautiful daughters, also lovers and followers of the art, and whom the father, according to Zanetti Della Pittura Veneziana, pag. 515, used commonly to introduce thus, occasionally in his pictures purchased, with the three former pictures, out of a noble collection at Venice (Nicolo Renieri)|A Magdalen; being esteemed the chef-d'oeuvre of this distinguished master, who united, most agreeably, the Flemish, with the Italian manner; painted in a great stile; similar, in that respect, to the celebrated Magdalen of Le Brun at Paris; a fine character, in the peculiar manner of the master, and reputed to be the portrait of one of his four beautiful daughters, also lovers and followers of the art, and whom the father, according to Zanetti Della Pittura Veneziana, pag. 515, used commonly to introduce thus, occasionally in his pictures purchased, with the three former pictures, out of a noble collection at Venice]] réalisée par Nicolo Renieri, vendue par John Strange. [109]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Pandora, whom the same agreeable master has elegantly characterized with an urn, instead of the usual box; representing also, one of his fair daughters in this pleasing character purchased, with the three former pictures, out of a noble collection at Venice (Nicolo Renieri)|Pandora, whom the same agreeable master has elegantly characterized with an urn, instead of the usual box; representing also, one of his fair daughters in this pleasing character purchased, with the three former pictures, out of a noble collection at Venice]] réalisée par Nicolo Renieri, vendue par John Strange. [110]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Sophonisba, with her attendants; another agreeable picture of the same master and purchased, with the three former pictures, out of a noble collection at Venice; where Zanetti further describes some publick and fine works of Renieri, who was of Mabusa (Nicolo Renieri)|Sophonisba, with her attendants; another agreeable picture of the same master and purchased, with the three former pictures, out of a noble collection at Venice; where Zanetti further describes some publick and fine works of Renieri, who was of Mabusa]] réalisée par Nicolo Renieri, vendue par John Strange. [111]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The Virgin, Child, and Saints, in a beautiful and high-finished landscape; a very capital picture of this respectable old master of the Venetian school, who approached nearest, of any of his co-temporaries, of that class, to the improved manner of Giorgione, and Titian; as is evidently seen in the studied, and well painted characters in this picture, which with the former, was purchased from a choice private collection at Venice. Zanetti, Della Pittura Veneziana pag. 83, mentions G. Santa Croce with great esteem, on the occasion of describing a few respectable publick works, which he has left at Venice. Ridolfi, of course, mentions him among the other celebrated Venetian masters, before his time; but Zanetti writes with more learning, and refined criticism, wherefore he is mostly quoted (Girolamo da Santa Croce)|The Virgin, Child, and Saints, in a beautiful and high-finished landscape; a very capital picture of this respectable old master of the Venetian school, who approached nearest, of any of his co-temporaries, of that class, to the improved manner of Giorgione, and Titian; as is evidently seen in the studied, and well painted characters in this picture, which with the former, was purchased from a choice private collection at Venice. Zanetti, Della Pittura Veneziana pag. 83, mentions G. Santa Croce with great esteem, on the occasion of describing a few respectable publick works, which he has left at Venice. Ridolfi, of course, mentions him among the other celebrated Venetian masters, before his time; but Zanetti writes with more learning, and refined criticism, wherefore he is mostly quoted]] réalisée par Girolamo da Santa Croce, vendue par John Strange. [114]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[St. John in the desart; also a capital work of this great master, with a fine landscape. This picture is engraved. Titian has repeated the same subject, and nearly in the same manner, in the church of Santa Maria Maggiore, at Venice, where this picture was purchased from a noble collection (Titian)|St. John in the desart; also a capital work of this great master, with a fine landscape. This picture is engraved. Titian has repeated the same subject, and nearly in the same manner, in the church of Santa Maria Maggiore, at Venice, where this picture was purchased from a noble collection]] réalisée par Titian, vendue par John Strange. [116]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The marriage of Cana in Galilee; a celebrated picture of this classical master of the Venetian school, also engraved in Patina's book before mentioned. Zanetti, Della Pittura Veneziana pag. 330, describing many publick works of Andrea in Venice speaks of him with great esteem; particularly for grand composition, and effect, much in the stile of Paul Veronese, whose manner he preferred. Neither this master, nor Renieri, nor many others in this catalogue, are mentioned in the list of eminent painters, &c. printed for Mr. Cadell, London, 1778, 8 vo. though many inferior artists enter into that list of upwards of 2400 painters. These two last pictures were purchased at Padua. (Andrea Vicentino)|The marriage of Cana in Galilee; a celebrated picture of this classical master of the Venetian school, also engraved in Patina's book before mentioned. Zanetti, Della Pittura Veneziana pag. 330, describing many publick works of Andrea in Venice speaks of him with great esteem; particularly for grand composition, and effect, much in the stile of Paul Veronese, whose manner he preferred. Neither this master, nor Renieri, nor many others in this catalogue, are mentioned in the list of eminent painters, &c. printed for Mr. Cadell, London, 1778, 8 vo. though many inferior artists enter into that list of upwards of 2400 painters. These two last pictures were purchased at Padua.]] réalisée par Andrea Vicentino, vendue par John Strange. [119]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A full length portrait of a Venetian Senator, of the noble family of Gritti, finely painted, in a most masterly stile of composition, attitude, drapery, and expression, by this great master of the Venetian school, whose portraits of this kind, and merit, are extremely scarce These two portraits, very celebrated works of the master, were purchased at Venice, out of the family collection (Paulo Veronese)|A full length portrait of a Venetian Senator, of the noble family of Gritti, finely painted, in a most masterly stile of composition, attitude, drapery, and expression, by this great master of the Venetian school, whose portraits of this kind, and merit, are extremely scarce These two portraits, very celebrated works of the master, were purchased at Venice, out of the family collection]] réalisée par Paulo Veronese, vendue par John Strange. [120]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[It's companion, being the portrait of the wife of the Senator of the noble family of Gritti before named and in which Paul Veronese has displayed his usual richness of manner in the drapery, &c. Art cannot approach nearer to nature, than in the favourite little lap dog. A professional painter of animals, like the Faber imus of Horace, might perhaps, please a sportsman better by his laboured imitation of every nail and hair, at the same time, "Infelix operis summa, quia ponere totum Nescit" While surely, to the discerning eye of every man of taste and genius, this great master omne tulit punctum by his wonderful imitation, to the life, of this little animal. These two portraits, very celebrated works of the master, were purchased at Venice, out of the family collection (Paulo Veronese)|It's companion, being the portrait of the wife of the Senator of the noble family of Gritti before named and in which Paul Veronese has displayed his usual richness of manner in the drapery, &c. Art cannot approach nearer to nature, than in the favourite little lap dog. A professional painter of animals, like the Faber imus of Horace, might perhaps, please a sportsman better by his laboured imitation of every nail and hair, at the same time, "Infelix operis summa, quia ponere totum Nescit" While surely, to the discerning eye of every man of taste and genius, this great master omne tulit punctum by his wonderful imitation, to the life, of this little animal. These two portraits, very celebrated works of the master, were purchased at Venice, out of the family collection]] réalisée par Paulo Veronese, vendue par John Strange. [121]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The Virgin and Child, with the portait of a Venetian Senator, the head of the Benson family, of that time, at Venice, with his children; a most capital picture of this celebrated and spirited master of the Venetian school, whose manner, in portrait, as well as history, was in the greatest stile Both these pictures so justly celebrated in Venice, were purchased there of the Benson family (Giacomo Tintoretto)|The Virgin and Child, with the portait of a Venetian Senator, the head of the Benson family, of that time, at Venice, with his children; a most capital picture of this celebrated and spirited master of the Venetian school, whose manner, in portrait, as well as history, was in the greatest stile Both these pictures so justly celebrated in Venice, were purchased there of the Benson family]] réalisée par Giacomo Tintoretto, vendue par John Strange. [122]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The sacrifice of Jephtha; being a companion to the former picture, expressly painted, for that purpose, by order of the Benson family, and in which this great master of the Venetian school has, therefore, ingeniously introduced, by way of accessories, three heads in the back ground, correspondent to those of the young family in the other picture. In regard to the main historical part of this picture, it cannot be exceeded; Giorgione himself, for whose pencil Pietro Vecchia's is continually taken, as has been before observed, could not have done better; while the profile of Jephtha has, moreover, all the tender expression, light and shade, of Correggio, with Giorgione's warmth of colouring throughout the picture, esteemed the chef-d'oeuvre of this master. Both these pictures so justly celebrated in Venice, were purchased there of the Benson family (Pietro Vecchia)|The sacrifice of Jephtha; being a companion to the former picture, expressly painted, for that purpose, by order of the Benson family, and in which this great master of the Venetian school has, therefore, ingeniously introduced, by way of accessories, three heads in the back ground, correspondent to those of the young family in the other picture. In regard to the main historical part of this picture, it cannot be exceeded; Giorgione himself, for whose pencil Pietro Vecchia's is continually taken, as has been before observed, could not have done better; while the profile of Jephtha has, moreover, all the tender expression, light and shade, of Correggio, with Giorgione's warmth of colouring throughout the picture, esteemed the chef-d'oeuvre of this master. Both these pictures so justly celebrated in Venice, were purchased there of the Benson family]] réalisée par Pietro Vecchia, vendue par John Strange. [123]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Cebes's table, learnedly represented, with elegant little figures, touched with great truth and spirit. Zanetti, Della Pittura Veneziana pag. 221, ranks this distinguished master in the highest class of Venetian painters. He indeed seems to have formed his manner, from a combined imitation of Giorgione, Old Palma, and Titian; but he is always original, and evidently so in this learned picture, the more choice, from its being, necessarily in small figures, in which he was also a master, though he commonly painted in the usual size, nearer life. Zanetti accurately describes his many celebrated publick works at Venice; where this picture was purchased out of the Loredano collection (Bonefazio)|Cebes's table, learnedly represented, with elegant little figures, touched with great truth and spirit. Zanetti, Della Pittura Veneziana pag. 221, ranks this distinguished master in the highest class of Venetian painters. He indeed seems to have formed his manner, from a combined imitation of Giorgione, Old Palma, and Titian; but he is always original, and evidently so in this learned picture, the more choice, from its being, necessarily in small figures, in which he was also a master, though he commonly painted in the usual size, nearer life. Zanetti accurately describes his many celebrated publick works at Venice; where this picture was purchased out of the Loredano collection]] réalisée par Bonefazio, vendue par John Strange. [124]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The Virgin, Child, and Saints, finely painted on board, by this celebrated master of the great Titian; and it is supposed, that under the character of St. Joseph, in this picture he has given the portrait of the famous Cardinal Bembo; much resembling, indeed, other known portraits of that learned man. This picture is also finely coloured, and the character of the Virgin, particularly, is much in the expressive stile of Titian; purchased from a private collection at Venice. It is needless to particularize how much Zanetti, after Ridolfi, praises this celebrated founder, in a manner, of the great Venetian school, describing, Della Pittura Veneziana pag. 47, his publick works still extant at Venice (Giovanni Bellini)|The Virgin, Child, and Saints, finely painted on board, by this celebrated master of the great Titian; and it is supposed, that under the character of St. Joseph, in this picture he has given the portrait of the famous Cardinal Bembo; much resembling, indeed, other known portraits of that learned man. This picture is also finely coloured, and the character of the Virgin, particularly, is much in the expressive stile of Titian; purchased from a private collection at Venice. It is needless to particularize how much Zanetti, after Ridolfi, praises this celebrated founder, in a manner, of the great Venetian school, describing, Della Pittura Veneziana pag. 47, his publick works still extant at Venice]] réalisée par Giovanni Bellini, vendue par John Strange. [125]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The Virgin, Child, and Saints, finely painted on board, by this much esteemed old master of the Venetian school, cotemporary with the former; these two pictures being likewise companions, and from the same collection a private collection at Venice. Ridolfi and Zanetti speak highly of this master, who has also left a few publick and much esteemed works at Venice (Cima da Conegliano)|The Virgin, Child, and Saints, finely painted on board, by this much esteemed old master of the Venetian school, cotemporary with the former; these two pictures being likewise companions, and from the same collection a private collection at Venice. Ridolfi and Zanetti speak highly of this master, who has also left a few publick and much esteemed works at Venice]] réalisée par Cima da Conegliano, vendue par John Strange. [126]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Herodias dancing before Herod Maganza, was a Vicentine; a follower of Titian; and mentioned, with esteem, by Zanetti, Della Pittura Veneziana pag. 251; he was the son of Giambatista Maganza, a celebrated burlesque, or vernacular poet, under the feigned name of Magagnò; these pictures were purchased from a private collection at Vicenza; where Maganza has painted many publick, and esteemed works (Alessandro Maganza)|Herodias dancing before Herod Maganza, was a Vicentine; a follower of Titian; and mentioned, with esteem, by Zanetti, Della Pittura Veneziana pag. 251; he was the son of Giambatista Maganza, a celebrated burlesque, or vernacular poet, under the feigned name of Magagnò; these pictures were purchased from a private collection at Vicenza; where Maganza has painted many publick, and esteemed works]] réalisée par Alessandro Maganza, vendue par John Strange. [131]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The companion, being the baptism of St. John. Maganza, was a Vicentine; a follower of Titian; and mentioned, with esteem, by Zanetti, Della Pittura Veneziana pag. 251; he was the son of Giambatista Maganza, a celebrated burlesque, or vernacular poet, under the feigned name of Magagnò; these pictures were purchased from a private collection at Vicenza; where Maganza has painted many publick, and esteemed works (Alessandro Maganza)|The companion, being the baptism of St. John. Maganza, was a Vicentine; a follower of Titian; and mentioned, with esteem, by Zanetti, Della Pittura Veneziana pag. 251; he was the son of Giambatista Maganza, a celebrated burlesque, or vernacular poet, under the feigned name of Magagnò; these pictures were purchased from a private collection at Vicenza; where Maganza has painted many publick, and esteemed works]] réalisée par Alessandro Maganza, vendue par John Strange. [132]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[An altar piece, formerly belonging to a private chapel near Padua. The middle represents the Virgin and Child, St. Joseph, Angels, and other figures, with a beautiful and highly-finished landscapes; and many other ornaments; the whole most studiously composed, and finely touched by some very capital master of the old German, or other northern schools, however, seemingly, not well ascertained. The noble Venetian family of whom this picture was purchased, had it always in estimation, and probably on some good ground, as a work of the great Holbein; and certainly the sweet profile, character and attitude, of the young woman, at the right hand corner, kneeling, and pointing her finger on the book, is much in the stile of that master; while the character of St. Joseph rather resembles Albert Durer; and some others, perhaps, might, in the opinion of other connoisseurs, equally record Lucas of Leyden; hence, Sub judice lis est: at all events, the picture is the undoubted original of a great master. It may further be observed, that the old German painters, in this stile, like Albert Durer, Lucas of Leyden, &c. commonly preserve, at all times, a great unity of manner; whilst, on the other hand, the more sublime genius of Holbein, well knew how to vary his stile, as will be well recollected by the discerning connoisseur who has examined, with attention, his numerous works still extant, and assembled together, in the publick library, of his native city, Basle, in Switzerland. A few of these are cold and dry, like the other northern painters, before mentioned; whilst others have all the grace, warmth, and expression, of the great Italian masters; yet such a variety of character prevails, generally, in the many different, though undoubted productions collected here, of this great artist, who may well by called, the Raphael of Germany, that the ni...? would really judge them to be the works of very different masters; some truly German, and others, as seemingly, of the good Italian school. In such a diversity of character, perhaps obvious only to those, who have critically examined the fine collection above mentioned; it seems reasonable enough, from these remarks, to consider the present picture, as a work, and surely, a very choice one, of this great master; especially, being so authenticated by the family records of the late proprietor, which farther ascertain, with precision, the painter of the lateral portals in Henry de Bless, of Bohemia. This equally diligent, and finished master, is commonly surnamed, by the Italians, Civetta; from his being accustomed, mostly, to paint an owl, in some corner, of his pictures; and it is here seen perched on the tree, just above the right shoulder of St. John; the Magdalen forming the companion, in the other portal; both which are enriched with very highly-finished landscapes, in which this well esteemed old master particularly excelled. It is presumed, that such critical and pertinent disquisition, will not be unwelcome to the curious reader, when tending to elucidate any interesting particulars, concerning this collection, especially in regard to the principal pictures, or, those, whose antiquity, and singularity of manner, seemed to render some observations necessary (Holbein)|An altar piece, formerly belonging to a private chapel near Padua. The middle represents the Virgin and Child, St. Joseph, Angels, and other figures, with a beautiful and highly-finished landscapes; and many other ornaments; the whole most studiously composed, and finely touched by some very capital master of the old German, or other northern schools, however, seemingly, not well ascertained. The noble Venetian family of whom this picture was purchased, had it always in estimation, and probably on some good ground, as a work of the great Holbein; and certainly the sweet profile, character and attitude, of the young woman, at the right hand corner, kneeling, and pointing her finger on the book, is much in the stile of that master; while the character of St. Joseph rather resembles Albert Durer; and some others, perhaps, might, in the opinion of other connoisseurs, equally record Lucas of Leyden; hence, Sub judice lis est: at all events, the picture is the undoubted original of a great master. It may further be observed, that the old German painters, in this stile, like Albert Durer, Lucas of Leyden, &c. commonly preserve, at all times, a great unity of manner; whilst, on the other hand, the more sublime genius of Holbein, well knew how to vary his stile, as will be well recollected by the discerning connoisseur who has examined, with attention, his numerous works still extant, and assembled together, in the publick library, of his native city, Basle, in Switzerland. A few of these are cold and dry, like the other northern painters, before mentioned; whilst others have all the grace, warmth, and expression, of the great Italian masters; yet such a variety of character prevails, generally, in the many different, though undoubted productions collected here, of this great artist, who may well by called, the Raphael of Germany, that the ni...? would really judge them to be the works of very different masters; some truly German, and others, as seemingly, of the good Italian school. In such a diversity of character, perhaps obvious only to those, who have critically examined the fine collection above mentioned; it seems reasonable enough, from these remarks, to consider the present picture, as a work, and surely, a very choice one, of this great master; especially, being so authenticated by the family records of the late proprietor, which farther ascertain, with precision, the painter of the lateral portals in Henry de Bless, of Bohemia. This equally diligent, and finished master, is commonly surnamed, by the Italians, Civetta; from his being accustomed, mostly, to paint an owl, in some corner, of his pictures; and it is here seen perched on the tree, just above the right shoulder of St. John; the Magdalen forming the companion, in the other portal; both which are enriched with very highly-finished landscapes, in which this well esteemed old master particularly excelled. It is presumed, that such critical and pertinent disquisition, will not be unwelcome to the curious reader, when tending to elucidate any interesting particulars, concerning this collection, especially in regard to the principal pictures, or, those, whose antiquity, and singularity of manner, seemed to render some observations necessary]] réalisée par Holbein, vendue par John Strange. [133]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A holy family, finely painted, on board, by this very rare old master, of the school of Raphael; and who has also marked his name, on the picture, which might otherwise, well pass for a work of Raphael himself, being entirely in his manner, though an original picture; from the Negri collection. Luca da Ravenna, though a great master, and of the first school in Italy, is not like many others, upwards of twenty, in this collection, mentioned in the printed list of eminent painters printed for Mr. Cadell, London, 1778, 8 vo., before quoted the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Luca da Ravenna)|A holy family, finely painted, on board, by this very rare old master, of the school of Raphael; and who has also marked his name, on the picture, which might otherwise, well pass for a work of Raphael himself, being entirely in his manner, though an original picture; from the Negri collection. Luca da Ravenna, though a great master, and of the first school in Italy, is not like many others, upwards of twenty, in this collection, mentioned in the printed list of eminent painters printed for Mr. Cadell, London, 1778, 8 vo., before quoted the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Luca da Ravenna, vendue par John Strange. [137]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The Virgin and Child, finely painted on board, with a view of the hill, and higher part of the little town of Conegliano, towards the Friuli mountains, the birth place of this respectable old master of the Venetian school; from a private collection at Venice (Giambatista Cima da Conegliano)|The Virgin and Child, finely painted on board, with a view of the hill, and higher part of the little town of Conegliano, towards the Friuli mountains, the birth place of this respectable old master of the Venetian school; from a private collection at Venice]] réalisée par Giambatista Cima da Conegliano, vendue par John Strange. [141]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Its companion. Diziani was a Bellunese, and worked as a scene painter for the theatres of Venice, Rome, and Dresden. He was also a good historical painter; and has left publick works at Venice, of which Zanetti, Della Pittura Veneziana pag. 444, speaks with due commendation (Gasparo Diziani)|Its companion. Diziani was a Bellunese, and worked as a scene painter for the theatres of Venice, Rome, and Dresden. He was also a good historical painter; and has left publick works at Venice, of which Zanetti, Della Pittura Veneziana pag. 444, speaks with due commendation]] réalisée par Gasparo Diziani, vendue par John Strange. [143]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The Virgin, Child, and Saints. Polidoro called Veneziano, to distinguish him from the Milanese Polidoro da Caravaggio, though a disciple of Titian, did not rise to the first class of Venetian painters, of that time, though he also did several publick works in Venice, some of which are well spoken of by Zanetti, Della Pittura Veneziana pag. 236, &c. (Polidoro Veneziano)|The Virgin, Child, and Saints. Polidoro called Veneziano, to distinguish him from the Milanese Polidoro da Caravaggio, though a disciple of Titian, did not rise to the first class of Venetian painters, of that time, though he also did several publick works in Venice, some of which are well spoken of by Zanetti, Della Pittura Veneziana pag. 236, &c.]] réalisée par Polidoro Veneziano, vendue par John Strange. [144]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The portrait of a Venetian Lady, painted with force in the stile of Titian, whom this master often rivalled, his portraits being in high estimation this, and the pictures immediately preceding were purchased from private collections, at Venice (Moretto Bresciano)|The portrait of a Venetian Lady, painted with force in the stile of Titian, whom this master often rivalled, his portraits being in high estimation this, and the pictures immediately preceding were purchased from private collections, at Venice]] réalisée par Moretto Bresciano, vendue par John Strange. [145]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[St. Cecilia, in musical extasy, with Angels, &c. Zanetti, Della Pittura Veneziana pag. 400, speaks very highly of this master, as a great genius; having the talent of producing the effect he wished by grossly laying on separately, and then mixing his colours, on the canvas itself; which gives a great singularity to his manner; as is evident in this picture; which is also expressive. He has left several works at Venice; this, is from a private collection (Andrea Celesti)|St. Cecilia, in musical extasy, with Angels, &c. Zanetti, Della Pittura Veneziana pag. 400, speaks very highly of this master, as a great genius; having the talent of producing the effect he wished by grossly laying on separately, and then mixing his colours, on the canvas itself; which gives a great singularity to his manner; as is evident in this picture; which is also expressive. He has left several works at Venice; this, is from a private collection]] réalisée par Andrea Celesti, vendue par John Strange. [147]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A portrait of a lady; there were several Campi's; all of Cremona; and good painters. The author of the list of eminent painters printed for Mr. Cadell, London, 1778, 8 vo. before quoted, mentions six; it seems uncertain which of them painted this portrait, which, however, is highly finished; and a sweet character; from a private collection (Campi)|A portrait of a lady; there were several Campi's; all of Cremona; and good painters. The author of the list of eminent painters printed for Mr. Cadell, London, 1778, 8 vo. before quoted, mentions six; it seems uncertain which of them painted this portrait, which, however, is highly finished; and a sweet character; from a private collection]] réalisée par Campi, vendue par John Strange. [152]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[St. Benedict in the thorns, with highly finished landscape, finely painted on board, with several original inscriptions marked by the painter, a celebrated master of the Florentine school, and scholar of Angelo Bronzino; purchased at Florence (Alessandro Allori)|St. Benedict in the thorns, with highly finished landscape, finely painted on board, with several original inscriptions marked by the painter, a celebrated master of the Florentine school, and scholar of Angelo Bronzino; purchased at Florence]] réalisée par Alessandro Allori, vendue par John Strange. [192]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[A curious, and very ancient specimen of Grecian painting, done seemingly long before the introduction of that art into Italy by the Grecians; the founders also, according, particularly, to Tiraboschi's very learned and elaborate work, Della Letteratura Italiana, of most other arts and sciences in that country. It represents the death and burial of St. Ephraim, the Patriarch, &c. as expressed likewise, by an old inscription, of the painter himself, probably, at the top of the picture, in barbarous modern Greek, rectified however, classically in manuscript, at the back of the picture, and in his own hand writing, by the late Sig. Giuseppe Torelli of Verona; the author of several learned and ingenious printed works, and to whom this picture formerly belonged; having, since his death, a few years ago, at Verona, been presented to the proprietor of this collection, long intimately connected with Mr. Torelli, by his executors. In regard to the picture itself, it is further estimable for its antiquity principally, though the precise era of its production be not so easily ascertained, by modern criticism. The celebrated Abbè de la Rive, of Paris, has lately written as is well known, to the curious, a learned work expressly treating this subject of the ancient paintings, especially in books, and illustrated, with several curious coloured specimens of the different manners of painting, at the different eras, according to the best of his judgment; but it does not appear from those specimens, which have been examined and compared, to which era precisely, the picture in question may most properly belong. Indeed, the Abbe's specimens, however choice, are too few, and too generally illustrative, to be decisive, particularly, in so nice a point; whatever may be the merit of the text, or explanations, if any, as it is presumed, the writer of these anecdotes, having only seen the coloured plates, which undoubtedly have their respective merit, in so curious an enquiry. But it is from specimens, and Fac Similes, principally, and not by learned disquisition, that such matters are to be properly elucidated. It may further be observed, that Venice, from its situation and commerce, having been the chief place of resort in Italy, for the early Grecian artists, and men of science, who taught there, it likewise, of course, contains more remains of their works; many of which are still extant, and in good preservation, in the churches; particularly in that of St. Mark; which is also built, like the old church of St. Antonio, at Padua, in the eastern stile of architecture, with several domes, or cupolæ; like St. Sophia's and the other mosques, at Constantinople (Greek)|A curious, and very ancient specimen of Grecian painting, done seemingly long before the introduction of that art into Italy by the Grecians; the founders also, according, particularly, to Tiraboschi's very learned and elaborate work, Della Letteratura Italiana, of most other arts and sciences in that country. It represents the death and burial of St. Ephraim, the Patriarch, &c. as expressed likewise, by an old inscription, of the painter himself, probably, at the top of the picture, in barbarous modern Greek, rectified however, classically in manuscript, at the back of the picture, and in his own hand writing, by the late Sig. Giuseppe Torelli of Verona; the author of several learned and ingenious printed works, and to whom this picture formerly belonged; having, since his death, a few years ago, at Verona, been presented to the proprietor of this collection, long intimately connected with Mr. Torelli, by his executors. In regard to the picture itself, it is further estimable for its antiquity principally, though the precise era of its production be not so easily ascertained, by modern criticism. The celebrated Abbè de la Rive, of Paris, has lately written as is well known, to the curious, a learned work expressly treating this subject of the ancient paintings, especially in books, and illustrated, with several curious coloured specimens of the different manners of painting, at the different eras, according to the best of his judgment; but it does not appear from those specimens, which have been examined and compared, to which era precisely, the picture in question may most properly belong. Indeed, the Abbe's specimens, however choice, are too few, and too generally illustrative, to be decisive, particularly, in so nice a point; whatever may be the merit of the text, or explanations, if any, as it is presumed, the writer of these anecdotes, having only seen the coloured plates, which undoubtedly have their respective merit, in so curious an enquiry. But it is from specimens, and Fac Similes, principally, and not by learned disquisition, that such matters are to be properly elucidated. It may further be observed, that Venice, from its situation and commerce, having been the chief place of resort in Italy, for the early Grecian artists, and men of science, who taught there, it likewise, of course, contains more remains of their works; many of which are still extant, and in good preservation, in the churches; particularly in that of St. Mark; which is also built, like the old church of St. Antonio, at Padua, in the eastern stile of architecture, with several domes, or cupolæ; like St. Sophia's and the other mosques, at Constantinople]] réalisée par Greek, vendue par John Strange. [195]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[Judith with the head of Holofernes; a good picture of the master; from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Guido Cagnacci)|Judith with the head of Holofernes; a good picture of the master; from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Guido Cagnacci, vendue par John Strange. [198]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[The coronation of the Virgin; an excellent picture of the master, from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor (Paulo Farinato)|The coronation of the Virgin; an excellent picture of the master, from the Negri collection the Entire and Genuine Collection of Pictures of that esteemed Connoisseur Monsignor Negri, late Bishop of Parenzo, in Istria, collected by him chiefly at Rome, and purchased of his Executors by the present Proprietor]] réalisée par Paulo Farinato, vendue par John Strange. [209]
  • 1789.12.10/ -. Vente de l'œuvre décrite comme [[St. John the Baptist, with other Saints, and landscape, finely painted on board, by this great master of Titian, and the Venetian school; purchased from the convent of St. John of the Giudecca at Venice; having been an altar piece in that church, and therefore mentioned by Zanetti, Boschini and other writers (Giovanni Bellini)|St. John the Baptist, with other Saints, and landscape, finely painted on board, by this great master of Titian, and the Venetian school; purchased from the convent of St. John of the Giudecca at Venice; having been an altar piece in that church, and therefore mentioned by Zanetti, Boschini and other writers]] réalisée par Giovanni Bellini, vendue par John Strange. [211]
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