Ventes d'œuvres le 1790.-.-

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  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Il Padre Eterno sitting in the clouds in the character of Creator, holding in one hand the globe, with the cross on the top. The expression in the countenance, and the other hand uplifted, seems to denote a concern in the Almighty, that the imperfection of his work, in the sins of its first inhabitants, had cost him the sacrifice of his own Son to atone for them. This character, though in so small a picture, is worthy of Raphael; and shews how much that great painter owed to this his master, and that he did not miraculously start, by his own genius only into the perfection he reached; though he improved beyond imagination the instruction he had from Perugino. r.r.r. exceedingly rare and perfect (Pietro Perugino)|Il Padre Eterno sitting in the clouds in the character of Creator, holding in one hand the globe, with the cross on the top. The expression in the countenance, and the other hand uplifted, seems to denote a concern in the Almighty, that the imperfection of his work, in the sins of its first inhabitants, had cost him the sacrifice of his own Son to atone for them. This character, though in so small a picture, is worthy of Raphael; and shews how much that great painter owed to this his master, and that he did not miraculously start, by his own genius only into the perfection he reached; though he improved beyond imagination the instruction he had from Perugino. r.r.r. exceedingly rare and perfect]] réalisée par Pietro Perugino, vendue par [[[Isaac Jemineau]]] au prix de 20 gs. [1]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[The Virgin sitting with the young Jesus in herlap, the cross in his hand, to which St. John, kneeling, has his face directed by the hand of the Virgin. The mixture of concern in the Virgin, and of devout resignation to this sacrifice of her Son, (which the cross, on which her eyes are fixed, denounces) in painted with the peculiar excellence of this master at delineating the passions. The village of Bethleham, with the stable in which our Saviour was born, makes part of the landscape, which is particularly beautiful; and such a serenity prevails in the sky, and over the face of the whole country, as well became the season wherein from Heaven was proclaimed on earth, Peach and good-will towards men. The preservation of this picture is extraordinary. It was painted when Raphael was getting entirely rid of the harder manner of his master, and copying nature in all her grace and ease; the figures of the Virgin and Child give evident proffs of this, though there is perhaps something of his earlier manner in that of St. John, but surely in the utmost perfection of it. This picture belonged to the princes of Massa Carrera for centuries; most probably was painted for them. It remained in the family till the extinction of it in the person of the Cardinal Cybo a few years since, from whose executors it came to the present possessor. r.r.r exceedingly rare and perfect (Raphael D'Urbino)|The Virgin sitting with the young Jesus in herlap, the cross in his hand, to which St. John, kneeling, has his face directed by the hand of the Virgin. The mixture of concern in the Virgin, and of devout resignation to this sacrifice of her Son, (which the cross, on which her eyes are fixed, denounces) in painted with the peculiar excellence of this master at delineating the passions. The village of Bethleham, with the stable in which our Saviour was born, makes part of the landscape, which is particularly beautiful; and such a serenity prevails in the sky, and over the face of the whole country, as well became the season wherein from Heaven was proclaimed on earth, Peach and good-will towards men. The preservation of this picture is extraordinary. It was painted when Raphael was getting entirely rid of the harder manner of his master, and copying nature in all her grace and ease; the figures of the Virgin and Child give evident proffs of this, though there is perhaps something of his earlier manner in that of St. John, but surely in the utmost perfection of it. This picture belonged to the princes of Massa Carrera for centuries; most probably was painted for them. It remained in the family till the extinction of it in the person of the Cardinal Cybo a few years since, from whose executors it came to the present possessor. r.r.r exceedingly rare and perfect]] réalisée par Raphael D'Urbino, vendue par [[[Isaac Jemineau]]] au prix de 500 gs. [2]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[The portrait of Ortensia Giacovacci, a noble lady, painted with all the bold projection and roundness of Leonardo da Vinci; but with the softness and transparency of this, as great and more natural a painter. This picture came likewise from the Massa Carrera collection. r.r.r. exceedingly rare and perfect (Francesco Penna)|The portrait of Ortensia Giacovacci, a noble lady, painted with all the bold projection and roundness of Leonardo da Vinci; but with the softness and transparency of this, as great and more natural a painter. This picture came likewise from the Massa Carrera collection. r.r.r. exceedingly rare and perfect]] réalisée par Francesco Penna, vendue par [[[Isaac Jemineau]]] au prix de 20 gs. [3]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[The Virgin with the bambino in the clouds encircled by angels. A small picture exquisitely well painted, with a peculiarity in the representation of the landscape in a bird's eye view; as if seen from the place of the Virgin in the sky. r.r.r. exceedingly rare and perfect (Francesco Penna)|The Virgin with the bambino in the clouds encircled by angels. A small picture exquisitely well painted, with a peculiarity in the representation of the landscape in a bird's eye view; as if seen from the place of the Virgin in the sky. r.r.r. exceedingly rare and perfect]] réalisée par Francesco Penna, vendue par [[[Isaac Jemineau]]] au prix de 25 gs. [4]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Aurora driving Cephalus from the car. Ovid's Metam. A most agreeable picture, wherein the elegance of the figures, with the sea and landscape on the opening of day, exhibit a more distinct and less complicated composition than is usually to be found of this author. r.r.r. exceedingly rare and perfect (Pietro da Cortona)|Aurora driving Cephalus from the car. Ovid's Metam. A most agreeable picture, wherein the elegance of the figures, with the sea and landscape on the opening of day, exhibit a more distinct and less complicated composition than is usually to be found of this author. r.r.r. exceedingly rare and perfect]] réalisée par Pietro da Cortona, vendue par [[[Isaac Jemineau]]] au prix de 40 gs. [8]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Sta. Polonica, whose teeth were all drawn out before her martyrdom, to be found only in the Roman catholic legends. These two oval pictures may pass for paintings of the master, Pietro da Cortona. The mouth of Sta. Polonica is particularly pretty, to give a greater abhorrence probably of the barbarity that could so offend it. r.r. more rare (Romaneli)|Sta. Polonica, whose teeth were all drawn out before her martyrdom, to be found only in the Roman catholic legends. These two oval pictures may pass for paintings of the master, Pietro da Cortona. The mouth of Sta. Polonica is particularly pretty, to give a greater abhorrence probably of the barbarity that could so offend it. r.r. more rare]] réalisée par Romaneli, vendue par [[[Isaac Jemineau]]] au prix de 8 gs. [11]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[A contention betwixt Love and Time. The allegory is most elegantly and poetically described. Time is represented in the act of flying from a rock with a Cupid whom he has seized, and is plucking the wings of. Other Cupids, alarmed at this violence, have recourse for protection to their mother Venus, who is beautifully painted in her chariot with extended arms, imploring the mercy of Time on the Cupid he is about to destroy. Beside the Cupids in distress, two are observed near the car, both are laughing, and one is pointing to the foot of Time, which he cannot detach from the rock, and stops him from flying off. This is occasioned by a theft of two other Cupids who are flying off with the scyth and hourglass of Time, who, thus bereft of his instruments, can neither proceed nor destroy. Love, therefore, remains triumphant; it being only by the process of Time that he can be got the better of. r.r.r. exceedingly rare and perfect (Giacinto Gemignani)|A contention betwixt Love and Time. The allegory is most elegantly and poetically described. Time is represented in the act of flying from a rock with a Cupid whom he has seized, and is plucking the wings of. Other Cupids, alarmed at this violence, have recourse for protection to their mother Venus, who is beautifully painted in her chariot with extended arms, imploring the mercy of Time on the Cupid he is about to destroy. Beside the Cupids in distress, two are observed near the car, both are laughing, and one is pointing to the foot of Time, which he cannot detach from the rock, and stops him from flying off. This is occasioned by a theft of two other Cupids who are flying off with the scyth and hourglass of Time, who, thus bereft of his instruments, can neither proceed nor destroy. Love, therefore, remains triumphant; it being only by the process of Time that he can be got the better of. r.r.r. exceedingly rare and perfect]] réalisée par Giacinto Gemignani, vendue par [[[Isaac Jemineau]]] au prix de 20 gs. [13]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Venus shewing to Aeneas and Achates the way to Carthage. Virg. Aen. This picture is in so different a style of painting, that was it not for the Cupids, it would scarcely be allowed of the same hand. The drawing and manner of this piece resembles much the works of Nicolo Poussin; for whose, those of Gemignani are often taken. r.r. more rare (Giacinto Gemignani)|Venus shewing to Aeneas and Achates the way to Carthage. Virg. Aen. This picture is in so different a style of painting, that was it not for the Cupids, it would scarcely be allowed of the same hand. The drawing and manner of this piece resembles much the works of Nicolo Poussin; for whose, those of Gemignani are often taken. r.r. more rare]] réalisée par Giacinto Gemignani, vendue par [[[Isaac Jemineau]]] au prix de 15 gs. [14]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[The Virgin with Jesus on her knee, receiving adoration from St. John, who is presented by St. Elizabeth; St. Joseph in the back part of the picture leaning on a square measure, intended perhaps to denote his trade. An excellent picture of this great studier of the antique, and in the manner of the best of his sacraments; a noted work of this author in the Bocca Padulli palace at Rome. r.r.r. exceedingly rare and perfect (Nicolo Poussin)|The Virgin with Jesus on her knee, receiving adoration from St. John, who is presented by St. Elizabeth; St. Joseph in the back part of the picture leaning on a square measure, intended perhaps to denote his trade. An excellent picture of this great studier of the antique, and in the manner of the best of his sacraments; a noted work of this author in the Bocca Padulli palace at Rome. r.r.r. exceedingly rare and perfect]] réalisée par Nicolo Poussin, vendue par [[[Isaac Jemineau]]] au prix de 30 gs. [15]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[An infant Jesus, with St. John presenting him flowers. This picture was thought to be by Hannibal Carrace; but the landscape being undoubtedly of N. Poussin, the figures may be so likewise, though the colouring is much warmer than is usually to be met with in his paintings. r.r.r. exceedingly rare and perfect (Nicolo Poussin)|An infant Jesus, with St. John presenting him flowers. This picture was thought to be by Hannibal Carrace; but the landscape being undoubtedly of N. Poussin, the figures may be so likewise, though the colouring is much warmer than is usually to be met with in his paintings. r.r.r. exceedingly rare and perfect]] réalisée par Nicolo Poussin, vendue par [[[Isaac Jemineau]]] au prix de 10 gs. [16]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[The Virgin with the Infant Jesus standing on her knee, his head inclined, and his arm extended with the utmostgrace, in seeming sport with St. John, who is painted beneath, resting his arm on the Virgin's knee. A capital picture, painted by this author in his prime, soon after his leaving the school of Imperiali, equal in design and composition to the best works of Carlo Maratti, with a better colouring. r.r.r. exceedingly rare and perfect (Pompeo Battoni)|The Virgin with the Infant Jesus standing on her knee, his head inclined, and his arm extended with the utmostgrace, in seeming sport with St. John, who is painted beneath, resting his arm on the Virgin's knee. A capital picture, painted by this author in his prime, soon after his leaving the school of Imperiali, equal in design and composition to the best works of Carlo Maratti, with a better colouring. r.r.r. exceedingly rare and perfect]] réalisée par Pompeo Battoni, vendue par [[[Isaac Jemineau]]], achetée par D.N. au prix de 100 gs. [20]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Scholar of Julio Romano, whose pictures are extremely rare, as he greatly empoloyed his time in the illuminating of missal books, in which the drawing of his miniatures are as exact as if they had been as big as the life. This his extraoradinary merit is well set forth in the present picture. r.r.r. exceedingly rare and perfect (Julio Clovio)|Scholar of Julio Romano, whose pictures are extremely rare, as he greatly empoloyed his time in the illuminating of missal books, in which the drawing of his miniatures are as exact as if they had been as big as the life. This his extraoradinary merit is well set forth in the present picture. r.r.r. exceedingly rare and perfect]] réalisée par Julio Clovio, vendue par [[[Isaac Jemineau]]] au prix de 20 gs. [21]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Four pictures; the idea taken from four cantos of Petrarch, stiled the Triumphs of Time, of Fame, of Religion, and of Death. These paintings are undoubtedly the most excellent now subsisting. They are indeed poems as well as picture. The composition for sublimity of thought, and the artist's part in design and colouring, marr all description. A feint one, however, has been attempted from an attentive study of these originals, which has relieved them, in a great measure, from that obscurity a former commentator had thrown them into, by inscribing names over every figure; which attempt must be referred to, the least that can be said of them being too much to be inserted in a catalogue. r.r.r. exceedingly rare and perfect (Venetian School)|Four pictures; the idea taken from four cantos of Petrarch, stiled the Triumphs of Time, of Fame, of Religion, and of Death. These paintings are undoubtedly the most excellent now subsisting. They are indeed poems as well as picture. The composition for sublimity of thought, and the artist's part in design and colouring, marr all description. A feint one, however, has been attempted from an attentive study of these originals, which has relieved them, in a great measure, from that obscurity a former commentator had thrown them into, by inscribing names over every figure; which attempt must be referred to, the least that can be said of them being too much to be inserted in a catalogue. r.r.r. exceedingly rare and perfect]] réalisée par Venetian School, vendue par [[[Isaac Jemineau]]] au prix de 800 gs. [26]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Four pictures; the idea taken from four cantos of Petrarch, stiled the Triumphs of Time, of Fame, of Religion, and of Death. These paintings are undoubtedly the most excellent now subsisting. They are indeed poems as well as picture. The composition for sublimity of thought, and the artist's part in design and colouring, marr all description. A feint one, however, has been attempted from an attentive study of these originals, which has relieved them, in a great measure, from that obscurity a former commentator had thrown them into, by inscribing names over every figure; which attempt must be referred to, the least that can be said of them being too much to be inserted in a catalogue. r.r.r. exceedingly rare and perfect (Venetian School)|Four pictures; the idea taken from four cantos of Petrarch, stiled the Triumphs of Time, of Fame, of Religion, and of Death. These paintings are undoubtedly the most excellent now subsisting. They are indeed poems as well as picture. The composition for sublimity of thought, and the artist's part in design and colouring, marr all description. A feint one, however, has been attempted from an attentive study of these originals, which has relieved them, in a great measure, from that obscurity a former commentator had thrown them into, by inscribing names over every figure; which attempt must be referred to, the least that can be said of them being too much to be inserted in a catalogue. r.r.r. exceedingly rare and perfect]] réalisée par Venetian School, vendue par [[[Isaac Jemineau]]] au prix de 800 gs. [27]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Four pictures; the idea taken from four cantos of Petrarch, stiled the Triumphs of Time, of Fame, of Religion, and of Death. These paintings are undoubtedly the most excellent now subsisting. They are indeed poems as well as picture. The composition for sublimity of thought, and the artist's part in design and colouring, marr all description. A feint one, however, has been attempted from an attentive study of these originals, which has relieved them, in a great measure, from that obscurity a former commentator had thrown them into, by inscribing names over every figure; which attempt must be referred to, the least that can be said of them being too much to be inserted in a catalogue. r.r.r. exceedingly rare and perfect (Venetian School)|Four pictures; the idea taken from four cantos of Petrarch, stiled the Triumphs of Time, of Fame, of Religion, and of Death. These paintings are undoubtedly the most excellent now subsisting. They are indeed poems as well as picture. The composition for sublimity of thought, and the artist's part in design and colouring, marr all description. A feint one, however, has been attempted from an attentive study of these originals, which has relieved them, in a great measure, from that obscurity a former commentator had thrown them into, by inscribing names over every figure; which attempt must be referred to, the least that can be said of them being too much to be inserted in a catalogue. r.r.r. exceedingly rare and perfect]] réalisée par Venetian School, vendue par [[[Isaac Jemineau]]] au prix de 800 gs. [28]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Four pictures; the idea taken from four cantos of Petrarch, stiled the Triumphs of Time, of Fame, of Religion, and of Death. These paintings are undoubtedly the most excellent now subsisting. They are indeed poems as well as picture. The composition for sublimity of thought, and the artist's part in design and colouring, marr all description. A feint one, however, has been attempted from an attentive study of these originals, which has relieved them, in a great measure, from that obscurity a former commentator had thrown them into, by inscribing names over every figure; which attempt must be referred to, the least that can be said of them being too much to be inserted in a catalogue. r.r.r. exceedingly rare and perfect (Venetian School)|Four pictures; the idea taken from four cantos of Petrarch, stiled the Triumphs of Time, of Fame, of Religion, and of Death. These paintings are undoubtedly the most excellent now subsisting. They are indeed poems as well as picture. The composition for sublimity of thought, and the artist's part in design and colouring, marr all description. A feint one, however, has been attempted from an attentive study of these originals, which has relieved them, in a great measure, from that obscurity a former commentator had thrown them into, by inscribing names over every figure; which attempt must be referred to, the least that can be said of them being too much to be inserted in a catalogue. r.r.r. exceedingly rare and perfect]] réalisée par Venetian School, vendue par [[[Isaac Jemineau]]] au prix de 800 gs. [29]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[An incomparable picture of this great author; in which nature is more exactly kept to than usually in his works, these being generally too much manierès. The hue in the light, given from the city of Sodom on fire in the back ground, is preserved in masterly manner, and every object, as it would when placed in such a medium, partakes of this colouring. The figures are drawn with the greatest exactness, as big as life. The robust and vigorous habit of body, which must be imagined in Lot, is strongly represented in his figure. The withdrawing herself of the elder daughter (a most compleat form) from her father's embrace, with a seeming horror for what she has committed, is both highly imagined and painted; whilst the younger is administering the invigorating cup, and practising her wanton allurements to provoke the veteran to her purpose. Upon the whole, for composition and painting, and for every excellence in the art, this piece must be ranked with the most capital performances, and was valued by Andrea Sacchi, above a hundred years since, at three thousand Roman crowns, in an estimate still extant of the collection to which this picture belonged. r.r.r. exceedingly rare and perfect (Paul Veronese)|An incomparable picture of this great author; in which nature is more exactly kept to than usually in his works, these being generally too much manierès. The hue in the light, given from the city of Sodom on fire in the back ground, is preserved in masterly manner, and every object, as it would when placed in such a medium, partakes of this colouring. The figures are drawn with the greatest exactness, as big as life. The robust and vigorous habit of body, which must be imagined in Lot, is strongly represented in his figure. The withdrawing herself of the elder daughter (a most compleat form) from her father's embrace, with a seeming horror for what she has committed, is both highly imagined and painted; whilst the younger is administering the invigorating cup, and practising her wanton allurements to provoke the veteran to her purpose. Upon the whole, for composition and painting, and for every excellence in the art, this piece must be ranked with the most capital performances, and was valued by Andrea Sacchi, above a hundred years since, at three thousand Roman crowns, in an estimate still extant of the collection to which this picture belonged. r.r.r. exceedingly rare and perfect]] réalisée par Paul Veronese, vendue par [[[Isaac Jemineau]]] au prix de 150 gs. [30]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Christ in the garden taking the cup from an angel, three Apostles asleep below, and Judas with torches entering to betray him in the remote part of the picture. A good work of this author; and the better, in that the story is most faithfully kept to, without those objects too frequently intruded in his works merely to shew his art. -- But he has here availed himself of the posture of the Apostles for his foreshortening; and the fast-asleep was surely never better painted. r.r.r. exceedingly rare and perfect (Giaccomo Bassan)|Christ in the garden taking the cup from an angel, three Apostles asleep below, and Judas with torches entering to betray him in the remote part of the picture. A good work of this author; and the better, in that the story is most faithfully kept to, without those objects too frequently intruded in his works merely to shew his art. -- But he has here availed himself of the posture of the Apostles for his foreshortening; and the fast-asleep was surely never better painted. r.r.r. exceedingly rare and perfect]] réalisée par Giaccomo Bassan, vendue par [[[Isaac Jemineau]]] au prix de 25 gs. [32]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[St. Francis painted in two colours, with his inimitable transparency and grace, and a perfection of drawing not always met with (as the following is generally said, though perhaps erroneously) in the lesser works of this great author. May it not be objected to this general assertion, that when the drawing of Correggio on the larger scale is so correct and noble, as to have given to Hannibal Caracce (that most excellent designer) much credit for his imitation, though falling short, of it; as may be seen in the Parma collection at Naples; may it not seem surprizing, that on a lesser scale (on which his studies must have mostly been made) this great master should be so often deficient. It seems impossible; and upon enquiry the fact with perhaps turn out otherwise. In all the undoubted paintings of Corregio the objection certainly does not hold. The two famous pictures at Parma (of St. Jerom with the holy family; and that at the Church of St. Sepulchre) have every merit tha can be imagined in painting. The still smaller pictures of St. Catherine wedding our Saviour, the Magdalen, the Madonna della Coniglio, (all at Capo di Monte) and that in the Sacristia of St. Louis at Rome, have not the least deficiency of the sort objected. Whence then has it arisen to have been so generally repeated? Perhaps from pictures of this author left unfinished. Or from copies that have been sold for originals. In both these cases the deficiency may prevail. On the first, in the part finished by another hand. And in the second it is still more likely; such deficiency being the characteristic of a copy; that in some parts, easier to paint, will often come near to an original, but will ever fall short on the whole. This objection therfore seems, rather, than in fact, to have originated in the cunning of venders, to reconcile such faults to purchasers, who buy for the name's sake. r.r.r exceedingly rare and perfect (Correggio)|St. Francis painted in two colours, with his inimitable transparency and grace, and a perfection of drawing not always met with (as the following is generally said, though perhaps erroneously) in the lesser works of this great author. May it not be objected to this general assertion, that when the drawing of Correggio on the larger scale is so correct and noble, as to have given to Hannibal Caracce (that most excellent designer) much credit for his imitation, though falling short, of it; as may be seen in the Parma collection at Naples; may it not seem surprizing, that on a lesser scale (on which his studies must have mostly been made) this great master should be so often deficient. It seems impossible; and upon enquiry the fact with perhaps turn out otherwise. In all the undoubted paintings of Corregio the objection certainly does not hold. The two famous pictures at Parma (of St. Jerom with the holy family; and that at the Church of St. Sepulchre) have every merit tha can be imagined in painting. The still smaller pictures of St. Catherine wedding our Saviour, the Magdalen, the Madonna della Coniglio, (all at Capo di Monte) and that in the Sacristia of St. Louis at Rome, have not the least deficiency of the sort objected. Whence then has it arisen to have been so generally repeated? Perhaps from pictures of this author left unfinished. Or from copies that have been sold for originals. In both these cases the deficiency may prevail. On the first, in the part finished by another hand. And in the second it is still more likely; such deficiency being the characteristic of a copy; that in some parts, easier to paint, will often come near to an original, but will ever fall short on the whole. This objection therfore seems, rather, than in fact, to have originated in the cunning of venders, to reconcile such faults to purchasers, who buy for the name's sake. r.r.r exceedingly rare and perfect]] réalisée par Correggio, vendue par [[[Isaac Jemineau]]] au prix de 100 gs. [40]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Herodias holding the charger into which a soldier is putting St. John the Baptist's head, just cut off and still bleeding. In this perfect picture of the author, the soldier has all the force of colouring of Giorgione; the dead head has the grace of Correggio, but the Herodias, though delicately and finely painted, has something of the hardness that distinguished the early paintings of this school. r.r.r. exceedingly rare and perfect} (Leonardo da Vinci)|Herodias holding the charger into which a soldier is putting St. John the Baptist's head, just cut off and still bleeding. In this perfect picture of the author, the soldier has all the force of colouring of Giorgione; the dead head has the grace of Correggio, but the Herodias, though delicately and finely painted, has something of the hardness that distinguished the early paintings of this school. r.r.r. exceedingly rare and perfect}]] réalisée par Leonardo da Vinci, vendue par [[[Isaac Jemineau]]] au prix de 70 gs. [41]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[The Baptism of our Saviour by St. John. A most capital picture of this great author, called by L. Caracce, Michael Angelo riformato. It was painted under a bold assertion of the author, that he would exhibit figures so much in the style both of Raphael and of Michael Angelo as to pass for theirs; accordingly the St. John in this place piece is worthy of Raphael, and the Christ of Michael Angelo. But to demonstrate still farther his abilities, he has introduced two figures giving to our Saviour his garment and putting it on him as he comes out from the river; which are disposed in attitudes most difficult to draw in the manner of M. Angelo, who took every opportunity of shewing his excellence in designing. Tibaldi has likewise in these figures by the exact disposition of muscles, shewn his skill in anatomy, which he had industriously studied and made himself master of. r.r.r. exceedingly rare and perfect (Tibaldi de' Pelegrini)|The Baptism of our Saviour by St. John. A most capital picture of this great author, called by L. Caracce, Michael Angelo riformato. It was painted under a bold assertion of the author, that he would exhibit figures so much in the style both of Raphael and of Michael Angelo as to pass for theirs; accordingly the St. John in this place piece is worthy of Raphael, and the Christ of Michael Angelo. But to demonstrate still farther his abilities, he has introduced two figures giving to our Saviour his garment and putting it on him as he comes out from the river; which are disposed in attitudes most difficult to draw in the manner of M. Angelo, who took every opportunity of shewing his excellence in designing. Tibaldi has likewise in these figures by the exact disposition of muscles, shewn his skill in anatomy, which he had industriously studied and made himself master of. r.r.r. exceedingly rare and perfect]] réalisée par Tibaldi de' Pelegrini, vendue par [[[Isaac Jemineau]]], achetée par D.N. au prix de 100 gs. [42]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[The marriage of St. Catherine with the infant Jesus. This picture is a perfect one of this great master of the Bolognese School, and is of uncommon preservation. As this marriage had its origin only in the dream of St. Catherine of Sienna, the painter has represented her in a trance; and receiving on her knees the ring from the infant Jesus in the Virgin's lap. But as it would be difficult to imagine that the saint could in her sleep support herself in this posture, the painter has finely introduced an angel (worthy Correggio) supporting her, who with another attendant, and a boy likewise finely painted, make a groupe on one side the picture, to answer that of the Virgin, our Saviour, and St. Joseph, that fill the other. The well-disposing of the groupes, as it brings the whole without confusion at once in view, and by assigning to every figure a distinct place, tends more clearly to tell the story, is an elegance that the best painters have distinguished their work by, and has no where been more successfully practised than in this excellent performance of this great master. r.r.r. exceedingly rare and perfect (Ludovico Caracce)|The marriage of St. Catherine with the infant Jesus. This picture is a perfect one of this great master of the Bolognese School, and is of uncommon preservation. As this marriage had its origin only in the dream of St. Catherine of Sienna, the painter has represented her in a trance; and receiving on her knees the ring from the infant Jesus in the Virgin's lap. But as it would be difficult to imagine that the saint could in her sleep support herself in this posture, the painter has finely introduced an angel (worthy Correggio) supporting her, who with another attendant, and a boy likewise finely painted, make a groupe on one side the picture, to answer that of the Virgin, our Saviour, and St. Joseph, that fill the other. The well-disposing of the groupes, as it brings the whole without confusion at once in view, and by assigning to every figure a distinct place, tends more clearly to tell the story, is an elegance that the best painters have distinguished their work by, and has no where been more successfully practised than in this excellent performance of this great master. r.r.r. exceedingly rare and perfect]] réalisée par Ludovico Caracce, vendue par [[[Isaac Jemineau]]] au prix de 100 gs. [45]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Susannah and the two Elders. An excellent picture to shew the power of this author in drawing; by wich the effect is chiefly produced in this piece, more than by the colouring. The print of it engraved by his brother Agostino is well known. r.r.r. exceedingly rare and perfect (Annibale Caracce)|Susannah and the two Elders. An excellent picture to shew the power of this author in drawing; by wich the effect is chiefly produced in this piece, more than by the colouring. The print of it engraved by his brother Agostino is well known. r.r.r. exceedingly rare and perfect]] réalisée par Annibale Caracce, vendue par [[[Isaac Jemineau]]], achetée par Sold to Mr. Desenfans au prix de 50 gs. [46]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[St. Francis. This picture has received a hurt; but serves to confirm the opinion concerning this author (the natural som of Agostino, and scholar of Annibale) that, had he lived, he would have been the best painter of his name. r.r. more rare (Antonio Caracce)|St. Francis. This picture has received a hurt; but serves to confirm the opinion concerning this author (the natural som of Agostino, and scholar of Annibale) that, had he lived, he would have been the best painter of his name. r.r. more rare]] réalisée par Antonio Caracce, vendue par [[[Isaac Jemineau]]]. [49]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Our Saviour at Emmaus. In this small picture the style of this author (which is somewhat particular) is apparent, but to great advantage, with most exact perspective and conformity to Nature. Our Saviour's figure, for grace and dignity, as well as for softness of colouring, is worthy of Correggio himself, whom this author particularly studied r.r.r. exceedingly rare and perfect (Schidone)|Our Saviour at Emmaus. In this small picture the style of this author (which is somewhat particular) is apparent, but to great advantage, with most exact perspective and conformity to Nature. Our Saviour's figure, for grace and dignity, as well as for softness of colouring, is worthy of Correggio himself, whom this author particularly studied r.r.r. exceedingly rare and perfect]] réalisée par Schidone, vendue par [[[Isaac Jemineau]]] au prix de 100 gs. [51]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[The portrait of his patron the Cardinal Giustiniani legat at Bologna, sitting in an elbow chair with a book in one hand. A most respectable figure, for life and character not to be outdone in painting, and by many of the best judges held in equal estimation with Raphael's Pope Leo the 10th, a famous portrait in the Farnese collection now in possession of the King of Naples at Capo di Monte. r.r.r. exceedingly rare and perfect (Domenico Zampieri, commonly called Domenichino)|The portrait of his patron the Cardinal Giustiniani legat at Bologna, sitting in an elbow chair with a book in one hand. A most respectable figure, for life and character not to be outdone in painting, and by many of the best judges held in equal estimation with Raphael's Pope Leo the 10th, a famous portrait in the Farnese collection now in possession of the King of Naples at Capo di Monte. r.r.r. exceedingly rare and perfect]] réalisée par Domenico Zampieri, commonly called Domenichino, vendue par [[[Isaac Jemineau]]], achetée par Sold to D.N. au prix de 100 gs. [52]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Peter denying Christ. A most perfect picture, in the clar and best style ofthis uthor. The firmness of countenance with which the Saint asserts his denial to both the accusations of the soldier and maid-servant (the other two figures) is inimitably painted. r.r.r. exceedingly rare and perfect (Guercino)|Peter denying Christ. A most perfect picture, in the clar and best style ofthis uthor. The firmness of countenance with which the Saint asserts his denial to both the accusations of the soldier and maid-servant (the other two figures) is inimitably painted. r.r.r. exceedingly rare and perfect]] réalisée par Guercino, vendue par [[[Isaac Jemineau]]] au prix de 120 gs. [54]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Mary Magdalen; her eyes penitentially fixed on the crucifix. This picture is nature herself, and painted to perfection in every part. It is well called in the print of it (to be met with in many cabinets) Spirante Opera di Passinelli. r.r.r. exceedingly rare and perfect (Passinelli)|Mary Magdalen; her eyes penitentially fixed on the crucifix. This picture is nature herself, and painted to perfection in every part. It is well called in the print of it (to be met with in many cabinets) Spirante Opera di Passinelli. r.r.r. exceedingly rare and perfect]] réalisée par Passinelli, vendue par [[[Isaac Jemineau]]] au prix de 150 gs. [56]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Copy of Correggio's cupola at Parma. This picture is very curious, and of particular merit, inasmuch as the original is no longer discernible, and that this copy was painted when the cupola appeared in perfection, by the best painter in this style next Correggio; and one who had the most studied this great artist, the first who represented objects as seen over head. r.r.r. exceedingly rare and perfect (Lanfranc)|Copy of Correggio's cupola at Parma. This picture is very curious, and of particular merit, inasmuch as the original is no longer discernible, and that this copy was painted when the cupola appeared in perfection, by the best painter in this style next Correggio; and one who had the most studied this great artist, the first who represented objects as seen over head. r.r.r. exceedingly rare and perfect]] réalisée par Lanfranc, vendue par [[[Isaac Jemineau]]] au prix de 30 gs. [57]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Andromeda about to be devoured by the monster. A capital picture of the author, who was called the last of the Bolognese school. The figure of Andromeda chained to the rock gives a high idea of horror impressed on beauty. r.r.r. exceedingly rare and perfect (Carlo Cignani)|Andromeda about to be devoured by the monster. A capital picture of the author, who was called the last of the Bolognese school. The figure of Andromeda chained to the rock gives a high idea of horror impressed on beauty. r.r.r. exceedingly rare and perfect]] réalisée par Carlo Cignani, vendue par [[[Isaac Jemineau]]], achetée par [[D.N. [?]]] au prix de 60 gs. [61]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Two landscapes, companions. The landscapes of Borgognone are rare, and not without merit; though he is said to have been induced to paint them in emulation of Salvator Rosa. He had done better, had he confined the rivalship to battle-pieces only. He is placed in the Lombard school from the instruction he received both from Albano and Guido Rene. r.r. more rare (Borgognone)|Two landscapes, companions. The landscapes of Borgognone are rare, and not without merit; though he is said to have been induced to paint them in emulation of Salvator Rosa. He had done better, had he confined the rivalship to battle-pieces only. He is placed in the Lombard school from the instruction he received both from Albano and Guido Rene. r.r. more rare]] réalisée par Borgognone, vendue par [[[Isaac Jemineau]]] au prix de 20 gs. [66]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Two landscapes, companions. The landscapes of Borgognone are rare, and not without merit; though he is said to have been induced to paint them in emulation of Salvator Rosa. He had done better, had he confined the rivalship to battle-pieces only. He is placed in the Lombard school from the instruction he received both from Albano and Guido Rene. r.r. more rare (Borgognone)|Two landscapes, companions. The landscapes of Borgognone are rare, and not without merit; though he is said to have been induced to paint them in emulation of Salvator Rosa. He had done better, had he confined the rivalship to battle-pieces only. He is placed in the Lombard school from the instruction he received both from Albano and Guido Rene. r.r. more rare]] réalisée par Borgognone, vendue par [[[Isaac Jemineau]]] au prix de 20 gs. [67]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[An Alma Ecclesia; the emblem of which is taken from the Alma Mater of the ancients. A good picture of the master. Much of the grace of Guido being found in this author, he is generally supposed to have been his imitator, but Salvi was (according to the best authorities) prior to Guido; being born in the very beginning of the sixteenth century. His stile of painting confirms this. Though graceful, it has the laboured roundness and hardness of outline of the best painters of that age; Leonardo da Vinci, Andrea del Sarto, Raphael himself in both his first manners, and many of his scholars, all whom this artist industriously copied and formed his manner from. This manner, indeed, subsisted in no good painter after the nearer imitation of nature introduced by the Carracci. It seems, therefore, more reasonable to imagine, that Guido took from Salvi that graceful stile which, by having so much improved upon, he has made his own. (Giovanni Battista Salvi. Sasso Ferrato)|An Alma Ecclesia; the emblem of which is taken from the Alma Mater of the ancients. A good picture of the master. Much of the grace of Guido being found in this author, he is generally supposed to have been his imitator, but Salvi was (according to the best authorities) prior to Guido; being born in the very beginning of the sixteenth century. His stile of painting confirms this. Though graceful, it has the laboured roundness and hardness of outline of the best painters of that age; Leonardo da Vinci, Andrea del Sarto, Raphael himself in both his first manners, and many of his scholars, all whom this artist industriously copied and formed his manner from. This manner, indeed, subsisted in no good painter after the nearer imitation of nature introduced by the Carracci. It seems, therefore, more reasonable to imagine, that Guido took from Salvi that graceful stile which, by having so much improved upon, he has made his own.]] réalisée par Giovanni Battista Salvi. Sasso Ferrato, vendue par [[[Isaac Jemineau]]] au prix de 15 gs. [68]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Two pictures companions. First, Orlando Furioso tearing asunder the trees inscribed with the names Angelica and Medoro. Second, Rinaldo instructed by the hermit how to destroy the enchantment of the fiery-wood. Tasso. r.r.r. exceedingly rare and perfect (Salvator Rosa)|Two pictures companions. First, Orlando Furioso tearing asunder the trees inscribed with the names Angelica and Medoro. Second, Rinaldo instructed by the hermit how to destroy the enchantment of the fiery-wood. Tasso. r.r.r. exceedingly rare and perfect]] réalisée par Salvator Rosa, vendue par [[[Isaac Jemineau]]] au prix de 50 gs. [73]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Two pictures companions. First, Orlando Furioso tearing asunder the trees inscribed with the names Angelica and Medoro. Second, Rinaldo instructed by the hermit how to destroy the enchantment of the fiery-wood. Tasso. r.r.r. exceedingly rare and perfect (Salvator Rosa)|Two pictures companions. First, Orlando Furioso tearing asunder the trees inscribed with the names Angelica and Medoro. Second, Rinaldo instructed by the hermit how to destroy the enchantment of the fiery-wood. Tasso. r.r.r. exceedingly rare and perfect]] réalisée par Salvator Rosa, vendue par [[[Isaac Jemineau]]] au prix de 50 gs. [74]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Two capital imitations of Paul Veronese. First, Vulcan whilst he is forging the thunder-bolts of Jove, for his war with the giants, signified in the sky of the picture, is listening to the appointment making between Mars and Venus in another part of it. Second, Vulcan drawing his net over Mars and Venus, Jupiter looking on from above. These pieces have been often taken for the works of Paul himself. r.r.r. exceedingly rare and perfect (Luca Giordano)|Two capital imitations of Paul Veronese. First, Vulcan whilst he is forging the thunder-bolts of Jove, for his war with the giants, signified in the sky of the picture, is listening to the appointment making between Mars and Venus in another part of it. Second, Vulcan drawing his net over Mars and Venus, Jupiter looking on from above. These pieces have been often taken for the works of Paul himself. r.r.r. exceedingly rare and perfect]] réalisée par Luca Giordano, vendue par [[[Isaac Jemineau]]] au prix de 100 gs. [75]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Two capital imitations of Paul Veronese. First, Vulcan whilst he is forging the thunder-bolts of Jove, for his war with the giants, signified in the sky of the picture, is listening to the appointment making between Mars and Venus in another part of it. Second, Vulcan drawing his net over Mars and Venus, Jupiter looking on from above. These pieces have been often taken for the works of Paul himself. r.r.r. exceedingly rare and perfect (Luca Giordano)|Two capital imitations of Paul Veronese. First, Vulcan whilst he is forging the thunder-bolts of Jove, for his war with the giants, signified in the sky of the picture, is listening to the appointment making between Mars and Venus in another part of it. Second, Vulcan drawing his net over Mars and Venus, Jupiter looking on from above. These pieces have been often taken for the works of Paul himself. r.r.r. exceedingly rare and perfect]] réalisée par Luca Giordano, vendue par [[[Isaac Jemineau]]] au prix de 100 gs. [76]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[An Ecce Homo, and a Virgine addolorata. The first is painted in the manner of Ludovico Carracce; and was it not for the freshness of the colouring might well pass for the work of this great master. The judgment of the ancients in a different expression of a similar affection in a divine or human person, is well observed and kept to in both these pictures. r.r.r. exceedingly rare and perfect r.r. more rare (Luca Giordano)|An Ecce Homo, and a Virgine addolorata. The first is painted in the manner of Ludovico Carracce; and was it not for the freshness of the colouring might well pass for the work of this great master. The judgment of the ancients in a different expression of a similar affection in a divine or human person, is well observed and kept to in both these pictures. r.r.r. exceedingly rare and perfect r.r. more rare]] réalisée par Luca Giordano, vendue par [[[Isaac Jemineau]]] au prix de 20 gs. [78]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[An Ecce Homo, and a Virgine addolorata. The first is painted in the manner of Ludovico Carracce; and was it not for the freshness of the colouring might well pass for the work of this great master. The judgment of the ancients in a different expression of a similar affection in a divine or human person, is well observed and kept to in both these pictures. r.r.r. exceedingly rare and perfect r.r. more rare (Luca Giordano)|An Ecce Homo, and a Virgine addolorata. The first is painted in the manner of Ludovico Carracce; and was it not for the freshness of the colouring might well pass for the work of this great master. The judgment of the ancients in a different expression of a similar affection in a divine or human person, is well observed and kept to in both these pictures. r.r.r. exceedingly rare and perfect r.r. more rare]] réalisée par Luca Giordano, vendue par [[[Isaac Jemineau]]] au prix de 20 gs. [79]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Joseph and Potiphar's wife. A capital pictue and the best of this author's works in oil; with more harmony and clearness of colouring than is usually met with in his paintings. A fine imitation of Pietro da Cortona. r.r.r. exceedingly rare and perfect (Solimene)|Joseph and Potiphar's wife. A capital pictue and the best of this author's works in oil; with more harmony and clearness of colouring than is usually met with in his paintings. A fine imitation of Pietro da Cortona. r.r.r. exceedingly rare and perfect]] réalisée par Solimene, vendue par [[[Isaac Jemineau]]] au prix de 100 gs. [80]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Two studies for the judgement of Hercules, which the Earl of Shaftsbury engaged this author to paint as a frontispiece to his elegant treatise on this subject. These studies his Lordship mentions in one of his letters recommending the abilities of this painter. r. rare (Paoli Mattei)|Two studies for the judgement of Hercules, which the Earl of Shaftsbury engaged this author to paint as a frontispiece to his elegant treatise on this subject. These studies his Lordship mentions in one of his letters recommending the abilities of this painter. r. rare]] réalisée par Paoli Mattei, vendue par [[[Isaac Jemineau]]]. [86]
  • 1790.-.-/ -. Vente de l'œuvre décrite comme [[Two studies for the judgement of Hercules, which the Earl of Shaftsbury engaged this author to paint as a frontispiece to his elegant treatise on this subject. These studies his Lordship mentions in one of his letters recommending the abilities of this painter. r. rare (Paoli Mattei)|Two studies for the judgement of Hercules, which the Earl of Shaftsbury engaged this author to paint as a frontispiece to his elegant treatise on this subject. These studies his Lordship mentions in one of his letters recommending the abilities of this painter. r. rare]] réalisée par Paoli Mattei, vendue par [[[Isaac Jemineau]]]. [87]
  • 1790.-.-/ maison de ventes : Anonym. Vente de l'œuvre décrite comme [[L'Eruption du Mont-Vesuve tel qu'elle est arrivée dans l'année 1771. Ce celebre Tableau avoit été fait pour un Monarque ; ou y voit au naturel le feu qui sort du Vesuve, et les laves qui coulent le long de la descente de la Montagne jusqu'à la Mer. Dans l'eloignement la vue de la Mer, et la clairté de la Lune qui reflechi admirablement, avec plusieurs figures &c. &c. La Gravure de ce digne Tableau se trouve dans la Collection des Voïages Pitoresques de Naples. (Charles Voller)|L'Eruption du Mont-Vesuve tel qu'elle est arrivée dans l'année 1771. Ce celebre Tableau avoit été fait pour un Monarque ; ou y voit au naturel le feu qui sort du Vesuve, et les laves qui coulent le long de la descente de la Montagne jusqu'à la Mer. Dans l'eloignement la vue de la Mer, et la clairté de la Lune qui reflechi admirablement, avec plusieurs figures &c. &c. La Gravure de ce digne Tableau se trouve dans la Collection des Voïages Pitoresques de Naples.]] réalisée par Charles Voller, vendue par Charles Mechetti. [141]
  • 1790.-.-/ maison de ventes : Anonym. Vente de l'œuvre décrite comme [[Tableau Historique representant David qui fait transporter l'Arche par quatre Levites dans Jerusalem, et lui étant devant l'Arche en habit Royal dansant avec la Harpe ; et suivi d'un nombreux cortége de Musiciens et Autres, comme aussi d'une foule de Peuples Spectateurs qui font des Sacrifices. Dans le lointain, est la Ville de Jerusalem, le tout trés bien placé, ce tableau tant par le Coloris, dessein et figures qui sont environ 750, il est Superbe. (Nicolas Poussin)|Tableau Historique representant David qui fait transporter l'Arche par quatre Levites dans Jerusalem, et lui étant devant l'Arche en habit Royal dansant avec la Harpe ; et suivi d'un nombreux cortége de Musiciens et Autres, comme aussi d'une foule de Peuples Spectateurs qui font des Sacrifices. Dans le lointain, est la Ville de Jerusalem, le tout trés bien placé, ce tableau tant par le Coloris, dessein et figures qui sont environ 750, il est Superbe.]] réalisée par Nicolas Poussin, vendue par Charles Mechetti. [143]
  • 1790.-.-/ maison de ventes : Anonym. Vente de l'œuvre décrite comme [[Tableau Allegorique, qui rappresente la verité dans les nuées, au bas la Vertu enchainée, à la droite du Tableau, un Satire et Faune, qui donnent des Confitures à un Ane, le quel est richement chargé de choses precieuses, le fond est une belle Campagne. (Annibal Caracci)|Tableau Allegorique, qui rappresente la verité dans les nuées, au bas la Vertu enchainée, à la droite du Tableau, un Satire et Faune, qui donnent des Confitures à un Ane, le quel est richement chargé de choses precieuses, le fond est une belle Campagne.]] réalisée par Annibal Caracci, vendue par Charles Mechetti. [144]
  • 1790.-.-/ maison de ventes : Anonym. Vente de l'œuvre décrite comme [[Copie faite par François Passeri, la Saint Famille qui existe dans le Museum du Roi de Naples ; Tableau qui existait dans le Cabinet du feu Milord Thylney, acquis aprés son décés; quoique cette Copie soit extremement ancienne, elle n'en est pas moins bien conservée. (Raphael d'Urbin)|Copie faite par François Passeri, la Saint Famille qui existe dans le Museum du Roi de Naples ; Tableau qui existait dans le Cabinet du feu Milord Thylney, acquis aprés son décés; quoique cette Copie soit extremement ancienne, elle n'en est pas moins bien conservée.]] réalisée par Raphael d'Urbin, vendue par Charles Mechetti. [149]
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