Ventes d'œuvres le 1791.04.04

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  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Leda. -- See page 12 Of this picture, Ascanio Condivi, and after him Vasari, give the following Account. That it was painted for Alphonso, Duke of Ferrara, who sending one of his gentlemen to Florence, to enquire what Michael Angelo had painted for him, (for the subject was left to himself) on being shewn this picture, exclaimed, Oh! questa e una poca cosa. This speech so much offended Michael Angelo, that he turned the gentlman out of his house, and told him to tell his master he should not have the picture at all, for sending such an ignorant messenger; he afterwards gave it to one of his scholars, who carried it to France, and sold it to Francis the First; and it is now, says Vasari, actually at Fontainebleau. To this, Marriette, in his notes on Condivi's Life of Michael Angelo, adds "It is very certain that the Leda was at Fontainebleau 'till the reign of Lewis XIII. -- Mr. Desnoyers, then Minister of State, from a scrupulous delicacy, first endeavoured to deface it, and then ordered it to be burnt, but this order was not obeyed. I saw this picture about six or seven years since, in its injured state. That it is the work of a great master is easily perceived; and I confess I have never seen any thing of Michael Angelo's so well painted. It seems as if he had taken a higher tone of colour than was usual with him, from a recollection that it was intended to hang in the same room with the works of Titian, at Ferrara. I have seen this picture since it has been repaired it is now going to England to try its fortune there." -- Marriette wrote this account in the year 1746, at the time when the Honourable John Spencer was making the collection of pictures at Althorp. The Leda was purchased by him, and came into the possession of Sir Joshua Reynolds, by the famour of the present Earl Spencer (Michael Angelo)|Leda. -- See page 12 Of this picture, Ascanio Condivi, and after him Vasari, give the following Account. That it was painted for Alphonso, Duke of Ferrara, who sending one of his gentlemen to Florence, to enquire what Michael Angelo had painted for him, (for the subject was left to himself) on being shewn this picture, exclaimed, Oh! questa e una poca cosa. This speech so much offended Michael Angelo, that he turned the gentlman out of his house, and told him to tell his master he should not have the picture at all, for sending such an ignorant messenger; he afterwards gave it to one of his scholars, who carried it to France, and sold it to Francis the First; and it is now, says Vasari, actually at Fontainebleau. To this, Marriette, in his notes on Condivi's Life of Michael Angelo, adds "It is very certain that the Leda was at Fontainebleau 'till the reign of Lewis XIII. -- Mr. Desnoyers, then Minister of State, from a scrupulous delicacy, first endeavoured to deface it, and then ordered it to be burnt, but this order was not obeyed. I saw this picture about six or seven years since, in its injured state. That it is the work of a great master is easily perceived; and I confess I have never seen any thing of Michael Angelo's so well painted. It seems as if he had taken a higher tone of colour than was usual with him, from a recollection that it was intended to hang in the same room with the works of Titian, at Ferrara. I have seen this picture since it has been repaired it is now going to England to try its fortune there." -- Marriette wrote this account in the year 1746, at the time when the Honourable John Spencer was making the collection of pictures at Althorp. The Leda was purchased by him, and came into the possession of Sir Joshua Reynolds, by the famour of the present Earl Spencer]] réalisée par Michael Angelo, vendue par [[[Sir Joshua Reynolds]]]. [74]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[A study of a head, from the life, for a picture of St. Antonio, which is in the church of --, in Bologna. In the finished picture, all the more minute parts which are here expressed, are there omitten; the light part is one broad mass, and the scanty lock of hair which falls on the forehead, is there much fuller and larger. A copy of this picture, seen at the same time with this, would be a good lesson to students, by shewing the different manner of painting a portrait, and an historical head; and teach them at the same time, the advantage of always having recourse to nature (Ludo. Carracci)|A study of a head, from the life, for a picture of St. Antonio, which is in the church of --, in Bologna. In the finished picture, all the more minute parts which are here expressed, are there omitten; the light part is one broad mass, and the scanty lock of hair which falls on the forehead, is there much fuller and larger. A copy of this picture, seen at the same time with this, would be a good lesson to students, by shewing the different manner of painting a portrait, and an historical head; and teach them at the same time, the advantage of always having recourse to nature]] réalisée par Ludo. Carracci, vendue par [[[Sir Joshua Reynolds]]]. [85]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Erminia in armour, addressing herself to the basket-maker and his family, from Tasso. The works of this master are very rare. He was of the school of the Carraches, and in conjunction with his brother pupil Lanfranco, etched Raphael's Bible (Sisto Badolocchi)|Erminia in armour, addressing herself to the basket-maker and his family, from Tasso. The works of this master are very rare. He was of the school of the Carraches, and in conjunction with his brother pupil Lanfranco, etched Raphael's Bible]] réalisée par Sisto Badolocchi, vendue par [[[Sir Joshua Reynolds]]]. [91]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Europa with two Cupids. This picture Ridolfi says was painted for the King of Poland; it was afterwards carried to Spain, and brought from thence by Lord Harrington, Ambassador at that Court; in the carriage it received some damage from the sea water, which had been ill repaired. -- It has been restored by its present possessor (Guido)|Europa with two Cupids. This picture Ridolfi says was painted for the King of Poland; it was afterwards carried to Spain, and brought from thence by Lord Harrington, Ambassador at that Court; in the carriage it received some damage from the sea water, which had been ill repaired. -- It has been restored by its present possessor]] réalisée par Guido, vendue par [[[Sir Joshua Reynolds]]]. [103]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Hercules and Omphale. -- The spectator will judge whether this picture will justify the partiality of Tintoret to Schiavone's colouring; it is said by Ridolfi, that Tintoret gratuitously assisted him in his works, in order to learn his modo di fare. His inventions are in the manner of Parmigiano, whom he much studied, and often borrowed whole figures from him (Schiavone)|Hercules and Omphale. -- The spectator will judge whether this picture will justify the partiality of Tintoret to Schiavone's colouring; it is said by Ridolfi, that Tintoret gratuitously assisted him in his works, in order to learn his modo di fare. His inventions are in the manner of Parmigiano, whom he much studied, and often borrowed whole figures from him]] réalisée par Schiavone, vendue par [[[Sir Joshua Reynolds]]]. [104]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Susanna and the Elders. -- He made many studies for this Susanna; one is in this room, No. 66; another was in a late sale, and another is in the cabinet of the Prince of Orange; in this last she is sitting with a great deal of white drapery, with which she is endeavouring to cover herself (Rembrandt)|Susanna and the Elders. -- He made many studies for this Susanna; one is in this room, No. 66; another was in a late sale, and another is in the cabinet of the Prince of Orange; in this last she is sitting with a great deal of white drapery, with which she is endeavouring to cover herself]] réalisée par Rembrandt, vendue par [[[Sir Joshua Reynolds]]]. [120]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[The Gioconda. -- See page 12 An Extract from Vasari's Life of Lionardo da Vinci. "The portrait which Lionardo painted of Mona Lisa, the wife of Franco del Giocondo must be seen, in order to form an idea how far art can be carried. The eyes have all that waterish lustre, all that reddish livid colour about them, which is observable in nature, and which requires the utmost subtely of art to express. The beauty of the nose and nostrils, the mouth, the separation of the lips, the excellence of the colouring is such as to appear like flesh itself, rather than paint. Whoever looks intesely in the neck, will fancy he sees the pulse beat; in short, we may say, that this picture is enough to intimidate the boldest artist from ever hoping to equal it. When the beautiful M. Lisa was siting for her picture, he took care that she should be entertained with music and singing, and all sorts of buffoonery, in order to alleviate the fatigue of sitting, and to give her a chearful countenance; and indeed there is such sweetness of expression, that it appears like the work of a Divinity rather than of a human being. From the supreme excellence of this picture, his fame was so much increased, that it was purchased by Francis, King of France, for the sum of 4000 crowns and is at present in the palace of Fontainebleau." -- The colours in this picture are so faded, that they no longer correspond to the praise bestowed by Vasari, though in other respects it merits all the praise he has bestowed upon it. As the picture was left unfinished, the hands (which are apparently not by him) were probably finished by Raphael, before it was sent to Francis the First, as Raphael, when Lionardo da Vinci died, was 27 years of age. How this picture came to England, is not known; it was given to Sir Joshua Reynolds by his Grace the Duke of Leeds, and is, in his opinion, undoubtedly the original. Upon Sir Joshua Reynolds's desiring Monsieur Barbier, an ingenious young painter, now in England, to enquire of the secretary of the French Academy, whether the Giocondo was still in the French King's cabinet, he received for answer, that such a picture was there, but not esteemed, or considered as the original; and the secretary adds, that by Monsieur Barbier's Account of the picture in Sir Joshua Reynold's possession, he had no doubt but it was the original. -- The face and hands of this picture being painted by different painters, and apparently from different pallets, is a presumptive proof of its not being a copy. (Lionardo da Vinci)|The Gioconda. -- See page 12 An Extract from Vasari's Life of Lionardo da Vinci. "The portrait which Lionardo painted of Mona Lisa, the wife of Franco del Giocondo must be seen, in order to form an idea how far art can be carried. The eyes have all that waterish lustre, all that reddish livid colour about them, which is observable in nature, and which requires the utmost subtely of art to express. The beauty of the nose and nostrils, the mouth, the separation of the lips, the excellence of the colouring is such as to appear like flesh itself, rather than paint. Whoever looks intesely in the neck, will fancy he sees the pulse beat; in short, we may say, that this picture is enough to intimidate the boldest artist from ever hoping to equal it. When the beautiful M. Lisa was siting for her picture, he took care that she should be entertained with music and singing, and all sorts of buffoonery, in order to alleviate the fatigue of sitting, and to give her a chearful countenance; and indeed there is such sweetness of expression, that it appears like the work of a Divinity rather than of a human being. From the supreme excellence of this picture, his fame was so much increased, that it was purchased by Francis, King of France, for the sum of 4000 crowns and is at present in the palace of Fontainebleau." -- The colours in this picture are so faded, that they no longer correspond to the praise bestowed by Vasari, though in other respects it merits all the praise he has bestowed upon it. As the picture was left unfinished, the hands (which are apparently not by him) were probably finished by Raphael, before it was sent to Francis the First, as Raphael, when Lionardo da Vinci died, was 27 years of age. How this picture came to England, is not known; it was given to Sir Joshua Reynolds by his Grace the Duke of Leeds, and is, in his opinion, undoubtedly the original. Upon Sir Joshua Reynolds's desiring Monsieur Barbier, an ingenious young painter, now in England, to enquire of the secretary of the French Academy, whether the Giocondo was still in the French King's cabinet, he received for answer, that such a picture was there, but not esteemed, or considered as the original; and the secretary adds, that by Monsieur Barbier's Account of the picture in Sir Joshua Reynold's possession, he had no doubt but it was the original. -- The face and hands of this picture being painted by different painters, and apparently from different pallets, is a presumptive proof of its not being a copy.]] réalisée par Lionardo da Vinci, vendue par [[[Sir Joshua Reynolds]]]. [134]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Christ in the Garden of Olives. -- In this picture there are two figures of Christ, in one he is wrapt in meditation, with the eyes closed, in the other he is waking his disciples. -- Mariette, in his account of the works of Michael Angelo, mentions this picture as in the Orleans cabinet; and it is minutely described in the Descriptions des Tableaux du Palais Royal (Michael Angelo)|Christ in the Garden of Olives. -- In this picture there are two figures of Christ, in one he is wrapt in meditation, with the eyes closed, in the other he is waking his disciples. -- Mariette, in his account of the works of Michael Angelo, mentions this picture as in the Orleans cabinet; and it is minutely described in the Descriptions des Tableaux du Palais Royal]] réalisée par Michael Angelo, vendue par [[[Sir Joshua Reynolds]]]. [139]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Christ washing the feet of the Apostles. -- Ridolfi, in the life of Tintoret says, that he being now arrived to great excellence, he did works of greater consequence, he painted two pictures in the church of St. Emacora, at Venice, which shewed him learned in his art; one of them represents the Last Supper, and the other the washing the feet of the Apostles, in a fine perspective view of a room; but the latter has been taken away, and a copy put in its place (Tintoret)|Christ washing the feet of the Apostles. -- Ridolfi, in the life of Tintoret says, that he being now arrived to great excellence, he did works of greater consequence, he painted two pictures in the church of St. Emacora, at Venice, which shewed him learned in his art; one of them represents the Last Supper, and the other the washing the feet of the Apostles, in a fine perspective view of a room; but the latter has been taken away, and a copy put in its place]] réalisée par Tintoret, vendue par [[[Sir Joshua Reynolds]]]. [145]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[St. Margaret and the dragon, a town on fire at a distance. -- Bought at Lord Waldegrave's sale, formerly in the royal collection, as appears by the catalogue of King James's pictures, given probably to Lord Waldegrave by James II.; at Nuneham there is another, with variations, particularly in the dragon, which is there represented as dead (Titian)|St. Margaret and the dragon, a town on fire at a distance. -- Bought at Lord Waldegrave's sale, formerly in the royal collection, as appears by the catalogue of King James's pictures, given probably to Lord Waldegrave by James II.; at Nuneham there is another, with variations, particularly in the dragon, which is there represented as dead]] réalisée par Titian, vendue par [[[Sir Joshua Reynolds]]]. [146]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Sheepsheering. -- At some distance, on a hill, with some difficulty, is seen the sacrifice of Isaac; this is a curious instance how little that school considered the art beyond colouring, and representation of common nature; the sacrifice is here made secondary to the common occupations of husbandmen (Bassan)|Sheepsheering. -- At some distance, on a hill, with some difficulty, is seen the sacrifice of Isaac; this is a curious instance how little that school considered the art beyond colouring, and representation of common nature; the sacrifice is here made secondary to the common occupations of husbandmen]] réalisée par Bassan, vendue par [[[Sir Joshua Reynolds]]]. [155]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[The marriage of St. Catharine -- See page 14 Written on the Back of the Board on which is painted the Marriage of Saint Catharine. J.M.E. Post varios casus, vitae et discrimina, tandem Regreditur nostras sacra tabella manus. Quas referam, Catherina, tibi, quas, Dia beatrix, Quas referam grates, die Puelle, tibi? Vestro ego si nunquam carituras munere, vos ò (Res licet exigua est) cor retinete meum. Receptum Die 10mo Julii, 1626. D.G. Translation: J.M.E. The sacred tablet, various hazards past, Comes, heaven-directed, to my hands at last! All-gracious beings, that here pictured stand, The wonders of divine Correggio's hand; 'Till with this gift and life at once I part, Accept the offering of a grateful heart. Received the 10th Day of July, 1626. God be thanked. Questo quadretto d' Antonio da Correggio non possa mai per alcuna causa uscir di mia casa; et doppo me, andrd`a al mio piu propinquo d'età maggiore, et doppo quello, similmte ad altro il piu prossimo -- et sic deinceps. Io Lelio d' Ippolito guidiccioni mea manu. -- In Roma 11 di Luglio. Vota mia Domino reddam. (Correggio)|The marriage of St. Catharine -- See page 14 Written on the Back of the Board on which is painted the Marriage of Saint Catharine. J.M.E. Post varios casus, vitae et discrimina, tandem Regreditur nostras sacra tabella manus. Quas referam, Catherina, tibi, quas, Dia beatrix, Quas referam grates, die Puelle, tibi? Vestro ego si nunquam carituras munere, vos ò (Res licet exigua est) cor retinete meum. Receptum Die 10mo Julii, 1626. D.G. Translation: J.M.E. The sacred tablet, various hazards past, Comes, heaven-directed, to my hands at last! All-gracious beings, that here pictured stand, The wonders of divine Correggio's hand; 'Till with this gift and life at once I part, Accept the offering of a grateful heart. Received the 10th Day of July, 1626. God be thanked. Questo quadretto d' Antonio da Correggio non possa mai per alcuna causa uscir di mia casa; et doppo me, andrd`a al mio piu propinquo d'età maggiore, et doppo quello, similmte ad altro il piu prossimo -- et sic deinceps. Io Lelio d' Ippolito guidiccioni mea manu. -- In Roma 11 di Luglio. Vota mia Domino reddam.]] réalisée par Correggio, vendue par [[[Sir Joshua Reynolds]]]. [163]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Statue of Neptune, and a Triton. -- Quos ego. -- It served as a fountain in the Villa Montalto, afterwards called Villa Negroni, in Rome; the water issuing from the shell of the Triton. -- It was done in the early part of Bernini's life, when he finished his works with his own hand. For his latter works, it is well known that he did little more than make slight models, which were executed by his scholars and other assistants (Bernini)|Statue of Neptune, and a Triton. -- Quos ego. -- It served as a fountain in the Villa Montalto, afterwards called Villa Negroni, in Rome; the water issuing from the shell of the Triton. -- It was done in the early part of Bernini's life, when he finished his works with his own hand. For his latter works, it is well known that he did little more than make slight models, which were executed by his scholars and other assistants]] réalisée par Bernini, vendue par [[[Sir Joshua Reynolds]]]. [167]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Tooth-drawer. -- Vasari, speaking much in commendation of the inventions of Lucas d'Olanda, adds, "and that picture likewise is much to be admired, of a clown, who whilst his tooth is drawing, feels so much pain, that he is not aware that a woman in the mean time is emptying his purse. Vo. ii, page 304 (Lucas van Leyden)|Tooth-drawer. -- Vasari, speaking much in commendation of the inventions of Lucas d'Olanda, adds, "and that picture likewise is much to be admired, of a clown, who whilst his tooth is drawing, feels so much pain, that he is not aware that a woman in the mean time is emptying his purse. Vo. ii, page 304]] réalisée par Lucas van Leyden, vendue par [[[Sir Joshua Reynolds]]]. [177]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Un bas relief, par Sauvage, imitant le marbre, sur un fond noir : il représente une bachanale d'un léopard, avec un enfant monté dessus, précédé et suivi de dix autres enfans très-ingénieusement grouppés dans des attitudes charmantes analogues au sujet. Le mérite de cet artiste est trop connu pour entreprendre ici son éloge ; il avoit fait ce morceau pour M. Watelet son ami, et à sa vente, il a été vendu 200 liv. ; il est sous verre de 6 pou. sur 3 de haut. (Sauvage)|Un bas relief, par Sauvage, imitant le marbre, sur un fond noir : il représente une bachanale d'un léopard, avec un enfant monté dessus, précédé et suivi de dix autres enfans très-ingénieusement grouppés dans des attitudes charmantes analogues au sujet. Le mérite de cet artiste est trop connu pour entreprendre ici son éloge ; il avoit fait ce morceau pour M. Watelet son ami, et à sa vente, il a été vendu 200 liv. ; il est sous verre de 6 pou. sur 3 de haut.]] réalisée par Sauvage, vendue par Madame Basan au prix de 150 frs. [182]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Fête donnée à Versailles, dans l'Orangerie, à l'occasion d'un mariage : cette place étoit remplie de boutiques de bijouterie, occupées par des dames de la cour, et où chacun alloit demander ce qui lui faisoit plaisir. Ce dessin intéressant et lavé en couleurs, a été fait par un des Slodtz. (un des Slodtz)|Fête donnée à Versailles, dans l'Orangerie, à l'occasion d'un mariage : cette place étoit remplie de boutiques de bijouterie, occupées par des dames de la cour, et où chacun alloit demander ce qui lui faisoit plaisir. Ce dessin intéressant et lavé en couleurs, a été fait par un des Slodtz.]] réalisée par un des Slodtz, vendue par Madame Basan. [220]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Un sujet de Bachanale dans le fond d'un bois touffu, par Vincent ; on y voit un satyre assis sur un tonneau, tenant une flûte à 7 tuyaux et plusieurs autres figures ; dessiné au bistre largement, et avec l'esprit qui respire dans tont sic ce qui sort de la main habile de ce jeune artiste. (Vincent)|Un sujet de Bachanale dans le fond d'un bois touffu, par Vincent ; on y voit un satyre assis sur un tonneau, tenant une flûte à 7 tuyaux et plusieurs autres figures ; dessiné au bistre largement, et avec l'esprit qui respire dans tont sic ce qui sort de la main habile de ce jeune artiste.]] réalisée par Vincent, vendue par Madame Basan au prix de 230 frs. [225]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Une copie du plus beau tableau de Gérard Dow, qui se trouve dans la galerie de Dusseldorff, représentant un charlatan qui débite son baume sur une place publique : on distingue sur le devant un chasseur portant un lièvre. Toile. 40 pouces sur 32 de large, sans bordure. (Gérard Dow)|Une copie du plus beau tableau de Gérard Dow, qui se trouve dans la galerie de Dusseldorff, représentant un charlatan qui débite son baume sur une place publique : on distingue sur le devant un chasseur portant un lièvre. Toile. 40 pouces sur 32 de large, sans bordure.]] réalisée par Gérard Dow, vendue par Madame Basan, achetée par Cailar au prix de 144 1 frs. [237]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[2 tableaux, dont un port de mer bordé de hautes montagnes et paysage, orné de quatre différentes grouppes de figures orientales et autres des plus intéressans ; dans le lointain divers bâtimens de mer, et un soleil levant qui procure un effet admirable ; l'autre représente une vue d'Italie très-pittoresque avec chute d'eau dans une rivière, où l'on voit au bord sept femmes qui se baignent. Ces deux morceaux sont reconnus pour être du plus beau de cet habile peintre, et sont très-bien copiés par un jeune artiste qui a beaucoup de talent. (Vernet)|2 tableaux, dont un port de mer bordé de hautes montagnes et paysage, orné de quatre différentes grouppes de figures orientales et autres des plus intéressans ; dans le lointain divers bâtimens de mer, et un soleil levant qui procure un effet admirable ; l'autre représente une vue d'Italie très-pittoresque avec chute d'eau dans une rivière, où l'on voit au bord sept femmes qui se baignent. Ces deux morceaux sont reconnus pour être du plus beau de cet habile peintre, et sont très-bien copiés par un jeune artiste qui a beaucoup de talent.]] réalisée par Vernet, vendue par Madame Basan, achetée par Cailar au prix de 166 1 frs. [240]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Une perdrix morte, pendue par une patte et posée sur une gibecière de velours bleu : divers instrumens de chasse enrichissent et grouppent ce sujet inétressant sic dans son genre qui est d'un précieux fini. Toile. 18 pou. sur 13 de large. Il vient du cabinet de Gagny. (Van Aelst)|Une perdrix morte, pendue par une patte et posée sur une gibecière de velours bleu : divers instrumens de chasse enrichissent et grouppent ce sujet inétressant sic dans son genre qui est d'un précieux fini. Toile. 18 pou. sur 13 de large. Il vient du cabinet de Gagny.]] réalisée par Van Aelst, vendue par Madame Basan au prix de 391 frs. [243]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Rubens (Pierre-Paul), la rencontre de Jacob et Rachel, esquisse très-avancée du grand tableau qui existe de cet habile artiste, et connu par l'estampe qu'en a gravé Baillu. Bois. 17 pou. sur 15 de large. Il vient du cabinet du prince de Conti, et a passé dans celui de Beaujon, vendu à sa vente 1580 liv. (Rubens (Pierre-Paul))|Rubens (Pierre-Paul), la rencontre de Jacob et Rachel, esquisse très-avancée du grand tableau qui existe de cet habile artiste, et connu par l'estampe qu'en a gravé Baillu. Bois. 17 pou. sur 15 de large. Il vient du cabinet du prince de Conti, et a passé dans celui de Beaujon, vendu à sa vente 1580 liv.]] réalisée par Rubens (Pierre-Paul), vendue par Madame Basan. [246]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Un autre paysage, par le même Poelenburg, mêlé de ruines sur le haut d'une montagne, et sur le devant plusieurs grouppes de figures, parmi lesquelles on distingue une femme debout, le sein découvert et le corps drappé d'une étoffe bleu, etc., la touche en est très-fine et spirituelle ; ce tableau est du meilleur temps du maître. (Poelenburg (Corneille))|Un autre paysage, par le même Poelenburg, mêlé de ruines sur le haut d'une montagne, et sur le devant plusieurs grouppes de figures, parmi lesquelles on distingue une femme debout, le sein découvert et le corps drappé d'une étoffe bleu, etc., la touche en est très-fine et spirituelle ; ce tableau est du meilleur temps du maître.]] réalisée par Poelenburg (Corneille), vendue par Madame Basan, achetée par Cornillon au prix de 253 frs. [249]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[L'entrée d'une forêt, où l'on voit sur le devant Diane poursuivant à la chasse un cerf qui est suivi par des chiens dans une rivière. Diverses autres figures analogues au sujet sont dispersés en diffèrentes parties du tableau : les figures sont peintes par Van Baalen. (Kerings)|L'entrée d'une forêt, où l'on voit sur le devant Diane poursuivant à la chasse un cerf qui est suivi par des chiens dans une rivière. Diverses autres figures analogues au sujet sont dispersés en diffèrentes parties du tableau : les figures sont peintes par Van Baalen.]] réalisée par Kerings, vendue par Madame Basan au prix de 80 frs. [257]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Deux très-jolis paysages à la gouache, ornés de beaucoup de figures vêtues à l'Espagnol, et représentant un départ pour la chasse et un repos. Une jolie femme montée sur un superbe cheval blanc, précédée et suivie de différens chasseurs, occupent le devant d'un de ces tableaux très-intéressans par leurs sujets, sous verres. (Dugourg)|Deux très-jolis paysages à la gouache, ornés de beaucoup de figures vêtues à l'Espagnol, et représentant un départ pour la chasse et un repos. Une jolie femme montée sur un superbe cheval blanc, précédée et suivie de différens chasseurs, occupent le devant d'un de ces tableaux très-intéressans par leurs sujets, sous verres.]] réalisée par Dugourg, vendue par Madame Basan au prix de 200 1 frs. [268]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Un morceau d'architecture, d'un effet très-piquant ; éclairé de nuit, il représente le passage du Louvre, à la rue Froid-Manteau : la colonnade et les statues qui s'y voyent dans des niches, font facilement reconnoître cet endroit, quoique très-passager, est connu de peu de personnes. Toile. 30 pouces sur 18 de h. Il vient de la vente du duc de Choiseul, et vendu 400 liv. (De Machy)|Un morceau d'architecture, d'un effet très-piquant ; éclairé de nuit, il représente le passage du Louvre, à la rue Froid-Manteau : la colonnade et les statues qui s'y voyent dans des niches, font facilement reconnoître cet endroit, quoique très-passager, est connu de peu de personnes. Toile. 30 pouces sur 18 de h. Il vient de la vente du duc de Choiseul, et vendu 400 liv.]] réalisée par De Machy, vendue par Madame Basan au prix de 150 frs. [271]
  • 1791.04.04/ -. Vente de l'œuvre décrite comme [[Brauwer, l'intérieure d'une chambre hollandoise au milieu de laquelle on voit un grouppe intéressant de 7 figures d'hommes autour d'une table, occupés à boire et à fumer : on en distingue un qui exprime singulièrement bien sa joie en élevant en l'air un grand pot de bierre qu'il tient de sa main droite, et de la gauche son bonnet. Dans le fond auprès de la cheminée est un grouppe de plusieurs figures ; c'est un des plus riches tableaux de composition de ce maître : Toile. 18 pou. sur 12 de haut : il sort de la collection de M. Wille. (Brauwer)|Brauwer, l'intérieure d'une chambre hollandoise au milieu de laquelle on voit un grouppe intéressant de 7 figures d'hommes autour d'une table, occupés à boire et à fumer : on en distingue un qui exprime singulièrement bien sa joie en élevant en l'air un grand pot de bierre qu'il tient de sa main droite, et de la gauche son bonnet. Dans le fond auprès de la cheminée est un grouppe de plusieurs figures ; c'est un des plus riches tableaux de composition de ce maître : Toile. 18 pou. sur 12 de haut : il sort de la collection de M. Wille.]] réalisée par Brauwer, vendue par Madame Basan. [278]
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