Ventes d'œuvres le 1795.05.16

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  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait of Vandyck. The size of life. The gold chain introduced round the neck of the artist, was presented to him by King Charles the First, at the time he was employed by that monarch. It will be perceived to be in the early part of his life that this was painted, and the resemblance between this head that of St. Sebastian, No. 78, makes it probable, that the latter was taken from this. The Dusseldorf Gallery contains twenty-two pictures by Vandyck (Vandyck)|Portrait of Vandyck. The size of life. The gold chain introduced round the neck of the artist, was presented to him by King Charles the First, at the time he was employed by that monarch. It will be perceived to be in the early part of his life that this was painted, and the resemblance between this head that of St. Sebastian, No. 78, makes it probable, that the latter was taken from this. The Dusseldorf Gallery contains twenty-two pictures by Vandyck]] réalisée par Vandyck, vendue par Messrs. V. and R. Green. [12]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Bear hunt. The animals the size of life. This and the subject, No. 49, with two other game pieces in the gallery, by Fyt, were formerly in the collection of the Elector of Cologne. The inhabitants of Solingen, purchased them in 1767, and presented them to the Elector Palatine, their present sovereign, when he visited their town and manufactories (John Fyt)|Bear hunt. The animals the size of life. This and the subject, No. 49, with two other game pieces in the gallery, by Fyt, were formerly in the collection of the Elector of Cologne. The inhabitants of Solingen, purchased them in 1767, and presented them to the Elector Palatine, their present sovereign, when he visited their town and manufactories]] réalisée par John Fyt, vendue par Messrs. V. and R. Green. [13]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A stag hunt. The animals the natural size. This..., with two other game pieces in the gallery, by Fyt, were formerly in the collection of the Elector of Cologne. The inhabitants of Solingen, purchased them in 1767, and presented them to the Elector Palatine, their present sovereign, when he visited their town and manufactories (John Fyt)|A stag hunt. The animals the natural size. This..., with two other game pieces in the gallery, by Fyt, were formerly in the collection of the Elector of Cologne. The inhabitants of Solingen, purchased them in 1767, and presented them to the Elector Palatine, their present sovereign, when he visited their town and manufactories]] réalisée par John Fyt, vendue par Messrs. V. and R. Green. [14]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Diogenes in search of an honest man, The figures the size of life. The figures introduced in this picture, are principally portraits of the family and friends of the artist. It was a singular thought of his placing Diogenes in the midst of them to search for the honest man (Rubens)|Diogenes in search of an honest man, The figures the size of life. The figures introduced in this picture, are principally portraits of the family and friends of the artist. It was a singular thought of his placing Diogenes in the midst of them to search for the honest man]] réalisée par Rubens, vendue par Messrs. V. and R. Green. [20]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Wolffgang, William, Duke of Newbourg. A whole length portrait, the size of nature. The dog introduced in this picture, is a portrait of one that usually accompanied the prince. This Duke of Newbourg was a particular patron of the celebrated Rubens, whom he commissioned to paint the famous picture of the Last Judgment, and caused it to be put in the Jesuit's Church at Newbourg, from whence the elector John William, took it, and placed it in the gallery of Dusseldorf; as a substitute for that picture, he commissioned Carlo Cignani, at Bologna, to paint one of the assimption, with which he was so much pleased, that he added that also to the gallery. It is among the pictures in the Italian Room, where it forms the center piece. The elector afterwards commisssioned Dominico Zanetti, who was then in his service, to paint a picture of the assumption, which was placed, and now remains, in the church of the Jesuits, at Newbourg (Vandyck)|Wolffgang, William, Duke of Newbourg. A whole length portrait, the size of nature. The dog introduced in this picture, is a portrait of one that usually accompanied the prince. This Duke of Newbourg was a particular patron of the celebrated Rubens, whom he commissioned to paint the famous picture of the Last Judgment, and caused it to be put in the Jesuit's Church at Newbourg, from whence the elector John William, took it, and placed it in the gallery of Dusseldorf; as a substitute for that picture, he commissioned Carlo Cignani, at Bologna, to paint one of the assimption, with which he was so much pleased, that he added that also to the gallery. It is among the pictures in the Italian Room, where it forms the center piece. The elector afterwards commisssioned Dominico Zanetti, who was then in his service, to paint a picture of the assumption, which was placed, and now remains, in the church of the Jesuits, at Newbourg]] réalisée par Vandyck, vendue par Messrs. V. and R. Green. [21]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The invention, or, finding the cross. The Empress Helena having gone purposely to Jerusalem to discover the cross of Christ ; on digging up the earth, three crosses were found, those of Christ and the two thieves. To verify the true cross of Christ, the bodies of two dead persons were brought, and successively applied to them; on their being touched by that on which Christ was crucified, they were restored to life. The point of time taken in this picture, is where the miracle is performed on one of the dead bodies, in the presence of the Empress Helena, and her suite. The Empress is mounted on a white horse, and is in an attitude expressive of admiration and wonder at the miracle. A venerable old man, in a scarlet robe, on the fore-ground, looking at the cross with devotion, is St. Macarius, bishop of Jerusalem ; behind the Empress's horse is seen the dead body that has not yet been touched by the cross. It appears that this picture was purchased by the elector, John William, who held it in such high estimation, that he most liberally paid double the price that had been demanded for it. When the late Sir Joshua Reynolds visited the gallery in 1786, he expressed himself highly pleased with this very excellent work of the master (Gerard Douffet)|The invention, or, finding the cross. The Empress Helena having gone purposely to Jerusalem to discover the cross of Christ ; on digging up the earth, three crosses were found, those of Christ and the two thieves. To verify the true cross of Christ, the bodies of two dead persons were brought, and successively applied to them; on their being touched by that on which Christ was crucified, they were restored to life. The point of time taken in this picture, is where the miracle is performed on one of the dead bodies, in the presence of the Empress Helena, and her suite. The Empress is mounted on a white horse, and is in an attitude expressive of admiration and wonder at the miracle. A venerable old man, in a scarlet robe, on the fore-ground, looking at the cross with devotion, is St. Macarius, bishop of Jerusalem ; behind the Empress's horse is seen the dead body that has not yet been touched by the cross. It appears that this picture was purchased by the elector, John William, who held it in such high estimation, that he most liberally paid double the price that had been demanded for it. When the late Sir Joshua Reynolds visited the gallery in 1786, he expressed himself highly pleased with this very excellent work of the master]] réalisée par Gerard Douffet, vendue par Messrs. V. and R. Green. [27]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The murder of the innocents. Whole length figures, nearly as large as life. This picture, in which L. Giordano has imitated the stile of Tintoret, is one of the best works of the master. Several of the women are seeking an asylum at the foot of Herod's throne, but the murderers are represented to be seizing them when at the tyrant's feet (Luca Giordano)|The murder of the innocents. Whole length figures, nearly as large as life. This picture, in which L. Giordano has imitated the stile of Tintoret, is one of the best works of the master. Several of the women are seeking an asylum at the foot of Herod's throne, but the murderers are represented to be seizing them when at the tyrant's feet]] réalisée par Luca Giordano, vendue par Messrs. V. and R. Green. [36]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The tomb of Christ. The figures of the size of nature. The scene lays near the grotto where the tomb of Christ was. In the distance is a part of the city of Jerusalem, covered with a lowering sky. In this picture the painter has attempted to introduce the re-animation of the body of Christ, which will account for the freshness of colouring about the apparent dead figure (Vandyck)|The tomb of Christ. The figures of the size of nature. The scene lays near the grotto where the tomb of Christ was. In the distance is a part of the city of Jerusalem, covered with a lowering sky. In this picture the painter has attempted to introduce the re-animation of the body of Christ, which will account for the freshness of colouring about the apparent dead figure]] réalisée par Vandyck, vendue par Messrs. V. and R. Green. [39]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The meeting of Jacob and Esau. The figures of the size of life. Rachael is introduced kneeling with her two children in the fore-ground, and Leah is near the figure of Jacob, who is represented in a submissive posture before his brother Esau. The picture being much in the manner of Vandyck, it is generally thought that he painted a considerable part of it from Rubens's design (Rubens)|The meeting of Jacob and Esau. The figures of the size of life. Rachael is introduced kneeling with her two children in the fore-ground, and Leah is near the figure of Jacob, who is represented in a submissive posture before his brother Esau. The picture being much in the manner of Vandyck, it is generally thought that he painted a considerable part of it from Rubens's design]] réalisée par Rubens, vendue par Messrs. V. and R. Green. [40]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portraits of Rubens and his first wife. The size of life. They are represented in Spanish dress. This picture being one of the earliest works of this master, is finished in a stile totally from that he afterwards adopted. Engraved in the chalk manner, by C. Hess (Rubens)|Portraits of Rubens and his first wife. The size of life. They are represented in Spanish dress. This picture being one of the earliest works of this master, is finished in a stile totally from that he afterwards adopted. Engraved in the chalk manner, by C. Hess]] réalisée par Rubens, vendue par Messrs. V. and R. Green. [41]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Christ and the four penitents. The figures the size of life. Mary Magdalen is introduced kneeling before Christ, and in the back ground, St. Peter, King David, and the penitent thief who was crucified with Christ, are represented. Engraved in Mezzotinto by V. Green (Rubens)|Christ and the four penitents. The figures the size of life. Mary Magdalen is introduced kneeling before Christ, and in the back ground, St. Peter, King David, and the penitent thief who was crucified with Christ, are represented. Engraved in Mezzotinto by V. Green]] réalisée par Rubens, vendue par Messrs. V. and R. Green. [43]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The martydom of St. Sebastian. The figures the size of nature. In this subject, Vandyck has introduced his own portrait as the saint. One of the executioners is represented tying his legs, and another preparing the bow and arrows, the instruments of his punishment. (Vandyck)|The martydom of St. Sebastian. The figures the size of nature. In this subject, Vandyck has introduced his own portrait as the saint. One of the executioners is represented tying his legs, and another preparing the bow and arrows, the instruments of his punishment.]] réalisée par Vandyck, vendue par Messrs. V. and R. Green. [44]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A village festival. Painted on copper. In this picture, the portraits of the father and mother of Teniers are introduced sitting at the table, and his own portrait is said to be that of the principal figure dancing. Engraved in the line manner, by E. Thelot (David Teniers)|A village festival. Painted on copper. In this picture, the portraits of the father and mother of Teniers are introduced sitting at the table, and his own portrait is said to be that of the principal figure dancing. Engraved in the line manner, by E. Thelot]] réalisée par David Teniers, vendue par Messrs. V. and R. Green. [46]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Latona and her children. Latona, with her infant children, Apollo and Diana, overcome by fatigue, and wishing to be refreshed with the water of a pond, is prevented by peasants who disturb it. Latona demanding vengeance of Jupiter, the peasants were immediately changed into frogs ; the transformation has already taken place on some of them (Rubens)|Latona and her children. Latona, with her infant children, Apollo and Diana, overcome by fatigue, and wishing to be refreshed with the water of a pond, is prevented by peasants who disturb it. Latona demanding vengeance of Jupiter, the peasants were immediately changed into frogs ; the transformation has already taken place on some of them]] réalisée par Rubens, vendue par Messrs. V. and R. Green. [50]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The battle of the Amazons. The scene represented is on a bridge across the river Thermodon, near the city of Troy, where the pass is contested, and the Amazons are totally defeated by the Greeks ; under the arches of the bridge a town is seen in flames. This picture, full of vigour and expression presents a most extraordinary scene ; the courage and war-like force of the sex, and the fury and vengeance of the men, who finding themselves braved and insulted by the women, shut their eyes to their charms, and they appear to think only on revenging their own insulted glory. This magnificent picture was one of the first that the elector, John William, acquired in forming the gallery. A plate in the chalk manner from this picture is nearly finished, by C. Hess. (Rubens)|The battle of the Amazons. The scene represented is on a bridge across the river Thermodon, near the city of Troy, where the pass is contested, and the Amazons are totally defeated by the Greeks ; under the arches of the bridge a town is seen in flames. This picture, full of vigour and expression presents a most extraordinary scene ; the courage and war-like force of the sex, and the fury and vengeance of the men, who finding themselves braved and insulted by the women, shut their eyes to their charms, and they appear to think only on revenging their own insulted glory. This magnificent picture was one of the first that the elector, John William, acquired in forming the gallery. A plate in the chalk manner from this picture is nearly finished, by C. Hess.]] réalisée par Rubens, vendue par Messrs. V. and R. Green. [55]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The seven works of charity, 1630. Distributing bread and money to the poor ; giving drink to the thirsty ; clothing the naked ; lodging the strangers ; relieving the prisoners ; visiting the sick, and burying the dead. Those good works are reprresented in as many various groupes, so judiciously combined and disposed as to form one grand whole. A composition that reflects great credit on the master. The scene is a village in Flanders. The same persons are employed in performing the several acts of charity, and are most probably portraits. This picture is the same size as the original. (F. Frank)|The seven works of charity, 1630. Distributing bread and money to the poor ; giving drink to the thirsty ; clothing the naked ; lodging the strangers ; relieving the prisoners ; visiting the sick, and burying the dead. Those good works are reprresented in as many various groupes, so judiciously combined and disposed as to form one grand whole. A composition that reflects great credit on the master. The scene is a village in Flanders. The same persons are employed in performing the several acts of charity, and are most probably portraits. This picture is the same size as the original.]] réalisée par F. Frank, vendue par Messrs. V. and R. Green. [56]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The adoration of the shepherds. This subject is composed with the accustomed power of this great master. The characters have beauty and expression equal to any of his works ; those of the virgin and the angels have all the magic of his hand to attract admiration. In its effect, few pictures are more fortunate (Rubens)|The adoration of the shepherds. This subject is composed with the accustomed power of this great master. The characters have beauty and expression equal to any of his works ; those of the virgin and the angels have all the magic of his hand to attract admiration. In its effect, few pictures are more fortunate]] réalisée par Rubens, vendue par Messrs. V. and R. Green. [58]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The adoration of the saints. The virgin is seated on a throne, holding the infant Jesus on her knees, and surrounded by the saints. Angels are offering branches of palm and laurel. On the left is St. Apollonia ; on the right of the throne, St. John the Evangelist, and St. James the Apostle. On the steps of the throne are St. Stephen, St. Laurence, and St. Andrew ; behind St. Andrew is St. Anthony the hermit. On the left of the throne is St. Augustin, pontifically robed ; behind him is St. Nicholas de Tolentin in the habit of his order.--- The painter has introduced his own portrait and those of his family on the foreground of the picture. His sister and nephew are kneeling, and looking towards the throne. The brother of G. Crayer is represented as St. George, with his back towards the spectator. The two brothers having been separated from their infancy, is the reason that he is thus introduced.--- This picture is universally acknowledged to be the finest production of the master, was painted in 1646 (Gaspar Crayer)|The adoration of the saints. The virgin is seated on a throne, holding the infant Jesus on her knees, and surrounded by the saints. Angels are offering branches of palm and laurel. On the left is St. Apollonia ; on the right of the throne, St. John the Evangelist, and St. James the Apostle. On the steps of the throne are St. Stephen, St. Laurence, and St. Andrew ; behind St. Andrew is St. Anthony the hermit. On the left of the throne is St. Augustin, pontifically robed ; behind him is St. Nicholas de Tolentin in the habit of his order.--- The painter has introduced his own portrait and those of his family on the foreground of the picture. His sister and nephew are kneeling, and looking towards the throne. The brother of G. Crayer is represented as St. George, with his back towards the spectator. The two brothers having been separated from their infancy, is the reason that he is thus introduced.--- This picture is universally acknowledged to be the finest production of the master, was painted in 1646]] réalisée par Gaspar Crayer, vendue par Messrs. V. and R. Green. [63]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The wise and foolish virgins, 1700. This is, without doubt, the chef d'oeuvre of the master ; the effect of the artificial light is most wonderfully managed, and skilfully contrasted with a beautiful moon-light. Engraved in mezzotinto, by V. Green (Geoffroi Schalcken)|The wise and foolish virgins, 1700. This is, without doubt, the chef d'oeuvre of the master ; the effect of the artificial light is most wonderfully managed, and skilfully contrasted with a beautiful moon-light. Engraved in mezzotinto, by V. Green]] réalisée par Geoffroi Schalcken, vendue par Messrs. V. and R. Green. [64]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The fall of the damned. St. Michael, and the avenging angels, are represented descending in the midst of a burst of light, and driving down the condemned before them ; these are seen falling by whole columns, over one another, and in their fall are tormented by dæmons, who drag or plunge them into the abyss. Millions of these wretches are already precipitated into the eternal fire ; their punishment is visibly augmented by torments of all kinds, that the dæmons inflict on them. The fire producing a most tremendous effect, appears in some parts in flames and whirlwinds, and in others, as a liquid fire, burning all before it. It is impossible to detail this prodigy of painting, in which the artist has introduced all the science, all the energy, and all the poetry, of his art, and in which he has also assembled all the extraordinary qualities that distinguish his works. (Rubens)|The fall of the damned. St. Michael, and the avenging angels, are represented descending in the midst of a burst of light, and driving down the condemned before them ; these are seen falling by whole columns, over one another, and in their fall are tormented by dæmons, who drag or plunge them into the abyss. Millions of these wretches are already precipitated into the eternal fire ; their punishment is visibly augmented by torments of all kinds, that the dæmons inflict on them. The fire producing a most tremendous effect, appears in some parts in flames and whirlwinds, and in others, as a liquid fire, burning all before it. It is impossible to detail this prodigy of painting, in which the artist has introduced all the science, all the energy, and all the poetry, of his art, and in which he has also assembled all the extraordinary qualities that distinguish his works.]] réalisée par Rubens, vendue par Messrs. V. and R. Green. [70]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The flagellation, 1710. Pontius Pilate surrounded by the judges and guards is seated in the tribune. The garments of Christ are thrown on the ground ; a soldier is tying the right foot, and one of the executioners is about to strike him. Two children are represented mocking him (Adrian Vanderwerff)|The flagellation, 1710. Pontius Pilate surrounded by the judges and guards is seated in the tribune. The garments of Christ are thrown on the ground ; a soldier is tying the right foot, and one of the executioners is about to strike him. Two children are represented mocking him]] réalisée par Adrian Vanderwerff, vendue par Messrs. V. and R. Green. [71]
  • 1795.05.16/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A quack doctor distributing his drugs to the populace. Painted on wood, in 1632. The painter in this subject has introduced his own portrait, looking out of a window, and holding his pallet and pencils. This picture is most deservedly esteemed the chef d'oeuvre of that celebrated master, and is the only one known in which he has introduced so many figures, and on which he hath bestowed such minute attention. This copy is of the exact dimensions of the original. Engraved in the line and chalk manners, by C. Hess (Gerard Dow)|A quack doctor distributing his drugs to the populace. Painted on wood, in 1632. The painter in this subject has introduced his own portrait, looking out of a window, and holding his pallet and pencils. This picture is most deservedly esteemed the chef d'oeuvre of that celebrated master, and is the only one known in which he has introduced so many figures, and on which he hath bestowed such minute attention. This copy is of the exact dimensions of the original. Engraved in the line and chalk manners, by C. Hess]] réalisée par Gerard Dow, vendue par Messrs. V. and R. Green. [73]
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