Ventes d'œuvres le 1798.11.26

De Wikipast
Aller à la navigation Aller à la recherche
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[Lott and his Daughters. With Landscape and Ruins. Cornelius Polenburg. This picture we can announce to be in the best stile of this admired Artist. It bears his mark C. P. and is from the collection of Mons. Hybrecht's, at Antwerp. 10 ½ i. by 9 ½ i. (Cornelius Polenburg)|Lott and his Daughters. With Landscape and Ruins. Cornelius Polenburg. This picture we can announce to be in the best stile of this admired Artist. It bears his mark C. P. and is from the collection of Mons. Hybrecht's, at Antwerp. 10 ½ i. by 9 ½ i.]] réalisée par Cornelius Polenburg, vendue par John Sweetman. [18]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[Cephalis and Procris. Sebastian Bourdon. The lively animation and force of expression which we behold in this little piece, recommended it to the superb collection of Mons. Lolliie at Paris, at whose sale it was purchased. A circle 10 i. diameter (Sebastian Bourdon)|Cephalis and Procris. Sebastian Bourdon. The lively animation and force of expression which we behold in this little piece, recommended it to the superb collection of Mons. Lolliie at Paris, at whose sale it was purchased. A circle 10 i. diameter]] réalisée par Sebastian Bourdon, vendue par John Sweetman. [29]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[Fruit. Voermeer. Though every part of this Picture is allowed to have real Merit, yet the eye will be irresistibly attracted by the Gooseberries, which seem as it were to rival nature. He has inscribed his name with the date 1695, on the fore ground. No Picture is in higher preservation. 2 f. 5 i. by 2 f. (Voermeer)|Fruit. Voermeer. Though every part of this Picture is allowed to have real Merit, yet the eye will be irresistibly attracted by the Gooseberries, which seem as it were to rival nature. He has inscribed his name with the date 1695, on the fore ground. No Picture is in higher preservation. 2 f. 5 i. by 2 f.]] réalisée par Voermeer, vendue par John Sweetman. [31]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[Cleopatra. We should not have occasion to observe on this performance of Guido, or to challenge the works of any other Master for those excellencies in the art, which were peculiar to himself, and are the characters of this picture, were it not, that the productions of his Pencil are so rarely met with in those Countries. But whoever will attend to the graceful air of the head, the sentimental expression of the eyes, and the grand stile of the drapery, must assign this piece to no other Hand than that of the inestimable Guido. 1 f. 7 i. by 1 f. 4 i. (Guido)|Cleopatra. We should not have occasion to observe on this performance of Guido, or to challenge the works of any other Master for those excellencies in the art, which were peculiar to himself, and are the characters of this picture, were it not, that the productions of his Pencil are so rarely met with in those Countries. But whoever will attend to the graceful air of the head, the sentimental expression of the eyes, and the grand stile of the drapery, must assign this piece to no other Hand than that of the inestimable Guido. 1 f. 7 i. by 1 f. 4 i.]] réalisée par Guido, vendue par John Sweetman. [32]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[Fish. Adriansen. This Painter is highly esteemed in Flanders, and the writers all agree, that he succeeded in those subjects beyond most others, always giving to his representations the truth, freshness and character of nature. 2 f. 5 i. by 1 f. 10 i. (Adriansen)|Fish. Adriansen. This Painter is highly esteemed in Flanders, and the writers all agree, that he succeeded in those subjects beyond most others, always giving to his representations the truth, freshness and character of nature. 2 f. 5 i. by 1 f. 10 i.]] réalisée par Adriansen, vendue par John Sweetman. [34]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[The Flight into Egypt. Studio These two Pictures were Painted in Italy, and possess that elevated stile of composition for which the Italian School is so justly famed; they will improve on the Judgment the more they are studied, and in the same degree do credit to the Artist. Each 11 i. by 8 i. (artiste anonyme)|The Flight into Egypt. Studio These two Pictures were Painted in Italy, and possess that elevated stile of composition for which the Italian School is so justly famed; they will improve on the Judgment the more they are studied, and in the same degree do credit to the Artist. Each 11 i. by 8 i.]] réalisée par un.e artiste anonyme, vendue par John Sweetman. [35]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[The Companion, by the same Studio. These two Pictures were Painted in Italy, and possess that elevated stile of composition for which the Italian School is so justly famed; they will improve on the Judgment the more they are studied, and in the same degree do credit to the Artist. Each 11 i. by 8 i. (artiste anonyme)|The Companion, by the same Studio. These two Pictures were Painted in Italy, and possess that elevated stile of composition for which the Italian School is so justly famed; they will improve on the Judgment the more they are studied, and in the same degree do credit to the Artist. Each 11 i. by 8 i.]] réalisée par un.e artiste anonyme, vendue par John Sweetman. [36]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[The Salmon Leap at Ballyshannon. This excellent portrait after nature, is by the late Mr. Roberts, an Irish artist, in whose premature death our Country has to deplote the loss of a superior Genius. Its Merit obtained the premium in Oil painting, and ever since the approbation of the best Judges. 20 i. by 15 i. (Mr. Roberts)|The Salmon Leap at Ballyshannon. This excellent portrait after nature, is by the late Mr. Roberts, an Irish artist, in whose premature death our Country has to deplote the loss of a superior Genius. Its Merit obtained the premium in Oil painting, and ever since the approbation of the best Judges. 20 i. by 15 i.]] réalisée par Mr. Roberts, vendue par John Sweetman. [40]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[Beggars fighting. Pieter De Bloot. This Author has been singularly happy in expressing the effects of intoxicated passion in low life, and has evinced it in this Picture: nothing can possess more character. It bears his mark. 3 f. 1 i. by 1 f. 8 i. (Pieter De Bloot)|Beggars fighting. Pieter De Bloot. This Author has been singularly happy in expressing the effects of intoxicated passion in low life, and has evinced it in this Picture: nothing can possess more character. It bears his mark. 3 f. 1 i. by 1 f. 8 i.]] réalisée par Pieter De Bloot, vendue par John Sweetman. [41]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[Holy Family. Murrillio. In this captivating Picture we feel all that the Genius of Painting can effect; it is a combination of the powers of the Art, alike calculated to improve and delight. The works of this Master are becoming every day more valuable. This has been engraved from by Poilly. 14 i. by 11 i. (Murrillio)|Holy Family. Murrillio. In this captivating Picture we feel all that the Genius of Painting can effect; it is a combination of the powers of the Art, alike calculated to improve and delight. The works of this Master are becoming every day more valuable. This has been engraved from by Poilly. 14 i. by 11 i.]] réalisée par Murrillio, vendue par John Sweetman. [45]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[Landscape and Figures. The Landscape by Glauber, the Figures by Lairesse. This is an effort of the highest finishing, and the design is worthy the execution. At its last sale in this City it was a lot of remarkable competition among very judicious bidders. 19 i. by 14 i. (Glauber)|Landscape and Figures. The Landscape by Glauber, the Figures by Lairesse. This is an effort of the highest finishing, and the design is worthy the execution. At its last sale in this City it was a lot of remarkable competition among very judicious bidders. 19 i. by 14 i.]] réalisée par Glauber, vendue par John Sweetman. [46]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[The Death of Annanias. Sebastian Ricci. We meet in this production an admirable grandeur and elevation. The touch is light and the parts are disposed with great judgment. It may be truly called a chef d'oeuvre of this great Master. 2 f. 4 i. by 1 f. 7 f. (Sebastian Ricci)|The Death of Annanias. Sebastian Ricci. We meet in this production an admirable grandeur and elevation. The touch is light and the parts are disposed with great judgment. It may be truly called a chef d'oeuvre of this great Master. 2 f. 4 i. by 1 f. 7 f.]] réalisée par Sebastian Ricci, vendue par John Sweetman. [53]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[Going to Church. Pieter De Bloot. Never were the attitudes and just equilibrium of Figures so happily adapted to express their various motions as in this Picture; nor is it less to be admired in the important requisites of coluring and keeping. It was highly prized in the collection of Mons. Hybrechts at Antwerp, where it was purchased. His mark is on it. 2 f. 3 i. by 1 f. 4 i. (Pieter De Bloot)|Going to Church. Pieter De Bloot. Never were the attitudes and just equilibrium of Figures so happily adapted to express their various motions as in this Picture; nor is it less to be admired in the important requisites of coluring and keeping. It was highly prized in the collection of Mons. Hybrechts at Antwerp, where it was purchased. His mark is on it. 2 f. 3 i. by 1 f. 4 i.]] réalisée par Pieter De Bloot, vendue par John Sweetman. [57]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[St. Francis praying the Desert. Carracci and Paul Brill. 2 f. 11 i. by 1 f. 6 i. these two were to have been comparment Pictures to a large Altar Piece intended by the Carracci, for a church of Franciscans at Bologna, but left unfinished. They are truly capital (Carracci)|St. Francis praying the Desert. Carracci and Paul Brill. 2 f. 11 i. by 1 f. 6 i. these two were to have been comparment Pictures to a large Altar Piece intended by the Carracci, for a church of Franciscans at Bologna, but left unfinished. They are truly capital]] réalisée par Carracci, vendue par John Sweetman. [61]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[The Companion. The Saint in another attitude of Devotion, these two were to have been comparment Pictures to a large Altar Piece intended by the Carracci, for a church of Franciscans at Bologna, but left unfinished. They are truly capital. 3 f. 7 i. by 1 f. 6 i. (Carracci)|The Companion. The Saint in another attitude of Devotion, these two were to have been comparment Pictures to a large Altar Piece intended by the Carracci, for a church of Franciscans at Bologna, but left unfinished. They are truly capital. 3 f. 7 i. by 1 f. 6 i.]] réalisée par Carracci, vendue par John Sweetman. [62]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[The Stag Hunt, by the charming Pencil of Moucheron. The merit of this production must be felt by every observer. Through the design is comprehensive, yet it is so clearly expressed as to unfold itself on the first inspection. From the distinctness of every object, a happy choice of the most pleasing tints, and the soft tone of the colouring, it becomes a resting place fo the eye whereon it reposes with delight. It bears his name. 3 f. 4 i. by 2 f. 8 i. (Moucheron)|The Stag Hunt, by the charming Pencil of Moucheron. The merit of this production must be felt by every observer. Through the design is comprehensive, yet it is so clearly expressed as to unfold itself on the first inspection. From the distinctness of every object, a happy choice of the most pleasing tints, and the soft tone of the colouring, it becomes a resting place fo the eye whereon it reposes with delight. It bears his name. 3 f. 4 i. by 2 f. 8 i.]] réalisée par Moucheron, vendue par John Sweetman. [63]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[A curious Picture of the Holy Family, by Andrea Verrochio. This extraordinary and undoubted specimen of the first dawning of oil painting deserves very particular attention. Its is beyond all the doubt the performance of this ancient Master, the instructor of Leonardi da Vinci, as will appear evident to any one who will reflect on the stile and manner of the early part of the 15th century, and consult the history of this Artist. The defective drapery of the Angels, perfectly agress with what the Biographers have recorded of him; and the sense of his inability in this respect, which he discovered by seeing the same subjects to superiorly handled by his Pupil, Leonardi, occasioned him to throw aside the pencil. See Pilkington. Though there are some parts of this rare Picture, masterly and expressive, and in the colouring cannot be exceeded, yet we do not rest its value on those perfections: we admit that in other respects it is hard and dry, and that its importance is principally derived from its being demonstrable evidence of the first attempts in oil, and an incontestible document to ascertain the progress of painting. It bears the intitials of the Master, and is dated 1456. The pannel it is painted on, is grooved into an Oak frame, and is probably the original one. 19 i. by 12 ½ i. (Andrea Verrochio)|A curious Picture of the Holy Family, by Andrea Verrochio. This extraordinary and undoubted specimen of the first dawning of oil painting deserves very particular attention. Its is beyond all the doubt the performance of this ancient Master, the instructor of Leonardi da Vinci, as will appear evident to any one who will reflect on the stile and manner of the early part of the 15th century, and consult the history of this Artist. The defective drapery of the Angels, perfectly agress with what the Biographers have recorded of him; and the sense of his inability in this respect, which he discovered by seeing the same subjects to superiorly handled by his Pupil, Leonardi, occasioned him to throw aside the pencil. See Pilkington. Though there are some parts of this rare Picture, masterly and expressive, and in the colouring cannot be exceeded, yet we do not rest its value on those perfections: we admit that in other respects it is hard and dry, and that its importance is principally derived from its being demonstrable evidence of the first attempts in oil, and an incontestible document to ascertain the progress of painting. It bears the intitials of the Master, and is dated 1456. The pannel it is painted on, is grooved into an Oak frame, and is probably the original one. 19 i. by 12 ½ i.]] réalisée par Andrea Verrochio, vendue par John Sweetman. [65]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[The Quay at Haerlem on Fire. A. Vanderneer. The superior merit and effect of this picture cannot fail to have their just influence, and we should but weaken their force by attempting to describe them. It is allowed, that no man ever handled those subjects with equal power, and the best judges have pronounced this piece to be one of his most esteemed performances. His mark is to be seen in the foreground. 1 f. 10 i. by 1 f. 7 i. (A. Vanderneer)|The Quay at Haerlem on Fire. A. Vanderneer. The superior merit and effect of this picture cannot fail to have their just influence, and we should but weaken their force by attempting to describe them. It is allowed, that no man ever handled those subjects with equal power, and the best judges have pronounced this piece to be one of his most esteemed performances. His mark is to be seen in the foreground. 1 f. 10 i. by 1 f. 7 i.]] réalisée par A. Vanderneer, vendue par John Sweetman. [66]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[The Marriage of St. Catherine, by Barrocio. It is easy to see from this production, that the Author formed his stile on the pure outline of Raphael, and the delicate tint of Correggio. No Cabinet can possess a more charming effusion of the Pencil. 17 i. by 13 i. (Barrocio)|The Marriage of St. Catherine, by Barrocio. It is easy to see from this production, that the Author formed his stile on the pure outline of Raphael, and the delicate tint of Correggio. No Cabinet can possess a more charming effusion of the Pencil. 17 i. by 13 i.]] réalisée par Barrocio, vendue par John Sweetman. [67]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[St. Martin dividing his Cloak at the gates of Amiens. Drogsloot. Though it is the merit of this Master to have excelled in low life, yet the principal Figure is far from wanting grace and dignity. He has inscribed his name on the picture with the date 1642. 4 f. 2 i. by 2 f. 10 i. (Drogsloot)|St. Martin dividing his Cloak at the gates of Amiens. Drogsloot. Though it is the merit of this Master to have excelled in low life, yet the principal Figure is far from wanting grace and dignity. He has inscribed his name on the picture with the date 1642. 4 f. 2 i. by 2 f. 10 i.]] réalisée par Drogsloot, vendue par John Sweetman. [68]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[Landing and Loading Goods. S. W. De Fontaine. This charming performance is in no respect inferior to Wouvermans, the cattle, waggons, bales of goods with men landing and loading them, exhibit a scene busy and interesting; it maintained a distinguished character in the collection of Mons. Lolliie at Paris, and was purchased at his sale for a large sum. 19 ½ i. by 14 i. (S. W. De Fontaine)|Landing and Loading Goods. S. W. De Fontaine. This charming performance is in no respect inferior to Wouvermans, the cattle, waggons, bales of goods with men landing and loading them, exhibit a scene busy and interesting; it maintained a distinguished character in the collection of Mons. Lolliie at Paris, and was purchased at his sale for a large sum. 19 ½ i. by 14 i.]] réalisée par S. W. De Fontaine, vendue par John Sweetman. [69]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[The Resurrection. Phillipo Laura. This esteemed Picture possesses all the excellencies of design and colouring which distinguish the best works of this admired Master. By hus consummate knowledge of the rules of proportion, he gave to his compositions (which were for the most part in small) the effect of greatness. He is allowed to have been singularly happy in giving character to his Figures; and he had the talent of contrasting them superior to others. The incorporeal air of the Angels in this Picture, contradistinguished by the substantial form of the guards, is a master-piece of art that cannot be sufficiently admired. An engraving from this prime model was sold at the proprietor's sale of prints a few weeks since. 9 ¼ i. by 8 ½ i. (Phillipo Laura)|The Resurrection. Phillipo Laura. This esteemed Picture possesses all the excellencies of design and colouring which distinguish the best works of this admired Master. By hus consummate knowledge of the rules of proportion, he gave to his compositions (which were for the most part in small) the effect of greatness. He is allowed to have been singularly happy in giving character to his Figures; and he had the talent of contrasting them superior to others. The incorporeal air of the Angels in this Picture, contradistinguished by the substantial form of the guards, is a master-piece of art that cannot be sufficiently admired. An engraving from this prime model was sold at the proprietor's sale of prints a few weeks since. 9 ¼ i. by 8 ½ i.]] réalisée par Phillipo Laura, vendue par John Sweetman. [70]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[Dead Game. John Fytt. The Painter of this inimitable effort may be truly said to have arrived at the ne plus ultra of his possession in the specimen before us. It is a struggle between nature and art, where the mind is so successfully imposed on, as to be unable to discriminate between the representation and the reality. Nothing can be more compleat than the whole of this astonishing production. 4 f. 4 i. by 3 f. 2 i. (John Fytt)|Dead Game. John Fytt. The Painter of this inimitable effort may be truly said to have arrived at the ne plus ultra of his possession in the specimen before us. It is a struggle between nature and art, where the mind is so successfully imposed on, as to be unable to discriminate between the representation and the reality. Nothing can be more compleat than the whole of this astonishing production. 4 f. 4 i. by 3 f. 2 i.]] réalisée par John Fytt, vendue par John Sweetman. [71]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[The Resuscitation of the Widow's Son. Willeborts Boschaert. This Picture was purchased for a considerable sum, out of the collection of Mons. Beickman's, place de mer, Antwerp. Though the work of a Flemish Artist, it is in the true stile of the Italian School, where he studied for many years, and on that account was highly valued by the former possessor. The Figures are correctly designed, the expression pathetic, and the eyes have all that animation for which the Pencil of Vandyck is so singularly distinguished. 5 f. 6 i. by 4 f. 2 i. (Willeborts Boschaert)|The Resuscitation of the Widow's Son. Willeborts Boschaert. This Picture was purchased for a considerable sum, out of the collection of Mons. Beickman's, place de mer, Antwerp. Though the work of a Flemish Artist, it is in the true stile of the Italian School, where he studied for many years, and on that account was highly valued by the former possessor. The Figures are correctly designed, the expression pathetic, and the eyes have all that animation for which the Pencil of Vandyck is so singularly distinguished. 5 f. 6 i. by 4 f. 2 i.]] réalisée par Willeborts Boschaert, vendue par John Sweetman. [73]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[A Flemish Fete Champetre. P. Wouvermans. We give this as the undoubted production of this extraordinary Genius, as well from an intimate knowledge of his works on the Continent and in England, where they bring immense sums, as from the character and merits of the piece itself. None but Wouvermans could condut the entire of this Picture with equal ability, for whether we consider the beauty of the composition, the correctness of the drawing in the difficult and various attitudes of the Horses and Figures, the sweetness of colouring, the delicate touchings of the trees, or the spirit which animates the whole, we are at a loss to know where he has been most successful. He has painted his mark on this Picture, which he never did but with his most carefully finished pieces. One of this size, 21 by 15, sold at Mons. De Calonne's sale for 210 guineas (P. Wouvermans)|A Flemish Fete Champetre. P. Wouvermans. We give this as the undoubted production of this extraordinary Genius, as well from an intimate knowledge of his works on the Continent and in England, where they bring immense sums, as from the character and merits of the piece itself. None but Wouvermans could condut the entire of this Picture with equal ability, for whether we consider the beauty of the composition, the correctness of the drawing in the difficult and various attitudes of the Horses and Figures, the sweetness of colouring, the delicate touchings of the trees, or the spirit which animates the whole, we are at a loss to know where he has been most successful. He has painted his mark on this Picture, which he never did but with his most carefully finished pieces. One of this size, 21 by 15, sold at Mons. De Calonne's sale for 210 guineas]] réalisée par P. Wouvermans, vendue par John Sweetman. [74]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[The Virgin rocking the Infant Jesus. Carlo Marratti. This lot cannot fail to attract the attention of the judicious. The comprehensive mind of this learned Painter led him to depart from the usual stile of composing those subjects, and infuse into them a taste equally novel and sublime. The entire of this Picture answers to his character. We see in it greatness of manner and force of expression. The Figures are designed with a graceful simplicity, and the colouring is chaste and glowing. It was brought from Italy by Mr. Stewart, and occupied a distinguished place in Lord Londonderry's collection, at whose sale it was purchased. It has been engraved from. 3 f. by 2 f. 5. (Carlo Marratti)|The Virgin rocking the Infant Jesus. Carlo Marratti. This lot cannot fail to attract the attention of the judicious. The comprehensive mind of this learned Painter led him to depart from the usual stile of composing those subjects, and infuse into them a taste equally novel and sublime. The entire of this Picture answers to his character. We see in it greatness of manner and force of expression. The Figures are designed with a graceful simplicity, and the colouring is chaste and glowing. It was brought from Italy by Mr. Stewart, and occupied a distinguished place in Lord Londonderry's collection, at whose sale it was purchased. It has been engraved from. 3 f. by 2 f. 5.]] réalisée par Carlo Marratti, vendue par John Sweetman. [75]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[The Basilica of Antoninus at Rome, with the Statue of Hercules, the Pantheon, the Arch of Augustus, the Equestrian Statue of Marcus Aurelius and the Porphry Scarcophagus It is impossible to conceive, that any effort of the Pencil can surpass these two celebrated Pictures. Convinced that such superior excellence would require a range of talent to describe them infinitely beyond any thing we can pretend to, has determined us to refrain from making any observations. We have only to request that they may be studied with the most critical attention, not doubting but that the result will end in the fullest conviction of their merits. They are from the collection of Mons. Lemaire, Superintendent des Batiments à Paris, and cost a considerable sum. Engravings from them are in possession of several persons in this City, and must be familiar to every one conversant in choice Prints. No Pictures can be in a higher state of preservation. They are inscribed Paolo Pannini, Romae, 1737, size of each 4 f. 7 i. by 3 f. 3 i. (Paolo Pannini)|The Basilica of Antoninus at Rome, with the Statue of Hercules, the Pantheon, the Arch of Augustus, the Equestrian Statue of Marcus Aurelius and the Porphry Scarcophagus It is impossible to conceive, that any effort of the Pencil can surpass these two celebrated Pictures. Convinced that such superior excellence would require a range of talent to describe them infinitely beyond any thing we can pretend to, has determined us to refrain from making any observations. We have only to request that they may be studied with the most critical attention, not doubting but that the result will end in the fullest conviction of their merits. They are from the collection of Mons. Lemaire, Superintendent des Batiments à Paris, and cost a considerable sum. Engravings from them are in possession of several persons in this City, and must be familiar to every one conversant in choice Prints. No Pictures can be in a higher state of preservation. They are inscribed Paolo Pannini, Romae, 1737, size of each 4 f. 7 i. by 3 f. 3 i.]] réalisée par Paolo Pannini, vendue par John Sweetman. [76]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[The Amphitheatre of Titus, the Statues of the Fighting and Dying Gladiators, with the Trajan Pillar, being the Companion Picture by the same Master. It is impossible to conceive, that any effort of the Pencil can surpass these two celebrated Pictures. Convinced that such superior excellence would require a range of talent to describe them infinitely beyond any thing we can pretend to, has determined us to refrain from making any observations. We have only to request that they may be studied with the most critical attention, not doubting but that the result will end in the fullest conviction of their merits. They are from the collection of Mons. Lemaire, Superintendent des Batiments à Paris, and cost a considerable sum. Engravings from them are in possession of several persons in this City, and must be familiar to every one conversant in choice Prints. No Pictures can be in a higher state of preservation. They are inscribed Paolo Pannini, Romae, 1737, size of each 4 f. 7 i. by 3 f. 3 i. (Paolo Panini)|The Amphitheatre of Titus, the Statues of the Fighting and Dying Gladiators, with the Trajan Pillar, being the Companion Picture by the same Master. It is impossible to conceive, that any effort of the Pencil can surpass these two celebrated Pictures. Convinced that such superior excellence would require a range of talent to describe them infinitely beyond any thing we can pretend to, has determined us to refrain from making any observations. We have only to request that they may be studied with the most critical attention, not doubting but that the result will end in the fullest conviction of their merits. They are from the collection of Mons. Lemaire, Superintendent des Batiments à Paris, and cost a considerable sum. Engravings from them are in possession of several persons in this City, and must be familiar to every one conversant in choice Prints. No Pictures can be in a higher state of preservation. They are inscribed Paolo Pannini, Romae, 1737, size of each 4 f. 7 i. by 3 f. 3 i.]] réalisée par Paolo Panini, vendue par John Sweetman. [77]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[Going to Hawk. Among the inestimable works of David Teniers is undoubtedly to be ranked in this fine production. Its is very generally known, that for a great part of his life, his stile of colouring was rather brown and dark, but that the force of his Genius had caused him at length to depart from it, and adopt a brighter cast, more pleasing and impressive than any thing that had gone before him. On account of its brightness, or the ease with which the eye viewed every object, the Painters gave it the name of his Silver manner, and it is in that tone which he has painted the Picture before us. It is from the superb collection of Mons. Lolliie at Paris, where is was purchased at a sum equivalent to a chef d'oeuvre of the first class. A Teniers of this stile sold at Mons. De Calonne's sale for 350 guineas. It is marked D. Teniers, and is in the highest Preservation. 2 f. by 1 f. 2 i. (David Teniers)|Going to Hawk. Among the inestimable works of David Teniers is undoubtedly to be ranked in this fine production. Its is very generally known, that for a great part of his life, his stile of colouring was rather brown and dark, but that the force of his Genius had caused him at length to depart from it, and adopt a brighter cast, more pleasing and impressive than any thing that had gone before him. On account of its brightness, or the ease with which the eye viewed every object, the Painters gave it the name of his Silver manner, and it is in that tone which he has painted the Picture before us. It is from the superb collection of Mons. Lolliie at Paris, where is was purchased at a sum equivalent to a chef d'oeuvre of the first class. A Teniers of this stile sold at Mons. De Calonne's sale for 350 guineas. It is marked D. Teniers, and is in the highest Preservation. 2 f. by 1 f. 2 i.]] réalisée par David Teniers, vendue par John Sweetman. [78]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[Raphael's Holy Family. Jeremie De Lutel. This is a copy, but such a one as has perhaps no equal. The spirit of Raphael breathes in this powerfully captivating Picture, and we doubt not will excite the just admiration of every beholder. The original was hung in the King's Privy Chamber at Versailles, where the Painter, by very considerable interest, had access to it. It is from Mons. Lolliie's collection, and in brilliant condition. We find the following inscription on the drapery of one of the Figures, Versaile, Jeremie de Lutel pingbat, 1689. size 6 f. 9 i. by 4. 9 i. (Jeremie De Lutel)|Raphael's Holy Family. Jeremie De Lutel. This is a copy, but such a one as has perhaps no equal. The spirit of Raphael breathes in this powerfully captivating Picture, and we doubt not will excite the just admiration of every beholder. The original was hung in the King's Privy Chamber at Versailles, where the Painter, by very considerable interest, had access to it. It is from Mons. Lolliie's collection, and in brilliant condition. We find the following inscription on the drapery of one of the Figures, Versaile, Jeremie de Lutel pingbat, 1689. size 6 f. 9 i. by 4. 9 i.]] réalisée par Jeremie De Lutel, vendue par John Sweetman. [79]
  • 1798.11.26/ maison de ventes : Vallance (James). Vente de l'œuvre décrite comme [[Orpheus and Euridice. Rubens. This fine Picture embellished the admired collection of Lord Londonderry; it was placed opposite the entrance to the Gallery, where its effect never failed to arrest the spectator's attention. It possesses all the requisites that constitute that greatness of manner which the subject inspires, with more delicacy in the outline than we usually meet in the works of this great Master. 6 f. 8 i. by 5 f. 6 (Rubens)|Orpheus and Euridice. Rubens. This fine Picture embellished the admired collection of Lord Londonderry; it was placed opposite the entrance to the Gallery, where its effect never failed to arrest the spectator's attention. It possesses all the requisites that constitute that greatness of manner which the subject inspires, with more delicacy in the outline than we usually meet in the works of this great Master. 6 f. 8 i. by 5 f. 6]] réalisée par Rubens, vendue par John Sweetman. [80]
Récupérée de « https://wikipast.epfl.ch/index.php?title=Ventes_d%27œuvres_le_1798.11.26&oldid=3983629 »