Ventes d'œuvres le 1807.04.25

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  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Interior of a Dutch Bed Chamber, with a Lady at her Spinning Wheel, engaged in Conversation with a Female Servant, who has brought her some Wild Fowls -- It is a most silvery Picture, delicately pencilled; and the Light thrown from the Window into the Apartment, has the Brilliancy of Ostade, or Peter de Hoog. This Picture was sent to this Country many Years ago, by the Family for whom it was painted in Amsterdam; and left by Will to the Proprietor of the present Collection (Brecklenkamp)|The Interior of a Dutch Bed Chamber, with a Lady at her Spinning Wheel, engaged in Conversation with a Female Servant, who has brought her some Wild Fowls -- It is a most silvery Picture, delicately pencilled; and the Light thrown from the Window into the Apartment, has the Brilliancy of Ostade, or Peter de Hoog. This Picture was sent to this Country many Years ago, by the Family for whom it was painted in Amsterdam; and left by Will to the Proprietor of the present Collection]] réalisée par Brecklenkamp, vendue par Edward Coxe, achetée par Kensington au prix de 26.5 £. [9]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A spirited and uncommonly grand Sketch of the Prophet Samuel anointing David, in the Presence of Jesse. The Dignity of the Prophet is finely contrasted by the Humility of Jesse, the Devotion of David, and the Astonishment of his Brethren. Undoubtedly original (Schiavoni)|A spirited and uncommonly grand Sketch of the Prophet Samuel anointing David, in the Presence of Jesse. The Dignity of the Prophet is finely contrasted by the Humility of Jesse, the Devotion of David, and the Astonishment of his Brethren. Undoubtedly original]] réalisée par Schiavoni, vendue par Edward Coxe au prix de 12.12 £. [16]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[Grapes and Peaches, coloured with uncommon richness and warmth, which as well as the Insects, vie with Rachael Ruysh, or Van Huysum for fidelity and finishing; and surpass them in Composition and effect -- this Painter was Knighted; his Pictures in Holland are rare and highly valued (Guglielmo von Alst)|Grapes and Peaches, coloured with uncommon richness and warmth, which as well as the Insects, vie with Rachael Ruysh, or Van Huysum for fidelity and finishing; and surpass them in Composition and effect -- this Painter was Knighted; his Pictures in Holland are rare and highly valued]] réalisée par Guglielmo von Alst, vendue par Edward Coxe, achetée par McKenzie au prix de 16.16 £. [21]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Adoration of the Shepherds -- few, if any Pictures of this Master, can surpass this Specimen: the rich tone, and glow of Light, that illumines the group of Figures, and which emanates from the Saviour, is scientifically contrasted with the break of Morn in the Distance; and is no less judiciously conceived than masterly executed -- from the Collection of Sir Joshua Reynolds, who held this Picture in the highest estimation; and selected it for his peculiar Study: painted on Pannel (L. Giordano)|The Adoration of the Shepherds -- few, if any Pictures of this Master, can surpass this Specimen: the rich tone, and glow of Light, that illumines the group of Figures, and which emanates from the Saviour, is scientifically contrasted with the break of Morn in the Distance; and is no less judiciously conceived than masterly executed -- from the Collection of Sir Joshua Reynolds, who held this Picture in the highest estimation; and selected it for his peculiar Study: painted on Pannel]] réalisée par L. Giordano, vendue par Edward Coxe, achetée par Penney au prix de 34.13 £. [31]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Interior of the great Church at Antwerp, lighted up for Vespers -- a Picture of wonderful harmony -- what Performance of this Master, it may be asked, surpasses this astonishing instance of his Magic Pencil? -- the solemn grandeur of Gothic Architecture, is finely displayed by the Light, that illumines the Pillars, and fretted Vault of the Chapel; while the gloom, that pervades the great Nave of the Building, produces an awful solemn Effect by the power of contrast -- the Figures are judiciously inserted, and scientifically placed; a pure and perfect Cabinet Picture, from the Collection of the Countess of Holderness (Pieter Neef)|The Interior of the great Church at Antwerp, lighted up for Vespers -- a Picture of wonderful harmony -- what Performance of this Master, it may be asked, surpasses this astonishing instance of his Magic Pencil? -- the solemn grandeur of Gothic Architecture, is finely displayed by the Light, that illumines the Pillars, and fretted Vault of the Chapel; while the gloom, that pervades the great Nave of the Building, produces an awful solemn Effect by the power of contrast -- the Figures are judiciously inserted, and scientifically placed; a pure and perfect Cabinet Picture, from the Collection of the Countess of Holderness]] réalisée par Pieter Neef, vendue par Edward Coxe au prix de 64.1 £. [34]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Portrait of the celebrated and learned Anna Maria Schurman -- the delicacy and peculiar beauty in the softness and drawing of the Hands -- the easy attitude, the Charm of coloring, and admirable Management of the whole, entitle it to be ranked among the finest productions of his Pencil; from the Collection of the Earl of Besborough (Rubens)|The Portrait of the celebrated and learned Anna Maria Schurman -- the delicacy and peculiar beauty in the softness and drawing of the Hands -- the easy attitude, the Charm of coloring, and admirable Management of the whole, entitle it to be ranked among the finest productions of his Pencil; from the Collection of the Earl of Besborough]] réalisée par Rubens, vendue par Edward Coxe au prix de 24.3 £. [35]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A high-finished beautiful Cabinet Picture, on Pannel; representing various Figures, Male and Female, engaged in a concert of vocal and instrumental Music; a rare, and extraordinary specimen of his imitative Talent. The original of this Picture was formerly in the possession of our Charles the First, who was fond of having smaller copies of his best Pictures, painted by the first Master of his time. -- This Master as was his frequent custom, has borrowed the composition from Titian, as well as imitated his colouring, in which he has been eminently successful (Vandyke)|A high-finished beautiful Cabinet Picture, on Pannel; representing various Figures, Male and Female, engaged in a concert of vocal and instrumental Music; a rare, and extraordinary specimen of his imitative Talent. The original of this Picture was formerly in the possession of our Charles the First, who was fond of having smaller copies of his best Pictures, painted by the first Master of his time. -- This Master as was his frequent custom, has borrowed the composition from Titian, as well as imitated his colouring, in which he has been eminently successful]] réalisée par Vandyke, vendue par Edward Coxe au prix de 23.2 £. [36]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Infant Saviour standing upon the Globe, bruising the Head of the Serpent, surrounded by attendant Cherubims -- this lovely Performance was in the Collection of Monsieur de Calonne; and if ever Infantine sweetness in the Character and Countenance of a Child was delightfully Painted, it is here evident -- there is at the same Time a variety of Character in the attendant Cherubims uncommonly captivating (Guido)|The Infant Saviour standing upon the Globe, bruising the Head of the Serpent, surrounded by attendant Cherubims -- this lovely Performance was in the Collection of Monsieur de Calonne; and if ever Infantine sweetness in the Character and Countenance of a Child was delightfully Painted, it is here evident -- there is at the same Time a variety of Character in the attendant Cherubims uncommonly captivating]] réalisée par Guido, vendue par Edward Coxe, achetée par Helden au prix de 29.8 £. [37]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A grand, solemn, Woody Scene, in which are reflected with uncommon Splendor, the rays of the setting Sun on the Figures, representing the Patriarchal Family of Jacob in the fore ground, which Group is most admirably composed. The Depth of Shadow opposed to the brilliancy and richness of the Light, is effected with a Magic equal to Titian. This capital Picture was bought by the Proprietor at Mr. Delme's Collection (Francisco Mola)|A grand, solemn, Woody Scene, in which are reflected with uncommon Splendor, the rays of the setting Sun on the Figures, representing the Patriarchal Family of Jacob in the fore ground, which Group is most admirably composed. The Depth of Shadow opposed to the brilliancy and richness of the Light, is effected with a Magic equal to Titian. This capital Picture was bought by the Proprietor at Mr. Delme's Collection]] réalisée par Francisco Mola, vendue par Edward Coxe, achetée par Guynap au prix de 29.8 £. [38]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Virgin with the Infant Saviour in the Clouds, with St. John the Evangelist and St. Jerome -- this striking and beautiful Picture was arrested in its course from Genoa to Marseilles, by an English Cruiser, (as it was consigned to Paris for Bonaparte's Cabinet,) and was publickly sold as part of the Prize for the benefit of the Captors (Parmegiano)|The Virgin with the Infant Saviour in the Clouds, with St. John the Evangelist and St. Jerome -- this striking and beautiful Picture was arrested in its course from Genoa to Marseilles, by an English Cruiser, (as it was consigned to Paris for Bonaparte's Cabinet,) and was publickly sold as part of the Prize for the benefit of the Captors]] réalisée par Parmegiano, vendue par Edward Coxe, achetée par Hope au prix de 51.9 £. [40]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Head of the Saviour, crowned with Thorns; truly a Man of Sorrows and acquainted with Grief -- Pictures of this Master are uncommonly scarce and highly valued. -- It was bought at the late Mr. Vanderguchts Sale, who prized it most deservedly, as a first-rate Picture -- painted on pannel (Fra. Bartolomeo)|The Head of the Saviour, crowned with Thorns; truly a Man of Sorrows and acquainted with Grief -- Pictures of this Master are uncommonly scarce and highly valued. -- It was bought at the late Mr. Vanderguchts Sale, who prized it most deservedly, as a first-rate Picture -- painted on pannel]] réalisée par Fra. Bartolomeo, vendue par Edward Coxe, achetée par Ld De Dunstanville au prix de 16.16 £. [41]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Adoration of the Shepherds, dated 1538, embracing all the grandeur and expression of Raphael: indeed Imola, according to Malvasia, came nearer to Raphael, than any of his Scholars. The learned in the Art will venerate this extraordinary Performance, which to the eye and judgement of the Connoisseur, will it is presumed, carry its praise along with it; and recall all those first principles of the Art, that subsequently led to the very Acme of Painting, and perfection of the Art. Though painted in Oil, the colouring is like Fresco; and its resemblance to Raphael will be felt by those, who have studied the Cartoons at Hampton Court. This very Picture is described by Count Malvasia, in his 1st vol. page 147, Bologna edition, to be then in the Church of the Madona di san Luca su' Monté della Guardia...from the Orlean's Collection The preceding was excerpted (Innocenza da Imola)|The Adoration of the Shepherds, dated 1538, embracing all the grandeur and expression of Raphael: indeed Imola, according to Malvasia, came nearer to Raphael, than any of his Scholars. The learned in the Art will venerate this extraordinary Performance, which to the eye and judgement of the Connoisseur, will it is presumed, carry its praise along with it; and recall all those first principles of the Art, that subsequently led to the very Acme of Painting, and perfection of the Art. Though painted in Oil, the colouring is like Fresco; and its resemblance to Raphael will be felt by those, who have studied the Cartoons at Hampton Court. This very Picture is described by Count Malvasia, in his 1st vol. page 147, Bologna edition, to be then in the Church of the Madona di san Luca su' Monté della Guardia...from the Orlean's Collection The preceding was excerpted]] réalisée par Innocenza da Imola, vendue par Edward Coxe, achetée par Hope au prix de 19.8 £. [42]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The View of a Town in Flanders, with a beautiful Sky: enriched by Adrian Van de Velde, with the Procession of the Host and various other Figures. Though Vander Heyden has finished his part with such uncommon accuracy, that every Brick in each Building may be counted; it is entirely free from hardness, and the perspective and general effect are not the least destroyed. The figures by Van de Velde, are happily introduced and touched with his usual delicacy. Thus the combination of the united skill of those two eminent Artists renders this Picture a perfect Bijou, and worthy of the first Cabinet in this Country -- from the Holderness Collection (Vander Heyden)|The View of a Town in Flanders, with a beautiful Sky: enriched by Adrian Van de Velde, with the Procession of the Host and various other Figures. Though Vander Heyden has finished his part with such uncommon accuracy, that every Brick in each Building may be counted; it is entirely free from hardness, and the perspective and general effect are not the least destroyed. The figures by Van de Velde, are happily introduced and touched with his usual delicacy. Thus the combination of the united skill of those two eminent Artists renders this Picture a perfect Bijou, and worthy of the first Cabinet in this Country -- from the Holderness Collection]] réalisée par Vander Heyden, vendue par Edward Coxe, achetée par Seguier au prix de 66.3 £. [45]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Portrait of the celebrated Astronomer Galileo, consulting the Celestial Globe; there is an enthusiasm and ardour of expression in this masterly performance that beggars all description -- from the Collection of the Earl of Besborough -- most capital (Spagnoletto)|The Portrait of the celebrated Astronomer Galileo, consulting the Celestial Globe; there is an enthusiasm and ardour of expression in this masterly performance that beggars all description -- from the Collection of the Earl of Besborough -- most capital]] réalisée par Spagnoletto, vendue par Edward Coxe, achetée par Seguier au prix de 20.9 £. [46]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Boar Hunt, with the Death of Meleager. No Master can be compared to Rubens in these Subjects of the Chase. The lifeless Body of Meleager is finely contrasted by the animated Action of the surrounding Group, all eager to destroy the enraged Animal; while the anxious Character of Atalante, bent on revenging the Death of her Lover, is told in impressive forcible Language. The Soul of Rubens is in this splendidly coloured Sketch; and evidently shews it to be the entire work of the Master -- from the Calonne Collection (Rubens)|The Boar Hunt, with the Death of Meleager. No Master can be compared to Rubens in these Subjects of the Chase. The lifeless Body of Meleager is finely contrasted by the animated Action of the surrounding Group, all eager to destroy the enraged Animal; while the anxious Character of Atalante, bent on revenging the Death of her Lover, is told in impressive forcible Language. The Soul of Rubens is in this splendidly coloured Sketch; and evidently shews it to be the entire work of the Master -- from the Calonne Collection]] réalisée par Rubens, vendue par Edward Coxe, achetée par Sir Henry Rivers au prix de 68.5 £. [47]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[Landscape, with Cows and Sheep -- Scene, the Wood at the Hague, combining beauty of Foliage with a happy distribution of light and shade; exquisite Drawing in the Cattle; and transparent sweetness of colouring. This most delicious Cabinet Picture possesses all those extraordinary beauties for which this Master stands unrivalled; and was highly valued in the Holderness Collection, at the Sale of which it was purchased -- painted on Pannel (Paul Potter)|Landscape, with Cows and Sheep -- Scene, the Wood at the Hague, combining beauty of Foliage with a happy distribution of light and shade; exquisite Drawing in the Cattle; and transparent sweetness of colouring. This most delicious Cabinet Picture possesses all those extraordinary beauties for which this Master stands unrivalled; and was highly valued in the Holderness Collection, at the Sale of which it was purchased -- painted on Pannel]] réalisée par Paul Potter, vendue par Edward Coxe, achetée par Mortimer au prix de 54.12 £. [49]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A Madona; great delicacy and elaborate finishing are the general characteristics of this Master; and many of his works that combine no other excellencies, have been much admired: But this performance is of a much higher class; as in addition to the beauty of his execution, he affects us here with the profound grief, that is so forcibly expressed in the countenance of the Virgin. It is a Picture of the greatest interest; and one of the finest productions of his pencil. Formerly in the Pembroke collection (Carlo Dolce)|A Madona; great delicacy and elaborate finishing are the general characteristics of this Master; and many of his works that combine no other excellencies, have been much admired: But this performance is of a much higher class; as in addition to the beauty of his execution, he affects us here with the profound grief, that is so forcibly expressed in the countenance of the Virgin. It is a Picture of the greatest interest; and one of the finest productions of his pencil. Formerly in the Pembroke collection]] réalisée par Carlo Dolce, vendue par Edward Coxe, achetée par Lord de Dunstanville au prix de 63.0 £. [50]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A celebrated Picture of this rare and distinguished Master; being the head of our Saviour, who seems in the act of speaking. It is painted with inexpressible grandeur and warmth, yet with a softness of Outline that is his peculiar excellence -- most capital: from the Orlean's Collection (Corregio)|A celebrated Picture of this rare and distinguished Master; being the head of our Saviour, who seems in the act of speaking. It is painted with inexpressible grandeur and warmth, yet with a softness of Outline that is his peculiar excellence -- most capital: from the Orlean's Collection]] réalisée par Corregio, vendue par Edward Coxe au prix de 26.5 £. [51]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Entombing of the Saviour, from a design by Titian; and the Artist has introduced his own Portrait, and that of his Friend and instructor, Sir Peter Paul Rubens. This is a Picture of uncommon beauty, softness and transparency; and was a very great favourite of Mons. de Calonne's, at whose Sale it was bought -- on pannel (Vandyke)|The Entombing of the Saviour, from a design by Titian; and the Artist has introduced his own Portrait, and that of his Friend and instructor, Sir Peter Paul Rubens. This is a Picture of uncommon beauty, softness and transparency; and was a very great favourite of Mons. de Calonne's, at whose Sale it was bought -- on pannel]] réalisée par Vandyke, vendue par Edward Coxe au prix de 79.8 £. [53]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A Landscape, Cattle and Figures; the early time of Morn, described at that particular Period when, in the language of Milton, "The Sun With wheels yet hovring o'er the Ocean's brim, Shoots parallel to the Earth his dewy ray." This charming Picture so full of Subject and Variety, so tender, so true to Nature, and so captivating, is described in the Liber Veritatis. It came into the Possession of the late Earl of Besborough from Lady Betty Germaine; and had belonged to the famous Arundel Collection, as Sir William Hamilton imformed the present Proprietor. Capital throughout, and of most exquisite Sweetness and Beauty (Claude le Lorraine)|A Landscape, Cattle and Figures; the early time of Morn, described at that particular Period when, in the language of Milton, "The Sun With wheels yet hovring o'er the Ocean's brim, Shoots parallel to the Earth his dewy ray." This charming Picture so full of Subject and Variety, so tender, so true to Nature, and so captivating, is described in the Liber Veritatis. It came into the Possession of the late Earl of Besborough from Lady Betty Germaine; and had belonged to the famous Arundel Collection, as Sir William Hamilton imformed the present Proprietor. Capital throughout, and of most exquisite Sweetness and Beauty]] réalisée par Claude le Lorraine, vendue par Edward Coxe, achetée par Hill au prix de 67.4 £. [54]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A Madona with the Infant Jesus, seated on cushions, with St. John embracing his Feet, in a small Octagon, on Copper; this highly finished and exquisite Gem, of which the characters are most lovely, and the coloring is in the finest stile of this Master, came from the Collection of Dr. Newton, Bishop of Bristol -- most capital (Guido)|A Madona with the Infant Jesus, seated on cushions, with St. John embracing his Feet, in a small Octagon, on Copper; this highly finished and exquisite Gem, of which the characters are most lovely, and the coloring is in the finest stile of this Master, came from the Collection of Dr. Newton, Bishop of Bristol -- most capital]] réalisée par Guido, vendue par Edward Coxe, achetée par Helden au prix de 58.16 £. [55]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A View from Nature -- the Season, about the time of the approach of Harvest, deliciously described with truth and nature. The Scene simple and agreeable; a chalky Road leading to a Wood bordered on each side by Corn Fields, with Figures and Cattle, passing and feeding as they move. This Union of talent is so admirable and harmonious as to appear the work of one -- very capital (Jacob Ruysdael)|A View from Nature -- the Season, about the time of the approach of Harvest, deliciously described with truth and nature. The Scene simple and agreeable; a chalky Road leading to a Wood bordered on each side by Corn Fields, with Figures and Cattle, passing and feeding as they move. This Union of talent is so admirable and harmonious as to appear the work of one -- very capital]] réalisée par Jacob Ruysdael, vendue par Edward Coxe, achetée par Lord Mulgrave au prix de 98.14 £. [56]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A Noble Portrait of that amiable, learned, and heroic Character, Count Castiglione, the author of Il Corteggiano, the friend of Titian and Raphael, and esteem'd and rewarded by Pope Julius II. It is not to be wondered, that Titian should here have exerted all his Powers: the Hand of the Friend guided the pencil of the Artist. This Picture was in the Orlean's Collection, and purposely selected, to compose part of that valuable assemblage. The Portrait is full of Mind and Expression at once placid and dignified; it is a noble Performance, and Titian has enlivened it by introducing a beautiful Group of Trees to shew his various Powers -- most capital (Titian)|A Noble Portrait of that amiable, learned, and heroic Character, Count Castiglione, the author of Il Corteggiano, the friend of Titian and Raphael, and esteem'd and rewarded by Pope Julius II. It is not to be wondered, that Titian should here have exerted all his Powers: the Hand of the Friend guided the pencil of the Artist. This Picture was in the Orlean's Collection, and purposely selected, to compose part of that valuable assemblage. The Portrait is full of Mind and Expression at once placid and dignified; it is a noble Performance, and Titian has enlivened it by introducing a beautiful Group of Trees to shew his various Powers -- most capital]] réalisée par Titian, vendue par Edward Coxe, achetée par Earl of Mansfield au prix de 52.10 £. [57]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[This Picture represents Salome, the Daughter of Herodias, with averted look, pointing to the Head of St. John, held by the Executioner over the Charger; which is placed on an antique Marble Table, supported by a Sphynx. In the back ground between them is the Head of an Attendant in Shadow. Salome, though she turns from the work of Death, has a smile of satisfaction on her countenance, at the execution of the bloody Deed; her figure is extremely light, elegant and graceful; her drapery very highly finished and ornamented; and forms a powerful contrast, with the ferocious look of the Executioner, whose Body appears partly naked. The trunkless Head of St. John is softly Pencilled and affecting; but not disgusting. The size of the Figures all standing, is somewhat smaller than life: this Picture evidently Painted, when his Pencil had freed itself from the hardness of his early manner...briefly, it is a most marvellous Picture: and bore internal evidence of being the production of this incomparable Master, although it was called in the Catalogue of the Orlean's Gallery, by the name of Andrea Solario: on removing the Frame which concealed it, the Name of Leonardo da Vinci, inscribed in golden Letters, stood confessed under the Marble Table...The preceding was excerpted (Leonardo da Vinci)|This Picture represents Salome, the Daughter of Herodias, with averted look, pointing to the Head of St. John, held by the Executioner over the Charger; which is placed on an antique Marble Table, supported by a Sphynx. In the back ground between them is the Head of an Attendant in Shadow. Salome, though she turns from the work of Death, has a smile of satisfaction on her countenance, at the execution of the bloody Deed; her figure is extremely light, elegant and graceful; her drapery very highly finished and ornamented; and forms a powerful contrast, with the ferocious look of the Executioner, whose Body appears partly naked. The trunkless Head of St. John is softly Pencilled and affecting; but not disgusting. The size of the Figures all standing, is somewhat smaller than life: this Picture evidently Painted, when his Pencil had freed itself from the hardness of his early manner...briefly, it is a most marvellous Picture: and bore internal evidence of being the production of this incomparable Master, although it was called in the Catalogue of the Orlean's Gallery, by the name of Andrea Solario: on removing the Frame which concealed it, the Name of Leonardo da Vinci, inscribed in golden Letters, stood confessed under the Marble Table...The preceding was excerpted]] réalisée par Leonardo da Vinci, vendue par Edward Coxe, achetée par Hope au prix de 105.0 £. [58]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A Landscape, enriched with a Castle: in the Foreground are represented Nymphs Bathing in a Stream that runs through a woody Dell. This splendid proof of Titian's powers would alone add celebrity to any Collection: it seems Painted from a Pallet of Gold, and is one blaze of harmonious colour, while the singular management of the Trees in the Fore Ground; which could not have been attempted by any inferior Painter; "is Noble Daring." This inestimable Performance was Sir Joshua Reynolds's most favorite Landscape; nor can it be wondered at: it was bought at his Sale, and is truly invaluable (Titian)|A Landscape, enriched with a Castle: in the Foreground are represented Nymphs Bathing in a Stream that runs through a woody Dell. This splendid proof of Titian's powers would alone add celebrity to any Collection: it seems Painted from a Pallet of Gold, and is one blaze of harmonious colour, while the singular management of the Trees in the Fore Ground; which could not have been attempted by any inferior Painter; "is Noble Daring." This inestimable Performance was Sir Joshua Reynolds's most favorite Landscape; nor can it be wondered at: it was bought at his Sale, and is truly invaluable]] réalisée par Titian, vendue par Edward Coxe au prix de 84.0 £. [59]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Adoration of the Shepherds: a Composition equal to the finest of Corregio, and executed with the most extraordinary Powers in all its Parts. This superlatively beautiful and splendid Cabinet Gem represents the Virgin in the act of taking off the Mantle from the Infant Saviour, who is lying in the Manger; and as she shews him to a Shepherd, who kneels before her, she gazes with sublime delight on his adoration of the Child: behind her is Joseph admitting other Shepherds, and a Boy lighting them in with a Torch. The emanation from the Infant Jesus, throws a splendor on the foreground of the Picture, where the Virgin and the Child are placed; and on the same line to the right are two Angels, one with his Arm round the Ass, and the other in the act of adoring the Saviour; and a Cow is recumbent before them; above them on the outside of the Stable, where there is an opening into the Interior, are two Shepherds, leaning on the Partition; the one, (a Portrait of Annibal Caracci,) is looking down upon the Infant Christ: the other, who holds a lighted Lanthorn, directs his view upwards to the Heavens, which are opened; and amidst a Blaze of celestial Light disclose a Group of Angels, who with Instruments of Music "and blest Voices, are uttering Joy." In the intermediate space between the two Shepherds and the Group of Angels, the distant Landscape faintly appears, as at the break of dawn...we fix our last View and Thought with rapturous delight, on the radiance bursting through the Clouds, and the Seraphic forms of the heavenly Choir. It only remains to say, that the harmonious brilliancy of the colouring, enriches the design with rival Splendor -- this captivating Cabinet Picture is on Copper, pure and perfect at when first Painted; from the Collection of Dr. Newton, Bishop of Bristol The preceding was excerpted (Lud. Caracci)|The Adoration of the Shepherds: a Composition equal to the finest of Corregio, and executed with the most extraordinary Powers in all its Parts. This superlatively beautiful and splendid Cabinet Gem represents the Virgin in the act of taking off the Mantle from the Infant Saviour, who is lying in the Manger; and as she shews him to a Shepherd, who kneels before her, she gazes with sublime delight on his adoration of the Child: behind her is Joseph admitting other Shepherds, and a Boy lighting them in with a Torch. The emanation from the Infant Jesus, throws a splendor on the foreground of the Picture, where the Virgin and the Child are placed; and on the same line to the right are two Angels, one with his Arm round the Ass, and the other in the act of adoring the Saviour; and a Cow is recumbent before them; above them on the outside of the Stable, where there is an opening into the Interior, are two Shepherds, leaning on the Partition; the one, (a Portrait of Annibal Caracci,) is looking down upon the Infant Christ: the other, who holds a lighted Lanthorn, directs his view upwards to the Heavens, which are opened; and amidst a Blaze of celestial Light disclose a Group of Angels, who with Instruments of Music "and blest Voices, are uttering Joy." In the intermediate space between the two Shepherds and the Group of Angels, the distant Landscape faintly appears, as at the break of dawn...we fix our last View and Thought with rapturous delight, on the radiance bursting through the Clouds, and the Seraphic forms of the heavenly Choir. It only remains to say, that the harmonious brilliancy of the colouring, enriches the design with rival Splendor -- this captivating Cabinet Picture is on Copper, pure and perfect at when first Painted; from the Collection of Dr. Newton, Bishop of Bristol The preceding was excerpted]] réalisée par Lud. Caracci, vendue par Edward Coxe, achetée par Hope au prix de 220.10 £. [61]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Good Samaritan. The Story is taken up at the point of time, when he has conveyed the poor wounded Passenger to a place of relief; and he is represented on the steps of an Inn, giving money to the little doctor, (as the engraving of this Picture is called in Holland) with injunctions to take care of the patient, whom a servant is assisting to dismount from the Samaritan's Horse, which another servant is holding by the bridle: in the middle space is a female figure drawing Water from a Well; and a Landscape with Trees, faintly drawn, in order not to take off the attention from the story, terminates the view. This marvellous and unrivalled Bijou, equal, if not superior to the finest works of Gerard Douw, contains in miniature, all the wonderful force and magic of his largest Pictures: yet withal so exquisitely, so sweetly pencilled, and with such a superiority in the Chiaro Scuro, and such force of colouring, as to baffle all description. This inestimable Jewel formerly belonged to the Duc de Choiseul Praslins; and was bought by the present Proprietor, at Mons. de Calonne's sale (Rembrandt)|The Good Samaritan. The Story is taken up at the point of time, when he has conveyed the poor wounded Passenger to a place of relief; and he is represented on the steps of an Inn, giving money to the little doctor, (as the engraving of this Picture is called in Holland) with injunctions to take care of the patient, whom a servant is assisting to dismount from the Samaritan's Horse, which another servant is holding by the bridle: in the middle space is a female figure drawing Water from a Well; and a Landscape with Trees, faintly drawn, in order not to take off the attention from the story, terminates the view. This marvellous and unrivalled Bijou, equal, if not superior to the finest works of Gerard Douw, contains in miniature, all the wonderful force and magic of his largest Pictures: yet withal so exquisitely, so sweetly pencilled, and with such a superiority in the Chiaro Scuro, and such force of colouring, as to baffle all description. This inestimable Jewel formerly belonged to the Duc de Choiseul Praslins; and was bought by the present Proprietor, at Mons. de Calonne's sale]] réalisée par Rembrandt, vendue par Edward Coxe au prix de 94.10 £. [62]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The intended Sacrifice of Isaac by his Father Abraham, with the Interposition of the Angel -- nobly conceived, and grandly treated. -- Abraham seems indeed to question the Angel, as to the substitution of the Ram for his Son, being acceptable to the Deity. -- This Picture belonged to the Orleans' Collection, and was always considered as one of its first rate Ornaments; being most powerfully Painted, and with a most scientific management of the Chiaro Scuro -- very capital (M.A. Caravaggio)|The intended Sacrifice of Isaac by his Father Abraham, with the Interposition of the Angel -- nobly conceived, and grandly treated. -- Abraham seems indeed to question the Angel, as to the substitution of the Ram for his Son, being acceptable to the Deity. -- This Picture belonged to the Orleans' Collection, and was always considered as one of its first rate Ornaments; being most powerfully Painted, and with a most scientific management of the Chiaro Scuro -- very capital]] réalisée par M.A. Caravaggio, vendue par Edward Coxe au prix de 21.0 £. [63]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[Inattentive observers, who have not sufficiently contemplated the Works of Art, do not consider the feelings of the Artist, who receives a natural Bias from the Country in which he was born and where he resides; and Rembrandt has been censured for want of Dignity in his Choice of Character, and for Vulgarity in Features and forms: so Rubens, also, has been censured in a different Manner, because his Females have not the Grace of the Venus de Medici. But satisfied of their Art, and confident of their Powers, the Dutch and Flemish Painters did not fly from the Objects that surrounded them, in search of ideal Beauty; but gave Consequence to every Subject they took in hand, by command of Pencil and Fascination of Color: but this Picture is a proof, that when Rembrandt met with Character, he knew how to describe it, not only correctly and forcibly, but even grandly; and there is a Sense, an Understanding, and a Composure in the Countenance of this Capital Performance, that is no less interesting in the Subject, than astonishing in the Execution. There is a Freedom, a Force, a brilliancy and Harmony, and a magical blending of Colours throughout, that is Perfection itself, and the Acme of Art. It is indeed a wonderful Performance, and no single Figure can rank higher than this superlative Specimen of Rembrandt's Skill -- It is dated 1650 (Rembrandt)|Inattentive observers, who have not sufficiently contemplated the Works of Art, do not consider the feelings of the Artist, who receives a natural Bias from the Country in which he was born and where he resides; and Rembrandt has been censured for want of Dignity in his Choice of Character, and for Vulgarity in Features and forms: so Rubens, also, has been censured in a different Manner, because his Females have not the Grace of the Venus de Medici. But satisfied of their Art, and confident of their Powers, the Dutch and Flemish Painters did not fly from the Objects that surrounded them, in search of ideal Beauty; but gave Consequence to every Subject they took in hand, by command of Pencil and Fascination of Color: but this Picture is a proof, that when Rembrandt met with Character, he knew how to describe it, not only correctly and forcibly, but even grandly; and there is a Sense, an Understanding, and a Composure in the Countenance of this Capital Performance, that is no less interesting in the Subject, than astonishing in the Execution. There is a Freedom, a Force, a brilliancy and Harmony, and a magical blending of Colours throughout, that is Perfection itself, and the Acme of Art. It is indeed a wonderful Performance, and no single Figure can rank higher than this superlative Specimen of Rembrandt's Skill -- It is dated 1650]] réalisée par Rembrandt, vendue par Edward Coxe, achetée par Sir Matthew White Ridley au prix de 267.15 £. [64]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A Wood with Cottages and Figures, and a distance to the left, painted towards the conclusion of Summer; and thus, by the intermixture of the verdant foliage with the autumnal tints, richly diversifying the Sylvan scene. It seems to have been taken, just after the fall of a refreshing shower; with a warm sunshine on a Principal Cloud and other parts of the Picture. The forms of the Trees, that compose the Landscapes of this Master, are not in general either Picturesque, or elegant; seldom well grouped, and too often broken into many unconnected parts: but this Picture possesses the happiest union of those requisite beauties, and forms a perfect whole. And though he has varied this view in many of his works; in no other has he ever introduced the Principal Masses of Trees, that embellish the middle of the Foreground of this composition, with such excellence, either as to their forms, or their groupings...The preceding was excerpted (Hobbima)|A Wood with Cottages and Figures, and a distance to the left, painted towards the conclusion of Summer; and thus, by the intermixture of the verdant foliage with the autumnal tints, richly diversifying the Sylvan scene. It seems to have been taken, just after the fall of a refreshing shower; with a warm sunshine on a Principal Cloud and other parts of the Picture. The forms of the Trees, that compose the Landscapes of this Master, are not in general either Picturesque, or elegant; seldom well grouped, and too often broken into many unconnected parts: but this Picture possesses the happiest union of those requisite beauties, and forms a perfect whole. And though he has varied this view in many of his works; in no other has he ever introduced the Principal Masses of Trees, that embellish the middle of the Foreground of this composition, with such excellence, either as to their forms, or their groupings...The preceding was excerpted]] réalisée par Hobbima, vendue par Edward Coxe, achetée par Duncombe au prix de 588.0 £. [65]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A Dutch Cabaret, an Interior: Peasantry of both Sexes, drinking, dancing and making merry. This extraordinary Picture, presents a Scene of hilarity, happily describing the characteristic humour of the Boors of Holland; admirably grouped and magically colored throughout. It is impossible not to participate in the humor of the Scene, and become a gratified Spectator of this spirited Performance; so true to nature in all its parts, so scientifically accomplished, and where all is proper cheerfulness. The dancing couple are absolutely alive, and in motion; while the numerous Figures in the surrounding group are equally excellent, and all contribute in their different situations, to produce an appropriate effect, and fill the scene to complete satisfaction. It will bear the most minute investigation in every part, for Art cannot go higher. This Chef d'OEuvre of Ostade, was the greatest favourite among all the Pictures of the Dutch and Flemish Schools, which were in Mons. de Calonne's Collection, from whence it was fortunately purchased -- truly capital (A. Ostade)|A Dutch Cabaret, an Interior: Peasantry of both Sexes, drinking, dancing and making merry. This extraordinary Picture, presents a Scene of hilarity, happily describing the characteristic humour of the Boors of Holland; admirably grouped and magically colored throughout. It is impossible not to participate in the humor of the Scene, and become a gratified Spectator of this spirited Performance; so true to nature in all its parts, so scientifically accomplished, and where all is proper cheerfulness. The dancing couple are absolutely alive, and in motion; while the numerous Figures in the surrounding group are equally excellent, and all contribute in their different situations, to produce an appropriate effect, and fill the scene to complete satisfaction. It will bear the most minute investigation in every part, for Art cannot go higher. This Chef d'OEuvre of Ostade, was the greatest favourite among all the Pictures of the Dutch and Flemish Schools, which were in Mons. de Calonne's Collection, from whence it was fortunately purchased -- truly capital]] réalisée par A. Ostade, vendue par Edward Coxe, achetée par Dent au prix de 372.15 £. [66]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Infant Saviour standing on the lap of the Virgin, and embracing her with filial affection. Of all the Pictures in the Collection of Sir William Hamilton, this (bought at his Sale) he prized above the rest: and when we consider the feminine sweetness and maternal regard of the Virgin, her ineffable smile, the glow of health and beauty on the countenances of each, the graceful flow of the outline of the Child, with the roundness of the Limbs, together with the purity and warmth of the Carnations, as well as the simplicity of the Drapery of the Virgin, it cannot be wondered that such a lovely assemblage should have arrested the attention of so great a judge, and delighted him above all his other Pictures: it is correct in all its minuter parts, and wonderful in the general execution -- most capital -- engraved (Parmegiano)|The Infant Saviour standing on the lap of the Virgin, and embracing her with filial affection. Of all the Pictures in the Collection of Sir William Hamilton, this (bought at his Sale) he prized above the rest: and when we consider the feminine sweetness and maternal regard of the Virgin, her ineffable smile, the glow of health and beauty on the countenances of each, the graceful flow of the outline of the Child, with the roundness of the Limbs, together with the purity and warmth of the Carnations, as well as the simplicity of the Drapery of the Virgin, it cannot be wondered that such a lovely assemblage should have arrested the attention of so great a judge, and delighted him above all his other Pictures: it is correct in all its minuter parts, and wonderful in the general execution -- most capital -- engraved]] réalisée par Parmegiano, vendue par Edward Coxe, achetée par J Raikes au prix de 136.10 £. [67]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Portrait of the celebrated Tuscan Poet and Satyrist, Pietro Aretin; who corresponded with the Princes and Painters of his time, with equal familiarity -- Titian has in this Picture displayed his highest skill, and for truth, correctness, and warmth it must stand unrivalled -- it has indeed all the force and glow of Giorgione, of whom Titian was the Scholar -- most capital (Titian)|The Portrait of the celebrated Tuscan Poet and Satyrist, Pietro Aretin; who corresponded with the Princes and Painters of his time, with equal familiarity -- Titian has in this Picture displayed his highest skill, and for truth, correctness, and warmth it must stand unrivalled -- it has indeed all the force and glow of Giorgione, of whom Titian was the Scholar -- most capital]] réalisée par Titian, vendue par Edward Coxe, achetée par Hamilton au prix de 16.16 £. [69]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The adoration of the Kings. This very scarce and excellent Painter, who was born in 1510, and died in 1588 (as mentioned in the Abecedario Pittorico) had received instruction from Buonaroti; and afterwards improved himself as a Scholar of Corregio. Thus he was enabled to treat this divine subject with such astonishing Powers of Art, as combines both the graceful and sublime; and by emanation of light from the Infant Jesus, which is reflected on the beautiful countenance of the Virgin, forms a perfect illumination; while the latter is grandly contrasted with opposing shadow. This Picture was bought at the Purling Sale, where it was excessively admired (Novellara)|The adoration of the Kings. This very scarce and excellent Painter, who was born in 1510, and died in 1588 (as mentioned in the Abecedario Pittorico) had received instruction from Buonaroti; and afterwards improved himself as a Scholar of Corregio. Thus he was enabled to treat this divine subject with such astonishing Powers of Art, as combines both the graceful and sublime; and by emanation of light from the Infant Jesus, which is reflected on the beautiful countenance of the Virgin, forms a perfect illumination; while the latter is grandly contrasted with opposing shadow. This Picture was bought at the Purling Sale, where it was excessively admired]] réalisée par Novellara, vendue par Edward Coxe, achetée par Lord de Dunstanville au prix de 45.3 £. [70]
  • 1807.04.25/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The finished Sketch for the celebrated Picture of the Apotheosis of St. Cecilia in the Dome of the Church of St. Luigi, at Rome -- this interesting and beautiful Performance (though in oil, yet in the stile of Fresco colouring) was purchased at a very considerable price in Italy, by the late Mr. Davenport; and always considered as a truly Cabinet Gem (Domenichino)|The finished Sketch for the celebrated Picture of the Apotheosis of St. Cecilia in the Dome of the Church of St. Luigi, at Rome -- this interesting and beautiful Performance (though in oil, yet in the stile of Fresco colouring) was purchased at a very considerable price in Italy, by the late Mr. Davenport; and always considered as a truly Cabinet Gem]] réalisée par Domenichino, vendue par Edward Coxe, achetée par Heldon au prix de 33.12 £. [71]
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