Ventes d'œuvres le 1808.05.03

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  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Interior of a wood with gypsies. Morland. The thick foliage of the trees at the entrance of the wood, with the beautiful perspective, where the eye is lost by the gloom, most happily effected. The figures are truly natural and accord with the surrounding objects. (Morland)|Interior of a wood with gypsies. Morland. The thick foliage of the trees at the entrance of the wood, with the beautiful perspective, where the eye is lost by the gloom, most happily effected. The figures are truly natural and accord with the surrounding objects.]] réalisée par Morland, vendue par [[[Chatfield]]]. [2]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Sir Artegall, the knight of Justice, with Talus his Yron man, esteemed the chef d'oeuvre of Mortimer. "His name was Talus; made of yron mould, Immoveable, resistlesse, without end, Who had in his hand an yron flale did hould. With which he threst out falsehood, and did truth fould." Spenser's Faery Queene, Book Vth. Canto I. Stanza XII. (Mortimer)|Sir Artegall, the knight of Justice, with Talus his Yron man, esteemed the chef d'oeuvre of Mortimer. "His name was Talus; made of yron mould, Immoveable, resistlesse, without end, Who had in his hand an yron flale did hould. With which he threst out falsehood, and did truth fould." Spenser's Faery Queene, Book Vth. Canto I. Stanza XII.]] réalisée par Mortimer, vendue par [[[Sir Thomas Bernard]]]. [4]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Candaules, King of Lydia imprudently exposing his beautiful Queen to Gyges his favorite minister. Nicolo Poussin. This admirable woman, whose virtue was equal to her beauty, upon discovering that she had been thus wantonly exhibited, declared, that no two men who had seen her in puris naturalibus should live; she therefore informed Gyges, that, he must either dispatch Candaules and marry her, or fall himself the victim of her just resentment. Gyges chose to assassinate Candaules, married the Queen, and reigned King of Lydia for twenty-eight years (Nicolo Poussin)|Candaules, King of Lydia imprudently exposing his beautiful Queen to Gyges his favorite minister. Nicolo Poussin. This admirable woman, whose virtue was equal to her beauty, upon discovering that she had been thus wantonly exhibited, declared, that no two men who had seen her in puris naturalibus should live; she therefore informed Gyges, that, he must either dispatch Candaules and marry her, or fall himself the victim of her just resentment. Gyges chose to assassinate Candaules, married the Queen, and reigned King of Lydia for twenty-eight years]] réalisée par Nicolo Poussin, vendue par [[[John Humble]]]. [20]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[St. Roch Healing the sick. "Now when the Sun was setting, all they that had any sick, with divers diseases, brought them unto him; and he laid his hand on every one of them, and healed them." A valuable picture by Velasquez, a rare and much esteemed master (Velasquez)|St. Roch Healing the sick. "Now when the Sun was setting, all they that had any sick, with divers diseases, brought them unto him; and he laid his hand on every one of them, and healed them." A valuable picture by Velasquez, a rare and much esteemed master]] réalisée par Velasquez. [22]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The Fall of the Stawback in Switzerland; the scenery at the same time tremendously grand, and luxuriantly beautiful. Loutherbourg. Considered one of the happiest efforts of his pencil; in the foreground he has introduced a female peasant of the country attacked by a snake; in her fright her hat is blown off by the wind, whilst her faithful dog is keeping the poisonous reptile at bay (Loutherbourg)|The Fall of the Stawback in Switzerland; the scenery at the same time tremendously grand, and luxuriantly beautiful. Loutherbourg. Considered one of the happiest efforts of his pencil; in the foreground he has introduced a female peasant of the country attacked by a snake; in her fright her hat is blown off by the wind, whilst her faithful dog is keeping the poisonous reptile at bay]] réalisée par Loutherbourg. [34]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Portrait of Charles XII. of Sweden, painted for the King of Poland, and presented by that monarch to the Duke de Choiseul, to whom it now belongs. It is said to be the only whole-length portrait that hero ever stood for. Woolcast, an eminent Swedish artist, was under the necessity of attending during several campaigns before he could find an opportunity of finishing from the life this interesting and valuable performance (Woolcast)|Portrait of Charles XII. of Sweden, painted for the King of Poland, and presented by that monarch to the Duke de Choiseul, to whom it now belongs. It is said to be the only whole-length portrait that hero ever stood for. Woolcast, an eminent Swedish artist, was under the necessity of attending during several campaigns before he could find an opportunity of finishing from the life this interesting and valuable performance]] réalisée par Woolcast. [35]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[King Ahasuerus presenting his ring to Queen Esther -- "Write ye also for the Jews, as it liketh you, in the King's name, and seal it with the King's ring; for the writing which is written in the King's name, and sealed with the King's ring, may no man reverse." Esther, Chap. viii. Ver. 8. This fascinating performance is considered one of the most valuable productions of Carlo Dolce (Carlo Dolce)|King Ahasuerus presenting his ring to Queen Esther -- "Write ye also for the Jews, as it liketh you, in the King's name, and seal it with the King's ring; for the writing which is written in the King's name, and sealed with the King's ring, may no man reverse." Esther, Chap. viii. Ver. 8. This fascinating performance is considered one of the most valuable productions of Carlo Dolce]] réalisée par Carlo Dolce, vendue par [[[Col Hamilton's Executors]]]. [39]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Joshua's victory over the Amorites. "He slew them with a great slaughter, at Gibeon, and chased them along the way that goeth up to Bethhoron, &c. -- And the sun stood still, and the moon stayed, until the people had avenged themselves upon their enemies." This superb production is the chef d'oeuvre of Pordenone, the pupil and rival of Titian, from the Cabinet of the late Lord Bute (Pordenone)|Joshua's victory over the Amorites. "He slew them with a great slaughter, at Gibeon, and chased them along the way that goeth up to Bethhoron, &c. -- And the sun stood still, and the moon stayed, until the people had avenged themselves upon their enemies." This superb production is the chef d'oeuvre of Pordenone, the pupil and rival of Titian, from the Cabinet of the late Lord Bute]] réalisée par Pordenone. [53]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The race between Hippomenes and Atalanta, a most spirited sketch; Rubens; possessing the first fire and genius of that great master. Atalanta is taking up the last of the three golden apples, and Hippomenes almost breathless and exhausted, is just approaching the goal (Rubens)|The race between Hippomenes and Atalanta, a most spirited sketch; Rubens; possessing the first fire and genius of that great master. Atalanta is taking up the last of the three golden apples, and Hippomenes almost breathless and exhausted, is just approaching the goal]] réalisée par Rubens. [61]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The famous cattle-fair of Segovia, considered the chef d'oeuvre of Lingelback; the pleasing groups of cattle, sheep, goats, dogs, horses and figures, finely disposed; the antique ruins and rich scenery of that romantic and interesting town are most judiciously introduced (Lingelback)|The famous cattle-fair of Segovia, considered the chef d'oeuvre of Lingelback; the pleasing groups of cattle, sheep, goats, dogs, horses and figures, finely disposed; the antique ruins and rich scenery of that romantic and interesting town are most judiciously introduced]] réalisée par Lingelback. [62]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Cicero impeaching Cataline in the temple of Jupiter Stator, with portraits of the principal Roman senators who were present upon that occasion, taken from antique busts and medals found in the Vatican and the other cabinets of Rome; being the last and most valuable performance of the late Gavin Hamilton, the celebrated artist and learned antiquarian (Gavin Hamilton)|Cicero impeaching Cataline in the temple of Jupiter Stator, with portraits of the principal Roman senators who were present upon that occasion, taken from antique busts and medals found in the Vatican and the other cabinets of Rome; being the last and most valuable performance of the late Gavin Hamilton, the celebrated artist and learned antiquarian]] réalisée par Gavin Hamilton. [63]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Marriage a la mode. "Tis from high life these characters are drawn." A portly nobleman of high birth, and a worshipful alderman signing the marriage settlement, whilst the young viscount with perfect indifference is viewing himself in a mirror, displaying his gold snuff box and glittering ring. The lady equally careless, plays with her wedding ring, whilst Counsellor Silvertongue, an insidious lawyer, appears at her right hand, "Like Satan, whispering in the ear of Eve, By nature form'd to ruin and deceive." These six instructive pictures, are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-Mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible (Callander)|Marriage a la mode. "Tis from high life these characters are drawn." A portly nobleman of high birth, and a worshipful alderman signing the marriage settlement, whilst the young viscount with perfect indifference is viewing himself in a mirror, displaying his gold snuff box and glittering ring. The lady equally careless, plays with her wedding ring, whilst Counsellor Silvertongue, an insidious lawyer, appears at her right hand, "Like Satan, whispering in the ear of Eve, By nature form'd to ruin and deceive." These six instructive pictures, are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-Mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible]] réalisée par Callander. [81]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["Behold how Vice her votary rewards After a night of folly, frolic, cards." Wearied, languid and spiritless, from the dissipations of the night, the modish Viscount comes home at noon, and finds his Lady just arisen, and seated en deshabille at her breakfast table. A cap and ribband which hang out of his pocket, occupy the attention of the dog. The old Steward having brought a number of bills for payment, by his countenance, foresees the gulph of ruin opening for the infatuated pair These six instructive pictures, are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-Mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible (Callander)|"Behold how Vice her votary rewards After a night of folly, frolic, cards." Wearied, languid and spiritless, from the dissipations of the night, the modish Viscount comes home at noon, and finds his Lady just arisen, and seated en deshabille at her breakfast table. A cap and ribband which hang out of his pocket, occupy the attention of the dog. The old Steward having brought a number of bills for payment, by his countenance, foresees the gulph of ruin opening for the infatuated pair These six instructive pictures, are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-Mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible]] réalisée par Callander. [82]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["To Galen's great descendant list -- oh list! Behold a surgeon, sage anatomist, Mechanic, antiquarian, seer, collector, Physician, barber, bone-setter, dissector" The noble Viscount appears here in the apartment of a quack doctor, who had imposed upon him by giving a false bill of health to Betsy Careless, whilst the old Procuress unclasps her knife to defend her character and family surgeon, the enraged Nobleman lifts his cane, and seems ready to bastinado both the Bawd and the Doctor These six instructive pictures, are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-Mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible (Callander)|"To Galen's great descendant list -- oh list! Behold a surgeon, sage anatomist, Mechanic, antiquarian, seer, collector, Physician, barber, bone-setter, dissector" The noble Viscount appears here in the apartment of a quack doctor, who had imposed upon him by giving a false bill of health to Betsy Careless, whilst the old Procuress unclasps her knife to defend her character and family surgeon, the enraged Nobleman lifts his cane, and seems ready to bastinado both the Bawd and the Doctor These six instructive pictures, are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-Mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible]] réalisée par Callander. [83]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["The new-made Countess treads enchanted ground, And madly whirls in pleasure's airy round; To love's fond tale the fair her ear inclines, To Satan's agent all her soul resigns." By the old Peer's death our fair heroine, now a Countess, treads every maze of fashionable dissipation, her morning levee crowded with persons of rank, Italian singers, &c. Counsellor Silvertongue, her paramour, seems making an assignation for the masquerade. The contemptuous leer of a black footman who is serving the chocolate, is particularly striking These six instructive pictures, are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-Mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible (Callander)|"The new-made Countess treads enchanted ground, And madly whirls in pleasure's airy round; To love's fond tale the fair her ear inclines, To Satan's agent all her soul resigns." By the old Peer's death our fair heroine, now a Countess, treads every maze of fashionable dissipation, her morning levee crowded with persons of rank, Italian singers, &c. Counsellor Silvertongue, her paramour, seems making an assignation for the masquerade. The contemptuous leer of a black footman who is serving the chocolate, is particularly striking These six instructive pictures, are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-Mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible]] réalisée par Callander. [84]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["Her dream of dissipation o'er, The bubble pleasure charms no more. Misery! to madness near allied, And ignominious suicide. Thy minions meed by fate's decree, Is death, -- a death of Infamy!" The exasperated Peer suspecting his wife's infidelity, follows her in disguise to the masquerade, and from thence to the bagnio, bursts open the bed room door, and attacks the spoiler of his honour with a sword, but neglects his own guard, and is mortally wounded. The lawyer attempts to escape. Struck with horror at the fate of her Husband she kneels at his feet, and implores forgiveness These six instructive pictures, are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-Mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible (Callander)|"Her dream of dissipation o'er, The bubble pleasure charms no more. Misery! to madness near allied, And ignominious suicide. Thy minions meed by fate's decree, Is death, -- a death of Infamy!" The exasperated Peer suspecting his wife's infidelity, follows her in disguise to the masquerade, and from thence to the bagnio, bursts open the bed room door, and attacks the spoiler of his honour with a sword, but neglects his own guard, and is mortally wounded. The lawyer attempts to escape. Struck with horror at the fate of her Husband she kneels at his feet, and implores forgiveness These six instructive pictures, are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-Mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible]] réalisée par Callander. [85]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["Forlorn, degraded and distrest, The furies tear her tortured breast. To poison -- sad resort! she frantic flies, And, self-destroyed, the wretched Countess dies!" The last sad scene, is in the house of her Father, to which she returned after her husband's death, and taking the horrid resolution of ending her days by poison, she put it in execution by bribing her father's servant to procure her a dose of laudanum. Close to the phial upon the floor, Hogarth has judiciously placed Counsellor Silvertongue's last dying speech, to shew that he also had received the punishment he so justly deserved. These six instructive pictures, are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-Mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible (Callander)|"Forlorn, degraded and distrest, The furies tear her tortured breast. To poison -- sad resort! she frantic flies, And, self-destroyed, the wretched Countess dies!" The last sad scene, is in the house of her Father, to which she returned after her husband's death, and taking the horrid resolution of ending her days by poison, she put it in execution by bribing her father's servant to procure her a dose of laudanum. Close to the phial upon the floor, Hogarth has judiciously placed Counsellor Silvertongue's last dying speech, to shew that he also had received the punishment he so justly deserved. These six instructive pictures, are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-Mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible]] réalisée par Callander. [86]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Napoleon Bonaparte on Horseback, in his consular dress, painted in 1801, by Northcote. The late General Paoli, Monr. Otto, General Andreaosi, and several other competent judges have all declared this portrait to be a most striking likeness of the Corsican upstart: the horse is a portrait of a Flemish charger, belonging to the Duchess of Leeds (Northcote)|Napoleon Bonaparte on Horseback, in his consular dress, painted in 1801, by Northcote. The late General Paoli, Monr. Otto, General Andreaosi, and several other competent judges have all declared this portrait to be a most striking likeness of the Corsican upstart: the horse is a portrait of a Flemish charger, belonging to the Duchess of Leeds]] réalisée par Northcote. [96]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The Defeat of the Spanish Armada. Loutherbourg. This wonderful event has a peculiar claim on the pencil, and in transmitting it to the canvas, Mr. Loutherbourg has chosen the moment of the greatest confusion in the Spanish Fleet, before Calais, as affording the finest opposition of lights, and therefore the greatest contrast of coloring and composition. Accordingly, on the right he has represented the English Fleet immersed in clouds of smoke, darkened by the remaining gloom of a stormy night, not yet dispelled by the commencing dawn, which is breaking through clouds scattered by the wind. The Ship of the Lord High Admiral of England, with the royal standard at the main top-mast head, the arms of England, as they then were, on the foresail, and all the streamers and signals taken from the most authentic documents existing, and drawn at the time, is seen pursuing and firing her chace-guns on, and sinking a small Spanish galley in the centre of the picture...The preceding was excerpted (Loutherbourg)|The Defeat of the Spanish Armada. Loutherbourg. This wonderful event has a peculiar claim on the pencil, and in transmitting it to the canvas, Mr. Loutherbourg has chosen the moment of the greatest confusion in the Spanish Fleet, before Calais, as affording the finest opposition of lights, and therefore the greatest contrast of coloring and composition. Accordingly, on the right he has represented the English Fleet immersed in clouds of smoke, darkened by the remaining gloom of a stormy night, not yet dispelled by the commencing dawn, which is breaking through clouds scattered by the wind. The Ship of the Lord High Admiral of England, with the royal standard at the main top-mast head, the arms of England, as they then were, on the foresail, and all the streamers and signals taken from the most authentic documents existing, and drawn at the time, is seen pursuing and firing her chace-guns on, and sinking a small Spanish galley in the centre of the picture...The preceding was excerpted]] réalisée par Loutherbourg. [97]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The Interior of the Arch Duke Leopold's Music Gallery, with portraits of Leopold and his family at a concert; Teniers has represented his wife in the character of St. Cecilia, accompanied by his son. This extraordinary performance contains the following musical instruments most admirably finished, viz. A lyre, an harp, an organ, a harpsichord, 6 bass viols of different sizes, a violin, a tenor, 2 mandolines, 2 guittars, an hautboy, a trumpet, 2 German flutes, a pipe, a flageolet, 3 bugle horns, 2 French horns, an English horn, a serpent, a tabor, sundry bells, &c. On the right of the gallery hangs the famous picture of Orpheus taming the Lions, and on the left the Judgment of Midas, with a variety of other pictures appropriate to the scene, upon the floor is a shagreen case with horn and hautboy mouth pieces, &c. a variety of clocks, birds, music books and stand, occupy different parts of the room, whilst a pleasing view of the Arch Duke's Villa appears in the distance (Teniers)|The Interior of the Arch Duke Leopold's Music Gallery, with portraits of Leopold and his family at a concert; Teniers has represented his wife in the character of St. Cecilia, accompanied by his son. This extraordinary performance contains the following musical instruments most admirably finished, viz. A lyre, an harp, an organ, a harpsichord, 6 bass viols of different sizes, a violin, a tenor, 2 mandolines, 2 guittars, an hautboy, a trumpet, 2 German flutes, a pipe, a flageolet, 3 bugle horns, 2 French horns, an English horn, a serpent, a tabor, sundry bells, &c. On the right of the gallery hangs the famous picture of Orpheus taming the Lions, and on the left the Judgment of Midas, with a variety of other pictures appropriate to the scene, upon the floor is a shagreen case with horn and hautboy mouth pieces, &c. a variety of clocks, birds, music books and stand, occupy different parts of the room, whilst a pleasing view of the Arch Duke's Villa appears in the distance]] réalisée par Teniers. [100]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Portrait of the beautiful Countess of Mansfield. Holbein. This lady, whose vanity was at least equal to her beauty, was born in Germany, and being told that she was very like the unfortunate Mary Queen of Scots, she was much offended, and to convince the world of her superior beauty, came to England on purpose to out rival the ill-fated Mary, where she was universally admired, married and afterwards proved unfaithful to the husband who adored her (Holbein)|Portrait of the beautiful Countess of Mansfield. Holbein. This lady, whose vanity was at least equal to her beauty, was born in Germany, and being told that she was very like the unfortunate Mary Queen of Scots, she was much offended, and to convince the world of her superior beauty, came to England on purpose to out rival the ill-fated Mary, where she was universally admired, married and afterwards proved unfaithful to the husband who adored her]] réalisée par Holbein. [101]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Portrait of King Edward the Sixth of England, one of the most valuable and high finished works of Holbein. This curious and interesting portrait was originally placed in the Tower of London, but sold by order of Oliver Cromwell during his Usurpation (Holbein)|Portrait of King Edward the Sixth of England, one of the most valuable and high finished works of Holbein. This curious and interesting portrait was originally placed in the Tower of London, but sold by order of Oliver Cromwell during his Usurpation]] réalisée par Holbein. [124]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The son of Zaleucus King of the Locrians was condemned to lose both his eyes, and being already deprived of one, his father after supplicating that one of his own eyes might be put out, rather than that his son should be totally blind, is here represented suffering the painful operation amidst an amazing concourse of sympathizing spectators (Julio Romano)|The son of Zaleucus King of the Locrians was condemned to lose both his eyes, and being already deprived of one, his father after supplicating that one of his own eyes might be put out, rather than that his son should be totally blind, is here represented suffering the painful operation amidst an amazing concourse of sympathizing spectators]] réalisée par Julio Romano. [128]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[This high-finished portrait is said to be the most striking likeness of the painter's mother. Denner the famed artist was a native of Hamburgh, and upon examining this astonishing head, with minute attention it would be superfluous to add, that this unrivalled master has painted his parent con amore (Denner)|This high-finished portrait is said to be the most striking likeness of the painter's mother. Denner the famed artist was a native of Hamburgh, and upon examining this astonishing head, with minute attention it would be superfluous to add, that this unrivalled master has painted his parent con amore]] réalisée par Denner. [150]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A warm summer morning view in Venice, the French ambassador in his gondola, going to take an airing upon the water; no master painted ethereal vapour equal to Vernet, Claude alone excepted; the different objects appearing through the fog, as the rising sun begins to rarify the atmosphere, truly magical (Vernet)|A warm summer morning view in Venice, the French ambassador in his gondola, going to take an airing upon the water; no master painted ethereal vapour equal to Vernet, Claude alone excepted; the different objects appearing through the fog, as the rising sun begins to rarify the atmosphere, truly magical]] réalisée par Vernet. [151]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The interior of a livery stable, a dashing young beau with his lady in treaty for a horse, which the dealer with his assistant are shewing off to the best advantage; a groom appears in the back-ground saddling the lady's horse, so that as soon as the bargain is closed, the loving pair intend to have a comfortable ride together (Ward)|The interior of a livery stable, a dashing young beau with his lady in treaty for a horse, which the dealer with his assistant are shewing off to the best advantage; a groom appears in the back-ground saddling the lady's horse, so that as soon as the bargain is closed, the loving pair intend to have a comfortable ride together]] réalisée par Ward. [153]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A correct view of Greenwich hospital, the ranger's house, the royal observatory, One-tree hill, &c. &c. taken from the Isle of Dogs; the river Thames, boats and vessels, an interesting scene, considered the principal production of Scott, who was stiled the English Cannaletti (Scott)|A correct view of Greenwich hospital, the ranger's house, the royal observatory, One-tree hill, &c. &c. taken from the Isle of Dogs; the river Thames, boats and vessels, an interesting scene, considered the principal production of Scott, who was stiled the English Cannaletti]] réalisée par Scott. [155]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A view in the Bois de Boulogne, a French gentleman and two ladies, of the old school, saluting each other, Watteau. This pleasing little specimen occupied a place in the palace of San Souci; Frederick the Great, King of Prussia, being very partial to the works of this agreeable master (Watteau)|A view in the Bois de Boulogne, a French gentleman and two ladies, of the old school, saluting each other, Watteau. This pleasing little specimen occupied a place in the palace of San Souci; Frederick the Great, King of Prussia, being very partial to the works of this agreeable master]] réalisée par Watteau. [168]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The retreating shower, without any exception the most pleasing and valuable picture of Hodges, which is also engraved and dedicated to the Right Honourable Sir Joseph Banks, Bart. with the following description. "Now thro' the sever'd clouds the struggling beams Of bursting light their golden radiance throw, With yellow tint the distant landscape gleams, And Iris hands aloft her painted bow: Fresh from the recent shower, a livelier glow Of richer verdure decks the forest glade, While thro' the deepening mass of twilight shade Far off the glimmering streams of ether flow. Soon too, sad virgin, thro' the lovely tear Which wets the page of thy long absent youth, Shall smiles of kindling rapture break, for near An unseen witness of thy ceaseless truth He stands, to bring the tortured heart relief And chase with love's warm rays each Stormy cloud of grief." Pye (Hodges)|The retreating shower, without any exception the most pleasing and valuable picture of Hodges, which is also engraved and dedicated to the Right Honourable Sir Joseph Banks, Bart. with the following description. "Now thro' the sever'd clouds the struggling beams Of bursting light their golden radiance throw, With yellow tint the distant landscape gleams, And Iris hands aloft her painted bow: Fresh from the recent shower, a livelier glow Of richer verdure decks the forest glade, While thro' the deepening mass of twilight shade Far off the glimmering streams of ether flow. Soon too, sad virgin, thro' the lovely tear Which wets the page of thy long absent youth, Shall smiles of kindling rapture break, for near An unseen witness of thy ceaseless truth He stands, to bring the tortured heart relief And chase with love's warm rays each Stormy cloud of grief." Pye]] réalisée par Hodges. [169]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The Death of the amiable Prince Leopold of Brunswick. Northcote. This melancholy event happened on the 27th of April, 1785, when being witness to the devastation occasioned by the River Oder, unmoved by the intreaties of those who endeavoured to dissuade him from so hazardous an enterprise, he embarked in a small boat with three watermen to relieve the Inhabitants of a village surrounded by the water: but before he reached them, the boat was driven with violence against a tree, and overset, the three boatmen were saved. This amiable Prince alone being carried down by the impetuosity of the current, perished in the sight of those he attempted to preserve, displaying in his Death an heroic instance of that benevolence, which had appeared conspicuous through the whole of his life. Engraved. Fortissima Frustra Pectora! Vide Moore's View of Society and Manners, 6th Edition, vol. 2d. (Northcote)|The Death of the amiable Prince Leopold of Brunswick. Northcote. This melancholy event happened on the 27th of April, 1785, when being witness to the devastation occasioned by the River Oder, unmoved by the intreaties of those who endeavoured to dissuade him from so hazardous an enterprise, he embarked in a small boat with three watermen to relieve the Inhabitants of a village surrounded by the water: but before he reached them, the boat was driven with violence against a tree, and overset, the three boatmen were saved. This amiable Prince alone being carried down by the impetuosity of the current, perished in the sight of those he attempted to preserve, displaying in his Death an heroic instance of that benevolence, which had appeared conspicuous through the whole of his life. Engraved. Fortissima Frustra Pectora! Vide Moore's View of Society and Manners, 6th Edition, vol. 2d.]] réalisée par Northcote. [178]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A View of the fall of Schaffhausen, in Switzerland, by moonlight, one of the most sublime and spirited performances from the pencil of Loutherbourg. The poem which follows has been omitted Loutherbourg painted these two valuable pictures in the year, 1793, for Chevalier Michel of Basle, in Switzerland, whose portrait he has introduced in this picture, also his own, and Mrs. Loutherbourg's (Loutherbourg)|A View of the fall of Schaffhausen, in Switzerland, by moonlight, one of the most sublime and spirited performances from the pencil of Loutherbourg. The poem which follows has been omitted Loutherbourg painted these two valuable pictures in the year, 1793, for Chevalier Michel of Basle, in Switzerland, whose portrait he has introduced in this picture, also his own, and Mrs. Loutherbourg's]] réalisée par Loutherbourg, vendue par [[[Chevalier Michel]]]. [186]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A grand romantic view of the Fall of Scauffhausen in Switzerland, being the companion to the moonlight, taken from a different station; summer morning. The poem which follows has been omitted Loutherbourg painted these two valuable pictures in the year, 1793, for Chevalier Michel of Basle, in Switzerland, whose portrait he has introduced in this picture, also his own, and Mrs. Loutherbourg's (Loutherbourg)|A grand romantic view of the Fall of Scauffhausen in Switzerland, being the companion to the moonlight, taken from a different station; summer morning. The poem which follows has been omitted Loutherbourg painted these two valuable pictures in the year, 1793, for Chevalier Michel of Basle, in Switzerland, whose portrait he has introduced in this picture, also his own, and Mrs. Loutherbourg's]] réalisée par Loutherbourg, vendue par [[[Chevalier Michel]]]. [187]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Diogenes the Grecian Philosopher, leaning upon his tub, and attentively observing a boy blowing bubbles. Alexander the great with a splendid retinue appear in the distance, on their way to visit this singular character. Nicolo Poussin -- engraved (Nicolo Poussin)|Diogenes the Grecian Philosopher, leaning upon his tub, and attentively observing a boy blowing bubbles. Alexander the great with a splendid retinue appear in the distance, on their way to visit this singular character. Nicolo Poussin -- engraved]] réalisée par Nicolo Poussin. [188]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A Nephew of Cardinal Farnese, whilst a boy, amusing himself with a bird; whole length in the costume of that time These two curious specimens of this great master were purchased in Italy by the late Mr. Dalton, Collector of Pictures for his Majesty (Guido)|A Nephew of Cardinal Farnese, whilst a boy, amusing himself with a bird; whole length in the costume of that time These two curious specimens of this great master were purchased in Italy by the late Mr. Dalton, Collector of Pictures for his Majesty]] réalisée par Guido, vendue par [[[Stephens?]]]. [195]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Amnon the son of King David, entertaining an incestuous passion for Tamar his sister, feigned himself sick, and when she entered his chamber to present him with some nourishment, laid violent hands upon her and forced her to his bed, 2d. Samuel, 13th Chap. 14th Verse. This splendid picture was painted by Valerio Castelli; from the cabinet of Mons. De Calonne (Valerio Castelli)|Amnon the son of King David, entertaining an incestuous passion for Tamar his sister, feigned himself sick, and when she entered his chamber to present him with some nourishment, laid violent hands upon her and forced her to his bed, 2d. Samuel, 13th Chap. 14th Verse. This splendid picture was painted by Valerio Castelli; from the cabinet of Mons. De Calonne]] réalisée par Valerio Castelli. [197]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The last supper. Albert Durer. "And he said, the hand of him that betrayeth me is with me on the table. And they, the disciples, began to enquire among themselves, which of them it was that should do this thing." This valuable cabinet picture was painted in the year 1503, as appears by the date, and has been justly esteemed the Chef d'oeuvre of Albert Durer, who attempted to excel Leonardi da Vinci in this divine performance: in point of colouring and composition, he has perhaps succeeded; it is painted on copper, and in the highest state of preservation; from a private chapel at Neuremberg (Albert Durer)|The last supper. Albert Durer. "And he said, the hand of him that betrayeth me is with me on the table. And they, the disciples, began to enquire among themselves, which of them it was that should do this thing." This valuable cabinet picture was painted in the year 1503, as appears by the date, and has been justly esteemed the Chef d'oeuvre of Albert Durer, who attempted to excel Leonardi da Vinci in this divine performance: in point of colouring and composition, he has perhaps succeeded; it is painted on copper, and in the highest state of preservation; from a private chapel at Neuremberg]] réalisée par Albert Durer. [207]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A most superb bouquet of flowers, placed in a vase of exquisite taste, the boy in bas relief equal to Correggio: Vanhuysum stands unrivalled in this department of the art, the auriculas, the convolvulus, the tulips, the roses, the dew, the drops of water, &c. truly inimitable (Vanhuysum)|A most superb bouquet of flowers, placed in a vase of exquisite taste, the boy in bas relief equal to Correggio: Vanhuysum stands unrivalled in this department of the art, the auriculas, the convolvulus, the tulips, the roses, the dew, the drops of water, &c. truly inimitable]] réalisée par Vanhuysum. [209]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A grand romantic landscape, view between Rome and Naples. Salvator Rosa. The late Monsr. De Calonne is said to have paid an immense sum for the possession of this superb picture, which justly ranks among the most valuable works of this sublime master (Salvator Rosa)|A grand romantic landscape, view between Rome and Naples. Salvator Rosa. The late Monsr. De Calonne is said to have paid an immense sum for the possession of this superb picture, which justly ranks among the most valuable works of this sublime master]] réalisée par Salvator Rosa. [211]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["Wilkes and Liberty" or, "Covent Garden in an uproar." Hogarth. Churchill, Dr. Rock, Wilkes, and a number of other Bon-Vivants of that day, sally forth from a tavern at five o'clock in the morning, overturning stalls, baskets, &c. whilst cabbages and turnips fly about in glorious confusion; one is mounted upon Mother Needham's sedan chair, beating the Reveille with two artichokes, whilst Churchill appears gallantly protecting the Ladies (Hogarth)|"Wilkes and Liberty" or, "Covent Garden in an uproar." Hogarth. Churchill, Dr. Rock, Wilkes, and a number of other Bon-Vivants of that day, sally forth from a tavern at five o'clock in the morning, overturning stalls, baskets, &c. whilst cabbages and turnips fly about in glorious confusion; one is mounted upon Mother Needham's sedan chair, beating the Reveille with two artichokes, whilst Churchill appears gallantly protecting the Ladies]] réalisée par Hogarth, vendue par [[[Thomas Vernon]]]. [213]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A view in Wales, painted for a young nobleman lately deceased, Ibbetson. This Picture has always been esteemed the happiest production of this pleasing and fashionable master; the foreground, the cattle and figures are from the magical pencil of Morland (Ibbetson)|A view in Wales, painted for a young nobleman lately deceased, Ibbetson. This Picture has always been esteemed the happiest production of this pleasing and fashionable master; the foreground, the cattle and figures are from the magical pencil of Morland]] réalisée par Ibbetson. [218]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The Ruins of the Ponte de Curio over the River Anio; Mecenas's villa appearing in the distance. Freebairn. This classical artist whose premature death every lover of the polite arts has reason to lament, always considered this valuable specimen among the happiest efforts of his pencil (Freebairn)|The Ruins of the Ponte de Curio over the River Anio; Mecenas's villa appearing in the distance. Freebairn. This classical artist whose premature death every lover of the polite arts has reason to lament, always considered this valuable specimen among the happiest efforts of his pencil]] réalisée par Freebairn. [222]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A beautiful nun at confession. Opie "Behold the suppliant at the throne of grace, Religion -- Peace -- and Virtue in her face! Unconscious of her charms; for none she knows But what a life of innocence bestows! While to her fervent vows the aged Friar Devoutly bends, yet listens to admire: Sees at his feet, perfection humbly kneel, He strives in vain the mortal to conceal, And learns that e'en, austerity can feel." Olivia Wilmot Serres (Opie)|A beautiful nun at confession. Opie "Behold the suppliant at the throne of grace, Religion -- Peace -- and Virtue in her face! Unconscious of her charms; for none she knows But what a life of innocence bestows! While to her fervent vows the aged Friar Devoutly bends, yet listens to admire: Sees at his feet, perfection humbly kneel, He strives in vain the mortal to conceal, And learns that e'en, austerity can feel." Olivia Wilmot Serres]] réalisée par Opie, vendue par [[[John Bannister]]]. [230]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Smugglers. Morland. The figures represented are of that hardy rough hewn race that inhabit the coast, defying the utmost vigilance of government; and, labouring to secure their contraband trade, they are here landing their cargo. Grouped with great propriety, every individual is adapted to this action: the figure that appears raising a weight from the bottom of the boat, with his legs bared, which are distinctly seen through the transparency of the water, is expressed with uncommon boldness. The superior and commanding appearance of the chief, raised on the cliff is equally deserving attention (Morland)|Smugglers. Morland. The figures represented are of that hardy rough hewn race that inhabit the coast, defying the utmost vigilance of government; and, labouring to secure their contraband trade, they are here landing their cargo. Grouped with great propriety, every individual is adapted to this action: the figure that appears raising a weight from the bottom of the boat, with his legs bared, which are distinctly seen through the transparency of the water, is expressed with uncommon boldness. The superior and commanding appearance of the chief, raised on the cliff is equally deserving attention]] réalisée par Morland, vendue par [[[Chatfield]]]. [231]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Storm. Morland. In his sea paintings Morland acquired an astonishing degree of celebrity: in the early part of his life he devoted much time to the study of marine subjects, residing at that period on the sea coast. The scene of this picture is laid in the Isle of Wight: the strong effects of dense clouds passing rapidly over the surface of the ocean denotes the approach of danger; the massy fragments of rock seem rooted in their situations rather by the hand of nature, than of the artist; the figures in the foreground, securing the means of their subsistence from the effects of the storm, complete the subject: the transparency, fold, and foam of his waves are admirably executed (Morland)|Storm. Morland. In his sea paintings Morland acquired an astonishing degree of celebrity: in the early part of his life he devoted much time to the study of marine subjects, residing at that period on the sea coast. The scene of this picture is laid in the Isle of Wight: the strong effects of dense clouds passing rapidly over the surface of the ocean denotes the approach of danger; the massy fragments of rock seem rooted in their situations rather by the hand of nature, than of the artist; the figures in the foreground, securing the means of their subsistence from the effects of the storm, complete the subject: the transparency, fold, and foam of his waves are admirably executed]] réalisée par Morland, vendue par [[[Chatfield]]]. [232]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The Cornish Plunderers. Morland. This is considered as the chief of Morland's paintings, and perhaps in beauty and effect, may vie with the best productions of any artist: never was a narrative described with more simplicity or force. The scene is laid in Cornwall. A band of plunderers having observed a ship in distress at a distance, by hoisting up false lights, decoyed the vessel upon the neighbouring rocks, where she was soon dashed to pieces. The group of figures is represented as having returned from the plunder of the ship, and examining their booty...Morland has displayed equal judgement in the choice of his colours: the more rich tints are brought forward in the piece to give effect and distance. The sky and sombre appearance of the atmosphere is nothing more than what every spectator, whose observation has been turned to the appearance of nature after a storm, must have remarked. The minor parts of the picture are highly finished and replete with beauties The preceding was excerpted (Morland)|The Cornish Plunderers. Morland. This is considered as the chief of Morland's paintings, and perhaps in beauty and effect, may vie with the best productions of any artist: never was a narrative described with more simplicity or force. The scene is laid in Cornwall. A band of plunderers having observed a ship in distress at a distance, by hoisting up false lights, decoyed the vessel upon the neighbouring rocks, where she was soon dashed to pieces. The group of figures is represented as having returned from the plunder of the ship, and examining their booty...Morland has displayed equal judgement in the choice of his colours: the more rich tints are brought forward in the piece to give effect and distance. The sky and sombre appearance of the atmosphere is nothing more than what every spectator, whose observation has been turned to the appearance of nature after a storm, must have remarked. The minor parts of the picture are highly finished and replete with beauties The preceding was excerpted]] réalisée par Morland, vendue par [[[Chatfield]]]. [233]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["The last judgment," Michael Angelo Buonaroti, esteemed the original sketch for that celebrated Picture in the Sistine Chapel at Rome, first presented to Pope Clement the VIIth, and afterwards patronised by Paul the IIId. who soon after his accession to the Papal chair, paid a visit to this unrivalled artist, in person, attended by ten cardinals, and prevailed upon him to undertake this stupendous work, to fill the enormous façade of the chapel, above the altar, with the immense composition of the last judgment, which Vasari says, he accomplished in less than seven years: a sublime performance, in which is portrayed every attitude that varies that human body, and every passion that sways the human heart (Michael Angelo Buonaroti)|"The last judgment," Michael Angelo Buonaroti, esteemed the original sketch for that celebrated Picture in the Sistine Chapel at Rome, first presented to Pope Clement the VIIth, and afterwards patronised by Paul the IIId. who soon after his accession to the Papal chair, paid a visit to this unrivalled artist, in person, attended by ten cardinals, and prevailed upon him to undertake this stupendous work, to fill the enormous façade of the chapel, above the altar, with the immense composition of the last judgment, which Vasari says, he accomplished in less than seven years: a sublime performance, in which is portrayed every attitude that varies that human body, and every passion that sways the human heart]] réalisée par Michael Angelo Buonaroti. [239]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["Then the Lord rained fire and brimstone upon Sodom and upon Gomorrah, and overthrew those Cities," Lot and his daughters only escaped, Lot's wife who looked back from behind him, became a pillar of salt. Giotto, the disciple of Giovanny Cimabue who was born in 1240, and stiled the father of modern painters, is esteemed the author of this curious and unique performance (Giotto)|"Then the Lord rained fire and brimstone upon Sodom and upon Gomorrah, and overthrew those Cities," Lot and his daughters only escaped, Lot's wife who looked back from behind him, became a pillar of salt. Giotto, the disciple of Giovanny Cimabue who was born in 1240, and stiled the father of modern painters, is esteemed the author of this curious and unique performance]] réalisée par Giotto. [240]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Cupid weeping because Pastora is no more, painted upon the death of Mary Queen of England, by Sir Godfrey Kneller; this small picture was highly esteemed by Sir Joshua Reynolds, who presented it to Hudson his master, as a peace offering, after a slight quarrel between these two distinguished artists -- engraved (Sir Godfrey Kneller)|Cupid weeping because Pastora is no more, painted upon the death of Mary Queen of England, by Sir Godfrey Kneller; this small picture was highly esteemed by Sir Joshua Reynolds, who presented it to Hudson his master, as a peace offering, after a slight quarrel between these two distinguished artists -- engraved]] réalisée par Sir Godfrey Kneller. [245]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The painter's portrait. Fielding. This ingenious artist has with strict propriety been stiled the English Denner, he has here represented every hair of the beard, and every pore of the skin, the liquid transparency of the eye, the fur, and every stitch of the drapery form a deception, truly capital (Fielding)|The painter's portrait. Fielding. This ingenious artist has with strict propriety been stiled the English Denner, he has here represented every hair of the beard, and every pore of the skin, the liquid transparency of the eye, the fur, and every stitch of the drapery form a deception, truly capital]] réalisée par Fielding. [247]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Mary Magdalen anointing the feet of Christ, in the house of Simon the pharisee, "And the woman began to wash his feet with tears, and did wipe them with the hairs of her head, and kissed his feet, and anointed them with the ointment," &c. &c. For dignity of character, and brilliancy of colouring, this valuable picture has always been esteemed the chef d'oeurve of Bassan (Bassan)|Mary Magdalen anointing the feet of Christ, in the house of Simon the pharisee, "And the woman began to wash his feet with tears, and did wipe them with the hairs of her head, and kissed his feet, and anointed them with the ointment," &c. &c. For dignity of character, and brilliancy of colouring, this valuable picture has always been esteemed the chef d'oeurve of Bassan]] réalisée par Bassan. [250]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A portrait of George Morland, the celebrated Artist, acknowledged to be the most exact likeness of that extraordinary character that has ever been taken, executed in a bold and masterly manner by the late Mr. Muller, who was intimately acquainted with him. Engraved (Mr. Muller)|A portrait of George Morland, the celebrated Artist, acknowledged to be the most exact likeness of that extraordinary character that has ever been taken, executed in a bold and masterly manner by the late Mr. Muller, who was intimately acquainted with him. Engraved]] réalisée par Mr. Muller, vendue par [[[Chatfield]]]. [256]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Snow piece, with horses and an ass. Morland. This picture most feelingly describes the desolation of Winter: the chilly aspect of the country, and the distressed appearance of the poor animals, endeavouring to shelter themselves from the effects of the cold, truly natural (Morland)|Snow piece, with horses and an ass. Morland. This picture most feelingly describes the desolation of Winter: the chilly aspect of the country, and the distressed appearance of the poor animals, endeavouring to shelter themselves from the effects of the cold, truly natural]] réalisée par Morland, vendue par [[[Chatfield]]]. [263]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The head of a young Donkey, touched with great truth and spirit. Morland. That eccentric genius is said to have changed his last guinea to purchase this little animal in Smithfield, for which he paid seventeen shillings, placed it in a hackney coach, and bore it off in triumph (Morland)|The head of a young Donkey, touched with great truth and spirit. Morland. That eccentric genius is said to have changed his last guinea to purchase this little animal in Smithfield, for which he paid seventeen shillings, placed it in a hackney coach, and bore it off in triumph]] réalisée par Morland. [264]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A faithful representation of the glorious and memorable action of the 1st of June, 1794, by Mr. Cleveley of the royal navy. In which the British Fleet consisting of 25 sail of the line, commanded by Earl Howe, defeated the French admiral Villaret Joyeuse, commanding 27 sail of the line, and captured the following ships, viz. L'Armerica, L'Impetueux, Le Juste, L'Achille, Le Vengeur, Le Northumberland, and Le Sans Pareil; the scene of action lay E. half N. 140 leagues off Ushant, at 24 m. past 9 in the morning, the enemy commenced firing; at 52 m. past 9 the Queen Charlotte, Lord Howe's flag ship, engaged La Montagne, the French admiral's ship of 120 guns; and at 40 m. past 10 Villaret having had a quantum sufficit of British thunder, thought it prudent to sheer off. This is the point of time represented in the picture, La Montagne bearing away from the Queen Charlotte, which by the loss of her fore-top mast, and main-top mast was rendered incapable of carrying sail to overtake her (Mr. Cleveley)|A faithful representation of the glorious and memorable action of the 1st of June, 1794, by Mr. Cleveley of the royal navy. In which the British Fleet consisting of 25 sail of the line, commanded by Earl Howe, defeated the French admiral Villaret Joyeuse, commanding 27 sail of the line, and captured the following ships, viz. L'Armerica, L'Impetueux, Le Juste, L'Achille, Le Vengeur, Le Northumberland, and Le Sans Pareil; the scene of action lay E. half N. 140 leagues off Ushant, at 24 m. past 9 in the morning, the enemy commenced firing; at 52 m. past 9 the Queen Charlotte, Lord Howe's flag ship, engaged La Montagne, the French admiral's ship of 120 guns; and at 40 m. past 10 Villaret having had a quantum sufficit of British thunder, thought it prudent to sheer off. This is the point of time represented in the picture, La Montagne bearing away from the Queen Charlotte, which by the loss of her fore-top mast, and main-top mast was rendered incapable of carrying sail to overtake her]] réalisée par Mr. Cleveley. [265]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[This picture exhibits an interesting and affecting scene: it shows the respective conditions of the British, and the enemy's fleet after the engagement. Admiral Villaret is seen bearing away for France with the remains of his shattered fleet, leaving behind him, in the undisputed possession of the British, seven of his line of battle ships in a state of complete wrecks The sinking of Le Vengeur, an event awfully sublime, Mr. Cleveley has particularly expressed. The mind of the spectator is however agreeably relieved by observing the strenuous and benevolent exertions of the British Sailors, employed in the generous act of saving their drowning enemies (Mr. Cleveley)|This picture exhibits an interesting and affecting scene: it shows the respective conditions of the British, and the enemy's fleet after the engagement. Admiral Villaret is seen bearing away for France with the remains of his shattered fleet, leaving behind him, in the undisputed possession of the British, seven of his line of battle ships in a state of complete wrecks The sinking of Le Vengeur, an event awfully sublime, Mr. Cleveley has particularly expressed. The mind of the spectator is however agreeably relieved by observing the strenuous and benevolent exertions of the British Sailors, employed in the generous act of saving their drowning enemies]] réalisée par Mr. Cleveley. [266]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The miraculous escape of Capt. Inglefield, six other officers, and five seamen, who were saved in the pinnace, when the Centaur of 74 guns, with the rest of the crew, were lost in a tremendous storm, on her passage from Jamaica, in 1782. This small party made a traverse of near one thousand miles in the Great Western Ocean, without compass or quadrant, and arrived at Fayall, about midnight, after being 16 days at sea. Painted by Northcote; and engraved (Northcote)|The miraculous escape of Capt. Inglefield, six other officers, and five seamen, who were saved in the pinnace, when the Centaur of 74 guns, with the rest of the crew, were lost in a tremendous storm, on her passage from Jamaica, in 1782. This small party made a traverse of near one thousand miles in the Great Western Ocean, without compass or quadrant, and arrived at Fayall, about midnight, after being 16 days at sea. Painted by Northcote; and engraved]] réalisée par Northcote. [277]
  • 1808.05.03/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["The celebrated Misers," universally acknowledged to be the most valuable performance of Quintin Matsys, commonly called the Blacksmith of Antwerp. "We here behold the pow'r of conqu'ring love, Perfection trace in all that Art can prove. The Blacksmith here! with more than mortal skill, Proves most excel who cherish but the will; Untaught by Taste, in Science still less form'd, 'Twas inspiration on his Judgement dawn'd; As Genius mourning o'er the pangs of Love, Cry'd, Yes I'll pity! and my pow'r will prove: She said, and from Parnassian shades she flew, Her aid to give -- His constancy to view! 'Twas then to gain the more than charming prize, Perfection darted from our Vulcan's eyes! He thought! he mus'd! and from great Nature stole, Not form alone! but more than human soul; Each passion by his care was thus portray'd, And ev'ry object grand, in light and shade. Here Age and Av'rice rising to our sight, Affords us pain, and infinite delight. The sordid Miser's love, known but to a few, As life impressive, rises to our view, Claiming of each age the golden wreath of Fame, To circle round great Quintin Matsy's name; For in his works divine, E'en envy must agree, Majesty sublime and rarest Taste we see." Olivia Wilmot Serres (Quintin Matsys)|"The celebrated Misers," universally acknowledged to be the most valuable performance of Quintin Matsys, commonly called the Blacksmith of Antwerp. "We here behold the pow'r of conqu'ring love, Perfection trace in all that Art can prove. The Blacksmith here! with more than mortal skill, Proves most excel who cherish but the will; Untaught by Taste, in Science still less form'd, 'Twas inspiration on his Judgement dawn'd; As Genius mourning o'er the pangs of Love, Cry'd, Yes I'll pity! and my pow'r will prove: She said, and from Parnassian shades she flew, Her aid to give -- His constancy to view! 'Twas then to gain the more than charming prize, Perfection darted from our Vulcan's eyes! He thought! he mus'd! and from great Nature stole, Not form alone! but more than human soul; Each passion by his care was thus portray'd, And ev'ry object grand, in light and shade. Here Age and Av'rice rising to our sight, Affords us pain, and infinite delight. The sordid Miser's love, known but to a few, As life impressive, rises to our view, Claiming of each age the golden wreath of Fame, To circle round great Quintin Matsy's name; For in his works divine, E'en envy must agree, Majesty sublime and rarest Taste we see." Olivia Wilmot Serres]] réalisée par Quintin Matsys. [278]
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