Ventes d'œuvres le 1811.01.30

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  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[Diana asleep. This is one of his Italian pictures; and although the back ground is painted in the style of Elsheimer, whose manner he first followed, the figure is composed with the undulating grace and delicate propriety of the Roman School. The outline is pure; the carnations are tender and transparent (Poelembergh)|Diana asleep. This is one of his Italian pictures; and although the back ground is painted in the style of Elsheimer, whose manner he first followed, the figure is composed with the undulating grace and delicate propriety of the Roman School. The outline is pure; the carnations are tender and transparent]] réalisée par Poelembergh, vendue par [[[William Paulet Carey]]], achetée par Allsopp au prix de 5.0 £. [12]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A grand landscape and figures. The stump of an aged oak, shattered by storms, or blasted by lighting, but luxuriantly enriched with herbage, and washed, on the off-side, by a piece of water, forms the principal fore-ground object; woody steeps, from which rills are seen to pour, ascend in the centre; bold and lofty mountains terminate the distance of this romantic picture. Two fishermen on the front bank, enliven the prospect. The play of lines in the composition, and the making-out of the oak trunk, are in a most masterly style. The herbage is loose; the effect broad; the colouring warm and harmonious; and the design, in simplicity of parts, and characteristic wildness, somewhat resembles that of Salvator Rosa, in his most pleasing scenery (Francesco Bolognese)|A grand landscape and figures. The stump of an aged oak, shattered by storms, or blasted by lighting, but luxuriantly enriched with herbage, and washed, on the off-side, by a piece of water, forms the principal fore-ground object; woody steeps, from which rills are seen to pour, ascend in the centre; bold and lofty mountains terminate the distance of this romantic picture. Two fishermen on the front bank, enliven the prospect. The play of lines in the composition, and the making-out of the oak trunk, are in a most masterly style. The herbage is loose; the effect broad; the colouring warm and harmonious; and the design, in simplicity of parts, and characteristic wildness, somewhat resembles that of Salvator Rosa, in his most pleasing scenery]] réalisée par Francesco Bolognese, vendue par [[[William Paulet Carey]]], achetée par Allsopp au prix de 8.10 £. [13]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A landscape, and figures. The rocky bank of a river, enriched with sedge, and boldly broken and illuminated, forms the fore-ground, on which two fishermen are seen: a lonely insulated grove appears on the off bank: beyond, ascending grounds, gently varied, lead to the mountainous distance; and a sky, whose mellow and shadowy blue is broken by an ample volume of light warm clouds, canopies this interesting composition. A classic style of design; chaste transitions of tint, from cool tender greens to warm autumnal hues; the broad feathery touch of the leafing; the picturesque forms of the trunks of the trees; and the low, silent, visionary tone, which unites the whole; stamp a high class of character upon this picture (Gaspar Poussin)|A landscape, and figures. The rocky bank of a river, enriched with sedge, and boldly broken and illuminated, forms the fore-ground, on which two fishermen are seen: a lonely insulated grove appears on the off bank: beyond, ascending grounds, gently varied, lead to the mountainous distance; and a sky, whose mellow and shadowy blue is broken by an ample volume of light warm clouds, canopies this interesting composition. A classic style of design; chaste transitions of tint, from cool tender greens to warm autumnal hues; the broad feathery touch of the leafing; the picturesque forms of the trunks of the trees; and the low, silent, visionary tone, which unites the whole; stamp a high class of character upon this picture]] réalisée par Gaspar Poussin, vendue par [[[William Paulet Carey]]], achetée par Longdon au prix de 14.14 £. [18]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A grand historical composition, marked, in the foreign catalogue, as "The Flight of Helen with Paris;" but the Painter has drawn the heroine with the crescent and quiver of Diana. The figure of the lover is distinguished by youthful grace. The other groups are cleverly designed, and of an interesting character (Guido Cagnacci)|A grand historical composition, marked, in the foreign catalogue, as "The Flight of Helen with Paris;" but the Painter has drawn the heroine with the crescent and quiver of Diana. The figure of the lover is distinguished by youthful grace. The other groups are cleverly designed, and of an interesting character]] réalisée par Guido Cagnacci, vendue par [[[William Paulet Carey]]]. [20]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A View in Flanders. This is one of those level prospects, in which the Artist, like Rembrandt, has contrived to carry the eye to a great distance by truth of local colour; and has given the whole a striking interest by the picturesque management of the sky (Jacob Ruysdael)|A View in Flanders. This is one of those level prospects, in which the Artist, like Rembrandt, has contrived to carry the eye to a great distance by truth of local colour; and has given the whole a striking interest by the picturesque management of the sky]] réalisée par Jacob Ruysdael, vendue par [[[William Paulet Carey]]], achetée par Wright au prix de 8.8 £. [21]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A rustic female appears seated in an open ground, beside a tent, feeding her child, in an attitude of unaffected grace. Her dog watchfully attends to her movements, in expectation of a fallen morsel, and her husband stands near, busily employed in settling the pack-saddle on his ass. The domestic character of this admirable group appeals to the heart, without any consideration of technic excellence. There is a great vigor in the shadows, a fine breadth in the masses; and the whole exhibits a happy union of Italian taste with the truth of Flemish style, and simplicity of rustic nature (Jan Miel)|A rustic female appears seated in an open ground, beside a tent, feeding her child, in an attitude of unaffected grace. Her dog watchfully attends to her movements, in expectation of a fallen morsel, and her husband stands near, busily employed in settling the pack-saddle on his ass. The domestic character of this admirable group appeals to the heart, without any consideration of technic excellence. There is a great vigor in the shadows, a fine breadth in the masses; and the whole exhibits a happy union of Italian taste with the truth of Flemish style, and simplicity of rustic nature]] réalisée par Jan Miel, vendue par [[[William Paulet Carey]]], achetée par Revd Hall au prix de 14.3 £. [22]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A rich pastoral landscape, with ruins, cows, sheep, goats, and figures; grouped with simplicity, designed with a pleasing character of nature, and painted with a free mellow pencil. The tone of this seductive picture is singularly warm and harmonious (Abraham Begeyn)|A rich pastoral landscape, with ruins, cows, sheep, goats, and figures; grouped with simplicity, designed with a pleasing character of nature, and painted with a free mellow pencil. The tone of this seductive picture is singularly warm and harmonious]] réalisée par Abraham Begeyn, vendue par [[[William Paulet Carey]]], achetée par Allsopp au prix de 17.17 £. [24]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A grand Italian landscape. The romantic repose of this scene is enlivened by a naked Youth preparing to bathe, in a stream near the foreground; and by a lonely Traveller in the middle distance. The commanding mass formed by the lofty grove to the right; the precipitous bank behind; the picturesque variety of line, introduced by the two young oaks, which rise from the woody scenery, in the middle ground; and the bold aspect of the mountains, which bound the view, are all designed in a style of simple greatness, worthy of this celebrated Artist. The figures are sketched with a masterly negligence: after the manner of a statue, of which the larger forms are blocked out to mark the general idea, and the lesser parts left to the imagination to finish. The leafing of the trees is touched with a discrimination, which, in a few strokes; determines the character of ample objects: the colouring is autumnal and harmonious, the general effect solemn and tranquil (Nicholas Poussin)|A grand Italian landscape. The romantic repose of this scene is enlivened by a naked Youth preparing to bathe, in a stream near the foreground; and by a lonely Traveller in the middle distance. The commanding mass formed by the lofty grove to the right; the precipitous bank behind; the picturesque variety of line, introduced by the two young oaks, which rise from the woody scenery, in the middle ground; and the bold aspect of the mountains, which bound the view, are all designed in a style of simple greatness, worthy of this celebrated Artist. The figures are sketched with a masterly negligence: after the manner of a statue, of which the larger forms are blocked out to mark the general idea, and the lesser parts left to the imagination to finish. The leafing of the trees is touched with a discrimination, which, in a few strokes; determines the character of ample objects: the colouring is autumnal and harmonious, the general effect solemn and tranquil]] réalisée par Nicholas Poussin, vendue par [[[William Paulet Carey]]], achetée par Wright au prix de 26.5 £. [26]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A cultivated landscape, varied with hills, dales, wood, and water; and peopled with hounds and horsemen, hunting the stag. The whole is cleverly designed. The figures are full of life and motion; dashing after the chace and gratifying the eye, with that spirited facility, which the Artist generally threw into subjects of this class (John Wyck)|A cultivated landscape, varied with hills, dales, wood, and water; and peopled with hounds and horsemen, hunting the stag. The whole is cleverly designed. The figures are full of life and motion; dashing after the chace and gratifying the eye, with that spirited facility, which the Artist generally threw into subjects of this class]] réalisée par John Wyck, vendue par [[[William Paulet Carey]]], achetée par Allsopp au prix de 12.12 £. [27]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[Christ bound to the pillar, (painted on stone.) The character of the Saviour's countenance, the bend of his head and disposition of the upper part of his body, exhibit much of the taste and sensibility of Ludovico Carracci. There is something of his taste, also, in the line and attitude of the Soldier, who ties the cords; but the brilliant clairo-obscuro, the peculiar management of the pencil, and the young man holding up the torch, bespeak the school of Rembrandt, among whose Pupils, Braamer held a distinguished reputation. This fine cabinet specimen is in most ? perfect preservation (Leonard Braamer)|Christ bound to the pillar, (painted on stone.) The character of the Saviour's countenance, the bend of his head and disposition of the upper part of his body, exhibit much of the taste and sensibility of Ludovico Carracci. There is something of his taste, also, in the line and attitude of the Soldier, who ties the cords; but the brilliant clairo-obscuro, the peculiar management of the pencil, and the young man holding up the torch, bespeak the school of Rembrandt, among whose Pupils, Braamer held a distinguished reputation. This fine cabinet specimen is in most ? perfect preservation]] réalisée par Leonard Braamer, vendue par [[[William Paulet Carey]]]. [28]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A strolling Musician, playing on the pipe before a cottage, his boy beating a drum, the old couple looking out from within the hatch-door, and three children listening, compose the characters in this highly finished little picture. The forms of the accessaries, the pitcher on the stool, the barrel, the linen hanging out to dry, the flower-pot over the penthouse, and the straggling vine-leaves creeping over the front of the humble dwelling, are as appropriate here as the pyramids, the Nilus leaning on his urn, and the palm trees, in Poussin's finding of Moses. The colouring is vigorous and glowing, the effect harmonious, and the character of Flemish rusticity admirably preserved. This valuable picture is in fine preservation, and appears to have been a favorite with the painter, as he has marked his name upon it. It affords a good opportunity to those who esteem this Master's works, and who know the high prices at which his small cabinet productions sell, and the difficulty of obtaining them in a pure state (Adrian Van Ostade)|A strolling Musician, playing on the pipe before a cottage, his boy beating a drum, the old couple looking out from within the hatch-door, and three children listening, compose the characters in this highly finished little picture. The forms of the accessaries, the pitcher on the stool, the barrel, the linen hanging out to dry, the flower-pot over the penthouse, and the straggling vine-leaves creeping over the front of the humble dwelling, are as appropriate here as the pyramids, the Nilus leaning on his urn, and the palm trees, in Poussin's finding of Moses. The colouring is vigorous and glowing, the effect harmonious, and the character of Flemish rusticity admirably preserved. This valuable picture is in fine preservation, and appears to have been a favorite with the painter, as he has marked his name upon it. It affords a good opportunity to those who esteem this Master's works, and who know the high prices at which his small cabinet productions sell, and the difficulty of obtaining them in a pure state]] réalisée par Adrian Van Ostade, vendue par [[[William Paulet Carey]]], achetée par Pares au prix de 24.3 £. [29]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[The Virgin suckling the infant Jesus: St. Catharine, and three other Saints, are introduced in this composition. This artist was, in his time, "ranked with Titian and Palma;" and that eminent scholar, critic, and Artist, Fuseli, states that "he was often a close imitator of the former; but, oftener, has a character of his own: a free and creative genius, unborrowed elegance and spirit." His works are chiefly altar-pieces; and his easel-pictures rarely to be met with in this country (Bonifazio)|The Virgin suckling the infant Jesus: St. Catharine, and three other Saints, are introduced in this composition. This artist was, in his time, "ranked with Titian and Palma;" and that eminent scholar, critic, and Artist, Fuseli, states that "he was often a close imitator of the former; but, oftener, has a character of his own: a free and creative genius, unborrowed elegance and spirit." His works are chiefly altar-pieces; and his easel-pictures rarely to be met with in this country]] réalisée par Bonifazio, vendue par [[[William Paulet Carey]]]. [30]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A head of Christ, crowned with thorns; companion to the small Mater Dolorosa, by this Master, engraved by Bartolozzi, for the Boydell collection. The character of sorrow and divine resignation is admirably marked. The ardent and pensive mind of the Artist led him to excel in the expression of grief and tender melancholy. His powers have been frequently displayed in single heads; a limited sphere, but of impassioned interest; and, on a small scale, he has been rarely surpassed, even by the Prince of the Roman School. This precious specimen of his sensibility is very perfect (Carlo Dolci)|A head of Christ, crowned with thorns; companion to the small Mater Dolorosa, by this Master, engraved by Bartolozzi, for the Boydell collection. The character of sorrow and divine resignation is admirably marked. The ardent and pensive mind of the Artist led him to excel in the expression of grief and tender melancholy. His powers have been frequently displayed in single heads; a limited sphere, but of impassioned interest; and, on a small scale, he has been rarely surpassed, even by the Prince of the Roman School. This precious specimen of his sensibility is very perfect]] réalisée par Carlo Dolci, vendue par [[[William Paulet Carey]]], achetée par Janson au prix de 19.19 £. [31]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A Battle between the Imperialists and Turks. The scene of action is partly on a plain, and partly on intersected grounds, rising to the base of lofty mountains. In a small cabinet size, the Artist has drawn and grouped the combatants with a variety and animation akin to the fire of Cailot, in his "Miseries of War:" but the light and shadow are massed with a science superior to what is found in the works of the latter. V. Meulen's skill, in battle-painting, was known to Louis XIV. who took him along with him to design the principal actions of his campaigns in Flanders (Vander Meulen)|A Battle between the Imperialists and Turks. The scene of action is partly on a plain, and partly on intersected grounds, rising to the base of lofty mountains. In a small cabinet size, the Artist has drawn and grouped the combatants with a variety and animation akin to the fire of Cailot, in his "Miseries of War:" but the light and shadow are massed with a science superior to what is found in the works of the latter. V. Meulen's skill, in battle-painting, was known to Louis XIV. who took him along with him to design the principal actions of his campaigns in Flanders]] réalisée par Vander Meulen, vendue par [[[William Paulet Carey]]]. [32]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[The Head of an Apostle; with one hand introduced, and a book before him. The energetic fervor of an inspired missionary, is here blended with the mildness, which marks the venerable and sanctimonious heads, in this Artist's celebrated composition of "The Fathers of the Church," engraved by Frey, in Italy, and Sharp, in England. The character and contour are so like the general outline of the countenances in the prints, that we may suppose the same living model served as the basis of each. The mantle is amply folded, and the hand determined in a great style. The picture appears to have been painted in the prime of his powers, when, vying with his Masters, the Carracci, in grandeur of design, with Guercino, in vigor of colouring, and with Caravaggio, in depth of shade, he aspired, from the rank of a distinguished follower, to be the leader of the Bolognian and Roman Schools (Guido Reni)|The Head of an Apostle; with one hand introduced, and a book before him. The energetic fervor of an inspired missionary, is here blended with the mildness, which marks the venerable and sanctimonious heads, in this Artist's celebrated composition of "The Fathers of the Church," engraved by Frey, in Italy, and Sharp, in England. The character and contour are so like the general outline of the countenances in the prints, that we may suppose the same living model served as the basis of each. The mantle is amply folded, and the hand determined in a great style. The picture appears to have been painted in the prime of his powers, when, vying with his Masters, the Carracci, in grandeur of design, with Guercino, in vigor of colouring, and with Caravaggio, in depth of shade, he aspired, from the rank of a distinguished follower, to be the leader of the Bolognian and Roman Schools]] réalisée par Guido Reni, vendue par [[[William Paulet Carey]]]. [34]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[The Virgin and Child: the former nearly a three-quarter length; the latter a whole figure. As an accomplished scholar does not expect the harmony of Pope's versification in that of Chaucer, so an amateur, conversant in the Schools, does not challenge the purity of Italian Style, in the works of this great Father of German Art. The breadth, with which the drapery is folded, and the expanded line of the Virgin's figure, shew, however, that without an opportunity of studying the Antique, or the works of the great Transalpine luminaries of Art, Albert possessed an intuitive feeling of that grandeur, which Titian displayed in his Empresses at Venice, and with which the School of Michael Angelo invested History at Florence and Rome. His elaborate attention to detail is exemplified in the deceptive imitation of the veined marble on the wall, in the green velvet cushion, and the minutiae of the wild rocky landscape, crowned with a castle in the back-ground. The peculiarities in his works did not arise from a defect of genius. They were the interesting and original features, which marked the infancy of Art, in his country: and, with all his peculiarities, he has been to his contemporaries and successors, what Ennius was said to have been to Virgil, and what Hooker was to Locke: he has had the glory of furnishing hints, characters, and groups to the most eminent Masters of every School. Many figures in Andrea del Sarto's Life of St. John, engraved by Theodore Cruger: Salvator Rosa's Prodigal Son, engraved in the Boydell Collection; and Rembrandt's Christ driving the Money-changers out of the Temple, etched by himself; are only a few instances of the numerous thefts from his inventions. Algarotti mentions that whole pages of Guido's Sketch-book were filled with copies from his wood prints: and even some idea of his mode of composing his design of Christ bearing the Cross, engraved by Giles Sadeler, may be traced in the print from Rubens's picture of the same subject, engraved by J...?ntius (Albert Durer)|The Virgin and Child: the former nearly a three-quarter length; the latter a whole figure. As an accomplished scholar does not expect the harmony of Pope's versification in that of Chaucer, so an amateur, conversant in the Schools, does not challenge the purity of Italian Style, in the works of this great Father of German Art. The breadth, with which the drapery is folded, and the expanded line of the Virgin's figure, shew, however, that without an opportunity of studying the Antique, or the works of the great Transalpine luminaries of Art, Albert possessed an intuitive feeling of that grandeur, which Titian displayed in his Empresses at Venice, and with which the School of Michael Angelo invested History at Florence and Rome. His elaborate attention to detail is exemplified in the deceptive imitation of the veined marble on the wall, in the green velvet cushion, and the minutiae of the wild rocky landscape, crowned with a castle in the back-ground. The peculiarities in his works did not arise from a defect of genius. They were the interesting and original features, which marked the infancy of Art, in his country: and, with all his peculiarities, he has been to his contemporaries and successors, what Ennius was said to have been to Virgil, and what Hooker was to Locke: he has had the glory of furnishing hints, characters, and groups to the most eminent Masters of every School. Many figures in Andrea del Sarto's Life of St. John, engraved by Theodore Cruger: Salvator Rosa's Prodigal Son, engraved in the Boydell Collection; and Rembrandt's Christ driving the Money-changers out of the Temple, etched by himself; are only a few instances of the numerous thefts from his inventions. Algarotti mentions that whole pages of Guido's Sketch-book were filled with copies from his wood prints: and even some idea of his mode of composing his design of Christ bearing the Cross, engraved by Giles Sadeler, may be traced in the print from Rubens's picture of the same subject, engraved by J...?ntius]] réalisée par Albert Durer, vendue par [[[William Paulet Carey]]]. [37]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A Woody Scene, with water in the middle ground; a Peasant and a few Sheep. The works of this Master, who died young, and finished his pictures highly, are very rare. His time is unknown, but the seductive tone and colouring of his prospects, indicate his studies in the school of Ruysdael. The leafing of his trees resembles that of Waterloo. The sky, in this view, is clear and tender. The cool fresh green tints and mellow brownish hues, afford some sweet transitions. The effect is broad, although the touch is elaborate; the shades are forcible: the reflections still and judiciously managed (Rontbout)|A Woody Scene, with water in the middle ground; a Peasant and a few Sheep. The works of this Master, who died young, and finished his pictures highly, are very rare. His time is unknown, but the seductive tone and colouring of his prospects, indicate his studies in the school of Ruysdael. The leafing of his trees resembles that of Waterloo. The sky, in this view, is clear and tender. The cool fresh green tints and mellow brownish hues, afford some sweet transitions. The effect is broad, although the touch is elaborate; the shades are forcible: the reflections still and judiciously managed]] réalisée par Rontbout, vendue par [[[William Paulet Carey]]], achetée par Townsend au prix de 13.13 £. [38]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[This is one of those simple transcripts of a limited scene, which derives its chief power over the spectator, from the skill of the Artist. If cold Practitioners fail, with every advantage in their favor, a man of genius loves to grapple with difficulties; and gives to ordinary things and circumstances, interest, dignity, and grandeur; with a sort of magic power, he may be said to touch lead and it becomes gold. Hobbima has here looked to Nature for his selection. The broken bank of a piece of dark water, enriched with rushes and herbage, forms the fore-ground. Immediately behind, in one corner, a cottage appears, sheltered by trees, which terminate in an opening, where, at no remote distance, some rustic dwellings and wood, close the view. This charming production is as perfect as the day it came from the Artist's easel: not a tint stirred, not a touch impoverished. It is painted with a fat pencil: the leafing put in plump and full of colour; but with a peculiar spirit and sharpness of character. The knotty and twisted trunks of the trees, are penciled with a vivacity which mocks description. The shadowy verdurous hue, of which he was so fond, prevails in the landscape; but occasionally broken? by genial brown tints. The figures are smacked in slightly with a bold negligent hand, and were probably painted by himself. The frolic play of the clouds, and airy lightness of the sky, mark the execution and fine taste of this admired Artist. The eye rests with unabated pleasure upon the appearance of local veracity, and the union of breadth and detail, rapid execution and particular attention, confers extraordinary beauty on the picture (Minderhout Hobbima)|This is one of those simple transcripts of a limited scene, which derives its chief power over the spectator, from the skill of the Artist. If cold Practitioners fail, with every advantage in their favor, a man of genius loves to grapple with difficulties; and gives to ordinary things and circumstances, interest, dignity, and grandeur; with a sort of magic power, he may be said to touch lead and it becomes gold. Hobbima has here looked to Nature for his selection. The broken bank of a piece of dark water, enriched with rushes and herbage, forms the fore-ground. Immediately behind, in one corner, a cottage appears, sheltered by trees, which terminate in an opening, where, at no remote distance, some rustic dwellings and wood, close the view. This charming production is as perfect as the day it came from the Artist's easel: not a tint stirred, not a touch impoverished. It is painted with a fat pencil: the leafing put in plump and full of colour; but with a peculiar spirit and sharpness of character. The knotty and twisted trunks of the trees, are penciled with a vivacity which mocks description. The shadowy verdurous hue, of which he was so fond, prevails in the landscape; but occasionally broken? by genial brown tints. The figures are smacked in slightly with a bold negligent hand, and were probably painted by himself. The frolic play of the clouds, and airy lightness of the sky, mark the execution and fine taste of this admired Artist. The eye rests with unabated pleasure upon the appearance of local veracity, and the union of breadth and detail, rapid execution and particular attention, confers extraordinary beauty on the picture]] réalisée par Minderhout Hobbima, vendue par [[[William Paulet Carey]]]. [39]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A Skirmish of Cavalry, designed with striking circumstances of personal gallantry and spirited interest. The combat, in the middle ground, is well introduced and cleverly illumined. Few colours are employed, and the union is simple. The finishing is free, with much of that sort of transparent delicacy, which we meet with in the pictures of Wouvermans (P. Snayers)|A Skirmish of Cavalry, designed with striking circumstances of personal gallantry and spirited interest. The combat, in the middle ground, is well introduced and cleverly illumined. Few colours are employed, and the union is simple. The finishing is free, with much of that sort of transparent delicacy, which we meet with in the pictures of Wouvermans]] réalisée par P. Snayers, vendue par [[[William Paulet Carey]]], achetée par Allsopp au prix de 15.15 £. [41]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A Choir of Angels, from the Revelations. This noble picture is distinguished by great grandeur of conception: beauty of character; grace of form and disposition. The oppositions of colour are daring, the carnations vigorous, and sanguine. The clairo-obscuro is powerful, and the prowess of pencil apparently calculated to defy competition. As a study of technic excellence, it is a school of Art. Those who have seen Sir Joshua Reynolds's designs of Justice, Prudence, Temperance, Fortitude, and Faith, Hope and Charity, for the window of New College, Oxford, will be, at once, enabled to judge of the use which he made of this composition (Giovanni Lanfranco)|A Choir of Angels, from the Revelations. This noble picture is distinguished by great grandeur of conception: beauty of character; grace of form and disposition. The oppositions of colour are daring, the carnations vigorous, and sanguine. The clairo-obscuro is powerful, and the prowess of pencil apparently calculated to defy competition. As a study of technic excellence, it is a school of Art. Those who have seen Sir Joshua Reynolds's designs of Justice, Prudence, Temperance, Fortitude, and Faith, Hope and Charity, for the window of New College, Oxford, will be, at once, enabled to judge of the use which he made of this composition]] réalisée par Giovanni Lanfranco, vendue par [[[William Paulet Carey]]]. [42]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A Landscape, with a Cow, Horse, and figures. This Artist's admirable treatment of animal nature, the simplicity of his scenery, and the peculiar richness of his sunny-light, have raised his works to a distinguished rank and superior value, in this Country and on the continent. There is a correct delineation, delicate tone, and brilliant effect, in this cabinet of specimen of his abilities (Albert Cuyp)|A Landscape, with a Cow, Horse, and figures. This Artist's admirable treatment of animal nature, the simplicity of his scenery, and the peculiar richness of his sunny-light, have raised his works to a distinguished rank and superior value, in this Country and on the continent. There is a correct delineation, delicate tone, and brilliant effect, in this cabinet of specimen of his abilities]] réalisée par Albert Cuyp, vendue par [[[William Paulet Carey]]], achetée par Janson au prix de 48.6 £. [44]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[The haunt of Banditti, in a forest. Two Robbers are seen lurking for prey, in the gloom of a silent covert. Night-fall, "breathes a browner horror on the woods;" and the scene is painted in the wildest character and the most powerful style of the Master (Salvator Rosa)|The haunt of Banditti, in a forest. Two Robbers are seen lurking for prey, in the gloom of a silent covert. Night-fall, "breathes a browner horror on the woods;" and the scene is painted in the wildest character and the most powerful style of the Master]] réalisée par Salvator Rosa, vendue par [[[William Paulet Carey]]], achetée par Allsopp au prix de 13.13 [?] £. [45]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[St. Jerome at Prayers. Whoever has seen the picture of the two Misers counting their Money, in his Majesty's collection, will, immediately, recognise in this painting, the same sanguine carnations, peculiarities of design, and minute attentions. The reflections in the pupils of the eyes, the hairs of the eye-lashes and beard, the wrinkles in the forehead and hands, and the polished character of bone, in the skull, which is placed beside the crucifix, before which he is praying, are striking examples of elaborate finishing. This extraordinary Artist transcribed nature faithfully, but Pope found a charm in the fidelity of Sandy's translation of Ovid's Metamorphosis; and Sir Joshua Reynolds has pronounced an eulogium on the truth, although expressed in a hard manner, of Q. Matsys, and other ancient Artists, in preference to the vapid facility of a different class of practitioners. "The Misers," in the king's collection, is valued at 2500 guineas. Matsys was born in 1640, and died in 1529; and this capital specimen of his art, is as perfect as any in England (Quintin Matsys, the Farrier of Antwerp)|St. Jerome at Prayers. Whoever has seen the picture of the two Misers counting their Money, in his Majesty's collection, will, immediately, recognise in this painting, the same sanguine carnations, peculiarities of design, and minute attentions. The reflections in the pupils of the eyes, the hairs of the eye-lashes and beard, the wrinkles in the forehead and hands, and the polished character of bone, in the skull, which is placed beside the crucifix, before which he is praying, are striking examples of elaborate finishing. This extraordinary Artist transcribed nature faithfully, but Pope found a charm in the fidelity of Sandy's translation of Ovid's Metamorphosis; and Sir Joshua Reynolds has pronounced an eulogium on the truth, although expressed in a hard manner, of Q. Matsys, and other ancient Artists, in preference to the vapid facility of a different class of practitioners. "The Misers," in the king's collection, is valued at 2500 guineas. Matsys was born in 1640, and died in 1529; and this capital specimen of his art, is as perfect as any in England]] réalisée par Quintin Matsys, the Farrier of Antwerp, vendue par [[[William Paulet Carey]]], achetée par Pares au prix de 51.9 £. [46]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[An Arcadian landscape. A Shepherd, seated near the fore-ground, attending his flock and two graceful Nymphs carrying baskets of flowers; the warm shadows of a verdant grove; a river flowing through luxuriant meadows; a city appearing in the offskip, and lofty mountains bounding the view, form the prominent features of this interesting picture. There is a degree of grandeur in the effect, and a poetical spirit in the composition, which, with the vigour, variety, and harmony of the colouring and tone, resemble the style of Gaspar in his highest finished small productions. The opposition between the cool purplish clouds of evening, and the general hues of the scenery, is rich, but solemn, and full of character. The breast must be cold indeed, which is insensible to its beauties (Glauber)|An Arcadian landscape. A Shepherd, seated near the fore-ground, attending his flock and two graceful Nymphs carrying baskets of flowers; the warm shadows of a verdant grove; a river flowing through luxuriant meadows; a city appearing in the offskip, and lofty mountains bounding the view, form the prominent features of this interesting picture. There is a degree of grandeur in the effect, and a poetical spirit in the composition, which, with the vigour, variety, and harmony of the colouring and tone, resemble the style of Gaspar in his highest finished small productions. The opposition between the cool purplish clouds of evening, and the general hues of the scenery, is rich, but solemn, and full of character. The breast must be cold indeed, which is insensible to its beauties]] réalisée par Glauber, vendue par [[[William Paulet Carey]]], achetée par Heap au prix de 15.15 £. [47]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A Battle between the Ottomans and the Christians. The main action occupies the centre, behind which a flag flies upon the brow of a fortress, rising above a cloud of smoke. To the right, a second conflict is seen, somewhat more distant; and the back-ground is enriched by the ruins of an ancient temple. To the left, two detached parties are engaged in a struggle for a battery. The weapons and dresses of several nations, are here introduced. Banners of various colours float in the air. Fire-arms and scymitars, shields, bows and arrows, gleam upon the eye; and the turbaned Turk, grim-visaged Moor, and naked Indian, set their fate together against the steel-clad Knights of the Cross. The Cavalry have changed, sabre in hand, and the squadrons broken, pell mell, through each other, with "hideous combustion." There is a noble fury in the whole conception of this scene of terror. Pistols, carbines, and cannon, flash upon the combatants. They grapple. They strike. They aim destruction at each other. Blood flows. Blows and wounds fly about; and whole groups of warriors, the war-horse and his rider, the victors and the vanquished, the dying and the dead, arms, accoutrements and standards, tumble together promiscuously upon the plain. A soul of fire animates and rages through the whole. Every tint breathes and burns with avenging character. Every stroke creates a form or decides a feature or a savage expression; and minor details are overlooked in the impetuous rush of a warlike fancy on the canvas The narrative which follows has been omitted (Giacomo Cortesi, called Borgognone)|A Battle between the Ottomans and the Christians. The main action occupies the centre, behind which a flag flies upon the brow of a fortress, rising above a cloud of smoke. To the right, a second conflict is seen, somewhat more distant; and the back-ground is enriched by the ruins of an ancient temple. To the left, two detached parties are engaged in a struggle for a battery. The weapons and dresses of several nations, are here introduced. Banners of various colours float in the air. Fire-arms and scymitars, shields, bows and arrows, gleam upon the eye; and the turbaned Turk, grim-visaged Moor, and naked Indian, set their fate together against the steel-clad Knights of the Cross. The Cavalry have changed, sabre in hand, and the squadrons broken, pell mell, through each other, with "hideous combustion." There is a noble fury in the whole conception of this scene of terror. Pistols, carbines, and cannon, flash upon the combatants. They grapple. They strike. They aim destruction at each other. Blood flows. Blows and wounds fly about; and whole groups of warriors, the war-horse and his rider, the victors and the vanquished, the dying and the dead, arms, accoutrements and standards, tumble together promiscuously upon the plain. A soul of fire animates and rages through the whole. Every tint breathes and burns with avenging character. Every stroke creates a form or decides a feature or a savage expression; and minor details are overlooked in the impetuous rush of a warlike fancy on the canvas The narrative which follows has been omitted]] réalisée par Giacomo Cortesi, called Borgognone, vendue par [[[William Paulet Carey]]]. [49]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A Battle between the Turks and the Imperialists...Near the centre, an Imperial Knight is seen, discharging his pistol at the Turkish General, whose convulsed look and action shew, that, although he still sits his horse, he has received his death-wound. The fiery action of the Knight's horse, plunging his head, with erected mane, striking out before, and assailing the enemy behind with his heels, strongly resembles the Roman soldier's celebrated horse, in "The Conversion of St. Paul," by Rubens. These conspicuous figures lead to the noble back figure of the Imperial Knight, in armour, who appears to have fired his pistol successfully at a Turk, as the latter has tumbled headlong from his fallen horse. These two main incidents are immediately connected in the composition, and supported by others, of apposite character, in the principal group; from which the eye passes, in due succession, over the various features of the field. The bodies of a slain Infidel, and Christian Knight, lie in front. The infantry attacking to the left, in the middle ground; the volumes of smoke, which shade a part of the steeps, and wrap a crowd of the farther combatants in a veil of tempestuous obscurity; the cavalry galloping in the centre, behind, towards the distant city; the defeat of a Turkish detachment, to the right, on a receding plain, where the adverse squadrons are seen rushing to the charge, and clashing and mingling in the fray of death; the attack and defence of the mountainous fortress in the offskip, and the lofty elevations, which bound the view, are so judiciously contrived, as to act separately, set off each other, and form altogether one grand and affecting spectacle The preceding was excerpted (Salvator Rosa)|A Battle between the Turks and the Imperialists...Near the centre, an Imperial Knight is seen, discharging his pistol at the Turkish General, whose convulsed look and action shew, that, although he still sits his horse, he has received his death-wound. The fiery action of the Knight's horse, plunging his head, with erected mane, striking out before, and assailing the enemy behind with his heels, strongly resembles the Roman soldier's celebrated horse, in "The Conversion of St. Paul," by Rubens. These conspicuous figures lead to the noble back figure of the Imperial Knight, in armour, who appears to have fired his pistol successfully at a Turk, as the latter has tumbled headlong from his fallen horse. These two main incidents are immediately connected in the composition, and supported by others, of apposite character, in the principal group; from which the eye passes, in due succession, over the various features of the field. The bodies of a slain Infidel, and Christian Knight, lie in front. The infantry attacking to the left, in the middle ground; the volumes of smoke, which shade a part of the steeps, and wrap a crowd of the farther combatants in a veil of tempestuous obscurity; the cavalry galloping in the centre, behind, towards the distant city; the defeat of a Turkish detachment, to the right, on a receding plain, where the adverse squadrons are seen rushing to the charge, and clashing and mingling in the fray of death; the attack and defence of the mountainous fortress in the offskip, and the lofty elevations, which bound the view, are so judiciously contrived, as to act separately, set off each other, and form altogether one grand and affecting spectacle The preceding was excerpted]] réalisée par Salvator Rosa, vendue par [[[William Paulet Carey]]]. [50]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A landscape and figures. A mounted cavalier watering his horse at the basin of a pyramidal fountain, a cart-horse drinking, and a rustic female filling an earthen vessel, form the fore-ground objects. The back-ground is composed of picturesque ruins. A horseman, spiritedly illumined, is seen in the distance, and the sky is massed with science. A delicate pencil, high enamel-finishing, correct drawing, and cool, pleasing tints, constitute the character of this agreeable cabinet picture. This Painter, who resided at Vienna, as Painter to the Emperor, and whose works are rare, must not be confounded with Godfrey Schalken, the Painter of Fire and Candle-lights (Schalk)|A landscape and figures. A mounted cavalier watering his horse at the basin of a pyramidal fountain, a cart-horse drinking, and a rustic female filling an earthen vessel, form the fore-ground objects. The back-ground is composed of picturesque ruins. A horseman, spiritedly illumined, is seen in the distance, and the sky is massed with science. A delicate pencil, high enamel-finishing, correct drawing, and cool, pleasing tints, constitute the character of this agreeable cabinet picture. This Painter, who resided at Vienna, as Painter to the Emperor, and whose works are rare, must not be confounded with Godfrey Schalken, the Painter of Fire and Candle-lights]] réalisée par Schalk, vendue par [[[William Paulet Carey]]], achetée par Janson au prix de 20.9 £. [51]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A landscape, buildings, and rustic figures. This is a scene of domestic nature. The old grandsire is seated at the cottage-door, the grand-dame beside him. His married daughter, with her sturdy child in her lap, sits near him, at a table. Two more of his family appear in the door-way behind; and a dog gnawing a bone, in the front, before him. His son-in-law, after the labours of the day, is about to unharness three unyoked horses, cleverly grouped, in the centre. A packsaddled ass stands in a corner, to the right; a goat, sheep, and cow lie near, and are connected in the same group. A ruined arch-way extends across the picture, through which a pleasant distant landscape, enriched with ruins, cattle, and peasants journeying, is seen. The offskip is illumined with spirited sunny gleams: and a mellow blue sky, with floating silvery clouds, gives additional relative value to the warm and vigorous colouring of the principal objects (Peter van Bloemen)|A landscape, buildings, and rustic figures. This is a scene of domestic nature. The old grandsire is seated at the cottage-door, the grand-dame beside him. His married daughter, with her sturdy child in her lap, sits near him, at a table. Two more of his family appear in the door-way behind; and a dog gnawing a bone, in the front, before him. His son-in-law, after the labours of the day, is about to unharness three unyoked horses, cleverly grouped, in the centre. A packsaddled ass stands in a corner, to the right; a goat, sheep, and cow lie near, and are connected in the same group. A ruined arch-way extends across the picture, through which a pleasant distant landscape, enriched with ruins, cattle, and peasants journeying, is seen. The offskip is illumined with spirited sunny gleams: and a mellow blue sky, with floating silvery clouds, gives additional relative value to the warm and vigorous colouring of the principal objects]] réalisée par Peter van Bloemen, vendue par [[[William Paulet Carey]]]. [52]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[The Four Elements: a rare and finely-preserved specimen of ancient art, painted on pannel. Floris was born at Antwerp, in 1520, but went early to Rome, where, from the extent of his natural endowments, and skill in design, he was deservedly called, "The Raphael of Flanders." He devoted a large portion of his time to the study of the Antique, and of Michael Angelo, who was his favourite Master. The bold forms and expanded outlines in this picture are truly Michael-Angelesque, and display anatomical science every way worthy of the best time of the Florentine School. His picture of the Nativity in Antwerp, was one of the fine pictures which Sir Joshua Reynolds recorded in his "Tour in Flanders." (Francis Floris)|The Four Elements: a rare and finely-preserved specimen of ancient art, painted on pannel. Floris was born at Antwerp, in 1520, but went early to Rome, where, from the extent of his natural endowments, and skill in design, he was deservedly called, "The Raphael of Flanders." He devoted a large portion of his time to the study of the Antique, and of Michael Angelo, who was his favourite Master. The bold forms and expanded outlines in this picture are truly Michael-Angelesque, and display anatomical science every way worthy of the best time of the Florentine School. His picture of the Nativity in Antwerp, was one of the fine pictures which Sir Joshua Reynolds recorded in his "Tour in Flanders."]] réalisée par Francis Floris, vendue par [[[William Paulet Carey]]]. [53]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A Head of Christ, crowned with thorns, with the hands introduced bound. The character of divine meekness is finely expressed in this high-finished specimen of Italian art. The colouring is chaste. The carnations are pallid and mournful. The tone is solemn, the handling Carracciesque, and, in vigour of effect, it vies with Annibal's best style (Andrea Sacchi)|A Head of Christ, crowned with thorns, with the hands introduced bound. The character of divine meekness is finely expressed in this high-finished specimen of Italian art. The colouring is chaste. The carnations are pallid and mournful. The tone is solemn, the handling Carracciesque, and, in vigour of effect, it vies with Annibal's best style]] réalisée par Andrea Sacchi, vendue par [[[William Paulet Carey]]], achetée par Hall au prix de 12.1 £. [54]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A landscape and figures. A sportsman going out on horseback, with his fowling-piece; his servant, on foot, with the hooded hawks, and a leash of hounds, form a picturesque group, advancing in the fore-ground. The landscape is a cultivated scene, intersected by low woody boundaries, and embellished with distant buildings, seen on the slope of the gentle ascents, which close the view. The eye is struck with some sweet oppositions of tint and the transparent warmth of the colouring: a delicate vivacity of touch, the teuder harmony of the sky, and a pleasing character of nature, mark the style of this admired Master (Philip Wouvermans)|A landscape and figures. A sportsman going out on horseback, with his fowling-piece; his servant, on foot, with the hooded hawks, and a leash of hounds, form a picturesque group, advancing in the fore-ground. The landscape is a cultivated scene, intersected by low woody boundaries, and embellished with distant buildings, seen on the slope of the gentle ascents, which close the view. The eye is struck with some sweet oppositions of tint and the transparent warmth of the colouring: a delicate vivacity of touch, the teuder harmony of the sky, and a pleasing character of nature, mark the style of this admired Master]] réalisée par Philip Wouvermans, vendue par [[[William Paulet Carey]]], achetée par Pares au prix de 17.17 £. [55]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A picture of various stages in human life. This curious specimen of early style was painted in colours tempered with some viscous fluid, more adhesive than water, and less unctuous than oil. It is in a surprising state of preservation, and remarkable for a fertile vein of invention. The dresses, the design, and the characters of the heads, are so perfectly like those in "The Dance of Death", that the two works have evidently been produced by the same Artist. The landscape was probably painted by Jacob, the father of Roland Savery, or Matthew, the brother of Paul Brill (Hans Holbein)|A picture of various stages in human life. This curious specimen of early style was painted in colours tempered with some viscous fluid, more adhesive than water, and less unctuous than oil. It is in a surprising state of preservation, and remarkable for a fertile vein of invention. The dresses, the design, and the characters of the heads, are so perfectly like those in "The Dance of Death", that the two works have evidently been produced by the same Artist. The landscape was probably painted by Jacob, the father of Roland Savery, or Matthew, the brother of Paul Brill]] réalisée par Hans Holbein, vendue par [[[William Paulet Carey]]]. [56]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[The Holy Family, with St. John. The rich tone of this picture, its perfect union, vigorous clairo-obscuro, and style of design, are proofs of the Master's Protean power of adopting the spirit and the semblance of the best Italian Painters. This little picture is a pastici, in imitation of a painting by Titian, which was in the Archduke Leopold's Gallery, in Flanders, Teniers was keeper of that Gallery, studied after the best pictures, and published a volume of engravings from the collection. It is not a little curious, that the Joseph in this is stolen, or, rather, copied, from that of Titian; and the St. John, in Sir Joshua Reynolds's Holy Family, engraved by Sharpe, is directly stolen, or copied, from the St. John in this picture (David Teniers)|The Holy Family, with St. John. The rich tone of this picture, its perfect union, vigorous clairo-obscuro, and style of design, are proofs of the Master's Protean power of adopting the spirit and the semblance of the best Italian Painters. This little picture is a pastici, in imitation of a painting by Titian, which was in the Archduke Leopold's Gallery, in Flanders, Teniers was keeper of that Gallery, studied after the best pictures, and published a volume of engravings from the collection. It is not a little curious, that the Joseph in this is stolen, or, rather, copied, from that of Titian; and the St. John, in Sir Joshua Reynolds's Holy Family, engraved by Sharpe, is directly stolen, or copied, from the St. John in this picture]] réalisée par David Teniers, vendue par [[[William Paulet Carey]]], achetée par Allsopp au prix de 12.12 £. [57]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[An extensive landscape, with a Flemish farm-house, on the bank of a river, and various rustic figures. The touch of the trees, clearness of the water, bright, solemn, tone of the sky, and happy selection of nature, shew it to come from an excellent School. The Artist's general merit is well known; but, in this capital landscape, he approaches more to the style of Ruysdael and Hobbema, than in his usual productions (Decker)|An extensive landscape, with a Flemish farm-house, on the bank of a river, and various rustic figures. The touch of the trees, clearness of the water, bright, solemn, tone of the sky, and happy selection of nature, shew it to come from an excellent School. The Artist's general merit is well known; but, in this capital landscape, he approaches more to the style of Ruysdael and Hobbema, than in his usual productions]] réalisée par Decker, vendue par [[[William Paulet Carey]]], achetée par J Wright au prix de 57.15 £. [58]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A view on the Tyber, with boats and figures. There is a brilliant sun-light, in this masterly view. It is painted with great freedom, and a rich effect produced with little labour. The figures are by Hackaert; and a comparison with the etchings published by Boydell, from Wilson's Views in Rome, will mark the time when he painted this picture (Wilson)|A view on the Tyber, with boats and figures. There is a brilliant sun-light, in this masterly view. It is painted with great freedom, and a rich effect produced with little labour. The figures are by Hackaert; and a comparison with the etchings published by Boydell, from Wilson's Views in Rome, will mark the time when he painted this picture]] réalisée par Wilson, vendue par [[[William Paulet Carey]]]. [59]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A landscape, with a view of a Flemish farm-house. The farmer, his wife, and child, are seated on a gentle knoll, near the middle fore-ground, which is enriched with dock-leaves, and other herbage. The dovecote, stone trough, dog-house, large water-jar, and green logs for firing; the poultry, watch-dog, and ladder, in front of the dwelling, and the tall trees beside it, are all introduced with a pleasing negligence. A traveller is seen, bending his way to a more distant cottage; and an open level, upon the skirts of which a rustic habitation rises above a cluster of trees, terminates the prospect. The sky is tender and airy, broken with soft, fleecy clouds; and in delicious harmony with the warm hues of the landscape. The whole impresses the mind with an idea of peace, rural comfort, and domestic happiness. The Painter marked his name and date, "J. Wynants, 1675," upon this precious cabinet ornament (J. Wynants)|A landscape, with a view of a Flemish farm-house. The farmer, his wife, and child, are seated on a gentle knoll, near the middle fore-ground, which is enriched with dock-leaves, and other herbage. The dovecote, stone trough, dog-house, large water-jar, and green logs for firing; the poultry, watch-dog, and ladder, in front of the dwelling, and the tall trees beside it, are all introduced with a pleasing negligence. A traveller is seen, bending his way to a more distant cottage; and an open level, upon the skirts of which a rustic habitation rises above a cluster of trees, terminates the prospect. The sky is tender and airy, broken with soft, fleecy clouds; and in delicious harmony with the warm hues of the landscape. The whole impresses the mind with an idea of peace, rural comfort, and domestic happiness. The Painter marked his name and date, "J. Wynants, 1675," upon this precious cabinet ornament]] réalisée par J. Wynants, vendue par [[[William Paulet Carey]]]. [60]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A subject from the history of Belisarius. The majesty of the principal characters is here well sustained by the impassioned earnestness of expression and attitude in the imploring group. The flowing dignity of the draperies, lofty style of the architectural background, and skill with which the composition is conducted, reflect honour on this distinguished Artist. The penciling is firm and delicate, the colouring vivid and subdued (C. Le Brun)|A subject from the history of Belisarius. The majesty of the principal characters is here well sustained by the impassioned earnestness of expression and attitude in the imploring group. The flowing dignity of the draperies, lofty style of the architectural background, and skill with which the composition is conducted, reflect honour on this distinguished Artist. The penciling is firm and delicate, the colouring vivid and subdued]] réalisée par C. Le Brun, vendue par [[[William Paulet Carey]]]. [61]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A sea-port in Italy, with architectural ruins, shipping, figures, and a rich effect of sun-set. Perhaps there is no Artist, whose powers so wholly elude description, as Claude. The delicacies of colour, harmony, and tone, which characterize this picture; the low, silent hues of aerial solemnity, which steal athwart the brightness of the horizon, as day sinks in the ocean, are not to be done justice to by any ardour of feeling or eloquence of language. No Artist ever painted the beautiful serenity of nature with so felicitous a pencil, and no Artist's landscapes have ever been so eagerly sought after, or so highly valued. This picture belonged to Jacob More, the Scotch landscape-painter, and remained in his collection, at Rome, until his death. Posterity will learn with surprise, that an English Trader recently paid the astonishing sum of £12,000 for the two Beckford Claudes (Claude Lorraine)|A sea-port in Italy, with architectural ruins, shipping, figures, and a rich effect of sun-set. Perhaps there is no Artist, whose powers so wholly elude description, as Claude. The delicacies of colour, harmony, and tone, which characterize this picture; the low, silent hues of aerial solemnity, which steal athwart the brightness of the horizon, as day sinks in the ocean, are not to be done justice to by any ardour of feeling or eloquence of language. No Artist ever painted the beautiful serenity of nature with so felicitous a pencil, and no Artist's landscapes have ever been so eagerly sought after, or so highly valued. This picture belonged to Jacob More, the Scotch landscape-painter, and remained in his collection, at Rome, until his death. Posterity will learn with surprise, that an English Trader recently paid the astonishing sum of £12,000 for the two Beckford Claudes]] réalisée par Claude Lorraine, vendue par [[[William Paulet Carey]]]. [62]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[The Judgment of Midas, painted on copper. This cabinet jewel is as perfect, as when it was finished. The composition is full of playful fancy; and the opposition of vivid greens, in the landscape, to the sanguine carnations and warm draperies, has a very brilliant effect (Brueghel)|The Judgment of Midas, painted on copper. This cabinet jewel is as perfect, as when it was finished. The composition is full of playful fancy; and the opposition of vivid greens, in the landscape, to the sanguine carnations and warm draperies, has a very brilliant effect]] réalisée par Brueghel, vendue par [[[William Paulet Carey]]]. [63]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A landscape-view in Flanders; comprising a great extent of open cultivated country; woods, farm-houses, villages, a city in the distance; cattle, and many groups of rustic figures, scattered over the scene; a stage waggon, and horsemen, on the fore-ground. The whole of this airy and diversified prospect meets the eye with certain simple marks of local veracity, which cannot fail to render it interesting to a lover of nature. It is touched with a smart free pencil, agreeably coloured, and the effect is clear and pleasant. Wildens was so highly esteemed by Rubens, that he employed him frequently to paint the landscape back-grounds to his cabinet historical pictures (Jan Wildens)|A landscape-view in Flanders; comprising a great extent of open cultivated country; woods, farm-houses, villages, a city in the distance; cattle, and many groups of rustic figures, scattered over the scene; a stage waggon, and horsemen, on the fore-ground. The whole of this airy and diversified prospect meets the eye with certain simple marks of local veracity, which cannot fail to render it interesting to a lover of nature. It is touched with a smart free pencil, agreeably coloured, and the effect is clear and pleasant. Wildens was so highly esteemed by Rubens, that he employed him frequently to paint the landscape back-grounds to his cabinet historical pictures]] réalisée par Jan Wildens, vendue par [[[William Paulet Carey]]], achetée par Taylor au prix de 15.15 £. [64]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A grand landscape and figures. This composition is ideal, and exhibits a fertile imagination. The forms of the trees in the grove are lofty, and varied with a selection not unlike that in the landscape of Titian's Martyrdom of St. Peter, the Dominican. The colouring is cool and mellow, the tone solemn and harmonious (Domenichino)|A grand landscape and figures. This composition is ideal, and exhibits a fertile imagination. The forms of the trees in the grove are lofty, and varied with a selection not unlike that in the landscape of Titian's Martyrdom of St. Peter, the Dominican. The colouring is cool and mellow, the tone solemn and harmonious]] réalisée par Domenichino, vendue par [[[William Paulet Carey]]]. [65]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[St. John baptising Christ. This composition was painted with a surprising facility; and the powerful effect, with which it strikes the eye, was apparently produced with very little comparative effort. The dead colouring appears to have been laid in with masterly skill, and advanced very far in vigorous masses. Upon this well-digested basis, the forms are put in with strong darks and lights, in broad decisive dashes of the pencil; this is particularly visible in the wings, hair, and yellow drapery of the ministering angel, holding up the crimson drapery, and in the ample foliage behind St. John, and between him and Christ. The head of the ministering, and that of the kneeling, angel, are also determined with bold and rapid strokes. The countenances of the Saviour, and of St. John, are more studied, and the latter has great force and grandeur of character (Titian)|St. John baptising Christ. This composition was painted with a surprising facility; and the powerful effect, with which it strikes the eye, was apparently produced with very little comparative effort. The dead colouring appears to have been laid in with masterly skill, and advanced very far in vigorous masses. Upon this well-digested basis, the forms are put in with strong darks and lights, in broad decisive dashes of the pencil; this is particularly visible in the wings, hair, and yellow drapery of the ministering angel, holding up the crimson drapery, and in the ample foliage behind St. John, and between him and Christ. The head of the ministering, and that of the kneeling, angel, are also determined with bold and rapid strokes. The countenances of the Saviour, and of St. John, are more studied, and the latter has great force and grandeur of character]] réalisée par Titian, vendue par [[[William Paulet Carey]]]. [66]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A landscape, and figures. This is a view of the mouth of a river, upon the sea-coast, and a ship appearing in the offing; a ruined watch-tower, peasants, cattle, and boats, with a rich effect of sun-set. The design, penciling, colouring, and glowing touch of nature; the fine taste everywhere visible in the selection and characteristic treatment of the objects, justly place this very fascinating specimen in the first class of this admirable Artist's productions (Nicholas Berghem)|A landscape, and figures. This is a view of the mouth of a river, upon the sea-coast, and a ship appearing in the offing; a ruined watch-tower, peasants, cattle, and boats, with a rich effect of sun-set. The design, penciling, colouring, and glowing touch of nature; the fine taste everywhere visible in the selection and characteristic treatment of the objects, justly place this very fascinating specimen in the first class of this admirable Artist's productions]] réalisée par Nicholas Berghem, vendue par [[[William Paulet Carey]]]. [67]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A landscape, cows, sheep, rustic figures, and a distant view of an open country. The effect of summer heat, is here admirably expressed. The distance is warm, tender, and vapoury. The cattle, reposing beside a bank, near the fore-ground, appear to pant. The sky and every object are serene and harmonious. The view is simple. There is a delicate sweetness in the touch; a glowing and transparent chastity in the tone, which baffle all description (Albert Cuyp)|A landscape, cows, sheep, rustic figures, and a distant view of an open country. The effect of summer heat, is here admirably expressed. The distance is warm, tender, and vapoury. The cattle, reposing beside a bank, near the fore-ground, appear to pant. The sky and every object are serene and harmonious. The view is simple. There is a delicate sweetness in the touch; a glowing and transparent chastity in the tone, which baffle all description]] réalisée par Albert Cuyp, vendue par [[[William Paulet Carey]]]. [70]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[Mars about to quit the couch of Venus; a Cupid standing near holding his horse. (a fine cabinet size) This is a dazzling specimen of Venetian splendor. The design breathes the bold spirit of this great master. There is a surprising depth, variety, and richness of coloring, in the sky, draperies, carnations, and all of the accessaries. The various tints of the purple, blue and shadowy green, gleam upon the eye, in vivid and powerful oppositions; but the whole is subdued and toned into a union of astonishing lustre (Paolo Cagliari, called Veronese)|Mars about to quit the couch of Venus; a Cupid standing near holding his horse. (a fine cabinet size) This is a dazzling specimen of Venetian splendor. The design breathes the bold spirit of this great master. There is a surprising depth, variety, and richness of coloring, in the sky, draperies, carnations, and all of the accessaries. The various tints of the purple, blue and shadowy green, gleam upon the eye, in vivid and powerful oppositions; but the whole is subdued and toned into a union of astonishing lustre]] réalisée par Paolo Cagliari, called Veronese, vendue par [[[William Paulet Carey]]]. [71]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A view near Tivoli, with ruins, cattle, and rustic figures. This masterly composition, like the designs of Berghem, is rendered more highly interesting by its classic scenery. The fore-ground is enriched with herbage and the trunk of a fallen tree. The middle-grounds are hilly, and broken with picturesque taste. The animals have all the appearance of being studies from nature. They are as highly finished as those of Paul Potter, with a greater degree of freedom, and mellowness. The ruddy glow of a setting sun, vivifies the landscape, and tinges every object with an agreeable lustre (John Hendrick Roos)|A view near Tivoli, with ruins, cattle, and rustic figures. This masterly composition, like the designs of Berghem, is rendered more highly interesting by its classic scenery. The fore-ground is enriched with herbage and the trunk of a fallen tree. The middle-grounds are hilly, and broken with picturesque taste. The animals have all the appearance of being studies from nature. They are as highly finished as those of Paul Potter, with a greater degree of freedom, and mellowness. The ruddy glow of a setting sun, vivifies the landscape, and tinges every object with an agreeable lustre]] réalisée par John Hendrick Roos, vendue par [[[William Paulet Carey]]], achetée par Janson au prix de 52.10 £. [72]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A grand landscape and figures, the latter slightly brushed in. The view lies among stony ridges, broken by a variety of precipices. In the middle ground, the tops of edifices, part of a city, situated on the offside of a steep hill, are seen to rise in deep half shadow, above the brow of a hill, whose nearer parts come forward strikingly illumined. Rocky projections ascend beyond the tops of the edifices, tufted with trees of broad, bushy foliage, richly embrowned in shade. The prospect is bounded by towering mountains; the light is kept broad upon the sky, and the aspect of the lofty scenery is rendered more solemn by powerful masses of negative shade, and the "deep-toned brightness" of the general effect (Titian)|A grand landscape and figures, the latter slightly brushed in. The view lies among stony ridges, broken by a variety of precipices. In the middle ground, the tops of edifices, part of a city, situated on the offside of a steep hill, are seen to rise in deep half shadow, above the brow of a hill, whose nearer parts come forward strikingly illumined. Rocky projections ascend beyond the tops of the edifices, tufted with trees of broad, bushy foliage, richly embrowned in shade. The prospect is bounded by towering mountains; the light is kept broad upon the sky, and the aspect of the lofty scenery is rendered more solemn by powerful masses of negative shade, and the "deep-toned brightness" of the general effect]] réalisée par Titian, vendue par [[[William Paulet Carey]]], achetée par T Wright au prix de 48.6 £. [73]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A Shepherdess seated in a shady recess, through an opening of which, a view of the distant country appears. She is drawn below the knees, feeding a sheep, and another sheep gives fulness to the group. The trunk of the tree, with ivy leaves, rises behind her. This Master finished his works with an attention equal to that of Gerard Douw, or any of the most celebrated Flemings. The velvet touch and enamel surface, in every part of the picture, are accompanied by proofs of his extraordinary skill in detail. The flesh, hair, draperies, landscape, and fleeces of the sheep, are all characterized with surprizing minutiae. Time has no way impaired the polished lustre of this production; it is now as perfect as if it had never been stirred from the easel: and in this point of purity, it may be presumed to equal any specimen of Art in existence. The Painter's name, and date, are marked upon it. In his own time Vander Myn's works were highly valued, and he received first-rate prices. The Duke of Chandos paid him 500 guineas for a small picture containing his own and the Duchess's whole-length portraits. His present rank upon the Continent may be estimated from the known fact that one of his cabinet pictures is placed next the celebrated Water Doctor, by Mieris, in the Louvre; the two being considered the most admirable specimens of high-finished Flemish Art, in that magnificent collection The narrative which follows has been omitted (Herman Vander Myn)|A Shepherdess seated in a shady recess, through an opening of which, a view of the distant country appears. She is drawn below the knees, feeding a sheep, and another sheep gives fulness to the group. The trunk of the tree, with ivy leaves, rises behind her. This Master finished his works with an attention equal to that of Gerard Douw, or any of the most celebrated Flemings. The velvet touch and enamel surface, in every part of the picture, are accompanied by proofs of his extraordinary skill in detail. The flesh, hair, draperies, landscape, and fleeces of the sheep, are all characterized with surprizing minutiae. Time has no way impaired the polished lustre of this production; it is now as perfect as if it had never been stirred from the easel: and in this point of purity, it may be presumed to equal any specimen of Art in existence. The Painter's name, and date, are marked upon it. In his own time Vander Myn's works were highly valued, and he received first-rate prices. The Duke of Chandos paid him 500 guineas for a small picture containing his own and the Duchess's whole-length portraits. His present rank upon the Continent may be estimated from the known fact that one of his cabinet pictures is placed next the celebrated Water Doctor, by Mieris, in the Louvre; the two being considered the most admirable specimens of high-finished Flemish Art, in that magnificent collection The narrative which follows has been omitted]] réalisée par Herman Vander Myn, vendue par [[[William Paulet Carey]]]. [74]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A landscape, cattle, cottages, and figures; of the largest cabinet size. It is known that this Artist's still larger works are not often of equal excellence. In the left corner, on the fore-ground, he has introduced a group of pigs feeding; immediately behind, a cluster of sheep; above, on a high bank, a Herdsman and his dog, driving cows; a rustic Female with a milk vessel upon her head follows them. -- In the centre, the shepherd reposes upon a bank. -- To the right, on the fore-ground several Ducks are sporting on a piece of water. On the middle-ground, some cottages stand, at the doors of which, the Peasants are carousing; and above, the slope of a hill is crowned by the village Church and habitations. The Artist has here introduced almost all the various objects, in which he excelled, when painting in his best manner: namely, landscape, rustic figures, fowl, and several species of domestic animals. That eminent Engraver, I. P. Le Bas, engraved from this picture. He also engraved from the companion, painted by Teniers. The print is called, "Le Marche conclus," contains a similar variety of objects, and may be seen with this painting. The high value of this class of Teniers's works is well known. Lot 84, by this Master, was sold at Sir George Yonge's Auction to P. Metcalfe, Esq. for £436 5s. (David Teniers, called the Young)|A landscape, cattle, cottages, and figures; of the largest cabinet size. It is known that this Artist's still larger works are not often of equal excellence. In the left corner, on the fore-ground, he has introduced a group of pigs feeding; immediately behind, a cluster of sheep; above, on a high bank, a Herdsman and his dog, driving cows; a rustic Female with a milk vessel upon her head follows them. -- In the centre, the shepherd reposes upon a bank. -- To the right, on the fore-ground several Ducks are sporting on a piece of water. On the middle-ground, some cottages stand, at the doors of which, the Peasants are carousing; and above, the slope of a hill is crowned by the village Church and habitations. The Artist has here introduced almost all the various objects, in which he excelled, when painting in his best manner: namely, landscape, rustic figures, fowl, and several species of domestic animals. That eminent Engraver, I. P. Le Bas, engraved from this picture. He also engraved from the companion, painted by Teniers. The print is called, "Le Marche conclus," contains a similar variety of objects, and may be seen with this painting. The high value of this class of Teniers's works is well known. Lot 84, by this Master, was sold at Sir George Yonge's Auction to P. Metcalfe, Esq. for £436 5s.]] réalisée par David Teniers, called the Young, vendue par [[[William Paulet Carey]]]. [75]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[A landscape, herdsman, and cattle. This charming study owes much of its fascination to its unobtrusive simplicity. It does not include an extensive country, being a retired scene, from whence no human habitation can be described. Woods skirting a plashy brook, in which the herdsman and his dog are seen driving cows, a goat and two sheep; with an opening in the centre, through which a small portion of level distance appears; constitute this delicious prospect. It may be said to be a limited circle, but every object within it is so selected and treated, that it may also be said to be a circle of enchantment. The easy contrast and unstudied variety of the forms and hues; the sweet, light, lovely play of the leafing; the spirited and fantastic wildness of the stems and irregular shooting of the branches, are full of picturesque luxuriance. The sparkles of sunny light, which dart through the partial openings in the trees, and the still reflections in the water, are painted with great beauty. The time is autumn, and the rich golden and embrowned hues of the fading foliage, are delicately opposed, melted and mellowed into numerous gradations of shadowy olive, and tender green tints. The general colours of the landscape are further set off, by the blue in the centre of the sky; which is, itself, spread below by the blue coat of the peasant; the clouds are ample, of a fine form, and thinly painted; the eye here is also struck, by a superior truth of nature, a felicity of object and execution, which are not always to be met with, even in esteemed works of this esteemed master. It is known that a number of his pictures have lost their gradations of colour, and turned heavy and black. On the contrary, this picture has preserved all the freshness, sapidity, and flower of its hues; all the delicious variety of its golden tints and warm verdure, in full bloom. As a lesson of pencil, colour, and fine taste, it is invaluable. Gainsborough copied it, in a larger size; and his copy was sometime since exhibited for sale in London. The figures were painted by Adrian Vandervelde, and are worthy of his pencil. The herdsman is in the act of turning a cow, in which he is assisted by his dog. The latter faces the cow up, barking, with great spirit. Two sheep, a goat, and another cow drinking, nearer the fore-ground, form the unaffected distribution of this well connected group. The Master's name, "M. Hobbima," is painted in the bottom, close to the frame, in the right corner, and certainly put in at the time the picture was painted The narrative which follows has been omitted (Minderhout Hobbima)|A landscape, herdsman, and cattle. This charming study owes much of its fascination to its unobtrusive simplicity. It does not include an extensive country, being a retired scene, from whence no human habitation can be described. Woods skirting a plashy brook, in which the herdsman and his dog are seen driving cows, a goat and two sheep; with an opening in the centre, through which a small portion of level distance appears; constitute this delicious prospect. It may be said to be a limited circle, but every object within it is so selected and treated, that it may also be said to be a circle of enchantment. The easy contrast and unstudied variety of the forms and hues; the sweet, light, lovely play of the leafing; the spirited and fantastic wildness of the stems and irregular shooting of the branches, are full of picturesque luxuriance. The sparkles of sunny light, which dart through the partial openings in the trees, and the still reflections in the water, are painted with great beauty. The time is autumn, and the rich golden and embrowned hues of the fading foliage, are delicately opposed, melted and mellowed into numerous gradations of shadowy olive, and tender green tints. The general colours of the landscape are further set off, by the blue in the centre of the sky; which is, itself, spread below by the blue coat of the peasant; the clouds are ample, of a fine form, and thinly painted; the eye here is also struck, by a superior truth of nature, a felicity of object and execution, which are not always to be met with, even in esteemed works of this esteemed master. It is known that a number of his pictures have lost their gradations of colour, and turned heavy and black. On the contrary, this picture has preserved all the freshness, sapidity, and flower of its hues; all the delicious variety of its golden tints and warm verdure, in full bloom. As a lesson of pencil, colour, and fine taste, it is invaluable. Gainsborough copied it, in a larger size; and his copy was sometime since exhibited for sale in London. The figures were painted by Adrian Vandervelde, and are worthy of his pencil. The herdsman is in the act of turning a cow, in which he is assisted by his dog. The latter faces the cow up, barking, with great spirit. Two sheep, a goat, and another cow drinking, nearer the fore-ground, form the unaffected distribution of this well connected group. The Master's name, "M. Hobbima," is painted in the bottom, close to the frame, in the right corner, and certainly put in at the time the picture was painted The narrative which follows has been omitted]] réalisée par Minderhout Hobbima, vendue par [[[William Paulet Carey]]]. [76]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[The Introduction of Rebecca, by Jacob, to Esau. Sir Joshua Reynolds remarked of the St. Peter and Paul curing the lame Man, by Eeckhout, in M. Gart's Collection, at Amsterdam, that some parts of it are so exactly like Rembrandt, that a connoisseur might mistake it for his. Many connoisseurs, who have seen this picture, have also pronounced it by Rembrandt; but the name, Eeckhout, at the bottom, decides the question. Rembrandt would not have put the name of Eeckhout on a picture of his own painting; and any other person would be more likely to reverse the act, and affix the name of Rembrandt to a work of the latter Master. The composition is full of figures, but not crowded. The groups are distributed with eminent skill; and the whole displays much of the Painter's idea of early eastern magnificence. The story is well told. The prominent character of Esau, the pleased expression of his countenance, and easy spirit of his attitude; the mingled self-complacency, and respectful intreaty, with which Jacob introduces his wife; and the diffident movement, with which Rachel meets the eye of her lately-dreaded brother-in-law, are successful followings of nature. Jacob's attendants, camels, and baggage, form a clever group. Other interesting groups are seen still further in the adjoining middle ground; which are kept down in warm transparent half-shadow. The groups, immediately behind Abraham, are also skilfully distributed; they serve to connect his figure with that of Esau, without coming too forward on the eye; as they also are painted in strong, but clear and glowing half-shadow. Every part is kept in fine subordination to the principal mass of light upon Esau, Jacob, and Rachel. The light upon Jacob's extended hand, and upon the hand of the man stooping to drink, where the horse is watering is? singularly rich, the ...? by Rembrandt, Titian, Rubens, or any other colourist. They give the character of flesh in sunlight with the truth of nature itself. The silvery breadth of half-tint upon Rebecca's face, and the delicate shadows upon the face and arms of her stooping attendant, resemble the cool pearly coloring of Vandyke's Queen Henrietta, in Earl Fitzwilliam's collection. Upon Vandyke's principle, the Artist also has given relative value and warmth to these cool tints, by the introduction of a piece of bright-blue drapery. The head of the old woman, grouped behind Rachel, is a wonderful specimen of the Rembrandt School. The landscape is rich, but kept in a glowing subordinate tone. The clairo-obscuro unites extraordinary brilliancy with imperceptible transitions of light and shade. This splendid specimen has been long considered Eeckhout's masterpiece. a print was engraved from it by Le Bas: and a journey of 100 miles would be amply repaid by a view of this single picture (Eeckhout)|The Introduction of Rebecca, by Jacob, to Esau. Sir Joshua Reynolds remarked of the St. Peter and Paul curing the lame Man, by Eeckhout, in M. Gart's Collection, at Amsterdam, that some parts of it are so exactly like Rembrandt, that a connoisseur might mistake it for his. Many connoisseurs, who have seen this picture, have also pronounced it by Rembrandt; but the name, Eeckhout, at the bottom, decides the question. Rembrandt would not have put the name of Eeckhout on a picture of his own painting; and any other person would be more likely to reverse the act, and affix the name of Rembrandt to a work of the latter Master. The composition is full of figures, but not crowded. The groups are distributed with eminent skill; and the whole displays much of the Painter's idea of early eastern magnificence. The story is well told. The prominent character of Esau, the pleased expression of his countenance, and easy spirit of his attitude; the mingled self-complacency, and respectful intreaty, with which Jacob introduces his wife; and the diffident movement, with which Rachel meets the eye of her lately-dreaded brother-in-law, are successful followings of nature. Jacob's attendants, camels, and baggage, form a clever group. Other interesting groups are seen still further in the adjoining middle ground; which are kept down in warm transparent half-shadow. The groups, immediately behind Abraham, are also skilfully distributed; they serve to connect his figure with that of Esau, without coming too forward on the eye; as they also are painted in strong, but clear and glowing half-shadow. Every part is kept in fine subordination to the principal mass of light upon Esau, Jacob, and Rachel. The light upon Jacob's extended hand, and upon the hand of the man stooping to drink, where the horse is watering is? singularly rich, the ...? by Rembrandt, Titian, Rubens, or any other colourist. They give the character of flesh in sunlight with the truth of nature itself. The silvery breadth of half-tint upon Rebecca's face, and the delicate shadows upon the face and arms of her stooping attendant, resemble the cool pearly coloring of Vandyke's Queen Henrietta, in Earl Fitzwilliam's collection. Upon Vandyke's principle, the Artist also has given relative value and warmth to these cool tints, by the introduction of a piece of bright-blue drapery. The head of the old woman, grouped behind Rachel, is a wonderful specimen of the Rembrandt School. The landscape is rich, but kept in a glowing subordinate tone. The clairo-obscuro unites extraordinary brilliancy with imperceptible transitions of light and shade. This splendid specimen has been long considered Eeckhout's masterpiece. a print was engraved from it by Le Bas: and a journey of 100 miles would be amply repaid by a view of this single picture]] réalisée par Eeckhout, vendue par [[[William Paulet Carey]]], achetée par Morewood au prix de 189.0 £. [77]
  • 1811.01.30/ maison de ventes : Gaskill. Vente de l'œuvre décrite comme [[Abraham receiving the bread and wine from Melchisedeck: a grand, harmonious and commanding picture. The composition comprehends seventeen figures and a horse, divided into two ample groups, and connected in the centre, by the meeting hands of the two principal figures and their attendants, who are giving and receiving the bread. The head of Melchisedeck is patriarchal; the expression benign; his attitude gracious and his figure majestic. His royal robe is richly ermined, flows with grandeur, and is held up by a young female attendant. The deep-toned swarthy carnations and muscular display, in the nude of the two half-draped figures, bringing in the wine, are painted in a powerful style. The attitude of Abraham is conceived with spirited dignity. He is in motion, one heel raised, ascending the step, to meet his royal Host; and his hands extended forward, receiving the bread. His uncovered head is seen in profile. It is the manly portrait, and speaks the open free soul of Rubens himself. A warm crimson mantle is thrown loosly over his shoulder, and conceals the upper part of his armour. The fore-shortened profile of the helmeted Veteran immediately behind, the fearless drawing, bold character and glowing hues, the fat, free, impetuous pencil, full of colour, with which it is let loose upon the canvas; the flesh and blood of that ruddy masculine front face, close behind with his head bare, and short hair blown loose, as if, oppressed? marching in the heat, he had taken off his casque to cool the fiery flush of his countenance; the sun-burnt and manly shaded profiles of the two near soldiers, in helmets; and the picturesque effect of these four heads, grouped with one of the soldier's arms extended for the bread, immediately behind Abraham; rise upon the eye with a lustre of which it is not possible to convey an adequate idea. Further to the left, a Youth leans upon Abraham's horse, and the noble animal bends his proud neck and head, into a commanding arch, in the act of nipping his raised and itching knee with his teeth. The hot swarthy visages of two robust soldiers, appear immediately behind, deeply shaded, excepting some catching lights upon their helmets. The horse, and almost all these latter objects, are thrown into a transparent breadth of half shadow, vigorously embrowned. A sky of mellow clear blue, and a glimpse of distant landscape, partaking of the same tint, oppose, and throw up, all the genial colours of the figures, with vivid force and freshness. This blue is spread among the figures, by the blue under garment of Melchisedeck, and other dark blue draperies, partially introduced. The general effect is that of an assemblage of bright bold colours, glowing in sun-light, and so skilfully distributed, opposed, and mellowed, as to unite, in an extraordinary degree, the two apparently opposite qualities of splendour and harmony. Rubens painted this subject, a second time, in one of the ceilings of the Church, at Antwerp; but in a much scantier composition, and with feebler effect; as if he had exhausted his best ideas of the story, upon this picture. The print of his second design is left to be compared with this fine composition (Rubens)|Abraham receiving the bread and wine from Melchisedeck: a grand, harmonious and commanding picture. The composition comprehends seventeen figures and a horse, divided into two ample groups, and connected in the centre, by the meeting hands of the two principal figures and their attendants, who are giving and receiving the bread. The head of Melchisedeck is patriarchal; the expression benign; his attitude gracious and his figure majestic. His royal robe is richly ermined, flows with grandeur, and is held up by a young female attendant. The deep-toned swarthy carnations and muscular display, in the nude of the two half-draped figures, bringing in the wine, are painted in a powerful style. The attitude of Abraham is conceived with spirited dignity. He is in motion, one heel raised, ascending the step, to meet his royal Host; and his hands extended forward, receiving the bread. His uncovered head is seen in profile. It is the manly portrait, and speaks the open free soul of Rubens himself. A warm crimson mantle is thrown loosly over his shoulder, and conceals the upper part of his armour. The fore-shortened profile of the helmeted Veteran immediately behind, the fearless drawing, bold character and glowing hues, the fat, free, impetuous pencil, full of colour, with which it is let loose upon the canvas; the flesh and blood of that ruddy masculine front face, close behind with his head bare, and short hair blown loose, as if, oppressed? marching in the heat, he had taken off his casque to cool the fiery flush of his countenance; the sun-burnt and manly shaded profiles of the two near soldiers, in helmets; and the picturesque effect of these four heads, grouped with one of the soldier's arms extended for the bread, immediately behind Abraham; rise upon the eye with a lustre of which it is not possible to convey an adequate idea. Further to the left, a Youth leans upon Abraham's horse, and the noble animal bends his proud neck and head, into a commanding arch, in the act of nipping his raised and itching knee with his teeth. The hot swarthy visages of two robust soldiers, appear immediately behind, deeply shaded, excepting some catching lights upon their helmets. The horse, and almost all these latter objects, are thrown into a transparent breadth of half shadow, vigorously embrowned. A sky of mellow clear blue, and a glimpse of distant landscape, partaking of the same tint, oppose, and throw up, all the genial colours of the figures, with vivid force and freshness. This blue is spread among the figures, by the blue under garment of Melchisedeck, and other dark blue draperies, partially introduced. The general effect is that of an assemblage of bright bold colours, glowing in sun-light, and so skilfully distributed, opposed, and mellowed, as to unite, in an extraordinary degree, the two apparently opposite qualities of splendour and harmony. Rubens painted this subject, a second time, in one of the ceilings of the Church, at Antwerp; but in a much scantier composition, and with feebler effect; as if he had exhausted his best ideas of the story, upon this picture. The print of his second design is left to be compared with this fine composition]] réalisée par Rubens, vendue par [[[William Paulet Carey]]]. [78]
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