Ventes d'œuvres le 1812.06.-

De Wikipast
Aller à la navigation Aller à la recherche
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A view on the sea coast near Embden, with a variety of ships and vessels steering different courses, the wind and tide being in opposite directions, give that natural agitation and apparent motion to the curling waves, which Vandeveldt himself never excelled (Backhuysen)|A view on the sea coast near Embden, with a variety of ships and vessels steering different courses, the wind and tide being in opposite directions, give that natural agitation and apparent motion to the curling waves, which Vandeveldt himself never excelled]] réalisée par Backhuysen. [5]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A Winter's morning, the ground covered with snow, a farmer on horseback at an ale-house door, has ordered a bowl of warm punch, which the hostess seems conveying with particular caution for fear of spilling the comfortable beverage; the appearance of the fire through the cottage window, the dogs, &c. are also truly admirable (Morland)|A Winter's morning, the ground covered with snow, a farmer on horseback at an ale-house door, has ordered a bowl of warm punch, which the hostess seems conveying with particular caution for fear of spilling the comfortable beverage; the appearance of the fire through the cottage window, the dogs, &c. are also truly admirable]] réalisée par Morland. [18]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The Madona, Child, St. Joseph and St. John, an early production of the inimitable Raphael, in the manner of his master Perugino: this curious specimen of ancient art was presented to the Vatican by Christina, Queen of Sweden during her residence at Rome (Raphael)|The Madona, Child, St. Joseph and St. John, an early production of the inimitable Raphael, in the manner of his master Perugino: this curious specimen of ancient art was presented to the Vatican by Christina, Queen of Sweden during her residence at Rome]] réalisée par Raphael. [25]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The Hostess of Megara begging pardon of the great General Philopaemen, whom she had, being ignorant of his rank, ordered to cut wood to prepare a grand supper, as she told him, for the far famed Philopaemen, whom she expected with his suite at her house, that evening. (See Plutarch's lives.) The figures in this valuable performance by Rubens, the game by Snyders. From the Orlean's collection (Rubens)|The Hostess of Megara begging pardon of the great General Philopaemen, whom she had, being ignorant of his rank, ordered to cut wood to prepare a grand supper, as she told him, for the far famed Philopaemen, whom she expected with his suite at her house, that evening. (See Plutarch's lives.) The figures in this valuable performance by Rubens, the game by Snyders. From the Orlean's collection]] réalisée par Rubens, vendue par [[[Hammersley]]]. [30]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A caricature whole length portrait of the celebrated Titian, giving the finishing touches to a portrait of his favorite mistress, in the 97th year of his age, by Pordenone, once the pupil, but afterwards the formidable rival of that great master (Pordenone)|A caricature whole length portrait of the celebrated Titian, giving the finishing touches to a portrait of his favorite mistress, in the 97th year of his age, by Pordenone, once the pupil, but afterwards the formidable rival of that great master]] réalisée par Pordenone. [35]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Summer. A rich luxuriant Sylvan scene, the varied forms of the trees, and the light breaking through the foliage, truly natural. A young sportsman with persuasive adulation, "infectious sigh and pleading look," seems to be gradually subduing the bashful timidity of a rustic maid, while maternal anxiety is exquisitely depicted in the character of the girl's mother, who stands listening at the cottage door (Morland)|Summer. A rich luxuriant Sylvan scene, the varied forms of the trees, and the light breaking through the foliage, truly natural. A young sportsman with persuasive adulation, "infectious sigh and pleading look," seems to be gradually subduing the bashful timidity of a rustic maid, while maternal anxiety is exquisitely depicted in the character of the girl's mother, who stands listening at the cottage door]] réalisée par Morland. [59]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Cupid preparing his bow, an exquisite cabinet jewel of Parmegiano: copies of this unique performance may be found in several of the most celebrated collections in this metropolis, but the real connoisseur upon examination will here easily discover superior merit, and exclaim "This work is indeed worthy of the name it bears." (Parmegiano)|Cupid preparing his bow, an exquisite cabinet jewel of Parmegiano: copies of this unique performance may be found in several of the most celebrated collections in this metropolis, but the real connoisseur upon examination will here easily discover superior merit, and exclaim "This work is indeed worthy of the name it bears."]] réalisée par Parmegiano. [70]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The defeat of the Spanish Armada. Loutherbourg. This wonderful event has peculiar claim on the pencil, and in transmitting it to the canvas, Mr. Loutherbourg has chosen the moment of the greatest confusion in the Spanish Fleet, before Calais, as affording the finest opposition of lights, and therefore the greatest contrast of coloring and composition (Loutherbourg)|The defeat of the Spanish Armada. Loutherbourg. This wonderful event has peculiar claim on the pencil, and in transmitting it to the canvas, Mr. Loutherbourg has chosen the moment of the greatest confusion in the Spanish Fleet, before Calais, as affording the finest opposition of lights, and therefore the greatest contrast of coloring and composition]] réalisée par Loutherbourg. [76]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Napoleon Bonaparte on horseback, in his consular dress, painted in 1801, by Northcote. The late General Paoli, Mons. Otto, General Andreosi, and several other competent judges have all declared this portrait to be a most striking likeness of that extraordinary character: the horse is a portrait of a Flemish charger, belonging to the Duchess of Leeds (Northcote)|Napoleon Bonaparte on horseback, in his consular dress, painted in 1801, by Northcote. The late General Paoli, Mons. Otto, General Andreosi, and several other competent judges have all declared this portrait to be a most striking likeness of that extraordinary character: the horse is a portrait of a Flemish charger, belonging to the Duchess of Leeds]] réalisée par Northcote. [78]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Marriage a-la-mode. "Tis from high life these characters are drawn." A portly nobleman of high birth, and a worshipful alderman signing the marriage settlement, while the young viscount with perfect indifference is viewing himself in a mirror, displaying his gold snuff box and glittering ring, the lady equally careless, plays with her wedding ring, whilst Counsellor Silvertongue, an insidious lawyer, appears at her right hand, "Like Satan, whispering in the ear of Eve, By nature form'd to ruin and deceive." These six instructive pictures are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible (Mr. Callander)|Marriage a-la-mode. "Tis from high life these characters are drawn." A portly nobleman of high birth, and a worshipful alderman signing the marriage settlement, while the young viscount with perfect indifference is viewing himself in a mirror, displaying his gold snuff box and glittering ring, the lady equally careless, plays with her wedding ring, whilst Counsellor Silvertongue, an insidious lawyer, appears at her right hand, "Like Satan, whispering in the ear of Eve, By nature form'd to ruin and deceive." These six instructive pictures are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible]] réalisée par Mr. Callander. [95]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["Behold how Vice her votary rewards, After a night of folly, frolic, cards." Wearied, languid and spiritless, from the dissipations of the night, the modish viscount comes home at noon, and finds his lady just arisen, and seated en dishabille at her breakfast table. A cap and ribbon which hang out of his pocket, occupy the attention of the dog. The old Steward having brought a number of bills for payment, by his countenance, forsees the gulph of ruin opening for the enfatuated pair These six instructive pictures are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible (Mr. Callander)|"Behold how Vice her votary rewards, After a night of folly, frolic, cards." Wearied, languid and spiritless, from the dissipations of the night, the modish viscount comes home at noon, and finds his lady just arisen, and seated en dishabille at her breakfast table. A cap and ribbon which hang out of his pocket, occupy the attention of the dog. The old Steward having brought a number of bills for payment, by his countenance, forsees the gulph of ruin opening for the enfatuated pair These six instructive pictures are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible]] réalisée par Mr. Callander. [96]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["To Galen's great descendant list -- oh list! Behold a surgeon, sage anatomist, Mechanic, antiquarian, seer, collector, Physician, barber, bone-setter, dissector." The noble Viscount appears here in the apartment of a quack doctor, who had imposed upon him by giving a false bill of health to Betsey Careless, whilst the old Procuress unclasps her knife to defend her character and family surgeon, the enraged Nobleman lifts his cane, and seems ready to bastinado both the Bawd and the Doctor These six instructive pictures are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible (Mr. Callander)|"To Galen's great descendant list -- oh list! Behold a surgeon, sage anatomist, Mechanic, antiquarian, seer, collector, Physician, barber, bone-setter, dissector." The noble Viscount appears here in the apartment of a quack doctor, who had imposed upon him by giving a false bill of health to Betsey Careless, whilst the old Procuress unclasps her knife to defend her character and family surgeon, the enraged Nobleman lifts his cane, and seems ready to bastinado both the Bawd and the Doctor These six instructive pictures are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible]] réalisée par Mr. Callander. [97]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["The new made Countess treads enchanted ground, And madly whirls in pleasure's airy round; To love's fond tale the fair her ear inclines, To Satan's agent all her soul resigns." By the old Peer's death our fair heroine, now a Countess, treads every maze of fashionable dissipation, her morning levee crowded with persons of rank, Italian singers, &c. Counsellor Silvertongue, her paramour, seems making an assignation for the masquerade. The contemptuous leer of a black footman who is serving the chocolate, is particularly striking These six instructive pictures are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible (Mr. Callander)|"The new made Countess treads enchanted ground, And madly whirls in pleasure's airy round; To love's fond tale the fair her ear inclines, To Satan's agent all her soul resigns." By the old Peer's death our fair heroine, now a Countess, treads every maze of fashionable dissipation, her morning levee crowded with persons of rank, Italian singers, &c. Counsellor Silvertongue, her paramour, seems making an assignation for the masquerade. The contemptuous leer of a black footman who is serving the chocolate, is particularly striking These six instructive pictures are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible]] réalisée par Mr. Callander. [98]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["Her dream of dissipation o'er, The bubble pleasure charms no more. Misery! to madness near allied, And ignominious suicide. Thy minions meed by fate's decree, Is death -- a death of infamy!" The exasperated Peer suspecting his wife's infidelity, follows her in disguise to the masquerade, and from thence to the bagnio, bursts open the bed-room door, and attacks the spoiler of his honour with a sword, but neglects his own guard, and is mortally wounded. The lawyer attempts to escape. Struck with horror at the fate of her husband she kneels at his feet, and implores forgiveness These six instructive pictures are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible (Mr. Callander)|"Her dream of dissipation o'er, The bubble pleasure charms no more. Misery! to madness near allied, And ignominious suicide. Thy minions meed by fate's decree, Is death -- a death of infamy!" The exasperated Peer suspecting his wife's infidelity, follows her in disguise to the masquerade, and from thence to the bagnio, bursts open the bed-room door, and attacks the spoiler of his honour with a sword, but neglects his own guard, and is mortally wounded. The lawyer attempts to escape. Struck with horror at the fate of her husband she kneels at his feet, and implores forgiveness These six instructive pictures are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible]] réalisée par Mr. Callander. [99]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["Forlorn, degraded and distrest, The furies tear her tortured breast. To poison -- sad resort! she frantic flies, And, self-destroyed, the wretched Countess dies!" The last sad scene is in the house of her father, to which she returned after her husband's death, and taking the horrid resolution of ending her days by poison, she puts it in execution by bribing her father's servant to procure her a dose of laudanum. Close to the phial upon the floor, Hogarth has judiciously placed Counsellor Silvertongue's last dying speech, to shew that he also received the punishment he so justly deserved. These six instructive pictures are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible (Mr. Callander)|"Forlorn, degraded and distrest, The furies tear her tortured breast. To poison -- sad resort! she frantic flies, And, self-destroyed, the wretched Countess dies!" The last sad scene is in the house of her father, to which she returned after her husband's death, and taking the horrid resolution of ending her days by poison, she puts it in execution by bribing her father's servant to procure her a dose of laudanum. Close to the phial upon the floor, Hogarth has judiciously placed Counsellor Silvertongue's last dying speech, to shew that he also received the punishment he so justly deserved. These six instructive pictures are the only copies ever taken from Hogarth's celebrated set of Marriage a-la-mode, in the possession of John Julius Angerstein, Esq. who liberally permitted Mr. Callander, the ingenious artist, to spend several months in his house; that he might have ample time and opportunity to render them as near the originals as possible]] réalisée par Mr. Callander. [100]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A beautiful and splendid bouquet of flowers, insects &c. placed on a marble slab. De Heem. This chef d'oeuvre of the master belonging to the unfortunate Louis the XVIth. of France, and formed one of the principal ornaments in the Palace of Versailles (De Heem)|A beautiful and splendid bouquet of flowers, insects &c. placed on a marble slab. De Heem. This chef d'oeuvre of the master belonging to the unfortunate Louis the XVIth. of France, and formed one of the principal ornaments in the Palace of Versailles]] réalisée par De Heem. [111]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[King Ahasuerus presenting his ring to Queen Esther -- "Write ye also for the Jews, as it liketh you, in the King's name, and seal it with the King's ring: for the writing which is written in the King's name, and sealed with the King's ring, may no man reverse." Esther, Chap. viii. Ver. 8 (Carlo Dolce)|King Ahasuerus presenting his ring to Queen Esther -- "Write ye also for the Jews, as it liketh you, in the King's name, and seal it with the King's ring: for the writing which is written in the King's name, and sealed with the King's ring, may no man reverse." Esther, Chap. viii. Ver. 8]] réalisée par Carlo Dolce, vendue par [[[Col Hamilton's Executors]]]. [116]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [["Wilkes and Liberty;" or "Covent Garden in an uproar."! Hogarth, Churchill, Dr. Rock, Wilkes, and a number of other Bon Vivants of that day, sally forth from a tavern at five o'clock in the morning, overturning stalls, baskets, &c. whilst cabbages and turnips fly about in glorious confusion; one is mounted upon Mother Needham's sedan chair, beating the reveille with two artichokes, whilst Churchill appears gallantly protecting the ladies (artiste anonyme)|"Wilkes and Liberty;" or "Covent Garden in an uproar."! Hogarth, Churchill, Dr. Rock, Wilkes, and a number of other Bon Vivants of that day, sally forth from a tavern at five o'clock in the morning, overturning stalls, baskets, &c. whilst cabbages and turnips fly about in glorious confusion; one is mounted upon Mother Needham's sedan chair, beating the reveille with two artichokes, whilst Churchill appears gallantly protecting the ladies]] réalisée par un.e artiste anonyme, vendue par [[[Thomas Vernon]]]. [119]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The beautiful and virtuous Queen of Lydia, exposed by Candaules her husband, to Gyges his favourite minister. A chef d'oeuvre by Nicholo Poussin "The hapless king withdraws that sacred veil, That ever should a consort's charms conceal; Betrays those graces to another's sight, That virtue claimed, the monarch's only right; The Queen deceived, unconscious of his crime, Appears in majesty of charms divine! With pure affection meets his ev'ry thought, By duty, love, and veneration taught. She thus obeys an husband's fond desire, And thus her beauty other hearts inspire: While Gyges charm'd insures the lovely prize, For by his hand the hapless monarch dies." O.W. Serres (Nicholo Poussin)|The beautiful and virtuous Queen of Lydia, exposed by Candaules her husband, to Gyges his favourite minister. A chef d'oeuvre by Nicholo Poussin "The hapless king withdraws that sacred veil, That ever should a consort's charms conceal; Betrays those graces to another's sight, That virtue claimed, the monarch's only right; The Queen deceived, unconscious of his crime, Appears in majesty of charms divine! With pure affection meets his ev'ry thought, By duty, love, and veneration taught. She thus obeys an husband's fond desire, And thus her beauty other hearts inspire: While Gyges charm'd insures the lovely prize, For by his hand the hapless monarch dies." O.W. Serres]] réalisée par Nicholo Poussin. [133]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A magnificent portrait of Mr. Kemble, in the character of Hamlet, Prince of Denmark. Laurence, R. A. "Alas Poor Yorick! where be your Gibes now? your Jests? your Songs? your Flashes of Merriment, that were wont to set the table in a roar? Quite chop-fallen!" Hamlet, Act 5th, Scene 1st. (Laurence, R.A.)|A magnificent portrait of Mr. Kemble, in the character of Hamlet, Prince of Denmark. Laurence, R. A. "Alas Poor Yorick! where be your Gibes now? your Jests? your Songs? your Flashes of Merriment, that were wont to set the table in a roar? Quite chop-fallen!" Hamlet, Act 5th, Scene 1st.]] réalisée par Laurence, R.A.. [143]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Our Saviour upon the mount. "And he kneeled down and prayed; saying, Father, if thou be willing remove this cup from me; nevertheless, not my will but thine be done. And there appeared an angel unto him from heaven, strengthening him." This divine performance is painted on a block of black marble (Giacomo Bassan)|Our Saviour upon the mount. "And he kneeled down and prayed; saying, Father, if thou be willing remove this cup from me; nevertheless, not my will but thine be done. And there appeared an angel unto him from heaven, strengthening him." This divine performance is painted on a block of black marble]] réalisée par Giacomo Bassan. [164]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[An old man's portrait, most admirably finished, yet possessing all the spirit and force of Rembrandt. This ingenious artist stands unrivalled for his close imitation of nature; he has been designated the English Denner, and time will render the works of Fielding equally scarce and valuable (Fielding)|An old man's portrait, most admirably finished, yet possessing all the spirit and force of Rembrandt. This ingenious artist stands unrivalled for his close imitation of nature; he has been designated the English Denner, and time will render the works of Fielding equally scarce and valuable]] réalisée par Fielding. [176]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Moses raising the Brazen Serpent in the Wilderness; painted for Cardinal Mazarine. "And Moses made a serpent of brass, and put it upon a pole, and it came to pass, that if a serpent had bitten any man, when he beheld the serpent of brass he lived." Sebastian Bourdon. This most interesting and elegant composition worthy of a Raphael, equal if not superior to Nicolo Poussin, has generally and we may add justly obtained a decided preference to a picture of the same subject though very differently treated, by the immortal Rubens (Sebastian Bourdon)|Moses raising the Brazen Serpent in the Wilderness; painted for Cardinal Mazarine. "And Moses made a serpent of brass, and put it upon a pole, and it came to pass, that if a serpent had bitten any man, when he beheld the serpent of brass he lived." Sebastian Bourdon. This most interesting and elegant composition worthy of a Raphael, equal if not superior to Nicolo Poussin, has generally and we may add justly obtained a decided preference to a picture of the same subject though very differently treated, by the immortal Rubens]] réalisée par Sebastian Bourdon. [184]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A whole length portrait of Mrs. Siddons in the character of Jael, from sacred history. Romney. "Then Jael (Heber's wife) took a nail of the tent, and took a hammer in her hand, and went softly unto him, and smote the nail into his temples, and fastened it into the ground, for he was fast asleep and weary, so he died." This was allowed twenty years ago to be a striking likeness of the above celebrated and accomplished actress (Romney)|A whole length portrait of Mrs. Siddons in the character of Jael, from sacred history. Romney. "Then Jael (Heber's wife) took a nail of the tent, and took a hammer in her hand, and went softly unto him, and smote the nail into his temples, and fastened it into the ground, for he was fast asleep and weary, so he died." This was allowed twenty years ago to be a striking likeness of the above celebrated and accomplished actress]] réalisée par Romney. [186]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The Miraculous Entombment. Lionello Spada. A most awful and astonishing representation of that heart-rending and wonderful ceremony. -- The Body of our Blessed Redeemer laid upon the linen cloth, and extended in the tomb, newly hewn out of the rock, wherein man never lay. "O painful sight! these pious men prepare A sacred tomb! with love, and grateful care; Whilst o'er his mangled form, they hopeless gaze, In deep affliction, and most dire amaze." O.W. Serres. In this magical performance, Spada has introduced the portrait of Annibal Caracci in the character of Joseph of Arimathea, the portrait of Ludovico Caracci as Nicodemus, and the portrait of Leo the Xth. as St. Peter with the Maries, who appear in the back ground of the mausoleum, praying and weeping over the body of Christ. Directions for Viewing the Picture to Advantage. Perhaps the best point of View is from the entrance of the Grand Saloon, where the body appears extended at full length, with the feet directly towards the spectator; then proceeding slowly along the opposite or eastern side of the room, the body will appear turning round as if placed on a pivot, and by the time the spectator arrives at the north-west angle of the Gallery, the body will appear reversed, and the feet still directly towards him. One spectator standing at the south-west angle of the saloon, and another at the north-west corner, will each find the feet appear directly towards him. A wealthy English Gentleman gave a purse full of sequins for this extraordinary Performance, to Signor Armano, an agent of Bonaparte, at Bologna, to the great mortification of that Corsican, who declared he would not have parted with it for a bushel of sequins; as the gallery at the Louvre would never be complete without it N.B. The Miraculous Entombment, by Lionello Spada, will continue on View till the First of August, if not disposed of sooner (Lionello Spada)|The Miraculous Entombment. Lionello Spada. A most awful and astonishing representation of that heart-rending and wonderful ceremony. -- The Body of our Blessed Redeemer laid upon the linen cloth, and extended in the tomb, newly hewn out of the rock, wherein man never lay. "O painful sight! these pious men prepare A sacred tomb! with love, and grateful care; Whilst o'er his mangled form, they hopeless gaze, In deep affliction, and most dire amaze." O.W. Serres. In this magical performance, Spada has introduced the portrait of Annibal Caracci in the character of Joseph of Arimathea, the portrait of Ludovico Caracci as Nicodemus, and the portrait of Leo the Xth. as St. Peter with the Maries, who appear in the back ground of the mausoleum, praying and weeping over the body of Christ. Directions for Viewing the Picture to Advantage. Perhaps the best point of View is from the entrance of the Grand Saloon, where the body appears extended at full length, with the feet directly towards the spectator; then proceeding slowly along the opposite or eastern side of the room, the body will appear turning round as if placed on a pivot, and by the time the spectator arrives at the north-west angle of the Gallery, the body will appear reversed, and the feet still directly towards him. One spectator standing at the south-west angle of the saloon, and another at the north-west corner, will each find the feet appear directly towards him. A wealthy English Gentleman gave a purse full of sequins for this extraordinary Performance, to Signor Armano, an agent of Bonaparte, at Bologna, to the great mortification of that Corsican, who declared he would not have parted with it for a bushel of sequins; as the gallery at the Louvre would never be complete without it N.B. The Miraculous Entombment, by Lionello Spada, will continue on View till the First of August, if not disposed of sooner]] réalisée par Lionello Spada. [195]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[Venus reposing in a classical landscape, from the Nabob of Tanjore's palace in India. The inimitable Titian has here represented his own fair daughter at the Goddess of Beauty; the richness of the colouring and the exquisite symmetry of the limbs have been pronounced truly admirable (Titian)|Venus reposing in a classical landscape, from the Nabob of Tanjore's palace in India. The inimitable Titian has here represented his own fair daughter at the Goddess of Beauty; the richness of the colouring and the exquisite symmetry of the limbs have been pronounced truly admirable]] réalisée par Titian. [227]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[A faithful representation of Lord Howe's memorable victory over the French Fleet on the 1st of June, 1794, by Mr. Clevely of the Royal Navy. The scene of action lay E. half N. 140 leagues off Ushant, and the point of time presented in the picture is at 40 m. past 10 A.M. when the French Admiral Villaret Joyeuse having had a quantum sufficit of British Thunder, thought it prudent to sheer off. The Queen Charlotte from having lost her fore-top and main-top masts, was rendered incapable of carrying sail to overtake him. The British Fleet consisted of 25, that of the French of 27 sail of the line, of which the following seven ships were captured, viz. L'America, L'Impetueux, Le Juste, L'Achille, Le Vengeur, Le Northumberland, and Le Sans Pareil (Mr. Clevely)|A faithful representation of Lord Howe's memorable victory over the French Fleet on the 1st of June, 1794, by Mr. Clevely of the Royal Navy. The scene of action lay E. half N. 140 leagues off Ushant, and the point of time presented in the picture is at 40 m. past 10 A.M. when the French Admiral Villaret Joyeuse having had a quantum sufficit of British Thunder, thought it prudent to sheer off. The Queen Charlotte from having lost her fore-top and main-top masts, was rendered incapable of carrying sail to overtake him. The British Fleet consisted of 25, that of the French of 27 sail of the line, of which the following seven ships were captured, viz. L'America, L'Impetueux, Le Juste, L'Achille, Le Vengeur, Le Northumberland, and Le Sans Pareil]] réalisée par Mr. Clevely. [239]
  • 1812.06.-/ maison de ventes : European Museum. Vente de l'œuvre décrite comme [[The sinking of Le Vengeur, after the action, an event awfully sublime, Mr. Clevely has particularly expressed. The mind of the spectator is however agreeably relieved by observing the strenuous exertions of the British Sailors employed in saving their drowning enemies. To the right of this picture the French Admiral is seen bearing away for France with the remains of his shattered fleet (Mr. Clevely)|The sinking of Le Vengeur, after the action, an event awfully sublime, Mr. Clevely has particularly expressed. The mind of the spectator is however agreeably relieved by observing the strenuous exertions of the British Sailors employed in saving their drowning enemies. To the right of this picture the French Admiral is seen bearing away for France with the remains of his shattered fleet]] réalisée par Mr. Clevely. [240]