Ventes d'œuvres le 1812.06.06

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  • 1812.06.06/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Grand Mountainous Scene, with Figures and Cattle watering -- taken at a late hour of the Evening; a faint gleam of sun-shine displays the out-lines of a noble distant Landscape, which rises in majestic masses, and is touched with a masterly pencil, very fine (Berchem)|A Grand Mountainous Scene, with Figures and Cattle watering -- taken at a late hour of the Evening; a faint gleam of sun-shine displays the out-lines of a noble distant Landscape, which rises in majestic masses, and is touched with a masterly pencil, very fine]] réalisée par Berchem, vendue par Winstanley au prix de 346.10 £. [92]
  • 1812.06.06/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[View of a General Engagement between German and Turkish Forces, on the Banks of a River, the Pass of which is guarded by an ancient Tower of picturesque architecture -- this picture is executed with amazing spirit, the figures very finely drawn, and delicately finished (P. Wouvermans)|View of a General Engagement between German and Turkish Forces, on the Banks of a River, the Pass of which is guarded by an ancient Tower of picturesque architecture -- this picture is executed with amazing spirit, the figures very finely drawn, and delicately finished]] réalisée par P. Wouvermans, vendue par Winstanley au prix de 157.10 £. [93]
  • 1812.06.06/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Dead Christ, with the Maries and St. John -- An exquisite cabinet chef d'oeuvre -- The composition from a noble design of Vandyke, brilliantly coloured, and treated with that delicacy and sweet finishing that characterises this celebrated painter (Vander Werf)|Dead Christ, with the Maries and St. John -- An exquisite cabinet chef d'oeuvre -- The composition from a noble design of Vandyke, brilliantly coloured, and treated with that delicacy and sweet finishing that characterises this celebrated painter]] réalisée par Vander Werf, vendue par Heathcote au prix de 367.10 £. [95]
  • 1812.06.06/ maison de ventes : Squibb (George). Vente de l'œuvre décrite comme [[The Discovery of the Cross by St. Helena The three pictures now offered to public Sale were the performance of Rubens, when employed at Rome by the Duke of Mantua, to make copies of the most celebrated paintings in the public buildings of that city. The manner in which he executed the task assigned him by his patron, was an earnest of his capability to compose original Works, that might contend the palm of excellence with the great Masters of the Roman School: and when solicited by the Monks of the Church of the Holy Cross, to furnish the decorations for their Altar, he shewed, by the productions of these pieces, that his powers were ill employed in copying the designs of others. In speaking of the merits of these Pictures, it is not necessary to be diffuse: the Connoisseur, and Man of Taste, will readily distinguish in them the true constituents of excellence in the Art. The noble and dignified manner of the Roman School is rendered more attractive and engaging, by the beautiful colouring of the Flemish; and the brilliancy of the latter is subdued to a sobriety of tone, suitable to the gravity of the subject, by the deep shadows and grand masses so judiciously introduced. The Discovery of the Cross by St. Helena, Mother of Constantine, abundantly partakes of the riches which Rubens could so liberally bestow on subjects in themselves barren of incident. The majestic piety of her demeanour is worthy the mind of Raphael; and the choir of Cherubim surrounding the Cross are truly what they would represent...The authorities which establish the authenticity of these Three very interesting and excellent Pictures, are Les Vies des Peintures; Florent le Comte in his "Cabinet des Singularitès, &c." "Il Mercurio errante". "Filippo Titi Descrizione delle Architettura e Pitture di Roma, &c." who all concur that they were painted for the Church of the Holy Cross, and were placed over the middle Altar; with this additional circumstance, by the last writer, that the Picture of St. Helena, on account of some damage it had received, was removed to the Library (Rubens)|The Discovery of the Cross by St. Helena The three pictures now offered to public Sale were the performance of Rubens, when employed at Rome by the Duke of Mantua, to make copies of the most celebrated paintings in the public buildings of that city. The manner in which he executed the task assigned him by his patron, was an earnest of his capability to compose original Works, that might contend the palm of excellence with the great Masters of the Roman School: and when solicited by the Monks of the Church of the Holy Cross, to furnish the decorations for their Altar, he shewed, by the productions of these pieces, that his powers were ill employed in copying the designs of others. In speaking of the merits of these Pictures, it is not necessary to be diffuse: the Connoisseur, and Man of Taste, will readily distinguish in them the true constituents of excellence in the Art. The noble and dignified manner of the Roman School is rendered more attractive and engaging, by the beautiful colouring of the Flemish; and the brilliancy of the latter is subdued to a sobriety of tone, suitable to the gravity of the subject, by the deep shadows and grand masses so judiciously introduced. The Discovery of the Cross by St. Helena, Mother of Constantine, abundantly partakes of the riches which Rubens could so liberally bestow on subjects in themselves barren of incident. The majestic piety of her demeanour is worthy the mind of Raphael; and the choir of Cherubim surrounding the Cross are truly what they would represent...The authorities which establish the authenticity of these Three very interesting and excellent Pictures, are Les Vies des Peintures; Florent le Comte in his "Cabinet des Singularitès, &c." "Il Mercurio errante". "Filippo Titi Descrizione delle Architettura e Pitture di Roma, &c." who all concur that they were painted for the Church of the Holy Cross, and were placed over the middle Altar; with this additional circumstance, by the last writer, that the Picture of St. Helena, on account of some damage it had received, was removed to the Library]] réalisée par Rubens au prix de 399.0 £. [99]
  • 1812.06.06/ maison de ventes : Squibb (George). Vente de l'œuvre décrite comme [[The Crowning with Thorns The three pictures now offered to public Sale were the performance of Rubens, when employed at Rome by the Duke of Mantua, to make copies of the most celebrated paintings in the public buildings of that city. The manner in which he executed the task assigned him by his patron, was an earnest of his capability to compose original Works, that might contend the palm of excellence with the great Masters of the Roman School: and when solicited by the Monks of the Church of the Holy Cross, to furnish the decorations for their Altar, he shewed, by the productions of these pieces, that his powers were ill employed in copying the designs of others. In speaking of the merits of these Pictures, it is not necessary to be diffuse: the Connoisseur, and Man of Taste, will readily distinguish in them the true constituents of excellence in the Art. The noble and dignified manner of the Roman School is rendered more attractive and engaging, by the beautiful colouring of the Flemish; and the brilliancy of the latter is subdued to a sobriety of tone, suitable to the gravity of the subject, by the deep shadows and grand masses so judiciously introduced...Christ crowned with Thorns, exhibits an example of chiaro scuro rarely surpassed, and an assemblage of character superior to many of the Artist's later productions. The malignant cruelty of the executioners and soldiers, the attitude of interceding commiseration in the graceful youth, and the meek and lowly submission of the Saviour, display a most interesting and pathetic scene... The authorities which establish the authenticity of these Three very interesting and excellent Pictures, are Les Vies des Peintures; Florent le Comte in his "Cabinet des Singularitès, &c." "Il Mercurio errante". "Filippo Titi Descrizione delle Architettura e Pitture di Roma, &c." who all concur that they were painted for the Church of the Holy Cross, and were placed over the middle Altar; with this additional circumstance, by the last writer, that the Picture of St. Helena, on account of some damage it had received, was removed to the Library (Rubens)|The Crowning with Thorns The three pictures now offered to public Sale were the performance of Rubens, when employed at Rome by the Duke of Mantua, to make copies of the most celebrated paintings in the public buildings of that city. The manner in which he executed the task assigned him by his patron, was an earnest of his capability to compose original Works, that might contend the palm of excellence with the great Masters of the Roman School: and when solicited by the Monks of the Church of the Holy Cross, to furnish the decorations for their Altar, he shewed, by the productions of these pieces, that his powers were ill employed in copying the designs of others. In speaking of the merits of these Pictures, it is not necessary to be diffuse: the Connoisseur, and Man of Taste, will readily distinguish in them the true constituents of excellence in the Art. The noble and dignified manner of the Roman School is rendered more attractive and engaging, by the beautiful colouring of the Flemish; and the brilliancy of the latter is subdued to a sobriety of tone, suitable to the gravity of the subject, by the deep shadows and grand masses so judiciously introduced...Christ crowned with Thorns, exhibits an example of chiaro scuro rarely surpassed, and an assemblage of character superior to many of the Artist's later productions. The malignant cruelty of the executioners and soldiers, the attitude of interceding commiseration in the graceful youth, and the meek and lowly submission of the Saviour, display a most interesting and pathetic scene... The authorities which establish the authenticity of these Three very interesting and excellent Pictures, are Les Vies des Peintures; Florent le Comte in his "Cabinet des Singularitès, &c." "Il Mercurio errante". "Filippo Titi Descrizione delle Architettura e Pitture di Roma, &c." who all concur that they were painted for the Church of the Holy Cross, and were placed over the middle Altar; with this additional circumstance, by the last writer, that the Picture of St. Helena, on account of some damage it had received, was removed to the Library]] réalisée par Rubens au prix de 798.0 £. [100]
  • 1812.06.06/ maison de ventes : Squibb (George). Vente de l'œuvre décrite comme [[The Elevation of the Cross The three pictures now offered to public Sale were the performance of Rubens, when employed at Rome by the Duke of Mantua, to make copies of the most celebrated paintings in the public buildings of that city. The manner in which he executed the task assigned him by his patron, was an earnest of his capability to compose original Works, that might contend the palm of excellence with the great Masters of the Roman School: and when solicited by the Monks of the Church of the Holy Cross, to furnish the decorations for their Altar, he shewed, by the productions of these pieces, that his powers were ill employed in copying the designs of others. In speaking of the merits of these Pictures, it is not necessary to be diffuse: the Connoisseur, and Man of Taste, will readily distinguish in them the true constituents of excellence in the Art. The noble and dignified manner of the Roman School is rendered more attractive and engaging, by the beautiful colouring of the Flemish; and the brilliancy of the latter is subdued to a sobriety of tone, suitable to the gravity of the subject, by the deep shadows and grand masses so judiciously introduced...It will hardly be denied, that in painting The Elevation of the Cross, the Artist was rising in the confidence of his own powers; for there he elicits most forcibly, that vigorous decision which ever after continued to be one of his characteristics. The bold and rugged scenery; the ferocious and relentless attendants; and the grief-worn countenance of the swooning Mary, all harmonize with the subject of the Saviour of Mankind suffering an excruciating death: the figure, aspect, and flashing eyes of the agonized Christ are such as few beside Rubens could produce. The authorities which establish the authenticity of these Three very interesting and excellent Pictures, are Les Vies des Peintures; Florent le Comte in his "Cabinet des Singularitès, &c." "Il Mercurio errante". "Filippo Titi Descrizione delle Architettura e Pitture di Roma, &c." who all concur that they were painted for the Church of the Holy Cross, and were placed over the middle Altar; with this additional circumstance, by the last writer, that the Picture of St. Helena, on account of some damage it had received, was removed to the Library (Rubens)|The Elevation of the Cross The three pictures now offered to public Sale were the performance of Rubens, when employed at Rome by the Duke of Mantua, to make copies of the most celebrated paintings in the public buildings of that city. The manner in which he executed the task assigned him by his patron, was an earnest of his capability to compose original Works, that might contend the palm of excellence with the great Masters of the Roman School: and when solicited by the Monks of the Church of the Holy Cross, to furnish the decorations for their Altar, he shewed, by the productions of these pieces, that his powers were ill employed in copying the designs of others. In speaking of the merits of these Pictures, it is not necessary to be diffuse: the Connoisseur, and Man of Taste, will readily distinguish in them the true constituents of excellence in the Art. The noble and dignified manner of the Roman School is rendered more attractive and engaging, by the beautiful colouring of the Flemish; and the brilliancy of the latter is subdued to a sobriety of tone, suitable to the gravity of the subject, by the deep shadows and grand masses so judiciously introduced...It will hardly be denied, that in painting The Elevation of the Cross, the Artist was rising in the confidence of his own powers; for there he elicits most forcibly, that vigorous decision which ever after continued to be one of his characteristics. The bold and rugged scenery; the ferocious and relentless attendants; and the grief-worn countenance of the swooning Mary, all harmonize with the subject of the Saviour of Mankind suffering an excruciating death: the figure, aspect, and flashing eyes of the agonized Christ are such as few beside Rubens could produce. The authorities which establish the authenticity of these Three very interesting and excellent Pictures, are Les Vies des Peintures; Florent le Comte in his "Cabinet des Singularitès, &c." "Il Mercurio errante". "Filippo Titi Descrizione delle Architettura e Pitture di Roma, &c." who all concur that they were painted for the Church of the Holy Cross, and were placed over the middle Altar; with this additional circumstance, by the last writer, that the Picture of St. Helena, on account of some damage it had received, was removed to the Library]] réalisée par Rubens au prix de 294.0 £. [101]
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