Ventes d'œuvres le 1812.06.12

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  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[Landscape, with Cattle and Figures. -- Evening. The effect of the rays of the declining Sun is beautifully and naturally described by the gleam of light that spreads over the tender foliage of the groups of trees, and illumines the fore-ground bank. The passage at the turning of the path, with the light tinging the extreme branches of the bushes which form the hedge, and the entrance through the rustic gate, are truly rural. The transparency of the trees upon the brilliant evening sky is well managed; and the distant mountains are melting into air. The Animals are painted with freedom; and the whole scene is so chastely coloured, that we may pronounce this one of the most natural representations of a warm and serene evening that we have seen from the pencil of this admired Landscape Painter (Moucheron)|Landscape, with Cattle and Figures. -- Evening. The effect of the rays of the declining Sun is beautifully and naturally described by the gleam of light that spreads over the tender foliage of the groups of trees, and illumines the fore-ground bank. The passage at the turning of the path, with the light tinging the extreme branches of the bushes which form the hedge, and the entrance through the rustic gate, are truly rural. The transparency of the trees upon the brilliant evening sky is well managed; and the distant mountains are melting into air. The Animals are painted with freedom; and the whole scene is so chastely coloured, that we may pronounce this one of the most natural representations of a warm and serene evening that we have seen from the pencil of this admired Landscape Painter]] réalisée par Moucheron, vendue par Brogden au prix de 36.15 £. [4]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A Roman Warrior pleading his Cause before a Magistrate of the Western Empire. The character not inferior to Titian. The whole Scene is appropriate. The Secretary is employed in taking notes. The attendant Guards stand perfectly natural; and the Figures listening, and in conversation, are equally characteristic. The architectural back-ground is in perfect harmony of classic representation. There is a suitable tone of grey, but rich, colour pervading the Picture, which proves the Painter worthy of the high rank he attained in the Venetian School (Paul Veronese)|A Roman Warrior pleading his Cause before a Magistrate of the Western Empire. The character not inferior to Titian. The whole Scene is appropriate. The Secretary is employed in taking notes. The attendant Guards stand perfectly natural; and the Figures listening, and in conversation, are equally characteristic. The architectural back-ground is in perfect harmony of classic representation. There is a suitable tone of grey, but rich, colour pervading the Picture, which proves the Painter worthy of the high rank he attained in the Venetian School]] réalisée par Paul Veronese, vendue par Brogden au prix de 21.0 £. [5]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[St. Francis, Recognised by the Sigma on his hands and feet, is represented in a reclining position, with an Angel supporting him in his last moments. Other Angels, accompanied by a Cherub, and hovering above him, resting on a Cloud, and waiting as if to accompany his departing Spirit into Heaven. The Saint is dressed in the habit of the Order of which he was the Founder. A sober tone of colour pervades the whole Performance, and leaves the mind more at leisure to be impressed solely with the piety of the story (Ludovico Carracci)|St. Francis, Recognised by the Sigma on his hands and feet, is represented in a reclining position, with an Angel supporting him in his last moments. Other Angels, accompanied by a Cherub, and hovering above him, resting on a Cloud, and waiting as if to accompany his departing Spirit into Heaven. The Saint is dressed in the habit of the Order of which he was the Founder. A sober tone of colour pervades the whole Performance, and leaves the mind more at leisure to be impressed solely with the piety of the story]] réalisée par Ludovico Carracci, vendue par Brogden au prix de 157.10 £. [6]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A Grand Romantic Landscape. -- From the Falconieri Palace. A species of poetic grandeur pervades the works of this celebrated Painter, which excites our admiration of his original powers. In contemplating the Landscapes of Nicolo Poussin, we are led to feel that every town is peopled with philosophers; and all his figures, however scattered over his classic scenes, are truly such as Virgil has described. Of this cast is the Goatherd, whose action, as he drives the Animals before him up the rude path, displays an intelligent mind: he is addressing the solitary contemplative figure, who is reposing upon the grassy borders of the still water. The trees in this composition are well designed, the colouring is rich, the effect solemn, and the painting is masterly and bold (Nicolo Poussin)|A Grand Romantic Landscape. -- From the Falconieri Palace. A species of poetic grandeur pervades the works of this celebrated Painter, which excites our admiration of his original powers. In contemplating the Landscapes of Nicolo Poussin, we are led to feel that every town is peopled with philosophers; and all his figures, however scattered over his classic scenes, are truly such as Virgil has described. Of this cast is the Goatherd, whose action, as he drives the Animals before him up the rude path, displays an intelligent mind: he is addressing the solitary contemplative figure, who is reposing upon the grassy borders of the still water. The trees in this composition are well designed, the colouring is rich, the effect solemn, and the painting is masterly and bold]] réalisée par Nicolo Poussin, vendue par Brogden au prix de 262.10 £. [7]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Holy Family. -- Small Figures. An Upright. The Virgin is sitting, and the Infant Saviour is standing in her lap, whose head is irradiated by a crown of glory. St. Lucia, and another female Saint, are attendant on each side of the Virgin. The Serpent, as the great Enemy of Man, is judiciously introduced; the scene in which they are placed is an open and mountainous country. The figure of the Saviour is beautiful and elegant. The faces of the Virgin and Attendants are expressive, and sweetly penciled. The draperies are well arranged in ample folds and rich harmony of colour, and show how attentively this great Master had considered, in his early days, the Works of Pietro Perugino and the great Performances of Leonarda da Vinci, on which he grounded part of his own unrivalled excellence (Raphael)|The Holy Family. -- Small Figures. An Upright. The Virgin is sitting, and the Infant Saviour is standing in her lap, whose head is irradiated by a crown of glory. St. Lucia, and another female Saint, are attendant on each side of the Virgin. The Serpent, as the great Enemy of Man, is judiciously introduced; the scene in which they are placed is an open and mountainous country. The figure of the Saviour is beautiful and elegant. The faces of the Virgin and Attendants are expressive, and sweetly penciled. The draperies are well arranged in ample folds and rich harmony of colour, and show how attentively this great Master had considered, in his early days, the Works of Pietro Perugino and the great Performances of Leonarda da Vinci, on which he grounded part of his own unrivalled excellence]] réalisée par Raphael, vendue par Brogden, achetée par Rutley au prix de 15.15 £. [8]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Saviour crowned with Thorns, and shown to the Jews. It cannot but appear singular, that a Master who could send from his easel so extraordinary a Performance as this, -- whose pencil could be so clear and delicate, and yet so forcible, so luminous, and yet so tranquil, who could contrast beauty of countenance, strong opposition of character devoid of extravagance, and who could spread so irresistible a charm over his subject, uniting mind and judgment with facility and perfection of mechanical execution, -- could capriciously have deviated from this sure and resplendent path to fame. This Picture is the perfection of his Art, and the pure soul of Painting. Here is every thing that suits the subject; every thing is in harmony. Pontius Pilate shows the Saviour to the Jews, with the reed placed in his hands in derision, and crowned with thorns. The dignified deportment of the Roman Governor is finely contrasted by the rude and savage conduct of the attendant Executioner, who, with a debased and abject mind, insults the meek and suffering Victim with taunting clamour, as he is rudely stripping the garment from his shoulders: whilst the obedient Soldiers, in the discharge of their duty, remain earnest, but silent spectators. The Painter, with the true pathos of his art, has not harrassed the feelings by an unnecessary display of the bodily sufferings of the Saviour, anticipating the agony he was to suffer upon the Cross; but depicted his patient and pious countenance looking up to Heaven as if he was saying, "Lord, thy will, and not mine, be done." The Saviour of the human race knew what he was to undergo; he did not debase his character by showing an example of impatience under affliction: he felt for the human race, and not for himself, and evinced no unbecoming extravagance of deportment. This the Painter seemed to feel, when he accomplished this wonderful performance (Michael Angelo Carravagio)|The Saviour crowned with Thorns, and shown to the Jews. It cannot but appear singular, that a Master who could send from his easel so extraordinary a Performance as this, -- whose pencil could be so clear and delicate, and yet so forcible, so luminous, and yet so tranquil, who could contrast beauty of countenance, strong opposition of character devoid of extravagance, and who could spread so irresistible a charm over his subject, uniting mind and judgment with facility and perfection of mechanical execution, -- could capriciously have deviated from this sure and resplendent path to fame. This Picture is the perfection of his Art, and the pure soul of Painting. Here is every thing that suits the subject; every thing is in harmony. Pontius Pilate shows the Saviour to the Jews, with the reed placed in his hands in derision, and crowned with thorns. The dignified deportment of the Roman Governor is finely contrasted by the rude and savage conduct of the attendant Executioner, who, with a debased and abject mind, insults the meek and suffering Victim with taunting clamour, as he is rudely stripping the garment from his shoulders: whilst the obedient Soldiers, in the discharge of their duty, remain earnest, but silent spectators. The Painter, with the true pathos of his art, has not harrassed the feelings by an unnecessary display of the bodily sufferings of the Saviour, anticipating the agony he was to suffer upon the Cross; but depicted his patient and pious countenance looking up to Heaven as if he was saying, "Lord, thy will, and not mine, be done." The Saviour of the human race knew what he was to undergo; he did not debase his character by showing an example of impatience under affliction: he felt for the human race, and not for himself, and evinced no unbecoming extravagance of deportment. This the Painter seemed to feel, when he accomplished this wonderful performance]] réalisée par Michael Angelo Carravagio, vendue par Brogden au prix de 787.10 £. [9]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[View of the Church of St. George Majore, as seen from the Corner of St. Mark's Square. Amongst the most pleasing inquiries of an enlightened mind, must be reckoned those which tend to the attainment of a knowledge of the habits, customs, and manners of Foreign Nations: and we feel indebted to all those persons, whether historians, travellers, or artists, whose labours have provided us with the means of gratifying so laudable a pursuit. This extraordinary City of Palaces, rising, as if by magic, out of the waters of the Adriatic, is the admiration of the world. And the accounts from all travellers to this renowned place, have excited a general interest to become acquainted with its pictorial beauties. The numerous fine Works from the pencil of this justly admired Artist have afforded us an intimate knowledge of its grandeur, with which we readily associate our feelings of respect for the illustrious men to whom Venice has given birth. Thus at once raising in our estimation the utility and interesting powers of this topographical branch of art. From the faithful Pictures representative of the architectural beauties of this City we feel almost as well acquainted with every feature thereof as though we were natives of Venice. This Picture, and its Companion, are of the same class with the fine Paintings by this Master that adorn the walls of Buckingham House; Works that were held in the highest esteem by our Sovereign. This composition is grand and picturesque, the perspective is faithfully delineated, the colouring is natural, the effect broad, and the figures and vessels are executed with the most masterly spirit. Indeed the happy combinations of the graphic art in this Picture renders the scene completely illusive (Canaletti)|View of the Church of St. George Majore, as seen from the Corner of St. Mark's Square. Amongst the most pleasing inquiries of an enlightened mind, must be reckoned those which tend to the attainment of a knowledge of the habits, customs, and manners of Foreign Nations: and we feel indebted to all those persons, whether historians, travellers, or artists, whose labours have provided us with the means of gratifying so laudable a pursuit. This extraordinary City of Palaces, rising, as if by magic, out of the waters of the Adriatic, is the admiration of the world. And the accounts from all travellers to this renowned place, have excited a general interest to become acquainted with its pictorial beauties. The numerous fine Works from the pencil of this justly admired Artist have afforded us an intimate knowledge of its grandeur, with which we readily associate our feelings of respect for the illustrious men to whom Venice has given birth. Thus at once raising in our estimation the utility and interesting powers of this topographical branch of art. From the faithful Pictures representative of the architectural beauties of this City we feel almost as well acquainted with every feature thereof as though we were natives of Venice. This Picture, and its Companion, are of the same class with the fine Paintings by this Master that adorn the walls of Buckingham House; Works that were held in the highest esteem by our Sovereign. This composition is grand and picturesque, the perspective is faithfully delineated, the colouring is natural, the effect broad, and the figures and vessels are executed with the most masterly spirit. Indeed the happy combinations of the graphic art in this Picture renders the scene completely illusive]] réalisée par Canaletti, vendue par Brogden au prix de 63.0 £. [10]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[View of the Doge's Palace, seen from St. Mark's Square. So deceptive is this magnificent mass of buildings, as seen across the water, that we cannot but fancy ourselves upon the spot from whence the Painter made his view. The perspective of the foreground, with the continuity of regular pavement approaching the lofty obelisk, on the side of St. Mark's Palace, leads the eye of the spectator to the waters of the Adriatic, which through the opposite opening is seen to expand its unruffled bosom to the horizon. The various vessels that gayly adorn its surface are disposed with the usual good taste of the Master, whose judgment in the arrangement of vessels, figures, and all the necessary accompaniments of such designs, was above competition. The vessel, with its mast and projecting oars, is finely foreshortened, and aids the effect of the general composition, which is so varied and so truly grand, that is worthy of being placed as a companion to the View of the Church of St. George Majore (Canaletti)|View of the Doge's Palace, seen from St. Mark's Square. So deceptive is this magnificent mass of buildings, as seen across the water, that we cannot but fancy ourselves upon the spot from whence the Painter made his view. The perspective of the foreground, with the continuity of regular pavement approaching the lofty obelisk, on the side of St. Mark's Palace, leads the eye of the spectator to the waters of the Adriatic, which through the opposite opening is seen to expand its unruffled bosom to the horizon. The various vessels that gayly adorn its surface are disposed with the usual good taste of the Master, whose judgment in the arrangement of vessels, figures, and all the necessary accompaniments of such designs, was above competition. The vessel, with its mast and projecting oars, is finely foreshortened, and aids the effect of the general composition, which is so varied and so truly grand, that is worthy of being placed as a companion to the View of the Church of St. George Majore]] réalisée par Canaletti, vendue par Brogden au prix de 74.11 £. [11]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Holy Family. The Virgin, Saviour, Joseph, and St. John, are described by this forcible and most respected Artist as in the act of devotional singing -- "Hymning the great Creator." This luminous Picture ought to be deemed worthy the pencil of the great Rubens, for clearness of tone as well as richness of colour. The subject is unusually treated. The Sacred Family are employed in the most devout and reverential pursuit that the human mind could possibly conceive. The Painter has introduced his own Portrait and that of his Wife; and it may naturally be supposed, although there is no history of the fact, that the Saviour and St. John are the likenesses of his children; such personifications being admissible liberties in the hands of the great Masters, of which there are numerous examples. The friendship of Rubens for Jordaens, it is well known, was sincere and affectionate; and the Picture presents itself to the spectator of so very brilliant a quality, that it cannot be doubted but the generous hand of Rubens, dictated by a regard for the reputation of his favourite disciple, contributed the additional graces of his own pencil, to give animation to the likeness of Jordaens, and resplendent beauty on the head of the Saviour (Jordaens)|The Holy Family. The Virgin, Saviour, Joseph, and St. John, are described by this forcible and most respected Artist as in the act of devotional singing -- "Hymning the great Creator." This luminous Picture ought to be deemed worthy the pencil of the great Rubens, for clearness of tone as well as richness of colour. The subject is unusually treated. The Sacred Family are employed in the most devout and reverential pursuit that the human mind could possibly conceive. The Painter has introduced his own Portrait and that of his Wife; and it may naturally be supposed, although there is no history of the fact, that the Saviour and St. John are the likenesses of his children; such personifications being admissible liberties in the hands of the great Masters, of which there are numerous examples. The friendship of Rubens for Jordaens, it is well known, was sincere and affectionate; and the Picture presents itself to the spectator of so very brilliant a quality, that it cannot be doubted but the generous hand of Rubens, dictated by a regard for the reputation of his favourite disciple, contributed the additional graces of his own pencil, to give animation to the likeness of Jordaens, and resplendent beauty on the head of the Saviour]] réalisée par Jordaens, vendue par Brogden au prix de 262.10 £. [12]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[Diana returning from the Chase. The Goddess of the Chase is represented in this fine Picture returning from the field at the head of her Nymphs, each of whom is armed with a spear: one is bearing upon her shoulder a hare, another is caressing a dog, whilst Silenus is eyeing the chaste Goddess, and the rosy children are stealing the grapes, in luxuriant bunches he is bearing before him. This was a favourite subject with the great Flemish Painter, in which he delighted to display his knowledge of colouring the naked figure: and, in the instance before us, his talent for splendor of effect is strongly manifested. This Picture is from the celebrated Collection of the late Duke of Orleans (Sir Peter Paul Rubens)|Diana returning from the Chase. The Goddess of the Chase is represented in this fine Picture returning from the field at the head of her Nymphs, each of whom is armed with a spear: one is bearing upon her shoulder a hare, another is caressing a dog, whilst Silenus is eyeing the chaste Goddess, and the rosy children are stealing the grapes, in luxuriant bunches he is bearing before him. This was a favourite subject with the great Flemish Painter, in which he delighted to display his knowledge of colouring the naked figure: and, in the instance before us, his talent for splendor of effect is strongly manifested. This Picture is from the celebrated Collection of the late Duke of Orleans]] réalisée par Sir Peter Paul Rubens, vendue par Brogden au prix de 735.0 £. [13]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Plague of Ashdod. The subject of this noble work of art is taken from the sacred Scriptures, and is descriptive of the Plague that the offended God of the Israelites visited upon the Philistine city of Ashdod. The moment selected by the Painter is that when the idolatrous inhabitants of the city assembled to offer their morning sacrifice to the idol Dagon. -- "And when they of Ashdod arose early on the morrow, behold, Dagon was fallen upon his face to the earth, before the Ark of the Lord." -- "And the head of Dagon, and both the palms of his hands, were cut off upon the threshold; only the stump of Dagon was left to him." -- "But the hand of the Lord was heavy upon them of Ashdod, and he destroyed them, and smote them with emerods." The awfulness of this scene of woe is here pourtrayed with circumstances so naturally arising out of the spreading calamity, that were we not acquainted with the inventive powers of the mind of such a Painter as Poussin, we should conclude the imagery must have been collected by one who had witnessed the horrors of a populous city devastated by a plague. The feelings excited in contemplating this affecting picture, are suited to the subject, which is recorded in that book where all that is described is sublime. The buildings bespeak this to be a city of note -- its inhabitants are such as accord with our notions of the people of that age -- all the composition is remote from modern times. The high priest is represented in consternation on discovering the fallen idol; and the surrounding witnesses exhibit astonishment and terror at the catastrophe. The utmost pathos of the art is displayed in the group upon the foreground of the picture, wherein we behold a mother dead of the fatal disease, with one infant breathless by her side; and another, though living, yet unconscious of its misfortune, in the act of endeavouring to excite the maternal attention to its wants; whilst a man is humanely engaged, at the risk of his own safety, in separating the innocent victim from its danger. Indeed there is not a figure, nor an incident, in the composition, but tends to the developement of the story recorded by this extraordinary epic Picture. The figures are drawn with classic elegance, the draperies are finely designed, the effect is solemn, and the colouring accords with the general sentiment of the subject. This Picture, which is from the Collection at the Colonna Palace, was held in high estimation upon the Continent, and is mentioned by Felibien as one of the finest works of Nicolo Poussin (Nicolo Poussin)|The Plague of Ashdod. The subject of this noble work of art is taken from the sacred Scriptures, and is descriptive of the Plague that the offended God of the Israelites visited upon the Philistine city of Ashdod. The moment selected by the Painter is that when the idolatrous inhabitants of the city assembled to offer their morning sacrifice to the idol Dagon. -- "And when they of Ashdod arose early on the morrow, behold, Dagon was fallen upon his face to the earth, before the Ark of the Lord." -- "And the head of Dagon, and both the palms of his hands, were cut off upon the threshold; only the stump of Dagon was left to him." -- "But the hand of the Lord was heavy upon them of Ashdod, and he destroyed them, and smote them with emerods." The awfulness of this scene of woe is here pourtrayed with circumstances so naturally arising out of the spreading calamity, that were we not acquainted with the inventive powers of the mind of such a Painter as Poussin, we should conclude the imagery must have been collected by one who had witnessed the horrors of a populous city devastated by a plague. The feelings excited in contemplating this affecting picture, are suited to the subject, which is recorded in that book where all that is described is sublime. The buildings bespeak this to be a city of note -- its inhabitants are such as accord with our notions of the people of that age -- all the composition is remote from modern times. The high priest is represented in consternation on discovering the fallen idol; and the surrounding witnesses exhibit astonishment and terror at the catastrophe. The utmost pathos of the art is displayed in the group upon the foreground of the picture, wherein we behold a mother dead of the fatal disease, with one infant breathless by her side; and another, though living, yet unconscious of its misfortune, in the act of endeavouring to excite the maternal attention to its wants; whilst a man is humanely engaged, at the risk of his own safety, in separating the innocent victim from its danger. Indeed there is not a figure, nor an incident, in the composition, but tends to the developement of the story recorded by this extraordinary epic Picture. The figures are drawn with classic elegance, the draperies are finely designed, the effect is solemn, and the colouring accords with the general sentiment of the subject. This Picture, which is from the Collection at the Colonna Palace, was held in high estimation upon the Continent, and is mentioned by Felibien as one of the finest works of Nicolo Poussin]] réalisée par Nicolo Poussin, vendue par Brogden au prix de 1050.0 £. [14]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[Portrait of a Female. Beauty, united with expression, which so eminently characterise the fine faces of the Italian women, is happily delineated in the countenance of this Portrait. The drawing of which, together with the neck and hands, is correct and chaste, the chiaro oscura bold, the colouring rich and harmonious, and the execution, though highly finished, is masterly. The Works of this extraordinary and accomplished man are scarce, and deservedly held in high repute. This Picture was brought to England from Milan some years ago, and has remained in the Collection in which it was then placed to the present period (Leonardi da Vinci)|Portrait of a Female. Beauty, united with expression, which so eminently characterise the fine faces of the Italian women, is happily delineated in the countenance of this Portrait. The drawing of which, together with the neck and hands, is correct and chaste, the chiaro oscura bold, the colouring rich and harmonious, and the execution, though highly finished, is masterly. The Works of this extraordinary and accomplished man are scarce, and deservedly held in high repute. This Picture was brought to England from Milan some years ago, and has remained in the Collection in which it was then placed to the present period]] réalisée par Leonardi da Vinci, vendue par Brogden au prix de 420.0 £. [15]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[St. Sebastian. The utmost knowledge of the contour of the human form is manifested by this great artist. In the design of this elegant figure, whose soul, amidst the agony of his corporeal sufferings, seems suddenly elevated by observing the heavenly messengers, bearing the symbols of reward for his holy zeal. There is a grandeur in the conception of this subject, worthy of the great mind of Domenichino, whose severe style diffuse dignity to the graphic art. The composition is of the highest order of painting; that simplicity of style which delights in breadth of effect and solemnity of colour, disdaining meretricious ornament, is here exhibited to the intelligent mind in its fullest power. These elevated subjects, when treated by men of inferior abilities, produce sentiments of disgust; but in the hands of a Domenichino, raise none but those which exalt the human mind. The buildings, the landscape, and the whole of this fine composition, are of the highest order of merit (Domenichino)|St. Sebastian. The utmost knowledge of the contour of the human form is manifested by this great artist. In the design of this elegant figure, whose soul, amidst the agony of his corporeal sufferings, seems suddenly elevated by observing the heavenly messengers, bearing the symbols of reward for his holy zeal. There is a grandeur in the conception of this subject, worthy of the great mind of Domenichino, whose severe style diffuse dignity to the graphic art. The composition is of the highest order of painting; that simplicity of style which delights in breadth of effect and solemnity of colour, disdaining meretricious ornament, is here exhibited to the intelligent mind in its fullest power. These elevated subjects, when treated by men of inferior abilities, produce sentiments of disgust; but in the hands of a Domenichino, raise none but those which exalt the human mind. The buildings, the landscape, and the whole of this fine composition, are of the highest order of merit]] réalisée par Domenichino, vendue par Brogden au prix de 1575.0 £. [16]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[Leda. This celebrated Picture, which shows the grandeur of this great Master's idea of the human figure, attached to gracefulness of form, long remained the principal ornament of the late Earl Spencer's drawing room, at his Seat at Wimbledon, in Surrey, and was subsequently a highly valued treasure in the Collection of that accurate judge of art Sir Joshua Reynolds, in whose house it remained at his death. The memorable words of this illustrious Painter, in his last public address to the pupils of the Royal Academy, evince his decided reverence for the talents of this great Master of the Italian School (Michael Angelo Buonarotti)|Leda. This celebrated Picture, which shows the grandeur of this great Master's idea of the human figure, attached to gracefulness of form, long remained the principal ornament of the late Earl Spencer's drawing room, at his Seat at Wimbledon, in Surrey, and was subsequently a highly valued treasure in the Collection of that accurate judge of art Sir Joshua Reynolds, in whose house it remained at his death. The memorable words of this illustrious Painter, in his last public address to the pupils of the Royal Academy, evince his decided reverence for the talents of this great Master of the Italian School]] réalisée par Michael Angelo Buonarotti, vendue par Brogden au prix de 105.0 £. [17]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A Landscape, with a Swine-herd, &c. Size, including the frame, 2 feet high, by 2 feet 3 inches wide. This Picture presents itself as one of the most singular and perfect productions of the Master. The Landscape and Sky are clear and beautiful; the Animals diversified, with the most perfect attention to their character: and the Swine-herd, dividing his Morsel with the Dog, exhibits a degree of feeling and good nature seldom found in the works of the Dutch and Flemish Masters. It is equal to the finest works of Paul Potter; and was so highly esteemed in Paris before the Revolution, that the late Mr. Vandergucht left a commission with M. Le Brun, for several years previous to his death, in 1787, to bid as far as 250 Louis-d'ors, if ever it should be offered for sale: but it was not to be obtained until the Revolution had brought on those pecuniary distresses which induced the dispersion of most of the Collections in France, when it was purchased by the present possessor (Karl Du Jardin)|A Landscape, with a Swine-herd, &c. Size, including the frame, 2 feet high, by 2 feet 3 inches wide. This Picture presents itself as one of the most singular and perfect productions of the Master. The Landscape and Sky are clear and beautiful; the Animals diversified, with the most perfect attention to their character: and the Swine-herd, dividing his Morsel with the Dog, exhibits a degree of feeling and good nature seldom found in the works of the Dutch and Flemish Masters. It is equal to the finest works of Paul Potter; and was so highly esteemed in Paris before the Revolution, that the late Mr. Vandergucht left a commission with M. Le Brun, for several years previous to his death, in 1787, to bid as far as 250 Louis-d'ors, if ever it should be offered for sale: but it was not to be obtained until the Revolution had brought on those pecuniary distresses which induced the dispersion of most of the Collections in France, when it was purchased by the present possessor]] réalisée par Karl Du Jardin, vendue par John Trumbull au prix de 210.0 £. [18]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A Landscape, with Figures and Animals. Size, including the frame, 2 feet 2 inches high, by 3 feet long. This Picture is of the same class of merit as the two beautiful Landscapes, by the same admired Master, now in the Collection of the Marquis of Stafford, and formerly in the possession of Monsieur de Calonne, and the late Mr. Purling. The refreshing breeze of an autumnal evening in a warm climate, is expressed in the happiest manner by the apparent motion of the clouds and the agitation of the trees. The deep tone of the Landscape gives a splendour to the Sky, finely characteristic of the declining day: Travellers are riding with speed, to reach their destination before dark; Cattle are slowly returning to their homes; and the whole subject is lively. The Scenery is Italian, with Mount Soracte in the Distance (Nicholas Berghem)|A Landscape, with Figures and Animals. Size, including the frame, 2 feet 2 inches high, by 3 feet long. This Picture is of the same class of merit as the two beautiful Landscapes, by the same admired Master, now in the Collection of the Marquis of Stafford, and formerly in the possession of Monsieur de Calonne, and the late Mr. Purling. The refreshing breeze of an autumnal evening in a warm climate, is expressed in the happiest manner by the apparent motion of the clouds and the agitation of the trees. The deep tone of the Landscape gives a splendour to the Sky, finely characteristic of the declining day: Travellers are riding with speed, to reach their destination before dark; Cattle are slowly returning to their homes; and the whole subject is lively. The Scenery is Italian, with Mount Soracte in the Distance]] réalisée par Nicholas Berghem, vendue par John Trumbull au prix de 262.10 £. [19]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[A Musical Party, with Portraits of Himself and Family. Size, including the frame, 2 feet 3 inches high, by 2 feet 1 inch wide. This is one of the most elegant productions of this esteemed Master. It is undebased by the introduction of any object of vulgarity; painted in his fine silvery tone; spirited in touch; beautiful in colour; and was regarded in Paris upon a level with the celebrated Prodigal Son, at the Louvre (David Teniers, Jun.)|A Musical Party, with Portraits of Himself and Family. Size, including the frame, 2 feet 3 inches high, by 2 feet 1 inch wide. This is one of the most elegant productions of this esteemed Master. It is undebased by the introduction of any object of vulgarity; painted in his fine silvery tone; spirited in touch; beautiful in colour; and was regarded in Paris upon a level with the celebrated Prodigal Son, at the Louvre]] réalisée par David Teniers, Jun., vendue par John Trumbull au prix de 220.10 £. [20]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Village Fete. Size, including the frame, 4 feet 9 inches long, by 3 feet 7 inches high. One of the choicest specimens of this eminent man. The composition is uncommonly perfect, whether considered with regard to the distribution of the light and shadow, the happy proportion of earth and air, or the natural and varied arrangement of the figures in groups, animated or tranquil, near or remote, light or dark, in the open air, or seen through the windows in the interior of the buildings. The tone of the Picture is silvery, and luminous in the highest degree; the Landscape more than usually interesting; and nothing can exceed the beauty of the Sky, and the vapoury lightness of its flitting clouds. The Figures are exquisitely touched: -- One of the Women, sitting in the left part of the Picture, is singularly handsome; and unusual incident in a performance by Teniers (David Teniers, Jun.)|The Village Fete. Size, including the frame, 4 feet 9 inches long, by 3 feet 7 inches high. One of the choicest specimens of this eminent man. The composition is uncommonly perfect, whether considered with regard to the distribution of the light and shadow, the happy proportion of earth and air, or the natural and varied arrangement of the figures in groups, animated or tranquil, near or remote, light or dark, in the open air, or seen through the windows in the interior of the buildings. The tone of the Picture is silvery, and luminous in the highest degree; the Landscape more than usually interesting; and nothing can exceed the beauty of the Sky, and the vapoury lightness of its flitting clouds. The Figures are exquisitely touched: -- One of the Women, sitting in the left part of the Picture, is singularly handsome; and unusual incident in a performance by Teniers]] réalisée par David Teniers, Jun., vendue par John Trumbull au prix de 525.0 £. [21]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Madona and Infant Saviour. Size, including the frame, 4 feet 9 inches high, by 4 feet wide. A beautiful repetition of a well known and much admired composition of the Master; with which he was so delighted, that he painted it several times. It formerly hung in the Palais de l'Assaye, at Paris. The heads are admirably expressive of maternal affection and infantine playfulness; the drawing is correct; the colour an evidence of the near approach of Vandyke to the sober dignity of Titian; and the harmony of the ensemble perfect. In the execution it is an elegant example of that mellow style which unites precision with looseness; the decided touch of the pencil, with that vague softness, which, while it leaves no visible outline, particularly in the flesh, still preserves the forms correct and elegant: a beauty seldom found in the works of any other Master, and not always in such perfection even in those of Vandyke (Sir Anthony Vandyke)|The Madona and Infant Saviour. Size, including the frame, 4 feet 9 inches high, by 4 feet wide. A beautiful repetition of a well known and much admired composition of the Master; with which he was so delighted, that he painted it several times. It formerly hung in the Palais de l'Assaye, at Paris. The heads are admirably expressive of maternal affection and infantine playfulness; the drawing is correct; the colour an evidence of the near approach of Vandyke to the sober dignity of Titian; and the harmony of the ensemble perfect. In the execution it is an elegant example of that mellow style which unites precision with looseness; the decided touch of the pencil, with that vague softness, which, while it leaves no visible outline, particularly in the flesh, still preserves the forms correct and elegant: a beauty seldom found in the works of any other Master, and not always in such perfection even in those of Vandyke]] réalisée par Sir Anthony Vandyke, vendue par John Trumbull au prix de 262.10 £. [22]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Saviour on the Mount of Olives, in the Evening that he was betrayed. Size, including the frame, 3 feet high, by 2 feet 7 inches wide. This Picture was brought from Rome to Paris by Mr. Joubert, in whose Collection it was held to be one of the most beautiful and extraordinary works of this great Master. But here its high beauties have been inconsiderately converted into objections. By some it has been said, that in the fine effect of the clair obscur, and in richness of colour, it does not resemble those works of the Master with which we are familiar. This may be true. But we are told, in the Life of Poussin, that he studied for some time in Florence, in company, and in strict friendship, with the celebrated Fiamingo. That, after their separation, he devoted himself, for a considerable period, to the admiration and study of the works of Titian...The Picture before us was evidently painted at this time...Others have said, that it was inconsistent with the usual severity and dignity of Poussin's style to have placed the various symbols of Christ's approaching sufferings in the hands of the visionary Cherubs, who hover round the Cross. Those who have hazarded this criticism must have forgotten the fine print by Claudia Stella, from the same Master, and of the same subject: in the fore-ground of which, the Saviour is represented as fainting with anguish, before the vision of the Cross, and supported in the arms of a pitying Angel; while the Cross itself is upheld and surrounded by Cherubs, holding, as in this Picture, the various emblems of the Crucifixion. Fine as that composition is, (and the fore-ground is certainly of unrivalled pathos,) the Picture before us does not suffer from the comparison. The Sleeping Disciples, particularly the foreshortened figure of St. Peter, are eminently worthy of the Master; and the expression of the Cherubs is unquestionably more awe-inspiring and celestial in the picture than in the print. Others have objected to the figure of the Saviour, as not being sufficiently dignified. But it should be remembered, that humility was one great characteristic of our Lord while on earth, and that this subject represents him in one of the moments of his deepest humiliation...The preceding was excerpted (Nicolo Poussin)|The Saviour on the Mount of Olives, in the Evening that he was betrayed. Size, including the frame, 3 feet high, by 2 feet 7 inches wide. This Picture was brought from Rome to Paris by Mr. Joubert, in whose Collection it was held to be one of the most beautiful and extraordinary works of this great Master. But here its high beauties have been inconsiderately converted into objections. By some it has been said, that in the fine effect of the clair obscur, and in richness of colour, it does not resemble those works of the Master with which we are familiar. This may be true. But we are told, in the Life of Poussin, that he studied for some time in Florence, in company, and in strict friendship, with the celebrated Fiamingo. That, after their separation, he devoted himself, for a considerable period, to the admiration and study of the works of Titian...The Picture before us was evidently painted at this time...Others have said, that it was inconsistent with the usual severity and dignity of Poussin's style to have placed the various symbols of Christ's approaching sufferings in the hands of the visionary Cherubs, who hover round the Cross. Those who have hazarded this criticism must have forgotten the fine print by Claudia Stella, from the same Master, and of the same subject: in the fore-ground of which, the Saviour is represented as fainting with anguish, before the vision of the Cross, and supported in the arms of a pitying Angel; while the Cross itself is upheld and surrounded by Cherubs, holding, as in this Picture, the various emblems of the Crucifixion. Fine as that composition is, (and the fore-ground is certainly of unrivalled pathos,) the Picture before us does not suffer from the comparison. The Sleeping Disciples, particularly the foreshortened figure of St. Peter, are eminently worthy of the Master; and the expression of the Cherubs is unquestionably more awe-inspiring and celestial in the picture than in the print. Others have objected to the figure of the Saviour, as not being sufficiently dignified. But it should be remembered, that humility was one great characteristic of our Lord while on earth, and that this subject represents him in one of the moments of his deepest humiliation...The preceding was excerpted]] réalisée par Nicolo Poussin, vendue par John Trumbull au prix de 262.10 £. [23]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Madona, with the Infant Saviour, surrounded by Angels, in celestial Glory, appears to St. Mary Magdalen and Santa Lucia. Size, including the frame, 2 feet 9 inches high, by 2 feet 3 inches wide. The Subject of this Picture not having been exactly known, it was called "the Patron Saints of Bologna;" from a supposed resemblance of the buildings in the middle ground to that City, and of the level distance, which was imagined to represent the Plains of Lombardy. But this must have been an error. The City of Bologna, which is celebrated for its leaning tower, contains no column...Instead of which, we see in the Picture not a leaning tower, but an erect column; which, on close observation, will be found to be formed of spiral lines, manifestly intended to indicate the Trajan column. An adjoining building evidently resembles the Pantheon; and another building is like the remains of the Colisèe; so that there can be no doubt that the City was intended to represent Rome, and not Bologna: and that the level distance was meant as characteristic of the Campagna of Rome, looking towards the Sea. In support of the idea that the Picture was intended to represent the Patron Saints of Bologna, it had been further suggested, that there was, in the Town-hall of that City, a Picture of this subject, painted by Guido, the figures large as life: from which Picture it was inferred that this was copied...but...there exists no duplicate of this subject by Guido, large or small...the Work before us is the unquestionable hand of that great Master, and which no one, it is presumed, can reasonably doubt, since no other person could have painted, much less have composed, a Picture in a style so entirely resembling his finest Works. It was probably painted for the private oratory of some noble family in Rome, from which it passed into the possession of Mr. Bramkamp in Holland; the character of whose Collection is known to every one The preceding was excerpted (Guido Rheni)|The Madona, with the Infant Saviour, surrounded by Angels, in celestial Glory, appears to St. Mary Magdalen and Santa Lucia. Size, including the frame, 2 feet 9 inches high, by 2 feet 3 inches wide. The Subject of this Picture not having been exactly known, it was called "the Patron Saints of Bologna;" from a supposed resemblance of the buildings in the middle ground to that City, and of the level distance, which was imagined to represent the Plains of Lombardy. But this must have been an error. The City of Bologna, which is celebrated for its leaning tower, contains no column...Instead of which, we see in the Picture not a leaning tower, but an erect column; which, on close observation, will be found to be formed of spiral lines, manifestly intended to indicate the Trajan column. An adjoining building evidently resembles the Pantheon; and another building is like the remains of the Colisèe; so that there can be no doubt that the City was intended to represent Rome, and not Bologna: and that the level distance was meant as characteristic of the Campagna of Rome, looking towards the Sea. In support of the idea that the Picture was intended to represent the Patron Saints of Bologna, it had been further suggested, that there was, in the Town-hall of that City, a Picture of this subject, painted by Guido, the figures large as life: from which Picture it was inferred that this was copied...but...there exists no duplicate of this subject by Guido, large or small...the Work before us is the unquestionable hand of that great Master, and which no one, it is presumed, can reasonably doubt, since no other person could have painted, much less have composed, a Picture in a style so entirely resembling his finest Works. It was probably painted for the private oratory of some noble family in Rome, from which it passed into the possession of Mr. Bramkamp in Holland; the character of whose Collection is known to every one The preceding was excerpted]] réalisée par Guido Rheni, vendue par John Trumbull au prix de 262.10 £. [24]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Madona, with the Infant Saviour, and St. John. Size, including the frame, 5 feet 3 inches high, by 4 feet wide. This Picture was the Altar-piece of the private Chapel of Cardinal Mazarin...and...he bequeathed it to the ancestor of Monsieur Primodan, from whom it was purchased...during the tyranny of Robespierre: he was thrown into prison...he...recovered his liberty...No sooner were the seals removed from his town residence, on the Isle St. Louis...than he was painfully induced to think of parting with this Picture...The present Proprietor was then happily in Paris, (in 1795,) and purchased the Picture for 40,000 livres...the original varnish has not been removed, nor has a fresh one been given. The Painting was originally on pannel; but this having split, as may be seen over the head of the Madona, it had been transferred to canvass, in 1767, by the ingenious and well-known Hacquin, as appears by an inscription on the back of the Picture...There is, in the National Collection of France, a Picture of this subject by the same great hand...The comparison was...made, with the assistance of...Monsieur Le Brun, who had long known both Pictures...in both of which evident and important variations were found, uniformly in favour of the Mazarin Picture...But this Picture...is accompanied with...the old Print in the Crozat Collection, and that which has been recently engraved in Paris for the splendid work now publishing, under the title of "Le Musée Français."...In the first place, it will be observed, that the architectural part of the background, in both Prints, represents a town, composed of a few formless buildings, with two misshapen steeples, while the corresponding part of this Picture represents some of the finest remains of ancient Architecture, such as the Pantheon, the Tomb of Caius Sestus, an Obelisk, a Column, and other Edifices, conveying a fine classical idea of an ancient City...in the fore-ground of the two Prints, near the right foot of St. John, is a plant...heavy and void of taste; while, in this Painting, the same part is occupied by a plant of the aster tribe...The blue mantle of the Madona is, however, an exception to the delicacy which distinguishes the execution of every other part of the Picture. The upper and most conspicuous part of this mantle...suggest at once the idea that it is the work of another hand...Vasari says: "...he painted a Picture, which was ordered in Sienna; which, at the departure of Raphael, was left in the hands of Ridolfo Ghirlandajo, to finish a blue mantle, which was not completed."...This passage of Vasari...explains...the cause of the singular difference observable between the style of painting in the blue mantle, and the other parts of the work. The Picture generally is pure from the hand of Raphael...the blue mantle is the work of Ridolfo Ghirlandajo...the original Picture remained in Italy, until it came into the hands of Cardinal Mazarin, and was by him removed from Rome to Paris...The preceding was excerpted (Raphael)|The Madona, with the Infant Saviour, and St. John. Size, including the frame, 5 feet 3 inches high, by 4 feet wide. This Picture was the Altar-piece of the private Chapel of Cardinal Mazarin...and...he bequeathed it to the ancestor of Monsieur Primodan, from whom it was purchased...during the tyranny of Robespierre: he was thrown into prison...he...recovered his liberty...No sooner were the seals removed from his town residence, on the Isle St. Louis...than he was painfully induced to think of parting with this Picture...The present Proprietor was then happily in Paris, (in 1795,) and purchased the Picture for 40,000 livres...the original varnish has not been removed, nor has a fresh one been given. The Painting was originally on pannel; but this having split, as may be seen over the head of the Madona, it had been transferred to canvass, in 1767, by the ingenious and well-known Hacquin, as appears by an inscription on the back of the Picture...There is, in the National Collection of France, a Picture of this subject by the same great hand...The comparison was...made, with the assistance of...Monsieur Le Brun, who had long known both Pictures...in both of which evident and important variations were found, uniformly in favour of the Mazarin Picture...But this Picture...is accompanied with...the old Print in the Crozat Collection, and that which has been recently engraved in Paris for the splendid work now publishing, under the title of "Le Musée Français."...In the first place, it will be observed, that the architectural part of the background, in both Prints, represents a town, composed of a few formless buildings, with two misshapen steeples, while the corresponding part of this Picture represents some of the finest remains of ancient Architecture, such as the Pantheon, the Tomb of Caius Sestus, an Obelisk, a Column, and other Edifices, conveying a fine classical idea of an ancient City...in the fore-ground of the two Prints, near the right foot of St. John, is a plant...heavy and void of taste; while, in this Painting, the same part is occupied by a plant of the aster tribe...The blue mantle of the Madona is, however, an exception to the delicacy which distinguishes the execution of every other part of the Picture. The upper and most conspicuous part of this mantle...suggest at once the idea that it is the work of another hand...Vasari says: "...he painted a Picture, which was ordered in Sienna; which, at the departure of Raphael, was left in the hands of Ridolfo Ghirlandajo, to finish a blue mantle, which was not completed."...This passage of Vasari...explains...the cause of the singular difference observable between the style of painting in the blue mantle, and the other parts of the work. The Picture generally is pure from the hand of Raphael...the blue mantle is the work of Ridolfo Ghirlandajo...the original Picture remained in Italy, until it came into the hands of Cardinal Mazarin, and was by him removed from Rome to Paris...The preceding was excerpted]] réalisée par Raphael, vendue par John Trumbull au prix de 2100.0 £. [25]
  • 1812.06.12/ maison de ventes : Coxe (Peter). Vente de l'œuvre décrite comme [[The Misers. It would be needless to advert to the well known story of the Blacksmith of Antwerp, whose hammer, anvil, and furnace, were suddenly metamorphosed into the easel, pencil, and palette, by the all-powerful dominion of love. This Picture, glowing with richness of colour, replete with character and expression, and eminently possessing the highest qualities of art, needs not the aid of fiction to excite due attention to its merits. Such a performance never resulted from a suddenly self-taught mind and hand: it bears sufficient evidence of long and persevering study, and evinces much practice as well as intellect in this most arduous and difficult profession. This celebrated Painter acquired high fame from repetitions of the same subject, which he successfully varied, and sufficiently to identify each with the stamp of originality. We are reminded by the characters and employment of these Usurers, of the fine Picture, by the same hand, that has so long been distinguished in the Royal Collection at Windsor. Avarice, the propensity too common to old age, is truly personified in the countenances of these Misers. We can fancy, as they are counting their various treasures, that they have been successful in some recent negotiation, for there appears a mutual complacency upon their countenances; and one is familiarly leaning upon the shoulder of the other, as he adjusts his accounts. The story is told with every appropriate circumstance: on the shelves appear bonds, and deeds of security; and upon the table is spread heaps of various coin, together with jewels and other treasures; which are depicted with deceptive imitation. The effect of the Picture is powerful in light and shade, harmonious in colour, and may be regarded as an invaluable specimen of the Artist's abilities. This is a Picture so true to life and real nature, that its high merits every one can comprehend. It has been in the possession of the gentleman's family to whom it belongs almost time out of mind (Quintin Matsys)|The Misers. It would be needless to advert to the well known story of the Blacksmith of Antwerp, whose hammer, anvil, and furnace, were suddenly metamorphosed into the easel, pencil, and palette, by the all-powerful dominion of love. This Picture, glowing with richness of colour, replete with character and expression, and eminently possessing the highest qualities of art, needs not the aid of fiction to excite due attention to its merits. Such a performance never resulted from a suddenly self-taught mind and hand: it bears sufficient evidence of long and persevering study, and evinces much practice as well as intellect in this most arduous and difficult profession. This celebrated Painter acquired high fame from repetitions of the same subject, which he successfully varied, and sufficiently to identify each with the stamp of originality. We are reminded by the characters and employment of these Usurers, of the fine Picture, by the same hand, that has so long been distinguished in the Royal Collection at Windsor. Avarice, the propensity too common to old age, is truly personified in the countenances of these Misers. We can fancy, as they are counting their various treasures, that they have been successful in some recent negotiation, for there appears a mutual complacency upon their countenances; and one is familiarly leaning upon the shoulder of the other, as he adjusts his accounts. The story is told with every appropriate circumstance: on the shelves appear bonds, and deeds of security; and upon the table is spread heaps of various coin, together with jewels and other treasures; which are depicted with deceptive imitation. The effect of the Picture is powerful in light and shade, harmonious in colour, and may be regarded as an invaluable specimen of the Artist's abilities. This is a Picture so true to life and real nature, that its high merits every one can comprehend. It has been in the possession of the gentleman's family to whom it belongs almost time out of mind]] réalisée par Quintin Matsys, achetée par Hill au prix de 89.5 £. [26]
  • 1812.06.12/ maison de ventes : Smith (J.B.). Vente de l'œuvre décrite comme [[Female, with Vegetables and other Figures, Architecture, Fountain, &c. This truly valuable Picture is one of the largest and finest productions of that inestimable Master's Works, and was purchased for a very considerable Sum, by a Gentleman from whom the present proprietor had it (G. Dow)|Female, with Vegetables and other Figures, Architecture, Fountain, &c. This truly valuable Picture is one of the largest and finest productions of that inestimable Master's Works, and was purchased for a very considerable Sum, by a Gentleman from whom the present proprietor had it]] réalisée par G. Dow au prix de 32 gs. [48]
  • 1812.06.12/ maison de ventes : Smith (J.B.). Vente de l'œuvre décrite comme [[Artists and Families, in the Character of Shepherds and Shepherdesses This Brilliant Picture for grouping cannot be excelled, is beautifully Coloured, and one of those inestimable Productions of his Pencil rarely to be seen, would grace a Superior Collection (Reubens)|Artists and Families, in the Character of Shepherds and Shepherdesses This Brilliant Picture for grouping cannot be excelled, is beautifully Coloured, and one of those inestimable Productions of his Pencil rarely to be seen, would grace a Superior Collection]] réalisée par Reubens. [50]
  • 1812.06.12/ maison de ventes : Smith (J.B.). Vente de l'œuvre décrite comme [[Joseph Sold by his Brethen, to the Ishmaelites. This is allowed to be one of the very finest Pictures in this Kingdom, of that invaluable Master's Works, and is in the highest state of preservation; In point of colouring composition and expression, it cannot be excelled, and although a large size, it is finished almost to Magic. The Carpet, Irmine, &c. appear real; also the Turban round the Ishmaelites Head, and as a proof of the Artist considering it one of his best productions, he has introduced his Mother, his Miser, his Rat Catcher, &c. all of which he Etched; and in its "tout ensemble," is not surpassed by any of his Productions (Rembrandt)|Joseph Sold by his Brethen, to the Ishmaelites. This is allowed to be one of the very finest Pictures in this Kingdom, of that invaluable Master's Works, and is in the highest state of preservation; In point of colouring composition and expression, it cannot be excelled, and although a large size, it is finished almost to Magic. The Carpet, Irmine, &c. appear real; also the Turban round the Ishmaelites Head, and as a proof of the Artist considering it one of his best productions, he has introduced his Mother, his Miser, his Rat Catcher, &c. all of which he Etched; and in its "tout ensemble," is not surpassed by any of his Productions]] réalisée par Rembrandt. [83]
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