Ventes d'œuvres le 1813.06.23

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  • 1813.06.23/ maison de ventes : Philipe (Thomas). Vente de l'œuvre décrite comme [[One -- the Madona seated on the clouds, surrounded by angels, St. Peter on one side, and St. Paul on the other, offering a sword to the Archduke Ferdinand of Austria, who receives it on one knee; a battle appears in the back ground -- painted in chiaro scuro -- capital (Dyck)|One -- the Madona seated on the clouds, surrounded by angels, St. Peter on one side, and St. Paul on the other, offering a sword to the Archduke Ferdinand of Austria, who receives it on one knee; a battle appears in the back ground -- painted in chiaro scuro -- capital]] réalisée par Dyck, vendue par [[[Ralph Willett]]] au prix de 4.0 £. [2]
  • 1813.06.23/ maison de ventes : Robins (J.E. & C.). Vente de l'œuvre décrite comme [[A genuine morceau by the spirited pencil of this great master, through the composition is confined to a water fall, over fragments of rocks, with two small groups of figures, it is so well treated as to merit a place in collections, where specimens of genius are brought together (Salvator Rosa)|A genuine morceau by the spirited pencil of this great master, through the composition is confined to a water fall, over fragments of rocks, with two small groups of figures, it is so well treated as to merit a place in collections, where specimens of genius are brought together]] réalisée par Salvator Rosa. [299]
  • 1813.06.23/ maison de ventes : Robins (J.E. & C.). Vente de l'œuvre décrite comme [[View on the Thames, from Richmond Hill; a correct portrait of the scene when painted, about 1750; Ham Walks, Lord Dysart's and Lord Buckingham's seats are among the nearer objects, thence the eye ranges to Ragman's Castle, Sir George Pocock's, and the village of Twickenham; in the distance Kingston bridge and church The figures on horseback in the fore-ground are among the best specimens of this master, whose works so frequently employed the burin of his contemporary, Woollet (Wootton)|View on the Thames, from Richmond Hill; a correct portrait of the scene when painted, about 1750; Ham Walks, Lord Dysart's and Lord Buckingham's seats are among the nearer objects, thence the eye ranges to Ragman's Castle, Sir George Pocock's, and the village of Twickenham; in the distance Kingston bridge and church The figures on horseback in the fore-ground are among the best specimens of this master, whose works so frequently employed the burin of his contemporary, Woollet]] réalisée par Wootton. [313]
  • 1813.06.23/ maison de ventes : Stewart (William). Vente de l'œuvre décrite comme [[His own Portrait, and Companion; with Dog in the fore ground, painted with extraordinary strength and spirit, and in compleat relief from a woody back ground; a little farther his chateau forms a beautiful feature, behind which is a fine champaigne country; the whole forming one of the very finest specimens of the master (Teniers)|His own Portrait, and Companion; with Dog in the fore ground, painted with extraordinary strength and spirit, and in compleat relief from a woody back ground; a little farther his chateau forms a beautiful feature, behind which is a fine champaigne country; the whole forming one of the very finest specimens of the master]] réalisée par Teniers, vendue par Messrs MacGavin au prix de 56.14 £. [335]
  • 1813.06.23/ maison de ventes : Stewart (William). Vente de l'œuvre décrite comme [[The Angel dictating the Revelations to St. John; this divine subject, in which the breadth and depth of the shadows, expanse and beautiful transparency of the waters, with the grand style of the ruins, and the dignity of the characters in the fore ground, altogether produce an effect that is truly sublime (N. Poussin)|The Angel dictating the Revelations to St. John; this divine subject, in which the breadth and depth of the shadows, expanse and beautiful transparency of the waters, with the grand style of the ruins, and the dignity of the characters in the fore ground, altogether produce an effect that is truly sublime]] réalisée par N. Poussin, vendue par Messrs MacGavin au prix de 74.11 £. [338]
  • 1813.06.23/ maison de ventes : Stewart (William). Vente de l'œuvre décrite comme [[A Setting Sun; throws a delightful warmth over this capital picture. The free pencilling of the trees, the masterly grouping and execution of the cattle and figures, clearly shew the wonderful powers of Rubens, who seems to have had all nature at his command (Rubens)|A Setting Sun; throws a delightful warmth over this capital picture. The free pencilling of the trees, the masterly grouping and execution of the cattle and figures, clearly shew the wonderful powers of Rubens, who seems to have had all nature at his command]] réalisée par Rubens, vendue par Messrs MacGavin au prix de 42.0 £. [339]
  • 1813.06.23/ maison de ventes : Stewart (William). Vente de l'œuvre décrite comme [[The Flight into Egypt, in a landscape; the superior depth, brilliancy, and truth of the colouring, with the grand style of the design, speaks the work of this inestimable painter. Real shadow seems to be thrown from the forest on the inimitable green; and the water and sky is painted up to the lightness and clearness of nature itself (Titian)|The Flight into Egypt, in a landscape; the superior depth, brilliancy, and truth of the colouring, with the grand style of the design, speaks the work of this inestimable painter. Real shadow seems to be thrown from the forest on the inimitable green; and the water and sky is painted up to the lightness and clearness of nature itself]] réalisée par Titian, vendue par Messrs MacGavin au prix de 71.8 £. [340]
  • 1813.06.23/ maison de ventes : Stewart (William). Vente de l'œuvre décrite comme [[A Landscape; a View of the Town of Haerlem; with Rembrandt's Villa, and his Father's Mill. On viewing this picture, it will be immediately seen, that Rembrandt did indeed excel in force and richness of colour; a truly rare and matchless specimen (Rembrandt)|A Landscape; a View of the Town of Haerlem; with Rembrandt's Villa, and his Father's Mill. On viewing this picture, it will be immediately seen, that Rembrandt did indeed excel in force and richness of colour; a truly rare and matchless specimen]] réalisée par Rembrandt, vendue par Messrs MacGavin au prix de 94.10 £. [343]
  • 1813.06.23/ maison de ventes : Robins (J.E. & C.). Vente de l'œuvre décrite comme [[A bag-piper; whether of the Italian or Spanish school, has not been ascertained; but the drawing is good, and so fine a specimen of colouring, that it has been assigned to two of the great Venetian masters, Giorgione and Titian, by some, whilst others will have it the production of Murillio (artiste anonyme)|A bag-piper; whether of the Italian or Spanish school, has not been ascertained; but the drawing is good, and so fine a specimen of colouring, that it has been assigned to two of the great Venetian masters, Giorgione and Titian, by some, whilst others will have it the production of Murillio]] réalisée par un.e artiste anonyme. [361]
  • 1813.06.23/ maison de ventes : Robins (J.E. & C.). Vente de l'œuvre décrite comme [[A blind Sussex peasant led by his grandson. Mr. Bigg has been more than commonly successful in this cheerful day-light picture, his figures come forward well, the contrast of youth and age is effective, the boy's countenance is peculiarly interesting. The landscape is merely a sober unintrusive back ground to harmonise the picture. He is said in travelling, to have been so struck with the subject, as to have left the carriage, and remained till he had transferred it to his canvas (W. R. Bigg, R. A. painted 1789)|A blind Sussex peasant led by his grandson. Mr. Bigg has been more than commonly successful in this cheerful day-light picture, his figures come forward well, the contrast of youth and age is effective, the boy's countenance is peculiarly interesting. The landscape is merely a sober unintrusive back ground to harmonise the picture. He is said in travelling, to have been so struck with the subject, as to have left the carriage, and remained till he had transferred it to his canvas]] réalisée par W. R. Bigg, R. A. painted 1789. [363]
  • 1813.06.23/ maison de ventes : Robins (J.E. & C.). Vente de l'œuvre décrite comme [[Mill landscape. Companion of the picture last described, of similar character and equal merit. This pair of Lucatelli's lively pencil, would of themselves make a pleasing ornament to an apartment of moderate size, and are well worthy the attention of amateurs (Lucatelli)|Mill landscape. Companion of the picture last described, of similar character and equal merit. This pair of Lucatelli's lively pencil, would of themselves make a pleasing ornament to an apartment of moderate size, and are well worthy the attention of amateurs]] réalisée par Lucatelli. [366]
  • 1813.06.23/ maison de ventes : Robins (J.E. & C.). Vente de l'œuvre décrite comme [[A view of the German Custom House, at Venice, discovering behind it a part of the Rialto, drawn with accuracy and steadiness of hand, coloured with admirable skill; whilst the rapidity of the touch is evident; the effect produced evinces the master, and places this painter in the first rank of his cotemporaries (Canaletti)|A view of the German Custom House, at Venice, discovering behind it a part of the Rialto, drawn with accuracy and steadiness of hand, coloured with admirable skill; whilst the rapidity of the touch is evident; the effect produced evinces the master, and places this painter in the first rank of his cotemporaries]] réalisée par Canaletti. [378]
  • 1813.06.23/ maison de ventes : Robins (J.E. & C.). Vente de l'œuvre décrite comme [[A kitchen, back-ground, Martha reproaching Mary. Putting the choice of subject out of the question, and considering the early stage of the art (about 1550) when this picture was painted, it lays claim to attention, as no common exhibition of the mechanical parts of painting, where exact imitation, rather than composition, was the artist's object; in this view it has great merit, the fowl is a faithful transcript of nature, the rolls, the vegetables and the kettle of fish are entitled to equal commendation. The interesting countenance of the cook, the arch one of the boy, are creditable to his pencil; so is the group in the back-ground, although out of place, it is coloured with extreme care, and will bear minute inspection; it remains fresh and lively, although more than two centuries have elapsed since it left the easel (Cornelius Enghelrhams)|A kitchen, back-ground, Martha reproaching Mary. Putting the choice of subject out of the question, and considering the early stage of the art (about 1550) when this picture was painted, it lays claim to attention, as no common exhibition of the mechanical parts of painting, where exact imitation, rather than composition, was the artist's object; in this view it has great merit, the fowl is a faithful transcript of nature, the rolls, the vegetables and the kettle of fish are entitled to equal commendation. The interesting countenance of the cook, the arch one of the boy, are creditable to his pencil; so is the group in the back-ground, although out of place, it is coloured with extreme care, and will bear minute inspection; it remains fresh and lively, although more than two centuries have elapsed since it left the easel]] réalisée par Cornelius Enghelrhams. [389]
  • 1813.06.23/ maison de ventes : Robins (J.E. & C.). Vente de l'œuvre décrite comme [[Diana and Endymion. Here, in the drawing of the sleeping favourite of the chaste Goddess, Albano has been very successful; to graceful attitude is added warm and tender colouring, the whole group well composed, and finished in a mellow masterly style (Albano)|Diana and Endymion. Here, in the drawing of the sleeping favourite of the chaste Goddess, Albano has been very successful; to graceful attitude is added warm and tender colouring, the whole group well composed, and finished in a mellow masterly style]] réalisée par Albano. [393]
  • 1813.06.23/ maison de ventes : Robins (J.E. & C.). Vente de l'œuvre décrite comme [[This singular group of figures are painted with the accustomed neatness of touch that characterises the master, the principle female is drawn with great elegance, and delicately coloured, the landscape and building judicious and transparent (Cornelius Polemburg)|This singular group of figures are painted with the accustomed neatness of touch that characterises the master, the principle female is drawn with great elegance, and delicately coloured, the landscape and building judicious and transparent]] réalisée par Cornelius Polemburg. [394]
  • 1813.06.23/ maison de ventes : Robins (J.E. & C.). Vente de l'œuvre décrite comme [[A waterfall landscape, happily treated, a very spirited and free touch, handled with infinite skill; the scarry rocks and gushing of the stream produce a charming effect; the little knoll in the back-ground is in perfect sunshine, and rivets the attention (Everdingen)|A waterfall landscape, happily treated, a very spirited and free touch, handled with infinite skill; the scarry rocks and gushing of the stream produce a charming effect; the little knoll in the back-ground is in perfect sunshine, and rivets the attention]] réalisée par Everdingen. [399]
  • 1813.06.23/ maison de ventes : Robins (J.E. & C.). Vente de l'œuvre décrite comme [[This brilliant landscape is treated with great ability, in its general effect, the groups of cattle and figures, are touched with so neat and masterly a pencil, that entitle it to a place of rank in the most respectable collections, especially as specimens of this master are very scarce in this country (Hermann Satchleven)|This brilliant landscape is treated with great ability, in its general effect, the groups of cattle and figures, are touched with so neat and masterly a pencil, that entitle it to a place of rank in the most respectable collections, especially as specimens of this master are very scarce in this country]] réalisée par Hermann Satchleven. [403]
  • 1813.06.23/ maison de ventes : Robins (J.E. & C.). Vente de l'œuvre décrite comme [[The woman taken in adultery. This celebrated picture, not long ago the leading ornament of an excellent collection at Leith, where it was very highly valued, is singularly remarkable for its very vigorous colouring, and extreme careful finishing, as well as for its faithful delineation of individual character, so eminent in every personage, of which this extraordinary group is composed. During his life, its late possessor refused a very large sum of money that was offered him for it, alledging, that if he parted with such a rarity, he never should be able to replace it (Quintin Matsys)|The woman taken in adultery. This celebrated picture, not long ago the leading ornament of an excellent collection at Leith, where it was very highly valued, is singularly remarkable for its very vigorous colouring, and extreme careful finishing, as well as for its faithful delineation of individual character, so eminent in every personage, of which this extraordinary group is composed. During his life, its late possessor refused a very large sum of money that was offered him for it, alledging, that if he parted with such a rarity, he never should be able to replace it]] réalisée par Quintin Matsys. [407]
  • 1813.06.23/ maison de ventes : Robins (J.E. & C.). Vente de l'œuvre décrite comme [[The repose in Egypt of the Holy Family. Composition very pleasing, good drawing, warm colouring, strong expression, and character judicious, perspective of the architecture correct, granite columns striking, basso relievo figures clever, water in the bason pellucid and natural, the animal and the fore ground as rich as the most laboured of the Flemish masters. In this picture Bourdon has fully maintained his rank as one of the most successful followers of the school of Raphael (Sebastian Bourdon)|The repose in Egypt of the Holy Family. Composition very pleasing, good drawing, warm colouring, strong expression, and character judicious, perspective of the architecture correct, granite columns striking, basso relievo figures clever, water in the bason pellucid and natural, the animal and the fore ground as rich as the most laboured of the Flemish masters. In this picture Bourdon has fully maintained his rank as one of the most successful followers of the school of Raphael]] réalisée par Sebastian Bourdon. [413]