Ventes d'œuvres le 1813.09.-

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  • 1813.09.-/ maison de ventes : Anderson (A.). Vente de l'œuvre décrite comme [[Mary Stuart, Queen of Scots, a half length Portrait, on pannel, by Zuccaro. This fine Picture of Mary formerly belonged to the Stibbard Family, who held it in such high estimation, that they never would be prevailed on to part with it at any price, and it has only been exposed to sale since that Family became extinct. The Queen's Head Dress is ornamented with precious Stones. She wears a Pelisse of black velvet trimmed with fur. Her Gown is also velvet of the same colour, richly flower'd and embroidered with gold. In her right hand she holds a chain of gold, at the bottom of which a miniature of her Father, ornamented with jewels, is suspended. This Miniature is at present in the Hamilton Family, and was given to them by the Queen, sometime before her death. In her left hand she holds a rose. Her fingers are adorned with rings; the stones of which are so accurately imitated by the Painter, that the connoisseur can readily distinguish the species to which they repectively belong. The ground of the Picture is ornamented with flowers of gold, amongst which is to be seen the Scottish Thistle curiously interwoven. Amongst the various original Portraits of Queen Mary, those Pictures where the expression of countenance are most similar to the one under consideration, are -- a Portrait in the collection of Lord Cassils -- one in the possession of Sir Hugh Crawford of Jordanhill -- and a Miniature belonging to Mr. Graham of Gartmore, which his Father purchased from Sir Joshua Reynolds, and which Mr. Graham values at 500 guineas. In describing this Painting, Mr. Anderson requests leave to call the attention of the public also to the Picture No. 78, viz. The Portrait of Prince Henry Stuart, Mary's Grandson, painted by Jamieson, where his likeness to the unfortunate Queen, strikes the spectator in a remarkable manner. Price 600 Guineas (Zuccaro)|Mary Stuart, Queen of Scots, a half length Portrait, on pannel, by Zuccaro. This fine Picture of Mary formerly belonged to the Stibbard Family, who held it in such high estimation, that they never would be prevailed on to part with it at any price, and it has only been exposed to sale since that Family became extinct. The Queen's Head Dress is ornamented with precious Stones. She wears a Pelisse of black velvet trimmed with fur. Her Gown is also velvet of the same colour, richly flower'd and embroidered with gold. In her right hand she holds a chain of gold, at the bottom of which a miniature of her Father, ornamented with jewels, is suspended. This Miniature is at present in the Hamilton Family, and was given to them by the Queen, sometime before her death. In her left hand she holds a rose. Her fingers are adorned with rings; the stones of which are so accurately imitated by the Painter, that the connoisseur can readily distinguish the species to which they repectively belong. The ground of the Picture is ornamented with flowers of gold, amongst which is to be seen the Scottish Thistle curiously interwoven. Amongst the various original Portraits of Queen Mary, those Pictures where the expression of countenance are most similar to the one under consideration, are -- a Portrait in the collection of Lord Cassils -- one in the possession of Sir Hugh Crawford of Jordanhill -- and a Miniature belonging to Mr. Graham of Gartmore, which his Father purchased from Sir Joshua Reynolds, and which Mr. Graham values at 500 guineas. In describing this Painting, Mr. Anderson requests leave to call the attention of the public also to the Picture No. 78, viz. The Portrait of Prince Henry Stuart, Mary's Grandson, painted by Jamieson, where his likeness to the unfortunate Queen, strikes the spectator in a remarkable manner. Price 600 Guineas]] réalisée par Zuccaro. [1]
  • 1813.09.-/ maison de ventes : Anderson (A.). Vente de l'œuvre décrite comme [[Portrait of the Protector, Oliver Cromwell, in armour, a full length. Dobson the Dwarf. This Picture is the only full length Portrait of Oliver Cromwell in existence. The back ground of the Picture represents the Castle of Dunbar, with part of the Battle, and Shipping. This Painting is not only an excellent likeness of the Protector, but, in point of execution, has been generally considered by the best judges, as equal to any Portrait in armour in the Kingdom. This Portrait once formed a part of the Collection of the Marquis Cornwallis. Price 500 Guineas (Dobson the Dwarf)|Portrait of the Protector, Oliver Cromwell, in armour, a full length. Dobson the Dwarf. This Picture is the only full length Portrait of Oliver Cromwell in existence. The back ground of the Picture represents the Castle of Dunbar, with part of the Battle, and Shipping. This Painting is not only an excellent likeness of the Protector, but, in point of execution, has been generally considered by the best judges, as equal to any Portrait in armour in the Kingdom. This Portrait once formed a part of the Collection of the Marquis Cornwallis. Price 500 Guineas]] réalisée par Dobson the Dwarf. [2]
  • 1813.09.-/ maison de ventes : Anderson (A.). Vente de l'œuvre décrite comme [[A Historical Picture of King David, on his Death Bed, with attendants, Paul Veronese. This superb Painting represents, the King, amidst his retinue, giving instructions to the High Priest, Prophet, and Bathsheba, respecting the Crowning of Solomon. At the sale of the collection belonging to the Duke of Chandos, this Picture was sold at the price of 505 guineas. Price 200 Guineas (Paul Veronese)|A Historical Picture of King David, on his Death Bed, with attendants, Paul Veronese. This superb Painting represents, the King, amidst his retinue, giving instructions to the High Priest, Prophet, and Bathsheba, respecting the Crowning of Solomon. At the sale of the collection belonging to the Duke of Chandos, this Picture was sold at the price of 505 guineas. Price 200 Guineas]] réalisée par Paul Veronese. [3]
  • 1813.09.-/ maison de ventes : Anderson (A.). Vente de l'œuvre décrite comme [[Historical Picture of Moses Breaking the Tables of Stone, Van Harp. This admirable Picture formed part of the well known collection of Lady Mary Cox, aunt of the Duchess Dowager of Buccleugh. A Picture, by the same artist, representing the Prodigal Son, was sold in Edinburgh, about three years ago, to a Nobleman, for the sum of 500 guineas. Price 125 Guineas (Van Harp)|Historical Picture of Moses Breaking the Tables of Stone, Van Harp. This admirable Picture formed part of the well known collection of Lady Mary Cox, aunt of the Duchess Dowager of Buccleugh. A Picture, by the same artist, representing the Prodigal Son, was sold in Edinburgh, about three years ago, to a Nobleman, for the sum of 500 guineas. Price 125 Guineas]] réalisée par Van Harp. [4]
  • 1813.09.-/ maison de ventes : Anderson (A.). Vente de l'œuvre décrite comme [[Historical Picture representing Thomyris, Queen of the Messagete, with her attendants, full length figures, Rubens. The above remarkable Picture represents the Queen sitting on her Throne, ordering the head of Cyrus to be dipped in a bason of human blood, that he might glut his savage nature with what, during life, he had so much thirsted after. Price 200 Guineas (Rubens)|Historical Picture representing Thomyris, Queen of the Messagete, with her attendants, full length figures, Rubens. The above remarkable Picture represents the Queen sitting on her Throne, ordering the head of Cyrus to be dipped in a bason of human blood, that he might glut his savage nature with what, during life, he had so much thirsted after. Price 200 Guineas]] réalisée par Rubens. [5]
  • 1813.09.-/ maison de ventes : Anderson (A.). Vente de l'œuvre décrite comme [[Aeneas and Anchises, Creusa and Julus, Flying from the Destruction of Troy. A Grand Historical Composition, painted as large as life. Federigo Baroccio. This Picture originally cost 500 Guineas, price 150 Guineas. The sublime genius of Baroccio is displayed in this noble picture. The filial piety of the hero carrying his father amidst the scattered squadrons of the Greeks, and through the flames of the City of Troy in the hands of the enemy, accompanied by his son Julus, and wife Creusa, presents to the spectator a group of figures, than which nothing can be imagined more interesting. The gloomy darkness of night, combined with the awful effect of a City in flames, are admirably expressed by the painter. The dignity of the hero, the timidity of the boy, and the heartfelt grief, so conspicuous in the attitude and countenance of the mother, are exhibited in the most masterly manner. The whole detail of the Picture accords so well with the words of Virgil, that the ideas of the poet cannot be more accurately represented than they are in this Picture; nor can the Picture of Baroccio be better described, than by quoting the following lines of the Poet: -- The Latin verses and the English translation which follows have been omitted This original Picture has been considered of such merit and importance, as to be thought worthy of being carefully engraved after, by the celebrated Agostino Carracci, in the year 1594, who has dedicated his print to Cardinal Farnese, with the following inscription: -- The following verses in Latin have been omitted (Federigo Baroccio)|Aeneas and Anchises, Creusa and Julus, Flying from the Destruction of Troy. A Grand Historical Composition, painted as large as life. Federigo Baroccio. This Picture originally cost 500 Guineas, price 150 Guineas. The sublime genius of Baroccio is displayed in this noble picture. The filial piety of the hero carrying his father amidst the scattered squadrons of the Greeks, and through the flames of the City of Troy in the hands of the enemy, accompanied by his son Julus, and wife Creusa, presents to the spectator a group of figures, than which nothing can be imagined more interesting. The gloomy darkness of night, combined with the awful effect of a City in flames, are admirably expressed by the painter. The dignity of the hero, the timidity of the boy, and the heartfelt grief, so conspicuous in the attitude and countenance of the mother, are exhibited in the most masterly manner. The whole detail of the Picture accords so well with the words of Virgil, that the ideas of the poet cannot be more accurately represented than they are in this Picture; nor can the Picture of Baroccio be better described, than by quoting the following lines of the Poet: -- The Latin verses and the English translation which follows have been omitted This original Picture has been considered of such merit and importance, as to be thought worthy of being carefully engraved after, by the celebrated Agostino Carracci, in the year 1594, who has dedicated his print to Cardinal Farnese, with the following inscription: -- The following verses in Latin have been omitted]] réalisée par Federigo Baroccio. [6]
  • 1813.09.-/ maison de ventes : Anderson (A.). Vente de l'œuvre décrite comme [[Interview of the Prince of Wales (now Prince Regent) with the Princess Caroline of Brunswick, Graham. In the above Painting, the interview is represented as it took place in Buckingham House, in the presence of the King, Queen, Duke and Duchess of York, the Duke of Clarence, Lady Jersey, and Lord Malmsbury (Graham)|Interview of the Prince of Wales (now Prince Regent) with the Princess Caroline of Brunswick, Graham. In the above Painting, the interview is represented as it took place in Buckingham House, in the presence of the King, Queen, Duke and Duchess of York, the Duke of Clarence, Lady Jersey, and Lord Malmsbury]] réalisée par Graham. [122]
  • 1813.09.-/ maison de ventes : Anderson (A.). Vente de l'œuvre décrite comme [[The Marriage of the Prince of Wales (now Prince Regent) with the Princess Caroline of Brunswick, Do. Graham The Marriage is represented in this Painting, as it took place in St. James's Chapel. On the right hand of the Prince and Princess of Wales, who are standing before the Altar, the King appears seated in his Chair of State, and the ceremony is performed by the Archbishop of Canterbury; with the Archbishop of York on his right hand, and the Archbishop of London on his left. His Majesty is attended by the Princes of the Blood, the Duke of Portland, with the Sword of State, Earl Marshal with his Staff, &c. On the left, is the Queen, sitting in her Chair of State, attended by the Princesses of the Blood, the Royal Dukes, the Duchess of York, with her Maids of honour, and the Lord Chamberlain. The Princesses' train is supported by Lady Charlotte Spencer, Lady Mary Osborne, Lady Charlotte Legge, and Lady Caroline Villars as Bride Maids (Graham)|The Marriage of the Prince of Wales (now Prince Regent) with the Princess Caroline of Brunswick, Do. Graham The Marriage is represented in this Painting, as it took place in St. James's Chapel. On the right hand of the Prince and Princess of Wales, who are standing before the Altar, the King appears seated in his Chair of State, and the ceremony is performed by the Archbishop of Canterbury; with the Archbishop of York on his right hand, and the Archbishop of London on his left. His Majesty is attended by the Princes of the Blood, the Duke of Portland, with the Sword of State, Earl Marshal with his Staff, &c. On the left, is the Queen, sitting in her Chair of State, attended by the Princesses of the Blood, the Royal Dukes, the Duchess of York, with her Maids of honour, and the Lord Chamberlain. The Princesses' train is supported by Lady Charlotte Spencer, Lady Mary Osborne, Lady Charlotte Legge, and Lady Caroline Villars as Bride Maids]] réalisée par Graham. [123]