Ventes d'œuvres le 1814.06.03

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  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[David's Triumph over Goliah -- a sketch. The exultation of victory pourtrayed in very animated action. The females dancing before David, are lively elucidations of the scripture account of the rejoicing of the Judean women, who honoured the young victor by crying -- "Saul hath slain his thousands, and David his tens of thousands" (Giorgione)|David's Triumph over Goliah -- a sketch. The exultation of victory pourtrayed in very animated action. The females dancing before David, are lively elucidations of the scripture account of the rejoicing of the Judean women, who honoured the young victor by crying -- "Saul hath slain his thousands, and David his tens of thousands"]] réalisée par Giorgione, vendue par A Delahante, achetée par Kay au prix de 4.14 £. [8]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Resurrection, a Sketch. The bloom, the variety, and vivacity of the colouring of this distinguished ornament of the Venetian School, admirably harmonize with the easy playfulness of his attitudes, his contrasts, and fore-shortenings. The tasteful spectator is affected by his performances, with feelings similar to what are produced by the united tones of a full, animated, well-arranged collection of musical instruments and voices, playing and singing sprightly epithalamiums and martial airs. In this subject, Tintoretto has preserved his usual joyousness of tone, and he presents us with a rich, and vigorously modulated performance; for the circumstance is one of exultation; the dissipating the shades, and bursting the bars of death, the triumph over the last great enemy, and the sure pledge of immortality to man, by the resurrection of the Son of Man to immortal life (Tintoretto)|The Resurrection, a Sketch. The bloom, the variety, and vivacity of the colouring of this distinguished ornament of the Venetian School, admirably harmonize with the easy playfulness of his attitudes, his contrasts, and fore-shortenings. The tasteful spectator is affected by his performances, with feelings similar to what are produced by the united tones of a full, animated, well-arranged collection of musical instruments and voices, playing and singing sprightly epithalamiums and martial airs. In this subject, Tintoretto has preserved his usual joyousness of tone, and he presents us with a rich, and vigorously modulated performance; for the circumstance is one of exultation; the dissipating the shades, and bursting the bars of death, the triumph over the last great enemy, and the sure pledge of immortality to man, by the resurrection of the Son of Man to immortal life]] réalisée par Tintoretto, vendue par A Delahante, achetée par Morant au prix de 27.6 £. [11]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Taking up the Body of Christ. Greatness of size enhances greatness of design and invention. Had this picture been of large dimensions, it would have displayed a peculiar solemnity and grandeur of expression; small as it is, it excites a solemn musing -- a sacredness of feeling. It is a valuable memorandum of its great author, a vigorously marked first thought. The dresses are truly historical, and gracefully undulating; the chiaro-scuro solemn, partly produced by the deep shadows intermixed with the strong lights; the figures pathetic. That of Christ is marked with the inert character, and livid colour of death. The general spread of colour is that of the Venetian in its rich, various, and vigorous tints (An. Carracci)|Taking up the Body of Christ. Greatness of size enhances greatness of design and invention. Had this picture been of large dimensions, it would have displayed a peculiar solemnity and grandeur of expression; small as it is, it excites a solemn musing -- a sacredness of feeling. It is a valuable memorandum of its great author, a vigorously marked first thought. The dresses are truly historical, and gracefully undulating; the chiaro-scuro solemn, partly produced by the deep shadows intermixed with the strong lights; the figures pathetic. That of Christ is marked with the inert character, and livid colour of death. The general spread of colour is that of the Venetian in its rich, various, and vigorous tints]] réalisée par An. Carracci, vendue par A Delahante, achetée par Coll Napier au prix de 27.6 £. [13]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Fall of Tivoli. A rich, noble and romantic scene; one of the most favorite subjects of the Italian painters, and indeed of every landscape painter who has visited that beautiful and classical country. The mixed grandeur of rocks, foliage and waterfalls, the deep dell, and the high and rugged ascent; the wildness of nature contrasted and crowned with the regular elegance of architecture, and the rich mingling of warm and cool tones and tints, fill the mind with delightful and dignified impressions of the beautiful and sublime (Vernet)|Fall of Tivoli. A rich, noble and romantic scene; one of the most favorite subjects of the Italian painters, and indeed of every landscape painter who has visited that beautiful and classical country. The mixed grandeur of rocks, foliage and waterfalls, the deep dell, and the high and rugged ascent; the wildness of nature contrasted and crowned with the regular elegance of architecture, and the rich mingling of warm and cool tones and tints, fill the mind with delightful and dignified impressions of the beautiful and sublime]] réalisée par Vernet, vendue par A Delahante, achetée par Morant au prix de 36.15 £. [14]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Sacrifice of Abraham. This most distinguished scholar of Rembrandt, here displays a considerable portion of his master's beauties of style. They are the same principles less intensely, but in some respects more justly rendered -- a milder radiance, a more subdued effect of light and shade, soft, sunny, day-light, and not, instead of the latter, nightly darkness; but there is a similar spread of golden colour. His pictures are in a medium, between the effects of Rembrandt and Cuyp (Govaert Flink)|Sacrifice of Abraham. This most distinguished scholar of Rembrandt, here displays a considerable portion of his master's beauties of style. They are the same principles less intensely, but in some respects more justly rendered -- a milder radiance, a more subdued effect of light and shade, soft, sunny, day-light, and not, instead of the latter, nightly darkness; but there is a similar spread of golden colour. His pictures are in a medium, between the effects of Rembrandt and Cuyp]] réalisée par Govaert Flink, vendue par A Delahante, achetée par [[J K[ay]]] au prix de 21.0 £. [15]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[A Storm. A subject in which the painter peculiarly delighted, and which is above all others of a nature to raise to its highest capability of grandeur, that emotion of sublimity which his broad masses of trees, mountains, rocks, and edifices, so feelingly excite. The magnificence of the painter's conception, his noble composition of objects, the hurly-burly of the elements, the riven tree, the blustering wind, the frightened traveller, the lightnings glare, and the prostrated men and cattle, all highly interest our sensibilities (Gaspar Poussin)|A Storm. A subject in which the painter peculiarly delighted, and which is above all others of a nature to raise to its highest capability of grandeur, that emotion of sublimity which his broad masses of trees, mountains, rocks, and edifices, so feelingly excite. The magnificence of the painter's conception, his noble composition of objects, the hurly-burly of the elements, the riven tree, the blustering wind, the frightened traveller, the lightnings glare, and the prostrated men and cattle, all highly interest our sensibilities]] réalisée par Gaspar Poussin, vendue par A Delahante, achetée par [[J K[ay]]] au prix de 52.10 £. [16]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The History of Christ -- in different compartments. The partiality of this painter to the works of Rubens, accounts for the striking similarity of some of the figures to those of that master, in the design and attitudes. The different groups possess no small portion of agreeableness, in the general forms and actions of the figures, and a sprightliness in the colouring, which is extended to the flowers which surround them (John Baptiste Franck)|The History of Christ -- in different compartments. The partiality of this painter to the works of Rubens, accounts for the striking similarity of some of the figures to those of that master, in the design and attitudes. The different groups possess no small portion of agreeableness, in the general forms and actions of the figures, and a sprightliness in the colouring, which is extended to the flowers which surround them]] réalisée par John Baptiste Franck, vendue par A Delahante, achetée par Thornton au prix de 23.12 £. [17]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Burgomaster at Delft. Figures in most natural action of walking, sitting, and standing, and with an air highly appropriate to each class of persons; that of a conscious gentility in the female, an unassuming gentlemanly appearance in the father, and a petitioning aspect in the beggars. Jan Steen ranks among the most natural of the painters of his country's costume, as is evident from this picture (Jan Steen)|The Burgomaster at Delft. Figures in most natural action of walking, sitting, and standing, and with an air highly appropriate to each class of persons; that of a conscious gentility in the female, an unassuming gentlemanly appearance in the father, and a petitioning aspect in the beggars. Jan Steen ranks among the most natural of the painters of his country's costume, as is evident from this picture]] réalisée par Jan Steen, vendue par A Delahante, achetée par Griffiths au prix de 61.19 £. [18]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Italian Edifices and Scenery. A choice little specimen of the exquisitely delicate style of this artist, in his extraordinary lightness and neatness of touch, sunny light, elegant figures and architecture, accurate aerial and linear perspective -- in a word, nearly every excellence that belongs to this miniature class, of architecture, landscape, and figure painting (Patel)|Italian Edifices and Scenery. A choice little specimen of the exquisitely delicate style of this artist, in his extraordinary lightness and neatness of touch, sunny light, elegant figures and architecture, accurate aerial and linear perspective -- in a word, nearly every excellence that belongs to this miniature class, of architecture, landscape, and figure painting]] réalisée par Patel, vendue par A Delahante, achetée par Smith au prix de 39.18 £. [20]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[David and Bathsheba. An exquisite cabinet specimen of his best time, which, for truth and brilliancy of colour, cannot be surpassed; the whole is finished with more care and delicacy of pencil than usual, even in his finest works, and the various studies he has etched of the principal figure, shew the attention he has given to accomplish this admirable chef d'oeuvre (Rembrandt)|David and Bathsheba. An exquisite cabinet specimen of his best time, which, for truth and brilliancy of colour, cannot be surpassed; the whole is finished with more care and delicacy of pencil than usual, even in his finest works, and the various studies he has etched of the principal figure, shew the attention he has given to accomplish this admirable chef d'oeuvre]] réalisée par Rembrandt, vendue par A Delahante, achetée par Geddes au prix de 105.0 £. [25]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Martyrdom of St. Catherine, and St. Lewis bestowing Alms. Curious specimens of early oil painting, as far back as the latter part of the 14th, or former part of the 15th century. There is much neatness, and in some respect spirit of execution and character, in this performance of the gothic age (Van Eyck)|The Martyrdom of St. Catherine, and St. Lewis bestowing Alms. Curious specimens of early oil painting, as far back as the latter part of the 14th, or former part of the 15th century. There is much neatness, and in some respect spirit of execution and character, in this performance of the gothic age]] réalisée par Van Eyck, vendue par A Delahante, achetée par Atkinson au prix de 87.3 £. [27]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[St. Francis. A bold touch, and much character of piety, in the figure of the Saint, with a striking effect of candle-light. The skull is delicately marked. The picture is painted throughout with an energy of hand and feeling, which the eye of taste recognizes, and to which the heart is immediately reponsive (Morales)|St. Francis. A bold touch, and much character of piety, in the figure of the Saint, with a striking effect of candle-light. The skull is delicately marked. The picture is painted throughout with an energy of hand and feeling, which the eye of taste recognizes, and to which the heart is immediately reponsive]] réalisée par Morales, vendue par A Delahante, achetée par Wright au prix de 27.6 £. [28]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Trial of the Faith and Fortitude of St. Anthony. A picture of small size, but enlarged expression. A lively imagination has pourtrayed those horrid beings which are threatening to destroy the Saint if he does not submit to the temptations and will of the satanic fiends behind him. A beautiful contrast to these terrific beings is seen in the sacred confidence of the Saint in his Saviour, as exhibited in his quiet attitude and heavenward look, not unmixed, however, with a pious concern at his situation. The raging animal at his feet is touched and conceived with almost the vigour of Rubens, the chief of animal painters, and is a striking emblem of the brutal lusts, as well as the danger to which mankind are exposed. The sacred personage above, supported by a group of beautiful cherubims, as plainly refers to the source to which they are to look for example, and for the power to repel the danger (An. Carracci)|Trial of the Faith and Fortitude of St. Anthony. A picture of small size, but enlarged expression. A lively imagination has pourtrayed those horrid beings which are threatening to destroy the Saint if he does not submit to the temptations and will of the satanic fiends behind him. A beautiful contrast to these terrific beings is seen in the sacred confidence of the Saint in his Saviour, as exhibited in his quiet attitude and heavenward look, not unmixed, however, with a pious concern at his situation. The raging animal at his feet is touched and conceived with almost the vigour of Rubens, the chief of animal painters, and is a striking emblem of the brutal lusts, as well as the danger to which mankind are exposed. The sacred personage above, supported by a group of beautiful cherubims, as plainly refers to the source to which they are to look for example, and for the power to repel the danger]] réalisée par An. Carracci, vendue par A Delahante, achetée par Geddes au prix de 21.0 £. [33]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Rhea Sylvia and Romulus and Remus her twins. The picture is a mixed representation of a real circumstance and of allegory. The woman is probably Rhea Sylvia, and her twins Romulus and Remus previous to her committing them to the river Tiber, and to their being fed by the milk of goats, and brought up by a Shepherd. They are among choice specimens of the grace, delicacy, and beauty of form, attitude and colour, peculiar to Albano. The tints and gradations of tints are exquisitely bright and natural; the mixed blueish and warm tints cannot be surpassed; and the shadows are surprisingly clear (Albano)|Rhea Sylvia and Romulus and Remus her twins. The picture is a mixed representation of a real circumstance and of allegory. The woman is probably Rhea Sylvia, and her twins Romulus and Remus previous to her committing them to the river Tiber, and to their being fed by the milk of goats, and brought up by a Shepherd. They are among choice specimens of the grace, delicacy, and beauty of form, attitude and colour, peculiar to Albano. The tints and gradations of tints are exquisitely bright and natural; the mixed blueish and warm tints cannot be surpassed; and the shadows are surprisingly clear]] réalisée par Albano, vendue par A Delahante, achetée par Panni au prix de 105.0 £. [34]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Skaiting. The character of the sun shining through rather a moist atmosphere, confers a most fascinating effect on each particular object, as well as on the picture at large. This effect would of itself constitute a rich picture; but the subject is brought fully home to our enjoyment, by the exquisitely easy and nature-induced action of the figures (Ostade)|Skaiting. The character of the sun shining through rather a moist atmosphere, confers a most fascinating effect on each particular object, as well as on the picture at large. This effect would of itself constitute a rich picture; but the subject is brought fully home to our enjoyment, by the exquisitely easy and nature-induced action of the figures]] réalisée par Ostade, vendue par A Delahante, achetée par Morant au prix de 63.0 £. [35]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Landscape and Ruins. The idea of remote antiquity, of the generations that have passed away after life's fretful fever, and of the inevitable decay of all human existence, give a peculiar and pensive interest to ruins. The lively taste of Rubens has however led him to check this solemn feeling, and in some degree to substitute a cheerful one in its stead, by casting over these ruins a brisk and vivacious effect of light, shade, and colour; and though the pensiveness that would have been induced by a reverse conduct, would have been more suitable to the subject, we scarcely regret his preference of this gaiety, so impressive and so animating in its effect (Rubens)|Landscape and Ruins. The idea of remote antiquity, of the generations that have passed away after life's fretful fever, and of the inevitable decay of all human existence, give a peculiar and pensive interest to ruins. The lively taste of Rubens has however led him to check this solemn feeling, and in some degree to substitute a cheerful one in its stead, by casting over these ruins a brisk and vivacious effect of light, shade, and colour; and though the pensiveness that would have been induced by a reverse conduct, would have been more suitable to the subject, we scarcely regret his preference of this gaiety, so impressive and so animating in its effect]] réalisée par Rubens au prix de 157.10 £. [36]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Marriage in Cana. This subject is intended by the painter to designate dignified history, with no less a personage for the main agent than the Saviour. Nothing can be more ludicrous than such a proof of mistaken powers; but considering it as a carousal in Flanders, it abounds in the truth and nature of familiar life incidents, in easy, and in many respects graceful attitudes, and in the sparkling touches and characteristic finishing of the dresses. We cannot help more than once smiling at the painter's fancying all this vivaciousness to be a representation of the sober cheerfulness of a discreet nuptial rejoicing, when it is so excellent a one of "Jest and youthful jollity; Quips and cranks, and wanton wiles; Nods and becks, and wreathed smiles." This picture is esteemed an exquisite specimen of the artist's greatest powers, and has ever been ranked among the chef d'oeuvres of his works (Jan Steen)|Marriage in Cana. This subject is intended by the painter to designate dignified history, with no less a personage for the main agent than the Saviour. Nothing can be more ludicrous than such a proof of mistaken powers; but considering it as a carousal in Flanders, it abounds in the truth and nature of familiar life incidents, in easy, and in many respects graceful attitudes, and in the sparkling touches and characteristic finishing of the dresses. We cannot help more than once smiling at the painter's fancying all this vivaciousness to be a representation of the sober cheerfulness of a discreet nuptial rejoicing, when it is so excellent a one of "Jest and youthful jollity; Quips and cranks, and wanton wiles; Nods and becks, and wreathed smiles." This picture is esteemed an exquisite specimen of the artist's greatest powers, and has ever been ranked among the chef d'oeuvres of his works]] réalisée par Jan Steen, vendue par A Delahante, achetée par Woodburn au prix de 120.15 £. [37]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Landscape, Cattle and Figures. If any performances of finite, erring man, might claim the character of perfection in any one respect, those of Cuyp are deserving of that pre-eminence, as they relate to effects of chiaro-scuro and colour in times of sunshine. He is the painter of refulgent summer; kindling at his magic touch, his canvas shines with the golden lustre of the hot solar beam, or gleams with the paler radiance of the frosty season. Let the object he describes be ever so unimportant -- a cow, for instance, standing on a hill -- the sunshine of his genius, or in plainer terms, the ardent yellow, nature-fraught lustre of his lights and shadows, warm our imaginations to an intensity of pleasure, a soft but glowing delight. Such is the effect of this picture: like Rembrandt, he is exceedingly sparing of the use of cold tints; they are scarcely to be discerned -- and even where they are, they are mostly subdued and softened by some admixture with warm ones. The unity and the soft spread of warm colour, heightened by brilliant light and transparent shadows, displayed in rural scenery, are the main principles of his style, as exemplified in this picture. He had not, perhaps, the science, and the minute, careful detail of Potter in his animals, but he gave to them an aspect of unsurpassed truth and nature (Cuyp)|Landscape, Cattle and Figures. If any performances of finite, erring man, might claim the character of perfection in any one respect, those of Cuyp are deserving of that pre-eminence, as they relate to effects of chiaro-scuro and colour in times of sunshine. He is the painter of refulgent summer; kindling at his magic touch, his canvas shines with the golden lustre of the hot solar beam, or gleams with the paler radiance of the frosty season. Let the object he describes be ever so unimportant -- a cow, for instance, standing on a hill -- the sunshine of his genius, or in plainer terms, the ardent yellow, nature-fraught lustre of his lights and shadows, warm our imaginations to an intensity of pleasure, a soft but glowing delight. Such is the effect of this picture: like Rembrandt, he is exceedingly sparing of the use of cold tints; they are scarcely to be discerned -- and even where they are, they are mostly subdued and softened by some admixture with warm ones. The unity and the soft spread of warm colour, heightened by brilliant light and transparent shadows, displayed in rural scenery, are the main principles of his style, as exemplified in this picture. He had not, perhaps, the science, and the minute, careful detail of Potter in his animals, but he gave to them an aspect of unsurpassed truth and nature]] réalisée par Cuyp, vendue par A Delahante, achetée par Woodburn au prix de 84.0 £. [38]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Marriage of St. Catherine. From the King of Sardinia's collection. One of the finest performances of this painter, in which he so closely approached Leonardo da Vinci, that it frequently has been attributed to the pencil of this great master. The character of the figures is pleasing. There is a great breadth in the draperies, and a brilliant and striking effect produced on the whole (Luyni)|The Marriage of St. Catherine. From the King of Sardinia's collection. One of the finest performances of this painter, in which he so closely approached Leonardo da Vinci, that it frequently has been attributed to the pencil of this great master. The character of the figures is pleasing. There is a great breadth in the draperies, and a brilliant and striking effect produced on the whole]] réalisée par Luyni, vendue par A Delahante, achetée par Major Genl Browne au prix de 136.10 £. [39]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Adoration of the Magi. If the light and shade of Rembrandt are not in general exactly natural, none certainly are more magical. They are partially natural, as depicting those peculiar effects that are seen through small apertures; and sometimes unnatural, as not belonging to the place, time, and circumstance of the objects represented: but they are always fascinating, as combining some of the liveliest principles and causes of pleasure in effects of light and shade -- the clear, the glowing, the powerful, and that obscure, which is a main source of the sublime. Such is this golden performance, painted in the chastest style of Rembrandt's effects; for the opposition is not sudden, but qualified by a connecting medium of soft half tint. It is a mistaken opinion that the effects of Rembrandt are sometimes harsh; for however his pictures may occasionally appear so, when reduced to mere black and white, as in engraved copies, in his paintings there is such a complacency and mellowness of colour, so entirely free from the least harshness of tint, that the lights, however bright and contrasted with shade, are thereby associated and harmonized with the latter. This great, perhaps we ought to call him greatest, master of the undivided richness and harmony of colour, accomplishes his purpose, as is evident in this performance, by a greater portion of golden tint, and less of blue and other cold hues, than any other celebrated colourist. Thus in this performance, there is only a slight touch of them here and there, to heighten the lustre, and obviate the monotony of the golden hue that so splendidly predominates. This, together with his unexampled brilliancy of light, and midnight obscurity of shade, produced that splendor which has hitherto been unrivalled, which belongs to him alone, and by which, in spite of all his defects, especially those of anatomical drawing, our imaginations are so captivated (Rembrandt)|Adoration of the Magi. If the light and shade of Rembrandt are not in general exactly natural, none certainly are more magical. They are partially natural, as depicting those peculiar effects that are seen through small apertures; and sometimes unnatural, as not belonging to the place, time, and circumstance of the objects represented: but they are always fascinating, as combining some of the liveliest principles and causes of pleasure in effects of light and shade -- the clear, the glowing, the powerful, and that obscure, which is a main source of the sublime. Such is this golden performance, painted in the chastest style of Rembrandt's effects; for the opposition is not sudden, but qualified by a connecting medium of soft half tint. It is a mistaken opinion that the effects of Rembrandt are sometimes harsh; for however his pictures may occasionally appear so, when reduced to mere black and white, as in engraved copies, in his paintings there is such a complacency and mellowness of colour, so entirely free from the least harshness of tint, that the lights, however bright and contrasted with shade, are thereby associated and harmonized with the latter. This great, perhaps we ought to call him greatest, master of the undivided richness and harmony of colour, accomplishes his purpose, as is evident in this performance, by a greater portion of golden tint, and less of blue and other cold hues, than any other celebrated colourist. Thus in this performance, there is only a slight touch of them here and there, to heighten the lustre, and obviate the monotony of the golden hue that so splendidly predominates. This, together with his unexampled brilliancy of light, and midnight obscurity of shade, produced that splendor which has hitherto been unrivalled, which belongs to him alone, and by which, in spite of all his defects, especially those of anatomical drawing, our imaginations are so captivated]] réalisée par Rembrandt, vendue par A Delahante, achetée par Morant au prix de 215.5 £. [40]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[St. Jerome. One of the grandest works of P. Veronese, and described as such by several esteemed writers on art, together with the Communion of St. Jerome, now in the British Institution, to which it was a companion in the Church of the Monastery of St. Benedict, Mantua. They both possess a large share of historical dignity in the air and expression of the figures, a peculiar richness and vigour in the handling and touches. The elevated expression of St. Jerome is doubly recommended by its being wholly devoid of every thing factitious; for the ease, the simplicity, and truth of nature are conspicuous throughout; as also by the drawing and colouring of the figure, which are evidently after the life. This reference to living objects, for the drawing, colouring, and expression, was indeed the almost constant and universal practice of the old masters. It effectually prevented their beauty of form and colour, from degenerating into affectation and manner, and their sublimity into bombast. The more this most masterly picture is comtemplated, the deeper will its beauties enter into the heart, because they are congenial with truth, and address our best feelings and most cultivated tastes. The Virgin, infant Christ, and angels, the objects of the saint's devotions, glow with chaste and lively colour, and are most delicately expressed (P. Veronese)|St. Jerome. One of the grandest works of P. Veronese, and described as such by several esteemed writers on art, together with the Communion of St. Jerome, now in the British Institution, to which it was a companion in the Church of the Monastery of St. Benedict, Mantua. They both possess a large share of historical dignity in the air and expression of the figures, a peculiar richness and vigour in the handling and touches. The elevated expression of St. Jerome is doubly recommended by its being wholly devoid of every thing factitious; for the ease, the simplicity, and truth of nature are conspicuous throughout; as also by the drawing and colouring of the figure, which are evidently after the life. This reference to living objects, for the drawing, colouring, and expression, was indeed the almost constant and universal practice of the old masters. It effectually prevented their beauty of form and colour, from degenerating into affectation and manner, and their sublimity into bombast. The more this most masterly picture is comtemplated, the deeper will its beauties enter into the heart, because they are congenial with truth, and address our best feelings and most cultivated tastes. The Virgin, infant Christ, and angels, the objects of the saint's devotions, glow with chaste and lively colour, and are most delicately expressed]] réalisée par P. Veronese, vendue par A Delahante, achetée par Morant au prix de 325.10 £. [41]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Inspiration of St. Theresa. Formerly in the Convent of the Carmes Descheaux at Bruxelles. -- Though the vivacity of Rubens's chiaro scuro was not so well calculated for the serious dignity of history, it was always, if not in harmony with the subject, in such perfect unity with itself, so rich and so well balanced throughout, that one scarcely wishes, or thinks of a more suitably grave style. His figures are generally far from elegant, but they are impressed with so superior an intelligence, so fraught with sensibility, so enlivened by action, and every part, in fine, so instinct with life, that it must be ignorance and callousness itself, a physical or mental blindness, that could for a moment look at his performances without an unusual expansion of thought and feeling. He is indeed the monarch of the Flemish painters, and sways the undivided sceptre of superior animation and dignity. Though it is in his larger works that his powers thoroughly unfold themselves, yet in the picture before us, we have no inconsiderable testimony of his talents. The colouring is in his fresh, the pencilling is in his freest style. A greatness and grace of expression belongs to the Christ; the attendant Angels are filled with a holy reverence, and the saint Theresa is inspired with a pious fervor, and admiration of, and devotedness to her Saviour. Genius, or rather a superior thinking faculty cultivated by science, has here given to a mere superficies of colours and forms, an interesting and animating aspect of thought, sensibility and motion (Rubens)|Inspiration of St. Theresa. Formerly in the Convent of the Carmes Descheaux at Bruxelles. -- Though the vivacity of Rubens's chiaro scuro was not so well calculated for the serious dignity of history, it was always, if not in harmony with the subject, in such perfect unity with itself, so rich and so well balanced throughout, that one scarcely wishes, or thinks of a more suitably grave style. His figures are generally far from elegant, but they are impressed with so superior an intelligence, so fraught with sensibility, so enlivened by action, and every part, in fine, so instinct with life, that it must be ignorance and callousness itself, a physical or mental blindness, that could for a moment look at his performances without an unusual expansion of thought and feeling. He is indeed the monarch of the Flemish painters, and sways the undivided sceptre of superior animation and dignity. Though it is in his larger works that his powers thoroughly unfold themselves, yet in the picture before us, we have no inconsiderable testimony of his talents. The colouring is in his fresh, the pencilling is in his freest style. A greatness and grace of expression belongs to the Christ; the attendant Angels are filled with a holy reverence, and the saint Theresa is inspired with a pious fervor, and admiration of, and devotedness to her Saviour. Genius, or rather a superior thinking faculty cultivated by science, has here given to a mere superficies of colours and forms, an interesting and animating aspect of thought, sensibility and motion]] réalisée par Rubens, vendue par A Delahante, achetée par Morant G.r Place au prix de 304.10 £. [42]
  • 1814.06.03/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Christ washing the Disciples Feet. A picture of expansive merit in its power of colour and character, and its remarkable display of light. Though the figures are not all impressed with a dignity suitable to the subject, they are all interesting, and most of them in suitable action (Tintoretto)|Christ washing the Disciples Feet. A picture of expansive merit in its power of colour and character, and its remarkable display of light. Though the figures are not all impressed with a dignity suitable to the subject, they are all interesting, and most of them in suitable action]] réalisée par Tintoretto, vendue par A Delahante, achetée par H Baring au prix de 33.12 £. [43]
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