Ventes d'œuvres le 1814.06.04

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  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Entombing of Christ. If the figures in this picture are not of an elevated cast, they exhibit no small portion of feeling suitable to the awful circumstance described. The draperies too have an historical breadth and agreeable flow of line. It is a composition of much appropriate solemnity (Le Nain)|Entombing of Christ. If the figures in this picture are not of an elevated cast, they exhibit no small portion of feeling suitable to the awful circumstance described. The draperies too have an historical breadth and agreeable flow of line. It is a composition of much appropriate solemnity]] réalisée par Le Nain, vendue par A Delahante, achetée par Emmerson au prix de 22.1 £. [7]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Beheading of St. Paul. If this subject is not treated in a great style, in relation to any of the different constituents of a picture, it possesses such a portion of merit in several of them, that it claims the regard of the intelligent connoisseur. The action, proportion, and expression of the figures are graceful and impressive. Though the executioner has a touch of the theatrical in his attitude, his form and action are interesting. The expression of the saintly hero is that of resignation and pious courage. The gradations and tones are throughout highly pleasing (Pietro da Cortona)|The Beheading of St. Paul. If this subject is not treated in a great style, in relation to any of the different constituents of a picture, it possesses such a portion of merit in several of them, that it claims the regard of the intelligent connoisseur. The action, proportion, and expression of the figures are graceful and impressive. Though the executioner has a touch of the theatrical in his attitude, his form and action are interesting. The expression of the saintly hero is that of resignation and pious courage. The gradations and tones are throughout highly pleasing]] réalisée par Pietro da Cortona, vendue par A Delahante, achetée par Coulson au prix de 29.8 £. [8]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Landscape and Figures. The freshness and force of nature, powerful shadow contrasted with and enlivened by delicate, sparkling sunny lights, lucid sky and water, and a pleasing disposition of parts, with a peculiar and pleasing air of nature in the forms, combine to produce a powerful recognition of the realities of nature (Vanderneer)|Landscape and Figures. The freshness and force of nature, powerful shadow contrasted with and enlivened by delicate, sparkling sunny lights, lucid sky and water, and a pleasing disposition of parts, with a peculiar and pleasing air of nature in the forms, combine to produce a powerful recognition of the realities of nature]] réalisée par Vanderneer, vendue par A Delahante, achetée par Boyce au prix de 69.6 £. [17]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The taking down from the Cross. This picture is a very extraordinary specimen of this master; the style of composition is grand, and something similar to Daniel de Voltere: the groups are well distributed, and the richness of the colour is surprising for that age of the infancy of oil painting -- the two side doors are exquisitely finished. This picture came from Middlebourg, and was in the family of Mr. Magnum; it is particularly described by Deschamp (J. De Mabeuge)|The taking down from the Cross. This picture is a very extraordinary specimen of this master; the style of composition is grand, and something similar to Daniel de Voltere: the groups are well distributed, and the richness of the colour is surprising for that age of the infancy of oil painting -- the two side doors are exquisitely finished. This picture came from Middlebourg, and was in the family of Mr. Magnum; it is particularly described by Deschamp]] réalisée par J. De Mabeuge, vendue par A Delahante au prix de 73.10 £. [18]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Flight into Egypt. The works of this Artist are in much esteem for their ease and grace of form, and for a noble breadth of drapery, beauties strikingly exemplified in this performance. The figures are here in such natural and brisk action, as almost to appear in actual motion, the canvas seems scarcely to contain them. The full-blown charm of youthful beauty, of innocence, and maternal tenderness, is bestowed on the face of Mary, and a sacred complacency on that of Joseph. The former has a roundness of light and shade worthy of Corregio (S. De Pesaro)|The Flight into Egypt. The works of this Artist are in much esteem for their ease and grace of form, and for a noble breadth of drapery, beauties strikingly exemplified in this performance. The figures are here in such natural and brisk action, as almost to appear in actual motion, the canvas seems scarcely to contain them. The full-blown charm of youthful beauty, of innocence, and maternal tenderness, is bestowed on the face of Mary, and a sacred complacency on that of Joseph. The former has a roundness of light and shade worthy of Corregio]] réalisée par S. De Pesaro, vendue par A Delahante, achetée par Langley au prix de 86.2 £. [19]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[View in the Town of Harlem. For clearness of atmosphere, and of water, correct hue of stone and brick edifices, deep shadows, delicate minor tints, effect of light and shade during sunshine, accurately perspective receding objects, and unity of silvery tone throughout, this work justly ranks among the most successful (Berckheyden)|View in the Town of Harlem. For clearness of atmosphere, and of water, correct hue of stone and brick edifices, deep shadows, delicate minor tints, effect of light and shade during sunshine, accurately perspective receding objects, and unity of silvery tone throughout, this work justly ranks among the most successful]] réalisée par Berckheyden, vendue par A Delahante, achetée par Genl Ramsay au prix de 81.18 £. [20]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Flight into Egypt. This picture appears as fresh as if it was just taken from the painter's easel. It partakes of the elevated style of Gaspar Poussin, in the composition of the trees, buildings, &c. There is an unusual richness and playfulness of pencil in the clump of earth in the fore ground, and the bright blue and silvery sky is well harmonized by similar tints in the figures, which partake of the style of Albano and Caracci (F. Mola)|The Flight into Egypt. This picture appears as fresh as if it was just taken from the painter's easel. It partakes of the elevated style of Gaspar Poussin, in the composition of the trees, buildings, &c. There is an unusual richness and playfulness of pencil in the clump of earth in the fore ground, and the bright blue and silvery sky is well harmonized by similar tints in the figures, which partake of the style of Albano and Caracci]] réalisée par F. Mola, vendue par A Delahante, achetée par Egerton au prix de 120.15 £. [21]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Portrait of his Mother. Though not finished so elaborately as some of his performances, the pencilling is neat and carefully free, the colouring warm and clear, the effect broad and bright, and such as when the painter came fresh from the school of his master Rembrandt (Gerard Dow)|The Portrait of his Mother. Though not finished so elaborately as some of his performances, the pencilling is neat and carefully free, the colouring warm and clear, the effect broad and bright, and such as when the painter came fresh from the school of his master Rembrandt]] réalisée par Gerard Dow, vendue par A Delahante, achetée par Thornton au prix de 120.15 £. [23]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Four Evangelists, attended by a Celestial Expositor of the Scriptures. If none of the great masters had greater defects, none also displayed more obvious beauties than Rubens. If his colouring is not always of the chastest hue of nature, like Titian's, it is always in harmony with itself, and is fascinatingly lively. If his forms are frequently unscientific, clumsy, and incorrect, the action they are applied to is ever animated, characteristic, and highly interesting. There is no painter whatever inspired with so much ardour of feeling; for though Michael Angelo sublimely glowed with it in relation to the drawing and energetic action of his figures, he did not, like Rubens, extend that powerful feeling to such a variety of expression; he did not, like him, transfuse it into every department of his art. His, and other great minds, were greater in individual constituents of painting, but none were so multifariously admirable. This picture will well bear us out in these praises. It is among the warmest effusions of his glowing mind. The touch, the action, the expression, colour, light, and shade -- all are stamped with the most powerful impression of that intellectual energy of conception, and capability of displaying it, which is denominated genius. The Evangelists are described according to their peculiar attributes of mind, as writers, apostles, and men; the meekness of St. John, the comparative gracefulness of St. Luke, the energy of St. Mark, &c. This picture is, in fine, a most masterly specimen of the glow of Rubens' colour; the elegant boldness of his touch; the vigour of his action in men and animals, and the tastefulness of his composition and grouping. It is the bravura of his conception and execution (Rubens)|The Four Evangelists, attended by a Celestial Expositor of the Scriptures. If none of the great masters had greater defects, none also displayed more obvious beauties than Rubens. If his colouring is not always of the chastest hue of nature, like Titian's, it is always in harmony with itself, and is fascinatingly lively. If his forms are frequently unscientific, clumsy, and incorrect, the action they are applied to is ever animated, characteristic, and highly interesting. There is no painter whatever inspired with so much ardour of feeling; for though Michael Angelo sublimely glowed with it in relation to the drawing and energetic action of his figures, he did not, like Rubens, extend that powerful feeling to such a variety of expression; he did not, like him, transfuse it into every department of his art. His, and other great minds, were greater in individual constituents of painting, but none were so multifariously admirable. This picture will well bear us out in these praises. It is among the warmest effusions of his glowing mind. The touch, the action, the expression, colour, light, and shade -- all are stamped with the most powerful impression of that intellectual energy of conception, and capability of displaying it, which is denominated genius. The Evangelists are described according to their peculiar attributes of mind, as writers, apostles, and men; the meekness of St. John, the comparative gracefulness of St. Luke, the energy of St. Mark, &c. This picture is, in fine, a most masterly specimen of the glow of Rubens' colour; the elegant boldness of his touch; the vigour of his action in men and animals, and the tastefulness of his composition and grouping. It is the bravura of his conception and execution]] réalisée par Rubens, vendue par A Delahante, achetée par Woodburn au prix de 105.0 £. [24]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Marriage of St. Catherine. Painted by this main founder of the school of the Caracci, when he was studying the works of Corregio and Parmegiano; it partakes of the style of those masters, in their grace and roundness of form, and has the solemnity of effect peculiar to its painter, and so admirably suited to his grand class of art. The brilliant and main light on the infant Jesus, and in the centre of the picture, is in the pleasing manner of Corregio, carried off delicately into the outer parts of the canvas, on Titian's beautiful principle of a bunch of grapes, which gives also the secondary objects their pleasing, though less brillant roundness and gradation of light and shade (L. Carracci)|The Marriage of St. Catherine. Painted by this main founder of the school of the Caracci, when he was studying the works of Corregio and Parmegiano; it partakes of the style of those masters, in their grace and roundness of form, and has the solemnity of effect peculiar to its painter, and so admirably suited to his grand class of art. The brilliant and main light on the infant Jesus, and in the centre of the picture, is in the pleasing manner of Corregio, carried off delicately into the outer parts of the canvas, on Titian's beautiful principle of a bunch of grapes, which gives also the secondary objects their pleasing, though less brillant roundness and gradation of light and shade]] réalisée par L. Carracci, vendue par A Delahante, achetée par [[Baron Lahoussin [?] [or] Swedish Ambassador]] au prix de 189.0 £. [25]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Landscape and Figures. Among all the Dutch landscape painters there were none who displayed a greater neatness of pencil, lightness of handling, transparency of tint, delicate brilliancy of sunshine, or elegance of object. The picture before us will amply bear out this encomium. There is scarcely any, if indeed any painter, whose beautiful breadth and chiaro-scuro is so agreeably deversified by brisk and also tender touches of light, exhibited in forms admirable characteristic of the objects represented. Such, for instance, in this picture are the dock leaves, trees, brambles, hillock, road, and figures in the fore ground, the foliage, &c. in the middle ground, the rocks, castle, &c. in the distance, and the floating sun-tipp'd clouds. This picture is in perfect preservation (Both)|Landscape and Figures. Among all the Dutch landscape painters there were none who displayed a greater neatness of pencil, lightness of handling, transparency of tint, delicate brilliancy of sunshine, or elegance of object. The picture before us will amply bear out this encomium. There is scarcely any, if indeed any painter, whose beautiful breadth and chiaro-scuro is so agreeably deversified by brisk and also tender touches of light, exhibited in forms admirable characteristic of the objects represented. Such, for instance, in this picture are the dock leaves, trees, brambles, hillock, road, and figures in the fore ground, the foliage, &c. in the middle ground, the rocks, castle, &c. in the distance, and the floating sun-tipp'd clouds. This picture is in perfect preservation]] réalisée par Both, vendue par A Delahante, achetée par G Byng au prix de 299.5 £. [26]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Jupiter and Leda. One of the most admirable of Tintoretto's works, and formerly in the Orlean's Collection. Even the secondary female in it, would of itself constitute a beautiful specimen of female grace; but nothing can be more unassumingly easy than the attitude, or natural and delicately tinted, than the carnations of the chief figure; though replete with touches and requisite forms, they are so tenderly described, that the whole figure forms one beautiful and undivided mass, producing that charm of the fancy which ever arises from not fatiguing the attention with a number of parts, fixing, and delightingly taking in at a single glance, the entire object. This is one of those universal charms of simplicity, which constitutes the main substructure of pleasure in all the elegant arts, and to which the heart is ever thrillingly responsive. The flesh is throughout so pure, and so naturally bright, that even the strong and enlightened whiteness of the swan, does not in the least interfere with its predominating brilliancy. The lightness and lucidness of the fleshy tints are put to their fullest proof, by being placed in contact with this white object, and it triumphantly bears the test. The figure is evidently painted from beautiful and select nature, with much care, and the drawing is what artists phrase, well-understood, that is, it is correctly rendered. There is in it, also, such an aspect of life and reality, that it appears ready to start into vitality, like Pygmalion's statue, and to stir, and to speak; we may reasonably venture at least to say, that its grace of form and action calls to our remembrance, the description of the love-inspiring and inspired sculpture. The figure is, in fine, a capital representation of the loveliest of terrestrial beings, in the "flower of youth and beauty's price," the sweet solace and virtuous inspirer of man -- the last and best of God's works (Tintoretto)|Jupiter and Leda. One of the most admirable of Tintoretto's works, and formerly in the Orlean's Collection. Even the secondary female in it, would of itself constitute a beautiful specimen of female grace; but nothing can be more unassumingly easy than the attitude, or natural and delicately tinted, than the carnations of the chief figure; though replete with touches and requisite forms, they are so tenderly described, that the whole figure forms one beautiful and undivided mass, producing that charm of the fancy which ever arises from not fatiguing the attention with a number of parts, fixing, and delightingly taking in at a single glance, the entire object. This is one of those universal charms of simplicity, which constitutes the main substructure of pleasure in all the elegant arts, and to which the heart is ever thrillingly responsive. The flesh is throughout so pure, and so naturally bright, that even the strong and enlightened whiteness of the swan, does not in the least interfere with its predominating brilliancy. The lightness and lucidness of the fleshy tints are put to their fullest proof, by being placed in contact with this white object, and it triumphantly bears the test. The figure is evidently painted from beautiful and select nature, with much care, and the drawing is what artists phrase, well-understood, that is, it is correctly rendered. There is in it, also, such an aspect of life and reality, that it appears ready to start into vitality, like Pygmalion's statue, and to stir, and to speak; we may reasonably venture at least to say, that its grace of form and action calls to our remembrance, the description of the love-inspiring and inspired sculpture. The figure is, in fine, a capital representation of the loveliest of terrestrial beings, in the "flower of youth and beauty's price," the sweet solace and virtuous inspirer of man -- the last and best of God's works]] réalisée par Tintoretto, vendue par A Delahante, achetée par Lord Fife au prix de 220.10 £. [27]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Baptism of Christ. Extraordinary vigor of tone and splendor of light, both in the landscape and figures; a romantic magnificence of object, and a careful and firm pencil, belong to this composition; which might well be taken for a production of A. Caracci, his master (G.F. Grimaldi detto Il Bolognese)|The Baptism of Christ. Extraordinary vigor of tone and splendor of light, both in the landscape and figures; a romantic magnificence of object, and a careful and firm pencil, belong to this composition; which might well be taken for a production of A. Caracci, his master]] réalisée par G.F. Grimaldi detto Il Bolognese, vendue par A Delahante, achetée par Revd Carr au prix de 115.10 £. [29]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Diana hunting -- from the Justiniani Palace. A vigorous and poetical fancy pervades this picture; the mind is sublimely impressed by the lofty hills, heaped on each other, and suddenly rising from a spacious plain; by the elegant action, and eagerness with which the crescented goddess and her nymphs are chasing deer; by the exquisite clearness of the atmosphere, and by the sudden opposition of strong light and shade. The imagination is seized on, as it were, by a strong antithesis; by a vehemence of object; by light opposed to dark, without much intermediate half tint; by perpendicular heights, in contrast with flat vallies; by meandering and horizontal streams, opposed to perpendicular and headlong water-falls; by the delicate softness of the sky, contrasted with all this abruptness; by the courtly elegance of the sylvan queen and her attendants, in opposition to the rusticity of the peasantry; and by the wild magnificence and sequestered stillness of the landscape, contrasted with the beauty and cheerfulness of the figures. -- It is a picture worthy of the high character of the most eminent of the disciples of the Caracci (Domenichino)|Diana hunting -- from the Justiniani Palace. A vigorous and poetical fancy pervades this picture; the mind is sublimely impressed by the lofty hills, heaped on each other, and suddenly rising from a spacious plain; by the elegant action, and eagerness with which the crescented goddess and her nymphs are chasing deer; by the exquisite clearness of the atmosphere, and by the sudden opposition of strong light and shade. The imagination is seized on, as it were, by a strong antithesis; by a vehemence of object; by light opposed to dark, without much intermediate half tint; by perpendicular heights, in contrast with flat vallies; by meandering and horizontal streams, opposed to perpendicular and headlong water-falls; by the delicate softness of the sky, contrasted with all this abruptness; by the courtly elegance of the sylvan queen and her attendants, in opposition to the rusticity of the peasantry; and by the wild magnificence and sequestered stillness of the landscape, contrasted with the beauty and cheerfulness of the figures. -- It is a picture worthy of the high character of the most eminent of the disciples of the Caracci]] réalisée par Domenichino, vendue par A Delahante, achetée par George Byng, MP au prix de 462.0 £. [30]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Fair near the Benten Castle on the river Elbe. The introduction of the luminousness of day-light, is perhaps the most difficult to paint with truth, of all the appearances of inanimate nature. Wouvermans has been here peculiarly felicitous in this respect, and as much so in the various and vigorous action and character, of the quarrelling and carousing people. The grey tint of the offscape and sky, and the warmer hue of the fore-ground objects, are exquisitely mingled. The touch throughout is free, but with the beautiful finish of this nature-taught and accomplished master. The individual objects in this picture would of themselves constitute interesting pictures. In a pure state, and a known chef d'oeuvre of his pencil (Wouvermans)|Fair near the Benten Castle on the river Elbe. The introduction of the luminousness of day-light, is perhaps the most difficult to paint with truth, of all the appearances of inanimate nature. Wouvermans has been here peculiarly felicitous in this respect, and as much so in the various and vigorous action and character, of the quarrelling and carousing people. The grey tint of the offscape and sky, and the warmer hue of the fore-ground objects, are exquisitely mingled. The touch throughout is free, but with the beautiful finish of this nature-taught and accomplished master. The individual objects in this picture would of themselves constitute interesting pictures. In a pure state, and a known chef d'oeuvre of his pencil]] réalisée par Wouvermans, vendue par A Delahante, achetée par Foster au prix de 315.0 £. [31]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Repose -- formerly Cardinal Mazarin's. This picture not only manifests that superior talent in colouring, which has justly obtained Titian the appellation of Prince of Colourists; but also his excellence in composition, in expression, and in the painting of landscape. -- The composition unites its two main constituents, simplicity and variety; the former arising from the linear arrangement of the figures, the latter from that arrangement being diversified by the figures of Christ and St. John on the fore ground. -- Though Titian delighted most in colour, he very frequently and successfully applied his exalted powers to characterize mind, both in its amiable and sublime emotions. Of the former we have here beautiful instances: complacent, affectionate and pious, the sacred group appears animated by one soul of serene but ardent attachment, and abstraction from the world. Their attitudes are remarkably easy and graceful, and are nearly on a par with those of Raffaelle and Corregio. The dresses too, are among the best of this, or indeed, any master, and bear no small resemblance to the draperies of Raffaelle in their noble breadth, their affinity to no particular stuffs, but to a more general and dignified character, and in their displaying the attitudes and proportions of the forms beneath them. A rugged magnificence of landscape constitutes the masses of background. Trees, winding and watered vallies, rocky heights, gentle ascents, noble edifices, and the solemnity of ruins, add grandeur to the still and graceful aspect of the picture produced by the figures. But it is in Titan's unrivalled colour that our imaginations here most delight; it is the beautiful and the grand: the beautiful arises from its exquisite softness, sweetness, transparency, and brightness; the grand from its unity, simplicity, and breadth. The flesh is not frittered into littleness by a multiplicity of tints and touches; it is one unmixed, broad and gently gradating hue, the lights delicately melting into the shadows, which carry with them the tint of the lights. A golden lustre irradiates all the objects, even the white draperies, while a few blue objects give additional vigor and vivacity to the whole, and are prevented from appearing in harsh contrast with the warm colours, by the immediate tints of soft green and purple. The picture is informed throughout by the purest taste and highest powers of its great painter (Titian)|The Repose -- formerly Cardinal Mazarin's. This picture not only manifests that superior talent in colouring, which has justly obtained Titian the appellation of Prince of Colourists; but also his excellence in composition, in expression, and in the painting of landscape. -- The composition unites its two main constituents, simplicity and variety; the former arising from the linear arrangement of the figures, the latter from that arrangement being diversified by the figures of Christ and St. John on the fore ground. -- Though Titian delighted most in colour, he very frequently and successfully applied his exalted powers to characterize mind, both in its amiable and sublime emotions. Of the former we have here beautiful instances: complacent, affectionate and pious, the sacred group appears animated by one soul of serene but ardent attachment, and abstraction from the world. Their attitudes are remarkably easy and graceful, and are nearly on a par with those of Raffaelle and Corregio. The dresses too, are among the best of this, or indeed, any master, and bear no small resemblance to the draperies of Raffaelle in their noble breadth, their affinity to no particular stuffs, but to a more general and dignified character, and in their displaying the attitudes and proportions of the forms beneath them. A rugged magnificence of landscape constitutes the masses of background. Trees, winding and watered vallies, rocky heights, gentle ascents, noble edifices, and the solemnity of ruins, add grandeur to the still and graceful aspect of the picture produced by the figures. But it is in Titan's unrivalled colour that our imaginations here most delight; it is the beautiful and the grand: the beautiful arises from its exquisite softness, sweetness, transparency, and brightness; the grand from its unity, simplicity, and breadth. The flesh is not frittered into littleness by a multiplicity of tints and touches; it is one unmixed, broad and gently gradating hue, the lights delicately melting into the shadows, which carry with them the tint of the lights. A golden lustre irradiates all the objects, even the white draperies, while a few blue objects give additional vigor and vivacity to the whole, and are prevented from appearing in harsh contrast with the warm colours, by the immediate tints of soft green and purple. The picture is informed throughout by the purest taste and highest powers of its great painter]] réalisée par Titian, vendue par A Delahante, achetée par G Byng au prix de 1540.0 £. [32]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Triumph of Faith. Rubens delighted in allegorical subjects, of which this is one of his best, because one most easily understood. Christianity is represented by an animated young female, exultingly drawn in a car by celestial beings, and surrounded by a pomp appropriate to her divine character, and to the objects for which she was given to mankind. Her action is triumphant, for she is followed by the emblems of her exalted success -- the young and the old, the simple and scientific, the gay youth and the venerable sage, who are become her her willing followers. She bears with her in the car, the inspiring cause and object of her triumph -- the cross and the globe, borne by an angel. She is preceded above by two angels carrying the crown of thorns, and the nails of the crucifixion; and behind by another with a torch, emblematical of the discord that has arisen from false opinions respecting her, and from the enemies she had finally subdued. In this picture every thing is in motion; forward and brisk action, a flutter of form, and a bright scattering of colour, of every contrasted hue, all conduce to that joyous effect so indispensible to the subject, and which no one could so well produce as this most vivacious of painters. Above all, the figure which personifies triumphant Faith, appears to be instinct with a holy joy, and enlivened by the felicity of the blessed, and the sunshine of heaven. This chef d'ouvre came from the royal palace of Madrid (Rubens)|The Triumph of Faith. Rubens delighted in allegorical subjects, of which this is one of his best, because one most easily understood. Christianity is represented by an animated young female, exultingly drawn in a car by celestial beings, and surrounded by a pomp appropriate to her divine character, and to the objects for which she was given to mankind. Her action is triumphant, for she is followed by the emblems of her exalted success -- the young and the old, the simple and scientific, the gay youth and the venerable sage, who are become her her willing followers. She bears with her in the car, the inspiring cause and object of her triumph -- the cross and the globe, borne by an angel. She is preceded above by two angels carrying the crown of thorns, and the nails of the crucifixion; and behind by another with a torch, emblematical of the discord that has arisen from false opinions respecting her, and from the enemies she had finally subdued. In this picture every thing is in motion; forward and brisk action, a flutter of form, and a bright scattering of colour, of every contrasted hue, all conduce to that joyous effect so indispensible to the subject, and which no one could so well produce as this most vivacious of painters. Above all, the figure which personifies triumphant Faith, appears to be instinct with a holy joy, and enlivened by the felicity of the blessed, and the sunshine of heaven. This chef d'ouvre came from the royal palace of Madrid]] réalisée par Rubens, vendue par A Delahante, achetée par Hill the Dealer au prix de 430.10 £. [33]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Stoning of St. Stephen. In other works of the great masters there may be a higher degree of excellence in some particular constituents of the subject; but it is not presumptuous to say, that there are very few performances more perfect as a whole, that has united a greater number of beauties, or that are more unexceptionable. How rich and clear is the colouring; how scientific the drawing; how vigorous the action and expression; how suitably solemn and distinct is the effect of light and shade. Though painting is but the mere beautiful illusion that genius practises on our vision, we can scarcely suppress a rising indignation at the brutal ferocity of St. Stephen's enemies, or avoid feeling love and admiration of the sacred sufferer, at his triumph of faith under its severest trial. Persecution and pain damp not the ardor of his piety. He exults in the glory of suffering in the cause of truth. He appears almost to forget even his intense pain, and that horrid outrage which tears soul and body asunder. Absorbed by the magnificence of his reward, he exults at being about to enter the blissful regions which are opening to his view, and thinks of earthly things only in a magnanimous petition for the forgiveness of his murderers. He already appears to inhale the blissful and immortalizing atmosphere of heaven. He is the noble exemplar of the christian hero. This is one of the two illustrated pictures painted at Venice by the immortal artist, for the Spanish chapel at Rome. It was purchased at an enormous sum, by the Prince of Peace, and was brought into England from the Royal Palace of Madrid (Vandyke)|Stoning of St. Stephen. In other works of the great masters there may be a higher degree of excellence in some particular constituents of the subject; but it is not presumptuous to say, that there are very few performances more perfect as a whole, that has united a greater number of beauties, or that are more unexceptionable. How rich and clear is the colouring; how scientific the drawing; how vigorous the action and expression; how suitably solemn and distinct is the effect of light and shade. Though painting is but the mere beautiful illusion that genius practises on our vision, we can scarcely suppress a rising indignation at the brutal ferocity of St. Stephen's enemies, or avoid feeling love and admiration of the sacred sufferer, at his triumph of faith under its severest trial. Persecution and pain damp not the ardor of his piety. He exults in the glory of suffering in the cause of truth. He appears almost to forget even his intense pain, and that horrid outrage which tears soul and body asunder. Absorbed by the magnificence of his reward, he exults at being about to enter the blissful regions which are opening to his view, and thinks of earthly things only in a magnanimous petition for the forgiveness of his murderers. He already appears to inhale the blissful and immortalizing atmosphere of heaven. He is the noble exemplar of the christian hero. This is one of the two illustrated pictures painted at Venice by the immortal artist, for the Spanish chapel at Rome. It was purchased at an enormous sum, by the Prince of Peace, and was brought into England from the Royal Palace of Madrid]] réalisée par Vandyke, vendue par A Delahante, achetée par W Egerton au prix de 735.0 £. [34]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Young Man's Escape from the Jews, who apprehended Christ. The works of Correggio have the fervour and the melody of poetry. No man possessed such varied and finished beauties. If the unexampled grace, expression, and grandeur of Rafaelles' works, had not obtained for him the epithet of the Prince of Painters, the title would have been well merited by Correggio. This performance is a charming specimen of the energy and purity of his pencil, in respect of colouring, character and effect. It is night: her sable livery is illuminated by the solemn lustre of lights brought by the band of conspirators, and which "serve but to discover sights of woe" -- the Saviour taken into custody by the brutal band of conspirators, and a young man, overwhelmed with the dread of being apprehended with him, making his escape with the loss of his dress. The impression from the vehemence of this feeling is rendered still more intense, by the glowing light which so forcibly discovers him amidst the surrounding gloom. The flesh has the breadth, the clearness, and purity of Titian, and is altogether in a grand and beautiful style of colour, and chiaro-scuro. This exquisite picture was in the possession of Carlo Maratti the painter, who closed with his feeble but elegant pencil the long line of Italian glories in art (Correggio)|The Young Man's Escape from the Jews, who apprehended Christ. The works of Correggio have the fervour and the melody of poetry. No man possessed such varied and finished beauties. If the unexampled grace, expression, and grandeur of Rafaelles' works, had not obtained for him the epithet of the Prince of Painters, the title would have been well merited by Correggio. This performance is a charming specimen of the energy and purity of his pencil, in respect of colouring, character and effect. It is night: her sable livery is illuminated by the solemn lustre of lights brought by the band of conspirators, and which "serve but to discover sights of woe" -- the Saviour taken into custody by the brutal band of conspirators, and a young man, overwhelmed with the dread of being apprehended with him, making his escape with the loss of his dress. The impression from the vehemence of this feeling is rendered still more intense, by the glowing light which so forcibly discovers him amidst the surrounding gloom. The flesh has the breadth, the clearness, and purity of Titian, and is altogether in a grand and beautiful style of colour, and chiaro-scuro. This exquisite picture was in the possession of Carlo Maratti the painter, who closed with his feeble but elegant pencil the long line of Italian glories in art]] réalisée par Correggio, vendue par A Delahante, achetée par Sir Mark Sykes au prix de 162.15 £. [35]
  • 1814.06.04/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Infant Jesus and Mother, with St. Jerome and St. Nicholas. Though this is one of the early performances of Raffaelle, it evidently contains more than the embryo of his unrivalled grace and expression. The modest graces, youthful innocence and beauty, mingle in the look of the mother, and unsullied purity and piety of saints, in the figures of St. John and St. Nicholas. Raffaelle has finished subsequent works with more science, as to drawing and colouring, and more taste as to general execution; but he has given to none of them a more decided character of grace in attitude and expression, of abstractedness from every thing that is earthly and low thoughted. They possess a delicacy and elevation of character, exceeded by nothing whatever in the justly boasted antique. -- This picture is mentioned by Vasari, and was in a chapel at Perugioc (Raffaelle)|Infant Jesus and Mother, with St. Jerome and St. Nicholas. Though this is one of the early performances of Raffaelle, it evidently contains more than the embryo of his unrivalled grace and expression. The modest graces, youthful innocence and beauty, mingle in the look of the mother, and unsullied purity and piety of saints, in the figures of St. John and St. Nicholas. Raffaelle has finished subsequent works with more science, as to drawing and colouring, and more taste as to general execution; but he has given to none of them a more decided character of grace in attitude and expression, of abstractedness from every thing that is earthly and low thoughted. They possess a delicacy and elevation of character, exceeded by nothing whatever in the justly boasted antique. -- This picture is mentioned by Vasari, and was in a chapel at Perugioc]] réalisée par Raffaelle, vendue par A Delahante, achetée par Polhill au prix de 294.0 £. [36]
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