Ventes d'œuvres le 1816.09.27

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  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Head of the Virgin, seen in front; from the picture in the church of S. Maria Maggiore, at Rome, said to have been painted by St. Luke the evangelist. Round the interior of the frame is inscribed, VERA. EFFIGIES B. MARIAE VIRGINIS AD IMITATIONEM S. LVCAE QUAE ROMAE HABETVR IN S. M. MAJORE. The opinion that St. Luke was a painter may be traced to a very early period of the Christian church. The question has been fully discussed by Tiraboschi, Lanzi, and other Italian critics, and by Mr. Ottley in the introduction to his Italian School of Design; but seems to be of little importance except as it tends to shew that the professors of Christianity began very early to regard picturesque representations with a favourable eye. The picture at Rome, of which the present is a very ancient copy, is undoubtedly one of the earliest specimens of a picture by a Christian artist; or of what may be called, with reference to the works of the ancients modern art (Greek School)|The Head of the Virgin, seen in front; from the picture in the church of S. Maria Maggiore, at Rome, said to have been painted by St. Luke the evangelist. Round the interior of the frame is inscribed, VERA. EFFIGIES B. MARIAE VIRGINIS AD IMITATIONEM S. LVCAE QUAE ROMAE HABETVR IN S. M. MAJORE. The opinion that St. Luke was a painter may be traced to a very early period of the Christian church. The question has been fully discussed by Tiraboschi, Lanzi, and other Italian critics, and by Mr. Ottley in the introduction to his Italian School of Design; but seems to be of little importance except as it tends to shew that the professors of Christianity began very early to regard picturesque representations with a favourable eye. The picture at Rome, of which the present is a very ancient copy, is undoubtedly one of the earliest specimens of a picture by a Christian artist; or of what may be called, with reference to the works of the ancients modern art]] réalisée par Greek School, vendue par William Roscoe, achetée par Harrop au prix de 6.6 £. [1]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Coronation of the Virgin. The figures are seen at half length; the Virgin, with her hands folded on her breast, devoutly inclines her head before Christ, who places on the crown with both hands. This picture corresponds with the description given by Baldinucci of the works of the Greek painters immediately prior to the revival of the art in Italy. V. Decen. I. del Secol. I. p. 3 (Greek School)|The Coronation of the Virgin. The figures are seen at half length; the Virgin, with her hands folded on her breast, devoutly inclines her head before Christ, who places on the crown with both hands. This picture corresponds with the description given by Baldinucci of the works of the Greek painters immediately prior to the revival of the art in Italy. V. Decen. I. del Secol. I. p. 3]] réalisée par Greek School, vendue par William Roscoe, achetée par Dr Crompton au prix de 10.10 £. [2]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Annunciation. The angel Gabriel appearing to the Virgin in her chamber, with Greek inscriptions. Above is another inscription in ancient Russian characters, from which it has been conjectured by a very competent judge, and native of that country, to have been executed in the fifteenth century. The whole is very highly finished (Greek School)|The Annunciation. The angel Gabriel appearing to the Virgin in her chamber, with Greek inscriptions. Above is another inscription in ancient Russian characters, from which it has been conjectured by a very competent judge, and native of that country, to have been executed in the fifteenth century. The whole is very highly finished]] réalisée par Greek School, vendue par William Roscoe au prix de 3.3 £. [3]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Madonna and Child, a small altar piece with volets, on one of which are St. Nicholas and St. George, on the other St. Athanasius and St. Demetrius. This seems to be one of the more recent specimens, many of which are figured and described by Dr. Clarke in his travels through Russia. Size of the centre, which is covered by the wings (Greek School)|The Madonna and Child, a small altar piece with volets, on one of which are St. Nicholas and St. George, on the other St. Athanasius and St. Demetrius. This seems to be one of the more recent specimens, many of which are figured and described by Dr. Clarke in his travels through Russia. Size of the centre, which is covered by the wings]] réalisée par Greek School, vendue par William Roscoe, achetée par Ford au prix de 2.12 £. [4]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Repose in Egypt. St. Joseph and angels gathering dates. On a rock to the right is inscribed, CIMABVE. F. Painted in distemper, on pannel. In an ancient reeded oak frame. This picture is certainly to be referred to a very early period of the art (Giovanni Cimabue)|The Repose in Egypt. St. Joseph and angels gathering dates. On a rock to the right is inscribed, CIMABVE. F. Painted in distemper, on pannel. In an ancient reeded oak frame. This picture is certainly to be referred to a very early period of the art]] réalisée par Giovanni Cimabue, vendue par William Roscoe, achetée par Dr Crompton au prix de 3.13 £. [5]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[A Group of three Holy Women with an infant; part of a painting representing the nativity of St. John; a Fresco, cut from the walls of the church of the Carmelites, in Florence, before that place was destroyed by fire, in 1771. A print of the whole picture is published by Patch, by whom this portion was cut from the wall and sent into England. v. Catalogue of Prints, No. 1331 (Giotto di Bondone)|A Group of three Holy Women with an infant; part of a painting representing the nativity of St. John; a Fresco, cut from the walls of the church of the Carmelites, in Florence, before that place was destroyed by fire, in 1771. A print of the whole picture is published by Patch, by whom this portion was cut from the wall and sent into England. v. Catalogue of Prints, No. 1331]] réalisée par Giotto di Bondone, vendue par William Roscoe, achetée par Meason au prix de 4.14 £. [6]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Daughter of Herod receiving the head of St. John; a Fresco, from another painting of the history of that saint in the church of the Carmelites. The entire picture has also been engraved by Patch, who has likewise given a separate print of this very elegant figure. v. Catalogue of Prints, No. 1331 (Giotto di Bondone)|The Daughter of Herod receiving the head of St. John; a Fresco, from another painting of the history of that saint in the church of the Carmelites. The entire picture has also been engraved by Patch, who has likewise given a separate print of this very elegant figure. v. Catalogue of Prints, No. 1331]] réalisée par Giotto di Bondone, vendue par William Roscoe au prix de 10.10 £. [7]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Holy Family. Joseph and the Virgin remonstrating with Christ on his return from the temple. "His mother said unto him, Son, why hast thou thus dealt with us? Behold thy father and I have sought thee sorrowing. And he said unto them, how is it that ye sought me? Know ye not that I must be about my Father's business?" Luke ii, 48. On the bottom of the picture and on the same pannel is inscribed, SIMON DE SENIS ME PINXIT SVB A. D. MCCCXLII. On an ornamented gold ground (Simone Memmi, Called Simone da Sienna)|The Holy Family. Joseph and the Virgin remonstrating with Christ on his return from the temple. "His mother said unto him, Son, why hast thou thus dealt with us? Behold thy father and I have sought thee sorrowing. And he said unto them, how is it that ye sought me? Know ye not that I must be about my Father's business?" Luke ii, 48. On the bottom of the picture and on the same pannel is inscribed, SIMON DE SENIS ME PINXIT SVB A. D. MCCCXLII. On an ornamented gold ground]] réalisée par Simone Memmi, Called Simone da Sienna, vendue par William Roscoe au prix de 10.10 £. [8]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Two, a pair, Angels playing on musical Instruments. Although not so highly finished as the preceding picture, these pieces are evidently by the same hand. The attitudes are well contrasted, and the character of devotion finely expressed (Simone Memmi, Called Simone da Sienna)|Two, a pair, Angels playing on musical Instruments. Although not so highly finished as the preceding picture, these pieces are evidently by the same hand. The attitudes are well contrasted, and the character of devotion finely expressed]] réalisée par Simone Memmi, Called Simone da Sienna, vendue par William Roscoe, achetée par Ford au prix de 6.6 £. [9]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Nativity of the Virgin, painted on pannel. Fra. Giovanni was originally a miniature painter, or illuminator of Missals; but he afterwards enlarged his style, and is considered as the best disciple of the school of Giotto (Fra. Giovanni da Fiesole, Called Il Beato Angelico)|The Nativity of the Virgin, painted on pannel. Fra. Giovanni was originally a miniature painter, or illuminator of Missals; but he afterwards enlarged his style, and is considered as the best disciple of the school of Giotto]] réalisée par Fra. Giovanni da Fiesole, Called Il Beato Angelico, vendue par William Roscoe. [10]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Exhibition of a Relic in the Cathedral at Florence, containing portraits of Cosmo de' Medici, P.P. his son Piero il Gottoso, his grandsons Lorenzo and Giuliano, and upwards of seventy figures in the costume of the time. Lanzi says, "the two Peselli enjoyed the perpetual patronage of the Medici; which they repaid to the best of their power, by continually presenting before the public in their pictures (which according to the custom of the times were filled with portraits) the likenesses of their patrons." (Francesco Peselli)|The Exhibition of a Relic in the Cathedral at Florence, containing portraits of Cosmo de' Medici, P.P. his son Piero il Gottoso, his grandsons Lorenzo and Giuliano, and upwards of seventy figures in the costume of the time. Lanzi says, "the two Peselli enjoyed the perpetual patronage of the Medici; which they repaid to the best of their power, by continually presenting before the public in their pictures (which according to the custom of the times were filled with portraits) the likenesses of their patrons."]] réalisée par Francesco Peselli, vendue par William Roscoe, achetée par Dr Trail au prix de 31.10 £. [12]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Holy Family; the Virgin sitting under a rich canopy; St. Joseph gathering dates. On pannel. The pictures of Lorenzo di Credi exhibit a middle style between those of Pietro Perugino and Lionardo da Vinci, who were all three scholars of Andrea Verocchio. The works of Lorenzo are so highly finished that Vasari says, "all other pictures seem, in comparison with them, to be only sketches." (Lorenzo di Credi)|The Holy Family; the Virgin sitting under a rich canopy; St. Joseph gathering dates. On pannel. The pictures of Lorenzo di Credi exhibit a middle style between those of Pietro Perugino and Lionardo da Vinci, who were all three scholars of Andrea Verocchio. The works of Lorenzo are so highly finished that Vasari says, "all other pictures seem, in comparison with them, to be only sketches."]] réalisée par Lorenzo di Credi, vendue par William Roscoe, achetée par Ballantyne au prix de 37.16 £. [19]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Saint Jerome. He is adoring a crucifix in a cavern, through the entrance of which appears a landscape highly finished, on pannel. This is one of the most perfect productions remaining of the master of Raffaelle, who appears from this specimen to have given his last touches with gold (Pietro Perugino)|Saint Jerome. He is adoring a crucifix in a cavern, through the entrance of which appears a landscape highly finished, on pannel. This is one of the most perfect productions remaining of the master of Raffaelle, who appears from this specimen to have given his last touches with gold]] réalisée par Pietro Perugino, vendue par William Roscoe, achetée par Martin au prix de 15.15 £. [21]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Christ and the Woman of Samaria; on pannel. This piece, executed on pannel in chiaro scuro, and undoubtedly by the hand of Michelagnolo, was designed for Alfonso Davalos Marchese del Guasto, for the purpose of being copied on a larger scale in oil colours by Jacopo Pontormo. Vasari denominates it, Christ appearing to the Magdalen in the Garden; but Fuseli in his ed. of the Painters' Dictionary has corrected the error, and calls it Christ and the Samaritan Woman. Of this design there are two early engravings, one by Beatrizet, and the other by an artist whose initials are A.L.V. From the Collection of the King of Naples, at Capo di Monte, and brought into this kingdom by Mr. Ottley (Michelagnolo Buonarotti)|Christ and the Woman of Samaria; on pannel. This piece, executed on pannel in chiaro scuro, and undoubtedly by the hand of Michelagnolo, was designed for Alfonso Davalos Marchese del Guasto, for the purpose of being copied on a larger scale in oil colours by Jacopo Pontormo. Vasari denominates it, Christ appearing to the Magdalen in the Garden; but Fuseli in his ed. of the Painters' Dictionary has corrected the error, and calls it Christ and the Samaritan Woman. Of this design there are two early engravings, one by Beatrizet, and the other by an artist whose initials are A.L.V. From the Collection of the King of Naples, at Capo di Monte, and brought into this kingdom by Mr. Ottley]] réalisée par Michelagnolo Buonarotti, vendue par William Roscoe, achetée par Dr Trail au prix de 52.10 £. [31]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Transfiguration, arched at top. A finished and coloured sketch for a large picture. This master, although little known beyond the limits of Italy, is ranked by Lomazzo with Raffaelle, Correggio, &c. as one of the seven great painters of the age. Mythology was the sphere of Julio, Religion that of Gaudenzio; Fuseli in MS. Lanzi calls him Pittor grandissimo, and adds, Raffaellesco è sempre, e vicinissimo a primari della Scuola Romana (Gaudenzio Ferrari)|The Transfiguration, arched at top. A finished and coloured sketch for a large picture. This master, although little known beyond the limits of Italy, is ranked by Lomazzo with Raffaelle, Correggio, &c. as one of the seven great painters of the age. Mythology was the sphere of Julio, Religion that of Gaudenzio; Fuseli in MS. Lanzi calls him Pittor grandissimo, and adds, Raffaellesco è sempre, e vicinissimo a primari della Scuola Romana]] réalisée par Gaudenzio Ferrari, vendue par William Roscoe, achetée par Robinson au prix de 10.10 £. [34]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Madonna and Child. Presumed to be one of his earliest Cabinet Pictures, which Lanzi informs us are yet occasionally met with, and which from their dissimilarity to his subsequent style, are either doubted, or ascribed to some of his scholars (Antonio Corregio)|The Madonna and Child. Presumed to be one of his earliest Cabinet Pictures, which Lanzi informs us are yet occasionally met with, and which from their dissimilarity to his subsequent style, are either doubted, or ascribed to some of his scholars]] réalisée par Antonio Corregio, vendue par William Roscoe, achetée par Baxter au prix de 13.2 £. [35]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The court of Heaven, with the Coronation of the Virgin. A superb and tinted sketch for one of his large pictures; the figures designed with the greatest spirit, and the composition and effect of the whole being such as to reflect the highest honour on the genius of the master (Titiano Vecelli)|The court of Heaven, with the Coronation of the Virgin. A superb and tinted sketch for one of his large pictures; the figures designed with the greatest spirit, and the composition and effect of the whole being such as to reflect the highest honour on the genius of the master]] réalisée par Titiano Vecelli, vendue par William Roscoe, achetée par Ballantyne au prix de 11.11 £. [38]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The history of Moses. The action is double. The infant is committed to the river in one part of the picture, and found by the daughter of Pharoah in the other: -- a mode of representation which Ridolfi informs us was usual with this painter, who was the scholar of Titiano, and who emulated his master so closely, that it was usual at Venice to ask, è ella di Tiziano o di Bonifazio? (Bonifazio Veneziano)|The history of Moses. The action is double. The infant is committed to the river in one part of the picture, and found by the daughter of Pharoah in the other: -- a mode of representation which Ridolfi informs us was usual with this painter, who was the scholar of Titiano, and who emulated his master so closely, that it was usual at Venice to ask, è ella di Tiziano o di Bonifazio?]] réalisée par Bonifazio Veneziano, vendue par William Roscoe, achetée par Parr au prix de 7.17 £. [42]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Madonna and Child with Saints. The Virgin is seated with the child on her knee; behind her a young woman, designed in the manner of Raffaelle; before her St. Francis, and another saint richly habited in an episcopal dress, with a crozier. Below is the Portrait of a man in adoration; probably either the painter himself, or the person for whom the picture was painted. To this person Christ is giving his blessing. At the bottom of the picture, to the left, is inscribed in capital letters, VINCENCIVS CHATENA P. On pannel, in the most perfect preservation. "Hebbe Il Catena un Genio nobile nella Pittura. Egli visse ne' tempi di Giorgione, e emulò con ogni potere la di lui gloria; ma non lo superò già nella maestria, benchè egli usasse ogni diligenze e buon colorito nelle sue pitture. Ridolfi, 1.64." Lanzi places Catena in the first epoca of the Venetian School, on account of his paintings in the churches of Venice; "bella veraments, ma non moderna a bastanza;" but he particularly notices a holy family painted by him, in the Pesaro gallery, in the style of Giorgione; which, if he had painted nothing else, would have intitled him to be ranked in the succeeding epoca. "Se altra cosa non avesse dipinta, sarìa da rimoversi da quest' epoca." (Vincenzo Catena)|Madonna and Child with Saints. The Virgin is seated with the child on her knee; behind her a young woman, designed in the manner of Raffaelle; before her St. Francis, and another saint richly habited in an episcopal dress, with a crozier. Below is the Portrait of a man in adoration; probably either the painter himself, or the person for whom the picture was painted. To this person Christ is giving his blessing. At the bottom of the picture, to the left, is inscribed in capital letters, VINCENCIVS CHATENA P. On pannel, in the most perfect preservation. "Hebbe Il Catena un Genio nobile nella Pittura. Egli visse ne' tempi di Giorgione, e emulò con ogni potere la di lui gloria; ma non lo superò già nella maestria, benchè egli usasse ogni diligenze e buon colorito nelle sue pitture. Ridolfi, 1.64." Lanzi places Catena in the first epoca of the Venetian School, on account of his paintings in the churches of Venice; "bella veraments, ma non moderna a bastanza;" but he particularly notices a holy family painted by him, in the Pesaro gallery, in the style of Giorgione; which, if he had painted nothing else, would have intitled him to be ranked in the succeeding epoca. "Se altra cosa non avesse dipinta, sarìa da rimoversi da quest' epoca."]] réalisée par Vincenzo Catena, vendue par William Roscoe au prix de 42.0 £. [62]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Marriage of St. Catharine. The Virgin, sitting near the centre of the picture with the infant on her knee, is attended on her right hand by the Archangel Michael, and on her left by St. Veronica. Before them is St. Catharine, appearing only as a bust in front of the picture. This is undoubtedly a portrait, probably of a poetess of the time, as the head is surrounded with a wreath of laurel. This artist was of Bologna, and was the particular friend and correspondent of Raffaelle, who in one of his letters to him says, "That he has not discovered in the works of any other painter Madonnas more beautiful, more devout, or better designed." Malvas. Fels. Pittr. This picture is in fact so much in the style of Raffaelle, that it was, on its introduction into this country, sold as the work of that master for a considerable sum (Francesco Francia)|The Marriage of St. Catharine. The Virgin, sitting near the centre of the picture with the infant on her knee, is attended on her right hand by the Archangel Michael, and on her left by St. Veronica. Before them is St. Catharine, appearing only as a bust in front of the picture. This is undoubtedly a portrait, probably of a poetess of the time, as the head is surrounded with a wreath of laurel. This artist was of Bologna, and was the particular friend and correspondent of Raffaelle, who in one of his letters to him says, "That he has not discovered in the works of any other painter Madonnas more beautiful, more devout, or better designed." Malvas. Fels. Pittr. This picture is in fact so much in the style of Raffaelle, that it was, on its introduction into this country, sold as the work of that master for a considerable sum]] réalisée par Francesco Francia, vendue par William Roscoe, achetée par Meason au prix de 99.15 £. [63]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Portrait of Isabella d'Este, Marchioness of Mantua; the patroness of Ariosto. In the finest style of this great master. In colouring and expression this beautiful portrait cannot be excelled. Probably the finished study of the artist for his larger picture of this subject in the Louvre (Titiano Vecelli)|Portrait of Isabella d'Este, Marchioness of Mantua; the patroness of Ariosto. In the finest style of this great master. In colouring and expression this beautiful portrait cannot be excelled. Probably the finished study of the artist for his larger picture of this subject in the Louvre]] réalisée par Titiano Vecelli, vendue par William Roscoe, achetée par Dr Crompton au prix de 26.5 £. [64]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Last Judgment, a highly finished sketch for his great picture on that subject, fifty feet high, in the church of the Madonna dell' Orto, at Venice; painted in competition with Michelagnolo. In fertility of invention, and force of picturesque effect, the Venetian painter is allowed to have excelled the Florentine. From the Truchsess Collection (Tintoretto)|The Last Judgment, a highly finished sketch for his great picture on that subject, fifty feet high, in the church of the Madonna dell' Orto, at Venice; painted in competition with Michelagnolo. In fertility of invention, and force of picturesque effect, the Venetian painter is allowed to have excelled the Florentine. From the Truchsess Collection]] réalisée par Tintoretto, vendue par William Roscoe, achetée par Meason au prix de 15.4 £. [65]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Holy Family with two Saints. This highly finished and perfectly preserved picture, which bears the date of 1519, rivals the contemporary productions of Raffaelle, whose manner Lovini united with that of Leonardo da Vinci; thereby forming a style which Lanzi highly commends, as characterized by beauty, piety, and sensibility (Bernardino Lovini)|The Holy Family with two Saints. This highly finished and perfectly preserved picture, which bears the date of 1519, rivals the contemporary productions of Raffaelle, whose manner Lovini united with that of Leonardo da Vinci; thereby forming a style which Lanzi highly commends, as characterized by beauty, piety, and sensibility]] réalisée par Bernardino Lovini, vendue par William Roscoe, achetée par Dr Trail au prix de 110.5 £. [66]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Semiramis receiving intelligence of the capture of Babylon. Guercino painted this subject twice; one picture was sent to England for Charles the I. who invited the painter to this country, but he declined the offer, "lest by conversing with heretics he should contaminate the purity of his angelic manners." v. Malv. Fels. Pitt 2. 366. -- The other was painted for the Senator Cornaro, and is called in the Catalogue of the works of Guercino "Una Semiramide quando ebbe la nova della presa di Babilonia." Ib. 374 (Guercino)|Semiramis receiving intelligence of the capture of Babylon. Guercino painted this subject twice; one picture was sent to England for Charles the I. who invited the painter to this country, but he declined the offer, "lest by conversing with heretics he should contaminate the purity of his angelic manners." v. Malv. Fels. Pitt 2. 366. -- The other was painted for the Senator Cornaro, and is called in the Catalogue of the works of Guercino "Una Semiramide quando ebbe la nova della presa di Babilonia." Ib. 374]] réalisée par Guercino, vendue par William Roscoe, achetée par Baxter au prix de 37.16 £. [68]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Marriage of S. Catharine. This precisely agrees with the description of Ridolfi in his enumeration of the works of Paolo. (1. 329.) "Una S. Caterina Martire, sposato da Cristo; nel cui bel volto si scuoprono le candide sue affettioni." (Paolo Veronese)|The Marriage of S. Catharine. This precisely agrees with the description of Ridolfi in his enumeration of the works of Paolo. (1. 329.) "Una S. Caterina Martire, sposato da Cristo; nel cui bel volto si scuoprono le candide sue affettioni."]] réalisée par Paolo Veronese, vendue par William Roscoe, achetée par H v d Busch au prix de 28.7 £. [70]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Madonna and Child with St. Helena and St. Francis, painted in distemper by Ghirlandajo, with a Frieze below in chiaro-scuro by Michelagnolo. The whole picture 2 f. 10 in. 2 f. 4 in. w. The frieze 8 in. h. This picture is in the highest degree interesting to the history of art, as exhibiting, in one point of view, the transition from the crude but laborious manner of the early masters, to the grand and simple style introduced under the auspices of Michelagnolo...That Ghirlandajo was accustomed to introduce friezes at the bottom of his pictures, is mentioned by Vasari. The present appears to have been intrusted to Michelagnolo, who has divided it into two compartments, representing the Jewish and Christian dispensation, or the old and new law. In the former, Moses attended by Aaron appears with the tables of the commandments, which he breaks on seeing the Israelites adore the golden calf. In the second, the idols of the heathen fall down before the coming of Christ, who appears in the arms of the Virgin pointing towards them. On the right is the crowned prophet predicting, and on the left a sibyl lamenting his advent. This piece is executed in chiaro-scuro, with bistre heightened with white, and is highly finished in stippling, or rather oblong dots, in the same manner as his design of Christ and the Samaritan Woman, v. ante, No. 32; demonstrating how early he adopted the mode of execution, which he ever afterwards retained...This picture is in the finest preservation possible The preceding was excerpted (Domenico Ghirlandajo)|The Madonna and Child with St. Helena and St. Francis, painted in distemper by Ghirlandajo, with a Frieze below in chiaro-scuro by Michelagnolo. The whole picture 2 f. 10 in. 2 f. 4 in. w. The frieze 8 in. h. This picture is in the highest degree interesting to the history of art, as exhibiting, in one point of view, the transition from the crude but laborious manner of the early masters, to the grand and simple style introduced under the auspices of Michelagnolo...That Ghirlandajo was accustomed to introduce friezes at the bottom of his pictures, is mentioned by Vasari. The present appears to have been intrusted to Michelagnolo, who has divided it into two compartments, representing the Jewish and Christian dispensation, or the old and new law. In the former, Moses attended by Aaron appears with the tables of the commandments, which he breaks on seeing the Israelites adore the golden calf. In the second, the idols of the heathen fall down before the coming of Christ, who appears in the arms of the Virgin pointing towards them. On the right is the crowned prophet predicting, and on the left a sibyl lamenting his advent. This piece is executed in chiaro-scuro, with bistre heightened with white, and is highly finished in stippling, or rather oblong dots, in the same manner as his design of Christ and the Samaritan Woman, v. ante, No. 32; demonstrating how early he adopted the mode of execution, which he ever afterwards retained...This picture is in the finest preservation possible The preceding was excerpted]] réalisée par Domenico Ghirlandajo, vendue par William Roscoe, achetée par Dr Trail au prix de 115.10 £. [73]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Head of Christ, painted on a gold ground, and exquisitely finished. A picture not excelled by any production of the master. The character is full of composed dignity and deep feeling, and never fails to strike the spectator with awe and admiration (Lionardo da Vinci)|Head of Christ, painted on a gold ground, and exquisitely finished. A picture not excelled by any production of the master. The character is full of composed dignity and deep feeling, and never fails to strike the spectator with awe and admiration]] réalisée par Lionardo da Vinci, vendue par William Roscoe, achetée par Dr Trail au prix de 315.0 £. [74]
  • 1816.09.27/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Portrait of Leo X. with his cousin the Cardinal Giulio de' Medici, and his nephew the Cardinal de' Rossi. On pannel. Vasari relates, that when Federigo Duke of Mantua passed through Florence to pay his respects to Clement VIII. he saw, in the Palace of the Medici, the Portrait of Leo X. with the Cardinals Giulio de' Medici and Rossi, with which he was so highly pleased, that on his arrival at Rome he requested it as a gift from the Pope...the Pontiff generously complied with his wishes, and directions were accordingly sent to Ottaviano de' Medici at Florence, to forward the picture to Mantua; but he being unwilling that the family should be deprived of such a treasure, sent to Andrea del Sarto and requested him to copy it, which he did with such success, that Ottaviano himself could not distinguish the copy from the original; concealing therefore the picture of Raffaelle, he sent to Mantua that of Andrea del Sarto, with which the Duke was perfectly satisfied, and even Giulio Romano, the favorite pupil of Raffaelle, who was then resident at Mantua, was not aware of the deception. In this error they might have remained, had not a singular incident led to an explanation. Vasari...desirous of forming an acquaintance with Giulio Romano, paid a visit to Mantua, where he was received with great civility by Giulio, who...at length exhibited to him the picture of Raffaelle, as the greatest ornament of the place. "A beautiful work," cried Vasari, "but not by the hand of Raffaelle." "How so?" said Giulio, "is it possible I should not recognize the touches of my own pencil upon it?" "You are mistaken," replied Vasari, "this picture is the work of Andrea del Sarto, (under whom Vasari had studied at the time the copy was made) and as a proof of it, there is a mark * which I will shew you." The picture was accordingly taken down, and the mark mentioned by Vasari discovered...In consequence of this artifice, the picture of Raffaelle remained at Florence, till it was carried away a few years since to ornament the immense collection of the Louvre; that of Andrea del Sarto afterwards came into the possession of the Duke of Parma, from which city it was transferred to Naples, and formed a part of the Royal Collection at Capo di Monte; where it remained till that collection was dispersed by the revolutionary troubles, and is presumed to have found its way (in common with many other pictures from the same collection) into this country, where it became the property of a respectable dealer in London, who never would part with it in his life time; but after whose death it was purchased by its present possessor...What was the mark by which Andrea distinguished his copy from the original, Vasari has not mentioned; but the prelate Bottari informs us that he had heard Gabbiani, who was himself an eminent painter...say, "that the mark set upon the picture by Andrea, was the writing his name on the edge or thickness of the pannel, which was covered by the frame; and that when Vasari had the picture taken out of the frame, Giulio read the inscription." Notwithstanding these facts, the picture had been a considerable time in the possession of its present owner before he examined whether any traces of such an inscription could be discovered...he had, about two years since, the picture taken out of the frame, in the presence of some of his friends, when on the left edge of the pannel, which is about three quarters of an inch thick, the remains of the inscription were still visible. This inscription was much obliterated, but according to the best judgment that could be formed of it, had been composed of the letters ANDREA. F. P. ---- . Probably followed by the date of the year, which was however quite illegible. The coincidence of this fact, with the relation of Vasari, and the tradition of Gabbiani, was considered by the parties present as a sufficient evidence of this being the identical picture of Andrea del Sarto...from the enquiries that have been made, it does not appear that the picture of Andrea is now either at Naples or Palermo, to which latter place a great part of the collection at Capo di Monte had been removed, before the French obtained possession of Naples The preceding was excerpted (Andrea del Sarto)|Portrait of Leo X. with his cousin the Cardinal Giulio de' Medici, and his nephew the Cardinal de' Rossi. On pannel. Vasari relates, that when Federigo Duke of Mantua passed through Florence to pay his respects to Clement VIII. he saw, in the Palace of the Medici, the Portrait of Leo X. with the Cardinals Giulio de' Medici and Rossi, with which he was so highly pleased, that on his arrival at Rome he requested it as a gift from the Pope...the Pontiff generously complied with his wishes, and directions were accordingly sent to Ottaviano de' Medici at Florence, to forward the picture to Mantua; but he being unwilling that the family should be deprived of such a treasure, sent to Andrea del Sarto and requested him to copy it, which he did with such success, that Ottaviano himself could not distinguish the copy from the original; concealing therefore the picture of Raffaelle, he sent to Mantua that of Andrea del Sarto, with which the Duke was perfectly satisfied, and even Giulio Romano, the favorite pupil of Raffaelle, who was then resident at Mantua, was not aware of the deception. In this error they might have remained, had not a singular incident led to an explanation. Vasari...desirous of forming an acquaintance with Giulio Romano, paid a visit to Mantua, where he was received with great civility by Giulio, who...at length exhibited to him the picture of Raffaelle, as the greatest ornament of the place. "A beautiful work," cried Vasari, "but not by the hand of Raffaelle." "How so?" said Giulio, "is it possible I should not recognize the touches of my own pencil upon it?" "You are mistaken," replied Vasari, "this picture is the work of Andrea del Sarto, (under whom Vasari had studied at the time the copy was made) and as a proof of it, there is a mark * which I will shew you." The picture was accordingly taken down, and the mark mentioned by Vasari discovered...In consequence of this artifice, the picture of Raffaelle remained at Florence, till it was carried away a few years since to ornament the immense collection of the Louvre; that of Andrea del Sarto afterwards came into the possession of the Duke of Parma, from which city it was transferred to Naples, and formed a part of the Royal Collection at Capo di Monte; where it remained till that collection was dispersed by the revolutionary troubles, and is presumed to have found its way (in common with many other pictures from the same collection) into this country, where it became the property of a respectable dealer in London, who never would part with it in his life time; but after whose death it was purchased by its present possessor...What was the mark by which Andrea distinguished his copy from the original, Vasari has not mentioned; but the prelate Bottari informs us that he had heard Gabbiani, who was himself an eminent painter...say, "that the mark set upon the picture by Andrea, was the writing his name on the edge or thickness of the pannel, which was covered by the frame; and that when Vasari had the picture taken out of the frame, Giulio read the inscription." Notwithstanding these facts, the picture had been a considerable time in the possession of its present owner before he examined whether any traces of such an inscription could be discovered...he had, about two years since, the picture taken out of the frame, in the presence of some of his friends, when on the left edge of the pannel, which is about three quarters of an inch thick, the remains of the inscription were still visible. This inscription was much obliterated, but according to the best judgment that could be formed of it, had been composed of the letters ANDREA. F. P. ---- . Probably followed by the date of the year, which was however quite illegible. The coincidence of this fact, with the relation of Vasari, and the tradition of Gabbiani, was considered by the parties present as a sufficient evidence of this being the identical picture of Andrea del Sarto...from the enquiries that have been made, it does not appear that the picture of Andrea is now either at Naples or Palermo, to which latter place a great part of the collection at Capo di Monte had been removed, before the French obtained possession of Naples The preceding was excerpted]] réalisée par Andrea del Sarto, vendue par William Roscoe, achetée par Dr Trail au prix de 525.0 £. [76]
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