Ventes d'œuvres le 1816.09.28

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  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Burial of Christ. On pannel. 1 foot 9 inches square. From the Truchsess Collection, where it was attributed to Israel van Mecheln, whose manner, as is apparent from his engravings, is wholly different. In the Imperial gallery at Vienna is a picture by John van Eyck on the same subject, the description of which, in M. de Mechel's Catalogue, precisely agrees with the present, and shews that they are both from the same artist. "The dead body of Christ on a white sheet, at the foot of Mount Calvary, surrounded by the Virgin and seven holy persons; some of whom are weeping, whilst others make preparations for the sepulture of the Saviour. The Cross is perceived on the summit of the Mount." Mechel, Cat. de la Gallerie Imperiale de Vienne, 152. There is a difference in the size, the present picture being larger than that at Vienna, which is only about 13 in. by 8, French measure (John van Eyck, The inventor of Painting in Oil)|The Burial of Christ. On pannel. 1 foot 9 inches square. From the Truchsess Collection, where it was attributed to Israel van Mecheln, whose manner, as is apparent from his engravings, is wholly different. In the Imperial gallery at Vienna is a picture by John van Eyck on the same subject, the description of which, in M. de Mechel's Catalogue, precisely agrees with the present, and shews that they are both from the same artist. "The dead body of Christ on a white sheet, at the foot of Mount Calvary, surrounded by the Virgin and seven holy persons; some of whom are weeping, whilst others make preparations for the sepulture of the Saviour. The Cross is perceived on the summit of the Mount." Mechel, Cat. de la Gallerie Imperiale de Vienne, 152. There is a difference in the size, the present picture being larger than that at Vienna, which is only about 13 in. by 8, French measure]] réalisée par John van Eyck, The inventor of Painting in Oil, vendue par William Roscoe, achetée par Meason au prix de 4.0 £. [1]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Marriage of Saint Catharine. On pannel. The Virgin is seated in the middle, with the Child on her knee, attended by St. Anna, St. Barbara, and St. Cecilia. On the right, St Catharine kneeling, on whose finger the infant places the ring. They are surrounded by a kind of bower, composed of roses and vines: in the back ground a city, of which the architecture is highly finished. This very singular and early specimen is painted in distemper, on a calcareous ground, but has perfectly preserved its colouring (Hubert Van Eyck)|The Marriage of Saint Catharine. On pannel. The Virgin is seated in the middle, with the Child on her knee, attended by St. Anna, St. Barbara, and St. Cecilia. On the right, St Catharine kneeling, on whose finger the infant places the ring. They are surrounded by a kind of bower, composed of roses and vines: in the back ground a city, of which the architecture is highly finished. This very singular and early specimen is painted in distemper, on a calcareous ground, but has perfectly preserved its colouring]] réalisée par Hubert Van Eyck, vendue par William Roscoe, achetée par Ellams au prix de 5.5 £. [2]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The adoration of the Magi. On pannel, in distemper. From the high finish, richness of colouring, and perfect preservation of this picture, it would appear that the invention of painting in oil was preceded by a mode of execution which had been carried to a high degree of perfection, and even admitted of a touch and effect not to be attained in oil. Accordingly many of the early masters, as well in Italy as in Germany and Flanders, still continued to paint with the preparation of eggs, and other substances; and their pictures, with the aid of varnishes, seem to be as durable as those painted in oil; so that the intire loss of this method cannot be regarded wholly without regret. Vander Weyde was the scholar of Van Eyck, who it is said concealed his discovery from his pupil till he was on his death bed. However that may be, the works of Vander Weyde are chiefly, if not intirely painted in distemper. Descamps has described Roger Vander Weyde and Roger of Bruges as two different artists; and M. de Mechel, in his Catalogue of the Vienna Gallery, has fallen into a similar error, and attributed a separate picture to each. One of these is on the same subject as the above, and the artist appears to have treated it precisely in the same manner (Roger Vander Weyde, Called Roger of Bruges)|The adoration of the Magi. On pannel, in distemper. From the high finish, richness of colouring, and perfect preservation of this picture, it would appear that the invention of painting in oil was preceded by a mode of execution which had been carried to a high degree of perfection, and even admitted of a touch and effect not to be attained in oil. Accordingly many of the early masters, as well in Italy as in Germany and Flanders, still continued to paint with the preparation of eggs, and other substances; and their pictures, with the aid of varnishes, seem to be as durable as those painted in oil; so that the intire loss of this method cannot be regarded wholly without regret. Vander Weyde was the scholar of Van Eyck, who it is said concealed his discovery from his pupil till he was on his death bed. However that may be, the works of Vander Weyde are chiefly, if not intirely painted in distemper. Descamps has described Roger Vander Weyde and Roger of Bruges as two different artists; and M. de Mechel, in his Catalogue of the Vienna Gallery, has fallen into a similar error, and attributed a separate picture to each. One of these is on the same subject as the above, and the artist appears to have treated it precisely in the same manner]] réalisée par Roger Vander Weyde, Called Roger of Bruges, vendue par William Roscoe, achetée par Battersby au prix de 6.16 £. [3]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Christ taken down from the Cross; an Altar piece composed of a centre and two Volets, or wings. Size of the centre 2 feet square, covered by the volets; which, when opened, form a piece 4 feet long and 2 feet high. The centre piece represents the descent from the cross, and on each of the volets is the crucifixion of one of the thieves. One of them also contains portraits of a woman standing and a man kneeling, and devoutly regarding the principal scene; these are probably the donors of the picture. On the other volet are two figures, the elder of whom resembles the Emperor Maximilian, who places his hand on the shoulder of a younger man, clad in mail, and richly habited, intended perhaps for his son Philip of Austria, King of Castile, the father of Charles V. These figures are undoubtedly introduced as the patrons of the piece. At the foot of one of the volets is a lion rampant, half length, probably the emblem used by the painter. On the reverse of the volets are two figures of Saints, painted in oil by a later artist, in the manner of Lucas van Leyden. This picture is most clearly and forcibly painted in distemper, although certainly after the use of oil was generally known. There is considerable merit both in the design and composition, and the numerous spectators and assistants exhibit strong and diversified characters. "Hemmelinck," says Descamps, "had a better style of design than the other painters of his time. He grouped his figures with more order. His subjects are better disposed. His architecture is well chosen. His perspective is good. He was at least equal to the brothers Van Eyck, and in some respects surpassed them. It is astonishing that his pictures are painted only with the white of eggs. Undoubtedly he preferred this manner of painting and disregarded the use of oil, of the invention of which he could not be ignorant. In fact, nothing can be more beautiful or more fresh than the pictures that remain of him." Amongst the drawings in this Collection is the design for the group of the Virgin and St. John in this picture, which was executed with considerable alterations. The drawing formerly belonged to Mr. Ottley, by whom it was attributed to this master. v. Drawings, No. 437 (Hans Hemmelinck)|Christ taken down from the Cross; an Altar piece composed of a centre and two Volets, or wings. Size of the centre 2 feet square, covered by the volets; which, when opened, form a piece 4 feet long and 2 feet high. The centre piece represents the descent from the cross, and on each of the volets is the crucifixion of one of the thieves. One of them also contains portraits of a woman standing and a man kneeling, and devoutly regarding the principal scene; these are probably the donors of the picture. On the other volet are two figures, the elder of whom resembles the Emperor Maximilian, who places his hand on the shoulder of a younger man, clad in mail, and richly habited, intended perhaps for his son Philip of Austria, King of Castile, the father of Charles V. These figures are undoubtedly introduced as the patrons of the piece. At the foot of one of the volets is a lion rampant, half length, probably the emblem used by the painter. On the reverse of the volets are two figures of Saints, painted in oil by a later artist, in the manner of Lucas van Leyden. This picture is most clearly and forcibly painted in distemper, although certainly after the use of oil was generally known. There is considerable merit both in the design and composition, and the numerous spectators and assistants exhibit strong and diversified characters. "Hemmelinck," says Descamps, "had a better style of design than the other painters of his time. He grouped his figures with more order. His subjects are better disposed. His architecture is well chosen. His perspective is good. He was at least equal to the brothers Van Eyck, and in some respects surpassed them. It is astonishing that his pictures are painted only with the white of eggs. Undoubtedly he preferred this manner of painting and disregarded the use of oil, of the invention of which he could not be ignorant. In fact, nothing can be more beautiful or more fresh than the pictures that remain of him." Amongst the drawings in this Collection is the design for the group of the Virgin and St. John in this picture, which was executed with considerable alterations. The drawing formerly belonged to Mr. Ottley, by whom it was attributed to this master. v. Drawings, No. 437]] réalisée par Hans Hemmelinck, vendue par William Roscoe, achetée par Dr Crompton au prix de 15.4 £. [4]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[St. Catharine, a whole length, with a sword; St. Mary Magdalen, ditto, with a box of ointment. On pannel; a pair. These pictures, painted in distemper, afford a very favourable specimen, both in drawing and colouring, of Flemish art in the fifteenth century (Hugo Vander Goes)|St. Catharine, a whole length, with a sword; St. Mary Magdalen, ditto, with a box of ointment. On pannel; a pair. These pictures, painted in distemper, afford a very favourable specimen, both in drawing and colouring, of Flemish art in the fifteenth century]] réalisée par Hugo Vander Goes, vendue par William Roscoe, achetée par Dr Crompton au prix de 4.0 £. [5]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Crucifixion; a large Altar-piece, with double Volets; forming, when opened, a piece 2 feet 8 inches high, and 10 feet wide. The centre represents Christ on the cross, with many figures: the two nearer volets exhibit Christ bearing his cross, and the ascension of Christ; and the two exterior ones, Pilate washing his hands, &c. The latter are painted in chiaro-scuro, and when closed form the exterior of the picture, which is then 2 feet 8 inches high, by 3 feet 9 inches wide. Michael Wolgemuth and Martin Schoen are the founders of the German School. Their manner is much more hard, tasteless and gothic than that of their predecessors in the low countries, to whom indeed they are inferior in every point of view. Their barbarism imposed shackles even upon the genius of Albert Durer, which if left to itself might have diffused throughout Germany a better style of design. In the Imperial Collection at Vienna is a picture of Wolgemuth, painted in the same manner as the present, with four volets: some of the subjects are also similar, as Pilate washing his hands, &c. The Vienna picture is marked ANNO DOMINI 1511. v. Mechel, Catalogue de la Gal. Imper. de Vienne, p. 244 (Michael Wolgemuth)|The Crucifixion; a large Altar-piece, with double Volets; forming, when opened, a piece 2 feet 8 inches high, and 10 feet wide. The centre represents Christ on the cross, with many figures: the two nearer volets exhibit Christ bearing his cross, and the ascension of Christ; and the two exterior ones, Pilate washing his hands, &c. The latter are painted in chiaro-scuro, and when closed form the exterior of the picture, which is then 2 feet 8 inches high, by 3 feet 9 inches wide. Michael Wolgemuth and Martin Schoen are the founders of the German School. Their manner is much more hard, tasteless and gothic than that of their predecessors in the low countries, to whom indeed they are inferior in every point of view. Their barbarism imposed shackles even upon the genius of Albert Durer, which if left to itself might have diffused throughout Germany a better style of design. In the Imperial Collection at Vienna is a picture of Wolgemuth, painted in the same manner as the present, with four volets: some of the subjects are also similar, as Pilate washing his hands, &c. The Vienna picture is marked ANNO DOMINI 1511. v. Mechel, Catalogue de la Gal. Imper. de Vienne, p. 244]] réalisée par Michael Wolgemuth, vendue par William Roscoe, achetée par Buddicum au prix de 21.0 £. [12]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[St. Christopher carrying Christ. The subjects of this painter, whether sacred or profane, are always treated in the most grotesque manner. The object of this picture seems to have been to satirize the church of Rome, represented by an immense figure, composed only of a mask and a cloak, under which are many people engaged in all kinds of riot and excess. The mask is that of an old hag with horns, from one of which an imp is distributing papal bulls. This picture, painted before the time of Luther, indicates how fully some parts of Europe were prepared for the change that soon afterwards took place. This artist gave to his work a brilliancy of colouring which seems not to have suffered to the present day (Jerome Bos)|St. Christopher carrying Christ. The subjects of this painter, whether sacred or profane, are always treated in the most grotesque manner. The object of this picture seems to have been to satirize the church of Rome, represented by an immense figure, composed only of a mask and a cloak, under which are many people engaged in all kinds of riot and excess. The mask is that of an old hag with horns, from one of which an imp is distributing papal bulls. This picture, painted before the time of Luther, indicates how fully some parts of Europe were prepared for the change that soon afterwards took place. This artist gave to his work a brilliancy of colouring which seems not to have suffered to the present day]] réalisée par Jerome Bos, vendue par William Roscoe, achetée par Battersby au prix de 15.15 £. [13]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The Virgin sitting on the knee of St. Anna, &c. holding the infant Christ, to whom she offers a pink, whilst St. Anna shews him a pear. The Virgin, though an adult, is absurdly represented as a much smaller figure than her mother. This master was also an engraver (Francis Van Bockholt)|The Virgin sitting on the knee of St. Anna, &c. holding the infant Christ, to whom she offers a pink, whilst St. Anna shews him a pear. The Virgin, though an adult, is absurdly represented as a much smaller figure than her mother. This master was also an engraver]] réalisée par Francis Van Bockholt, vendue par William Roscoe, achetée par Ford au prix de 2.12 £. [14]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Portrait of his Wife, in a rich head dress, and necklace: at the back is inscribed in capital letters, EFFIGIES GENUINA MARGARETAE RAUSCHEN A ZIGELBURGH SPONSAE LUCAE KRANACH EXISTENTIS PICTORII EXIMII SAXONIAE DUCIS, PER SPONSUM IPSUM MEMORIAE AETERNAE CONSECRATA. With the winged dragon, the usual mark of the artist (Lucas Kranach)|Portrait of his Wife, in a rich head dress, and necklace: at the back is inscribed in capital letters, EFFIGIES GENUINA MARGARETAE RAUSCHEN A ZIGELBURGH SPONSAE LUCAE KRANACH EXISTENTIS PICTORII EXIMII SAXONIAE DUCIS, PER SPONSUM IPSUM MEMORIAE AETERNAE CONSECRATA. With the winged dragon, the usual mark of the artist]] réalisée par Lucas Kranach, vendue par William Roscoe, achetée par Meason au prix de 2.0 £. [21]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Four Portraits of English characters. Portrait of a Gentleman, marked W.R. AE 25. 1509. Portrait of a Lady, marked W.Z.N. 17. 1509. Portrait of a Gentleman, marked W.G.F. 38. and the year 1508. Portrait of a Man in a large hat, with a cup in his hand, on which is a coat of arms; above are the letters P.C.V. at the side his age 44, and on the other side the year 1463, which has been altered; the real date was probably 1503. Lucas Cornelii was the son and pupil of Cornelius Eugelbrecht. He was in England in the beginning of Henry VIII. where he was appointed his Majesty's painter. Holbein, who succeeded him in the favour of the king, is said to have learned from him the art of painting in miniature (Lucas Cornelii)|Four Portraits of English characters. Portrait of a Gentleman, marked W.R. AE 25. 1509. Portrait of a Lady, marked W.Z.N. 17. 1509. Portrait of a Gentleman, marked W.G.F. 38. and the year 1508. Portrait of a Man in a large hat, with a cup in his hand, on which is a coat of arms; above are the letters P.C.V. at the side his age 44, and on the other side the year 1463, which has been altered; the real date was probably 1503. Lucas Cornelii was the son and pupil of Cornelius Eugelbrecht. He was in England in the beginning of Henry VIII. where he was appointed his Majesty's painter. Holbein, who succeeded him in the favour of the king, is said to have learned from him the art of painting in miniature]] réalisée par Lucas Cornelii, vendue par William Roscoe, achetée par Heber au prix de 3.0 £. [23]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Four Portraits of English characters. Portrait of a Gentleman, marked W.R. AE 25. 1509. Portrait of a Lady, marked W.Z.N. 17. 1509. Portrait of a Gentleman, marked W.G.F. 38. and the year 1508. Portrait of a Man in a large hat, with a cup in his hand, on which is a coat of arms; above are the letters P.C.V. at the side his age 44, and on the other side the year 1463, which has been altered; the real date was probably 1503. Lucas Cornelii was the son and pupil of Cornelius Eugelbrecht. He was in England in the beginning of Henry VIII. where he was appointed his Majesty's painter. Holbein, who succeeded him in the favour of the king, is said to have learned from him the art of painting in miniature (Lucas Cornelii)|Four Portraits of English characters. Portrait of a Gentleman, marked W.R. AE 25. 1509. Portrait of a Lady, marked W.Z.N. 17. 1509. Portrait of a Gentleman, marked W.G.F. 38. and the year 1508. Portrait of a Man in a large hat, with a cup in his hand, on which is a coat of arms; above are the letters P.C.V. at the side his age 44, and on the other side the year 1463, which has been altered; the real date was probably 1503. Lucas Cornelii was the son and pupil of Cornelius Eugelbrecht. He was in England in the beginning of Henry VIII. where he was appointed his Majesty's painter. Holbein, who succeeded him in the favour of the king, is said to have learned from him the art of painting in miniature]] réalisée par Lucas Cornelii, vendue par William Roscoe, achetée par Heber au prix de 3.0 £. [24]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Four Portraits of English characters. Portrait of a Gentleman, marked W.R. AE 25. 1509. Portrait of a Lady, marked W.Z.N. 17. 1509. Portrait of a Gentleman, marked W.G.F. 38. and the year 1508. Portrait of a Man in a large hat, with a cup in his hand, on which is a coat of arms; above are the letters P.C.V. at the side his age 44, and on the other side the year 1463, which has been altered; the real date was probably 1503. Lucas Cornelii was the son and pupil of Cornelius Eugelbrecht. He was in England in the beginning of Henry VIII. where he was appointed his Majesty's painter. Holbein, who succeeded him in the favour of the king, is said to have learned from him the art of painting in miniature (Lucas Cornelii)|Four Portraits of English characters. Portrait of a Gentleman, marked W.R. AE 25. 1509. Portrait of a Lady, marked W.Z.N. 17. 1509. Portrait of a Gentleman, marked W.G.F. 38. and the year 1508. Portrait of a Man in a large hat, with a cup in his hand, on which is a coat of arms; above are the letters P.C.V. at the side his age 44, and on the other side the year 1463, which has been altered; the real date was probably 1503. Lucas Cornelii was the son and pupil of Cornelius Eugelbrecht. He was in England in the beginning of Henry VIII. where he was appointed his Majesty's painter. Holbein, who succeeded him in the favour of the king, is said to have learned from him the art of painting in miniature]] réalisée par Lucas Cornelii, vendue par William Roscoe, achetée par Heber au prix de 3.0 £. [25]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Four Portraits of English characters. Portrait of a Gentleman, marked W.R. AE 25. 1509. Portrait of a Lady, marked W.Z.N. 17. 1509. Portrait of a Gentleman, marked W.G.F. 38. and the year 1508. Portrait of a Man in a large hat, with a cup in his hand, on which is a coat of arms; above are the letters P.C.V. at the side his age 44, and on the other side the year 1463, which has been altered; the real date was probably 1503. Lucas Cornelii was the son and pupil of Cornelius Eugelbrecht. He was in England in the beginning of Henry VIII. where he was appointed his Majesty's painter. Holbein, who succeeded him in the favour of the king, is said to have learned from him the art of painting in miniature (Lucas Cornelii)|Four Portraits of English characters. Portrait of a Gentleman, marked W.R. AE 25. 1509. Portrait of a Lady, marked W.Z.N. 17. 1509. Portrait of a Gentleman, marked W.G.F. 38. and the year 1508. Portrait of a Man in a large hat, with a cup in his hand, on which is a coat of arms; above are the letters P.C.V. at the side his age 44, and on the other side the year 1463, which has been altered; the real date was probably 1503. Lucas Cornelii was the son and pupil of Cornelius Eugelbrecht. He was in England in the beginning of Henry VIII. where he was appointed his Majesty's painter. Holbein, who succeeded him in the favour of the king, is said to have learned from him the art of painting in miniature]] réalisée par Lucas Cornelii, vendue par William Roscoe, achetée par Heber au prix de 3.0 £. [26]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The history of the Prodigal Son; he is sitting at table with his favourite mistress. She is playing at dice with a gamester, who sweeps the money off the table with one hand, and draws his rapier with the other. In the second distance he is represented returning to his father; in the third he is driven out of a house by two women; and in the fourth he is feeding swine. The head of the Prodigal is highly finished, and is supposed to be the portrait of Holbein himself, whose cabinet pictures on historical subjects are extremely rare and curious. In fine preservation (Hans Holbein)|The history of the Prodigal Son; he is sitting at table with his favourite mistress. She is playing at dice with a gamester, who sweeps the money off the table with one hand, and draws his rapier with the other. In the second distance he is represented returning to his father; in the third he is driven out of a house by two women; and in the fourth he is feeding swine. The head of the Prodigal is highly finished, and is supposed to be the portrait of Holbein himself, whose cabinet pictures on historical subjects are extremely rare and curious. In fine preservation]] réalisée par Hans Holbein, vendue par William Roscoe, achetée par Ford au prix de 25.4 £. [27]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Portrait of a Gentleman and another of a Lady at prayer, in the same frame, with a division between them. The prayers are in Latin at the back of each Portrait. These portraits, which are exquisitely finished and finely preserved, are from the small, but very select Collection of the late Countess of Holdernesse. v. her Catalogue, No. 34 (John de Mabuse)|Portrait of a Gentleman and another of a Lady at prayer, in the same frame, with a division between them. The prayers are in Latin at the back of each Portrait. These portraits, which are exquisitely finished and finely preserved, are from the small, but very select Collection of the late Countess of Holdernesse. v. her Catalogue, No. 34]] réalisée par John de Mabuse, vendue par William Roscoe, achetée par Whalley au prix de 31.10 £. [28]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The temptation of Adam and Eve, in a landscape. This artist was one of the best imitators of Raffaelle, whose works he closely studied at Rome, and from which he has taken the subject of this picture, which is finely drawn and highly finished (Michael Coxis)|The temptation of Adam and Eve, in a landscape. This artist was one of the best imitators of Raffaelle, whose works he closely studied at Rome, and from which he has taken the subject of this picture, which is finely drawn and highly finished]] réalisée par Michael Coxis, vendue par William Roscoe, achetée par Dr Trail au prix de 5.5 £. [29]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Christ, surrounded by the instruments of his passion, manifesting himself in the celebration of the mass to the Pope and numerous attendants, who express their astonishment at the miracle -- an Altar-piece, with two volets, on one of which is represented the crowning with thorns, and on the other the scourging of Christ. On the reverse of the volets are the figures of St. Francis and St. John in chiaro-scuro, which form the outside of the picture when closed. The style of design in this picture approaches to that of the School of Italy, in which country this artist long resided (Francis Franck Jun. Called Young Francks)|Christ, surrounded by the instruments of his passion, manifesting himself in the celebration of the mass to the Pope and numerous attendants, who express their astonishment at the miracle -- an Altar-piece, with two volets, on one of which is represented the crowning with thorns, and on the other the scourging of Christ. On the reverse of the volets are the figures of St. Francis and St. John in chiaro-scuro, which form the outside of the picture when closed. The style of design in this picture approaches to that of the School of Italy, in which country this artist long resided]] réalisée par Francis Franck Jun. Called Young Francks, vendue par William Roscoe, achetée par Whalley au prix de 21.0 £. [32]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[His own Portrait, in the character of St. Hubert praying in the Desart, with the miracle of the Saint adoring the Crucifix between the horns of the Stag, in the back ground. This very beautiful and extraordinary picture is mentioned by Karl van Mander and Descamps, in the life of Lucas van Leyden, as having been painted by him when very young, to the astonishment of all the artists of the time. It came from the Collection of the Greffier Fagel, and is in the finest possible state of preservation (Lucas Van Leyden)|His own Portrait, in the character of St. Hubert praying in the Desart, with the miracle of the Saint adoring the Crucifix between the horns of the Stag, in the back ground. This very beautiful and extraordinary picture is mentioned by Karl van Mander and Descamps, in the life of Lucas van Leyden, as having been painted by him when very young, to the astonishment of all the artists of the time. It came from the Collection of the Greffier Fagel, and is in the finest possible state of preservation]] réalisée par Lucas Van Leyden, vendue par William Roscoe, achetée par Dr Crompton au prix de 48.6 £. [76]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[The elevation of the brazen serpent. A truly grand and genuine picture of this master. The history of Moses has afforded to Poussin subjects for many of his finest compositions. In this he has displayed a dignity of conception and spirit of execution not surpassed by any of his most admired productions (Nicholas Poussin)|The elevation of the brazen serpent. A truly grand and genuine picture of this master. The history of Moses has afforded to Poussin subjects for many of his finest compositions. In this he has displayed a dignity of conception and spirit of execution not surpassed by any of his most admired productions]] réalisée par Nicholas Poussin, vendue par William Roscoe, achetée par Ballantyne au prix de 94.10 £. [80]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Oedipus devotes to the infernal Gods his son Polynices, who, by the directions of the Oracle, endeavoured to obtain his favour against his brother Eteocles, after they had expelled their father from his dominions. From the Oedipus Coloneus of Sophocles (Henry Fuseli)|Oedipus devotes to the infernal Gods his son Polynices, who, by the directions of the Oracle, endeavoured to obtain his favour against his brother Eteocles, after they had expelled their father from his dominions. From the Oedipus Coloneus of Sophocles]] réalisée par Henry Fuseli, vendue par William Roscoe, achetée par Baxter au prix de 27.6 £. [81]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Oedipus in the grove of the furies near Colonos, attended by his daughters Antigone and Ismene, where he is called away by the summons of the infernal Gods. From the same Oedipus Coloneus of Sophocles. A fine mezzotinto print has been engraved and published from this picture (Henry Fuseli)|Oedipus in the grove of the furies near Colonos, attended by his daughters Antigone and Ismene, where he is called away by the summons of the infernal Gods. From the same Oedipus Coloneus of Sophocles. A fine mezzotinto print has been engraved and published from this picture]] réalisée par Henry Fuseli, vendue par William Roscoe, achetée par Richardson au prix de 27.6 £. [82]
  • 1816.09.28/ maison de ventes : Winstanley. Vente de l'œuvre décrite comme [[Britomart freeing Amoret from the enchantment of Busirane. "Soon as that Virgin-knight he saw in place, His wicked books in haste he overthrew, Not caring his long labours to deface; And fiercely running to that Lady true, A murderous knife out of his pocket drew, The which he thought in villainous despite In her tormented body to imbrue; But the stout damsel to him leeping light, His cursed hand with-held, and maistered his might." Fairy Queen, b. iii. cant. 12 v. 32 (Henry Fuseli)|Britomart freeing Amoret from the enchantment of Busirane. "Soon as that Virgin-knight he saw in place, His wicked books in haste he overthrew, Not caring his long labours to deface; And fiercely running to that Lady true, A murderous knife out of his pocket drew, The which he thought in villainous despite In her tormented body to imbrue; But the stout damsel to him leeping light, His cursed hand with-held, and maistered his might." Fairy Queen, b. iii. cant. 12 v. 32]] réalisée par Henry Fuseli, vendue par William Roscoe au prix de 26.5 £. [83]
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