Ventes d'œuvres le 1821.05.19

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  • 1821.05.19/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Time's Boat -- Time at the Helm -- The four Seasons rowing and a Cavalier asleep on the bow -- in the distance Death is seen raising a grave stone. It is painted on copper, and served originally for the dial plate of a clock -- from Bishop Newton's collection (C. Marratti)|Time's Boat -- Time at the Helm -- The four Seasons rowing and a Cavalier asleep on the bow -- in the distance Death is seen raising a grave stone. It is painted on copper, and served originally for the dial plate of a clock -- from Bishop Newton's collection]] réalisée par C. Marratti, vendue par Dowager Marchioness of Thomond, achetée par Smith au prix de 16.16 £. [59]
  • 1821.05.19/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Marriage of St. Catharine -- for a full account of this beautiful cabinet Picture, see the end of this catalogue: Appendix...Written on the Back of the Board on which is painted the Marriage of Saint Catharine./J.M.E./Post varios casus, vitae et discrimina, tandem/Regreditur nostras sacra tabella manus./Quas referam, Catharina, tibi, quas, Dia beatrix,/Quas referam grates, die Puelle, tibi?/Vestro ego si nunquam cariturus munere, vos ò/(Res licet exigua est) cor retinete meum./Receptum Die 10.mo Julii, 1626. D. G./Translation./J.M.E./The sacred tablet, various hazards past,/Comes, heaven-directed, to my hands at last!/All-gracious beings, that here pictured stand,/The wonders of divine Correggio's hand;/'Till with this gift and life at once I part,/Accept the offering of a grateful heart./Received the 10th Day of July, 1626. God be thanked./Questo quadretto d'Antonio da Correggio non possa mai per alcuna causa uscir di mia casa; et doppo me, andrà al mio piu propinquo d' età maggiore, et doppo quello, similm.te ad altro il piu prossimo -- et sic deinceps. Io Lelio d' Ippolito Guidiccioni mea manu. -- In Roma 11 di Luglio./Vota mea Domino reddam./Translation./This little picture of Antonio da Correggio, shall never, on any account, go out of my family. After me, it shall go to the eldest of my next of kin, and afterwards, in like manner to the next in succession, and so on, for ever. -- I, Lelio, the son of Ippolito Guidiccioni, write this with my own hand, July 11, 1620./I will give thanks to thee, O Lord./After the foregoing, the following words are added by Sir J. Reynolds, on the back of the picture: "I so far subscribe to the above resolution of Sigr. Guidiccioni, that no money shall ever tempt me to part with this picture. J. Reynolds, April 17, 1790."/The print engraved after this picture by Mercati, and dedicated to Lelio Guidiccioni, bears the same date as the inscription behind the picture, by Lelio himself, viz. 1620, sixty-six years after Correggio's death. Of the progress of the picture from that time to the present, it is known only, that it was bought by Sir Joshua Reynolds, at the sale of the cabinet of Dr. Newton, Bishop of Bristol, who bought it of Dr. Bragg, and who it is said, went to Rome on purpose to buy it at the sale of Cardinal Ottoboni. But, from Correggio to Lelio Guidiccioni, it may be traced with some degree of probability. Sandrart says "The Marriage of St. Catharine, where the Infant Jesus is represented sitting on the Virgin's lap, and espousing St. Catharine with a ring, Correggio painted at Parma, and gave it to a woman called Catharine, out of gratitutde for her curing him of a dangerous illness. That a certain Countess, whose name is not mentioned, carried this picture to Rome, to compare it with the works of other great masters, as of Raphael, Lucas of Leyden, Andrea del Sarto, and others, and that it excelled them all; so that Cardinal Scipio Borghese gave a great sum for it. Sandrart saw it himself at Rome in 1634, when 6000 crowns were refused for it." No such picture we are sure is at present in the cabinet of the Prince Borghese, and we know likewise that this collection continues in the same state as when it was first made, except the addition of a few pictures, added to the collection by the present Prince. It is fortunate that Lelio Guidiccioni is a distinguished literary character, whose life is written by Janus, in his Pinacotheca Imaginum Illustrium Virorum; we are told that he was a dignitary in the church, eminent both as a Latin and Italian poet, and an enthusiastic lover of painting. That he was educated in the family of the Cardinal Borghese, and remained intimately connected with him during his whole life, and was the person chiefly consulted in forming his superb collection of pictures. For the various services which he did the Cardinal as a connoisseur; from his being of too high rank to receive any pecuniary reward, it may be supposed that the Cardinal made him a present of this picture, to which Lelio has expressed such enthusiastic devotion. The word regreditur in the latin verses, probably alludes to its having passed through his hands to the Cardinal's, and now returned to him again, and not as it was at first supposed, from its having been lost and recovered. Lelio had himself a great collection of pictures. In his will he bequeathed a picture of Raphael's, to ornament the monument of Urban the VIIIth, as he bequeathed this picture of Correggio to his own family, to remain in it for ever. The picture at Capo di Monte, which is in all points exactly the same as this, cannot be that picture mentioned by Sandrart; the former was removed from Parma to Naples with the rest of the collection to which it belonged, whereas the original, according to Sandrart, was carried to Rome, and purchased by Cardinal Borghese. The word receptum in the inscription, clearly implies, that it was given, and not purchased. Sandrart having been witness himself in 1634, of 6000 crowns being refused for it, implies that it was no longer in the hands of the Prince Borghese; it was at this time, as appears by the dates, in the hands of Lelio Guidiccioni, and had been so for 14 years (Corregio)|The Marriage of St. Catharine -- for a full account of this beautiful cabinet Picture, see the end of this catalogue: Appendix...Written on the Back of the Board on which is painted the Marriage of Saint Catharine./J.M.E./Post varios casus, vitae et discrimina, tandem/Regreditur nostras sacra tabella manus./Quas referam, Catharina, tibi, quas, Dia beatrix,/Quas referam grates, die Puelle, tibi?/Vestro ego si nunquam cariturus munere, vos ò/(Res licet exigua est) cor retinete meum./Receptum Die 10.mo Julii, 1626. D. G./Translation./J.M.E./The sacred tablet, various hazards past,/Comes, heaven-directed, to my hands at last!/All-gracious beings, that here pictured stand,/The wonders of divine Correggio's hand;/'Till with this gift and life at once I part,/Accept the offering of a grateful heart./Received the 10th Day of July, 1626. God be thanked./Questo quadretto d'Antonio da Correggio non possa mai per alcuna causa uscir di mia casa; et doppo me, andrà al mio piu propinquo d' età maggiore, et doppo quello, similm.te ad altro il piu prossimo -- et sic deinceps. Io Lelio d' Ippolito Guidiccioni mea manu. -- In Roma 11 di Luglio./Vota mea Domino reddam./Translation./This little picture of Antonio da Correggio, shall never, on any account, go out of my family. After me, it shall go to the eldest of my next of kin, and afterwards, in like manner to the next in succession, and so on, for ever. -- I, Lelio, the son of Ippolito Guidiccioni, write this with my own hand, July 11, 1620./I will give thanks to thee, O Lord./After the foregoing, the following words are added by Sir J. Reynolds, on the back of the picture: "I so far subscribe to the above resolution of Sigr. Guidiccioni, that no money shall ever tempt me to part with this picture. J. Reynolds, April 17, 1790."/The print engraved after this picture by Mercati, and dedicated to Lelio Guidiccioni, bears the same date as the inscription behind the picture, by Lelio himself, viz. 1620, sixty-six years after Correggio's death. Of the progress of the picture from that time to the present, it is known only, that it was bought by Sir Joshua Reynolds, at the sale of the cabinet of Dr. Newton, Bishop of Bristol, who bought it of Dr. Bragg, and who it is said, went to Rome on purpose to buy it at the sale of Cardinal Ottoboni. But, from Correggio to Lelio Guidiccioni, it may be traced with some degree of probability. Sandrart says "The Marriage of St. Catharine, where the Infant Jesus is represented sitting on the Virgin's lap, and espousing St. Catharine with a ring, Correggio painted at Parma, and gave it to a woman called Catharine, out of gratitutde for her curing him of a dangerous illness. That a certain Countess, whose name is not mentioned, carried this picture to Rome, to compare it with the works of other great masters, as of Raphael, Lucas of Leyden, Andrea del Sarto, and others, and that it excelled them all; so that Cardinal Scipio Borghese gave a great sum for it. Sandrart saw it himself at Rome in 1634, when 6000 crowns were refused for it." No such picture we are sure is at present in the cabinet of the Prince Borghese, and we know likewise that this collection continues in the same state as when it was first made, except the addition of a few pictures, added to the collection by the present Prince. It is fortunate that Lelio Guidiccioni is a distinguished literary character, whose life is written by Janus, in his Pinacotheca Imaginum Illustrium Virorum; we are told that he was a dignitary in the church, eminent both as a Latin and Italian poet, and an enthusiastic lover of painting. That he was educated in the family of the Cardinal Borghese, and remained intimately connected with him during his whole life, and was the person chiefly consulted in forming his superb collection of pictures. For the various services which he did the Cardinal as a connoisseur; from his being of too high rank to receive any pecuniary reward, it may be supposed that the Cardinal made him a present of this picture, to which Lelio has expressed such enthusiastic devotion. The word regreditur in the latin verses, probably alludes to its having passed through his hands to the Cardinal's, and now returned to him again, and not as it was at first supposed, from its having been lost and recovered. Lelio had himself a great collection of pictures. In his will he bequeathed a picture of Raphael's, to ornament the monument of Urban the VIIIth, as he bequeathed this picture of Correggio to his own family, to remain in it for ever. The picture at Capo di Monte, which is in all points exactly the same as this, cannot be that picture mentioned by Sandrart; the former was removed from Parma to Naples with the rest of the collection to which it belonged, whereas the original, according to Sandrart, was carried to Rome, and purchased by Cardinal Borghese. The word receptum in the inscription, clearly implies, that it was given, and not purchased. Sandrart having been witness himself in 1634, of 6000 crowns being refused for it, implies that it was no longer in the hands of the Prince Borghese; it was at this time, as appears by the dates, in the hands of Lelio Guidiccioni, and had been so for 14 years]] réalisée par Corregio, vendue par Dowager Marchioness of Thomond, achetée par Duke of Northumberland au prix de 225.15 £. [63]
  • 1821.05.19/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portraits of Sir Joshua Reynolds and Jarvis, as Shepherds at the Nativity, -- about 7 ft. high by 2 ft. 9 inches wide the original Designs for the compartments of the Window of New College, Oxford, which were copied in stained Glass, by Jarvis (Sir Joshua Reynolds)|Portraits of Sir Joshua Reynolds and Jarvis, as Shepherds at the Nativity, -- about 7 ft. high by 2 ft. 9 inches wide the original Designs for the compartments of the Window of New College, Oxford, which were copied in stained Glass, by Jarvis]] réalisée par Sir Joshua Reynolds, vendue par Dowager Marchioness of Thomond, achetée par Earl Fitzwilliam au prix de 430.10 £. [64]
  • 1821.05.19/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Shepherd Boy and Dog, with a ruined column in the front ground: -- about the same dimensions 7 ft. high by 2 ft. 9 inches wide the original Designs for the compartments of the Window of New College, Oxford, which were copied in stained Glass, by Jarvis (Sir Joshua Reynolds)|A Shepherd Boy and Dog, with a ruined column in the front ground: -- about the same dimensions 7 ft. high by 2 ft. 9 inches wide the original Designs for the compartments of the Window of New College, Oxford, which were copied in stained Glass, by Jarvis]] réalisée par Sir Joshua Reynolds, vendue par Dowager Marchioness of Thomond, achetée par Earl Fitzwilliam au prix de 630.0 £. [66]