Ventes d'œuvres le 1823.10.14

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  • 1823.10.14/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[This chef d'oeuvre, a Battle betwixt Cavalry and Infantry, is one of the most exquisite productions of this elegant minded artist. It formerly graced the Gallery of the Prince of Orange at the Hague, where it occupied the place of honour; and was esteemed by every connoisseur as the most distinguished work of art of the Flemish School, in that collection. The group consists of Cavalry Officers, and Soldiers in dreadful conflict. The principal Figure (an Officer) is mounted on a piebald Horse of great beauty: in the right corner, a mottled grey Horse is just fallen, and his Rider lies dead on his face. Above, in the distance, is a ruined Tower, beautifully lighted, with a number of men rushing towards the scene of action; and a Charge of Cavalry, finely varied and delicately pencilled, fills up the composition on the right: the left is closed by another charge upon Infanty, behind the flying Ensign Bearer. This part of the group is replete with the most varied action and circumstance. Nothing can surpass the expression of the active combatants, or of the wounded men and horses on the ground -- In No. 24 (Wouvermans)|This chef d'oeuvre, a Battle betwixt Cavalry and Infantry, is one of the most exquisite productions of this elegant minded artist. It formerly graced the Gallery of the Prince of Orange at the Hague, where it occupied the place of honour; and was esteemed by every connoisseur as the most distinguished work of art of the Flemish School, in that collection. The group consists of Cavalry Officers, and Soldiers in dreadful conflict. The principal Figure (an Officer) is mounted on a piebald Horse of great beauty: in the right corner, a mottled grey Horse is just fallen, and his Rider lies dead on his face. Above, in the distance, is a ruined Tower, beautifully lighted, with a number of men rushing towards the scene of action; and a Charge of Cavalry, finely varied and delicately pencilled, fills up the composition on the right: the left is closed by another charge upon Infanty, behind the flying Ensign Bearer. This part of the group is replete with the most varied action and circumstance. Nothing can surpass the expression of the active combatants, or of the wounded men and horses on the ground -- In No. 24]] réalisée par Wouvermans, vendue par [[[Delahante]]], achetée par Emmerson au prix de 693.10 £. [25]
  • 1823.10.14/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Virgin supporting the Infant on a table. The child is attempting to run, and the word "Veni," is inscribed in letters of gold before his extended hand; a beautiful miniature Landscape back-ground. This rare and very curious picture was presented by Philip V. to a Convent of Nuns at Saragossa-- In No. 69 (A. Durer)|The Virgin supporting the Infant on a table. The child is attempting to run, and the word "Veni," is inscribed in letters of gold before his extended hand; a beautiful miniature Landscape back-ground. This rare and very curious picture was presented by Philip V. to a Convent of Nuns at Saragossa-- In No. 69]] réalisée par A. Durer, vendue par Fonthill Abbey, achetée par Thane au prix de 157.10 £. [27]
  • 1823.10.14/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Poulterer's Shop -- the well-known Choisueil G. Dow. At the opening of an arched window is seen a Girl bargaining with an Old Woman for a Hare, which the latter holds up in her left hand. Upon the cill of the window are Poultry and a Blanket, which are reflected as in a mirror on the highly polished surface of a metal pail; a Cock in a Basket is feeding below; a Peasant appears near a door in the distance, bargaining with a Woman for a Fowl: the interior is illumined in a tender warm tone, This exquisite chef d'oeuvre is one of his most elaborate performances -- In No. 24 (G. Dow)|The Poulterer's Shop -- the well-known Choisueil G. Dow. At the opening of an arched window is seen a Girl bargaining with an Old Woman for a Hare, which the latter holds up in her left hand. Upon the cill of the window are Poultry and a Blanket, which are reflected as in a mirror on the highly polished surface of a metal pail; a Cock in a Basket is feeding below; a Peasant appears near a door in the distance, bargaining with a Woman for a Fowl: the interior is illumined in a tender warm tone, This exquisite chef d'oeuvre is one of his most elaborate performances -- In No. 24]] réalisée par G. Dow, vendue par Fonthill Abbey, achetée par Smith Marlborough St au prix de 1333.10 £. [30]
  • 1823.10.14/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The highly famed Laughing Boy, with a Toy in his hand: half figure: a beautiful bit of nature, exhibiting, with happiest effect, the truth and sweetness which distinguish the works of this great Master. It was bequeathed to the late Sir William Hamilton by Lady Elizabeth Germaine; and formerly adorned the so justly celebrated Arundel Collection. -- In No. 23 (L. da Vinci)|The highly famed Laughing Boy, with a Toy in his hand: half figure: a beautiful bit of nature, exhibiting, with happiest effect, the truth and sweetness which distinguish the works of this great Master. It was bequeathed to the late Sir William Hamilton by Lady Elizabeth Germaine; and formerly adorned the so justly celebrated Arundel Collection. -- In No. 23]] réalisée par L. da Vinci, vendue par Fonthill Abbey, achetée par Hume au prix de 1034.5 £. [41]
  • 1823.10.14/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Sibylla Lybica. The Sibyl is seated before a Tablet, and surrounded by a Group of Boys, who are busily employed in collecting and recording her predictions -- In No. 23. The figure of the Female is in broad and simple style; those of the Boys who are in action, display the finest anatomical design. This Picture was formerly of high celebrity at Ferrara, and held subsequently a distinguished station in the Collection of Lord Lansdowne, and ever esteemed a chef d'oeuvre of this master (Lod. Caracci)|Sibylla Lybica. The Sibyl is seated before a Tablet, and surrounded by a Group of Boys, who are busily employed in collecting and recording her predictions -- In No. 23. The figure of the Female is in broad and simple style; those of the Boys who are in action, display the finest anatomical design. This Picture was formerly of high celebrity at Ferrara, and held subsequently a distinguished station in the Collection of Lord Lansdowne, and ever esteemed a chef d'oeuvre of this master]] réalisée par Lod. Caracci, vendue par Fonthill Abbey, achetée par Hume au prix de 378.0 £. [50]
  • 1823.10.14/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[St. Michael and the Falling Angels: a grand design -- In No. 41 The two preceding lots were painted by the Artist for Mr. Beckford, as a design for stained windows; a copy of the latter now forms a window in the angle of the north east or "Becket passage" (West)|St. Michael and the Falling Angels: a grand design -- In No. 41 The two preceding lots were painted by the Artist for Mr. Beckford, as a design for stained windows; a copy of the latter now forms a window in the angle of the north east or "Becket passage"]] réalisée par West, vendue par Fonthill Abbey, achetée par Lawford au prix de 22.11 £. [51]
  • 1823.10.14/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[St. Thomas à Becket, the companion picture to preceding -- In No. 41 The two preceding lots were painted by the Artist for Mr. Beckford, as a design for stained windows; a copy of the latter now forms a window in the angle of the north east or "Becket passage" (West)|St. Thomas à Becket, the companion picture to preceding -- In No. 41 The two preceding lots were painted by the Artist for Mr. Beckford, as a design for stained windows; a copy of the latter now forms a window in the angle of the north east or "Becket passage"]] réalisée par West, vendue par Fonthill Abbey, achetée par Lawford au prix de 21.10 £. [52]
  • 1823.10.14/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The very celebrated Sea Port from the Duc de Praslin's Cabinet, termed the Embarquement des Vivres; and noticed in the Catalogue as one of the three principal ornaments of that Collection. It represents a group of Figures and Cattle on the Shore of the Gulf of Genoa, which is enlivened with Buildings and Shipping, painted in the finest style of the Master. -- In No. 24 (Berghem)|The very celebrated Sea Port from the Duc de Praslin's Cabinet, termed the Embarquement des Vivres; and noticed in the Catalogue as one of the three principal ornaments of that Collection. It represents a group of Figures and Cattle on the Shore of the Gulf of Genoa, which is enlivened with Buildings and Shipping, painted in the finest style of the Master. -- In No. 24]] réalisée par Berghem, vendue par Fonthill Abbey, achetée par Hume au prix de 834.15 £. [61]
  • 1823.10.14/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[St. Jerome at Devotion; one of the grandest works of P. Veronese, and described as such by several esteemed writers on Art, together with the Communion of St. Jerome, (now the property of the British Institution,) to which it was a companion in the Church of the Monastery of St. Benedict, at Mantua. They both possess a large share of historical dignity in the air and expression of the figures; a peculiar richness and vigour in the tints and tones of colour, and an equal degree of vigour in the handling and touches. The elevated expression of St. Jerome is doubly recommended by its being wholly devoid of every thing factitious, for the ease, the simplicity, and truth of nature are conspicuous throughout; as also, by the drawing and colouring of the figure, which are evidently after the life. This reference to living objects, for the drawing, colouring, and expression was indeed the almost constant and universal practise of the old masters. It effectually prevented their beauty of form and colour from degenerating into affectation and manner, and their sublimity into bombast. The more this most masterly picture is contemplated, the deeper will its beauties enter into the heart, because they are congenial with truth, and address our best feelings, and most cultivated taste. The Virgin, Infant Christ, and Angels, the objects of the Saint's Devotions, glow with chaste and lively colour, and are most delicately expressed. -- In No. 22 (P. Veronese)|St. Jerome at Devotion; one of the grandest works of P. Veronese, and described as such by several esteemed writers on Art, together with the Communion of St. Jerome, (now the property of the British Institution,) to which it was a companion in the Church of the Monastery of St. Benedict, at Mantua. They both possess a large share of historical dignity in the air and expression of the figures; a peculiar richness and vigour in the tints and tones of colour, and an equal degree of vigour in the handling and touches. The elevated expression of St. Jerome is doubly recommended by its being wholly devoid of every thing factitious, for the ease, the simplicity, and truth of nature are conspicuous throughout; as also, by the drawing and colouring of the figure, which are evidently after the life. This reference to living objects, for the drawing, colouring, and expression was indeed the almost constant and universal practise of the old masters. It effectually prevented their beauty of form and colour from degenerating into affectation and manner, and their sublimity into bombast. The more this most masterly picture is contemplated, the deeper will its beauties enter into the heart, because they are congenial with truth, and address our best feelings, and most cultivated taste. The Virgin, Infant Christ, and Angels, the objects of the Saint's Devotions, glow with chaste and lively colour, and are most delicately expressed. -- In No. 22]] réalisée par P. Veronese, vendue par [[[Delahante]]], achetée par Bentley au prix de 315.0 £. [70]
  • 1823.10.14/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Interior of a Chamber with a Lady bathing her hands in a font of Limoge ware, held by a Page characteristically dressed; also a Lady dressing near the side of a bed at the extremity of the Chamber, into which a Gentleman is about to enter, but is prevented by a Female attendant -- numerous accessories are dispersed about the Room, and finished with an exquiste correctness and effect, equal to G. Dow. -- In No. 24. This chef d'oeuvre was purchased at a public sale of the Collection of a Burgomaster at Amsterdam, at twenty thousand francs (Eglon Vanderneer)|The Interior of a Chamber with a Lady bathing her hands in a font of Limoge ware, held by a Page characteristically dressed; also a Lady dressing near the side of a bed at the extremity of the Chamber, into which a Gentleman is about to enter, but is prevented by a Female attendant -- numerous accessories are dispersed about the Room, and finished with an exquiste correctness and effect, equal to G. Dow. -- In No. 24. This chef d'oeuvre was purchased at a public sale of the Collection of a Burgomaster at Amsterdam, at twenty thousand francs]] réalisée par Eglon Vanderneer, vendue par [[[Lafontaine?]]], achetée par Emmerson au prix de 430.10 £. [81]
  • 1823.10.14/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[A cabinet jewel of this faithful portrayer of familiar scenes, in his most finished manner -- The Poultry Market, with a Female (in Dutch Costume) cheapening a Fowl, with a variety of accessorial objects, painted with extraordinary truth -- a well known picture from the collection of Mons. Aynard (Jan Stein)|A cabinet jewel of this faithful portrayer of familiar scenes, in his most finished manner -- The Poultry Market, with a Female (in Dutch Costume) cheapening a Fowl, with a variety of accessorial objects, painted with extraordinary truth -- a well known picture from the collection of Mons. Aynard]] réalisée par Jan Stein, vendue par [[Fonthill Abbey [or others]]], achetée par Delahante au prix de 173.5 £. [83]
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