Ventes d'œuvres le 1824.-.-

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  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Abbott, George, Archbishop of Canterbury. Canvas, 50 inches by 40, in his episcopal habits, sitting in a chair, hand resting on a book; his arms, impaled with those of the see of Caterbury, in the corner. Carved and gilt frame. -- See front. This Prelate, born October 29, 1562, at Guildford, in Surry, was the fourth son of Morice Abbot, Clothworker: he received his first rudiments of education at the Free School of his native town; from thence, in 1578, he was sent to Baliol College, Oxford, where he soon got entered into Holy Orders, and became a preacher of considerable note. In 1597 he was chosen Master of University College; in 1599, made Dean of Winchester; and during the years 1600, 1603, and 1605, was elected Vice Chancellor of the University. In 1609 he was appointed Bishop of Lichfield and Coventry; 1610, translated to London; and on the death of Bancroft, Archbishop of Canterbury, he was, on April 9, 1611, placed in the Chair of that See. He died at Croydon, August 5, 1633, and was buried in the Chapel of Our Lady, in Trinity Chapel, Guildford, where there is a magnificent Monument to his memory (artiste anonyme)|Abbott, George, Archbishop of Canterbury. Canvas, 50 inches by 40, in his episcopal habits, sitting in a chair, hand resting on a book; his arms, impaled with those of the see of Caterbury, in the corner. Carved and gilt frame. -- See front. This Prelate, born October 29, 1562, at Guildford, in Surry, was the fourth son of Morice Abbot, Clothworker: he received his first rudiments of education at the Free School of his native town; from thence, in 1578, he was sent to Baliol College, Oxford, where he soon got entered into Holy Orders, and became a preacher of considerable note. In 1597 he was chosen Master of University College; in 1599, made Dean of Winchester; and during the years 1600, 1603, and 1605, was elected Vice Chancellor of the University. In 1609 he was appointed Bishop of Lichfield and Coventry; 1610, translated to London; and on the death of Bancroft, Archbishop of Canterbury, he was, on April 9, 1611, placed in the Chair of that See. He died at Croydon, August 5, 1633, and was buried in the Chapel of Our Lady, in Trinity Chapel, Guildford, where there is a magnificent Monument to his memory]] réalisée par un.e artiste anonyme, vendue par H Rodd. [1]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Alabaster, William, D.D. Prebend of St. Paul's. Canvas, 26 inches by 20, very finely painted by Cornelius Jansen, extremely like the scarce Portrait engraved by Payne, after the same master. From the Collection of Dr. Wright, of Lichfield. Received his education at Cambridge, and was one of the best Latin Poets of his age, and well skilled in the Greek and Oriental Languages. He was Author of "Roxana," a Latin Tragedy; but the most considerable of his works is his "Lexicon Pentaglotton," upon which he was employed many years. He died in the month of April, 1640 (Cornelius Jansen)|Alabaster, William, D.D. Prebend of St. Paul's. Canvas, 26 inches by 20, very finely painted by Cornelius Jansen, extremely like the scarce Portrait engraved by Payne, after the same master. From the Collection of Dr. Wright, of Lichfield. Received his education at Cambridge, and was one of the best Latin Poets of his age, and well skilled in the Greek and Oriental Languages. He was Author of "Roxana," a Latin Tragedy; but the most considerable of his works is his "Lexicon Pentaglotton," upon which he was employed many years. He died in the month of April, 1640]] réalisée par Cornelius Jansen, vendue par H Rodd. [2]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Arundel, Thomas Howard Earl of, and Surry, Earl Marshal of England. Canvas, 50 inches by 40, seated in a chair, in a fur gown, Order of the Garter, &c.: in the back-ground is a representation of a marble gallery, to which the Earl is seemingly directing the attention with his finger. Very finely painted by Michael Jansen Miereveldt: there is a print very similar, after the same master, engraved by Simon Pass, but it is extremely rare. -- See Front. The description given of the Earl's person by Sir Edward Walker in every respect corresponds with the Picture (Michael Jansen Miereveldt)|Arundel, Thomas Howard Earl of, and Surry, Earl Marshal of England. Canvas, 50 inches by 40, seated in a chair, in a fur gown, Order of the Garter, &c.: in the back-ground is a representation of a marble gallery, to which the Earl is seemingly directing the attention with his finger. Very finely painted by Michael Jansen Miereveldt: there is a print very similar, after the same master, engraved by Simon Pass, but it is extremely rare. -- See Front. The description given of the Earl's person by Sir Edward Walker in every respect corresponds with the Picture]] réalisée par Michael Jansen Miereveldt, vendue par H Rodd. [4]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Aston, Sir Willoughby, of Aston in Cheshire, Bart. Canvas, 30 inches by 24, finely painted, in armour, flowing hair, his cravat tied with a red ribbon. Lately purchased at Stockport, but originally from Crewe Hall, Cheshire. Son of Sir Thomas Willoughby, of Aston, Bart. (who was slain, 1645, by a soldier, in attempting to escape from Stafford, where he had been carried prisoner by the Parliament's army), by his second wife, Anne, daughter and sole heiress of Sir Henry Willoughby, of Risley, in Derbyshire, Bart. Sir Willoughby lived at Aston in a sumptuous house which he had built a little distance from the old seat, and died December 2, 1702. He married Mary, daughter of John Offley, of Madeley Manor, in Cheshire, Esq., by whom he had eight sons and thirteen daughters: Mary, the first daughter, married to Sir John Crewe, of Utkinton, in Cheshire, Knt. carved frame, newly gilt (artiste anonyme)|Aston, Sir Willoughby, of Aston in Cheshire, Bart. Canvas, 30 inches by 24, finely painted, in armour, flowing hair, his cravat tied with a red ribbon. Lately purchased at Stockport, but originally from Crewe Hall, Cheshire. Son of Sir Thomas Willoughby, of Aston, Bart. (who was slain, 1645, by a soldier, in attempting to escape from Stafford, where he had been carried prisoner by the Parliament's army), by his second wife, Anne, daughter and sole heiress of Sir Henry Willoughby, of Risley, in Derbyshire, Bart. Sir Willoughby lived at Aston in a sumptuous house which he had built a little distance from the old seat, and died December 2, 1702. He married Mary, daughter of John Offley, of Madeley Manor, in Cheshire, Esq., by whom he had eight sons and thirteen daughters: Mary, the first daughter, married to Sir John Crewe, of Utkinton, in Cheshire, Knt. carved frame, newly gilt]] réalisée par un.e artiste anonyme, vendue par H Rodd. [5]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Bateman, Lady Anne Spenser, Viscountess. On Canvas, 8 feet by 5, whole length, in her robes, holding a coronet. A companion to the preceding picture. -- See front. Eldest daughter of Charles Earl of Sunderland, married to William Lord Viscount Bateman, of the kingdom of Ireland, and of Shobdon Court, in Herefordshire, father by her Ladyship of John Lord Viscount Bateman, who was elected for Orford, in Suffolk, in 1746, and the year after, on a new Parliament being called, he was chosen for Woodstock, as also of that of May 31, 1754; and his Brother, the Hon. William Bateman, was Member for Gatton, in Surrey, May 31, 1754 (Hudson)|Bateman, Lady Anne Spenser, Viscountess. On Canvas, 8 feet by 5, whole length, in her robes, holding a coronet. A companion to the preceding picture. -- See front. Eldest daughter of Charles Earl of Sunderland, married to William Lord Viscount Bateman, of the kingdom of Ireland, and of Shobdon Court, in Herefordshire, father by her Ladyship of John Lord Viscount Bateman, who was elected for Orford, in Suffolk, in 1746, and the year after, on a new Parliament being called, he was chosen for Woodstock, as also of that of May 31, 1754; and his Brother, the Hon. William Bateman, was Member for Gatton, in Surrey, May 31, 1754]] réalisée par Hudson, vendue par H Rodd. [8]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Bedford, William Russell, Fifth Earl and First Duke of, Canvas, 8 feet by 5, whole length, in his robes as Knight of the Garter, standing in a room, hat and feathers on a table, by him is sitting a favourite spaniel: painted by Sir Godfrey Kneller; in a gilt frame, a fine gallery picture. The above picture has the painter's name on it, and represents the Duke at a later period than the print by Williams, after Lutterell. When young, fought for King Charles the First. After being fined by the Parliament, he retired until the Restoration, when he was employed; but, though much respected, he could not prevent the sad fate of his son, the truly unfortunate Lord Russell: old, and a prey to grief, he saw the Restoration reverse his son's attainter, and himself rewarded with a ducal coronet. He died 1700, aged 84. He lived under the government of James the First, and the succeeding ones, monarchical, republican, and protectorial. There was something uncommonly pathetic in his reply to James the Second, who, addressing him in his misfortunes, said, "My Lord, you are a good man, and may do me some service:" "Sire, I am old; I had a son who might have served your Majesty, had he lived." The preamble of this patent, set forth by William and Mary, recites, "that it was not the least, that he was the father to the Lord Russell, the ornament of his age, whose great merits 'twas not enough to transmit by history to posterity; but they were willing to record them in their royal patent, to remain in the family as a monument consecrated to his consummate virtue; whose name could never be forgot, so long as men preserved their esteem for sanctity of manners, greatness of mind, and a love to their country constant even to death. Therefore, to solace his excellent father for so great a loss, to celebrate the memory of so noble a son, and to excite his worthy grandson, the heir of such mighty hopes, more cheerfully to emulate and follow the example of his illustrious father, they intailed this high dignity upon the Earl and his posterity" (Sir Godfrey Kneller)|Bedford, William Russell, Fifth Earl and First Duke of, Canvas, 8 feet by 5, whole length, in his robes as Knight of the Garter, standing in a room, hat and feathers on a table, by him is sitting a favourite spaniel: painted by Sir Godfrey Kneller; in a gilt frame, a fine gallery picture. The above picture has the painter's name on it, and represents the Duke at a later period than the print by Williams, after Lutterell. When young, fought for King Charles the First. After being fined by the Parliament, he retired until the Restoration, when he was employed; but, though much respected, he could not prevent the sad fate of his son, the truly unfortunate Lord Russell: old, and a prey to grief, he saw the Restoration reverse his son's attainter, and himself rewarded with a ducal coronet. He died 1700, aged 84. He lived under the government of James the First, and the succeeding ones, monarchical, republican, and protectorial. There was something uncommonly pathetic in his reply to James the Second, who, addressing him in his misfortunes, said, "My Lord, you are a good man, and may do me some service:" "Sire, I am old; I had a son who might have served your Majesty, had he lived." The preamble of this patent, set forth by William and Mary, recites, "that it was not the least, that he was the father to the Lord Russell, the ornament of his age, whose great merits 'twas not enough to transmit by history to posterity; but they were willing to record them in their royal patent, to remain in the family as a monument consecrated to his consummate virtue; whose name could never be forgot, so long as men preserved their esteem for sanctity of manners, greatness of mind, and a love to their country constant even to death. Therefore, to solace his excellent father for so great a loss, to celebrate the memory of so noble a son, and to excite his worthy grandson, the heir of such mighty hopes, more cheerfully to emulate and follow the example of his illustrious father, they intailed this high dignity upon the Earl and his posterity"]] réalisée par Sir Godfrey Kneller, vendue par H Rodd. [9]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Blake, Robert, Admiral. Canvas, 30 by 24 inches, in armour, band, &c. Born August 15, 1599, at Bridgewater, in Somersetshire, where he was educated at the Grammar School. Having served some years in the Parliament army, he was, in February 1648-9, appointed to command the fleet in conjunction with Colonels Deane and Popham. During nine years actual sevice in the navy, he performed exploits, that, for the skill with which they were conducted, and the success which attended them, were never surpassed till the time of Howe, Duncan, and Nelson. He died as the fleet was entering Plymouth, the 17th of August, 1657, aged 58. His body was conveyed to Westminister Abbey, and interred with great funeral pomp in Henry the Seventh's Chapel, but removed from thence in 1661, and re-interred in St. Margaret's Churchyard (artiste anonyme)|Blake, Robert, Admiral. Canvas, 30 by 24 inches, in armour, band, &c. Born August 15, 1599, at Bridgewater, in Somersetshire, where he was educated at the Grammar School. Having served some years in the Parliament army, he was, in February 1648-9, appointed to command the fleet in conjunction with Colonels Deane and Popham. During nine years actual sevice in the navy, he performed exploits, that, for the skill with which they were conducted, and the success which attended them, were never surpassed till the time of Howe, Duncan, and Nelson. He died as the fleet was entering Plymouth, the 17th of August, 1657, aged 58. His body was conveyed to Westminister Abbey, and interred with great funeral pomp in Henry the Seventh's Chapel, but removed from thence in 1661, and re-interred in St. Margaret's Churchyard]] réalisée par un.e artiste anonyme, vendue par H Rodd. [10]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Buchanan, George, Poet and Historian, of Scotland. A fine original Painting, on Pannel, 16 1/2 inches by 13, in a black dress, and corresponding with the engraved Portraits of him. Born near Kellerne, in the shire of Lenox, in Scotland, 1506. He employed the last twelve or thirteen years of his life in writing the history of his own country, in which he happily united the force and brevity of Sallust with the perspicuity and elegance of Livy. He died at Edinburgh, Feb. 28, 1582. Sir James Melvil, who was of the opposite party to him, and therefore cannot be supposed to be partial in his favour, tells us that Buchanan "was a stoic philosopher who looked not far before him; a man of notable endowments for his learning and knowledge in Latin poetry, much honoured in other countries, pleasant in conversation; rehearsing at all occasions moralities, short and instructive, whereof he had abundance, inventing where wanted." Dr. Burnet, in his "History of the Reformation," says of him, "he is justly reckoned the greatest and best of our modern writers" (artiste anonyme)|Buchanan, George, Poet and Historian, of Scotland. A fine original Painting, on Pannel, 16 1/2 inches by 13, in a black dress, and corresponding with the engraved Portraits of him. Born near Kellerne, in the shire of Lenox, in Scotland, 1506. He employed the last twelve or thirteen years of his life in writing the history of his own country, in which he happily united the force and brevity of Sallust with the perspicuity and elegance of Livy. He died at Edinburgh, Feb. 28, 1582. Sir James Melvil, who was of the opposite party to him, and therefore cannot be supposed to be partial in his favour, tells us that Buchanan "was a stoic philosopher who looked not far before him; a man of notable endowments for his learning and knowledge in Latin poetry, much honoured in other countries, pleasant in conversation; rehearsing at all occasions moralities, short and instructive, whereof he had abundance, inventing where wanted." Dr. Burnet, in his "History of the Reformation," says of him, "he is justly reckoned the greatest and best of our modern writers"]] réalisée par un.e artiste anonyme, vendue par H Rodd. [12]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Buckingham, George Villiers, Duke of, Favourite of Kings James I and Charles I, Assassinated by Felton, 1628. Canvas, 7 feet by 4 feet 4 inches, whole length, superbly habited in a black dress, slash sleeves and trunk breeches, richly embroidered with gold, yellow silk stockings, a black cloak hanging on his arm, hand resting on a sword, standing in a room before a curtain, his hat on a table covered with red velvet. A very splendid gallery picture, and finely painted in the style of Miereveldt. newly gilt carved fr. (Miereveldt)|Buckingham, George Villiers, Duke of, Favourite of Kings James I and Charles I, Assassinated by Felton, 1628. Canvas, 7 feet by 4 feet 4 inches, whole length, superbly habited in a black dress, slash sleeves and trunk breeches, richly embroidered with gold, yellow silk stockings, a black cloak hanging on his arm, hand resting on a sword, standing in a room before a curtain, his hat on a table covered with red velvet. A very splendid gallery picture, and finely painted in the style of Miereveldt. newly gilt carved fr.]] réalisée par Miereveldt, vendue par H Rodd. [13]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Burleigh, William Cecil Lord, Lord High Treasurer, Secretary of State and Counsellor to Queen Elizabeth. On Pannel, 22 inches by 17, in his robes, with the staff of Lord Treasurer; in the manner of Zucchero. Engraved in Birch's Lives, by Houbraken. An eminent English statesman; was born at Bourn, in Lincolnshire, 1521; held the office of Lord High Treasurer of England twenty-seven years; and died 1598. French carved frame, newly gilt (Zucchero)|Burleigh, William Cecil Lord, Lord High Treasurer, Secretary of State and Counsellor to Queen Elizabeth. On Pannel, 22 inches by 17, in his robes, with the staff of Lord Treasurer; in the manner of Zucchero. Engraved in Birch's Lives, by Houbraken. An eminent English statesman; was born at Bourn, in Lincolnshire, 1521; held the office of Lord High Treasurer of England twenty-seven years; and died 1598. French carved frame, newly gilt]] réalisée par Zucchero, vendue par H Rodd. [14]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Caernarvon, Robert Dormer, Earl of. Canvas, 30 inches by 24, a sketch from the portrait in the picture of the "Pembroke Family," by Vandyck, at Wilton. Baron Dormer, of Wing, in Buckingham, resided at Ascot House, where his ancestor, Sir Robert Dormer, entertained the Princess (afterwards Queen) Elizabeth 1554, when on the road to London as prisoner, soon after her sister's accession to the throne. In 1628 he was created Viscount Ascot and Earl of Caernarvon. Lost his life while fighting for his sovereign at the battle of Newbury, 1643, with the Earl of Sunderland and the accomplished Lord Falkland (Vandyck)|Caernarvon, Robert Dormer, Earl of. Canvas, 30 inches by 24, a sketch from the portrait in the picture of the "Pembroke Family," by Vandyck, at Wilton. Baron Dormer, of Wing, in Buckingham, resided at Ascot House, where his ancestor, Sir Robert Dormer, entertained the Princess (afterwards Queen) Elizabeth 1554, when on the road to London as prisoner, soon after her sister's accession to the throne. In 1628 he was created Viscount Ascot and Earl of Caernarvon. Lost his life while fighting for his sovereign at the battle of Newbury, 1643, with the Earl of Sunderland and the accomplished Lord Falkland]] réalisée par Vandyck, vendue par H Rodd. [15]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Campden, Elizabeth Bertie, Countess of. Canvas, 30 inches by 24. On the back of the picture is written, "The Rt. Hon. the Lady Campden, born May the 1st, 1628; obijt 13 July, 1683, aetat suae 55; don by Hales." Daughter of Montague Bertie, Earl of Lindsey, Lord High Chamberlain of England, by his first wife Martha, daughter of Sir William Cockain, of Rushton, in the county of Northampton, Knt., widow of John Ramsay, Earl of Holderness; married, and was fourth wife to Baptist Noel, Viscount Campden and Earl of Gainsborough, by whom she had nine children: 1. Lindsey Noel, who died in his infancy; 2. Catherine, wife of John Earl of Rutland; 3. Baptiste Noel, Esq.; 4. John Noel, Esq.; 5. Bridget Noel; 6. A son whose early birth prevented his baptism; 7. James Noel, Esq., who died in the 18th year of his age; 8. Martha Penelope; 9. A son still born (Hales)|Campden, Elizabeth Bertie, Countess of. Canvas, 30 inches by 24. On the back of the picture is written, "The Rt. Hon. the Lady Campden, born May the 1st, 1628; obijt 13 July, 1683, aetat suae 55; don by Hales." Daughter of Montague Bertie, Earl of Lindsey, Lord High Chamberlain of England, by his first wife Martha, daughter of Sir William Cockain, of Rushton, in the county of Northampton, Knt., widow of John Ramsay, Earl of Holderness; married, and was fourth wife to Baptist Noel, Viscount Campden and Earl of Gainsborough, by whom she had nine children: 1. Lindsey Noel, who died in his infancy; 2. Catherine, wife of John Earl of Rutland; 3. Baptiste Noel, Esq.; 4. John Noel, Esq.; 5. Bridget Noel; 6. A son whose early birth prevented his baptism; 7. James Noel, Esq., who died in the 18th year of his age; 8. Martha Penelope; 9. A son still born]] réalisée par Hales, vendue par H Rodd. [16]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Cardigan, Thomas Brudinel, First Earl of. Canvas, 50 inches by 40, in a black dress, holding his gloves in his right hand, his left leaning on a table; a finely painted portrait, from Weston House, the seat of the Sheldon Family. -- See front. Thomas, eldest son of Robert Brudinel, was, by King James, 29th of June 1611, created a Baronet; on the 9th of April, 1612, he recieved the honour of knighthood at Whitehall; and by letters patent, bearing date 26th April, 3d of Charles the First, advanced to the dignity of a Baron of this kingdom, by the title of Lord Brudinel, of Stanton-Wivell, in Leicestershire. In the time of the civil wars he sufficiently manifested his loyalty, by raising soldiers and contributing whatever he could to the King in his garrisons of Newark, Lincoln, and Hereford, for which, on the prevailing of his Majesty's adversaries, he was imprisoned in the Tower, where, during his confinement, he spent his leisure hours in making abstracts from the records, great part of which are in the library at Dean, in the county of Northampton. In consideration to his great services, King Charles II created him Earl of Cardigan, April 20, 1660. He married Mary, daughter of Sir Thomas Tresham, of Rushden St. Peter, Northamptonshire, by whom he had two sons, Robert, who succeeded him, and Edmund, who died unmarried June 15, 1652, and one daughter, Lady Mary, who married John Constable, of Burton Constable, Viscount Dunbar. The Earl died September 16, 1663, at above fourscore years of age, and was buried at Dean with his ancestors (artiste anonyme)|Cardigan, Thomas Brudinel, First Earl of. Canvas, 50 inches by 40, in a black dress, holding his gloves in his right hand, his left leaning on a table; a finely painted portrait, from Weston House, the seat of the Sheldon Family. -- See front. Thomas, eldest son of Robert Brudinel, was, by King James, 29th of June 1611, created a Baronet; on the 9th of April, 1612, he recieved the honour of knighthood at Whitehall; and by letters patent, bearing date 26th April, 3d of Charles the First, advanced to the dignity of a Baron of this kingdom, by the title of Lord Brudinel, of Stanton-Wivell, in Leicestershire. In the time of the civil wars he sufficiently manifested his loyalty, by raising soldiers and contributing whatever he could to the King in his garrisons of Newark, Lincoln, and Hereford, for which, on the prevailing of his Majesty's adversaries, he was imprisoned in the Tower, where, during his confinement, he spent his leisure hours in making abstracts from the records, great part of which are in the library at Dean, in the county of Northampton. In consideration to his great services, King Charles II created him Earl of Cardigan, April 20, 1660. He married Mary, daughter of Sir Thomas Tresham, of Rushden St. Peter, Northamptonshire, by whom he had two sons, Robert, who succeeded him, and Edmund, who died unmarried June 15, 1652, and one daughter, Lady Mary, who married John Constable, of Burton Constable, Viscount Dunbar. The Earl died September 16, 1663, at above fourscore years of age, and was buried at Dean with his ancestors]] réalisée par un.e artiste anonyme, vendue par H Rodd. [17]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Cecil, Honourable William, son of the Earl of Exeter. Canvas, 30 inches by 24, in a red cloak, point lace bands, &c. On the back of the picture is written, in an old hand, "Honourable W. Cecil, pupil of Dr. Jenkins, Master of St. John's, Cambridge." Third son of John Earl of Exeter by Elizabeth, eldest daughter and co-heir of Sir John Brownlow, of Belton, in the county of Lincoln, Bart., educated under Dr. Jenkins, at St. John's College, Cambridge, where most of his predecessors had studied; gave great hopes of keeping up the lustre of his family, but died too early, to the concern of all who had the happiness of his acquaintance (artiste anonyme)|Cecil, Honourable William, son of the Earl of Exeter. Canvas, 30 inches by 24, in a red cloak, point lace bands, &c. On the back of the picture is written, in an old hand, "Honourable W. Cecil, pupil of Dr. Jenkins, Master of St. John's, Cambridge." Third son of John Earl of Exeter by Elizabeth, eldest daughter and co-heir of Sir John Brownlow, of Belton, in the county of Lincoln, Bart., educated under Dr. Jenkins, at St. John's College, Cambridge, where most of his predecessors had studied; gave great hopes of keeping up the lustre of his family, but died too early, to the concern of all who had the happiness of his acquaintance]] réalisée par un.e artiste anonyme, vendue par H Rodd. [18]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Charles the Second, King of England. Canvas, 48 inches by 40, in his robes, Order of the Garter, &c.; his right hand leaning on a table, on which is placed his hat and feathers, his left holding up his robes; finely painted in the syle of Ryley. Originally in the possession of Sir William Temple, at Farnham, in Surrey (Ryley)|Charles the Second, King of England. Canvas, 48 inches by 40, in his robes, Order of the Garter, &c.; his right hand leaning on a table, on which is placed his hat and feathers, his left holding up his robes; finely painted in the syle of Ryley. Originally in the possession of Sir William Temple, at Farnham, in Surrey]] réalisée par Ryley, vendue par H Rodd. [20]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Chesterfield, Philip Stanhope, Earl of. Canvas, 48 inches by 40, in his robes; very finely painted by Lely, engraved by Worlidge. Succeeded to the title in 1656; married to his first wife, Anne, eldest daughter to Algernon Piercy, Earl of Northumberland, by whom he had a son named Algernon, who died in his infancy; and by his second wife, Elizabeth, daughter of James Butler, Duke of Ormond, he had a daughter of her name, who was married to the Earl of Strathmore, in Scotland; but marrying a third wife, who was Elizabeth, eldest daughter of Charles Dormer, Earl of Caernarvon, by her he had two sons and two daughters, and died on the 28th of January, 1713, aged 80 years and 2 months (Lely)|Chesterfield, Philip Stanhope, Earl of. Canvas, 48 inches by 40, in his robes; very finely painted by Lely, engraved by Worlidge. Succeeded to the title in 1656; married to his first wife, Anne, eldest daughter to Algernon Piercy, Earl of Northumberland, by whom he had a son named Algernon, who died in his infancy; and by his second wife, Elizabeth, daughter of James Butler, Duke of Ormond, he had a daughter of her name, who was married to the Earl of Strathmore, in Scotland; but marrying a third wife, who was Elizabeth, eldest daughter of Charles Dormer, Earl of Caernarvon, by her he had two sons and two daughters, and died on the 28th of January, 1713, aged 80 years and 2 months]] réalisée par Lely, vendue par H Rodd. [22]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Clarendon, Edward Hyde, Earl of, Lord Chancellor of England. Canvas, 30 inches by 24, in the dress of Lord Chancellor, face and hands, &c.; by Sir Peter Lely, the same as engraved in "Lodge's Illustrious Heads;" in a carved and gilt frame. -- See front. Born at Dinton, in Wiltshire, 1608. His name is immortalized by his "History of the Rebellion" in the time of Charles the First. He was afterwards impeached of treason, and withdrew to France, where he died 1674 (Sir Peter Lely)|Clarendon, Edward Hyde, Earl of, Lord Chancellor of England. Canvas, 30 inches by 24, in the dress of Lord Chancellor, face and hands, &c.; by Sir Peter Lely, the same as engraved in "Lodge's Illustrious Heads;" in a carved and gilt frame. -- See front. Born at Dinton, in Wiltshire, 1608. His name is immortalized by his "History of the Rebellion" in the time of Charles the First. He was afterwards impeached of treason, and withdrew to France, where he died 1674]] réalisée par Sir Peter Lely, vendue par H Rodd. [24]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Clarke, Samuel, D.D., Rector of St. James, Westminster, Born at Norwich, 1675, Died May 17, 1729. Canvas, 50 inches by 40, in a black and gilt frame, in his clerical habit, hand resting on a book. On the face of the picture is written "Samuel Clarke, D.D., Rector of St. James, Westminster, painted by Mrs. Hoadly." -- See front (Mrs. Hoadly)|Clarke, Samuel, D.D., Rector of St. James, Westminster, Born at Norwich, 1675, Died May 17, 1729. Canvas, 50 inches by 40, in a black and gilt frame, in his clerical habit, hand resting on a book. On the face of the picture is written "Samuel Clarke, D.D., Rector of St. James, Westminster, painted by Mrs. Hoadly." -- See front]] réalisée par Mrs. Hoadly, vendue par H Rodd. [25]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Corke and Orrery, John Boyle, Earl of. Canvas, 50 inches by 40, in his robes, hand resting on a coronet; in the style of Kneller. See front. John, Earl of Corke and Orrery, the only son and heir of Charles, fourth Earl of Orrery, by Lady Elizabeth Cecil, daughter of John, Earl of Exeter, was born January 2, 1706-7. Elijah Fenton, the author of "Mariamne," was his tutor until his entering into Westminister school, from whence he was admitted, as a nobleman, at Christ Church, Oxford, to which his father had been an honour and ornament, particularly by his edition of the Epistles of Phalaris, which occasioned his celebrated controversy with Dr. Richard Bently. His filial piety was admirably exemplified on the Earl of Orrery's being committed to the Tower in September 1722, by his earnest entreaty, but in vain, to be immured with his father, who was imprisoned on suspicion of being concerned in what was called "Layer's Plot," and for which Layer suffered death. He married, soon after coming to age, on May 9th, 1728, Lady Henrietta Hamilton, youngest daughter of George, Earl of Orkney, which marriage subsequently gave rise to much family dissention. By the death of Richard, Earl of Burlington and Corke, without male issue, he succeeded to that nobleman's Irish titles. In December 1754, he began a tour to Italy, and resided nearly a year at Florence, where he collected materials for the history of Tuscany, which he intended to write in a series of letters, twelve of which he only lived to finish. He returned to England in 1755, where, having lost his second Lady, Margaret Hamilton, and his eldest son, Charles, Earl of Dungarvon, he died, 1762, at Marston House, Somersetshire (Kneller)|Corke and Orrery, John Boyle, Earl of. Canvas, 50 inches by 40, in his robes, hand resting on a coronet; in the style of Kneller. See front. John, Earl of Corke and Orrery, the only son and heir of Charles, fourth Earl of Orrery, by Lady Elizabeth Cecil, daughter of John, Earl of Exeter, was born January 2, 1706-7. Elijah Fenton, the author of "Mariamne," was his tutor until his entering into Westminister school, from whence he was admitted, as a nobleman, at Christ Church, Oxford, to which his father had been an honour and ornament, particularly by his edition of the Epistles of Phalaris, which occasioned his celebrated controversy with Dr. Richard Bently. His filial piety was admirably exemplified on the Earl of Orrery's being committed to the Tower in September 1722, by his earnest entreaty, but in vain, to be immured with his father, who was imprisoned on suspicion of being concerned in what was called "Layer's Plot," and for which Layer suffered death. He married, soon after coming to age, on May 9th, 1728, Lady Henrietta Hamilton, youngest daughter of George, Earl of Orkney, which marriage subsequently gave rise to much family dissention. By the death of Richard, Earl of Burlington and Corke, without male issue, he succeeded to that nobleman's Irish titles. In December 1754, he began a tour to Italy, and resided nearly a year at Florence, where he collected materials for the history of Tuscany, which he intended to write in a series of letters, twelve of which he only lived to finish. He returned to England in 1755, where, having lost his second Lady, Margaret Hamilton, and his eldest son, Charles, Earl of Dungarvon, he died, 1762, at Marston House, Somersetshire]] réalisée par Kneller, vendue par H Rodd. [27]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Crispe, Sir Nicholas, Loyalist. Canvas, 54 inches by 44, standing under a tent on which are the arms of Crispe and the City of London; holding in his right hand a halberd richly ornamented, on which also are the arms of Crispe; his left hand resting on a table covered with red velvet, holding his hat; in the back ground is an army of soldiers, tents, &c.: he is magnificently attired in a red dress, with a rich embroidered scarf round his waist, &c. This loyal subject was one of the farmers of the customs, and a rich merchant, trading principally to the coast of Guinea. As a proof of his zeal to the King's cause, he raised, at his own expense, a regiment, for which service to his Majesty created him a Baronet the year before his death. "One while (says Lloyd) you would meet him with thousands of gold; another, while on his way to Oxford, riding in a pair of paniers; at other times he was a porter, carrying on his Majesties interest in London: he was a fisherman in one place, and a merchant in another; all the succours the King had from beyond the seas came through his hands, and most of the relief he had at home was managed by his conveyance." Sir Nicholas Crispe is said to have been the first inventor of bricks as now practised in England, of which materials he built a magnificent mansion by the side of the Thames, at Hammersmith (now called Brandenburgh House), which is said to have cost upwards of £ 23,000: it was plundered during the civil war. He died February 26, 1661; and lies buried under a monument in the chapel at Hammersmith, which he gave the bricks to build: his heart is inclosed in an urn, on a pedestal of black marble (artiste anonyme)|Crispe, Sir Nicholas, Loyalist. Canvas, 54 inches by 44, standing under a tent on which are the arms of Crispe and the City of London; holding in his right hand a halberd richly ornamented, on which also are the arms of Crispe; his left hand resting on a table covered with red velvet, holding his hat; in the back ground is an army of soldiers, tents, &c.: he is magnificently attired in a red dress, with a rich embroidered scarf round his waist, &c. This loyal subject was one of the farmers of the customs, and a rich merchant, trading principally to the coast of Guinea. As a proof of his zeal to the King's cause, he raised, at his own expense, a regiment, for which service to his Majesty created him a Baronet the year before his death. "One while (says Lloyd) you would meet him with thousands of gold; another, while on his way to Oxford, riding in a pair of paniers; at other times he was a porter, carrying on his Majesties interest in London: he was a fisherman in one place, and a merchant in another; all the succours the King had from beyond the seas came through his hands, and most of the relief he had at home was managed by his conveyance." Sir Nicholas Crispe is said to have been the first inventor of bricks as now practised in England, of which materials he built a magnificent mansion by the side of the Thames, at Hammersmith (now called Brandenburgh House), which is said to have cost upwards of £ 23,000: it was plundered during the civil war. He died February 26, 1661; and lies buried under a monument in the chapel at Hammersmith, which he gave the bricks to build: his heart is inclosed in an urn, on a pedestal of black marble]] réalisée par un.e artiste anonyme, vendue par H Rodd. [28]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Cromwell, Robert, Father of the Protector. Canvas, 36 inches by 28, in a black cap, cloak, and band; in the manner of Dobson. in a carved and gilt frame. -- See front. The above picture nearly resembles the one at Hinchinbroke, which is engraved by Stow, but, from the introduction of the hands, and the execution of the drapery, is certainly preferable. Originally from Crew Hall, Cheshire (Dobson)|Cromwell, Robert, Father of the Protector. Canvas, 36 inches by 28, in a black cap, cloak, and band; in the manner of Dobson. in a carved and gilt frame. -- See front. The above picture nearly resembles the one at Hinchinbroke, which is engraved by Stow, but, from the introduction of the hands, and the execution of the drapery, is certainly preferable. Originally from Crew Hall, Cheshire]] réalisée par Dobson, vendue par H Rodd. [29]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Cromwell, Oliver, Lord Protector. Canvas, 30 inches by 24, in armour, painted in a very bold and spirited manner, and said to be by Sir P. Lely; in a carved and gilt frame. Formerly in the possession of Charles Warren, Esq. R.A., who engraved it (Sir P. Lely)|Cromwell, Oliver, Lord Protector. Canvas, 30 inches by 24, in armour, painted in a very bold and spirited manner, and said to be by Sir P. Lely; in a carved and gilt frame. Formerly in the possession of Charles Warren, Esq. R.A., who engraved it]] réalisée par Sir P. Lely, vendue par H Rodd. [30]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Done, of Utkinton, Cheshire, Ranger of Delamere Forest. Canvas, oblong, 37 inches by 62; an elderly female sitting in a chair receiving flowers from a young lady; on the other side is a young man (Done of Utkinton) holding in his hand a white staff, a dog by his side: on a label in the corner is the following motto -- "Doni Nomen, Boni, Omen." Painted in the manner of Dobson. -- See front. The above picture came originally from Crew Hall, Cheshire, and has the Number (33) on it in which it stood in the Catalogue (Dobson)|Done, of Utkinton, Cheshire, Ranger of Delamere Forest. Canvas, oblong, 37 inches by 62; an elderly female sitting in a chair receiving flowers from a young lady; on the other side is a young man (Done of Utkinton) holding in his hand a white staff, a dog by his side: on a label in the corner is the following motto -- "Doni Nomen, Boni, Omen." Painted in the manner of Dobson. -- See front. The above picture came originally from Crew Hall, Cheshire, and has the Number (33) on it in which it stood in the Catalogue]] réalisée par Dobson, vendue par H Rodd. [32]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Dorchester, Catherine Sedley, Countess of. Canvas, 50 inches by 40, in a crimson dress, leaning on a pedestal. A print very similar engraved by Smith, after Kneller. Catherine, daughter of the above, was first married to James, Earl of Anglesea, by whom he had an only daughter of her name, born January 7, 1700, who, in 1718, was married to William Phipps, Esq. son of Sir Constatinte Phipps, Knt., and secondly to John Sheffield, Duke of Buckingham and Normanby (Kneller)|Dorchester, Catherine Sedley, Countess of. Canvas, 50 inches by 40, in a crimson dress, leaning on a pedestal. A print very similar engraved by Smith, after Kneller. Catherine, daughter of the above, was first married to James, Earl of Anglesea, by whom he had an only daughter of her name, born January 7, 1700, who, in 1718, was married to William Phipps, Esq. son of Sir Constatinte Phipps, Knt., and secondly to John Sheffield, Duke of Buckingham and Normanby]] réalisée par Kneller, vendue par H Rodd. [33]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Dyer, Sir James, Knt. Chief Justice of the King's Bench. Pannel, 21 inches by 17, in his robes, collar of S.S.;...in the corner are the arms, differing from those engraved on the print by Drapentier, which in every other respect corresponds with the picture. An eminent English lawyer, and Chief Justice of the Common Pleas in the reign of Queen Elizabeth, born at Roundhill, in Somersetshire, 1511. He was the author of a large volume of Reports, which were published about twenty years after his decease, and have been highly esteemed for their succinctness and solidity: he died in 1581, leaving behind him other writings relative to his profession (artiste anonyme)|Dyer, Sir James, Knt. Chief Justice of the King's Bench. Pannel, 21 inches by 17, in his robes, collar of S.S.;...in the corner are the arms, differing from those engraved on the print by Drapentier, which in every other respect corresponds with the picture. An eminent English lawyer, and Chief Justice of the Common Pleas in the reign of Queen Elizabeth, born at Roundhill, in Somersetshire, 1511. He was the author of a large volume of Reports, which were published about twenty years after his decease, and have been highly esteemed for their succinctness and solidity: he died in 1581, leaving behind him other writings relative to his profession]] réalisée par un.e artiste anonyme, vendue par H Rodd. [34]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Edgecombe, Sir Richard, of Mount Edgecombe, in Devonshire, Bart. Canvas, 30 inches by 24, in armour, red sash, &c., arms of Edgecombe, impaled with those of Montague, in the corner: finely painted in the style of Dobson. Born at Mount Edgecumbe, 1639; was made one of the Knights of the Bath at the Coronation of King Charles the Second, and attended that grand solemnity in his purple robes. He was chosen M.P. for Launceston the first of King Charles the Second; married Lady Anne Mountague, the second surviving daughter of the brave Earl of Sandwich, by whom he had two sons, whereof the second was made Lord Edgecombe, and five daughters. Sir Richard died April 3, 1688, and was buried at Maker; his lady survived him until March 1729, when she died and was buried beside him: she was secondly married to Christopher Montague, elder brother to Charles Earl of Halifax (Dobson)|Edgecombe, Sir Richard, of Mount Edgecombe, in Devonshire, Bart. Canvas, 30 inches by 24, in armour, red sash, &c., arms of Edgecombe, impaled with those of Montague, in the corner: finely painted in the style of Dobson. Born at Mount Edgecumbe, 1639; was made one of the Knights of the Bath at the Coronation of King Charles the Second, and attended that grand solemnity in his purple robes. He was chosen M.P. for Launceston the first of King Charles the Second; married Lady Anne Mountague, the second surviving daughter of the brave Earl of Sandwich, by whom he had two sons, whereof the second was made Lord Edgecombe, and five daughters. Sir Richard died April 3, 1688, and was buried at Maker; his lady survived him until March 1729, when she died and was buried beside him: she was secondly married to Christopher Montague, elder brother to Charles Earl of Halifax]] réalisée par Dobson, vendue par H Rodd. [35]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Edwards, of Arlsey, Beds. Pannel, 30 inches by 24, in an official dress, holding his gloves in his right hand, in the corner are his arms; viz. party per bend sinister, sable and ermine, a lion rampant or; crest, an esquire's helmet, plumed argent and gules: aetatis suae 56, 1609 (artiste anonyme)|Edwards, of Arlsey, Beds. Pannel, 30 inches by 24, in an official dress, holding his gloves in his right hand, in the corner are his arms; viz. party per bend sinister, sable and ermine, a lion rampant or; crest, an esquire's helmet, plumed argent and gules: aetatis suae 56, 1609]] réalisée par un.e artiste anonyme, vendue par H Rodd. [38]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Egerton, Elizabeth, Vere, & Mary, Grandaughters of Lord Chancellor Egerton. Canvas, 54 inches by 54, three whole length figures at the ages of 3, 5, and 6, richly habited in green, and ornamented by jewels, hands joined and each holding a feather fan: an undoubted picture, by Marc Garrards, and in a most singular carved frame of the time; the whole in very excellent preservation, painted about 1603. Elizabeth, Vere, and Mary, daughters of Thomas Egerton (eldest son of the Lord Chancellor) by Elizabeth his wife, daughter of Thomas Venables, Baron of Kinderton, in the county of Cheshire, Esq. Elizabeth married Thomas Dutton, of Dutton, in Cheshire; Vere, William Booth, son and heir of Sir George Booth, of Dunham, in the said county, Knight and Baronet; and Mary, Sir John Leigh, of Stonely, in the county of Warwick, Bart. (Marc Garrards)|Egerton, Elizabeth, Vere, & Mary, Grandaughters of Lord Chancellor Egerton. Canvas, 54 inches by 54, three whole length figures at the ages of 3, 5, and 6, richly habited in green, and ornamented by jewels, hands joined and each holding a feather fan: an undoubted picture, by Marc Garrards, and in a most singular carved frame of the time; the whole in very excellent preservation, painted about 1603. Elizabeth, Vere, and Mary, daughters of Thomas Egerton (eldest son of the Lord Chancellor) by Elizabeth his wife, daughter of Thomas Venables, Baron of Kinderton, in the county of Cheshire, Esq. Elizabeth married Thomas Dutton, of Dutton, in Cheshire; Vere, William Booth, son and heir of Sir George Booth, of Dunham, in the said county, Knight and Baronet; and Mary, Sir John Leigh, of Stonely, in the county of Warwick, Bart.]] réalisée par Marc Garrards, vendue par H Rodd. [39]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Essex, Robert Devereux, Earl of, Favourite of Queen Elizabeth. -- Beheaded 1601. Pannel, 44 1/2 inches by 35, most singularly habited in a suit of black armour, over which is a surtout or tilting dress, richly ornamented by white beads, his hand resting upon a baton, a sword by his left side and a dagger or small sword on his right; a label, evidently at the time the picture was painted, is inscribed "Robart Devereux, Earle of Essex, 1590." The date on the above picture shows him to have been much younger than he has ever been engraved, and consequently makes it a most desirable picture: probably painted by Zucchero. Son of Walter Devereux Earl of Essex, and born 1567. He came young to court, and soon gained a considerable influence over the Queen, though his high spirit often betrayed him into petulent behaviour even to her; and, on the disgrace he fell into by the suggestions of his enemies about the Queen, after his unsuccessful expedition to Ireland, his rash temper prompted him to an ill-concerted kind of insurrection at London, for which he was beheaded in 1601. He was learned himself, and a generous patron of learned men (Zucchero)|Essex, Robert Devereux, Earl of, Favourite of Queen Elizabeth. -- Beheaded 1601. Pannel, 44 1/2 inches by 35, most singularly habited in a suit of black armour, over which is a surtout or tilting dress, richly ornamented by white beads, his hand resting upon a baton, a sword by his left side and a dagger or small sword on his right; a label, evidently at the time the picture was painted, is inscribed "Robart Devereux, Earle of Essex, 1590." The date on the above picture shows him to have been much younger than he has ever been engraved, and consequently makes it a most desirable picture: probably painted by Zucchero. Son of Walter Devereux Earl of Essex, and born 1567. He came young to court, and soon gained a considerable influence over the Queen, though his high spirit often betrayed him into petulent behaviour even to her; and, on the disgrace he fell into by the suggestions of his enemies about the Queen, after his unsuccessful expedition to Ireland, his rash temper prompted him to an ill-concerted kind of insurrection at London, for which he was beheaded in 1601. He was learned himself, and a generous patron of learned men]] réalisée par Zucchero, vendue par H Rodd. [40]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Essex, Robert Devereux, Earl of, General of the Parliament's Army, Died 1646. Canvas, 30 inches by 24, in a yellow dress, slash sleeves, holding a baton, arm resting on a chair: very finely painted by Dobson. From the collection of Sir M. M. Sykes, Bart. of Sledmere, in the county of York. There is a very rare print which corresponds with the picture, engraved by Faithorne. Son of the preceding: was General of the Parliament's army against Charles I. He surrendered his commission of General in obedience to the self-denying ordinance in 1645, and died in 1646 (Dobson)|Essex, Robert Devereux, Earl of, General of the Parliament's Army, Died 1646. Canvas, 30 inches by 24, in a yellow dress, slash sleeves, holding a baton, arm resting on a chair: very finely painted by Dobson. From the collection of Sir M. M. Sykes, Bart. of Sledmere, in the county of York. There is a very rare print which corresponds with the picture, engraved by Faithorne. Son of the preceding: was General of the Parliament's army against Charles I. He surrendered his commission of General in obedience to the self-denying ordinance in 1645, and died in 1646]] réalisée par Dobson, vendue par H Rodd. [41]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Fisher, John, Bishop of Rochester. Pannel, 10 inches by 8, in a carved gilt frame, a copy of Holbein, in the style of Richardson, engraved in Birch's Lives. John Fisher, Bishop of Rochester, and martyr to popery, born at Beverly, Yorkshire, 1459, was beheaded for denying the King's supremacy, 1535. During his confinement the poor old bishop was hardly used, and scarcely allowed necessaries. He was confined above a year in the Tower, and might have continued there till released by a natural death, if an unseasonable honour paid him by Pope Paul the Third had not hastened his destruction: this was by the creating him, in May 1535, a Cardinal, by the title of Cardinal Priest of St. Vitalis. When the King heard of it, he said, in a great passion, "Well, let the Pope send him a hat when he will, Mother of God, he shall wear it on his shoulders, then; for I will leave him never a head to set it on." Erasmus represents him as a man of integrity, deep learning, sweetness of temper, and greatness of soul (Richardson)|Fisher, John, Bishop of Rochester. Pannel, 10 inches by 8, in a carved gilt frame, a copy of Holbein, in the style of Richardson, engraved in Birch's Lives. John Fisher, Bishop of Rochester, and martyr to popery, born at Beverly, Yorkshire, 1459, was beheaded for denying the King's supremacy, 1535. During his confinement the poor old bishop was hardly used, and scarcely allowed necessaries. He was confined above a year in the Tower, and might have continued there till released by a natural death, if an unseasonable honour paid him by Pope Paul the Third had not hastened his destruction: this was by the creating him, in May 1535, a Cardinal, by the title of Cardinal Priest of St. Vitalis. When the King heard of it, he said, in a great passion, "Well, let the Pope send him a hat when he will, Mother of God, he shall wear it on his shoulders, then; for I will leave him never a head to set it on." Erasmus represents him as a man of integrity, deep learning, sweetness of temper, and greatness of soul]] réalisée par Richardson, vendue par H Rodd. [42]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Geminiani, Francesco, Musician, Died 1762, Aged 96. Canvas, 36 inches by 28, half length, standing before a table on which is an inkstand and music, his hand resting on a book lettered "Guida Harmonica." A fine performer on the violin, and composer for that instrument, born at Lucca, in Italy, 1680; died 1762. in a gilt frame, from Mr. Bartleman's sale (artiste anonyme)|Geminiani, Francesco, Musician, Died 1762, Aged 96. Canvas, 36 inches by 28, half length, standing before a table on which is an inkstand and music, his hand resting on a book lettered "Guida Harmonica." A fine performer on the violin, and composer for that instrument, born at Lucca, in Italy, 1680; died 1762. in a gilt frame, from Mr. Bartleman's sale]] réalisée par un.e artiste anonyme, vendue par H Rodd. [43]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Gibbon, Edward, Historian. Canvas, 30 inches by 24, probably by Romney. Born at Putney, 1737; elected Member of Parliament for Liskeard, 1774, which he vacated 1780, in the course of which period he was some time Lord of the Trade. His celebrated "History of the Decline and Fall of the Roman Empire" will probably last as long as the language in which it is written: it abounds with proofs of unexampled learning, of a mind penetrating and sagacious, and of talents for ridicule agreeable and piercing (Romney)|Gibbon, Edward, Historian. Canvas, 30 inches by 24, probably by Romney. Born at Putney, 1737; elected Member of Parliament for Liskeard, 1774, which he vacated 1780, in the course of which period he was some time Lord of the Trade. His celebrated "History of the Decline and Fall of the Roman Empire" will probably last as long as the language in which it is written: it abounds with proofs of unexampled learning, of a mind penetrating and sagacious, and of talents for ridicule agreeable and piercing]] réalisée par Romney, vendue par H Rodd. [45]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Gibson, Colonel (temp. Car. II). Canvas, 30 inches by 24, in armour, holding a carbine, battle in the background; finely painted in the style of Walker. On the back is written, "Colonel Gibson, who married my Aunt Necton." Probably of the same family as Gibson Bishop of London, to whom it bears a strong resemblance (Walker)|Gibson, Colonel (temp. Car. II). Canvas, 30 inches by 24, in armour, holding a carbine, battle in the background; finely painted in the style of Walker. On the back is written, "Colonel Gibson, who married my Aunt Necton." Probably of the same family as Gibson Bishop of London, to whom it bears a strong resemblance]] réalisée par Walker, vendue par H Rodd. [46]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Gloucester, Henry Duke of, Son of King Charles the First. Canvas, 50 inches by 40, in armour, holding a baton, a tent in the background, on which are the arms of England with a label of 3 points ermine, finely painted. There is a fine print by Van Dalen, after Luycterhuys, which corresponds with the above picture, except in the background (artiste anonyme)|Gloucester, Henry Duke of, Son of King Charles the First. Canvas, 50 inches by 40, in armour, holding a baton, a tent in the background, on which are the arms of England with a label of 3 points ermine, finely painted. There is a fine print by Van Dalen, after Luycterhuys, which corresponds with the above picture, except in the background]] réalisée par un.e artiste anonyme, vendue par H Rodd. [47]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Granby, John Manners, Marquis of. Canvas, 60 inches by 50, on horseback, in his military dress, regiment of horse soldiers in the background. Eldest son of John, third Duke of Rutland, educated at Eton School and Trinity College, Cambridge; in 1750 he married Lady Frances Seymour, eldest daughter of Charles Duke of Somerset, M.P. for Grantham in three successive Parliaments; died at Belvoir Castle, Oct. 11, 1770 (artiste anonyme)|Granby, John Manners, Marquis of. Canvas, 60 inches by 50, on horseback, in his military dress, regiment of horse soldiers in the background. Eldest son of John, third Duke of Rutland, educated at Eton School and Trinity College, Cambridge; in 1750 he married Lady Frances Seymour, eldest daughter of Charles Duke of Somerset, M.P. for Grantham in three successive Parliaments; died at Belvoir Castle, Oct. 11, 1770]] réalisée par un.e artiste anonyme, vendue par H Rodd. [49]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Grandison, William Villiers, Viscount. Canvas, 6 feet by 4 feet 8 inches, whole length, in a cavalier's dress, standing against a bank, hat and feathers in his hand, armour, &c. laying by him: a splendid gallery picture, in the style of Vandyck. The above picture nearly corresponds with the print engraved in "Lodge's Illustrious Heads." The eldest son of Sir Edward Villiers, by Barbara, daughter of Sir John St. John, and neice to Sir Oliver St. John, whom he succeeded in the title of Visc. Grandison, 1630. In 1640 he was Colonel of a regiment raised against the Scots; in 1641 he commanded a troop of horse quartered in the county of Armagh, in Ireland, which being surprised and almost cut to pieces by the Irish insurgents on their first rising, who possessed themselves of their arms, he came and served his Sovereign in England. But in 1642, by the miscarriage of orders, he was exposed, at too great a distance from the army, with his single regiment of 300 horse and another of 200 dragoons, to the unequal number of 5000 horse and dragoons; and, after a retreat to Winchester, was taken with all his party. No blame on this occasion attached to the commander; and the misfortune was lessened by his making his escape, with some of his principal officers, to the King at Oxford. On July 26th, 1643, he commanded at the siege of Bristol, where he led on a division with great resolution; but, being beaten off and wounded, he was carried to Oxford, where he died, at the age of thirty, and was buried in the Cathedral of Christ Church, under a stately monument, erected by his only daughter, Barbara, Duchess of Cleaveland. Clarendon says, "He was a pattern of virtue for a camp or court, except in the instance of duelling; his fault was, that he was inclined to be too prodigal of his person, upon other occasions, when he was at the head of his regiment." in a splendid French carved oak frame (Vandyck)|Grandison, William Villiers, Viscount. Canvas, 6 feet by 4 feet 8 inches, whole length, in a cavalier's dress, standing against a bank, hat and feathers in his hand, armour, &c. laying by him: a splendid gallery picture, in the style of Vandyck. The above picture nearly corresponds with the print engraved in "Lodge's Illustrious Heads." The eldest son of Sir Edward Villiers, by Barbara, daughter of Sir John St. John, and neice to Sir Oliver St. John, whom he succeeded in the title of Visc. Grandison, 1630. In 1640 he was Colonel of a regiment raised against the Scots; in 1641 he commanded a troop of horse quartered in the county of Armagh, in Ireland, which being surprised and almost cut to pieces by the Irish insurgents on their first rising, who possessed themselves of their arms, he came and served his Sovereign in England. But in 1642, by the miscarriage of orders, he was exposed, at too great a distance from the army, with his single regiment of 300 horse and another of 200 dragoons, to the unequal number of 5000 horse and dragoons; and, after a retreat to Winchester, was taken with all his party. No blame on this occasion attached to the commander; and the misfortune was lessened by his making his escape, with some of his principal officers, to the King at Oxford. On July 26th, 1643, he commanded at the siege of Bristol, where he led on a division with great resolution; but, being beaten off and wounded, he was carried to Oxford, where he died, at the age of thirty, and was buried in the Cathedral of Christ Church, under a stately monument, erected by his only daughter, Barbara, Duchess of Cleaveland. Clarendon says, "He was a pattern of virtue for a camp or court, except in the instance of duelling; his fault was, that he was inclined to be too prodigal of his person, upon other occasions, when he was at the head of his regiment." in a splendid French carved oak frame]] réalisée par Vandyck, vendue par H Rodd. [50]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Hamilton, James, Marquis and Duke of. Canvas, 30 inches by 24, in rich dress, finely painted, from the collection of the late John Arden, Esq. of Stockport, Cheshire, but originally from Crewe Hall. On it is written "Duke Hamilton," and the number (74) in which it stood in the catalogue of the pictures at Crewe Hall. The Duke of Hamilton, who was at the head of the moderate presbyterians in Scotland, was much in the favour and confidence of Charles I. He was accused by his enemies with a design upon the King's life; but Charles gave so little credit to it, that he made no scruple of lying afterwards in the same bedchamber with him, wihout using any precautions for his safety. He was so dilatory in his military proceedings, that he was strongly suspected of treachery to that prince in whose cause he afterwards lost his life. In 1648 he invaded England with a numerous army, which was presently defeated by Cromwell and Lambert, the latter of whom took him prisoner. He was beheaded the 9th of March, 1648-9 (artiste anonyme)|Hamilton, James, Marquis and Duke of. Canvas, 30 inches by 24, in rich dress, finely painted, from the collection of the late John Arden, Esq. of Stockport, Cheshire, but originally from Crewe Hall. On it is written "Duke Hamilton," and the number (74) in which it stood in the catalogue of the pictures at Crewe Hall. The Duke of Hamilton, who was at the head of the moderate presbyterians in Scotland, was much in the favour and confidence of Charles I. He was accused by his enemies with a design upon the King's life; but Charles gave so little credit to it, that he made no scruple of lying afterwards in the same bedchamber with him, wihout using any precautions for his safety. He was so dilatory in his military proceedings, that he was strongly suspected of treachery to that prince in whose cause he afterwards lost his life. In 1648 he invaded England with a numerous army, which was presently defeated by Cromwell and Lambert, the latter of whom took him prisoner. He was beheaded the 9th of March, 1648-9]] réalisée par un.e artiste anonyme, vendue par H Rodd. [52]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Hamilton, James, Marquis and Duke of, Died 1648-9. Pannel, 15 inches by 12, in a black dress, slash sleeves and red band, finely painted, the head nearly similar to the one engraved in "Lodge's Illustrious Personages." A companion to No. LII. (artiste anonyme)|Hamilton, James, Marquis and Duke of, Died 1648-9. Pannel, 15 inches by 12, in a black dress, slash sleeves and red band, finely painted, the head nearly similar to the one engraved in "Lodge's Illustrious Personages." A companion to No. LII.]] réalisée par un.e artiste anonyme, vendue par H Rodd. [53]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Heath, Nicholas, Bishop of Rochester, 1540; Worcester, 1551; Archbishop of York, 1555; President of Wales; and Lord Chancellor of England. Pannel, 24 inches by 18, sitting in a blue velvet chair, in his hat and canonicals, his hands clasped; a very finely painted portrait, in the style of Lucas de Heere. Anthony a Wood, speaking of Heath, says, "The picture, drawn to the life, of the said Archbishop, I have many times seen, which shews him to have been of a proper person, black haired, pale-faced, thin and macerated, somewhat like the picture of Fisher, Bp. of Rochester, but his nose not quite so long. I say, this picture I have often beheld, among many other choice pictures, hanging in the large gallery belonging to Weston House, near Lay Compton, Warwickshire, now in the possession of my worthy acquaintance Ralph Sheldon, Esq., whose ancestor of both his names, of Beoly, in Worcestershire (who died 21 Dec. 1546), married Phillipa, daughter and coheir of Baldwin Heath (by his wife Agnes, eldest daughter and coheir of John Grove, of Fort Hall, in Wotton, in Warwickshire), son of Thomas Heath, of Copley, in the parish of Tamworth, which Thomas is supposed by them of the Sheldonian family (who quarters with their arms those of Grove and Heath) to be great grandfather to the Archbishop. This hath been several times told me by my never to be forgotten friend and generous acquaintance Ralph Sheldon, of Beoly and Weston, Esq. (who deceased 1684), a person always very curious and industrious in genealogies." The above picture came from the house where Wood had many times seen it; and it is presumed that there is not any other portrait of him in existence (Lucas de Heere)|Heath, Nicholas, Bishop of Rochester, 1540; Worcester, 1551; Archbishop of York, 1555; President of Wales; and Lord Chancellor of England. Pannel, 24 inches by 18, sitting in a blue velvet chair, in his hat and canonicals, his hands clasped; a very finely painted portrait, in the style of Lucas de Heere. Anthony a Wood, speaking of Heath, says, "The picture, drawn to the life, of the said Archbishop, I have many times seen, which shews him to have been of a proper person, black haired, pale-faced, thin and macerated, somewhat like the picture of Fisher, Bp. of Rochester, but his nose not quite so long. I say, this picture I have often beheld, among many other choice pictures, hanging in the large gallery belonging to Weston House, near Lay Compton, Warwickshire, now in the possession of my worthy acquaintance Ralph Sheldon, Esq., whose ancestor of both his names, of Beoly, in Worcestershire (who died 21 Dec. 1546), married Phillipa, daughter and coheir of Baldwin Heath (by his wife Agnes, eldest daughter and coheir of John Grove, of Fort Hall, in Wotton, in Warwickshire), son of Thomas Heath, of Copley, in the parish of Tamworth, which Thomas is supposed by them of the Sheldonian family (who quarters with their arms those of Grove and Heath) to be great grandfather to the Archbishop. This hath been several times told me by my never to be forgotten friend and generous acquaintance Ralph Sheldon, of Beoly and Weston, Esq. (who deceased 1684), a person always very curious and industrious in genealogies." The above picture came from the house where Wood had many times seen it; and it is presumed that there is not any other portrait of him in existence]] réalisée par Lucas de Heere, vendue par H Rodd. [55]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Henry the Eighth, King of England. Pannel, 33 inches by 26, in a silver and gold dress, a white fur tippet over his shoulders, cap and feather, his right hand holding a glove, resting on a green table, blue background; by Hans Holbein. -- See front (Hans Holbein)|Henry the Eighth, King of England. Pannel, 33 inches by 26, in a silver and gold dress, a white fur tippet over his shoulders, cap and feather, his right hand holding a glove, resting on a green table, blue background; by Hans Holbein. -- See front]] réalisée par Hans Holbein, vendue par H Rodd. [57]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Hooper, George, Bishop of Bath and Wells. Canvas, 50 inches by 40, seated in a chair, lawn sleeves, &c.; by Hill. There is an engraving from this portrait, in mezzotinto, by George White. A native of the county of Worcester, educated at Christ Church College, Oxford; after which he became Chaplain to Dr. Morley, Bishop of Winchester, and then to Archbishop Sheldon: this procured him the rectory of Lambeth in 1675, and, in 1677, the place of Chanter in Exeter Cathedral. He was also Rector of Woodhay, Hants. Queen Ann promoted him to the see of St. Asaph in 1703; and in the following year translated him to that of Bath and Wells, where he remained till his death, constantly refusing the offers of removal to London or York. This worthy prelate died Sept. 6, 1727, at the advanced age of 90 (Hill)|Hooper, George, Bishop of Bath and Wells. Canvas, 50 inches by 40, seated in a chair, lawn sleeves, &c.; by Hill. There is an engraving from this portrait, in mezzotinto, by George White. A native of the county of Worcester, educated at Christ Church College, Oxford; after which he became Chaplain to Dr. Morley, Bishop of Winchester, and then to Archbishop Sheldon: this procured him the rectory of Lambeth in 1675, and, in 1677, the place of Chanter in Exeter Cathedral. He was also Rector of Woodhay, Hants. Queen Ann promoted him to the see of St. Asaph in 1703; and in the following year translated him to that of Bath and Wells, where he remained till his death, constantly refusing the offers of removal to London or York. This worthy prelate died Sept. 6, 1727, at the advanced age of 90]] réalisée par Hill, vendue par H Rodd. [58]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Hough, John, Bishop of Worcester. Canvas, 50 inches by 40, seated in a chair covered with blue velvet, his arms impaled with those of Worcester in the corner of the picture, aged 84, 1734, and two Latin lines. Son of John Hough, a citizen of London, by Margaret his wife, daughter of John Birche, of Leacroft, Staffordshire, Esq., born April 12, 1651. This prelate is well remembered, from his having been ejected from Magdalen College, of which he was President, by James the Second. The calm and intrepid spirit with which he maintained his own rights and those of the college, gained him the Bishopric of Oxford, which he held for a time with his Presidentship. In 1699 he was translated to Lichfield and Coventry. George the First removed him in 1717 to Worcester, where he died May 4, 1743, aged 93. His Lordship married Lettice, daughter of Thomas Fisher, of Walsall, relict of Sir Charles Lee, of Billesley, in Warwickshire (artiste anonyme)|Hough, John, Bishop of Worcester. Canvas, 50 inches by 40, seated in a chair covered with blue velvet, his arms impaled with those of Worcester in the corner of the picture, aged 84, 1734, and two Latin lines. Son of John Hough, a citizen of London, by Margaret his wife, daughter of John Birche, of Leacroft, Staffordshire, Esq., born April 12, 1651. This prelate is well remembered, from his having been ejected from Magdalen College, of which he was President, by James the Second. The calm and intrepid spirit with which he maintained his own rights and those of the college, gained him the Bishopric of Oxford, which he held for a time with his Presidentship. In 1699 he was translated to Lichfield and Coventry. George the First removed him in 1717 to Worcester, where he died May 4, 1743, aged 93. His Lordship married Lettice, daughter of Thomas Fisher, of Walsall, relict of Sir Charles Lee, of Billesley, in Warwickshire]] réalisée par un.e artiste anonyme, vendue par H Rodd. [59]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[James, the First King of England, and Sixth of Scotland. Canvas, 8 feet by 5 1/2 feet, mounted on a most beautiful white charger, a baton in his hand, jewel in his hat; in the background is a view of Windsor and Eton, with Eton Bridge, boats on the river, a carriage and six, with outriders, and a regiment of horse on the near side of the water. A most spirited and highly interesting gallery picture, and worthy the pencil of Rubens. most probably by Velasquez (Velasquez)|James, the First King of England, and Sixth of Scotland. Canvas, 8 feet by 5 1/2 feet, mounted on a most beautiful white charger, a baton in his hand, jewel in his hat; in the background is a view of Windsor and Eton, with Eton Bridge, boats on the river, a carriage and six, with outriders, and a regiment of horse on the near side of the water. A most spirited and highly interesting gallery picture, and worthy the pencil of Rubens. most probably by Velasquez]] réalisée par Velasquez, vendue par H Rodd. [60]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Langwith, Benjamin, D.D. Canvas, 30 inches by 24, in his clerical dress. On the back of the picture is written, in an old hand, "Docr. Langwith; H. Winstanley pinx. 1731." Author of a tract containing Observations and Corrections on Dr. Arbuthnot's "Tables of Ancient Coins, Weights, and Measures, &c." originally published in 1747, and afterwards at the end of a subsequent edition of Tables, 1754 (H. Winstanley)|Langwith, Benjamin, D.D. Canvas, 30 inches by 24, in his clerical dress. On the back of the picture is written, in an old hand, "Docr. Langwith; H. Winstanley pinx. 1731." Author of a tract containing Observations and Corrections on Dr. Arbuthnot's "Tables of Ancient Coins, Weights, and Measures, &c." originally published in 1747, and afterwards at the end of a subsequent edition of Tables, 1754]] réalisée par H. Winstanley, vendue par H Rodd. [66]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Leicester, Robert Dudley, Earl of, Favourite of Queen Elizabeth. Pannel, 21 inches by 18, in armour, richly embossed with gold, figures of Mercury, &c., hat and feather; in a very fine French carved frame, newly gilt. -- See front. There are small engravings by Goltzius and Marshall that nearly resemble the above curious picture, which was formerly in the possession of the late Octavius Gilchrist, Esq. (artiste anonyme)|Leicester, Robert Dudley, Earl of, Favourite of Queen Elizabeth. Pannel, 21 inches by 18, in armour, richly embossed with gold, figures of Mercury, &c., hat and feather; in a very fine French carved frame, newly gilt. -- See front. There are small engravings by Goltzius and Marshall that nearly resemble the above curious picture, which was formerly in the possession of the late Octavius Gilchrist, Esq.]] réalisée par un.e artiste anonyme, vendue par H Rodd. [67]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Lindsey, Robert Bertie, Earl of. Canvas, 30 inches by 24, in armour; on the back of the picture, before it was re-lined, was written, "Robt. ye 2d Earle of Lindsey, Lod Great Chamberlaine of England: obijt May 9, 1701. Done by Hales; cost £ 5..0..0." Son of Montague, was second Robert, Earl of Lindsey, sworn of the Privey Council to King Charles II, December 12, 1666, and March 19, 1684, constituted Lord Lieutenant and Custos Rotulorum of the County of Lincoln. He first married Mary, second daughter and coheir of John Massingberd, of an antient family in Lincolnshire; and secondly, Elizabeth, daughter of Philip Lord Wharton, from whom are descended the Dukes of Ancaster (Hales)|Lindsey, Robert Bertie, Earl of. Canvas, 30 inches by 24, in armour; on the back of the picture, before it was re-lined, was written, "Robt. ye 2d Earle of Lindsey, Lod Great Chamberlaine of England: obijt May 9, 1701. Done by Hales; cost £ 5..0..0." Son of Montague, was second Robert, Earl of Lindsey, sworn of the Privey Council to King Charles II, December 12, 1666, and March 19, 1684, constituted Lord Lieutenant and Custos Rotulorum of the County of Lincoln. He first married Mary, second daughter and coheir of John Massingberd, of an antient family in Lincolnshire; and secondly, Elizabeth, daughter of Philip Lord Wharton, from whom are descended the Dukes of Ancaster]] réalisée par Hales, vendue par H Rodd. [69]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Lloyd, Humphrey, of Denbigh, Historian of Wales. Pannel, 30 inches by 24, holding a book, very finely painted, probably by De Heere: on the picture is painted "Hwy Pery Klod no Glayd, aetatis 34, A. dni 1561:" in a fine carved and gilt frame, and in most excellent preservation. -- See front (De Heere)|Lloyd, Humphrey, of Denbigh, Historian of Wales. Pannel, 30 inches by 24, holding a book, very finely painted, probably by De Heere: on the picture is painted "Hwy Pery Klod no Glayd, aetatis 34, A. dni 1561:" in a fine carved and gilt frame, and in most excellent preservation. -- See front]] réalisée par De Heere, vendue par H Rodd. [70]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Locke, John, Philosopher. Canvas, 30 inches by 24, in a loose morning gown, painted in the style of Vandrebanc, and resembling the prints by Vertue and Smith, &c. The most celebrated philosopher of the age he lived in, and one of the brightest ornaments of English literature; was born at Wrington, in Somersetshire, 1632. By the patronage of Lord Shaftesbury he held a situation under Government, and wrote some able political tracts. His Lordship being compelled to fly to Holland to avoid a prosecution for high treason, Mr. Locke followed him. In 1685 the English Envoy demanded him of the States General, on suspicion of his being concerned in Monmouth's rebellion. On this he kept himself private several months, and employed the time in preparing for the press that work which has immortalized his name and fame, the "Essay on the Human Understanding:" it was not published until after the revolution, an event which restored him to his native country. The latter years of his life he devoted chiefly to religious retirement, and to the writing of works on theology; and died at Oates, in Essex (the seat of Lady Marsham), Oct. 28, 1704. carved and gilt frame (Vandrebanc)|Locke, John, Philosopher. Canvas, 30 inches by 24, in a loose morning gown, painted in the style of Vandrebanc, and resembling the prints by Vertue and Smith, &c. The most celebrated philosopher of the age he lived in, and one of the brightest ornaments of English literature; was born at Wrington, in Somersetshire, 1632. By the patronage of Lord Shaftesbury he held a situation under Government, and wrote some able political tracts. His Lordship being compelled to fly to Holland to avoid a prosecution for high treason, Mr. Locke followed him. In 1685 the English Envoy demanded him of the States General, on suspicion of his being concerned in Monmouth's rebellion. On this he kept himself private several months, and employed the time in preparing for the press that work which has immortalized his name and fame, the "Essay on the Human Understanding:" it was not published until after the revolution, an event which restored him to his native country. The latter years of his life he devoted chiefly to religious retirement, and to the writing of works on theology; and died at Oates, in Essex (the seat of Lady Marsham), Oct. 28, 1704. carved and gilt frame]] réalisée par Vandrebanc, vendue par H Rodd. [71]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Lovelace, Colonel Richard, Poet. Canvas, 30 inches by 24, in armour, red sash: this picture nearly resembles the one at Dulwich. Eldest son of Sir William Lovelace, of Bethersden, in Kent, Knt., by Anne, daughter of Sir William Barne, of Woolwich, in the same county; born in 1618, educated at the Charterhouse, from whence he was removed to Oxford, and became a Gentleman Commoner of Gloucester Hall. He spent a great part of his estate in the cause of Charles the First; died very poor in 1658, and was buried in St. Bride's Church, Fleet Street (artiste anonyme)|Lovelace, Colonel Richard, Poet. Canvas, 30 inches by 24, in armour, red sash: this picture nearly resembles the one at Dulwich. Eldest son of Sir William Lovelace, of Bethersden, in Kent, Knt., by Anne, daughter of Sir William Barne, of Woolwich, in the same county; born in 1618, educated at the Charterhouse, from whence he was removed to Oxford, and became a Gentleman Commoner of Gloucester Hall. He spent a great part of his estate in the cause of Charles the First; died very poor in 1658, and was buried in St. Bride's Church, Fleet Street]] réalisée par un.e artiste anonyme, vendue par H Rodd. [72]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Manchester, Charles Montague, Duke of. Canvas, 30 inches by 24, long wig, cloak, &c. in the manner of Kneller. Son of Robert Earl of Manchester, by Anne, daughter of Sir Christopher Yelverton, of Easton Mauduit, in Northamptonshire, Bart.; created Duke of Manchester by George the First, 1719. His Grace married Dodington, the youngest of the two daughters and coheirs of Robert Greville, Lord Brooke, by whom he had William and Robert, Dukes of Manchester, the Ladies Anne, Dodington, Elizabeth; and Charlotte, who married Pattée, Viscount Torrington (Kneller)|Manchester, Charles Montague, Duke of. Canvas, 30 inches by 24, long wig, cloak, &c. in the manner of Kneller. Son of Robert Earl of Manchester, by Anne, daughter of Sir Christopher Yelverton, of Easton Mauduit, in Northamptonshire, Bart.; created Duke of Manchester by George the First, 1719. His Grace married Dodington, the youngest of the two daughters and coheirs of Robert Greville, Lord Brooke, by whom he had William and Robert, Dukes of Manchester, the Ladies Anne, Dodington, Elizabeth; and Charlotte, who married Pattée, Viscount Torrington]] réalisée par Kneller, vendue par H Rodd. [73]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Meade, Thomas, of Essex, Justice of the Common Bench. Pannel, 19 inches by 18, in his scarlet robes, collar of S.S., arms in the corner; viz. sa. a cheveron, between three pelicans vulning themselves, or; and the date 1575, aetatis suae 48 (artiste anonyme)|Meade, Thomas, of Essex, Justice of the Common Bench. Pannel, 19 inches by 18, in his scarlet robes, collar of S.S., arms in the corner; viz. sa. a cheveron, between three pelicans vulning themselves, or; and the date 1575, aetatis suae 48]] réalisée par un.e artiste anonyme, vendue par H Rodd. [74]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Milton, John. Canvas, 54 inches by 40, in cloak and band, sitting at a table, his hand resting on a book, a curtain and books in the background. The print engraved by Faithorne, prefixed to his "History of England," in 4to, bears a stronger likeness to the above than any other (artiste anonyme)|Milton, John. Canvas, 54 inches by 40, in cloak and band, sitting at a table, his hand resting on a book, a curtain and books in the background. The print engraved by Faithorne, prefixed to his "History of England," in 4to, bears a stronger likeness to the above than any other]] réalisée par un.e artiste anonyme, vendue par H Rodd. [75]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Monk, George, Duke of Albermarle, Earl of Torrington, &c. Canvas, 48 inches by 38, in armour, nearly down to the knees, resting his hand on a baton, a red sash tied round his arm, the George round his neck, ship on fire in the distance, &c. Originally in the Collection of Sir William Temple, at Farnham, in Surrey, and Companion to Charles the Second: No. XXI. (artiste anonyme)|Monk, George, Duke of Albermarle, Earl of Torrington, &c. Canvas, 48 inches by 38, in armour, nearly down to the knees, resting his hand on a baton, a red sash tied round his arm, the George round his neck, ship on fire in the distance, &c. Originally in the Collection of Sir William Temple, at Farnham, in Surrey, and Companion to Charles the Second: No. XXI.]] réalisée par un.e artiste anonyme, vendue par H Rodd. [76]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Montague, John, Duke of, Knight of the Garter. Canvas, 30 inches by 24, blue riband, &c., in the manner of Hudson. Only surviving son of Ralph, Duke of Montague, by Elizabeth, daughter of Thomas Wriothesly, Earl of Southampton, and widow of Josceline, eleventh Earl of Northumberland. In 1705 he married the Lady Mary Churchill, fourth and youngest daughter of John, Duke of Marlborough, by whom he had several sons and daughters, of whom the Lady Isabella was married to William, Duke of Manchester, 1723, and the Lady Mary to George, Earl of Cardigan, 1730 (Hudson)|Montague, John, Duke of, Knight of the Garter. Canvas, 30 inches by 24, blue riband, &c., in the manner of Hudson. Only surviving son of Ralph, Duke of Montague, by Elizabeth, daughter of Thomas Wriothesly, Earl of Southampton, and widow of Josceline, eleventh Earl of Northumberland. In 1705 he married the Lady Mary Churchill, fourth and youngest daughter of John, Duke of Marlborough, by whom he had several sons and daughters, of whom the Lady Isabella was married to William, Duke of Manchester, 1723, and the Lady Mary to George, Earl of Cardigan, 1730]] réalisée par Hudson, vendue par H Rodd. [77]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Newsham, ------, of Warwickshire. Canvas, 35 inches by 31, a man (time of Charles II) dressed in white, open collar, cloak thrown over his shoulder, arms in the corner; viz. quarterly 1st and 4th arg. three cross crosslets on a fess sable, 2d and 3d gules, a chevron ermine between three buckles, or; impaling, vert, a chevron between three lozenges, or, the first charged with a fleur-de-lis, gules. H. R. will feel obliged if any gentleman will inform him whom the above portrait represents (artiste anonyme)|Newsham, ------, of Warwickshire. Canvas, 35 inches by 31, a man (time of Charles II) dressed in white, open collar, cloak thrown over his shoulder, arms in the corner; viz. quarterly 1st and 4th arg. three cross crosslets on a fess sable, 2d and 3d gules, a chevron ermine between three buckles, or; impaling, vert, a chevron between three lozenges, or, the first charged with a fleur-de-lis, gules. H. R. will feel obliged if any gentleman will inform him whom the above portrait represents]] réalisée par un.e artiste anonyme, vendue par H Rodd. [78]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Noel, Baptist. Canvas, 18 inches by 14, a young man in a rich Roman costume of crimson: on the picture was written "Baptist Noel, 1679." In the style of, and most probably by, Netscher. The above portrait, and the companion, represent some of the family of Baptist Noel, Viscount Gainsborough and Earl of Campden, who was of such eminent service to King Charles the First (Netscher)|Noel, Baptist. Canvas, 18 inches by 14, a young man in a rich Roman costume of crimson: on the picture was written "Baptist Noel, 1679." In the style of, and most probably by, Netscher. The above portrait, and the companion, represent some of the family of Baptist Noel, Viscount Gainsborough and Earl of Campden, who was of such eminent service to King Charles the First]] réalisée par Netscher, vendue par H Rodd. [79]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Noel, Penelope, Sister of Baptist Noel. Canvas, 18 inches by 14, sitting on a bank, holding flowers; in the style of Netscher. On the back of the picture was written, "The Ladye Penelope Noel, 1679." A companion picture to No. LXXXII. The above portrait, and the companion, represent some of the family of Baptist Noel, Viscount Gainsborough and Earl of Campden, who was of such eminent service to King Charles the First (Netscher)|Noel, Penelope, Sister of Baptist Noel. Canvas, 18 inches by 14, sitting on a bank, holding flowers; in the style of Netscher. On the back of the picture was written, "The Ladye Penelope Noel, 1679." A companion picture to No. LXXXII. The above portrait, and the companion, represent some of the family of Baptist Noel, Viscount Gainsborough and Earl of Campden, who was of such eminent service to King Charles the First]] réalisée par Netscher, vendue par H Rodd. [80]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Northumberland, Algernon Percy, Earl of. Canvas, oblong, 42 inches by 30, in armour, holding a baton, resting his hand upon an anchor, ships in the distance, &c.; finely painted. From the Collection of Sir William Temple, at Farnham, in Surrey (artiste anonyme)|Northumberland, Algernon Percy, Earl of. Canvas, oblong, 42 inches by 30, in armour, holding a baton, resting his hand upon an anchor, ships in the distance, &c.; finely painted. From the Collection of Sir William Temple, at Farnham, in Surrey]] réalisée par un.e artiste anonyme, vendue par H Rodd. [81]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Northumberland, Algernon Percy, Earl of, and Family. Canvas, oblong, 5 1/2 feet by 4 feet, resting his hand on a sofa, on which sits his wife, roses in her lap, a child by her side: a well coloured and excellent picture, probably by old Stone. This nobleman was the third son of Henry, the ninth Earl of his family, by Dorothy, daughter of Walter Devereux, Earl of Essex, and widow of Sir Thomas Perrot. He was born in the year 1602. On the 13th of May, 1635, he was installed a Knight of the Garter; and in the succeeding year was appointed to command the largest fleet that the crown had put to sea since the death of Queen Elizabeth; and on the 13th of March, 1637, he was raised to the office of Lord High Admiral of England. He married first to Anne, daughter of William Cecil, Earl of Salisbury, by whom he had five daughters; Catherine, Lucy, Dorothy (who died young), Anne (married to Philip Lord Stanhope, after her death Earl of Chesterfield), and Elizabeth, married to Arthur Lord Capel, afterwards created Earl of Essex: secondly, to Elizabeth, daughter of Theophilus Howard, Earl of Suffolk, by whom he had an only son, Josceline, who succeeded him, and one daughter, Elizabeth, who died an infant. He died on the 13th of October, 1668, and was buried at Petworth, in Sussex (Old Stone)|Northumberland, Algernon Percy, Earl of, and Family. Canvas, oblong, 5 1/2 feet by 4 feet, resting his hand on a sofa, on which sits his wife, roses in her lap, a child by her side: a well coloured and excellent picture, probably by old Stone. This nobleman was the third son of Henry, the ninth Earl of his family, by Dorothy, daughter of Walter Devereux, Earl of Essex, and widow of Sir Thomas Perrot. He was born in the year 1602. On the 13th of May, 1635, he was installed a Knight of the Garter; and in the succeeding year was appointed to command the largest fleet that the crown had put to sea since the death of Queen Elizabeth; and on the 13th of March, 1637, he was raised to the office of Lord High Admiral of England. He married first to Anne, daughter of William Cecil, Earl of Salisbury, by whom he had five daughters; Catherine, Lucy, Dorothy (who died young), Anne (married to Philip Lord Stanhope, after her death Earl of Chesterfield), and Elizabeth, married to Arthur Lord Capel, afterwards created Earl of Essex: secondly, to Elizabeth, daughter of Theophilus Howard, Earl of Suffolk, by whom he had an only son, Josceline, who succeeded him, and one daughter, Elizabeth, who died an infant. He died on the 13th of October, 1668, and was buried at Petworth, in Sussex]] réalisée par Old Stone, vendue par H Rodd. [82]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Parr, Thomas, the Old, Old, Very Old Man. Canvas, 50 inches by 40, in a brown dress, holding a stick. He was the son of John Parr, of Winnington, in the parish of Alberbury, in Shropshire; born in the year 1483, in the reign of Edward the Fourth. At the age of one hundred and twenty he married Catherine Milton, his second wife; and after that era of his life was employed in threshing, and other husbandry work. When he was about one hundred and fifty-two years of age he was brought up to London by Thomas, Earl of Arundel, and carried to court, having lived in the reigns of ten sovereigns (artiste anonyme)|Parr, Thomas, the Old, Old, Very Old Man. Canvas, 50 inches by 40, in a brown dress, holding a stick. He was the son of John Parr, of Winnington, in the parish of Alberbury, in Shropshire; born in the year 1483, in the reign of Edward the Fourth. At the age of one hundred and twenty he married Catherine Milton, his second wife; and after that era of his life was employed in threshing, and other husbandry work. When he was about one hundred and fifty-two years of age he was brought up to London by Thomas, Earl of Arundel, and carried to court, having lived in the reigns of ten sovereigns]] réalisée par un.e artiste anonyme, vendue par H Rodd. [85]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Pembroke, William Herbert, Earl of, Lord Chamberlain, and Chancellor of the University of Oxford. Canvas, 30 inches by 24, in a black satin dress, Order of the Garter, Chamberlain's staff, &c.; in the manner of Van Somer. The eldest of the two sons of Earl Henry, by his third Countess, the celebrated Mary, daughter of Sir Henry and sister of Sir Philip Sidney: born at Wilton, on the 8th of February, 1580. On the 19th of January, 1600-1, succeeded to his father's dignities, and was among the first Knights of the Garter elected after the accession of James I. He was appointed Governor of Portsmouth in 1609, and in 1615 to that of Lord Chamberlain of the Household; afterwards made Chancellor of the University of Oxford. His Lordship married Mary, the eldest daughter and coheir of Gilbert, seventh Earl of Shrewsbury and had by her two sons, James and Henry, neither of whom survived infancy. He died suddenly, at Baynard's Castle, on the 10th of April, 1630, and was buried in the Cathedral of Salisbury (Van Somer)|Pembroke, William Herbert, Earl of, Lord Chamberlain, and Chancellor of the University of Oxford. Canvas, 30 inches by 24, in a black satin dress, Order of the Garter, Chamberlain's staff, &c.; in the manner of Van Somer. The eldest of the two sons of Earl Henry, by his third Countess, the celebrated Mary, daughter of Sir Henry and sister of Sir Philip Sidney: born at Wilton, on the 8th of February, 1580. On the 19th of January, 1600-1, succeeded to his father's dignities, and was among the first Knights of the Garter elected after the accession of James I. He was appointed Governor of Portsmouth in 1609, and in 1615 to that of Lord Chamberlain of the Household; afterwards made Chancellor of the University of Oxford. His Lordship married Mary, the eldest daughter and coheir of Gilbert, seventh Earl of Shrewsbury and had by her two sons, James and Henry, neither of whom survived infancy. He died suddenly, at Baynard's Castle, on the 10th of April, 1630, and was buried in the Cathedral of Salisbury]] réalisée par Van Somer, vendue par H Rodd. [86]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Pembroke and Dorset, Anne Clifford, Countess of. Pannel, 18 inches by 14, jewels in her hair, &c., at about the age of 16: there is a rare print by Robert White, which corresponds in likeness and nearly in costume. The only surviving child, and, at length, sole heiress of the gallant and eccentric George Clifford, third Earl of Cumberland, by Margaret, third daughter of Francis Russell, Earl of Bedford, and born at her father's seat of Skipton Castle, in Yorkshire, on the 13th of January, 1589. She married young to Richard, third Earl of Dorset; and afterwards, when she had passed the age of forty, to Philip Herbert, Earl of Pembroke: she had by Lord Dorset three sons, who died infants, and two daughters, Margaret, married to John Tufton, Earl of Thanet, and Isabella to James Compton, Earl of Northampton. Died at her castle at Brougham, on the 22d of March, 1675 (artiste anonyme)|Pembroke and Dorset, Anne Clifford, Countess of. Pannel, 18 inches by 14, jewels in her hair, &c., at about the age of 16: there is a rare print by Robert White, which corresponds in likeness and nearly in costume. The only surviving child, and, at length, sole heiress of the gallant and eccentric George Clifford, third Earl of Cumberland, by Margaret, third daughter of Francis Russell, Earl of Bedford, and born at her father's seat of Skipton Castle, in Yorkshire, on the 13th of January, 1589. She married young to Richard, third Earl of Dorset; and afterwards, when she had passed the age of forty, to Philip Herbert, Earl of Pembroke: she had by Lord Dorset three sons, who died infants, and two daughters, Margaret, married to John Tufton, Earl of Thanet, and Isabella to James Compton, Earl of Northampton. Died at her castle at Brougham, on the 22d of March, 1675]] réalisée par un.e artiste anonyme, vendue par H Rodd. [87]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Portland, Richard Weston, Earl of, Knight of the Garter, Lord High Treasurer. Canvas, 7 feet by 4 1/2, a whole length figure, resting against a pillar, dressed in black, holding the Chamberlain's staff in his left hand, and a paper in the other: painted in the style of Van Somer. The prints etched by Hollar, Gaywood, and Vandyck are of this nobleman, but erroneously inscribed "Jerome:" this circumstance has no doubt led to the mistake in "Lodge's Portraits," saying "the graver had not until then rendered his person familiar to our view." Was the only child of Sir Jerome Weston, of Skrynes, in the parish of Roxwell, in Essex, Knt. by Mary, daughter of Anthony Cave of Chichely, Bucks; bred in the Middle Temple to the study of the law. He was sent as joint ambassador to Prague, with Sir Edward Conway; and the year following to Brussels. Soon after his return he became a Privy Counsellor, and in 1624 was appointed Treasurer of the Exchequer. On the 13th of April, 1628, Charles the First advanced him to the dignity of a Baron, by the title of Lord Weston, of Neyland, in Suffolk; and in July, Lord High Treasurer; elected Knight of the Garter, 1631; had a grant of Chute Forest, in Hampshire, and made Governor of the Isle of Wight 1632, and Earl of Portland 1633. He died at Wallingford House, in Westminster, 1634, and was buried in the cathedral at Winchester. This nobleman was twice married; first to Elizabeth, daughter of William Ponchion, of Writtle, in Essex, by whom he had one son, Richard, who died unmarried, and two daughters, Elizabeth, married to Sir John Netterville, in Ireland, and Mary, to Walter Lord Aston, of Forfar, in Scotland. The Earl's second lady was Frances, daughter of Nicholas Waldegrave, by whom he had four sons and four daughters: 1. Jerome, who succeeded him; 2. Thomas; 3. Nicholas; 4. Benjamin. The daughters were, 1. Catherine, wife of Richard White, of Hutton, in Essex; 2. Frances, wife of Philip Draycote, of Paynesley, in Staffordshire; 3. Anne, married to Basil Lord Fielding; and 4. Mary, who died unmarried. black and gilt frame (Van Somer)|Portland, Richard Weston, Earl of, Knight of the Garter, Lord High Treasurer. Canvas, 7 feet by 4 1/2, a whole length figure, resting against a pillar, dressed in black, holding the Chamberlain's staff in his left hand, and a paper in the other: painted in the style of Van Somer. The prints etched by Hollar, Gaywood, and Vandyck are of this nobleman, but erroneously inscribed "Jerome:" this circumstance has no doubt led to the mistake in "Lodge's Portraits," saying "the graver had not until then rendered his person familiar to our view." Was the only child of Sir Jerome Weston, of Skrynes, in the parish of Roxwell, in Essex, Knt. by Mary, daughter of Anthony Cave of Chichely, Bucks; bred in the Middle Temple to the study of the law. He was sent as joint ambassador to Prague, with Sir Edward Conway; and the year following to Brussels. Soon after his return he became a Privy Counsellor, and in 1624 was appointed Treasurer of the Exchequer. On the 13th of April, 1628, Charles the First advanced him to the dignity of a Baron, by the title of Lord Weston, of Neyland, in Suffolk; and in July, Lord High Treasurer; elected Knight of the Garter, 1631; had a grant of Chute Forest, in Hampshire, and made Governor of the Isle of Wight 1632, and Earl of Portland 1633. He died at Wallingford House, in Westminster, 1634, and was buried in the cathedral at Winchester. This nobleman was twice married; first to Elizabeth, daughter of William Ponchion, of Writtle, in Essex, by whom he had one son, Richard, who died unmarried, and two daughters, Elizabeth, married to Sir John Netterville, in Ireland, and Mary, to Walter Lord Aston, of Forfar, in Scotland. The Earl's second lady was Frances, daughter of Nicholas Waldegrave, by whom he had four sons and four daughters: 1. Jerome, who succeeded him; 2. Thomas; 3. Nicholas; 4. Benjamin. The daughters were, 1. Catherine, wife of Richard White, of Hutton, in Essex; 2. Frances, wife of Philip Draycote, of Paynesley, in Staffordshire; 3. Anne, married to Basil Lord Fielding; and 4. Mary, who died unmarried. black and gilt frame]] réalisée par Van Somer, vendue par H Rodd. [90]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Prior, Matthew, Poet. Canvas, 30 inches by 24, in a red coat, velvet cap, &c.; finely painted in the style of Richardson. Born in London, 1664, and educated at Westminster School; was taken particular notice of by the Earl of Dorset, who sent him to St. John's College, Cambridge, where he afterwards became a Fellow. Upon the revolution his patron brought him to court, and in 1690 he was made Secretary to the Earl of Berkeley, Plenipoteniary at the Hague, as he was afterwards to the ambassadors and plenipotentiaries at the treaty of Ryswick, 1697, in which year he was made Secretary of State for Ireland. Soon after the succession of George the First he presented a memorial to the court of France, requiring the demolition of the canal and the new works at Mardyke. The year following he was recalled, and on his arrival was taken up by a warrant from the House, and strictly examined by a committee of the Privy Council. Robert Walpole, Esq. moved the House of Commons for an impeachment against him, and Mr. Prior was ordered into close custody. In 1717 he was excepted from the Act of Grace, and not set at liberty until the close of the same year. The remainder of his days he spent in tranquility and retirement, and died in 1721. carved and gilt frame (Richardson)|Prior, Matthew, Poet. Canvas, 30 inches by 24, in a red coat, velvet cap, &c.; finely painted in the style of Richardson. Born in London, 1664, and educated at Westminster School; was taken particular notice of by the Earl of Dorset, who sent him to St. John's College, Cambridge, where he afterwards became a Fellow. Upon the revolution his patron brought him to court, and in 1690 he was made Secretary to the Earl of Berkeley, Plenipoteniary at the Hague, as he was afterwards to the ambassadors and plenipotentiaries at the treaty of Ryswick, 1697, in which year he was made Secretary of State for Ireland. Soon after the succession of George the First he presented a memorial to the court of France, requiring the demolition of the canal and the new works at Mardyke. The year following he was recalled, and on his arrival was taken up by a warrant from the House, and strictly examined by a committee of the Privy Council. Robert Walpole, Esq. moved the House of Commons for an impeachment against him, and Mr. Prior was ordered into close custody. In 1717 he was excepted from the Act of Grace, and not set at liberty until the close of the same year. The remainder of his days he spent in tranquility and retirement, and died in 1721. carved and gilt frame]] réalisée par Richardson, vendue par H Rodd. [91]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Radnor, John Roberts, Earl of. Canvas, 30 inches by 24, in ermine robes, by Kneller. The print taken from the above picture is a mezzotint, by Robert White, and extrememly rare. Son of John Lord Roberts, by Mary, daughter and coheir of John Bender of Botreux Castle, in Cornwall, was frequently called to several of the highest employments in the state, and at the restoration of King Charles II was made Privy Seal, in which office he continued many years, and in 1669 was Lord Lieutenant of Ireland; also by commission often constituted Speaker of the House of Lords, and for several years before his death made President of the Council; all which, and other high trusts, he discharged with great ability, integrity, and courage: created a Viscount and Earl, and died the 17th of July, 1685. By his first wife, Lucy, daughter of Robert, Earl of Warwick, he had Robert, his heir apparent; and by his second, Isabella, daughter to Sir John Smith, Knt. he had another son, named Francis, and four daughters: 1. Isabella, married to Lord Moor, eldest son of Lord Drogheda, in Ireland; 2. Araminta; 3. Olimpia; and 4. Essex. Francis married Anne, the widow of Hugh Boscawen, of Tregothian, in Cornwall, and daughter of Wentworth Fitzgerald, Earl of Kildare (Kneller)|Radnor, John Roberts, Earl of. Canvas, 30 inches by 24, in ermine robes, by Kneller. The print taken from the above picture is a mezzotint, by Robert White, and extrememly rare. Son of John Lord Roberts, by Mary, daughter and coheir of John Bender of Botreux Castle, in Cornwall, was frequently called to several of the highest employments in the state, and at the restoration of King Charles II was made Privy Seal, in which office he continued many years, and in 1669 was Lord Lieutenant of Ireland; also by commission often constituted Speaker of the House of Lords, and for several years before his death made President of the Council; all which, and other high trusts, he discharged with great ability, integrity, and courage: created a Viscount and Earl, and died the 17th of July, 1685. By his first wife, Lucy, daughter of Robert, Earl of Warwick, he had Robert, his heir apparent; and by his second, Isabella, daughter to Sir John Smith, Knt. he had another son, named Francis, and four daughters: 1. Isabella, married to Lord Moor, eldest son of Lord Drogheda, in Ireland; 2. Araminta; 3. Olimpia; and 4. Essex. Francis married Anne, the widow of Hugh Boscawen, of Tregothian, in Cornwall, and daughter of Wentworth Fitzgerald, Earl of Kildare]] réalisée par Kneller, vendue par H Rodd. [92]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Rainsford, Sir Richard, Chief Justice of the King's Bench. Canvas, 30 inches by 24, in his judicial robes: a print very similar to the above picture, from one in the possession of ------ Rainsford, Esq. was published in "Harding's Biographical Mirror." From the collection of Sir William Temple, at Farnham. Born in 1605, Member of Lincoln's Inn, and called to the degree of Sergeant at Law Oct. 5, 1660; in 1663 appointed one of the Barons of the Exchequer, and 1668 a Justice of the King's Bench. On the resignation of Sir Matthew Hale, in 1676, Sir Richard Rainsford was constituted Lord Chief Justice, which high office he held two years. He died in February 1677, aged 75 years, and was buried at Dallington, in Northamptonshire, where he had erected an alms-house for old men and women. He was married to Catherine, daughter of Samuel Clarke, S.T.P., by whom he had twelve children (artiste anonyme)|Rainsford, Sir Richard, Chief Justice of the King's Bench. Canvas, 30 inches by 24, in his judicial robes: a print very similar to the above picture, from one in the possession of ------ Rainsford, Esq. was published in "Harding's Biographical Mirror." From the collection of Sir William Temple, at Farnham. Born in 1605, Member of Lincoln's Inn, and called to the degree of Sergeant at Law Oct. 5, 1660; in 1663 appointed one of the Barons of the Exchequer, and 1668 a Justice of the King's Bench. On the resignation of Sir Matthew Hale, in 1676, Sir Richard Rainsford was constituted Lord Chief Justice, which high office he held two years. He died in February 1677, aged 75 years, and was buried at Dallington, in Northamptonshire, where he had erected an alms-house for old men and women. He was married to Catherine, daughter of Samuel Clarke, S.T.P., by whom he had twelve children]] réalisée par un.e artiste anonyme, vendue par H Rodd. [93]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Rawson, Sir Thomas, Merchant, of London. Canvas, 43 inches by 36, in a black dress, skull-cap, holding gloves in his hand; in the corner are the arms of Rawson, quartered with the Merchant Taylors, East India Company's, and the City of London, and date of 1648, aetatis suae 79: in a very curious carved frame, newly gilt (artiste anonyme)|Rawson, Sir Thomas, Merchant, of London. Canvas, 43 inches by 36, in a black dress, skull-cap, holding gloves in his hand; in the corner are the arms of Rawson, quartered with the Merchant Taylors, East India Company's, and the City of London, and date of 1648, aetatis suae 79: in a very curious carved frame, newly gilt]] réalisée par un.e artiste anonyme, vendue par H Rodd. [94]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Reisen, Charles Christian, Seal Engraver. Canvas, 36 inches by 28, holding a seal in his hand: by Vanderbanc, 1722; the original picture from which the print by George White was engraved. Purchased at the sale of the late Mr. Grignion, Watchmaker, Covent Garden. Son of Christian Reisen, Seal Engraver, a native of Drontheim, in Norway; was born in the parish of St. Clement's Danes, but resided many years in Covent Garden, then the principal seat of ingenuity and art, carrying on the same profession as his father, in which he rose to great eminence: he had also a small house at Putney, a view of which, intended as a satire upon him, was engraved by George Vertue, but without his name, and published under the fantastic title of Bears-den Hall. He was appointed director of the Academy under Sir Godfrey Kneller, and displayed his taste by forming a collection of medals, prints, drawings, and books. He died Dec. 16, 1725, and was buried in the cemetery of St. Paul's, Covent Garden (Vanderbanc)|Reisen, Charles Christian, Seal Engraver. Canvas, 36 inches by 28, holding a seal in his hand: by Vanderbanc, 1722; the original picture from which the print by George White was engraved. Purchased at the sale of the late Mr. Grignion, Watchmaker, Covent Garden. Son of Christian Reisen, Seal Engraver, a native of Drontheim, in Norway; was born in the parish of St. Clement's Danes, but resided many years in Covent Garden, then the principal seat of ingenuity and art, carrying on the same profession as his father, in which he rose to great eminence: he had also a small house at Putney, a view of which, intended as a satire upon him, was engraved by George Vertue, but without his name, and published under the fantastic title of Bears-den Hall. He was appointed director of the Academy under Sir Godfrey Kneller, and displayed his taste by forming a collection of medals, prints, drawings, and books. He died Dec. 16, 1725, and was buried in the cemetery of St. Paul's, Covent Garden]] réalisée par Vanderbanc, vendue par H Rodd. [95]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Richmond and Lenox, Margaret Plantagenet, Duchess of, Mother of Henry the Seventh, Founder of St. John's and Christ's Colleges, Cambridge. Pannel, in the habit of an Abbess, holding a missal, the background richly ornamented with green damask and gold: supposed to be by Lucas Cranach, very curious. There are several prints nearly resembling the above. Mother of King Henry VII; was a lady as illustrious by her personal endowments as by her birth. She was daughter and sole heiress of John Beaufort, Duke of Somerset, who was grandson of John of Gaunt, Duke of Lancaster, fourth son of Edward III. She married Edmund, Earl of Richmond, by which marriage and by birth, Bishop Fisher, in her funeral sermon, says she was allied to thirty kings and queens, within the fourth degree either of blood or affinity. By this Earl she had an only son, who gained the throne by the defeat of Richard the Third, at Bosworth. Edmund died 1456; after which Margaret married Sir Henry Stafford, second son of the Duke of Buckingham, by whom she had no issue; and at his death, 1482, she married Thomas Stanley, Earl of Derby, who also died before her, 1504. She lived to see her son the King carried to his grave, and, dying three months after him, was buried in his chapel, where there is a rich monument erected over her. The virtues of this lady are exceedingly celebrated; and in proof of her pious humility, a saying of her's is recorded, "that if the princes of Christendom would march against their common enemies the Turks, she would willingly attend the camps as their laundress." She founded the colleges of Christ's and St. John's, Cambridge, also a professorship of divinity in each University (Lucas Cranach)|Richmond and Lenox, Margaret Plantagenet, Duchess of, Mother of Henry the Seventh, Founder of St. John's and Christ's Colleges, Cambridge. Pannel, in the habit of an Abbess, holding a missal, the background richly ornamented with green damask and gold: supposed to be by Lucas Cranach, very curious. There are several prints nearly resembling the above. Mother of King Henry VII; was a lady as illustrious by her personal endowments as by her birth. She was daughter and sole heiress of John Beaufort, Duke of Somerset, who was grandson of John of Gaunt, Duke of Lancaster, fourth son of Edward III. She married Edmund, Earl of Richmond, by which marriage and by birth, Bishop Fisher, in her funeral sermon, says she was allied to thirty kings and queens, within the fourth degree either of blood or affinity. By this Earl she had an only son, who gained the throne by the defeat of Richard the Third, at Bosworth. Edmund died 1456; after which Margaret married Sir Henry Stafford, second son of the Duke of Buckingham, by whom she had no issue; and at his death, 1482, she married Thomas Stanley, Earl of Derby, who also died before her, 1504. She lived to see her son the King carried to his grave, and, dying three months after him, was buried in his chapel, where there is a rich monument erected over her. The virtues of this lady are exceedingly celebrated; and in proof of her pious humility, a saying of her's is recorded, "that if the princes of Christendom would march against their common enemies the Turks, she would willingly attend the camps as their laundress." She founded the colleges of Christ's and St. John's, Cambridge, also a professorship of divinity in each University]] réalisée par Lucas Cranach, vendue par H Rodd. [96]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Rochford, William Henry, Zuleistein, of Nassau, Earl of. Canvas, 34 inches by 28, in a laced coat, black handkerchief, &c.: by Dupuis. This picture has been engraved in mezzotinto, by Houston. Son of Frederick, Earl of Rochford, by Bessy, daughter of Richard Savage, Earl of Rivers (who died Aug. 18, 1712, and by his will left her his estate); in 1738 was appointed Lord of the Bedchamber, and constituted Vice Admiral of the Coasts of Essex. In 1749 he was sent Envoy-extraordinary and Plenipotentiary to the King of Sardinia, where he resided with great reputation. On his return from Turin, his Majesty appointed him Groom of the Stole and First Lord of the Bedchamber. On the 11th of March he was sworn of the Privy Council, and took his place at the board accordingly. His Lordship married Lucy, daughter of Edward Younge, of Durnford, in Wiltshire, one of the Maids of Honour to her Royal Highness the Princess of Wales (Dupuis)|Rochford, William Henry, Zuleistein, of Nassau, Earl of. Canvas, 34 inches by 28, in a laced coat, black handkerchief, &c.: by Dupuis. This picture has been engraved in mezzotinto, by Houston. Son of Frederick, Earl of Rochford, by Bessy, daughter of Richard Savage, Earl of Rivers (who died Aug. 18, 1712, and by his will left her his estate); in 1738 was appointed Lord of the Bedchamber, and constituted Vice Admiral of the Coasts of Essex. In 1749 he was sent Envoy-extraordinary and Plenipotentiary to the King of Sardinia, where he resided with great reputation. On his return from Turin, his Majesty appointed him Groom of the Stole and First Lord of the Bedchamber. On the 11th of March he was sworn of the Privy Council, and took his place at the board accordingly. His Lordship married Lucy, daughter of Edward Younge, of Durnford, in Wiltshire, one of the Maids of Honour to her Royal Highness the Princess of Wales]] réalisée par Dupuis, vendue par H Rodd. [97]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Rycaut, Sir Paul, Ambassador to the Ottoman Empire, and Historian of the Turks. Canvas, 49 inches by 37, nearly down to the knees, in a brown coat and black embroidered waistcoat, long wig and band, hat and gloves in his hands; in the background are trees, a house, and pillar on which is inscribed "Sir Paul Rycaut, Rundt fecit, 1691." Purchased from the Collection of the late Richard Owen Cambridge, Esq. at Twickenham. An eminent English traveller; in 1661 was appointed Secretary to the Earl of Winchelsea, who was sent Ambassador extraordinary to the Ottoman Porte. During his continuance in that station he wrote the "Present State of the Ottoman Empire." He afterwards resided eleven years as Consul at Smyrna, where, at the command of Charles the Second, he composed the "Present State of the Greek and Arminian Churches," 1678. On his return, Lord Clarendon, being appointed Lord Lieutenant of Ireland, made him his principal Secretary for Leinster and Connaught. King James the Second knighted him, made him one of the Privy Council in Ireland, and Judge of the Court of Admiralty; all which he held till the revolution. He was employed by William the Third as Resident at the Hanse Towns, in Lower Saxony; but, being worn out with age and infirmities, he obtained leave to return in 1700, and died the same year. in a carved frame (Rundt)|Rycaut, Sir Paul, Ambassador to the Ottoman Empire, and Historian of the Turks. Canvas, 49 inches by 37, nearly down to the knees, in a brown coat and black embroidered waistcoat, long wig and band, hat and gloves in his hands; in the background are trees, a house, and pillar on which is inscribed "Sir Paul Rycaut, Rundt fecit, 1691." Purchased from the Collection of the late Richard Owen Cambridge, Esq. at Twickenham. An eminent English traveller; in 1661 was appointed Secretary to the Earl of Winchelsea, who was sent Ambassador extraordinary to the Ottoman Porte. During his continuance in that station he wrote the "Present State of the Ottoman Empire." He afterwards resided eleven years as Consul at Smyrna, where, at the command of Charles the Second, he composed the "Present State of the Greek and Arminian Churches," 1678. On his return, Lord Clarendon, being appointed Lord Lieutenant of Ireland, made him his principal Secretary for Leinster and Connaught. King James the Second knighted him, made him one of the Privy Council in Ireland, and Judge of the Court of Admiralty; all which he held till the revolution. He was employed by William the Third as Resident at the Hanse Towns, in Lower Saxony; but, being worn out with age and infirmities, he obtained leave to return in 1700, and died the same year. in a carved frame]] réalisée par Rundt, vendue par H Rodd. [98]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Scott, Bartholomew, Esq., Lord of the Manors of Peckham and Camberwell, in Surrey. Pannel, about 40 inches by 30, nearly down to the knees, in a black dress, holding gloves, and resting his hand on a table: in the corner are the arms of Scott quartering those of Bockwell, Skynner, and others. Son of John Scott, by Elizabeth, daughter of William Robins, merchant of staple, at Calais; became possessed of large property in Camberwell, Peckham, East Dulwich, Carshalton, &c.; died without issue 1601, having had three wives: 1. Margaret Whitchurch, Nov. 29, 1564, widow of Abp. Cranmer; 2. Christian, Widow of ------ Laud, buried July 20, 1597; 3. Margaret, widow of William Gardyner, Esq. (artiste anonyme)|Scott, Bartholomew, Esq., Lord of the Manors of Peckham and Camberwell, in Surrey. Pannel, about 40 inches by 30, nearly down to the knees, in a black dress, holding gloves, and resting his hand on a table: in the corner are the arms of Scott quartering those of Bockwell, Skynner, and others. Son of John Scott, by Elizabeth, daughter of William Robins, merchant of staple, at Calais; became possessed of large property in Camberwell, Peckham, East Dulwich, Carshalton, &c.; died without issue 1601, having had three wives: 1. Margaret Whitchurch, Nov. 29, 1564, widow of Abp. Cranmer; 2. Christian, Widow of ------ Laud, buried July 20, 1597; 3. Margaret, widow of William Gardyner, Esq.]] réalisée par un.e artiste anonyme, vendue par H Rodd. [101]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Scrope, Adrian, Colonel of the Parliament's Army. Canvas, 50 inches by 40, in armour, holding his helmet, which is resting on a pedestal. On the pedestal is written, "Colonel Adrian Scrope, who suffered death in 1660." Descended from a very respectable family in Buckinghamshire; in 1648 he took up arms for the Parliament, and obtained a great victory against the Duke of Buckingham, at St. Neots, in Huntingdonshire, soon after which he made his way to Yarmouth with eight troops of horse and dragoons, which were attacked by the Prince and Duke of York. His sentiments were so well known with respect to a republican government and his dislike to the person of King Charles the First, that he was appointed one of the Commissioners of the High Court of Justice: he sat every day in the Painted Chamber and in Westminster Hall, and signed and sealed the warrant for the King's execution. In 1649 he was made Governor of Bristol Castle, where he remained some time; but being thought a person of too much "honour and worth," by those in power, to hold a place of that consequence, was removed, and appointed one of the Commissioners to Scotland, 1657. On the restoration of Charles the Second he delivered himself up to the Speaker, and a vote was made that he should be only fined a year's value of his estate; but having been heard to say "he did believe the death of the King to be no murder," &c. he was excepted from the Act of General Pardon, tried, and executed October 17, 1660 (artiste anonyme)|Scrope, Adrian, Colonel of the Parliament's Army. Canvas, 50 inches by 40, in armour, holding his helmet, which is resting on a pedestal. On the pedestal is written, "Colonel Adrian Scrope, who suffered death in 1660." Descended from a very respectable family in Buckinghamshire; in 1648 he took up arms for the Parliament, and obtained a great victory against the Duke of Buckingham, at St. Neots, in Huntingdonshire, soon after which he made his way to Yarmouth with eight troops of horse and dragoons, which were attacked by the Prince and Duke of York. His sentiments were so well known with respect to a republican government and his dislike to the person of King Charles the First, that he was appointed one of the Commissioners of the High Court of Justice: he sat every day in the Painted Chamber and in Westminster Hall, and signed and sealed the warrant for the King's execution. In 1649 he was made Governor of Bristol Castle, where he remained some time; but being thought a person of too much "honour and worth," by those in power, to hold a place of that consequence, was removed, and appointed one of the Commissioners to Scotland, 1657. On the restoration of Charles the Second he delivered himself up to the Speaker, and a vote was made that he should be only fined a year's value of his estate; but having been heard to say "he did believe the death of the King to be no murder," &c. he was excepted from the Act of General Pardon, tried, and executed October 17, 1660]] réalisée par un.e artiste anonyme, vendue par H Rodd. [102]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Seldon, John. Canvas, 20 inches by 16, a sketch from the picture by Lely, in the Bodleian Gallery, at Oxford. An English antiquary, historian, and law writer, of most extensive learning; born in 1584, at Salvington, in Sussex. He served in Parliament, first of Lancaster in 1623, and afterwards in most of King Charles's Parliaments: died 1654 (Lely)|Seldon, John. Canvas, 20 inches by 16, a sketch from the picture by Lely, in the Bodleian Gallery, at Oxford. An English antiquary, historian, and law writer, of most extensive learning; born in 1584, at Salvington, in Sussex. He served in Parliament, first of Lancaster in 1623, and afterwards in most of King Charles's Parliaments: died 1654]] réalisée par Lely, vendue par H Rodd. [103]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Seymour, Sir Edward, Bart., Speaker of the House of Commons. Canvas, 50 inches by 40, in the Speaker's dress, holding a paper in his hands, inscribed "An Act for better securing the Liberty of the Subject and for Prevention of Imprisonment beyond the Seas." By Sir Peter Lely. Son of Sir Edward Seymour, by Anne, daughter of Sir John Portman, Bart.; was several times chosen Speaker of the House of Commons, of the Privy Council, and Treasurer of the Navy in the reign of Charles the Second; also one of the Lords of the Treasury and of the Privy Council to King William and Queen Anne. He died 1707, having been twice married; first, to Margaret, daughter of Sir William Wale, of London, by whom he had Sir Edward, his successor, and William, a Lieut.-General under Queen Anne; secondly, to Letitia, daughter of Sir Francis Popham, of Littlecote, Wiltshire, by whom he had Popham (killed in a duel with Colonel Kirke), Francis (who inherited the estates of the Earl of Conway, and was created Lord Conway by Queen Anne), Charles (to whom the said Barony was limited), Henry, John, and Alexander (Sir Peter Lely)|Seymour, Sir Edward, Bart., Speaker of the House of Commons. Canvas, 50 inches by 40, in the Speaker's dress, holding a paper in his hands, inscribed "An Act for better securing the Liberty of the Subject and for Prevention of Imprisonment beyond the Seas." By Sir Peter Lely. Son of Sir Edward Seymour, by Anne, daughter of Sir John Portman, Bart.; was several times chosen Speaker of the House of Commons, of the Privy Council, and Treasurer of the Navy in the reign of Charles the Second; also one of the Lords of the Treasury and of the Privy Council to King William and Queen Anne. He died 1707, having been twice married; first, to Margaret, daughter of Sir William Wale, of London, by whom he had Sir Edward, his successor, and William, a Lieut.-General under Queen Anne; secondly, to Letitia, daughter of Sir Francis Popham, of Littlecote, Wiltshire, by whom he had Popham (killed in a duel with Colonel Kirke), Francis (who inherited the estates of the Earl of Conway, and was created Lord Conway by Queen Anne), Charles (to whom the said Barony was limited), Henry, John, and Alexander]] réalisée par Sir Peter Lely, vendue par H Rodd. [104]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Sheldon, William, Esq. of Beoley and Weston. Canvas, 30 inches by 24, in a black dress and ruff. On the picture is written "Wm: Sheldon, AETs: 50, ANo: Dm: 1560." Son of Ralph Seldon, of Beoly, Esq., by Philippa, daughter and coheir of Baldwin Heath, of Ford Hall, in Wotton-Wawen, in Warwickshire. He married two wives; first, Mary, eldest daughter and coheir of William Wellington, of Barcheston, in Warwickshire, with whom he had a considerable estate in that county, viz. the manors of Barcheston, Ditchford, and Fullredy; secondly, Margaret, daughter of Sir Richard Brook, Knt., Lord Chief Baron of the Exchequer, and relict of Sir William Thorwood, Attorney General to Henry VIII. By his first wife he had the following issue: viz. Ralph, his heir; William, aged 27 at his father's death in 1570, who married Elizabeth, daughter of Sir Richard Leveson; Anne, married first to Francis Savage, of Elenby Castle, in Worcestershire, secondly to Anthony Daston, of Dumbleton, in the county of Gloucester; Philippa, married to Anthony Pollard, of Baldon in the county of Oxford; Goodith, married to Robert Brayne, of St. James's, in Bristol; and Katherine, to Edmund Plowden, of Plowden, in Salop. This William first introduced the working of tapestry into England: he died at Skilts, in Warwickshire, December 23, 1570, and was buried at Beoley on the 15th of January following. in a gilt frame The preceding curious portraits of the Sheldon family were purchased lately at the antient family seat at Weston, in Long-Compton, Warwickshire (artiste anonyme)|Sheldon, William, Esq. of Beoley and Weston. Canvas, 30 inches by 24, in a black dress and ruff. On the picture is written "Wm: Sheldon, AETs: 50, ANo: Dm: 1560." Son of Ralph Seldon, of Beoly, Esq., by Philippa, daughter and coheir of Baldwin Heath, of Ford Hall, in Wotton-Wawen, in Warwickshire. He married two wives; first, Mary, eldest daughter and coheir of William Wellington, of Barcheston, in Warwickshire, with whom he had a considerable estate in that county, viz. the manors of Barcheston, Ditchford, and Fullredy; secondly, Margaret, daughter of Sir Richard Brook, Knt., Lord Chief Baron of the Exchequer, and relict of Sir William Thorwood, Attorney General to Henry VIII. By his first wife he had the following issue: viz. Ralph, his heir; William, aged 27 at his father's death in 1570, who married Elizabeth, daughter of Sir Richard Leveson; Anne, married first to Francis Savage, of Elenby Castle, in Worcestershire, secondly to Anthony Daston, of Dumbleton, in the county of Gloucester; Philippa, married to Anthony Pollard, of Baldon in the county of Oxford; Goodith, married to Robert Brayne, of St. James's, in Bristol; and Katherine, to Edmund Plowden, of Plowden, in Salop. This William first introduced the working of tapestry into England: he died at Skilts, in Warwickshire, December 23, 1570, and was buried at Beoley on the 15th of January following. in a gilt frame The preceding curious portraits of the Sheldon family were purchased lately at the antient family seat at Weston, in Long-Compton, Warwickshire]] réalisée par un.e artiste anonyme, vendue par H Rodd. [105]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Sheldon, Ralph, Esq. Pannel, 31 inches by 25, in a black dress, his right hand leaning on his side, his left resting on his sword. On the picture is written, "Ralph Sheldon, aets 63, Ano Dm 1590." Son and heir to the preceding; was aged 33 years at his father's death, in 1570; married Anne, daughter of Sir Richard Throgmorton, of Coughton, in Warwickshire, by whom he had one son, Edward, his successor, and nine daughters, all of whom married into families of considerable note. This Ralph purchased Steeple Barton, in the county of Oxford. He built a handsome chapel adjoining to the church of Beoley, and dying March 30, 1613, was buried therein, together with his lady, who died 16th Dec. 1603. in a gilt frame The preceding curious portraits of the Sheldon family were purchased lately at the antient family seat at Weston, in Long-Compton, Warwickshire (artiste anonyme)|Sheldon, Ralph, Esq. Pannel, 31 inches by 25, in a black dress, his right hand leaning on his side, his left resting on his sword. On the picture is written, "Ralph Sheldon, aets 63, Ano Dm 1590." Son and heir to the preceding; was aged 33 years at his father's death, in 1570; married Anne, daughter of Sir Richard Throgmorton, of Coughton, in Warwickshire, by whom he had one son, Edward, his successor, and nine daughters, all of whom married into families of considerable note. This Ralph purchased Steeple Barton, in the county of Oxford. He built a handsome chapel adjoining to the church of Beoley, and dying March 30, 1613, was buried therein, together with his lady, who died 16th Dec. 1603. in a gilt frame The preceding curious portraits of the Sheldon family were purchased lately at the antient family seat at Weston, in Long-Compton, Warwickshire]] réalisée par un.e artiste anonyme, vendue par H Rodd. [106]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Sheldon, William, Esq. Pannel, 29 inches by 24, in a black dress. On the picture is written, "Wm. Sheldon, AEs. 46, ANo. 1590." Brother to the preceding; married Elizabeth, daughter to Sir Richard Leveson, of Lyleshill, or Lilsell, in the county of Salop, Knt.: died without issue. in a gilt frame The preceding curious portraits of the Sheldon family were purchased lately at the antient family seat at Weston, in Long-Compton, Warwickshire (artiste anonyme)|Sheldon, William, Esq. Pannel, 29 inches by 24, in a black dress. On the picture is written, "Wm. Sheldon, AEs. 46, ANo. 1590." Brother to the preceding; married Elizabeth, daughter to Sir Richard Leveson, of Lyleshill, or Lilsell, in the county of Salop, Knt.: died without issue. in a gilt frame The preceding curious portraits of the Sheldon family were purchased lately at the antient family seat at Weston, in Long-Compton, Warwickshire]] réalisée par un.e artiste anonyme, vendue par H Rodd. [107]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Sheldon, Ralph, Esq. Pannel, 35 inches by 25, in a black dress and cap, his right hand resting on a pedestal, his left holding his sword, hanging by a belt richly ornamented. On the picture is written, "Ralph Sheldon, Ano. Dmi. 1565, aetatis suae 28;" and the following motto: "Effigiem veram non veram tempora redent/ Tempus enim juvenem fecerit esse senem." in a gilt frame The preceding curious portraits of the Sheldon family were purchased lately at the antient family seat Weston, in Long-Compton, Warwickshire (artiste anonyme)|Sheldon, Ralph, Esq. Pannel, 35 inches by 25, in a black dress and cap, his right hand resting on a pedestal, his left holding his sword, hanging by a belt richly ornamented. On the picture is written, "Ralph Sheldon, Ano. Dmi. 1565, aetatis suae 28;" and the following motto: "Effigiem veram non veram tempora redent/ Tempus enim juvenem fecerit esse senem." in a gilt frame The preceding curious portraits of the Sheldon family were purchased lately at the antient family seat Weston, in Long-Compton, Warwickshire]] réalisée par un.e artiste anonyme, vendue par H Rodd. [108]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Sheldon, Edward, Esq. Pannel, 24 inches by 30, in a black dress, his left hand holding his sword, his right leaning on his side. On the picture is written, "Edward Sheldon, aet. 38: Ano. Dm. 1590." Son and heir of Ralph Sheldon; succeeded his father in a very large estate. He married Elizabeth, daughter of Thomas Markham, of Cottam and Atterton in the county of Nottingham, Esq., Standard Bearer to the Band of Gentlemen Pensioners in the reign of Queen Elizabeth, by whom he had issue, William, his heir; Ralph, of Steeple Barton; and Edward, who inherited the manor of Stretton, and married Mary, daughter of Lionel Wake: Frances, who died unmarried; Anne, married to Henry Lucy; and Joan, to Sir Henry Appleton, in Essex, Bart. He died October 6, 1643, aged 83. in a gilt frame The preceding curious portraits of the Sheldon family were purchased lately at the antient family seat at Weston, in Long-Compton, Warwickshire (artiste anonyme)|Sheldon, Edward, Esq. Pannel, 24 inches by 30, in a black dress, his left hand holding his sword, his right leaning on his side. On the picture is written, "Edward Sheldon, aet. 38: Ano. Dm. 1590." Son and heir of Ralph Sheldon; succeeded his father in a very large estate. He married Elizabeth, daughter of Thomas Markham, of Cottam and Atterton in the county of Nottingham, Esq., Standard Bearer to the Band of Gentlemen Pensioners in the reign of Queen Elizabeth, by whom he had issue, William, his heir; Ralph, of Steeple Barton; and Edward, who inherited the manor of Stretton, and married Mary, daughter of Lionel Wake: Frances, who died unmarried; Anne, married to Henry Lucy; and Joan, to Sir Henry Appleton, in Essex, Bart. He died October 6, 1643, aged 83. in a gilt frame The preceding curious portraits of the Sheldon family were purchased lately at the antient family seat at Weston, in Long-Compton, Warwickshire]] réalisée par un.e artiste anonyme, vendue par H Rodd. [109]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Sheldon, Ralph, Esq. Canvas, 30 inches by 24, in an oval black dress, laced collar, and long flowing hair. On the picture is written "Ralph Sheldon." Born August 4, 1623; son of William Seldon, of Beoley, Esq. (born at Weston, 9th March, 1588-9, ob. 6th April, 1659, buried at Beoley) by Elizabeth, daughter of William Lord Petre (born 27th September, 1592, married 1611, ob. 20th Jan. 1656, also buried at Beoley), and grandson to the preceding; married Henrietta Maria Savage, daughter of Thomas, Lord Darcy and Earl Rivers. He died at his manor house of Weston, in the parish of Long Compton, in the county of Warwick, on Midsummer Day, 1684, aged 61 years. As he had no children, and his brother, the Benedictine, piously refused to intermeddle with secular affairs, he left his estate to Ralph Sheldon, of Steeple Barton, his next male heir, son of Edward Sheldon, his first cousin, who was son of Ralph, second son of Edward Sheldon by Elizabeth Markham. This Ralph Sheldon was a person of such rare worth and excellent qualities as deserve particular notice, being a great patron of learning and learned men (amongst whom was the celebrated Anthony à Wood), and well skilled in the history and antiquities of his own county. He purchased the valuable manuscripts of the ingenious Augustine Vincent, which at his death he bequeathed to the Heralds' College, where they are still preserved. In short, his remarkable integrity, charity, and hospitality, were such as gained him the universal esteem of all the gentlemen of the county. style of Lely, carved frame The preceding curious portraits of the Sheldon family were purchased lately at the antient family seat at Weston, in Long-Compton, Warwickshire (Lely)|Sheldon, Ralph, Esq. Canvas, 30 inches by 24, in an oval black dress, laced collar, and long flowing hair. On the picture is written "Ralph Sheldon." Born August 4, 1623; son of William Seldon, of Beoley, Esq. (born at Weston, 9th March, 1588-9, ob. 6th April, 1659, buried at Beoley) by Elizabeth, daughter of William Lord Petre (born 27th September, 1592, married 1611, ob. 20th Jan. 1656, also buried at Beoley), and grandson to the preceding; married Henrietta Maria Savage, daughter of Thomas, Lord Darcy and Earl Rivers. He died at his manor house of Weston, in the parish of Long Compton, in the county of Warwick, on Midsummer Day, 1684, aged 61 years. As he had no children, and his brother, the Benedictine, piously refused to intermeddle with secular affairs, he left his estate to Ralph Sheldon, of Steeple Barton, his next male heir, son of Edward Sheldon, his first cousin, who was son of Ralph, second son of Edward Sheldon by Elizabeth Markham. This Ralph Sheldon was a person of such rare worth and excellent qualities as deserve particular notice, being a great patron of learning and learned men (amongst whom was the celebrated Anthony à Wood), and well skilled in the history and antiquities of his own county. He purchased the valuable manuscripts of the ingenious Augustine Vincent, which at his death he bequeathed to the Heralds' College, where they are still preserved. In short, his remarkable integrity, charity, and hospitality, were such as gained him the universal esteem of all the gentlemen of the county. style of Lely, carved frame The preceding curious portraits of the Sheldon family were purchased lately at the antient family seat at Weston, in Long-Compton, Warwickshire]] réalisée par Lely, vendue par H Rodd. [110]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Sheldon, Lady Mary, Wife of Sir Samuel Tuke, Bart. Canvas, 50 inches by 40, richly attired, putting flowers into a vase which she is opening: very finely painted in the style of Sir P. Lely. On the picture is written "Lady Mary Sheldon." Daughter of Edward Sheldon, Lord of Stratton, in the county of Gloucester (who died 27th March, 1687, buried in St. James's chapel, Westminster), by Mary, daughter of Lionel Wake, of Antwerp, and of Pedington in the county of Northampton. She married Sir Samuel Tuke, of Cressing Temple, in the county of Essex, Bart. The preceding curious portraits of the Sheldon family were purchased lately at the antient family seat at Weston, in Long-Compton, Warwickshire (Sir P. Lely)|Sheldon, Lady Mary, Wife of Sir Samuel Tuke, Bart. Canvas, 50 inches by 40, richly attired, putting flowers into a vase which she is opening: very finely painted in the style of Sir P. Lely. On the picture is written "Lady Mary Sheldon." Daughter of Edward Sheldon, Lord of Stratton, in the county of Gloucester (who died 27th March, 1687, buried in St. James's chapel, Westminster), by Mary, daughter of Lionel Wake, of Antwerp, and of Pedington in the county of Northampton. She married Sir Samuel Tuke, of Cressing Temple, in the county of Essex, Bart. The preceding curious portraits of the Sheldon family were purchased lately at the antient family seat at Weston, in Long-Compton, Warwickshire]] réalisée par Sir P. Lely, vendue par H Rodd. [111]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Shelly, Lady, Wife of Sir John Shelly, of Michel Grove, in Sussex, Bart. Canvas, 50 inches by 40, sitting on a bank, trees in the background, &c. A companion picture to the preceding, and from the same collection Sheldon collection, at Long-Compton (artiste anonyme)|Shelly, Lady, Wife of Sir John Shelly, of Michel Grove, in Sussex, Bart. Canvas, 50 inches by 40, sitting on a bank, trees in the background, &c. A companion picture to the preceding, and from the same collection Sheldon collection, at Long-Compton]] réalisée par un.e artiste anonyme, vendue par H Rodd. [113]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Soames, Sir Stephen, Lord Mayor of London. Pannel, about 18 inches by 14, in the dress of an Alderman. Ancestor of the Soames of Thurlow, Suffolk; was second son of Thomas Soame, of Botely, alias Bately, in Norfolk, by Anne, daughter and heir of Francis Knighton, of Little Bradley, in Suffolk, relict of Richard Lehunt, of the same place; was made Sheriff of London 1589, and Lord Mayor 1593. He endowed a school at Thurlow out of the manor of Carleton, and died at that place May 23, 1619, aged seventy-five (artiste anonyme)|Soames, Sir Stephen, Lord Mayor of London. Pannel, about 18 inches by 14, in the dress of an Alderman. Ancestor of the Soames of Thurlow, Suffolk; was second son of Thomas Soame, of Botely, alias Bately, in Norfolk, by Anne, daughter and heir of Francis Knighton, of Little Bradley, in Suffolk, relict of Richard Lehunt, of the same place; was made Sheriff of London 1589, and Lord Mayor 1593. He endowed a school at Thurlow out of the manor of Carleton, and died at that place May 23, 1619, aged seventy-five]] réalisée par un.e artiste anonyme, vendue par H Rodd. [116]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Southcote, John, of Bulmer in Essex, and Merstam in Surrey, Esquire. Pannel, 31 inches by 24, in a brown embroidered suit, aetatis suae 35, 1589; arms in the corner quartering those of Keyns, Pury, Bosom and St. George: painted in the style of Marc Garrards. Descended from the Southcoats of Devonshire; was son of Sir John Southcoat, Chief Justice of the King's Bench, by Elizabeth, daughter and heiress of William Robins, of London; died 12th June, 1637; seized of the manor of Albury, in Merstam, a capital messuage and lands there called the Deane, and other lands there, and in Gatton, Bletchingly, and Chaldon (Marc Garrards)|Southcote, John, of Bulmer in Essex, and Merstam in Surrey, Esquire. Pannel, 31 inches by 24, in a brown embroidered suit, aetatis suae 35, 1589; arms in the corner quartering those of Keyns, Pury, Bosom and St. George: painted in the style of Marc Garrards. Descended from the Southcoats of Devonshire; was son of Sir John Southcoat, Chief Justice of the King's Bench, by Elizabeth, daughter and heiress of William Robins, of London; died 12th June, 1637; seized of the manor of Albury, in Merstam, a capital messuage and lands there called the Deane, and other lands there, and in Gatton, Bletchingly, and Chaldon]] réalisée par Marc Garrards, vendue par H Rodd. [117]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Stoughton, Sir Nicholas, of Stoughton, in Surrey, Bart. Canvas, 50 inches by 40, in a Civilian's dress, sitting at a table on which are laying a book lettered "Hugo Grotius," and papers, one directed to him; a curtain and library in the background: a finely painted picture by Walker. Son of Anthony Stoughton; became possessed of the manor of Stoughton, in the parish of Stoke, at the age of fourteen, 1649. By indenture, dated 1650, and fine levied thereupon, the Corporation of Guildford relinquished to him all their right to and interest in the advowson of the rectory. In July 1653 he was entered a Gentleman Commoner of Exeter College, in Oxford; and 12th March, 1656-7, was admitted to the degree of Bachelor of Laws. On the 18th af May, 1659, he proceeded Doctor, having obtained a letter to the University for that purpose from Richard Cromwell, their Chancellor, dispensing with the residue of his terms; and January 29, 1600-1, was created a Baronet. On the 2d of June, 1662, he married Elizabeth, daughter of Sir Henry Massingberd; and in 1663 was made Sheriff of Surrey. He died 30th June, 1686, leaving nine children, and was buried in the parish church of Stoke (Walker)|Stoughton, Sir Nicholas, of Stoughton, in Surrey, Bart. Canvas, 50 inches by 40, in a Civilian's dress, sitting at a table on which are laying a book lettered "Hugo Grotius," and papers, one directed to him; a curtain and library in the background: a finely painted picture by Walker. Son of Anthony Stoughton; became possessed of the manor of Stoughton, in the parish of Stoke, at the age of fourteen, 1649. By indenture, dated 1650, and fine levied thereupon, the Corporation of Guildford relinquished to him all their right to and interest in the advowson of the rectory. In July 1653 he was entered a Gentleman Commoner of Exeter College, in Oxford; and 12th March, 1656-7, was admitted to the degree of Bachelor of Laws. On the 18th af May, 1659, he proceeded Doctor, having obtained a letter to the University for that purpose from Richard Cromwell, their Chancellor, dispensing with the residue of his terms; and January 29, 1600-1, was created a Baronet. On the 2d of June, 1662, he married Elizabeth, daughter of Sir Henry Massingberd; and in 1663 was made Sheriff of Surrey. He died 30th June, 1686, leaving nine children, and was buried in the parish church of Stoke]] réalisée par Walker, vendue par H Rodd. [121]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Thoresby, Ralph, Historian of Leeds. Canvas, 20 inches by 16, in a brown dress; similar to the print by Vertue, in a gilt frame. From the collection of Sir M. M. Sykes, of Sledmere, in Yorkshire. An eminent antiquary, born at Leeds, in Yorkshire, 1658. He succeeded his father in his business as a merchant; yet learning and antiquities took such firm possession of his mind, that, contenting himself with a moderate patrimony, he made those researches the great employment of his life. He published "Ducatus Leodiensis, or the Topography of Leeds," also a "History of the Church of Leeds," &c., and died in 1725 (artiste anonyme)|Thoresby, Ralph, Historian of Leeds. Canvas, 20 inches by 16, in a brown dress; similar to the print by Vertue, in a gilt frame. From the collection of Sir M. M. Sykes, of Sledmere, in Yorkshire. An eminent antiquary, born at Leeds, in Yorkshire, 1658. He succeeded his father in his business as a merchant; yet learning and antiquities took such firm possession of his mind, that, contenting himself with a moderate patrimony, he made those researches the great employment of his life. He published "Ducatus Leodiensis, or the Topography of Leeds," also a "History of the Church of Leeds," &c., and died in 1725]] réalisée par un.e artiste anonyme, vendue par H Rodd. [125]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Torrington, Thomas Newport, Lord. Canvas, 50 inches by 40, in his robes, hand resting on a coronet, landscape in the background; finely painted by Sir Godfrey Kneller. The print of this Nobleman, engraved by Smith, after the same master, was taken from a painting 1709 (before his creation to the Peerage), and resembles the picture in every part except the dress, which represents him in that of a Bbaron. Thomas Newport was the son of Francis, Earl of Bradford, whose family interest introduced him to the office of a Commissioner of the Customs in the reign of William and Mary, being at the same time a member of the Hhouse of Commons for Ludlow, at which board he continued during the reigns of Queen Anne and George I, shortly after whose accession he was created Baron Torrington, of the county of Devon. He was successively a Commissioner of the Treasury, a Privy Counsellor, and, lastly, one of the Tellers of the Exchequer. His Lordship died May 27, 1719, having been thrice married: his first wife was the daughter of Lord Chief Baron Atkyns; his second, Penelope, daughter of Sir Orlando Bridgeman, Bart.; and his third, the daughter of Francis Pierpoint, of Nottingham, Esq. (Sir Godfrey Kneller)|Torrington, Thomas Newport, Lord. Canvas, 50 inches by 40, in his robes, hand resting on a coronet, landscape in the background; finely painted by Sir Godfrey Kneller. The print of this Nobleman, engraved by Smith, after the same master, was taken from a painting 1709 (before his creation to the Peerage), and resembles the picture in every part except the dress, which represents him in that of a Bbaron. Thomas Newport was the son of Francis, Earl of Bradford, whose family interest introduced him to the office of a Commissioner of the Customs in the reign of William and Mary, being at the same time a member of the Hhouse of Commons for Ludlow, at which board he continued during the reigns of Queen Anne and George I, shortly after whose accession he was created Baron Torrington, of the county of Devon. He was successively a Commissioner of the Treasury, a Privy Counsellor, and, lastly, one of the Tellers of the Exchequer. His Lordship died May 27, 1719, having been thrice married: his first wife was the daughter of Lord Chief Baron Atkyns; his second, Penelope, daughter of Sir Orlando Bridgeman, Bart.; and his third, the daughter of Francis Pierpoint, of Nottingham, Esq.]] réalisée par Sir Godfrey Kneller, vendue par H Rodd. [126]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Torrington, Anne Pierpoint, Wife of Thomas Newport, Lord. Canvas, 50 inches by 40, seated, in a blue dress, a curtain and landscape in the background, &c. This picture, companion to the above, which has the name of the artist upon it, was engraved by J. Smith, in mezzotinto, 1720 (Sir Godfrey Kneller)|Torrington, Anne Pierpoint, Wife of Thomas Newport, Lord. Canvas, 50 inches by 40, seated, in a blue dress, a curtain and landscape in the background, &c. This picture, companion to the above, which has the name of the artist upon it, was engraved by J. Smith, in mezzotinto, 1720]] réalisée par Sir Godfrey Kneller, vendue par H Rodd. [127]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Vernon, Lady Mary Howard, Wife of George Lord Venables. Canvas, 50 inches by 40, in a white satin dress, leaning on a pedestal, on which is inscribed, "The Hon. Mary Venables Vernon, Wife to George Venables Vernon, Esq. and Daughter to Thomas Lord Effingham Howard." Daughter of Thomas Howard, sixth Earl of Effingham, by Mary, daughter of Rush Wentworth, Esq.; married to George Venables, first Lord Vernon, June 21, 1733, by whom he had, 1. George Venables Vernon, who succeeded him; 2. Harry; 3. Howard; 4. Mary, who all died young; and 5. Mary, born December 19, 1739; married January 5, 1763, to George Anson, Esq. of Staffordshire. in a gilt frame (artiste anonyme)|Vernon, Lady Mary Howard, Wife of George Lord Venables. Canvas, 50 inches by 40, in a white satin dress, leaning on a pedestal, on which is inscribed, "The Hon. Mary Venables Vernon, Wife to George Venables Vernon, Esq. and Daughter to Thomas Lord Effingham Howard." Daughter of Thomas Howard, sixth Earl of Effingham, by Mary, daughter of Rush Wentworth, Esq.; married to George Venables, first Lord Vernon, June 21, 1733, by whom he had, 1. George Venables Vernon, who succeeded him; 2. Harry; 3. Howard; 4. Mary, who all died young; and 5. Mary, born December 19, 1739; married January 5, 1763, to George Anson, Esq. of Staffordshire. in a gilt frame]] réalisée par un.e artiste anonyme, vendue par H Rodd. [130]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Vernon, ------, a Young Man. Canvas, 13 inches by 10, in long flowing hair, in half armour, slash sleeves, &c.; painted about 1700: from the same collection as the former. At the back were the arms of Vernon, quartering several other coats. in a gilt frame, carved, oak leaf pattern (artiste anonyme)|Vernon, ------, a Young Man. Canvas, 13 inches by 10, in long flowing hair, in half armour, slash sleeves, &c.; painted about 1700: from the same collection as the former. At the back were the arms of Vernon, quartering several other coats. in a gilt frame, carved, oak leaf pattern]] réalisée par un.e artiste anonyme, vendue par H Rodd. [131]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Wetenhall, Colonel Thomas, of East Peckham, in Kent. Canvas, 30 inches by 24, in armour; in the corner are his arms, impaled between those of his two wives. Married to his first wife, the Lady Mary Talbot, daughter of John Talbot, tenth Earl of Shrewsbury, by his first wife, Mary, daughter of Sir Francis Fortescue, of Salden Hall, in Buckinghamshire, Knight of the Bath; his second wife, Elizabeth, daughter of Sir Henry Bedingfield, of Oxborough, in Suffolk, Bart., by Margaret, only child of Edward Paston, of Appleton, in Norfolk, Esq. (artiste anonyme)|Wetenhall, Colonel Thomas, of East Peckham, in Kent. Canvas, 30 inches by 24, in armour; in the corner are his arms, impaled between those of his two wives. Married to his first wife, the Lady Mary Talbot, daughter of John Talbot, tenth Earl of Shrewsbury, by his first wife, Mary, daughter of Sir Francis Fortescue, of Salden Hall, in Buckinghamshire, Knight of the Bath; his second wife, Elizabeth, daughter of Sir Henry Bedingfield, of Oxborough, in Suffolk, Bart., by Margaret, only child of Edward Paston, of Appleton, in Norfolk, Esq.]] réalisée par un.e artiste anonyme, vendue par H Rodd. [133]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Whitchcote, Colonel Christopher, Governor of Windsor Castle. Canvas, 30 inches by 24, in a black dress, his hand up to his breast. On the Picture is "AEtatis 32, Annorum 1634." From the collection of the late Dr. Wright, of Lichfield. There is a small modern engraving like the above picture, excepting that it has a view of Windsor in the corner. Son of Christopher Whitchcote, of Stoke, in the county of Salop, Esq., by Elizabeth his wife, daughter of Edward Fox, of Grete, in the said county. "Whilst the unfortunate Charles the First was a prisoner at Windsor, he was a Colonel in the Parliamentarian army, and Governor of Windsor Castle; but though necessity had made him the keeper of his King, yet it was evidently not his wish; nor can we doubt his loyalty, however he might be obliged to act from the circumstances of the times, when it appears that he exerted himself to soften the miseries of his royal prisoner. It is recorded, that, whilst at Windsor, the imprisoned Monarch spent the greater part of each forenoon in prayer and other exercises of piety; and part of the afternoons he appropriated for health, by taking recreation on the terrace, accompanied by the Governor, Colonel Christopher Whitchcote. At this time, by superior orders, the Governor was not at liberty to permit any of the nobility, and but few of the gentry, to come into the castle to see his Majesty, except upon Sundays, to the sermon in St. George's chapel, where the chaplain to the Governor or garrison preached. Notwithstanding the harshness of these orders, Colonel Whitchcote behaved with such marked respectful tenderness to his royal prisioner, that his Majesty took particular notice of him; more especially as the soldiers in garrison there were careful to give him no offence, as had been customary in other places: a degree of delicacy most evidently to be attributed to the respectful example and enforcement of the Governor" (artiste anonyme)|Whitchcote, Colonel Christopher, Governor of Windsor Castle. Canvas, 30 inches by 24, in a black dress, his hand up to his breast. On the Picture is "AEtatis 32, Annorum 1634." From the collection of the late Dr. Wright, of Lichfield. There is a small modern engraving like the above picture, excepting that it has a view of Windsor in the corner. Son of Christopher Whitchcote, of Stoke, in the county of Salop, Esq., by Elizabeth his wife, daughter of Edward Fox, of Grete, in the said county. "Whilst the unfortunate Charles the First was a prisoner at Windsor, he was a Colonel in the Parliamentarian army, and Governor of Windsor Castle; but though necessity had made him the keeper of his King, yet it was evidently not his wish; nor can we doubt his loyalty, however he might be obliged to act from the circumstances of the times, when it appears that he exerted himself to soften the miseries of his royal prisoner. It is recorded, that, whilst at Windsor, the imprisoned Monarch spent the greater part of each forenoon in prayer and other exercises of piety; and part of the afternoons he appropriated for health, by taking recreation on the terrace, accompanied by the Governor, Colonel Christopher Whitchcote. At this time, by superior orders, the Governor was not at liberty to permit any of the nobility, and but few of the gentry, to come into the castle to see his Majesty, except upon Sundays, to the sermon in St. George's chapel, where the chaplain to the Governor or garrison preached. Notwithstanding the harshness of these orders, Colonel Whitchcote behaved with such marked respectful tenderness to his royal prisioner, that his Majesty took particular notice of him; more especially as the soldiers in garrison there were careful to give him no offence, as had been customary in other places: a degree of delicacy most evidently to be attributed to the respectful example and enforcement of the Governor"]] réalisée par un.e artiste anonyme, vendue par H Rodd. [134]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Wilmington, Spencer Compton, Earl of. Canvas, 64 inches by 44, whole length, attired as a Cupid, leaning on a pedestal, on which is a quiver full of arrows, a spaniel dog by his side: painted in the style of Wissing. On the picture is written "Spencer Compton, afterwards Earl of Wilmington:" in a gilt frame. Son of James Compton, third Earl of Northampton, who died 1681, by his second wife, the Lady Mary Noel, daughter of Baptist Noel, Viscount Campden; chosen Speaker of the House of Commons during several Parliaments; created Baron Wilmington, in the county seat of Sussex, January 2, 1728; and on the 14th of May, 1730, created Viscount Pevensey and Earl of Wilmington: died July, 1743 (Wissing)|Wilmington, Spencer Compton, Earl of. Canvas, 64 inches by 44, whole length, attired as a Cupid, leaning on a pedestal, on which is a quiver full of arrows, a spaniel dog by his side: painted in the style of Wissing. On the picture is written "Spencer Compton, afterwards Earl of Wilmington:" in a gilt frame. Son of James Compton, third Earl of Northampton, who died 1681, by his second wife, the Lady Mary Noel, daughter of Baptist Noel, Viscount Campden; chosen Speaker of the House of Commons during several Parliaments; created Baron Wilmington, in the county seat of Sussex, January 2, 1728; and on the 14th of May, 1730, created Viscount Pevensey and Earl of Wilmington: died July, 1743]] réalisée par Wissing, vendue par H Rodd. [136]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Wilson, Thomas D.D. and Mrs. Macauley. Canvas, 50 inches by 40, in a clerical dress, sitting at a table with Mrs. Macauley, their hands pointing to a passage in a book lettered "Macauley's History." Painted by Wright, of Derby. There is an engraving from this picture, without the portrait of Mrs. Macauley, by Sherwin. From the collection of Dr. Wright, of Lichfield. Son of the pious Thomas Wilson, Bishop of Sodor and Man; born 1703; was Rector of St. Stephen's, Walbrook, forty-six years, and published a work in quarto entitled "The Ornaments of Churches considered," and a pamphlet entitled "Distilled Liquors the Bane of the Nation," and died 1784. His warm patronage of the celebrated female historian Macauley, to whom, while living, he erected a statue in his church, is well known (Wright, of Derby)|Wilson, Thomas D.D. and Mrs. Macauley. Canvas, 50 inches by 40, in a clerical dress, sitting at a table with Mrs. Macauley, their hands pointing to a passage in a book lettered "Macauley's History." Painted by Wright, of Derby. There is an engraving from this picture, without the portrait of Mrs. Macauley, by Sherwin. From the collection of Dr. Wright, of Lichfield. Son of the pious Thomas Wilson, Bishop of Sodor and Man; born 1703; was Rector of St. Stephen's, Walbrook, forty-six years, and published a work in quarto entitled "The Ornaments of Churches considered," and a pamphlet entitled "Distilled Liquors the Bane of the Nation," and died 1784. His warm patronage of the celebrated female historian Macauley, to whom, while living, he erected a statue in his church, is well known]] réalisée par Wright, of Derby, vendue par H Rodd. [137]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Wolsey, Thomas, Archbishop of York, and Cardinal. Pannel, about 25 inches by 20, profile, in his Cardinal's dress, holding a scroll in his hand: a curious picture of the time. Prime Minister to Henry the Eighth; born 1471. He was the patron of learned men; a judge and munificent encourager of the polite arts; and many remains of his magnificent ideas in architecture still exist. He was founder of Christ's College, Oxford, and a school at Ipswich. Died November 29, 1530, and was interred in the Abbey at Leicester (artiste anonyme)|Wolsey, Thomas, Archbishop of York, and Cardinal. Pannel, about 25 inches by 20, profile, in his Cardinal's dress, holding a scroll in his hand: a curious picture of the time. Prime Minister to Henry the Eighth; born 1471. He was the patron of learned men; a judge and munificent encourager of the polite arts; and many remains of his magnificent ideas in architecture still exist. He was founder of Christ's College, Oxford, and a school at Ipswich. Died November 29, 1530, and was interred in the Abbey at Leicester]] réalisée par un.e artiste anonyme, vendue par H Rodd. [138]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Younge, Anne, Lady Howard, Wife of Sir William, Bart. Canvas, 50 inches by 40; Companion to Lady Mary Howard, see No. CXXXIV, in a white satin dress, leaning on a pedestal, and painted by the same master. Was second wife to the Rt. Hon. Sir William Younge, Bart.; married September 14, 1729; daughter and coheiress of Thomas Lord Howard, of Effingham, by Mary, daughter of Rush Wentworth, Esq., by whom she had two sons and six daughters: 1. Anne; 2. Louisa, wife of Dr. Charles Howard, Dean of Exeter; 3. Sir George, his successor; 4. Howard, who died young; 5. Charlotte, wife of James Stuart Fulke, Esq.; 6. Amelia, wife of Sir Edward Lloyd, Bart.; 7. Julianna, wife of William Sandford, Esq.; 8. Sophia. Died 1775. in a gilt frame (artiste anonyme)|Younge, Anne, Lady Howard, Wife of Sir William, Bart. Canvas, 50 inches by 40; Companion to Lady Mary Howard, see No. CXXXIV, in a white satin dress, leaning on a pedestal, and painted by the same master. Was second wife to the Rt. Hon. Sir William Younge, Bart.; married September 14, 1729; daughter and coheiress of Thomas Lord Howard, of Effingham, by Mary, daughter of Rush Wentworth, Esq., by whom she had two sons and six daughters: 1. Anne; 2. Louisa, wife of Dr. Charles Howard, Dean of Exeter; 3. Sir George, his successor; 4. Howard, who died young; 5. Charlotte, wife of James Stuart Fulke, Esq.; 6. Amelia, wife of Sir Edward Lloyd, Bart.; 7. Julianna, wife of William Sandford, Esq.; 8. Sophia. Died 1775. in a gilt frame]] réalisée par un.e artiste anonyme, vendue par H Rodd. [140]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Albemarle, George Keppel, Earl of. Canvas, 30 inches by 24, own hair, sash and gorget, gilt frame. There is a print which corresponds with the above picture, engraved by Fisher. Son of William Anne, the second Earl, by his first wife, Anne Lennox, daughter of the Duke of Richmond; born April 8, 1724; married, April 20, 1770, Anne Miller, daughter of Sir John Miller, Bart., by whom he had one son, who succeeded him in his title. His Lordship died Oct. 1772 (artiste anonyme)|Albemarle, George Keppel, Earl of. Canvas, 30 inches by 24, own hair, sash and gorget, gilt frame. There is a print which corresponds with the above picture, engraved by Fisher. Son of William Anne, the second Earl, by his first wife, Anne Lennox, daughter of the Duke of Richmond; born April 8, 1724; married, April 20, 1770, Anne Miller, daughter of Sir John Miller, Bart., by whom he had one son, who succeeded him in his title. His Lordship died Oct. 1772]] réalisée par un.e artiste anonyme, vendue par H Rodd. [141]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Burton, Hezekiah, S.T.P., Canon of Norwich. Canvas, 30 inches by 24, painted by Mrs. Beale. There is an engraving from this picture, by Robert White, prefixed to his Sermons. Fellow of Magdalen College, Cambridge, and tutor there; made Chaplain to Lord Keeper Bridgeman in 1667, who presented him to a Prebend's stall at Norwich. Doctor Burton, who was a man of great prudence, moderation, and sweetness of temper, was snatched from the world when he was capable of doing most good in it, and when his incessant labours and exemplary piety promised a great deal. His friend, Dr. Tillotson, who well knew the value of his writings, published two volumes of his Discourses: he died 1681 (Mrs. Beale)|Burton, Hezekiah, S.T.P., Canon of Norwich. Canvas, 30 inches by 24, painted by Mrs. Beale. There is an engraving from this picture, by Robert White, prefixed to his Sermons. Fellow of Magdalen College, Cambridge, and tutor there; made Chaplain to Lord Keeper Bridgeman in 1667, who presented him to a Prebend's stall at Norwich. Doctor Burton, who was a man of great prudence, moderation, and sweetness of temper, was snatched from the world when he was capable of doing most good in it, and when his incessant labours and exemplary piety promised a great deal. His friend, Dr. Tillotson, who well knew the value of his writings, published two volumes of his Discourses: he died 1681]] réalisée par Mrs. Beale, vendue par H Rodd. [143]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Charles the Second, King of England. Canvas, 44 inches by 36, sitting in his robes, hand resting on a baton, pillar in the background; in the manner of Ryley, from the same collection as No. XXI Originally in the possession of Sir William Temple, at Farnham, in Surrey (Ryley)|Charles the Second, King of England. Canvas, 44 inches by 36, sitting in his robes, hand resting on a baton, pillar in the background; in the manner of Ryley, from the same collection as No. XXI Originally in the possession of Sir William Temple, at Farnham, in Surrey]] réalisée par Ryley, vendue par H Rodd. [144]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[Shenstone, William, Poet. Canvas, about 5 feet by 4, whole length figure, resting against a pedestal, in a morning dress, by him a favourite greyhound; view of the Leasowes, with Hales Owen Steeple, and other objects, in the distance: a very fine original picture, by Wilson, in a carved and gilt frame. The above picture was formerly in the possession of Robert Dodsley, Bookseller, of Pall Mall, to whom Shenstone inscribed a natural bower of almost circular oaks, in the grounds at the Leasowes, in the following manner: -- "Come then, my friend, thy sylvan taste display; Come, hear thy Faunus tune thy rustic lay; Ah! rather come, and in these dells disown The care of other strains, and tune thine own" (Wilson)|Shenstone, William, Poet. Canvas, about 5 feet by 4, whole length figure, resting against a pedestal, in a morning dress, by him a favourite greyhound; view of the Leasowes, with Hales Owen Steeple, and other objects, in the distance: a very fine original picture, by Wilson, in a carved and gilt frame. The above picture was formerly in the possession of Robert Dodsley, Bookseller, of Pall Mall, to whom Shenstone inscribed a natural bower of almost circular oaks, in the grounds at the Leasowes, in the following manner: -- "Come then, my friend, thy sylvan taste display; Come, hear thy Faunus tune thy rustic lay; Ah! rather come, and in these dells disown The care of other strains, and tune thine own"]] réalisée par Wilson, vendue par H Rodd. [149]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[A curious Allegorical Subject, representing a Female seated in a Chair, an old Man asleep in her Lap, a young Man asking her who three Persons are who are coming down a Hill. He says, "Madam, be pleased to tell who that may be So sweetly resting there upon your knee? And to resolve me who are yonder three That come down from the castle, as you see?" She answers, "The first my brother is, by father's side; The next, by mother's, not to be denyde; The next my own sonn is, by marriage right, And all sonns by my husband, this same knight." Oblong, 30 inches by 24, painted in the reign of James I. (Passinelli)|A curious Allegorical Subject, representing a Female seated in a Chair, an old Man asleep in her Lap, a young Man asking her who three Persons are who are coming down a Hill. He says, "Madam, be pleased to tell who that may be So sweetly resting there upon your knee? And to resolve me who are yonder three That come down from the castle, as you see?" She answers, "The first my brother is, by father's side; The next, by mother's, not to be denyde; The next my own sonn is, by marriage right, And all sonns by my husband, this same knight." Oblong, 30 inches by 24, painted in the reign of James I.]] réalisée par Passinelli, vendue par H Rodd. [153]
  • 1824.-.-/ maison de ventes : Rodd (Thomas & Horatio). Vente de l'œuvre décrite comme [[A little Girl, most superbly habited in brocade and lace, whole length, holding in one hand a shuttlecock, in the other a battledore; on it is written "In her 3d year, 1562," which has been apparently altered from 1600; canvas, 3 feet 8 inches by 2 feet 9, very curious. The above picture has "Elizabeth, daughter of James the First," written on the back, and is probably her (M. Garrards)|A little Girl, most superbly habited in brocade and lace, whole length, holding in one hand a shuttlecock, in the other a battledore; on it is written "In her 3d year, 1562," which has been apparently altered from 1600; canvas, 3 feet 8 inches by 2 feet 9, very curious. The above picture has "Elizabeth, daughter of James the First," written on the back, and is probably her]] réalisée par M. Garrards, vendue par H Rodd. [171]
  • 1824.-.-/ -. Vente de l'œuvre décrite comme [[Allegorical Subject, representing Truth seated on a Throne of Gold, and surrounded by Divinities: Religion is at her left, accompanied by Innocence; Equality is at her right, with Harmony and Prudence; and seen in profile is Loyalty, with Justice sitting at her feet. Near her, with her back to the spectator, is Strength; and she is preceded by Abundance, who holds a sheaf of corn with one hand, and presses her bosom with the other. The right of the other part is occupied by two Nymphs, one of whom, carelessly reclining, holds in her right hand a chevelure, agitated by the wind; the other before her seems to represent Reflection; she has her arm supported by her knee, her chin resting on her hand, her eyes fixed on Heaven; a portion of the globe, and an eagle, occupy the front part: In the air are two winged Evil Genii; that on the right, accompanied by a tigress, is armed with an arrow, which it appears to be casting towards Truth; that on the left is mounted on a lion, and is likewise armed with an arrow, which she is directing towards the Divinity. This picture is of the most exquisite finish, and of the finest execution (Andrea Sacchi)|Allegorical Subject, representing Truth seated on a Throne of Gold, and surrounded by Divinities: Religion is at her left, accompanied by Innocence; Equality is at her right, with Harmony and Prudence; and seen in profile is Loyalty, with Justice sitting at her feet. Near her, with her back to the spectator, is Strength; and she is preceded by Abundance, who holds a sheaf of corn with one hand, and presses her bosom with the other. The right of the other part is occupied by two Nymphs, one of whom, carelessly reclining, holds in her right hand a chevelure, agitated by the wind; the other before her seems to represent Reflection; she has her arm supported by her knee, her chin resting on her hand, her eyes fixed on Heaven; a portion of the globe, and an eagle, occupy the front part: In the air are two winged Evil Genii; that on the right, accompanied by a tigress, is armed with an arrow, which it appears to be casting towards Truth; that on the left is mounted on a lion, and is likewise armed with an arrow, which she is directing towards the Divinity. This picture is of the most exquisite finish, and of the finest execution]] réalisée par Andrea Sacchi. [193]
  • 1824.-.-/ -. Vente de l'œuvre décrite comme [[The School of Athens, with Pythagoras discoursing from the Chair to a numerous Assembly; a composition of more than sixty figures, and rendered doubly interesting as transitting to us the portraits of the most celebrated contemporaries of the artist: Leonardo da Vinci, Raphael and Michael Angelo, (masters of the artist) stand on the right of the picture. Leonardo da Vinci holds a sphere in his hand, and is demonstrating with the other; this great man having written on astronomy. At the other extremity is Cardinal Farnese (patron of the artist) who is writing in the midst of the great men who surround him. On the left of the philosopher also is recognised Alexander Farnese, with a casque on his head, and opposite is the beautiful Catherine de Medicis; in front is Paul Veronese, in a mantle of red velvet. At the other extremity is the painter of the picture having a staff in his right hand; and in the centre of the composition his wife holding her two children on her knees. In fact, every skilful amateur can discover in this precious work (which might rival, by the finish of its execution the most valued production of the Flemish and Dutch School) those men distinguished during the glorious age of Leo the Xth, so fertile in great geniuses. This truly classic production is in the most perfect preservation, came from the Royal Gallery at Naples (Sebastian del Piombo)|The School of Athens, with Pythagoras discoursing from the Chair to a numerous Assembly; a composition of more than sixty figures, and rendered doubly interesting as transitting to us the portraits of the most celebrated contemporaries of the artist: Leonardo da Vinci, Raphael and Michael Angelo, (masters of the artist) stand on the right of the picture. Leonardo da Vinci holds a sphere in his hand, and is demonstrating with the other; this great man having written on astronomy. At the other extremity is Cardinal Farnese (patron of the artist) who is writing in the midst of the great men who surround him. On the left of the philosopher also is recognised Alexander Farnese, with a casque on his head, and opposite is the beautiful Catherine de Medicis; in front is Paul Veronese, in a mantle of red velvet. At the other extremity is the painter of the picture having a staff in his right hand; and in the centre of the composition his wife holding her two children on her knees. In fact, every skilful amateur can discover in this precious work (which might rival, by the finish of its execution the most valued production of the Flemish and Dutch School) those men distinguished during the glorious age of Leo the Xth, so fertile in great geniuses. This truly classic production is in the most perfect preservation, came from the Royal Gallery at Naples]] réalisée par Sebastian del Piombo. [199]
  • 1824.-.-/ -. Vente de l'œuvre décrite comme [[Landscape, Cattle, and Figures represented at the moment when the Sun, after a fine autumnal day is tinting all Nature with its last rays. The artist in the execution of this beautiful production, equalled the most admired works of Cuip or Claude Lorraine. A chef d'oeuvre (Swensveldt)|Landscape, Cattle, and Figures represented at the moment when the Sun, after a fine autumnal day is tinting all Nature with its last rays. The artist in the execution of this beautiful production, equalled the most admired works of Cuip or Claude Lorraine. A chef d'oeuvre]] réalisée par Swensveldt. [200]
  • 1824.-.-/ -. Vente de l'œuvre décrite comme [[The Woman taken in Adultery. An exquisite composition of seventeen figures; the finish and colouring worthy the School of Leonardo da Vinci. This truly classic production is in perfect preservation, and was originally in the Royal Gallery at Naples (Lotto, Laurentio)|The Woman taken in Adultery. An exquisite composition of seventeen figures; the finish and colouring worthy the School of Leonardo da Vinci. This truly classic production is in perfect preservation, and was originally in the Royal Gallery at Naples]] réalisée par Lotto, Laurentio. [202]
  • 1824.-.-/ -. Vente de l'œuvre décrite comme [[A most striking full length picture of the celebrated Musical Composer, Rossini. The flattering reception which this extraordinary genius of the age has experienced at various Courts in Europe, and who now excites the curiosity and admiration in this country, cannot fail to render this picture, which is a most perfect likeness, highly acceptable to the British Public The Proprietor, with a view to gratify public curiosity, has, at great pains and expense, procured a most perfect full length portrait of that justly Celebrated Composter, Rossini, painted at the moment when performing a musical composition; this picture is a striking likeness, and of beautiful execution. The high rank which this brilliant genius has attained in the musical world, will render this part of the Exhibition peculiarly pleasing and interesting. To the lovers of music, and admirers of the most extraordinary talents, this picture cannot fail to be highly acceptable. This performance is from the pencil of M. Pistrucci, equally celebrated for his merit as a painter and poet improvisatore. Those who have seen the Lithographic Portraits, of M. Rossini and Made. Colbran, by this famous painter, will easily appreciate his talents. (Pistrucci, Philip)|A most striking full length picture of the celebrated Musical Composer, Rossini. The flattering reception which this extraordinary genius of the age has experienced at various Courts in Europe, and who now excites the curiosity and admiration in this country, cannot fail to render this picture, which is a most perfect likeness, highly acceptable to the British Public The Proprietor, with a view to gratify public curiosity, has, at great pains and expense, procured a most perfect full length portrait of that justly Celebrated Composter, Rossini, painted at the moment when performing a musical composition; this picture is a striking likeness, and of beautiful execution. The high rank which this brilliant genius has attained in the musical world, will render this part of the Exhibition peculiarly pleasing and interesting. To the lovers of music, and admirers of the most extraordinary talents, this picture cannot fail to be highly acceptable. This performance is from the pencil of M. Pistrucci, equally celebrated for his merit as a painter and poet improvisatore. Those who have seen the Lithographic Portraits, of M. Rossini and Made. Colbran, by this famous painter, will easily appreciate his talents.]] réalisée par Pistrucci, Philip. [203]
  • 1824.-.-/ -. Vente de l'œuvre décrite comme [[Leucothoe and Her Child; by C. Smith. "Oh! lucky thought! to save her darling Babe, Leucothoe her milk-white bosom bares; By whose attraction, from the dreadful brink Of the dire precipice her child is drawn. How strong is Nature's force! that lucky thought A mother's bosom only could suggest, -- A mother's bosom only could effect" (C. Smith)|Leucothoe and Her Child; by C. Smith. "Oh! lucky thought! to save her darling Babe, Leucothoe her milk-white bosom bares; By whose attraction, from the dreadful brink Of the dire precipice her child is drawn. How strong is Nature's force! that lucky thought A mother's bosom only could suggest, -- A mother's bosom only could effect"]] réalisée par C. Smith. [208]
  • 1824.-.-/ -. Vente de l'œuvre décrite comme [[The Nativity; by C. Smith. Copy of a picture painted by Correggio, in the collection of the late Caleb Whitefoord, Esq. of London, for whom this copy was made, with the greatest accuracy, in order to supply the place of the original, in case it should be sold. The narrative which follows has been omitted (C. Smith)|The Nativity; by C. Smith. Copy of a picture painted by Correggio, in the collection of the late Caleb Whitefoord, Esq. of London, for whom this copy was made, with the greatest accuracy, in order to supply the place of the original, in case it should be sold. The narrative which follows has been omitted]] réalisée par C. Smith. [215]
  • 1824.-.-/ -. Vente de l'œuvre décrite comme [[The Conversion of St Paul; by Spagnuoletto. This grand picture was purchased by the present proprietor out of a palace at Rome in the year 1790, and has been in his possession ever since...the the Conversion of St. Paul possesses a grandeur of design, dignity of character and expression, accompanied by a truth of colouring, and energy of execution, not exceeded by any artist whatever. The preceding was excerpted (Spagnuoletto)|The Conversion of St Paul; by Spagnuoletto. This grand picture was purchased by the present proprietor out of a palace at Rome in the year 1790, and has been in his possession ever since...the the Conversion of St. Paul possesses a grandeur of design, dignity of character and expression, accompanied by a truth of colouring, and energy of execution, not exceeded by any artist whatever. The preceding was excerpted]] réalisée par Spagnuoletto. [216]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Study for the Salutation, 1 foot 3/4 inches, by 1 foot 3 3/4 inches. This study is certainly original, it is engraved, there is a similar subject in London, decidedly inferior, valued at One Hundred Pounds, it was attributed in the former possessor's catalogue to Carlo Maratta, by whom it certainly is not, being of the first class of design; we prefer the name given in the print (Guido)|Study for the Salutation, 1 foot 3/4 inches, by 1 foot 3 3/4 inches. This study is certainly original, it is engraved, there is a similar subject in London, decidedly inferior, valued at One Hundred Pounds, it was attributed in the former possessor's catalogue to Carlo Maratta, by whom it certainly is not, being of the first class of design; we prefer the name given in the print]] réalisée par Guido, vendue par J D Mullen, Esq au prix de 1.15 £. [349]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Landscape and Figures, 1 foot 4 1/2 inches, by 1 foot 2 inches. A beautiful small production of John Glauber, one of the most celebrated painters of Italian scenery, enriched by figures from the equally celebrated pencil of Gerard Lairesse: the joint productions of those masters are deservedly and universally prized (Glauber)|Landscape and Figures, 1 foot 4 1/2 inches, by 1 foot 2 inches. A beautiful small production of John Glauber, one of the most celebrated painters of Italian scenery, enriched by figures from the equally celebrated pencil of Gerard Lairesse: the joint productions of those masters are deservedly and universally prized]] réalisée par Glauber, vendue par J D Mullen, Esq, achetée par Harrington au prix de 2.10 £. [366]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Diana and Endymion, 3 feet 2 1/2 inches, by 2 feet 1 1/2 inch. A classical subject, by Sebastian Ricci, whose productions in his life-time were eagerly sought after, and have since (says Pilkington) maintained a high reputation, and are bought by the most able judges at considerable prices (Sebastian Ricci)|Diana and Endymion, 3 feet 2 1/2 inches, by 2 feet 1 1/2 inch. A classical subject, by Sebastian Ricci, whose productions in his life-time were eagerly sought after, and have since (says Pilkington) maintained a high reputation, and are bought by the most able judges at considerable prices]] réalisée par Sebastian Ricci, vendue par J D Mullen, Esq au prix de 3.0 £. [369]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Landscape, 4 feet 5 inches, by 3 feet 3 inches. One of the ablest productions of this celebrated Irish Artist, who, like many of his countrymen, had natural talants which required only a sufficient degree of encouragement and cultivation to rival the proudest Masters; and who, in spite of every obstacle, has deservedly obtained for himself at least, a local estimation and a name (Carver)|Landscape, 4 feet 5 inches, by 3 feet 3 inches. One of the ablest productions of this celebrated Irish Artist, who, like many of his countrymen, had natural talants which required only a sufficient degree of encouragement and cultivation to rival the proudest Masters; and who, in spite of every obstacle, has deservedly obtained for himself at least, a local estimation and a name]] réalisée par Carver, vendue par J D Mullen, Esq au prix de 9.2 £. [373]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Cattle and Figures, 1 foot 10 1/2 inches, by 1 foot 3 1/4 inches. This charming little Picture is beautifully colored, exquisitely drawn, and most highly finished -- it is entirely in the manner of the Master to whom it is ascribed; an undoubted original Picture, (possibly by Berghem) but if ascertained to be Vandevelde's, of value far beyond what might be apprehended. Pictures of this subject and size by Paul Potter and Adrien Vandevelde, often bring in London, 1000 and 1200 Guineas (Adrien Vandevelde)|Cattle and Figures, 1 foot 10 1/2 inches, by 1 foot 3 1/4 inches. This charming little Picture is beautifully colored, exquisitely drawn, and most highly finished -- it is entirely in the manner of the Master to whom it is ascribed; an undoubted original Picture, (possibly by Berghem) but if ascertained to be Vandevelde's, of value far beyond what might be apprehended. Pictures of this subject and size by Paul Potter and Adrien Vandevelde, often bring in London, 1000 and 1200 Guineas]] réalisée par Adrien Vandevelde, vendue par J D Mullen, Esq, achetée par Harrington au prix de 4.12 £. [374]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Ponto Rothem, 2 feet 7 1/4 inches, by 1 foot 7 3/4 inches. An Italian view and figure, by Thomas Wycke, one of the best painters of his time, has usual subjects, -- havens, sea-ports, market-places, fairs, and laboratories: his pictures possess freedom and delicacy of penciling, figures judiciously grouped, natural and transparent coloring, and the most complete understanding of Chiara Scuro, a first rate perfection in painting, very rarely attained even by the greatest masters; Wyck's pictures are most justly and highly valued; this and the following No. are two of his finest productions (Thomas Wycke)|Ponto Rothem, 2 feet 7 1/4 inches, by 1 foot 7 3/4 inches. An Italian view and figure, by Thomas Wycke, one of the best painters of his time, has usual subjects, -- havens, sea-ports, market-places, fairs, and laboratories: his pictures possess freedom and delicacy of penciling, figures judiciously grouped, natural and transparent coloring, and the most complete understanding of Chiara Scuro, a first rate perfection in painting, very rarely attained even by the greatest masters; Wyck's pictures are most justly and highly valued; this and the following No. are two of his finest productions]] réalisée par Thomas Wycke, vendue par J D Mullen, Esq, achetée par Pentland au prix de 9.13 £. [375]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Landscape, 3 feet 1 inch, by 2 feet. A charming specimen of the first of Irish landscape painters, Barrett, whose merit has always been honorably and liberally appreciated in England; his pictures will never be surpassed for the beautiful effects of humid skies, and the peculiar verdant aspect which so happily distinguishes Irish and English scenery from that of all other countries (Barrett)|Landscape, 3 feet 1 inch, by 2 feet. A charming specimen of the first of Irish landscape painters, Barrett, whose merit has always been honorably and liberally appreciated in England; his pictures will never be surpassed for the beautiful effects of humid skies, and the peculiar verdant aspect which so happily distinguishes Irish and English scenery from that of all other countries]] réalisée par Barrett, vendue par J D Mullen, Esq, achetée par Pentland au prix de 7.7 £. [377]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Power of Love, 7 feet 2 inches, by 4 feet 1 1/2 inch. A grand gallery picture of the Rubens school, possessing many of the perfections of that first of masters, to whom and to Vandyke, Tyssens was esteemed but little inferior. So much of the fine drawing and delicacy of Vandyke appears in this picture it might readily be ascribed to him. The languishing air of Love himself, represented under the form of an emaciated youth, of the age when the tender passion most strongly asserts its despotic power over the human heart, the submissive posture and prostrate state of the Lion, the monarch of the woods, proclaim aloud, love conquers all, and all must yield to love (P. Tyssens)|Power of Love, 7 feet 2 inches, by 4 feet 1 1/2 inch. A grand gallery picture of the Rubens school, possessing many of the perfections of that first of masters, to whom and to Vandyke, Tyssens was esteemed but little inferior. So much of the fine drawing and delicacy of Vandyke appears in this picture it might readily be ascribed to him. The languishing air of Love himself, represented under the form of an emaciated youth, of the age when the tender passion most strongly asserts its despotic power over the human heart, the submissive posture and prostrate state of the Lion, the monarch of the woods, proclaim aloud, love conquers all, and all must yield to love]] réalisée par P. Tyssens, vendue par J D Mullen, Esq au prix de 7.19 £. [378]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The Angel appearing to the Shepherds, 3 feet, by 3 feet 7 1/2 inches. The slightest glance of this extraordinary picture calls to the mind of the connoisseur all the magical powers of the pencil of Rembrandt, to whom we think it might without much hazard be attributed; however, this celebrated pupil and almost indistinguishable rival is so nearly equal in merit and in price as to render choice of name of little importance (Gebrant Vander Eckhout)|The Angel appearing to the Shepherds, 3 feet, by 3 feet 7 1/2 inches. The slightest glance of this extraordinary picture calls to the mind of the connoisseur all the magical powers of the pencil of Rembrandt, to whom we think it might without much hazard be attributed; however, this celebrated pupil and almost indistinguishable rival is so nearly equal in merit and in price as to render choice of name of little importance]] réalisée par Gebrant Vander Eckhout, vendue par J D Mullen, Esq au prix de 7.7 £. [379]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Judgment of Midas, 4 feet 5 1/2 inches, by 3 feet 7 1/2 inches. This classical composition abounds in fine drawing, beautiful coloring, and appropriate character, on the first inspection we naturally conceived it from the pencil of Lairesse, but on close examination discovered the name (and date) in full, of a most rare and esteemed master (Orromans)|Judgment of Midas, 4 feet 5 1/2 inches, by 3 feet 7 1/2 inches. This classical composition abounds in fine drawing, beautiful coloring, and appropriate character, on the first inspection we naturally conceived it from the pencil of Lairesse, but on close examination discovered the name (and date) in full, of a most rare and esteemed master]] réalisée par Orromans, vendue par J D Mullen, Esq au prix de 6.5 £. [380]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Venus and Adonis, 4 feet 9 inches, by 3 feet 6 inches. This charming subject, (equally a favourite with the Painter and the Poet,) has exercised the pencils of all the great masters -- witness the works of Poussin, Domenichino, Guido, and Titian; from each of whom it has drawn forth a chef d'ouvre, particularly from the latter, who was literally so enamoured of the subject as to have frequently repeated it with trivial alterations. One of his very finest pictures on this subject was in the collection of the late Earl of Bristol; and is at this moment in the city of Dublin, in the Gallery of a real connoisseur and true friend of the Arts. The present picture possesses all the captivating graces, beautiful coloring, and elegant Landscape, which so peculiarly mark the style of Albano (Albano)|Venus and Adonis, 4 feet 9 inches, by 3 feet 6 inches. This charming subject, (equally a favourite with the Painter and the Poet,) has exercised the pencils of all the great masters -- witness the works of Poussin, Domenichino, Guido, and Titian; from each of whom it has drawn forth a chef d'ouvre, particularly from the latter, who was literally so enamoured of the subject as to have frequently repeated it with trivial alterations. One of his very finest pictures on this subject was in the collection of the late Earl of Bristol; and is at this moment in the city of Dublin, in the Gallery of a real connoisseur and true friend of the Arts. The present picture possesses all the captivating graces, beautiful coloring, and elegant Landscape, which so peculiarly mark the style of Albano]] réalisée par Albano, vendue par J D Mullen, Esq. [381]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Dead Game and Dogs, 4 feet 1 1/2 inch, by 3 feet. We have no hesitation in asserting that we do not recollect such a grand bravura pencil, and so powerful a display of Chiara Scuro in a picture of this subject; it is every way worthy of the great master who painted it, and need not fear competition with a picture of Rembrandt. -- What a contrast to the elaborate style of Weenix! The fine drawing and natural position of the Dog, emerging from the deep profound of the dark ground, and barely rendering darkness visible, is the very acmè of art. -- A picture nearly so similar to the present, sold at the sale of the late President of the Royal Academy, for 260 Guineas (Fytt)|Dead Game and Dogs, 4 feet 1 1/2 inch, by 3 feet. We have no hesitation in asserting that we do not recollect such a grand bravura pencil, and so powerful a display of Chiara Scuro in a picture of this subject; it is every way worthy of the great master who painted it, and need not fear competition with a picture of Rembrandt. -- What a contrast to the elaborate style of Weenix! The fine drawing and natural position of the Dog, emerging from the deep profound of the dark ground, and barely rendering darkness visible, is the very acmè of art. -- A picture nearly so similar to the present, sold at the sale of the late President of the Royal Academy, for 260 Guineas]] réalisée par Fytt, vendue par J D Mullen, Esq. [382]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Virgin & Child, & Holy Family, by candlelight, 4 feet 9 inches, by 2 feet 9 3/4 inches. The works of this valuable master, of a large size, are rarely to be met with. The elegance of character in the face of the Virgin -- the fine drawing of the Child -- St. Joseph and Elizabeth -- the consummate art displayed in the delicate diffusion of the light over the entire group -- in fact, all parts of the picture, equally assert and justify its claim to being set down as one of this artist's finest productions (Schalken)|Virgin & Child, & Holy Family, by candlelight, 4 feet 9 inches, by 2 feet 9 3/4 inches. The works of this valuable master, of a large size, are rarely to be met with. The elegance of character in the face of the Virgin -- the fine drawing of the Child -- St. Joseph and Elizabeth -- the consummate art displayed in the delicate diffusion of the light over the entire group -- in fact, all parts of the picture, equally assert and justify its claim to being set down as one of this artist's finest productions]] réalisée par Schalken, vendue par J D Mullen, Esq au prix de 9.2 £. [383]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Cattle and Landscape, 2 feet 2 inches, by 1 foot 7 1/4 inches. This picture and the Companion, No. 52, are so completely the style of Adrien Vandevelde as to induce us to think them either by a pupil, or original sketches by that master. They have have been named Sybrechts in a former catalogue (Sybrechts)|Cattle and Landscape, 2 feet 2 inches, by 1 foot 7 1/4 inches. This picture and the Companion, No. 52, are so completely the style of Adrien Vandevelde as to induce us to think them either by a pupil, or original sketches by that master. They have have been named Sybrechts in a former catalogue]] réalisée par Sybrechts, vendue par J D Mullen, Esq, achetée par Moore au prix de 4.11 £. [394]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Cattle and Landscape, Companion to No. 51 This picture and the Companion, No. 52, are so completely the style of Adrien Vandevelde as to induce us to think them either by a pupil, or original sketches by that master. They have have been named Sybrechts in a former catalogue (Sybrechts)|Cattle and Landscape, Companion to No. 51 This picture and the Companion, No. 52, are so completely the style of Adrien Vandevelde as to induce us to think them either by a pupil, or original sketches by that master. They have have been named Sybrechts in a former catalogue]] réalisée par Sybrechts, vendue par J D Mullen, Esq, achetée par Moore au prix de 6.10 £. [395]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[A truly fine Landscape, 4 feet 5 inches, by 3 feet 3 inches. By an Irish Artist, whose merit we have before slightly adverted to. Carver was confessedly one of the greatest of scenic painters, a line in which he was much employed we remember to have heard it related that at the appearance of a particular scene of Carver's, at old Drury, there regularly followed three distinct rounds of applause (Carver)|A truly fine Landscape, 4 feet 5 inches, by 3 feet 3 inches. By an Irish Artist, whose merit we have before slightly adverted to. Carver was confessedly one of the greatest of scenic painters, a line in which he was much employed we remember to have heard it related that at the appearance of a particular scene of Carver's, at old Drury, there regularly followed three distinct rounds of applause]] réalisée par Carver, vendue par J D Mullen, Esq au prix de 7.19 £. [396]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Fortune, 1 foot 2 inches, by 1 foot 6 1/2 inches, each. Those two admirable and highly finished studies of one of the greatest masters of the Roman School, should not, if possible, be ever separated; they were evidently part of the same grand work. We think it more than probable there does not exist in the same space, more clear and decided proof of the ability of this renowned painter (Pietra Cortona)|Fortune, 1 foot 2 inches, by 1 foot 6 1/2 inches, each. Those two admirable and highly finished studies of one of the greatest masters of the Roman School, should not, if possible, be ever separated; they were evidently part of the same grand work. We think it more than probable there does not exist in the same space, more clear and decided proof of the ability of this renowned painter]] réalisée par Pietra Cortona, vendue par J D Mullen, Esq, achetée par Pentland au prix de 5.19 £. [397]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Diana and Endymion, Companion to No. 54. Those two admirable and highly finished studies of one of the greatest masters of the Roman School, should not, if possible, be ever separated; they were evidently part of the same grand work. We think it more than probable there does not exist in the same space, more clear and decided proof of the ability of this renowned painter (Pietra Cortona)|Diana and Endymion, Companion to No. 54. Those two admirable and highly finished studies of one of the greatest masters of the Roman School, should not, if possible, be ever separated; they were evidently part of the same grand work. We think it more than probable there does not exist in the same space, more clear and decided proof of the ability of this renowned painter]] réalisée par Pietra Cortona, vendue par J D Mullen, Esq, achetée par Pentland au prix de 5.19 £. [398]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Landscape and Cattle. 2 feet 8 inches, by 1 foot 11 inches. This Picture, and the Companion, No. 57, are two most pleasing compositions; their Venetian materiel and manner of touch, give the effects of Zuccarelli in his best style, and shew the reputation of this Master to have been perfectly well deserved (Scipio Cignarolli)|Landscape and Cattle. 2 feet 8 inches, by 1 foot 11 inches. This Picture, and the Companion, No. 57, are two most pleasing compositions; their Venetian materiel and manner of touch, give the effects of Zuccarelli in his best style, and shew the reputation of this Master to have been perfectly well deserved]] réalisée par Scipio Cignarolli, vendue par J D Mullen, Esq, achetée par Harrington au prix de 7.1 £. [399]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Landscape and Cattle, Companion to No. 56. This Picture, and the Companion, No. 57, are two most pleasing compositions; their Venetian materiel and manner of touch, give the effects of Zuccarelli in his best style, and shew the reputation of this Master to have been perfectly well deserved (Scipio Cignarolli)|Landscape and Cattle, Companion to No. 56. This Picture, and the Companion, No. 57, are two most pleasing compositions; their Venetian materiel and manner of touch, give the effects of Zuccarelli in his best style, and shew the reputation of this Master to have been perfectly well deserved]] réalisée par Scipio Cignarolli, vendue par J D Mullen, Esq, achetée par Harrington au prix de 6.16 £. [400]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Virgin with a crown of Thorns. 2 feet, by 2 feet 5 1/2 inches. Such is the title of this Picture in the Catalogue of a former owner, but we think it apparent from the tear-be-dewed cheek, and dejected appearance of the Mater Dolorosa, the back ground, &c. that the Virgin oppressed with grief, is on her way to visit the tomb of her beloved Son, anterior to the event of the Ascension. Coloring, drapery, drawing, and expression, all announce a most eminent Master of the Roman School (Solimena)|Virgin with a crown of Thorns. 2 feet, by 2 feet 5 1/2 inches. Such is the title of this Picture in the Catalogue of a former owner, but we think it apparent from the tear-be-dewed cheek, and dejected appearance of the Mater Dolorosa, the back ground, &c. that the Virgin oppressed with grief, is on her way to visit the tomb of her beloved Son, anterior to the event of the Ascension. Coloring, drapery, drawing, and expression, all announce a most eminent Master of the Roman School]] réalisée par Solimena, vendue par J D Mullen, Esq, achetée par Shields au prix de 3.19 £. [401]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Roman Ruins and Cattle. 1 foot 10 inches, by 1 foot 5 inches. This Picture, and its Companion, No. 60, have all that grandeur of idea and elegance of taste which led this Artist to blend the magnificent vestiges of ancient grandeur, with the happy and tranquil incidents of Rural Life (Marco Ricci)|Roman Ruins and Cattle. 1 foot 10 inches, by 1 foot 5 inches. This Picture, and its Companion, No. 60, have all that grandeur of idea and elegance of taste which led this Artist to blend the magnificent vestiges of ancient grandeur, with the happy and tranquil incidents of Rural Life]] réalisée par Marco Ricci, vendue par J D Mullen, Esq au prix de 3.13 £. [402]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Roman Ruins and Cattle, companion to No. 59. This Picture, and its Companion, No. 60, have all that grandeur of idea and elegance of taste which led this Artist to blend the magnificent vestiges of ancient grandeur, with the happy and tranquil incidents of Rural Life (Marco Ricci)|Roman Ruins and Cattle, companion to No. 59. This Picture, and its Companion, No. 60, have all that grandeur of idea and elegance of taste which led this Artist to blend the magnificent vestiges of ancient grandeur, with the happy and tranquil incidents of Rural Life]] réalisée par Marco Ricci, vendue par J D Mullen, Esq, achetée par Halliday au prix de 3.13 £. [403]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Sea-View, a brisk gale, 2 feet 6 1/2 inches, by 1 foot 8 inches. This picture and its Companion, 63, are both from the pencil of a most promising Irish Artist -- we were happy to witness, last winter, at the sale of the late Nugent Bell, Esq. Whitehall place, London, one of his Marine Views selling for 65 guineas. The present pictures are certainly among his happiest efforts, having engaged his most assiduous attention; being an order from a most liberal and disinterested Patron of the Fine Arts (Ellis)|Sea-View, a brisk gale, 2 feet 6 1/2 inches, by 1 foot 8 inches. This picture and its Companion, 63, are both from the pencil of a most promising Irish Artist -- we were happy to witness, last winter, at the sale of the late Nugent Bell, Esq. Whitehall place, London, one of his Marine Views selling for 65 guineas. The present pictures are certainly among his happiest efforts, having engaged his most assiduous attention; being an order from a most liberal and disinterested Patron of the Fine Arts]] réalisée par Ellis, vendue par J D Mullen, Esq, achetée par Moore au prix de 6.5 £. [405]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Sea-View, Companion to No. 62. 2 feet 7 1/2 inches, by 1 foot 8 inches. Boats in shore under boldly projecting Rocks This picture and its Companion, 63, are both from the pencil of a most promising Irish Artist -- we were happy to witness, last winter, at the sale of the late Nugent Bell, Esq. Whitehall place, London, one of his Marine Views selling for 65 guineas. The present pictures are certainly among his happiest efforts, having engaged his most assiduous attention; being an order from a most liberal and disinterested Patron of the Fine Arts (Ellis)|Sea-View, Companion to No. 62. 2 feet 7 1/2 inches, by 1 foot 8 inches. Boats in shore under boldly projecting Rocks This picture and its Companion, 63, are both from the pencil of a most promising Irish Artist -- we were happy to witness, last winter, at the sale of the late Nugent Bell, Esq. Whitehall place, London, one of his Marine Views selling for 65 guineas. The present pictures are certainly among his happiest efforts, having engaged his most assiduous attention; being an order from a most liberal and disinterested Patron of the Fine Arts]] réalisée par Ellis, vendue par J D Mullen, Esq, achetée par Moore au prix de 5.19 £. [406]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Robbers plundering, in a Landscape, 2 feet 5 1/2 inches, by 1 foot 11 1/2 inches. This master was a disciple of Philip Wovermans -- Figures and Cattle well designed -- Lights and shadows managed with skill and judgment -- a touch, remarkably free and spirited, stamp the works of Gaal with reputation and value (Barent Gaal)|Robbers plundering, in a Landscape, 2 feet 5 1/2 inches, by 1 foot 11 1/2 inches. This master was a disciple of Philip Wovermans -- Figures and Cattle well designed -- Lights and shadows managed with skill and judgment -- a touch, remarkably free and spirited, stamp the works of Gaal with reputation and value]] réalisée par Barent Gaal, vendue par J D Mullen, Esq, achetée par Morrisson au prix de 5.13 £. [407]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[View of St. Mark's at Venice, 1 foot 10 1/2 inches, by 1 foot 1 1/2 inch. This Picture, and its Companion, No. 67, are two interesting morceaux of the celebrated Canaletta, and no doubt finished studies for larger pieces -- the accuracy and precision of this Artist in the delineation of his architectural objects is no less admirable than his matchless perspective and unrivalled aerial tints -- the groups of Figures and their costume, so perfectly in accord -- the whole together deludes the imagination with the belief of beholding the real scene. A truer Venetian tone and a more harmonised effect distinguish the Works of Canaletta from those of his highly esteemed pupil Gardy (Antonio Canaletta)|View of St. Mark's at Venice, 1 foot 10 1/2 inches, by 1 foot 1 1/2 inch. This Picture, and its Companion, No. 67, are two interesting morceaux of the celebrated Canaletta, and no doubt finished studies for larger pieces -- the accuracy and precision of this Artist in the delineation of his architectural objects is no less admirable than his matchless perspective and unrivalled aerial tints -- the groups of Figures and their costume, so perfectly in accord -- the whole together deludes the imagination with the belief of beholding the real scene. A truer Venetian tone and a more harmonised effect distinguish the Works of Canaletta from those of his highly esteemed pupil Gardy]] réalisée par Antonio Canaletta, vendue par J D Mullen, Esq, achetée par Adlercron au prix de 4.16 £. [409]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[View of the Doge's Palace at Venice. 1 foot 10 1/2 inches, by 1 foot 1 1/2 inch. Companion to No. 67 This Picture, and its Companion, No. 67, are two interesting morceaux of the celebrated Canaletta, and no doubt finished studies for larger pieces (Antonio Canaletta)|View of the Doge's Palace at Venice. 1 foot 10 1/2 inches, by 1 foot 1 1/2 inch. Companion to No. 67 This Picture, and its Companion, No. 67, are two interesting morceaux of the celebrated Canaletta, and no doubt finished studies for larger pieces]] réalisée par Antonio Canaletta, vendue par J D Mullen, Esq, achetée par Adlercron au prix de 4.16 £. [410]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[A Village Schoolmaster and his Scholars, 8 1/2 inches, by 10 inches. This little Picture was painted in long gone-by days before the discovery of Mnemonics or improved Systems, and when the ferule and rod were used to strengthen memory and to quicken application -- it is full of character, admirably diversified for expression and a happy display of nature, worthy the pencil of Wilkie or Mulready. The plausible and affected diligence of one -- the sorrow and conscious deficiency of another -- the wanton interruption of order and silence by a third -- the listless indifference of a fourth -- the keeping of the distant group -- the broad and masterly touch are admirable; but above all, the old Pedagogue, who seems to ruminate on the scene where he too once played his little part, and appears to regret, that it will never more return! (Drogsloot)|A Village Schoolmaster and his Scholars, 8 1/2 inches, by 10 inches. This little Picture was painted in long gone-by days before the discovery of Mnemonics or improved Systems, and when the ferule and rod were used to strengthen memory and to quicken application -- it is full of character, admirably diversified for expression and a happy display of nature, worthy the pencil of Wilkie or Mulready. The plausible and affected diligence of one -- the sorrow and conscious deficiency of another -- the wanton interruption of order and silence by a third -- the listless indifference of a fourth -- the keeping of the distant group -- the broad and masterly touch are admirable; but above all, the old Pedagogue, who seems to ruminate on the scene where he too once played his little part, and appears to regret, that it will never more return!]] réalisée par Drogsloot, vendue par J D Mullen, Esq, achetée par Wood au prix de 3.13 £. [411]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Landscape and Stag Hunt. 3 feet, 1 inch by 2 feet. A very scarce master, and a disciple of Titian, worthy in our opinion the pencil of Titian himself -- powerful depth of tone, perfect transparency, matchless decision of touch, uncommon spirit, animation and correct drawing of the figures, place it decidedly in the first class. We do not intend, nor do we feel we say too much in asserting that this Picture must be deemed an acquisition to any collection (Nadalino del Murano)|Landscape and Stag Hunt. 3 feet, 1 inch by 2 feet. A very scarce master, and a disciple of Titian, worthy in our opinion the pencil of Titian himself -- powerful depth of tone, perfect transparency, matchless decision of touch, uncommon spirit, animation and correct drawing of the figures, place it decidedly in the first class. We do not intend, nor do we feel we say too much in asserting that this Picture must be deemed an acquisition to any collection]] réalisée par Nadalino del Murano, vendue par J D Mullen, Esq au prix de 6.16 £. [413]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The Magi. 2 feet 1 inch, by 1 foot 6 1/2 inches. This extremely curious specimen of one of the earliest masters, is in a state of wonderful preservation; it cost the former possessor a large sum for transferring it from the worm-eaten old panel on which it was originally painted to canvass. In its renovated state it bids fair to descend unimpaired to future ages. The wonderful purity and brilliancy in the colouring of the early masters seem almost to bid defiance to the usual effects of time. This Picture has been painted at least 300 years!!! (Lucass van Leyden)|The Magi. 2 feet 1 inch, by 1 foot 6 1/2 inches. This extremely curious specimen of one of the earliest masters, is in a state of wonderful preservation; it cost the former possessor a large sum for transferring it from the worm-eaten old panel on which it was originally painted to canvass. In its renovated state it bids fair to descend unimpaired to future ages. The wonderful purity and brilliancy in the colouring of the early masters seem almost to bid defiance to the usual effects of time. This Picture has been painted at least 300 years!!!]] réalisée par Lucass van Leyden, vendue par J D Mullen, Esq au prix de 27.6 £. [414]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Flaying of St Bartholemew, 3 feet 3 inches, by 2 feet 5 inches. This picture, and its Companion, 73, are two celebrated works of Guercino, particularly noticed by the younger Richardson, by whom they were brought from Rome. Of their authenticity no judge will require a guarantee -- Complete knowledge of the figure, profound anatomical skill, perfect correctness of outline, and noble facility of pencil ascertain at once the genuineness of this great master's works (Guercino da Cento)|Flaying of St Bartholemew, 3 feet 3 inches, by 2 feet 5 inches. This picture, and its Companion, 73, are two celebrated works of Guercino, particularly noticed by the younger Richardson, by whom they were brought from Rome. Of their authenticity no judge will require a guarantee -- Complete knowledge of the figure, profound anatomical skill, perfect correctness of outline, and noble facility of pencil ascertain at once the genuineness of this great master's works]] réalisée par Guercino da Cento, vendue par J D Mullen, Esq au prix de 7.19 £. [415]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[St. Sebastian, Companion to No. 72. This picture, and its Companion, 73, are two celebrated works of Guercino, particularly noticed by the younger Richardson, by whom they were brought from Rome. Of their authenticity no judge will require a guarantee -- Complete knowledge of the figure, profound anatomical skill, perfect correctness of outline, and noble facility of pencil ascertain at once the genuineness of this great master's works (Guercino da Cento)|St. Sebastian, Companion to No. 72. This picture, and its Companion, 73, are two celebrated works of Guercino, particularly noticed by the younger Richardson, by whom they were brought from Rome. Of their authenticity no judge will require a guarantee -- Complete knowledge of the figure, profound anatomical skill, perfect correctness of outline, and noble facility of pencil ascertain at once the genuineness of this great master's works]] réalisée par Guercino da Cento, vendue par J D Mullen, Esq, achetée par OBeirne au prix de 11.18 £. [416]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Sea View. 3 feet 6 inches, by 2 feet 5 inches. This is unequivocally one of the very best of this master's works, and a subject not common with him; the tender sky, the beautiful reflected tone of the water, and perfect keeping of the entire Picture are immediately and agreeably felt by the spectator (Molinear)|Sea View. 3 feet 6 inches, by 2 feet 5 inches. This is unequivocally one of the very best of this master's works, and a subject not common with him; the tender sky, the beautiful reflected tone of the water, and perfect keeping of the entire Picture are immediately and agreeably felt by the spectator]] réalisée par Molinear, vendue par J D Mullen, Esq, achetée par Mc Key au prix de 26.3 £. [417]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The Quack Doctor. 10 1/2 inches, by 11 3/4 inches. The incident which forms the subject of this humorous little Picture is of too frequent occurrence in real life -- female credulity and broken faith: -- When lovely woman stoops to folly, And finds too late that men betray; What charm can sooth her melancholy, What tears can wash her fault away? The speaking eye of the old Quack, which as it were, flashes the fatal discovery; the calm unspeakable dejection of the Mother -- the weeping penitence of the humiliated and conscious offender, who endeavours to partly hide her burning blushes by wiping away her tears, are all finely contrasted and in perfect unision with nature. How often is it to be feared has mistaken zeal, in real life, changed this scene of deluded innocence into one of hardened vice or dreadful horror; misapplying the words of Scripture, and adressing the miserable offender -- "In the day that thou eatest of the fruit of the tree that groweth out of the middle of the garden in that day thou shalt surely die!" The exercise of that sympathy and humanity which all mortal creatures owe to each others' feelings, might have reclaimed from the paths of vice to the path of virtue, and saved from the future errors of her way. Wipe away thy tears, poor creature, from thine eyes -- lose not thy time in unavailing regret, but employ it rather in repairing thy fault -- raise up thy heart -- go use thy diligence -- that the fruit of thy weakness may become the child of virtue -- and all may yet be well -- go and err no more! Woe be to the man or woman that shall balance between these two -- for assuredly, their charity is not of that species which covers a multitude of sins (Hemskerck)|The Quack Doctor. 10 1/2 inches, by 11 3/4 inches. The incident which forms the subject of this humorous little Picture is of too frequent occurrence in real life -- female credulity and broken faith: -- When lovely woman stoops to folly, And finds too late that men betray; What charm can sooth her melancholy, What tears can wash her fault away? The speaking eye of the old Quack, which as it were, flashes the fatal discovery; the calm unspeakable dejection of the Mother -- the weeping penitence of the humiliated and conscious offender, who endeavours to partly hide her burning blushes by wiping away her tears, are all finely contrasted and in perfect unision with nature. How often is it to be feared has mistaken zeal, in real life, changed this scene of deluded innocence into one of hardened vice or dreadful horror; misapplying the words of Scripture, and adressing the miserable offender -- "In the day that thou eatest of the fruit of the tree that groweth out of the middle of the garden in that day thou shalt surely die!" The exercise of that sympathy and humanity which all mortal creatures owe to each others' feelings, might have reclaimed from the paths of vice to the path of virtue, and saved from the future errors of her way. Wipe away thy tears, poor creature, from thine eyes -- lose not thy time in unavailing regret, but employ it rather in repairing thy fault -- raise up thy heart -- go use thy diligence -- that the fruit of thy weakness may become the child of virtue -- and all may yet be well -- go and err no more! Woe be to the man or woman that shall balance between these two -- for assuredly, their charity is not of that species which covers a multitude of sins]] réalisée par Hemskerck, vendue par J D Mullen, Esq, achetée par Mc Key au prix de 5.13 £. [418]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The tired Parent sleeping under the shade of his own tree. 9 1/2 inches by 12 inches...The tired and happy Parent (for who that views the merry group by which he is surrounded can doubt his being so?) seems to have sunk into unconscious slumber -- overcome, perhaps, by his labours and exertions to promote the present welfare and future happiness of his little flock -- at some future and distant day, experience of this world, and of this world's ways, shall teach them (when he shall be no more,) the full value and measure of his affections and his cares. Their habitual delight in his company, and perfect reliance on his love, is fully evinced by their sportive tricks. One, the eldest, seems to exult in having crowned the innocent frolic by placing the straw bonnet on his head -- another is busily employed in gently fettering his limbs with her tiny handkerchief -- the third, the boldest of all, dares to tickle him with a straw, and braves the moment which shall awaken him, and discover all their endearing roguery: -- all these are delicious traits which come home to every man's bosom!...Entirely absorbed by the mental and morale of this little bijou -- the grouping, character, animation, expression, frolic, and infantine grace, the materiél and mechanique, the color, tint, tone, glaze, scumble, transparency, all the resources of the art, which it displays in the most masterly perfection, had nearly escaped observation; but the powers of Morland, and his consummate ability in his art, have been too long established to require any remark; although not so laboriously finished as many of the Dutch Masters, he far surpasses them all in true picturesque arrangement -- masterly solidity of touch -- and the preservation of general effect, without intrusion from particular and minute detail The preceding was excerpted (George Morland)|The tired Parent sleeping under the shade of his own tree. 9 1/2 inches by 12 inches...The tired and happy Parent (for who that views the merry group by which he is surrounded can doubt his being so?) seems to have sunk into unconscious slumber -- overcome, perhaps, by his labours and exertions to promote the present welfare and future happiness of his little flock -- at some future and distant day, experience of this world, and of this world's ways, shall teach them (when he shall be no more,) the full value and measure of his affections and his cares. Their habitual delight in his company, and perfect reliance on his love, is fully evinced by their sportive tricks. One, the eldest, seems to exult in having crowned the innocent frolic by placing the straw bonnet on his head -- another is busily employed in gently fettering his limbs with her tiny handkerchief -- the third, the boldest of all, dares to tickle him with a straw, and braves the moment which shall awaken him, and discover all their endearing roguery: -- all these are delicious traits which come home to every man's bosom!...Entirely absorbed by the mental and morale of this little bijou -- the grouping, character, animation, expression, frolic, and infantine grace, the materiél and mechanique, the color, tint, tone, glaze, scumble, transparency, all the resources of the art, which it displays in the most masterly perfection, had nearly escaped observation; but the powers of Morland, and his consummate ability in his art, have been too long established to require any remark; although not so laboriously finished as many of the Dutch Masters, he far surpasses them all in true picturesque arrangement -- masterly solidity of touch -- and the preservation of general effect, without intrusion from particular and minute detail The preceding was excerpted]] réalisée par George Morland, vendue par J D Mullen, Esq, achetée par Peacock au prix de 14.15 £. [419]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Nymphs and Satyrs. 4 feet 4 1/2 inches, by 2 feet 1 1/2 inch. The combination of those two eminent Masters in the same Work, is an occurrence perfectly well known to the lovers of the art. The high estimation in which Wildens was held by Rubens; his preferring him to paint in the back grounds and Landscapes of his finest compositions; the perfect ability and harmony with which he always effected this arduous task, render any eulogium on the Pictures of his hand (particularly when enriched by the figures of Rubens) wholly unnecessary. The present is a fine and valuable specimen (Rubens)|Nymphs and Satyrs. 4 feet 4 1/2 inches, by 2 feet 1 1/2 inch. The combination of those two eminent Masters in the same Work, is an occurrence perfectly well known to the lovers of the art. The high estimation in which Wildens was held by Rubens; his preferring him to paint in the back grounds and Landscapes of his finest compositions; the perfect ability and harmony with which he always effected this arduous task, render any eulogium on the Pictures of his hand (particularly when enriched by the figures of Rubens) wholly unnecessary. The present is a fine and valuable specimen]] réalisée par Rubens, vendue par J D Mullen, Esq, achetée par Harrington au prix de 6.5 £. [420]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Ceres in search of Proserpine. 3 feet 3 inches, by 3 feet 6 inches. This grand production of the pencil of Schalken, was attributed in a former Catalogue to Elsheimer, (in rivalry of whom, it was most probably painted) who made the search of Ceres the subject of one of his finest Works, well known by the capital Print of Gaud; on the certainty of this Picture being by Schalken, there cannot be a doubt. The dignity, grace and beauty of the Goddess -- the fine contrasted and obscured figure of the Old Female -- the grand color of the flaming torch, and the general high finish, shew it to be one of his finest performences (Schalken)|Ceres in search of Proserpine. 3 feet 3 inches, by 3 feet 6 inches. This grand production of the pencil of Schalken, was attributed in a former Catalogue to Elsheimer, (in rivalry of whom, it was most probably painted) who made the search of Ceres the subject of one of his finest Works, well known by the capital Print of Gaud; on the certainty of this Picture being by Schalken, there cannot be a doubt. The dignity, grace and beauty of the Goddess -- the fine contrasted and obscured figure of the Old Female -- the grand color of the flaming torch, and the general high finish, shew it to be one of his finest performences]] réalisée par Schalken, vendue par J D Mullen, Esq au prix de 11.7 £. [421]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Hercules and Omphale. 5 feet 5 1/2 inches, by 5 feet 10 inches. Caucus, the son of Vulcan, having stolen the oxen of Hercules, was dragged by him from his den, and slain. This grand historical Picture has long been known as a capital performance of Rubens. Many years ago it was the elitè of the late Sir Wm. Montgomery's collection, distinguished for possessing Pictures of real merit. We have heard some connoisseurs of more than common critical acumen, suggest the idea of its being from the pencil of Jordaens, who as a colorist, (more solid and rich, consequently less transparent) was acknowledged the superior. Occasionally Jordaens soared into a dangerous rivalry of composition, which happily for Rubens, was not usual with him, having a natural talent for subjects of Humour, Family Conversations (such as Le Roi Boit, Common Life, &c.) There is however, a Shepherd's Offering, by this master, in the collection of the Right Hon. the Earl of Besborough, which cost, nearly a century ago, £1500, and which there is no doubt at this moment treble the amount. The present subject is by torch light -- Hercules, by the side of his favorite Omphale, who leaning on his club, and seated on the skin of the Nemaean Lion, betrays in her eyes the intoxication of gratified female vanity, and appears too much engrossed by the triumph of her beauty, to feel any interest in the passing scene. The muscular powers and strength of Hercules -- his fore-shortened arm, uplifted to give the coup de grace to the culprit, who appears to have been before dreadfully punished, the difficult, reversed and fallen position of Caucus, the contrasted full-lengths of the torch-bearer and attendants -- the flowing outline -- the rich and warm reflected tone of the whole Picture -- evince it to be a master-piece (Rubens)|Hercules and Omphale. 5 feet 5 1/2 inches, by 5 feet 10 inches. Caucus, the son of Vulcan, having stolen the oxen of Hercules, was dragged by him from his den, and slain. This grand historical Picture has long been known as a capital performance of Rubens. Many years ago it was the elitè of the late Sir Wm. Montgomery's collection, distinguished for possessing Pictures of real merit. We have heard some connoisseurs of more than common critical acumen, suggest the idea of its being from the pencil of Jordaens, who as a colorist, (more solid and rich, consequently less transparent) was acknowledged the superior. Occasionally Jordaens soared into a dangerous rivalry of composition, which happily for Rubens, was not usual with him, having a natural talent for subjects of Humour, Family Conversations (such as Le Roi Boit, Common Life, &c.) There is however, a Shepherd's Offering, by this master, in the collection of the Right Hon. the Earl of Besborough, which cost, nearly a century ago, £1500, and which there is no doubt at this moment treble the amount. The present subject is by torch light -- Hercules, by the side of his favorite Omphale, who leaning on his club, and seated on the skin of the Nemaean Lion, betrays in her eyes the intoxication of gratified female vanity, and appears too much engrossed by the triumph of her beauty, to feel any interest in the passing scene. The muscular powers and strength of Hercules -- his fore-shortened arm, uplifted to give the coup de grace to the culprit, who appears to have been before dreadfully punished, the difficult, reversed and fallen position of Caucus, the contrasted full-lengths of the torch-bearer and attendants -- the flowing outline -- the rich and warm reflected tone of the whole Picture -- evince it to be a master-piece]] réalisée par Rubens, vendue par J D Mullen, Esq au prix de 8.15 £. [422]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The deposition of St. Petronilla, 4 feet, by 6 feet. The matchless drawing, accurate knowledge of the figure, general powers, and facility of this great master, were too unequivocally acknowledged by his illustrious rivals and contemporaries, Guido, Carravagio, &c., to be now disputed. Since his own age he has been altogether unrivalled, and never surpassed at any period of the art -- his grand Picture of the deposition of St. Petronilla, is insured to descend to posterity, by being at an enormous expence copied in Mosaic, in the Church of St. Peter's, in Rome. The apotheosis of St. Paul, at present on sale in London, is considered as cheaply valued at Fifteen Hundred Pounds. -- We are not aware of any copy of this present subject, indicating in the slightest degree, its beauty and merit. If this be a copy, it is indeed, a most splendid one, worthy of the pencil of any master; the possibility must be admitted when we know that Caracci, Rubens, and Vandyke, have not disdained to copy celebrated works -- but such copies are at this day justly esteemed very little inferior in value to the originals. In the last exhibition of the old masters by the British Institution, a copy by Rubens, of the Marquis of Stafford's celebrated Titian, the discovery of Calisto, was shewn to the great gratification of the lovers of the art (Guercino da Cento)|The deposition of St. Petronilla, 4 feet, by 6 feet. The matchless drawing, accurate knowledge of the figure, general powers, and facility of this great master, were too unequivocally acknowledged by his illustrious rivals and contemporaries, Guido, Carravagio, &c., to be now disputed. Since his own age he has been altogether unrivalled, and never surpassed at any period of the art -- his grand Picture of the deposition of St. Petronilla, is insured to descend to posterity, by being at an enormous expence copied in Mosaic, in the Church of St. Peter's, in Rome. The apotheosis of St. Paul, at present on sale in London, is considered as cheaply valued at Fifteen Hundred Pounds. -- We are not aware of any copy of this present subject, indicating in the slightest degree, its beauty and merit. If this be a copy, it is indeed, a most splendid one, worthy of the pencil of any master; the possibility must be admitted when we know that Caracci, Rubens, and Vandyke, have not disdained to copy celebrated works -- but such copies are at this day justly esteemed very little inferior in value to the originals. In the last exhibition of the old masters by the British Institution, a copy by Rubens, of the Marquis of Stafford's celebrated Titian, the discovery of Calisto, was shewn to the great gratification of the lovers of the art]] réalisée par Guercino da Cento, vendue par J D Mullen, Esq, achetée par Adlercron au prix de 26.3 £. [423]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Dalilah cutting off Sampson's Hair. 3 feet 2 inches, by 4 feet 1 inch. This Master formed his ideas of elegance and grace from the taste of Guido, and of the beauty of coloring from the manner of Correggio -- correctness of outline, and the gusto of the Roman School predominate in his works; they are rarely to be met with at Public Sales, and valued accordingly (Alessander Turchi -- called L'Orbetto)|Dalilah cutting off Sampson's Hair. 3 feet 2 inches, by 4 feet 1 inch. This Master formed his ideas of elegance and grace from the taste of Guido, and of the beauty of coloring from the manner of Correggio -- correctness of outline, and the gusto of the Roman School predominate in his works; they are rarely to be met with at Public Sales, and valued accordingly]] réalisée par Alessander Turchi -- called L'Orbetto, vendue par J D Mullen, Esq, achetée par OBeirne au prix de 9.13 £. [429]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Meleager and Atalanta. 2 feet 8 inches, by 1 foot 11 inches. The merits of Wildens have been already adverted to in No. 77, his conjunction with Quillenus does not lessen the value of the present Picture; it possesses the perfections of these two Masters, and of the celebrated School in which they were so eminently distinguished (Wildens)|Meleager and Atalanta. 2 feet 8 inches, by 1 foot 11 inches. The merits of Wildens have been already adverted to in No. 77, his conjunction with Quillenus does not lessen the value of the present Picture; it possesses the perfections of these two Masters, and of the celebrated School in which they were so eminently distinguished]] réalisée par Wildens, vendue par J D Mullen, Esq, achetée par Harrington au prix de 7.1 £. [430]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Landscape, 1 foot 11 inches, by 1 foot. This Picture shews all the uncommon readiness and freedom of hand, which distinguish this esteemed master, whose great knowledge of perspective and chiaro scuro, perfectly accounts for the pleasing and natural effects produced by even his slightest works. The present Picture is of his best time and manner, it would rank in Holland with one of Teniers', and be valued accordingly (Van Goyen)|Landscape, 1 foot 11 inches, by 1 foot. This Picture shews all the uncommon readiness and freedom of hand, which distinguish this esteemed master, whose great knowledge of perspective and chiaro scuro, perfectly accounts for the pleasing and natural effects produced by even his slightest works. The present Picture is of his best time and manner, it would rank in Holland with one of Teniers', and be valued accordingly]] réalisée par Van Goyen, vendue par J D Mullen, Esq, achetée par Peacock au prix de 4.16 £. [434]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The Flemish Family, 2 feet 9 inches, by 2 feet 4 inches. The works of Jan Steen are of very rare occurrence, even in London sales. -- In Dublin Catalogues, in the course of many years' experience, we are not aware of any instance of his name being quoted or misquoted. The Marquis of Stafford's princely collection contains but one Picture of this Master. -- The equally superb collection of the Earl of Grosvenor is, we believe, destitute of an example. Their universal estimation, and the avidity with which his works are purchased, have long since rendered a Jan Steen an acquisition of very difficult attainment. His fine discrimination of character -- his power of appropriately and accurately designating the diversities of the forms, attitudes, airs, and expression of high and low life, the gentleman and the boor -- his amazing breadth and effect, his masterly and artist-like freedom of pencil -- fully justify the value attached to his works. That truly great artist, elegant gentleman, and perfect connoisseur, the late Sir Joshua Reynolds, not only bestowed on him the warmest eulogiums, but placed him far above all the masters of the Dutch School. The slightest inspection of any engraving after this Master, will convince the most inexperienced of his identity (Jan Steen)|The Flemish Family, 2 feet 9 inches, by 2 feet 4 inches. The works of Jan Steen are of very rare occurrence, even in London sales. -- In Dublin Catalogues, in the course of many years' experience, we are not aware of any instance of his name being quoted or misquoted. The Marquis of Stafford's princely collection contains but one Picture of this Master. -- The equally superb collection of the Earl of Grosvenor is, we believe, destitute of an example. Their universal estimation, and the avidity with which his works are purchased, have long since rendered a Jan Steen an acquisition of very difficult attainment. His fine discrimination of character -- his power of appropriately and accurately designating the diversities of the forms, attitudes, airs, and expression of high and low life, the gentleman and the boor -- his amazing breadth and effect, his masterly and artist-like freedom of pencil -- fully justify the value attached to his works. That truly great artist, elegant gentleman, and perfect connoisseur, the late Sir Joshua Reynolds, not only bestowed on him the warmest eulogiums, but placed him far above all the masters of the Dutch School. The slightest inspection of any engraving after this Master, will convince the most inexperienced of his identity]] réalisée par Jan Steen, vendue par J D Mullen, Esq, achetée par OBeirne au prix de 9.2 £. [435]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Landscape and Figures, (Round Diameter,) -- 1 foot, by 4 1/2 inches. This number, and its Companion, 94, are two exquisite bijoux; perfect Italian scenery and skies, true and excellent coloring, elegant invention and exquisite finish, wonderful neatness of touch, and happy management of aerial perspective, enriched by the elegant figures of Gerard Lairesse -- in short, an epitome of every perfection and beauty which the joint pencils of two most celebrated masters could produce (Glauber)|Landscape and Figures, (Round Diameter,) -- 1 foot, by 4 1/2 inches. This number, and its Companion, 94, are two exquisite bijoux; perfect Italian scenery and skies, true and excellent coloring, elegant invention and exquisite finish, wonderful neatness of touch, and happy management of aerial perspective, enriched by the elegant figures of Gerard Lairesse -- in short, an epitome of every perfection and beauty which the joint pencils of two most celebrated masters could produce]] réalisée par Glauber, vendue par J D Mullen, Esq, achetée par Waldron au prix de 11.18 £. [436]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Landscape and Figures. Companion to 93, -- (Round Diameter) This number, and its Companion, 94, are two exquisite bijoux; perfect Italian scenery and skies, true and excellent coloring, elegant invention and exquisite finish, wonderful neatness of touch, and happy management of aerial perspective, enriched by the elegant figures of Gerard Lairesse -- in short, an epitome of every perfection and beauty which the joint pencils of two most celebrated masters could produce (Glauber)|Landscape and Figures. Companion to 93, -- (Round Diameter) This number, and its Companion, 94, are two exquisite bijoux; perfect Italian scenery and skies, true and excellent coloring, elegant invention and exquisite finish, wonderful neatness of touch, and happy management of aerial perspective, enriched by the elegant figures of Gerard Lairesse -- in short, an epitome of every perfection and beauty which the joint pencils of two most celebrated masters could produce]] réalisée par Glauber, vendue par J D Mullen, Esq, achetée par Waldron au prix de 13.1 £. [437]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Martyrdom of St. Bartholemew. 1 foot, by 1 foot 6 inches. This Historical Picture and its Companion, No. 96, are perfectly finished small studies for two grand and celebrated works of Nicola Poussin. Of the Martyrdom, it is well known he painted a repetition, differing in the circumstance of the figure or statue -- the first being a Jupiter; the second, as in this instance, a Hercules -- engravings of both are extant: a large Picture, similar to the present, was lately offered to public sale -- it formed one of the collection of a gentleman most highly and deservedly eminent for taste, knowledge, and discrimination in the fine arts -- the whole collection was bought for a very large sum in the city of Dublin, by a London connoisseur, a gentleman of the first taste and liberality. We shall only say, that in comparing the small with the large Picture, its claim to originality was instantly and cheerfully acknowledged -- its superiority in drawing and coloring spoke for themselves! (N. Poussin)|Martyrdom of St. Bartholemew. 1 foot, by 1 foot 6 inches. This Historical Picture and its Companion, No. 96, are perfectly finished small studies for two grand and celebrated works of Nicola Poussin. Of the Martyrdom, it is well known he painted a repetition, differing in the circumstance of the figure or statue -- the first being a Jupiter; the second, as in this instance, a Hercules -- engravings of both are extant: a large Picture, similar to the present, was lately offered to public sale -- it formed one of the collection of a gentleman most highly and deservedly eminent for taste, knowledge, and discrimination in the fine arts -- the whole collection was bought for a very large sum in the city of Dublin, by a London connoisseur, a gentleman of the first taste and liberality. We shall only say, that in comparing the small with the large Picture, its claim to originality was instantly and cheerfully acknowledged -- its superiority in drawing and coloring spoke for themselves!]] réalisée par N. Poussin, vendue par J D Mullen, Esq, achetée par Sirr au prix de 4.11 £. [438]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The Death of St. Erasmus. 1 foot, by 1 foot 6 inches. The Companion to 95 -- every way equal in merit; both being of the first class of historical composition This Historical Picture and its Companion, No. 96, are perfectly finished small studies for two grand and celebrated works of Nicola Poussin (N. Poussin)|The Death of St. Erasmus. 1 foot, by 1 foot 6 inches. The Companion to 95 -- every way equal in merit; both being of the first class of historical composition This Historical Picture and its Companion, No. 96, are perfectly finished small studies for two grand and celebrated works of Nicola Poussin]] réalisée par N. Poussin, vendue par J D Mullen, Esq au prix de 5.13 £. [439]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The Monks of La Trappe, 2 feet 1 inch, by 2 feet 6 inches. The extraordinary mind and peculiar disposition of Salvator Rosa impressed a singular and decided originality on all his works. -- Of all the great masters he cannot be mistaken or confounded with any other -- the uncommnon wildness and romantic grandeur of his Landscape scenes -- the fury of his battles -- the animation of his animals -- the terror of his land and sea storms -- the impenetrable depths of his retired solitudes -- the retreat of his favorite Banditti -- his lowering and thunder charged skies -- his riven oaks -- his sites of danger and desolation are all depicted with such great propriety of conception -- picturesque combination -- concordant tones -- facility and freedom of pencil, as to leave him without a rival, and undisputed master of his own style. Historical Pictures by this master are extremely scarce; every thing from his pencil is most highly prized: the gloomy and cheerless solitude of the monastery and Monks of la Trappe -- their contemplative occupations, melancholy reflections and souvenirs de mortalité, are here painted with marvellous truth and effect: inimitable freedom of pencil and depth of tone, inseparable from his works, are evident in every part of these two truly fine Pictures (Salvator Rosa)|The Monks of La Trappe, 2 feet 1 inch, by 2 feet 6 inches. The extraordinary mind and peculiar disposition of Salvator Rosa impressed a singular and decided originality on all his works. -- Of all the great masters he cannot be mistaken or confounded with any other -- the uncommnon wildness and romantic grandeur of his Landscape scenes -- the fury of his battles -- the animation of his animals -- the terror of his land and sea storms -- the impenetrable depths of his retired solitudes -- the retreat of his favorite Banditti -- his lowering and thunder charged skies -- his riven oaks -- his sites of danger and desolation are all depicted with such great propriety of conception -- picturesque combination -- concordant tones -- facility and freedom of pencil, as to leave him without a rival, and undisputed master of his own style. Historical Pictures by this master are extremely scarce; every thing from his pencil is most highly prized: the gloomy and cheerless solitude of the monastery and Monks of la Trappe -- their contemplative occupations, melancholy reflections and souvenirs de mortalité, are here painted with marvellous truth and effect: inimitable freedom of pencil and depth of tone, inseparable from his works, are evident in every part of these two truly fine Pictures]] réalisée par Salvator Rosa, vendue par J D Mullen, Esq au prix de 5.2 £. [440]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The Monks of La Trappe, 2 feet 1 inch, by 2 feet 6 inches. Companion to No. 97 -- Exhibits the refectory, or eating hall where the Superior, presiding at the dinner table, seems to have just tried one of those painful experiments of an affrighted Novice, which the austerity of the order endeavoured, as much as possible, to multiply; on uncovering the first dish a memento mori discovers itself, and the brother, who stands above with extended arms, seems to pronounce aloud the sole ejaculation of the order, "Brother, thou shalt surely die!" The works of this most romantic artist must become enhanced in the estimation of Irishmen by the recollection of his life being written by their most talented countywoman, Lady Morgan Historical Pictures by this master are extremely scarce; every thing from his pencil is most highly prized: the gloomy and cheerless solitude of the monastery and Monks of la Trappe -- their contemplative occupations, melancholy reflections and souvenirs de mortalité, are here painted with marvellous truth and effect: inimitable freedom of pencil and depth of tone, inseparable from his works, are evident in every part of these two truly fine Pictures (Salvator Rosa)|The Monks of La Trappe, 2 feet 1 inch, by 2 feet 6 inches. Companion to No. 97 -- Exhibits the refectory, or eating hall where the Superior, presiding at the dinner table, seems to have just tried one of those painful experiments of an affrighted Novice, which the austerity of the order endeavoured, as much as possible, to multiply; on uncovering the first dish a memento mori discovers itself, and the brother, who stands above with extended arms, seems to pronounce aloud the sole ejaculation of the order, "Brother, thou shalt surely die!" The works of this most romantic artist must become enhanced in the estimation of Irishmen by the recollection of his life being written by their most talented countywoman, Lady Morgan Historical Pictures by this master are extremely scarce; every thing from his pencil is most highly prized: the gloomy and cheerless solitude of the monastery and Monks of la Trappe -- their contemplative occupations, melancholy reflections and souvenirs de mortalité, are here painted with marvellous truth and effect: inimitable freedom of pencil and depth of tone, inseparable from his works, are evident in every part of these two truly fine Pictures]] réalisée par Salvator Rosa, vendue par J D Mullen, Esq au prix de 5.13 £. [441]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Landscape. 3 feet 9 1/2 inches, by 2 feet 8 1/2 inches. The rarity, and consequent estimation of Bourdon's Landscapes, is too well known to require any remark -- the grandeur of his composition, his classic scenery and figures, might induce this picture being mistaken as Nichola Poussin's; however, Bourdon's charateristic freedom of touch and avoidance of elaborate finish, mark it evidently for his (Sebastian Bourdon)|Landscape. 3 feet 9 1/2 inches, by 2 feet 8 1/2 inches. The rarity, and consequent estimation of Bourdon's Landscapes, is too well known to require any remark -- the grandeur of his composition, his classic scenery and figures, might induce this picture being mistaken as Nichola Poussin's; however, Bourdon's charateristic freedom of touch and avoidance of elaborate finish, mark it evidently for his]] réalisée par Sebastian Bourdon, vendue par J D Mullen, Esq, achetée par Harrington au prix de 14.15 £. [442]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The Marriage of Canaan, 1 foot 7 inches, by 11 inches. This little Picture is from the hand of a great Master, who was celebrated for a delicate touch, sweetness of coloring and penciling, and the graceful airs of his heads; perfections quite obvious in this small study (Claudio Ridolphi)|The Marriage of Canaan, 1 foot 7 inches, by 11 inches. This little Picture is from the hand of a great Master, who was celebrated for a delicate touch, sweetness of coloring and penciling, and the graceful airs of his heads; perfections quite obvious in this small study]] réalisée par Claudio Ridolphi, vendue par J D Mullen, Esq, achetée par Woods au prix de 5.2 £. [443]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Repose in Egypt. 3 feet 3 inches, by 2 feet 5 inches. We feel perfectly justified in claiming for this Picture, precedence of every thing we have heretofore seen from the hand of this Master, whose works are always to be admired for true color and beauty of situation and scenery -- it is in his finest Italian style, and evidently painted after he studied the works of Titian and Annibal Caracci; the latter of whom has enhanced its value by inserting the figures; the exquisite finish of the herbs and plants on the fore-ground; the grandeur, depth, and judicious massiveness of the middle distance, the sweet and tender tone of the sky, its entire freedom from the brown and yellow tinge which marks and detracts from the value of his early pictures; every thing combines to render it a most precious specimen (Paul Brill)|Repose in Egypt. 3 feet 3 inches, by 2 feet 5 inches. We feel perfectly justified in claiming for this Picture, precedence of every thing we have heretofore seen from the hand of this Master, whose works are always to be admired for true color and beauty of situation and scenery -- it is in his finest Italian style, and evidently painted after he studied the works of Titian and Annibal Caracci; the latter of whom has enhanced its value by inserting the figures; the exquisite finish of the herbs and plants on the fore-ground; the grandeur, depth, and judicious massiveness of the middle distance, the sweet and tender tone of the sky, its entire freedom from the brown and yellow tinge which marks and detracts from the value of his early pictures; every thing combines to render it a most precious specimen]] réalisée par Paul Brill, vendue par J D Mullen, Esq, achetée par Peacock au prix de 18.15 £. [444]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Charity. 2 feet 11 inches, by 3 feet 8 inches. "Faith, Hope, and Charity, -- but the greatest of these is Charity." Of the many useful lessons, moral and religious, which the Fine Arts have recorded and enforced, and which the universal language of painting has zealously inculcated, the delightful subject of Charity has always assumed on canvass the most fascinating appearance; a beautiful and pious mother, busily engaged in administering the admirable nutriment which Heaven has so miraculously sent her, surrounded on every side by groups of lovely infants, gracefully disposed, and affectionately occupied, afford to the artist an ample opportunity of displaying every thing most interesting and attractive in living nature. The great pupil and rival of Titian and Paolo Veronese, who inscribed on his ambitious standard of ultimate perfection in his art, the design of Michael Angelo, and the coloring of Titian, has composed the present picture, so much in the manner of the divine Corregio, that a very close inspection only could ascertain the reality of the 'Il furioso Tintoretto' being its author, -- however, the sanguine flesh-tint, the brilliant but much subdued tones of the Venetian School, visible in the drapery, coeffure, and back-ground, effectually remove all doubt. The works of Tintoretto are seldom to be purchased -- always have been, and must ever continue to be in the first rank of art. Regarding Tintoretto, in every point of view, it may be safely affirmed, that no greater artist has ever, or indeed is ever likely to appear. We had almost forgot to notice that the female is evidently a portrait of some lady of rank, a practise common in the first ages of the art, when beauty was ambitious of being decked in the costume of religion, not deeming itself, as in these enlightened days, "when unadorned, adorned the most" (Tintoretto)|Charity. 2 feet 11 inches, by 3 feet 8 inches. "Faith, Hope, and Charity, -- but the greatest of these is Charity." Of the many useful lessons, moral and religious, which the Fine Arts have recorded and enforced, and which the universal language of painting has zealously inculcated, the delightful subject of Charity has always assumed on canvass the most fascinating appearance; a beautiful and pious mother, busily engaged in administering the admirable nutriment which Heaven has so miraculously sent her, surrounded on every side by groups of lovely infants, gracefully disposed, and affectionately occupied, afford to the artist an ample opportunity of displaying every thing most interesting and attractive in living nature. The great pupil and rival of Titian and Paolo Veronese, who inscribed on his ambitious standard of ultimate perfection in his art, the design of Michael Angelo, and the coloring of Titian, has composed the present picture, so much in the manner of the divine Corregio, that a very close inspection only could ascertain the reality of the 'Il furioso Tintoretto' being its author, -- however, the sanguine flesh-tint, the brilliant but much subdued tones of the Venetian School, visible in the drapery, coeffure, and back-ground, effectually remove all doubt. The works of Tintoretto are seldom to be purchased -- always have been, and must ever continue to be in the first rank of art. Regarding Tintoretto, in every point of view, it may be safely affirmed, that no greater artist has ever, or indeed is ever likely to appear. We had almost forgot to notice that the female is evidently a portrait of some lady of rank, a practise common in the first ages of the art, when beauty was ambitious of being decked in the costume of religion, not deeming itself, as in these enlightened days, "when unadorned, adorned the most"]] réalisée par Tintoretto, vendue par J D Mullen, Esq au prix de 22.15 £. [447]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Introduction of an Artist, 3 feet 7 inches, by 2 feet 8 inches. This masterly production by the celebrated Spanish Painter, Velasquez, represents his introduction to the Bentivoglio Society in Rome -- the ceremony is evidently of a humorous description; the bays with which his brows are going to be invested, the up-lifted bowl out of which he has drunk, or been sprinkled, indicate his just having rcceived his nom de societè -- the costume and dagger shew his nation -- the contemporary artists, by whom he is surrounded, are portraits executed with the admirable fidelity, and perfect adherence to life, truth, and nature, for which this great artist's works are so distinguished. This Picture is from the collection of the late Earl of Bristol, was purchased by him in Italy, and cost a large sum (Velasquez)|Introduction of an Artist, 3 feet 7 inches, by 2 feet 8 inches. This masterly production by the celebrated Spanish Painter, Velasquez, represents his introduction to the Bentivoglio Society in Rome -- the ceremony is evidently of a humorous description; the bays with which his brows are going to be invested, the up-lifted bowl out of which he has drunk, or been sprinkled, indicate his just having rcceived his nom de societè -- the costume and dagger shew his nation -- the contemporary artists, by whom he is surrounded, are portraits executed with the admirable fidelity, and perfect adherence to life, truth, and nature, for which this great artist's works are so distinguished. This Picture is from the collection of the late Earl of Bristol, was purchased by him in Italy, and cost a large sum]] réalisée par Velasquez, vendue par J D Mullen, Esq au prix de 22.15 £. [448]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The Assumption of the Virgin, 9 1/4 inches, by 1 foot 1/2 inch. The air and composition of this charming little Picture is so perfectly historical, the drawing and characters so perfectly fine, that if we were not assured that young Franks studied in Venice, where he copied the Works of the most eminent Artists, we should have supposed it by the hand of some great Italian Master; it certainly possesses elegance, dignity and correctness, far beyond the Flemish School, and must have been executed during his stay in Italy (Young Franks)|The Assumption of the Virgin, 9 1/4 inches, by 1 foot 1/2 inch. The air and composition of this charming little Picture is so perfectly historical, the drawing and characters so perfectly fine, that if we were not assured that young Franks studied in Venice, where he copied the Works of the most eminent Artists, we should have supposed it by the hand of some great Italian Master; it certainly possesses elegance, dignity and correctness, far beyond the Flemish School, and must have been executed during his stay in Italy]] réalisée par Young Franks, vendue par J D Mullen, Esq, achetée par Waldron au prix de 17.1 £. [449]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Finding of Moses, 2 feet, by 1 foot 7 inches. An Athenian in his taste and a Spartan in his habits, Nicola Poussin dwelt amongst the living, but held his commune and converse with the mighty dead. -- So completely was his mind imbued with Roman and Grecian lore -- with the figures, forms, costumes, habits, and ceremonies of the classic ages, that it seems almost impossible for his hand to have traced any subject, but in pure Roman or Grecian characters. The Crucifixion, the Nativity, the murder of the Innocents, the finding of Moses, the Death of Phocion, the Sybil's temple, a Land-storm, the very Deluge itself, coming from his pencil, bear a classic aspect and appear surrounded by a classic atmosphere, delightful alike to the antiquarian, the scholar and the man of taste! -- The composition before us, he is well known to have repeated with trifling alterations; the present picture is perfectly authentic, and from the collection of the late St. George Caulfield, who purchased it in Paris (N. Poussin)|Finding of Moses, 2 feet, by 1 foot 7 inches. An Athenian in his taste and a Spartan in his habits, Nicola Poussin dwelt amongst the living, but held his commune and converse with the mighty dead. -- So completely was his mind imbued with Roman and Grecian lore -- with the figures, forms, costumes, habits, and ceremonies of the classic ages, that it seems almost impossible for his hand to have traced any subject, but in pure Roman or Grecian characters. The Crucifixion, the Nativity, the murder of the Innocents, the finding of Moses, the Death of Phocion, the Sybil's temple, a Land-storm, the very Deluge itself, coming from his pencil, bear a classic aspect and appear surrounded by a classic atmosphere, delightful alike to the antiquarian, the scholar and the man of taste! -- The composition before us, he is well known to have repeated with trifling alterations; the present picture is perfectly authentic, and from the collection of the late St. George Caulfield, who purchased it in Paris]] réalisée par N. Poussin, vendue par J D Mullen, Esq au prix de 7.7 £. [450]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Madonna and St. Veronica. 10 inches, by 11 1/2 inches. The subject of this Picture equally interesting to natural feelings and religious sentiments, exhibits the Virgin and St. Veronica. The former filled with unutterable woe raises her eyes to heaven, where her treasure, her hope, and her consolation are henceforth to be found. The St. Veronica, her head depressed, and her cheek bedewed with tears, peruses with the tenderest interest the traces of those Divine features, so miraculously impressed on the precious handkerchief, with which, in her pious zeal, she had aided the Saviour on his painful route to Mount Calvary. In the corner appears the crown of thorns -- the crown of Him, whose kingdom is not of this world, but whose crown is now a crown of unfading glory, and whose throne is everlasting in the Heavens, established for ever and for ever. This beautiful, pathetic, and highly finished production is every way worthy of Ludovico Caracci: it belonged to the same collection the late St. George Caulfield as the preceding number lot 107, and both were purchased at a most liberal price (Lud. Caracci)|Madonna and St. Veronica. 10 inches, by 11 1/2 inches. The subject of this Picture equally interesting to natural feelings and religious sentiments, exhibits the Virgin and St. Veronica. The former filled with unutterable woe raises her eyes to heaven, where her treasure, her hope, and her consolation are henceforth to be found. The St. Veronica, her head depressed, and her cheek bedewed with tears, peruses with the tenderest interest the traces of those Divine features, so miraculously impressed on the precious handkerchief, with which, in her pious zeal, she had aided the Saviour on his painful route to Mount Calvary. In the corner appears the crown of thorns -- the crown of Him, whose kingdom is not of this world, but whose crown is now a crown of unfading glory, and whose throne is everlasting in the Heavens, established for ever and for ever. This beautiful, pathetic, and highly finished production is every way worthy of Ludovico Caracci: it belonged to the same collection the late St. George Caulfield as the preceding number lot 107, and both were purchased at a most liberal price]] réalisée par Lud. Caracci, vendue par J D Mullen, Esq, achetée par Farrar au prix de 20.9 £. [451]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The Garden of Love, 3 feet 8 inches, by 2 feet 4 inches. This favorite subject of Rubens is well known to connoiseurs, by various fine engravings; as usual with celebrated compositions, repetitions were made by its author; a very capital and and highly finished one (but unhappily deprived by some fatality of its most interesting group) was sold in this city about four yers ago. The present Picture has all the fine color, freedom of pencil, case of attitude, air of life and expression, which belong to the works of this great master (Rubens)|The Garden of Love, 3 feet 8 inches, by 2 feet 4 inches. This favorite subject of Rubens is well known to connoiseurs, by various fine engravings; as usual with celebrated compositions, repetitions were made by its author; a very capital and and highly finished one (but unhappily deprived by some fatality of its most interesting group) was sold in this city about four yers ago. The present Picture has all the fine color, freedom of pencil, case of attitude, air of life and expression, which belong to the works of this great master]] réalisée par Rubens, vendue par J D Mullen, Esq, achetée par Waldron au prix de 26.3 £. [452]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Satyr and Fruit. 3 feet 2 inches, by 4 feet. It is impossible for any one in the slightest degree acquainted with the art, to mistake, for a moment, this Satyr for one of the family, by Rubens or Jordaens -- those beastly compounds of flesh and sensuality, lecherous and libidinous, bursting with wine and wantonness, teeming with wit and waggery, their bodies compressible and pregnant with juice as the grapes in their hands; and if squeezed, apparently as ready to yield forth the wine with which they seem actually saturated at every pore! -- creations of Flemish fancy, the offspring of color, but wholly unlike the comparatively chaste and modest classic Satyrs, who "oft with sylvan boys were seen, peeping from forth their alleys green" -- But is this really a Satyr that we see before us? -- Or is he not rather a Silenus or Bacchus -- some God of the vine-harvest, (one of the acres potores un peu pris du vin) who is good naturedly employed in presenting to an Italian peasant the first fruits of the vintage. We shall compress our own sense of the merits of this Picture into a very small space, it is faultless -- it is not possible that any thing can surpass it in drawing, expression, character, color, or chiara scuro -- the nearly-closed eye, the finely marked body, the powerful and widely extended grasp of the arms and hands, the perfect Italian character of the peasant, the exquisite touches of reflected light upon the poculum aliphanum, the fully ripened melon, the deep-blushing luscious purple grapes, compleat a work hardly to be matched, of Nicola Poussin (N. Poussin)|Satyr and Fruit. 3 feet 2 inches, by 4 feet. It is impossible for any one in the slightest degree acquainted with the art, to mistake, for a moment, this Satyr for one of the family, by Rubens or Jordaens -- those beastly compounds of flesh and sensuality, lecherous and libidinous, bursting with wine and wantonness, teeming with wit and waggery, their bodies compressible and pregnant with juice as the grapes in their hands; and if squeezed, apparently as ready to yield forth the wine with which they seem actually saturated at every pore! -- creations of Flemish fancy, the offspring of color, but wholly unlike the comparatively chaste and modest classic Satyrs, who "oft with sylvan boys were seen, peeping from forth their alleys green" -- But is this really a Satyr that we see before us? -- Or is he not rather a Silenus or Bacchus -- some God of the vine-harvest, (one of the acres potores un peu pris du vin) who is good naturedly employed in presenting to an Italian peasant the first fruits of the vintage. We shall compress our own sense of the merits of this Picture into a very small space, it is faultless -- it is not possible that any thing can surpass it in drawing, expression, character, color, or chiara scuro -- the nearly-closed eye, the finely marked body, the powerful and widely extended grasp of the arms and hands, the perfect Italian character of the peasant, the exquisite touches of reflected light upon the poculum aliphanum, the fully ripened melon, the deep-blushing luscious purple grapes, compleat a work hardly to be matched, of Nicola Poussin]] réalisée par N. Poussin, vendue par J D Mullen, Esq au prix de 23.17 £. [454]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Farm Yard, 2 feet 1 inch, by 2 feet 2 inches. The usual subjects of Peter Van Laer were Masquerades, Harvest-Homes, Inn-Yards, Fairs, Drolleries, &c. called by the Italians, Bambocciate. No master ever attained a higher character, or more universal approbation; his manner was so admired as to be adopted by the Italians; his style of painting was sweet and true; his touch delicate and transparent, his perspective perfectly correct. Such was his felicity of perception and execution (says that severe critic and supreme judge of the art, Fuzeli) that instead of their images, we think we see the real objects themselves! It is not to be wondered at, that the works of Bamboccio should be scarce and highly valued (Peter Van Laer, called Bamboccio)|Farm Yard, 2 feet 1 inch, by 2 feet 2 inches. The usual subjects of Peter Van Laer were Masquerades, Harvest-Homes, Inn-Yards, Fairs, Drolleries, &c. called by the Italians, Bambocciate. No master ever attained a higher character, or more universal approbation; his manner was so admired as to be adopted by the Italians; his style of painting was sweet and true; his touch delicate and transparent, his perspective perfectly correct. Such was his felicity of perception and execution (says that severe critic and supreme judge of the art, Fuzeli) that instead of their images, we think we see the real objects themselves! It is not to be wondered at, that the works of Bamboccio should be scarce and highly valued]] réalisée par Peter Van Laer, called Bamboccio, vendue par J D Mullen, Esq au prix de 13.1 £. [455]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[St. John Preaching. 4 feet 7 inches, by 6 feet. This historical picture is from the pencil of a truly great Artist, who had the wonderful facility of imitating to perfection, not only the coloring, but the manner of thinking and composing peculiar to every other master; probably, the picture before us has some reference to the manner of Bassan: the fine freedom of out-line, facility and vigor of touch, force and depth of color, but above all, the astonishing thinness and transparency observable on a close inspection, render it a most extraordinary work of art. There is a copy of this picture in the Earl of Miltown's collection, in many particulars extremely well executed, but destitute of the fine glazes of the original, (not easy of imitation) the coloring appears raw and the picture unfinished (Luca Giordano, called Luca fa Presto)|St. John Preaching. 4 feet 7 inches, by 6 feet. This historical picture is from the pencil of a truly great Artist, who had the wonderful facility of imitating to perfection, not only the coloring, but the manner of thinking and composing peculiar to every other master; probably, the picture before us has some reference to the manner of Bassan: the fine freedom of out-line, facility and vigor of touch, force and depth of color, but above all, the astonishing thinness and transparency observable on a close inspection, render it a most extraordinary work of art. There is a copy of this picture in the Earl of Miltown's collection, in many particulars extremely well executed, but destitute of the fine glazes of the original, (not easy of imitation) the coloring appears raw and the picture unfinished]] réalisée par Luca Giordano, called Luca fa Presto, vendue par J D Mullen, Esq au prix de 28.8 £. [456]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Cattle Reposing. 1 foot 9 1/2 inches, by 1 foot 2 1/2 inches. This modern artist was very early distinguished and applauded, and the productions of his pencil eagerly sought and purchased. We have seen nothing of his hand more estimable than this picture, it is a charming composition, or more probably a real view, as it has all the delightful harmony of nature about it -- the pure and tender sky -- the interesting back ground, with its animated moving objects, happily contrasts the tranquil natural positions and characteristic repose of the animals. The fine drawing and atmospheric effect render it worthy of the pencil of Cuyp himself. The solitudinous appearance of the fore-ground, on which no human figure is seen, is finely balanced by the ideal extreme distance of "towered cities and the busy haunts of men," to which vessels are ploughing their way over rivers and seas, those high-ways of nations, and channels of intercommunication between the most opposite climes and distant countries. This inlet to imagination is the very magic and poetry of the art; how different from the cold frigid, formal, inanimate and unimaginative transcript of nature, which renders every branch of it alike -- mere still-life (Omigank)|Cattle Reposing. 1 foot 9 1/2 inches, by 1 foot 2 1/2 inches. This modern artist was very early distinguished and applauded, and the productions of his pencil eagerly sought and purchased. We have seen nothing of his hand more estimable than this picture, it is a charming composition, or more probably a real view, as it has all the delightful harmony of nature about it -- the pure and tender sky -- the interesting back ground, with its animated moving objects, happily contrasts the tranquil natural positions and characteristic repose of the animals. The fine drawing and atmospheric effect render it worthy of the pencil of Cuyp himself. The solitudinous appearance of the fore-ground, on which no human figure is seen, is finely balanced by the ideal extreme distance of "towered cities and the busy haunts of men," to which vessels are ploughing their way over rivers and seas, those high-ways of nations, and channels of intercommunication between the most opposite climes and distant countries. This inlet to imagination is the very magic and poetry of the art; how different from the cold frigid, formal, inanimate and unimaginative transcript of nature, which renders every branch of it alike -- mere still-life]] réalisée par Omigank, vendue par J D Mullen, Esq, achetée par Farrar au prix de 40.19 £. [457]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Diana and Nymphs Bathing. 15 3/4 inches, by 12 1/4 inches. The Mythology of the Ancients, which at first-sight appeared only a set of cunningly devised fables, in reality contained their philosophy of nature, morals, and religion -- among the virtues inculcated, respect and decorum on the part of the men, inviolable modesty on the part of the females, were most strongly enforced. The Deity particularly presiding over the morals and concerns of the female sex, was Diana the goddess of chastity, always distinguished by a Crescent, she herself being a personification of Luna or the Moon She is here surrounded by her nymphs, who are always represented as bathing, in her presence -- the Ancients hereby indicating what our great Poet has so aptly and elegantly expressed -- The chariest Maid is prodigal enough If she unveil her beauties to the Moon. The superior beauty, elevation, and conscious dignity of the goddess are preserved amidst the variety of fine forms; the charming Landscape, the perfection of the animals, the exquisite finish and color of the whole, render it altogether an invaluable gem of this invaluable master (Polemberg)|Diana and Nymphs Bathing. 15 3/4 inches, by 12 1/4 inches. The Mythology of the Ancients, which at first-sight appeared only a set of cunningly devised fables, in reality contained their philosophy of nature, morals, and religion -- among the virtues inculcated, respect and decorum on the part of the men, inviolable modesty on the part of the females, were most strongly enforced. The Deity particularly presiding over the morals and concerns of the female sex, was Diana the goddess of chastity, always distinguished by a Crescent, she herself being a personification of Luna or the Moon She is here surrounded by her nymphs, who are always represented as bathing, in her presence -- the Ancients hereby indicating what our great Poet has so aptly and elegantly expressed -- The chariest Maid is prodigal enough If she unveil her beauties to the Moon. The superior beauty, elevation, and conscious dignity of the goddess are preserved amidst the variety of fine forms; the charming Landscape, the perfection of the animals, the exquisite finish and color of the whole, render it altogether an invaluable gem of this invaluable master]] réalisée par Polemberg, vendue par J D Mullen, Esq, achetée par Waldron au prix de 36.8 £. [458]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Peace after Binding up the Implements of War. 2 feet 11 inches, by 3 feet 8 inches. Amidst the works of the greatest masters, those of Cortona stand eminently distinguished for grandeur, grace and elegance; an historical picture from the hand of this master for sale is scarcely to be met with -- the Flight of Hagar, from the Orford collection, 70 years ago, sold for One thousand pounds -- the Meeting of Jacob and Laban, for Eighteen hundred pounds -- all the grand gusto of the Roman school, correct drawing, flowing draperies, and pure color, is to be found in this picture; the en bon point of the first figure emblematical of Peace, the animation and expression of the younger, indicating Happiness, is finely imagined (Pietra da Cortona)|Peace after Binding up the Implements of War. 2 feet 11 inches, by 3 feet 8 inches. Amidst the works of the greatest masters, those of Cortona stand eminently distinguished for grandeur, grace and elegance; an historical picture from the hand of this master for sale is scarcely to be met with -- the Flight of Hagar, from the Orford collection, 70 years ago, sold for One thousand pounds -- the Meeting of Jacob and Laban, for Eighteen hundred pounds -- all the grand gusto of the Roman school, correct drawing, flowing draperies, and pure color, is to be found in this picture; the en bon point of the first figure emblematical of Peace, the animation and expression of the younger, indicating Happiness, is finely imagined]] réalisée par Pietra da Cortona, vendue par J D Mullen, Esq au prix de 28.8 £. [459]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Village Fete. 3 feet 1 inch, by 3 feet 4 inches. This Picture is incontestably the chef d'oeuvre of Molinear, it contains little short of one hundred figures, and must have been intended as a competition with some of the finest works of Ostade and Teniers: we have witnessed 1600 guineas paid for a picture of the latter master, nearly similar in subject and number of figures (Molinear)|Village Fete. 3 feet 1 inch, by 3 feet 4 inches. This Picture is incontestably the chef d'oeuvre of Molinear, it contains little short of one hundred figures, and must have been intended as a competition with some of the finest works of Ostade and Teniers: we have witnessed 1600 guineas paid for a picture of the latter master, nearly similar in subject and number of figures]] réalisée par Molinear, vendue par J D Mullen, Esq au prix de 22.15 £. [460]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The Death of Eurydice, 4 feet 11 inches, by 6 feet 7 inches. As the bride amid the Naaid train, Ran joyful sporting o'er the flow'ry plain, a venom'd viper bit her as she pass'd; Instant she fell, and sudden breath'd her last. The death of Eurydice and the anguish of her husband lover, are here finely represented. Of all the affecting incidents of human life -- of all the earthly events which most shock the heart and tend to shake our reason from its throne, the unforseen and sudden death of a dearly beloved, innocent, and beautiful female, at the very moment when she has become, as it were, incorporated with our existence -- "Bone of our bone, flesh of our flesh," -- is surely the most inconsolable and heart-rending: Time, which affords a balm for every other affliction, fails in this, and but imperfectly restores our shocked senses and lacerated feelings. The perfect preservation of beauty -- the absence of painful expression -- the natural consequence of the manner of Eurydice's death is admirably contrasted with the total despair of Orpheus. -- The classic draperies, fine drawing, and design of the figures, the lugubre tones of the sky and back-ground are well imagined, in perfect unison with the subject, and worthy of Guerin, one of the most distinguished artists in the modern French School (Guerin)|The Death of Eurydice, 4 feet 11 inches, by 6 feet 7 inches. As the bride amid the Naaid train, Ran joyful sporting o'er the flow'ry plain, a venom'd viper bit her as she pass'd; Instant she fell, and sudden breath'd her last. The death of Eurydice and the anguish of her husband lover, are here finely represented. Of all the affecting incidents of human life -- of all the earthly events which most shock the heart and tend to shake our reason from its throne, the unforseen and sudden death of a dearly beloved, innocent, and beautiful female, at the very moment when she has become, as it were, incorporated with our existence -- "Bone of our bone, flesh of our flesh," -- is surely the most inconsolable and heart-rending: Time, which affords a balm for every other affliction, fails in this, and but imperfectly restores our shocked senses and lacerated feelings. The perfect preservation of beauty -- the absence of painful expression -- the natural consequence of the manner of Eurydice's death is admirably contrasted with the total despair of Orpheus. -- The classic draperies, fine drawing, and design of the figures, the lugubre tones of the sky and back-ground are well imagined, in perfect unison with the subject, and worthy of Guerin, one of the most distinguished artists in the modern French School]] réalisée par Guerin, vendue par J D Mullen, Esq au prix de 21.12 £. [461]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[Binding the Arrows of War, 3 feet 10 inches, by 5 feet 2 inches. The splendour and beauty of coloring in this picture cannot be exceeded -- from the great Tintoretto alone, whose instructions and friendship he had the happiness to obtain, could De Vos have derived the powers displayed in this fine work. The figures, Fury, draperies, cornucopia, fruit, and flowers, all vie with each other for perfection; it is decidedly one of the finest Pictures extant of the Flemish School. The works of Martin De Vos have at all times been most highly esimated (Martin de Vos)|Binding the Arrows of War, 3 feet 10 inches, by 5 feet 2 inches. The splendour and beauty of coloring in this picture cannot be exceeded -- from the great Tintoretto alone, whose instructions and friendship he had the happiness to obtain, could De Vos have derived the powers displayed in this fine work. The figures, Fury, draperies, cornucopia, fruit, and flowers, all vie with each other for perfection; it is decidedly one of the finest Pictures extant of the Flemish School. The works of Martin De Vos have at all times been most highly esimated]] réalisée par Martin de Vos, vendue par J D Mullen, Esq au prix de 30.14 £. [462]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The Flight into Egypt, 3 feet 4 inches, by 2 feet 8 inches. This beautiful picture belongs to the highest class of art: it pourtrays the heaven commanded flight of the Virgin Mother, with her sacred charge, "Arise and take the young child and his mother, and flee into Egypt, and be thou there until I bring thee word." -- On this journey she is just setting out; her beautiful eyes beaming with heavenly modesty and unutterable feelings of tenderness and maternal love, too fresh and vivid to be damped by sorrow or clouded by apprehension, strong and assured in the consciousness of divine protection. This picture seems to contain what is often to be found in the works of the first masters, allusions to past or future incidents connected with the immediate subject, the costume and cap of St. Joseph appear to indicate the future dignity of the christian church -- the fright and horror of St. Elizabeth seem prophetic of the future sufferings of him who was soon to be offered up on the cross, an unspotted sacrifice and full propitiation for the sins of a lost world! Every part of this picture is so much in the manner of Raphael, that we offer violence to our judgment in abstracting it from his name; however the perfect similarity of design and execution to be seen in the works of Garofalo, and above all a wish to avoid the slightest suspicion of misleading public opinion, has determined our adopting his name, perfectly assured that the value cannot be diminished by doing so -- The faces and figures are evidently from the life; the head-dresses and costume of the Virgin and St. Elizabeth particularly elegant and well contrasted, the whole group indicate most strongly the presence of personages of more than common rank; even the manner in which the Virgin holds her precious charge has in it a something which expresses this idea -- the head and os frontis of the Infant are among the finest parts (Garofalo)|The Flight into Egypt, 3 feet 4 inches, by 2 feet 8 inches. This beautiful picture belongs to the highest class of art: it pourtrays the heaven commanded flight of the Virgin Mother, with her sacred charge, "Arise and take the young child and his mother, and flee into Egypt, and be thou there until I bring thee word." -- On this journey she is just setting out; her beautiful eyes beaming with heavenly modesty and unutterable feelings of tenderness and maternal love, too fresh and vivid to be damped by sorrow or clouded by apprehension, strong and assured in the consciousness of divine protection. This picture seems to contain what is often to be found in the works of the first masters, allusions to past or future incidents connected with the immediate subject, the costume and cap of St. Joseph appear to indicate the future dignity of the christian church -- the fright and horror of St. Elizabeth seem prophetic of the future sufferings of him who was soon to be offered up on the cross, an unspotted sacrifice and full propitiation for the sins of a lost world! Every part of this picture is so much in the manner of Raphael, that we offer violence to our judgment in abstracting it from his name; however the perfect similarity of design and execution to be seen in the works of Garofalo, and above all a wish to avoid the slightest suspicion of misleading public opinion, has determined our adopting his name, perfectly assured that the value cannot be diminished by doing so -- The faces and figures are evidently from the life; the head-dresses and costume of the Virgin and St. Elizabeth particularly elegant and well contrasted, the whole group indicate most strongly the presence of personages of more than common rank; even the manner in which the Virgin holds her precious charge has in it a something which expresses this idea -- the head and os frontis of the Infant are among the finest parts]] réalisée par Garofalo, vendue par J D Mullen, Esq au prix de 45.10 £. [463]
  • 1824.-.-/ maison de ventes : Gernon (Michael). Vente de l'œuvre décrite comme [[The Virgin and the Sleeping Christ, 3 feet 9 inches, by 5 feet. Conceiving any explanation of this Picture entirely superfluous, we would willingly abstain from all comment, and trust it entirely to its own merits -- but yet, who could pass in silence a subject so natural and pleasing -- so interesting and delightful, were it only the representation of the ordinary feelings of maternal affection? In reflecting on the guilty passions, the selfish feelings, the fervid and feverish emotions of mankind from the creation of the world to the present moment, how mean, pueril, and insignificant do they appear in competition with the elevated and sublime sensation of the Mother of the human race, when she beheld the first impression of human nature, and saw realized before her, the miracle by which it was to be perpetuated. No parallel could the annals of man's guilty race afford, but the scene before us, where the more than second mother of mankind contemplates with holy reverence and pious awe, commixed with nature's fond delights, the heaven-sent babe -- the restorer and redeemer of the world -- The pencil of Guido, without a rival, in depicting the pathetic, the tender, and the devout, could alone do justice to this subject; the expression and position of the Virgin, the fine form and correct flowing outline of the Holy Infant, who sleeps literally jusqu' aux doigts! the draperies and color are in Guido's finest style. The value of this picture may be easily estimated by the fact of a Sleeping Christ alone (of small dimension) by the same Master, being sold by public sale in London for 600 guineas! (Guido)|The Virgin and the Sleeping Christ, 3 feet 9 inches, by 5 feet. Conceiving any explanation of this Picture entirely superfluous, we would willingly abstain from all comment, and trust it entirely to its own merits -- but yet, who could pass in silence a subject so natural and pleasing -- so interesting and delightful, were it only the representation of the ordinary feelings of maternal affection? In reflecting on the guilty passions, the selfish feelings, the fervid and feverish emotions of mankind from the creation of the world to the present moment, how mean, pueril, and insignificant do they appear in competition with the elevated and sublime sensation of the Mother of the human race, when she beheld the first impression of human nature, and saw realized before her, the miracle by which it was to be perpetuated. No parallel could the annals of man's guilty race afford, but the scene before us, where the more than second mother of mankind contemplates with holy reverence and pious awe, commixed with nature's fond delights, the heaven-sent babe -- the restorer and redeemer of the world -- The pencil of Guido, without a rival, in depicting the pathetic, the tender, and the devout, could alone do justice to this subject; the expression and position of the Virgin, the fine form and correct flowing outline of the Holy Infant, who sleeps literally jusqu' aux doigts! the draperies and color are in Guido's finest style. The value of this picture may be easily estimated by the fact of a Sleeping Christ alone (of small dimension) by the same Master, being sold by public sale in London for 600 guineas!]] réalisée par Guido, vendue par J D Mullen, Esq au prix de 22.15 £. [464]
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