Ventes d'œuvres le 1825.05.06

1825.05.06/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin with St. Joseph by her side, watching the Infant Saviour extended at his length upon a linen cloth asleep, his Head and Arms supported upon a cushion; he has a Chaffinch in his left hand, the young St. John is seen above the pillow; the character and drawing of the Virgin are in grand style: with peculiar gracefulness she is about to draw a transparent coverlid over the Child; the artist has inscribed his name on a bit of paper, which is supposed to be pinned upon the linen cloth, Sebastianus faciebat (Sebastiano del Piombo)|The Virgin with St. Joseph by her side, watching the Infant Saviour extended at his length upon a linen cloth asleep, his Head and Arms supported upon a cushion; he has a Chaffinch in his left hand, the young St. John is seen above the pillow; the character and drawing of the Virgin are in grand style: with peculiar gracefulness she is about to draw a transparent coverlid over the Child; the artist has inscribed his name on a bit of paper, which is supposed to be pinned upon the linen cloth, Sebastianus faciebat]] réalisée par Sebastiano del Piombo, vendue par Simon M'Gillivray, achetée par Reinagle au prix de 635.5 £. [142]

1825.05.06/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin, Infant Christ, and St. John, in an upright Landscape. The Infant Saviour seated on the ground, upon a skirt of the Virgin's Robe, is looking up and holding a small cross to St. John, who is in the act of ascending a crag of rock, with allusion to that Desert which was to be the scene of his first preaching. The Virgin, with an expression of much tenderness, seems to betray some fear by the action of her left hand, while the right arm is extended to prevent the young St. John from falling: the front ground of the picture is enamelled with plants in flower, accurately made out, and the Landscape back-ground is picturesque and pleasing; a reposo is introduced in the distance. This rare specimen exhibits the talent of Perugino for chiaro scuro, and delicate finishing. The Drapery of the Virgin is particularly fine, and painted in the richest tone of colour (Pietro Perugino)|The Virgin, Infant Christ, and St. John, in an upright Landscape. The Infant Saviour seated on the ground, upon a skirt of the Virgin's Robe, is looking up and holding a small cross to St. John, who is in the act of ascending a crag of rock, with allusion to that Desert which was to be the scene of his first preaching. The Virgin, with an expression of much tenderness, seems to betray some fear by the action of her left hand, while the right arm is extended to prevent the young St. John from falling: the front ground of the picture is enamelled with plants in flower, accurately made out, and the Landscape back-ground is picturesque and pleasing; a reposo is introduced in the distance. This rare specimen exhibits the talent of Perugino for chiaro scuro, and delicate finishing. The Drapery of the Virgin is particularly fine, and painted in the richest tone of colour]] réalisée par Pietro Perugino, vendue par Simon M'Gillivray, achetée par Solly au prix de 71.8 £. [143]

1825.05.06/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Grand Allegorical Composition, Youth between Virtue and Vice. The Votaries of Vice occupy the recess in the centre of the picture; the groups in the foreground represent the different pursuits to which Virtue endeavours to conduct Youth. The first is Commerce, represented by a Merchant offering his adorations to Fortune, whose right hand rests on a ship's rudder, whilst her left hand supports a cornucopia; the Bale of Merchandize bears the monogram of the painter. Next stands a Painter, which is a portrait of Velasquez, and other figures appear also to be portraits; these consist of an Antiquarian, an Astronomer, an Orator declaiming, a Physician, and another whose occupation is not so distinctly marked; all these being portraits are painted in the costume of the time (about 1627); behind is a group of sixteen figures, amongst whom Architecture and Geometry may be distinguished, whilst the crowned figure in armour, and the richly attired female, to whom one of the allegorical personages holds up a mirror, are portraits of Philip IV. and his Queen, who are introduced as the patrons of Spanish arts and sciences. Mercury hovers over the group; an arched entrance opens a view into a library. In the middle distance is Devotion in a monastic habit at a table, on which are books and emblems of time and mortality; in front Religion holding open the volume of Revelation points to a picture suspended from the wall, which is a sketch of an historical composition, representing the Last Judgment. In the fore-ground is Hercules menacing a monster, representative of Sloth or Sensuality. The next group on the left represents the art of War. An old man is occupied in drawing plans of fortifications, whilst a young warrior is putting on his armour, probably portraits. In the middle distance behind, are seen Fame with an attendant Historian, and a Poet, or Dramatist, under the inspiration of the tragic and comic muses; through arcades to the left a View opens into the interior of a Theatre, with theatrical performers. In the central recess, occupied by the Votaries of Vice, are Gluttony, Drunkenness, Gambling, Quarreling, and Lust; Death descends upon them in the form of a Skeleton, armed with a scythe; behind Death follows Punishment, Justice, and Mercy, who hover on a cloud over the Votaries of Vice (Velasquez)|A Grand Allegorical Composition, Youth between Virtue and Vice. The Votaries of Vice occupy the recess in the centre of the picture; the groups in the foreground represent the different pursuits to which Virtue endeavours to conduct Youth. The first is Commerce, represented by a Merchant offering his adorations to Fortune, whose right hand rests on a ship's rudder, whilst her left hand supports a cornucopia; the Bale of Merchandize bears the monogram of the painter. Next stands a Painter, which is a portrait of Velasquez, and other figures appear also to be portraits; these consist of an Antiquarian, an Astronomer, an Orator declaiming, a Physician, and another whose occupation is not so distinctly marked; all these being portraits are painted in the costume of the time (about 1627); behind is a group of sixteen figures, amongst whom Architecture and Geometry may be distinguished, whilst the crowned figure in armour, and the richly attired female, to whom one of the allegorical personages holds up a mirror, are portraits of Philip IV. and his Queen, who are introduced as the patrons of Spanish arts and sciences. Mercury hovers over the group; an arched entrance opens a view into a library. In the middle distance is Devotion in a monastic habit at a table, on which are books and emblems of time and mortality; in front Religion holding open the volume of Revelation points to a picture suspended from the wall, which is a sketch of an historical composition, representing the Last Judgment. In the fore-ground is Hercules menacing a monster, representative of Sloth or Sensuality. The next group on the left represents the art of War. An old man is occupied in drawing plans of fortifications, whilst a young warrior is putting on his armour, probably portraits. In the middle distance behind, are seen Fame with an attendant Historian, and a Poet, or Dramatist, under the inspiration of the tragic and comic muses; through arcades to the left a View opens into the interior of a Theatre, with theatrical performers. In the central recess, occupied by the Votaries of Vice, are Gluttony, Drunkenness, Gambling, Quarreling, and Lust; Death descends upon them in the form of a Skeleton, armed with a scythe; behind Death follows Punishment, Justice, and Mercy, who hover on a cloud over the Votaries of Vice]] réalisée par Velasquez, vendue par Simon M'Gillivray, achetée par Dunford au prix de 52.10 £. [144]