Ventes d'œuvres le 1826.12.09

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  • 1826.12.09/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Madona, with the Infant Saviour, and St. John. Size, including the frame 5 feet 3 inches high, by 4 feet wide. This Picture was the Altar-piece of the private Chapel of Cardinal Mazarin...and...he bequeathed it to the ancestor of Monsieur Primodan, from whom it was purchased...durin the tyranny of Robespierre: he was thrown into prison...he... recovered his liberty...No sooner were the seals removed from his town residence, on the Isle St. Louis...than he was painfully induced to think of parting with this Picture...The present Proprietor was then happily in Paris, (in 1795,) and purchased the picture for 40,000 livres...the original varnish has not been removed, nor has a fresh one been given. The painting was originally on pannel; but this having split, as may be seen over the head of the Madona, it had been transferred to canvass, in 1767, by the ingenious and well-known Hacquin, as appears by an inscription on the back of the Picture...There is, in the National Collection of France, a Picture of this subject by the same great hand...The comparison was...made, with the assistance of...Monsieur Le Brun, who had long known both Pictures...in both of which evident and important variations were found, uniformly in favour of the Mazarin Picture...But this Picture...is accompanied with...the old Print in the Crozat Collection, and that which has been recently engraved in Paris for the splendid work now publishing, under the title of "Le Musée Français."...In the first place, it will be observed, that the architectural part of the back-ground, in both Prints, represents a town, composed of a few formless buildings, with two misshapen steeples, while the corresponding part of this Picture represents some of the finest remains of ancient Architecture, such as the Pantheon, the Tomb of Caius Sestus, an Obelisk, a Column, and other Edifices, conveying a fine classical idea of an ancient City...in the fore-ground of the two Prints, near the right foot of St. John, is a plant...heavy and devoid of taste; while, in this Painting, the same part is occupied by a plant of the aster tribe...The blue mantle of the Madona is, however, an exception to the delicacy which distinguishes the execution of every other part of the Picture. The upper and most conspicious part of this mantle...suggest at one the idea that it is the work of another hand...Vasari says: "...he painted a Picture, which was ordered in Sienna; which, at the departure of Raphael, was left in the hands of Ridolfo Ghirlandajo, to finish a blue mantle, which was not completed. "...This passage of Vasari...explains...the cause of the singular difference observable between the style of painting in the blue mantle, and the other parts of the work. The Picture generally is pure from the hand of Raphael...the blue mantle is the work of Ridolfo Ghirlandajo..the original Picture remained in Italy, until it came into the hands of Cardinal Mazarin, and was by him removed from Rome to Paris...The preceding was excerpted (Rafael)|The Madona, with the Infant Saviour, and St. John. Size, including the frame 5 feet 3 inches high, by 4 feet wide. This Picture was the Altar-piece of the private Chapel of Cardinal Mazarin...and...he bequeathed it to the ancestor of Monsieur Primodan, from whom it was purchased...durin the tyranny of Robespierre: he was thrown into prison...he... recovered his liberty...No sooner were the seals removed from his town residence, on the Isle St. Louis...than he was painfully induced to think of parting with this Picture...The present Proprietor was then happily in Paris, (in 1795,) and purchased the picture for 40,000 livres...the original varnish has not been removed, nor has a fresh one been given. The painting was originally on pannel; but this having split, as may be seen over the head of the Madona, it had been transferred to canvass, in 1767, by the ingenious and well-known Hacquin, as appears by an inscription on the back of the Picture...There is, in the National Collection of France, a Picture of this subject by the same great hand...The comparison was...made, with the assistance of...Monsieur Le Brun, who had long known both Pictures...in both of which evident and important variations were found, uniformly in favour of the Mazarin Picture...But this Picture...is accompanied with...the old Print in the Crozat Collection, and that which has been recently engraved in Paris for the splendid work now publishing, under the title of "Le Musée Français."...In the first place, it will be observed, that the architectural part of the back-ground, in both Prints, represents a town, composed of a few formless buildings, with two misshapen steeples, while the corresponding part of this Picture represents some of the finest remains of ancient Architecture, such as the Pantheon, the Tomb of Caius Sestus, an Obelisk, a Column, and other Edifices, conveying a fine classical idea of an ancient City...in the fore-ground of the two Prints, near the right foot of St. John, is a plant...heavy and devoid of taste; while, in this Painting, the same part is occupied by a plant of the aster tribe...The blue mantle of the Madona is, however, an exception to the delicacy which distinguishes the execution of every other part of the Picture. The upper and most conspicious part of this mantle...suggest at one the idea that it is the work of another hand...Vasari says: "...he painted a Picture, which was ordered in Sienna; which, at the departure of Raphael, was left in the hands of Ridolfo Ghirlandajo, to finish a blue mantle, which was not completed. "...This passage of Vasari...explains...the cause of the singular difference observable between the style of painting in the blue mantle, and the other parts of the work. The Picture generally is pure from the hand of Raphael...the blue mantle is the work of Ridolfo Ghirlandajo..the original Picture remained in Italy, until it came into the hands of Cardinal Mazarin, and was by him removed from Rome to Paris...The preceding was excerpted]] réalisée par Rafael, vendue par [[[John Trumbull]]]. [5]
  • 1826.12.09/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[As You Like It, the description of the rescue of Oliver du Bois, by Orlando Act IV. -- A wretched ragged man, o'er grown with hair lay sleeping on his back, about his neck a green and gilded snake had wreathed itself Originals of the Shakspeare Gallery (Jas. Northcote, 1792)|As You Like It, the description of the rescue of Oliver du Bois, by Orlando Act IV. -- A wretched ragged man, o'er grown with hair lay sleeping on his back, about his neck a green and gilded snake had wreathed itself Originals of the Shakspeare Gallery]] réalisée par Jas. Northcote, 1792. [21]