Ventes d'œuvres le 1828.05.-

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  • 1828.05.-/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[A grand Fresco; representing a concert of music, composed with great judgment, and worthy of being ranked with the best works of the period. These magnificent Pictures in Fresco are cited by Ridolfi as being painted by Paul Veronese for the palace of La Soranza, near Castelfranco, and that they were some of Paul's best works. Philip Balbi, a Venetian nobleman, was in 1817 presented by the Academy of Venice with a gold medal, as a reward for having preserved from destruction several pictures by P. Veronese, which were painted in fresco on the wall of the palace of La Soranza. This palace belonged to a nobleman of the name of Morosini, and was situated near Castelfranco, in the territory of Treviso. The mandate had gone forth to demolish it; and but for a fortunate accident, these superb productions would in a few weeks have been a mass of dust and rubbish. but the method practised by Count Balbi was resorted to; the owner of the palace sold the surface of its wasll for the experiment, before they were pulled down, and, except a few of the least valuable pictures upon which it was first tried (and with which it did not properly succeed), the whole number were saved. Continueing our historical narrative, we should state that an artist well known to the British school of Engraving, not only as the associate of the exquisite Bartolozzi, but as the engraver, himself, of many admired works, Mr. Vendramini, became acquainted with the facts we have just related, when travelling in Italy about two years ago. Struck with the beauty and magnificence of the pictures, he conceived the design of procuring them to enrich the Fine Arts of the country of his adoption. He accordingly purchased them from those whose property they had become; and , a few months ago, the principal works and best part of the whole were landed at the Custom-house of London. (Paul Veronese)|A grand Fresco; representing a concert of music, composed with great judgment, and worthy of being ranked with the best works of the period. These magnificent Pictures in Fresco are cited by Ridolfi as being painted by Paul Veronese for the palace of La Soranza, near Castelfranco, and that they were some of Paul's best works. Philip Balbi, a Venetian nobleman, was in 1817 presented by the Academy of Venice with a gold medal, as a reward for having preserved from destruction several pictures by P. Veronese, which were painted in fresco on the wall of the palace of La Soranza. This palace belonged to a nobleman of the name of Morosini, and was situated near Castelfranco, in the territory of Treviso. The mandate had gone forth to demolish it; and but for a fortunate accident, these superb productions would in a few weeks have been a mass of dust and rubbish. but the method practised by Count Balbi was resorted to; the owner of the palace sold the surface of its wasll for the experiment, before they were pulled down, and, except a few of the least valuable pictures upon which it was first tried (and with which it did not properly succeed), the whole number were saved. Continueing our historical narrative, we should state that an artist well known to the British school of Engraving, not only as the associate of the exquisite Bartolozzi, but as the engraver, himself, of many admired works, Mr. Vendramini, became acquainted with the facts we have just related, when travelling in Italy about two years ago. Struck with the beauty and magnificence of the pictures, he conceived the design of procuring them to enrich the Fine Arts of the country of his adoption. He accordingly purchased them from those whose property they had become; and , a few months ago, the principal works and best part of the whole were landed at the Custom-house of London.]] réalisée par Paul Veronese, vendue par [[[William Buchanan]]]. [14]
  • 1828.05.-/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[Pomona. This splendid Fresco forms a companion to No. 5, and partakes of its excellence. Philip Balbi, a Venetian nobleman, was in 1817 presented by the Academy of Venice with a gold medal, as a reward for having preserved from destruction several pictures by P. Veronese, which were painted in fresco on the wall of the palace of La Soranza. This palace belonged to a nobleman of the name of Morosini, and was situated near Castelfranco, in the territory of Treviso. The mandate had gone forth to demolish it; and but for a fortunate accident, these superb productions would in a few weeks have been a mass of dust and rubbish. but the method practised by Count Balbi was resorted to; the owner of the palace sold the surface of its wasll for the experiment, before they were pulled down, and, except a few of the least valuable pictures upon which it was first tried (and with which it did not properly succeed), the whole number were saved. Continueing our historical narrative, we should state that an artist well known to the British school of Engraving, not only as the associate of the exquisite Bartolozzi, but as the engraver, himself, of many admired works, Mr. Vendramini, became acquainted with the facts we have just related, when travelling in Italy about two years ago. Struck with the beauty and magnificence of the pictures, he conceived the design of procuring them to enrich the Fine Arts of the country of his adoption. He accordingly purchased them from those whose property they had become; and , a few months ago, the principal works and best part of the whole were landed at the Custom-house of London. (Paul Veronese)|Pomona. This splendid Fresco forms a companion to No. 5, and partakes of its excellence. Philip Balbi, a Venetian nobleman, was in 1817 presented by the Academy of Venice with a gold medal, as a reward for having preserved from destruction several pictures by P. Veronese, which were painted in fresco on the wall of the palace of La Soranza. This palace belonged to a nobleman of the name of Morosini, and was situated near Castelfranco, in the territory of Treviso. The mandate had gone forth to demolish it; and but for a fortunate accident, these superb productions would in a few weeks have been a mass of dust and rubbish. but the method practised by Count Balbi was resorted to; the owner of the palace sold the surface of its wasll for the experiment, before they were pulled down, and, except a few of the least valuable pictures upon which it was first tried (and with which it did not properly succeed), the whole number were saved. Continueing our historical narrative, we should state that an artist well known to the British school of Engraving, not only as the associate of the exquisite Bartolozzi, but as the engraver, himself, of many admired works, Mr. Vendramini, became acquainted with the facts we have just related, when travelling in Italy about two years ago. Struck with the beauty and magnificence of the pictures, he conceived the design of procuring them to enrich the Fine Arts of the country of his adoption. He accordingly purchased them from those whose property they had become; and , a few months ago, the principal works and best part of the whole were landed at the Custom-house of London.]] réalisée par Paul Veronese, vendue par [[[William Buchanan]]]. [19]
  • 1828.05.-/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[The Boar Hunt. This celebrated Picture is well known by the fine engraving from it by Woollet, under the title of "The Meleager and Atalanta." The figures are by Mortimer, and combine well with one of the most beautiful and finished compositions of this master. The superiority of Richard Wilson over his contemporarie, is conspicuous from the fine poetic cast which he has always given to his studied compositions, partaking much of what is very properly termed le beau idéal. In the present small Ccollection, his works are put in competition with those of a most powerful opponent, and maintain themselves by means of this powerful aid. (Richard Wilson)|The Boar Hunt. This celebrated Picture is well known by the fine engraving from it by Woollet, under the title of "The Meleager and Atalanta." The figures are by Mortimer, and combine well with one of the most beautiful and finished compositions of this master. The superiority of Richard Wilson over his contemporarie, is conspicuous from the fine poetic cast which he has always given to his studied compositions, partaking much of what is very properly termed le beau idéal. In the present small Ccollection, his works are put in competition with those of a most powerful opponent, and maintain themselves by means of this powerful aid.]] réalisée par Richard Wilson, vendue par [[[William Buchanan]]]. [20]
  • 1828.05.-/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[Minerva between Mensuration and Calculation. This magnificent Painting in Fresco will convey a just idea of the great excellence at which the ancient masters arrived in this particular class of art. The grandeur of the design, the correctness of drawing, and purity of the style, must render it an object highly interesting to every admirer of works of a high class, and valuable as an object of study for modern artists. Although the art of painting in Fresco is little known to those who have not visited Italy, it is nevertheless worthy of remark, that the most capital works of the great masters executed at a period when the art itself was carried to the greatest height of perfection, were painted in this style. -- The principal works of Michael Angelo Buonarrotti, Raphael, Correggio, Julio Roman, &c. are painted in Fresco. (Paul Veronese)|Minerva between Mensuration and Calculation. This magnificent Painting in Fresco will convey a just idea of the great excellence at which the ancient masters arrived in this particular class of art. The grandeur of the design, the correctness of drawing, and purity of the style, must render it an object highly interesting to every admirer of works of a high class, and valuable as an object of study for modern artists. Although the art of painting in Fresco is little known to those who have not visited Italy, it is nevertheless worthy of remark, that the most capital works of the great masters executed at a period when the art itself was carried to the greatest height of perfection, were painted in this style. -- The principal works of Michael Angelo Buonarrotti, Raphael, Correggio, Julio Roman, &c. are painted in Fresco.]] réalisée par Paul Veronese, vendue par [[[William Buchanan]]]. [21]
  • 1828.05.-/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[This classical and chaste composition, principally taken from a portion of the beautiful scenery in the Bay of Naples, was always esteemed at Rome one of his most capital pictures. It formed part of the celebrated collection of the Prince Colonna; and from its fine colouring, as well as perfect preservation, it would form a desirable companion to the Sea-port by Claude, known by the name of "The St. Ursula," now in the National Gallery. (Claude)|This classical and chaste composition, principally taken from a portion of the beautiful scenery in the Bay of Naples, was always esteemed at Rome one of his most capital pictures. It formed part of the celebrated collection of the Prince Colonna; and from its fine colouring, as well as perfect preservation, it would form a desirable companion to the Sea-port by Claude, known by the name of "The St. Ursula," now in the National Gallery.]] réalisée par Claude, vendue par [[[William Buchanan]]]. [25]
  • 1828.05.-/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[Pomona. This capital painting, in Fresco, possesses that harmony and breadth of effect which is always so conspicuous in this Master's great works, and which, in point of splendour of colouring, places him on a par with Titian. The wonderful rotundity of form of the principal figure in this picture, produced by invisible gradations of colour, without the intervention of any positive shadows, cannot escape the observation of the connoisseur. The Venetian school in this respect must be allowed to take the lead of all others, while it offers an example well worthy of imitation. It is only, however, in works like those now brought forward, that this great excellence can be sufficiently appreciated. Philip Balbi, a Venetian nobleman, was in 1817 presented by the Academy of Venice with a gold medal, as a reward for having preserved from destruction several pictures by P. Veronese, which were painted in fresco on the wall of the palace of La Soranza. This palace belonged to a nobleman of the name of Morosini, and was situated near Castelfranco, in the territory of Treviso. The mandate had gone forth to demolish it; and but for a fortunate accident, these superb productions would in a few weeks have been a mass of dust and rubbish. but the method practised by Count Balbi was resorted to; the owner of the palace sold the surface of its wasll for the experiment, before they were pulled down, and, except a few of the least valuable pictures upon which it was first tried (and with which it did not properly succeed), the whole number were saved. Continuing our historical narrative, we should state that an artist well known to the British school of Engraving, not only as the associate of the exquisite Bartolozzi, but as the engraver, himself, of many admired works, Mr. Vendramini, became acquainted with the facts we have just related, when travelling in Italy about two years ago. Struck with the beauty and magnificence of the pictures, he conceived the design of procuring them to enrich the Fine Arts of the country of his adoption. He accordingly purchased them from those whose property they had become; and , a few months ago, the principal works and best part of the whole were landed at the Custom-house of London. (Paul Veronese)|Pomona. This capital painting, in Fresco, possesses that harmony and breadth of effect which is always so conspicuous in this Master's great works, and which, in point of splendour of colouring, places him on a par with Titian. The wonderful rotundity of form of the principal figure in this picture, produced by invisible gradations of colour, without the intervention of any positive shadows, cannot escape the observation of the connoisseur. The Venetian school in this respect must be allowed to take the lead of all others, while it offers an example well worthy of imitation. It is only, however, in works like those now brought forward, that this great excellence can be sufficiently appreciated. Philip Balbi, a Venetian nobleman, was in 1817 presented by the Academy of Venice with a gold medal, as a reward for having preserved from destruction several pictures by P. Veronese, which were painted in fresco on the wall of the palace of La Soranza. This palace belonged to a nobleman of the name of Morosini, and was situated near Castelfranco, in the territory of Treviso. The mandate had gone forth to demolish it; and but for a fortunate accident, these superb productions would in a few weeks have been a mass of dust and rubbish. but the method practised by Count Balbi was resorted to; the owner of the palace sold the surface of its wasll for the experiment, before they were pulled down, and, except a few of the least valuable pictures upon which it was first tried (and with which it did not properly succeed), the whole number were saved. Continuing our historical narrative, we should state that an artist well known to the British school of Engraving, not only as the associate of the exquisite Bartolozzi, but as the engraver, himself, of many admired works, Mr. Vendramini, became acquainted with the facts we have just related, when travelling in Italy about two years ago. Struck with the beauty and magnificence of the pictures, he conceived the design of procuring them to enrich the Fine Arts of the country of his adoption. He accordingly purchased them from those whose property they had become; and , a few months ago, the principal works and best part of the whole were landed at the Custom-house of London.]] réalisée par Paul Veronese, vendue par [[[William Buchanan]]]. [28]
  • 1828.05.-/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[The Niobe. Painted for his friend and patron, Sir John Leicester. -- The great excellence of this picture is best proved by maintaining its importance in competition with two of Claude's most beautiful and celebrated works. It is executed with more spirit and vigour than either of his larger pictures which bear the same title, one of which may be seen in the National Gallery, Pall-mall. (Richard Wilson)|The Niobe. Painted for his friend and patron, Sir John Leicester. -- The great excellence of this picture is best proved by maintaining its importance in competition with two of Claude's most beautiful and celebrated works. It is executed with more spirit and vigour than either of his larger pictures which bear the same title, one of which may be seen in the National Gallery, Pall-mall.]] réalisée par Richard Wilson, vendue par [[[William Buchanan]]]. [29]
  • 1828.05.-/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[This celebrated picture was originally in the Gallery of Hesse Cassel, from whence it passed into the Collection of the Empress Josephine, and latterly into that of Monsieur de Talleyrand, from whom it was purchased by Mr. Buchanan in 1817. It has been justly considered as one of Claude's most beautiful pastorals, and is in the most perfect state of preservation (Claude Lorrain)|This celebrated picture was originally in the Gallery of Hesse Cassel, from whence it passed into the Collection of the Empress Josephine, and latterly into that of Monsieur de Talleyrand, from whom it was purchased by Mr. Buchanan in 1817. It has been justly considered as one of Claude's most beautiful pastorals, and is in the most perfect state of preservation]] réalisée par Claude Lorrain, vendue par [[[William Buchanan]]]. [31]
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