Ventes d'œuvres le 1828.06.16

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  • 1828.06.16/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[An Exterior: the Entrance to a Chateau from a Garden, in which are grouped Two Ladies, elegantly attired in rich satin, seated at a table receiving from a Gentleman a lesson in music. The accessories combine to enrich the composition, which is both pleasing and natural. A Spaniel, painted with truth and spirit, is happily introduced; and the whole is finished equal to the best specimens of the celebrated works of this Master's pupils, Mieris and Terburg (Karel de Moor)|An Exterior: the Entrance to a Chateau from a Garden, in which are grouped Two Ladies, elegantly attired in rich satin, seated at a table receiving from a Gentleman a lesson in music. The accessories combine to enrich the composition, which is both pleasing and natural. A Spaniel, painted with truth and spirit, is happily introduced; and the whole is finished equal to the best specimens of the celebrated works of this Master's pupils, Mieris and Terburg]] réalisée par Karel de Moor, vendue par La Fontaine, achetée par Nelson au prix de 178.15 [?] £. [22]
  • 1828.06.16/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Decapitation of St. John the Baptist. This extremely curious picture was originally bought by Charles I. of the Duke of Mantua for 4,000 guineas, and constituted, for a great length of time, a principal feature in His Majesty's collection at Windsor Castle: it is thus described in the Catalogue of Pictures of Charles I., p. 136 -- "No. 29, Picture of Herod holding in his two hands a Salver, in which the Executioner places the head of St. John the Baptist; on one side is a Female in a yellow dress; framed and painted on pannel." And in the Catalogue of the Pictures of James II. p.33, it is again described as "No. 377 L. da Vinci. Herod and the Executioner holding the head of St. John the Baptist." (Cesaro Sesto)|The Decapitation of St. John the Baptist. This extremely curious picture was originally bought by Charles I. of the Duke of Mantua for 4,000 guineas, and constituted, for a great length of time, a principal feature in His Majesty's collection at Windsor Castle: it is thus described in the Catalogue of Pictures of Charles I., p. 136 -- "No. 29, Picture of Herod holding in his two hands a Salver, in which the Executioner places the head of St. John the Baptist; on one side is a Female in a yellow dress; framed and painted on pannel." And in the Catalogue of the Pictures of James II. p.33, it is again described as "No. 377 L. da Vinci. Herod and the Executioner holding the head of St. John the Baptist."]] réalisée par Cesaro Sesto, vendue par La Fontaine. [29]
  • 1828.06.16/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Portrait of Philip IV. of Spain, companion to the foregoing, and possesses all the character, brilliancy and expression which distinguish the works of this unrivalled Artist. The Four following Pictures from Count Bentincks of Vaeel Castle in Germany (Rubens)|Portrait of Philip IV. of Spain, companion to the foregoing, and possesses all the character, brilliancy and expression which distinguish the works of this unrivalled Artist. The Four following Pictures from Count Bentincks of Vaeel Castle in Germany]] réalisée par Rubens, vendue par [[[Murch]]] au prix de 210.0 £. [34]
  • 1828.06.16/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Portrait of Elizabeth Bourbon, Consort of Philip IV. of Spain, who was the Great Patron of Rubens, and in this, and the companion Portrait, the Artist appears to have studiously concentrated (with effect) all his great and magical powers for creating dignity of character, expression, and mind to the exhalted Personage pourtrayed, and for richness and brilliancy of colour, this Portrait has sustained a pre-eminent rank. The Four following Pictures from Count Bentincks of Vaeel Castle in Germany (Rubens)|Portrait of Elizabeth Bourbon, Consort of Philip IV. of Spain, who was the Great Patron of Rubens, and in this, and the companion Portrait, the Artist appears to have studiously concentrated (with effect) all his great and magical powers for creating dignity of character, expression, and mind to the exhalted Personage pourtrayed, and for richness and brilliancy of colour, this Portrait has sustained a pre-eminent rank. The Four following Pictures from Count Bentincks of Vaeel Castle in Germany]] réalisée par Rubens, vendue par [[[Murch]]] au prix de 152.10 £. [35]
  • 1828.06.16/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[A Group of Intoxicated Dutch Peasantry at the Door of a Cabaret, the principal figure is a Portrait of the Artist, as if inebriated, in the act of drawing his sword against his adversary, who is holding a knife in his hand as his instrument of defence, the Hostess appears anxiously exerting herself to reconcile the disputants; a Child and Dog are introduced with good effect; at the table sits a Gentleman who endeavours to reconcile both; on the right are three figures burlesquing J. Steen, and on the left two Boors are seated one holding a jug, and laughing heartily at him; on the table lays a slate, on which the game is marked, a piece of chalk, on the ground lays a draught board, tankard, cards, pipe, &c. painted in his finest time, and may be ranked as one of his most splendid productions. The Four following Pictures from Count Bentincks, of Vaeel Castle in Germany (J. Steen)|A Group of Intoxicated Dutch Peasantry at the Door of a Cabaret, the principal figure is a Portrait of the Artist, as if inebriated, in the act of drawing his sword against his adversary, who is holding a knife in his hand as his instrument of defence, the Hostess appears anxiously exerting herself to reconcile the disputants; a Child and Dog are introduced with good effect; at the table sits a Gentleman who endeavours to reconcile both; on the right are three figures burlesquing J. Steen, and on the left two Boors are seated one holding a jug, and laughing heartily at him; on the table lays a slate, on which the game is marked, a piece of chalk, on the ground lays a draught board, tankard, cards, pipe, &c. painted in his finest time, and may be ranked as one of his most splendid productions. The Four following Pictures from Count Bentincks, of Vaeel Castle in Germany]] réalisée par J. Steen, vendue par [[[Murch]]] au prix de 246.15 £. [36]
  • 1828.06.16/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[A grand romantic Landscape, with a river flowing through the centre terminated by a Cascade, which rushes impetuously over the rocky fragments of an acclivity; in the middle distance are figures crossing a bridge. A silvery and brilliant specimen of the master. The Four following Pictures from Count Bentincks of Vaeel Castle in Germany (J. Ruysdael)|A grand romantic Landscape, with a river flowing through the centre terminated by a Cascade, which rushes impetuously over the rocky fragments of an acclivity; in the middle distance are figures crossing a bridge. A silvery and brilliant specimen of the master. The Four following Pictures from Count Bentincks of Vaeel Castle in Germany]] réalisée par J. Ruysdael, vendue par [[[Murch]]], achetée par Money au prix de 94.10 £. [37]
  • 1828.06.16/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Cupid and Hymen playing with Leopards, a beautiful gem in his finest manner; the colouring partakes strongly of the Venetian School, and the finishing, and expression of the savage animals subdued by the power of love, render it an unique specimen of this great master (Nicolo Poussin)|Cupid and Hymen playing with Leopards, a beautiful gem in his finest manner; the colouring partakes strongly of the Venetian School, and the finishing, and expression of the savage animals subdued by the power of love, render it an unique specimen of this great master]] réalisée par Nicolo Poussin, vendue par [[[John Parke?]]], achetée par Mortimer au prix de 49.7 £. [40]
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