Ventes d'œuvres le 1829.05.23

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  • 1829.05.23/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Rubens in the character of St. George, preceded by his three Wives presenting themselves to the Virgin, who receives them, holding the Infant Christ in her arms, and seated beneath an arbour; a group of four Infant Angels with a wreath of flowers appear above; in the front is St. Jerome resting on one knee, holding in his right hand a scroll, while beside him, an Infant Angel supports the sacred volume. This noble picture is finely composed, and painted with the most free and vigorous execution, and the colouring is of a rich and mellow tone. This Grand Picture has always been the subject of praise, among Continental Tourists, who have noticed it when in the Palace of Francesco Balbi at Genoa, of which there is a fine old engraving (Rubens)|Rubens in the character of St. George, preceded by his three Wives presenting themselves to the Virgin, who receives them, holding the Infant Christ in her arms, and seated beneath an arbour; a group of four Infant Angels with a wreath of flowers appear above; in the front is St. Jerome resting on one knee, holding in his right hand a scroll, while beside him, an Infant Angel supports the sacred volume. This noble picture is finely composed, and painted with the most free and vigorous execution, and the colouring is of a rich and mellow tone. This Grand Picture has always been the subject of praise, among Continental Tourists, who have noticed it when in the Palace of Francesco Balbi at Genoa, of which there is a fine old engraving]] réalisée par Rubens. [2]
  • 1829.05.23/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[A beautiful warm Landscape, with a Mountain on the right, round the base of which a road winds; in the front is a group of beautiful Trees, and under them a Herdsman is seated; two Cows and a Horses are standing near, and a Peasant leading an Ass carrying a Woman and Child; on the left of the picture is a silvery Lake (Cuyp)|A beautiful warm Landscape, with a Mountain on the right, round the base of which a road winds; in the front is a group of beautiful Trees, and under them a Herdsman is seated; two Cows and a Horses are standing near, and a Peasant leading an Ass carrying a Woman and Child; on the left of the picture is a silvery Lake]] réalisée par Cuyp. [9]
  • 1829.05.23/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[A Landscape, representing a River, wooded on each side; in the foreground is a water - dam which has given way and is undergoing repair. Adrian Van de Veldt has introduced many beautiful figures, amongst which is a portrait of Ruysdael: engraved (Ruysdael)|A Landscape, representing a River, wooded on each side; in the foreground is a water - dam which has given way and is undergoing repair. Adrian Van de Veldt has introduced many beautiful figures, amongst which is a portrait of Ruysdael: engraved]] réalisée par Ruysdael. [14]
  • 1829.05.23/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[A Cottager, with his Wife and Child, saying Grace; on the right of the picture a window opens to the country, through which the light is thrown on the figures producing a magical effect, and equal to the finest productions of De Hooge. On the wall is in inscription in Dutch in praise of a Cottager's life. A picture of high quality, and free from the vulgarity wich too frequently detracts from the best productions of this eminent artist (Jan Stein)|A Cottager, with his Wife and Child, saying Grace; on the right of the picture a window opens to the country, through which the light is thrown on the figures producing a magical effect, and equal to the finest productions of De Hooge. On the wall is in inscription in Dutch in praise of a Cottager's life. A picture of high quality, and free from the vulgarity wich too frequently detracts from the best productions of this eminent artist]] réalisée par Jan Stein, vendue par John Roberts. [21]
  • 1829.05.23/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[An old Warrior in Armour, and two Females (singing and playing) are seated in an arbour, into which the light happily breaks; the table is covered with a rich carpet, and the whole presents a most beautiful specimen of chairoscuro and splendid colouring. From the collection at Wanstead House (Rembrandt)|An old Warrior in Armour, and two Females (singing and playing) are seated in an arbour, into which the light happily breaks; the table is covered with a rich carpet, and the whole presents a most beautiful specimen of chairoscuro and splendid colouring. From the collection at Wanstead House]] réalisée par Rembrandt, vendue par John Roberts. [26]
  • 1829.05.23/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[A Lady in rich morone velvet and white satin, reading to an old Man, who appears to be listening with great attention; a Servant in the background with a guitar and music book: a beautiful composition, exquisitely finished, and in fine preservation (F. Mieris, Sen.)|A Lady in rich morone velvet and white satin, reading to an old Man, who appears to be listening with great attention; a Servant in the background with a guitar and music book: a beautiful composition, exquisitely finished, and in fine preservation]] réalisée par F. Mieris, Sen., vendue par John Roberts. [27]
  • 1829.05.23/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Christ raising Lazarus, with Mary, Martha and other Figures well grouped and beautifully coloured; the Landscape by Velvet Breughel. On copper, and companion to the last Mr Benjamin West's celebrated picture of "Christ called the little Children unto him". (Rottenhamer)|Christ raising Lazarus, with Mary, Martha and other Figures well grouped and beautifully coloured; the Landscape by Velvet Breughel. On copper, and companion to the last Mr Benjamin West's celebrated picture of "Christ called the little Children unto him".]] réalisée par Rottenhamer, vendue par John Roberts. [72]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[St. George and the Dragon. A pictorial representation of England's proud device, the first thought sketched for a compartment of the series of pictures, painted by command of his Majesty, George the Third, illustrative of the heroic reign of Edward the Third, for the decoration of the state apartments at Windsor. This masterly sketch is worthy the pencil of Rubens (Benjamin West)|St. George and the Dragon. A pictorial representation of England's proud device, the first thought sketched for a compartment of the series of pictures, painted by command of his Majesty, George the Third, illustrative of the heroic reign of Edward the Third, for the decoration of the state apartments at Windsor. This masterly sketch is worthy the pencil of Rubens]] réalisée par Benjamin West, vendue par Benjamin West, achetée par [[Ward [or] Word]]. [102]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Edward the Black Prince receiving King John of France prisoner. The court of the father of Prince Edward, was acknowledged all over Europe as the noblest school of chivalry. War, during the greater part of this reign, was hence deprived of half its horrors. King John, a prisoner in England, went to France on his parole His people, impoverished by war, could not pay his ransom. The king surrendered himself, and died in London. The noble courtesy of prince Edward to his royal prisoner supplies one of the brightest pages in English history (Benjamin West)|Edward the Black Prince receiving King John of France prisoner. The court of the father of Prince Edward, was acknowledged all over Europe as the noblest school of chivalry. War, during the greater part of this reign, was hence deprived of half its horrors. King John, a prisoner in England, went to France on his parole His people, impoverished by war, could not pay his ransom. The king surrendered himself, and died in London. The noble courtesy of prince Edward to his royal prisoner supplies one of the brightest pages in English history]] réalisée par Benjamin West, vendue par Benjamin West, achetée par [[Ward [or] Word]]. [104]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Paetus and Arria. Descriptive of the memorable story of the connubial affection and heroic virtue of Arria, the wife of Paetus Cecinna, of Padua, a Roman senator, who was accused of conspiracy against Claudius, and ordered to Rome by sea. She accompanied him, and in the boat stabbed herself, and presenting the sword to her husband, gently exclaimed, "My Paetus, 'tis not painful" (Benjamin West)|Paetus and Arria. Descriptive of the memorable story of the connubial affection and heroic virtue of Arria, the wife of Paetus Cecinna, of Padua, a Roman senator, who was accused of conspiracy against Claudius, and ordered to Rome by sea. She accompanied him, and in the boat stabbed herself, and presenting the sword to her husband, gently exclaimed, "My Paetus, 'tis not painful"]] réalisée par Benjamin West, vendue par Benjamin West, achetée par [[W Burland Rewsfroh [?]]]. [105]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Tobit and the Angel. Another admired composition from sacred story. The same sentiment of tenderness, so apparent in the other, pervades this, which is painted with coequal mastery and effect. The study, from which the father of Tobit was painted, was supplied by Sir Joshua's famed old labourer. This useful model, then in his hundredth year, walked annually from York to London, and from London to York: "Why do you not winter in London?" enquired one of his patrons. "Why sir," replied the ancient, "Coals be cheap in the north -- and warmth be the very life of an old man." (Benjamin West)|Tobit and the Angel. Another admired composition from sacred story. The same sentiment of tenderness, so apparent in the other, pervades this, which is painted with coequal mastery and effect. The study, from which the father of Tobit was painted, was supplied by Sir Joshua's famed old labourer. This useful model, then in his hundredth year, walked annually from York to London, and from London to York: "Why do you not winter in London?" enquired one of his patrons. "Why sir," replied the ancient, "Coals be cheap in the north -- and warmth be the very life of an old man."]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Holloway. [107]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Edward the Third embracing his son after the Battle of Cressy. The first of these four historical compositions, the Surrender of Calais, is designed with such attention to time and circumstance, that it almost realizes that memorable event, which forms so interesting a feature of our national annals. It is rich in colour, and painted with a masterly pencil. The second, Crossing the Somme, is no less of a general character, coeval with the military movement which it thus pictorially embodies, with all the chivalric associations of the age of the English hero. The third, The Institution of the Order of the Garter, is an invaluable record, as it combines all the truth which antiquarian research could unite with this high deparment of pictorial representaion. The fourth, Edward the Third embracing his Son after the glorious Battle of Cressy, conveys the imagination so completely to the spot, with all the localities of an ancient camp, that it might be supposed to be painted by the faithful chronicler, Froissart (Benjamin West)|Edward the Third embracing his son after the Battle of Cressy. The first of these four historical compositions, the Surrender of Calais, is designed with such attention to time and circumstance, that it almost realizes that memorable event, which forms so interesting a feature of our national annals. It is rich in colour, and painted with a masterly pencil. The second, Crossing the Somme, is no less of a general character, coeval with the military movement which it thus pictorially embodies, with all the chivalric associations of the age of the English hero. The third, The Institution of the Order of the Garter, is an invaluable record, as it combines all the truth which antiquarian research could unite with this high deparment of pictorial representaion. The fourth, Edward the Third embracing his Son after the glorious Battle of Cressy, conveys the imagination so completely to the spot, with all the localities of an ancient camp, that it might be supposed to be painted by the faithful chronicler, Froissart]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Vernon. [108]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Christ Rejected. The subject of this great epic picture represents Christ rejected by the Jewish High Priest, the Elders, and the People, when brought to them by Pilate from the Judgment Hall. The wonderful events, of which this incident forms so striking a portion, took place when empire has reached its zenith under the Romans, and universal peace prevailed. They had been distinctly foretold by the inspired writers, and no meaner agents than angels from heaven had announced the advent of the Messiah, "glorifying God in the Highest, and proclaiming earth peace and good will towards men;" thus awfully preparing the minds of men for the approach of an epoch, in which a new and mighty influence would overturn all the established moral and religious systems of the civilised world, making darkness and destruction vanish before, and give place to light and immorality. Such was the general feeling excited by this grand and affecting composition, that during its public exhibition in the chamber of the old Royal Academy, in Pall Mall, the spectators, who daily thronged to view it, impressed with reverential awe, spontaneously approached the picture uncovered. So univeral was the desire to behold the picture, that its exhibition was visited by two hundred and forty thousand persons. The intelligence conveyed in a work of this magnitude, embracing the combinations requisite to produce the sublime in painting; the union of propriety with dignity of character, and varieties of expression; the graceful grouping; the grand display of drapery, and the intense arrangement of the chairo scuro, with appropriate colours harmoniously blending into one great whole, demanded a perception of conceive, and a scientific knowledge to embody, which would almost appear beyond human power to attain. It was the painter's object, in the delineation of this subject, to excite the same feelings, and to awaken the same sentiments in the mind of the spectator, which are produced by a perusal of the sacred text, which so pathetically records these awful events. As part of the means for accomplishing this end, several incidents, which were in connection with the main circumstance, are introduced, to contrast with the meekness of Christ, and to shew the simplicity and purity of the Gospel dispensation, in opposition to the pomp and parade of the Heathen and Jewish systems. The delineation of nearly the whole scale of human passions, from the basest to those which partake most of the Divine nature, has thus been necessarily attempted. Whether the painter has fulfilled the object of his arduous undertaking must be determined by the public voice. The highly finished small study for this picture, is in the possession of the Earl of Darnley (Benjamin West)|Christ Rejected. The subject of this great epic picture represents Christ rejected by the Jewish High Priest, the Elders, and the People, when brought to them by Pilate from the Judgment Hall. The wonderful events, of which this incident forms so striking a portion, took place when empire has reached its zenith under the Romans, and universal peace prevailed. They had been distinctly foretold by the inspired writers, and no meaner agents than angels from heaven had announced the advent of the Messiah, "glorifying God in the Highest, and proclaiming earth peace and good will towards men;" thus awfully preparing the minds of men for the approach of an epoch, in which a new and mighty influence would overturn all the established moral and religious systems of the civilised world, making darkness and destruction vanish before, and give place to light and immorality. Such was the general feeling excited by this grand and affecting composition, that during its public exhibition in the chamber of the old Royal Academy, in Pall Mall, the spectators, who daily thronged to view it, impressed with reverential awe, spontaneously approached the picture uncovered. So univeral was the desire to behold the picture, that its exhibition was visited by two hundred and forty thousand persons. The intelligence conveyed in a work of this magnitude, embracing the combinations requisite to produce the sublime in painting; the union of propriety with dignity of character, and varieties of expression; the graceful grouping; the grand display of drapery, and the intense arrangement of the chairo scuro, with appropriate colours harmoniously blending into one great whole, demanded a perception of conceive, and a scientific knowledge to embody, which would almost appear beyond human power to attain. It was the painter's object, in the delineation of this subject, to excite the same feelings, and to awaken the same sentiments in the mind of the spectator, which are produced by a perusal of the sacred text, which so pathetically records these awful events. As part of the means for accomplishing this end, several incidents, which were in connection with the main circumstance, are introduced, to contrast with the meekness of Christ, and to shew the simplicity and purity of the Gospel dispensation, in opposition to the pomp and parade of the Heathen and Jewish systems. The delineation of nearly the whole scale of human passions, from the basest to those which partake most of the Divine nature, has thus been necessarily attempted. Whether the painter has fulfilled the object of his arduous undertaking must be determined by the public voice. The highly finished small study for this picture, is in the possession of the Earl of Darnley]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Duke of Orleans. [109]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Edward the Third crossing the River Somme. His late Majesty, on appointing his painter to prepare a series of pictures, observed, that he should desire to see the subjects chosen, represented strictly characteristic of the age. In consequence of this judicious command, the painter spared no labour in procuring all the information that antiquarian reseach could afford: hence the armour, the standards, the weapons, and general costume, are so compatible with the period of Edward the Third, that on beholding this rich composition, it appears to realize the scene (Benjamin West)|Edward the Third crossing the River Somme. His late Majesty, on appointing his painter to prepare a series of pictures, observed, that he should desire to see the subjects chosen, represented strictly characteristic of the age. In consequence of this judicious command, the painter spared no labour in procuring all the information that antiquarian reseach could afford: hence the armour, the standards, the weapons, and general costume, are so compatible with the period of Edward the Third, that on beholding this rich composition, it appears to realize the scene]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Pickering. [110]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Surrender of Calais. The original study for one of the series of large pictures, recording memorable events of the reign of King Edward the Third, painted by command of His late Majesty, and placed in the Great Audience Chamber, Windsor Castle (Benjamin West)|Surrender of Calais. The original study for one of the series of large pictures, recording memorable events of the reign of King Edward the Third, painted by command of His late Majesty, and placed in the Great Audience Chamber, Windsor Castle]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [111]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Battle of La Hogue. Of all the graphic representations of sea-fights, this, which records the memorable naval engagement between the French and English fleets, commanded by the renowned admirals Tourville and Russel, has ever been held, by all the connoisseurs of Europe, decidedly pre- eminent. It is universally referred to as a master-piece of art, combining the utmost grandeur of pictorial composition and effect, without sacrificing aught at the shrine of truth. The composition, indeed, is graphically illustrative, almost to the very letter, of the mighty event which determined the adverse destiny of King James the Second, and led to the subsequent glory and increasing happiness of the British nation. Admiral Russel, with his powerful fleet, which in conjunction with a Dutch squadron, amounted to ninety-nine sail of men-of-war, on the 18th of May 1692, from St. Helen's, stretched over to the coast of France. The next morning, at break of day, the look out ships made signal of the fleet of France. The English line-of-battle was formed by eight o'clock; and at ten, the French being to windward, the Count Tourville bore down with determined resolution; and at eleven commenced the memorable action off Cape La Houge. At one the French admiral's shattered ship was towed out of the line. The battle raged till four, and the action was suspended by a fog. The weather cleared, the enemy scattered, and in disorder, were discovered retreating to the north. Russel made signal for a general chace; the fog recommenced, and cleared again; the British admiral still pursued the flying enemy. At eight the blue squadron reached the foe, and engaged for half an hour; when, losing four of his ships, Tourville, crowding sail, bore away for shelter in Conquet road. The hostile fleets were near each other the two suceeding days; but only seen through short cessations of a continued fog. The French now standing to the westward -- the English in close pursuit. On the 22d, at dawn of day, the English were up with the enemy. At eleven, the French admiral run on shore, and cut away his masts; certain ships bravely stood by him, and were vanquished. In the evening many of the enemy's ships were standing into the bay of La Hogue. On the 23rd, the English admiral sent Sir George Rooke, with several man-of-war, some fire ships and all the boats of the fleet to destroy that of the French. Thirteen sail of French men-of-war had forced their way so high up the bay, that none but frigates and boats could venture after them. With this force, the daring islanders dashed forward; the boats were manned, and instantly proceeded to the attack. The boats vied with each other, to be foremost in boarding the enemy, who, appalled and dismayed at the intrepidy of the British seamen, crowded out of their ships on one side, and the conquerors rushed foward upon the other. Six of the large ships of war were burnt that night, and the other seven the next morning, with numerous transports, and vessels laden with ammunition. This most memorable and important victory, credite posteri! was achieved with the loss to the assailants of only ten men; although the attack was made by the boats, under a prodigious fire from the enemy's batteries on shore; and within sight of that army, proudly marshalled for the intended invasion of England, to replace King James upon his abdicated throne. In the distant high ground and in front of the camp, may be discovered the figure of the king, who, witnessing the attack, is reported to have silently ejaculated, "Ye gods! how my brave English fight! (Benjamin West)|Battle of La Hogue. Of all the graphic representations of sea-fights, this, which records the memorable naval engagement between the French and English fleets, commanded by the renowned admirals Tourville and Russel, has ever been held, by all the connoisseurs of Europe, decidedly pre- eminent. It is universally referred to as a master-piece of art, combining the utmost grandeur of pictorial composition and effect, without sacrificing aught at the shrine of truth. The composition, indeed, is graphically illustrative, almost to the very letter, of the mighty event which determined the adverse destiny of King James the Second, and led to the subsequent glory and increasing happiness of the British nation. Admiral Russel, with his powerful fleet, which in conjunction with a Dutch squadron, amounted to ninety-nine sail of men-of-war, on the 18th of May 1692, from St. Helen's, stretched over to the coast of France. The next morning, at break of day, the look out ships made signal of the fleet of France. The English line-of-battle was formed by eight o'clock; and at ten, the French being to windward, the Count Tourville bore down with determined resolution; and at eleven commenced the memorable action off Cape La Houge. At one the French admiral's shattered ship was towed out of the line. The battle raged till four, and the action was suspended by a fog. The weather cleared, the enemy scattered, and in disorder, were discovered retreating to the north. Russel made signal for a general chace; the fog recommenced, and cleared again; the British admiral still pursued the flying enemy. At eight the blue squadron reached the foe, and engaged for half an hour; when, losing four of his ships, Tourville, crowding sail, bore away for shelter in Conquet road. The hostile fleets were near each other the two suceeding days; but only seen through short cessations of a continued fog. The French now standing to the westward -- the English in close pursuit. On the 22d, at dawn of day, the English were up with the enemy. At eleven, the French admiral run on shore, and cut away his masts; certain ships bravely stood by him, and were vanquished. In the evening many of the enemy's ships were standing into the bay of La Hogue. On the 23rd, the English admiral sent Sir George Rooke, with several man-of-war, some fire ships and all the boats of the fleet to destroy that of the French. Thirteen sail of French men-of-war had forced their way so high up the bay, that none but frigates and boats could venture after them. With this force, the daring islanders dashed forward; the boats were manned, and instantly proceeded to the attack. The boats vied with each other, to be foremost in boarding the enemy, who, appalled and dismayed at the intrepidy of the British seamen, crowded out of their ships on one side, and the conquerors rushed foward upon the other. Six of the large ships of war were burnt that night, and the other seven the next morning, with numerous transports, and vessels laden with ammunition. This most memorable and important victory, credite posteri! was achieved with the loss to the assailants of only ten men; although the attack was made by the boats, under a prodigious fire from the enemy's batteries on shore; and within sight of that army, proudly marshalled for the intended invasion of England, to replace King James upon his abdicated throne. In the distant high ground and in front of the camp, may be discovered the figure of the king, who, witnessing the attack, is reported to have silently ejaculated, "Ye gods! how my brave English fight!]] réalisée par Benjamin West, vendue par Benjamin West, achetée par J Monckton, son of the Honble Mr Monckton, Portland Place. [112]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Institution of the Order of the Garter. The original study for one of the series of large pictures, recording memorable events of the reign of Edward the Third. Painted by command of His late Majesty, and placed in the great audience chamber, Windsor Castle (Benjamin West)|The Institution of the Order of the Garter. The original study for one of the series of large pictures, recording memorable events of the reign of Edward the Third. Painted by command of His late Majesty, and placed in the great audience chamber, Windsor Castle]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Vernon. [113]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Ophelia before the King. -- Hamlet. Study for the large Picture of the same subject. -- (Lot 163.) This masterly piece has always been admired for that energy of expression, and general contour, which associate with the awful descriptions of our great dramatic poet. As an example of style for the pouring out of a first thought, it may be considered as a graphic impromptu, displaying all the requisites of the pictorial art (Benjamin West)|Ophelia before the King. -- Hamlet. Study for the large Picture of the same subject. -- (Lot 163.) This masterly piece has always been admired for that energy of expression, and general contour, which associate with the awful descriptions of our great dramatic poet. As an example of style for the pouring out of a first thought, it may be considered as a graphic impromptu, displaying all the requisites of the pictorial art]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Smith. [114]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Death on the Pale Horse; or the Opening of the Five Seals. Revelations, chap. 6. Verse 1. And I saw when the lamb opened one of the seals, and I heard as it were the noise of thunder, one of the four beasts saying, Come and see. Verse 2. And I saw, and behold, a white horse: and he that sat on him had a bow; and a crown was given unto him; and he went forth conquering, and to conquer. Verse 3. And when he had opened the second seal, I heard the second beast say, Come and see. Verse 4. And there went out another horse that was red; and power was given to him that sat thereon to take peace from the earth, and that they should kill one another: and there was given unto him a great sword. Verse 5. And when he had opened the third seal, I heard the third beast say, Come and see. And I beheld, and lo, a black horse: and he that sat on him had a pair of balances in his hand. Verse 7. And when he had opened the fourth seal, I heard the voice of the fourth beast say, Come and see. Verse 8. And I looked, and behold, a pale horse, and his name that sat on his was Death, and hell followed with him. And power was given unto him over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth. Verse 9. And when he had opened the fifth seal, I saw under the altar the souls of them that were slain for the word of God, and for the testimony which they held. Verse 10. And they cried with a loud voice saying, How long, O Lord, holy and true, dost thou not judge and avenge our blood on them that dwell on the earth. And verse 11. And white robes were given unto every one of them, that they should rest for yet a little season, until their fellow servants also, and their brethern, that should be killed as they were, should be fulfilled. The general effect proposed to be excited by this picture is the terribly sublime and its various modifications, until lost in opposite extremes of pity and horror; a sentiment which painting has so seldom attempted to awaken. It will scarcely be credited by prosperity, though the veritable fact is sufficiently known to his contemporaries, that this stupendous picture was painted when its venerable author had nearly accomplished the patriarchal age of eighty years! The first thought wrought on a surface of little more than three feet in breadth, with a spirit of poetic inspiration, is now in the collection of the Earl of Egremont, a nobleman whose munificent patronage of the British school, and refined taste for the polite arts, amply qualifies him to appreciate its transcendant merits. The study for the picture of Death on the Pale Horse, was exhibited in the gallery of the Louvre in 1802, then in the zenith of its glory; where, surrounded by all that was great and gorgeous in art, it shone a star conspiciously bright! (Benjamin West)|Death on the Pale Horse; or the Opening of the Five Seals. Revelations, chap. 6. Verse 1. And I saw when the lamb opened one of the seals, and I heard as it were the noise of thunder, one of the four beasts saying, Come and see. Verse 2. And I saw, and behold, a white horse: and he that sat on him had a bow; and a crown was given unto him; and he went forth conquering, and to conquer. Verse 3. And when he had opened the second seal, I heard the second beast say, Come and see. Verse 4. And there went out another horse that was red; and power was given to him that sat thereon to take peace from the earth, and that they should kill one another: and there was given unto him a great sword. Verse 5. And when he had opened the third seal, I heard the third beast say, Come and see. And I beheld, and lo, a black horse: and he that sat on him had a pair of balances in his hand. Verse 7. And when he had opened the fourth seal, I heard the voice of the fourth beast say, Come and see. Verse 8. And I looked, and behold, a pale horse, and his name that sat on his was Death, and hell followed with him. And power was given unto him over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth. Verse 9. And when he had opened the fifth seal, I saw under the altar the souls of them that were slain for the word of God, and for the testimony which they held. Verse 10. And they cried with a loud voice saying, How long, O Lord, holy and true, dost thou not judge and avenge our blood on them that dwell on the earth. And verse 11. And white robes were given unto every one of them, that they should rest for yet a little season, until their fellow servants also, and their brethern, that should be killed as they were, should be fulfilled. The general effect proposed to be excited by this picture is the terribly sublime and its various modifications, until lost in opposite extremes of pity and horror; a sentiment which painting has so seldom attempted to awaken. It will scarcely be credited by prosperity, though the veritable fact is sufficiently known to his contemporaries, that this stupendous picture was painted when its venerable author had nearly accomplished the patriarchal age of eighty years! The first thought wrought on a surface of little more than three feet in breadth, with a spirit of poetic inspiration, is now in the collection of the Earl of Egremont, a nobleman whose munificent patronage of the British school, and refined taste for the polite arts, amply qualifies him to appreciate its transcendant merits. The study for the picture of Death on the Pale Horse, was exhibited in the gallery of the Louvre in 1802, then in the zenith of its glory; where, surrounded by all that was great and gorgeous in art, it shone a star conspiciously bright!]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Kershaw. [115]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Death of Sir Philip Sydney, Epaminondas, and Chevalier Bayard, in one frame. These interesting subjects, separately and suitably framed, would form three small specimens of art, that would form the cabinet collection of the finest gallery (Benjamin West)|The Death of Sir Philip Sydney, Epaminondas, and Chevalier Bayard, in one frame. These interesting subjects, separately and suitably framed, would form three small specimens of art, that would form the cabinet collection of the finest gallery]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Shippery. [116]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Saul Prophecying. Compositions of this class, uniting such as assemblage of picturesque objects, were rendered popular by the inventive powers and classic pencil of Nicolo Poussin. Rich and comprehensive, however, as was the imagination of this great original master, the inventive faculties of design were no less eminently bestowed on West. Nature, in all her varieties, and art of all ages, he had studied so sedulously, that his mind, thus richly stored, enabled him to pour his thoughts upon the canvas with all the attributes suited to his subject almost spontaneously. Hence, that variety and fitness dispersed throughout his animated compositions; among which, this may be numbered as one, wherein the main story, like a well constructed poem is rendered the more delightful, by the judicious distribution of interesting episodes. Saul prophecying may be adduced as an examplar of style for the composition of pictures intended for the furniture of splendid apartments (Benjamin West)|Saul Prophecying. Compositions of this class, uniting such as assemblage of picturesque objects, were rendered popular by the inventive powers and classic pencil of Nicolo Poussin. Rich and comprehensive, however, as was the imagination of this great original master, the inventive faculties of design were no less eminently bestowed on West. Nature, in all her varieties, and art of all ages, he had studied so sedulously, that his mind, thus richly stored, enabled him to pour his thoughts upon the canvas with all the attributes suited to his subject almost spontaneously. Hence, that variety and fitness dispersed throughout his animated compositions; among which, this may be numbered as one, wherein the main story, like a well constructed poem is rendered the more delightful, by the judicious distribution of interesting episodes. Saul prophecying may be adduced as an examplar of style for the composition of pictures intended for the furniture of splendid apartments]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Sheddon. [117]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Venus and Adonis, with Cupids bathing. These imaginary beings breathe the classic atmosphere of poetry. The scene is Virgilian, and the imagery is such as delight the poet in his waking dreams. As a picture, it is intense in colour and effect, and assimilates in sentiment and spirit with the impressive works of the old Venetian school (Benjamin West)|Venus and Adonis, with Cupids bathing. These imaginary beings breathe the classic atmosphere of poetry. The scene is Virgilian, and the imagery is such as delight the poet in his waking dreams. As a picture, it is intense in colour and effect, and assimilates in sentiment and spirit with the impressive works of the old Venetian school]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Holloway. [118]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Death of General Wolfe. A volume might well be written on the honor which the native school, and the advantage which the British nation have derived from this picture. The fame of the painter, and of the engraver of the Wolf, is spread over the civilised world, as the picture is universally admitted to be the standard model for the composition of the epic style of modern history. The world, however, are little aware of the difficulty which philosophers and men of genius experience in dispelling the clouds of prejudice and superstition, to bring truth to light. It will scarcely be believed, that nothing short of the persevering genius of West could have wrought this work; for all the dogmas of pseudo connoisseurship, cherished even by the credited arbiters of public taste, were arrayed before the painter, to deter him from his purpose, of representing the scene with the local circumstances of the hero's death. Some advised the group to be represented naked, and others insisted at least, upon the indispensable necessity of attiring the dramatis personae in the costume of the Romans or the Greeks. West, confident in his own judgment, produced the picture as it is, and happily with that success, which at once carried conviction home to his opposers, who, on beholding the picture, candidly admitted that he was right. Hence, by one bold effort, West established the law, that anachronisms are not only unnecessary, but inadmissible in painting, as entirely incompatible with historical truth. The Wolfe is considered one of the most impressive pictures of the modern school of design, and its pictorial merit as a composition will be preserved to posterity by the congenial hand of the eminent English engraver, Woollett. A fine proof impression of this engraving of the Death of Wolfe, has produced in a public sale, the sum of fifty pounds. From the joint labours of these two Artists, as exemplified in this splendid engraving, and that of the Battle of La Hogue, may be obviously deduced the commencement of that vast exportation of, as well as internal traffice in prints, which have been productive of millions of wealth to the empire! (Benjamin West)|Death of General Wolfe. A volume might well be written on the honor which the native school, and the advantage which the British nation have derived from this picture. The fame of the painter, and of the engraver of the Wolf, is spread over the civilised world, as the picture is universally admitted to be the standard model for the composition of the epic style of modern history. The world, however, are little aware of the difficulty which philosophers and men of genius experience in dispelling the clouds of prejudice and superstition, to bring truth to light. It will scarcely be believed, that nothing short of the persevering genius of West could have wrought this work; for all the dogmas of pseudo connoisseurship, cherished even by the credited arbiters of public taste, were arrayed before the painter, to deter him from his purpose, of representing the scene with the local circumstances of the hero's death. Some advised the group to be represented naked, and others insisted at least, upon the indispensable necessity of attiring the dramatis personae in the costume of the Romans or the Greeks. West, confident in his own judgment, produced the picture as it is, and happily with that success, which at once carried conviction home to his opposers, who, on beholding the picture, candidly admitted that he was right. Hence, by one bold effort, West established the law, that anachronisms are not only unnecessary, but inadmissible in painting, as entirely incompatible with historical truth. The Wolfe is considered one of the most impressive pictures of the modern school of design, and its pictorial merit as a composition will be preserved to posterity by the congenial hand of the eminent English engraver, Woollett. A fine proof impression of this engraving of the Death of Wolfe, has produced in a public sale, the sum of fifty pounds. From the joint labours of these two Artists, as exemplified in this splendid engraving, and that of the Battle of La Hogue, may be obviously deduced the commencement of that vast exportation of, as well as internal traffice in prints, which have been productive of millions of wealth to the empire!]] réalisée par Benjamin West, vendue par Benjamin West, achetée par J Monkton 6 Portman Square. [119]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Mothers with their children dabbling in a brook. A learned trait of the simple pastoral. The disposition and colouring of the group comprehend properties of an order of excellence that is not addressed to common perceptions. In absence of all that is pretty, a recondite knowledge of the principles of painting is discoverable in their piece, that cannot fail to be felt by those who know how to appreciate true art. The repose of the back ground is in strict conformity with the general sentiment of the composition (Benjamin West)|Mothers with their children dabbling in a brook. A learned trait of the simple pastoral. The disposition and colouring of the group comprehend properties of an order of excellence that is not addressed to common perceptions. In absence of all that is pretty, a recondite knowledge of the principles of painting is discoverable in their piece, that cannot fail to be felt by those who know how to appreciate true art. The repose of the back ground is in strict conformity with the general sentiment of the composition]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Suttaby. [120]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[King Lear and Cordelia. The difficulty of uniting the tender, with the heroic style, is infinitely more arduous in painting than in poetry; for in graphic art, form and expression are of necessity left to describe the emotions of the soul without the aid of language. In this the Artist, skilfully combining these limited attributes, has described the affecting scene with a force, that makes an intelligent appeal to the feelings. The executive style, or the pencil of the painter of this composition, was as manifestly independant of the contracted rules of criticism, as the pen of the great dramtatic poet, whose thoughts he has thus pictorially embodied (Benjamin West)|King Lear and Cordelia. The difficulty of uniting the tender, with the heroic style, is infinitely more arduous in painting than in poetry; for in graphic art, form and expression are of necessity left to describe the emotions of the soul without the aid of language. In this the Artist, skilfully combining these limited attributes, has described the affecting scene with a force, that makes an intelligent appeal to the feelings. The executive style, or the pencil of the painter of this composition, was as manifestly independant of the contracted rules of criticism, as the pen of the great dramtatic poet, whose thoughts he has thus pictorially embodied]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Smith. [121]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Death of Lord Nelson. A composition abounding in interest, as it represents with local fidelity, the deck of the vessel, in which Nelson, in the moment of victory, received his mortal wound. As a graphic memorial of that naval action, which is the most glorious for England upon record, it has a particular claim upon national feeling; for it is intended expressly to perpetuate, not only the mighty event, but the personal resemblance from the life of the heroes, who fought side by side with the great naval chief, on the deck of the "Victory" It has been observed by a distinguished personage, that a composition thus abounding in naval portrais, might afford the Lords of the Admiralty an opportunity of bestowing a marked compliment upon the service, by placing it in one of the public apartments of their office, where it might be preserved as an heir loom, reflecting honor upon the present age, and be contemplated as an object of art, of the deepest interest by posterity (Benjamin West)|The Death of Lord Nelson. A composition abounding in interest, as it represents with local fidelity, the deck of the vessel, in which Nelson, in the moment of victory, received his mortal wound. As a graphic memorial of that naval action, which is the most glorious for England upon record, it has a particular claim upon national feeling; for it is intended expressly to perpetuate, not only the mighty event, but the personal resemblance from the life of the heroes, who fought side by side with the great naval chief, on the deck of the "Victory" It has been observed by a distinguished personage, that a composition thus abounding in naval portrais, might afford the Lords of the Admiralty an opportunity of bestowing a marked compliment upon the service, by placing it in one of the public apartments of their office, where it might be preserved as an heir loom, reflecting honor upon the present age, and be contemplated as an object of art, of the deepest interest by posterity]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Henry Sanby Esqre. [122]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Venus lamenting the Death of Adonis. One of the most splendid effusions of the poetic pencil of the Artist. For originality of thought, and graceful application of that imagery, to which poetic fiction gives life, and the epic of painting adoption, few cabinet pictures can compete with this. In richness of tone, purity, and brightness, it is a graphic gem of surpassing excellence. Had it been the work of olden times, Correggio might have owned the aerial group, and Titian would have claimed the merit of the landscape (Benjamin West)|Venus lamenting the Death of Adonis. One of the most splendid effusions of the poetic pencil of the Artist. For originality of thought, and graceful application of that imagery, to which poetic fiction gives life, and the epic of painting adoption, few cabinet pictures can compete with this. In richness of tone, purity, and brightness, it is a graphic gem of surpassing excellence. Had it been the work of olden times, Correggio might have owned the aerial group, and Titian would have claimed the merit of the landscape]] réalisée par Benjamin West, vendue par Benjamin West, achetée par [[Ward [or] Word]]. [124]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Prophet Isaiah. Painted by command of His late Majesty for his intended Chapel in Windsor Castle. To create the image of this inspired and most sublime poet of the Hebrews, called forth, it may be presumed, the utmost mental exertions of the painter. These exertions have not been wrought in vain -- the composition is truly grand (Benjamin West)|The Prophet Isaiah. Painted by command of His late Majesty for his intended Chapel in Windsor Castle. To create the image of this inspired and most sublime poet of the Hebrews, called forth, it may be presumed, the utmost mental exertions of the painter. These exertions have not been wrought in vain -- the composition is truly grand]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [126]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Prophet Jeremiah. Painted by command of His late Majesty for his intended Chapel in Windsor Castle. Designed for one of the side compartments of the great picture of Moses receiving the laws. The countenances, and entire contour of this holy personage, is elevated to the fullest powers of graphic sentiment. Such personification seems to realise what is conceived by our perceptions of the living form of one of the prophets of the Most High. (Benjamin West)|The Prophet Jeremiah. Painted by command of His late Majesty for his intended Chapel in Windsor Castle. Designed for one of the side compartments of the great picture of Moses receiving the laws. The countenances, and entire contour of this holy personage, is elevated to the fullest powers of graphic sentiment. Such personification seems to realise what is conceived by our perceptions of the living form of one of the prophets of the Most High.]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Morgan. [127]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Moses receiving the Laws. Painted by command of His late Majesty, for his intended Chapel in Windsor Castle. Exodus, chap 31. Verse 12. And the Lord spake unto Moses saying, Verse 17. It is a sign between me and the children of Israel for ever; for in six days the Lord made heaven and earth, and on the seventh day he rested and was refreshed. Verse 18. And he gave unto Moses, when he had made an end communing with him, upon Mount Sinai, two tables of testimony, tables of stone, written with the finger of God. Difficult as it maybe to divest the mind of its cherished prejudices in favor of the genius of the ancients in every art, and equally difficult fully to appreciate contemporary talent; yet, not to acknowledge the superiority of genius which could accomplish works like these, rivalling in all the great attributes, the pictorial designs of Michael Angelo and Raffael, were an injustice, reflecting shame upon the understanding of the age. The composition of this awful subject, of Moses receiving the laws, and the pathos and effect displayed throughout the picture, may fairly compete with the noblest efforts of the pencils of these illustrious artists (Benjamin West)|Moses receiving the Laws. Painted by command of His late Majesty, for his intended Chapel in Windsor Castle. Exodus, chap 31. Verse 12. And the Lord spake unto Moses saying, Verse 17. It is a sign between me and the children of Israel for ever; for in six days the Lord made heaven and earth, and on the seventh day he rested and was refreshed. Verse 18. And he gave unto Moses, when he had made an end communing with him, upon Mount Sinai, two tables of testimony, tables of stone, written with the finger of God. Difficult as it maybe to divest the mind of its cherished prejudices in favor of the genius of the ancients in every art, and equally difficult fully to appreciate contemporary talent; yet, not to acknowledge the superiority of genius which could accomplish works like these, rivalling in all the great attributes, the pictorial designs of Michael Angelo and Raffael, were an injustice, reflecting shame upon the understanding of the age. The composition of this awful subject, of Moses receiving the laws, and the pathos and effect displayed throughout the picture, may fairly compete with the noblest efforts of the pencils of these illustrious artists]] réalisée par Benjamin West, vendue par Benjamin West, achetée par [[Ward [or] Word]]. [128]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Arethusa. The genuine connoisseur -- the skilled in virtd`u -- on beholding this picture will admit, that West was a colourist! If the Venetian art was lost, it has been found; for this tine study is wrought in the spirit and feeling of Titian (Benjamin West)|Arethusa. The genuine connoisseur -- the skilled in virtd`u -- on beholding this picture will admit, that West was a colourist! If the Venetian art was lost, it has been found; for this tine study is wrought in the spirit and feeling of Titian]] réalisée par Benjamin West, vendue par Benjamin West, achetée par [[Ward [or] Word]]. [129]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Characters in the Streets of London. The great moralist, Dr. Johnson, observed, "He who feels desirous of studying the habits of society, must not confine his enquiries to the regions of St. James's or Grosvenor - square; the great drama of human life has many scenes, of which the palace is but one; and to know them well, the enquirer must consent to tread dirty alleys, climb to plastered garrets, and descend to smoky cellars; and draw his estimate of the general system, by his acquaintance with the inhabitants of all." It was by knowledge thus acquired, that Swift, Smollet, and Goldsmith drew their veritable portraits. Poets, painters, and dramatists, are only admirable in personification, but as their prototypes are sought in nature. Garrick caught his Abel Drugger in the living manners of the drysalter's warehouseman, on Snow - hill. Men of genius, with these rare perceptions, open nature's sketch book in every hold and corner -- hence supply the market, for the mental feast of life. In this congenial feeling, the author of this truly English scene sketched merely what he saw, and depicted thus, specimens of a class of beings, useful, honest, tardy, and happy, regaling at the ale - house door; looking independant, saucy, and free from care, as the venerated monarch, who patronised the philosophic painter, delighted to boast his "honest common people." (Benjamin West)|Characters in the Streets of London. The great moralist, Dr. Johnson, observed, "He who feels desirous of studying the habits of society, must not confine his enquiries to the regions of St. James's or Grosvenor - square; the great drama of human life has many scenes, of which the palace is but one; and to know them well, the enquirer must consent to tread dirty alleys, climb to plastered garrets, and descend to smoky cellars; and draw his estimate of the general system, by his acquaintance with the inhabitants of all." It was by knowledge thus acquired, that Swift, Smollet, and Goldsmith drew their veritable portraits. Poets, painters, and dramatists, are only admirable in personification, but as their prototypes are sought in nature. Garrick caught his Abel Drugger in the living manners of the drysalter's warehouseman, on Snow - hill. Men of genius, with these rare perceptions, open nature's sketch book in every hold and corner -- hence supply the market, for the mental feast of life. In this congenial feeling, the author of this truly English scene sketched merely what he saw, and depicted thus, specimens of a class of beings, useful, honest, tardy, and happy, regaling at the ale - house door; looking independant, saucy, and free from care, as the venerated monarch, who patronised the philosophic painter, delighted to boast his "honest common people."]] réalisée par Benjamin West, vendue par Benjamin West, achetée par [[Ward [or] Word]]. [130]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[St. Peter's first sermon. Painted by command of His late Majesty, for his intended Chapel in Windsor Castle. An eminent display of that energy which characterised the mission of this disciple, is wrought in the countenance of St. Peter. That abstract excellence, which is so remarkable in the sculpture of the Greeks, by which the cognoscenti at once proclaim this to be a Bacchus, and that an Apollo, is richly distributed in the works of the highly gifted West; for such is the variety and fitness of his masks, that on beholding his pictorial dramas, not only the connoiseur, but indeed, even the unacquainted with art, who refer the paintings to the subject alone from their own perceptions, at once pronounce this to be St. Peter and that St. Paul. In conveying his meaning, whether the composition were from sacred or profane history, West, from the commencement to the termination of his long arduous professional career, never rendered himself lliable to censure for obscurity. The listening groups in this striking picture, are replete with intelligence, beauty, and expression (Benjamin West)|St. Peter's first sermon. Painted by command of His late Majesty, for his intended Chapel in Windsor Castle. An eminent display of that energy which characterised the mission of this disciple, is wrought in the countenance of St. Peter. That abstract excellence, which is so remarkable in the sculpture of the Greeks, by which the cognoscenti at once proclaim this to be a Bacchus, and that an Apollo, is richly distributed in the works of the highly gifted West; for such is the variety and fitness of his masks, that on beholding his pictorial dramas, not only the connoiseur, but indeed, even the unacquainted with art, who refer the paintings to the subject alone from their own perceptions, at once pronounce this to be St. Peter and that St. Paul. In conveying his meaning, whether the composition were from sacred or profane history, West, from the commencement to the termination of his long arduous professional career, never rendered himself lliable to censure for obscurity. The listening groups in this striking picture, are replete with intelligence, beauty, and expression]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [131]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[His late Majesty resuming royal power in 1789. The event perpetuated by this picture, affords the British Nation a subject for grateful reflection. At this memorable period, when the King of England, recovered from an awful visitation of Providence, was hailed with the heart - felt congratulations of his whole people; the unfortunate King of France, a victim to faction, had lost the allegiance of his subjects, and was by them devoted to perish on a scaffold (Benjamin West)|His late Majesty resuming royal power in 1789. The event perpetuated by this picture, affords the British Nation a subject for grateful reflection. At this memorable period, when the King of England, recovered from an awful visitation of Providence, was hailed with the heart - felt congratulations of his whole people; the unfortunate King of France, a victim to faction, had lost the allegiance of his subjects, and was by them devoted to perish on a scaffold]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Morgan. [132]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Ascension of Our Saviour. To justly appreciate this master as a colourist, this magnificent composition, for such it truly is, should be attentively considered. In no work of the dimensions of this piece can a greater display of high art be well conceived. The grouping of the figures replete with graceful contour, and the feeling that pervades the design, combining harmony of colouring and splendour of effect, is wrought to the utmost scale of intensity (Benjamin West)|The Ascension of Our Saviour. To justly appreciate this master as a colourist, this magnificent composition, for such it truly is, should be attentively considered. In no work of the dimensions of this piece can a greater display of high art be well conceived. The grouping of the figures replete with graceful contour, and the feeling that pervades the design, combining harmony of colouring and splendour of effect, is wrought to the utmost scale of intensity]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Ld Egremont. [133]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Psyche obtaining the guarded water. Psyche, of whom, Cupid himself became so desperately enamoured, that he was constrained to apply to his friend Hymen for relief, and become a Benedict. Who then but a master, could venture to personify the beauty of this most favoured fair? In this piece, Jupiter's eagle is sent on an extraordinary embassy to the goddess, for such she became, after Venus put her to death for robbing the world of her darling son. In composition, colour, mastery, and splendour of effect, this small picture may be pronounced a gem (Benjamin West)|Psyche obtaining the guarded water. Psyche, of whom, Cupid himself became so desperately enamoured, that he was constrained to apply to his friend Hymen for relief, and become a Benedict. Who then but a master, could venture to personify the beauty of this most favoured fair? In this piece, Jupiter's eagle is sent on an extraordinary embassy to the goddess, for such she became, after Venus put her to death for robbing the world of her darling son. In composition, colour, mastery, and splendour of effect, this small picture may be pronounced a gem]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Cooke. [134]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Venus attired by the Graces. Another graphic gem, displaying that deep toned brightness, which constitutes the very soul of Venetian harmony. The grouping of this truly original composition, is a compedium of beauty, no less abstractedly, than as an elegant medium for distributing the charm of colouring in all its glorius emanations. This has uniformly been admitted by the cognoscenti, to be one of the very finest specimens of modern art (Benjamin West)|Venus attired by the Graces. Another graphic gem, displaying that deep toned brightness, which constitutes the very soul of Venetian harmony. The grouping of this truly original composition, is a compedium of beauty, no less abstractedly, than as an elegant medium for distributing the charm of colouring in all its glorius emanations. This has uniformly been admitted by the cognoscenti, to be one of the very finest specimens of modern art]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Hayes. [135]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Cave of Despair. The very name of Spencer associates itself with all that is richly imaginative, and congenially picturesque. His volume is an exhaustless mine of invention, that has supplied a thousand gems, which succeeding poets have delighted to cut and shape, as offerings at Fancy's toilette. Fecund, however, as were the imaginations of our native poets, could Shakspeare, in his delighful dreams of futurity, have pictures to his fancy a modern theatre, illumined in its magic grandeur, with its accompaniments, the glorious band of instruments, the rich costume, and splendid scene? Or could Spencer have conceived that the pourings out of his thoughts should have been thus embodied by the native genius of a sister art, to him, for ages as yet unborn? The Cave of Despiar, thus personified, is verily a painted poem, wherein the Artist has displayed his thoughts so truly in the feeling of his author, that it were scarcely an hyperbole to assert, that the picture and the poem were dictated by one and the same spirit. As a graphic composition, it may be classed, in all its pictorial properties, with the works of Salvator Rosa (Benjamin West)|The Cave of Despair. The very name of Spencer associates itself with all that is richly imaginative, and congenially picturesque. His volume is an exhaustless mine of invention, that has supplied a thousand gems, which succeeding poets have delighted to cut and shape, as offerings at Fancy's toilette. Fecund, however, as were the imaginations of our native poets, could Shakspeare, in his delighful dreams of futurity, have pictures to his fancy a modern theatre, illumined in its magic grandeur, with its accompaniments, the glorious band of instruments, the rich costume, and splendid scene? Or could Spencer have conceived that the pourings out of his thoughts should have been thus embodied by the native genius of a sister art, to him, for ages as yet unborn? The Cave of Despiar, thus personified, is verily a painted poem, wherein the Artist has displayed his thoughts so truly in the feeling of his author, that it were scarcely an hyperbole to assert, that the picture and the poem were dictated by one and the same spirit. As a graphic composition, it may be classed, in all its pictorial properties, with the works of Salvator Rosa]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Hicks. [136]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Brazen Serpent. Painted by command of His late Majesty, for his intended Chapel in Windsor Castle. It was the intention of this august, and truly pious Soveriegn, to have erected a chapel, 90 feet in length and 45 feet in breadth, designed expressly for the reception of historical pictures, representing the greatest events recorded in the Old and New Testament. The subjects, which were partly chosen, and all approved by His Majesty, embrace the progress of revealed religion, from its commencement to its completion. The whole are arranged from the Four Dispensations, into five and thirty compositions, and with that circumspection, that the most scrupulous, touching the propriety of admitting pictures into churches, it is presumed, must acknowledge them, as drawn from the divine fountain of truth, calculated to inspire no other sentiment, than that of pure reverence for the sacred events which they thus emphatically record. That this noble monument of the Sovereign's mental triumph over the unenlightened prejudices of his age, should not have been accomplished, must ever be regretted by those superior minds which feel a national pride in the native genius of the country. This picture of the brazen Serpent has been acknowledged to hold its rank amongst the highest efforts of ancient or modern art, in all the attributes of the great style. It is due to the genius of its author, to pronounce it worthy the age of Michael Angelo (Benjamin West)|The Brazen Serpent. Painted by command of His late Majesty, for his intended Chapel in Windsor Castle. It was the intention of this august, and truly pious Soveriegn, to have erected a chapel, 90 feet in length and 45 feet in breadth, designed expressly for the reception of historical pictures, representing the greatest events recorded in the Old and New Testament. The subjects, which were partly chosen, and all approved by His Majesty, embrace the progress of revealed religion, from its commencement to its completion. The whole are arranged from the Four Dispensations, into five and thirty compositions, and with that circumspection, that the most scrupulous, touching the propriety of admitting pictures into churches, it is presumed, must acknowledge them, as drawn from the divine fountain of truth, calculated to inspire no other sentiment, than that of pure reverence for the sacred events which they thus emphatically record. That this noble monument of the Sovereign's mental triumph over the unenlightened prejudices of his age, should not have been accomplished, must ever be regretted by those superior minds which feel a national pride in the native genius of the country. This picture of the brazen Serpent has been acknowledged to hold its rank amongst the highest efforts of ancient or modern art, in all the attributes of the great style. It is due to the genius of its author, to pronounce it worthy the age of Michael Angelo]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [137]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Cupid and Psyche. Few of the heathen deities have inspired the poet, the sculptor, or the painter, with a theme upon which to lavish the rich stores of their imagination so generally, as the loves of Cupid and Psyche. In the composition of the group the inventive powers of West are developed with that elegance which can result only from a just appreciation of the classic beauty of the antique. The picture is a fine specimen of the painter's art, and the taste and feeling of the design, in all its contours, afford a beautiful hint to the sculptor, for a group in Parian Marble (Benjamin West)|Cupid and Psyche. Few of the heathen deities have inspired the poet, the sculptor, or the painter, with a theme upon which to lavish the rich stores of their imagination so generally, as the loves of Cupid and Psyche. In the composition of the group the inventive powers of West are developed with that elegance which can result only from a just appreciation of the classic beauty of the antique. The picture is a fine specimen of the painter's art, and the taste and feeling of the design, in all its contours, afford a beautiful hint to the sculptor, for a group in Parian Marble]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Hicks. [138]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Iris coming to Priam. "Then down her bow the winged Iris drives,/ And swift at Priam's mournful court arrives;/ Where the sad sons beside their father's throne/ Sate bathed in tears, and answered groan for groan,/ And all amidst them lay the hoary sire." Homer's Iliand, B. xxiv. This beautiful messanger of the Gods is whispering her mission to the afflicted Priam, and encouraging him to venture to the Grecian Camp to treat with Achilles for the restoration of the slain body of his son, Hector. "Fear not, oh father! no ill news I bear;/ From Jove I come, Jove makes thee still his care." (Benjamin West)|Iris coming to Priam. "Then down her bow the winged Iris drives,/ And swift at Priam's mournful court arrives;/ Where the sad sons beside their father's throne/ Sate bathed in tears, and answered groan for groan,/ And all amidst them lay the hoary sire." Homer's Iliand, B. xxiv. This beautiful messanger of the Gods is whispering her mission to the afflicted Priam, and encouraging him to venture to the Grecian Camp to treat with Achilles for the restoration of the slain body of his son, Hector. "Fear not, oh father! no ill news I bear;/ From Jove I come, Jove makes thee still his care."]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Ld Leigh. [139]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Baptism of Our Saviour. Painted by command of His late Majesty for his intended Chapel in Windsor Castle. The true believer cannot, without emotion, contemplate the humility of the Saviour, thus depicted, stepping from the consecrated waters of the Jordan, on the moment after submission to that solemn ceremony, by the symbol of which, mortals were henceforth to be acknowledged heirs to immortality! The picture displays the highest style of historical composition (Benjamin West)|Baptism of Our Saviour. Painted by command of His late Majesty for his intended Chapel in Windsor Castle. The true believer cannot, without emotion, contemplate the humility of the Saviour, thus depicted, stepping from the consecrated waters of the Jordan, on the moment after submission to that solemn ceremony, by the symbol of which, mortals were henceforth to be acknowledged heirs to immortality! The picture displays the highest style of historical composition]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [141]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Death of the Earl of Chatam. It is a singular fact, that the late Mr. Copley, and his friend, the late Mr. West, were engaged at the same time in forming and arranging studies for a large picture, representing the death of the Earl of Chatham. Mr West had already found a generous patron in his Sovereign; his rival had to seek professional renown. Neither knew of the other's intention; but on the disclosure of their separate, though similar plans, Mr. West generously relinquished the object of his pursuit, and left the field open to his contemporary. From this masterly and well - coloured study, may be inferred, that a grand picture would have been produced, had the projected design been accomplished (Benjamin West)|The Death of the Earl of Chatam. It is a singular fact, that the late Mr. Copley, and his friend, the late Mr. West, were engaged at the same time in forming and arranging studies for a large picture, representing the death of the Earl of Chatham. Mr West had already found a generous patron in his Sovereign; his rival had to seek professional renown. Neither knew of the other's intention; but on the disclosure of their separate, though similar plans, Mr. West generously relinquished the object of his pursuit, and left the field open to his contemporary. From this masterly and well - coloured study, may be inferred, that a grand picture would have been produced, had the projected design been accomplished]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Morgan 18 Berners St. [142]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Procession of Queen Elizabeth to St. Paul's, after the defeat of the Spanish Armada. Few passages fron English history afford a more pictorial subject than this. With the Maiden Queen departed the last knights of the romantic school of ancient chivalry: With her ended the age of courtly pomp, and splendid pageant; hence her days are the last, that congenially associate with the cherished amenities of the picturesque. This procession, so memorable in our national annals, was detailed by the chroniclers of old with all the fond parade and pomp of local circumstance. The scene is thus pictorially faithful to the letter. The queen alighted at the old cathedral of St. Paul and the canopy of state was borne over her royal head by her loyal, loving knights, the gallant defenders of her throne. The painter has diffused a character over the scene that conveys the imagination to the spot. As a painting, it is wrought with the Author's usual facility, and characteristic spirit (Benjamin West)|Procession of Queen Elizabeth to St. Paul's, after the defeat of the Spanish Armada. Few passages fron English history afford a more pictorial subject than this. With the Maiden Queen departed the last knights of the romantic school of ancient chivalry: With her ended the age of courtly pomp, and splendid pageant; hence her days are the last, that congenially associate with the cherished amenities of the picturesque. This procession, so memorable in our national annals, was detailed by the chroniclers of old with all the fond parade and pomp of local circumstance. The scene is thus pictorially faithful to the letter. The queen alighted at the old cathedral of St. Paul and the canopy of state was borne over her royal head by her loyal, loving knights, the gallant defenders of her throne. The painter has diffused a character over the scene that conveys the imagination to the spot. As a painting, it is wrought with the Author's usual facility, and characteristic spirit]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [143]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Wise Mens' Offering. The story related, as combined with the accepted attributes of this class of design. The grouping is well arranged, the colouring is judiciously distributed, and leads with scientific arrangement to the burst of splendour, surrounding the angelic spirits, thus poetically introduced into the composition (Benjamin West)|The Wise Mens' Offering. The story related, as combined with the accepted attributes of this class of design. The grouping is well arranged, the colouring is judiciously distributed, and leads with scientific arrangement to the burst of splendour, surrounding the angelic spirits, thus poetically introduced into the composition]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [145]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[A large Landscape, with his late Majesty hunting, and Windsor Castle in the distance. There is a sentiment conveyed in the design of this scene, indicative of the philosophic benignity of its author. In the distance is seen the Castle, so long the resident of royalty, and that domestic peace, the exemple of which dispensed moral good to every grade of the subjects of this virtuous king and queen of England. The cottage in the foreground is illustrative of this; here, the woodman, returning to his peaceful home, is fondly hailed by his smiling family. This is no poetic fiction, but a veritable pastoral of the happy cot. The King, surrounded by his friends, joining the rural sport, is the middle link of the moral chain that unites the graphic allegory. The mastery of execution displayed in the painting of this composition is too obvious to need enforcing. The trunk of the antiquated beech is a portrait; and the touching foliage of the oak and shrubs is truly characteristic. "West," as Gainsborough observed, "understood the very anatomy of forest trees." (Benjamin West)|A large Landscape, with his late Majesty hunting, and Windsor Castle in the distance. There is a sentiment conveyed in the design of this scene, indicative of the philosophic benignity of its author. In the distance is seen the Castle, so long the resident of royalty, and that domestic peace, the exemple of which dispensed moral good to every grade of the subjects of this virtuous king and queen of England. The cottage in the foreground is illustrative of this; here, the woodman, returning to his peaceful home, is fondly hailed by his smiling family. This is no poetic fiction, but a veritable pastoral of the happy cot. The King, surrounded by his friends, joining the rural sport, is the middle link of the moral chain that unites the graphic allegory. The mastery of execution displayed in the painting of this composition is too obvious to need enforcing. The trunk of the antiquated beech is a portrait; and the touching foliage of the oak and shrubs is truly characteristic. "West," as Gainsborough observed, "understood the very anatomy of forest trees."]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [146]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[View of Tintern Abbey. Most poets, composers, painters and authors have earned fame, by labours peculiar to their respective styles. Among authors, one is celebrated for the epic, another for history, or the pastoral, the lyric, or the familiar style. Among the painters, one has raised a name for the grand gusto, another for portraiture, landscape, marine, for familiar subjects, or the grotesque style. Shakspeare and Rubens, mighty in power, great in invention, universal in taste, and uncontrolled in style, sought their themes 'midst worlds of spirits, and their prototypes in all that heaven had created on earth. Hence the versatility which their genius has disclosed, in works illustrating all things, and in clothing all with that picturesque interest which has delighted and astonished their fellow men. The universality of the genius and perceptions of West, in his comprehensive powers of imitation and design, entitles his memory to congenial fame. Devoted to his art, West never quitted his domicile, even for an hour's recreation, without his sketch - book and his fountain pen. This venerable ruin, so familiar to the tourist, was seen by the painter during an excursion with the late Duke of Norfolk, at whose seat he was invited by his Grace, to recreate for a few days. A tour on the Wye was proposed by the noble host, and the famed Abbey of Tintern making an interesting feature of the scene, it was delineated on the spot, the Duke, and a party of his friends attending the performance, as represented in the picture. The Artist's portrait is prominent in the group; the picture is executed with great freedom of pencil, and in a tone of colour locally descriptive of the general effect of the scene (Benjamin West)|View of Tintern Abbey. Most poets, composers, painters and authors have earned fame, by labours peculiar to their respective styles. Among authors, one is celebrated for the epic, another for history, or the pastoral, the lyric, or the familiar style. Among the painters, one has raised a name for the grand gusto, another for portraiture, landscape, marine, for familiar subjects, or the grotesque style. Shakspeare and Rubens, mighty in power, great in invention, universal in taste, and uncontrolled in style, sought their themes 'midst worlds of spirits, and their prototypes in all that heaven had created on earth. Hence the versatility which their genius has disclosed, in works illustrating all things, and in clothing all with that picturesque interest which has delighted and astonished their fellow men. The universality of the genius and perceptions of West, in his comprehensive powers of imitation and design, entitles his memory to congenial fame. Devoted to his art, West never quitted his domicile, even for an hour's recreation, without his sketch - book and his fountain pen. This venerable ruin, so familiar to the tourist, was seen by the painter during an excursion with the late Duke of Norfolk, at whose seat he was invited by his Grace, to recreate for a few days. A tour on the Wye was proposed by the noble host, and the famed Abbey of Tintern making an interesting feature of the scene, it was delineated on the spot, the Duke, and a party of his friends attending the performance, as represented in the picture. The Artist's portrait is prominent in the group; the picture is executed with great freedom of pencil, and in a tone of colour locally descriptive of the general effect of the scene]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Ld Amherst. [148]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Reapers, with a View near Windsor. That natural taste for the charms of landscape which was so early developed by this painter, grew, and expanded into rich maturity amidst the woodland and pastoral scenery so abundant of the pictorial beauty in the regions of the ancient seat of royalty at Windsor. No one marked the combinations of light and shadow, ever varying, with those incidental effects which constitute the soul of landscape, more intensely than West. His sketch books were filled with beautiful passsages -- pictorial episodes -- which he noted down in his rambles on horseback and on foot, during many an autumnal season, whilst professionally occupied at the Castle under the auspices of his sovereign. These studies enriching his faculty, supplied material for his back grounds, and gave birth to those charming scraps of landscape art, which for so many years have adorned the walls of his gallery, and have been studied as exemplars of style. This pastoral scene was painted from a group sketched in a corn field, on the borders of the Great Park. Windsor, and the adjacent country is seen in a cool retiring mass, as skilfully opposed to the local colouring of the field of corn. The figures are grouped with unaffected simplicity, and depicted with an intelligent hand. In the second ground are portraits of a party of friends who accompanied the painter in the evening ramble, namely, Mrs. West, her elder son, Mrs. Brounkder, Sir Francis Bourgeois, R.A., and Mr. Trumbull, the celebrated American historical painter (Benjamin West)|Reapers, with a View near Windsor. That natural taste for the charms of landscape which was so early developed by this painter, grew, and expanded into rich maturity amidst the woodland and pastoral scenery so abundant of the pictorial beauty in the regions of the ancient seat of royalty at Windsor. No one marked the combinations of light and shadow, ever varying, with those incidental effects which constitute the soul of landscape, more intensely than West. His sketch books were filled with beautiful passsages -- pictorial episodes -- which he noted down in his rambles on horseback and on foot, during many an autumnal season, whilst professionally occupied at the Castle under the auspices of his sovereign. These studies enriching his faculty, supplied material for his back grounds, and gave birth to those charming scraps of landscape art, which for so many years have adorned the walls of his gallery, and have been studied as exemplars of style. This pastoral scene was painted from a group sketched in a corn field, on the borders of the Great Park. Windsor, and the adjacent country is seen in a cool retiring mass, as skilfully opposed to the local colouring of the field of corn. The figures are grouped with unaffected simplicity, and depicted with an intelligent hand. In the second ground are portraits of a party of friends who accompanied the painter in the evening ramble, namely, Mrs. West, her elder son, Mrs. Brounkder, Sir Francis Bourgeois, R.A., and Mr. Trumbull, the celebrated American historical painter]] réalisée par Benjamin West, vendue par Benjamin West. [149]
  • 1829.05.23/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Hector parting with his wife and child. It will be observed, that this picture is incomplete. It was the intention of the painter to add to the expression of the nurse, and the suggested alteration is marked in outline. The terror of the infant boy, at the appearance of his father's visage, shaded by his massive helmet, is an episode very naturally expressed (Benjamin West)|Hector parting with his wife and child. It will be observed, that this picture is incomplete. It was the intention of the painter to add to the expression of the nurse, and the suggested alteration is marked in outline. The terror of the infant boy, at the appearance of his father's visage, shaded by his massive helmet, is an episode very naturally expressed]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Smith. [152]
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