Ventes d'œuvres le 1830.05.-

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  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Reposo -- Flight Into Egypt. This little picture appears to have been done originally as a sketch in chiar'oscuro, on a small piece of very coarse canvass, and to have given so much satisfaction to the artist, that he has enlarged it on all sides, laid it on pannel, and worked it up to one of the most amiable and enchanting of his works. Like all other good pictures, the longer it is studied the more admirable it will be found. Even when examined with a microscope, the parts that appear to the naked eye vague and undefined, are made out as in a great mosaic. The colours appear rather melted together than laid on with a pencil, and so transparent is the air that not a harsh spot can be detected to hurt the eye. Rembrandt in his happiest moment never painted a finer head than that of Joseph, nor with so little effort. This little cabinet gem has long been in the possession of a private amateur at Rome. Its previous history is not known, but this is not one of these pictures that require a history to add to its value. It speaks to the mind of the most common observer, and is one of those treasures which, from time to time, are dug from that mine of wealth where they have long been hid. There is a singular and striking connexion between this picture and Nos. 42 and 43, and all three are linked together as the undoubted work of one hand. The general tone of the three is, upon the whole, different: but a close examination will shew that the figure of St. Peter. in No. 42, is in the same manner, and by the same pencil, as that of Joseph in the one before us. The hands, the drapery, and the touch, coincide exactly. In the same manner, the work of the hair of the Magdalene, in No. 43, is so similar in touch and colour to the ground work of the present picture under the sack, that it might be supposed done at the same moment, and with the same pencil (Coreggio)|Reposo -- Flight Into Egypt. This little picture appears to have been done originally as a sketch in chiar'oscuro, on a small piece of very coarse canvass, and to have given so much satisfaction to the artist, that he has enlarged it on all sides, laid it on pannel, and worked it up to one of the most amiable and enchanting of his works. Like all other good pictures, the longer it is studied the more admirable it will be found. Even when examined with a microscope, the parts that appear to the naked eye vague and undefined, are made out as in a great mosaic. The colours appear rather melted together than laid on with a pencil, and so transparent is the air that not a harsh spot can be detected to hurt the eye. Rembrandt in his happiest moment never painted a finer head than that of Joseph, nor with so little effort. This little cabinet gem has long been in the possession of a private amateur at Rome. Its previous history is not known, but this is not one of these pictures that require a history to add to its value. It speaks to the mind of the most common observer, and is one of those treasures which, from time to time, are dug from that mine of wealth where they have long been hid. There is a singular and striking connexion between this picture and Nos. 42 and 43, and all three are linked together as the undoubted work of one hand. The general tone of the three is, upon the whole, different: but a close examination will shew that the figure of St. Peter. in No. 42, is in the same manner, and by the same pencil, as that of Joseph in the one before us. The hands, the drapery, and the touch, coincide exactly. In the same manner, the work of the hair of the Magdalene, in No. 43, is so similar in touch and colour to the ground work of the present picture under the sack, that it might be supposed done at the same moment, and with the same pencil]] réalisée par Coreggio, vendue par Fairholme. [1]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Christ in the Mount of Olives. This picture, in the purest state of preservation, and in the richest tone of Coreggio, comes from the collection of the Count Severoli, at Rome, where it has formed for centuries a companion to No. 40, and was formerly, like it, decorated with a silver gilt frame. Vasari describes this picture as follows: "In the same city (Reggio) there is a little picture, about a foot broad, the most rare and beautiful that can be seen of his, of small figures, in which is a Christ in the garden, represented in the night, where an angel appears in his splendour throwing a light upon the Christ, which is so like reality, that one cannot imagine nor express it better. At the foot of the mount are seen the three apostles who sleep, upon whom the shade of the mountain falls, which gives a force to these figures that appears impossible; and then in the distant landscape there is an appearance of dawn, and one sees at one side some soldiers with Judas. Considering its smallness, the history is so well expressed that it cannot be equalled either for patience or study." Never was ardent devotion and resignation to the will of God better expressed than in the divine figure and attitude of our Saviour in this picture. "Nevertheless, not my will but thine be done!" Of the three apostles in the foreground, Vasari has well remarked, that a force and effect is given to these figures that appears impossible. The design is equal to any thing of Raphael. The gilded colouring belongs to Coreggio alone. Indeed, too much cannot be said in praise of the high tone and finish of the whole of this picture. In these respects it is, perhaps, fully equal to the Magadalene at Dresden, with this addition, that the subject is incomparably superior in interest. There is a remarkable pentimento in the drapery of our Saviour, a part of which has at first been thrown over the right arm and hanging towards the ground. This has been changed, and obviously for the better, as the balance of the figure is more perfectly preserved (Coreggio)|Christ in the Mount of Olives. This picture, in the purest state of preservation, and in the richest tone of Coreggio, comes from the collection of the Count Severoli, at Rome, where it has formed for centuries a companion to No. 40, and was formerly, like it, decorated with a silver gilt frame. Vasari describes this picture as follows: "In the same city (Reggio) there is a little picture, about a foot broad, the most rare and beautiful that can be seen of his, of small figures, in which is a Christ in the garden, represented in the night, where an angel appears in his splendour throwing a light upon the Christ, which is so like reality, that one cannot imagine nor express it better. At the foot of the mount are seen the three apostles who sleep, upon whom the shade of the mountain falls, which gives a force to these figures that appears impossible; and then in the distant landscape there is an appearance of dawn, and one sees at one side some soldiers with Judas. Considering its smallness, the history is so well expressed that it cannot be equalled either for patience or study." Never was ardent devotion and resignation to the will of God better expressed than in the divine figure and attitude of our Saviour in this picture. "Nevertheless, not my will but thine be done!" Of the three apostles in the foreground, Vasari has well remarked, that a force and effect is given to these figures that appears impossible. The design is equal to any thing of Raphael. The gilded colouring belongs to Coreggio alone. Indeed, too much cannot be said in praise of the high tone and finish of the whole of this picture. In these respects it is, perhaps, fully equal to the Magadalene at Dresden, with this addition, that the subject is incomparably superior in interest. There is a remarkable pentimento in the drapery of our Saviour, a part of which has at first been thrown over the right arm and hanging towards the ground. This has been changed, and obviously for the better, as the balance of the figure is more perfectly preserved]] réalisée par Coreggio, vendue par Fairholme. [2]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Madonna, and Infant Christ, with Mary Magdalene. We are now come to the last, and if possible the most remarkable of this suite of pictures. -- It represents the Virgin holding the Infant Christ on her arm, Mary Magdelene with an inexpressible air of tenderness and respect, laying her cheek to the foot of the infant. The connoisseur will at once perceive that this is a repetition of a part of the finest picture existing, -- the famous St. Jerome at Parma. And where, except in the St. Jerome itself, is such grace and beauty to be found! We have here every thing that the eye and mind can require in an artificial object: a divine conception and execution of a divine subject. Considerable varieties will be remarked in this picture, on comparing it with Caracci's engraving of the St. Jerome at Parma. In the latter, the right hand of the Virgin is placed under the right arm of the infant, and the left hand of the infant rests upon the head of the Magdalene. There are also some smaller variations in the design, and in the head dress of the Virgin. When compared with the Parma picture itself, which the proprietor has had an opportunity of doing, the colouring is more transparent, and the whole has that higher degree of finish generally remarked in cabinet pictures of all masters compared with their larger works. Raphael Mengs (the best authority on the subject of Coreggio,) makes the following observatons in describing the Parma picture, and they are so applicable to the picture before us, that one would suppose it was it he was describing. "Ce tableau merite de tenir un des rangs les plus distingués parmi les belles productions du Corrége: et l'on ne peut même lui comparer, en quelque sorte, que la petite Madeleine et la fameuse Nuit donc nous parlerous plus bas. Quant á la maniére dont ce tableau est executé, nous devons remarquer, quil est d'un empâtement et épaisseur de couleur qu'on ne trouve dans aucun autre ouvrage de ce maître; cependant il est, en même tems, d'une franchaise qu'il est difficile de conserver en employant autant de couleur: mais ce que cette peinture, si fortement empâtée, offre de plus mal-aisé, c'est la variété á donner aux teintes, et de rendre les couleurs lisses, de manière qu'elles ne semble point posées sur la toile avec le pinceau, mais paraissent fondues ensemble, comme de la cire qu'on aurait tenue sur le feu. Quoique tout soit admirable dans ce tableau, la tête de la Madeleine surpasse néanmoins tout le reste en beauté; et l'on peut dire que quiconque ne l'a pas vue, ne peut se former une juste idée de la perfection à laquelle l'art peut atteindre: car on y trouve tout-a-la-fois l'expression et la précision du Raphaël; les belles teintes du Titien; l'empâtement du Giorgione; cette verité et cette exactitude caracterestique qu'offre la variété des formes et des teintes des portraits de Van Dyke; le spacieux, ou la lumière ouverte, du Guide; le ton gai, et agréable, de Paul Veronese; le tout exécuté avec cette finesse, et cette délicatesse qui etoient propres au Corrége et que personne n'a jamais pu imiter, ni même copier: car les copies que les plus habiles peintres ont faites de ce tableau, ne penvent pas plus lui être comparés que le feu peut l'être au soleil." This chef-d'oeuvre was in the Grand Duke of Parma's gallery, previous to the revolution. But at that period, when the French troops entered Italy, this picture, with some others, disappeared from the gallery. Its subsequent history, which is curious, will be communiacted to any purchaser (Coreggio)|Madonna, and Infant Christ, with Mary Magdalene. We are now come to the last, and if possible the most remarkable of this suite of pictures. -- It represents the Virgin holding the Infant Christ on her arm, Mary Magdelene with an inexpressible air of tenderness and respect, laying her cheek to the foot of the infant. The connoisseur will at once perceive that this is a repetition of a part of the finest picture existing, -- the famous St. Jerome at Parma. And where, except in the St. Jerome itself, is such grace and beauty to be found! We have here every thing that the eye and mind can require in an artificial object: a divine conception and execution of a divine subject. Considerable varieties will be remarked in this picture, on comparing it with Caracci's engraving of the St. Jerome at Parma. In the latter, the right hand of the Virgin is placed under the right arm of the infant, and the left hand of the infant rests upon the head of the Magdalene. There are also some smaller variations in the design, and in the head dress of the Virgin. When compared with the Parma picture itself, which the proprietor has had an opportunity of doing, the colouring is more transparent, and the whole has that higher degree of finish generally remarked in cabinet pictures of all masters compared with their larger works. Raphael Mengs (the best authority on the subject of Coreggio,) makes the following observatons in describing the Parma picture, and they are so applicable to the picture before us, that one would suppose it was it he was describing. "Ce tableau merite de tenir un des rangs les plus distingués parmi les belles productions du Corrége: et l'on ne peut même lui comparer, en quelque sorte, que la petite Madeleine et la fameuse Nuit donc nous parlerous plus bas. Quant á la maniére dont ce tableau est executé, nous devons remarquer, quil est d'un empâtement et épaisseur de couleur qu'on ne trouve dans aucun autre ouvrage de ce maître; cependant il est, en même tems, d'une franchaise qu'il est difficile de conserver en employant autant de couleur: mais ce que cette peinture, si fortement empâtée, offre de plus mal-aisé, c'est la variété á donner aux teintes, et de rendre les couleurs lisses, de manière qu'elles ne semble point posées sur la toile avec le pinceau, mais paraissent fondues ensemble, comme de la cire qu'on aurait tenue sur le feu. Quoique tout soit admirable dans ce tableau, la tête de la Madeleine surpasse néanmoins tout le reste en beauté; et l'on peut dire que quiconque ne l'a pas vue, ne peut se former une juste idée de la perfection à laquelle l'art peut atteindre: car on y trouve tout-a-la-fois l'expression et la précision du Raphaël; les belles teintes du Titien; l'empâtement du Giorgione; cette verité et cette exactitude caracterestique qu'offre la variété des formes et des teintes des portraits de Van Dyke; le spacieux, ou la lumière ouverte, du Guide; le ton gai, et agréable, de Paul Veronese; le tout exécuté avec cette finesse, et cette délicatesse qui etoient propres au Corrége et que personne n'a jamais pu imiter, ni même copier: car les copies que les plus habiles peintres ont faites de ce tableau, ne penvent pas plus lui être comparés que le feu peut l'être au soleil." This chef-d'oeuvre was in the Grand Duke of Parma's gallery, previous to the revolution. But at that period, when the French troops entered Italy, this picture, with some others, disappeared from the gallery. Its subsequent history, which is curious, will be communiacted to any purchaser]] réalisée par Coreggio, vendue par Fairholme. [3]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Holy Family. There probably never was a picture so often copied as the Madonna at Naples, called the Zingara, or the Gipsey, known to the French as the Madonna au Lapin, from the white rabbit in one corner. It is not without reason that this composition has been so much admired, as it is generally admitted to be the most beautiful of all the pictures representing this subject. It is also certain, that it was the favourite subject of Coreggio himself, as he has repeated it at least three times, but with variations each time. The best known of the three pictures, though probably not the first painted, is the one at Naples, as it has long been in a public gallery, and has been repeatedly engraved. The Virgin is represented seated on the ground, with the sleeping Christ folded in her arms, over whom she bends with the most tender affection. It is impossible to express the grace and beauty with which the artist has designed these two figures. Like all his other works, it gives one the most perfect idea of the amiable mildness of his own character, and the more one regards it, the more the soul is moved with tender emotions. The drapery is disposed with the most simple elegance, and the arrangement of the colours produces the most enchanting effect. At one side is seen the head and part of the body of a white rabbit, rather perhaps too white, as it forms a spot which attracts the eye from the centre of the picture. A turtle dove, the emblem of gentleness, is perched among the foliage, over the shoulder of the Virgin, and also a goldfinch near the rabbit; above is seen an angel, of no great beauty of design, and holding rather heavily by the branch of a palm tree; and behind them are dimly seen the heads of several others, but now almost invisible. This Naples picture has been very much injured by a modern pencil, and has lost much of its original beauty. In the second picture by Correggio, the rabbit and the angels have been omitted, which gives an air of silence and solitude, that adds greatly to the beauty and interest of the composition; this repetition, of which but a few copies exist, is in the highest preservation. It was formerly in the gallery of Parma, and was purchased about 50 years ago in Italy, by Jacob More, Mr. Byres, and Gavin Hamilton, jointly. It became the property of the first of these three great connoisseurs, who never would sell it, and after his death it was purchased from his sister, and has ever since been in the family of the proprietor of this collection. The third repetition by Coreggio, is the picture in this collection. It is not known out of Rome, as it has been for centuries in the family of Count Severoli, from whom it was lately purchased. The Madonna and infant are the same as in the other two, but there are two white rabbits placed however in the shade; Joseph is also seen asleep in the distance, near whom stands the ass; there are two angels above, beautifully executed; a white cup stands on the ground, which latter is strewed with flowers, amongst which are lizards, snails, &c. It is probable that this is the first in point of date, of these three pictures; that the Naples picture is the second; and that long in this country the third. This highly interesting picture is mentioned together with No. 42 in the archives of the Severoli family, under date 1620, as having an embossed silver gilt frame, which in some degree proves the estimation in which they were both held two centuries nearer the time of the painter than the present. The late Cardinal Severoli, the pope's legate at Vienna, never travelled without these two precious pictures (Coreggio)|Holy Family. There probably never was a picture so often copied as the Madonna at Naples, called the Zingara, or the Gipsey, known to the French as the Madonna au Lapin, from the white rabbit in one corner. It is not without reason that this composition has been so much admired, as it is generally admitted to be the most beautiful of all the pictures representing this subject. It is also certain, that it was the favourite subject of Coreggio himself, as he has repeated it at least three times, but with variations each time. The best known of the three pictures, though probably not the first painted, is the one at Naples, as it has long been in a public gallery, and has been repeatedly engraved. The Virgin is represented seated on the ground, with the sleeping Christ folded in her arms, over whom she bends with the most tender affection. It is impossible to express the grace and beauty with which the artist has designed these two figures. Like all his other works, it gives one the most perfect idea of the amiable mildness of his own character, and the more one regards it, the more the soul is moved with tender emotions. The drapery is disposed with the most simple elegance, and the arrangement of the colours produces the most enchanting effect. At one side is seen the head and part of the body of a white rabbit, rather perhaps too white, as it forms a spot which attracts the eye from the centre of the picture. A turtle dove, the emblem of gentleness, is perched among the foliage, over the shoulder of the Virgin, and also a goldfinch near the rabbit; above is seen an angel, of no great beauty of design, and holding rather heavily by the branch of a palm tree; and behind them are dimly seen the heads of several others, but now almost invisible. This Naples picture has been very much injured by a modern pencil, and has lost much of its original beauty. In the second picture by Correggio, the rabbit and the angels have been omitted, which gives an air of silence and solitude, that adds greatly to the beauty and interest of the composition; this repetition, of which but a few copies exist, is in the highest preservation. It was formerly in the gallery of Parma, and was purchased about 50 years ago in Italy, by Jacob More, Mr. Byres, and Gavin Hamilton, jointly. It became the property of the first of these three great connoisseurs, who never would sell it, and after his death it was purchased from his sister, and has ever since been in the family of the proprietor of this collection. The third repetition by Coreggio, is the picture in this collection. It is not known out of Rome, as it has been for centuries in the family of Count Severoli, from whom it was lately purchased. The Madonna and infant are the same as in the other two, but there are two white rabbits placed however in the shade; Joseph is also seen asleep in the distance, near whom stands the ass; there are two angels above, beautifully executed; a white cup stands on the ground, which latter is strewed with flowers, amongst which are lizards, snails, &c. It is probable that this is the first in point of date, of these three pictures; that the Naples picture is the second; and that long in this country the third. This highly interesting picture is mentioned together with No. 42 in the archives of the Severoli family, under date 1620, as having an embossed silver gilt frame, which in some degree proves the estimation in which they were both held two centuries nearer the time of the painter than the present. The late Cardinal Severoli, the pope's legate at Vienna, never travelled without these two precious pictures]] réalisée par Coreggio, vendue par Fairholme. [4]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Christ in the Garden of Olives. This is a copy of the famous picture by Coreggio, formerly in the collection of the King of Spain, by whom it was presented to the Duke of Wellington. It is by no mean hand, as may be seen by comparing it with the picture in the national gallery; for which Mr. Angerstein paid a very large sum, and which is attributed by some, to Coreggio himself. We are now come to the first of a suite of cabinet works by Coreggio himself, which may be said to be unequalled in any one collection in Europe. In support of this assertion, it may be interesting to take a hasty glance of the most remarkable public galleries. Beginning in the south of Italy, we find at Naples two cabinet pictures, both well known, but only one of which is in good preservation. The first is the Marriage of St. Catharine, a little picture of great beauty, and of which numbers of copies exist. The second is the Madonna au Lapin, of which notice will be taken under the head of No. 40. At Rome there is no cabinet picture by Coreggio, in any collection, though several of the noble galleries there are rich in pictures of a larger size. At Florence, so famous for its pictures, there is only one small picture, (in the Pitti palace) which is not however of the first class. In larger compositions, Florence is also rich. Munich possesses several fine pictures by this master, but, it is believed, only one small one of high rank. In the Louvre, there is no cabinet picture by Coreggio, unless we include the Marriage of St. Catharine, which is of the highest beauty. At Dresden there are six pictures of Coreggio, of which, the Night, and the Magdalen, are of the highest class, and generally thought the most valuable cabinet pictures existing. The latter which is very small, was valued at 27,000 Roman crowns, or £6,000. at the time this collection was purchased from the Duke of Modena. In Spain there were formerly two well-known, and highly esteemed pictures ; one of which is now the property of the Duke of Wellington, and the other is in the national gallery, for which it was purchased at about £4,000. in Paris. This last may be said to be the only one of a cabinet size in our public collections. With regard to private collections, there are probably more fine pictures by this master in England, than in all Europe besides; but where there is one fine cabinet picture by Coreggio, it is with reason esteemed before all other pictures. The proprietor of this collection, is therefore not unwarranted in challenging any one collection in Europe to produce four such pictures as are now to be described (After Coreggio)|Christ in the Garden of Olives. This is a copy of the famous picture by Coreggio, formerly in the collection of the King of Spain, by whom it was presented to the Duke of Wellington. It is by no mean hand, as may be seen by comparing it with the picture in the national gallery; for which Mr. Angerstein paid a very large sum, and which is attributed by some, to Coreggio himself. We are now come to the first of a suite of cabinet works by Coreggio himself, which may be said to be unequalled in any one collection in Europe. In support of this assertion, it may be interesting to take a hasty glance of the most remarkable public galleries. Beginning in the south of Italy, we find at Naples two cabinet pictures, both well known, but only one of which is in good preservation. The first is the Marriage of St. Catharine, a little picture of great beauty, and of which numbers of copies exist. The second is the Madonna au Lapin, of which notice will be taken under the head of No. 40. At Rome there is no cabinet picture by Coreggio, in any collection, though several of the noble galleries there are rich in pictures of a larger size. At Florence, so famous for its pictures, there is only one small picture, (in the Pitti palace) which is not however of the first class. In larger compositions, Florence is also rich. Munich possesses several fine pictures by this master, but, it is believed, only one small one of high rank. In the Louvre, there is no cabinet picture by Coreggio, unless we include the Marriage of St. Catharine, which is of the highest beauty. At Dresden there are six pictures of Coreggio, of which, the Night, and the Magdalen, are of the highest class, and generally thought the most valuable cabinet pictures existing. The latter which is very small, was valued at 27,000 Roman crowns, or £6,000. at the time this collection was purchased from the Duke of Modena. In Spain there were formerly two well-known, and highly esteemed pictures ; one of which is now the property of the Duke of Wellington, and the other is in the national gallery, for which it was purchased at about £4,000. in Paris. This last may be said to be the only one of a cabinet size in our public collections. With regard to private collections, there are probably more fine pictures by this master in England, than in all Europe besides; but where there is one fine cabinet picture by Coreggio, it is with reason esteemed before all other pictures. The proprietor of this collection, is therefore not unwarranted in challenging any one collection in Europe to produce four such pictures as are now to be described]] réalisée par After Coreggio, vendue par Fairholme. [5]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Holy Family. This sublime composition, which may be regarded as the chef-d'oeuvre of Buonarotti, of a cabinet size, has been known to amateurs at Florence, ever since the days of the painter under the title of Il sogno di Michael Angelo; and the tradition of three centuries reports, that the idea occured to the artist in a dream: in support of which, it must be admitted, that in no one of the thousands of representations of the holy family, is the subject treated in this manner. The dignified and almost masculine figure of the virgin; the deep thought and venerable appearance of Joseph; St. John with his lion's skin over his head; and, above all, the divine cast of the sleeping Christ; all display the grand, and almost terrible character, of the immortal Buonarotti. To add, if possible, to the daring style of this composition, it is painted on stone. It is supposed by many, that Buonarotti never painted in oil; and with such it will become a question, whether this fine picture is by himself or not. It appears certain, from the great rarity of his small pictures, and from the greater works in fresco and sculpture, in which he was occupied, that he did not practise this branch of his art to any extent; but that he did paint cabinet pictures in oil is certain, as we have the authority of his friend Vasari on the subject. The attention of this author appears also absorbed by the greater works of his friend; but he gives us en passant, several anecdotes of small pictures of the greatest beauty. It is, besides, unnatural to suppose, that a man whose long life was entirely occupied in composition and design, should never execute in small, what we so much admire in the great scale. His drawings, his models, and his sculptures, so highly finished, leave no room to doubt, that he also occasionally executed in oil, what no one questions his having composed. Benevenuto Cellini writes to Vasari thus: "How then has Michael Angelo attained to that degree of knowledge, which places him not only above his contemporaries, but even above all painters of antiquity? It is that his pencil has always taken for models the masterpieces of sculpture." And again; "Michael Angelo, our great master, has never executed any of these chef-d'ouevres of painting, which we so much admire, without first executing them in relief." Buonarotti himself, in writing to Vasari, mentions his modelling in wax or clay, the figures he meant to paint; and that he was in the habit frequently of sleeping in his clothes, that he might the more readily embody his ideas, as they occurred in the night. All this tends to corroborate the tradition in the noble family of Ganucci at Florence, that this picture was painted for their ancestor by Buonarotti, and that they have possessed it ever since. It is highly interesting to compare this picture with the whole suite of the engravings from the Sixtine chapel. In every figure, we find more or less similarity, both in the cast of the naked figures, in the anatomy, and in the drapery. The figure of Joseph is there seen almost exactly as one of the prophets; and the original sketch of this part of the fresco, is in the collection of the proprietor. This picture is in perfect preservation. It has been in the family of the Marquis Ganucci, ever since it was painted; until on the death of the late Marquis, it became the property of his two daughters, the Contessa Galli, and the Marchesa Guadagni. Offers have frequently been made for it, on the part of the Grand Duke of Tuscany, for the Pitti collection; but, as frequently happens in Italy, family pride preferred disposing of it privately to a stranger. This picture has been copied by Venusti, and other good painters, with variations from the original; but all these variations detract from the simple and Grecian majesty of this sublime composition (Michael Angelo Buonarotti)|Holy Family. This sublime composition, which may be regarded as the chef-d'oeuvre of Buonarotti, of a cabinet size, has been known to amateurs at Florence, ever since the days of the painter under the title of Il sogno di Michael Angelo; and the tradition of three centuries reports, that the idea occured to the artist in a dream: in support of which, it must be admitted, that in no one of the thousands of representations of the holy family, is the subject treated in this manner. The dignified and almost masculine figure of the virgin; the deep thought and venerable appearance of Joseph; St. John with his lion's skin over his head; and, above all, the divine cast of the sleeping Christ; all display the grand, and almost terrible character, of the immortal Buonarotti. To add, if possible, to the daring style of this composition, it is painted on stone. It is supposed by many, that Buonarotti never painted in oil; and with such it will become a question, whether this fine picture is by himself or not. It appears certain, from the great rarity of his small pictures, and from the greater works in fresco and sculpture, in which he was occupied, that he did not practise this branch of his art to any extent; but that he did paint cabinet pictures in oil is certain, as we have the authority of his friend Vasari on the subject. The attention of this author appears also absorbed by the greater works of his friend; but he gives us en passant, several anecdotes of small pictures of the greatest beauty. It is, besides, unnatural to suppose, that a man whose long life was entirely occupied in composition and design, should never execute in small, what we so much admire in the great scale. His drawings, his models, and his sculptures, so highly finished, leave no room to doubt, that he also occasionally executed in oil, what no one questions his having composed. Benevenuto Cellini writes to Vasari thus: "How then has Michael Angelo attained to that degree of knowledge, which places him not only above his contemporaries, but even above all painters of antiquity? It is that his pencil has always taken for models the masterpieces of sculpture." And again; "Michael Angelo, our great master, has never executed any of these chef-d'ouevres of painting, which we so much admire, without first executing them in relief." Buonarotti himself, in writing to Vasari, mentions his modelling in wax or clay, the figures he meant to paint; and that he was in the habit frequently of sleeping in his clothes, that he might the more readily embody his ideas, as they occurred in the night. All this tends to corroborate the tradition in the noble family of Ganucci at Florence, that this picture was painted for their ancestor by Buonarotti, and that they have possessed it ever since. It is highly interesting to compare this picture with the whole suite of the engravings from the Sixtine chapel. In every figure, we find more or less similarity, both in the cast of the naked figures, in the anatomy, and in the drapery. The figure of Joseph is there seen almost exactly as one of the prophets; and the original sketch of this part of the fresco, is in the collection of the proprietor. This picture is in perfect preservation. It has been in the family of the Marquis Ganucci, ever since it was painted; until on the death of the late Marquis, it became the property of his two daughters, the Contessa Galli, and the Marchesa Guadagni. Offers have frequently been made for it, on the part of the Grand Duke of Tuscany, for the Pitti collection; but, as frequently happens in Italy, family pride preferred disposing of it privately to a stranger. This picture has been copied by Venusti, and other good painters, with variations from the original; but all these variations detract from the simple and Grecian majesty of this sublime composition]] réalisée par Michael Angelo Buonarotti, vendue par Fairholme. [6]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Annunciation to the Virgin. The connoisseur will at once perceive in this little picture, the mannerism of Buonarotti, and the beautiful rich tone of colouring, so remarkable in the Dream, No. 37. This little picture, which bears the date of 1514 in the left corner, is doubly interesting from its being accompanied by the original drawing of Michel Angelo, once in the collection of Sir Joshua Reynolds, and bearing his mark. The picture is of a different form from the sketch, but has that variety one would expect, in the work of an artist from his own design. The date shews that it was done previous to Michel Angelo's undertaking his great works in fresco at Rome; after which he assumed a more simple and severe style of composition, as is seen in the next picture. On comparing this picture with the fine engravings of Mantuanus of the frescoes, in the Sixtine chapel, done under the eye of Buonarotti himself in 1540, numerous points of similarity will be observed, both in the draperies, and in the design. In one of these, there is the head of an angel, perfectly similar to the one in this picture (M.A. Buonarotti)|The Annunciation to the Virgin. The connoisseur will at once perceive in this little picture, the mannerism of Buonarotti, and the beautiful rich tone of colouring, so remarkable in the Dream, No. 37. This little picture, which bears the date of 1514 in the left corner, is doubly interesting from its being accompanied by the original drawing of Michel Angelo, once in the collection of Sir Joshua Reynolds, and bearing his mark. The picture is of a different form from the sketch, but has that variety one would expect, in the work of an artist from his own design. The date shews that it was done previous to Michel Angelo's undertaking his great works in fresco at Rome; after which he assumed a more simple and severe style of composition, as is seen in the next picture. On comparing this picture with the fine engravings of Mantuanus of the frescoes, in the Sixtine chapel, done under the eye of Buonarotti himself in 1540, numerous points of similarity will be observed, both in the draperies, and in the design. In one of these, there is the head of an angel, perfectly similar to the one in this picture]] réalisée par M.A. Buonarotti, vendue par Fairholme. [7]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Christ's Agony in the Garden. This highly interesting little picture was painted for, and has ever since continued in the family of Count Severoli, at Rome. It is evidently in imitation of the manner of Coreggio; and if it falls short of that inimitable master in chiar'oscuro, and in the melting together of colours, it rises above him in design. The head of an angel, and the graceful turn of the hands, are almost equal to Coreggio, but the wings are executed in a more bold and masterly style than we ever see in the works of that master. If this picture, however, were not seen in company with the suite of chef-d'oeuvres that follow, it would form a chief piece in any cabinet (A. Caracci)|Christ's Agony in the Garden. This highly interesting little picture was painted for, and has ever since continued in the family of Count Severoli, at Rome. It is evidently in imitation of the manner of Coreggio; and if it falls short of that inimitable master in chiar'oscuro, and in the melting together of colours, it rises above him in design. The head of an angel, and the graceful turn of the hands, are almost equal to Coreggio, but the wings are executed in a more bold and masterly style than we ever see in the works of that master. If this picture, however, were not seen in company with the suite of chef-d'oeuvres that follow, it would form a chief piece in any cabinet]] réalisée par A. Caracci, vendue par Fairholme. [8]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Madonna and Infant Christ. Few of the works of Raphael have been more frequently copied than this. These copies are generally, however, below criticism. Signor Camuccini, the painter, at Rome, has a smaller picture in the earliest manner of Raphael, but which was admitted to be cold and hard, when placed beside this. This picture appears to be a repitition, executed at a more mature age, and in a greatly improved style of art (Raphael)|Madonna and Infant Christ. Few of the works of Raphael have been more frequently copied than this. These copies are generally, however, below criticism. Signor Camuccini, the painter, at Rome, has a smaller picture in the earliest manner of Raphael, but which was admitted to be cold and hard, when placed beside this. This picture appears to be a repitition, executed at a more mature age, and in a greatly improved style of art]] réalisée par Raphael, vendue par Fairholme. [9]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Christ Bound. There have been differences of opinion at to what master to attribute this chef-d'oeuvre. At first view one would not hesitate to say it was Italian, and of the school of Parma or Bologna -- as it has the greatness of design of the Caracci, and the fine colouring of Coreggio. The proprietor is however of opinion that it is one of the most remarkable works of Van Dyke, in imitation of the Italian school, and in which he has attained perhaps more of the beau ideal than in any other of his historical figures. There is something in this little gem that must speak to the soul of the most common observer. The meek and melancholy, yet divine attitude of the persecuted Saviour is one of the finest touches of the Sublime. The artist has, with great grace and judgment, averted the countenance, in despair of producing that divine expression, which though the mind might conceive, the pencil was too weak to execute. This picture was in the collection of Baron de Petie, an old and distinguished Belgian amateur (Van Dyke)|Christ Bound. There have been differences of opinion at to what master to attribute this chef-d'oeuvre. At first view one would not hesitate to say it was Italian, and of the school of Parma or Bologna -- as it has the greatness of design of the Caracci, and the fine colouring of Coreggio. The proprietor is however of opinion that it is one of the most remarkable works of Van Dyke, in imitation of the Italian school, and in which he has attained perhaps more of the beau ideal than in any other of his historical figures. There is something in this little gem that must speak to the soul of the most common observer. The meek and melancholy, yet divine attitude of the persecuted Saviour is one of the finest touches of the Sublime. The artist has, with great grace and judgment, averted the countenance, in despair of producing that divine expression, which though the mind might conceive, the pencil was too weak to execute. This picture was in the collection of Baron de Petie, an old and distinguished Belgian amateur]] réalisée par Van Dyke, vendue par Fairholme. [10]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Portrait of Rembrandt. It is not necessary to draw attention to this superb picture, as it is of that class that speaks home to every one, and is equal to anything this painter has produced, in high tone and effect. It has long been esteemed in Holland and in Paris, as one of the most spirited of his portraits, and it has only one objection as a cabinet picture, that it renders the warmest colouring of all in its neighbourhood pale and cold. It is however very remarkable, that the fine tone of colour, so admirable in this picture, bears the minutest comparison with the pictures by Coreggio, Nos. 41 and 42. These two artists, of different schools, have always been acknowledged as the most famous for effect and chiar'oscuro. Such an opportunity of actual comparison however does not often occur (Rembrandt)|Portrait of Rembrandt. It is not necessary to draw attention to this superb picture, as it is of that class that speaks home to every one, and is equal to anything this painter has produced, in high tone and effect. It has long been esteemed in Holland and in Paris, as one of the most spirited of his portraits, and it has only one objection as a cabinet picture, that it renders the warmest colouring of all in its neighbourhood pale and cold. It is however very remarkable, that the fine tone of colour, so admirable in this picture, bears the minutest comparison with the pictures by Coreggio, Nos. 41 and 42. These two artists, of different schools, have always been acknowledged as the most famous for effect and chiar'oscuro. Such an opportunity of actual comparison however does not often occur]] réalisée par Rembrandt, vendue par Fairholme. [11]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [["Ecce Homo." There cannot be a clearer demonstration of the different kinds of the beautiful than in the contrast between this and the last picture. Here is the beau ideal of divine softness expressed in the most masterly style. This subject has often been painted by Guido, but never in a higher style of painting. This picture was purchased at Rome many years ago (Guido Reni)|"Ecce Homo." There cannot be a clearer demonstration of the different kinds of the beautiful than in the contrast between this and the last picture. Here is the beau ideal of divine softness expressed in the most masterly style. This subject has often been painted by Guido, but never in a higher style of painting. This picture was purchased at Rome many years ago]] réalisée par Guido Reni, vendue par Fairholme. [12]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[St. Francis. This is a picture of the highest rank, and presents a magnificent specimen of the bold pencil of this master. Titian never imagined a finer head, nor painted a finer hand; in the latter, the effect of bone, flesh, and skin is truly wonderful This picture was in the Colonna Palace at Rome, and was sold with that fine collection a few years ago. It is scarcely necessary to observe how rare are such pictures by this master. His landscapes are most known, but the spirit and rarity of his larger figures make them most valued (Salvator Rosa)|St. Francis. This is a picture of the highest rank, and presents a magnificent specimen of the bold pencil of this master. Titian never imagined a finer head, nor painted a finer hand; in the latter, the effect of bone, flesh, and skin is truly wonderful This picture was in the Colonna Palace at Rome, and was sold with that fine collection a few years ago. It is scarcely necessary to observe how rare are such pictures by this master. His landscapes are most known, but the spirit and rarity of his larger figures make them most valued]] réalisée par Salvator Rosa, vendue par Fairholme. [13]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Calvary. The melancholy procession to Calvary, and our Saviour sinking under the weight of the cross, has been treated by Le Brun in this piece, in the most masterly style. It has all the greatness of composition and design of the Italian School; and in this fine poem, one cannot but be struck with the affecting group of weeping females, in the foreground, who regard the sufferings of Christ, with looks of pity and commiseration. This picture was the property of the Marquis Lanudo, at Venice, and was sold at Rome with the rest of his fine collection (Le Brun)|Calvary. The melancholy procession to Calvary, and our Saviour sinking under the weight of the cross, has been treated by Le Brun in this piece, in the most masterly style. It has all the greatness of composition and design of the Italian School; and in this fine poem, one cannot but be struck with the affecting group of weeping females, in the foreground, who regard the sufferings of Christ, with looks of pity and commiseration. This picture was the property of the Marquis Lanudo, at Venice, and was sold at Rome with the rest of his fine collection]] réalisée par Le Brun, vendue par Fairholme. [15]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Magdalene. This master was one of the most able imitators of the style of Coreggio, and there can be no better proof of it than comparing this beautiful picture with some others in this collection. It is in every respect a most pleasing picture, and is worthy of a place in the first collections (Schedoni)|Magdalene. This master was one of the most able imitators of the style of Coreggio, and there can be no better proof of it than comparing this beautiful picture with some others in this collection. It is in every respect a most pleasing picture, and is worthy of a place in the first collections]] réalisée par Schedoni, vendue par Fairholme. [16]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Martyrdom of St. Agatha. This remarkable picture, which was purchased in Rome in 1828, made an impression among the artists and amaterus there, which was quite unprecedented. It was only exhibited for a few days, and the present proprietor bought it with a view of offering it to the National Gallery. A more superb specimen of the Venetian school is certainly not to be found: This master, whose only fault, as Lanzi says of him, was an exuberance of genius, has in this great production risen to the sublime. The whole is a complete poem; every figure expresses, as in words, the feelings of the soul. The whole attitude, as well as the countenance of the Saint, bespeaks resignation to the will of God, overcoming extreme bodily suffering. She is supported and comforted by a female, in whose countenance and attitude we find everything that can be desired of tenderness and grief. Even the page who assists at the horrid deed, is bursting with pity; and the gigantic executioner himself appears to point to the cold-blooded priest, who is the prime mover in this scene, in exculpation of his cruelty. With regard to the execution of this noble picture, the most distinguished artists of all countries, who have seen it, agree that this is one of the most wonderful pictures they have ever seen. It is done in so bold and rapid a style that it appears but the work of a few hours. With all this, and with a greater variety of tints that can be found in perhaps any other historical picture, there is a harmony of colour, and an aërial perspective seldom found except in the works of Coreggio: It has even been said that it is only comparable to the St. Jerome at Parma, by Coreggio, considered the finest picture existing. There is a repetition of this picture, with some variations, which has always been looked upon as the finest of the many superb pictures in the Cathedral at Padua. It is described at length by Algarotti, Rosetti, and Lanzi -- but with all its beauties, it is considered by those who have seen both, as much inferior to this, which was probably the first idea from the heated imagination of the artist. There is a spirited etching in aqua-fortis of the picture at Padua, by Domenico Tiepolo the son of Batista, which does it great justice, excepting the female heads, which are beyond the power of an etching. That picture is round at top, and has several cherubs descending, holding a crown and a bleeding heart: It is ill-placed, and in bad condition from the smoke of the church. It is a curious and interesting fact, that this picture was brought to Rome from Ferrara, by an ignorant picture dealer, rolled up with many inferior pictures, and was offered to several persons in Rome for £5. at which price it was at last sold to a painter, in whose possession it made, for a few days, a sensation amongst the amateurs that will not be soon forgotten (J. Batista Tiepolo)|Martyrdom of St. Agatha. This remarkable picture, which was purchased in Rome in 1828, made an impression among the artists and amaterus there, which was quite unprecedented. It was only exhibited for a few days, and the present proprietor bought it with a view of offering it to the National Gallery. A more superb specimen of the Venetian school is certainly not to be found: This master, whose only fault, as Lanzi says of him, was an exuberance of genius, has in this great production risen to the sublime. The whole is a complete poem; every figure expresses, as in words, the feelings of the soul. The whole attitude, as well as the countenance of the Saint, bespeaks resignation to the will of God, overcoming extreme bodily suffering. She is supported and comforted by a female, in whose countenance and attitude we find everything that can be desired of tenderness and grief. Even the page who assists at the horrid deed, is bursting with pity; and the gigantic executioner himself appears to point to the cold-blooded priest, who is the prime mover in this scene, in exculpation of his cruelty. With regard to the execution of this noble picture, the most distinguished artists of all countries, who have seen it, agree that this is one of the most wonderful pictures they have ever seen. It is done in so bold and rapid a style that it appears but the work of a few hours. With all this, and with a greater variety of tints that can be found in perhaps any other historical picture, there is a harmony of colour, and an aërial perspective seldom found except in the works of Coreggio: It has even been said that it is only comparable to the St. Jerome at Parma, by Coreggio, considered the finest picture existing. There is a repetition of this picture, with some variations, which has always been looked upon as the finest of the many superb pictures in the Cathedral at Padua. It is described at length by Algarotti, Rosetti, and Lanzi -- but with all its beauties, it is considered by those who have seen both, as much inferior to this, which was probably the first idea from the heated imagination of the artist. There is a spirited etching in aqua-fortis of the picture at Padua, by Domenico Tiepolo the son of Batista, which does it great justice, excepting the female heads, which are beyond the power of an etching. That picture is round at top, and has several cherubs descending, holding a crown and a bleeding heart: It is ill-placed, and in bad condition from the smoke of the church. It is a curious and interesting fact, that this picture was brought to Rome from Ferrara, by an ignorant picture dealer, rolled up with many inferior pictures, and was offered to several persons in Rome for £5. at which price it was at last sold to a painter, in whose possession it made, for a few days, a sensation amongst the amateurs that will not be soon forgotten]] réalisée par J. Batista Tiepolo, vendue par Fairholme. [17]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[La Dormeuse. This superb picture, so remarkable for warmth of tone, and truth of design, has long been looked upon at Venice, as the chef-d'oeuvre of this master. It was painted for the family of the Marquis Lanudo, of Venice, and was sold with the rest of his fine collection in 1828. It is frequently taken for a work of Murillo, which arises from the perfect life and nature in the boy and the goat, which have much of the manner of the Spanish master. The head and cast of the sleeping female may compete with the finest works of Van Dyck or Rubens (Piazzetta)|La Dormeuse. This superb picture, so remarkable for warmth of tone, and truth of design, has long been looked upon at Venice, as the chef-d'oeuvre of this master. It was painted for the family of the Marquis Lanudo, of Venice, and was sold with the rest of his fine collection in 1828. It is frequently taken for a work of Murillo, which arises from the perfect life and nature in the boy and the goat, which have much of the manner of the Spanish master. The head and cast of the sleeping female may compete with the finest works of Van Dyck or Rubens]] réalisée par Piazzetta, vendue par Fairholme. [18]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Christ laid in the Tomb. There is, in this little picture, a greatness of design, combined with a beauty and harmony of colour, that we rarely meet with in the early German school; it has every thing to recommend it to the lover of the curious and the beautiful. It is accompanied with the original etching, which however is reversed. This subject, exactly copied on a large scale, is executed in painted glass in the Cathedral of Mayence on the Rhine (Albert Durer)|Christ laid in the Tomb. There is, in this little picture, a greatness of design, combined with a beauty and harmony of colour, that we rarely meet with in the early German school; it has every thing to recommend it to the lover of the curious and the beautiful. It is accompanied with the original etching, which however is reversed. This subject, exactly copied on a large scale, is executed in painted glass in the Cathedral of Mayence on the Rhine]] réalisée par Albert Durer, vendue par Fairholme. [22]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Conversion of St. Paul. The pictures of a cabinet size by this esteemed master are very rare and highly valued. This spirited picture reminds one of the fire and movement of Rubens, but the more severe style of the early Roman school. Several figures recal to mind the famous battle of Constantine in the Vatican (Pietro di Cartona)|Conversion of St. Paul. The pictures of a cabinet size by this esteemed master are very rare and highly valued. This spirited picture reminds one of the fire and movement of Rubens, but the more severe style of the early Roman school. Several figures recal to mind the famous battle of Constantine in the Vatican]] réalisée par Pietro di Cartona, vendue par Fairholme. [25]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[St. John asleep in the Desert. This remarkable and highly finished picture was formerly in the collection at Mal-Maison; and its perfect preservation during three centuries, shews in what estimation it has always been held. The drawing in this figure is perhaps a nearer approach to the manner of Raphael, than any other of this master; and as these two great men, amongst other civilities, interchanged their drawings, one might almost imagine this work inspired by the sight of Raphael's designs (Albert Durer)|St. John asleep in the Desert. This remarkable and highly finished picture was formerly in the collection at Mal-Maison; and its perfect preservation during three centuries, shews in what estimation it has always been held. The drawing in this figure is perhaps a nearer approach to the manner of Raphael, than any other of this master; and as these two great men, amongst other civilities, interchanged their drawings, one might almost imagine this work inspired by the sight of Raphael's designs]] réalisée par Albert Durer, vendue par Fairholme. [27]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Sketch. This slight sketch in oil, is full of that fire and genius for which the pictures of Rubens are so remarkable. The lightening from heaven is pouring down upon the executioners in this martyrdom, and the horsemen are dispersing in the utmost terror. Such sketches are highly interesting, as they come at once from the mind of the artist (Rubens)|Sketch. This slight sketch in oil, is full of that fire and genius for which the pictures of Rubens are so remarkable. The lightening from heaven is pouring down upon the executioners in this martyrdom, and the horsemen are dispersing in the utmost terror. Such sketches are highly interesting, as they come at once from the mind of the artist]] réalisée par Rubens, vendue par Fairholme. [28]
  • 1830.05.-/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Group of Horsemen. This painter, of the school of Parma, is called the Wouvermans of Italy; and this beautiful group shews that the name is not unappropriate, as it has much of the style of the Dutch Master, but with greater freedom. This picture and the following, by the same master, found part of the gallery of the Marquis Lanudo at Venice (Simonini)|Group of Horsemen. This painter, of the school of Parma, is called the Wouvermans of Italy; and this beautiful group shews that the name is not unappropriate, as it has much of the style of the Dutch Master, but with greater freedom. This picture and the following, by the same master, found part of the gallery of the Marquis Lanudo at Venice]] réalisée par Simonini, vendue par Fairholme. [30]
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