Ventes d'œuvres le 1831.04.26

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  • 1831.04.26/ maison de ventes : Stanley (George). Vente de l'œuvre décrite comme [[The following Descriptions and Interpretations are hastily sketched out, to enable visitors to comprehend at a glance the subjects and meanings of the Four Capital Pictures by Titian, intitled The Triumphs of Time, Fame, Death, and The Christian Religion. Much might be added in way of elucidation, but as this is only inteded to serve the purpose of a general explanation, during the temporary exhibition of the Pictures for Sale, brevity was preferred to amplification. The Connoisseur will not need it; and those who look at Pictures merely from curiosity or for amusement, will easily supply what is deficient, by the obvious allusions in the Pictures themselves, or correct what may be considered erroneous, by their own ingenuity. The Triumphs by Titian. The Triumph of The Christian Religion. The Saviour is seated on a globe, placed on a Triumphal Car, which is drawn by the symbols of the four Evangelists, assisted by the efforts of the Doctors of the Church, as Interpreters of the Gospel. Their persons and rank are denoted by the Tiara, Scarlet Hat, and Mitre; and they are intended to personate Pope Gregory, St. Jerome, and St. Augustine. The attendant group represents the contributors to the Triumph, in the persons of the Patriarchs, Prophets, Apostles, Martyrs, and Confessors. As the foundation of Christianity is laid in Faith, Abraham, "The Father of the Faithful," takes precedence; Noah, the accepted of God, stands next; David, from whom Christ proceeded in the flesh, and the first to prophecy concerning him, follows; and near to him, bearing a cross, is the penitent Thief, as the proto-confessor. Behind these are other figures, probably designating the Prophets; the one with uplifted eyes represents Job as saying "I know that my Redeemer liveth," and he is placed in the back-ground, as being somewhat apocryphal. Next to the Thief stands one of the Sibyls, in whose writings a prophecy of Christ's coming is said to have been found, and other females, as the earliest believers in his doctrines and divinity. John the Baptist, bearing his emblem as the herald of Christ, is next; Peter and Andrew, the first called Disciples, supporting the Virgin Mary, follow; the proto-martyrs, Stephen and Lawrence, close the group. A figure in shadow, probably intended for St. Paul, as being first a persecutor, afterwards called, stands behind them. In front of the Picture, before St. Jerome, are two Children; the one blowing a trumpet, as proclaiming the joyful news of the Gospel; the other holding a Sword and a Branch, to denote that Martyrdom was necessary to its final triumph. Between Jerome and Augustine, are four Children; one bearing a basket of fruit on his head, another sounding a trumpet, and two embracing; these represent the fruits of Christianity, Glory to God, and brotherly love and affection towards mankind. The Dog is the symbol of Watchfulness and Obedience. as Auxiliary to the Allegory, the Artist has introduced in the back-ground, to the left, the Miracle of St. Christopher, as admitted by his Creed, and a procession of Martyrs and Confessors passing through difficult mountains to swell the Truimph; and on the right our first parents, emblems of Natural Religion; Moses and Aaron, as promulgators of the written Law; and two other figures, one armed and bearing a flag, and the other a palm branch, denoting Christian warefare and victory, and the final triumph of the Christian dispensation; these last are seen ascending in a Cloud to the presence of the Ancient of Days (Titian)|The following Descriptions and Interpretations are hastily sketched out, to enable visitors to comprehend at a glance the subjects and meanings of the Four Capital Pictures by Titian, intitled The Triumphs of Time, Fame, Death, and The Christian Religion. Much might be added in way of elucidation, but as this is only inteded to serve the purpose of a general explanation, during the temporary exhibition of the Pictures for Sale, brevity was preferred to amplification. The Connoisseur will not need it; and those who look at Pictures merely from curiosity or for amusement, will easily supply what is deficient, by the obvious allusions in the Pictures themselves, or correct what may be considered erroneous, by their own ingenuity. The Triumphs by Titian. The Triumph of The Christian Religion. The Saviour is seated on a globe, placed on a Triumphal Car, which is drawn by the symbols of the four Evangelists, assisted by the efforts of the Doctors of the Church, as Interpreters of the Gospel. Their persons and rank are denoted by the Tiara, Scarlet Hat, and Mitre; and they are intended to personate Pope Gregory, St. Jerome, and St. Augustine. The attendant group represents the contributors to the Triumph, in the persons of the Patriarchs, Prophets, Apostles, Martyrs, and Confessors. As the foundation of Christianity is laid in Faith, Abraham, "The Father of the Faithful," takes precedence; Noah, the accepted of God, stands next; David, from whom Christ proceeded in the flesh, and the first to prophecy concerning him, follows; and near to him, bearing a cross, is the penitent Thief, as the proto-confessor. Behind these are other figures, probably designating the Prophets; the one with uplifted eyes represents Job as saying "I know that my Redeemer liveth," and he is placed in the back-ground, as being somewhat apocryphal. Next to the Thief stands one of the Sibyls, in whose writings a prophecy of Christ's coming is said to have been found, and other females, as the earliest believers in his doctrines and divinity. John the Baptist, bearing his emblem as the herald of Christ, is next; Peter and Andrew, the first called Disciples, supporting the Virgin Mary, follow; the proto-martyrs, Stephen and Lawrence, close the group. A figure in shadow, probably intended for St. Paul, as being first a persecutor, afterwards called, stands behind them. In front of the Picture, before St. Jerome, are two Children; the one blowing a trumpet, as proclaiming the joyful news of the Gospel; the other holding a Sword and a Branch, to denote that Martyrdom was necessary to its final triumph. Between Jerome and Augustine, are four Children; one bearing a basket of fruit on his head, another sounding a trumpet, and two embracing; these represent the fruits of Christianity, Glory to God, and brotherly love and affection towards mankind. The Dog is the symbol of Watchfulness and Obedience. as Auxiliary to the Allegory, the Artist has introduced in the back-ground, to the left, the Miracle of St. Christopher, as admitted by his Creed, and a procession of Martyrs and Confessors passing through difficult mountains to swell the Truimph; and on the right our first parents, emblems of Natural Religion; Moses and Aaron, as promulgators of the written Law; and two other figures, one armed and bearing a flag, and the other a palm branch, denoting Christian warefare and victory, and the final triumph of the Christian dispensation; these last are seen ascending in a Cloud to the presence of the Ancient of Days]] réalisée par Titian, vendue par Capt Stevenson au prix de 336.0 £. [115]
  • 1831.04.26/ maison de ventes : Stanley (George). Vente de l'œuvre décrite comme [[The following Descriptions and Interpretations are hastily sketched out, to enable visitors to comprehend at a glance the subjects and meanings of the Four Capital Pictures by Titian, intitled The Triumphs of Time, Fame, Death, and The Christian Religion. Much might be added in way of elucidation, but as this is only inteded to serve the purpose of a general explanation, during the temporary exhibition of the Pictures for Sale, brevity was preferred to amplification. The Connoisseur will not need it; and those who look at Pictures merely from curiosity or for amusement, will easily supply what is deficient, by the obvious allusions in the Pictures themselves, or correct what may be considered erroneous, by their own ingenuity. The Triumphs by Titian. The Triumph of Death. Before Death, on a Car, are seated the Fates, Atopos, Lacesis, and Clotho, to shew that the work of the first depends on Destiny. The Car is drawn by strong Oxen, implying that though slow in his advances, Death is not to be retarded by obstacles, as these animals will not stop at any opposition that is within their strength to master. The weight of the Car is crushing the bodies of persons of all ages. A Pope with his Tiara, several Warriors, and other figures are strewed around in promiscuous heaps, to shew that Death makes no exceptions, and levels all distictions. Pyramus is dying, and Thisbe immolationg herself on his body, out of the regular course of the Car, indication that Suicides anticipate their natural end; the same is represented by the bodies of Antony and Cleopatra on the right. The Flag of Antony with its Staff broken, placed against the stump of a decayed Tree, shews that illicit love brings loss of honour, as well as loss of life. In the back-ground are two figures flying from the approach of the Car, and two others following and imploring Death to take them: a Storm is raging at Sea, and a Vessel foundering (Titian)|The following Descriptions and Interpretations are hastily sketched out, to enable visitors to comprehend at a glance the subjects and meanings of the Four Capital Pictures by Titian, intitled The Triumphs of Time, Fame, Death, and The Christian Religion. Much might be added in way of elucidation, but as this is only inteded to serve the purpose of a general explanation, during the temporary exhibition of the Pictures for Sale, brevity was preferred to amplification. The Connoisseur will not need it; and those who look at Pictures merely from curiosity or for amusement, will easily supply what is deficient, by the obvious allusions in the Pictures themselves, or correct what may be considered erroneous, by their own ingenuity. The Triumphs by Titian. The Triumph of Death. Before Death, on a Car, are seated the Fates, Atopos, Lacesis, and Clotho, to shew that the work of the first depends on Destiny. The Car is drawn by strong Oxen, implying that though slow in his advances, Death is not to be retarded by obstacles, as these animals will not stop at any opposition that is within their strength to master. The weight of the Car is crushing the bodies of persons of all ages. A Pope with his Tiara, several Warriors, and other figures are strewed around in promiscuous heaps, to shew that Death makes no exceptions, and levels all distictions. Pyramus is dying, and Thisbe immolationg herself on his body, out of the regular course of the Car, indication that Suicides anticipate their natural end; the same is represented by the bodies of Antony and Cleopatra on the right. The Flag of Antony with its Staff broken, placed against the stump of a decayed Tree, shews that illicit love brings loss of honour, as well as loss of life. In the back-ground are two figures flying from the approach of the Car, and two others following and imploring Death to take them: a Storm is raging at Sea, and a Vessel foundering]] réalisée par Titian, vendue par Capt Stevenson au prix de 73.10 gs. [116]
  • 1831.04.26/ maison de ventes : Stanley (George). Vente de l'œuvre décrite comme [[The following Descriptions and Interpretations are hastily sketched out, to enable visitors to comprehend at a glance the subjects and meanings of the Four Capital Pictures by Titian, intitled The Triumphs of Time, Fame, Death, and The Christian Religion. Much might be added in way of elucidation, but as this is only inteded to serve the purpose of a general explanation, during the temporary exhibition of the Pictures for Sale, brevity was preferred to amplification. The Connoisseur will not need it; and those who look at Pictures merely from curiosity or for amusement, will easily supply what is deficient, by the obvious allusions in the Pictures themselves, or correct what may be considered erroneous, by their own ingenuity. The Triumphs by Titian. The Triumph of Fame. An allegorical figure of Fame, seated on a Car, is blowing a trumpet, proclaiming the deeds of a dying Warrior, who is recumbent below her, resting on an emblem of Death. One foot of the Goddess is placed on the Warrio's head, and near to it the Book of History lies open, to shew that his memory will survive his death. The car is drawn by Lions, intimating that Strength and generous Courage are conductors to fame. Bellona, looking forward, is advancing with a Standard, followed by Minerva, who is regarding Fame, to shew that, in order to acquire valuable renown, Wisdom should accompany War. The Muses are in attendance, as the proper handmaids of Fame, with an additional female figure, as Painting, with a Torso at her feet, to shew that through their means, and with the assistance of the Fine Arts, the brave and worthy obtain Immortality. A Warrior, probably Pericles, a Legislator, and several Philosophers follow the Car; the two first in advance of the rest; as Warriors, Law Givers, and Patrons of the Fine Arts are the first to have their fame promulgated. In the back-ground are seen two Roman Consuls on horseback, followed by their Army, and a King prostrate before them, imploring their clemency; and more distant two Armies engaged. These are placed in the distance, to shew that War for ambitious purposes, has but a secondary claim to the honours of Fame; and that the true subjects are thase who have benefitted mankind by good Laws, precepts of Wisdom, or dying in defence of Liberty and their Country, as is shewn in the characters of Pericles, Solon, the several Philosophers, and the dying figure, which perhaps personates Leonidas, or Epaminondas (Titian)|The following Descriptions and Interpretations are hastily sketched out, to enable visitors to comprehend at a glance the subjects and meanings of the Four Capital Pictures by Titian, intitled The Triumphs of Time, Fame, Death, and The Christian Religion. Much might be added in way of elucidation, but as this is only inteded to serve the purpose of a general explanation, during the temporary exhibition of the Pictures for Sale, brevity was preferred to amplification. The Connoisseur will not need it; and those who look at Pictures merely from curiosity or for amusement, will easily supply what is deficient, by the obvious allusions in the Pictures themselves, or correct what may be considered erroneous, by their own ingenuity. The Triumphs by Titian. The Triumph of Fame. An allegorical figure of Fame, seated on a Car, is blowing a trumpet, proclaiming the deeds of a dying Warrior, who is recumbent below her, resting on an emblem of Death. One foot of the Goddess is placed on the Warrio's head, and near to it the Book of History lies open, to shew that his memory will survive his death. The car is drawn by Lions, intimating that Strength and generous Courage are conductors to fame. Bellona, looking forward, is advancing with a Standard, followed by Minerva, who is regarding Fame, to shew that, in order to acquire valuable renown, Wisdom should accompany War. The Muses are in attendance, as the proper handmaids of Fame, with an additional female figure, as Painting, with a Torso at her feet, to shew that through their means, and with the assistance of the Fine Arts, the brave and worthy obtain Immortality. A Warrior, probably Pericles, a Legislator, and several Philosophers follow the Car; the two first in advance of the rest; as Warriors, Law Givers, and Patrons of the Fine Arts are the first to have their fame promulgated. In the back-ground are seen two Roman Consuls on horseback, followed by their Army, and a King prostrate before them, imploring their clemency; and more distant two Armies engaged. These are placed in the distance, to shew that War for ambitious purposes, has but a secondary claim to the honours of Fame; and that the true subjects are thase who have benefitted mankind by good Laws, precepts of Wisdom, or dying in defence of Liberty and their Country, as is shewn in the characters of Pericles, Solon, the several Philosophers, and the dying figure, which perhaps personates Leonidas, or Epaminondas]] réalisée par Titian, vendue par Capt Stevenson au prix de 194.5 gs. [117]
  • 1831.04.26/ maison de ventes : Stanley (George). Vente de l'œuvre décrite comme [[The following Descriptions and Interpretations are hastily sketched out, to enable visitors to comprehend at a glance the subjects and meanings of the Four Capital Pictures by Titian, intitled The Triumphs of Time, Fame, Death, and The Christian Religion. Much might be added in way of elucidation, but as this is only inteded to serve the purpose of a general explanation, during the temporary exhibition of the Pictures for Sale, brevity was preferred to amplification. The Connoisseur will not need it; and those who look at Pictures merely from curiosity or for amusement, will easily supply what is deficient, by the obvious allusions in the Pictures themselves, or correct what may be considered erroneous, by their own ingenuity. The Triumphs by Titian. The Triumph of Time. A winged figure, as an emblem of Time, is seated on a Car drawn by Deer, emblems of fleetness, and is measuring with Compasses a Sphere, on which is inscribed the Signs of the Zodiac, indication that Time exists only by the motion of the heavenly bodies, The accompanying figures denote the different stages of human life: -- Infancy, Adolescence, Maturity, and decrepit Old Age, with their several occupations, are conspicuous. An Eastern Monarch is in advance of the Car; probably this figure is meant for Solomon, and to shew that Knowledge and Wisdom anticipate Time's career, and look forward to something beyond his reach. Another figure in European Costume, and bearing a Sceptre, is looking back, as angry at the slow approach of Time. This may mean Ambition, that ever thinks Time too slow for his projects, and is perhaps a covert reproach to the King of Spain, Philip, whose person it resembles. Two grave Senatorial Characters are conversing by the side of the Car, and keeping pace with its movements, to shew that experieced Statemen walk with the Times. An Old Man, in the last stage of life, is supporting himself with Crutches, while two Infant Boys are employed, the one in endeavouring to remove his props, and the other in pushing him forward, to make way for himself. The other figures are of equal significancy, and may be easily interpreted (Titian)|The following Descriptions and Interpretations are hastily sketched out, to enable visitors to comprehend at a glance the subjects and meanings of the Four Capital Pictures by Titian, intitled The Triumphs of Time, Fame, Death, and The Christian Religion. Much might be added in way of elucidation, but as this is only inteded to serve the purpose of a general explanation, during the temporary exhibition of the Pictures for Sale, brevity was preferred to amplification. The Connoisseur will not need it; and those who look at Pictures merely from curiosity or for amusement, will easily supply what is deficient, by the obvious allusions in the Pictures themselves, or correct what may be considered erroneous, by their own ingenuity. The Triumphs by Titian. The Triumph of Time. A winged figure, as an emblem of Time, is seated on a Car drawn by Deer, emblems of fleetness, and is measuring with Compasses a Sphere, on which is inscribed the Signs of the Zodiac, indication that Time exists only by the motion of the heavenly bodies, The accompanying figures denote the different stages of human life: -- Infancy, Adolescence, Maturity, and decrepit Old Age, with their several occupations, are conspicuous. An Eastern Monarch is in advance of the Car; probably this figure is meant for Solomon, and to shew that Knowledge and Wisdom anticipate Time's career, and look forward to something beyond his reach. Another figure in European Costume, and bearing a Sceptre, is looking back, as angry at the slow approach of Time. This may mean Ambition, that ever thinks Time too slow for his projects, and is perhaps a covert reproach to the King of Spain, Philip, whose person it resembles. Two grave Senatorial Characters are conversing by the side of the Car, and keeping pace with its movements, to shew that experieced Statemen walk with the Times. An Old Man, in the last stage of life, is supporting himself with Crutches, while two Infant Boys are employed, the one in endeavouring to remove his props, and the other in pushing him forward, to make way for himself. The other figures are of equal significancy, and may be easily interpreted]] réalisée par Titian, vendue par Capt Stevenson au prix de 210 £. [118]
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