Ventes d'œuvres le 1833.05.10

• 1833.05.10/ -. Vente de l'œuvre décrite comme Sleeping Venus réalisée par Sir Thomas Lawrence au prix de 2.2 £. [1]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Nymphs Bathing, richly coloured réalisée par Poelemberg au prix de 2.2 £. [2]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Dying Gladiator, highly finished study réalisée par Sir Thomas Lawrence. [3]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Catholic Ceremony, on vellum réalisée par Paul Veronese au prix de 1.10 £. [4]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Innocence, with Dove, exquisitely finished réalisée par Hamilton au prix de 2.0 £. [5]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Cattle and Figures réalisée par Poelemberg au prix de 3.0 £. [6]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Head of a Saint réalisée par Rubens au prix de 2.0 £. [7]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Bacchus and Companions réalisée par Van Orrt, first master of Rubens au prix de 3.0 £. [8]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Golden Days réalisée par De Vos au prix de 2.10 £. [9]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Crucifixion, on copper réalisée par A. Bloemart au prix de 4.4 £. [10]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Landscape and Figures réalisée par Teneirs au prix de 4.4 £. [11]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Venus and Cupids réalisée par Sir Joshua Reynolds au prix de 2.15 £. [12]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Marine View réalisée par Van Goyen au prix de 4.4 £. [13]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Venus rising from the Sea réalisée par Albani au prix de 8.8 £. [14]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Interior, equal to Teniers réalisée par Victores au prix de 3.3 £. [15]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Dead Game, Fine specimen réalisée par Rysbrack au prix de 7.7 £. [16]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Birds and Landscape, richly coloured réalisée par Van Kessel au prix de 3.10 £. [17]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Battle-Piece, highly finished réalisée par Burganone au prix de 3.3 £. [18]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Fruit and Flowers, Jacob Van Huyson, brother to Jan réalisée par Jacob Van Huysom au prix de 1.10 £. [19]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Old Man, in manner of Rembrandt, Scarce specimen of this master réalisée par Sir Joshua Reynolds au prix de 4.4 £. [20]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Encampment with Horses, Fine specimen réalisée par Wycke au prix de 2.10 £. [21]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Preparing for a Sacrifice, Vigorous in colouring réalisée par Luca Giordano au prix de 4.4 £. [22]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Summer, companion to do. Winter réalisée par Molanier au prix de 1.15 £. [23]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Winter réalisée par Molanier au prix de 2.2 £. [24]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Scourging of Christ, on copper réalisée par Gd. Hondthorst au prix de 1.10 £. [25]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Meeting of Ceres and Robigus, Fine in colour réalisée par Salvator Rosa au prix de 3.0 £. [26]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Backgammon, engraved réalisée par Lancret au prix de 2.0 £. [27]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Monks at Devotion réalisée par Hemskerk au prix de 2.0 £. [28]

• 1833.05.10/ -. Vente de l'œuvre décrite comme View at Greenwich, fine sketch réalisée par Gainsbrough au prix de 1.8 £. [29]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Landscape and Marine View réalisée par Turner, R.A. au prix de 1.3 £. [30]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Landscape and Marine View réalisée par Bout au prix de 1.0 £. [31]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Blacksmith's Shop, engraved réalisée par Schalken au prix de 1.15 £. [32]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Landscape and Figures réalisée par De Loutherbourg au prix de 1.13 £. [33]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Destruction of Sodom and Gomorrah, sketch réalisée par Martin au prix de 1.0 £. [34]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Toper, Original sketch réalisée par D. Teneirs au prix de 1.1 £. [35]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Landscape and Figure, with Dragons in a Cave réalisée par Houseman au prix de 1.1 £. [36]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Sterne's Maria, engraved réalisée par Westall. [37]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Landscape and Figures, Much in imitation of Gasper Poussin réalisée par Wooton au prix de 1.13 £. [38]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Spanish Banditti, Bold in effect réalisée par Velasquez au prix de 2.0 £. [39]

• 1833.05.10/ -. Vente de l'œuvre décrite comme Frost Piece réalisée par Molanier au prix de 1.5 £. [40]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Famous Young Bull. Panel; height 17 1/2 inches, width 14 3/4. No picture ever produced more admiration among artists and lovers of the fine arts than this extraordinary painting, which has always been considered the chef-d'oeuvre de cabinet of the celebrated Paul Potter. The subject of this picture is not one of those compositions where confusion of objects perplex the observer. It is simply a rising spot of ground, on which is seen lying one of the most beautiful cows that can possibly be imagined -- it is marked bright brown and white; a breathing life runs throughout the animal, and every vein and muscle are visible. Behind her, standing up, another cow foreshortened is so cleverly executed, one would think the flesh perceptible through her skin; while a young bull, of a lively appearance and dark brown colour, (the same model which Potter made use of for his great picture, now in the Museum at the Hague), advances upon the hill. These three animals form a group, most pleasingly varied. The sky is broken with light clouds -- on the left, in the meadows at a distance, are several other animals; on the right is an old trunk of a tree where two small birds are perching, and on a stile is written in large letters Paulus Potter, f. 1647. This triumph of art, which has given fame to the collection of the Burgomaster Hoguer, was imported into London in 1817. Bought by George Watson Taylor, Esq., and sold by auction at Erlestoke Park in July 1832 (Paul Potter)|The Famous Young Bull. Panel; height 17 1/2 inches, width 14 3/4. No picture ever produced more admiration among artists and lovers of the fine arts than this extraordinary painting, which has always been considered the chef-d'oeuvre de cabinet of the celebrated Paul Potter. The subject of this picture is not one of those compositions where confusion of objects perplex the observer. It is simply a rising spot of ground, on which is seen lying one of the most beautiful cows that can possibly be imagined -- it is marked bright brown and white; a breathing life runs throughout the animal, and every vein and muscle are visible. Behind her, standing up, another cow foreshortened is so cleverly executed, one would think the flesh perceptible through her skin; while a young bull, of a lively appearance and dark brown colour, (the same model which Potter made use of for his great picture, now in the Museum at the Hague), advances upon the hill. These three animals form a group, most pleasingly varied. The sky is broken with light clouds -- on the left, in the meadows at a distance, are several other animals; on the right is an old trunk of a tree where two small birds are perching, and on a stile is written in large letters Paulus Potter, f. 1647. This triumph of art, which has given fame to the collection of the Burgomaster Hoguer, was imported into London in 1817. Bought by George Watson Taylor, Esq., and sold by auction at Erlestoke Park in July 1832]] réalisée par Paul Potter, vendue par Nieuwenhuys au prix de 1212.15 £. [41]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Saint George. Panel; height 74 inches, width 39 1/2. St. George, the conqueror of the dragon, has already pierced him with the lance which broke in the contest. The saint, armed with helmet, breastplate, and buckler, trusts wholly to his sword, and holds beneath him the monster he has overthrown. A landscape forms the ground of the picture: the brilliant sky shows to advantage the contrasts of light which strike the eye, and every touch indicates the forcible pencil of the illustrious master. This painting comes from the collegiate church of St. Grommaire at Liêre, and was one of those which formed a suite to the works that Rubens painted for the altar of the chapel belonging to the Brotherhood of Crossbowmen of that town, where it was kept till the year 1810; at which time Mr. Nieuwenhuys obtained it from the wardens of the church. It is mentioned in the Picturesque Voyage of Flanders and Brabant, by T.B. Deschamps (Peter Paul Rubens)|Saint George. Panel; height 74 inches, width 39 1/2. St. George, the conqueror of the dragon, has already pierced him with the lance which broke in the contest. The saint, armed with helmet, breastplate, and buckler, trusts wholly to his sword, and holds beneath him the monster he has overthrown. A landscape forms the ground of the picture: the brilliant sky shows to advantage the contrasts of light which strike the eye, and every touch indicates the forcible pencil of the illustrious master. This painting comes from the collegiate church of St. Grommaire at Liêre, and was one of those which formed a suite to the works that Rubens painted for the altar of the chapel belonging to the Brotherhood of Crossbowmen of that town, where it was kept till the year 1810; at which time Mr. Nieuwenhuys obtained it from the wardens of the church. It is mentioned in the Picturesque Voyage of Flanders and Brabant, by T.B. Deschamps]] réalisée par Peter Paul Rubens, vendue par Nieuwenhuys, achetée par Stanfield au prix de 33.12 £. [42]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The View of the Herring Packer's Tower of Amsterdam. Canvass; height 30 1/2 inches, width 39. In the front is a canal, on which are seen two boats, one of them approaching a sluice, at which two men are occupied in opening the gates. Further on is a second sluice crossed by a drawbridge, behind which the masts of numerous vessels are seen in the harbour. To the right the houses surrounded by trees, and the neighbourhood of the tower, are illumined by the sun; whilst the opposite part is shadowed by some beautiful trees and buildings. A pleasing warmth is diffused through every part of the picture. In point of artistical treatment, this piece is a magical production of the master. For depth, richness of colour, and high finish, it is not to be surpassed. From the collection of M. Peter de Smeth van Alphen, which was sold at Amsterdam in 1811 (Minderhout Hobbema)|The View of the Herring Packer's Tower of Amsterdam. Canvass; height 30 1/2 inches, width 39. In the front is a canal, on which are seen two boats, one of them approaching a sluice, at which two men are occupied in opening the gates. Further on is a second sluice crossed by a drawbridge, behind which the masts of numerous vessels are seen in the harbour. To the right the houses surrounded by trees, and the neighbourhood of the tower, are illumined by the sun; whilst the opposite part is shadowed by some beautiful trees and buildings. A pleasing warmth is diffused through every part of the picture. In point of artistical treatment, this piece is a magical production of the master. For depth, richness of colour, and high finish, it is not to be surpassed. From the collection of M. Peter de Smeth van Alphen, which was sold at Amsterdam in 1811]] réalisée par Minderhout Hobbema, vendue par Nieuwenhuys au prix de 425.5 £. [43]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Two Frescos. Height 59 inches, width 32. It is impossible to have a just idea of fresco painting without visiting Italy; the curious who cannot take this journey can form a conception of them by these two examples, which were formerly in the collection of Lucien Buonaparte, and have been described as follows: -- These frescos, representing angels, each holding a flambeau, were taken from the walls of the church of the Trinity at Rome, where, before their removal, the colours had much faded; but by a process, being secured upon canvass, they have, with the assistance of varnish, returned to their original freshness. Palmaroli first discovered this new process. They are painted in a very grand style, and bring to mind the great and flourishing epoch of the sublime Roman school (Giulio Romano)|Two Frescos. Height 59 inches, width 32. It is impossible to have a just idea of fresco painting without visiting Italy; the curious who cannot take this journey can form a conception of them by these two examples, which were formerly in the collection of Lucien Buonaparte, and have been described as follows: -- These frescos, representing angels, each holding a flambeau, were taken from the walls of the church of the Trinity at Rome, where, before their removal, the colours had much faded; but by a process, being secured upon canvass, they have, with the assistance of varnish, returned to their original freshness. Palmaroli first discovered this new process. They are painted in a very grand style, and bring to mind the great and flourishing epoch of the sublime Roman school]] réalisée par Giulio Romano, vendue par Nieuwenhuys au prix de 112.7 £. [44]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Two Frescos. Height 59 inches, width 32. It is impossible to have a just idea of fresco painting without visiting Italy; the curious who cannot take this journey can form a conception of them by these two examples, which were formerly in the collection of Lucien Buonaparte, and have been described as follows: -- These frescos, representing angels, each holding a flambeau, were taken from the walls of the church of the Trinity at Rome, where, before their removal, the colours had much faded; but by a process, being secured upon canvass, they have, with the assistance of varnish, returned to their original freshness. Palmaroli first discovered this new process. They are painted in a very grand style, and bring to mind the great and flourishing epoch of the sublime Roman school (Giulio Romano)|Two Frescos. Height 59 inches, width 32. It is impossible to have a just idea of fresco painting without visiting Italy; the curious who cannot take this journey can form a conception of them by these two examples, which were formerly in the collection of Lucien Buonaparte, and have been described as follows: -- These frescos, representing angels, each holding a flambeau, were taken from the walls of the church of the Trinity at Rome, where, before their removal, the colours had much faded; but by a process, being secured upon canvass, they have, with the assistance of varnish, returned to their original freshness. Palmaroli first discovered this new process. They are painted in a very grand style, and bring to mind the great and flourishing epoch of the sublime Roman school]] réalisée par Giulio Romano, vendue par Nieuwenhuys au prix de 112.7 £. [45]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Family. Panel; height 32 1/2 inches, width 24. The family name of this memorable artist was Pippi, but he is commonly known by the name of Giulio-Romano. His rare talent, and his kind and affiable demeanour, gained so entirely the friendship of Raphael, he was not only treated by him as a brother, but made at his death one of his principal heirs. Raphael and Giulio-Romano, as painters, were two of the most learned in the art that ever existed: none understood better than they the sublime style of antiquity, having studied and entered into it thoroughly. Their amiable conceptions harmonized so well when they worked together that it requires an experienced eye to distinguish the pencil of Giulio-Romano from that of Raphael. It is impossible justly to describe the beauties of this picture; and it must be considered one of the finest of its kind, not only as regards the pure and grand character of the design, but also from the beauty of the pencilling, qualities that have always been so much admired in this great school. It would be difficult to name a second picture of this painter to compare with the present. It bears more resemblance to the beautiful works of Raphael than to any other of Giulio-Romano, and no doubt the hand of Raphael took a considerable part in the execution of this excellent work, for the head of the virgin is after the same model which the latter has introduced in his most important works. The virgin is seated -- a veil thrown over her head falls on her shoulders, and the drapery over her knees is of a beautiful blue. She supports her child, standing on a cushion, having in his little hands the end of a scroll, on which the words "Ecce agnus dei" are easily deciphered. St. John is holding the other end of the paper about which they are disputing, and the virgin, with a sweet expression, seems to invite him to yield to the infant Jesus. At a distance, under an obscure portico, is seen St. Joseph with a lighted lantern in one hand, with the other he is leading the ass which is to aid their flight into Egypt. From the collection of Lord Gwydir (Giulio-Romano)|The Holy Family. Panel; height 32 1/2 inches, width 24. The family name of this memorable artist was Pippi, but he is commonly known by the name of Giulio-Romano. His rare talent, and his kind and affiable demeanour, gained so entirely the friendship of Raphael, he was not only treated by him as a brother, but made at his death one of his principal heirs. Raphael and Giulio-Romano, as painters, were two of the most learned in the art that ever existed: none understood better than they the sublime style of antiquity, having studied and entered into it thoroughly. Their amiable conceptions harmonized so well when they worked together that it requires an experienced eye to distinguish the pencil of Giulio-Romano from that of Raphael. It is impossible justly to describe the beauties of this picture; and it must be considered one of the finest of its kind, not only as regards the pure and grand character of the design, but also from the beauty of the pencilling, qualities that have always been so much admired in this great school. It would be difficult to name a second picture of this painter to compare with the present. It bears more resemblance to the beautiful works of Raphael than to any other of Giulio-Romano, and no doubt the hand of Raphael took a considerable part in the execution of this excellent work, for the head of the virgin is after the same model which the latter has introduced in his most important works. The virgin is seated -- a veil thrown over her head falls on her shoulders, and the drapery over her knees is of a beautiful blue. She supports her child, standing on a cushion, having in his little hands the end of a scroll, on which the words "Ecce agnus dei" are easily deciphered. St. John is holding the other end of the paper about which they are disputing, and the virgin, with a sweet expression, seems to invite him to yield to the infant Jesus. At a distance, under an obscure portico, is seen St. Joseph with a lighted lantern in one hand, with the other he is leading the ass which is to aid their flight into Egypt. From the collection of Lord Gwydir]] réalisée par Giulio-Romano, vendue par Nieuwenhuys, achetée par P Norton au prix de 546.0 £. [46]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Port of Amsterdam. Canvass; height 20 1/2 inches, width 24. Towards the city, which is seen at a distance, are two men-of-war, one firing a signal. The sky, with a great mass of clouds, indicates the approach of bad weather; the water is agitated by a squall; the sun, hidden by some clouds, throws a light on the left side, where is a view of the Y. The vessels, which are there assembled near the shore, are so finely peccilled that they denote this to be one of the most precious paintings of this master (Ludolph Backhuyzen)|The Port of Amsterdam. Canvass; height 20 1/2 inches, width 24. Towards the city, which is seen at a distance, are two men-of-war, one firing a signal. The sky, with a great mass of clouds, indicates the approach of bad weather; the water is agitated by a squall; the sun, hidden by some clouds, throws a light on the left side, where is a view of the Y. The vessels, which are there assembled near the shore, are so finely peccilled that they denote this to be one of the most precious paintings of this master]] réalisée par Ludolph Backhuyzen, vendue par Nieuwenhuys au prix de 246.15 £. [47]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Swan. Canvass; height 68 inches, width 60. At a distance is a magnificent chateau, which appears to be the residence of a nobleman, bringing to mind the epoch of Louis XIV. and Versailles. A beautiful garden with its fish-ponds is laid out in various parterres; near a fountain a lady and gentleman are followed by a page carrying a basket of fruit. Near the fore-ground is a splendid vase sculptured in high relief, and a tree, to which is attached a swan and peacock, of natural size -- the contrast of the brilliant plumage of the one, with the snow-white feathers of the other, produces a very striking effect. A basket of fruit, various plants if flower, a wild pigeon, and two partridges complete the arrangement of this capital picture, which, notwithstanding its large dimensions, is of the most exqusiite finish. It is marked J. Weenix, f. 1708: from the collection of Mons. Gevers of Rotterdam (John Weenix)|The Swan. Canvass; height 68 inches, width 60. At a distance is a magnificent chateau, which appears to be the residence of a nobleman, bringing to mind the epoch of Louis XIV. and Versailles. A beautiful garden with its fish-ponds is laid out in various parterres; near a fountain a lady and gentleman are followed by a page carrying a basket of fruit. Near the fore-ground is a splendid vase sculptured in high relief, and a tree, to which is attached a swan and peacock, of natural size -- the contrast of the brilliant plumage of the one, with the snow-white feathers of the other, produces a very striking effect. A basket of fruit, various plants if flower, a wild pigeon, and two partridges complete the arrangement of this capital picture, which, notwithstanding its large dimensions, is of the most exqusiite finish. It is marked J. Weenix, f. 1708: from the collection of Mons. Gevers of Rotterdam]] réalisée par John Weenix, vendue par Nieuwenhuys, achetée par J Smith au prix de 132.6 £. [48]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[View on the Zuyder Zee. Canvass; height 30 1/4 inches, width 45 1/4. The vapoury atmosphere casts a silvery tone over a broad expanse of sea. The view, which is taken on the borders of the downs of Holland in calm weather, indicates a fresh morning. The sky is agreeably clouded; a light air scarcely ripples the surface of the water. Nearly twenty vessels of different sizes are grouped or scattered about, and amongst them are distinguished merchant-ships, elegant yachts, barges, boats, and light wherries, which appear in motion and from a view as true as it is interesting. In the distance vessels of war are perceived, which probably indicate the preparation of a naval expedition. This capital picture, which may be considered as one of the rare paintings of this master, comes from the collection of Lord Hampden, and Mr. Nieuwenhuys obtained it in 1830 (William Van De Velde)|View on the Zuyder Zee. Canvass; height 30 1/4 inches, width 45 1/4. The vapoury atmosphere casts a silvery tone over a broad expanse of sea. The view, which is taken on the borders of the downs of Holland in calm weather, indicates a fresh morning. The sky is agreeably clouded; a light air scarcely ripples the surface of the water. Nearly twenty vessels of different sizes are grouped or scattered about, and amongst them are distinguished merchant-ships, elegant yachts, barges, boats, and light wherries, which appear in motion and from a view as true as it is interesting. In the distance vessels of war are perceived, which probably indicate the preparation of a naval expedition. This capital picture, which may be considered as one of the rare paintings of this master, comes from the collection of Lord Hampden, and Mr. Nieuwenhuys obtained it in 1830]] réalisée par William Van De Velde, vendue par Nieuwenhuys au prix de 561.15 £. [49]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Village Feast. Canvass; height 28 inches, width 39. Not far distant from the church is a cabaret; the flag flying at the corner denotes it to travellers, who are arriving from all quarters; more than one hundred and fifty persons are every where engaged in festive enjoyment, delighted to commemorate the anniversary of the village feast. The joyous laugh and marry dance, each amusing himself according to his age, proclaim the hilarity of the happy villagers. Upon the river are several boats, some disembarking visitors, others preparing to take their departure. The scenery is of a rich description, its effect striking, and the landscape is touched with peculiar delicacy (John Steen)|The Village Feast. Canvass; height 28 inches, width 39. Not far distant from the church is a cabaret; the flag flying at the corner denotes it to travellers, who are arriving from all quarters; more than one hundred and fifty persons are every where engaged in festive enjoyment, delighted to commemorate the anniversary of the village feast. The joyous laugh and marry dance, each amusing himself according to his age, proclaim the hilarity of the happy villagers. Upon the river are several boats, some disembarking visitors, others preparing to take their departure. The scenery is of a rich description, its effect striking, and the landscape is touched with peculiar delicacy]] réalisée par John Steen, vendue par Nieuwenhuys au prix de 138.12 £. [50]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Astronomer. Panel; height 12 1/2 inches, width 8 1/3. An effect of candle-light, rendered with a truth and delicacy perfectly wonderful. It discovers the philosopher at night, in the attitude of profound study, before a window; with one hand he holds a candle, which throws its light on the volume before him, the other, resting with a pair of compasses on a celestial globe, appears about to aid some calculation. A bottle, half full of liquor, and and hour-glass are placed on the sill of the window, arched above, and supported by two columns; one of them is surrounded by a curtain, a Cupid is cut in bas-relief on the other. It is the same model of Cupid represented on a column found in the famous picture, known by the name of Le Menage, in the museum at the Hague; from this we may presume it was painted towards the same period of 1658. This precious gem is, in every respect, perfect, and worthy of the highest estimation, justifying the great reputation of this master. It comes from the gallery of Hesse Cassel, from whence it was taken during the late war in Germany by the French. Sold at Mons. Laperière's sale in 1817, and in that of Joseph Barchard, Esq., in 1826 (Gerard Dou)|The Astronomer. Panel; height 12 1/2 inches, width 8 1/3. An effect of candle-light, rendered with a truth and delicacy perfectly wonderful. It discovers the philosopher at night, in the attitude of profound study, before a window; with one hand he holds a candle, which throws its light on the volume before him, the other, resting with a pair of compasses on a celestial globe, appears about to aid some calculation. A bottle, half full of liquor, and and hour-glass are placed on the sill of the window, arched above, and supported by two columns; one of them is surrounded by a curtain, a Cupid is cut in bas-relief on the other. It is the same model of Cupid represented on a column found in the famous picture, known by the name of Le Menage, in the museum at the Hague; from this we may presume it was painted towards the same period of 1658. This precious gem is, in every respect, perfect, and worthy of the highest estimation, justifying the great reputation of this master. It comes from the gallery of Hesse Cassel, from whence it was taken during the late war in Germany by the French. Sold at Mons. Laperière's sale in 1817, and in that of Joseph Barchard, Esq., in 1826]] réalisée par Gerard Dou, vendue par Nieuwenhuys, achetée par [[Chas Robt Ayers Esq 60 Low[er] Grosvenor Street]] au prix de 224.14 £. [51]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape. Canvass; height 25 1/2 inches, width 21 1/4. Ruisdael has represented the moment after a shower, and the setting sun penetrates through the clouds. The country is every where richly wooded with different kinds of trees, which are reflected in the water. A boat with several persons in it is seen approaching the bank. The truth and simplicity of the composition is truly pleasing. Bought at Utrecht in 1824 (Jacob Ruisdael)|A Landscape. Canvass; height 25 1/2 inches, width 21 1/4. Ruisdael has represented the moment after a shower, and the setting sun penetrates through the clouds. The country is every where richly wooded with different kinds of trees, which are reflected in the water. A boat with several persons in it is seen approaching the bank. The truth and simplicity of the composition is truly pleasing. Bought at Utrecht in 1824]] réalisée par Jacob Ruisdael, vendue par Nieuwenhuys, achetée par Artis au prix de 78.15 £. [52]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[View of a Landscape in the Spring. Canvass; height 14 inches, width 13 3/4. A mill at rest; as the water is rushing from the trough above. The paths which intersect each other are every where overspread with trees, indicating spring. A rivulet running on the foreground is bordered on the left by a little hillock, and shaded on the right by many beautiful trees. This collection is embellished with four remarkable pictures of the renowned Dutch landscape painter, and no single assemblage ever contained the pictures of Hobbema of such repute. It is matter of regret that the biographers of his age have left us but partial accounts of the life of so great a man. Many have thought him to be a pupil of Jacob Ruisdael; however, it is certain that these two great men were upon friendly trems; there is not the slightest doubt they travelled together over picturesque countries, in order the better to sketch and paint the scenery the most adapted to their studies. In consequence of this circumstance, the same subjects are often repeated by these two great painters, and they even frequently delighted in imitating each other's style. We have seen productions of Ruisdael that remind us completely of Hobbema; notwithstanding there is always a perceptible difference, the pencil of Ruisdael and his touch of the foliage are more defined by his triangular execution. Hobbema is richer in colour, and his style of execution more magically harmonious. Hobbema has painted many views of this water-mill. The same subject has been painted by Ruisdael but with variations -- and it appears certain that the two contemporaries were already finished artists when they made each other's acquaintance at Amsterdam, where Hobbema resided for many years. Formerly in the collection of Joseph Barchard, Esq. (Minderhout Hobbema)|View of a Landscape in the Spring. Canvass; height 14 inches, width 13 3/4. A mill at rest; as the water is rushing from the trough above. The paths which intersect each other are every where overspread with trees, indicating spring. A rivulet running on the foreground is bordered on the left by a little hillock, and shaded on the right by many beautiful trees. This collection is embellished with four remarkable pictures of the renowned Dutch landscape painter, and no single assemblage ever contained the pictures of Hobbema of such repute. It is matter of regret that the biographers of his age have left us but partial accounts of the life of so great a man. Many have thought him to be a pupil of Jacob Ruisdael; however, it is certain that these two great men were upon friendly trems; there is not the slightest doubt they travelled together over picturesque countries, in order the better to sketch and paint the scenery the most adapted to their studies. In consequence of this circumstance, the same subjects are often repeated by these two great painters, and they even frequently delighted in imitating each other's style. We have seen productions of Ruisdael that remind us completely of Hobbema; notwithstanding there is always a perceptible difference, the pencil of Ruisdael and his touch of the foliage are more defined by his triangular execution. Hobbema is richer in colour, and his style of execution more magically harmonious. Hobbema has painted many views of this water-mill. The same subject has been painted by Ruisdael but with variations -- and it appears certain that the two contemporaries were already finished artists when they made each other's acquaintance at Amsterdam, where Hobbema resided for many years. Formerly in the collection of Joseph Barchard, Esq.]] réalisée par Minderhout Hobbema, vendue par Nieuwenhuys, achetée par Artis au prix de 158.11 £. [53]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Fear of Love. Canvass; height 23 1/2 inches, width 29. The representation of a young girl en robe de chambre. She seems to hear at a distance footsteps approaching her apartment; anxiety and surprise confuse her: she seeks to avoid Cupid, who is concealed behind her; this arouses a little dog represented barking at the door from whence the noise is heard. This picture is one of the esteemed works of this celebrated master, so justly praised for sentiment and truth (John Baptist Greuze)|The Fear of Love. Canvass; height 23 1/2 inches, width 29. The representation of a young girl en robe de chambre. She seems to hear at a distance footsteps approaching her apartment; anxiety and surprise confuse her: she seeks to avoid Cupid, who is concealed behind her; this arouses a little dog represented barking at the door from whence the noise is heard. This picture is one of the esteemed works of this celebrated master, so justly praised for sentiment and truth]] réalisée par John Baptist Greuze, vendue par Nieuwenhuys, achetée par Pennell au prix de 50.8 £. [54]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[La Confidence. Panel; height 40 1/2 inches, width 32. Two beautiful girls, in a bower, are accompanied by a little dog, which the artist no doubt introduces as the symbol of fidelity. This subject presents a sentimental allegory; it is that of a lovely and innocent girl, who receives with surprise a communication which she was before ignorant of. Her astonishment and joy are expressed with extraordinary talent, her motions and looks, when her friend reposes in her bosom a secret of which she had borne all the weight, are pourtrayed with striking truth. The pencil of the celebrated Greuze was always guided by the sentiments of love, and no one knew how to represent amiable or graceful subjects better than he did. He knew how to touch the heart by the realities which his pencil brought forth. The painter must always be guided by nature, and it is impossible to do so more than Greuze has done in this painting, which is known under the name of La Confidence. Mr. Nieuwenhuys obtained this valuable picture in the tour he made to Paris in 1832 (John Baptist Greuze)|La Confidence. Panel; height 40 1/2 inches, width 32. Two beautiful girls, in a bower, are accompanied by a little dog, which the artist no doubt introduces as the symbol of fidelity. This subject presents a sentimental allegory; it is that of a lovely and innocent girl, who receives with surprise a communication which she was before ignorant of. Her astonishment and joy are expressed with extraordinary talent, her motions and looks, when her friend reposes in her bosom a secret of which she had borne all the weight, are pourtrayed with striking truth. The pencil of the celebrated Greuze was always guided by the sentiments of love, and no one knew how to represent amiable or graceful subjects better than he did. He knew how to touch the heart by the realities which his pencil brought forth. The painter must always be guided by nature, and it is impossible to do so more than Greuze has done in this painting, which is known under the name of La Confidence. Mr. Nieuwenhuys obtained this valuable picture in the tour he made to Paris in 1832]] réalisée par John Baptist Greuze, vendue par Nieuwenhuys au prix de 535.10 £. [55]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[View on the Zuyder Zee. Canvass; height 30 1/4 inches, width 43. A fresh breeze favours the voyage of different vessels towards their destination. The sky is overcast, throwing a shadow on part of the water, where a boat and two wherries are floating; the contrast of light produced by this happy execution forms a coup-d'oeil of great effect. Vessels of war and others are seen in the offing. This charming picture, so very remarkable for its composition, was one of the most noted paintings in the collection of the late Lord Liverpool (Ludolph Backhuyzen)|View on the Zuyder Zee. Canvass; height 30 1/4 inches, width 43. A fresh breeze favours the voyage of different vessels towards their destination. The sky is overcast, throwing a shadow on part of the water, where a boat and two wherries are floating; the contrast of light produced by this happy execution forms a coup-d'oeil of great effect. Vessels of war and others are seen in the offing. This charming picture, so very remarkable for its composition, was one of the most noted paintings in the collection of the late Lord Liverpool]] réalisée par Ludolph Backhuyzen, vendue par Nieuwenhuys, achetée par P Norton au prix de 171.3 £. [56]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape. Panel; height 10 inches, width 8 1/2. The sky is darkened, and the accumulated clouds indicate the approach of bad weather. On a hill of considerable elevation are several trees agitated by the wind: the road descends in a slope towards the left. A cavalier mounted on a white horse is riding towards the top, where a poor beggar asks for alms; two other travellers with their bundles at their backs are coming down the road, where a villager is sitting, apparently tired with his journey. At the bottom of the mountain is a lake which loses itself in the distance. This pretty cabinet picture comes from the collection of Mme. Montez of Utrecht. -- There is an engraving of it (Philip Wouwermans)|A Landscape. Panel; height 10 inches, width 8 1/2. The sky is darkened, and the accumulated clouds indicate the approach of bad weather. On a hill of considerable elevation are several trees agitated by the wind: the road descends in a slope towards the left. A cavalier mounted on a white horse is riding towards the top, where a poor beggar asks for alms; two other travellers with their bundles at their backs are coming down the road, where a villager is sitting, apparently tired with his journey. At the bottom of the mountain is a lake which loses itself in the distance. This pretty cabinet picture comes from the collection of Mme. Montez of Utrecht. -- There is an engraving of it]] réalisée par Philip Wouwermans, vendue par Nieuwenhuys, achetée par Bartie au prix de 30.0 £. [57]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Family. Panel; height 32 inches, width 26. It is rare to see a composition of this master of equal importance with the present. The Virgin supports the infant Christ upon a table, to whom St. John is presenting the globe of the universe; St. Joseph is seen behind. The four figures are grouped with taste, and painted with great suavity of expression. This picture was one of the works commenced by Andrea del Sarto; probably his death prevented its completion; it was afterwards entirely finished by Carlo Dolce. Thus producing a melange of remarkable circumstance and great merit. From the collection of the late Edward Coulson, Esq. of Hull (Carlo Dolce)|The Holy Family. Panel; height 32 inches, width 26. It is rare to see a composition of this master of equal importance with the present. The Virgin supports the infant Christ upon a table, to whom St. John is presenting the globe of the universe; St. Joseph is seen behind. The four figures are grouped with taste, and painted with great suavity of expression. This picture was one of the works commenced by Andrea del Sarto; probably his death prevented its completion; it was afterwards entirely finished by Carlo Dolce. Thus producing a melange of remarkable circumstance and great merit. From the collection of the late Edward Coulson, Esq. of Hull]] réalisée par Carlo Dolce, vendue par Nieuwenhuys, achetée par Leigh Cheltenham au prix de 105.0 £. [58]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Diana and Acteon. Canvass; height 21 3/4 inches, width 31 1/4. The principal figure, Diana, is imposing and majestic, suitable to the character of the goddess; the group of figures is placed judiciously, and offers a fine example of the master of the Bolognese school. The landscape forming the back-ground, though only an auxiliary part, is of a superior order. It comes from the Palazzo di Capo di Monte, and thence passed into the gallery of Lucien Buonaparte. Engraved by Pistrucci and others (Annibal Caracci)|Diana and Acteon. Canvass; height 21 3/4 inches, width 31 1/4. The principal figure, Diana, is imposing and majestic, suitable to the character of the goddess; the group of figures is placed judiciously, and offers a fine example of the master of the Bolognese school. The landscape forming the back-ground, though only an auxiliary part, is of a superior order. It comes from the Palazzo di Capo di Monte, and thence passed into the gallery of Lucien Buonaparte. Engraved by Pistrucci and others]] réalisée par Annibal Caracci, vendue par Nieuwenhuys au prix de 163.16 £. [59]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[An Ancient Castle. Panel; height 8 1/2 inches, width 11 1/2. Towards the close of a beautiful summer's day, a shepherd, seated on a projecting rock, is charming, by the music of his hautbois, a peasant who has stopped to listen to him -- three sheep and four goats form his small flock. At a distance a castle is perceived defended by fortifications, and from the centre of which a tower rises. The antique structure of this edifice makes us suppose it was formerly the dwelling of one of the Counts of Flanders. This charming romantic landscape is of a brilliant colour and sprightly touch (David Teniers)|An Ancient Castle. Panel; height 8 1/2 inches, width 11 1/2. Towards the close of a beautiful summer's day, a shepherd, seated on a projecting rock, is charming, by the music of his hautbois, a peasant who has stopped to listen to him -- three sheep and four goats form his small flock. At a distance a castle is perceived defended by fortifications, and from the centre of which a tower rises. The antique structure of this edifice makes us suppose it was formerly the dwelling of one of the Counts of Flanders. This charming romantic landscape is of a brilliant colour and sprightly touch]] réalisée par David Teniers, vendue par Nieuwenhuys au prix de 111.6 £. [60]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Lady Reading a Letter. Canvass; height 26 1/2 inches, width 20 3/4. Although the composition of this picture consists of but two figures, the subject is no less interesting, for great men are admirable even in their most simple works. A lady of distinction in a white satin dress is perusing a letter; and a young page is waiting for her answer. A table, covered with a Persian carpet, on which are placed a looking glass, a candlestick, and silver box, are represented with a truth and minuteness, perfectly wonderful. The red drapery seen in the back-ground shows to advantage the principal objects. This picture is found described in the catalogue of Mr. Gerrit Muller, whose sale took place in Amsterdam the 2d of April, 1827 (Gerard Terburg)|A Lady Reading a Letter. Canvass; height 26 1/2 inches, width 20 3/4. Although the composition of this picture consists of but two figures, the subject is no less interesting, for great men are admirable even in their most simple works. A lady of distinction in a white satin dress is perusing a letter; and a young page is waiting for her answer. A table, covered with a Persian carpet, on which are placed a looking glass, a candlestick, and silver box, are represented with a truth and minuteness, perfectly wonderful. The red drapery seen in the back-ground shows to advantage the principal objects. This picture is found described in the catalogue of Mr. Gerrit Muller, whose sale took place in Amsterdam the 2d of April, 1827]] réalisée par Gerard Terburg, vendue par Nieuwenhuys, achetée par Dunford au prix de 127.1 £. [61]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Music Party. Canvass; height 26 1/2 inches, width 32. Under a vestibule, at the entrance of a beautiful garden, are assembled round a table covered with a superb cloth, two ladies singing a duet, and a cavalier accompanies them on the guitar. Another lady dressed in red silk is advancing to join the party -- an agreeable scene of domestic happiness (Peter De Hooge)|The Music Party. Canvass; height 26 1/2 inches, width 32. Under a vestibule, at the entrance of a beautiful garden, are assembled round a table covered with a superb cloth, two ladies singing a duet, and a cavalier accompanies them on the guitar. Another lady dressed in red silk is advancing to join the party -- an agreeable scene of domestic happiness]] réalisée par Peter De Hooge, vendue par Nieuwenhuys au prix de 89.5 £. [62]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Family. Canvass; height 28 1/2 inches, width 25. The Virgin, dressed in a robe of red colour is sitting holding the infant Jesus by the arm, who is kissing the little St. John. St. Catharine forms part of this charming composition. The expressions are graceful, and the design elegant. The same subject, but with some variation, formed part of the collection of George Watson Taylor, Esq. (Francesco Parmigiano)|The Holy Family. Canvass; height 28 1/2 inches, width 25. The Virgin, dressed in a robe of red colour is sitting holding the infant Jesus by the arm, who is kissing the little St. John. St. Catharine forms part of this charming composition. The expressions are graceful, and the design elegant. The same subject, but with some variation, formed part of the collection of George Watson Taylor, Esq.]] réalisée par Francesco Parmigiano, vendue par Nieuwenhuys, achetée par McLellan au prix de 20.9 £. [63]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Sea-view. Canvass; height 22 1/2 inches, width 27. The sea is slightly agitated; several barges are seen in the centre of the picture, carrying passengers; at a distance are two men-of-war. This beautiful picture is of an admirable tone of colour, and, under every respect, worthy of the finest works of A. Cuyp. It comes from the Brentano collection, and its pendant forms part of the precious collection of Lord Charles Townshend (John Van Cappelle)|Sea-view. Canvass; height 22 1/2 inches, width 27. The sea is slightly agitated; several barges are seen in the centre of the picture, carrying passengers; at a distance are two men-of-war. This beautiful picture is of an admirable tone of colour, and, under every respect, worthy of the finest works of A. Cuyp. It comes from the Brentano collection, and its pendant forms part of the precious collection of Lord Charles Townshend]] réalisée par John Van Cappelle, vendue par Nieuwenhuys au prix de 152.5 £. [64]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Portrait of a Gentleman. Canvass; height 46 inches, width 35. This portrait, in every respect, as skilfully painted as the preceding, is that of a Dutch gentleman; he is sitting turned towards the left, and presenting, at the same time, his right hand, probably to receive the rose which the lady of No. 45 seems to offer him. The arms of the family in these portraits are painted on the bottom of the pictures (Francis Hals)|The Portrait of a Gentleman. Canvass; height 46 inches, width 35. This portrait, in every respect, as skilfully painted as the preceding, is that of a Dutch gentleman; he is sitting turned towards the left, and presenting, at the same time, his right hand, probably to receive the rose which the lady of No. 45 seems to offer him. The arms of the family in these portraits are painted on the bottom of the pictures]] réalisée par Francis Hals, vendue par Nieuwenhuys, achetée par Yates au prix de 12.12 £. [65]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait of a Lady. Height 46 inches, width 35. Van Dyck used to say that Hals was one of the greatest of portrait painters, for he knew not one who was so perfectly master of his pencil. This portrait and the following merit particularly the praises of Van Dyck. The smile of this amiable lady is represented with much expression. Her head is inclined to the right, and she appears addressing herself to some person, presenting, at the same time, a rose which she holds in her hand. Her dress, which is very picturesque, is a costume of the seventeenth century The arms of the family in these portraits are painted on the bottom of the pictures (Francis Hals)|Portrait of a Lady. Height 46 inches, width 35. Van Dyck used to say that Hals was one of the greatest of portrait painters, for he knew not one who was so perfectly master of his pencil. This portrait and the following merit particularly the praises of Van Dyck. The smile of this amiable lady is represented with much expression. Her head is inclined to the right, and she appears addressing herself to some person, presenting, at the same time, a rose which she holds in her hand. Her dress, which is very picturesque, is a costume of the seventeenth century The arms of the family in these portraits are painted on the bottom of the pictures]] réalisée par Francis Hals, vendue par Nieuwenhuys, achetée par Pennel au prix de 22.1 £. [66]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Portrait of Andrea Paladio. Canvass; height 30 inches, width 24 1/2. This painter followed so closely his tutor Titian, that his works are often taken for the productions of that master. This painting passed for such in the collection of the late Admiral Lord Radstock, and is found described so in the catalogue of his first sale, which took place at Mr. Phillips's, New Bond-street, on the 19th April, 1823. Palma has represented this Architect when he was about twenty-two years of age; his head is covered with a small black cap. In one hand he holds a pair of compasses, and with the other the fur of his robe. The transparency and the beautiful carnation of the colours produce a result quite worthy of Titian (Giacopo Palma, called the Old)|The Portrait of Andrea Paladio. Canvass; height 30 inches, width 24 1/2. This painter followed so closely his tutor Titian, that his works are often taken for the productions of that master. This painting passed for such in the collection of the late Admiral Lord Radstock, and is found described so in the catalogue of his first sale, which took place at Mr. Phillips's, New Bond-street, on the 19th April, 1823. Palma has represented this Architect when he was about twenty-two years of age; his head is covered with a small black cap. In one hand he holds a pair of compasses, and with the other the fur of his robe. The transparency and the beautiful carnation of the colours produce a result quite worthy of Titian]] réalisée par Giacopo Palma, called the Old, vendue par Nieuwenhuys, achetée par Maxwell 7 Jermyn St au prix de 42.0 £. [67]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Fortification on the Sea-side. Canvass; height 42 inches, width 64. The garrison of an old castle, situated on the borders of the sea, announces by its salvos of artillery the arrival of the governor. This picture comes from the collection which M. De La Foret had formed in Spain during his embassy at the Court of Madrid. It is one of those fancy works with which Velasquez sometimes amused himself (Don Diego Velasquez, De Silva)|A Fortification on the Sea-side. Canvass; height 42 inches, width 64. The garrison of an old castle, situated on the borders of the sea, announces by its salvos of artillery the arrival of the governor. This picture comes from the collection which M. De La Foret had formed in Spain during his embassy at the Court of Madrid. It is one of those fancy works with which Velasquez sometimes amused himself]] réalisée par Don Diego Velasquez, De Silva, vendue par Nieuwenhuys, achetée par Hume au prix de 16.5 £. [68]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Moonlight. Panel; height 18 1/2 inches, width 28. The view is taken on the Vecht, which serves as a canal to the village of Bambrugge; its beautifully transparent waters are bordered here and there by houses and trees, which retire in perspective to the horizon. Several boats and other objects are reflected in the water as in a mirror from the silvery light thrown over the whole by the moon. In the front two men are apparently observing the view, and a figure is passing a wooded bridge; some underwood and trunks of trees diversify the scene. No one could represent moonlight with more effect than Van der Neer, and this specimen gives ample proof of his admirable talent (Arnold Van Der Neer)|Moonlight. Panel; height 18 1/2 inches, width 28. The view is taken on the Vecht, which serves as a canal to the village of Bambrugge; its beautifully transparent waters are bordered here and there by houses and trees, which retire in perspective to the horizon. Several boats and other objects are reflected in the water as in a mirror from the silvery light thrown over the whole by the moon. In the front two men are apparently observing the view, and a figure is passing a wooded bridge; some underwood and trunks of trees diversify the scene. No one could represent moonlight with more effect than Van der Neer, and this specimen gives ample proof of his admirable talent]] réalisée par Arnold Van Der Neer, vendue par Nieuwenhuys, achetée par French au prix de 32.11 £. [69]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Sea-Piece. Canvass; height 17 3/4 inches, width 25. A fishing-boat with the crew drawing their net; a man-of-war in full sail is approaching; several other vessels and the town of Rotterdam are seen at a distance. From the collection of Mme. Montez (Ludolph Backhuyzen)|A Sea-Piece. Canvass; height 17 3/4 inches, width 25. A fishing-boat with the crew drawing their net; a man-of-war in full sail is approaching; several other vessels and the town of Rotterdam are seen at a distance. From the collection of Mme. Montez]] réalisée par Ludolph Backhuyzen, vendue par Nieuwenhuys, achetée par Buckstone Park Square ? au prix de 12.12 £. [70]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Christ on the Cross. Panel; height 13 1/2 inches, width 9. At the foot of the cross are a knight in armour and a bishop kneeling; further on some soldiers on horseback. The Deity and some angels appear in the glory above. This sketch has probably served as a study for some altar-piece. It comes from the collection of the Banker Danoot of Brussels (Anthony Van Dyck)|Christ on the Cross. Panel; height 13 1/2 inches, width 9. At the foot of the cross are a knight in armour and a bishop kneeling; further on some soldiers on horseback. The Deity and some angels appear in the glory above. This sketch has probably served as a study for some altar-piece. It comes from the collection of the Banker Danoot of Brussels]] réalisée par Anthony Van Dyck, vendue par Nieuwenhuys, achetée par Rev Moore au prix de 16.5 £. [71]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Flying Pigeon. Canvass; height 52 inches, width 59. A cock and two hens, one of them surrounded by her chickens and other poultry, are assembled in a farm-yard, a part of which is overshadowed by weeds and shrubs; a stream is seen in the distance. A flying pigeon is coming towards the front. This picture is worthy the notice of the admirers of Hondecoeter; every part appears so natural, and the birds seem to start from the canvass. This comes from the collection of M. Gevers of Rotterdam (Melchier Hondecoeter)|The Flying Pigeon. Canvass; height 52 inches, width 59. A cock and two hens, one of them surrounded by her chickens and other poultry, are assembled in a farm-yard, a part of which is overshadowed by weeds and shrubs; a stream is seen in the distance. A flying pigeon is coming towards the front. This picture is worthy the notice of the admirers of Hondecoeter; every part appears so natural, and the birds seem to start from the canvass. This comes from the collection of M. Gevers of Rotterdam]] réalisée par Melchier Hondecoeter, vendue par Nieuwenhuys au prix de 50.8 £. [72]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Two Friends. Panel; height 14 inches, width 11 1/2. At a fire are sitting two villagers conversing together; one holds a mug and glass in his hand; his conversation seems to amuse his companion, who smokes his pipe and listens attentively. Several accessories which adorn this rustic dwelling give to the whole a simplicity of the most pleasing character. From the collection of Mme. Montez (Adrian Van Ostade)|The Two Friends. Panel; height 14 inches, width 11 1/2. At a fire are sitting two villagers conversing together; one holds a mug and glass in his hand; his conversation seems to amuse his companion, who smokes his pipe and listens attentively. Several accessories which adorn this rustic dwelling give to the whole a simplicity of the most pleasing character. From the collection of Mme. Montez]] réalisée par Adrian Van Ostade, vendue par Nieuwenhuys, achetée par Norton au prix de 27.6 £. [73]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Rocks. Panel; height 15 1/4 inches, width 18 1/2. Berchem is one of the beaux genies of his age. His pictures are always composed with taste; his imagination is extended in his landscapes; his animals are designed with elegance, and touched with a pencil flashing with spirit. His colouring is admirable; all his paintings are for the most part of a gold or silvery tone, as well be seen by the two examples which are in this collection. Under a large arch, formed by rocks, a shepherd is seen mounted on a mule and driving before him an ass with its pack-saddle on its back, three oxen and two sheep. Towards the left is a traveller carrying his bundle, and followed by his dog; further on a woman is walking towards the distant rocks. Different reflections of light, produced by the rays of the setting sun, are managed with a piquant effect. It comes from the collection of M. Laperrière, which was sold at Paris, the 14th of April, 1817 (Nicholas Berchem)|The Rocks. Panel; height 15 1/4 inches, width 18 1/2. Berchem is one of the beaux genies of his age. His pictures are always composed with taste; his imagination is extended in his landscapes; his animals are designed with elegance, and touched with a pencil flashing with spirit. His colouring is admirable; all his paintings are for the most part of a gold or silvery tone, as well be seen by the two examples which are in this collection. Under a large arch, formed by rocks, a shepherd is seen mounted on a mule and driving before him an ass with its pack-saddle on its back, three oxen and two sheep. Towards the left is a traveller carrying his bundle, and followed by his dog; further on a woman is walking towards the distant rocks. Different reflections of light, produced by the rays of the setting sun, are managed with a piquant effect. It comes from the collection of M. Laperrière, which was sold at Paris, the 14th of April, 1817]] réalisée par Nicholas Berchem, vendue par Nieuwenhuys au prix de 184.16 £. [74]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Bridge of Augustus. Canvass; height 17 inches, width 19. A mountainous landscape, with a river flowing towards the foreground, which is traversed in part by the ruins of this superb bridge. Beyond, on the summit of very elevated ground, is seen the town of Narni. In front, on the declivity of a bank, is a group of figures with a grey horse, on which a man is riding; another has three asses, and a peasant is exciting a dog. This painting is equal to Karel du Jardin, and was formerly in the collection of M. Reynders, of Brussels (John Asselyn)|The Bridge of Augustus. Canvass; height 17 inches, width 19. A mountainous landscape, with a river flowing towards the foreground, which is traversed in part by the ruins of this superb bridge. Beyond, on the summit of very elevated ground, is seen the town of Narni. In front, on the declivity of a bank, is a group of figures with a grey horse, on which a man is riding; another has three asses, and a peasant is exciting a dog. This painting is equal to Karel du Jardin, and was formerly in the collection of M. Reynders, of Brussels]] réalisée par John Asselyn, vendue par Nieuwenhuys au prix de 70.7 £. [75]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[View in Italy. Canvass; height 26 inches, width 33. The landscape, interspersed with trees and rocks, offers a scene the most enlivening. On the left we discover a vast extent of country, where the mountains bound the horizon. On the right, upon a high elevation, is an ancient mansion, which overlooks the country; at the bottom of this hill and upon the borders of the river is a ruined gateway, which forms the entrance to the castle. A man on horseback is driving before him two cows, which are advancing upon the foreground; lower down a shepherd and shepherdess follow their flocks through a stream, which flows in the centre. These beautiful figures are painted by Adrian Van de Velde. From the collection of Joseph Barchard, Esq. (Frederic Moucheron)|View in Italy. Canvass; height 26 inches, width 33. The landscape, interspersed with trees and rocks, offers a scene the most enlivening. On the left we discover a vast extent of country, where the mountains bound the horizon. On the right, upon a high elevation, is an ancient mansion, which overlooks the country; at the bottom of this hill and upon the borders of the river is a ruined gateway, which forms the entrance to the castle. A man on horseback is driving before him two cows, which are advancing upon the foreground; lower down a shepherd and shepherdess follow their flocks through a stream, which flows in the centre. These beautiful figures are painted by Adrian Van de Velde. From the collection of Joseph Barchard, Esq.]] réalisée par Frederic Moucheron, vendue par Nieuwenhuys au prix de 147.0 £. [76]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Pastoral Landscape. Canvass; height 14 1/4 inches, width 17. A monument, surmounted by a vase, is placed in the shade of a tree; a shepherd is leaning against it, playing the flageolet, whilst a shepherdess is bathing her feet in a rivulet. Two cows and several sheep adorn this pastoral scene (Adrian Van De Velde)|A Pastoral Landscape. Canvass; height 14 1/4 inches, width 17. A monument, surmounted by a vase, is placed in the shade of a tree; a shepherd is leaning against it, playing the flageolet, whilst a shepherdess is bathing her feet in a rivulet. Two cows and several sheep adorn this pastoral scene]] réalisée par Adrian Van De Velde, vendue par Nieuwenhuys, achetée par Artis au prix de 23.2 £. [77]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme The Portrait of a Venetian Nobleman. Height 27 inches, width 25. Painted with great force of colour réalisée par Giorgione, vendue par Nieuwenhuys, achetée par P Norton au prix de 22.1 £. [78]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Dead Game. Copper; height 15 inches, width 19 1/4. Former writers have not given us the date of this painter's birth or decease; it is said he was still alive in 1636. He was a pupil of John Breughel de Velour, whom he has imitated so closely that several of his landscapes pass for those of the latter. But Geysels was too sensible not to know that an imitator rarely surpasses the master he takes for his model, and therefore adopted quite a new style of painting, which was that of representing dead game; but it took him so much time to finish his pictures, that the beautiful works of his latter period are few and little known. This picture, which he has signed at length (Peter Geysels), represents a dead swan, a hind, two wild rabbits, partridges, and numerous birds of different kinds scattered about. A column, a vase, and hunting accessories, form an ensemble as varied as it is elegant. At a distance is a country view, and the whole is finished with admirable similitude to nature. From the collection of the Hon. George John Vernon (Peter Geysels)|Dead Game. Copper; height 15 inches, width 19 1/4. Former writers have not given us the date of this painter's birth or decease; it is said he was still alive in 1636. He was a pupil of John Breughel de Velour, whom he has imitated so closely that several of his landscapes pass for those of the latter. But Geysels was too sensible not to know that an imitator rarely surpasses the master he takes for his model, and therefore adopted quite a new style of painting, which was that of representing dead game; but it took him so much time to finish his pictures, that the beautiful works of his latter period are few and little known. This picture, which he has signed at length (Peter Geysels), represents a dead swan, a hind, two wild rabbits, partridges, and numerous birds of different kinds scattered about. A column, a vase, and hunting accessories, form an ensemble as varied as it is elegant. At a distance is a country view, and the whole is finished with admirable similitude to nature. From the collection of the Hon. George John Vernon]] réalisée par Peter Geysels, vendue par Nieuwenhuys, achetée par P Norton au prix de 34.13 £. [79]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[An Allegorical Subject. Height 38 inches, width 59. Prince Frederic Henry de Nassau, on horseback, appears advancing from a splendid portico; the noble proprietors of a grand chateau are standing at the entrance as if to see him pass; behind him are Mercury and Mars with a white horse held by the bridle, emblematic, we may suppose, that force is at hand, if necessary, for the protection of commerce. Jordaens has united all the power of his colouring to attract our admiration in this excellent painting (Jacques Jordaens)|An Allegorical Subject. Height 38 inches, width 59. Prince Frederic Henry de Nassau, on horseback, appears advancing from a splendid portico; the noble proprietors of a grand chateau are standing at the entrance as if to see him pass; behind him are Mercury and Mars with a white horse held by the bridle, emblematic, we may suppose, that force is at hand, if necessary, for the protection of commerce. Jordaens has united all the power of his colouring to attract our admiration in this excellent painting]] réalisée par Jacques Jordaens, vendue par Nieuwenhuys, achetée par Dunford au prix de 10.10 £. [80]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Young Shepherdess. Panel; height 33 inches, width 25 1/2. A young girl, represented as a shepherdess, is giving grass to two sheep who are near to her. There is written in Dutch, on the back of the panel, that this painting represents the portrait of Maria Strik van Scharlaaken Reynier's daughter born the 13th October, 1646, and died the 15th June, 1669. Signed, B. Cuyp fecit, 1650 (Benjamin Cuÿp)|The Young Shepherdess. Panel; height 33 inches, width 25 1/2. A young girl, represented as a shepherdess, is giving grass to two sheep who are near to her. There is written in Dutch, on the back of the panel, that this painting represents the portrait of Maria Strik van Scharlaaken Reynier's daughter born the 13th October, 1646, and died the 15th June, 1669. Signed, B. Cuyp fecit, 1650]] réalisée par Benjamin Cuÿp, vendue par Nieuwenhuys, achetée par John Smith au prix de 24.3 £. [81]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Ceres. Canvass; height 19 inches, width 15. Ceres seated on an elevation, her hair plaited with ribands and ears of wheat; in one hand she holds the Cornucopia, and appears to be teaching the art of cultivating the earth to several rustics not far distant from the goddess, who are listening to her with the most respectful attention. The drawing of this picture is of an excellent style, the execution of the pencil of a beautiful softness, and may be considered as one of the best works of the master. It is signed P. v. Werff. fecit (Peter Van Der Werff)|Ceres. Canvass; height 19 inches, width 15. Ceres seated on an elevation, her hair plaited with ribands and ears of wheat; in one hand she holds the Cornucopia, and appears to be teaching the art of cultivating the earth to several rustics not far distant from the goddess, who are listening to her with the most respectful attention. The drawing of this picture is of an excellent style, the execution of the pencil of a beautiful softness, and may be considered as one of the best works of the master. It is signed P. v. Werff. fecit]] réalisée par Peter Van Der Werff, vendue par Nieuwenhuys au prix de 59.17 £. [82]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Lady of Distinction. Panel; height 33 inches, width 29. She is sitting dressed according to the costume of the time. The expression of her countenance is serious and at the same time noble; with one hand she catches the ornaments falling from her waist, the other reposes on the arm-chair. The coat of arms of the family is painted as an ornament to the picture. The greater number of the portraits of Porbus pass as coming from the hand of Holbein, not being sufficiently known amongst the amateurs. This, which is one of the finest works of the master, is remarkable for its merit and rarity. It was imported in 1832 (Francis Porbus)|A Lady of Distinction. Panel; height 33 inches, width 29. She is sitting dressed according to the costume of the time. The expression of her countenance is serious and at the same time noble; with one hand she catches the ornaments falling from her waist, the other reposes on the arm-chair. The coat of arms of the family is painted as an ornament to the picture. The greater number of the portraits of Porbus pass as coming from the hand of Holbein, not being sufficiently known amongst the amateurs. This, which is one of the finest works of the master, is remarkable for its merit and rarity. It was imported in 1832]] réalisée par Francis Porbus, vendue par Nieuwenhuys, achetée par Lord Northwick au prix de 10.10 £. [83]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme St. François d'Assise. Panel; height 10 inches, width 8. The Virgin and infant Jesus, sitting in a glory and surrounded by angels, appearing to St. Francois d'Assise réalisée par George Rottnhamer, vendue par Nieuwenhuys, achetée par JS Woodin au prix de 18.7 £. [84]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Rape of Orithya. Panel; height 22 1/2 inches, width 29. The young princess Orithya, accompanied by five nymphs, was walking on the sea-shore, gathering up the shells she found in her way; when Boreas, indignant at the refusal he had met with from her father Erectheus, resolved to surprise her and take her off by force. Verkolie has represented this subject with much ingenuity. Boreas flying off with his prize, agitates the sea: the nymphs, some of whom are thrown down either by the violence of the wind or by fright, and Cupid, the cause of all this misfortune, behind a tree laughing, are described in the most lively manner. It must be added that the scarcity of the works of this master renders this picture the more interesting (John Verkolie)|The Rape of Orithya. Panel; height 22 1/2 inches, width 29. The young princess Orithya, accompanied by five nymphs, was walking on the sea-shore, gathering up the shells she found in her way; when Boreas, indignant at the refusal he had met with from her father Erectheus, resolved to surprise her and take her off by force. Verkolie has represented this subject with much ingenuity. Boreas flying off with his prize, agitates the sea: the nymphs, some of whom are thrown down either by the violence of the wind or by fright, and Cupid, the cause of all this misfortune, behind a tree laughing, are described in the most lively manner. It must be added that the scarcity of the works of this master renders this picture the more interesting]] réalisée par John Verkolie, vendue par Nieuwenhuys au prix de 17.6 £. [85]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A View of Haerlem. Panel; height 15 1/2 inches, width 21 1/2. This view is taken from the great square of Haerlem, where the cathedral is situated. A carriage with four horses, and a great number of persons who are dispersed over the place, contribute to render this production interesting. It is one of the best works of this master -- from the collection of M. Le Rouge (Gerhard Berckheyde)|A View of Haerlem. Panel; height 15 1/2 inches, width 21 1/2. This view is taken from the great square of Haerlem, where the cathedral is situated. A carriage with four horses, and a great number of persons who are dispersed over the place, contribute to render this production interesting. It is one of the best works of this master -- from the collection of M. Le Rouge]] réalisée par Gerhard Berckheyde, vendue par Nieuwenhuys, achetée par Rodd au prix de 22.11 £. [86]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme The Visit. Canvass; height 28 inches, width 23. A gentleman entering an apartment, makes his obeisance to a young lady who is standing near a table, which is covered with a Turkey carpet. To the right is a chair on which is a spaniel réalisée par Hugterveld, vendue par Nieuwenhuys, achetée par Dunford au prix de 10.10 £. [87]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Family of the Prince Colonna. Canvass; height 38 1/3 inches, width 25 1/2. The portraits of different ages, united in this picture, are grouped together in a singular and original way. It was considered in the Brentano collection to come from the hand of Titiano; but everything characterizes too well the pencil of Sophonisba (Sophonisba Angusciola)|The Family of the Prince Colonna. Canvass; height 38 1/3 inches, width 25 1/2. The portraits of different ages, united in this picture, are grouped together in a singular and original way. It was considered in the Brentano collection to come from the hand of Titiano; but everything characterizes too well the pencil of Sophonisba]] réalisée par Sophonisba Angusciola, vendue par Nieuwenhuys, achetée par Lewis au prix de 5.5 £. [88]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Young Mother. Panel; height 27 3/4 inches, width 22. In a beautiful apartment, adorned with superb hangings, a lady is sitting with a child upon her knee; she appears speaking to the servant, who offers some refreshment on a silver waiter. The door opens into an inner room where three other figures are seen. The labour in finishing this painting throughout has been considerable, and the accessories are nearly worthy of the pencil of Gerard Dou, whose pupil Neveu was (Mathys Neveu)|The Young Mother. Panel; height 27 3/4 inches, width 22. In a beautiful apartment, adorned with superb hangings, a lady is sitting with a child upon her knee; she appears speaking to the servant, who offers some refreshment on a silver waiter. The door opens into an inner room where three other figures are seen. The labour in finishing this painting throughout has been considerable, and the accessories are nearly worthy of the pencil of Gerard Dou, whose pupil Neveu was]] réalisée par Mathys Neveu, vendue par Nieuwenhuys au prix de 26.5 £. [89]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Interior of the Great Church at Haerlem. Canvass; height 30 1/2 inches, width 48. The order of architecture is of a grand style, and the perspective gives a resemblance of truth. Amongst the personages who visit the edifice a cavalier is paying his obeisance to a lady and gentleman. This picture is one of the best productions of this master (Hendrick Van Vliet)|The Interior of the Great Church at Haerlem. Canvass; height 30 1/2 inches, width 48. The order of architecture is of a grand style, and the perspective gives a resemblance of truth. Amongst the personages who visit the edifice a cavalier is paying his obeisance to a lady and gentleman. This picture is one of the best productions of this master]] réalisée par Hendrick Van Vliet, vendue par Nieuwenhuys, achetée par Dr Fletcher Gloster au prix de 8.18 £. [90]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Eighteenth Century. Canvass; height 18 1/2 inches, width 23 1/2. This subject represents a Frenchman in London during 1789, who appears to be the dupe of two courtezans; he is addressing himself to an elderly female, whilst his pockets are rifled by his companions, and their contents handed to a man of malign aspect at the entrance (G. Morland)|The Eighteenth Century. Canvass; height 18 1/2 inches, width 23 1/2. This subject represents a Frenchman in London during 1789, who appears to be the dupe of two courtezans; he is addressing himself to an elderly female, whilst his pockets are rifled by his companions, and their contents handed to a man of malign aspect at the entrance]] réalisée par G. Morland, vendue par Nieuwenhuys, achetée par Bryant St James St au prix de 14.14 £. [91]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme La Reprimande. Height 20 ins., width 16. An elderly female is reprimanding a girl whose curiosity has allowed a bird to escape from a casket réalisée par Godfrey Schalken, vendue par Nieuwenhuys, achetée par [[Ramsden [or] Rumsden]] au prix de 6.16 £. [92]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme The Game of Backgammon. Panel; height 16 inches, width 34. This piece, composed of six figures, represents particularly a lady and gentleman playing at back gammon. This picture has infinite merit in its class réalisée par John Le Duc, vendue par Nieuwenhuys au prix de 5.5 £. [93]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Virgin. Panel; height 25 inches, width 17 1/2. The Virgin, on an elevation, looks with devoted tenderness on the infant Jesus, sitting on her knee; St. John the Baptist is at her feet holding a scroll, on which the words "Agnus Dei" are written. The landscape is diversified with rocks and buildings. From the collection of M. Laperrière (Francesco Salviati)|The Holy Virgin. Panel; height 25 inches, width 17 1/2. The Virgin, on an elevation, looks with devoted tenderness on the infant Jesus, sitting on her knee; St. John the Baptist is at her feet holding a scroll, on which the words "Agnus Dei" are written. The landscape is diversified with rocks and buildings. From the collection of M. Laperrière]] réalisée par Francesco Salviati, vendue par Nieuwenhuys, achetée par Blanchard au prix de 7.7 £. [94]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape. Canvass; height 35 in inches, width 46. On the left is a rising ground adorned with fine masses of trees, where a shepherdess is seen attending a flock of sheep. In front a brook is crossed by a plank, over which a man is passing. It is painted in the style of Ruisdael, of whom he was a pupil (Van Kessel)|A Landscape. Canvass; height 35 in inches, width 46. On the left is a rising ground adorned with fine masses of trees, where a shepherdess is seen attending a flock of sheep. In front a brook is crossed by a plank, over which a man is passing. It is painted in the style of Ruisdael, of whom he was a pupil]] réalisée par Van Kessel, vendue par Nieuwenhuys, achetée par P Norton au prix de 8.18 £. [95]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Landscape. Canvass; height 18 1/4 inches, width 27. This view, over a vast extent of country, is taken on the borders of the Rhine; which may be perceived in the distance. The foreground is broken by several hillocks, and a cavalier is in conversation with a peasant. Equal to De Koning (Peter Molyn)|Landscape. Canvass; height 18 1/4 inches, width 27. This view, over a vast extent of country, is taken on the borders of the Rhine; which may be perceived in the distance. The foreground is broken by several hillocks, and a cavalier is in conversation with a peasant. Equal to De Koning]] réalisée par Peter Molyn, vendue par Nieuwenhuys, achetée par Rodd au prix de 7.0 £. [96]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Confessor of Duke Olivares. Canvass; height 30 inches, width 24. This monk of the Dominican order, united with a manly eloquence the power of consoling the Duke at the time when, having lost the confidence of Philip the Fourth, King of Spain, he retired to his estate at Loeches (Alonzo Cano)|The Confessor of Duke Olivares. Canvass; height 30 inches, width 24. This monk of the Dominican order, united with a manly eloquence the power of consoling the Duke at the time when, having lost the confidence of Philip the Fourth, King of Spain, he retired to his estate at Loeches]] réalisée par Alonzo Cano, vendue par Nieuwenhuys, achetée par Rodd. [97]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme View on the Sea. Panel; height 33 inches, width 50. A view of Scheveling, with boats and many figures on the strand. Very richly composed. Signed H.D. Meyer, 1651 réalisée par H.D. Meyer, vendue par Nieuwenhuys au prix de 12.1 £. [98]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Apollo and Pan. Panel; height 19 inches, width 17. Pan, charmed with the praises which the nymphs bestowed upon his music, becomes vain and dares to defy Apollo. Tmolus, chosen as arbitrator, adjudged that the lyre of the one god bore the palm over the pipe of the other, and every one approved of his judgment. Midas alone was of a different opinion, and Apollo, to punish him, gave him the ears of an ass. Rottnhamer has chosen the moment when the two competitors are trying their skill (George Rottnhamer)|Apollo and Pan. Panel; height 19 inches, width 17. Pan, charmed with the praises which the nymphs bestowed upon his music, becomes vain and dares to defy Apollo. Tmolus, chosen as arbitrator, adjudged that the lyre of the one god bore the palm over the pipe of the other, and every one approved of his judgment. Midas alone was of a different opinion, and Apollo, to punish him, gave him the ears of an ass. Rottnhamer has chosen the moment when the two competitors are trying their skill]] réalisée par George Rottnhamer, vendue par Nieuwenhuys au prix de 12.1 £. [99]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Nymphs Bathing. Panel; height 9 1/2 inches, width 12 1/2. At the bottom of a rocky elevation several nymphs are seen bathing, and others on the borders of the stream. On the foreground a nymph is reposing, and putting her hand to the hair of one before her to loosen the bandeau. A brilliant sky throws a gaiety over the landscape (Cornelius Poelenbourg)|Nymphs Bathing. Panel; height 9 1/2 inches, width 12 1/2. At the bottom of a rocky elevation several nymphs are seen bathing, and others on the borders of the stream. On the foreground a nymph is reposing, and putting her hand to the hair of one before her to loosen the bandeau. A brilliant sky throws a gaiety over the landscape]] réalisée par Cornelius Poelenbourg, vendue par Nieuwenhuys au prix de 7.17 £. [100]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme A Sea-Port, with several Vessels and Figures, by David Teniers. Canvass réalisée par Bonaventure Peters, vendue par Nieuwenhuys, achetée par Emanuel au prix de 15.15 £. [101]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme Lot and his Daughters. Panel réalisée par Alessandro Veronese, vendue par Nieuwenhuys, achetée par McLellan au prix de 11.0 £. [102]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme A Landscape, with a halt of Hunters at a Cabaret. Canvass réalisée par Peter De Hooge, vendue par Nieuwenhuys, achetée par Wm Evans au prix de 5.5 £. [103]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme A Mountainous Landscape intersected by a River, with several Figures, some of them fishing. Canvass réalisée par John Wills, vendue par Nieuwenhuys, achetée par John Vaughan Dutton Esqr au prix de 6.10 £. [104]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme St. John the Evangelist sitting in the Clouds. Copper réalisée par Carlo Maratti, vendue par Nieuwenhuys, achetée par Theobald au prix de 4.4 £. [105]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme Achilles among the Daughters of Lycomedes. A charming cabinet specimen; canvass réalisée par Gerard Lairesse, vendue par Nieuwenhuys, achetée par [[Redfurn [or] Redfern [or] Redford]] au prix de 7.17 £. [106]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme A Child sitting on a Crimson Cushion, playing with a little Dog. Copper réalisée par Gonzales Coques, vendue par Nieuwenhuys, achetée par Fuller Oxford Street au prix de 4.16 £. [107]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme A Bust of St. Peter. Panel réalisée par Gaspard De Crayer, vendue par Nieuwenhuys, achetée par French au prix de 3.0 £. [108]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme View of a Village on a Canal, with Figures. Canvass réalisée par Van Kessel, vendue par Nieuwenhuys, achetée par [[Redfurn [or] Redfern [or] Redford]] au prix de 7.7 £. [109]

• 1833.05.10/ maison de ventes : Christie's. Vente de l'œuvre décrite comme View of a Town in Holland. Panel réalisée par Molenaer, vendue par Nieuwenhuys, achetée par Leigh au prix de 3.3 £. [110]