Ventes d'œuvres le 1833.10.12

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme Dead Game, &c. réalisée par Weeninx. [1]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme Buildings and Figures réalisée par Vander Heyden. [2]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme The White Cloud réalisée par Wouvermans. [3]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme Virgin, Child, and St John réalisée par Carracci. [4]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Belisarius. This celebrated warrior, reduced in his old age to the necessity of begging, is represented blind, with his head uncovered; he is dressed in the Roman costume; in his right hand he holds a viol, his left rests on the shoulder of a youth who acts as his guide, they are about to enter the door of a mansion; several soldiers are seen in the distance. This cabinet picture, by one of the most famed of the Venetian artists, is in fine preservation (Schiavone)|Belisarius. This celebrated warrior, reduced in his old age to the necessity of begging, is represented blind, with his head uncovered; he is dressed in the Roman costume; in his right hand he holds a viol, his left rests on the shoulder of a youth who acts as his guide, they are about to enter the door of a mansion; several soldiers are seen in the distance. This cabinet picture, by one of the most famed of the Venetian artists, is in fine preservation]] réalisée par Schiavone. [5]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[The Assumption of the Virgin. In this composition the ascending virgin is borne up on clouds, accompanied by three infant angels, who minister at her feet; one of them is dropping flowers upon the tomb. This small cabinet picture is of an octagon shape, and of the highest finish (Guido)|The Assumption of the Virgin. In this composition the ascending virgin is borne up on clouds, accompanied by three infant angels, who minister at her feet; one of them is dropping flowers upon the tomb. This small cabinet picture is of an octagon shape, and of the highest finish]] réalisée par Guido. [6]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[The Marriage of St Catherine. This composition consists of three figures -- the virgin, the infant Saviour, and St Catherine; the virgin is clothed in crimson, with a light blue mantle enveloping the figure; the Saviour is seated on her knee, his right hand extended, putting the ring on the finger of St Catherine, who is in the left of the picture clad in a scarlet mantle. A delicate and highly finished production of this favourite pupil of Raphael. This Picture was purchased by the Duchess of Somerset for 700 guineas (Carlo Dolce)|The Marriage of St Catherine. This composition consists of three figures -- the virgin, the infant Saviour, and St Catherine; the virgin is clothed in crimson, with a light blue mantle enveloping the figure; the Saviour is seated on her knee, his right hand extended, putting the ring on the finger of St Catherine, who is in the left of the picture clad in a scarlet mantle. A delicate and highly finished production of this favourite pupil of Raphael. This Picture was purchased by the Duchess of Somerset for 700 guineas]] réalisée par Carlo Dolce. [7]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[View of the Dutch Coast. A brisk gale; two luggers are beating up to make the entrance of a rough wooden pier, stretching across the middle distance; a fishing smack has already rounded the point, and a boat full of people is going out; to the right, on shore, is a windmill, and various shipping in the distance (Backhuysen)|View of the Dutch Coast. A brisk gale; two luggers are beating up to make the entrance of a rough wooden pier, stretching across the middle distance; a fishing smack has already rounded the point, and a boat full of people is going out; to the right, on shore, is a windmill, and various shipping in the distance]] réalisée par Backhuysen. [8]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[The Virgin and Child, and St John. The virgin is habited in a scarlet dress, enveloped in a blue mantle, which descends from the head in large folds; the infant Saviour naked, is standing on her knee, looking towards St John, who is to the right of the virgin, partially clad in skins, his right hand on his breast, and his left holding the cross. This capital production is admirably composed, and splendidly coloured. The late Mr Fauntleroy advanced £.600 on this Picture (Peirino del Vaga)|The Virgin and Child, and St John. The virgin is habited in a scarlet dress, enveloped in a blue mantle, which descends from the head in large folds; the infant Saviour naked, is standing on her knee, looking towards St John, who is to the right of the virgin, partially clad in skins, his right hand on his breast, and his left holding the cross. This capital production is admirably composed, and splendidly coloured. The late Mr Fauntleroy advanced £.600 on this Picture]] réalisée par Peirino del Vaga. [9]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Landscape -- a Sketch. To the right are two cottages, with a few trees; and in front, are two Boors in earnest conversation; a peasant is approaching from the left by a snady path, and is about to cross a large stream by a rude wooden bridge, which occupies the centre of the foreground, his dog is already on the bridge; in the distance, on the bank of the river, is a village church surrounded with trees. The finished sketch for the picture of the same subject in the collection of the Marquis of Westminster (David Teniers)|Landscape -- a Sketch. To the right are two cottages, with a few trees; and in front, are two Boors in earnest conversation; a peasant is approaching from the left by a snady path, and is about to cross a large stream by a rude wooden bridge, which occupies the centre of the foreground, his dog is already on the bridge; in the distance, on the bank of the river, is a village church surrounded with trees. The finished sketch for the picture of the same subject in the collection of the Marquis of Westminster]] réalisée par David Teniers. [10]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Landscape -- Jupiter and Europa. A small landscape, in which the artist has introduced the story of Jupiter and Europa; Europa is already seated on the back of the bull, supported on either side by one of her attendants; several Cupids, with a band of flowers, are dragging them towards the water, whilst two others holding a scarf are floating above; on the right, some of her attendants are busied gathering flowers under the trees. This beautiful cabinet gem is in the best time of the master (Zucherelli)|Landscape -- Jupiter and Europa. A small landscape, in which the artist has introduced the story of Jupiter and Europa; Europa is already seated on the back of the bull, supported on either side by one of her attendants; several Cupids, with a band of flowers, are dragging them towards the water, whilst two others holding a scarf are floating above; on the right, some of her attendants are busied gathering flowers under the trees. This beautiful cabinet gem is in the best time of the master]] réalisée par Zucherelli. [11]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Landscape with Waterfall. The foreground is occupied with the fall; the water is seen rushing down in a stream, broken by a number of rocks; various shipping are seen in the river above: to the left the rocks are clothed with larch and other trees; a woody hill to the right is crowned with an old tower. -- A cabinet specimen in fine preservation (Jacob Ruysdael)|Landscape with Waterfall. The foreground is occupied with the fall; the water is seen rushing down in a stream, broken by a number of rocks; various shipping are seen in the river above: to the left the rocks are clothed with larch and other trees; a woody hill to the right is crowned with an old tower. -- A cabinet specimen in fine preservation]] réalisée par Jacob Ruysdael. [12]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Landscape and Figures. On the right is a thatched cottage, under the wall of which is an old white horse, at his feet a goat is reposing; a shepherd is seated on a stone to the left, playing on a pipe; a mountainous landscape stretches along the banks of a lake into the distance. The cabinet pictures of this great master are seldom met with, the present specimen is of the rarest excellence and beauty (Titian)|Landscape and Figures. On the right is a thatched cottage, under the wall of which is an old white horse, at his feet a goat is reposing; a shepherd is seated on a stone to the left, playing on a pipe; a mountainous landscape stretches along the banks of a lake into the distance. The cabinet pictures of this great master are seldom met with, the present specimen is of the rarest excellence and beauty]] réalisée par Titian. [13]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[A. Cavernous Landscape, with the Monks of Valambrosa. This is one of those subjects in which Salvator fascinates us by the unbounded wildness of his fancy, and the picturesque solemnity of the scene, possessed of that sort of dignity which belongs to savage and uncultivated nature. The composition consists of eleven figures variously grouped, and in different attitudes of devotion; representing those wild ascetics, the Monks of the valley of Valambrosa (Salvator Rosa)|A. Cavernous Landscape, with the Monks of Valambrosa. This is one of those subjects in which Salvator fascinates us by the unbounded wildness of his fancy, and the picturesque solemnity of the scene, possessed of that sort of dignity which belongs to savage and uncultivated nature. The composition consists of eleven figures variously grouped, and in different attitudes of devotion; representing those wild ascetics, the Monks of the valley of Valambrosa]] réalisée par Salvator Rosa. [14]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Noah and his Family going into the ark; and Noah and his Family coming out of the Ark. This splendid pair of gallery pictures, formed part of the collection of Charles I. and are mentioned in the catalogue of that monarch's pictures, made in 1649. At the distribution of the royal collection, they came into the possession of the family of de Grey, in which family they have remained till the sale of the late Lady de Grey's pictures, when they were purchased by the present proprietor. The figures and animals are admirably grouped, and coloured with all the brilliancy of the Venetian school, whilst the landscape back-grounds are equal to Titian (Giacomo da Ponte)|Noah and his Family going into the ark; and Noah and his Family coming out of the Ark. This splendid pair of gallery pictures, formed part of the collection of Charles I. and are mentioned in the catalogue of that monarch's pictures, made in 1649. At the distribution of the royal collection, they came into the possession of the family of de Grey, in which family they have remained till the sale of the late Lady de Grey's pictures, when they were purchased by the present proprietor. The figures and animals are admirably grouped, and coloured with all the brilliancy of the Venetian school, whilst the landscape back-grounds are equal to Titian]] réalisée par Giacomo da Ponte. [15]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Noah and his Family going into the ark; and Noah and his Family coming out of the Ark. This splendid pair of gallery pictures, formed part of the collection of Charles I. and are mentioned in the catalogue of that monarch's pictures, made in 1649. At the distribution of the royal collection, they came into the possession of the family of de Grey, in which family they have remained till the sale of the late Lady de Grey's pictures, when they were purchased by the present proprietor. The figures and animals are admirably grouped, and coloured with all the brilliancy of the Venetian school, whilst the landscape back-grounds are equal to Titian (Giacomo da Ponte)|Noah and his Family going into the ark; and Noah and his Family coming out of the Ark. This splendid pair of gallery pictures, formed part of the collection of Charles I. and are mentioned in the catalogue of that monarch's pictures, made in 1649. At the distribution of the royal collection, they came into the possession of the family of de Grey, in which family they have remained till the sale of the late Lady de Grey's pictures, when they were purchased by the present proprietor. The figures and animals are admirably grouped, and coloured with all the brilliancy of the Venetian school, whilst the landscape back-grounds are equal to Titian]] réalisée par Giacomo da Ponte. [16]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Aquatic Fete. The subject of this splendid picture, is the fete given by the Prince of Orange, on the first day of the herring fishing. It was formerly in the possession of Louis XIV, and was sold for 1400 guineas. The companion picture, also an aquatic fete, is now in the gallery of the Duke of Sutherland. In the centre, is the royal yacht; and a barge approaching it, contains the royal party. The sides and foreground are occupied by numerous fishing boats, and other shipping (Albert Cuyp)|Aquatic Fete. The subject of this splendid picture, is the fete given by the Prince of Orange, on the first day of the herring fishing. It was formerly in the possession of Louis XIV, and was sold for 1400 guineas. The companion picture, also an aquatic fete, is now in the gallery of the Duke of Sutherland. In the centre, is the royal yacht; and a barge approaching it, contains the royal party. The sides and foreground are occupied by numerous fishing boats, and other shipping]] réalisée par Albert Cuyp. [17]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Portrait of Donna Violante, daughter of Palma Vecchio. As a painter of portraits, Bordone is the next in rank to his master Titian, in the Venetian school. Algarotti informs us, that the portraiture of this celebrated lady was frequently introduced by Titian and his pupils, into their historical pictures. This specimen, (which is in admirable preservation,) shows how unrivalled a dominion they held, as colorists, over all their competitors. No painters have viewed nature with so chaste an eye; and to none were the tender blandishments of her tinting more confidentially communicated. Her countenance, denoting thirty years of age, is seen in a three quarter view; fair complexion, with light hair, decked with a wreath of pearls. She is dressed in crimson velvet; her neck adorned with pearls, and a gold chain. She is represented standing with a plume in her right hand, whilst her left rests gracefully on her side. This portrait is of the most splendid description (Paris Bordone)|Portrait of Donna Violante, daughter of Palma Vecchio. As a painter of portraits, Bordone is the next in rank to his master Titian, in the Venetian school. Algarotti informs us, that the portraiture of this celebrated lady was frequently introduced by Titian and his pupils, into their historical pictures. This specimen, (which is in admirable preservation,) shows how unrivalled a dominion they held, as colorists, over all their competitors. No painters have viewed nature with so chaste an eye; and to none were the tender blandishments of her tinting more confidentially communicated. Her countenance, denoting thirty years of age, is seen in a three quarter view; fair complexion, with light hair, decked with a wreath of pearls. She is dressed in crimson velvet; her neck adorned with pearls, and a gold chain. She is represented standing with a plume in her right hand, whilst her left rests gracefully on her side. This portrait is of the most splendid description]] réalisée par Paris Bordone. [18]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Woody Landscape. Presenting a retired woody scene, with a pool of water in front, on which are some wild ducks. A cottage and a barn are partially seen through the trunks of the trees; and in front of the latter, are two sportsmen with their dogs, resting, (by Wouvermans). This painting, which is in fine condition, is marked with the name and date, 1673, and is an admirable companion to the last (John Wynants)|Woody Landscape. Presenting a retired woody scene, with a pool of water in front, on which are some wild ducks. A cottage and a barn are partially seen through the trunks of the trees; and in front of the latter, are two sportsmen with their dogs, resting, (by Wouvermans). This painting, which is in fine condition, is marked with the name and date, 1673, and is an admirable companion to the last]] réalisée par John Wynants. [19]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[The Thunder Storm. A Landscape exhibiting a hilly site, thickly covered with trees of the densest foliage, and divided obliquely by a mountain stream. The trunk of a fallen tree stretches across the fore-ground. To the left, is the figure of a bull dashing through the torrent. A dark tempestuous sky, and the indications of wind, distinguish this cabinet picture. It is painted in the artist's green manner, and is in fine preservation (Adam Pynaker)|The Thunder Storm. A Landscape exhibiting a hilly site, thickly covered with trees of the densest foliage, and divided obliquely by a mountain stream. The trunk of a fallen tree stretches across the fore-ground. To the left, is the figure of a bull dashing through the torrent. A dark tempestuous sky, and the indications of wind, distinguish this cabinet picture. It is painted in the artist's green manner, and is in fine preservation]] réalisée par Adam Pynaker. [20]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme Landscape, with Cattle and Figures. A pair of splendid gallery pictures, by this eminent artist réalisée par Dietricy. [21]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme Landscape, with Cattle and Figures A pair of splendid gallery pictures, by this eminent artist réalisée par Dietricy. [22]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Martyrdom of St Peter. A duplicate in small, of the celebrated Picture of S. Pietro Martire, painted for the church of S.S. Giovanni e Paolo, at Venice, and which is generally regarded as Titian's chef d'oeuvre in historic painting. In invention and composition, Titian confined himself to a representation of what appeared to him to be naturally necessary to the subject; and this strict adherence to individuality, prompted him to introduce into his historical pictures, instead of ideal characters analogous to the subject, heads designed from life, with a precision which gave to the most interesting subjects of history, the formality of portraiture. That he was capable of occasionally venturing beyond this boundary, he has given proof of, in this fine picture of S. Pietro Martire, in which the most fastidious critic cannot find the shadow of a defect. The composition is admirable; though consisting of few figures, they are spiritedly designed, full of action, and marked with a grandeur seldom found in the works of this artist. The landscape back-ground is introduced in the grandest and most picturesque style; and it would be difficult to find in the range of Art, a more sublime and impressive accompaniment, so skillfully conducive to the terrific effect of the object. From Lady de Grey's Collection. -- 3 f. 6 in. H.; oval top, by 2 f. 3 in. W (Titian)|Martyrdom of St Peter. A duplicate in small, of the celebrated Picture of S. Pietro Martire, painted for the church of S.S. Giovanni e Paolo, at Venice, and which is generally regarded as Titian's chef d'oeuvre in historic painting. In invention and composition, Titian confined himself to a representation of what appeared to him to be naturally necessary to the subject; and this strict adherence to individuality, prompted him to introduce into his historical pictures, instead of ideal characters analogous to the subject, heads designed from life, with a precision which gave to the most interesting subjects of history, the formality of portraiture. That he was capable of occasionally venturing beyond this boundary, he has given proof of, in this fine picture of S. Pietro Martire, in which the most fastidious critic cannot find the shadow of a defect. The composition is admirable; though consisting of few figures, they are spiritedly designed, full of action, and marked with a grandeur seldom found in the works of this artist. The landscape back-ground is introduced in the grandest and most picturesque style; and it would be difficult to find in the range of Art, a more sublime and impressive accompaniment, so skillfully conducive to the terrific effect of the object. From Lady de Grey's Collection. -- 3 f. 6 in. H.; oval top, by 2 f. 3 in. W]] réalisée par Titian. [23]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[The Holy Family. In this composition the virgin is placed in the centre of the picture, clothed in a crimson dress, with a blue mantle, and wearing a light scarf on her head; the infant Saviour is supported by her left hand, while her right rests on the head of St John; the attention of the Saviour is directed towards St John, who stands beside him leaning on a cross having a scroll appended; his countenance, which is expressive of fervent affecttion, is towards the Saviour; St Joseph is in the background, with his staff and bundle over his shoulder, as he is usually represented in the flight into Egypt. This superb production is entitled to the highest commendation for the excellenec of its composition, the beauty of its colour, the finishing, and the admirable sentiment that pervades the subject. But that which claims the warmest admiration is the figures of the children, than which, nothing in art can be more beautiful for colour, sweetness, and expression; the virgin is distinguished by that elevation of character which Raphael alone could impart, and which has led many connoisseurs to suppose that this picture was the production of Raphael himself. From the collection of Lady de Grey (Guilio Romano)|The Holy Family. In this composition the virgin is placed in the centre of the picture, clothed in a crimson dress, with a blue mantle, and wearing a light scarf on her head; the infant Saviour is supported by her left hand, while her right rests on the head of St John; the attention of the Saviour is directed towards St John, who stands beside him leaning on a cross having a scroll appended; his countenance, which is expressive of fervent affecttion, is towards the Saviour; St Joseph is in the background, with his staff and bundle over his shoulder, as he is usually represented in the flight into Egypt. This superb production is entitled to the highest commendation for the excellenec of its composition, the beauty of its colour, the finishing, and the admirable sentiment that pervades the subject. But that which claims the warmest admiration is the figures of the children, than which, nothing in art can be more beautiful for colour, sweetness, and expression; the virgin is distinguished by that elevation of character which Raphael alone could impart, and which has led many connoisseurs to suppose that this picture was the production of Raphael himself. From the collection of Lady de Grey]] réalisée par Guilio Romano. [24]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Landscape and Figures. A magninicent gallery picture of this esteemed artist. In the foreground are two cavaliers mounted on horseback, a boy with a flock of sheep, and a woman with a distaff; to the left the skirts of a forest; and in the distance a wooded bank with castle, &c. From the collection of Wilson, Bishop of Bristol (Vander Neer)|Landscape and Figures. A magninicent gallery picture of this esteemed artist. In the foreground are two cavaliers mounted on horseback, a boy with a flock of sheep, and a woman with a distaff; to the left the skirts of a forest; and in the distance a wooded bank with castle, &c. From the collection of Wilson, Bishop of Bristol]] réalisée par Vander Neer. [25]

1833.10.12/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[The Family of Maas. In the interior of an apartment the artist is represented standing by the side of a table on which is a tankard and glass with wine; he holds his hat in his left hand; his wife is seated in front with a child on her knee; to the right a large wardrobe, with a globe and china vase standing on it; an apartment is seen to the left, with a stair leading to another above. A good specimen of the master, and in fine preservation (Rembrandt)|The Family of Maas. In the interior of an apartment the artist is represented standing by the side of a table on which is a tankard and glass with wine; he holds his hat in his left hand; his wife is seated in front with a child on her knee; to the right a large wardrobe, with a globe and china vase standing on it; an apartment is seen to the left, with a stair leading to another above. A good specimen of the master, and in fine preservation]] réalisée par Rembrandt. [26]