Ventes d'œuvres le 1835.08.01

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  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[The Adoration of the Lamb. In twelve divisions on canvass. The extent and profound aim of this compositon render a clear comprehension of the subject at first sight difficult, and therefore an explanation desirable. It may be said to embrace the most important mystery of the Christian Religion; painted 100 years previous to the Reformation; of course therefore according to the conceptions and forms of the Greek and Roman Catholic Church. It is known under the name of the Adoration of the Lamb, and intends to represent the Mystery of the Redemption, taken from the 7th chapter of the Revelations. It is divided into two principal compartments, the upper and lower picture, both of which are subdivided into centres and wings (volets.) In the centre of the upper picture is represented God the Father as supreme Pontiff of the Church, performing that part of the service called the Benediction, attended on one side by the Virgin Mary, on the other by St John the Baptist; on the two wings are seen St. Cecilia at the organ with musicians, and opposite singing Choristers, chanting the Benediction; on the extreme ends of the upper wings are represented Adam and Eve, as symbols of Sin, and above them the sacrifice and murder of Abel, in order to shew the depravity of the Human Race, and the necessity of Divine mediation, alluding at the same time to the prototype of the Messiah. The centre of the lower picture represents the consummation of the Divine blessing from above in the sacrifice of the Lamb on the arc of the covenant; the Blood of the Lamb flowing into the chalice of the New Sacrament, surrounded by kneeling Angels, carrying the implements of crucifixion. Under the arc is the Fountain of life, on the one side of which kneel the Prophets, followed "by multitudes which no man could number, of all nations and kindred, and people and tongues;" on the other side kneel the Apostles, followed by Martyrs, "they which come out of great tribulation, and have washed their robes in the Blood of the Lamb." From other parts of the landscape stream multitudes of Saints with Palms in their hands to approach the throne of the Lamb. One of the lower wings represents the gigantic St. Christopher, leading pious Hermits to the group of Martyrs; the other closes the procession with Dukes of Brabant (Founders of the Pictures) on horseback, with their whole retinue of Men at Arms and Painters, among the latter John and Hubert Van Eyck and Antonella de Messina. This picture was formerly the ornament of the Chapel of the Town House at Ghent; and, on the approach of the French army under Pichegru, was sold to Mr. Charles Hisette, of whose widow the proprietor purchased it in 1819. The interest and value of this picture is greatly enchanced from the circumstance that it is the only one which preserves the entire composition of the two brothers Van Eyck -- a composition mentioned with admiration for four centuries in the Histories of the Arts, of all countries and in all languages, and of such reputation and celebrity in the times when the Arts flourished most, that according to Carel Van Mander, special police regulations were required to render harmless the immense concourse of strangers which resorted to Ghent on the days when the picture was publicly shown. The originals, painted for the Church of St. Bavon, have been dispersed by the events of the revolution, the centres only having been restored to that church; part of the wings sold to the King of Prussia. Another copy painted by Michael Coxie, but with infinitely less accuracy, talent and finish, is likewise dispersed; part of it has been acquired for the Royal Gallery of Berlin, part for the Cabinet of the Prince of Orange, and some parts are entirely lost. More particulars may be seen in the works of Vasari De Bast Carel van Mander Frau. V. Schoppenhauer Sandrart Musee de Peinture, vol. 8 Dr. Wagen J.D. Passavant. Exhib. No.@ (Hubert Van Eyck)|The Adoration of the Lamb. In twelve divisions on canvass. The extent and profound aim of this compositon render a clear comprehension of the subject at first sight difficult, and therefore an explanation desirable. It may be said to embrace the most important mystery of the Christian Religion; painted 100 years previous to the Reformation; of course therefore according to the conceptions and forms of the Greek and Roman Catholic Church. It is known under the name of the Adoration of the Lamb, and intends to represent the Mystery of the Redemption, taken from the 7th chapter of the Revelations. It is divided into two principal compartments, the upper and lower picture, both of which are subdivided into centres and wings (volets.) In the centre of the upper picture is represented God the Father as supreme Pontiff of the Church, performing that part of the service called the Benediction, attended on one side by the Virgin Mary, on the other by St John the Baptist; on the two wings are seen St. Cecilia at the organ with musicians, and opposite singing Choristers, chanting the Benediction; on the extreme ends of the upper wings are represented Adam and Eve, as symbols of Sin, and above them the sacrifice and murder of Abel, in order to shew the depravity of the Human Race, and the necessity of Divine mediation, alluding at the same time to the prototype of the Messiah. The centre of the lower picture represents the consummation of the Divine blessing from above in the sacrifice of the Lamb on the arc of the covenant; the Blood of the Lamb flowing into the chalice of the New Sacrament, surrounded by kneeling Angels, carrying the implements of crucifixion. Under the arc is the Fountain of life, on the one side of which kneel the Prophets, followed "by multitudes which no man could number, of all nations and kindred, and people and tongues;" on the other side kneel the Apostles, followed by Martyrs, "they which come out of great tribulation, and have washed their robes in the Blood of the Lamb." From other parts of the landscape stream multitudes of Saints with Palms in their hands to approach the throne of the Lamb. One of the lower wings represents the gigantic St. Christopher, leading pious Hermits to the group of Martyrs; the other closes the procession with Dukes of Brabant (Founders of the Pictures) on horseback, with their whole retinue of Men at Arms and Painters, among the latter John and Hubert Van Eyck and Antonella de Messina. This picture was formerly the ornament of the Chapel of the Town House at Ghent; and, on the approach of the French army under Pichegru, was sold to Mr. Charles Hisette, of whose widow the proprietor purchased it in 1819. The interest and value of this picture is greatly enchanced from the circumstance that it is the only one which preserves the entire composition of the two brothers Van Eyck -- a composition mentioned with admiration for four centuries in the Histories of the Arts, of all countries and in all languages, and of such reputation and celebrity in the times when the Arts flourished most, that according to Carel Van Mander, special police regulations were required to render harmless the immense concourse of strangers which resorted to Ghent on the days when the picture was publicly shown. The originals, painted for the Church of St. Bavon, have been dispersed by the events of the revolution, the centres only having been restored to that church; part of the wings sold to the King of Prussia. Another copy painted by Michael Coxie, but with infinitely less accuracy, talent and finish, is likewise dispersed; part of it has been acquired for the Royal Gallery of Berlin, part for the Cabinet of the Prince of Orange, and some parts are entirely lost. More particulars may be seen in the works of Vasari De Bast Carel van Mander Frau. V. Schoppenhauer Sandrart Musee de Peinture, vol. 8 Dr. Wagen J.D. Passavant. Exhib. No.@]] réalisée par Hubert Van Eyck, vendue par Charles Aders Esq au prix de 930 gs. [5]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Portrait of himself, when a patient in the Hospital of St. John at Bruges, in the dress of the Hospital. This picture is of particular interest and value; not only on account of its beautiful character and high finish, but also as the only Portrait known of this great and celebrated Artist, and from the interesting incidents which have produced it, namely, his having been received unknown, ill, and wounded, into the Hospital of St. John at Bruges, where, after his recovery, he composed and painted those celebrated pictures which will always remain the pride of that city, and the admiration of every traveller. This Portrait has been engraved at Bruges, by the permission of the proprietor, and lately copied in the description of the celebrated Collections in England by J.D. Passavant. Exhib. No. 2 (John Hemlinck, (also called Memlink))|Portrait of himself, when a patient in the Hospital of St. John at Bruges, in the dress of the Hospital. This picture is of particular interest and value; not only on account of its beautiful character and high finish, but also as the only Portrait known of this great and celebrated Artist, and from the interesting incidents which have produced it, namely, his having been received unknown, ill, and wounded, into the Hospital of St. John at Bruges, where, after his recovery, he composed and painted those celebrated pictures which will always remain the pride of that city, and the admiration of every traveller. This Portrait has been engraved at Bruges, by the permission of the proprietor, and lately copied in the description of the celebrated Collections in England by J.D. Passavant. Exhib. No. 2]] réalisée par John Hemlinck, (also called Memlink), vendue par Charles Aders Esq, achetée par Solly au prix de 63.0 £. [6]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[The Virgin and Child, in a splendid Architecture, containing bas reliefs representing those scenes of the Life of Christ generally called the Seven Joys of the Virgin. This beautiful little gem may be considered as the ne plus ultra of art of its time. It is the admiration of artists and connoisseurs of every country. The wonderful finish, as well of the figures and the architeture, has induced many to ascribe it to Albrecht Durer; but, on comparing it to the painting representing the History of St. Ursula on the famous shrine for relics in the Hospital at Bruges, the master cannot be doubted, though certainly he has surpassed himself in this beautiful performance. Exhib. No. 3 (John Hemlinck)|The Virgin and Child, in a splendid Architecture, containing bas reliefs representing those scenes of the Life of Christ generally called the Seven Joys of the Virgin. This beautiful little gem may be considered as the ne plus ultra of art of its time. It is the admiration of artists and connoisseurs of every country. The wonderful finish, as well of the figures and the architeture, has induced many to ascribe it to Albrecht Durer; but, on comparing it to the painting representing the History of St. Ursula on the famous shrine for relics in the Hospital at Bruges, the master cannot be doubted, though certainly he has surpassed himself in this beautiful performance. Exhib. No. 3]] réalisée par John Hemlinck, vendue par Charles Aders Esq au prix de 92 gs. [7]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Portrait of a Man praying, in a very rich Landscape. This Portrait is greatly admired for its character, and the truth of its pious expression, in which particulars it has never been exceeded, and rarely equalled by any master. The Landscape is wonderfully rich, and finished in every detail, without injuring in the least the effect and importance of the principal figure. Exhib. No. 6 (John Hemlinck)|Portrait of a Man praying, in a very rich Landscape. This Portrait is greatly admired for its character, and the truth of its pious expression, in which particulars it has never been exceeded, and rarely equalled by any master. The Landscape is wonderfully rich, and finished in every detail, without injuring in the least the effect and importance of the principal figure. Exhib. No. 6]] réalisée par John Hemlinck, vendue par Charles Aders Esq au prix de 50 gs. [8]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[A Holy Family attended by Angels, with two wings representing St. John the Baptist and St. John the Evangelist. This is one of the exceedingly scarce pictures of the Sister of Van Eyck, who in order to devote her whole life to the arts, resolved (according Carel Van Mander) to remain unmarried, and to whom John Van Eyck, communicated his new method of painting. The composition and execution of this picture are particularly happy, lovely, and full of poetry. The conception of Angels wandering in the deep shades of a wonderfully coloured Landscape, to gather fruits for, or cheer with music, the Holy Virgin, the Child Jesus, and St. Catherine and other Female Saints, whilst they are in profound devotional occupation, is full of innocence and female delicacy. The grouping is full of grace, though the faces are by no means of ideal beauty; on the left wing, St. John the Evangelist, kneeling, blesses the chalice of the New Sacrament; on the right wing St. John the Baptist, also kneeling, the Lamb by his side, points to the Child, seated at the feet of the Mother on a pillow; (Ecce agnus Dei). From the windows of a Church in the back-ground, emanates between the deep shades of the trees a miraculous light. To describe the beauty of the colouring of the draperies and the landscape, would be a vain attempt; few things, even in this school, equal the harmony, depth and richness of colour. Exhib. No. 10 The Landscape and Architecture by John Van Eyck (Margaretha Van Eyck)|A Holy Family attended by Angels, with two wings representing St. John the Baptist and St. John the Evangelist. This is one of the exceedingly scarce pictures of the Sister of Van Eyck, who in order to devote her whole life to the arts, resolved (according Carel Van Mander) to remain unmarried, and to whom John Van Eyck, communicated his new method of painting. The composition and execution of this picture are particularly happy, lovely, and full of poetry. The conception of Angels wandering in the deep shades of a wonderfully coloured Landscape, to gather fruits for, or cheer with music, the Holy Virgin, the Child Jesus, and St. Catherine and other Female Saints, whilst they are in profound devotional occupation, is full of innocence and female delicacy. The grouping is full of grace, though the faces are by no means of ideal beauty; on the left wing, St. John the Evangelist, kneeling, blesses the chalice of the New Sacrament; on the right wing St. John the Baptist, also kneeling, the Lamb by his side, points to the Child, seated at the feet of the Mother on a pillow; (Ecce agnus Dei). From the windows of a Church in the back-ground, emanates between the deep shades of the trees a miraculous light. To describe the beauty of the colouring of the draperies and the landscape, would be a vain attempt; few things, even in this school, equal the harmony, depth and richness of colour. Exhib. No. 10 The Landscape and Architecture by John Van Eyck]] réalisée par Margaretha Van Eyck, vendue par Charles Aders Esq au prix de 64 gs. [9]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[The Virgin and Child and St. Elizabeth, in a very beautiful and harmonious Landscape. The simple, tranquil, and serious composition, together with the richness and harmony of colour, have frequently induced connoisseurs of great judgment and experience, but unacquainted with the works of the ancient Flemish painters, to ascribe this little gem to the most eminent masters of the Venetian School. Exhib. No. 107 (Hubert Van Eyck)|The Virgin and Child and St. Elizabeth, in a very beautiful and harmonious Landscape. The simple, tranquil, and serious composition, together with the richness and harmony of colour, have frequently induced connoisseurs of great judgment and experience, but unacquainted with the works of the ancient Flemish painters, to ascribe this little gem to the most eminent masters of the Venetian School. Exhib. No. 107]] réalisée par Hubert Van Eyck, vendue par Charles Aders Esq au prix de 15.15 £. [10]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[The Head of St. John, lamented by Angels. The manner in which the Head of St. John is treated is admirable; whilst perfectly true to nature, it does not shock or disgust. The feeling and sentiment of the composition is full of tenderness and delicacy. Exhib. No. 22 (Hubert V. Eyck)|The Head of St. John, lamented by Angels. The manner in which the Head of St. John is treated is admirable; whilst perfectly true to nature, it does not shock or disgust. The feeling and sentiment of the composition is full of tenderness and delicacy. Exhib. No. 22]] réalisée par Hubert V. Eyck, vendue par Charles Aders Esq au prix de 12.12 £. [11]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Virgin and Child, with St. Joseph. A Repose on the Flight into Egypt. Another very beautiful picture of the master. The attitude of the Virgin holding the Child is full of dignity. St. Joseph at a distance gathering dates. The whole highly finished, and of a most pleasing effect. Exhib. No. 23 (John Hemlinck)|Virgin and Child, with St. Joseph. A Repose on the Flight into Egypt. Another very beautiful picture of the master. The attitude of the Virgin holding the Child is full of dignity. St. Joseph at a distance gathering dates. The whole highly finished, and of a most pleasing effect. Exhib. No. 23]] réalisée par John Hemlinck, vendue par Charles Aders Esq au prix de 34.13 £. [12]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Ecce Homo! This picture is, in the estimation of the best connoisseurs, the most perfect specimen of the style and manner of this very scarce master, and as such it is named in the tour of Mr. Passavant. The technical part of the picture, the pencilling, colour, and finish, leave nothing to wish, the composition is rich, the subject of the rejection of Christ well and strongly told; the expression of the evil passions in the faces of those who revile him are strongly marked; while the patience and placidity in the face of the Saviour form a beautiful contrast. In the back-ground, the Flagellation and Crowning with Thorns are introduced in small figures. The preservation of this picture is perfect. Exhib. No. 32 (Martin Schoen, or Schoengaur)|Ecce Homo! This picture is, in the estimation of the best connoisseurs, the most perfect specimen of the style and manner of this very scarce master, and as such it is named in the tour of Mr. Passavant. The technical part of the picture, the pencilling, colour, and finish, leave nothing to wish, the composition is rich, the subject of the rejection of Christ well and strongly told; the expression of the evil passions in the faces of those who revile him are strongly marked; while the patience and placidity in the face of the Saviour form a beautiful contrast. In the back-ground, the Flagellation and Crowning with Thorns are introduced in small figures. The preservation of this picture is perfect. Exhib. No. 32]] réalisée par Martin Schoen, or Schoengaur, vendue par Charles Aders Esq au prix de 33.12 £. [13]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Adoration of the Magi. These two pictures, are, in all the most essential requirements of the art, as perfect as any thing that has ever been produced by the greatest masters of any time or country. In character, expression, composition, just and profound feeling of the subjects they have been rarely equalled, and never excelled in colour, pencilling and finish. Doubts have lately been raised, whether both pictures are from the hand of the same master. Lot 102, the Descent from the Cross, has the same mark II? as the celebrated pictures in the Hospital of Bruges, and no doubt can be entertained that it is one of the most beautiful works of this master, full of delicate sentiment and profound feeling. The style of lot 103 approaches somewhat more to the best works of Van Eyck; and is admitted by all judges to be of the same master, with the picture of the same subject, differently treated, in the possession of the King of Bavaria, engraved by Hess under the name of Van Eyck. Of this work too, doubts have been raised, and the most experienced judges are of opinion, that the Munic picture, as well as the one before us, are neither of the hand of Van Eyck or Hemlinck, but of another eminent painter of that School, equal to either, but whose monogram has not yet been deciphered -- Be that as it may, nothing more perfect can be seen of any master, and though it would be idle to point out any particulars, where all is perfect, still it may be proper to mention the dignity of the Moor, and the beautiful expression of the faces behind him, as worthy of the most particular attention. Exhib. No. 50 (John Hemlinck)|Adoration of the Magi. These two pictures, are, in all the most essential requirements of the art, as perfect as any thing that has ever been produced by the greatest masters of any time or country. In character, expression, composition, just and profound feeling of the subjects they have been rarely equalled, and never excelled in colour, pencilling and finish. Doubts have lately been raised, whether both pictures are from the hand of the same master. Lot 102, the Descent from the Cross, has the same mark II? as the celebrated pictures in the Hospital of Bruges, and no doubt can be entertained that it is one of the most beautiful works of this master, full of delicate sentiment and profound feeling. The style of lot 103 approaches somewhat more to the best works of Van Eyck; and is admitted by all judges to be of the same master, with the picture of the same subject, differently treated, in the possession of the King of Bavaria, engraved by Hess under the name of Van Eyck. Of this work too, doubts have been raised, and the most experienced judges are of opinion, that the Munic picture, as well as the one before us, are neither of the hand of Van Eyck or Hemlinck, but of another eminent painter of that School, equal to either, but whose monogram has not yet been deciphered -- Be that as it may, nothing more perfect can be seen of any master, and though it would be idle to point out any particulars, where all is perfect, still it may be proper to mention the dignity of the Moor, and the beautiful expression of the faces behind him, as worthy of the most particular attention. Exhib. No. 50]] réalisée par John Hemlinck, vendue par Charles Aders Esq au prix de 140 gs. [14]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[The Descent from the Cross. Exhib. No. 49. These two pictures, are, in all the most essential requirements of the art, as perfect as any thing that has ever been produced by the greatest masters of any time or country. In character, expression, composition, just and profound feeling of the subjects they have been rarely equalled, and never excelled in colour, pencilling and finish. Doubts have lately been raised, whether both pictures are from the hand of the same master. Lot 102, the Descent from the Cross, has the same mark II? as the celebrated pictures in the Hospital of Bruges, and no doubt can be entertained that it is one of the most beautiful works of this master, full of delicate sentiment and profound feeling. The style of lot 103 approaches somewhat more to the best works of Van Eyck; and is admitted by all judges to be of the same master, with the picture of the same subject, differently treated, in the possession of the King of Bavaria, engraved by Hess under the name of Van Eyck. Of this work too, doubts have been raised, and the most experienced judges are of opinion, that the Munic picture, as well as the one before us, are neither of the hand of Van Eyck or Hemlinck, but of another eminent painter of that School, equal to either, but whose monogram has not yet been deciphered -- Be that as it may, nothing more perfect can be seen of any master, and though it would be idle to point out any particulars, where all is perfect, still it may be proper to mention the dignity of the Moor, and the beautiful expression of the faces behind him, as worthy of the most particular attention (John Hemlinck)|The Descent from the Cross. Exhib. No. 49. These two pictures, are, in all the most essential requirements of the art, as perfect as any thing that has ever been produced by the greatest masters of any time or country. In character, expression, composition, just and profound feeling of the subjects they have been rarely equalled, and never excelled in colour, pencilling and finish. Doubts have lately been raised, whether both pictures are from the hand of the same master. Lot 102, the Descent from the Cross, has the same mark II? as the celebrated pictures in the Hospital of Bruges, and no doubt can be entertained that it is one of the most beautiful works of this master, full of delicate sentiment and profound feeling. The style of lot 103 approaches somewhat more to the best works of Van Eyck; and is admitted by all judges to be of the same master, with the picture of the same subject, differently treated, in the possession of the King of Bavaria, engraved by Hess under the name of Van Eyck. Of this work too, doubts have been raised, and the most experienced judges are of opinion, that the Munic picture, as well as the one before us, are neither of the hand of Van Eyck or Hemlinck, but of another eminent painter of that School, equal to either, but whose monogram has not yet been deciphered -- Be that as it may, nothing more perfect can be seen of any master, and though it would be idle to point out any particulars, where all is perfect, still it may be proper to mention the dignity of the Moor, and the beautiful expression of the faces behind him, as worthy of the most particular attention]] réalisée par John Hemlinck, vendue par Charles Aders Esq au prix de 135 gs. [15]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Maria kneeling before the Child. A fine specimen of this scarce master; in perfect preservation. The pictures of this painter are held equal in value to those of Raphael, whose preceptor, Perugino, was one of the masters of Lorenzo di Credi; but he studied likewise under Andrea Verachio, the instructor of Leonardo da Vinci. Exhib. No. 44 (Lorenzo di Credi)|Maria kneeling before the Child. A fine specimen of this scarce master; in perfect preservation. The pictures of this painter are held equal in value to those of Raphael, whose preceptor, Perugino, was one of the masters of Lorenzo di Credi; but he studied likewise under Andrea Verachio, the instructor of Leonardo da Vinci. Exhib. No. 44]] réalisée par Lorenzo di Credi, vendue par Charles Aders Esq au prix de 110 gs. [16]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Christ's Head, the Man of Sorrows. R. Van der Weyden is of the School of Van Eyck, one of the very best of his pupils. His works are scarce, and rank equal in value with those of his master. One of his great compositions, "The Entombment," has been lately acquired by the King of Prussia, and is considered one of the greatest ornaments of his Gallery. It is impossible to approach nearer to nature and reality than has been done in this picture. According to the ancient Catholic Legend, Christ appeared after his death, with the marks of all his sufferings, in order to manifest that the conditions of the covenant of redemption had been fulfilled. This subject made a display of suffering and pain indispensable; but whilst the painter could not spare them, he has known how to make the expression of meekness, resignation, and philanthropy triumphant over this accumulation of sufferings. Exhib. No. 29 (Roger Van Der Weyden, called in Italy Il Salice)|Christ's Head, the Man of Sorrows. R. Van der Weyden is of the School of Van Eyck, one of the very best of his pupils. His works are scarce, and rank equal in value with those of his master. One of his great compositions, "The Entombment," has been lately acquired by the King of Prussia, and is considered one of the greatest ornaments of his Gallery. It is impossible to approach nearer to nature and reality than has been done in this picture. According to the ancient Catholic Legend, Christ appeared after his death, with the marks of all his sufferings, in order to manifest that the conditions of the covenant of redemption had been fulfilled. This subject made a display of suffering and pain indispensable; but whilst the painter could not spare them, he has known how to make the expression of meekness, resignation, and philanthropy triumphant over this accumulation of sufferings. Exhib. No. 29]] réalisée par Roger Van Der Weyden, called in Italy Il Salice, vendue par Charles Aders Esq au prix de 12.12 £. [17]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[The Magdalen. Of this beautiful picture there are two repetitions, the one in Dresden, the other in Florence. This picture is probably the same which R. Mengs quotes as in his days in the possession of a Cardinal in Rome; and of which he says, that he holds it to be the finest repetition of Correggio himself, of this favorite composition. On comparing it with the repetition in the Gallery of Dresden, a striking difference in favour of our picture will be observed; and the most eminent artists coming from Florence, have given the same preference to it. It was for half a century in the Collection of an eminent Banker at Brussels, who brought it from Rome. Exhib. No. 53 (Correggio)|The Magdalen. Of this beautiful picture there are two repetitions, the one in Dresden, the other in Florence. This picture is probably the same which R. Mengs quotes as in his days in the possession of a Cardinal in Rome; and of which he says, that he holds it to be the finest repetition of Correggio himself, of this favorite composition. On comparing it with the repetition in the Gallery of Dresden, a striking difference in favour of our picture will be observed; and the most eminent artists coming from Florence, have given the same preference to it. It was for half a century in the Collection of an eminent Banker at Brussels, who brought it from Rome. Exhib. No. 53]] réalisée par Correggio, vendue par Charles Aders Esq au prix de 80 gs. [18]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[The Virgin and Child; in the last manner of this artist, after his return from Italy. Engraved by himself in 1520. Highly interesting, showing the influence which the sight of the Italian masters, and chiefly Correggio, has had on the German artist, which will be more evident by comparing it to lot 82 -- No. 8, painted 16 years previous to this. Exhib. No. 4 (Albrecht Durer)|The Virgin and Child; in the last manner of this artist, after his return from Italy. Engraved by himself in 1520. Highly interesting, showing the influence which the sight of the Italian masters, and chiefly Correggio, has had on the German artist, which will be more evident by comparing it to lot 82 -- No. 8, painted 16 years previous to this. Exhib. No. 4]] réalisée par Albrecht Durer, vendue par Charles Aders Esq au prix de 30 gs. [33]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Descent from the Cross, above The Crucifixion. Pictures of this master are very scarce, except at Munic, where he has been chiefly employed, as well for Churches as the then electoral Cabinets: -- he is greatly valued and admired, as well for the richness of his compositions, as the beauty of his colour, which has quite the character of the Venetian School. Exhib. No. 7 (Christopher Schwartz, (Pupil of Titian.))|Descent from the Cross, above The Crucifixion. Pictures of this master are very scarce, except at Munic, where he has been chiefly employed, as well for Churches as the then electoral Cabinets: -- he is greatly valued and admired, as well for the richness of his compositions, as the beauty of his colour, which has quite the character of the Venetian School. Exhib. No. 7]] réalisée par Christopher Schwartz, (Pupil of Titian.), vendue par Charles Aders Esq au prix de 39.18 £. [34]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Descent from the Cross, with two wings, representing the Resurrection and the Descent into Hell. In his earlier manner, engraved by himself in 1504 with the omission of the kneeling female figure behind St. John. The depth, warmth and richness of the colour of this picture are greatly admired by all judges. Exhib. No. 8 (Albrecht Durer)|Descent from the Cross, with two wings, representing the Resurrection and the Descent into Hell. In his earlier manner, engraved by himself in 1504 with the omission of the kneeling female figure behind St. John. The depth, warmth and richness of the colour of this picture are greatly admired by all judges. Exhib. No. 8]] réalisée par Albrecht Durer, vendue par Charles Aders Esq au prix de 28 gs. [35]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[The Flight into Egypt. The painter of this picture, and its companion, is one of the best pupils of Van Eyck, and his pictures are frequently mistaken for those of his master, or of Hemlinck. These two pictures have, by many well informed connoisseurs, been ascribed to one or the other of these artists; the Landscapes are beautifully rich and well coloured and draperies full of character, strength, truth, and beauty. Exhib. No. 5 (Herry De Bless, Pupil of V. Eyck)|The Flight into Egypt. The painter of this picture, and its companion, is one of the best pupils of Van Eyck, and his pictures are frequently mistaken for those of his master, or of Hemlinck. These two pictures have, by many well informed connoisseurs, been ascribed to one or the other of these artists; the Landscapes are beautifully rich and well coloured and draperies full of character, strength, truth, and beauty. Exhib. No. 5]] réalisée par Herry De Bless, Pupil of V. Eyck, vendue par Charles Aders Esq, achetée par Green au prix de 42.0 £. [37]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[The Visit of Mary to Elizabeth. Companion to lot 80. Exhib. No. 18. The painter of this picture, and its companion, is one of the best pupils of Van Eyck, and his pictures are frequently mistaken for those of his master, or of Hemlinck. These two pictures have, by many well informed connoisseurs, been ascribed to one or the other of these artists; the Landscapes are beautifully rich and well coloured and draperies full of character, strength, truth, and beauty (Herry De Bless, Pupil of J.V. Eyck)|The Visit of Mary to Elizabeth. Companion to lot 80. Exhib. No. 18. The painter of this picture, and its companion, is one of the best pupils of Van Eyck, and his pictures are frequently mistaken for those of his master, or of Hemlinck. These two pictures have, by many well informed connoisseurs, been ascribed to one or the other of these artists; the Landscapes are beautifully rich and well coloured and draperies full of character, strength, truth, and beauty]] réalisée par Herry De Bless, Pupil of J.V. Eyck, vendue par Charles Aders Esq, achetée par Green au prix de 37.16 £. [38]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[King David seeing Bathsheba washing her feet. The Figure of David is a portrait of Frederick the Magnanimous; those of his attendants, of Luther, Melancthon, and the Painter. This painter was the intimate friend of the Princes of Saxony, promoters of the Reformation, and also of the great reformer Luther, whose portaits are frequently introduced into his pictures, together with his own. Though the singularity of the costume may at first view prevent a proper estimation of this picture, a closer examination will disclose beauties and excellencies of the first order, a transparency of colour seldom equalled, and an admirable truth, character and finish in the faces, (particularly the smaller ones in the upper part of the picture.) This is esteemed as one of the most perfect productions of the master. Exhib. No. 13 (Lucas Cranach, 1534)|King David seeing Bathsheba washing her feet. The Figure of David is a portrait of Frederick the Magnanimous; those of his attendants, of Luther, Melancthon, and the Painter. This painter was the intimate friend of the Princes of Saxony, promoters of the Reformation, and also of the great reformer Luther, whose portaits are frequently introduced into his pictures, together with his own. Though the singularity of the costume may at first view prevent a proper estimation of this picture, a closer examination will disclose beauties and excellencies of the first order, a transparency of colour seldom equalled, and an admirable truth, character and finish in the faces, (particularly the smaller ones in the upper part of the picture.) This is esteemed as one of the most perfect productions of the master. Exhib. No. 13]] réalisée par Lucas Cranach, 1534, vendue par Charles Aders Esq au prix de 42.0 £. [39]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Christ bearing the Cross. This master is very scarce, and a picture of equal importance, richness of composition, and in so perfect a state of preservation, can only be found in the Collection of the King of Bavaria. Exhib. No. 11 (Michael Wohlgemuth (Master of A. Durer.))|Christ bearing the Cross. This master is very scarce, and a picture of equal importance, richness of composition, and in so perfect a state of preservation, can only be found in the Collection of the King of Bavaria. Exhib. No. 11]] réalisée par Michael Wohlgemuth (Master of A. Durer.), vendue par Charles Aders Esq au prix de 63.0 £. [40]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Pentecost. Scoorels was of the School of Van Eyck, studied afterwards under Albert Durer, then went to Italy -- from whence he visited Jerusalem; on his return he became director of the Gallery of Pope Hadrian, in Rome. The style of his pictures vary according to the different schools in which he painted at the time; the present appear to be painted early in Italy, after he had left A. Durer. The works of this master are highly valued. His chef-d'oeuvre, "The Death of the Virgin," is one of the most valuable pictures in the Baisseree Gallery, lately purchased by the King of Bavaria. Exhib. No. 24 (Scoorels, lived 1488 -- 1560)|Pentecost. Scoorels was of the School of Van Eyck, studied afterwards under Albert Durer, then went to Italy -- from whence he visited Jerusalem; on his return he became director of the Gallery of Pope Hadrian, in Rome. The style of his pictures vary according to the different schools in which he painted at the time; the present appear to be painted early in Italy, after he had left A. Durer. The works of this master are highly valued. His chef-d'oeuvre, "The Death of the Virgin," is one of the most valuable pictures in the Baisseree Gallery, lately purchased by the King of Bavaria. Exhib. No. 24]] réalisée par Scoorels, lived 1488 -- 1560, vendue par Charles Aders Esq au prix de 25.4 £. [42]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[The Virgin and Child, with six Saints. The reputation of the pictures of Van Eyck became so great in Italy, and the brilliancy and depth of his colour a subject of such general admiration, that, in the beginning of the fifteenth century, Antonella di Messina resolved to visit the Netherlands, and study Van Eyck's method of painting. Mr Passavant, in his late work on Collections in London, observes, that this picture acquires a particular historical interest from the difference of style and colour observable in various parts. Whilst, generally, the picture is painted in the manner of that time usual in Italy; and some parts, (namely -- the floating Angels, the red Drapery of the Virgin, and the Cushion at her feet,) indicate a desire and study of the painter to approach the more vigorous colours of his Flemish Master. This picture was formerly in the Collection of the Duke de Feltre. Exhib. No. 36 (Antonella Di Messina (Pupil of J.V. Eyck.))|The Virgin and Child, with six Saints. The reputation of the pictures of Van Eyck became so great in Italy, and the brilliancy and depth of his colour a subject of such general admiration, that, in the beginning of the fifteenth century, Antonella di Messina resolved to visit the Netherlands, and study Van Eyck's method of painting. Mr Passavant, in his late work on Collections in London, observes, that this picture acquires a particular historical interest from the difference of style and colour observable in various parts. Whilst, generally, the picture is painted in the manner of that time usual in Italy; and some parts, (namely -- the floating Angels, the red Drapery of the Virgin, and the Cushion at her feet,) indicate a desire and study of the painter to approach the more vigorous colours of his Flemish Master. This picture was formerly in the Collection of the Duke de Feltre. Exhib. No. 36]] réalisée par Antonella Di Messina (Pupil of J.V. Eyck.), vendue par Charles Aders Esq au prix de 25.4 £. [44]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Crucifixion. This master is very scarce, and though not equal in merit to his contemporary and master Van Eyck, very highly and justly esteemed; a grand composition of his is in the Church of St. Bavon, in Ghent. Exhib. No. 51 (Gerhard Vander Meeren, or V.D. Meir, Pupil of V. Eyck)|Crucifixion. This master is very scarce, and though not equal in merit to his contemporary and master Van Eyck, very highly and justly esteemed; a grand composition of his is in the Church of St. Bavon, in Ghent. Exhib. No. 51]] réalisée par Gerhard Vander Meeren, or V.D. Meir, Pupil of V. Eyck, vendue par Charles Aders Esq au prix de 16.5 £. [47]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Portrait of Antonella di Messina. Masaccio preceded Raphael; his works are scarce. This Portrait is of particular interest as that of the painter, who came from Italy to the Netherlands, in order to study under J.V. Eyck (of which more under Lot 73 -- No. 36); of this picture there is a repetition in the gallery of the prince Leuchtenberg, in Munic; a female Portrait of the same size, and apparently a companion of this picture, was in the collection of the late Chevalier Denon, in Paris. Exhib. No. 16 (Masaccio)|Portrait of Antonella di Messina. Masaccio preceded Raphael; his works are scarce. This Portrait is of particular interest as that of the painter, who came from Italy to the Netherlands, in order to study under J.V. Eyck (of which more under Lot 73 -- No. 36); of this picture there is a repetition in the gallery of the prince Leuchtenberg, in Munic; a female Portrait of the same size, and apparently a companion of this picture, was in the collection of the late Chevalier Denon, in Paris. Exhib. No. 16]] réalisée par Masaccio, vendue par Charles Aders Esq au prix de 7.7 £. [56]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Christ on the Cross, surrounded by floating Angels, lamenting his sufferings. At the foot of the Cross, Maria and St. John; on the two wings, the very fine male and female portraits of the Donataires. The two portraits of this picture are highly admired, as belonging to the best of the master. Exhib. No. 14 (Jean De Maubeuge)|Christ on the Cross, surrounded by floating Angels, lamenting his sufferings. At the foot of the Cross, Maria and St. John; on the two wings, the very fine male and female portraits of the Donataires. The two portraits of this picture are highly admired, as belonging to the best of the master. Exhib. No. 14]] réalisée par Jean De Maubeuge, vendue par Charles Aders Esq, achetée par J H Green au prix de 17.6 £. [64]
  • 1835.08.01/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[The Virgin of the Rosary, with six Saints. This beautiful little specimen of the master was formerly a very favourite picture in the Collection of Sir William Hamilton, to whom it had been presented in Italy, by the family for whom it had been originally painted. Exhib. No. 35 (Guido Reni)|The Virgin of the Rosary, with six Saints. This beautiful little specimen of the master was formerly a very favourite picture in the Collection of Sir William Hamilton, to whom it had been presented in Italy, by the family for whom it had been originally painted. Exhib. No. 35]] réalisée par Guido Reni, vendue par Charles Aders Esq au prix de 34.13 £. [72]
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