Ventes d'œuvres le 1838.-.-

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  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Angel and Cherubim, with Motto -- "Gloria in excelcis Deo." (From the Angerstein Collection.) A fine Cabinet Picture of this extraordinary rare master, whose sublime genius was equal to the highest subjects. Few collections can boast of a gem superior to this. It is needless to point out its transcendant merits, which must be visible to every eye, for which grandeur of design and facility of execution have a charm (Buonarroti (Michael Angelo.) Born 1474. Died 1564)|Angel and Cherubim, with Motto -- "Gloria in excelcis Deo." (From the Angerstein Collection.) A fine Cabinet Picture of this extraordinary rare master, whose sublime genius was equal to the highest subjects. Few collections can boast of a gem superior to this. It is needless to point out its transcendant merits, which must be visible to every eye, for which grandeur of design and facility of execution have a charm]] réalisée par Buonarroti (Michael Angelo.) Born 1474. Died 1564, vendue par Cumberland. [8]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[A Cabinet Picture, in three Compartments. In the centre is Ecce Homo; the two wings are embellished with the portraits of Bishops. The whole is elaborately finished, and in a fine state of preservation. A rare and interesting Catholic gem (Perugino (Pietro Vannucci.) Born 1446. Died 1524)|A Cabinet Picture, in three Compartments. In the centre is Ecce Homo; the two wings are embellished with the portraits of Bishops. The whole is elaborately finished, and in a fine state of preservation. A rare and interesting Catholic gem]] réalisée par Perugino (Pietro Vannucci.) Born 1446. Died 1524, vendue par Cumberland. [9]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Mars, Venus, and Vulcan. The well-known mythological story of the laisson of Mars and Venus, is here told with proper emphasis, and good discretion. Poor Vulcan is encompassing the lovers with his net, after having surprised them -- himself not a little surprised! This picture is admirable for its drawing, and is resplendent with rich and mellow tints (Coypel (Antoine.) Born 1661. Died 1722)|Mars, Venus, and Vulcan. The well-known mythological story of the laisson of Mars and Venus, is here told with proper emphasis, and good discretion. Poor Vulcan is encompassing the lovers with his net, after having surprised them -- himself not a little surprised! This picture is admirable for its drawing, and is resplendent with rich and mellow tints]] réalisée par Coypel (Antoine.) Born 1661. Died 1722, vendue par Cumberland. [13]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[The Presentation in the Temple. (From the Florence Gallery, and the Crompton Collection.) Bartolomeo seems to be the Michael Angelo of Painting, so grand are his conceptions. Raphael learned from him the art of clothing his figures; and this picture had perhaps served for his model. What breadth and depth are there in the draperies of the Virgin, St. Simeon, and St. Joseph! The old style was yet supreme in the schools of Italy; Peragino led the taste; and we saw only short and scanty draperies, such as appear in the earliest compositions of the divine Raphael himself. Bartolomeo placed real draperies on his models; he arranged them gracefully, and studied their effect. Not being able to procure living models, he invented a moveable figure, which is still in use. In this picture, which is a very noble one, the painter has committed a slight mistake, in placing a portrait of Moses near the altar of the Jews; a people who abhor portraits and figures. The heads of his old men are full of dignity -- those of his females, of expression; while the brilliancy of the colouring claims the highest admiration (Fra Bartolomeo (Baccio Della Porta, called.) Born 1469. Died 1517)|The Presentation in the Temple. (From the Florence Gallery, and the Crompton Collection.) Bartolomeo seems to be the Michael Angelo of Painting, so grand are his conceptions. Raphael learned from him the art of clothing his figures; and this picture had perhaps served for his model. What breadth and depth are there in the draperies of the Virgin, St. Simeon, and St. Joseph! The old style was yet supreme in the schools of Italy; Peragino led the taste; and we saw only short and scanty draperies, such as appear in the earliest compositions of the divine Raphael himself. Bartolomeo placed real draperies on his models; he arranged them gracefully, and studied their effect. Not being able to procure living models, he invented a moveable figure, which is still in use. In this picture, which is a very noble one, the painter has committed a slight mistake, in placing a portrait of Moses near the altar of the Jews; a people who abhor portraits and figures. The heads of his old men are full of dignity -- those of his females, of expression; while the brilliancy of the colouring claims the highest admiration]] réalisée par Fra Bartolomeo (Baccio Della Porta, called.) Born 1469. Died 1517, vendue par Cumberland. [15]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[A Magdalen. This picture has been engraved, and is similar to the one in the Dulwich Gallery, but rather smaller. A fine repose marks the character of the Magdalen, whose elevated expression, and contemplative spirit, is mingled with fervency and hope (Annibale Caracci. Born 1560. Died 1609)|A Magdalen. This picture has been engraved, and is similar to the one in the Dulwich Gallery, but rather smaller. A fine repose marks the character of the Magdalen, whose elevated expression, and contemplative spirit, is mingled with fervency and hope]] réalisée par Annibale Caracci. Born 1560. Died 1609, vendue par Cumberland. [20]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Venus mourning the Death of Adonis. It is quite certain that our celebrated Stothard made this master his particular study. At the first glance, it might be taken for one of his own pictures; so much are the forms, features, attitudes, and general expression of the figures, like those of the English artist. The colouring also is in his particular style -- harmoniously blended, and brilliantly effective (Orlay (Richard Van.) Born 1652. Died 1732)|Venus mourning the Death of Adonis. It is quite certain that our celebrated Stothard made this master his particular study. At the first glance, it might be taken for one of his own pictures; so much are the forms, features, attitudes, and general expression of the figures, like those of the English artist. The colouring also is in his particular style -- harmoniously blended, and brilliantly effective]] réalisée par Orlay (Richard Van.) Born 1652. Died 1732, vendue par Cumberland. [22]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[St. Anthony, of Padua, preaching to the Fishes. It is difficult to meet with the genuine works of Tempesta; most of them being preserved, and highly valued, in Italy, where they realize large prices. This bold and interesting Picture is an excellent specimen of the master, in the manner of Salvator Rosa. It was imported direct from Milan in 1836 (Tempesta (Peter Molyn, commonly called.) Born 1637. Died 1701)|St. Anthony, of Padua, preaching to the Fishes. It is difficult to meet with the genuine works of Tempesta; most of them being preserved, and highly valued, in Italy, where they realize large prices. This bold and interesting Picture is an excellent specimen of the master, in the manner of Salvator Rosa. It was imported direct from Milan in 1836]] réalisée par Tempesta (Peter Molyn, commonly called.) Born 1637. Died 1701, vendue par Cumberland. [25]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Portrait of Mrs. Elizabeth Row. An intellectual portrait of this highly-gifted lady. She holds in her hand a volume of the old-fashioned "Spectator," which modern literature, because it cannot equal, affects to despise. "Who reads the Classics now? the wits of Anne, Shelv'd, out of date, forgotten to a man! Lost are their names, their glories but a dream, -- Lost in the murky smoke of gas and steam! To rise more glorious, like refulgent day, When time has blown those noxious clouds away!" The Modern Dunciad (Hogarth (William.) Born 1698. Died 1764)|Portrait of Mrs. Elizabeth Row. An intellectual portrait of this highly-gifted lady. She holds in her hand a volume of the old-fashioned "Spectator," which modern literature, because it cannot equal, affects to despise. "Who reads the Classics now? the wits of Anne, Shelv'd, out of date, forgotten to a man! Lost are their names, their glories but a dream, -- Lost in the murky smoke of gas and steam! To rise more glorious, like refulgent day, When time has blown those noxious clouds away!" The Modern Dunciad]] réalisée par Hogarth (William.) Born 1698. Died 1764, vendue par Cumberland. [26]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[The Assumption and Glorification of the Virgin. The Virgin is seated on the clouds, surrounded by Cherubim. This picture is radiant with colour, and partakes of the true feeling of the immortal Michael Angelo. Floris was celebrated as the Raphael of Flanders (Floris (Francis.) Born 1520. Died 1570)|The Assumption and Glorification of the Virgin. The Virgin is seated on the clouds, surrounded by Cherubim. This picture is radiant with colour, and partakes of the true feeling of the immortal Michael Angelo. Floris was celebrated as the Raphael of Flanders]] réalisée par Floris (Francis.) Born 1520. Died 1570, vendue par Cumberland. [28]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[A Rocky Scene, with stupendous Waterfall, and groups of Figures reposing. This is a pictorial curiosity, a deceptio visus, in which two pictures may be clearly seen. -- But it may be well to contemplate (as lawyers go to heaven!) one at a time (Pillement (John.))|A Rocky Scene, with stupendous Waterfall, and groups of Figures reposing. This is a pictorial curiosity, a deceptio visus, in which two pictures may be clearly seen. -- But it may be well to contemplate (as lawyers go to heaven!) one at a time]] réalisée par Pillement (John.), vendue par Cumberland. [32]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[St. Francis. The Saint is represented paying his secret devotions to the crucified Saviour. His heart is touched with the amazing sacrifice; his eyes, from which tears stream, are intently fixed upon the crucifix; and his whole attitude is expressive of holy adoration. A splendid specimen of this famous master; the colouring, expression, and finish, are exquisite (Dolci (Carlo.))|St. Francis. The Saint is represented paying his secret devotions to the crucified Saviour. His heart is touched with the amazing sacrifice; his eyes, from which tears stream, are intently fixed upon the crucifix; and his whole attitude is expressive of holy adoration. A splendid specimen of this famous master; the colouring, expression, and finish, are exquisite]] réalisée par Dolci (Carlo.), vendue par Cumberland. [33]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Two Cupids seated on a Rock, by the side of a River. (From the Palace Claricci.) The young gentlemen appear to be in a brown study what sport to pursue; whether they shall shoot the bow, or cast the line -- transfix hearts, or angle for trout! (Pietro da Cortona (Berretini, called.) Born 1596. Died 1669)|Two Cupids seated on a Rock, by the side of a River. (From the Palace Claricci.) The young gentlemen appear to be in a brown study what sport to pursue; whether they shall shoot the bow, or cast the line -- transfix hearts, or angle for trout!]] réalisée par Pietro da Cortona (Berretini, called.) Born 1596. Died 1669, vendue par Cumberland. [35]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[A Classical Landscape, the Companion to No. 65. (Imported from Milan in 1836.) The splendour of the Imperial City is here brought together, in its ruin. How beautiful and what a moral does it convey! "What now remains to meet the curious eye? Her massy domes in scatter'd fragments lie! In vain the traveller would seek to trace The artist's breathing form, the sculptor's grace: The spoiler's hand hath marr'd the beauties there, Which only faintly tell that once they were!" -- Daniel (Ghisolphi (Giovanni.))|A Classical Landscape, the Companion to No. 65. (Imported from Milan in 1836.) The splendour of the Imperial City is here brought together, in its ruin. How beautiful and what a moral does it convey! "What now remains to meet the curious eye? Her massy domes in scatter'd fragments lie! In vain the traveller would seek to trace The artist's breathing form, the sculptor's grace: The spoiler's hand hath marr'd the beauties there, Which only faintly tell that once they were!" -- Daniel]] réalisée par Ghisolphi (Giovanni.), vendue par Cumberland. [37]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Susanna. This precious gem was imported from Brussels by Mr. Jackson, and is, on good authority, presumed to be all that remains of the famous picture of Susanna and the Elders, formerly in the Brussels Gallery, which was destroyed by fire. The spirit, transparency, and brilliancy of the colouring, warrant it a true Correggio; while its marvellous state of preservation renders it invaluable (Correggio (Antonio Allegri.) Born 1494. Died 1534)|Susanna. This precious gem was imported from Brussels by Mr. Jackson, and is, on good authority, presumed to be all that remains of the famous picture of Susanna and the Elders, formerly in the Brussels Gallery, which was destroyed by fire. The spirit, transparency, and brilliancy of the colouring, warrant it a true Correggio; while its marvellous state of preservation renders it invaluable]] réalisée par Correggio (Antonio Allegri.) Born 1494. Died 1534, vendue par Cumberland. [39]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[A Romantic Scene, with Rocks and Trees -- open Landscape in the distance. In the foreground is a traveller reposing, and sundry figures dispersed around. A charming gem, in the purest style of the art. The figures by Wouvermans (Wynants (John) Born 1600. Died 1670)|A Romantic Scene, with Rocks and Trees -- open Landscape in the distance. In the foreground is a traveller reposing, and sundry figures dispersed around. A charming gem, in the purest style of the art. The figures by Wouvermans]] réalisée par Wynants (John) Born 1600. Died 1670, vendue par Cumberland. [42]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[A Classical Landscape, Embellished with Figures, and the gorgeous remains of ancient grandeur. Architecture, vases, bas relievos, &c., scattered around in magnificent profusion. This fine picture was imported from Milan in 1836 (Ghisolphi (Giovanni.) Born 1623. Died 1683)|A Classical Landscape, Embellished with Figures, and the gorgeous remains of ancient grandeur. Architecture, vases, bas relievos, &c., scattered around in magnificent profusion. This fine picture was imported from Milan in 1836]] réalisée par Ghisolphi (Giovanni.) Born 1623. Died 1683, vendue par Cumberland. [43]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[A Messenger conversing with Job regarding his Losses. "The fire of God is fallen from heaven, and hath burned up the sheep, and the servants, and consumed them, and I only am escaped alone to tell thee." -- Job i. 16. This picture is painted on a gold ground, highly finished, and exquistely coloured (Cuylenburg)|A Messenger conversing with Job regarding his Losses. "The fire of God is fallen from heaven, and hath burned up the sheep, and the servants, and consumed them, and I only am escaped alone to tell thee." -- Job i. 16. This picture is painted on a gold ground, highly finished, and exquistely coloured]] réalisée par Cuylenburg, vendue par Cumberland. [53]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[St. Peter and St. Paul. A fine cabinet painting, represeting St. Peter and St. Paul in conversation. The figures are admirably drawn, and richly coloured; the tone, breadth, and composition, are worthy of that great master (Agostina Caracci. Born 1558. Died 1602)|St. Peter and St. Paul. A fine cabinet painting, represeting St. Peter and St. Paul in conversation. The figures are admirably drawn, and richly coloured; the tone, breadth, and composition, are worthy of that great master]] réalisée par Agostina Caracci. Born 1558. Died 1602, vendue par Cumberland. [54]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Winter. "Now the king sat in the winter house in the ninth month, and there was a fire on the hearth burning before him." -- Jeremiah xxxvi. 22. This and the three following Pictures are emblematical of the Four Seasons, and, at the same time, illustrate portions of the Old Testament. Nothing can exceed the beauty and harmony of the colouring; -- the prominent tints are carried through the scenes with consummate art, and imperceptibly die away in the landscape. Their chaste brilliancy cannot fail to fix the admiring attention of connoisseurs (Tiepolo)|Winter. "Now the king sat in the winter house in the ninth month, and there was a fire on the hearth burning before him." -- Jeremiah xxxvi. 22. This and the three following Pictures are emblematical of the Four Seasons, and, at the same time, illustrate portions of the Old Testament. Nothing can exceed the beauty and harmony of the colouring; -- the prominent tints are carried through the scenes with consummate art, and imperceptibly die away in the landscape. Their chaste brilliancy cannot fail to fix the admiring attention of connoisseurs]] réalisée par Tiepolo, vendue par Cumberland. [55]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Autumn. -- The Spies in the Land of Canaan. "And they came unto the brook of Eshcol, and cut down from thence a branch with one cluster of grapes, and they bare it between two upon a staff; and they brought of the pomegranates, and the figs." -- Numbers xiii. 23. This and the three following Pictures are emblematical of the Four Seasons, and, at the same time, illustrate portions of the Old Testament. Nothing can exceed the beauty and harmony of the colouring; -- the prominent tints are carried through the scenes with consummate art, and imperceptibly die away in the landscape. Their chaste brilliancy cannot fail to fix the admiring attention of connoisseurs (Tiepolo)|Autumn. -- The Spies in the Land of Canaan. "And they came unto the brook of Eshcol, and cut down from thence a branch with one cluster of grapes, and they bare it between two upon a staff; and they brought of the pomegranates, and the figs." -- Numbers xiii. 23. This and the three following Pictures are emblematical of the Four Seasons, and, at the same time, illustrate portions of the Old Testament. Nothing can exceed the beauty and harmony of the colouring; -- the prominent tints are carried through the scenes with consummate art, and imperceptibly die away in the landscape. Their chaste brilliancy cannot fail to fix the admiring attention of connoisseurs]] réalisée par Tiepolo, vendue par Cumberland. [56]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Summer. -- Ruth and Boaz. "Why have I found grace in thine eyes, that thou shouldst take knowledge of me, seeing I am a stranger?" -- Ruth ii. 10. This and the three following Pictures are emblematical of the Four Seasons, and, at the same time, illustrate portions of the Old Testament. Nothing can exceed the beauty and harmony of the colouring; -- the prominent tints are carried through the scenes with consummate art, and imperceptibly die away in the landscape. Their chaste brilliancy cannot fail to fix the admiring attention of connoisseurs (Tiepolo)|Summer. -- Ruth and Boaz. "Why have I found grace in thine eyes, that thou shouldst take knowledge of me, seeing I am a stranger?" -- Ruth ii. 10. This and the three following Pictures are emblematical of the Four Seasons, and, at the same time, illustrate portions of the Old Testament. Nothing can exceed the beauty and harmony of the colouring; -- the prominent tints are carried through the scenes with consummate art, and imperceptibly die away in the landscape. Their chaste brilliancy cannot fail to fix the admiring attention of connoisseurs]] réalisée par Tiepolo, vendue par Cumberland. [57]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Spring. -- The Daughter of Jephthah and her Companions on the Mountains. "And she went with her companions and bewailed her virginity upon the mountains." -- Judges xi. 38. This and the three following Pictures are emblematical of the Four Seasons, and, at the same time, illustrate portions of the Old Testament. Nothing can exceed the beauty and harmony of the colouring; -- the prominent tints are carried through the scenes with consummate art, and imperceptibly die away in the landscape. Their chaste brilliancy cannot fail to fix the admiring attention of connoisseurs (Tiepolo (Giovanni Batista.) Born 1697. Died 1770)|Spring. -- The Daughter of Jephthah and her Companions on the Mountains. "And she went with her companions and bewailed her virginity upon the mountains." -- Judges xi. 38. This and the three following Pictures are emblematical of the Four Seasons, and, at the same time, illustrate portions of the Old Testament. Nothing can exceed the beauty and harmony of the colouring; -- the prominent tints are carried through the scenes with consummate art, and imperceptibly die away in the landscape. Their chaste brilliancy cannot fail to fix the admiring attention of connoisseurs]] réalisée par Tiepolo (Giovanni Batista.) Born 1697. Died 1770, vendue par Cumberland. [58]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[The Crucifixion. He weeps! -- his burning tear blots out the sun! He groans! -- his groan earth to its centre shakes! The Saviour of the world is here represented at that awful moment, ere, in the agony of his spirit, he excalimed, "It is finished!" and gave up the ghost. The dark rolling clouds, partially illumined by the vivid lightning, and agitated by the rushing of the mighty wind, add to the deep solemnity of the scene; and betoken that convulsion of nature, when the rocks and mountains trembled, and the yawning graves yielded up their dead; while the weeping Magdalen, at the foot of the cross, so rapt, so holy, so resigned, fills up the measure of this transcendant subject (Vandyck (Anthony.) Born 1599. Died 1641)|The Crucifixion. He weeps! -- his burning tear blots out the sun! He groans! -- his groan earth to its centre shakes! The Saviour of the world is here represented at that awful moment, ere, in the agony of his spirit, he excalimed, "It is finished!" and gave up the ghost. The dark rolling clouds, partially illumined by the vivid lightning, and agitated by the rushing of the mighty wind, add to the deep solemnity of the scene; and betoken that convulsion of nature, when the rocks and mountains trembled, and the yawning graves yielded up their dead; while the weeping Magdalen, at the foot of the cross, so rapt, so holy, so resigned, fills up the measure of this transcendant subject]] réalisée par Vandyck (Anthony.) Born 1599. Died 1641, vendue par Cumberland. [60]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[St. John. (From the Angerstein Collection.) A magnificent semblance of the beloved Disciple; -- the bland and holy expression of the countenance cannot be too much admired. It combines spiritual zeal, ardent affection, and awakening hope (Domenichino (or Dominico Zampieri.) Born 1581. Died 1641)|St. John. (From the Angerstein Collection.) A magnificent semblance of the beloved Disciple; -- the bland and holy expression of the countenance cannot be too much admired. It combines spiritual zeal, ardent affection, and awakening hope]] réalisée par Domenichino (or Dominico Zampieri.) Born 1581. Died 1641, vendue par Cumberland. [61]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[The Magdalen in the Desert, attended by Angels. (From the Collection of the Rev. William Holwell Carr.) This great work was esteemed a chef-d'oevre by the distinguished collector, of whose tastefully-selected gallery it was the prime ornament. The figures are beautifully drawn, and the colouring faultless (Guido Reni. Born 1574. Died 1642)|The Magdalen in the Desert, attended by Angels. (From the Collection of the Rev. William Holwell Carr.) This great work was esteemed a chef-d'oevre by the distinguished collector, of whose tastefully-selected gallery it was the prime ornament. The figures are beautifully drawn, and the colouring faultless]] réalisée par Guido Reni. Born 1574. Died 1642, vendue par Cumberland. [62]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[The Virgin, with the Infant Jesus and St. John. This picture was purchased at Florence, in 1835, by the late Mr. Hayes, who had much difficulty in getting it away. He was taken before the authorities, detained two days and a night, and at length succeeded in securing it, by bribing the officers, and causing it to be entered at the Export-Office as merchandize. A brilliant and sunny composition. Its pervading characteristics are gracefulness and beauty. The Virgin is contemplating the infant figure of Christ, with her right arm extended round the animated St. John. The atmospheric effect is exquisively bright and clear. The attendant cherubim in the ambient sky complete the divine repose of the scene (Murillo (Bartholomeo Estevan.) Born 1613. Died 1685)|The Virgin, with the Infant Jesus and St. John. This picture was purchased at Florence, in 1835, by the late Mr. Hayes, who had much difficulty in getting it away. He was taken before the authorities, detained two days and a night, and at length succeeded in securing it, by bribing the officers, and causing it to be entered at the Export-Office as merchandize. A brilliant and sunny composition. Its pervading characteristics are gracefulness and beauty. The Virgin is contemplating the infant figure of Christ, with her right arm extended round the animated St. John. The atmospheric effect is exquisively bright and clear. The attendant cherubim in the ambient sky complete the divine repose of the scene]] réalisée par Murillo (Bartholomeo Estevan.) Born 1613. Died 1685, vendue par Cumberland. [63]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Judith with the Head of Holofernes. The repulsive character of Judith is mitigated with considerable judgment; and the entire subject treated with great propriety. The drawing is good, the colouring rich and powerful (Veronese (Alessandro.) Born 1600. Died 1670)|Judith with the Head of Holofernes. The repulsive character of Judith is mitigated with considerable judgment; and the entire subject treated with great propriety. The drawing is good, the colouring rich and powerful]] réalisée par Veronese (Alessandro.) Born 1600. Died 1670, vendue par Cumberland. [64]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[The Crucifixion. The original study for the great picture at Antwerp. And such a study that may fairly rival the choicest specimens of ancient art. The beautiful repose that pervades the body of our Saviour after he had accomplished his vast work of Man's Redemption, and died the death of the Cross -- the dark shadows of the clouds, finely relieved by deep tints of ethereal blue -- the dread silence that reigns around -- the entire adsence of any other object to divert the eye from the all-engrossing one, the amazing sacrifice that bleeds on the accursed tree -- the undefined grandeur of this noble composition, which leaves the mind much to imagine, yet fills it, to very intensity, with ecstatic love and adoration, -- are irresistibly touching, and inexpressibly sublime (Vandyck (Anthony.) Born 1599. Died 1641)|The Crucifixion. The original study for the great picture at Antwerp. And such a study that may fairly rival the choicest specimens of ancient art. The beautiful repose that pervades the body of our Saviour after he had accomplished his vast work of Man's Redemption, and died the death of the Cross -- the dark shadows of the clouds, finely relieved by deep tints of ethereal blue -- the dread silence that reigns around -- the entire adsence of any other object to divert the eye from the all-engrossing one, the amazing sacrifice that bleeds on the accursed tree -- the undefined grandeur of this noble composition, which leaves the mind much to imagine, yet fills it, to very intensity, with ecstatic love and adoration, -- are irresistibly touching, and inexpressibly sublime]] réalisée par Vandyck (Anthony.) Born 1599. Died 1641, vendue par Cumberland. [66]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Christ healing the Blind. "He put his hands upon his eyes, and made him look up; and he was restored, and saw every man clearly." -- Mark vii. 25. A richly wooded Landscape and romantic Scenery, on the banks of the river Jordan, powerfully painted by Paul Brill, and producing a grand effect. The figures represent Christ restoring the blind to sight; a pathetic and graceful introduction, by Annibale Caracci (Paul Brill Born 1554. Died 1626)|Christ healing the Blind. "He put his hands upon his eyes, and made him look up; and he was restored, and saw every man clearly." -- Mark vii. 25. A richly wooded Landscape and romantic Scenery, on the banks of the river Jordan, powerfully painted by Paul Brill, and producing a grand effect. The figures represent Christ restoring the blind to sight; a pathetic and graceful introduction, by Annibale Caracci]] réalisée par Paul Brill Born 1554. Died 1626, vendue par Cumberland. [68]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[The Holy Family. This picture, more than a century since, was in the possession of a Roman gentleman named Jerome Lotterius, who, in 1717, presented it to the Chapel of Our-Lady-of-Loretto. At the approach of the French army, it was removed to Rome, deposited with the nephew of Pius VI., and from thence brought to the Museum at Paris, whence it was taken away in 1815. The Virgin is represented holding a veil over the infant Jesus. Maternal tendernes and devotional feeling are here very beautifully delineated. The head of Mary is uncommonly fine; that of Joseph in the back-ground is highly dignified and expressive. The dark and sombre tints are the perfection of the art (Raffaelle (Raffaello Sanzio di Urbino.) Born 1483. Died 1520)|The Holy Family. This picture, more than a century since, was in the possession of a Roman gentleman named Jerome Lotterius, who, in 1717, presented it to the Chapel of Our-Lady-of-Loretto. At the approach of the French army, it was removed to Rome, deposited with the nephew of Pius VI., and from thence brought to the Museum at Paris, whence it was taken away in 1815. The Virgin is represented holding a veil over the infant Jesus. Maternal tendernes and devotional feeling are here very beautifully delineated. The head of Mary is uncommonly fine; that of Joseph in the back-ground is highly dignified and expressive. The dark and sombre tints are the perfection of the art]] réalisée par Raffaelle (Raffaello Sanzio di Urbino.) Born 1483. Died 1520, vendue par Cumberland. [76]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[The Death of the Magdalen. The Madgalen is represented at the point of death, supported by Angels. An admirable composition, and exquisitely true to nature. The heads of the two angels are evidently from Correggio; and the Magdalen is said to be the portrait of the Princess Giustiniani (Lodovico Caracci. Born 1555. Died 1619)|The Death of the Magdalen. The Madgalen is represented at the point of death, supported by Angels. An admirable composition, and exquisitely true to nature. The heads of the two angels are evidently from Correggio; and the Magdalen is said to be the portrait of the Princess Giustiniani]] réalisée par Lodovico Caracci. Born 1555. Died 1619, vendue par Cumberland. [77]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[The Wooden Walls of Old England. The original Sketch for the picture in the possession of the Earl of Coventry. The beau-ideal of Hauser Trunnion, to whom the smell of powder was burgamot, and cannon-balls cherry-stones. It is to such weather-beaten originals of the olden time that England owes her supremacy and glory (Buss)|The Wooden Walls of Old England. The original Sketch for the picture in the possession of the Earl of Coventry. The beau-ideal of Hauser Trunnion, to whom the smell of powder was burgamot, and cannon-balls cherry-stones. It is to such weather-beaten originals of the olden time that England owes her supremacy and glory]] réalisée par Buss, vendue par Cumberland. [79]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[St. Francis at his Devotions. The Saint is here exhibited at a moment of holy inspiration, the light of Heaven shining brightly upon him. The chiaro oscuro and the breadth of light falling on the figure, are exceedingly fine. The picture is highly finished, and is altogether an admirable specimen of the works of this eminent master (Cigoli)|St. Francis at his Devotions. The Saint is here exhibited at a moment of holy inspiration, the light of Heaven shining brightly upon him. The chiaro oscuro and the breadth of light falling on the figure, are exceedingly fine. The picture is highly finished, and is altogether an admirable specimen of the works of this eminent master]] réalisée par Cigoli, vendue par Cumberland. [81]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[An Old Woman holding a Lighted Candle. Full of the character of extreme old age -- hard-featured, wrinkled, watchful. The candle-light which glares on the haggard features of the ancient crone, is painted in a broad and masterly manner, and produces a fine effect; reminding us of the Witch of Endor, and the weird sisters of Shakspeare (Honthorst (Gerard.) Born 1592. Died 1660)|An Old Woman holding a Lighted Candle. Full of the character of extreme old age -- hard-featured, wrinkled, watchful. The candle-light which glares on the haggard features of the ancient crone, is painted in a broad and masterly manner, and produces a fine effect; reminding us of the Witch of Endor, and the weird sisters of Shakspeare]] réalisée par Honthorst (Gerard.) Born 1592. Died 1660, vendue par Cumberland. [82]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Victimizing a Student. A spirited production, full of ludicrous horror; a trick played upon a young aspirant of the brush. We question if Priam looked half as much scared, when the officious messenger drew aside his curtain, to astonish him with the news that Troy was burned (Buss)|Victimizing a Student. A spirited production, full of ludicrous horror; a trick played upon a young aspirant of the brush. We question if Priam looked half as much scared, when the officious messenger drew aside his curtain, to astonish him with the news that Troy was burned]] réalisée par Buss, vendue par Cumberland. [84]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[The Temptation of St. Anthony. A romantic and woody Landscape and Waterfall. This is a singularly animated picture. All nature seems in a movement; an universal sympathy pervades the whole. The trees are shaken and bent; the water pours forth its torrents; the sky is covered with light silvery clouds, and dark and rolling masses -- a mixture of storm and sunshine; -- nor is man quiescent amid this bustling scene. Each separate part is in itself a study (Salvator Rosa. Born 1614. Died 1673)|The Temptation of St. Anthony. A romantic and woody Landscape and Waterfall. This is a singularly animated picture. All nature seems in a movement; an universal sympathy pervades the whole. The trees are shaken and bent; the water pours forth its torrents; the sky is covered with light silvery clouds, and dark and rolling masses -- a mixture of storm and sunshine; -- nor is man quiescent amid this bustling scene. Each separate part is in itself a study]] réalisée par Salvator Rosa. Born 1614. Died 1673, vendue par Cumberland. [86]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[A Magdalen disrobing -- the original Sketch for the great Picture. This is a Portrait of the celebrated Duchess de la Valliere, when she finally bade adieu to the pomps and vanities of the world. It has been engraved under the title of "The Return to Virtue" (Le Brun (Charles.) Born 1619. Died 1699)|A Magdalen disrobing -- the original Sketch for the great Picture. This is a Portrait of the celebrated Duchess de la Valliere, when she finally bade adieu to the pomps and vanities of the world. It has been engraved under the title of "The Return to Virtue"]] réalisée par Le Brun (Charles.) Born 1619. Died 1699, vendue par Cumberland. [87]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Vulcan reposing after making the Armour of Achilles. The ponderous strength of Love's forger is very happily depicted. It must have been no holiday-work to fit the King of Men with an appropriate battle suit. The composition is vigorous, and the colouring full of richness and effect (Salvator Rosa)|Vulcan reposing after making the Armour of Achilles. The ponderous strength of Love's forger is very happily depicted. It must have been no holiday-work to fit the King of Men with an appropriate battle suit. The composition is vigorous, and the colouring full of richness and effect]] réalisée par Salvator Rosa, vendue par Cumberland. [88]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[A Romantic Landscape, with Cattle and Figures. This picture is most carefully finished, and exquisitely coloured. It is impossible to speak too highly of the admirable detail of the figures, which start forth with admirable force and precision (Breemberg (Bartholomew.) Born 1620. Died 1660)|A Romantic Landscape, with Cattle and Figures. This picture is most carefully finished, and exquisitely coloured. It is impossible to speak too highly of the admirable detail of the figures, which start forth with admirable force and precision]] réalisée par Breemberg (Bartholomew.) Born 1620. Died 1660, vendue par Cumberland. [97]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Landscape, Cattle, and Figures, by Moonlight. A Forest Scene -- Peasants seated before a fire, the moon shining brightly through the trees. The distinct lights are very beautifully harmonised, and cast their rays on the various objects with great truth and effect (Elsheimer (Adam.) Born 1574. Died 1620)|Landscape, Cattle, and Figures, by Moonlight. A Forest Scene -- Peasants seated before a fire, the moon shining brightly through the trees. The distinct lights are very beautifully harmonised, and cast their rays on the various objects with great truth and effect]] réalisée par Elsheimer (Adam.) Born 1574. Died 1620, vendue par Cumberland. [98]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[The Necromancer. (From the Crompton Collection.) A glorious specimen of this unique artist. The breadth of light and shadow is managed with that perfection of art which stamps the works of Rembrandt. It is impossible to look at this picture without unmixed admiration at its astonishing power (Rembrandt (Van Ryn.) Born 1606. Died 1674)|The Necromancer. (From the Crompton Collection.) A glorious specimen of this unique artist. The breadth of light and shadow is managed with that perfection of art which stamps the works of Rembrandt. It is impossible to look at this picture without unmixed admiration at its astonishing power]] réalisée par Rembrandt (Van Ryn.) Born 1606. Died 1674, vendue par Cumberland. [100]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Apollo flaying Marsyas. (From the Collection of Lord De Clifford, at King's Weston.) A noble Gallery Picture of this great master. This terrible subject is treated with amazing power; -- the design is original; the drawing forcible and bold; the expression striking and correct; and the colouring displays extraordinary breadth, depth, and beauty (Guercino (Giovanni Francisco Bardieri.) Born 1590. Died 1666)|Apollo flaying Marsyas. (From the Collection of Lord De Clifford, at King's Weston.) A noble Gallery Picture of this great master. This terrible subject is treated with amazing power; -- the design is original; the drawing forcible and bold; the expression striking and correct; and the colouring displays extraordinary breadth, depth, and beauty]] réalisée par Guercino (Giovanni Francisco Bardieri.) Born 1590. Died 1666, vendue par Cumberland. [105]
  • 1838.-.-/ maison de ventes : Christopherson. Vente de l'œuvre décrite comme [[No. 795. Representing Sigismunda. Painted by Ludovico Carracci. Here Sigismunda is represented weeping over her husband's heart. Tancred, on discovering her marriage with Guiscardo, caused him to be put to death, and sent the heart inclosed to his daughter. In the figure of Sigismunda, the warmth of the flesh tints seem heightened by anguish of soul that afflicts the brain, causing the blood to flow more proudly, thus forcing life's feverish fluid to nature's transparent veil, 'neath which, eager rushing, it flows to accompany the tears that bathe the heart to which her spirit inclines. -- Sigismunda thus the heart addressed: "Yet, since I have thee here in narrow room, My tears shall set thee first afloat within thy tomb; Then, as I know thy spirit hoves nigh, Under thy friendly conduct will I fly To regions unexplored, secure to share Thy state; nor hell shall punishment appear, And heaven is double heaven if thou art there: She said; -- her brim-full eyes that ready stood, And only wanted will to weep a flood, Released their wat'ry store, and pour'd amain, Like clouds low hung, a sober shower of rain. Mute solemn sorrow, free from female noise, Such as the majesty of grief destroys; For bending o'er the cup the tears she shed Seemed by the posture to discharge her head" (Ludovico Carracci)|No. 795. Representing Sigismunda. Painted by Ludovico Carracci. Here Sigismunda is represented weeping over her husband's heart. Tancred, on discovering her marriage with Guiscardo, caused him to be put to death, and sent the heart inclosed to his daughter. In the figure of Sigismunda, the warmth of the flesh tints seem heightened by anguish of soul that afflicts the brain, causing the blood to flow more proudly, thus forcing life's feverish fluid to nature's transparent veil, 'neath which, eager rushing, it flows to accompany the tears that bathe the heart to which her spirit inclines. -- Sigismunda thus the heart addressed: "Yet, since I have thee here in narrow room, My tears shall set thee first afloat within thy tomb; Then, as I know thy spirit hoves nigh, Under thy friendly conduct will I fly To regions unexplored, secure to share Thy state; nor hell shall punishment appear, And heaven is double heaven if thou art there: She said; -- her brim-full eyes that ready stood, And only wanted will to weep a flood, Released their wat'ry store, and pour'd amain, Like clouds low hung, a sober shower of rain. Mute solemn sorrow, free from female noise, Such as the majesty of grief destroys; For bending o'er the cup the tears she shed Seemed by the posture to discharge her head"]] réalisée par Ludovico Carracci. [106]
  • 1838.-.-/ maison de ventes : Christopherson. Vente de l'œuvre décrite comme [[No. 794. Representing A Charity, Painted by Raphael, or Cavaliere Razzi, His contemporary, who was Master of the Sienna School. From the Casa Spannochi of Sienna. In it are portraits of the Spannochi Family when infants; whose arms are painted in it. Raphael has repeatedly copied heads from this Picture; two of which may be seen in a Painting by him now in the Tribune Chamber at the Florence Gallery, representing the Virgin and Child, and St. John (Raphael)|No. 794. Representing A Charity, Painted by Raphael, or Cavaliere Razzi, His contemporary, who was Master of the Sienna School. From the Casa Spannochi of Sienna. In it are portraits of the Spannochi Family when infants; whose arms are painted in it. Raphael has repeatedly copied heads from this Picture; two of which may be seen in a Painting by him now in the Tribune Chamber at the Florence Gallery, representing the Virgin and Child, and St. John]] réalisée par Raphael. [107]
  • 1838.-.-/ maison de ventes : Christopherson. Vente de l'œuvre décrite comme [[No. 793. representing Alexander the Great. Painted in 1642, by Cavaliere Pietro di Cortona, For Ferdinand the Second, to adorn the Pitti Palace at Florence. Alexander having bathed in the cold waters of the Cydnus was detained by Cilicia by fever; and found no one among his physicians, except Philip, who would venture to prescribe for him; they thinking his case desperate, and fearing the resentment of the Macedonians if they should fail to the cure: Philip, anxious to see Alexander restored, resovled to try his skill. While he was preparing the potion, Parmenio wrote a letter to Alexander requesting him not to take the medicine Philip was preparing, for that Philip was bribed to poison him by Darius, who had promised him large sums of money and one of his daughters in marriage. The conqueror's confidence remaining unshaken towards Philip, having read the letter, he placed it under his pillow. The medicine being brought to him, he drank it off at once with great cheerfulness, at the same time giving Philip the letter that he might read the accusation falsely alleged against him by Parmenio. Alexander's countenance, cheerful and open, expresses anxiety mingled with confidence and kindness to his faithful physician. As Philip reads the letter his countenance speaks innocence and virtuous indignation. The medicine effects a favourable change, and Alexander is soon restored. Near the physician stands Hephæstion anxiously looking on his friend Forward is seen Parmenio with the right arm foreshortened, and figure expressive of the feelings that torment the bosom whose jealous envy descends to vilify the virtuous (Cavaliere Pietro di Cortona)|No. 793. representing Alexander the Great. Painted in 1642, by Cavaliere Pietro di Cortona, For Ferdinand the Second, to adorn the Pitti Palace at Florence. Alexander having bathed in the cold waters of the Cydnus was detained by Cilicia by fever; and found no one among his physicians, except Philip, who would venture to prescribe for him; they thinking his case desperate, and fearing the resentment of the Macedonians if they should fail to the cure: Philip, anxious to see Alexander restored, resovled to try his skill. While he was preparing the potion, Parmenio wrote a letter to Alexander requesting him not to take the medicine Philip was preparing, for that Philip was bribed to poison him by Darius, who had promised him large sums of money and one of his daughters in marriage. The conqueror's confidence remaining unshaken towards Philip, having read the letter, he placed it under his pillow. The medicine being brought to him, he drank it off at once with great cheerfulness, at the same time giving Philip the letter that he might read the accusation falsely alleged against him by Parmenio. Alexander's countenance, cheerful and open, expresses anxiety mingled with confidence and kindness to his faithful physician. As Philip reads the letter his countenance speaks innocence and virtuous indignation. The medicine effects a favourable change, and Alexander is soon restored. Near the physician stands Hephæstion anxiously looking on his friend Forward is seen Parmenio with the right arm foreshortened, and figure expressive of the feelings that torment the bosom whose jealous envy descends to vilify the virtuous]] réalisée par Cavaliere Pietro di Cortona. [108]
  • 1838.-.-/ maison de ventes : Christopherson. Vente de l'œuvre décrite comme [[No. 792. Isaac and Abimelech. An early Work by Matthew Roselli. Vide Genesis c. xxvi. v. 15, 16, 16. "And Abimelech said unto Isaac, Go from us, for thou art much mightier we. And Isaac departed thence, and pitched his tent in the valley of Gerar, and dwelt there." In this picture, though an early work of the Master, the story is well expressed. The heathen King is represented as jealous of Isaac's power and wealth, he being heir to his father Abraham of the wells and pastures formerly digged by him, and afterwards cleansed by Isaac's industry while dwelling among them. The King, having previously reproved Isaac for his dissimulation regarding Rebekah, is represented as commanding him to depart. On the left, Isaac is painted as holding up the hand in token of compliance with the King's mandate; while with an air of holy confidence in the promise made to his father Abraham, he seems conscious that he shall return and possess the whole country. On the right, and near one of the wells which had been filled by the Philistines, but which Isaac during his visit had caused to be re-opened, stands a group of female figures, finely arranged, who by their espression seem to doubt whether the privilege formerly granted will be continued to them (Matthew Roselli)|No. 792. Isaac and Abimelech. An early Work by Matthew Roselli. Vide Genesis c. xxvi. v. 15, 16, 16. "And Abimelech said unto Isaac, Go from us, for thou art much mightier we. And Isaac departed thence, and pitched his tent in the valley of Gerar, and dwelt there." In this picture, though an early work of the Master, the story is well expressed. The heathen King is represented as jealous of Isaac's power and wealth, he being heir to his father Abraham of the wells and pastures formerly digged by him, and afterwards cleansed by Isaac's industry while dwelling among them. The King, having previously reproved Isaac for his dissimulation regarding Rebekah, is represented as commanding him to depart. On the left, Isaac is painted as holding up the hand in token of compliance with the King's mandate; while with an air of holy confidence in the promise made to his father Abraham, he seems conscious that he shall return and possess the whole country. On the right, and near one of the wells which had been filled by the Philistines, but which Isaac during his visit had caused to be re-opened, stands a group of female figures, finely arranged, who by their espression seem to doubt whether the privilege formerly granted will be continued to them]] réalisée par Matthew Roselli. [109]
  • 1838.-.-/ maison de ventes : Christopherson. Vente de l'œuvre décrite comme [[No. 791. A chef d'oeuvre, painted by Matthew Roselli, representing Rebekah, near the Well, In the act of pouring water from her pitcher, that Abraham's servant may drink. Vide Genesis c. xxiv. v. 18. "And she said, Drink, my lord, and she hasted and let down her pitcher upon her hand, and gave him to drink." This splendid Gallery Picture was painted for Cosimo the Second, Grand Duke of Tuscany: since then it has been preserved in the Albani Collection, from which it was selected and purchased by the present proprietor. Here a scene is presented to our view in mid-day light -- silvery clouds of an Italian sky crown the landscape -- the mild air breathing around the figures, -- each feature of the Painting appears distanced, relieved, and harmonized, as we see it in nature. The graceful attitude of Rebekah presents her figure in beauty's form, chastely draped, and seems to exalt the dignity of soul that beams from her countenance, giving birth to exalted ideas of an illumined and heavenly mind. The character of Abraham's servant is in fine keeping with the subject of the work: -- obedient to his master's commands, from his expressive countenance the soul reflects confidence that he is guided by Him who never leads astray. The lines of beauty, so well understood by this Master, are seen, in an eminent degree, in the breathing heads of the camels (Matthew Roselli)|No. 791. A chef d'oeuvre, painted by Matthew Roselli, representing Rebekah, near the Well, In the act of pouring water from her pitcher, that Abraham's servant may drink. Vide Genesis c. xxiv. v. 18. "And she said, Drink, my lord, and she hasted and let down her pitcher upon her hand, and gave him to drink." This splendid Gallery Picture was painted for Cosimo the Second, Grand Duke of Tuscany: since then it has been preserved in the Albani Collection, from which it was selected and purchased by the present proprietor. Here a scene is presented to our view in mid-day light -- silvery clouds of an Italian sky crown the landscape -- the mild air breathing around the figures, -- each feature of the Painting appears distanced, relieved, and harmonized, as we see it in nature. The graceful attitude of Rebekah presents her figure in beauty's form, chastely draped, and seems to exalt the dignity of soul that beams from her countenance, giving birth to exalted ideas of an illumined and heavenly mind. The character of Abraham's servant is in fine keeping with the subject of the work: -- obedient to his master's commands, from his expressive countenance the soul reflects confidence that he is guided by Him who never leads astray. The lines of beauty, so well understood by this Master, are seen, in an eminent degree, in the breathing heads of the camels]] réalisée par Matthew Roselli. [110]
  • 1838.-.-/ maison de ventes : Christopherson. Vente de l'œuvre décrite comme [[No. 790. The chef d'oeuvre by Annibale Carracci, From the Farnese Palace at Rome, -- representing Samson and Dalilah. Vide Judges, c. xvi. v. 14. "And he said unto her, If thou weavest the seven locks of my head with the web: -- And she fastened it with the pin, and said unto him, The Philistines be upon thee, Samson: And he awaked out of his sleep, and went away with the pin of the beam and with the web." This splendid work is noble and grand in conception as it is fine and masterly in execution. In the beautiful forms of the antique is here seen the perfect design and grandeur of outline of Michael Angelo; the sweetness and purity of Correggio; the warmth and distribution of colours of Titian, harmoniously blended in Annibale Carracci's force. The expression of Samson is wonderfully wrought: his gigantic figure in fine proportion: the right hand grasping the jaw-bone, the left raised above the head, both in accordance with that writhing espression caused by sudden and violent pulling of the hair; to the locks the nail is attached, painted as drawn from its hold. The fine figure of Dalilah is beautifully contrasted with the head of the aged waiting woman. L'amour flying from the scene, by the finger placed in and about to be withdrawn from the mouth, announces his resolve to depart: the cherub is painted, as nature round, exclaiming, "Io non ti voglio più," or, "Addio, me ne vâdo." -- I leave you to return no more -- I quit you for ever. The expression is frequently used by the Italians, when one person is moved with indignation at the conduct of another (Annibale Carracci)|No. 790. The chef d'oeuvre by Annibale Carracci, From the Farnese Palace at Rome, -- representing Samson and Dalilah. Vide Judges, c. xvi. v. 14. "And he said unto her, If thou weavest the seven locks of my head with the web: -- And she fastened it with the pin, and said unto him, The Philistines be upon thee, Samson: And he awaked out of his sleep, and went away with the pin of the beam and with the web." This splendid work is noble and grand in conception as it is fine and masterly in execution. In the beautiful forms of the antique is here seen the perfect design and grandeur of outline of Michael Angelo; the sweetness and purity of Correggio; the warmth and distribution of colours of Titian, harmoniously blended in Annibale Carracci's force. The expression of Samson is wonderfully wrought: his gigantic figure in fine proportion: the right hand grasping the jaw-bone, the left raised above the head, both in accordance with that writhing espression caused by sudden and violent pulling of the hair; to the locks the nail is attached, painted as drawn from its hold. The fine figure of Dalilah is beautifully contrasted with the head of the aged waiting woman. L'amour flying from the scene, by the finger placed in and about to be withdrawn from the mouth, announces his resolve to depart: the cherub is painted, as nature round, exclaiming, "Io non ti voglio più," or, "Addio, me ne vâdo." -- I leave you to return no more -- I quit you for ever. The expression is frequently used by the Italians, when one person is moved with indignation at the conduct of another]] réalisée par Annibale Carracci. [111]
  • 1838.-.-/ maison de ventes : Christopherson. Vente de l'œuvre décrite comme [[No. 789. Representing A Magdalen, when near Conversion. A chef d'oeuvre, painted by Rutilio Manetti, (the master of Guercino.) The works of this Master are very scarce. In this picture the figure of the Magdalen expresses solemn devout sorrow, under consciousness of having offended her Maker, in deep humiliation accepting the forgivenness offered, seeking the Truth, loving the Word, with calm resignation she yields to the conquering voice that in silence whispers love eternal (Rutilio Manetti)|No. 789. Representing A Magdalen, when near Conversion. A chef d'oeuvre, painted by Rutilio Manetti, (the master of Guercino.) The works of this Master are very scarce. In this picture the figure of the Magdalen expresses solemn devout sorrow, under consciousness of having offended her Maker, in deep humiliation accepting the forgivenness offered, seeking the Truth, loving the Word, with calm resignation she yields to the conquering voice that in silence whispers love eternal]] réalisée par Rutilio Manetti. [112]
  • 1838.-.-/ maison de ventes : Christopherson. Vente de l'œuvre décrite comme [[No. 788. By Antonio Allegri, called Correggio. The Virgin and Child, with Angels, Painted by Correggio for the Rosaspina family, for the Chapel of a Convent of which the Marchesa Rosaspina was the Superiore. This Picture was painted by Correggio soon after he became distinguished as a master, the features of which bear the impress of lofty genius and happy conception. The colouring, rich and succosa, is so vivid and powerfully effective that the light centred in the figure of the Infant-Saviour will illumine a shadowed room. Correggio has represented in this his favourite subject the Virgin holding the Babe to her bosom; in which figure beauteous nature is so truly painted, that a living mother appears rising from the canvas between two lights, pressing to her bosom the smiling object of her maternal care. Her figure, breathing love and adoration, with a consciousness of the superiority of her infant-charge, is feelingly expressed. The Angel's head and hands, on the right of the Virgin, speak spiritual adoration. The two heads on the left, expressing rejoicing comtemplation, lend effective aid, giving the celestial scene a calm divine sublimity. The infant-heads in air breathe joyful smiles to greet the Sun of immortality: in whom Correggio saw and placed his fountain-light; and rounding the same with mezzo-tints and mild reflexes, falling into harmonious shadows, in this picture he has left us an image of his mind; which beauties strike us more and more the more we look on them (Antonio Allegri, called Correggio)|No. 788. By Antonio Allegri, called Correggio. The Virgin and Child, with Angels, Painted by Correggio for the Rosaspina family, for the Chapel of a Convent of which the Marchesa Rosaspina was the Superiore. This Picture was painted by Correggio soon after he became distinguished as a master, the features of which bear the impress of lofty genius and happy conception. The colouring, rich and succosa, is so vivid and powerfully effective that the light centred in the figure of the Infant-Saviour will illumine a shadowed room. Correggio has represented in this his favourite subject the Virgin holding the Babe to her bosom; in which figure beauteous nature is so truly painted, that a living mother appears rising from the canvas between two lights, pressing to her bosom the smiling object of her maternal care. Her figure, breathing love and adoration, with a consciousness of the superiority of her infant-charge, is feelingly expressed. The Angel's head and hands, on the right of the Virgin, speak spiritual adoration. The two heads on the left, expressing rejoicing comtemplation, lend effective aid, giving the celestial scene a calm divine sublimity. The infant-heads in air breathe joyful smiles to greet the Sun of immortality: in whom Correggio saw and placed his fountain-light; and rounding the same with mezzo-tints and mild reflexes, falling into harmonious shadows, in this picture he has left us an image of his mind; which beauties strike us more and more the more we look on them]] réalisée par Antonio Allegri, called Correggio. [113]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[(Imported from Italy in 1830.) A Bacchanal in contemplation, holding a bowl of wine in his left hand, his right arm resting on a basket of fruit. Nothing can exceed the richness of colour -- the bold, masterly drawing of the picture, and anatomical truth and beauty exhibited in the powerfully muscular development of the shoulder, supporting the entire weight of the body. This picture is in the grandest style of the master (Titian. Born 1480. Died 1576)|(Imported from Italy in 1830.) A Bacchanal in contemplation, holding a bowl of wine in his left hand, his right arm resting on a basket of fruit. Nothing can exceed the richness of colour -- the bold, masterly drawing of the picture, and anatomical truth and beauty exhibited in the powerfully muscular development of the shoulder, supporting the entire weight of the body. This picture is in the grandest style of the master]] réalisée par Titian. Born 1480. Died 1576, vendue par Cumberland. [115]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[A Bacchanal and a Wood-Nymph. Being Portraits of the Painter and his favourite Wife, Helena Foreman. A magnificent gallery portrait of this eminent master, painted con amore. The male figure is drawn with great freedom and vigor; that of the female partakes of the character which the Flemish painters considered the ne plus ultra of feminine grace and beauty. In contemplating this picture, we concede, at one glance, the title of the "Prince of Colour" to the painter; who has, in this instance, well nigh surpassed himself in richness and vividness of colouring (Rubens (Peter Paul.) Born 1577. Died 1640)|A Bacchanal and a Wood-Nymph. Being Portraits of the Painter and his favourite Wife, Helena Foreman. A magnificent gallery portrait of this eminent master, painted con amore. The male figure is drawn with great freedom and vigor; that of the female partakes of the character which the Flemish painters considered the ne plus ultra of feminine grace and beauty. In contemplating this picture, we concede, at one glance, the title of the "Prince of Colour" to the painter; who has, in this instance, well nigh surpassed himself in richness and vividness of colouring]] réalisée par Rubens (Peter Paul.) Born 1577. Died 1640, vendue par Cumberland. [118]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Pan. The animated countenance of the musical god is highly ludicrous and natural. He seems to listen to the latest sounds of his pipe with uncommon self-complacency, and to be debating in his mind what tune he shall play next (Annibale Caracci. Born 1560. Died1609)|Pan. The animated countenance of the musical god is highly ludicrous and natural. He seems to listen to the latest sounds of his pipe with uncommon self-complacency, and to be debating in his mind what tune he shall play next]] réalisée par Annibale Caracci. Born 1560. Died1609, vendue par Cumberland. [119]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[The Village Church, with Landscape and Figures. A charming rural composition of this favourite master, painted with equal tenderness and truth. The "Heav'n directed spire," rises in simple grandeur in the midst of the enchanting landscape, to teach the rustic moralist both how to live, and to die (Wilson (Richard.) Born 1714. Died 1782)|The Village Church, with Landscape and Figures. A charming rural composition of this favourite master, painted with equal tenderness and truth. The "Heav'n directed spire," rises in simple grandeur in the midst of the enchanting landscape, to teach the rustic moralist both how to live, and to die]] réalisée par Wilson (Richard.) Born 1714. Died 1782, vendue par Cumberland. [129]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[The Frosty Morning. The original Sketch for the picture in the collection of the late Lord Charles Townshend. The half-raised-up sluggard, huddled up to his eyes in sheets and blankets, speaks more for the snow upon the ground, the icicles hanging from the walls, and a bitter north-easter blowing through the casement, than any out-door representation. The glaring eye, and clenched hand grasping the bed-clothes, make our noses blue, and our teeth to chatter (Buss)|The Frosty Morning. The original Sketch for the picture in the collection of the late Lord Charles Townshend. The half-raised-up sluggard, huddled up to his eyes in sheets and blankets, speaks more for the snow upon the ground, the icicles hanging from the walls, and a bitter north-easter blowing through the casement, than any out-door representation. The glaring eye, and clenched hand grasping the bed-clothes, make our noses blue, and our teeth to chatter]] réalisée par Buss, vendue par Cumberland. [130]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Frances Stuart, Duchess of Richmond. This picture well illustrates Pope's line, describing the voluptuous style of this celebrated painter: -- "The sleepy eye that spoke the melting soul!" The broad and ample folds of the drapery, with its agreeable negligence, are particularly to be admired (Lely (Sir Peter.) Born 1617. Died 1680)|Frances Stuart, Duchess of Richmond. This picture well illustrates Pope's line, describing the voluptuous style of this celebrated painter: -- "The sleepy eye that spoke the melting soul!" The broad and ample folds of the drapery, with its agreeable negligence, are particularly to be admired]] réalisée par Lely (Sir Peter.) Born 1617. Died 1680, vendue par Cumberland. [133]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Mars, Venus, and Cupid. The god of War is represented taking off his armour, which Venus hands to Cupid, who has already assumed his helmet and plume. Vulcan is looking sharply after them in the back-ground. A fine Gallery Picture (Pietro da Cortona (Berretini, called.) Born 1596. Died 1669)|Mars, Venus, and Cupid. The god of War is represented taking off his armour, which Venus hands to Cupid, who has already assumed his helmet and plume. Vulcan is looking sharply after them in the back-ground. A fine Gallery Picture]] réalisée par Pietro da Cortona (Berretini, called.) Born 1596. Died 1669, vendue par Cumberland. [134]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Hercules and Omphale. (From the Crompton Collection.) Hercules is represented by the poets as being so desperately enamoured of Omphale, Queen of Lydia, that, to conciliate her esteem, he frequently spun by her side. Omphale, on one occasion, observing with surpise the uncouth manner in which he holds the distaff, has playfully struck him with her sandal. The fine athletic character of the principal figure is well contrasted with the feminine beauty of Omphale. This picture exhibits great power and harmony of colouring; the breadth of light on the female figure is managed with infinite skill, and produces a striking and wonderful effect (Nicholas Poussin. Born 1594. Died 1665)|Hercules and Omphale. (From the Crompton Collection.) Hercules is represented by the poets as being so desperately enamoured of Omphale, Queen of Lydia, that, to conciliate her esteem, he frequently spun by her side. Omphale, on one occasion, observing with surpise the uncouth manner in which he holds the distaff, has playfully struck him with her sandal. The fine athletic character of the principal figure is well contrasted with the feminine beauty of Omphale. This picture exhibits great power and harmony of colouring; the breadth of light on the female figure is managed with infinite skill, and produces a striking and wonderful effect]] réalisée par Nicholas Poussin. Born 1594. Died 1665, vendue par Cumberland. [137]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Hagar and Ismael in the Wilderness. (A Grand Gallery Picture.) "And the angel of God called to Hagar out of heaven, and said unto her, What aileth thee, Hagar? Fear not; for God hath heard the voice of the lad where he is." -- Genesis xxi. 17. This story is very powerfully told. The astonishment and gratitude of the afflicted mother, with the newly-sprung-up hope that her child and herself may yet survive the dreadful fate that impended over them, are pathetically exhibited. The lovely form of the angel, (worthy of Raphael,) floating in mid air, contrasted with the grievous features of the infant, who appears to be nearly exhausted, and about to perish -- together with the bold, picturesque landscape, enriching the whole, place this effort in the very highest rank of the art (De Calcar (John.) Born 1499. Died 1546)|Hagar and Ismael in the Wilderness. (A Grand Gallery Picture.) "And the angel of God called to Hagar out of heaven, and said unto her, What aileth thee, Hagar? Fear not; for God hath heard the voice of the lad where he is." -- Genesis xxi. 17. This story is very powerfully told. The astonishment and gratitude of the afflicted mother, with the newly-sprung-up hope that her child and herself may yet survive the dreadful fate that impended over them, are pathetically exhibited. The lovely form of the angel, (worthy of Raphael,) floating in mid air, contrasted with the grievous features of the infant, who appears to be nearly exhausted, and about to perish -- together with the bold, picturesque landscape, enriching the whole, place this effort in the very highest rank of the art]] réalisée par De Calcar (John.) Born 1499. Died 1546, vendue par Cumberland. [144]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Mrs. Siddons in the character of Isabella, in Southerne's tragedy of Isabella; or, the Fatal Marriage. A clever, highly-finished portrait of this wonderful actress, of whom a modern poet has justly said, -- "All passions rose -- fear, horror, madness, rage Alternate mov'd, when Siddons trod the stage! Then reign'd the Tragic Muse, enthron'd on high, Awe in her mein, and lightning in her eye!" The Modern Dunciad Theatrical Gallery (Morland (George.) Born 1764. Died 1806)|Mrs. Siddons in the character of Isabella, in Southerne's tragedy of Isabella; or, the Fatal Marriage. A clever, highly-finished portrait of this wonderful actress, of whom a modern poet has justly said, -- "All passions rose -- fear, horror, madness, rage Alternate mov'd, when Siddons trod the stage! Then reign'd the Tragic Muse, enthron'd on high, Awe in her mein, and lightning in her eye!" The Modern Dunciad Theatrical Gallery]] réalisée par Morland (George.) Born 1764. Died 1806, vendue par Cumberland. [145]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Mr. Webster in the character of Apollo Belvi, in Hook's farce of Killing no Murder. Engraved for No. 229 of Cumberland's British Theatre. Few actors, by small degrees, have risen so honourably in their profession as Mr. Webster. By diligence, good conduct, and various talent, he has attained a respectable rank in the drama. He has an excellent study, a good person, a quaint manner, and a funny face Theatrical Gallery (Buss)|Mr. Webster in the character of Apollo Belvi, in Hook's farce of Killing no Murder. Engraved for No. 229 of Cumberland's British Theatre. Few actors, by small degrees, have risen so honourably in their profession as Mr. Webster. By diligence, good conduct, and various talent, he has attained a respectable rank in the drama. He has an excellent study, a good person, a quaint manner, and a funny face Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [148]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Zarah. Mrs. Nisbett in the character of Zarah, in Soane's melodrama of Zarah. Engraved for No. 266 of Cumberland's British Theatre. In this part Mrs. Nisbett made "a palpable hit," and exhibited talents that the public had not before given her credit for. She still goes on improving, and bids fair to reach the top of her profession Theatrical Gallery (Buss)|Zarah. Mrs. Nisbett in the character of Zarah, in Soane's melodrama of Zarah. Engraved for No. 266 of Cumberland's British Theatre. In this part Mrs. Nisbett made "a palpable hit," and exhibited talents that the public had not before given her credit for. She still goes on improving, and bids fair to reach the top of her profession Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [149]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Doctor Pangloss. Mr. Harley in the character of Doctor Pangloss, in George Colman's comedy of the Heir at Law. Engraved for No. 296 of Cumberland's British Theatre. A quiet portraiture of bustling Jack in the Aberdeen A.S.S. The bob and chuckle, wink and leer, fidget and frisk, of this mercurial perfomer, are sobered down in the blue-nosed, frost-bitten nibbler of a Scotch kail-yard; but the servile and hungry expression of the L.S.D. Professor is true both to the character and the original Theatrical Gallery (Buss)|Doctor Pangloss. Mr. Harley in the character of Doctor Pangloss, in George Colman's comedy of the Heir at Law. Engraved for No. 296 of Cumberland's British Theatre. A quiet portraiture of bustling Jack in the Aberdeen A.S.S. The bob and chuckle, wink and leer, fidget and frisk, of this mercurial perfomer, are sobered down in the blue-nosed, frost-bitten nibbler of a Scotch kail-yard; but the servile and hungry expression of the L.S.D. Professor is true both to the character and the original Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [150]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Marmaduke Magog. Mr. John Reeve in the character of the Parish Beadle. One of those rare tit-bits of jovial humour, in which the dramatic gourmand luxuriates with epicurean relish. "Glorious John," in parochial paraphernalia -- one eye blinking with inexpressible fun, the other goggling -- with staff in hand, and mounted on a tub, -- looks the very reverse of Diogenes, who made a merit of living in one! This Picture has been cleverly engraved by Mr. Wagstaff Theatrical Gallery (Buss)|Marmaduke Magog. Mr. John Reeve in the character of the Parish Beadle. One of those rare tit-bits of jovial humour, in which the dramatic gourmand luxuriates with epicurean relish. "Glorious John," in parochial paraphernalia -- one eye blinking with inexpressible fun, the other goggling -- with staff in hand, and mounted on a tub, -- looks the very reverse of Diogenes, who made a merit of living in one! This Picture has been cleverly engraved by Mr. Wagstaff Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [151]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Spado. Mr. Buckstone in the character of Spado, in O'Keeffe's comic opera of The Castle of Andalusia. Engraved for No. 238 of Cumberland's British Theatre. The ludicrous horror and dismay of the little robber, when Sanguino (that remorseless, terrible, good-natured, cut-throat, sweet-tempered looking gentleman!) motions him to silence, is capitally depicted. His eyes start, his lips quiver, and his limbs shake in the animated canvass Theatrical Gallery (Buss)|Spado. Mr. Buckstone in the character of Spado, in O'Keeffe's comic opera of The Castle of Andalusia. Engraved for No. 238 of Cumberland's British Theatre. The ludicrous horror and dismay of the little robber, when Sanguino (that remorseless, terrible, good-natured, cut-throat, sweet-tempered looking gentleman!) motions him to silence, is capitally depicted. His eyes start, his lips quiver, and his limbs shake in the animated canvass Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [152]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Fanny. Mrs. Fitzwilliam in the character of Fanny, in the farce of Maid or Wife? Engraved for No. 247 of Cumberland's British Theatre. This lady (the jolie moietié of little Fitz-double-U) plays domestic heroines, pert chambermaids, Tom-boys, and mock-tragedy queens. She sings with considerable taste, and is one of the most useful and deservedly-applauded actresses on the minor stage Theatrical Gallery (Buss)|Fanny. Mrs. Fitzwilliam in the character of Fanny, in the farce of Maid or Wife? Engraved for No. 247 of Cumberland's British Theatre. This lady (the jolie moietié of little Fitz-double-U) plays domestic heroines, pert chambermaids, Tom-boys, and mock-tragedy queens. She sings with considerable taste, and is one of the most useful and deservedly-applauded actresses on the minor stage Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [153]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Swelvino. Mr. Rogers in the character of Swelvino, in the burlesque of the Roof Scrambler. Engraved for No. 83 of Cumberland's Minor Theatre. A low comedian of considerable promise -- one of the Will Kempes and Bob Armins of the olden time Theatrical Gallery (Buss)|Swelvino. Mr. Rogers in the character of Swelvino, in the burlesque of the Roof Scrambler. Engraved for No. 83 of Cumberland's Minor Theatre. A low comedian of considerable promise -- one of the Will Kempes and Bob Armins of the olden time Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [154]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Grosnez. Mr. Strickland in the character of Town-councillor Grosnez, in the Mendicant. Engraved for No. 286 of Cumberland's British Theatre. This porter-swigging, pipe-flourishing functionary -- one of the small school of consequential no-bodies, could not have found a better representative than Mr. Strickland, who has put his foot into one of Joe Munden's comic slippers. Let him put t'other into its fellow with what speed he may Theatrical Gallery (Buss)|Grosnez. Mr. Strickland in the character of Town-councillor Grosnez, in the Mendicant. Engraved for No. 286 of Cumberland's British Theatre. This porter-swigging, pipe-flourishing functionary -- one of the small school of consequential no-bodies, could not have found a better representative than Mr. Strickland, who has put his foot into one of Joe Munden's comic slippers. Let him put t'other into its fellow with what speed he may Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [155]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Long Tom Coffin. Mr. T.P. Cooke in the character of Long Tom Coffin, in Fitzball's melodrama of The Pilot. Engraved for No. 1 of Cumberland's Minor Theatre. -- Mr. Cooke has introduced to the public an entirely new species of Sailors. His are not the swearing, grog-swilling, salt-water savages that Miss Prue very properly calls "tar-barrels," but sentimental sons of Neptune, whose dancing, drinking, fighting, and falling in love, are tinged with romance. Of the nautical parts played by Mr. Cooke, this is the most popular Theatrical Gallery (Wageman)|Long Tom Coffin. Mr. T.P. Cooke in the character of Long Tom Coffin, in Fitzball's melodrama of The Pilot. Engraved for No. 1 of Cumberland's Minor Theatre. -- Mr. Cooke has introduced to the public an entirely new species of Sailors. His are not the swearing, grog-swilling, salt-water savages that Miss Prue very properly calls "tar-barrels," but sentimental sons of Neptune, whose dancing, drinking, fighting, and falling in love, are tinged with romance. Of the nautical parts played by Mr. Cooke, this is the most popular Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [158]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Juliet. Miss Phillips in the character of Juliet, in Shakspeare's Romeo and Juliet. Engraved for No. 1 of Cumberland's British Theatre. An actress of considerable talent, and particularly effective in parts of quick sensibility and gentle pathos Theatrical Gallery (Wageman)|Juliet. Miss Phillips in the character of Juliet, in Shakspeare's Romeo and Juliet. Engraved for No. 1 of Cumberland's British Theatre. An actress of considerable talent, and particularly effective in parts of quick sensibility and gentle pathos Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [159]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Murtoch Delany. Mr. Power in the character of Murtoch Delany, in the Irishman in London. Engraved for No. 148 of Cumberland's British Theatre. A rich distillation of whisky and 'praties! the sugar and cream of blarney and carney! the beauties of butter-milk! He first became popular in this part; but his top character is Teddy the Tiler Theatrical Gallery (Wageman)|Murtoch Delany. Mr. Power in the character of Murtoch Delany, in the Irishman in London. Engraved for No. 148 of Cumberland's British Theatre. A rich distillation of whisky and 'praties! the sugar and cream of blarney and carney! the beauties of butter-milk! He first became popular in this part; but his top character is Teddy the Tiler Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [160]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Rose Redland. Miss Ellen Tree in the character of Rose Redland, in The Robber's Wife. -- Engraved for No. 200 of Cumberland's British Theatre. A lady whose versatile talents are of a superior order. She is by far the best tragic actress now on the boards; and her comedy is gay, sensible, and elegant Theatrical Gallery (Wageman)|Rose Redland. Miss Ellen Tree in the character of Rose Redland, in The Robber's Wife. -- Engraved for No. 200 of Cumberland's British Theatre. A lady whose versatile talents are of a superior order. She is by far the best tragic actress now on the boards; and her comedy is gay, sensible, and elegant Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [161]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Prince Orlando. Mr. Braham in the character of Prince Orlando, in T. Dibdin's opera of the Cabinet. Engraved for No. 141 of Cumberland's British Theatre. A musical evergreen, whose wonderful powers have, as yet, not yielded to time. This is the celebrated part in which he earned himself a fame, that he has nobly sustained to the present day. None but Incledon ever ventured to compete with this High Priest of Harmony; and he was a lion that Mr. Braham might be proud to grip with! Theatrical Gallery (Wageman)|Prince Orlando. Mr. Braham in the character of Prince Orlando, in T. Dibdin's opera of the Cabinet. Engraved for No. 141 of Cumberland's British Theatre. A musical evergreen, whose wonderful powers have, as yet, not yielded to time. This is the celebrated part in which he earned himself a fame, that he has nobly sustained to the present day. None but Incledon ever ventured to compete with this High Priest of Harmony; and he was a lion that Mr. Braham might be proud to grip with! Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [162]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Mammon. Mr. O. Smith in the character of Mammon, in Jerrold's melodrama of The Devil's Ducat. Engraved for No. 37 of Cumberland's Minor Theatre. A dramatic salamander -- a demon, not of darkness, but of the stage-lights -- a bottle-green gentleman! Theatrical Gallery (Wageman)|Mammon. Mr. O. Smith in the character of Mammon, in Jerrold's melodrama of The Devil's Ducat. Engraved for No. 37 of Cumberland's Minor Theatre. A dramatic salamander -- a demon, not of darkness, but of the stage-lights -- a bottle-green gentleman! Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [163]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Grace Huntley. Mrs. Yates in the character of Grace Huntley, in the drama of Grace Huntley. Engraved for No. 55 of Cumberland's Minor Theatre. In simplicity and naïvetè, Mrs. Yates often reminds us of Mrs. Jordan; and in her domestic tragedy, there are sparks of electric fire that Siddons would have applauded. To a musical voice, correct enunciation, and propriety of action, she joins a rigorous conception, and a just taste Theatrical Gallery (Wageman)|Grace Huntley. Mrs. Yates in the character of Grace Huntley, in the drama of Grace Huntley. Engraved for No. 55 of Cumberland's Minor Theatre. In simplicity and naïvetè, Mrs. Yates often reminds us of Mrs. Jordan; and in her domestic tragedy, there are sparks of electric fire that Siddons would have applauded. To a musical voice, correct enunciation, and propriety of action, she joins a rigorous conception, and a just taste Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [164]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Lord Grizzle. Mr. John Reeve in the character of Lord Grizzle, in Fielding and O'Hara's burletta of Tom Thumb. Engraved for No. 155 of Cumberland's British Theatre. This rollocking, roistering son of mirth -- ("Where be his gibes now? his gambols, his songs, his flashes of merriment, that were wont to set the theatre in a roar?") -- is here represented in high gig, and dancing drollery, in the Princess Huncamunca's bewigged intended. In burlesque action, in broad-faced, uproarious fun, he never had his equal since the days of Shuter and Edwin Theatrical Gallery (Wageman)|Lord Grizzle. Mr. John Reeve in the character of Lord Grizzle, in Fielding and O'Hara's burletta of Tom Thumb. Engraved for No. 155 of Cumberland's British Theatre. This rollocking, roistering son of mirth -- ("Where be his gibes now? his gambols, his songs, his flashes of merriment, that were wont to set the theatre in a roar?") -- is here represented in high gig, and dancing drollery, in the Princess Huncamunca's bewigged intended. In burlesque action, in broad-faced, uproarious fun, he never had his equal since the days of Shuter and Edwin Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [165]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Lilla. Miss Love in the character of Lilla, in the Siege of Belgrade. Engraved for No. 134 of Cumberland's British Theatre. A delicate and pleasing singer, who, to the regret of all lovers of simplicity, has apparently relinquished her profession Theatrical Gallery (Wageman)|Lilla. Miss Love in the character of Lilla, in the Siege of Belgrade. Engraved for No. 134 of Cumberland's British Theatre. A delicate and pleasing singer, who, to the regret of all lovers of simplicity, has apparently relinquished her profession Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [166]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Walter. Mr. Elliston in the character of Walter, in Morton's drama of the Children in the Wood. Engraved for No. 113 of Cumberland's British Theatre. A part in which (after Bannister) this brilliant and accomplished actor was greatly celebrated. His naturally comic expression of countenance is skillfully elevated to the tragic, without losing an iota of its identity Theatrical Gallery (Wageman)|Walter. Mr. Elliston in the character of Walter, in Morton's drama of the Children in the Wood. Engraved for No. 113 of Cumberland's British Theatre. A part in which (after Bannister) this brilliant and accomplished actor was greatly celebrated. His naturally comic expression of countenance is skillfully elevated to the tragic, without losing an iota of its identity Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [167]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Leporello. Mr. Fitzwilliam in the character of Leporello, in T. Dibdin's extravaganza of Don Giovanni. Engraved for No. 10 of Cumberland's Minor Theatre. A pleasing singer, and, though somewhat pursey, ("our son is fat!") an active, vivacious, and intelligent actor Theatrical Gallery (Wageman)|Leporello. Mr. Fitzwilliam in the character of Leporello, in T. Dibdin's extravaganza of Don Giovanni. Engraved for No. 10 of Cumberland's Minor Theatre. A pleasing singer, and, though somewhat pursey, ("our son is fat!") an active, vivacious, and intelligent actor Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [168]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Sylvana. Miss Graddon in the character of Sylvana, in the opera of Sylvana. Engraved for No. 19 of Cumberland's Minor Theatre. A sweet and powerful singer, with an air, on the stage, modest and unassuming. Miss Graddon was engaged as Prima Donna at the Royal Brunswick Theatre; but ere she opened her mouth, the roof fell in Theatrical Gallery (Wageman)|Sylvana. Miss Graddon in the character of Sylvana, in the opera of Sylvana. Engraved for No. 19 of Cumberland's Minor Theatre. A sweet and powerful singer, with an air, on the stage, modest and unassuming. Miss Graddon was engaged as Prima Donna at the Royal Brunswick Theatre; but ere she opened her mouth, the roof fell in Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [169]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Petruchio. Portrait of Woodward in Petruchio. Engraved for Bell's British Theatre. With Woodward, Garrick particularly delighted to act. Bobadil, Parolles. Pistol, Mercutio, &c., were his great parts. He had no humour off the stage Theatrical Gallery (Vandergucht (Benjamin.) Died 1794)|Petruchio. Portrait of Woodward in Petruchio. Engraved for Bell's British Theatre. With Woodward, Garrick particularly delighted to act. Bobadil, Parolles. Pistol, Mercutio, &c., were his great parts. He had no humour off the stage Theatrical Gallery]] réalisée par Vandergucht (Benjamin.) Died 1794, vendue par Cumberland. [171]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Tomotheus Trombone. Mr. Vale in the character of Timotheus Trombone, in Almar's drama of the Battle of Sedgemoor. Engraved for No. 113 of Cumberland's Minor Theatre. A grotesque grig, and as brisk as a bottle of perry; whose queer faces, and very merry, hey-down-derry patter-songs, never fail to send his audience laughing to their beds Theatrical Gallery (Buss)|Tomotheus Trombone. Mr. Vale in the character of Timotheus Trombone, in Almar's drama of the Battle of Sedgemoor. Engraved for No. 113 of Cumberland's Minor Theatre. A grotesque grig, and as brisk as a bottle of perry; whose queer faces, and very merry, hey-down-derry patter-songs, never fail to send his audience laughing to their beds Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [174]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Captain Mouth. Mr. Cooper in the character of Captain Mouth, in Jerrold's drama of the Bride of Ludgate. Engraved for No. 219 of Cumberland British Theatre. A blustering bully-rock, from Alsatia -- a fellow of valiant words and timorous meaning -- a "tame cheater," of the Pistol and Bobadil breed Theatrical Gallery (Buss)|Captain Mouth. Mr. Cooper in the character of Captain Mouth, in Jerrold's drama of the Bride of Ludgate. Engraved for No. 219 of Cumberland British Theatre. A blustering bully-rock, from Alsatia -- a fellow of valiant words and timorous meaning -- a "tame cheater," of the Pistol and Bobadil breed Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [175]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Hofer. Mr. Osbaldiston in the character of Hofer, in the drama of Hofer, or the Tell of the Tyrol. Engraved for No. 46 of Cumberland's Minor Theatre. This patriot stands (like Doctor Johnson, after his tragedy was damned) "firm as the Monument." And with good reason; for he lived, as he died, for his country Theatrical Gallery (Buss)|Hofer. Mr. Osbaldiston in the character of Hofer, in the drama of Hofer, or the Tell of the Tyrol. Engraved for No. 46 of Cumberland's Minor Theatre. This patriot stands (like Doctor Johnson, after his tragedy was damned) "firm as the Monument." And with good reason; for he lived, as he died, for his country Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [176]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Charles Rattleton. Mr. Charles Mathews in the character of Charles Rattleton, in his farce of the Humpbacked Lover. Engraved for No. 103 of Cumberland's Minor Theatre. A true bit of the family timber, a chip of the old block, in the part in which he first wooed and won the public favour Theatrical Gallery (Buss)|Charles Rattleton. Mr. Charles Mathews in the character of Charles Rattleton, in his farce of the Humpbacked Lover. Engraved for No. 103 of Cumberland's Minor Theatre. A true bit of the family timber, a chip of the old block, in the part in which he first wooed and won the public favour Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [177]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Donna Victoria. Miss Taylor in the character of Donna Victoria, in Mrs. Cowley's comedy of A Bold Stroke for a Husband. Engraved for No. 276 of Cumberland's British Theatre. A striking and spirited resemblance of this favourite actress, in one of her most graceful parts Theatrical Gallery (Buss)|Donna Victoria. Miss Taylor in the character of Donna Victoria, in Mrs. Cowley's comedy of A Bold Stroke for a Husband. Engraved for No. 276 of Cumberland's British Theatre. A striking and spirited resemblance of this favourite actress, in one of her most graceful parts Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [178]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Arabella Beaumont. Mrs. Stirling in the character of Arabella Beaumont, in Mrs. Baron Cornwall Wilson's farce of Venus in Arms, or the Petticoat Colonel. Engraved for No. 123 of Cumberland's Minor Theatre. A lady of truly versatile talents, and "more honoured in the breech," which she gracefully wears, than any other actress of her day Theatrical Gallery (Buss)|Arabella Beaumont. Mrs. Stirling in the character of Arabella Beaumont, in Mrs. Baron Cornwall Wilson's farce of Venus in Arms, or the Petticoat Colonel. Engraved for No. 123 of Cumberland's Minor Theatre. A lady of truly versatile talents, and "more honoured in the breech," which she gracefully wears, than any other actress of her day Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [179]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Sir Giles Overreach. Mr. Vandenhoff in the character of Sit Giles Overreach, in Massinger's comedy of A New Way to Pay Old Debts. Engraved for No. 43 of Cumberland's British Theatre. A bold and faithful likeness of a popular actor in this heaven-defying, cruel extortioner. The lights are skillfully thrown in, and the figure stands forth in admirable relief Theatrical Gallery (Buss)|Sir Giles Overreach. Mr. Vandenhoff in the character of Sit Giles Overreach, in Massinger's comedy of A New Way to Pay Old Debts. Engraved for No. 43 of Cumberland's British Theatre. A bold and faithful likeness of a popular actor in this heaven-defying, cruel extortioner. The lights are skillfully thrown in, and the figure stands forth in admirable relief Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [180]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Mandane. Miss Paton in the character of Mandane, in Dr. Arne's opera of Artaxexes. Engraved for No. 127 of Cumberland's British Theatre. This first of English female vocalists has never been equalled in "The Soldier tir'd," since the days of Billington. It had much of the compass, force, and fire, of her astonishing predecessor Theatrical Gallery (Wageman)|Mandane. Miss Paton in the character of Mandane, in Dr. Arne's opera of Artaxexes. Engraved for No. 127 of Cumberland's British Theatre. This first of English female vocalists has never been equalled in "The Soldier tir'd," since the days of Billington. It had much of the compass, force, and fire, of her astonishing predecessor Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [181]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Euphrasia. Miss Fanny Kemble in the character of Euphrasia, in Murphy's tragedy of The Grecian Daughter. Engraved for No. 173 of Cumberland's British Theatre. This young actress verified to an eminent degree the lines of Shakspeare, -- "There is a tide in the affairs of men -- (and women, too!) Which, taken as the flood, leads on to fortune." The Grecian Daughter, being chiefly declamatory, was her best character Theatrical Gallery (Wageman)|Euphrasia. Miss Fanny Kemble in the character of Euphrasia, in Murphy's tragedy of The Grecian Daughter. Engraved for No. 173 of Cumberland's British Theatre. This young actress verified to an eminent degree the lines of Shakspeare, -- "There is a tide in the affairs of men -- (and women, too!) Which, taken as the flood, leads on to fortune." The Grecian Daughter, being chiefly declamatory, was her best character Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [182]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Humphrey Clinker. Mr. W.H. Williams in the character of Humphrey Clinker, in T. Dibdin's drama of Humphrey Clinker. Engraved for No. 28 of Cumberland's Minor Theatre. An actor of great versatility and humour in low comedy; an adroit mimic; and an excellent cure for the megrims Theatrical Gallery (Wageman)|Humphrey Clinker. Mr. W.H. Williams in the character of Humphrey Clinker, in T. Dibdin's drama of Humphrey Clinker. Engraved for No. 28 of Cumberland's Minor Theatre. An actor of great versatility and humour in low comedy; an adroit mimic; and an excellent cure for the megrims Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [183]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Sir John Falstaff. Mr. Dowton in the character of Sir John Falstaff, in the Second Part of King Henry the Fourth. Engraved for No. 191 of Cumberland's British Theatre. -- "The comic world in one" here finds his best modern representative. "Lean Jack" is gathering up his features to look grave, after his long-bows and waggeries. He would half dispose us to believe that he is "as virtuously given as any gentleman in Christendom!" In bluff humour, roaring jollity, and smooth, hypocritical villany of a high tragic cast, ( for the latter, see Doctor Cantwell,) Mr. Dowton has no rival Theatrical Gallery (Wageman)|Sir John Falstaff. Mr. Dowton in the character of Sir John Falstaff, in the Second Part of King Henry the Fourth. Engraved for No. 191 of Cumberland's British Theatre. -- "The comic world in one" here finds his best modern representative. "Lean Jack" is gathering up his features to look grave, after his long-bows and waggeries. He would half dispose us to believe that he is "as virtuously given as any gentleman in Christendom!" In bluff humour, roaring jollity, and smooth, hypocritical villany of a high tragic cast, ( for the latter, see Doctor Cantwell,) Mr. Dowton has no rival Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [184]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Endless. Mr. Liston in the character of Endless, in No Song no Supper. Engraved for No. 164 of Cumberland's British Theatre. The uxurious limb of the law is doing the agreeable to Mrs. Crop, in the absence of the miller. The artist has been abundantly successful in pourtraying the unique physiognomy -- drawn up in farcical festoons, furrowed with fun! -- of this exquisite droll. His wig itself is a great work Theatrical Gallery (Wageman)|Endless. Mr. Liston in the character of Endless, in No Song no Supper. Engraved for No. 164 of Cumberland's British Theatre. The uxurious limb of the law is doing the agreeable to Mrs. Crop, in the absence of the miller. The artist has been abundantly successful in pourtraying the unique physiognomy -- drawn up in farcical festoons, furrowed with fun! -- of this exquisite droll. His wig itself is a great work Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [185]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Colonel Hubbub. Mr. Quick in the character of Colonel Hubbub, in Reynold's play of Notoriety. Engraved for No. 182 of Cumberland's British Theatre. A racy reminiscence of the good old school, before buffoonery and grimace elbowed comedy off the stage. The rosy gills, flaring eye, and turkey-cock strut, bespeak the prime favourite of King George the Third, whom his majesty often deputed to relax his muscles. This was the last Portrait "cunning little Isaac" ever sat for; and was obtained with no small difficulty at his chateau at Islington Theatrical Gallery (Wageman)|Colonel Hubbub. Mr. Quick in the character of Colonel Hubbub, in Reynold's play of Notoriety. Engraved for No. 182 of Cumberland's British Theatre. A racy reminiscence of the good old school, before buffoonery and grimace elbowed comedy off the stage. The rosy gills, flaring eye, and turkey-cock strut, bespeak the prime favourite of King George the Third, whom his majesty often deputed to relax his muscles. This was the last Portrait "cunning little Isaac" ever sat for; and was obtained with no small difficulty at his chateau at Islington Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [186]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Puff. Mr. Jones in the character of Puff, in Sheridan's farce of The Critic. Engraved for No. 99 of Cumberland's British Theatre. A speaking likeness of this beau ideal of fops and fribbles; than whom a better has not trod the stage since the admirable Lewis Theatrical Gallery (Wageman)|Puff. Mr. Jones in the character of Puff, in Sheridan's farce of The Critic. Engraved for No. 99 of Cumberland's British Theatre. A speaking likeness of this beau ideal of fops and fribbles; than whom a better has not trod the stage since the admirable Lewis Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [187]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Monsieur Morbleu. Mr. Mathews in the character of Monsieur Morbleu, in Moncrieff's farce of Monsieur Tonson. Engraved for No. 106 of Cumberland's British Theatre. -- The perplexity and surprise of the "Pauvre Barbiere," at having been thrice roused from his warm bed, with one boot off and one boot on, during a cold, wet, wintry night -- the puddle, too, before his door! are hit off with whimsical exactness Theatrical Gallery (Wageman)|Monsieur Morbleu. Mr. Mathews in the character of Monsieur Morbleu, in Moncrieff's farce of Monsieur Tonson. Engraved for No. 106 of Cumberland's British Theatre. -- The perplexity and surprise of the "Pauvre Barbiere," at having been thrice roused from his warm bed, with one boot off and one boot on, during a cold, wet, wintry night -- the puddle, too, before his door! are hit off with whimsical exactness Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [188]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Moggy M'Gilpin. Miss Foote in the character of Moggy M'Gilpin, in O'Keeffe's farce of The Highland Reel. Engraved for No. 120 of Cumberland's British Theatre. The theatrical and fashionable world will here recognise the "true effigie" of a lady, who, ceasing to be a star in the one, has transferred her radiance to the other Theatrical Gallery (Wageman)|Moggy M'Gilpin. Miss Foote in the character of Moggy M'Gilpin, in O'Keeffe's farce of The Highland Reel. Engraved for No. 120 of Cumberland's British Theatre. The theatrical and fashionable world will here recognise the "true effigie" of a lady, who, ceasing to be a star in the one, has transferred her radiance to the other Theatrical Gallery]] réalisée par Wageman, vendue par Cumberland. [189]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[A Sketch of Mr. Strickland in the Character of Grosnez. "Fate gave Bob the beggar's benison, Lots of turtle-soup and venison; Loaves, as many as good wishes, Seas and rivers full of fishes; Turbot, salmon, craw-fish, cod-fish, -- Bobby is himself the odd-fish!" D.---G. Theatrical Gallery (Buss)|A Sketch of Mr. Strickland in the Character of Grosnez. "Fate gave Bob the beggar's benison, Lots of turtle-soup and venison; Loaves, as many as good wishes, Seas and rivers full of fishes; Turbot, salmon, craw-fish, cod-fish, -- Bobby is himself the odd-fish!" D.---G. Theatrical Gallery]] réalisée par Buss, vendue par Cumberland. [193]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Marie Antoinette, and the Princess de Lamballe. The "Grande Nation" will do well to contemplate these royal victims of republican fury. The first, the most polite people in the world loaded with base indignity, and murdered; an appropriate last act to the tragedy of her husband's regicide! The second they butchered in the streets of Paris; dragged her head along by its beautiful hair; and -- ghastly, bleeding, and elevated on a pole -- thrust it full in the faces of their king and queen on their way to the Temple! And these are the well-bred savages that squeamishly turn aside from theatrical executions, and vaunt their superior taste and refined feeling! Truly the countrymen of Danton and Robespierre are sentimentalists! "The Prince of Darkness (says Lear) is a gentleman!" (Greuze (John Baptiste.) Born 1734. Died 1807)|Marie Antoinette, and the Princess de Lamballe. The "Grande Nation" will do well to contemplate these royal victims of republican fury. The first, the most polite people in the world loaded with base indignity, and murdered; an appropriate last act to the tragedy of her husband's regicide! The second they butchered in the streets of Paris; dragged her head along by its beautiful hair; and -- ghastly, bleeding, and elevated on a pole -- thrust it full in the faces of their king and queen on their way to the Temple! And these are the well-bred savages that squeamishly turn aside from theatrical executions, and vaunt their superior taste and refined feeling! Truly the countrymen of Danton and Robespierre are sentimentalists! "The Prince of Darkness (says Lear) is a gentleman!"]] réalisée par Greuze (John Baptiste.) Born 1734. Died 1807, vendue par Cumberland. [197]
  • 1838.-.-/ -. Vente de l'œuvre décrite comme [[Marie Antoinette, and the Princess de Lamballe. The "Grande Nation" will do well to contemplate these royal victims of republican fury. The first, the most polite people in the world loaded with base indignity, and murdered; an appropriate last act to the tragedy of her husband's regicide! The second they butchered in the streets of Paris; dragged her head along by its beautiful hair; and -- ghastly, bleeding, and elevated on a pole -- thrust it full in the faces of their king and queen on their way to the Temple! And these are the well-bred savages that squeamishly turn aside from theatrical executions, and vaunt their superior taste and refined feeling! Truly the countrymen of Danton and Robespierre are sentimentalists! "The Prince of Darkness (says Lear) is a gentleman!" (Greuze (John Baptiste.))|Marie Antoinette, and the Princess de Lamballe. The "Grande Nation" will do well to contemplate these royal victims of republican fury. The first, the most polite people in the world loaded with base indignity, and murdered; an appropriate last act to the tragedy of her husband's regicide! The second they butchered in the streets of Paris; dragged her head along by its beautiful hair; and -- ghastly, bleeding, and elevated on a pole -- thrust it full in the faces of their king and queen on their way to the Temple! And these are the well-bred savages that squeamishly turn aside from theatrical executions, and vaunt their superior taste and refined feeling! Truly the countrymen of Danton and Robespierre are sentimentalists! "The Prince of Darkness (says Lear) is a gentleman!"]] réalisée par Greuze (John Baptiste.), vendue par Cumberland. [198]
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