Ventes d'œuvres le 1838.04.07

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  • 1838.04.07/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Prodigal Son. The interior of a stable and cow-house, in which are two horses, one grey, the other of a chesnut colour, standing in a stall on the right; in the centre are several cows, the nearest one to the spectator is lying down; a great variety of objects common to a stable are distributed about the place; three men are near the horses, one of them appears to be occupied at the manger, another has a lighted candle in his hand, and a third is placing provender in the rack. T Prodigal is on the left side near the entrance to the stable, bending on one knee, his hands placed on his breast, and looking with an expression of entreaty to a maid-servant, who is close to him feeding some pigs that are rushing with eagerness to the trough: beyond these are seen a waggon near a farm-house, and two men watering horses in a pond; the general effect denotes sunrise. This picture is painted with extraordinary care, and great attention to detail: the animals are correctly drawn, and possess the true characteristics of nature; but the great charm of this production consists in the truly affecting and pathetic expression of the Prodigal, whose position, countenance, and gesture, strongly mark the compunctious workings of his mind. As a proof of the great care and attention given by Rubens to this composition, studies very highly finished of the two principal groups of cattle, were in the collection of Sir T. Lawrence of the drawings of ancient masters. These were recently sold by the Messrs. Woodburne, one to the Prince of Orange, and the other to M. de Rouveray. -- Engraved by Bolswert. Sir Joshua Reynolds in his "Tour through Flanders." mentions this picture, which was then in the collection of M. Pieters, 1781; and afterwards in that of M. Stiers d'Aertselaer. See Smith's Catalogue Raisonnée, p. 226 (Rubens)|The Prodigal Son. The interior of a stable and cow-house, in which are two horses, one grey, the other of a chesnut colour, standing in a stall on the right; in the centre are several cows, the nearest one to the spectator is lying down; a great variety of objects common to a stable are distributed about the place; three men are near the horses, one of them appears to be occupied at the manger, another has a lighted candle in his hand, and a third is placing provender in the rack. T Prodigal is on the left side near the entrance to the stable, bending on one knee, his hands placed on his breast, and looking with an expression of entreaty to a maid-servant, who is close to him feeding some pigs that are rushing with eagerness to the trough: beyond these are seen a waggon near a farm-house, and two men watering horses in a pond; the general effect denotes sunrise. This picture is painted with extraordinary care, and great attention to detail: the animals are correctly drawn, and possess the true characteristics of nature; but the great charm of this production consists in the truly affecting and pathetic expression of the Prodigal, whose position, countenance, and gesture, strongly mark the compunctious workings of his mind. As a proof of the great care and attention given by Rubens to this composition, studies very highly finished of the two principal groups of cattle, were in the collection of Sir T. Lawrence of the drawings of ancient masters. These were recently sold by the Messrs. Woodburne, one to the Prince of Orange, and the other to M. de Rouveray. -- Engraved by Bolswert. Sir Joshua Reynolds in his "Tour through Flanders." mentions this picture, which was then in the collection of M. Pieters, 1781; and afterwards in that of M. Stiers d'Aertselaer. See Smith's Catalogue Raisonnée, p. 226]] réalisée par Rubens, vendue par William Wilkins Esq RA, achetée par Farrer au prix de 246.15 gs. [3]
  • 1838.04.07/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[St. Peter and St. John healing the Impotent Man. The miracle is represented as occurring at the beautiful gate of the temple. The two Apostles are seen on the summit of a noble flight of steps, apparently about to enter the portal of the edifice, where their attention is suddenly arrested by the plaintive entreaty of a poor cripple, who sits at the base of a column. "Then Peter said, silver and gold have I none, but such as I have give I thee; in the name of Jesus Christ of Nazareth, rise up and walk; and he took him by the right hand, and lifted him up." -- (Acts iii.) This is the moment depicted, St. Peter being in the act of extending his hand to raise the cripple, while St. John indicates, by the elevation of his hand, the source from whence their power is derived: several persons are near them, some of whom are entering the portal, while others are ascending the steps in front: one of them is bestowing alms on a poor woman seated with a child reclining in her lap, another is near the centre with his back to the spectator, apparently speaking to a man who is descending the steps, and at whose side is a woman with a basket on her head: the receding part of the picture is occupied with beautiful buildings. This Picture was painted in 1655 for M. Mercier, treasurer at Lyons; engraved by C. Stella, Audran, and Wolf, from the collection of Lord Radstock. A duplicate of the above, with some variations, is in the collection of the Prince of Lichtenstein, at Vienna. See Smith's Catalogue Raisonnée (N. Poussin)|St. Peter and St. John healing the Impotent Man. The miracle is represented as occurring at the beautiful gate of the temple. The two Apostles are seen on the summit of a noble flight of steps, apparently about to enter the portal of the edifice, where their attention is suddenly arrested by the plaintive entreaty of a poor cripple, who sits at the base of a column. "Then Peter said, silver and gold have I none, but such as I have give I thee; in the name of Jesus Christ of Nazareth, rise up and walk; and he took him by the right hand, and lifted him up." -- (Acts iii.) This is the moment depicted, St. Peter being in the act of extending his hand to raise the cripple, while St. John indicates, by the elevation of his hand, the source from whence their power is derived: several persons are near them, some of whom are entering the portal, while others are ascending the steps in front: one of them is bestowing alms on a poor woman seated with a child reclining in her lap, another is near the centre with his back to the spectator, apparently speaking to a man who is descending the steps, and at whose side is a woman with a basket on her head: the receding part of the picture is occupied with beautiful buildings. This Picture was painted in 1655 for M. Mercier, treasurer at Lyons; engraved by C. Stella, Audran, and Wolf, from the collection of Lord Radstock. A duplicate of the above, with some variations, is in the collection of the Prince of Lichtenstein, at Vienna. See Smith's Catalogue Raisonnée]] réalisée par N. Poussin, vendue par William Wilkins Esq RA au prix de 200 gs. [4]
  • 1838.04.07/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Campagna di Roma; a beautiful picture of the master, in the highest state of conservation; the view, taken from the Cascatelle of Tivoli, is much more of a portrait than his locale usually exhibits. It was originally in Mr. Gray's collection (Gaspar Poussin)|The Campagna di Roma; a beautiful picture of the master, in the highest state of conservation; the view, taken from the Cascatelle of Tivoli, is much more of a portrait than his locale usually exhibits. It was originally in Mr. Gray's collection]] réalisée par Gaspar Poussin, vendue par William Wilkins Esq RA, achetée par Barham au prix de 210.0 gs. [6]
  • 1838.04.07/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Judgment of Paris; a highly-finished cabinet picture of the master, from which Marc Antonio's engraving was executed. Such, at least, was the opinion of one of the most celebrated painters of the present century, who repeatedly made proposals for the purchase, and that of the two following lots Domenichino, St. Catherine and St. Theresa, and Domenichino, St. Ursula and Cardinal Borromeo; these two pictures formed part of the Altieri collection, and were purchased at Rome by Mr. Davenport (Raffaelle)|The Judgment of Paris; a highly-finished cabinet picture of the master, from which Marc Antonio's engraving was executed. Such, at least, was the opinion of one of the most celebrated painters of the present century, who repeatedly made proposals for the purchase, and that of the two following lots Domenichino, St. Catherine and St. Theresa, and Domenichino, St. Ursula and Cardinal Borromeo; these two pictures formed part of the Altieri collection, and were purchased at Rome by Mr. Davenport]] réalisée par Raffaelle, vendue par William Wilkins Esq RA, achetée par Brown au prix de 15.15 gs. [10]
  • 1838.04.07/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Garden of Love; a composition suggested by the picture of Rubens on the subject, but altogether differing in the landscape and back-ground. In this picture the portrait of Vandyke is introduced in a reclining attitude. The principal group, and a figure of the right hand, have been almost wholly repainted by Sir Joshua Reynolds. The female figure more especially bears the impressa of this great painter (Spanish School)|The Garden of Love; a composition suggested by the picture of Rubens on the subject, but altogether differing in the landscape and back-ground. In this picture the portrait of Vandyke is introduced in a reclining attitude. The principal group, and a figure of the right hand, have been almost wholly repainted by Sir Joshua Reynolds. The female figure more especially bears the impressa of this great painter]] réalisée par Spanish School, vendue par William Wilkins Esq RA, achetée par Rutley au prix de 8.8 gs. [25]
  • 1838.04.07/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Deluge; an original composition of this great follower of Raffaelle and Giulio Romano; some pentimenti are to be traced in the drawing which is altogether Raffaellesque. He has introduced the portrait of G. Romano, bearded, on the left of the composition. The swimming horseman seems to have been a conventional group in the pictures of the great masters; it occurs in the battle of Maxentius (as may be seen in Lot 8), and is found in pictures of the Deluge, by Carracci, N. Poussin, and Alexander Veronese (Pierino del Vaga)|The Deluge; an original composition of this great follower of Raffaelle and Giulio Romano; some pentimenti are to be traced in the drawing which is altogether Raffaellesque. He has introduced the portrait of G. Romano, bearded, on the left of the composition. The swimming horseman seems to have been a conventional group in the pictures of the great masters; it occurs in the battle of Maxentius (as may be seen in Lot 8), and is found in pictures of the Deluge, by Carracci, N. Poussin, and Alexander Veronese]] réalisée par Pierino del Vaga, vendue par William Wilkins Esq RA au prix de 15.15 gs. [27]
  • 1838.04.07/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Descent from the Cross; painted in his Italian manner. "In this excellent composition it is obvious that an imitation of the grandeur of Carracci was intended by the master. The drawing, colouring, and solemn effect are purely Italian, and finely in unison with the sentiment and pathos which so eminently characterize the composition." Rubens has repeated this subject, with variations, more than once, and treated it in his usual Flemish style (Rubens)|Descent from the Cross; painted in his Italian manner. "In this excellent composition it is obvious that an imitation of the grandeur of Carracci was intended by the master. The drawing, colouring, and solemn effect are purely Italian, and finely in unison with the sentiment and pathos which so eminently characterize the composition." Rubens has repeated this subject, with variations, more than once, and treated it in his usual Flemish style]] réalisée par Rubens, vendue par William Wilkins Esq RA au prix de 27.6 gs. [28]
  • 1838.04.07/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Marriage of Thetis and Peleus; a fine composition of academy figures. The works of Van Harlaem are rare, and prove his success in the study of the antique, to which he devoted himself. The present specimen is one of the finest of the Master for drawing and finish (Cornelius van Harlaem)|The Marriage of Thetis and Peleus; a fine composition of academy figures. The works of Van Harlaem are rare, and prove his success in the study of the antique, to which he devoted himself. The present specimen is one of the finest of the Master for drawing and finish]] réalisée par Cornelius van Harlaem, vendue par William Wilkins Esq RA, achetée par Moreland au prix de 10.10 gs. [31]
  • 1838.04.07/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A landscape, with an inn, and a group of figures at the door; on a road in the centre a man is riding on a grey horse; the left of the picture is richly wooded, the spire of the village church seen above; the distance is beautifully illumined by a gleam of sunshine; a capital picture (J. Ostade)|A landscape, with an inn, and a group of figures at the door; on a road in the centre a man is riding on a grey horse; the left of the picture is richly wooded, the spire of the village church seen above; the distance is beautifully illumined by a gleam of sunshine; a capital picture]] réalisée par J. Ostade, vendue par Mr Ferguson Portman Square, achetée par Barham au prix de 131.5 gs. [36]
  • 1838.04.07/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A View of the Market-place at Rotterdam, with the statue of Erasmus; in the foreground is a group of figures purchasing fruit at an old woman's stall, which is covered with fruit and vegetables. This exquisite specimen may be considered the chef-d'oeuvre of the Master. From the celebrated Collection of Van der Pott, of Rotterdam (M. Sorgh, 1664)|A View of the Market-place at Rotterdam, with the statue of Erasmus; in the foreground is a group of figures purchasing fruit at an old woman's stall, which is covered with fruit and vegetables. This exquisite specimen may be considered the chef-d'oeuvre of the Master. From the celebrated Collection of Van der Pott, of Rotterdam]] réalisée par M. Sorgh, 1664, vendue par Mr Ferguson Portman Square au prix de 160 gs. [37]
  • 1838.04.07/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Christ seated at the well, in conversation with the Samaritan woman, who is filling a vessel with water, Peter and three other disciples in the back-ground; a brilliant distant landscape; a fine specimen of the grand drawing and powerful colouring of the Bolognese School (A. Carracci)|Christ seated at the well, in conversation with the Samaritan woman, who is filling a vessel with water, Peter and three other disciples in the back-ground; a brilliant distant landscape; a fine specimen of the grand drawing and powerful colouring of the Bolognese School]] réalisée par A. Carracci, vendue par Daubeney, achetée par Farrant au prix de 44.2 gs. [45]
  • 1838.04.07/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A woody-scene on the bank of a river, with a boy driving sheep over a wooden bridge towards the entrance of the wood; a broken bank and rushes in the foreground; the trees are beautifully relieved by a slightly clouded sky; a clear and exquisite bit of Nature, in the most perfect state. From Baron Becker's Collection (Ruysdael)|A woody-scene on the bank of a river, with a boy driving sheep over a wooden bridge towards the entrance of the wood; a broken bank and rushes in the foreground; the trees are beautifully relieved by a slightly clouded sky; a clear and exquisite bit of Nature, in the most perfect state. From Baron Becker's Collection]] réalisée par Ruysdael, vendue par Daubeney, achetée par Barham Col Hutchinson au prix de 246.15 gs. [46]
  • 1838.04.07/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A landscape, with a castle on a wooded height, under which figures are driving cattle over a bridge; a river running rapidly over some rocks in the foreground under a noble group of trees, near which are two figures; the subject is illumined with a glowing evening sun. From the Collection of Canon Hume of Salisbury (Claude)|A landscape, with a castle on a wooded height, under which figures are driving cattle over a bridge; a river running rapidly over some rocks in the foreground under a noble group of trees, near which are two figures; the subject is illumined with a glowing evening sun. From the Collection of Canon Hume of Salisbury]] réalisée par Claude, vendue par Daubeney, achetée par Barham au prix de 73.10 gs. [51]
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