Ventes d'œuvres le 1838.05.12

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  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Companion Picture: a more detailed description of these paintings is written on the back of the canvass of each of them by their former owner This and the following lot were given by Sir Joshua Reynolds to his friend James Barry, Esq., and purchased at his Sale (Sir Joshua Reynolds)|The Companion Picture: a more detailed description of these paintings is written on the back of the canvass of each of them by their former owner This and the following lot were given by Sir Joshua Reynolds to his friend James Barry, Esq., and purchased at his Sale]] réalisée par Sir Joshua Reynolds, vendue par Rt Hon Lord Northwick, achetée par Gritten au prix de 5.5 gs. [4]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape, the scene of which is in the woods near the spring at Taplow, in the grounds of the late Marchioness of Thomond; the convivial party were probably of the family. This and the following lot were given by Sir Joshua Reynolds to his friend James Barry, Esq., and purchased at his Sale a more detailed description of these paintings is written on the back of the canvass of each of them by their former owner (Sir Joshua Reynolds)|A Landscape, the scene of which is in the woods near the spring at Taplow, in the grounds of the late Marchioness of Thomond; the convivial party were probably of the family. This and the following lot were given by Sir Joshua Reynolds to his friend James Barry, Esq., and purchased at his Sale a more detailed description of these paintings is written on the back of the canvass of each of them by their former owner]] réalisée par Sir Joshua Reynolds, vendue par Rt Hon Lord Northwick, achetée par Gritten au prix de 5.10 gs. [5]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Two Portraits, large as Life, upon Panel; supposed to represent Sir Reginald Mohun, and Lady, (the arms being of that ancient family), and which, from the dress of the parties, appears to have been painted about the time of Elizabeth; we are unable to give any further account of this most curious painting, than that it formerly belonged to Mr. Gilbert, historian of the County of Cornwall, and was previously in Sir John Trelawny's possession (artiste anonyme)|Two Portraits, large as Life, upon Panel; supposed to represent Sir Reginald Mohun, and Lady, (the arms being of that ancient family), and which, from the dress of the parties, appears to have been painted about the time of Elizabeth; we are unable to give any further account of this most curious painting, than that it formerly belonged to Mr. Gilbert, historian of the County of Cornwall, and was previously in Sir John Trelawny's possession]] réalisée par un.e artiste anonyme, vendue par Rt Hon Lord Northwick, achetée par Rodd au prix de 5.5 gs. [6]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portraits of the Prince and Princess of Orange, both very young, and painted at the time when they were affianced to each other; which was on the 23d of May, 1641; the Princess Mary was the eldest of Charles the First's daughters, and born in 1631; and this illustrious pair were father and mother to our William III., of glorious memory! It is a very interesting painting by some Dutch portrait painter, probably of much repute at the time, and the portraits bear a strong resemblance to Hollar's finished engravings of the same personages; the name of the painter is somewhere written on the canvass, but so faintly, as not easily to be discovered (Dutch)|Portraits of the Prince and Princess of Orange, both very young, and painted at the time when they were affianced to each other; which was on the 23d of May, 1641; the Princess Mary was the eldest of Charles the First's daughters, and born in 1631; and this illustrious pair were father and mother to our William III., of glorious memory! It is a very interesting painting by some Dutch portrait painter, probably of much repute at the time, and the portraits bear a strong resemblance to Hollar's finished engravings of the same personages; the name of the painter is somewhere written on the canvass, but so faintly, as not easily to be discovered]] réalisée par Dutch, vendue par Rt Hon Lord Northwick, achetée par Lee au prix de 12.12 gs. [7]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Neophytus Philopopoleus, Archbishop of Thrace and Tergowitz; a finely painted portrait, in a most curiously wrought ebony frame. This celebrated person, who was in England in the reign of Queen Anne, was admitted to a Doctor's degree, in the University of Cambridge (artiste anonyme)|Neophytus Philopopoleus, Archbishop of Thrace and Tergowitz; a finely painted portrait, in a most curiously wrought ebony frame. This celebrated person, who was in England in the reign of Queen Anne, was admitted to a Doctor's degree, in the University of Cambridge]] réalisée par un.e artiste anonyme, vendue par Rt Hon Lord Northwick, achetée par Lee au prix de 6.0 gs. [8]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Two Studies: one a Landscape, a bravura imitation of the style and manner of S. Rosa; the other a Virgin and Child, intended to display the magical effect of the colouring of Correggio. These interesting sketches were the property of the late Marchioness of Thomond, and sold at her Sale, in 1821 (Sir Joshua Reynolds)|Two Studies: one a Landscape, a bravura imitation of the style and manner of S. Rosa; the other a Virgin and Child, intended to display the magical effect of the colouring of Correggio. These interesting sketches were the property of the late Marchioness of Thomond, and sold at her Sale, in 1821]] réalisée par Sir Joshua Reynolds, vendue par Rt Hon Lord Northwick, achetée par Rodd au prix de 4.4 gs. [18]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin and Child -- circular: this is the painting of a very promising young artist who is settled at Aix-la-Chapelle, having resided several years at Rome, where he studied with success the works of Raphael and other great masters of the Italian School (Thomas)|The Virgin and Child -- circular: this is the painting of a very promising young artist who is settled at Aix-la-Chapelle, having resided several years at Rome, where he studied with success the works of Raphael and other great masters of the Italian School]] réalisée par Thomas, vendue par Rt Hon Lord Northwick, achetée par Tiffin au prix de 8.18 gs. [32]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Convalescent. An invalid soldier has come forth from his regimental barracks to breathe a purer air; his sickly and attenuated features, the difficulty with which he appears to inhale the breath of life, the position of his hand, and the general state of relaxation and debility to which his manly frame is reduced, too well indicate the seat of his disease: seated by his side is a female, the perfect model of a soldier's wife, in whose countenance are depicted anxiety and care, and who seems to be affectionately watching the progress of her husband's disease, with dire foreboding of its fatal termination: she is, together with her female child, tenderly sympathizing in the soldier's sufferings, with all those refined feelings of sensibility that are the peculiar attributes of the female breast. In the same foreground are two juvenile athletæ, true sons of a soldier, the elder of whom, calm and composed, disdains the triumph of an unequal contest, whilst the other sturdy little urchin, undismayed, and like another infant Hercules, is putting forth all his strength, and calling into action every muscle of every joint and stretching every tendon (even to the very tip of his toes), unmindful of the great odds that are against him. His capacious forehead, and stern intrepid countenance, announce a character whose energies may hereafter be called forth in fighting the battlles of his country, as his father may have done before him. This little figure, taken apart from the general composition of the whole painting, is in itself a perfect gem, and cannot be sufficiently eulogized. In a faultless piece of architecture (if such there be,) every component portion thereof must be in true proportions, and of rich and costly materials, elaborately wrought or chiselled -- and yet when the temple is raised there will be no prominent parts -- all will be in the most harmonious association -- nothing out of place to disturb the eye, which ranges with uninterrupted pleasure over the whole fabric, and it is only on a more minute and often repeated inspection, that its manifold excellencies are fully developed, and call forth all our feelings of admiration. So it is in this picture; from the elaborately finished figures in the foreground, to the furthermost extremities of its horizon -- all is in the most perfect keeping, and the perspective, in its several lines of gradation, mathematically true, and most judiciously arranged, replete with subordinate associations that harmonize and are in the most perfect unison with the main subject of the picture. It is a really national composition, in which our rural sceneries, our manners, and more especially our moral feelings, are most faithfully delineated, and by a master's hand; -- and of such moral feelings Englishmen may well be proud. Gerard Dow, and others of his distinguished countrymen, (giants in art of their day,) may have produced works perhaps as elaborately finished, and certainly displaying greater knowledge of the powerful effects of chiar' oscuro, in which they were unrivalled; but none of these most excellent artists have left behind them any production of so elevated a character, of such exquisite pathos, in which all the best feelings of our nature are so faithfully reflected, as in this our matchless picture, which, without disparagement to the works of any contemporary, may justly maintain its ground, and rank with the most perfect works of art, of the same class, that the present age (so fertile in talents of a superior order,) has hitherto brought into notice. The painting is in the pure and perfect state in which it came out of the artist's hands, it never yet having been varnished, in compliance with Mr. Mulready's recommendation, then expressed; but as several years have since elapsed, it is presumed that a thin and diluted coat of varnish now carefully applied, would not only benefit the picture, but give it a more mellow tone, and add much to its brilliant effect (William Mulready, R.A.)|The Convalescent. An invalid soldier has come forth from his regimental barracks to breathe a purer air; his sickly and attenuated features, the difficulty with which he appears to inhale the breath of life, the position of his hand, and the general state of relaxation and debility to which his manly frame is reduced, too well indicate the seat of his disease: seated by his side is a female, the perfect model of a soldier's wife, in whose countenance are depicted anxiety and care, and who seems to be affectionately watching the progress of her husband's disease, with dire foreboding of its fatal termination: she is, together with her female child, tenderly sympathizing in the soldier's sufferings, with all those refined feelings of sensibility that are the peculiar attributes of the female breast. In the same foreground are two juvenile athletæ, true sons of a soldier, the elder of whom, calm and composed, disdains the triumph of an unequal contest, whilst the other sturdy little urchin, undismayed, and like another infant Hercules, is putting forth all his strength, and calling into action every muscle of every joint and stretching every tendon (even to the very tip of his toes), unmindful of the great odds that are against him. His capacious forehead, and stern intrepid countenance, announce a character whose energies may hereafter be called forth in fighting the battlles of his country, as his father may have done before him. This little figure, taken apart from the general composition of the whole painting, is in itself a perfect gem, and cannot be sufficiently eulogized. In a faultless piece of architecture (if such there be,) every component portion thereof must be in true proportions, and of rich and costly materials, elaborately wrought or chiselled -- and yet when the temple is raised there will be no prominent parts -- all will be in the most harmonious association -- nothing out of place to disturb the eye, which ranges with uninterrupted pleasure over the whole fabric, and it is only on a more minute and often repeated inspection, that its manifold excellencies are fully developed, and call forth all our feelings of admiration. So it is in this picture; from the elaborately finished figures in the foreground, to the furthermost extremities of its horizon -- all is in the most perfect keeping, and the perspective, in its several lines of gradation, mathematically true, and most judiciously arranged, replete with subordinate associations that harmonize and are in the most perfect unison with the main subject of the picture. It is a really national composition, in which our rural sceneries, our manners, and more especially our moral feelings, are most faithfully delineated, and by a master's hand; -- and of such moral feelings Englishmen may well be proud. Gerard Dow, and others of his distinguished countrymen, (giants in art of their day,) may have produced works perhaps as elaborately finished, and certainly displaying greater knowledge of the powerful effects of chiar' oscuro, in which they were unrivalled; but none of these most excellent artists have left behind them any production of so elevated a character, of such exquisite pathos, in which all the best feelings of our nature are so faithfully reflected, as in this our matchless picture, which, without disparagement to the works of any contemporary, may justly maintain its ground, and rank with the most perfect works of art, of the same class, that the present age (so fertile in talents of a superior order,) has hitherto brought into notice. The painting is in the pure and perfect state in which it came out of the artist's hands, it never yet having been varnished, in compliance with Mr. Mulready's recommendation, then expressed; but as several years have since elapsed, it is presumed that a thin and diluted coat of varnish now carefully applied, would not only benefit the picture, but give it a more mellow tone, and add much to its brilliant effect]] réalisée par William Mulready, R.A., vendue par Rt Hon Lord Northwick au prix de 714 gs. [39]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Gentle Nymph Sabrina. (From Milton's Comus.) The scene is very poetical, and represents the hall of the aged Nereus, "under the glassy, cool, translucent wave" of fair Sabrina, or (in plain prose) the river Severn. Mr. Howard, in this admirable painting, has given life and a corporeal semblance of the most exquisite Female Beauty to Milton's ethereal flights of fancy, which the poet pours forth in the following beautiful lines: -- "There is a gentle nymph not far from hence That with moist curb sways the smooth Severn stream -- Sabrina is her name, a virgin pure; Whileom she was the daughter of Locrine, That had the sceptre from his father Brute. She, guiltless damsel, flying the mad pursuit Of her enraged stepdame Guendolen, Commended her fair innocence to the flood, And staid her flight with his cross-flowing course. The Water-Nymphs, that in the bottom played, Held up their pearled wrists, and took her in Bearing her straight to aged Nereus' hall, Who piteous of her woes, reared her lank head And gave her to his daughters to imbathe In nectared lavers strewed with asphodel, And through the porch and inlet of each sense Dropt in ambrosial oils, till she revived, And underwent a quick immortal change, Made Goddess of the river." It is difficult to determine to whom the laurel wreath should be adjudged, to the poet, whose divine inspirations have imparted a fancied existence to the fair images of his creative mind, or to the painter, himself "a deep drinker at the Castalian Font," who has transferred them to his own canvass, giving life and motion to Milton's fair embryos, except only to the fairest of them all, his divine Sabrina, whose loveliness, even in a state of suspended animation, proclaims the quick immortal change she was destined to undergo, "made Goddess of the river." We may, however, venture to decide with one of our great poets, who, in a case in which merits were nearly equally balanced, emphatically adjudged an equal division of the prize -- "Let both divide the Crown" (H. Howard, R.A.)|The Gentle Nymph Sabrina. (From Milton's Comus.) The scene is very poetical, and represents the hall of the aged Nereus, "under the glassy, cool, translucent wave" of fair Sabrina, or (in plain prose) the river Severn. Mr. Howard, in this admirable painting, has given life and a corporeal semblance of the most exquisite Female Beauty to Milton's ethereal flights of fancy, which the poet pours forth in the following beautiful lines: -- "There is a gentle nymph not far from hence That with moist curb sways the smooth Severn stream -- Sabrina is her name, a virgin pure; Whileom she was the daughter of Locrine, That had the sceptre from his father Brute. She, guiltless damsel, flying the mad pursuit Of her enraged stepdame Guendolen, Commended her fair innocence to the flood, And staid her flight with his cross-flowing course. The Water-Nymphs, that in the bottom played, Held up their pearled wrists, and took her in Bearing her straight to aged Nereus' hall, Who piteous of her woes, reared her lank head And gave her to his daughters to imbathe In nectared lavers strewed with asphodel, And through the porch and inlet of each sense Dropt in ambrosial oils, till she revived, And underwent a quick immortal change, Made Goddess of the river." It is difficult to determine to whom the laurel wreath should be adjudged, to the poet, whose divine inspirations have imparted a fancied existence to the fair images of his creative mind, or to the painter, himself "a deep drinker at the Castalian Font," who has transferred them to his own canvass, giving life and motion to Milton's fair embryos, except only to the fairest of them all, his divine Sabrina, whose loveliness, even in a state of suspended animation, proclaims the quick immortal change she was destined to undergo, "made Goddess of the river." We may, however, venture to decide with one of our great poets, who, in a case in which merits were nearly equally balanced, emphatically adjudged an equal division of the prize -- "Let both divide the Crown"]] réalisée par H. Howard, R.A., vendue par Rt Hon Lord Northwick, achetée par French au prix de 147.0 gs. [40]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Midnight Modern Conversation. It would be useless minutely to describe a composition so well known, and so universally admired and coveted that Hogarth was more than once called upon to repeat the subject, which he did with many variations: our painting differs from the known engraving in some essential points -- in our picture, on the left-hand side below the chair of the hero (who is burning his ruffles when intending to light his pipe,) is Hogarth's dog in a state of repose; the figure that is next to him in the print is in our painting wholly omitted; and the bald-headed man that is opposite in the print is substituted in its place, but his bald head is covered with a napkin, and his face and his dress materially differ; the chair of the fallen militant is in ours in a different position from that in the print -- in short, the general character and costume of a large portion of these worthies vary so much that it is not improbable that Hogarth, in repeating the subject, has availed himself of the opportunity of inflicting castigation on a larger circle of his contemporaries who were addicted to intemperate habits, and to whom this severe reproof would equally apply. We believe that ours is the first finished sketch that he painted on this subject and we think that the variations he subsequently introduced in other similar compositions (if any more were painted) give to all of them an additional interest, and tend to prove that all were painted by Hogarth, from the rich and varied veins of genuine humour that equally run through all, and in the same full and copious streams; they prove also that in subjects of the keenest satire (the lash of which he so well knew how to apply with unsparing severity) he had not an equal in his own line of art -- Pope, as a poet, may have been equally unflinching when personally offended. The picture was formerly in the possession of Admiral Vernon, for whom it is supposed to have been painted (William Hogarth)|The Midnight Modern Conversation. It would be useless minutely to describe a composition so well known, and so universally admired and coveted that Hogarth was more than once called upon to repeat the subject, which he did with many variations: our painting differs from the known engraving in some essential points -- in our picture, on the left-hand side below the chair of the hero (who is burning his ruffles when intending to light his pipe,) is Hogarth's dog in a state of repose; the figure that is next to him in the print is in our painting wholly omitted; and the bald-headed man that is opposite in the print is substituted in its place, but his bald head is covered with a napkin, and his face and his dress materially differ; the chair of the fallen militant is in ours in a different position from that in the print -- in short, the general character and costume of a large portion of these worthies vary so much that it is not improbable that Hogarth, in repeating the subject, has availed himself of the opportunity of inflicting castigation on a larger circle of his contemporaries who were addicted to intemperate habits, and to whom this severe reproof would equally apply. We believe that ours is the first finished sketch that he painted on this subject and we think that the variations he subsequently introduced in other similar compositions (if any more were painted) give to all of them an additional interest, and tend to prove that all were painted by Hogarth, from the rich and varied veins of genuine humour that equally run through all, and in the same full and copious streams; they prove also that in subjects of the keenest satire (the lash of which he so well knew how to apply with unsparing severity) he had not an equal in his own line of art -- Pope, as a poet, may have been equally unflinching when personally offended. The picture was formerly in the possession of Admiral Vernon, for whom it is supposed to have been painted]] réalisée par William Hogarth, vendue par Rt Hon Lord Northwick au prix de 60.18 gs. [41]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Battle of Marston Moor: this battle took place in 1644, when Cromwell was near losing his life; a soldier in the foreground is presenting to the General (Cromwell) his helmet, which had fallen from his head in consequence of a blow he received by the plunging of an ungovernable horse of a field-officer, who was mortally wounded by Cromwell's side; the charge on the royal cavalry at a distance is very spirited: the picture has much of the movement, and also much of the fine vivid colouring of Rubens, and is perhaps that in which Mr. Ward has most successfully imitated the great master of the Flemish School (Ward, R.A.)|The Battle of Marston Moor: this battle took place in 1644, when Cromwell was near losing his life; a soldier in the foreground is presenting to the General (Cromwell) his helmet, which had fallen from his head in consequence of a blow he received by the plunging of an ungovernable horse of a field-officer, who was mortally wounded by Cromwell's side; the charge on the royal cavalry at a distance is very spirited: the picture has much of the movement, and also much of the fine vivid colouring of Rubens, and is perhaps that in which Mr. Ward has most successfully imitated the great master of the Flemish School]] réalisée par Ward, R.A., vendue par Rt Hon Lord Northwick au prix de 178.10 gs. [42]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Israelites' Departure from Egypt. (Exodus, chap. 13.) A countless multitude of Israelites are assembled in a magnificent street of the capital city of the Egyptian monarch: they are marshalled under the banners of their several leaders, with their flocks, herds, camels, and all the necessary appendages to a patriarchal colony. Conspicuous on a pedestal on the right are seen Moses and Aaron -- their divine legislators, directing the movements of the children of Israel: both sides of the street are lined with temples and tombs, columns and altars of stupendous grandeur, on which are placed the heathen gods of the Egyptians, striking awe and veneration on the minds of an ignorant people, from their colossal magnitude. On the left range of the street is the stately palace of the Pharaohs, of massive structure, and of immeasurable extent -- and beyond are amphitheatres and temples, and other decorative structures, denoting the wealth, luxuries, and civilization of this ancient people, as also the immense population of their chief city, in the prodigious mass of spectators that are seen crowded on every building, and fringing the summit of every roof. Beyond these monuments of present grandeur, are seen, as in a mist, their imperishable pyramids, the silent chroniclers of former greatness, of which they have outlived every other historical record. In the foreground the mighty monarch, attended by the ladies of his court, his counsellors, and minstrels, in gorgeous oriental attire, has come forth to witness the portentous sight. The picture was painted in 1829, and is perhaps the most elaborate of all Mr. Roberts's works, and that on which he has more eminently displayed his accurate knowledge of perspective, in the long range of architectural building, which is a perfect and true representation of the grandest monuments of the Egyptians, that have been brought to light by the enterprise and indefatigable exertions of the most accredited artist travellers of the present day; in this respect it is perhaps unrivalled by any similar performance, as also in the creative imagination displayed by the artist in its composition, which should place Mr. Roberts in a high rank amongst his contemporary artists (David Roberts)|The Israelites' Departure from Egypt. (Exodus, chap. 13.) A countless multitude of Israelites are assembled in a magnificent street of the capital city of the Egyptian monarch: they are marshalled under the banners of their several leaders, with their flocks, herds, camels, and all the necessary appendages to a patriarchal colony. Conspicuous on a pedestal on the right are seen Moses and Aaron -- their divine legislators, directing the movements of the children of Israel: both sides of the street are lined with temples and tombs, columns and altars of stupendous grandeur, on which are placed the heathen gods of the Egyptians, striking awe and veneration on the minds of an ignorant people, from their colossal magnitude. On the left range of the street is the stately palace of the Pharaohs, of massive structure, and of immeasurable extent -- and beyond are amphitheatres and temples, and other decorative structures, denoting the wealth, luxuries, and civilization of this ancient people, as also the immense population of their chief city, in the prodigious mass of spectators that are seen crowded on every building, and fringing the summit of every roof. Beyond these monuments of present grandeur, are seen, as in a mist, their imperishable pyramids, the silent chroniclers of former greatness, of which they have outlived every other historical record. In the foreground the mighty monarch, attended by the ladies of his court, his counsellors, and minstrels, in gorgeous oriental attire, has come forth to witness the portentous sight. The picture was painted in 1829, and is perhaps the most elaborate of all Mr. Roberts's works, and that on which he has more eminently displayed his accurate knowledge of perspective, in the long range of architectural building, which is a perfect and true representation of the grandest monuments of the Egyptians, that have been brought to light by the enterprise and indefatigable exertions of the most accredited artist travellers of the present day; in this respect it is perhaps unrivalled by any similar performance, as also in the creative imagination displayed by the artist in its composition, which should place Mr. Roberts in a high rank amongst his contemporary artists]] réalisée par David Roberts, vendue par Rt Hon Lord Northwick, achetée par Emmerson au prix de 245.15 gs. [43]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Campagna di Roma -- the companion: this picture is in all its parts quite equal in merit to its companion; the inimitable group of trees is painted with greater force and truth to nature than any we have before seen upon canvass -- the foliage seems to flutter in a gentle breeze, and the aërial perspective is quite equal to that of Claude le Loraine in his most admired works. The outline of the Campagna di Roma, near Albano, is beautifully correct; the tints of the different objects, varying according to their several gradations of distance, are perfect, and present a really living picture of the uncultivated but picturesque country round Rome, to which the mouldering remnants of former greatness give a most inposing effect. We believe that neither of these two pictures have been engraved (Richard Wilson)|The Campagna di Roma -- the companion: this picture is in all its parts quite equal in merit to its companion; the inimitable group of trees is painted with greater force and truth to nature than any we have before seen upon canvass -- the foliage seems to flutter in a gentle breeze, and the aërial perspective is quite equal to that of Claude le Loraine in his most admired works. The outline of the Campagna di Roma, near Albano, is beautifully correct; the tints of the different objects, varying according to their several gradations of distance, are perfect, and present a really living picture of the uncultivated but picturesque country round Rome, to which the mouldering remnants of former greatness give a most inposing effect. We believe that neither of these two pictures have been engraved]] réalisée par Richard Wilson, vendue par Rt Hon Lord Northwick au prix de 598.10 gs. [44]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Lake of Nemi -- Speculum Dianæ: the goddess is here introduced reproaching Calisto for her frailty; it is impossible to bestow too much praise upon this incomparable picture; the scenery is the most beautiful that can be imagined -- it is sacred classic ground, and treated throughout with the most classical refinement We believe that neither of these two pictures have been engraved (Richard Wilson)|The Lake of Nemi -- Speculum Dianæ: the goddess is here introduced reproaching Calisto for her frailty; it is impossible to bestow too much praise upon this incomparable picture; the scenery is the most beautiful that can be imagined -- it is sacred classic ground, and treated throughout with the most classical refinement We believe that neither of these two pictures have been engraved]] réalisée par Richard Wilson, vendue par Rt Hon Lord Northwick au prix de 588 gs. [45]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Ariadne -- the companion picture: her head is decorated with a fillet of vine-leaves; over her loose attire is thrown the tiger's skin, also interspersed with vine-leaves; her countenance is calm and composed, and she seems quite content and happy to possess the choice fruits and other rich productions of the fertile island of Naxos; she does not appear to have been then abandoned by her lover (Greuze)|Ariadne -- the companion picture: her head is decorated with a fillet of vine-leaves; over her loose attire is thrown the tiger's skin, also interspersed with vine-leaves; her countenance is calm and composed, and she seems quite content and happy to possess the choice fruits and other rich productions of the fertile island of Naxos; she does not appear to have been then abandoned by her lover]] réalisée par Greuze, vendue par Rt Hon Lord Northwick au prix de 68 gs. [46]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Fete Champetre; a most beautiful subject, composed of six figures; a village where a strolling musician is called in to enliven the frolics of a rural family party. The scene faithfully represents the tone, manners, and costume of the French in their golden age, before the natural enjoumens of this sprightly people were extinguished in their national Revolution, or embittered by the cares of legislation, and the turmoil and excitements of never-ceasing agitation; the painting is finely grouped, in the best state of colouring, and is a genuine picture by Watteau (Anthony Watteau)|A Fete Champetre; a most beautiful subject, composed of six figures; a village where a strolling musician is called in to enliven the frolics of a rural family party. The scene faithfully represents the tone, manners, and costume of the French in their golden age, before the natural enjoumens of this sprightly people were extinguished in their national Revolution, or embittered by the cares of legislation, and the turmoil and excitements of never-ceasing agitation; the painting is finely grouped, in the best state of colouring, and is a genuine picture by Watteau]] réalisée par Anthony Watteau, vendue par Rt Hon Lord Northwick au prix de 49.7 gs. [48]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait of Thomas, Earl of Pembroke and Montgomery; he was one of the most active and distinguished noblemen of his time, was employed by King William in offices of great trust, and is here represented as Lord High Admiral; he either built or restored Wilton House, from the dilapidated state in which it had fallen, and enriched it with the antiquities and paintings which now render it a deserved object of curiosity and of admiration; he died in 1703. J. Smith has made one of his finest mezzotinto engravings from this picture (Wissing)|Portrait of Thomas, Earl of Pembroke and Montgomery; he was one of the most active and distinguished noblemen of his time, was employed by King William in offices of great trust, and is here represented as Lord High Admiral; he either built or restored Wilton House, from the dilapidated state in which it had fallen, and enriched it with the antiquities and paintings which now render it a deserved object of curiosity and of admiration; he died in 1703. J. Smith has made one of his finest mezzotinto engravings from this picture]] réalisée par Wissing, vendue par Rt Hon Lord Northwick au prix de 24.3 gs. [49]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape -- composition; this picture appears to have been painted in Italy, or at all events, is composed of scenery in the environs of Rome; the river probably represents the Tiber, on the opposite side of which is a craggy elevated rock, and precipitate bank, on which there is a crucifix, and before it are two figures prostrated in an attitude of fervent devotion; behind these is seen the Villa Madama, near Rome. This picture has been engraved (Richard Wilson)|A Landscape -- composition; this picture appears to have been painted in Italy, or at all events, is composed of scenery in the environs of Rome; the river probably represents the Tiber, on the opposite side of which is a craggy elevated rock, and precipitate bank, on which there is a crucifix, and before it are two figures prostrated in an attitude of fervent devotion; behind these is seen the Villa Madama, near Rome. This picture has been engraved]] réalisée par Richard Wilson, vendue par Rt Hon Lord Northwick. [50]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Hazard Table; an assemblage of persons of rank and distinction (as is indicated by their dress, and all the accompaniments that surround them,) are met in broad daylight, and nearly al fresco, to indulge their ruling passion, under the auspices of Mercury, their tutelary God, whose bust is the conspicuous ornament of the chimney-piece; the diversity of expressions, and the varied effects produced in the gestures and movements of the company assembled, by the result of the last cast of the dice, are most admirably depicted, and there can be but little doubt that all are portraits of well-known personages of the day, and who may, perchance, also have been dramatis personæ in others of the humorous and satirical productions of this bold and unflinching flagellator of the prevailing vices of his age, and that their persons will be easily recognized by the collectors of Hogarth's works. The two figures on the right form a little episode in themselves, and appear to be playing a game of their own, quite apart from the main subject of the drama, and characterize the unrefined manners of the times, if not in the very highest ranks of society, at least in the circle in which Hogarth himself moved, out of which sphere of life, however, he so well knew how to draw an inexhaustible fund of unperishable fame. The painting has never been engraved, nor is there known, as we presume, any other picture by Hogarth, of a subject similar to this (William Hogarth)|The Hazard Table; an assemblage of persons of rank and distinction (as is indicated by their dress, and all the accompaniments that surround them,) are met in broad daylight, and nearly al fresco, to indulge their ruling passion, under the auspices of Mercury, their tutelary God, whose bust is the conspicuous ornament of the chimney-piece; the diversity of expressions, and the varied effects produced in the gestures and movements of the company assembled, by the result of the last cast of the dice, are most admirably depicted, and there can be but little doubt that all are portraits of well-known personages of the day, and who may, perchance, also have been dramatis personæ in others of the humorous and satirical productions of this bold and unflinching flagellator of the prevailing vices of his age, and that their persons will be easily recognized by the collectors of Hogarth's works. The two figures on the right form a little episode in themselves, and appear to be playing a game of their own, quite apart from the main subject of the drama, and characterize the unrefined manners of the times, if not in the very highest ranks of society, at least in the circle in which Hogarth himself moved, out of which sphere of life, however, he so well knew how to draw an inexhaustible fund of unperishable fame. The painting has never been engraved, nor is there known, as we presume, any other picture by Hogarth, of a subject similar to this]] réalisée par William Hogarth, vendue par Rt Hon Lord Northwick au prix de 178.10 gs. [51]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait of Mrs. Garrick; this lady was the fair "Violette," a celebrated dancer, admired for her graceful accomplishments, a native of Vienna, but who chose to distinguish herself by an Italian name. She was the protegé of Lord and Lady Burlington, who adopted her as their own, and aware of her merits, brought about this well-assorted match; she lived to a very great age, and died only a few years since (Zoffany)|Portrait of Mrs. Garrick; this lady was the fair "Violette," a celebrated dancer, admired for her graceful accomplishments, a native of Vienna, but who chose to distinguish herself by an Italian name. She was the protegé of Lord and Lady Burlington, who adopted her as their own, and aware of her merits, brought about this well-assorted match; she lived to a very great age, and died only a few years since]] réalisée par Zoffany, vendue par Rt Hon Lord Northwick, achetée par Hare au prix de 7.7 gs. [52]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Splendid Landscape -- evening; we know not whether this brilliant scene is a representation from nature, or a composition of the artist; it has a most admirable effect of an Italian sunset, and the scenery is exceedingly rich and beautiful. We know of no engraving of this picture (Richard Wilson)|A Splendid Landscape -- evening; we know not whether this brilliant scene is a representation from nature, or a composition of the artist; it has a most admirable effect of an Italian sunset, and the scenery is exceedingly rich and beautiful. We know of no engraving of this picture]] réalisée par Richard Wilson, vendue par Rt Hon Lord Northwick, achetée par Stewart au prix de 157.10 gs. [53]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Miss E. Lindley, first wife to the Right Hon. Richard Brinsley Sheridan, a finished sketch for the well-known portrait of this lady, as Cecilia. This is a lovely portrait of one of the most lovely personages of the day. To great personal beauty and intellectual endowments of the highest order, she united every graceful female accomplishment that the most finished education could confer, alike fitted to adorn society, and to constitute the happiness of a domestic life. Her death was premature, and it was said to have been a severe calamity to her nearest realtions, and deeply lamented by all who admired her unrivalled talents (Sir Joshua Reynolds)|Miss E. Lindley, first wife to the Right Hon. Richard Brinsley Sheridan, a finished sketch for the well-known portrait of this lady, as Cecilia. This is a lovely portrait of one of the most lovely personages of the day. To great personal beauty and intellectual endowments of the highest order, she united every graceful female accomplishment that the most finished education could confer, alike fitted to adorn society, and to constitute the happiness of a domestic life. Her death was premature, and it was said to have been a severe calamity to her nearest realtions, and deeply lamented by all who admired her unrivalled talents]] réalisée par Sir Joshua Reynolds, vendue par Rt Hon Lord Northwick, achetée par Gritten au prix de 82.19 gs. [54]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Burns' Highland Mary; "I hae sworn by the Heavens to my Mary, I hae sworn by the Heavens to be true, And sae may the Heavens forget me When I forget my Vow." See also other odes and songs addressed to Mary, and to which the subject may more particularly refer. This was one of Edmondstone's early productions, as it was also his first picture of the subject; it was greatly admired when exhibited, and placed him in the rank of the most rising young artists of the day; the character of this artist is faithfully reflected in his works, which are always expressive of juvenile innocence and simplicity. The premature death of this amiable young man, must have been deeply lamented by his friends, as it was by all who admired his fine talents, and anticipated their developement in a wider range, after he had returned from Italy, with more enlarged views, and enriched with an ample store of his own valuable studies, collected in every part of that interesting country (Edmondstone)|Burns' Highland Mary; "I hae sworn by the Heavens to my Mary, I hae sworn by the Heavens to be true, And sae may the Heavens forget me When I forget my Vow." See also other odes and songs addressed to Mary, and to which the subject may more particularly refer. This was one of Edmondstone's early productions, as it was also his first picture of the subject; it was greatly admired when exhibited, and placed him in the rank of the most rising young artists of the day; the character of this artist is faithfully reflected in his works, which are always expressive of juvenile innocence and simplicity. The premature death of this amiable young man, must have been deeply lamented by his friends, as it was by all who admired his fine talents, and anticipated their developement in a wider range, after he had returned from Italy, with more enlarged views, and enriched with an ample store of his own valuable studies, collected in every part of that interesting country]] réalisée par Edmondstone, vendue par Rt Hon Lord Northwick, achetée par Johnson au prix de 34.13 gs. [55]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Companion -- Alpheus and Arethusa; the design was taken from a chalk drawing made at Rome, by Vincenzo Cammucini, after a painting by Parmegiano, which was then in our possession; the picture was unfortunately captured at sea by the Spaniards, but the drawing was presented by il Cavaliero Cammucini, (now become President of the Academy of Painting at Rome,) to the late Sir Thomas Lawrence, who recommended the subject to Mr. Etty, as a well-suited companion to his painting of Hero and Leander (W. Etty, R.A.)|The Companion -- Alpheus and Arethusa; the design was taken from a chalk drawing made at Rome, by Vincenzo Cammucini, after a painting by Parmegiano, which was then in our possession; the picture was unfortunately captured at sea by the Spaniards, but the drawing was presented by il Cavaliero Cammucini, (now become President of the Academy of Painting at Rome,) to the late Sir Thomas Lawrence, who recommended the subject to Mr. Etty, as a well-suited companion to his painting of Hero and Leander]] réalisée par W. Etty, R.A., vendue par Rt Hon Lord Northwick, achetée par Barham Colonel Higginson au prix de 162.15 gs. [56]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Marine View: it is probably a composition, but intended to represent scenery in the Kingdom of Naples; it may be the mouth of the River Garigliano, (the ancient Liris,) as the surrounding objects we think resemble, or are at least quite in unison with, the outline of those favoured regions, through which "soft Liris flows," and moreover breathe all the enchantment of a southern Italian atmosphere. The picture is a chef-d'oeuvre of this much admired artist (Joseph Vernet)|A Marine View: it is probably a composition, but intended to represent scenery in the Kingdom of Naples; it may be the mouth of the River Garigliano, (the ancient Liris,) as the surrounding objects we think resemble, or are at least quite in unison with, the outline of those favoured regions, through which "soft Liris flows," and moreover breathe all the enchantment of a southern Italian atmosphere. The picture is a chef-d'oeuvre of this much admired artist]] réalisée par Joseph Vernet, vendue par Rt Hon Lord Northwick au prix de 189 gs. [59]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Marine View, fishing-boats in the mouth of the river Seine, with Havre de Grace at a distance; a well known picture of this admirable artist, whose name alone makes it unnecessary to enter into any minute description of its merits (Clarkson Stanfield, R.A.)|A Marine View, fishing-boats in the mouth of the river Seine, with Havre de Grace at a distance; a well known picture of this admirable artist, whose name alone makes it unnecessary to enter into any minute description of its merits]] réalisée par Clarkson Stanfield, R.A., vendue par Rt Hon Lord Northwick au prix de 147 gs. [61]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Sir Anthony Browne, K.G., Temp. Henry VIII.; Sir Anthony Browne, Ætate 25, afterwards Knight of the Garter, and Master of the Horse to King Henry VIII., and Edward VI., and of their Most Honourable Privy Council. Sir Anthony Browne was one of the most remarkable personages of his day; he was King Henry's standard-bearer, and attended him to 'the Field of the Cloth of Gold,' and was also employed by his Sovereign on many honourable missions, being appointed Ambassador for conveying the Order of the Garter to the French King, Francis I., and at a later period, sponsor to betroth Anne of Cleves for his royal master; and so greatly was he in the King's favour, that he had the grant made to him of the Honour of Battle Abbey, where he was buried. The last Viscount Montagu was lineally descended from this illustrious ancestor, (as were many other noble and ancient families,) who had himself succeeded, for many generations past, to the most honourable office of Hereditary Standard-bearer of England; he, together with Sir Anthony Browne, (his father,) built Cowdray House. and adorned it with many paintings, recording the memorable events of the age in which they lived, of which there is a most interesting description in the 3d vol. of the Vetusta Monumenta, (together with several well-engraved views of that ancient mansion,) and also a list of the very many curious paintings (destroyed by fire, with this noble edifice, in 1793,) and amongst these a remarkable painting in fresco, representing Henry VIII. on horseback, attended by Charles Brandon, Duke of Suffolk, and this Sir Anthony Browne; and another single portrait of Sir Anthony Browne, in which he is represented in the dress he wore, when he appeared at the Duke of Cleves's Court, as King Henry's proxy, and which dress agrees in its description with the uncouth habiliments with which he is invested in our picture; with the exception only, that the painting at Cowdray House appears to have been a full-length portrait. This is a very early, curious, and extraordinary portrait, in which the engraver's tool seem to have been employed jointly with the brush of the painter. An equally curious and undoubtedly genuine portrait of Edward VI. (but probably at least forty years earlier), is at Northwick, where it is greatly esteemed for its antiquity; it is worked up exactly in the same way, with the name Edward IV. inscribed thereon, as in this painting, and this was the more necessary, as the limners of that age had not the art of tracing upon their panels the finer lineaments of personal beauty that distinguished Edward IV. (artiste anonyme)|Sir Anthony Browne, K.G., Temp. Henry VIII.; Sir Anthony Browne, Ætate 25, afterwards Knight of the Garter, and Master of the Horse to King Henry VIII., and Edward VI., and of their Most Honourable Privy Council. Sir Anthony Browne was one of the most remarkable personages of his day; he was King Henry's standard-bearer, and attended him to 'the Field of the Cloth of Gold,' and was also employed by his Sovereign on many honourable missions, being appointed Ambassador for conveying the Order of the Garter to the French King, Francis I., and at a later period, sponsor to betroth Anne of Cleves for his royal master; and so greatly was he in the King's favour, that he had the grant made to him of the Honour of Battle Abbey, where he was buried. The last Viscount Montagu was lineally descended from this illustrious ancestor, (as were many other noble and ancient families,) who had himself succeeded, for many generations past, to the most honourable office of Hereditary Standard-bearer of England; he, together with Sir Anthony Browne, (his father,) built Cowdray House. and adorned it with many paintings, recording the memorable events of the age in which they lived, of which there is a most interesting description in the 3d vol. of the Vetusta Monumenta, (together with several well-engraved views of that ancient mansion,) and also a list of the very many curious paintings (destroyed by fire, with this noble edifice, in 1793,) and amongst these a remarkable painting in fresco, representing Henry VIII. on horseback, attended by Charles Brandon, Duke of Suffolk, and this Sir Anthony Browne; and another single portrait of Sir Anthony Browne, in which he is represented in the dress he wore, when he appeared at the Duke of Cleves's Court, as King Henry's proxy, and which dress agrees in its description with the uncouth habiliments with which he is invested in our picture; with the exception only, that the painting at Cowdray House appears to have been a full-length portrait. This is a very early, curious, and extraordinary portrait, in which the engraver's tool seem to have been employed jointly with the brush of the painter. An equally curious and undoubtedly genuine portrait of Edward VI. (but probably at least forty years earlier), is at Northwick, where it is greatly esteemed for its antiquity; it is worked up exactly in the same way, with the name Edward IV. inscribed thereon, as in this painting, and this was the more necessary, as the limners of that age had not the art of tracing upon their panels the finer lineaments of personal beauty that distinguished Edward IV.]] réalisée par un.e artiste anonyme, vendue par Rt Hon Lord Northwick, achetée par Rodd au prix de 13.13 gs. [63]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Musical Conversazione: this delightful painting is composed of a group or groups of a great many figures, it represents a musical party al fresco, before the lake-house in Wanstead Park; the party are attired in the rich dress costume of the day, (which was early in George II's. reign) and are all of them portraits of noble and distinguished personages; Earl Tilney and his Countess are prominent persons at the top of the balustrade, doing the honours of the fète. This picture was sold at Wanstead House, in June 1822, No. 318 in the Catalogue, for £127. 1s (Joseph F. Nollekins, (Scholar of Watteau))|A Musical Conversazione: this delightful painting is composed of a group or groups of a great many figures, it represents a musical party al fresco, before the lake-house in Wanstead Park; the party are attired in the rich dress costume of the day, (which was early in George II's. reign) and are all of them portraits of noble and distinguished personages; Earl Tilney and his Countess are prominent persons at the top of the balustrade, doing the honours of the fète. This picture was sold at Wanstead House, in June 1822, No. 318 in the Catalogue, for £127. 1s]] réalisée par Joseph F. Nollekins, (Scholar of Watteau), vendue par Rt Hon Lord Northwick, achetée par Smith & Son au prix de 18.18 gs. [64]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Bacchanalian Female, or Bacchente; this spirited sketch is probably copied, or its design taken from one of the Herculaneum paintings, or from an ancient gem, that may have excited the artist's admiration; it is designed with much spirit, and a true feeling for the antique. The easel pictures of this eccentric artist must be of great rarity, as this is the only one that has ever fallen under our view. This picture was purchased long ago, at the sale of Mr. Barry's effects (James Barry, R.A.)|A Bacchanalian Female, or Bacchente; this spirited sketch is probably copied, or its design taken from one of the Herculaneum paintings, or from an ancient gem, that may have excited the artist's admiration; it is designed with much spirit, and a true feeling for the antique. The easel pictures of this eccentric artist must be of great rarity, as this is the only one that has ever fallen under our view. This picture was purchased long ago, at the sale of Mr. Barry's effects]] réalisée par James Barry, R.A., vendue par Rt Hon Lord Northwick, achetée par Rodd au prix de 3.3 gs. [68]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape, Dido and AEneas; Æneas is conducting Dido into the cave, on the approach of the storm, some of their attendants are holding the horses, whilst others are engaged in the chase; the agitation of leaves and branches in the fine group of trees over the cavern, is admirably expressed, as are also "the murky clouds deep hovering o'er their heads, big with the impending storm," and the surrounding wild scenery. It is a very spirited and poetical composition, much in the free bold style of Richard Wilson, and in composing his subject the artist has evidently had in view the grand picture (the Storm) by Gaspar Poussin, (now in the National Gallery, and No. 23 of Young's Catalogue of Mr. Angerstein's pictures), and he has been very successful in its imitation (G. Arnald, R.A.)|A Landscape, Dido and AEneas; Æneas is conducting Dido into the cave, on the approach of the storm, some of their attendants are holding the horses, whilst others are engaged in the chase; the agitation of leaves and branches in the fine group of trees over the cavern, is admirably expressed, as are also "the murky clouds deep hovering o'er their heads, big with the impending storm," and the surrounding wild scenery. It is a very spirited and poetical composition, much in the free bold style of Richard Wilson, and in composing his subject the artist has evidently had in view the grand picture (the Storm) by Gaspar Poussin, (now in the National Gallery, and No. 23 of Young's Catalogue of Mr. Angerstein's pictures), and he has been very successful in its imitation]] réalisée par G. Arnald, R.A., vendue par Rt Hon Lord Northwick, achetée par Darby au prix de 29.8 gs. [69]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Sketch of the Head of a prominent Female in Raphael's Incendio del Borgo: she is represented descending a small flight of steps at one end of the painting, with a bucket on her head which her right hand is supporting, and another bucket in her left hand; she appears to be in a wild state of distress, with her mouth wide open as if calling out for her children, or some dear object she had lost in the general state of confusion. This study, size of the original head, is painted by Sir Joshua with great spirit, and he has given to it all the character of the original, wishing to preserve it as a memorial (which he no doubt highly prized) of this fine picture. It belonged to Sir Thomas Lawrence, who considered it a great treasure (Sir Joshua Reynolds)|Sketch of the Head of a prominent Female in Raphael's Incendio del Borgo: she is represented descending a small flight of steps at one end of the painting, with a bucket on her head which her right hand is supporting, and another bucket in her left hand; she appears to be in a wild state of distress, with her mouth wide open as if calling out for her children, or some dear object she had lost in the general state of confusion. This study, size of the original head, is painted by Sir Joshua with great spirit, and he has given to it all the character of the original, wishing to preserve it as a memorial (which he no doubt highly prized) of this fine picture. It belonged to Sir Thomas Lawrence, who considered it a great treasure]] réalisée par Sir Joshua Reynolds, vendue par Rt Hon Lord Northwick au prix de 35.14 gs. [72]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Sermon. (From Sterne's Tristram Shandy, chap. 17.) Mr. Shandy, Uncle Toby, Dr. Slop, and Corporal Trim. "He stood before them with his body swayed, and bent forwards just so far as to make an angle of 85 1/2 degrees upon the plane of the horizon. This attitude I recommend to painters -- need I add, to orators? I think not, for unless they practise it they must fall upon their noses." -- Sterne. This is an early painting of the late Mr. Reinagle, and it is much to be lamented that so highly gifted an artist did not follow a line of painting of which this is one of his first essays. In it he would have gone beyond all his contemporary artists, and have competed with Hogarth in many points. -- In the art of mixing his colours, and judiciously applying them so as to produce the most harmonious gradations of light and shade, as also in the delicate touch of his pencil, directed by a master mind, that could give to each figure its apppropriate character and expression, he has certainly placed himself on at least a footing of equality with Hogarth, and greatly surpassed him in the elaborate finish of the carpet and all the other objects, of still life, of which this painting is composed. It is said that he painted a companion to this, nearly of the same subject, but that not then meeting with the encouragement he deserved, he totally, and for ever, abandoned this style of painting. We have endeavoured to discover the possessor of the companion picture, but without success, and therefore consider our picture all but unique (Philip Reinagle, late R.A.)|The Sermon. (From Sterne's Tristram Shandy, chap. 17.) Mr. Shandy, Uncle Toby, Dr. Slop, and Corporal Trim. "He stood before them with his body swayed, and bent forwards just so far as to make an angle of 85 1/2 degrees upon the plane of the horizon. This attitude I recommend to painters -- need I add, to orators? I think not, for unless they practise it they must fall upon their noses." -- Sterne. This is an early painting of the late Mr. Reinagle, and it is much to be lamented that so highly gifted an artist did not follow a line of painting of which this is one of his first essays. In it he would have gone beyond all his contemporary artists, and have competed with Hogarth in many points. -- In the art of mixing his colours, and judiciously applying them so as to produce the most harmonious gradations of light and shade, as also in the delicate touch of his pencil, directed by a master mind, that could give to each figure its apppropriate character and expression, he has certainly placed himself on at least a footing of equality with Hogarth, and greatly surpassed him in the elaborate finish of the carpet and all the other objects, of still life, of which this painting is composed. It is said that he painted a companion to this, nearly of the same subject, but that not then meeting with the encouragement he deserved, he totally, and for ever, abandoned this style of painting. We have endeavoured to discover the possessor of the companion picture, but without success, and therefore consider our picture all but unique]] réalisée par Philip Reinagle, late R.A., vendue par Rt Hon Lord Northwick au prix de 183.15 gs. [73]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Three Trees; these are painted in imitation, as also in emulation of the celebrated etching by Rembrandt, of the same subject, and with the same freedom of design; the lustre of a fine setting sun is very masterly, and produces a powerful effect (Gainsborough)|The Three Trees; these are painted in imitation, as also in emulation of the celebrated etching by Rembrandt, of the same subject, and with the same freedom of design; the lustre of a fine setting sun is very masterly, and produces a powerful effect]] réalisée par Gainsborough, vendue par Rt Hon Lord Northwick, achetée par Craven au prix de 22.1 gs. [75]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Enraptured Poet's Dedication to his Patron. "My Lord, Not to know your Lordship, were an ignorance beyond barbarism; till the whomb of nature was made happy by your illustrious birth, the generation of men was but one long miscarriage, heroes and sages were but mere abortions: poets and orators still-born: all men illegitimate: the very name of man scarcely to be guessed at in its high import, till your Lordship's excellence furnished the definition." Mr. H. Richter had a fine painting by Giorgione at his elbow, when he painted this picture; and to this model he modestly ascribed the force of colouring he had been able to transfer to his own canvass. In this attempt he has been very successful, and also in adding to much of Hogarth's genuine humour a taste of greater refinement, and in clothing his satire in a more modern dress; and he has at the same time surpassed Hogarth's best works, even his celebrated Sigismunda, in the force and brilliancy of his colouring: the broken square of glass stopped with old subscription lists, and half discovering a neighbour's chimney on fire, on the same level with the poet's head, (which, if not actually in flames, is equally pregnant with combustible matter,) is an admirable conceit, as are other allusions with which the composition is replete in all its parts; the general derangement in the poet's dress, his truck bed, chamber, and all that it contains, fully accord with the state of his own mind, and which, though it would exceed our bounds minutely to describe them, will amply repay every attention that may be bestowed on their manifold merits. We believe this artist has painted but few pictures in oil, and no other painting of this description (H. Richter)|The Enraptured Poet's Dedication to his Patron. "My Lord, Not to know your Lordship, were an ignorance beyond barbarism; till the whomb of nature was made happy by your illustrious birth, the generation of men was but one long miscarriage, heroes and sages were but mere abortions: poets and orators still-born: all men illegitimate: the very name of man scarcely to be guessed at in its high import, till your Lordship's excellence furnished the definition." Mr. H. Richter had a fine painting by Giorgione at his elbow, when he painted this picture; and to this model he modestly ascribed the force of colouring he had been able to transfer to his own canvass. In this attempt he has been very successful, and also in adding to much of Hogarth's genuine humour a taste of greater refinement, and in clothing his satire in a more modern dress; and he has at the same time surpassed Hogarth's best works, even his celebrated Sigismunda, in the force and brilliancy of his colouring: the broken square of glass stopped with old subscription lists, and half discovering a neighbour's chimney on fire, on the same level with the poet's head, (which, if not actually in flames, is equally pregnant with combustible matter,) is an admirable conceit, as are other allusions with which the composition is replete in all its parts; the general derangement in the poet's dress, his truck bed, chamber, and all that it contains, fully accord with the state of his own mind, and which, though it would exceed our bounds minutely to describe them, will amply repay every attention that may be bestowed on their manifold merits. We believe this artist has painted but few pictures in oil, and no other painting of this description]] réalisée par H. Richter, vendue par Rt Hon Lord Northwick, achetée par Leggatt au prix de 110.5 gs. [76]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape; View of the Borghese, or Montdragone Villa at Frascati, near Rome; the scene is rich and varied; the figures in the foreground are not by Wilson, but are probably painted by his early friend Zuccarelli. Of this picture we know of no engraving (Richard Wilson)|A Landscape; View of the Borghese, or Montdragone Villa at Frascati, near Rome; the scene is rich and varied; the figures in the foreground are not by Wilson, but are probably painted by his early friend Zuccarelli. Of this picture we know of no engraving]] réalisée par Richard Wilson, vendue par Rt Hon Lord Northwick, achetée par Lee au prix de 15.15 gs. [77]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Flower-piece: it is impossible to describe the exquisite beauty of this highly-finished painting; it is, in the brilliancy of its colouring, and delicacy of its touch, quite equal to the very best of J. Van Huysum's justly admired flower-pieces, and with truth it may be said, that these flowers rival the velvet softness of nature. Exhibited in the British Institution, 1837 (Van Brussell)|A Flower-piece: it is impossible to describe the exquisite beauty of this highly-finished painting; it is, in the brilliancy of its colouring, and delicacy of its touch, quite equal to the very best of J. Van Huysum's justly admired flower-pieces, and with truth it may be said, that these flowers rival the velvet softness of nature. Exhibited in the British Institution, 1837]] réalisée par Van Brussell, vendue par Rt Hon Lord Northwick, achetée par Sir E Sagden au prix de 76.15 gs. [78]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape; another characteristic painting by this correct delineator of English scenery, in which is a group of figures coming from, or going to market, directing their course through a shaded dell, or descent, surrounded by rich wooded scenery; a footpath on the left, leads to a large family mansion, placed on elevated ground (Gainsborough)|A Landscape; another characteristic painting by this correct delineator of English scenery, in which is a group of figures coming from, or going to market, directing their course through a shaded dell, or descent, surrounded by rich wooded scenery; a footpath on the left, leads to a large family mansion, placed on elevated ground]] réalisée par Gainsborough, vendue par Rt Hon Lord Northwick, achetée par Smith au prix de 32.11 gs. [79]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Companion; a composition, in which the artist has introduced the ancient Temple of Minerva Mediea; a herdsman, and one of the fine long-horned oxen of the Campagna di Roma; all correctly copied from nature. The artist died young, and his paintings were held in very great estimation by English and Foreign artists, and Travellers; his figures and animals are painted with the greatest care and diligence, and are most accurate representations from nature The artist was a native of Flanders, but settled in Rome, where he was some time about 1795, commissioned to paint this and the companion picture (Denis)|The Companion; a composition, in which the artist has introduced the ancient Temple of Minerva Mediea; a herdsman, and one of the fine long-horned oxen of the Campagna di Roma; all correctly copied from nature. The artist died young, and his paintings were held in very great estimation by English and Foreign artists, and Travellers; his figures and animals are painted with the greatest care and diligence, and are most accurate representations from nature The artist was a native of Flanders, but settled in Rome, where he was some time about 1795, commissioned to paint this and the companion picture]] réalisée par Denis, vendue par Rt Hon Lord Northwick, achetée par Rodd au prix de 14.3 gs. [81]
  • 1838.05.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape:; a composition, in which the artist has introduced the Cascatelle of Tivoli, with Italian shepherd, dogs, sheep, and goats; copied from nature with great fidelity. The artist was a native of Flanders, but settled in Rome, where he was some time about 1795, commissioned to paint this and the companion picture (Denis)|A Landscape:; a composition, in which the artist has introduced the Cascatelle of Tivoli, with Italian shepherd, dogs, sheep, and goats; copied from nature with great fidelity. The artist was a native of Flanders, but settled in Rome, where he was some time about 1795, commissioned to paint this and the companion picture]] réalisée par Denis, vendue par Rt Hon Lord Northwick au prix de 77.14 gs. [82]
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