Ventes d'œuvres le 1838.05.24

De Wikipast
Aller à la navigation Aller à la recherche
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Musical Party, consisting of a young Man and two Females seated on the ground, and surrounded by rich pastoral scenery. There is a graceful elegance in the composition of this group that is quite enchanting It transports us back from the times in which we are living to ages that are gone by -- to golden ages of primeval simplicity, that now exist only in the poet's dream. The trees, the lake, the houses, and every part of this brilliant scenery, has passed away, and its semblance only is transmitted to us in poetry, or in the paintings of Giorgione, and a few other painters of the early Italian school. The females are lovely in the expression of unadorned pastoral innocence; and the profile of the gentle youth is that of an Apollo, of which he is the beau-ideal, traced perhaps by the artist from some precious gem of antiquity that may perchance have fallen under his notice. The picture was exhibited some years ago in the British Institution. It was then on a thick panel, which afterwards becoming injured, it was thought prudent to transfer it to canvas. This delicate operation was performed by Mr. Leedham with the greatest care, and he has completely restored it to its former perfect state, and secured it in all future times from further injury (Giorgione (Barbieri))|A Musical Party, consisting of a young Man and two Females seated on the ground, and surrounded by rich pastoral scenery. There is a graceful elegance in the composition of this group that is quite enchanting It transports us back from the times in which we are living to ages that are gone by -- to golden ages of primeval simplicity, that now exist only in the poet's dream. The trees, the lake, the houses, and every part of this brilliant scenery, has passed away, and its semblance only is transmitted to us in poetry, or in the paintings of Giorgione, and a few other painters of the early Italian school. The females are lovely in the expression of unadorned pastoral innocence; and the profile of the gentle youth is that of an Apollo, of which he is the beau-ideal, traced perhaps by the artist from some precious gem of antiquity that may perchance have fallen under his notice. The picture was exhibited some years ago in the British Institution. It was then on a thick panel, which afterwards becoming injured, it was thought prudent to transfer it to canvas. This delicate operation was performed by Mr. Leedham with the greatest care, and he has completely restored it to its former perfect state, and secured it in all future times from further injury]] réalisée par Giorgione (Barbieri), vendue par Right Hon Lord Northwick. [1]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Late in the possession of M. Van Lankers, in whose Catalogue it is described as "A View of the Town of Nimueghen," and as being "so rich in its details and imitations, that it is a matter of astonishment that any eye could direct the execution, or any patience endure the completion, of so elaborate a performance." It was purchased with a few other paintings from M. Van Lanker's representatives in the year 1836 (Jean Van der Heyden)|Late in the possession of M. Van Lankers, in whose Catalogue it is described as "A View of the Town of Nimueghen," and as being "so rich in its details and imitations, that it is a matter of astonishment that any eye could direct the execution, or any patience endure the completion, of so elaborate a performance." It was purchased with a few other paintings from M. Van Lanker's representatives in the year 1836]] réalisée par Jean Van der Heyden, vendue par Right Hon Lord Northwick au prix de 140 gs. [2]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Adoration of the Kings. Large painting, on panel, circular at top. It is distinguished by its almost indescribable lustre and general splendid effect; the Virgin and Infant Saviour are richly and beautifully composed: the principal of the Magi is evidently a portrait, and his dress is decorated with a rich golden chain, to which may perhaps be appended the order of the Golden Fleece; in the back-ground is represented a numerous and stately cavalcade or oriental princes, in a landscape of a most brilliant description, enriched with towers, temples, and castles, and other prominent objects; the ornamental buildings are in the Italian taste, and in the style which became prevalent at Rome, and was subsequently spread over the civilised world (after years of darkness), on the first discovery of the paintings on the walls of Titus' baths, and of other long-hidden treasures of ancient art. Conspicuous on the left is the artist himself, standing in long flowing robes and in the dress of the day, between two friends who are emphatically pointing him out as the author of this fine production (Jean de Mabuse. Born probably about the year 1480)|The Adoration of the Kings. Large painting, on panel, circular at top. It is distinguished by its almost indescribable lustre and general splendid effect; the Virgin and Infant Saviour are richly and beautifully composed: the principal of the Magi is evidently a portrait, and his dress is decorated with a rich golden chain, to which may perhaps be appended the order of the Golden Fleece; in the back-ground is represented a numerous and stately cavalcade or oriental princes, in a landscape of a most brilliant description, enriched with towers, temples, and castles, and other prominent objects; the ornamental buildings are in the Italian taste, and in the style which became prevalent at Rome, and was subsequently spread over the civilised world (after years of darkness), on the first discovery of the paintings on the walls of Titus' baths, and of other long-hidden treasures of ancient art. Conspicuous on the left is the artist himself, standing in long flowing robes and in the dress of the day, between two friends who are emphatically pointing him out as the author of this fine production]] réalisée par Jean de Mabuse. Born probably about the year 1480, vendue par Right Hon Lord Northwick au prix de 75 gs. [3]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[This Painting composed of Twelve Figures, as large as life, is of a most imposing and dignified character. The artist has extracted from his pallet its richest tints, to animate the personages he has embodied upon his canvas, and he has arranged them so skilfully, that they appear to be living dramatis personæ of the scene he intended to represent, and which (to heighten its effects) he has surrounded by a fine glowing Venetian landscape and other rich accompaniments. The portraits of several of Giorgione's friends and comtemporaries are introduced into this painting, apparently as a testimonial of his regard, as also to record his own friendship with the most distinguished characters of his time. The fine intellectual head on the left, nearly bald, (in the sober dress, perhaps of some religious order,) is a remarkable personage, his portrait being well known in other fine paintings of that time. He is Tizian's chief pilgrim of Emaus, where he is seated at table, on the right hand of our Saviour. Paul Veronese and Tintoretto also have introduced him into several of their crowded festivals, and scriptural supper parties; so that to other estimable qualities, he may, perhaps, have united that of being a noted bon vivant at a period when convivial parties appear to have been so much in vogue; as they are the subject of many of the finest paintings in Venice, at this the most distinguished era of its school. It is an important picture, and has been exhibited in the British Institution (Giorgione, (Barbarelli, of Castle Franco.) Scholar of Jean Bellini. Born in 1477, and died in 1511, at the early age of 34)|This Painting composed of Twelve Figures, as large as life, is of a most imposing and dignified character. The artist has extracted from his pallet its richest tints, to animate the personages he has embodied upon his canvas, and he has arranged them so skilfully, that they appear to be living dramatis personæ of the scene he intended to represent, and which (to heighten its effects) he has surrounded by a fine glowing Venetian landscape and other rich accompaniments. The portraits of several of Giorgione's friends and comtemporaries are introduced into this painting, apparently as a testimonial of his regard, as also to record his own friendship with the most distinguished characters of his time. The fine intellectual head on the left, nearly bald, (in the sober dress, perhaps of some religious order,) is a remarkable personage, his portrait being well known in other fine paintings of that time. He is Tizian's chief pilgrim of Emaus, where he is seated at table, on the right hand of our Saviour. Paul Veronese and Tintoretto also have introduced him into several of their crowded festivals, and scriptural supper parties; so that to other estimable qualities, he may, perhaps, have united that of being a noted bon vivant at a period when convivial parties appear to have been so much in vogue; as they are the subject of many of the finest paintings in Venice, at this the most distinguished era of its school. It is an important picture, and has been exhibited in the British Institution]] réalisée par Giorgione, (Barbarelli, of Castle Franco.) Scholar of Jean Bellini. Born in 1477, and died in 1511, at the early age of 34, vendue par Right Hon Lord Northwick au prix de 200 gs. [4]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[To whom paintings in this style are usually (and perhaps more correctly) ascribed. It is composed of Sicilian scenery, and is painted in a grand bravura style, and with the light fairy-like touches that distinguish the landscapes of Domenichino, the Carracci, and other great masters of the Bolognese School. In the foreground is represented the Rape of Proserpine; but with a poetical licence the artist has transferred the perpetration of the guilty deed from "The Fair and Flowery-Meads of Enna" (which are in the centre of the island) to the sea-shore, where Giant Etna is also seen pouring forth its flames; and a little beyond are the Cyclopean rocks and caverns, surrounded by narrow creaks and intricate inlets, that proclaim a perilous navigation, (which might have well daunted the stout hearts of AEneas and his brave followers), over which, however, the dark blue wave is seen sparkling with the white sails of fearless navigators. The composition is grandly conceived, and treated with a poetical feeling quite in accordance with the scenery it represents. A painting by the same pencil, full also of poetic inspiration, is in the Marquess of Westminster's Gallery, (described No. 21 in Mr. Young's catalogue of that collection,) and which although Lord Westminster's painting is of a scriptural subject, is in style and manner so nearly similar to this, that it is probable they may have been intended for companion pictures. This picture is said to have belonged formerly to the Earl of Bute (Grimaldi (Il Bolognese))|To whom paintings in this style are usually (and perhaps more correctly) ascribed. It is composed of Sicilian scenery, and is painted in a grand bravura style, and with the light fairy-like touches that distinguish the landscapes of Domenichino, the Carracci, and other great masters of the Bolognese School. In the foreground is represented the Rape of Proserpine; but with a poetical licence the artist has transferred the perpetration of the guilty deed from "The Fair and Flowery-Meads of Enna" (which are in the centre of the island) to the sea-shore, where Giant Etna is also seen pouring forth its flames; and a little beyond are the Cyclopean rocks and caverns, surrounded by narrow creaks and intricate inlets, that proclaim a perilous navigation, (which might have well daunted the stout hearts of AEneas and his brave followers), over which, however, the dark blue wave is seen sparkling with the white sails of fearless navigators. The composition is grandly conceived, and treated with a poetical feeling quite in accordance with the scenery it represents. A painting by the same pencil, full also of poetic inspiration, is in the Marquess of Westminster's Gallery, (described No. 21 in Mr. Young's catalogue of that collection,) and which although Lord Westminster's painting is of a scriptural subject, is in style and manner so nearly similar to this, that it is probable they may have been intended for companion pictures. This picture is said to have belonged formerly to the Earl of Bute]] réalisée par Grimaldi (Il Bolognese), vendue par Right Hon Lord Northwick au prix de 105 gs. [5]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A truly splendid Landscape; composed of the richest scenery, in which are introduced woods with the most umbrageous foliage, waterfalls, and other picturesque objects, apparently drawn from nature, and probably from some favourite spot near the banks of the Rhine. It is of the most imposing character (Jacob Ruysdael)|A truly splendid Landscape; composed of the richest scenery, in which are introduced woods with the most umbrageous foliage, waterfalls, and other picturesque objects, apparently drawn from nature, and probably from some favourite spot near the banks of the Rhine. It is of the most imposing character]] réalisée par Jacob Ruysdael, vendue par Right Hon Lord Northwick au prix de 170 gs. [6]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Penitent Magdalen. Guido's greatest powers are always displayed in his treatment of subjects of this description, in which he knew so well how to unite the most exquisite female elegance and grace with the most heart-rending pathos: an inextinguishable fevour of penitence and devotion seems to absorb every feeling in this attractive female. It may well have been said of Guido, "that Grace and Beauty dwelled upon his pencil to animate his figures." This painting was formerly in the Caprara Palace at Bologna (Guido Reni)|The Penitent Magdalen. Guido's greatest powers are always displayed in his treatment of subjects of this description, in which he knew so well how to unite the most exquisite female elegance and grace with the most heart-rending pathos: an inextinguishable fevour of penitence and devotion seems to absorb every feeling in this attractive female. It may well have been said of Guido, "that Grace and Beauty dwelled upon his pencil to animate his figures." This painting was formerly in the Caprara Palace at Bologna]] réalisée par Guido Reni, vendue par Right Hon Lord Northwick au prix de 71 gs. [7]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[An Interior -- St. Jerome in his Study; above the head of the saint is an appropriate Latin inscription. The holy father is intently engaged in writing commentaries on the Scriptures. His head is full of meditation; and his aspect dignified, solemn, and austere. The folds of his drapery are painted with great truth and correctness, and highly finished, as are also the books, table, burner, and other objects of still life that surround him. It is an early painting on wood, and is a valuable work of this old and rare master to whom Germany is so much indebted for his laborious assiduity in cultivating the fine arts, and more especially for bringing the art of engraving to a high pitch of perfection. There is an old engraving of great merit by himself from this picture (Albert Durer. Born in the year 1471)|An Interior -- St. Jerome in his Study; above the head of the saint is an appropriate Latin inscription. The holy father is intently engaged in writing commentaries on the Scriptures. His head is full of meditation; and his aspect dignified, solemn, and austere. The folds of his drapery are painted with great truth and correctness, and highly finished, as are also the books, table, burner, and other objects of still life that surround him. It is an early painting on wood, and is a valuable work of this old and rare master to whom Germany is so much indebted for his laborious assiduity in cultivating the fine arts, and more especially for bringing the art of engraving to a high pitch of perfection. There is an old engraving of great merit by himself from this picture]] réalisée par Albert Durer. Born in the year 1471, vendue par Right Hon Lord Northwick, achetée par Rodd au prix de 11.11 gs. [8]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A grand mountainous Landscape, in which our Divine Saviour is proceeding with the two pilgrims towards the Castle of Emaus. The painting is full of subject; sparkling with golden tints, and richly sprinkled with picturesque rocks, turreted castles, and buildings, that glow under a bright sunny Italian sky. This fine landscape is one of a set of four landscapes (well-known chefs d'oeuvres) which formerly decorated the Justiniani palace at Rome, and were painted expressly for that illustrious family, and it is of more importance as being larger than Domenichino's landscapes usually are. It proves also that this great painter was inferior to none of his contemporary artists even in this line of painting, as his grand paintings from scriptural subjects at Rome and at Bologna prove that he surpassed them all in the sublimer historical works of art. "His communion of St. Jerome," says Lanzi, "is the finest picture Rome can boast of, next to Raphael's Transfiguration" (Domenichino Zampieri)|A grand mountainous Landscape, in which our Divine Saviour is proceeding with the two pilgrims towards the Castle of Emaus. The painting is full of subject; sparkling with golden tints, and richly sprinkled with picturesque rocks, turreted castles, and buildings, that glow under a bright sunny Italian sky. This fine landscape is one of a set of four landscapes (well-known chefs d'oeuvres) which formerly decorated the Justiniani palace at Rome, and were painted expressly for that illustrious family, and it is of more importance as being larger than Domenichino's landscapes usually are. It proves also that this great painter was inferior to none of his contemporary artists even in this line of painting, as his grand paintings from scriptural subjects at Rome and at Bologna prove that he surpassed them all in the sublimer historical works of art. "His communion of St. Jerome," says Lanzi, "is the finest picture Rome can boast of, next to Raphael's Transfiguration"]] réalisée par Domenichino Zampieri, vendue par Right Hon Lord Northwick au prix de 210 gs. [9]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Dutch Girl gathering a Pink. This most exquisitely high-finished production is either a replica by Gerrard Dow of a painting that was in the Duke of Berry's collection, or that picture is a repetition of this. These paintings, when placed in juxta-position, are so exactly counterparts, that it is only from the patterns of their frames they can be distinguished the one from the other. That in the Duke of Berry's cabinet (on view in Messrs. Christie's Rooms) was purchased by one of the most distinguished collectors, and of the most enlightened cognoscenti of the day (as appears in Messrs. Christie's priced catalogue) for 500£ or guineas, and it is thus described: -- "79 A Dutch Girl, &c. &c. The flower-pot is placed outside a window, over which a carpet is laid; the head is full of expression and feeling." This picture was painted by the artist at the age of 43, a period when his talent was in the highest perfection. On wood, with arched top; height 12 1/2 inches by 8 1/4 (Gerrard Dow)|A Dutch Girl gathering a Pink. This most exquisitely high-finished production is either a replica by Gerrard Dow of a painting that was in the Duke of Berry's collection, or that picture is a repetition of this. These paintings, when placed in juxta-position, are so exactly counterparts, that it is only from the patterns of their frames they can be distinguished the one from the other. That in the Duke of Berry's cabinet (on view in Messrs. Christie's Rooms) was purchased by one of the most distinguished collectors, and of the most enlightened cognoscenti of the day (as appears in Messrs. Christie's priced catalogue) for 500£ or guineas, and it is thus described: -- "79 A Dutch Girl, &c. &c. The flower-pot is placed outside a window, over which a carpet is laid; the head is full of expression and feeling." This picture was painted by the artist at the age of 43, a period when his talent was in the highest perfection. On wood, with arched top; height 12 1/2 inches by 8 1/4]] réalisée par Gerrard Dow, vendue par Right Hon Lord Northwick au prix de 140 gs. [10]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Portrait of a young Nobleman. A beautiful portrait of a Florentine youth richly attired, elaborately finished. The soft, sweet, mellow tone of colouring, and knowledge of chiar' oscuro displayed in this painting, are beyond all praise. All is modesty, repose, and harmony; Carlo Dolce excelled in Scriptural subjects, such as the justly admired painting of Christ holding the Bread of Life, in the Marquess of Exeter's collection; as also in subjects called Ecce Homo, or Sufferings of Christ, the anguish of the Virgin Mary, Martyrdom of Saints, &c.; all of which he depicted with admirable pathos, and a sweetness of expression which was peculiarly his own; but his portraits are of rare occurrence, and this is amongst his finest and highest finished productions in this line of painting (Carlo Dolce)|A Portrait of a young Nobleman. A beautiful portrait of a Florentine youth richly attired, elaborately finished. The soft, sweet, mellow tone of colouring, and knowledge of chiar' oscuro displayed in this painting, are beyond all praise. All is modesty, repose, and harmony; Carlo Dolce excelled in Scriptural subjects, such as the justly admired painting of Christ holding the Bread of Life, in the Marquess of Exeter's collection; as also in subjects called Ecce Homo, or Sufferings of Christ, the anguish of the Virgin Mary, Martyrdom of Saints, &c.; all of which he depicted with admirable pathos, and a sweetness of expression which was peculiarly his own; but his portraits are of rare occurrence, and this is amongst his finest and highest finished productions in this line of painting]] réalisée par Carlo Dolce, vendue par Right Hon Lord Northwick au prix de 89 gs. [11]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[An Interior of a Church, probably in Holland. It is impossible to speak too highly of this admirable painting. The perspective is perfect; the light is judiciously introduced into the church, and serves to display the extraordinary care, accuracy, and truth, with which the monuments and tombs, with their legible inscriptions, the ornamental pavements, even to the minutest objects that present themselves, are finished. The figures, in most admirable accordance with the subject, are painted by J. Lingelbach (De Lorme)|An Interior of a Church, probably in Holland. It is impossible to speak too highly of this admirable painting. The perspective is perfect; the light is judiciously introduced into the church, and serves to display the extraordinary care, accuracy, and truth, with which the monuments and tombs, with their legible inscriptions, the ornamental pavements, even to the minutest objects that present themselves, are finished. The figures, in most admirable accordance with the subject, are painted by J. Lingelbach]] réalisée par De Lorme, vendue par Right Hon Lord Northwick. [12]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[St. Jerome. St. Jerome in the Desert, awakened from his dream by an angel sounding a trumpet, which to his disturbed imagination, announced the approach of the Day of the Last Judgment. The picture is in the highest state of perfection, painted in Guercino's full force of colouring. It was one of the distinguished paintings of this master in the Orleans Gallery, in which collection it is engraved (Guercino (Barbieri))|St. Jerome. St. Jerome in the Desert, awakened from his dream by an angel sounding a trumpet, which to his disturbed imagination, announced the approach of the Day of the Last Judgment. The picture is in the highest state of perfection, painted in Guercino's full force of colouring. It was one of the distinguished paintings of this master in the Orleans Gallery, in which collection it is engraved]] réalisée par Guercino (Barbieri), vendue par Right Hon Lord Northwick au prix de 82 gs. [13]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Virgin, with the Infant Saviour, seated upon a throne, that is richly adorned with cloth or tapestry of gold, of most costly and elaborate workmanship. St. Christopher and St. Sebastian are standing on either side of the throne. It is a most curious genuine painting of this rare and early master, whose design (though still somewhat adhering to the old Gothic style), is more correct than any other artist of his age. He was the master of many distinguished scholars, and had the title conceded to him of being the restorer of his divine art, which, half a century after his time, at once burst forth in full meridian splendour, and nearly at the same time, in several of the schools of which he was the reputed founder. To the merit of being the best painter, he united that of being certainly by far the most celebrated engraver in that early age (Andrea Mantegna. Born near Padua, in 1431)|The Holy Virgin, with the Infant Saviour, seated upon a throne, that is richly adorned with cloth or tapestry of gold, of most costly and elaborate workmanship. St. Christopher and St. Sebastian are standing on either side of the throne. It is a most curious genuine painting of this rare and early master, whose design (though still somewhat adhering to the old Gothic style), is more correct than any other artist of his age. He was the master of many distinguished scholars, and had the title conceded to him of being the restorer of his divine art, which, half a century after his time, at once burst forth in full meridian splendour, and nearly at the same time, in several of the schools of which he was the reputed founder. To the merit of being the best painter, he united that of being certainly by far the most celebrated engraver in that early age]] réalisée par Andrea Mantegna. Born near Padua, in 1431, vendue par Right Hon Lord Northwick, achetée par Fuller au prix de 10.10 gs. [14]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Portrait. The Portrait of Maria of Burgundy, daughter and heiress of Charles the Bold, (last of the Burgundian dukes,) and wife of the Emperor Maximilian. It is a most splendid portrait of a princess, in whose fortunes were involved the future destinies of Europe, and its tranquillity for many successive generations. The greatest monarchs contended for her alliance, to which also was appended the possession of her rich inheritance; and the Archduke Maximilian had the good fortune to obtain both, on which occasion (it is said) the following Latin Distich was composed: -- "Bella gerant alii tu, felix Austria Nube; Nam quæ Mars aliis, dat tibi Regna Venus." Though these lines would be equally applicable to the marriage of her son, (the Archduke Philip,) with Joan daughter of Ferdinand and Isabella, and heiress of Spain and the Indies. The splendid fortunes, however, of Maria of Burgundy, were fleet and evanescent, for she died in early life; and a French Monarch, in after times, on visiting her stately monument at Bruges, pointed to it as "the Cradle of all their wars." "Voila," said Louis XV., "le Berceau de toutes nos Guerres." In addition to its historical associations, this portrait has the merit also of being beautifully painted (Bernardo Van Orley)|A Portrait. The Portrait of Maria of Burgundy, daughter and heiress of Charles the Bold, (last of the Burgundian dukes,) and wife of the Emperor Maximilian. It is a most splendid portrait of a princess, in whose fortunes were involved the future destinies of Europe, and its tranquillity for many successive generations. The greatest monarchs contended for her alliance, to which also was appended the possession of her rich inheritance; and the Archduke Maximilian had the good fortune to obtain both, on which occasion (it is said) the following Latin Distich was composed: -- "Bella gerant alii tu, felix Austria Nube; Nam quæ Mars aliis, dat tibi Regna Venus." Though these lines would be equally applicable to the marriage of her son, (the Archduke Philip,) with Joan daughter of Ferdinand and Isabella, and heiress of Spain and the Indies. The splendid fortunes, however, of Maria of Burgundy, were fleet and evanescent, for she died in early life; and a French Monarch, in after times, on visiting her stately monument at Bruges, pointed to it as "the Cradle of all their wars." "Voila," said Louis XV., "le Berceau de toutes nos Guerres." In addition to its historical associations, this portrait has the merit also of being beautifully painted]] réalisée par Bernardo Van Orley, vendue par Right Hon Lord Northwick au prix de 29 gs. [16]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Le Depart pour la Chasse. This is a most charming, sparkling, and highly-finished painting, abounding with subjects; the more prominent of which are a cavalier and his lady richly attired, and the latter about to mount a beautiful Wouverman-like little white horse, apparently well trained and of the greatest docility. A beggar-woman with children is earnestly relating her tales of woe to a sprightly young page, who appears to be compassionately listening to them and is at the same time holding the bridle of the lady's horse. This is a masterly production, and has much of the spirit and pencilling of Philip Wouvermans (John Lingelbach)|Le Depart pour la Chasse. This is a most charming, sparkling, and highly-finished painting, abounding with subjects; the more prominent of which are a cavalier and his lady richly attired, and the latter about to mount a beautiful Wouverman-like little white horse, apparently well trained and of the greatest docility. A beggar-woman with children is earnestly relating her tales of woe to a sprightly young page, who appears to be compassionately listening to them and is at the same time holding the bridle of the lady's horse. This is a masterly production, and has much of the spirit and pencilling of Philip Wouvermans]] réalisée par John Lingelbach, vendue par Right Hon Lord Northwick au prix de 77 gs. [17]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin and Infant Saviour. Panel, circular top. A most admirable specimen of this early master, replete with grace and beauty. It would not lose a particle of its merit by being palced in competition with any of the great masters of the Italian School, it is surpassingly excellent in its soft, mellow tones, and sweetness of expression. The rich landscape is full of interest and detail (Bernardo Van Orley)|The Virgin and Infant Saviour. Panel, circular top. A most admirable specimen of this early master, replete with grace and beauty. It would not lose a particle of its merit by being palced in competition with any of the great masters of the Italian School, it is surpassingly excellent in its soft, mellow tones, and sweetness of expression. The rich landscape is full of interest and detail]] réalisée par Bernardo Van Orley, vendue par Right Hon Lord Northwick au prix de 38 gs. [22]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[St. Jerome. The Saint is making extracts from the Holy Scriptures, and with his left hand grasping a human scull. The fervour of devotion and meagre extenuated frame of this holy father of the church are depicted with great feeling, in Guido's glowing colours, and with the utmost anatomical accuracy. The picture is engraved, and it was exhibited in the British Institution in 1837 (Guido Reni)|St. Jerome. The Saint is making extracts from the Holy Scriptures, and with his left hand grasping a human scull. The fervour of devotion and meagre extenuated frame of this holy father of the church are depicted with great feeling, in Guido's glowing colours, and with the utmost anatomical accuracy. The picture is engraved, and it was exhibited in the British Institution in 1837]] réalisée par Guido Reni, vendue par Right Hon Lord Northwick au prix de 56 gs. [23]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Triumph of Silenus. He is borne in triumph by a numerous troop of bacchanalians, male and female satyrs, all animated with the divine spirit of the grape, and attendants of his sacred orgies. Bacchus, Ceres, and Flora lead the van of the procession. The scene is full of mirth and merriment, the landscape is in a fine glowing tone of colouring that would not discredit the pencil of Rubens, by whom its former owner contended that it was painted, having seen, (as he believed,) the united monogram of the two artists in one corner of the painting. This, we confess, we have not been able to discover, but we certainly consider it (if entirely by Jordaens) a most brilliant easel painting of that master (Jaques Jordaens)|The Triumph of Silenus. He is borne in triumph by a numerous troop of bacchanalians, male and female satyrs, all animated with the divine spirit of the grape, and attendants of his sacred orgies. Bacchus, Ceres, and Flora lead the van of the procession. The scene is full of mirth and merriment, the landscape is in a fine glowing tone of colouring that would not discredit the pencil of Rubens, by whom its former owner contended that it was painted, having seen, (as he believed,) the united monogram of the two artists in one corner of the painting. This, we confess, we have not been able to discover, but we certainly consider it (if entirely by Jordaens) a most brilliant easel painting of that master]] réalisée par Jaques Jordaens, vendue par Right Hon Lord Northwick au prix de 81 gs. [24]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mary Magdalen in the midst of the Pleasures of the World, or Mary Magdalen's Dance (as the print from this picture is called). It would be endless to minutely describe the many groups of figures of which this painting is composed, in the midst of which is a cavalier richly dressed in the costume of the day, leading a portly female into scenes of mirth and jollity, that are meant to represent "The Pleasures of the World." There is an etching of this rare picture by the artist himself, which, when it is to be met with, sells for a very high price. There does not appear to be any date on this picture; but the date, on a stone, of 1531, together with the large L (the monogram of the artist), is nearly in the centre of the etching, and may lead us to suppose that the picture was painted somewhere about that time. Large church paintings of this esteemed old master are, it is said, occasionally to be met with in Holland and in Germany; but we believe that an easel picture of this size (and of a subject that is the rarest of all Leucas Van Leyden's prints), in unique. Leucas Van Leyden was the contemporary of Albert Durer, in Germany, and of Marc Antonio Raimondi, (the friend of Raphael, and engraver of his works) in Italy, and they formed a triumvirate of the three most eminent engravers of the day, whose works have scarcely ever been surpassed by any modern artists, and are still justly held in very high estimation (Leucas de Leyden. Born 1494)|Mary Magdalen in the midst of the Pleasures of the World, or Mary Magdalen's Dance (as the print from this picture is called). It would be endless to minutely describe the many groups of figures of which this painting is composed, in the midst of which is a cavalier richly dressed in the costume of the day, leading a portly female into scenes of mirth and jollity, that are meant to represent "The Pleasures of the World." There is an etching of this rare picture by the artist himself, which, when it is to be met with, sells for a very high price. There does not appear to be any date on this picture; but the date, on a stone, of 1531, together with the large L (the monogram of the artist), is nearly in the centre of the etching, and may lead us to suppose that the picture was painted somewhere about that time. Large church paintings of this esteemed old master are, it is said, occasionally to be met with in Holland and in Germany; but we believe that an easel picture of this size (and of a subject that is the rarest of all Leucas Van Leyden's prints), in unique. Leucas Van Leyden was the contemporary of Albert Durer, in Germany, and of Marc Antonio Raimondi, (the friend of Raphael, and engraver of his works) in Italy, and they formed a triumvirate of the three most eminent engravers of the day, whose works have scarcely ever been surpassed by any modern artists, and are still justly held in very high estimation]] réalisée par Leucas de Leyden. Born 1494, vendue par Right Hon Lord Northwick au prix de 35 gs. [26]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape, with a Cow and Goats. The foreshortening of the figure of the prominent animal in this picture is most difficult to represent; and it is so placed, it would seem, as a sort of bravura, to show with what accuracy and ease this talented painter could overcome difficulties in foreshortening, that no artist of an inferior order would dare to encounter (Karel du Jardin)|A Landscape, with a Cow and Goats. The foreshortening of the figure of the prominent animal in this picture is most difficult to represent; and it is so placed, it would seem, as a sort of bravura, to show with what accuracy and ease this talented painter could overcome difficulties in foreshortening, that no artist of an inferior order would dare to encounter]] réalisée par Karel du Jardin, vendue par Right Hon Lord Northwick au prix de 46 gs. [28]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Story of Narcissus; a smaller picture. It is of a smaller size than the preceding picture, but its colouring is of the most dazzling description. Mola, in his more highly finished works nearly approaches the admired landscape-painters of the Bolognese School, to whose manner he super-added the rich and glowing tints he had acquired by an assiduous study, and imitation of the great works of Tizian. Mola was by birth a Milanese, but he imitated in their turn the works of the most celebrated masters of almost every Italian School of Painting (Pietro Francesco Mola)|The Story of Narcissus; a smaller picture. It is of a smaller size than the preceding picture, but its colouring is of the most dazzling description. Mola, in his more highly finished works nearly approaches the admired landscape-painters of the Bolognese School, to whose manner he super-added the rich and glowing tints he had acquired by an assiduous study, and imitation of the great works of Tizian. Mola was by birth a Milanese, but he imitated in their turn the works of the most celebrated masters of almost every Italian School of Painting]] réalisée par Pietro Francesco Mola, vendue par Right Hon Lord Northwick, achetée par Picnot au prix de 17.17 gs. [29]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Story of Narcissus. The cluster of rich and umbrageous trees is painted from Nature with great fidelity, judiciously grouped and selected from the finest models. Every part of this attractive picture is in complete harmony, and beautifully composed; and its colouring competes with that of the first masters of the Italian School (Pietro Francesco Mola. Born 1609)|The Story of Narcissus. The cluster of rich and umbrageous trees is painted from Nature with great fidelity, judiciously grouped and selected from the finest models. Every part of this attractive picture is in complete harmony, and beautifully composed; and its colouring competes with that of the first masters of the Italian School]] réalisée par Pietro Francesco Mola. Born 1609, vendue par Right Hon Lord Northwick, achetée par Picnot au prix de 7.17 gs. [30]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Judgment of Midas. This Artist painted for the Cathedral of Antwerp a large Altar-piece, "The Adoration of the Kings," which is justly admired, and maintains its place amidst other celebrated paintings in that noble church; he was a pupil of no mean reputation in the great School of Rubens. The subject is poetically treated (Peter Van Mol)|The Judgment of Midas. This Artist painted for the Cathedral of Antwerp a large Altar-piece, "The Adoration of the Kings," which is justly admired, and maintains its place amidst other celebrated paintings in that noble church; he was a pupil of no mean reputation in the great School of Rubens. The subject is poetically treated]] réalisée par Peter Van Mol, vendue par Right Hon Lord Northwick, achetée par Nossock au prix de 4.14 gs. [31]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A pair of Portraits of Charles Brandon, Duke of Suffolk, and of his consort, the Princess Mary, daughter of King Henry VII., sister to Henry VIII., and Queen Dowager of Louis XII., of France. Finely painted portraits of two celebrated personages (Hans Holbein)|A pair of Portraits of Charles Brandon, Duke of Suffolk, and of his consort, the Princess Mary, daughter of King Henry VII., sister to Henry VIII., and Queen Dowager of Louis XII., of France. Finely painted portraits of two celebrated personages]] réalisée par Hans Holbein, vendue par Right Hon Lord Northwick, achetée par Seguier au prix de 32.11 gs. [32]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Queen Mary when a Child. This is an extraordinary portrait, delineating the features that adhered to that graceless Queen to the last years of her life: it is, however, a faultless work of art, finished like a miniature, the delicacy of execution of which can be fully appreciated only by a magnifying-glass (Hans Holbein)|Queen Mary when a Child. This is an extraordinary portrait, delineating the features that adhered to that graceless Queen to the last years of her life: it is, however, a faultless work of art, finished like a miniature, the delicacy of execution of which can be fully appreciated only by a magnifying-glass]] réalisée par Hans Holbein, vendue par Right Hon Lord Northwick au prix de 32 gs. [34]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A very curious early Landscape, in which the style of building, costume, and manners of the time are faithfully described. The artist has introduced the poets of Italy, in a group, similar to that in Raphael's Mount Parnassus and in other masters of the old Italian Schools (Giorgione)|A very curious early Landscape, in which the style of building, costume, and manners of the time are faithfully described. The artist has introduced the poets of Italy, in a group, similar to that in Raphael's Mount Parnassus and in other masters of the old Italian Schools]] réalisée par Giorgione, vendue par Right Hon Lord Northwick, achetée par R E au prix de 6.6 gs. [36]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Family, Virgin and Child, St. Anne, St. John, and St. Joseph reposing. The group is backed by a fine wild landscape. Lanzi speaks in very high terms of this artist, who studied the works of Tizian and Giorgione, at Venice (Paolo Farinati. Born at Verona in 1522)|The Holy Family, Virgin and Child, St. Anne, St. John, and St. Joseph reposing. The group is backed by a fine wild landscape. Lanzi speaks in very high terms of this artist, who studied the works of Tizian and Giorgione, at Venice]] réalisée par Paolo Farinati. Born at Verona in 1522, vendue par Right Hon Lord Northwick, achetée par Nossock au prix de 5.5 gs. [40]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mary Magdalen, from the Orleans Gallery. A most magnificent production, that is not perhaps surpassed in the brilliancy of colouring, and in all those rare and essential qualities that constitute perfection in the art of painting, by any one of the many splendid works of this great artist. It was among the most precious of Titian's paintings in the Orleans Gallery, and having been so well known and so much admired in that collection, a more minute description of its merits is unnecessary here (Titian)|Mary Magdalen, from the Orleans Gallery. A most magnificent production, that is not perhaps surpassed in the brilliancy of colouring, and in all those rare and essential qualities that constitute perfection in the art of painting, by any one of the many splendid works of this great artist. It was among the most precious of Titian's paintings in the Orleans Gallery, and having been so well known and so much admired in that collection, a more minute description of its merits is unnecessary here]] réalisée par Titian, vendue par Right Hon Lord Northwick au prix de 370 gs. [42]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A magnificent Painting, of the boldest and most imposing effect; composed chiefly of rocks and broken ground, probably copied with great fidelity from the romantic scenery in the environs of La Cava, near the Bay of Salerno, where Salvator Rosa passes his early days. The three figures conversing on the broken rocks have a very picturesque effect, and harmonize with the scenery around them (S. Rosa)|A magnificent Painting, of the boldest and most imposing effect; composed chiefly of rocks and broken ground, probably copied with great fidelity from the romantic scenery in the environs of La Cava, near the Bay of Salerno, where Salvator Rosa passes his early days. The three figures conversing on the broken rocks have a very picturesque effect, and harmonize with the scenery around them]] réalisée par S. Rosa, vendue par Right Hon Lord Northwick au prix de 80 gs. [43]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Samson and the Honeycomb. -- "And after a time he returned to take her" (his betrothed wife), "and he turned aside to see the carcase of the lion; and behold, there was a swarm of bees and honey in the carcase of the lion. And he took thereof in his hands, and went on eating, and came to his father and mother, and he gave them, and they did eat; but he told not them that he had taken the honey out of the carcsae of the lion." -- Judges, chap. xiv., v. 8, 9. The character of age, in both sexes, is here beautifully contrasted with that of a youth, of modest mien, who, in graceful attitude, is presenting to his parents the fruits of one of his earliest exploits. The execution of this picture exhibits the perfection of Guercino's manner, in which dignity and breadth are blended with the richest colouring. This chef-d'oeuvre of Guercino was, in former times, (times preceding the calamitous year 1800, when so many collections in Italy were dispersed,) in the grand saloon of the palace Colonna at Rome, where it was placed as a companion to one of the same size, (likewise by Guercino, and composed also of three figures,) representing the Return of the Prodigal Son. Both pictures were painted at a period when Guercino was in full force, and they were considered to be amongst the finest of his works at Rome (Guercino (Barbieri))|Samson and the Honeycomb. -- "And after a time he returned to take her" (his betrothed wife), "and he turned aside to see the carcase of the lion; and behold, there was a swarm of bees and honey in the carcase of the lion. And he took thereof in his hands, and went on eating, and came to his father and mother, and he gave them, and they did eat; but he told not them that he had taken the honey out of the carcsae of the lion." -- Judges, chap. xiv., v. 8, 9. The character of age, in both sexes, is here beautifully contrasted with that of a youth, of modest mien, who, in graceful attitude, is presenting to his parents the fruits of one of his earliest exploits. The execution of this picture exhibits the perfection of Guercino's manner, in which dignity and breadth are blended with the richest colouring. This chef-d'oeuvre of Guercino was, in former times, (times preceding the calamitous year 1800, when so many collections in Italy were dispersed,) in the grand saloon of the palace Colonna at Rome, where it was placed as a companion to one of the same size, (likewise by Guercino, and composed also of three figures,) representing the Return of the Prodigal Son. Both pictures were painted at a period when Guercino was in full force, and they were considered to be amongst the finest of his works at Rome]] réalisée par Guercino (Barbieri), vendue par Right Hon Lord Northwick au prix de 450 gs. [44]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Adoration of the Kings. The Portraits of the two brothers, Hubert and Jean, are seen through the opening of a window-casement; Jean is affectionately indicating by his action that it is to his brother Hubert that he is indebted for instruction in his art, and for the fame he has thereby acquired. Philip the Good, Duke of Burgundy, is represented as the principal of the Magi. He is decorated with the order of the Golden Fleece, of which he was the founder. He has, however, a prouder claim to celebrity in being also the illustrious patron of these distinguished artists, who in return conferred a lustre on his name, and on Bruges, the capital in which the Dukes of Burgundy then held their court. It is probable also that all of the principal figures in the picture are portraits, as it is finished with a care and precision which denote that it was painted on no ordinary occasion. The painting is pure and uninjured, and its colouring mellowed and improved in the course of revolving ages. To Hubert and Jean Van Eycke has been ascribed the invention of painting in oil. All who behold this painting must at all events allow them the merit of having brought the colours they themselves used or invented to a degree of perfection that has never been surpassed; and indeed we should be puzzled to point out in any painting, of any school or age, tints of more vivid colouring than those that dazzle our eyes in this picture, and which to its other high qualities, adds that of its having outstripped its age in grace and refinement, and of being painted with greater elegance and skill in the disposition of its figures and draperies, and a better knowledge of perspective, than is seen in the works of any other artist of any school, during the long interval that elapsed from the period (at which we may reasonably suppose it to have been painted) down to the first dawn of the Augustan era in painting, when the science was again happily revived by the powerful and nearly contemporaneous efforts (in their several schools) of Leonardo da Vinci, Raphael, and Correggio (Hubert Van Eycke. Born at Maaseyk, on the Meuse, in 1366)|The Adoration of the Kings. The Portraits of the two brothers, Hubert and Jean, are seen through the opening of a window-casement; Jean is affectionately indicating by his action that it is to his brother Hubert that he is indebted for instruction in his art, and for the fame he has thereby acquired. Philip the Good, Duke of Burgundy, is represented as the principal of the Magi. He is decorated with the order of the Golden Fleece, of which he was the founder. He has, however, a prouder claim to celebrity in being also the illustrious patron of these distinguished artists, who in return conferred a lustre on his name, and on Bruges, the capital in which the Dukes of Burgundy then held their court. It is probable also that all of the principal figures in the picture are portraits, as it is finished with a care and precision which denote that it was painted on no ordinary occasion. The painting is pure and uninjured, and its colouring mellowed and improved in the course of revolving ages. To Hubert and Jean Van Eycke has been ascribed the invention of painting in oil. All who behold this painting must at all events allow them the merit of having brought the colours they themselves used or invented to a degree of perfection that has never been surpassed; and indeed we should be puzzled to point out in any painting, of any school or age, tints of more vivid colouring than those that dazzle our eyes in this picture, and which to its other high qualities, adds that of its having outstripped its age in grace and refinement, and of being painted with greater elegance and skill in the disposition of its figures and draperies, and a better knowledge of perspective, than is seen in the works of any other artist of any school, during the long interval that elapsed from the period (at which we may reasonably suppose it to have been painted) down to the first dawn of the Augustan era in painting, when the science was again happily revived by the powerful and nearly contemporaneous efforts (in their several schools) of Leonardo da Vinci, Raphael, and Correggio]] réalisée par Hubert Van Eycke. Born at Maaseyk, on the Meuse, in 1366, vendue par Right Hon Lord Northwick au prix de 110 gs. [45]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Mount Parnassus; another composition of the same poetical subject, painted by an unknown artist, probably of the Raffaelle School, or one of his contemporaries. It is most beautifully and delicately painted, and the portraits of many of them different from those in the preceding painting. It also varies considerably from the painting in the Vatican (as may be seen by comparing it with Volpato's and Morghen's fine engraving,) from the composition in Marc Antonio's valuable print, as also from the last described picture by Giulio Romano Mount Parnassus. It is curious to remark the many variations that occur in the paintings, etchings, and designs, by old Italian artists, of a favourite subject that has been so often repeated by them (Giulio Romano)|The Mount Parnassus; another composition of the same poetical subject, painted by an unknown artist, probably of the Raffaelle School, or one of his contemporaries. It is most beautifully and delicately painted, and the portraits of many of them different from those in the preceding painting. It also varies considerably from the painting in the Vatican (as may be seen by comparing it with Volpato's and Morghen's fine engraving,) from the composition in Marc Antonio's valuable print, as also from the last described picture by Giulio Romano Mount Parnassus. It is curious to remark the many variations that occur in the paintings, etchings, and designs, by old Italian artists, of a favourite subject that has been so often repeated by them]] réalisée par Giulio Romano, vendue par Right Hon Lord Northwick au prix de 32 gs. [46]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A View, probably representing some part of the Terra Firma of the Venetian States. It is the finest work that has come under our notice, of this scholar and emulator of Canalletti; being less monotonous and maniere, and displaying a greater freedom of style and a more sparkling touch of the pencil than are usually to be found in Canaletti's paintings (Guardi)|A View, probably representing some part of the Terra Firma of the Venetian States. It is the finest work that has come under our notice, of this scholar and emulator of Canalletti; being less monotonous and maniere, and displaying a greater freedom of style and a more sparkling touch of the pencil than are usually to be found in Canaletti's paintings]] réalisée par Guardi, vendue par Right Hon Lord Northwick, achetée par Fuller au prix de 96.1 gs. [50]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Adoration of the Magi -- on panel; an extraordinary fine painting of the master, the colouring is rich, mellow, and harmonious, and it would do credit to Rembrandt, for whose work it might well pass. Eeckhout's name, however, claims it as his own (Gerrard van Eeckhout)|The Adoration of the Magi -- on panel; an extraordinary fine painting of the master, the colouring is rich, mellow, and harmonious, and it would do credit to Rembrandt, for whose work it might well pass. Eeckhout's name, however, claims it as his own]] réalisée par Gerrard van Eeckhout, vendue par Right Hon Lord Northwick, achetée par Picnot au prix de 29.8 gs. [52]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait of Diane de Portiers, Duchesse de Valentinois; painted upon copper. A most animated and sparkling little portrait of this celebrated favourite of King Henry II. of France. She is painted as the Goddess Diana; is full of life and spirit, with all the attributes of the Sylvan Deity. If the portrait resembled her, she must have been superlatively beautiful (Gaspar Netscher)|Portrait of Diane de Portiers, Duchesse de Valentinois; painted upon copper. A most animated and sparkling little portrait of this celebrated favourite of King Henry II. of France. She is painted as the Goddess Diana; is full of life and spirit, with all the attributes of the Sylvan Deity. If the portrait resembled her, she must have been superlatively beautiful]] réalisée par Gaspar Netscher, vendue par Right Hon Lord Northwick au prix de 21.0 gs. [54]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Angel delivering St. Peter from Prison. This is a picture on a small scale, but is a splendid specimen of chiar' oscuro. St. Peter is stooping, in the act of putting on his sandals, preparatory to his escape. The light emanating from the divine messenger falls upon St. Peter, and illumines also the figures of the two guards, who are in a sound sleep, and produces a very brilliant effect. The painting is on panel (Rembrandt)|The Angel delivering St. Peter from Prison. This is a picture on a small scale, but is a splendid specimen of chiar' oscuro. St. Peter is stooping, in the act of putting on his sandals, preparatory to his escape. The light emanating from the divine messenger falls upon St. Peter, and illumines also the figures of the two guards, who are in a sound sleep, and produces a very brilliant effect. The painting is on panel]] réalisée par Rembrandt, vendue par Right Hon Lord Northwick, achetée par Sir W Harris au prix de 7.17 gs. [55]
  • 1838.05.24/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mount Parnassus, on thick panel. This beautiful composition is most poetically treated; the rich woody scenery under which Apollo, the muses, and immortalized poets are reposing, is perfectly Arcadian; and the Castalian fountain bursts forth at their feet in a most copious and pellucid stream. Every figure is a portrait of some distinguished contemporary. The composition of this painting varies very materially from the glorious chef-d'oeuvre, painted conjointly by Raffaelle and G. Romano, in le Stanze del Vaticano; as also from the admirable engraving by Marc Antonio Raimondi, said to have been taken from Raffaelle's first sketch for this engraved subject, and to have been finished under this illustrious painter's own immediate superintendence and direction (Giulio Romano)|Mount Parnassus, on thick panel. This beautiful composition is most poetically treated; the rich woody scenery under which Apollo, the muses, and immortalized poets are reposing, is perfectly Arcadian; and the Castalian fountain bursts forth at their feet in a most copious and pellucid stream. Every figure is a portrait of some distinguished contemporary. The composition of this painting varies very materially from the glorious chef-d'oeuvre, painted conjointly by Raffaelle and G. Romano, in le Stanze del Vaticano; as also from the admirable engraving by Marc Antonio Raimondi, said to have been taken from Raffaelle's first sketch for this engraved subject, and to have been finished under this illustrious painter's own immediate superintendence and direction]] réalisée par Giulio Romano, vendue par Right Hon Lord Northwick au prix de 34 gs. [62]
Récupérée de « https://wikipast.epfl.ch/index.php?title=Ventes_d%27œuvres_le_1838.05.24&oldid=3989616 »