Ventes d'œuvres le 1838.05.26

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  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Lady Jane Seymour, third Wife of King Henry VIII. and mother to Edward VI., in an accurate and elaborately painted portrait of this interesting personage in the costume of her time; the portrait has been engraved by Hollar, and it is similar to the drawing by Holbein, in the Royal Collection (Holbein)|The Lady Jane Seymour, third Wife of King Henry VIII. and mother to Edward VI., in an accurate and elaborately painted portrait of this interesting personage in the costume of her time; the portrait has been engraved by Hollar, and it is similar to the drawing by Holbein, in the Royal Collection]] réalisée par Holbein, vendue par Right Hon Lord Northwick, achetée par Saywell au prix de 8.15 gs. [10]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Landscape with Figures hunting. A very excellent and brilliant painting of this artist, painted in his fullest force of colouring, in which Annibal Carracci has introduced the figures, which are exceedingly spirited, and certainly by the hand of Annibal Carracci (Paul Brill)|Landscape with Figures hunting. A very excellent and brilliant painting of this artist, painted in his fullest force of colouring, in which Annibal Carracci has introduced the figures, which are exceedingly spirited, and certainly by the hand of Annibal Carracci]] réalisée par Paul Brill, vendue par Right Hon Lord Northwick au prix de 31.10 gs. [11]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[St. Hardianus. The Saint is represented standing in a splendid suit of complete armour most elaborately wrought, wearing a richly ornamented helmet; he has a drawn sword in his hand of heroic dimensions, and there is an inscription on its scabbard; behind him is a lion couchant of formidable aspect, and before him what appears to be a smith's anvil and hammer (Andrea Mantegna)|St. Hardianus. The Saint is represented standing in a splendid suit of complete armour most elaborately wrought, wearing a richly ornamented helmet; he has a drawn sword in his hand of heroic dimensions, and there is an inscription on its scabbard; behind him is a lion couchant of formidable aspect, and before him what appears to be a smith's anvil and hammer]] réalisée par Andrea Mantegna, vendue par Right Hon Lord Northwick, achetée par Bromley au prix de 6.16 gs. [12]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [["Eleazor, steward of Abraham, comes into the lands of Abraham's forefathers to seek a wife for Isaac." -- Genesis, xxiv. -- Daniel Crespi, of Milan, was the most distinguished pupil of Julio Cesare Proccacini, whose works, he is said by Lanzi, and by other able judges, to have surpassed. In the distribution of his colours, and the grouping of his figures, he was distinguished beyond all the artists of his time, as is displayed in the picture before us, which is full of subject and very ably treated (Daniel Crespi)|"Eleazor, steward of Abraham, comes into the lands of Abraham's forefathers to seek a wife for Isaac." -- Genesis, xxiv. -- Daniel Crespi, of Milan, was the most distinguished pupil of Julio Cesare Proccacini, whose works, he is said by Lanzi, and by other able judges, to have surpassed. In the distribution of his colours, and the grouping of his figures, he was distinguished beyond all the artists of his time, as is displayed in the picture before us, which is full of subject and very ably treated]] réalisée par Daniel Crespi, vendue par Right Hon Lord Northwick, achetée par Saywell au prix de 8.8 gs. [15]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portraits of the Archduchess Joanne la Folle and her infant son, afterwards the Emperor Charles V. -- This princess was the wife of the Archduke Philip le Bel (son of the Emperor Maximilian), and the daughter of Ferdinand and Isabella, heiress of the Spanish Monarchy. This is so curious, and so unlike other paintings, that it is difficult to describe it. The dress is of so gorgeous a description (composed entirely of gold and costly jewels), that one would suppose all the wealth of the western world, lately discovered, had been lavishly poured forth for its decoration; from its extraordinary smooth surface, and enamel-like texture, it might pass for the production of some Mexican artist, but that the mark of Cranach is affixed to it (Lucas Cranach)|Portraits of the Archduchess Joanne la Folle and her infant son, afterwards the Emperor Charles V. -- This princess was the wife of the Archduke Philip le Bel (son of the Emperor Maximilian), and the daughter of Ferdinand and Isabella, heiress of the Spanish Monarchy. This is so curious, and so unlike other paintings, that it is difficult to describe it. The dress is of so gorgeous a description (composed entirely of gold and costly jewels), that one would suppose all the wealth of the western world, lately discovered, had been lavishly poured forth for its decoration; from its extraordinary smooth surface, and enamel-like texture, it might pass for the production of some Mexican artist, but that the mark of Cranach is affixed to it]] réalisée par Lucas Cranach, vendue par Right Hon Lord Northwick, achetée par Bromley au prix de 31.10 gs. [16]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Group of ten figures, forming a family concert, being the portraits of three generations of the Ponte and Bassano family -- old Francesco, Giacomo, and Francesco the younger, with their wives, &c. Leandro, who is well known (as he often painted his own portrait), is standing near his wife (who is playing on a Cembalo, or Harpsichord), and is intently overlooking a musical book held by his father, Giacomo, over the head of the old lady. The subject is a very interesting one; it gives us the portraits of these excellent painters, and is a proof of the harmony that prevailed in their family (Bessano, (Leandro da Ponte))|A Group of ten figures, forming a family concert, being the portraits of three generations of the Ponte and Bassano family -- old Francesco, Giacomo, and Francesco the younger, with their wives, &c. Leandro, who is well known (as he often painted his own portrait), is standing near his wife (who is playing on a Cembalo, or Harpsichord), and is intently overlooking a musical book held by his father, Giacomo, over the head of the old lady. The subject is a very interesting one; it gives us the portraits of these excellent painters, and is a proof of the harmony that prevailed in their family]] réalisée par Bessano, (Leandro da Ponte), vendue par Right Hon Lord Northwick au prix de 64 gs. [18]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[His own Portrait, returned from shooting with an attendant chasseur, and an immense profusion of many sorts of dead game; some old buildings are introduced, with a most picturesque effect, in an uncommonly rich landscape. It has great merit in its perfromance, and is a very fine specimen of the master (John Weenix)|His own Portrait, returned from shooting with an attendant chasseur, and an immense profusion of many sorts of dead game; some old buildings are introduced, with a most picturesque effect, in an uncommonly rich landscape. It has great merit in its perfromance, and is a very fine specimen of the master]] réalisée par John Weenix, vendue par Right Hon Lord Northwick, achetée par Barham au prix de 66.3 gs. [19]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Head of a Fawn. This probably formed part of, or was the study for, the composition of a larger picture, it being about the size of life; and it is like all the other works of this great master (who was the head of the Bolognese School), elegantly designed, and most classically treated (A. Carracci)|Head of a Fawn. This probably formed part of, or was the study for, the composition of a larger picture, it being about the size of life; and it is like all the other works of this great master (who was the head of the Bolognese School), elegantly designed, and most classically treated]] réalisée par A. Carracci, vendue par Right Hon Lord Northwick, achetée par Norton au prix de 16.5 gs. [20]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Sea-View. -- A town with towering edifices, perhaps that of Dort (the artist's native city), is seen at a distance, at the confluence of two large navigable rivers, which are crowded with boats, barks, and commercial vessels of various descriptions, that give to them a very animated appearance. It is nearly from the same point of view that the grand painting, by Cuyp, in the Bridgewater Gallery (No. 250 in Young's Catalogue, and representing Prince Maurice coming on shore), seems to have been taken. This our picture, though of a smaller size, is a fine specimen of Albert Cuyp's marine painting (Albert Cuyp)|A Sea-View. -- A town with towering edifices, perhaps that of Dort (the artist's native city), is seen at a distance, at the confluence of two large navigable rivers, which are crowded with boats, barks, and commercial vessels of various descriptions, that give to them a very animated appearance. It is nearly from the same point of view that the grand painting, by Cuyp, in the Bridgewater Gallery (No. 250 in Young's Catalogue, and representing Prince Maurice coming on shore), seems to have been taken. This our picture, though of a smaller size, is a fine specimen of Albert Cuyp's marine painting]] réalisée par Albert Cuyp, vendue par Right Hon Lord Northwick, achetée par Barham au prix de 105.0 gs. [21]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Scene near the Rhine, of this highly esteemed master, and in no point inferior to the other painting in this collection of Wynants, except in that of its size. Connoisseurs may think this deficiency (if it really be one) amply compensated by its variety and fulness of subject, and a wider range of picturesque scenery (John Wynants)|A Scene near the Rhine, of this highly esteemed master, and in no point inferior to the other painting in this collection of Wynants, except in that of its size. Connoisseurs may think this deficiency (if it really be one) amply compensated by its variety and fulness of subject, and a wider range of picturesque scenery]] réalisée par John Wynants, vendue par Right Hon Lord Northwick au prix de 62 gs. [23]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Painted upon Copper. This highly finished little picture was in the collection of Mr. Hibbert, in whose catalogue it was described as follows, "Susannah appealing to Heaven, and asserting her innocence, while Daniel on the judgment seat is directing a soldier to convey away one of the elders to capital punishment. This exquisite little cabinet picture is exceedingly rich in colour, and beautifully finished. -- From the cabinet of Mons. Robit, see catalogue, page 104. No. 156" (Valentin)|Painted upon Copper. This highly finished little picture was in the collection of Mr. Hibbert, in whose catalogue it was described as follows, "Susannah appealing to Heaven, and asserting her innocence, while Daniel on the judgment seat is directing a soldier to convey away one of the elders to capital punishment. This exquisite little cabinet picture is exceedingly rich in colour, and beautifully finished. -- From the cabinet of Mons. Robit, see catalogue, page 104. No. 156"]] réalisée par Valentin, vendue par Right Hon Lord Northwick, achetée par Greenland au prix de 50.8 gs. [24]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Cupid stung by Bees making his lament to Venus. The subject is taken from one of the Odes of Anacreon; the Latin inscription on the picture is "Pungit apis peurum veneris dum roscida mella furatur sic sunt dulcia mixta malis." The naked figure of Venus, with hat and feathers, and a rich golden necklace, is most correctly and elegantly designed, as is also her action of irony and derision admirably expressed. The artist has introduced the head of his favourite stag with its widely ramified antlers, (which he so often repeated,) its hinder parts being concealed in the adjoining thicket, and he has also added the coat of arms of the patron, for whom he painted the picture. It is in very fine preservation and a valuable specimen of the master (Lucas Cranach. Born in 1472)|Cupid stung by Bees making his lament to Venus. The subject is taken from one of the Odes of Anacreon; the Latin inscription on the picture is "Pungit apis peurum veneris dum roscida mella furatur sic sunt dulcia mixta malis." The naked figure of Venus, with hat and feathers, and a rich golden necklace, is most correctly and elegantly designed, as is also her action of irony and derision admirably expressed. The artist has introduced the head of his favourite stag with its widely ramified antlers, (which he so often repeated,) its hinder parts being concealed in the adjoining thicket, and he has also added the coat of arms of the patron, for whom he painted the picture. It is in very fine preservation and a valuable specimen of the master]] réalisée par Lucas Cranach. Born in 1472, vendue par Right Hon Lord Northwick au prix de 27.6 gs. [25]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait of the Cardinal Francesco Barbarini. This Cardinal was one of the nephews of Pope Urban VIII. and was sent legate a lateré to the court of France, and resided at Paris some years; his portrait was repeatedly painted by French artists of celebrity, as appears from the beautiful engravings of them by Nanteuil. He was one of the many nepoti of this rapacious Pope, who enriched his family by the spoils of the church, and whose name is consigned to infamy by all who venerate antiquity, by his more than Gothic rage in demolishing monuments of Rome's ancient glory, which even these Barbarians had left untouched. The countenance of the Cardinal, however, is placid and intellectual (Guido Reni)|Portrait of the Cardinal Francesco Barbarini. This Cardinal was one of the nephews of Pope Urban VIII. and was sent legate a lateré to the court of France, and resided at Paris some years; his portrait was repeatedly painted by French artists of celebrity, as appears from the beautiful engravings of them by Nanteuil. He was one of the many nepoti of this rapacious Pope, who enriched his family by the spoils of the church, and whose name is consigned to infamy by all who venerate antiquity, by his more than Gothic rage in demolishing monuments of Rome's ancient glory, which even these Barbarians had left untouched. The countenance of the Cardinal, however, is placid and intellectual]] réalisée par Guido Reni, vendue par Right Hon Lord Northwick, achetée par Picnot au prix de 23.2 gs. [26]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Village Surgeon. This picture is painted with great truth, and has a powerful effect. There is a sturdy endurance of pain expressed in the Patient who is under the doctor's hands; and the anxiety of the female, who may be the surgeon's wife, or a Patient who has also to undergo some painful operation, is well contrasted with the careless listlessness of the youthful attendant (David Teniers)|The Village Surgeon. This picture is painted with great truth, and has a powerful effect. There is a sturdy endurance of pain expressed in the Patient who is under the doctor's hands; and the anxiety of the female, who may be the surgeon's wife, or a Patient who has also to undergo some painful operation, is well contrasted with the careless listlessness of the youthful attendant]] réalisée par David Teniers, vendue par Right Hon Lord Northwick, achetée par Barham au prix de 42.0 gs. [27]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Pasticcio, intended to imitate an Italian painting, apparently one of Titian's grand compositions of the Assumption of the Holy Virgin. A very genuine production of this Proteus-like painter, in which he has displayed the great versatility of his powers (David Teniers)|A Pasticcio, intended to imitate an Italian painting, apparently one of Titian's grand compositions of the Assumption of the Holy Virgin. A very genuine production of this Proteus-like painter, in which he has displayed the great versatility of his powers]] réalisée par David Teniers, vendue par Right Hon Lord Northwick, achetée par Saywell au prix de 13.2 gs. [28]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Triumph of Bacchus and Silenus, with a procession of Nymphs, Satyrs, and Bacchanalian attendants, in a glowing Italian landscape rich in poetic feeling, characterising the mode of painting of this most classical artist. It has much of the freedom of touch and sparkling effect that distinguish a much admired picture by Annibale Carracci formerly in the Orleans Collection (Annibale Carracci)|The Triumph of Bacchus and Silenus, with a procession of Nymphs, Satyrs, and Bacchanalian attendants, in a glowing Italian landscape rich in poetic feeling, characterising the mode of painting of this most classical artist. It has much of the freedom of touch and sparkling effect that distinguish a much admired picture by Annibale Carracci formerly in the Orleans Collection]] réalisée par Annibale Carracci, vendue par Right Hon Lord Northwick au prix de 33 gs. [29]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Fra Bartolommeo was born as early as 1470. He contracted a friendahip with Raffaelle, (although there was some disparity in their ages,) who was said to have been his scholar in the art of colouring his pictures, but his master in correct design and in perspective. There is an imposing grandeur and graceful dignity in his compositions, and a brilliancy of colouring in his pictures, that deservedly raised him to the highest eminence amongst the greatest artists that his own or any other age has produced. His principal works are at Florence, where they are generally of a severe and imposing character, united to an inconceivable brilliancy of colouring that almost gives life to his panels, and inspires reverential respect. Out of Florence it would be difficult to find a more perfect and genuine painting of this artist, whose fame has stood the test of ages, and great as it was in his own time, has gone on encreasing through successive generations (Fra Bartolommeo. (Baccio della Porta))|Fra Bartolommeo was born as early as 1470. He contracted a friendahip with Raffaelle, (although there was some disparity in their ages,) who was said to have been his scholar in the art of colouring his pictures, but his master in correct design and in perspective. There is an imposing grandeur and graceful dignity in his compositions, and a brilliancy of colouring in his pictures, that deservedly raised him to the highest eminence amongst the greatest artists that his own or any other age has produced. His principal works are at Florence, where they are generally of a severe and imposing character, united to an inconceivable brilliancy of colouring that almost gives life to his panels, and inspires reverential respect. Out of Florence it would be difficult to find a more perfect and genuine painting of this artist, whose fame has stood the test of ages, and great as it was in his own time, has gone on encreasing through successive generations]] réalisée par Fra Bartolommeo. (Baccio della Porta), vendue par Right Hon Lord Northwick au prix de 360 gs. [30]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Rural Felicity. Shepherds and Shepherdesses, in the golden age, surrounded by their flocks, and disporting amidst secnes that are truly Arcadian. It is a splendid work of art of unusual size by this admired artist, and was painted in 1647, when he was in the fullest vigour of life, being then just 23 years old, and it is probably the picture he painted for Mr. Vanderhulk, burgermaster of Dort, who, as it is recorded, engaged Berghen and Both, to paint each a picture for which he was to pay a liberal remuneration, and a premium moreover to the artist whose work should be adjudged best painted. Berghen, stimulated by the competition, exerted himself to the utmost, and painted a picture of extraordinary beauty representing a grand mountainous landscape, richly embellished with pastoral figures, and cattle of every description. Both was equally successful, and their generous patron pronounced a judgment as honourable to himself as it was creditable to the competing artists, that "as both had reached perfection, both were entitled to the premium." The prize of fame (Nicholas Berghen)|Rural Felicity. Shepherds and Shepherdesses, in the golden age, surrounded by their flocks, and disporting amidst secnes that are truly Arcadian. It is a splendid work of art of unusual size by this admired artist, and was painted in 1647, when he was in the fullest vigour of life, being then just 23 years old, and it is probably the picture he painted for Mr. Vanderhulk, burgermaster of Dort, who, as it is recorded, engaged Berghen and Both, to paint each a picture for which he was to pay a liberal remuneration, and a premium moreover to the artist whose work should be adjudged best painted. Berghen, stimulated by the competition, exerted himself to the utmost, and painted a picture of extraordinary beauty representing a grand mountainous landscape, richly embellished with pastoral figures, and cattle of every description. Both was equally successful, and their generous patron pronounced a judgment as honourable to himself as it was creditable to the competing artists, that "as both had reached perfection, both were entitled to the premium." The prize of fame]] réalisée par Nicholas Berghen, vendue par Right Hon Lord Northwick au prix de 265 gs. [31]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Virgin, Infant Saviour, and St. John. On old Italian panel. This is an interesting specimen of the Prince of painters of the Florentine school, whose works are, in his own native city, placed upon a par with those of Raffaelle, and the first masters of the age in which he lived, a period wherein the art of painting had attained its highest pitch of perfection. He first studied, with great assiduity, the works of Leonardo da Vinci, and afterwards those of Michael Angelo, and in founding a school of his own, adopted a middle course of painting between those two masters; enraptured with the paintings of Raffaelle, he copied them so dexterously, and with such extreme fidelity as to deceive even Raffaelle himself, and the scholars who had assisted in his works, of which several instances are recorded. Andrea was infatuated with the charms of his wife, who was nevertheless a vile termagant, the cause of all his misconduct, and of all the misfortunes that consequently befel him, and finally of his premature death, after being reduced to an extreme state of destitution. The more to be lamented, as our galleries might otherwise have been enriched with more of his fine paintings, which he had great facility in producing, but which are now extremely rare, and those of a high quality only to be met with in Florence. It is probable that having his wife's Image deeply impressed upon his mind, she undesignedly became, more or less, the model for many of his Madonne, which, although all are beautiful, have that about them which approaches nearly to a family likeness. This is a graceful and elegant composition, correct in its design, rich in colouring, and a very genuine and important picture of this rare master (Andrea Vanacchi, called Del Sarto)|The Holy Virgin, Infant Saviour, and St. John. On old Italian panel. This is an interesting specimen of the Prince of painters of the Florentine school, whose works are, in his own native city, placed upon a par with those of Raffaelle, and the first masters of the age in which he lived, a period wherein the art of painting had attained its highest pitch of perfection. He first studied, with great assiduity, the works of Leonardo da Vinci, and afterwards those of Michael Angelo, and in founding a school of his own, adopted a middle course of painting between those two masters; enraptured with the paintings of Raffaelle, he copied them so dexterously, and with such extreme fidelity as to deceive even Raffaelle himself, and the scholars who had assisted in his works, of which several instances are recorded. Andrea was infatuated with the charms of his wife, who was nevertheless a vile termagant, the cause of all his misconduct, and of all the misfortunes that consequently befel him, and finally of his premature death, after being reduced to an extreme state of destitution. The more to be lamented, as our galleries might otherwise have been enriched with more of his fine paintings, which he had great facility in producing, but which are now extremely rare, and those of a high quality only to be met with in Florence. It is probable that having his wife's Image deeply impressed upon his mind, she undesignedly became, more or less, the model for many of his Madonne, which, although all are beautiful, have that about them which approaches nearly to a family likeness. This is a graceful and elegant composition, correct in its design, rich in colouring, and a very genuine and important picture of this rare master]] réalisée par Andrea Vanacchi, called Del Sarto, vendue par Right Hon Lord Northwick au prix de 280 gs. [32]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Family. This is a most genuine and captivating little specimen of this rare master; it is said of Schedone "that no follower of Correggio has approached so near to the graceful and expressive airs of his heads, and the elegant turns of his figures." There is a very spirited etching of this interesting little picture by Sisto Badalochio, a contemporary engraver of great merit (Bartolomeo Schedone)|The Holy Family. This is a most genuine and captivating little specimen of this rare master; it is said of Schedone "that no follower of Correggio has approached so near to the graceful and expressive airs of his heads, and the elegant turns of his figures." There is a very spirited etching of this interesting little picture by Sisto Badalochio, a contemporary engraver of great merit]] réalisée par Bartolomeo Schedone, vendue par Right Hon Lord Northwick, achetée par Farrer au prix de 130.4 gs. [33]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Artist, in an Interior, with his Family, delivering instructions in the Sciences to his eldest son. It is a clear bright painting; the different objects in the interior, or library, are designed with the utmost precision, and all its parts are touched with a bold and masterly pencil. It was in Lord Gwydir's Collection, sold at Messrs. Christie's in 1829 (Emanuel de Witte, or Wit)|The Artist, in an Interior, with his Family, delivering instructions in the Sciences to his eldest son. It is a clear bright painting; the different objects in the interior, or library, are designed with the utmost precision, and all its parts are touched with a bold and masterly pencil. It was in Lord Gwydir's Collection, sold at Messrs. Christie's in 1829]] réalisée par Emanuel de Witte, or Wit, vendue par Right Hon Lord Northwick, achetée par Fuller au prix de 26.5 gs. [34]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait of Henry Howard, Earl of Surrey. A splendid portrait, rich in colouring, and embracing all those high attributes that characterize the works of Titian. We presume, with great probability, and shall endeavour to prove, this fine painting to be the portrait of Henry Howard, Earl of Surrey, the most accomplished nobleman of the times in which he lived. In early youth, he became the enthusiastic admirer of the daughter of the Earl of Kildare, who, on her mother's side, was descended from the noble family of the Giraldi, of Florence, and was on that account called "the Fair Geraldine," and by that name celebrated in her youthful lover's early poetical sonnets: -- "From Tuscane came my ladie's worthy race; Fair Florence was sometyme her ancient seate. . . . Bright is her hewe, and Geraldine her hight." See "The Earl of Surrey's Sonnets," which require a Glossary to explain them. This courtship was going on at the time it was proclaimed throughout Europe that a grand Joust of Tournament would take place at Florence, to celebrate the nuptials of Alexander, Grand Duke of Tuscany, with the natural daughter of the Emperor Charles V.; and noble youths of ardent spirit from all parts of Europe were invited to attend and take a part in this brilliant ceremony. Vain of her Tuscan origin, and perhaps vainer still of the homage paid to her beauty by so noble a suitor, she refused to favour his addresses except only on the condition that he should forthwith proceed to Florence and there declare himself her devoted knight and champion; and in order that he should appear to greater advantage she presented him a costly tournament dress, adorned by an intricate, enigmatical, running-pattern of twisted lines of embroidery, intended to represent "the true lover's knot," which some fairy had taught her to believe that no one but herself could disentangle, and that by this stratagem she might be assured of her lover's inviolate constancy. On the young Earl's arrival in Italy he found that the Emperor Charles V. (recently returned from his African expedition) was holding his court at Arrezo, in Tuscany, with a splendid retinue, among which was Titian, the court painter, of whom great honours had been conferred, and whose office it was at all times to attent his imperial majesty when he made any sojourn in his Italian dominions. It was at Arrezo (where Charles and his suite were detained until suitable preparations could be made for their reception at Florence) that Titian pianted that noble equestrian portrait of the Emperor escaped from the perils of the African expedition, mounted on a spirited charger, calm, and undismayed, amidst the warring elements, with the tempestuous sea raging behind him, and an imperial eagle, with widely extended wings, soaring above him, and holding in its beak a wreath of laurel suspended over the Emperor's head. -- (The copy of which picture, by Van Dyck, is in the Tribune of the Gallery at Florence, the original having been sent to Spain, and afterwards placed in the Escurial.) And it was at Arrezo also, we contend, that this fine portrait, and that our gallant knight availed himself of the opportune incident of meeting with Titian to have his own portrait also painted by so celebrated a master, and in the full paraphernalia of his tournament costume; and that with sentiments, at that time accordant with those of his adored mistress, he had caused the littlle dog placed under his left hand, to be introduced into the composition, as a token, and full confirmation of his continued submission to her potent sway: (that little animal being the well-known common symbol of inviolable fidelity). In pursuing our history, however, we are now, alas! sorry to record that poor Geraldine's amulet, and all her absent charms, were unavailing against the irresistible seductions of female beauty in a foreign land, pointed skilfully, and with unerring aim, against an ingenuous youth, just arrived at a state of manhod, in full vigour of body and mind, and endowed with every manly grace and accomplishment that adorned the Nobility of those days. If fame speaks truth, he succumbed -- but in his turn afterwards had cause for exultation in the many Conquests he achieved in this love-inspiring land. But history is sometimes a slanderer; but this, however, as it may, we do not find that, on his return to England, he addressed any more amorous sonnets to his fair Geraldine, but that he was soon afterwards united to a fair lady of noble descent, by whom he had a numerous offspring, whose descendants now form the several branches of the noble and ancient house of Howard; and we believe, also, that the fair Geraldine consoled herself for the loss of her lover in an union well suited to her noble birth. Having thus endeavoured to trace out the history of our picture, we have to add, that its features correspond, in all points, with the two recognised portraits of this illustrious personage, with the painting by Holbein (attributed to Surrey) in Windsor Castle; but more especially and more markedly with the noble portrait in his Grace the Duke of Norfolk's castle, at Arundel, said to be by an unknown painter, but which, in our view, bears also a strong impress of the hand of Titian; and which picture, (be it briefly narrated,) or rather its decorations, (on which the arms of England, which no doubt the noble Earl had an heraldic right to assume, were quartered with the Howard arms,) is recorded to have been the immediate cause of his untimely fate and ruthless execution. In conclusion, it will be generally admitted that our painting is undoubtedly a very fine and genuine specimen of Titian, and it will be for enlightened judges to determine whether we have undeniably, and upon a good and substantial foundation, established our position, that it is a true and authentic portrait of Henry Howard, Earl of Surrey (Tiziano Vecelli da Cadone. Born 1477)|Portrait of Henry Howard, Earl of Surrey. A splendid portrait, rich in colouring, and embracing all those high attributes that characterize the works of Titian. We presume, with great probability, and shall endeavour to prove, this fine painting to be the portrait of Henry Howard, Earl of Surrey, the most accomplished nobleman of the times in which he lived. In early youth, he became the enthusiastic admirer of the daughter of the Earl of Kildare, who, on her mother's side, was descended from the noble family of the Giraldi, of Florence, and was on that account called "the Fair Geraldine," and by that name celebrated in her youthful lover's early poetical sonnets: -- "From Tuscane came my ladie's worthy race; Fair Florence was sometyme her ancient seate. . . . Bright is her hewe, and Geraldine her hight." See "The Earl of Surrey's Sonnets," which require a Glossary to explain them. This courtship was going on at the time it was proclaimed throughout Europe that a grand Joust of Tournament would take place at Florence, to celebrate the nuptials of Alexander, Grand Duke of Tuscany, with the natural daughter of the Emperor Charles V.; and noble youths of ardent spirit from all parts of Europe were invited to attend and take a part in this brilliant ceremony. Vain of her Tuscan origin, and perhaps vainer still of the homage paid to her beauty by so noble a suitor, she refused to favour his addresses except only on the condition that he should forthwith proceed to Florence and there declare himself her devoted knight and champion; and in order that he should appear to greater advantage she presented him a costly tournament dress, adorned by an intricate, enigmatical, running-pattern of twisted lines of embroidery, intended to represent "the true lover's knot," which some fairy had taught her to believe that no one but herself could disentangle, and that by this stratagem she might be assured of her lover's inviolate constancy. On the young Earl's arrival in Italy he found that the Emperor Charles V. (recently returned from his African expedition) was holding his court at Arrezo, in Tuscany, with a splendid retinue, among which was Titian, the court painter, of whom great honours had been conferred, and whose office it was at all times to attent his imperial majesty when he made any sojourn in his Italian dominions. It was at Arrezo (where Charles and his suite were detained until suitable preparations could be made for their reception at Florence) that Titian pianted that noble equestrian portrait of the Emperor escaped from the perils of the African expedition, mounted on a spirited charger, calm, and undismayed, amidst the warring elements, with the tempestuous sea raging behind him, and an imperial eagle, with widely extended wings, soaring above him, and holding in its beak a wreath of laurel suspended over the Emperor's head. -- (The copy of which picture, by Van Dyck, is in the Tribune of the Gallery at Florence, the original having been sent to Spain, and afterwards placed in the Escurial.) And it was at Arrezo also, we contend, that this fine portrait, and that our gallant knight availed himself of the opportune incident of meeting with Titian to have his own portrait also painted by so celebrated a master, and in the full paraphernalia of his tournament costume; and that with sentiments, at that time accordant with those of his adored mistress, he had caused the littlle dog placed under his left hand, to be introduced into the composition, as a token, and full confirmation of his continued submission to her potent sway: (that little animal being the well-known common symbol of inviolable fidelity). In pursuing our history, however, we are now, alas! sorry to record that poor Geraldine's amulet, and all her absent charms, were unavailing against the irresistible seductions of female beauty in a foreign land, pointed skilfully, and with unerring aim, against an ingenuous youth, just arrived at a state of manhod, in full vigour of body and mind, and endowed with every manly grace and accomplishment that adorned the Nobility of those days. If fame speaks truth, he succumbed -- but in his turn afterwards had cause for exultation in the many Conquests he achieved in this love-inspiring land. But history is sometimes a slanderer; but this, however, as it may, we do not find that, on his return to England, he addressed any more amorous sonnets to his fair Geraldine, but that he was soon afterwards united to a fair lady of noble descent, by whom he had a numerous offspring, whose descendants now form the several branches of the noble and ancient house of Howard; and we believe, also, that the fair Geraldine consoled herself for the loss of her lover in an union well suited to her noble birth. Having thus endeavoured to trace out the history of our picture, we have to add, that its features correspond, in all points, with the two recognised portraits of this illustrious personage, with the painting by Holbein (attributed to Surrey) in Windsor Castle; but more especially and more markedly with the noble portrait in his Grace the Duke of Norfolk's castle, at Arundel, said to be by an unknown painter, but which, in our view, bears also a strong impress of the hand of Titian; and which picture, (be it briefly narrated,) or rather its decorations, (on which the arms of England, which no doubt the noble Earl had an heraldic right to assume, were quartered with the Howard arms,) is recorded to have been the immediate cause of his untimely fate and ruthless execution. In conclusion, it will be generally admitted that our painting is undoubtedly a very fine and genuine specimen of Titian, and it will be for enlightened judges to determine whether we have undeniably, and upon a good and substantial foundation, established our position, that it is a true and authentic portrait of Henry Howard, Earl of Surrey]] réalisée par Tiziano Vecelli da Cadone. Born 1477, vendue par Right Hon Lord Northwick au prix de 250 gs. [35]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin; painted on panel, seated in a Landscape with the Infant upon her lap; she is looking down with an affectionate smile upon the Infant, and pressing one of its extended arms to her breast, her left hand, applied to the left hand of the child, touches the extremities of its fingers, thus balancing it in its seat. This rare chef d'oeuvre, formerly in the collection of the late Admiral Lord Radstock, was purshased by its noble owner, for a very large sum, on its first arrival in this country from Spain. It is larger than the much admired picture by Correggio, in the National Gallery, from which it differs very materially also in other respects: it differs likewise, from the very many copies, or repetitions, (with slight variations), of that picture, which are of frequent occurrence (one or two of them, worthy of notice, being in England, but many more in private collections, or public Galleries, on the Continent), and in all of which is a Figure, probably intended to represent St. Joseph in the back-ground, intently employed in carpentery work. In our painting there are no Figures in the back-ground, which is composed differently from that of the picture in the National Gallery; nor do we know of any painting by Correggio, or in imitation of him, in size, design, or composition, similar to our own; which in its rich carnation tints, in union with all the other higher attributes of this divine artist, may be justly compared, and worthily competes with the St. Jerome at Parma, the paintings at Dresden, and with all others, the most celebrated of Correggio's works, (due regard being had to the dimensions, the number of figures, and importance of the subjects treated in the several paintings with which it challenges competition). In the divine countenance of our Virgin the artist has introduced an ideal beauty surpassing that of Nature, but at the same time he has so happily blended this graceful image of his own inspired imagination with Nature's fairest Forms, that we behold with wonder and delight the result that has been produced; and though perhaps we have never seen any living female model of such exquisite beauty, we may enter into our artist's enthusiastic feelings, in supposing a superhuman or angelical perfection, to be the peculiar attribute of the blessed female he has intended to represent. There is, in truth, an unaffected grace and simplicity beyond all praise, in all her movements, a modest but elegant refinement in her dress, and in the folding of its draperies, and in the position of her hands; her left hand more especially, interwoven as it is with that of the divine infant, is a masterpiece of art, which it would be very difficult to copy or to imitate, its magical effect being produced not by any correctly defined outline, but by a judicious appropriation of light and shadow. Our artist has been inspired with feelings alike sublime and reverential in his delineation of the form and features of the divine babe, which are not those alone of infantine grace and simplicity, but assume a dignified, and imposing character of superhuman perfection. Nothing can be more admirable in design and execution than this little image of our future Saviour, in the creation of which Correggio's own prevailing characteristics, his masterly qualities, his triumph above all other artists, are so eminently displayed in his own peculiar impasto, or art of laying on his colours, in his powerful effects of chiar' oscuro, but above all, in his admirable art of foreshortening (or of sotto in su, as the Italians call it), all which excellences are marvellously combined, and worked up to the highest pitch of perfection, in the little figures before us. Its rich vermillion tints, laid on with a lavish brush, but softened down with attentive care, on close inspection, may be likened to miniature painting; removed to a very little distance, the rotundity in the more prominent parts of the painting becomes more apparent: a step or two further the deception is increased, until at the distance of a few yards the relief is so striking, and it has so much the appearance of rising out of the panel, that it is with difficulty we can persuade ourselves that the painting is upon a smooth and level surface; and it is thus by an unrivalled art that to the effects of statuary are superadded the illusions of painting. According to Mengs and other practical commentators on the paintings of Correggio, our unrivalled artist was enabled to produce all these magical effects by his superior management of chiar' oscuro, in which he excelled all other painters, not by opposing violent contrasts of light and shadows, but by the tracery of innumerable imperceptible lines of gradation of various tints, which give to each limb its proper roundness of form, and at the same time the appearance of blood circulating through every vein; so that life itself is scarcely more animated. Another marvellous effect of Correggio's art of fore-shortening is in the illusion it creates in regard to the magnitude of the objects represented; and were a correct outline of this little figure, combining so many qualities to be traced on a carte blanche, and placed in the same line with the painting, it would be a matter of just surprise to find in how small a compass it would be bounded. The task then would be to fill in this outline; but we believe there are but few practised artists who have studied Correggio's works, or have formed any correct idea of the toil and labour he himself bestowed upon them, that would venture to undertake it. Should others, however, less practised or more enterprising, try the experiment, of these we believe there are still fewer who would not very soon set aside their work in despair, on finding that all the care, skill, and assiduity they would willingly have bestowed upon it, useless and unavailable. But should any one of them, endowed with more perseverance, perchance, go on to the completion of his performance (and to encourage him in his labours we would lend him Correggio's own pallet and all his rainbow colours to boot), he would, no doubt, if sufficiently talented, produce a work of great merit and of rich effect, and have himself derived much improvement in his art, from the arduous enterprise; but his painting would be as unlike Correggio's genuine paintings as is the flickering blaze of a Flambeau to be fixed, steady, and immovable light of the Sun; or the Planets of our own solar system to their brightest central Luminary, which imparts Light, Heat, Life, and Motion to them all. These, or other Similies like unto them, have oftentimes been applied by enthusiastic admirers of Correggio (and who that is alive to the beauties of nature or of art is not an admirer?) to the Scholars or imitators of Correggio's paintings -- none of whom arrived at any degree of perfection to be compared with his own. Barroccio, of all his followers, we must emulous to imitate the graces of his females, but they were beyond his reach, and Correggio's grace degenerated with him into simpering affectation; and although the contour and grouping of his children may have been often correct, they are for the most part languid, inanimate, attenuated forms, without a particle of life in them, or one spark of that Promethean fire that irradiated the graceful infantine heads of his great Prototype; we well know that no language can describe the excellences of Correggio's paintings, and that in our feeble attempt to do so we are perhaps weakening the impression reality would otherwise produce. We doubt even if Correggio himself could have found words whereby to convey a just estimate of their perfection to those who had never seen them, and to effect which, he must therefore have had recourse to his brush and palate, and have produced another similar painting -- a work which would require time -- as it is recorded of him, that one single painting cost him six months of continued and most assiduous labour and attention; which not only accounts for the elaborate finish of the few genuine paintings of Correggio that are now to be met with, but also for their very extraordinary rarity. The artist is also said by his Biographers to have died at the early age of forty, and to have employed from ten to twelve of the most valuable years of his life in painting the two great Domes to the Cathedral and Church of San Giovanni, at Parma (Antonio Allegri da Correggio. Born 1494)|The Virgin; painted on panel, seated in a Landscape with the Infant upon her lap; she is looking down with an affectionate smile upon the Infant, and pressing one of its extended arms to her breast, her left hand, applied to the left hand of the child, touches the extremities of its fingers, thus balancing it in its seat. This rare chef d'oeuvre, formerly in the collection of the late Admiral Lord Radstock, was purshased by its noble owner, for a very large sum, on its first arrival in this country from Spain. It is larger than the much admired picture by Correggio, in the National Gallery, from which it differs very materially also in other respects: it differs likewise, from the very many copies, or repetitions, (with slight variations), of that picture, which are of frequent occurrence (one or two of them, worthy of notice, being in England, but many more in private collections, or public Galleries, on the Continent), and in all of which is a Figure, probably intended to represent St. Joseph in the back-ground, intently employed in carpentery work. In our painting there are no Figures in the back-ground, which is composed differently from that of the picture in the National Gallery; nor do we know of any painting by Correggio, or in imitation of him, in size, design, or composition, similar to our own; which in its rich carnation tints, in union with all the other higher attributes of this divine artist, may be justly compared, and worthily competes with the St. Jerome at Parma, the paintings at Dresden, and with all others, the most celebrated of Correggio's works, (due regard being had to the dimensions, the number of figures, and importance of the subjects treated in the several paintings with which it challenges competition). In the divine countenance of our Virgin the artist has introduced an ideal beauty surpassing that of Nature, but at the same time he has so happily blended this graceful image of his own inspired imagination with Nature's fairest Forms, that we behold with wonder and delight the result that has been produced; and though perhaps we have never seen any living female model of such exquisite beauty, we may enter into our artist's enthusiastic feelings, in supposing a superhuman or angelical perfection, to be the peculiar attribute of the blessed female he has intended to represent. There is, in truth, an unaffected grace and simplicity beyond all praise, in all her movements, a modest but elegant refinement in her dress, and in the folding of its draperies, and in the position of her hands; her left hand more especially, interwoven as it is with that of the divine infant, is a masterpiece of art, which it would be very difficult to copy or to imitate, its magical effect being produced not by any correctly defined outline, but by a judicious appropriation of light and shadow. Our artist has been inspired with feelings alike sublime and reverential in his delineation of the form and features of the divine babe, which are not those alone of infantine grace and simplicity, but assume a dignified, and imposing character of superhuman perfection. Nothing can be more admirable in design and execution than this little image of our future Saviour, in the creation of which Correggio's own prevailing characteristics, his masterly qualities, his triumph above all other artists, are so eminently displayed in his own peculiar impasto, or art of laying on his colours, in his powerful effects of chiar' oscuro, but above all, in his admirable art of foreshortening (or of sotto in su, as the Italians call it), all which excellences are marvellously combined, and worked up to the highest pitch of perfection, in the little figures before us. Its rich vermillion tints, laid on with a lavish brush, but softened down with attentive care, on close inspection, may be likened to miniature painting; removed to a very little distance, the rotundity in the more prominent parts of the painting becomes more apparent: a step or two further the deception is increased, until at the distance of a few yards the relief is so striking, and it has so much the appearance of rising out of the panel, that it is with difficulty we can persuade ourselves that the painting is upon a smooth and level surface; and it is thus by an unrivalled art that to the effects of statuary are superadded the illusions of painting. According to Mengs and other practical commentators on the paintings of Correggio, our unrivalled artist was enabled to produce all these magical effects by his superior management of chiar' oscuro, in which he excelled all other painters, not by opposing violent contrasts of light and shadows, but by the tracery of innumerable imperceptible lines of gradation of various tints, which give to each limb its proper roundness of form, and at the same time the appearance of blood circulating through every vein; so that life itself is scarcely more animated. Another marvellous effect of Correggio's art of fore-shortening is in the illusion it creates in regard to the magnitude of the objects represented; and were a correct outline of this little figure, combining so many qualities to be traced on a carte blanche, and placed in the same line with the painting, it would be a matter of just surprise to find in how small a compass it would be bounded. The task then would be to fill in this outline; but we believe there are but few practised artists who have studied Correggio's works, or have formed any correct idea of the toil and labour he himself bestowed upon them, that would venture to undertake it. Should others, however, less practised or more enterprising, try the experiment, of these we believe there are still fewer who would not very soon set aside their work in despair, on finding that all the care, skill, and assiduity they would willingly have bestowed upon it, useless and unavailable. But should any one of them, endowed with more perseverance, perchance, go on to the completion of his performance (and to encourage him in his labours we would lend him Correggio's own pallet and all his rainbow colours to boot), he would, no doubt, if sufficiently talented, produce a work of great merit and of rich effect, and have himself derived much improvement in his art, from the arduous enterprise; but his painting would be as unlike Correggio's genuine paintings as is the flickering blaze of a Flambeau to be fixed, steady, and immovable light of the Sun; or the Planets of our own solar system to their brightest central Luminary, which imparts Light, Heat, Life, and Motion to them all. These, or other Similies like unto them, have oftentimes been applied by enthusiastic admirers of Correggio (and who that is alive to the beauties of nature or of art is not an admirer?) to the Scholars or imitators of Correggio's paintings -- none of whom arrived at any degree of perfection to be compared with his own. Barroccio, of all his followers, we must emulous to imitate the graces of his females, but they were beyond his reach, and Correggio's grace degenerated with him into simpering affectation; and although the contour and grouping of his children may have been often correct, they are for the most part languid, inanimate, attenuated forms, without a particle of life in them, or one spark of that Promethean fire that irradiated the graceful infantine heads of his great Prototype; we well know that no language can describe the excellences of Correggio's paintings, and that in our feeble attempt to do so we are perhaps weakening the impression reality would otherwise produce. We doubt even if Correggio himself could have found words whereby to convey a just estimate of their perfection to those who had never seen them, and to effect which, he must therefore have had recourse to his brush and palate, and have produced another similar painting -- a work which would require time -- as it is recorded of him, that one single painting cost him six months of continued and most assiduous labour and attention; which not only accounts for the elaborate finish of the few genuine paintings of Correggio that are now to be met with, but also for their very extraordinary rarity. The artist is also said by his Biographers to have died at the early age of forty, and to have employed from ten to twelve of the most valuable years of his life in painting the two great Domes to the Cathedral and Church of San Giovanni, at Parma]] réalisée par Antonio Allegri da Correggio. Born 1494, vendue par Right Hon Lord Northwick. [36]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Christ delivering the Keys of Heaven to St. Peter in the presence of the Four Evangelists. This picture was presented by Rubens to the family of the Breughells to be placed over the monument of Peter Breughell in their private chapel, in the Church of Nôtre Dame de la Chapelle at Brussels. At the time of the bombardment of that city, (some time about the year 1760), the church was much injured, and permission was obtained to sell this picture in order to defray the expenses of its Reparation. The picture was sold accordingly to M. Braamkamp, a distinguished amateur and Collector of the day, on the express condition that the Purchaser should cause a copy, of the size of the original picture, to be substituted in its place. On the death of M. Braamkamp it was again sold in 1771 at Amsterdam, and came into the possession of M. Van Lankers, and it was for many years (together with his far-famed painting of the Miseries of War, by Wouvermans), the attractive luminary of his splendid collection at Antwerp. On M. Van Lanker's decease, it was again sold by public sale, in 1833, and purchased by Messrs. Van Nieuwenhuys, of Brussels, from whom it was obtained by its present owner, and it has been recently brought into this country. As this sublime painting is described in all the best books of travels in the Low Countries, as also in the catalogues of Messrs. Braamkamp and Van Lankers, we are relieved from the arduous task which might otherwise have been imposed upon us, of endeavouring to describe, however faintly, its manifold excellences; conscious as we moreover are, that any terms of language that we could call in to our aid, would only serve to weaken the impressions of awe and admiration that must be awakened in the breast of every Beholder, when in the presence of this divine work of almost superhuman Perfection. To adopt Rubens' own expression, (applied to some casts from ancient Statues that were presented to him), "It is not art but nature that we admire in forms so full of life." Note. -- There is a very fine painting by Rubens, rich in colour and imposing in effect, and of a subject approaching to this, in H.R.H. the Prince of Orange's splendid Palace at Brussels: it represents Christ's charge to Peter, (Pasce oves meas) in the presence of three of his disciples. H.R. Highness's picture is of inferior size, (it being 4 ft. 7 in. by 3 ft., whereas ours is 6 ft. 11 in. by 4 ft. 3 in.); it is inferior in the number of figures; and, be it said (with becoming humility, but nevertheless with unshaken confidence) that it is also inferior in importance when compared with our picture. This picture now belonging to the Prince of Orange, was (as Mr. Smith informs us in his Catalogue Raisonnée), imported into England some years ago, and sold at the price of £3,500, and he adds "that the last possessor, Mr. Champion, is said to have paid the liberal price of £5,000 for it," and thus far, on a point of fact, (known to every one who inspects a priced catalogue) Mr. Smith is a very sufficient and competent authority; but in the very next article of his Catalogue Raisonnée, in describing our picture, (which at the time he wrote the article he had probably never seen, or, having seen it, was wholly incompetent to appreciate its merits), Mr. Smith goes on to say, on the authority of M. Descamps, and in M. Descamps' own words, "Il est lourd de couleur, et parait fatigué et peiné;" and he further, and without mercy, confirms its condemnation, by emphatically adding, that "He regrets to say this is the Fact;" thus passing Sentence upon a picture that he had either not seen, or, having seen it, was incapable of forming a sound judgment on its Merits. The picture, however, is now brought into Court; it is put upon its Trial; its Judges are the Public, to whom it confidently appeals for a reversal of Mr. Smith's unjust Sentence; and it also prays that a verdict of acquittal be recorded in open Court, from the unfounded aspersions cast upon it by those who have conspired against its Character and Fame. But now to the fact. M. Descamps (the principal in this Conspiracy, and who seems to have led his innocent Accomplice astray), is an author of no authority, it being well known that he published a voluminous Compilation entirely on the hearsay of others, as Mr. Smith also has done, (and a still more voluminous compilation that M. Descamps',) but with this marked difference, that M. Descamps' was undisguisedly in the view to profit; whereas every one knows (as indeed his own prefaces repeatedly tell us) that Mr. Smith's Catalogue Raisonnée has the more laudable and patriotic object in view, of enlightening our Understandings, extending our Knowledge, and refining our Tastes in all matters that are connected with the Fine Arts. We may safely leave it to Rubens, now present, to vindicate his own cause, and silence his Detractors; but if there be anything further wanting to effect that purpose, it will be found in the date of the publication in which the foul libel in contained. The book was published at Paris in 1769, and in his preface thereto, M. Descamps (to clothe it with a fairer semblance of authenticity) says, "J'ai fait encore un voyage exprès en 1768 dans toutes les villes dont Je parle." Now as Rubens's picture had been purchased by M. Braamkamp, and removed from Brussels to Amsterdam, and a Copy had been put into the place of the original picture, several years before M. Descamps' aforesaid Voyage in 1768, it follows, of course, that on visiting the church of Nôtre Dame at Brussels in the year 1768, M. Descamps must have seen the Copy that Mr. Braamkamp, on purchasing Rubens's picture, had placed over the monument of the Breughells, and have mistaken it for the original picture (and, in that case, had it been avowed, we should not have quarelled with his criticism, as the copy is a painting unworthy of notice): and Mr. Smith, in collecting materials for his voluminous publication, may have have found it very convenient to adopt M. Descamps' Criticism, already prepared for him, without further enquiry; or he also, after having seen the painting placed over Breughell's monument, may, perchance, have fallen into M. Descamps' error, and, like him, have mistaken the copy for Rubens' own painting. In either of these cases Mr. Smith's mistake would be harmless and unoffending, had it not been ostentatiously proclaimed in a work of such extensive circulation as the Catalogue Raisonnée." Having now done our duty by Rubens, in our humble attempt to redeem his Picture from unmerited obloquy, it is not our intention to pass an unqualified condemnation on Mr. Smith's laborious compilation, which we have found useful as a work of reference, more especially in regard to its copious indexes, which supply useful information that can nowhere else be so readily obtained; but, on the other hand, there is much in it we think very blameable. We allude chiefly to vague and random criticisms, and fanciful valuations of paintings, in some instances not intended to be sold, and in others undeserving of the high commendations that are bestowed upon them, when, at the same time, other Works of Art of a superior order are either unnoticed or unduly depreciated. We think it still more reprehensible in the course that has been pursued (in this, as also in other instances that have come under our notice), of giving credit to Hearsay Reports, in matters of Art, and adopting the loose criticisms of obscure and ignorant writers, and thereby not only confirming but giving a more extensive circulation to errors that it should be the chief purpose of Mr. Smith's Catalogue Raisonnée to correct (Rubens)|Christ delivering the Keys of Heaven to St. Peter in the presence of the Four Evangelists. This picture was presented by Rubens to the family of the Breughells to be placed over the monument of Peter Breughell in their private chapel, in the Church of Nôtre Dame de la Chapelle at Brussels. At the time of the bombardment of that city, (some time about the year 1760), the church was much injured, and permission was obtained to sell this picture in order to defray the expenses of its Reparation. The picture was sold accordingly to M. Braamkamp, a distinguished amateur and Collector of the day, on the express condition that the Purchaser should cause a copy, of the size of the original picture, to be substituted in its place. On the death of M. Braamkamp it was again sold in 1771 at Amsterdam, and came into the possession of M. Van Lankers, and it was for many years (together with his far-famed painting of the Miseries of War, by Wouvermans), the attractive luminary of his splendid collection at Antwerp. On M. Van Lanker's decease, it was again sold by public sale, in 1833, and purchased by Messrs. Van Nieuwenhuys, of Brussels, from whom it was obtained by its present owner, and it has been recently brought into this country. As this sublime painting is described in all the best books of travels in the Low Countries, as also in the catalogues of Messrs. Braamkamp and Van Lankers, we are relieved from the arduous task which might otherwise have been imposed upon us, of endeavouring to describe, however faintly, its manifold excellences; conscious as we moreover are, that any terms of language that we could call in to our aid, would only serve to weaken the impressions of awe and admiration that must be awakened in the breast of every Beholder, when in the presence of this divine work of almost superhuman Perfection. To adopt Rubens' own expression, (applied to some casts from ancient Statues that were presented to him), "It is not art but nature that we admire in forms so full of life." Note. -- There is a very fine painting by Rubens, rich in colour and imposing in effect, and of a subject approaching to this, in H.R.H. the Prince of Orange's splendid Palace at Brussels: it represents Christ's charge to Peter, (Pasce oves meas) in the presence of three of his disciples. H.R. Highness's picture is of inferior size, (it being 4 ft. 7 in. by 3 ft., whereas ours is 6 ft. 11 in. by 4 ft. 3 in.); it is inferior in the number of figures; and, be it said (with becoming humility, but nevertheless with unshaken confidence) that it is also inferior in importance when compared with our picture. This picture now belonging to the Prince of Orange, was (as Mr. Smith informs us in his Catalogue Raisonnée), imported into England some years ago, and sold at the price of £3,500, and he adds "that the last possessor, Mr. Champion, is said to have paid the liberal price of £5,000 for it," and thus far, on a point of fact, (known to every one who inspects a priced catalogue) Mr. Smith is a very sufficient and competent authority; but in the very next article of his Catalogue Raisonnée, in describing our picture, (which at the time he wrote the article he had probably never seen, or, having seen it, was wholly incompetent to appreciate its merits), Mr. Smith goes on to say, on the authority of M. Descamps, and in M. Descamps' own words, "Il est lourd de couleur, et parait fatigué et peiné;" and he further, and without mercy, confirms its condemnation, by emphatically adding, that "He regrets to say this is the Fact;" thus passing Sentence upon a picture that he had either not seen, or, having seen it, was incapable of forming a sound judgment on its Merits. The picture, however, is now brought into Court; it is put upon its Trial; its Judges are the Public, to whom it confidently appeals for a reversal of Mr. Smith's unjust Sentence; and it also prays that a verdict of acquittal be recorded in open Court, from the unfounded aspersions cast upon it by those who have conspired against its Character and Fame. But now to the fact. M. Descamps (the principal in this Conspiracy, and who seems to have led his innocent Accomplice astray), is an author of no authority, it being well known that he published a voluminous Compilation entirely on the hearsay of others, as Mr. Smith also has done, (and a still more voluminous compilation that M. Descamps',) but with this marked difference, that M. Descamps' was undisguisedly in the view to profit; whereas every one knows (as indeed his own prefaces repeatedly tell us) that Mr. Smith's Catalogue Raisonnée has the more laudable and patriotic object in view, of enlightening our Understandings, extending our Knowledge, and refining our Tastes in all matters that are connected with the Fine Arts. We may safely leave it to Rubens, now present, to vindicate his own cause, and silence his Detractors; but if there be anything further wanting to effect that purpose, it will be found in the date of the publication in which the foul libel in contained. The book was published at Paris in 1769, and in his preface thereto, M. Descamps (to clothe it with a fairer semblance of authenticity) says, "J'ai fait encore un voyage exprès en 1768 dans toutes les villes dont Je parle." Now as Rubens's picture had been purchased by M. Braamkamp, and removed from Brussels to Amsterdam, and a Copy had been put into the place of the original picture, several years before M. Descamps' aforesaid Voyage in 1768, it follows, of course, that on visiting the church of Nôtre Dame at Brussels in the year 1768, M. Descamps must have seen the Copy that Mr. Braamkamp, on purchasing Rubens's picture, had placed over the monument of the Breughells, and have mistaken it for the original picture (and, in that case, had it been avowed, we should not have quarelled with his criticism, as the copy is a painting unworthy of notice): and Mr. Smith, in collecting materials for his voluminous publication, may have have found it very convenient to adopt M. Descamps' Criticism, already prepared for him, without further enquiry; or he also, after having seen the painting placed over Breughell's monument, may, perchance, have fallen into M. Descamps' error, and, like him, have mistaken the copy for Rubens' own painting. In either of these cases Mr. Smith's mistake would be harmless and unoffending, had it not been ostentatiously proclaimed in a work of such extensive circulation as the Catalogue Raisonnée." Having now done our duty by Rubens, in our humble attempt to redeem his Picture from unmerited obloquy, it is not our intention to pass an unqualified condemnation on Mr. Smith's laborious compilation, which we have found useful as a work of reference, more especially in regard to its copious indexes, which supply useful information that can nowhere else be so readily obtained; but, on the other hand, there is much in it we think very blameable. We allude chiefly to vague and random criticisms, and fanciful valuations of paintings, in some instances not intended to be sold, and in others undeserving of the high commendations that are bestowed upon them, when, at the same time, other Works of Art of a superior order are either unnoticed or unduly depreciated. We think it still more reprehensible in the course that has been pursued (in this, as also in other instances that have come under our notice), of giving credit to Hearsay Reports, in matters of Art, and adopting the loose criticisms of obscure and ignorant writers, and thereby not only confirming but giving a more extensive circulation to errors that it should be the chief purpose of Mr. Smith's Catalogue Raisonnée to correct]] réalisée par Rubens, vendue par Right Hon Lord Northwick. [37]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Divine Infant Saviour and the Infant St. John, with attendant Angels. A charming little picture, full of truth and simplicity and of Raffaelle's fine feeling. This precious little picture was painted upon a piece of thick panel, which was so thoroughly worm-eaten and decayed as to be absolutely crumbling to pieces; but by the care and ingenuity of Mr. Leedham of Berwick-street, it has been transferred to canvas and rescued from destruction; the original frame was united in one piece with the panel of the picture, but in the operation performed upon the picture, the frame was irrecoverably destroyed. Its pattern, however, was copied, and now frames the picture (Raffaelle)|The Divine Infant Saviour and the Infant St. John, with attendant Angels. A charming little picture, full of truth and simplicity and of Raffaelle's fine feeling. This precious little picture was painted upon a piece of thick panel, which was so thoroughly worm-eaten and decayed as to be absolutely crumbling to pieces; but by the care and ingenuity of Mr. Leedham of Berwick-street, it has been transferred to canvas and rescued from destruction; the original frame was united in one piece with the panel of the picture, but in the operation performed upon the picture, the frame was irrecoverably destroyed. Its pattern, however, was copied, and now frames the picture]] réalisée par Raffaelle, vendue par Right Hon Lord Northwick. [38]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Pirate's Bay; or Inlet Harbour, near Amalfi, in the Gulf of Salerno. This is composed of marine scenery of a very wild character, in which the artist has introduced groups of men in armour and banditti (who were said to have been his former associates) at the foot of the precipitous mountain of which the Carthusian Convent is perched, between La Cava and Vietri, that is well known to artists who have made sketches of that picturesque scenery. It is treated nearly in the same manner as Salvator Rosa's large picture of the same scenery in the Grand Ducal Gallery at Dresden (S. Rosa)|The Pirate's Bay; or Inlet Harbour, near Amalfi, in the Gulf of Salerno. This is composed of marine scenery of a very wild character, in which the artist has introduced groups of men in armour and banditti (who were said to have been his former associates) at the foot of the precipitous mountain of which the Carthusian Convent is perched, between La Cava and Vietri, that is well known to artists who have made sketches of that picturesque scenery. It is treated nearly in the same manner as Salvator Rosa's large picture of the same scenery in the Grand Ducal Gallery at Dresden]] réalisée par S. Rosa, vendue par Right Hon Lord Northwick, achetée par Farrant au prix de 108.3 gs. [39]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Portrait of Pope Paul III. This Portrait may worthily range amongst the very best of Titian's portraits of contemporary Sovereigns. It may have been painted in 1543, when this pontiff was at Ferrara, where Titian, for the first time it was said, painted his portrait (though Carlo Ridolphi, in his "Life of Titian," asserts that he repeatedly, and at various times, painted the portrait of Paul III. at Bologna, Ferrara, and other places in the Papal states); or it may with more probability have been painted a few years later (in 1548), when Titian visited Rome, after repeated invitations from his Holiness, who used every means of courtesy to induce him permanently to remain there, conscious how much of fame, as also of profit, would accrue to the immortal City by the settlement of so celebrated a painter within its Precincts; and this was still more desirable, as the arts had been greatly on the decline at Rome since the death of Raffaelle, and the dispersion of his scholars; and we have but little doubt that it was painted at the later period, viz., in 1548 (which was two years before the pontiff's death), when his bodily strength appears to be fast wasting away, although the lamp of intellect still continued to illumine a countenance stricken with the feebleness and the debility of years. "Deep on his front engraven, Deliberation sits, and public Care." And indeed it is said that his vast mind was, to the latest hour of his life, deeply absorbed in projects of worldly aggrandizement. The hands in this painting are of inimitable perfection, and all its accompaniments are finished with great care, and they are in perfect keeping. This important portrait may in every respect compete with the portrait of Pope Julius II., painted by Raffaelle a few years earlier, and which, formerly belonging to the late Mr. Angerstein, is now in the National Gallery. Pope Paul III. succeeded Clement VII. in the Papal chair, anno 1534, and died in 1550. It was under his inauspicious reign that the Colosseum was in part destroyed to build the Farnese Palace at Rome, and that Parma and Piacenza were severed from the patrimony of St. Peter to satiate the rapacity of his inordinately-ambitious relations (Titiano Vecellio da Cadore)|The Portrait of Pope Paul III. This Portrait may worthily range amongst the very best of Titian's portraits of contemporary Sovereigns. It may have been painted in 1543, when this pontiff was at Ferrara, where Titian, for the first time it was said, painted his portrait (though Carlo Ridolphi, in his "Life of Titian," asserts that he repeatedly, and at various times, painted the portrait of Paul III. at Bologna, Ferrara, and other places in the Papal states); or it may with more probability have been painted a few years later (in 1548), when Titian visited Rome, after repeated invitations from his Holiness, who used every means of courtesy to induce him permanently to remain there, conscious how much of fame, as also of profit, would accrue to the immortal City by the settlement of so celebrated a painter within its Precincts; and this was still more desirable, as the arts had been greatly on the decline at Rome since the death of Raffaelle, and the dispersion of his scholars; and we have but little doubt that it was painted at the later period, viz., in 1548 (which was two years before the pontiff's death), when his bodily strength appears to be fast wasting away, although the lamp of intellect still continued to illumine a countenance stricken with the feebleness and the debility of years. "Deep on his front engraven, Deliberation sits, and public Care." And indeed it is said that his vast mind was, to the latest hour of his life, deeply absorbed in projects of worldly aggrandizement. The hands in this painting are of inimitable perfection, and all its accompaniments are finished with great care, and they are in perfect keeping. This important portrait may in every respect compete with the portrait of Pope Julius II., painted by Raffaelle a few years earlier, and which, formerly belonging to the late Mr. Angerstein, is now in the National Gallery. Pope Paul III. succeeded Clement VII. in the Papal chair, anno 1534, and died in 1550. It was under his inauspicious reign that the Colosseum was in part destroyed to build the Farnese Palace at Rome, and that Parma and Piacenza were severed from the patrimony of St. Peter to satiate the rapacity of his inordinately-ambitious relations]] réalisée par Titiano Vecellio da Cadore, vendue par Right Hon Lord Northwick. [40]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Portrait of Madlle Lundens, or of the young lady of whom Rubens conferred no mean portion of his own fame by the incomparable portrait he painted of her, under the well-known designation of "Le Chapeau de Paille." She here appears with a different head-dress, her hair having no other ornament but that of a simple Fillet of pearls; her Earrings are the same; her breast appears to be a little more veiled, and her dress in other respects nearly to assimilate with the dress of the lady wearing the chapeau de paille, except only that in our Portrait there is a golden chain suspended from her neck, richly enchased with ornaments of pearl and of other jewels, and which seems to descend to the lower part of her attire; her hands are passed over each other neatly in the same position as they are in the Chapeau de Paille. They are easy and unrestrained, correctly and most elegantly designed. The same graceful carriage and unaffected lady-like ease, which breathe a charm over the whole figure, and are bewitchingly attractive in Le Chapeau de Paille, are equally seductive; and much of the commendation so justly bestowed on that divine portrait, in which Rubens has embodied so many female charms, may justly apply, also, to this rare and valuable production of his glowing pencil (P.P. Rubens)|The Portrait of Madlle Lundens, or of the young lady of whom Rubens conferred no mean portion of his own fame by the incomparable portrait he painted of her, under the well-known designation of "Le Chapeau de Paille." She here appears with a different head-dress, her hair having no other ornament but that of a simple Fillet of pearls; her Earrings are the same; her breast appears to be a little more veiled, and her dress in other respects nearly to assimilate with the dress of the lady wearing the chapeau de paille, except only that in our Portrait there is a golden chain suspended from her neck, richly enchased with ornaments of pearl and of other jewels, and which seems to descend to the lower part of her attire; her hands are passed over each other neatly in the same position as they are in the Chapeau de Paille. They are easy and unrestrained, correctly and most elegantly designed. The same graceful carriage and unaffected lady-like ease, which breathe a charm over the whole figure, and are bewitchingly attractive in Le Chapeau de Paille, are equally seductive; and much of the commendation so justly bestowed on that divine portrait, in which Rubens has embodied so many female charms, may justly apply, also, to this rare and valuable production of his glowing pencil]] réalisée par P.P. Rubens, vendue par Right Hon Lord Northwick au prix de 185 gs. [41]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin and Child, and Infant St. John, painted on panel. There is nothing of poetry, or of the beau ideal in this lovely composition; it expresses a scene of pure and primeval innocence. The benign countenance of the Virgin-mother (blessed above all her sex) is unfurrowed by the tracings of any worldly care, and is impressed only with a holy instinct, which absorbs every minor feeling in the contemplation of the divine object of her maternal affection; and the artist, with a congenial inspiration has, in his conception of the Divine Infants, produced the most graceful models of infantine innocence, and simplicity. The composition, design, and colouring of the picture, all indicate it to have been painted at a period when Raffaelle had made a rapid progress in his art; he had long before discarded the meagre shadows, and skeleton-like forms, and outline, of his first master, Pietro Perugino, and had, from the instructions of Fra Bartolomeo, and also from a close imitation of the paintings of that great master, already infused into his own productions those brilliant colours, which (guided by the knowledge he had acquired under the same master of their effective distribution) at once burst forth, and gave life and animation to his paintings of Madonne and lovely infants; graceful in their innocent simplicity, being selected from the most perfect models Nature can supply, and in a climate where Nature is lovely in all her works. This was the character of most of Raffaelle's paintings at this period of his life, until he became ambitious of emulating the sublime productions of Michael Angelo, which led him into a style of painting he had not heretofore pursued, and which is technically called "his third manner;" and in the prosecution of which he acquired in imperishable fame (Raffaelle d. Urbino)|The Virgin and Child, and Infant St. John, painted on panel. There is nothing of poetry, or of the beau ideal in this lovely composition; it expresses a scene of pure and primeval innocence. The benign countenance of the Virgin-mother (blessed above all her sex) is unfurrowed by the tracings of any worldly care, and is impressed only with a holy instinct, which absorbs every minor feeling in the contemplation of the divine object of her maternal affection; and the artist, with a congenial inspiration has, in his conception of the Divine Infants, produced the most graceful models of infantine innocence, and simplicity. The composition, design, and colouring of the picture, all indicate it to have been painted at a period when Raffaelle had made a rapid progress in his art; he had long before discarded the meagre shadows, and skeleton-like forms, and outline, of his first master, Pietro Perugino, and had, from the instructions of Fra Bartolomeo, and also from a close imitation of the paintings of that great master, already infused into his own productions those brilliant colours, which (guided by the knowledge he had acquired under the same master of their effective distribution) at once burst forth, and gave life and animation to his paintings of Madonne and lovely infants; graceful in their innocent simplicity, being selected from the most perfect models Nature can supply, and in a climate where Nature is lovely in all her works. This was the character of most of Raffaelle's paintings at this period of his life, until he became ambitious of emulating the sublime productions of Michael Angelo, which led him into a style of painting he had not heretofore pursued, and which is technically called "his third manner;" and in the prosecution of which he acquired in imperishable fame]] réalisée par Raffaelle d. Urbino, vendue par Right Hon Lord Northwick au prix de 275 gs. [42]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Wild Landscape with Figures. A warrior, mounted on horseback, seems to be eagerly enquiring his way of three peasants, shepherds &c., seated on a rock. The scenery is wild and picturesque, as are also the figures in their diversified dresses. It has a fine tone of colouring (Salvator Rosa)|Wild Landscape with Figures. A warrior, mounted on horseback, seems to be eagerly enquiring his way of three peasants, shepherds &c., seated on a rock. The scenery is wild and picturesque, as are also the figures in their diversified dresses. It has a fine tone of colouring]] réalisée par Salvator Rosa, vendue par Right Hon Lord Northwick, achetée par Greenland au prix de 21.0 gs. [44]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Penitent Magdalen. She has divested herself of every ornament of dress; the bright Coronet that encircled her temples is cast from her, broken and despised; and the only decoration of her person not yet repudiated, are her golden tresses, with which, under folded arms, she strives to conceal her beautiful form. The correctness of the outline, and rotundity of feature in this incomparable picture, are beyond all praise. The arms and hands, even to the tapering tips of the fingers, are designed with an accuracy that could only be acquired through his great knowledge of anatomy, and of the powerful effects of the chiar' oscuro (of which he was the earliest professor), and his intense labour in finishing his works, on some of which he is said to have employed many years, as indeed he was the first painter that knew how to unite minute and elaborate finish with grandeur of espression, and dignity of form. All before him, in Italy, like Perugino, if they were correct in design, were dry and meagre in effect, and knew very little of the graduated lines of perspective. The time and care bestowed upon Leonardo da Vinci's paintings have made them of extreme rarity; and we consider this as one of his most careful and highly-finished productions. The Latin inscription at the top of the picture is, "Melius est sperare in Jehova, quam confidere in Principibus" (Leonardo da Vinci)|The Penitent Magdalen. She has divested herself of every ornament of dress; the bright Coronet that encircled her temples is cast from her, broken and despised; and the only decoration of her person not yet repudiated, are her golden tresses, with which, under folded arms, she strives to conceal her beautiful form. The correctness of the outline, and rotundity of feature in this incomparable picture, are beyond all praise. The arms and hands, even to the tapering tips of the fingers, are designed with an accuracy that could only be acquired through his great knowledge of anatomy, and of the powerful effects of the chiar' oscuro (of which he was the earliest professor), and his intense labour in finishing his works, on some of which he is said to have employed many years, as indeed he was the first painter that knew how to unite minute and elaborate finish with grandeur of espression, and dignity of form. All before him, in Italy, like Perugino, if they were correct in design, were dry and meagre in effect, and knew very little of the graduated lines of perspective. The time and care bestowed upon Leonardo da Vinci's paintings have made them of extreme rarity; and we consider this as one of his most careful and highly-finished productions. The Latin inscription at the top of the picture is, "Melius est sperare in Jehova, quam confidere in Principibus"]] réalisée par Leonardo da Vinci, vendue par Right Hon Lord Northwick au prix de 97 gs. [45]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Wood-Cutters. A most extraordinary fine day-light scene of this admirable artist, in which are united the style and manner of painting of Cuyp, and of Hobbema; and it may truly be said that it combines many of the excellences of both these great masters. Two wood-cutters form the prominent objects in this rich woody scenery; and these figures, both in the freedom of pencilling and boldness of execution, are perhaps not surpassed by any of the great masters of the Dutch or Flemish schools (Arnold Van der Neer)|The Wood-Cutters. A most extraordinary fine day-light scene of this admirable artist, in which are united the style and manner of painting of Cuyp, and of Hobbema; and it may truly be said that it combines many of the excellences of both these great masters. Two wood-cutters form the prominent objects in this rich woody scenery; and these figures, both in the freedom of pencilling and boldness of execution, are perhaps not surpassed by any of the great masters of the Dutch or Flemish schools]] réalisée par Arnold Van der Neer, vendue par Right Hon Lord Northwick, achetée par Barham au prix de 190.1 gs. [46]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Vision of St. Gregory; by a Master, who is sometimes called William, sometimes Stephanus of Cologne, of whom there is an old, large, ill-conditioned painting in the Cathedral at Cologne. He is supposed to have been a contemporary of the Van Eycks', who were born in 1360 and 1370. It represents the Vision of St. Gregory. In the centre of the painting are the Pope Gregory, with his attendant Priests, Bishops, and Ministers of the Altar, who are withdrawing a curtain to expose to public veneration the portentous miracle; as witnesses to which the artist has not only introduced the tutelary Saints of the city of Cologne, but many other royal and illustrious Saints of the Catholic Hierarchy. On the left-hand side of the painting are St. Gerion, St. Peter the Hermit, the Mother of the Maccabees (with her martyred son), St. John the Baptist, the Holy Virgin, &c.; and on the other side are St. Joseph, St. Helena, St. Ursula (with three out of her 11,000 virgins), the sainted Queen of Hungary, St. Barbara, holding in her hand the tower in which she so barbarously suffered martyrdom. In front of the altar are the Donataire, or patron for whom the picture was painted, with one son, and on the other side his lady and five daughters. It is most exquisitely and most elaborately finished, with all the care and precision usually bestowed on miniature painting; the colouring is clear and of inimitable brilliancy; and every part (to even its minute objects) is painted with a truth to nature that would do credit to the era in which the arts were carried to the highest point of perfection; and it is surely a most marvellous production of the fourteenth century. We consider it as the most curious painting in the collection, and almost unique -- quite so -- in its fine state of preservation (Master William)|The Vision of St. Gregory; by a Master, who is sometimes called William, sometimes Stephanus of Cologne, of whom there is an old, large, ill-conditioned painting in the Cathedral at Cologne. He is supposed to have been a contemporary of the Van Eycks', who were born in 1360 and 1370. It represents the Vision of St. Gregory. In the centre of the painting are the Pope Gregory, with his attendant Priests, Bishops, and Ministers of the Altar, who are withdrawing a curtain to expose to public veneration the portentous miracle; as witnesses to which the artist has not only introduced the tutelary Saints of the city of Cologne, but many other royal and illustrious Saints of the Catholic Hierarchy. On the left-hand side of the painting are St. Gerion, St. Peter the Hermit, the Mother of the Maccabees (with her martyred son), St. John the Baptist, the Holy Virgin, &c.; and on the other side are St. Joseph, St. Helena, St. Ursula (with three out of her 11,000 virgins), the sainted Queen of Hungary, St. Barbara, holding in her hand the tower in which she so barbarously suffered martyrdom. In front of the altar are the Donataire, or patron for whom the picture was painted, with one son, and on the other side his lady and five daughters. It is most exquisitely and most elaborately finished, with all the care and precision usually bestowed on miniature painting; the colouring is clear and of inimitable brilliancy; and every part (to even its minute objects) is painted with a truth to nature that would do credit to the era in which the arts were carried to the highest point of perfection; and it is surely a most marvellous production of the fourteenth century. We consider it as the most curious painting in the collection, and almost unique -- quite so -- in its fine state of preservation]] réalisée par Master William, vendue par Right Hon Lord Northwick au prix de 80 gs. [47]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait of Pope Innocent the Tenth. This is a portrait of great effect, painted in a free and masterly style by this most eminent painter of the Spanish school. Jean Baptist Pamphili had been the Pope's Nuncio to Philip IV.; and it was principally through His Catholic Majesty's favour and interest that he was raised to the Papal throne on the death of Pope Urban VIII., in 1644. At Innocent's intercession Philip IV. sent his favourite Court painter, Velasquez to Rome, for the express purpose of painting his Holiness's portrait. His Grace the Duke of Wellington has a nearly similar portrait of this Pope, painted also by Diego Velasquez (Dom Diego Velasquez)|Portrait of Pope Innocent the Tenth. This is a portrait of great effect, painted in a free and masterly style by this most eminent painter of the Spanish school. Jean Baptist Pamphili had been the Pope's Nuncio to Philip IV.; and it was principally through His Catholic Majesty's favour and interest that he was raised to the Papal throne on the death of Pope Urban VIII., in 1644. At Innocent's intercession Philip IV. sent his favourite Court painter, Velasquez to Rome, for the express purpose of painting his Holiness's portrait. His Grace the Duke of Wellington has a nearly similar portrait of this Pope, painted also by Diego Velasquez]] réalisée par Dom Diego Velasquez, vendue par Right Hon Lord Northwick au prix de 42 gs. [48]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Harvest Moon. In the foreground on the right is a group of cattle admirably designed, further back are reapers, gathering a rich harvest such as the Netherlands only can produce; behind these objects is a village embosomed in trees over which the church tower prominently presents itself. In the centre of the picture is a tree, or two twin trees, which seem to have been planted, or to have been allowed to remain as a directing mark to a gate thereto adjoining; beyond which, advancing to the left, is a sheet of water, and houses behind half hidden in trees. It is very difficult to describe this painting so as to do justice to the very many excellences it embraces: the broad full Moon has just risen through light, fleecy, silvery clouds, which still retain the slight golden tint they usually closes a fine autumnal day. The effect of this Luminary produced on every surrounding object is truly magical, and it is as perfect an imitation of Nature as can well be conceived. Van der Neer excelled in moonlights, but the correct Design of the cattle, free and delicate pencilling of the trees, and above all the powerful effects of chiar' oscuro, or masterly contrast of colours of the broadest and deepest shadows, with the more delicate gradations of light, prove undeniably that it is the work of Cuyp (Albert Cuyp)|The Harvest Moon. In the foreground on the right is a group of cattle admirably designed, further back are reapers, gathering a rich harvest such as the Netherlands only can produce; behind these objects is a village embosomed in trees over which the church tower prominently presents itself. In the centre of the picture is a tree, or two twin trees, which seem to have been planted, or to have been allowed to remain as a directing mark to a gate thereto adjoining; beyond which, advancing to the left, is a sheet of water, and houses behind half hidden in trees. It is very difficult to describe this painting so as to do justice to the very many excellences it embraces: the broad full Moon has just risen through light, fleecy, silvery clouds, which still retain the slight golden tint they usually closes a fine autumnal day. The effect of this Luminary produced on every surrounding object is truly magical, and it is as perfect an imitation of Nature as can well be conceived. Van der Neer excelled in moonlights, but the correct Design of the cattle, free and delicate pencilling of the trees, and above all the powerful effects of chiar' oscuro, or masterly contrast of colours of the broadest and deepest shadows, with the more delicate gradations of light, prove undeniably that it is the work of Cuyp]] réalisée par Albert Cuyp, vendue par Right Hon Lord Northwick au prix de 142 gs. [49]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Don Juan of Austria, son of Philip IV. by his favourite actress. He is represented in a magnificent military dress, and in the attitude of command: at a distance is the encampment of an army. This Prince acquired some military fame by the part he bore in the suppression of Massaniello's insurrection at Naples, and he distinguished himself also in other warlike exploits. This is a rich and splendid portrait, the colouring as brilliant as in any of Titian's paintings, whose works Mengs says, were greatly surpassed by Velasquez, "dans l'intelligence du clair' oscur, et dans la perspective aerienne" (Dom Diego Velasquez)|Don Juan of Austria, son of Philip IV. by his favourite actress. He is represented in a magnificent military dress, and in the attitude of command: at a distance is the encampment of an army. This Prince acquired some military fame by the part he bore in the suppression of Massaniello's insurrection at Naples, and he distinguished himself also in other warlike exploits. This is a rich and splendid portrait, the colouring as brilliant as in any of Titian's paintings, whose works Mengs says, were greatly surpassed by Velasquez, "dans l'intelligence du clair' oscur, et dans la perspective aerienne"]] réalisée par Dom Diego Velasquez, vendue par Right Hon Lord Northwick au prix de 195 gs. [50]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin and Infant Jesus are supported in the air by a group of Angels, and surrounded by other Angels and Saints: a brilliant landscape opened to our view, appears to be suspended and placed upon some frame-work in the centre of the picture. This painting formerly belonged to Lady Hampden, at whose sale it was erroneously called Benvenuto Garofalo. A picture nearly of the same size (apparently its companion) belonged to the late Marquess of Strafford, and is now in the possession of His Grace the Duke of Sutherland, (engraved, No. 46, in Young's Catalogue of the Stafford Gallery). Pellegrino de Modena (Munari), after having at a very early period of his life obtained the highest honours in his own native city, went to Rome, where he became a distinguished Pupil of Raffaelle, and was associated with him in painting the Loggie of the Vatican, of which several compartments are pointed out as being painted solely by the hand of Munari: on the death of Raffaelle he withdrew to Modena, where his own life was shortly afterwards terminated in consequence of a melancholy catastrophe related by Lanzi and other Biographers (Pelegrino de Modena. Born in 1485)|The Virgin and Infant Jesus are supported in the air by a group of Angels, and surrounded by other Angels and Saints: a brilliant landscape opened to our view, appears to be suspended and placed upon some frame-work in the centre of the picture. This painting formerly belonged to Lady Hampden, at whose sale it was erroneously called Benvenuto Garofalo. A picture nearly of the same size (apparently its companion) belonged to the late Marquess of Strafford, and is now in the possession of His Grace the Duke of Sutherland, (engraved, No. 46, in Young's Catalogue of the Stafford Gallery). Pellegrino de Modena (Munari), after having at a very early period of his life obtained the highest honours in his own native city, went to Rome, where he became a distinguished Pupil of Raffaelle, and was associated with him in painting the Loggie of the Vatican, of which several compartments are pointed out as being painted solely by the hand of Munari: on the death of Raffaelle he withdrew to Modena, where his own life was shortly afterwards terminated in consequence of a melancholy catastrophe related by Lanzi and other Biographers]] réalisée par Pelegrino de Modena. Born in 1485, vendue par Right Hon Lord Northwick au prix de 143 gs. [51]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Sea-View. An incomparable specimen of this able competitor with William Van de Velde, (the most eminent of all the Dutch painters of marine subjects). It is perhaps Van der Capella's chef-d'oeuvre, and equal to many of the most celebrated works of his distinguished rival. It was formerly in M. Leperiere's Collection, sold at Paris, in 1825, and in another celebrated collection in Holland (Van der Capella)|A Sea-View. An incomparable specimen of this able competitor with William Van de Velde, (the most eminent of all the Dutch painters of marine subjects). It is perhaps Van der Capella's chef-d'oeuvre, and equal to many of the most celebrated works of his distinguished rival. It was formerly in M. Leperiere's Collection, sold at Paris, in 1825, and in another celebrated collection in Holland]] réalisée par Van der Capella, vendue par Right Hon Lord Northwick, achetée par Barham au prix de 399.0 gs. [52]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Wild Mountainous Landscape, &c. This is a painting of surpassing brilliancy, and of the wildest imaginable scenery that poetry could inspire, or painting embody on its canvass. It has figures in the fore-ground very classically composed, and castellated buildings which may represent his native castle of Cadore, and it is painted in a bold bravura style beyond the reach of a less-gifted artist. This painting belonged to Sir Joshua Reynolds, and it is said to have been always at his sight, as most useful to him in attempering his own tones of colouring (Titian)|Wild Mountainous Landscape, &c. This is a painting of surpassing brilliancy, and of the wildest imaginable scenery that poetry could inspire, or painting embody on its canvass. It has figures in the fore-ground very classically composed, and castellated buildings which may represent his native castle of Cadore, and it is painted in a bold bravura style beyond the reach of a less-gifted artist. This painting belonged to Sir Joshua Reynolds, and it is said to have been always at his sight, as most useful to him in attempering his own tones of colouring]] réalisée par Titian, vendue par Right Hon Lord Northwick, achetée par Saywell au prix de 21.0 gs. [53]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Kermesse, or Village Fair or Fête. The scene is said to represent a part of the Fauxbourg of Rotterdam, and that on the right-hand side, not far from the church, is the well-known cabaret, or eating-house, the favourite resort of the artist, and scene of many of his merry carousals. It holds out its allures to the joyous villagers in the display of a gaudy flag, and it is moreover decorated with a profusion of gay ornaments, that denote the celebration of a Jour de Fête, on no ordinary occasion. Hundreds of happy Rustics are seen carousing, or engaged in the merry dance, or enjoying the other amusements of the fair; all are full of life and motion, and every one of them filling, with great truth and effect, the part that has been assigned to him in this exhilirating composition. It is we believe one of Jan Steen's happiest efforts, and a proof of his superior ability; indeed we know no Dutch painting in which a greater capacity of invention, or facility in execution, is displayed, the pencil flowing from one group to another with graceful ease and extreme rapidity, and producing as if by inspiration the truest imaginative representation of moving animated life (Jan Steen)|A Kermesse, or Village Fair or Fête. The scene is said to represent a part of the Fauxbourg of Rotterdam, and that on the right-hand side, not far from the church, is the well-known cabaret, or eating-house, the favourite resort of the artist, and scene of many of his merry carousals. It holds out its allures to the joyous villagers in the display of a gaudy flag, and it is moreover decorated with a profusion of gay ornaments, that denote the celebration of a Jour de Fête, on no ordinary occasion. Hundreds of happy Rustics are seen carousing, or engaged in the merry dance, or enjoying the other amusements of the fair; all are full of life and motion, and every one of them filling, with great truth and effect, the part that has been assigned to him in this exhilirating composition. It is we believe one of Jan Steen's happiest efforts, and a proof of his superior ability; indeed we know no Dutch painting in which a greater capacity of invention, or facility in execution, is displayed, the pencil flowing from one group to another with graceful ease and extreme rapidity, and producing as if by inspiration the truest imaginative representation of moving animated life]] réalisée par Jan Steen, vendue par Right Hon Lord Northwick au prix de 101 gs. [54]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Landscape and Figures. A rich landscape, in the foreground of which is a traveller leading by the bridle a white Wouverman-like sumpter horse heavily laden; he is entering into colloquy with a female, who has also a burden in her hands. The glowing effects of a brilliant sun that has set announce the close of a fine summer's day. A small picture, but replete with all those excellences that characterize the works of this admirable artist (Karel du Jardin)|Landscape and Figures. A rich landscape, in the foreground of which is a traveller leading by the bridle a white Wouverman-like sumpter horse heavily laden; he is entering into colloquy with a female, who has also a burden in her hands. The glowing effects of a brilliant sun that has set announce the close of a fine summer's day. A small picture, but replete with all those excellences that characterize the works of this admirable artist]] réalisée par Karel du Jardin, vendue par Right Hon Lord Northwick au prix de 120 gs. [55]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Sylvan Nymphs. It is a sort of pasticcio, by this talented artist, who in it has combined the excellences of three great schools: the rich deep harmonious tints of Titian, the poetical graces and classical refinement of Niccolo Poussin being, in this excellent painting, united with the glowing colours of his own great master and prototype, Rubens. The easel pictures of Gaspar de Crayer are of great rarity: this is a very fine one, and was formerly a very attractive picture in the Le Brun Gallery, where its engraving does not do it justice (Gaspar de Crayer)|The Sylvan Nymphs. It is a sort of pasticcio, by this talented artist, who in it has combined the excellences of three great schools: the rich deep harmonious tints of Titian, the poetical graces and classical refinement of Niccolo Poussin being, in this excellent painting, united with the glowing colours of his own great master and prototype, Rubens. The easel pictures of Gaspar de Crayer are of great rarity: this is a very fine one, and was formerly a very attractive picture in the Le Brun Gallery, where its engraving does not do it justice]] réalisée par Gaspar de Crayer, vendue par Right Hon Lord Northwick. [56]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Soldiers casting lots for the garments of Christ. Two soldiers, the one helmeted, the other in loose attire, are casting the dice; an elderly female, of coarse features, in leaning over them, intently looking on, and seems to take much interest in the event. Behind is another soldier, martially accoutred, with a helmet on his head, and a spear in his hand, and he appears to be in earnest conversation with a venerable Hebrew. In the distance is a large turretted city, on the borders of an extensive lake, or inland sea, surrounded by a wild mountainous country. There is a savage, gloomy austerity of character in this painting, which is in accordance with the subject it represents. It is a fitted subject for the pencil of Salvator Rosa, and is painted with all the breadth, depth, and force of colouring of Rembrandt. It has been exhibited in the British Institution (Salvator Rosa)|The Soldiers casting lots for the garments of Christ. Two soldiers, the one helmeted, the other in loose attire, are casting the dice; an elderly female, of coarse features, in leaning over them, intently looking on, and seems to take much interest in the event. Behind is another soldier, martially accoutred, with a helmet on his head, and a spear in his hand, and he appears to be in earnest conversation with a venerable Hebrew. In the distance is a large turretted city, on the borders of an extensive lake, or inland sea, surrounded by a wild mountainous country. There is a savage, gloomy austerity of character in this painting, which is in accordance with the subject it represents. It is a fitted subject for the pencil of Salvator Rosa, and is painted with all the breadth, depth, and force of colouring of Rembrandt. It has been exhibited in the British Institution]] réalisée par Salvator Rosa, vendue par Right Hon Lord Northwick au prix de 140 gs. [57]
  • 1838.05.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Landscape. This isa very important landscape, highly finished, full of subject, and glowing with the most brilliant sunshine: two stately trees form a rich group in the centre of the foreground, and there are several gradations of distances, painted with great elegance and truth. The figures by Andrea Both, represent a traveller on horseback of venerable aspect, conversing with a female he has met on the road, and who is following a flock of goats; Both's favorite dog is also introduced, and has a very picturesque effect. The picture formerly belonged to Mr. Verlât, of Antwerp, of whom it was purchased in 1836 (John Both)|Landscape. This isa very important landscape, highly finished, full of subject, and glowing with the most brilliant sunshine: two stately trees form a rich group in the centre of the foreground, and there are several gradations of distances, painted with great elegance and truth. The figures by Andrea Both, represent a traveller on horseback of venerable aspect, conversing with a female he has met on the road, and who is following a flock of goats; Both's favorite dog is also introduced, and has a very picturesque effect. The picture formerly belonged to Mr. Verlât, of Antwerp, of whom it was purchased in 1836]] réalisée par John Both, vendue par Right Hon Lord Northwick au prix de 156 gs. [58]
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