Ventes d'œuvres le 1839.04.26

De Wikipast
Aller à la navigation Aller à la recherche
  • 1839.04.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Pentecost; upright, on panel. Scoorels, of the school of Van Eyck, studied afterwards under Albert Durer, then went to Italy, from whence he visited Jerusalem; on his return he became Director of the Gallery of Pope Hadrian, in Rome. The style of his pictures vary according to the different schools in which he painted at the time. The present picture appears to be painted in Italy, after he left A. Durer, The works of this master are highly valued. His chef-d'oeuvre, "The Death of the Virgin," is one of the most valuable pictures in the Baisseree Gallery, lately purchased by the King of Bavaria. (Scoorels)|The Pentecost; upright, on panel. Scoorels, of the school of Van Eyck, studied afterwards under Albert Durer, then went to Italy, from whence he visited Jerusalem; on his return he became Director of the Gallery of Pope Hadrian, in Rome. The style of his pictures vary according to the different schools in which he painted at the time. The present picture appears to be painted in Italy, after he left A. Durer, The works of this master are highly valued. His chef-d'oeuvre, "The Death of the Virgin," is one of the most valuable pictures in the Baisseree Gallery, lately purchased by the King of Bavaria.]] réalisée par Scoorels, vendue par [[[Charles Aders]]], achetée par Lemme au prix de 17.17 £. [105]
  • 1839.04.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin kneeling before the Infant, who is lying on the ground near some ruined architecture; the Angel appearing to the Shepherds is represented on a height above a river behind. A fine specimen of this rare master, in perfect preservation. (Lorenzo Credi)|The Virgin kneeling before the Infant, who is lying on the ground near some ruined architecture; the Angel appearing to the Shepherds is represented on a height above a river behind. A fine specimen of this rare master, in perfect preservation.]] réalisée par Lorenzo Credi, vendue par [[[Charles Aders]]], achetée par Rodd au prix de 17.17 £. [112]
  • 1839.04.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin and Child. This work, painted in the master's last manner before his return from Italy, is highly interesting as exhibiting the influence which the study of the works of the great Italian painters, and chiefly of Correggio, had upon the German artist (Albert Durer)|The Virgin and Child. This work, painted in the master's last manner before his return from Italy, is highly interesting as exhibiting the influence which the study of the works of the great Italian painters, and chiefly of Correggio, had upon the German artist]] réalisée par Albert Durer, vendue par [[[Charles Aders]]], achetée par Rodd au prix de 13.2 £. [128]
  • 1839.04.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin of the Rosary, with six Saints. This beautiful little specimen of the master was formerly a very favourite picture in the collection of Sir William Hamilton, to whom it had been presented, in Italy, by the family for which it had been originally painted (Guido)|The Virgin of the Rosary, with six Saints. This beautiful little specimen of the master was formerly a very favourite picture in the collection of Sir William Hamilton, to whom it had been presented, in Italy, by the family for which it had been originally painted]] réalisée par Guido, vendue par [[[Charles Aders]]], achetée par Clarke au prix de 4.4 £. [131]
  • 1839.04.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin and Child, with six Saints. A highly interesting work of this pupil of Van Eyck. In the beginning of the fifteenth century, Antonella di Messina resolved to visit the Netherlands and study Van Eyck's method of painting. M. Passevant, in his late work on Collections in London, observes that this picture acquires a particular historical interest from the difference of style and colour observable in different parts. Whilst, generally, the picture is painted in the style at that time usual in Italy, some parts (namely, the floating Angels, the red Drapery of the Virgin, and the Cushion at her feet) indicate a desire and study of the painter to approach the more vigorous colours of his Flemish master. This picture was formerly in the collection of the Duke de Feltre (Antonella di Messina)|The Virgin and Child, with six Saints. A highly interesting work of this pupil of Van Eyck. In the beginning of the fifteenth century, Antonella di Messina resolved to visit the Netherlands and study Van Eyck's method of painting. M. Passevant, in his late work on Collections in London, observes that this picture acquires a particular historical interest from the difference of style and colour observable in different parts. Whilst, generally, the picture is painted in the style at that time usual in Italy, some parts (namely, the floating Angels, the red Drapery of the Virgin, and the Cushion at her feet) indicate a desire and study of the painter to approach the more vigorous colours of his Flemish master. This picture was formerly in the collection of the Duke de Feltre]] réalisée par Antonella di Messina, vendue par [[[Charles Aders]]], achetée par Rodd au prix de 7.5 £. [132]
  • 1839.04.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin and Child, and St. Elizabeth, in a very beautiful Landscape. The simple composition, together with the richness and harmony of colour, have frequently induced connoisseurs of great judgement and experience, but unacquainted with the works of ancient Flemish painters, to ascribe this little gem to the most eminent masters of the Venetian school (Hubert Van Eyck)|The Virgin and Child, and St. Elizabeth, in a very beautiful Landscape. The simple composition, together with the richness and harmony of colour, have frequently induced connoisseurs of great judgement and experience, but unacquainted with the works of ancient Flemish painters, to ascribe this little gem to the most eminent masters of the Venetian school]] réalisée par Hubert Van Eyck, vendue par [[[Charles Aders]]], achetée par Green au prix de 9.19 £. [134]
  • 1839.04.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[King David seeing Bathsheba washing her Feet. The Figure of David is a portrait of Frederick the Magnanimous; those of his attendants, of Luther, Melancthon, and the Painter. This painter was the intimate friend of the Princes of Saxony, promoters of the Reformation, and also of the great reformer Luther, whose portraits are frequently introduced into his pictures, together with his own. Though the singularity of the costume may at first view prevent proper estimation of this picture, a closer examination shows beauties and excellencies of the first order, a transparency of colour seldom equalled, and an admirable truth (Lucas Cranach, 1534)|King David seeing Bathsheba washing her Feet. The Figure of David is a portrait of Frederick the Magnanimous; those of his attendants, of Luther, Melancthon, and the Painter. This painter was the intimate friend of the Princes of Saxony, promoters of the Reformation, and also of the great reformer Luther, whose portraits are frequently introduced into his pictures, together with his own. Though the singularity of the costume may at first view prevent proper estimation of this picture, a closer examination shows beauties and excellencies of the first order, a transparency of colour seldom equalled, and an admirable truth]] réalisée par Lucas Cranach, 1534, vendue par [[[Charles Aders]]], achetée par Webb au prix de 17.6 £. [135]
  • 1839.04.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Descent from the Cross, with Two Wings representing the Resurrection, and the Descent into Hell. This picture, in the artist's early manner, was engraved by him in 1504, with the omission of the figure kneeling behind St. John, is admirable for its depth and richness of colour (Albert Durer)|The Descent from the Cross, with Two Wings representing the Resurrection, and the Descent into Hell. This picture, in the artist's early manner, was engraved by him in 1504, with the omission of the figure kneeling behind St. John, is admirable for its depth and richness of colour]] réalisée par Albert Durer, vendue par [[[Charles Aders]]], achetée par Lemme au prix de 15.15 £. [137]
  • 1839.04.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Crucifixion, upright. This master is very scarce, and though not equal in merit to his contemporary and master Van Eyck, very highly and justly esteemed: grand composition of his in the Church of St. Bavon, in Ghent (Gerhard Vander Meeren, or V.D.Meir)|The Crucifixion, upright. This master is very scarce, and though not equal in merit to his contemporary and master Van Eyck, very highly and justly esteemed: grand composition of his in the Church of St. Bavon, in Ghent]] réalisée par Gerhard Vander Meeren, or V.D.Meir, vendue par [[[Charles Aders]]], achetée par Nieuwenhuys au prix de 8.18 £. [138]
  • 1839.04.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Magdalen. Of this beautiful picture there are two repetitions, the one in Dresden, the other in Florence. This picture is probably the same which R. Mengs quotes as in the possession of a Cardinal in Rome; and of which he says that he holds it to be the finest repetition of Correggio himself, of the favourite composition. It had been for half a century in the Collection of an eminent Banker at Brussels, who had it brought from Rome (Correggio)|The Magdalen. Of this beautiful picture there are two repetitions, the one in Dresden, the other in Florence. This picture is probably the same which R. Mengs quotes as in the possession of a Cardinal in Rome; and of which he says that he holds it to be the finest repetition of Correggio himself, of the favourite composition. It had been for half a century in the Collection of an eminent Banker at Brussels, who had it brought from Rome]] réalisée par Correggio, vendue par [[[Charles Aders]]], achetée par Green au prix de 17.10 £. [139]
  • 1839.04.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Ecce Homo. R. Van der Weyden is of the School of Van Eyck, one of the very best of his pupils. His works are scarce, and rank equal in value to ? those of his master. One of his great compositions, "The Entombment," has been lately acquired by the King of Prussia, and is considered one of the greatest ornaments of his gallery (Roger Van der Weyden, called Il Salice)|Ecce Homo. R. Van der Weyden is of the School of Van Eyck, one of the very best of his pupils. His works are scarce, and rank equal in value to ? those of his master. One of his great compositions, "The Entombment," has been lately acquired by the King of Prussia, and is considered one of the greatest ornaments of his gallery]] réalisée par Roger Van der Weyden, called Il Salice, vendue par [[[Charles Aders]]], achetée par Green au prix de 16.5 £. [140]
  • 1839.04.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Christ is exposed to the Multitude before a rich Gothic building, the varied expression of the countenances is finely rendered, and the figure of Christ full of dignity: the flagellation and crowning with thorns are represented in the background; the preservation of this fine picture is perfect (Martin Schoen)|Christ is exposed to the Multitude before a rich Gothic building, the varied expression of the countenances is finely rendered, and the figure of Christ full of dignity: the flagellation and crowning with thorns are represented in the background; the preservation of this fine picture is perfect]] réalisée par Martin Schoen, vendue par [[[Charles Aders]]], achetée par Green au prix de 16.16 £. [141]
  • 1839.04.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Landscape and Architecture by John Van Eyck. A Holy Family attended by Angels, with two wings representing St. John the Baptist and St. John the Evangelist. This is one of the exceedingly scarce pictures of the sister of Van Eyck who, in order to devote her whole life to the arts, resolved (according to Carel Van Mander) to remain unmarried, and to whom John Van Eyck communicated his new method of painting. The composition and execution of this picture are particularly happy, and full of poetry. The grouping is full of grace, though the faces are by no means of ideal beauty. On the left wing, St. John the Evangelist, kneeling, blesses the chalice of the New Sacrament; on the right wing, St. John the Baptist, also kneeling, the Lamb by his side, ...prints? to the Child, seated at the feet of the Mother on the pillow. From the windows of a Church in the background emanates, between the deep shades of the trees, a miraculous light (Margaretha Van Eyck)|The Landscape and Architecture by John Van Eyck. A Holy Family attended by Angels, with two wings representing St. John the Baptist and St. John the Evangelist. This is one of the exceedingly scarce pictures of the sister of Van Eyck who, in order to devote her whole life to the arts, resolved (according to Carel Van Mander) to remain unmarried, and to whom John Van Eyck communicated his new method of painting. The composition and execution of this picture are particularly happy, and full of poetry. The grouping is full of grace, though the faces are by no means of ideal beauty. On the left wing, St. John the Evangelist, kneeling, blesses the chalice of the New Sacrament; on the right wing, St. John the Baptist, also kneeling, the Lamb by his side, ...prints? to the Child, seated at the feet of the Mother on the pillow. From the windows of a Church in the background emanates, between the deep shades of the trees, a miraculous light]] réalisée par Margaretha Van Eyck, vendue par [[[Charles Aders]]], achetée par Green au prix de 42.0 £. [142]
  • 1839.04.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Adoration of the Lamb; in twelve divisions. The extent and profound aim of this composition render a clear comprehension of the subject at first sight difficult, and therefore an explanation desirable. It may be said to comprehend the most important mystery of the Christian Religion; painted 100 years previous to the Reformation; of course therefore according ? conceptions and forms of the Greek and Roman Catholic Church. It is known under the name of the Adoration of the Lamb and intends to represent the Mystery of Redemption, the concept of which is taken from the 7th chapter of the Revelation. It is divided into two principal compartments, the upper and lower picture, both of ? which are subdivided into centres and wings. In the centre of the upper picture is represented God the Father supreme Pontiff of the Church, performing that part of the ? called the Benediction, attended on one side by the Virgin Mary and on the other by St. John the Baptist; on the two wings are seen St. Cecilia at the organ wiht the musicians, and opposite singing Chor? chanting the Benediction; on the extreme ends of the upper wing are represented Adam and Eve, as symbols of Sin, and above them the sacrifice and murder of Abel, in order to shew the depravity of the human race, and the necessity of Divine meditation, alluding at the same time to the prototype of the Messiah. The centre of the lower picture represents the consummation of Divine blessing from above in the sacrifice of the Lamb on the ? the covenant; the blood of the Lamb flowing into the chalice ? New Sacrament, surrounded by kneeling Angles, carrying the ?plements of crucifixion. Under the arc is the Fountain of Life, ? one side of which kneel the Prophets, followed "by multitudes ? no man could number, of all nations and kindred, and people ? tongues"; on the other side kneel the Apostles, followed by Ma? "they which come out of great tribulation, and have washed ? robes in the blood of the Lamb." From the other parts of the land? stream multitudes of Saints with palms in their hands to approach ? throne of the Lamb. One of the lower wings represents the gig? St. Christopher, leading pious Hermits to the group of Martyrs ? and other closes the procession with Dukes of Brabant on horses ? with their whole retinue of men-at-arms and painters, among ? latter John and Hubert Van Eyck and Antonella de Messina. This picture was formerly the ornament of the Chapel of the ? House of Ghent; and was sold on the approach of the French ? under Pichegru, then bought by Mr. Charles Hisette, of whose ? Mr. Aders purchased it in 1819. The interest and value of this picture is greatly enhanced fromt he circumstance that it is the only one which preserves the entire composition of the two brothers Van Eyck -- a composition mentioned with admiration for four centuries in the Histories of the Arts, of all countries and in all languages, and of such reputation and celebrity in the times when the Arts flourished most, that, according to Carel Van Mander, special police regulations were required to render harmless the immense concourse of strangers which restored to Ghent on the days when the picture was publicly shown. The originals, painted for the Church of St. Bavon, have been dispersed by the events of the revolution, the centres have been restored to that Church; part of the wings sold to the King of Prussia. Another copy, painted by Michael Coxie, but with infinitely less accuracy, talent and finish, is likewise dispersed; part of it has been acquired for the Royal Gallery of Munich, part for the Royal Gallery of Berlin, part for the Cabinet of the Prince of Orange, and some parts are entirely lost. More particulars may be seen in the works of Vasari, Carel van Mander, Sandrart, Dr. Wagen, De Bast, Frau. v. Schoppenhaner, Musée de Peinture, vol 8, and J.D. Passavant. (Hubert Van Eyck)|The Adoration of the Lamb; in twelve divisions. The extent and profound aim of this composition render a clear comprehension of the subject at first sight difficult, and therefore an explanation desirable. It may be said to comprehend the most important mystery of the Christian Religion; painted 100 years previous to the Reformation; of course therefore according ? conceptions and forms of the Greek and Roman Catholic Church. It is known under the name of the Adoration of the Lamb and intends to represent the Mystery of Redemption, the concept of which is taken from the 7th chapter of the Revelation. It is divided into two principal compartments, the upper and lower picture, both of ? which are subdivided into centres and wings. In the centre of the upper picture is represented God the Father supreme Pontiff of the Church, performing that part of the ? called the Benediction, attended on one side by the Virgin Mary and on the other by St. John the Baptist; on the two wings are seen St. Cecilia at the organ wiht the musicians, and opposite singing Chor? chanting the Benediction; on the extreme ends of the upper wing are represented Adam and Eve, as symbols of Sin, and above them the sacrifice and murder of Abel, in order to shew the depravity of the human race, and the necessity of Divine meditation, alluding at the same time to the prototype of the Messiah. The centre of the lower picture represents the consummation of Divine blessing from above in the sacrifice of the Lamb on the ? the covenant; the blood of the Lamb flowing into the chalice ? New Sacrament, surrounded by kneeling Angles, carrying the ?plements of crucifixion. Under the arc is the Fountain of Life, ? one side of which kneel the Prophets, followed "by multitudes ? no man could number, of all nations and kindred, and people ? tongues"; on the other side kneel the Apostles, followed by Ma? "they which come out of great tribulation, and have washed ? robes in the blood of the Lamb." From the other parts of the land? stream multitudes of Saints with palms in their hands to approach ? throne of the Lamb. One of the lower wings represents the gig? St. Christopher, leading pious Hermits to the group of Martyrs ? and other closes the procession with Dukes of Brabant on horses ? with their whole retinue of men-at-arms and painters, among ? latter John and Hubert Van Eyck and Antonella de Messina. This picture was formerly the ornament of the Chapel of the ? House of Ghent; and was sold on the approach of the French ? under Pichegru, then bought by Mr. Charles Hisette, of whose ? Mr. Aders purchased it in 1819. The interest and value of this picture is greatly enhanced fromt he circumstance that it is the only one which preserves the entire composition of the two brothers Van Eyck -- a composition mentioned with admiration for four centuries in the Histories of the Arts, of all countries and in all languages, and of such reputation and celebrity in the times when the Arts flourished most, that, according to Carel Van Mander, special police regulations were required to render harmless the immense concourse of strangers which restored to Ghent on the days when the picture was publicly shown. The originals, painted for the Church of St. Bavon, have been dispersed by the events of the revolution, the centres have been restored to that Church; part of the wings sold to the King of Prussia. Another copy, painted by Michael Coxie, but with infinitely less accuracy, talent and finish, is likewise dispersed; part of it has been acquired for the Royal Gallery of Munich, part for the Royal Gallery of Berlin, part for the Cabinet of the Prince of Orange, and some parts are entirely lost. More particulars may be seen in the works of Vasari, Carel van Mander, Sandrart, Dr. Wagen, De Bast, Frau. v. Schoppenhaner, Musée de Peinture, vol 8, and J.D. Passavant.]] réalisée par Hubert Van Eyck, vendue par [[[Charles Aders]]], achetée par Lemme au prix de 99.15 £. [143]
Récupérée de « https://wikipast.epfl.ch/index.php?title=Ventes_d%27œuvres_le_1839.04.26&oldid=3989681 »