Ventes d'œuvres le 1840.06.13

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  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Copy from the celebrated Picture (La Madonna della Sediola) by his master Raffaelle. It is square, while the originalo is circular. The handling is full and vigorous, and the redness of the flesh tints indicate the painter. There is a rare old print of the same form, with the name of Julio Romano. (Julio Romano)|A Copy from the celebrated Picture (La Madonna della Sediola) by his master Raffaelle. It is square, while the originalo is circular. The handling is full and vigorous, and the redness of the flesh tints indicate the painter. There is a rare old print of the same form, with the name of Julio Romano.]] réalisée par Julio Romano, vendue par W.G. Coesvelt, Esq., achetée par Leader au prix de 28.7 £. [1]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Flagellation of Christ; in composition grand, and harmonious in colour. From the style resembling that of the Florentine School. This picture has been attributed to Balthazar Peruzzi, in spite of the monogram which is on it. Collection Panné (Parmegiano)|The Flagellation of Christ; in composition grand, and harmonious in colour. From the style resembling that of the Florentine School. This picture has been attributed to Balthazar Peruzzi, in spite of the monogram which is on it. Collection Panné]] réalisée par Parmegiano, vendue par W.G. Coesvelt, Esq., achetée par Vivian au prix de 50.0 £. [8]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Repose in Egypt, known under the name of La Zingarella. This picture differs in many respects from the one in Naples; there is but one angel, the draperies and background are simplified, the details being sacrificed to give increased effect to the chiaro-scuro. The single angel is sufficient to identify this picture. It is engraved (Correggio)|The Repose in Egypt, known under the name of La Zingarella. This picture differs in many respects from the one in Naples; there is but one angel, the draperies and background are simplified, the details being sacrificed to give increased effect to the chiaro-scuro. The single angel is sufficient to identify this picture. It is engraved]] réalisée par Correggio, vendue par W.G. Coesvelt, Esq. au prix de 24.13 £. [13]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin and Infant Christ, with St. John kneeling, and St. Joseph in the background leading the ass. This picture was constantly on the easel of Sir Joshua Reynolds, and the character of the head of the Infant Christ will be recognised in many of his elegant compositions (Correggio)|The Virgin and Infant Christ, with St. John kneeling, and St. Joseph in the background leading the ass. This picture was constantly on the easel of Sir Joshua Reynolds, and the character of the head of the Infant Christ will be recognised in many of his elegant compositions]] réalisée par Correggio, vendue par W.G. Coesvelt, Esq., achetée par Edwards au prix de 54.12 £. [14]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Juno commanding AEolus to unclose the cavern of the Winds upon the Fleet of AEneas. The sea, the group of goddesses, the cupids in attendance on the Queen of Heaven, AEolus, and the unchained winds, are treated in the poetical manner of the master (Albano)|Juno commanding AEolus to unclose the cavern of the Winds upon the Fleet of AEneas. The sea, the group of goddesses, the cupids in attendance on the Queen of Heaven, AEolus, and the unchained winds, are treated in the poetical manner of the master]] réalisée par Albano, vendue par W.G. Coesvelt, Esq., achetée par Smith au prix de 22.11 £. [25]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Birth of Adonis: Diana receiving the new-born Infant, consigns it to the care of a kneeling nymph; many others, together with cupids and satyrs, make up the composition; it is remarkably clear and silvery, and has been attributed to Guido on account of the handling (Albano)|The Birth of Adonis: Diana receiving the new-born Infant, consigns it to the care of a kneeling nymph; many others, together with cupids and satyrs, make up the composition; it is remarkably clear and silvery, and has been attributed to Guido on account of the handling]] réalisée par Albano, vendue par W.G. Coesvelt, Esq., achetée par Saunders for Nieuwenhuys au prix de 186.18 £. [26]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Two Figures only, from the large picture in the Paris Museum, the St. Anne being omitted. The draperies vary, and the landscape is altogether different; there is an orange-tree on the left, and a waterfall on the right, in this. It came from a noble family in Rome, as did No.70. In the Lawrence Collection of drawings will be found a study of a portion of the draperies, the same size as in this picture (Leonardo da Vinci)|Two Figures only, from the large picture in the Paris Museum, the St. Anne being omitted. The draperies vary, and the landscape is altogether different; there is an orange-tree on the left, and a waterfall on the right, in this. It came from a noble family in Rome, as did No.70. In the Lawrence Collection of drawings will be found a study of a portion of the draperies, the same size as in this picture]] réalisée par Leonardo da Vinci, vendue par W.G. Coesvelt, Esq. au prix de 47.5 £. [34]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin, Infant Christ, St. John, and an angel, in the same positions as in the picture of Leonardo, La Vierge au Rocher, in Paris, but the draperies, hands, and landscape are different, with the addition of an episode of the Annunciation to the Shepherds, taken from the bas-relief by Luca della Robia. The heads possess a greater degree of suavity than the original by the master (Luini)|The Virgin, Infant Christ, St. John, and an angel, in the same positions as in the picture of Leonardo, La Vierge au Rocher, in Paris, but the draperies, hands, and landscape are different, with the addition of an episode of the Annunciation to the Shepherds, taken from the bas-relief by Luca della Robia. The heads possess a greater degree of suavity than the original by the master]] réalisée par Luini, vendue par W.G. Coesvelt, Esq., achetée par Yates au prix de 22.1 £. [35]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Annunciation: the two figures of the angel and the Virgin are in circles, surrounded by rich arabesques on a black ground; this specimen of the first manner of the master possesses much simple suavity; there is a slight approach to dryness in the outline, indicating the period at which it was painted (Raffaelle)|The Annunciation: the two figures of the angel and the Virgin are in circles, surrounded by rich arabesques on a black ground; this specimen of the first manner of the master possesses much simple suavity; there is a slight approach to dryness in the outline, indicating the period at which it was painted]] réalisée par Raffaelle, vendue par W.G. Coesvelt, Esq., achetée par Fauquier au prix de 22.1 £. [37]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[St. John in the Desert -- a figure the size of life. It is exactly repeated in the magnificent picture of the Madonna del Rosario, in the Bologna Gallery; the position of the feet only different, and the lamb is placed by the side of St. Agnes. Purchased in Bologna (Domenichino)|St. John in the Desert -- a figure the size of life. It is exactly repeated in the magnificent picture of the Madonna del Rosario, in the Bologna Gallery; the position of the feet only different, and the lamb is placed by the side of St. Agnes. Purchased in Bologna]] réalisée par Domenichino, vendue par W.G. Coesvelt, Esq., achetée par Edwards au prix de 32.11 £. [38]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin, covering the sleeping Infant Jesus with a veil, behind are the little St. John and St. Joseph: one of the most elaborate works of this great painter. Purchased of the Supreme Junta, in Madrid, on the fall of the Prince of Peace, in 1806 (Sebastian del Piombo)|The Virgin, covering the sleeping Infant Jesus with a veil, behind are the little St. John and St. Joseph: one of the most elaborate works of this great painter. Purchased of the Supreme Junta, in Madrid, on the fall of the Prince of Peace, in 1806]] réalisée par Sebastian del Piombo, vendue par W.G. Coesvelt, Esq., achetée par Rodd au prix de 84.0 £. [41]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Ascension of the Virgin; or the immaculate conception. The young Virgin, encompassed in clouds, is supported by groups of seraphs; painted in the finest time of the master for freshness and transparency. From the Palace of the Count d'Altamira, in Madrid (Murillo)|The Ascension of the Virgin; or the immaculate conception. The young Virgin, encompassed in clouds, is supported by groups of seraphs; painted in the finest time of the master for freshness and transparency. From the Palace of the Count d'Altamira, in Madrid]] réalisée par Murillo, vendue par W.G. Coesvelt, Esq. au prix de 265 gs. [43]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin with the Infant standing on her knees, holding a rose in his left hand, in his right (as an emblem) a small cross upon which the eyes of his mother are fixed; the profile heads and the draperies finely disposed, and the general tone rich. From Bologna (Guido Reni)|The Virgin with the Infant standing on her knees, holding a rose in his left hand, in his right (as an emblem) a small cross upon which the eyes of his mother are fixed; the profile heads and the draperies finely disposed, and the general tone rich. From Bologna]] réalisée par Guido Reni, vendue par W.G. Coesvelt, Esq., achetée par Vivian au prix de 48.6 £. [45]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Murder of the Innocents. It is traditionally known that the monks of St. Dominic refused this picture, in consequence of its not being of the precise dimensions ordered, and that the painter was obliged to paint a second for their church. The numerous alterations that have been made during its painting are visible under the colour, and fully authenticate this repetition. There is in this picture one figure less in the group to the right; it is likewise 18 inches in height and 14 in width less that the one in the Gallery of Bologna, and the brown tints do not approach to blackness (Guido Reni)|The Murder of the Innocents. It is traditionally known that the monks of St. Dominic refused this picture, in consequence of its not being of the precise dimensions ordered, and that the painter was obliged to paint a second for their church. The numerous alterations that have been made during its painting are visible under the colour, and fully authenticate this repetition. There is in this picture one figure less in the group to the right; it is likewise 18 inches in height and 14 in width less that the one in the Gallery of Bologna, and the brown tints do not approach to blackness]] réalisée par Guido Reni, vendue par W.G. Coesvelt, Esq. au prix de 183.15 £. [46]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin seated in the midst of a grand landscape, with the Infant Jesus on her knees, caressed by St. Catharine and St. John presenting fruits. In the background, the annunciation to the shepherds is introduced by the way of episode; this rare specimen was placed in the sacristy of the Escurial. It is described by Conca and other authors as a classical work of the master. Engraved (Titian)|The Virgin seated in the midst of a grand landscape, with the Infant Jesus on her knees, caressed by St. Catharine and St. John presenting fruits. In the background, the annunciation to the shepherds is introduced by the way of episode; this rare specimen was placed in the sacristy of the Escurial. It is described by Conca and other authors as a classical work of the master. Engraved]] réalisée par Titian, vendue par W.G. Coesvelt, Esq. au prix de 220.10 £. [47]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin, with the Infant Jesus in her arms, in a characteristic landscape. When Raffaelle visited Florence, at the age of eighteen, for the purpose of studying colour under Fra. Bartolomeo, then thirty-five years of age, he copied this picture, and his copy was till lately in the possession of the family of Lanti, from whom it has been purchased by the King of Prussia (Fra Bartolomeo)|The Virgin, with the Infant Jesus in her arms, in a characteristic landscape. When Raffaelle visited Florence, at the age of eighteen, for the purpose of studying colour under Fra. Bartolomeo, then thirty-five years of age, he copied this picture, and his copy was till lately in the possession of the family of Lanti, from whom it has been purchased by the King of Prussia]] réalisée par Fra Bartolomeo, vendue par W.G. Coesvelt, Esq., achetée par Leader au prix de 162.15 £. [49]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin, with the Infant Christ sitting on a throne, encircled by St. Jerome, St. Anthony, and St. Stephen, on the one side, St. Peter, St. Paul, and St. John on the other, with a landscape background. It was painted for the refectory of the Convent of St. Mark, in which the artist had taken the habit; removed from Florence, in the first revolutionary invasion by the French. It is believed that a more important picture, by this rare master, is not to be found out of Italy. Haquin, of Paris, has transferred it from its worm-eaten panel to canvas (Fra Bartolomeo)|The Virgin, with the Infant Christ sitting on a throne, encircled by St. Jerome, St. Anthony, and St. Stephen, on the one side, St. Peter, St. Paul, and St. John on the other, with a landscape background. It was painted for the refectory of the Convent of St. Mark, in which the artist had taken the habit; removed from Florence, in the first revolutionary invasion by the French. It is believed that a more important picture, by this rare master, is not to be found out of Italy. Haquin, of Paris, has transferred it from its worm-eaten panel to canvas]] réalisée par Fra Bartolomeo, vendue par W.G. Coesvelt, Esq. au prix de 262.10 £. [50]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Landscape -- sunset, brilliant and clear. The foreground painted firmly and broad; in the middle-ground is a river with fishing-boats, and a hill surmounted by a fort. From the Gallery of the Constable Colonna. There are two prints from it, and the original design in bistre is extant (Claude Lorain)|Landscape -- sunset, brilliant and clear. The foreground painted firmly and broad; in the middle-ground is a river with fishing-boats, and a hill surmounted by a fort. From the Gallery of the Constable Colonna. There are two prints from it, and the original design in bistre is extant]] réalisée par Claude Lorain, vendue par W.G. Coesvelt, Esq. au prix de 157.10 £. [51]
  • 1840.06.13/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[This is one of the largest Landscapes known by the master.; it is composed of magnificent rocks, scathed trees in the foreground, with a river, and the figures of Tobit and the Angel, and a woody back-ground. The painter never produced a grander or more richly painted picture of the class. Its reputation in Rome was such as to render its removal exceedingly difficult. (Salvator Rosa)|This is one of the largest Landscapes known by the master.; it is composed of magnificent rocks, scathed trees in the foreground, with a river, and the figures of Tobit and the Angel, and a woody back-ground. The painter never produced a grander or more richly painted picture of the class. Its reputation in Rome was such as to render its removal exceedingly difficult.]] réalisée par Salvator Rosa, vendue par W.G. Coesvelt, Esq. au prix de 115.10 £. [54]
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