Ventes d'œuvres le 1841.06.05

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  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Rape of Europa. This very spirited study is cited by Ridolfi, and also by Dal Pozzo. It formed one of the pictures of the Gallery of the Marquis Buonvisi, and has always been much esteemed by artists, as an example of the fine bravura style of this master (Paul Veronese)|The Rape of Europa. This very spirited study is cited by Ridolfi, and also by Dal Pozzo. It formed one of the pictures of the Gallery of the Marquis Buonvisi, and has always been much esteemed by artists, as an example of the fine bravura style of this master]] réalisée par Paul Veronese, vendue par Duke of Lucca, achetée par Jacobs au prix de 6.6 gs. [21]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Saint Agnese. This very beautiful work may be said to vie with the best works of Carlo Dolce. There is a richness of colouring, and general harmony in it, which render it an object peculiarly desirable for the Drawing Room. Connoisseurs are aware that there were two Florentine painters of the name of Allori - the one was Alessandro, whose portraits are well known in this country - the other Christophero, whose works are very rare, and which are often sold for those of Carlo Dolce. The present is a genuine example of this master (Christophero Allori)|Saint Agnese. This very beautiful work may be said to vie with the best works of Carlo Dolce. There is a richness of colouring, and general harmony in it, which render it an object peculiarly desirable for the Drawing Room. Connoisseurs are aware that there were two Florentine painters of the name of Allori - the one was Alessandro, whose portraits are well known in this country - the other Christophero, whose works are very rare, and which are often sold for those of Carlo Dolce. The present is a genuine example of this master]] réalisée par Christophero Allori, vendue par Duke of Lucca, achetée par Sir S. Scott au prix de 115.10 gs. [22]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[St. Cecilia attended by an Angel. This picture possesses the brilliant colouring of a Titian. It is one of this master's most finished works, and while in the Collection of the late Edward Gray, Esq. of Harringay House, was always considered to be a picture by Titian. It was originally brought to England by James Irvine, Esq. (Paul Veronese)|St. Cecilia attended by an Angel. This picture possesses the brilliant colouring of a Titian. It is one of this master's most finished works, and while in the Collection of the late Edward Gray, Esq. of Harringay House, was always considered to be a picture by Titian. It was originally brought to England by James Irvine, Esq.]] réalisée par Paul Veronese, vendue par Duke of Lucca, achetée par Prince Esterhazy au prix de 25.40 gs. [23]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Venus delivering the Arms to AEneas. This fine and classical picture represents the goddess in her chariot, drawn by doves and attended by Cupids, addressing her son Æneas, who appears to view with admiration the magnificent arms and armour which are about to be presented to him. It is a work of high excellence in drawing, composition, and the free manner in which it is executed. The genuine works of Nicholas, and of Gaspar Poussin, have become exceedingly rare, and when such present themselves, they are purchased with avidity. Real excellence will always maintain its ground against conflicting opinions against conflicting opinions (Nicholas Poussin)|Venus delivering the Arms to AEneas. This fine and classical picture represents the goddess in her chariot, drawn by doves and attended by Cupids, addressing her son Æneas, who appears to view with admiration the magnificent arms and armour which are about to be presented to him. It is a work of high excellence in drawing, composition, and the free manner in which it is executed. The genuine works of Nicholas, and of Gaspar Poussin, have become exceedingly rare, and when such present themselves, they are purchased with avidity. Real excellence will always maintain its ground against conflicting opinions against conflicting opinions]] réalisée par Nicholas Poussin, vendue par Duke of Lucca, achetée par Gritten au prix de 14.14 gs. [24]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[A Squall coming on. A fine example of this master's works. It belonged to the late Peter Rainier, Esq., and afterwards to G. Townley, Esq. It is a most perfect composition of the master, who, in boldness of design, and freedom of execution, surpasses his contemporary, William Van de Velde (Backhuysen, Ludolf)|A Squall coming on. A fine example of this master's works. It belonged to the late Peter Rainier, Esq., and afterwards to G. Townley, Esq. It is a most perfect composition of the master, who, in boldness of design, and freedom of execution, surpasses his contemporary, William Van de Velde]] réalisée par Backhuysen, Ludolf, vendue par Holford au prix de 105.00 gs. [27]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Gypsies March. It is probably not generally known, that during the 14th and 15th centuries, the Gypsie's were a very numerous and even formidable race of people in several of the countries of Europe. In many parts of Germany they were particularly so; and in Scotland it was estimated that, during the reign of the Stuarts, there was not less than 30,000 of these people,-hence the many old Scottish ballads, in which reference is made to them. The works of Callot are well known to connoisseurs, from his numerous engravings, but we are not aware that we have ever before seen a perfect picture of that master in oil painting. This picture comes from the celebrated Collection of the Abbé Cellotti, of Florence. It is full of character, and is a most entertaining production of art. There is an engraving of it by Callot himself, in two parts, on the first of which is the following couplet, in old French: - Ne voila pas de braves messagers Qui vont errant par pays etrangers. and on the second: - Ces pauvres Gueux pleins de bonadvetures Ne portent rien què des choses futures. The present little picture is one of those witty compositions, which our acquaintance H. B. would no doubt be delighted to see. It is admirable in all its parts (Callot)|The Gypsies March. It is probably not generally known, that during the 14th and 15th centuries, the Gypsie's were a very numerous and even formidable race of people in several of the countries of Europe. In many parts of Germany they were particularly so; and in Scotland it was estimated that, during the reign of the Stuarts, there was not less than 30,000 of these people,-hence the many old Scottish ballads, in which reference is made to them. The works of Callot are well known to connoisseurs, from his numerous engravings, but we are not aware that we have ever before seen a perfect picture of that master in oil painting. This picture comes from the celebrated Collection of the Abbé Cellotti, of Florence. It is full of character, and is a most entertaining production of art. There is an engraving of it by Callot himself, in two parts, on the first of which is the following couplet, in old French: - Ne voila pas de braves messagers Qui vont errant par pays etrangers. and on the second: - Ces pauvres Gueux pleins de bonadvetures Ne portent rien què des choses futures. The present little picture is one of those witty compositions, which our acquaintance H. B. would no doubt be delighted to see. It is admirable in all its parts]] réalisée par Callot, vendue par Duke of Lucca, achetée par Yates au prix de 29.8 gs. [29]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Evil Effects of Intemperance. This fine picture represents the Family of the Artist after a rather full repast, and where the principal parties have fallen fast asleep. The number of amusing incidents in this picture have always ranked it among the chief of his engraved works. With a breadth and power of colouring equal to Rubens, it has the peculiar touch and execution of the master himself. The effect of light which proceeds from the great window is quite magical, as in it there are three distinct gradations, - the pure light of the sky - the subdued light, as seen through glass - and the reflected light from the opened part of the sash, which shows the cloud in the distance, although not yet visible in the direct line. The child upsetting the pan on the fire - the monkey having become scribe, and improving the bonds and title deeds of the family - and the spaniel on the table, helping himself to the pie, are all given with truth and most excellent effect. It formed one of the pictures in the Beckford Collection, and was originally in the gallery of the Duke D'Alberg (Jan Steen)|The Evil Effects of Intemperance. This fine picture represents the Family of the Artist after a rather full repast, and where the principal parties have fallen fast asleep. The number of amusing incidents in this picture have always ranked it among the chief of his engraved works. With a breadth and power of colouring equal to Rubens, it has the peculiar touch and execution of the master himself. The effect of light which proceeds from the great window is quite magical, as in it there are three distinct gradations, - the pure light of the sky - the subdued light, as seen through glass - and the reflected light from the opened part of the sash, which shows the cloud in the distance, although not yet visible in the direct line. The child upsetting the pan on the fire - the monkey having become scribe, and improving the bonds and title deeds of the family - and the spaniel on the table, helping himself to the pie, are all given with truth and most excellent effect. It formed one of the pictures in the Beckford Collection, and was originally in the gallery of the Duke D'Alberg]] réalisée par Jan Steen, vendue par Duke of Lucca au prix de 304.10 gs. [31]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Roman Ruins, near a Bridge over a Cascade, with Peasants and Cattle, &c. This picture was No. 42 in the Catalogue of Sir Simon Clarke's Pictures. It represents one of those brilliant passages of early morning, where the sun has recently quitted the line of the horizon, and spreads afar that silvery light that imparts a sparkling effect to every object in nature. This composition is classical in the highest degree, and reminds the traveller of the many beautiful scenes he meets with in Italy (Berchem)|Roman Ruins, near a Bridge over a Cascade, with Peasants and Cattle, &c. This picture was No. 42 in the Catalogue of Sir Simon Clarke's Pictures. It represents one of those brilliant passages of early morning, where the sun has recently quitted the line of the horizon, and spreads afar that silvery light that imparts a sparkling effect to every object in nature. This composition is classical in the highest degree, and reminds the traveller of the many beautiful scenes he meets with in Italy]] réalisée par Berchem, vendue par [[[Buchanan?]]]. [32]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[View of a Town in Holland, - a Winter Scene. This very clear and transparent gem is one of the few of this fine class which can now be met with; and we with confidence recommend it to those who may desire to possess a small and fine example of the master. (Vander Neer)|View of a Town in Holland, - a Winter Scene. This very clear and transparent gem is one of the few of this fine class which can now be met with; and we with confidence recommend it to those who may desire to possess a small and fine example of the master.]] réalisée par Vander Neer, vendue par Holford, achetée par Balter au prix de 141.15 gs. [33]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Holy Family and St. Antoine. Formerly in the Orleans collection, afterwards in that of Mr. Udney. It is one of his clear and silvery pictures, painted with simplicity and effect. It was in the collection of the late Edward Gray, Esq. who paid a large sum for it (Francesco Mazzuoli, called Parmegianino)|The Holy Family and St. Antoine. Formerly in the Orleans collection, afterwards in that of Mr. Udney. It is one of his clear and silvery pictures, painted with simplicity and effect. It was in the collection of the late Edward Gray, Esq. who paid a large sum for it]] réalisée par Francesco Mazzuoli, called Parmegianino, vendue par Duke of Lucca, achetée par Prince Esterhazy au prix de 47.5 gs. [34]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Landscape, with the subject of Christ appearing to the Magdalen. This beautiful picture has all the freshness of a fine morning. It was painted for the Cardinal Spada, of Rome, and is engraved No. 194, in the Liber Veritatis. It passed into the collection of William Beckford, Esq., of Fonthill, and thus obtained in this country the name of "the Beckford Claude" (Claude le Lorraine)|Landscape, with the subject of Christ appearing to the Magdalen. This beautiful picture has all the freshness of a fine morning. It was painted for the Cardinal Spada, of Rome, and is engraved No. 194, in the Liber Veritatis. It passed into the collection of William Beckford, Esq., of Fonthill, and thus obtained in this country the name of "the Beckford Claude"]] réalisée par Claude le Lorraine, vendue par Duke of Lucca au prix de 367.10 gs. [35]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Hylus among the Nymphs. This picture, which has always been considered as the chef-d'oevre of the master, was painted for the Galli family, of Florence. It is cited by Baldinucci, vol. 16, p. 6, - by Lanzi, vol. 1, p. 206, - and in the Musée de Peinture, Duchessne (Furino)|Hylus among the Nymphs. This picture, which has always been considered as the chef-d'oevre of the master, was painted for the Galli family, of Florence. It is cited by Baldinucci, vol. 16, p. 6, - by Lanzi, vol. 1, p. 206, - and in the Musée de Peinture, Duchessne]] réalisée par Furino, vendue par Duke of Lucca, achetée par Henderson au prix de 31.10 gs. [37]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Repose in Egypt. this picture is cited by Malvasia as an admired work of the master. It was formerly in the Massei collection at Lucca, from whence it passed into that of the Marquis Boccella, from whom it was acquired by the Duke of Lucca. (Simone da Pesaro)|The Repose in Egypt. this picture is cited by Malvasia as an admired work of the master. It was formerly in the Massei collection at Lucca, from whence it passed into that of the Marquis Boccella, from whom it was acquired by the Duke of Lucca.]] réalisée par Simone da Pesaro, vendue par Duke of Lucca, achetée par Talbot au prix de 120.15 gs. [38]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Holy Virgin and Infant Jesus, attended by St. John, and Two Female Saints, Ste. Marguerite, and Maria Magdalena. This fine gallery picture was ordered to be painted for the Convent of Nuns of the St. Ciovanetto at Lucca. It is particularly cited by Baldinucci, and is fully detailed in the different Guides of the City of Lucca. When the Convent was suppressed, it was acquired by the Government, and passed into the Gallery of H.R.H. the Duke of Lucca. (Annibal Caracci)|The Holy Virgin and Infant Jesus, attended by St. John, and Two Female Saints, Ste. Marguerite, and Maria Magdalena. This fine gallery picture was ordered to be painted for the Convent of Nuns of the St. Ciovanetto at Lucca. It is particularly cited by Baldinucci, and is fully detailed in the different Guides of the City of Lucca. When the Convent was suppressed, it was acquired by the Government, and passed into the Gallery of H.R.H. the Duke of Lucca.]] réalisée par Annibal Caracci, vendue par Duke of Lucca, achetée par Dennison au prix de 168.0 gs. [39]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Landscape. A rocky bank richly covered with trees, where peasants are crossing a deep ravine by means of a wooden bridge. The foreground of this fine picture represents the expansion of a rapid stream, which has just burst forth from a bold and rocky channel, and where the trunk of a beech tree, that has been blown down by the storm, lies partly in the river, and partly on the bank. The extreme distance offers to the view a hilly country, over which clouds of a varied character and finely illumined, are rolling in large masses, producing a magnificent effect. The execution of this picture is unexceptionable, being painted in the best period of the master; and the connoisseur will easily perceive that it cannot possibly have had the varnish removed for above a century, but remains in the most pure and genuine state, -- veiled only by Time. (Jacob Ruysdael)|Landscape. A rocky bank richly covered with trees, where peasants are crossing a deep ravine by means of a wooden bridge. The foreground of this fine picture represents the expansion of a rapid stream, which has just burst forth from a bold and rocky channel, and where the trunk of a beech tree, that has been blown down by the storm, lies partly in the river, and partly on the bank. The extreme distance offers to the view a hilly country, over which clouds of a varied character and finely illumined, are rolling in large masses, producing a magnificent effect. The execution of this picture is unexceptionable, being painted in the best period of the master; and the connoisseur will easily perceive that it cannot possibly have had the varnish removed for above a century, but remains in the most pure and genuine state, -- veiled only by Time.]] réalisée par Jacob Ruysdael, vendue par Sir T Baring au prix de 367.10 gs. [40]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Ste. Cecilia attended by Angels. This picture, painted in the boldest style of the master, formed one of the pictures of the magnificent gallery of the Marquis Cambiasio, of Genoa. It was purchased early in the Revolution by Monsieur Le Brun, who sold it in 1808 for 30,000 francs. From its great power and vigour of colouring, it would form an important picture for a gallery. The expression and fine character of the Saint is truly that of Domenichino. (Domenichino)|Ste. Cecilia attended by Angels. This picture, painted in the boldest style of the master, formed one of the pictures of the magnificent gallery of the Marquis Cambiasio, of Genoa. It was purchased early in the Revolution by Monsieur Le Brun, who sold it in 1808 for 30,000 francs. From its great power and vigour of colouring, it would form an important picture for a gallery. The expression and fine character of the Saint is truly that of Domenichino.]] réalisée par Domenichino, vendue par Duke of Lucca au prix de 231.0 gs. [41]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Scene representing the Entrance to a Forest, through which a broad road winds, with varied effects of light, and where figures are seen in half shadow, in the style and manner of Hobbema. In the centre o f the picture stands an aged tree, near which are wood cutters and charers. In the middle ground a bank of wood intervenes; and the extreme distance is brought up by a windmill, which produces a picturesque effect. The grouping of the various masses of trees -- the fine execution and variety of their foliage, opposed as these masses are, to a brilliant sky, render this picture one of those important and delightful works which places it on a par with the finest works of Hobbema, and renders it an appropriate companion to any picture painted by his rival in this branch of the art. This picture is, like the preceding Ruysdael, in the very finest state. A removal of the varnish which now obscures it, would show it in all its pristine beauty. (Jacob Ruysdael)|Scene representing the Entrance to a Forest, through which a broad road winds, with varied effects of light, and where figures are seen in half shadow, in the style and manner of Hobbema. In the centre o f the picture stands an aged tree, near which are wood cutters and charers. In the middle ground a bank of wood intervenes; and the extreme distance is brought up by a windmill, which produces a picturesque effect. The grouping of the various masses of trees -- the fine execution and variety of their foliage, opposed as these masses are, to a brilliant sky, render this picture one of those important and delightful works which places it on a par with the finest works of Hobbema, and renders it an appropriate companion to any picture painted by his rival in this branch of the art. This picture is, like the preceding Ruysdael, in the very finest state. A removal of the varnish which now obscures it, would show it in all its pristine beauty.]] réalisée par Jacob Ruysdael, vendue par Sir T Baring au prix de 399.0 gs. [42]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Chaste Susannah. This fine picture, which was one of the leading objects of its class in the gallery of Lucien Buonaparte, is one of the most powerful and brilliant works of this master which is now in this country, and must always hold a distinguished place in any collection. The fine drawing and beauy of the head of the female, the indignant look which she darts on one of the old men who have intruded themselves upon her, -- the fine carnation which denotes the blush of anger that overspreads her countenance, shewing off to advantage an eye that is full of fire and expression -- render this one of the most capital and expressive heads which can possibly be depicted by any master. On the other hand, the facility of pencilling, with which the heads of the old men is treated, addresses itself to every artist who may take the trouble to examine this fine picture. There is a breadth and repose in the cast of the draperies, which also stamps it a work of the first order of art, and one which would be peculiarly valuable for a School of Art. (Guido Reni)|The Chaste Susannah. This fine picture, which was one of the leading objects of its class in the gallery of Lucien Buonaparte, is one of the most powerful and brilliant works of this master which is now in this country, and must always hold a distinguished place in any collection. The fine drawing and beauy of the head of the female, the indignant look which she darts on one of the old men who have intruded themselves upon her, -- the fine carnation which denotes the blush of anger that overspreads her countenance, shewing off to advantage an eye that is full of fire and expression -- render this one of the most capital and expressive heads which can possibly be depicted by any master. On the other hand, the facility of pencilling, with which the heads of the old men is treated, addresses itself to every artist who may take the trouble to examine this fine picture. There is a breadth and repose in the cast of the draperies, which also stamps it a work of the first order of art, and one which would be peculiarly valuable for a School of Art.]] réalisée par Guido Reni, vendue par [[Morrison [?]]] au prix de 152.5 gs. [43]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Dutch Men of War coming to Anchor off the Brille. This fine picture, so full of motion and interesting variety, has by all marine painters, and true judges of art, been considered as the most capital picture of its class which England possesses. It is one of those chef-d'oeuvres on which a whole discourse could be written to advantage and effect; but on the present occasion we leave it to speak for itself, recommending to any gentleman who may have a wish to acquire it, to consult any friend who may be a painter of marine subjects, who will be able to point out to him the difficulties which the master, in the treatment of this subject, had to contend with, and the successful manner in which he has overcome them. The picture itself is of a fine size. (Backhuyzen)|Dutch Men of War coming to Anchor off the Brille. This fine picture, so full of motion and interesting variety, has by all marine painters, and true judges of art, been considered as the most capital picture of its class which England possesses. It is one of those chef-d'oeuvres on which a whole discourse could be written to advantage and effect; but on the present occasion we leave it to speak for itself, recommending to any gentleman who may have a wish to acquire it, to consult any friend who may be a painter of marine subjects, who will be able to point out to him the difficulties which the master, in the treatment of this subject, had to contend with, and the successful manner in which he has overcome them. The picture itself is of a fine size.]] réalisée par Backhuyzen, vendue par Duke of Lucca, achetée par Sir S. Scott au prix de 493.10 gs. [44]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Silence; designed by Michael Angelo. This eminent scholar of the great M. Angelo, and who was employed by him in painting in oil the designs which he himself executed only in crayon, or in fresco, has here given, with all the suavity of his enamelled pencilling, one of those subjects which has been admired by all connoisseurs at all periods since it was first designed. It has been repeated several times by Marcello Venusti, and also by Sebastiano del Pombo, under the immediate eye of M. Angelo. The present picture is that which was in one of the Royal Palaces of Spain, and afterwards passed into the possession of the Prince of Peace. It is engraved. (Marcello Venusti)|The Silence; designed by Michael Angelo. This eminent scholar of the great M. Angelo, and who was employed by him in painting in oil the designs which he himself executed only in crayon, or in fresco, has here given, with all the suavity of his enamelled pencilling, one of those subjects which has been admired by all connoisseurs at all periods since it was first designed. It has been repeated several times by Marcello Venusti, and also by Sebastiano del Pombo, under the immediate eye of M. Angelo. The present picture is that which was in one of the Royal Palaces of Spain, and afterwards passed into the possession of the Prince of Peace. It is engraved.]] réalisée par Marcello Venusti, vendue par Duke of Lucca, achetée par Marquis of P au prix de 168.0 gs. [45]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Christ on the Cross, attended by the Holy Mother and St. John. This capital work, which in a very small space, presents all the character of a great picture, is that which so long held a place on the wall of the celebrated Borghese Palace of Rome. It is cited by most of the ancient writers, as one of the very few pictures which M. Angelo Buonarotti painted in oil. Among whom are Vasari, in the "Florence edition by Stecchi, 1771, vol.6, page 151, and by Argenville, -- by each of whom, this particular picture is termed "una tavola divina." There is in this picture a sublimity of character, and a grandeur of design, which fully designates the title its author acquired, of "Il terribile." -- It has been often engraved, and was purchased by Lucien Buonaparte from the Borghese family. (Michael Angelo Buonarotti)|Christ on the Cross, attended by the Holy Mother and St. John. This capital work, which in a very small space, presents all the character of a great picture, is that which so long held a place on the wall of the celebrated Borghese Palace of Rome. It is cited by most of the ancient writers, as one of the very few pictures which M. Angelo Buonarotti painted in oil. Among whom are Vasari, in the "Florence edition by Stecchi, 1771, vol.6, page 151, and by Argenville, -- by each of whom, this particular picture is termed "una tavola divina." There is in this picture a sublimity of character, and a grandeur of design, which fully designates the title its author acquired, of "Il terribile." -- It has been often engraved, and was purchased by Lucien Buonaparte from the Borghese family.]] réalisée par Michael Angelo Buonarotti, vendue par Duke of Lucca, achetée par Farrer au prix de 105.0 gs. [46]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Holy Family. This fine composition, which is painted in the earlier manner of this master, belonged to the family of Bracci Zenobi of Florence, and has been always esteemed for the purity and simplicity of its style. It is one of those works, which is cited by Baldinucci, and in which the character of the Virgin, and the beauty of the head of St. John, have been particularly noticed. The veritable works of this master, are extremely rare, even in Italy, and very few indeed are to be found in this country. Those generally passed under the name of this master are painted by his scholars. This is a genuine picture. (Andrea del Sarto)|The Holy Family. This fine composition, which is painted in the earlier manner of this master, belonged to the family of Bracci Zenobi of Florence, and has been always esteemed for the purity and simplicity of its style. It is one of those works, which is cited by Baldinucci, and in which the character of the Virgin, and the beauty of the head of St. John, have been particularly noticed. The veritable works of this master, are extremely rare, even in Italy, and very few indeed are to be found in this country. Those generally passed under the name of this master are painted by his scholars. This is a genuine picture.]] réalisée par Andrea del Sarto, vendue par Duke of Lucca, achetée par Prince Esterhazy au prix de 115.10 gs. [47]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Holy Virgin and Infant Jesus, accompanied by Two Saints. This picture, which is in the finest state of preservation, was painted for the Church of St. Jerome of Lucca, and afterwards passed into the possession of Prince Baciocchi, from whom it was acquired by the late Queen of Etruria. It has been engraved, and is cited in "Nel Dizionario Biografico." For a public gallery it may be considered as a most interesting example of this early and rare master, many of whose works vie in beauty and excellence with those of his immortal scholar Raphael. (Perugino)|The Holy Virgin and Infant Jesus, accompanied by Two Saints. This picture, which is in the finest state of preservation, was painted for the Church of St. Jerome of Lucca, and afterwards passed into the possession of Prince Baciocchi, from whom it was acquired by the late Queen of Etruria. It has been engraved, and is cited in "Nel Dizionario Biografico." For a public gallery it may be considered as a most interesting example of this early and rare master, many of whose works vie in beauty and excellence with those of his immortal scholar Raphael.]] réalisée par Perugino, vendue par Duke of Lucca, achetée par [[Rodd for Ld N[orthwick]]] au prix de 210.0 gs. [48]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Creation, and History of Adam and Eve. This brilliant picture was painted by Raphael for the family of Buonocorso Perini, of Florence, during his first visit to that city, and being then only eighteen years of age, he was assisted in its execution by his friend Il Frate Bartolomeo di San Marco. It is the picture where Lanzi states that he borrowed his Adam and Eve from the precious design of Masaccio; the figure of Adam is the portrait of Raphael himself, and was probably painted by Il Frate. The late James Irvine, of Rome, the most intelligent connoisseur of his time, considered this picture to be one of the most interesting and genuine works of this great master. Its history is fully given in "The Memoirs of Painting." There is a simplicity and beauty about this picture, which fully proves the author of it. -- The placid effect of the twilight of early morning, which Raphael has given in many of his pictures, is here beautifully described.... The Landscape itself approaches perfection, and harmonizes well with the subject. In the commencement of the subject, God the Father is represented as calling animals into life, and is attended by two angels, which are represented in adoration. This forms a very small compartment, and carries especially the character of Raphael, at even a more advanced period. The figures ae beautifully designed, full of character, and the execution perfect. In the centre of the picture, where the Almighty raises Adam --and again, where Eve is called forth -- we discover the aid and handling in parts of Frate Bartolomeo, when opposed to the angels in the clouds, the execution of which appears to be purely in Raphael's Perugino manner. In the last compartment of this picture, where Eve presents the forbidden fruit -- and which part Lanzi states to have been borrowed from Masaccio -- we evidently see that Raphael had adopted the style and manner of Lionardo da Vinci. On the whole, this picture, as illustrative of the progress of Art, and of the history of Raphael's works -- for it is indisputable -- is one of the most interesting examples which could possibly present itself for any Public Gallery, where classification, and a history of the great masters of the Cinque Cento, is duly attended to. Mr. Irvine always considered this picture as worth £ 2000. sterling; and it was Mr. Irvine who purchased it from the Family for which it was painted, and in whose possession it had remained from the period that Raphael resided in the house of Buonocorso Perini. (Raphael d'Urbino)|The Creation, and History of Adam and Eve. This brilliant picture was painted by Raphael for the family of Buonocorso Perini, of Florence, during his first visit to that city, and being then only eighteen years of age, he was assisted in its execution by his friend Il Frate Bartolomeo di San Marco. It is the picture where Lanzi states that he borrowed his Adam and Eve from the precious design of Masaccio; the figure of Adam is the portrait of Raphael himself, and was probably painted by Il Frate. The late James Irvine, of Rome, the most intelligent connoisseur of his time, considered this picture to be one of the most interesting and genuine works of this great master. Its history is fully given in "The Memoirs of Painting." There is a simplicity and beauty about this picture, which fully proves the author of it. -- The placid effect of the twilight of early morning, which Raphael has given in many of his pictures, is here beautifully described.... The Landscape itself approaches perfection, and harmonizes well with the subject. In the commencement of the subject, God the Father is represented as calling animals into life, and is attended by two angels, which are represented in adoration. This forms a very small compartment, and carries especially the character of Raphael, at even a more advanced period. The figures ae beautifully designed, full of character, and the execution perfect. In the centre of the picture, where the Almighty raises Adam --and again, where Eve is called forth -- we discover the aid and handling in parts of Frate Bartolomeo, when opposed to the angels in the clouds, the execution of which appears to be purely in Raphael's Perugino manner. In the last compartment of this picture, where Eve presents the forbidden fruit -- and which part Lanzi states to have been borrowed from Masaccio -- we evidently see that Raphael had adopted the style and manner of Lionardo da Vinci. On the whole, this picture, as illustrative of the progress of Art, and of the history of Raphael's works -- for it is indisputable -- is one of the most interesting examples which could possibly present itself for any Public Gallery, where classification, and a history of the great masters of the Cinque Cento, is duly attended to. Mr. Irvine always considered this picture as worth £ 2000. sterling; and it was Mr. Irvine who purchased it from the Family for which it was painted, and in whose possession it had remained from the period that Raphael resided in the house of Buonocorso Perini.]] réalisée par Raphael d'Urbino, vendue par [[[Buchanan?]]] au prix de 315.0 gs. [49]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Transporting of the "Santa Casa de Loretto." This very capital work of this rare and much esteemed master, was purchased by the celebrated Rosaspina of Bologna, from a retired convent in Tuscany, and was by him sold to Prince Beauharnois sic, at that period Viceroy of Italy. From his Excellency the Prince, it passd into the collection of Lucien Buonaparte -- who again disposed of it, in 1814, along with the Raphael, the N. Poussin , the M. Angelo, the Three Caracci, the Gerardo della Notte, and St. Cecilia, of Domenichino, pictures which had been in the Borghese and Giustiniani Palaces of Rome -- to the late Queen of Etruria, for the sum of 133,000 Roman Crowns, or about £28,000 sterling, as appears from documents in the possession of H.R.H. the Duke of Lucca. A knowledge of this fact may be interesting to those who have imagined that it, is only in England that large sums are given for pictures of reputation and importance; while, in so far as regards the other Courts of Europe, it is quite the reverse. The picture by Domenichino, now before us, is a well-known picture in Italy. The Chev. Conte Bianchetti, one of the most profound connoisseurs of the works of the great Italian Masters, has published an historical account of this picture, which he considers to have been painted at Domenichino's best period. It is a noble gallery picture. (Domenichino (Domenico Zampieri))|The Transporting of the "Santa Casa de Loretto." This very capital work of this rare and much esteemed master, was purchased by the celebrated Rosaspina of Bologna, from a retired convent in Tuscany, and was by him sold to Prince Beauharnois sic, at that period Viceroy of Italy. From his Excellency the Prince, it passd into the collection of Lucien Buonaparte -- who again disposed of it, in 1814, along with the Raphael, the N. Poussin , the M. Angelo, the Three Caracci, the Gerardo della Notte, and St. Cecilia, of Domenichino, pictures which had been in the Borghese and Giustiniani Palaces of Rome -- to the late Queen of Etruria, for the sum of 133,000 Roman Crowns, or about £28,000 sterling, as appears from documents in the possession of H.R.H. the Duke of Lucca. A knowledge of this fact may be interesting to those who have imagined that it, is only in England that large sums are given for pictures of reputation and importance; while, in so far as regards the other Courts of Europe, it is quite the reverse. The picture by Domenichino, now before us, is a well-known picture in Italy. The Chev. Conte Bianchetti, one of the most profound connoisseurs of the works of the great Italian Masters, has published an historical account of this picture, which he considers to have been painted at Domenichino's best period. It is a noble gallery picture.]] réalisée par Domenichino (Domenico Zampieri), vendue par Duke of Lucca, achetée par Johnston of Edinburg Scotland au prix de 241.10 gs. [50]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Le Massacre des Innocens. This extraordinary picture has, at all periods, excited the wonder and admiration of all who are sufficiently read in the works of the great masters. It may, indeed, be regarded as a fine Epic Poem, carrying unity and good-keeping through all its parts. In proof of this, it has been cited by almost every author who has written on the State of Art in Italy; and it has been frequently engraved. Lucien Buonaparte had it twice engraved while in his collection; first in outline only, as forming one of the series of pictures in his gallery; and afterwards, in folio, by Bettelini, to illustrate a volume containing a few of the principal pictures in his possession, wherein are given the Raphael, Michael Angelo, Ludovico Caracci, Augustino Caracci, and this picture of Nicholas Poussin; on which occasion, and in the letter-press of that work, he bestows a high eulogium on the great importance of this picture as a grand work of art. Lucien was himself an excellent connoisseur; and his opinion on that and other pictures, may, therefore be regarded with consideration. But as this picture is now about to be presented to the world, every one may form his own opinion thereof, and act, or advise accordingly. This picture is in a very fine state of preservation. (Nicolas Poussin)|Le Massacre des Innocens. This extraordinary picture has, at all periods, excited the wonder and admiration of all who are sufficiently read in the works of the great masters. It may, indeed, be regarded as a fine Epic Poem, carrying unity and good-keeping through all its parts. In proof of this, it has been cited by almost every author who has written on the State of Art in Italy; and it has been frequently engraved. Lucien Buonaparte had it twice engraved while in his collection; first in outline only, as forming one of the series of pictures in his gallery; and afterwards, in folio, by Bettelini, to illustrate a volume containing a few of the principal pictures in his possession, wherein are given the Raphael, Michael Angelo, Ludovico Caracci, Augustino Caracci, and this picture of Nicholas Poussin; on which occasion, and in the letter-press of that work, he bestows a high eulogium on the great importance of this picture as a grand work of art. Lucien was himself an excellent connoisseur; and his opinion on that and other pictures, may, therefore be regarded with consideration. But as this picture is now about to be presented to the world, every one may form his own opinion thereof, and act, or advise accordingly. This picture is in a very fine state of preservation.]] réalisée par Nicolas Poussin, vendue par Duke of Lucca au prix de 80 gs. [51]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Christ appearing to the Magdalen in the Garden. This splendid work of art has always been regarded in Italy as the chef-d'oeuvre of this master. It is cited by Baldinucci as having been a present made by the Cardinal Carlo de Medicis, to the Grand Duke Cosmo de Medicis, on the occasion of his marriage with Vittoria de la Roveré. It passed afterwards into the possession of the Marquis Buonvisi of Lucca, from whose family the late Queen of Etruria purchased it. It was selected by Raphael Menghen as the finest work of the master in Italy, for the purpose of engraving his well known print of Our Saviour appearing as a Gardener to the Magdalen; and the picture itself has always possessed a vey high reputation. It is signed by Baroccio. (Frederico Baroccio)|Christ appearing to the Magdalen in the Garden. This splendid work of art has always been regarded in Italy as the chef-d'oeuvre of this master. It is cited by Baldinucci as having been a present made by the Cardinal Carlo de Medicis, to the Grand Duke Cosmo de Medicis, on the occasion of his marriage with Vittoria de la Roveré. It passed afterwards into the possession of the Marquis Buonvisi of Lucca, from whose family the late Queen of Etruria purchased it. It was selected by Raphael Menghen as the finest work of the master in Italy, for the purpose of engraving his well known print of Our Saviour appearing as a Gardener to the Magdalen; and the picture itself has always possessed a vey high reputation. It is signed by Baroccio.]] réalisée par Frederico Baroccio, vendue par Duke of Lucca, achetée par Farrer au prix de 315.0 £. [52]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Christ carrying his Cross. This noble picture, full of deep and touching sorrow, has long enjoyed a high rank in the world of art; in consequence of which the celebrated Chev. Toschi, of Parma, is now engraving the subject, from a fine drawing made by him of this picture, while it was on the walls of the Casa Calderrara of Milan. The history of this picture, which is well known to all Connoisseurs in Italy, is, that it was orignally ordered by the Emperor Charles V. from Sebastian del Piombo, who being diffident of his own powers, in so far as nobility and grandeur of design went, engaged his friend Michael Angelo Buonarotti to sketch for him the outline, which he himself under the direction of Michael Angelo, has so ably completed. Connoisseurs have maintained that besides the outline of the principal character, there are parts of the picture, which are especially painted by Michael Angelo, in particular the arms and hands of the Cirenean peasant, who is relieving Our Saviour of the weight of his burden. As a whole, it is a picture full of pathos, and which must command the admiration of every true lover of art. It is cited by Quatremaire sic. (Sebastiano del Piombo)|Christ carrying his Cross. This noble picture, full of deep and touching sorrow, has long enjoyed a high rank in the world of art; in consequence of which the celebrated Chev. Toschi, of Parma, is now engraving the subject, from a fine drawing made by him of this picture, while it was on the walls of the Casa Calderrara of Milan. The history of this picture, which is well known to all Connoisseurs in Italy, is, that it was orignally ordered by the Emperor Charles V. from Sebastian del Piombo, who being diffident of his own powers, in so far as nobility and grandeur of design went, engaged his friend Michael Angelo Buonarotti to sketch for him the outline, which he himself under the direction of Michael Angelo, has so ably completed. Connoisseurs have maintained that besides the outline of the principal character, there are parts of the picture, which are especially painted by Michael Angelo, in particular the arms and hands of the Cirenean peasant, who is relieving Our Saviour of the weight of his burden. As a whole, it is a picture full of pathos, and which must command the admiration of every true lover of art. It is cited by Quatremaire sic.]] réalisée par Sebastiano del Piombo, vendue par Duke of Lucca. [53]
  • 1841.06.05/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[La Madonna del Candelabri. There was not probably in all Italy, a picture which has at all periods possessed more favor as a popular and beauiful subject, than the picture which is about being submitted to the amateurs of painting of this country, and of the world in general. Itr has been reportedly engraved, as well when in the Borghese Palace of Rome, as afterwards in the possession of Lucien Buonaparte, and latterly in thatof H.R.H. the Duke of Lucca, in whose Collection it always formed a leading point of attraction. Among the artists who have engraved this picture, may be named, Folo, -- Bettelini, -- Fabri, --Blot, -- Prestini, --and Bridaux,k -- and if such testimonials may stamp the value of a picture, and excite a desire of competition, thee is no saying to what extent the desire of possessing it may be limited. In speaking of a work of so great reputation and beauty i, it were needless here to bestow on it one word of praise. It speaks for itself in a language more intelligible than words can express, and to this mode of address we shall leave it. It is cited by Quatremaire sic. (Raphael d'Urbino)|La Madonna del Candelabri. There was not probably in all Italy, a picture which has at all periods possessed more favor as a popular and beauiful subject, than the picture which is about being submitted to the amateurs of painting of this country, and of the world in general. Itr has been reportedly engraved, as well when in the Borghese Palace of Rome, as afterwards in the possession of Lucien Buonaparte, and latterly in thatof H.R.H. the Duke of Lucca, in whose Collection it always formed a leading point of attraction. Among the artists who have engraved this picture, may be named, Folo, -- Bettelini, -- Fabri, --Blot, -- Prestini, --and Bridaux,k -- and if such testimonials may stamp the value of a picture, and excite a desire of competition, thee is no saying to what extent the desire of possessing it may be limited. In speaking of a work of so great reputation and beauty i, it were needless here to bestow on it one word of praise. It speaks for itself in a language more intelligible than words can express, and to this mode of address we shall leave it. It is cited by Quatremaire sic.]] réalisée par Raphael d'Urbino, vendue par Duke of Lucca, achetée par Munro au prix de 1575 £. [54]
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