Ventes d'œuvres le 1845.07.12

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  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Le Musicien Flamand; an interior -- represents a jovial toper seated, playing on the guitar, full of tipsy mirth and musical enthusiasm. A female attendant appears on one side, with a glass and jug in her hands; and the score on the table is significant of his good cheer. The figures are seen to the knees. Painted in a masterly manner, and with great humour and expression. Engraved by Aveline. Signed. 10 in. by 8 1/2 in. Convas? See Smith's Catalogue Raisonné, part iii., page 422. (David Teniers)|Le Musicien Flamand; an interior -- represents a jovial toper seated, playing on the guitar, full of tipsy mirth and musical enthusiasm. A female attendant appears on one side, with a glass and jug in her hands; and the score on the table is significant of his good cheer. The figures are seen to the knees. Painted in a masterly manner, and with great humour and expression. Engraved by Aveline. Signed. 10 in. by 8 1/2 in. Convas? See Smith's Catalogue Raisonné, part iii., page 422.]] réalisée par David Teniers, vendue par Edward W. Lake, Esq., achetée par Farrer au prix de 106.1 £. [1]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Five Boors at a Window, which is divided in the middle; two of them are leaning upon the sill; another has a cap in one hand and a long glass in the other, and appears to have said something which has excited the laughter of one of them. This is an admirable example of the master. Signed. 11 1/4 in. by 7 1/4 in. Panel. From the collections of St. Victor and Chevalier Claussins. Etched by Ostade. Smith's Catalogue Raisonné, part i., No.166. Exhibited by the present proprietor in the British Gallery in 1837. (Adrian Ostade)|Five Boors at a Window, which is divided in the middle; two of them are leaning upon the sill; another has a cap in one hand and a long glass in the other, and appears to have said something which has excited the laughter of one of them. This is an admirable example of the master. Signed. 11 1/4 in. by 7 1/4 in. Panel. From the collections of St. Victor and Chevalier Claussins. Etched by Ostade. Smith's Catalogue Raisonné, part i., No.166. Exhibited by the present proprietor in the British Gallery in 1837.]] réalisée par Adrian Ostade, vendue par Edward W. Lake, Esq., achetée par Farrer au prix de 168 £. [2]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Peacock and Peahen, with other objects in a Garden of a Palace. Perched upon a balustrade, is seen a peacock the size of life, in all the pride and splendour of his plumage, which sweeps magnificently to the ground; his head is turned to a swift, which is flying near, and at which he is screaming. The peahen bends her neck forward, and looks eagerly down into the left corner, where there is an assemblage of grapes, a melon, and other fruits, apparently fearing lest they should fall a prey to a monkey seated on the foreground near; and a squirrel and other accessories are distributed around. A chef d'oeuvre. This capital picture was expressly painted by the master for the principal salon of the Trippenhuys, since purchased by the Dutch Government, and used now for the Gallery of Amsterdam. Signed and dated 1683. 6 ft. 2 in. by 4 ft. 4 in. Canvas. From the collection of M. Roos, of Amsterdam. (Melchior Hondikoeter)|A Peacock and Peahen, with other objects in a Garden of a Palace. Perched upon a balustrade, is seen a peacock the size of life, in all the pride and splendour of his plumage, which sweeps magnificently to the ground; his head is turned to a swift, which is flying near, and at which he is screaming. The peahen bends her neck forward, and looks eagerly down into the left corner, where there is an assemblage of grapes, a melon, and other fruits, apparently fearing lest they should fall a prey to a monkey seated on the foreground near; and a squirrel and other accessories are distributed around. A chef d'oeuvre. This capital picture was expressly painted by the master for the principal salon of the Trippenhuys, since purchased by the Dutch Government, and used now for the Gallery of Amsterdam. Signed and dated 1683. 6 ft. 2 in. by 4 ft. 4 in. Canvas. From the collection of M. Roos, of Amsterdam.]] réalisée par Melchior Hondikoeter, vendue par Edward W. Lake, Esq., achetée par Farrer au prix de 168 £. [3]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Le Corset Bleu. The masterly study of this celebrated subject, from which the artist painted two pictures; one the gem in the collection of J. Neeld, Esq., and the other in that of Her Majesty. This specimen must be highly interesting to artists and connoisseurs, particularly as showing the progressive treatment of his works by this great master. Exquisitely pencilled. 16 in. by 11 3/4 in. Panel. Purchased by the present proprietor from the collection of the Marquis of Camden. (Gabriel Metzu)|Le Corset Bleu. The masterly study of this celebrated subject, from which the artist painted two pictures; one the gem in the collection of J. Neeld, Esq., and the other in that of Her Majesty. This specimen must be highly interesting to artists and connoisseurs, particularly as showing the progressive treatment of his works by this great master. Exquisitely pencilled. 16 in. by 11 3/4 in. Panel. Purchased by the present proprietor from the collection of the Marquis of Camden.]] réalisée par Gabriel Metzu, vendue par Edward W. Lake, Esq., achetée par Chatfield au prix de 35.14 £. [4]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Dedalus and Icarus. This capital picture, full of poetry and classic grace, represents the youthful Icarus (under the portrait of Van Dyck himself) standing naked down to the loins, while Daedalus his father, with a purple ribbon in his hand, is stooping to attach the wings to his shoulders; the right hand of Icarus rests on his father, and the left sustains a blue drapery across the middle of his body. The figures are of life size, and seen to the knees. This is one of this great master's most admirable productions. The torso of Icarus, both in drawing and colour, is a model of perfection in art. A splendid chef d'oeuvre. Engraved in mezzotinto by Watts, under the title of "Van Dyck in the character of Icarus." 3 ft. 7 in. by 3 ft. Canvas. From the celebrated collection of John Knight, Esq., 1819. Exhibited in the British Gallery in 1815. Smith's Catalogue Raisonné, part iii., page 103. (Van Dyck)|Dedalus and Icarus. This capital picture, full of poetry and classic grace, represents the youthful Icarus (under the portrait of Van Dyck himself) standing naked down to the loins, while Daedalus his father, with a purple ribbon in his hand, is stooping to attach the wings to his shoulders; the right hand of Icarus rests on his father, and the left sustains a blue drapery across the middle of his body. The figures are of life size, and seen to the knees. This is one of this great master's most admirable productions. The torso of Icarus, both in drawing and colour, is a model of perfection in art. A splendid chef d'oeuvre. Engraved in mezzotinto by Watts, under the title of "Van Dyck in the character of Icarus." 3 ft. 7 in. by 3 ft. Canvas. From the celebrated collection of John Knight, Esq., 1819. Exhibited in the British Gallery in 1815. Smith's Catalogue Raisonné, part iii., page 103.]] réalisée par Van Dyck, vendue par Edward W. Lake, Esq. au prix de 260 gs. [5]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[View in the Grand Place of a Dutch Town: offering on the right, a cluster of three houses, one of which is an inn, with a sign, at which two travellers have alighted from their steeds, and are conversing with the maid; a third sits at the door of the house: at the end of ther squqre is a church, with an octagon tower, and some adjoining low houses, partly concealed by trees; on the left side of the picture stands a small house, with a fountain in the front of it, at which a woman is getting water; a man with a wooden leg, a woman leading a child, and two monks may also be observed in the street: a fine evening. The figures are by the hand of Adrian Van de Velde. A lovely and capital example of these masters. 10 1/4 in. by 13 1/4 in. Panel. From the collections of Baron Lockhorst and Sir William Stewart. Exhibited in the British Gallery by the present proprietor in 1836. Supplement to Smith's Catalogue Raisonné, page 675. (Van der Heyden)|View in the Grand Place of a Dutch Town: offering on the right, a cluster of three houses, one of which is an inn, with a sign, at which two travellers have alighted from their steeds, and are conversing with the maid; a third sits at the door of the house: at the end of ther squqre is a church, with an octagon tower, and some adjoining low houses, partly concealed by trees; on the left side of the picture stands a small house, with a fountain in the front of it, at which a woman is getting water; a man with a wooden leg, a woman leading a child, and two monks may also be observed in the street: a fine evening. The figures are by the hand of Adrian Van de Velde. A lovely and capital example of these masters. 10 1/4 in. by 13 1/4 in. Panel. From the collections of Baron Lockhorst and Sir William Stewart. Exhibited in the British Gallery by the present proprietor in 1836. Supplement to Smith's Catalogue Raisonné, page 675.]] réalisée par Van der Heyden, vendue par Edward W. Lake, Esq., achetée par Emery au prix de 248.17 £. [6]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Alpine Pass. The view represents a bold mountainous scene, divided in the centre by a lofty rock, at the side of which grows a clump of firs; a deep chasm intersects the country on the right, the water from which flows along the front ground, forming a ford, through which a herdsman is leading a cow by a cord, as a guide for five others to follow. A woman on a laden mule, and two men, are on the further bank of the water; and beyond them is a peasant on a mule driving two cows towards the front. A road on the left of the rock leads to a rustic bridge, where the eye looks over a great extent of country; and on the right of the rock is a road of difficult ascent. Both the execution and classic taste displayed in this work of art entitle it to the admiration of the connoisseur. A most capital chef d'oeuvre. 2 ft. 1 1/2 in. by 1 ft. 5 in. Panel. From the collections of M. Sabatier, M. Villiers, Prince Talleyrand, and J. Berkeley Owen, Esq. Smith's Catalogue Raisonné, No.143, and ditto, Supplement, page 607. Exhibited by the present propiretor in the British Gallery in 1837. (Nicholas Berghem)|The Alpine Pass. The view represents a bold mountainous scene, divided in the centre by a lofty rock, at the side of which grows a clump of firs; a deep chasm intersects the country on the right, the water from which flows along the front ground, forming a ford, through which a herdsman is leading a cow by a cord, as a guide for five others to follow. A woman on a laden mule, and two men, are on the further bank of the water; and beyond them is a peasant on a mule driving two cows towards the front. A road on the left of the rock leads to a rustic bridge, where the eye looks over a great extent of country; and on the right of the rock is a road of difficult ascent. Both the execution and classic taste displayed in this work of art entitle it to the admiration of the connoisseur. A most capital chef d'oeuvre. 2 ft. 1 1/2 in. by 1 ft. 5 in. Panel. From the collections of M. Sabatier, M. Villiers, Prince Talleyrand, and J. Berkeley Owen, Esq. Smith's Catalogue Raisonné, No.143, and ditto, Supplement, page 607. Exhibited by the present propiretor in the British Gallery in 1837.]] réalisée par Nicholas Berghem, vendue par Edward W. Lake, Esq., achetée par Rutley au prix de 399 £. [7]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Interior of a Dutch Kitchen: a woman at her spinning wheel, engaged in conversation with a female servant with some wild fowl; objects of still life lie on the ground. Coloured in a silvery tone, and delicately pencilled: the light is thrown from the window with great skill. An excellent specimen, 18 in. by 15 in. Panel. From the collection of Edward Coxe, Esq.e 1807, and of the Right Hon. Sir Charles Bagot, G.C.B. Exhibited by Sir C. Bagot in the British Gallery in 1834. (Brecklencamp)|The Interior of a Dutch Kitchen: a woman at her spinning wheel, engaged in conversation with a female servant with some wild fowl; objects of still life lie on the ground. Coloured in a silvery tone, and delicately pencilled: the light is thrown from the window with great skill. An excellent specimen, 18 in. by 15 in. Panel. From the collection of Edward Coxe, Esq.e 1807, and of the Right Hon. Sir Charles Bagot, G.C.B. Exhibited by Sir C. Bagot in the British Gallery in 1834.]] réalisée par Brecklencamp, vendue par Edward W. Lake, Esq., achetée par Clouston au prix de 52.11 £. [10]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Frenchman in London. Interior of a liquor shop: courtesans rifling the Frenchman's pockets, and handing the contents to a bully at the door. Having smashed the glass at the bar, the Frenchman, ignorant of English, is answering the clamours of the landlady, by drawing out the lining of his empty pocket: in front is a spaniel. A unique and excellent example. 18 1/2 in. by 23 1/2 in. Canvas. From the collection of M. Nieuwenhuys, 1833. The likenesses introduced are Frenchman, Ricordon, watchmaker, Charing Cross; Bully, Addison, an attorney; Old Scold at Bar, Talfourd, his landlord; and two ladies, Mrs. Morland and Mrs. Chalon. (George Morland)|The Frenchman in London. Interior of a liquor shop: courtesans rifling the Frenchman's pockets, and handing the contents to a bully at the door. Having smashed the glass at the bar, the Frenchman, ignorant of English, is answering the clamours of the landlady, by drawing out the lining of his empty pocket: in front is a spaniel. A unique and excellent example. 18 1/2 in. by 23 1/2 in. Canvas. From the collection of M. Nieuwenhuys, 1833. The likenesses introduced are Frenchman, Ricordon, watchmaker, Charing Cross; Bully, Addison, an attorney; Old Scold at Bar, Talfourd, his landlord; and two ladies, Mrs. Morland and Mrs. Chalon.]] réalisée par George Morland, vendue par Edward W. Lake, Esq., achetée par Downs au prix de 47.5 £. [14]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[La Faisseuse d'Omelette: an elderly woman frying omelettes. She is dressed in a blue gown, and a drab hood, and is seated breaking an egg into a dish on her lap; a frying pan is placed on a little fire.in an earthen stove before her; and a jug, a basket of eggs, and a glass, are on a dresser by her side. Painted in a free, masterly manner. 1 ft. 4 in. by 1 ft. Canvas. Formerly in the collection of T. Slater, Esq. Smith's Catalogue Raisonné, part viii., page 433. (Jean Baptiste Greuze)|La Faisseuse d'Omelette: an elderly woman frying omelettes. She is dressed in a blue gown, and a drab hood, and is seated breaking an egg into a dish on her lap; a frying pan is placed on a little fire.in an earthen stove before her; and a jug, a basket of eggs, and a glass, are on a dresser by her side. Painted in a free, masterly manner. 1 ft. 4 in. by 1 ft. Canvas. Formerly in the collection of T. Slater, Esq. Smith's Catalogue Raisonné, part viii., page 433.]] réalisée par Jean Baptiste Greuze, vendue par Edward W. Lake, Esq., achetée par Norton au prix de 12.12 £. [15]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Obstinate Ox. A mountainous country, distinguished by a cascade, the stream of which ripples along a pebbly bed, over a portion of the foreground: near this are a goat, a lamb, and a yellow and white ox; the latter the herdsman is beating to make it quit the water, in which he is assisted by the barking of his dog: behind the peasant is a fine red heifer. The warm hues of a summer's evening lend a charm to the picture. A capital example. Signed. 1 ft. 3 1/2 in. by 1 ft. 8 in. Panel. Supplement to Smith's Catalogue Raisonné, page 751. (Adam Pynacker)|The Obstinate Ox. A mountainous country, distinguished by a cascade, the stream of which ripples along a pebbly bed, over a portion of the foreground: near this are a goat, a lamb, and a yellow and white ox; the latter the herdsman is beating to make it quit the water, in which he is assisted by the barking of his dog: behind the peasant is a fine red heifer. The warm hues of a summer's evening lend a charm to the picture. A capital example. Signed. 1 ft. 3 1/2 in. by 1 ft. 8 in. Panel. Supplement to Smith's Catalogue Raisonné, page 751.]] réalisée par Adam Pynacker, vendue par Edward W. Lake, Esq. au prix de 43 gs. [17]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Our Saviour and his Disciples journeying to Emmaus -- sunset. On the right is a castellated bridge, designed from the Ponte Mole, leading to Tivoli, and its heights in the distance; the left is enclosed by shady trees, and in the centre appears our Saviour accompanied by two of his disciples proceeding to Emmaus. The figures by A. Both. This choice little gem contains in its brief limit a lovely composition, and also the high quality of these admired masters. 7 1/2 in. by 10 1/2 in. Canvas? Exhibited by the present proprietor in the British Gallery in 1836. (John Both)|Our Saviour and his Disciples journeying to Emmaus -- sunset. On the right is a castellated bridge, designed from the Ponte Mole, leading to Tivoli, and its heights in the distance; the left is enclosed by shady trees, and in the centre appears our Saviour accompanied by two of his disciples proceeding to Emmaus. The figures by A. Both. This choice little gem contains in its brief limit a lovely composition, and also the high quality of these admired masters. 7 1/2 in. by 10 1/2 in. Canvas? Exhibited by the present proprietor in the British Gallery in 1836.]] réalisée par John Both, vendue par Edward W. Lake, Esq., achetée par Norton au prix de 32.11 £. [19]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Interior in the Sculptor's Studio. A man in picturesque dress, with a lighted candle in his hand, appears in the studio of a sculptor, gazing with rapture on the bust of a beautiful female. Painted with strong effect of candlelight, and elaborately finished. (Adrian van der Werff)|The Interior in the Sculptor's Studio. A man in picturesque dress, with a lighted candle in his hand, appears in the studio of a sculptor, gazing with rapture on the bust of a beautiful female. Painted with strong effect of candlelight, and elaborately finished.]] réalisée par Adrian van der Werff, vendue par Edward W. Lake, Esq., achetée par Hickman au prix de 16.16 £. [20]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Interior of a Kitchen, in which are seen two females engaged in culinary employments, whilst two boys are beyond looking on. The details and accessories are carefully finished and the whole presents a most desirable example of this highly esteemed and rare master. 18 in. by 19 in. Panel. Exhibited by the proprietor in the British Gallery in 1838. (Nicholas Maes)|Interior of a Kitchen, in which are seen two females engaged in culinary employments, whilst two boys are beyond looking on. The details and accessories are carefully finished and the whole presents a most desirable example of this highly esteemed and rare master. 18 in. by 19 in. Panel. Exhibited by the proprietor in the British Gallery in 1838.]] réalisée par Nicholas Maes, vendue par Edward W. Lake, Esq., achetée par Evans au prix de 44.2 £. [23]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Sea View, under the effect of a fresh breeze. The composition offers in the middle and front a fishing smack in full sail, on board of which are four men; ahead of her is another vessel on a tack; and in the distance is a ship of war at anchor. A delightful cabinet specimen. 7 1/2 in. by 6 in. Panel The artist's name is signed on a sea mark on the left. (William van de Velde)|A Sea View, under the effect of a fresh breeze. The composition offers in the middle and front a fishing smack in full sail, on board of which are four men; ahead of her is another vessel on a tack; and in the distance is a ship of war at anchor. A delightful cabinet specimen. 7 1/2 in. by 6 in. Panel The artist's name is signed on a sea mark on the left.]] réalisée par William van de Velde, vendue par Edward W. Lake, Esq., achetée par Woodin au prix de 37.16 £. [24]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Magdalen at Prayer. In a solemn landscape appears the Magdalen, in a green velvet robe trimmed with white, and holding in her hands a crucifix, which she contemplates with deep devotion. In the background is a shepherd tending his flock. A splendid pasticcio, in the rich and lofty manner of Titian. 1 ft. 4 in. by 1 ft. 7 in. Canvas. Smith's Catalogue Raisonné, part iii., page 369. (David Teniers)|The Magdalen at Prayer. In a solemn landscape appears the Magdalen, in a green velvet robe trimmed with white, and holding in her hands a crucifix, which she contemplates with deep devotion. In the background is a shepherd tending his flock. A splendid pasticcio, in the rich and lofty manner of Titian. 1 ft. 4 in. by 1 ft. 7 in. Canvas. Smith's Catalogue Raisonné, part iii., page 369.]] réalisée par David Teniers, vendue par Edward W. Lake, Esq. au prix de 38 gs. [25]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[An Italian Landscape, with a ruined bridge, and cattle and figures fording the river in front -- enlivened by a brilliant sky. A clear and beautiful example. 17 in. by 20 in. Panel. Purchawed by the present proprietor from the collection of the Marquis of Camden. (Jan Asselyn)|An Italian Landscape, with a ruined bridge, and cattle and figures fording the river in front -- enlivened by a brilliant sky. A clear and beautiful example. 17 in. by 20 in. Panel. Purchawed by the present proprietor from the collection of the Marquis of Camden.]] réalisée par Jan Asselyn, vendue par Edward W. Lake, Esq., achetée par Anderdon au prix de 17.6 £. [26]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Jupiter and Calisto. The nymph is represented sitting on a bank, and the deity, under the form of Diana, stands on her left, bending affectionately towards her. The subject is introduced in a woody landscape. Exquisitely finished. Signed, and dated 1720. 7 in. by 8 1/2 in. Copper?. From the collection of Robert Hamilton, Esq., 1832. Supplement to Smith's Catalogue Raisonné, page 68. (William Mieris)|Jupiter and Calisto. The nymph is represented sitting on a bank, and the deity, under the form of Diana, stands on her left, bending affectionately towards her. The subject is introduced in a woody landscape. Exquisitely finished. Signed, and dated 1720. 7 in. by 8 1/2 in. Copper?. From the collection of Robert Hamilton, Esq., 1832. Supplement to Smith's Catalogue Raisonné, page 68.]] réalisée par William Mieris, vendue par Edward W. Lake, Esq., achetée par Farrer au prix de 42.0 £. [29]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Recal sic of Cincinnatus. The view is presented in the lovely scenes of Tivoli, the heights of which, crowned by a tower and other buildings, occupy the left of the picture. Among the rocks beneath are seen two stags and other animals; and in front richly habited, stands the Ambassador from the Roman Senate, with the order of recal, regarding with surprise Cincinnatus, who, having cast the emblems of ambition behind him, is engaged in tilling the soil. To the right the view opens to a distant country. A choice specimen of the master. Exquisitely finished. (R. Breemborg)|The Recal sic of Cincinnatus. The view is presented in the lovely scenes of Tivoli, the heights of which, crowned by a tower and other buildings, occupy the left of the picture. Among the rocks beneath are seen two stags and other animals; and in front richly habited, stands the Ambassador from the Roman Senate, with the order of recal, regarding with surprise Cincinnatus, who, having cast the emblems of ambition behind him, is engaged in tilling the soil. To the right the view opens to a distant country. A choice specimen of the master. Exquisitely finished.]] réalisée par R. Breemborg, vendue par Edward W. Lake, Esq., achetée par Waters au prix de 9.9 £. [30]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Piebald Horse, represented admirably foreshortened, in nearly a front view, standing on the foreground of a meadow: in the distance are seen a coach and four. Lighted up by the effect of a brilliant sky. Signed and dated 1667. 1 ft. 6 1/2 in. by 1 ft. 5 in. Canvas. Smith's Catalogue Raisonné, part v., page 137, in which it is ascribed to Paul Potter, to whose works so many of Karl du Jardin's approach in colour and sparkling effect. (Karl Du Jardin)|A Piebald Horse, represented admirably foreshortened, in nearly a front view, standing on the foreground of a meadow: in the distance are seen a coach and four. Lighted up by the effect of a brilliant sky. Signed and dated 1667. 1 ft. 6 1/2 in. by 1 ft. 5 in. Canvas. Smith's Catalogue Raisonné, part v., page 137, in which it is ascribed to Paul Potter, to whose works so many of Karl du Jardin's approach in colour and sparkling effect.]] réalisée par Karl Du Jardin, vendue par Edward W. Lake, Esq. au prix de 52.10 £. [31]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Grand Battle Piece. The sanguinary struggle takes place in a mountainous landscape, under the aspect of twilight. On the right is a lofty ridge seen through trees, and more to the left, on a rock, is seated a strong and picturesque castle. In the hollow below is witnessed a mortal conflict of cavalry, especially between the two principal horsemen, the nearer of whom, whilst in full speed, has been knocked back on his horse by his adversary, the butt end of whose carbine is still raised: the ground is strewed with the dead and dying. The battle is also raging on a high bridge to the right, and combatants are seen falling from the parapet into the river below. Painted with amazing spirit: and from the exqusite and peculiar handling it might be taken for the work of Berghem, in whose school it was painted, and probably touched upon by that great master. A unique and admirable chef d'oeuvre 3 ft. 7 in. by 4 ft. 11 in. Canvas. From the collection of the Princess Vaudimont, and formerly in the gallery of the Princes of Loraine. (Dirk Maes)|A Grand Battle Piece. The sanguinary struggle takes place in a mountainous landscape, under the aspect of twilight. On the right is a lofty ridge seen through trees, and more to the left, on a rock, is seated a strong and picturesque castle. In the hollow below is witnessed a mortal conflict of cavalry, especially between the two principal horsemen, the nearer of whom, whilst in full speed, has been knocked back on his horse by his adversary, the butt end of whose carbine is still raised: the ground is strewed with the dead and dying. The battle is also raging on a high bridge to the right, and combatants are seen falling from the parapet into the river below. Painted with amazing spirit: and from the exqusite and peculiar handling it might be taken for the work of Berghem, in whose school it was painted, and probably touched upon by that great master. A unique and admirable chef d'oeuvre 3 ft. 7 in. by 4 ft. 11 in. Canvas. From the collection of the Princess Vaudimont, and formerly in the gallery of the Princes of Loraine.]] réalisée par Dirk Maes, vendue par Edward W. Lake, Esq., achetée par Hickman au prix de 46.4 £. [32]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Landscape and Cattle. The view exhibits a mountanous country, through which a stream rolls its waters, which are precipitated between rocky projections and a weir on the right, and end in a waterfall in the foreground. In front, springing from a bank, is a beautiful clump of trees, and on the left is a wooded height, from which a road leads, on which a herdsman is driving cows and sheep towards the foreground. A very beautiful picture. (Jacob Ruysdael)|Landscape and Cattle. The view exhibits a mountanous country, through which a stream rolls its waters, which are precipitated between rocky projections and a weir on the right, and end in a waterfall in the foreground. In front, springing from a bank, is a beautiful clump of trees, and on the left is a wooded height, from which a road leads, on which a herdsman is driving cows and sheep towards the foreground. A very beautiful picture.]] réalisée par Jacob Ruysdael, vendue par Edward W. Lake, Esq., achetée par Hickman au prix de 52.10 £. [33]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Peasant driving a Pig from Market: in the distance is seen a cottage, and several figures near it. Engraved by Lewis. Signed and dated 16r4. A clear and excellent exampole. 10 3/4 in. by 10 3/4 in. Panel. Smith's Catalogue Raisonn, part i., No.239. From the collection of J. Fairlie, Esq. (Adrian Ostade)|A Peasant driving a Pig from Market: in the distance is seen a cottage, and several figures near it. Engraved by Lewis. Signed and dated 16r4. A clear and excellent exampole. 10 3/4 in. by 10 3/4 in. Panel. Smith's Catalogue Raisonn, part i., No.239. From the collection of J. Fairlie, Esq.]] réalisée par Adrian Ostade, vendue par Edward W. Lake, Esq., achetée par Nieuwenhuys au prix de 49.7 £. [34]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Meleager and Atalanta: a woody landscape, with a boar hunt. An admirable sketch made by this great master for the large pictures; full of spirit and in its handling inimitable. 21 in. by 10 in. Panel From the collection of John Humble, Esq., 1812, and of Lord Radstock. (Peter Paul Rubens)|Meleager and Atalanta: a woody landscape, with a boar hunt. An admirable sketch made by this great master for the large pictures; full of spirit and in its handling inimitable. 21 in. by 10 in. Panel From the collection of John Humble, Esq., 1812, and of Lord Radstock.]] réalisée par Peter Paul Rubens, vendue par Edward W. Lake, Esq., achetée par Bland au prix de 18.18 £. [35]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Jupiter and Neptune taking under their protection the City of Amsterdam. The allegory is composed on the left of a beautiful woman in white robes, and a crown on her head, seated, holding a map of Amsterdam; a youth clad in armour and grasping in his hand a spear, reclines on her left, and by his side is a fair young female, with a peach in one hand and an hour glass in the other, indicating that time produces fruit; a third female stands on the right of the former, with an olive branch in her hand; more towards the spectator is a river deity, taking by the hand a naked female (emblem of Holland), who stands on a shell and holds a cornucopia, several nymphs and tritons wanton in playful gambols around them; above is seen the mythological ruler of the world, extending his sceptre over the favoured city, while Juno standing by his side approves the omen. Fame, under the similitude of an infant, borne by the winds on a rainbow, is above the deities; and many other emblematical figures may be perceived among the clouds. This capital picture is painted with extraordinary skill and dexterous execution, and may be justly reckoned among the artist's best productions of this class of paintings. Signed. 3 ft. 6 1/2 in. by 4 ft. 9 /2 in. Canvas. Smith's Supplement in his Catalogue Raisonné, page 615. Sold in 1802, in the collection of the Duke of St. Albans. It would make a most appropriate and national addition to the Gallery at Amsterdam. (Nicholas Berghem)|Jupiter and Neptune taking under their protection the City of Amsterdam. The allegory is composed on the left of a beautiful woman in white robes, and a crown on her head, seated, holding a map of Amsterdam; a youth clad in armour and grasping in his hand a spear, reclines on her left, and by his side is a fair young female, with a peach in one hand and an hour glass in the other, indicating that time produces fruit; a third female stands on the right of the former, with an olive branch in her hand; more towards the spectator is a river deity, taking by the hand a naked female (emblem of Holland), who stands on a shell and holds a cornucopia, several nymphs and tritons wanton in playful gambols around them; above is seen the mythological ruler of the world, extending his sceptre over the favoured city, while Juno standing by his side approves the omen. Fame, under the similitude of an infant, borne by the winds on a rainbow, is above the deities; and many other emblematical figures may be perceived among the clouds. This capital picture is painted with extraordinary skill and dexterous execution, and may be justly reckoned among the artist's best productions of this class of paintings. Signed. 3 ft. 6 1/2 in. by 4 ft. 9 /2 in. Canvas. Smith's Supplement in his Catalogue Raisonné, page 615. Sold in 1802, in the collection of the Duke of St. Albans. It would make a most appropriate and national addition to the Gallery at Amsterdam.]] réalisée par Nicholas Berghem, vendue par Edward W. Lake, Esq. au prix de 90 gs. [36]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Rembrandt's Father. This very admirable little picture represents a man of venerable aspect and grey beard, having on a high crowned cap of a crimson colour, a yellowish vest, and a brown cloak, seated in an antique chair, holding a long staff in one hand, and resting the other on the elbow of his chair in a position as if he were about to rise at the approach of some one, and towards whom his attention is directed. Strength of expression, and the most accomplished syle of dexterous execution, are the characteristics of this production. 1 ft. 4 in. by 1 ft. 1 in. Panel. Supplement to Smith's Catalogue Raisonné, page 795. From the collection of the Count de Vence; sold in 1750. Engraved by Surugue, 1759, and by Valentine Green. (Rembrandt)|Rembrandt's Father. This very admirable little picture represents a man of venerable aspect and grey beard, having on a high crowned cap of a crimson colour, a yellowish vest, and a brown cloak, seated in an antique chair, holding a long staff in one hand, and resting the other on the elbow of his chair in a position as if he were about to rise at the approach of some one, and towards whom his attention is directed. Strength of expression, and the most accomplished syle of dexterous execution, are the characteristics of this production. 1 ft. 4 in. by 1 ft. 1 in. Panel. Supplement to Smith's Catalogue Raisonné, page 795. From the collection of the Count de Vence; sold in 1750. Engraved by Surugue, 1759, and by Valentine Green.]] réalisée par Rembrandt, vendue par Edward W. Lake, Esq., achetée par [[Smith B[ond] S[treet]]] au prix de 56.3 £. [37]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Portrait of Sir Joshua Reynolds, by himself; half-length, life size, in an oval; he appears about the age of fifty, and without powder, and is seen in nearly full face, simply dressed in a plain brown suit. An admirable and most interesting work of this great master; painted with all the life-like truth and effect of Rembrandt. The colours, which are laid on with rich empasto, have successfully withstood the test of time. 2 ft. 6 in. by 2 ft. 1 in. Canvas. From the collection of Sir Thomas Lawrence, with whom it was a favourite example. (Sir Joshua Reynolds)|The Portrait of Sir Joshua Reynolds, by himself; half-length, life size, in an oval; he appears about the age of fifty, and without powder, and is seen in nearly full face, simply dressed in a plain brown suit. An admirable and most interesting work of this great master; painted with all the life-like truth and effect of Rembrandt. The colours, which are laid on with rich empasto, have successfully withstood the test of time. 2 ft. 6 in. by 2 ft. 1 in. Canvas. From the collection of Sir Thomas Lawrence, with whom it was a favourite example.]] réalisée par Sir Joshua Reynolds, vendue par Edward W. Lake, Esq., achetée par Nieuwenhuys au prix de 162.15 £. [38]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[An Assemblage of Flowers, consisting of beauiful clusters of red and white roses, a butterfly, pionies, carnations, tulips, poppies, convolvuli, marigolds, and others, tastefully arranged on a marble table, over which is partly thrown a rich puce coloured velvet, fringed with gold. An important example; painted with extraordinary perfection, both as to colour and finishing. (Rachel Ruysch)|An Assemblage of Flowers, consisting of beauiful clusters of red and white roses, a butterfly, pionies, carnations, tulips, poppies, convolvuli, marigolds, and others, tastefully arranged on a marble table, over which is partly thrown a rich puce coloured velvet, fringed with gold. An important example; painted with extraordinary perfection, both as to colour and finishing.]] réalisée par Rachel Ruysch, vendue par Edward W. Lake, Esq., achetée par Rutley au prix de 39.18 £. [39]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Cuyp's Cow. In a meadow, enclosed on the left by foliage and the trunks of trees, and on the right stretching out into the distance, stands almost in front view a light brown cow, with a white face, about two-thirds the size of life, admirably foreshortened into the landscape; on the ground is seated a girl, dressed in a light scarlet boddice, with white sleeves and cap, a blue petticoat, and grey apron, milking her, on a ridge, in the hazy distance, may be perceived two cows and some sheep; the foreground is thickly enriched with docks and other wild herbage, and the whole scene is bathed in the warm glow of a sultry summer's morning. Drawn and executed with a masterly and vigourous pencil, and with the utmost truth to nature. A unique and capital example. 3 ft. 2 in. by 4 ft. 3 in. Canvas. Cuyp has introduced the principal group into some of his finest pictures. (Albert Cuyp)|Cuyp's Cow. In a meadow, enclosed on the left by foliage and the trunks of trees, and on the right stretching out into the distance, stands almost in front view a light brown cow, with a white face, about two-thirds the size of life, admirably foreshortened into the landscape; on the ground is seated a girl, dressed in a light scarlet boddice, with white sleeves and cap, a blue petticoat, and grey apron, milking her, on a ridge, in the hazy distance, may be perceived two cows and some sheep; the foreground is thickly enriched with docks and other wild herbage, and the whole scene is bathed in the warm glow of a sultry summer's morning. Drawn and executed with a masterly and vigourous pencil, and with the utmost truth to nature. A unique and capital example. 3 ft. 2 in. by 4 ft. 3 in. Canvas. Cuyp has introduced the principal group into some of his finest pictures.]] réalisée par Albert Cuyp, vendue par Edward W. Lake, Esq. au prix de 95 gs. [40]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Infant Saviour asleep. In a landscape bounded by hills, over which is seen the break of dawn lies, the Divine and lovely Infant, sustained by the cross, and wrapt in profound sleep. His only vestment is a crimson scarf. Engraved, with the motto "Dormio sed Cor meum vigilat." Brilliantly coloured, and painted in the best time of the master. A beautiful example. 19 1/2 in. by 25 in. Canvas. Formerly in the joint collection of Sir Simon Clarke and G. Hibbert Esq. Sold in 1802. Exhibited by the present proporietor in the British Gallery in 1838. (Murillo)|The Infant Saviour asleep. In a landscape bounded by hills, over which is seen the break of dawn lies, the Divine and lovely Infant, sustained by the cross, and wrapt in profound sleep. His only vestment is a crimson scarf. Engraved, with the motto "Dormio sed Cor meum vigilat." Brilliantly coloured, and painted in the best time of the master. A beautiful example. 19 1/2 in. by 25 in. Canvas. Formerly in the joint collection of Sir Simon Clarke and G. Hibbert Esq. Sold in 1802. Exhibited by the present proporietor in the British Gallery in 1838.]] réalisée par Murillo, vendue par Edward W. Lake, Esq. au prix de 84 gs. [42]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait of Daniel Lock, Eqs. sic F.A.S., the architect of the Foundling Hospital and founder and architect of the Lock Hospital. The portrait is of life size, down to the knees, his countenance beaming with benevolence: he is dressed in the costume of the period, and wears a green velvet coat with ruffles and holds in his hand the plan of the Lock Hospital. On the left in a background view of the Thames with boats. A most vigorous portrait; painted with a truth of expression and power of colour not inferior to any master. A capital spec imen. Signed, and dated 1752; and the name D. Lock inscribed. Engraved by McArdell. 3 ft. by 2 ft. 4 in. Canvas. From the collection of the late Sir John Thorold. (Hogarth)|Portrait of Daniel Lock, Eqs. sic F.A.S., the architect of the Foundling Hospital and founder and architect of the Lock Hospital. The portrait is of life size, down to the knees, his countenance beaming with benevolence: he is dressed in the costume of the period, and wears a green velvet coat with ruffles and holds in his hand the plan of the Lock Hospital. On the left in a background view of the Thames with boats. A most vigorous portrait; painted with a truth of expression and power of colour not inferior to any master. A capital spec imen. Signed, and dated 1752; and the name D. Lock inscribed. Engraved by McArdell. 3 ft. by 2 ft. 4 in. Canvas. From the collection of the late Sir John Thorold.]] réalisée par Hogarth, vendue par Edward W. Lake, Esq., achetée par Graves au prix de 45.3 £. [43]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Annunciation of the Virgin. The figures are about two thirds the size of life, and represent the Virgin seated, receiving the divine salutation of the angel. It is exquisitely pencilled and richly coloured, and presents, as to subject, a rare and beautiful example of this great master's painting. Signed and dated 1664. 4 ft. 2 in. by 5 ft. 9 in. Canvas. From the collection of Lord Weymouth, 1828. Smith's Catalogue Raisonné, No.108 (Adrian van de Velde)|The Annunciation of the Virgin. The figures are about two thirds the size of life, and represent the Virgin seated, receiving the divine salutation of the angel. It is exquisitely pencilled and richly coloured, and presents, as to subject, a rare and beautiful example of this great master's painting. Signed and dated 1664. 4 ft. 2 in. by 5 ft. 9 in. Canvas. From the collection of Lord Weymouth, 1828. Smith's Catalogue Raisonné, No.108]] réalisée par Adrian van de Velde, vendue par Edward W. Lake, Esq. au prix de 40 gs. [44]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Christ in the Garden: the scene is represented under the aspect of moonlight. Our Saviour is seen in the foreground, in prayer with the angel, the disciples asleep near; and in the distance are observed Judas, with an armed band, advancing to betray him. Touched with an exquisite pencil, and richly coloured. 7 in. by 9 in. Copper. Sold in 1801, in the collection of John Purling, Esq., and subsequently of W. Hastings, Esq. (David Teniers)|Christ in the Garden: the scene is represented under the aspect of moonlight. Our Saviour is seen in the foreground, in prayer with the angel, the disciples asleep near; and in the distance are observed Judas, with an armed band, advancing to betray him. Touched with an exquisite pencil, and richly coloured. 7 in. by 9 in. Copper. Sold in 1801, in the collection of John Purling, Esq., and subsequently of W. Hastings, Esq.]] réalisée par David Teniers, vendue par Edward W. Lake, Esq., achetée par White au prix de 21.0 £. [45]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Nymphs adorning with Flowers the Statuary Group of Venus and Cupid. Three beautiful females loosely clad are assembled at the base of the statue of the goddess: one of them bending on her knees, is attaching a wreath of flowers to the pedestal, and the other two are prepared to follow her example. The subject is introduced in the foreground of a woody landscape, in a distant part of which is seen a satyr caressing a nymph. An important specimen. Engraved in the Orleans Gallery, by Le Mire. Signed, and dated 1679. 1 ft. 6 in. by 1 ft. 2 in. Canvas. Smith's Catalogue Raisonné, part iv, page 155. (Gapsard Netscher)|Nymphs adorning with Flowers the Statuary Group of Venus and Cupid. Three beautiful females loosely clad are assembled at the base of the statue of the goddess: one of them bending on her knees, is attaching a wreath of flowers to the pedestal, and the other two are prepared to follow her example. The subject is introduced in the foreground of a woody landscape, in a distant part of which is seen a satyr caressing a nymph. An important specimen. Engraved in the Orleans Gallery, by Le Mire. Signed, and dated 1679. 1 ft. 6 in. by 1 ft. 2 in. Canvas. Smith's Catalogue Raisonné, part iv, page 155.]] réalisée par Gapsard Netscher, vendue par Edward W. Lake, Esq., achetée par [[Smith B[ond] S[treet]]] au prix de 23.12 £. [46]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Thistle Picture. The principal object represented is a magnificent thistle growing in a rocky ravine, and surrounded by fungi and architectural fragments; the foreground is animated by a lizard, and a snake in hostile conflict. Sparkling in colour, and exquisitely pencilled, it presents an instance of a simple subject from nature raised into importance by the hand of genius. Signed. From the collection of Lord Foley. (Nicholas Berghem)|The Thistle Picture. The principal object represented is a magnificent thistle growing in a rocky ravine, and surrounded by fungi and architectural fragments; the foreground is animated by a lizard, and a snake in hostile conflict. Sparkling in colour, and exquisitely pencilled, it presents an instance of a simple subject from nature raised into importance by the hand of genius. Signed. From the collection of Lord Foley.]] réalisée par Nicholas Berghem, vendue par Edward W. Lake, Esq., achetée par Hon. D. Finch au prix de 23.2 £. [47]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape, with Louis XIV. in his Coach of State, accompanied by guards going to review his troops. The coach is finished with the precision of the most elaborate miniature, and is drawn by six grey horses, designed with the correctness and elegance of Wouvermans. The procession is conducted over an undulating landscapoe and has a most picturesque effect. This chef d'oeuvre was formerly the property of M. de Calonne. 3 ft. by 3 ft. 10 in. Canvas. Formerly in the collection of M. de Calonne, and sold in 1810 in the great colletion of Walsh Porter, Esq. (Van der Meulen)|A Landscape, with Louis XIV. in his Coach of State, accompanied by guards going to review his troops. The coach is finished with the precision of the most elaborate miniature, and is drawn by six grey horses, designed with the correctness and elegance of Wouvermans. The procession is conducted over an undulating landscapoe and has a most picturesque effect. This chef d'oeuvre was formerly the property of M. de Calonne. 3 ft. by 3 ft. 10 in. Canvas. Formerly in the collection of M. de Calonne, and sold in 1810 in the great colletion of Walsh Porter, Esq.]] réalisée par Van der Meulen, vendue par Edward W. Lake, Esq., achetée par Dunford au prix de 144.15 £. [48]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Reading the Gazette: an interior, with two figures, the principal of whom, with an animated countenance, is seated eagerly reading the Gazette, and before him is a sione jug of liquor: the other stands behind him listening to the news. A little bit of the master, of admirable quality. (David Teniers)|Reading the Gazette: an interior, with two figures, the principal of whom, with an animated countenance, is seated eagerly reading the Gazette, and before him is a sione jug of liquor: the other stands behind him listening to the news. A little bit of the master, of admirable quality.]] réalisée par David Teniers, vendue par Edward W. Lake, Esq., achetée par White au prix de 28.7 £. [49]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Les Forgerons Taillandiers: the Blacksmih's Yard. The view exhibits the back premises of a tool-maker, of a most picturesque appearance. On the rightissic a dilapidated brick and plaster building, within which are seen the vice and other implements of a smith; and the master of the shop, having on a red cap, and apron, and a tawny yellow jacket, stands in the middle of the yard, looking at a workman sharpening a scythe upon a grindstone, which is put in motion by a horse in a shed beyond them. Various agricultural tools lie on the ground, and numerous objects are distributed about the place, which, together with a dog and some poultry, add greatly to the effect of the picture. The roof and tower of some houses, and the steeple of a church, terminate the view. It is impossible to commend too highly this masterly production of art; every part of it bears the faithful image of nature. A superlative example. 2 ft. 7 1/2 in. by 2 ft. 1 1/2 in. Canvas. From the collection of M. Lapeyrière, in which it was highly distinguished, and sold in 1825. Speaking of the three Metzus in that collection, M. Henry, Commissaire expert des musées royaux, says, in the Lapeyrière Catalogue, "Celui qui represente les Taillandiers est une chose unique; l'air y est rendu à merveille, C'est la nature; mais la nature embellie par la gout et l'esprit d'un talent superieur." Smith's Catalogue Raisonné, No.76. Exhibited by the present propiretor in the British Gallery in 1837. (Gabriel Metzu)|Les Forgerons Taillandiers: the Blacksmih's Yard. The view exhibits the back premises of a tool-maker, of a most picturesque appearance. On the rightissic a dilapidated brick and plaster building, within which are seen the vice and other implements of a smith; and the master of the shop, having on a red cap, and apron, and a tawny yellow jacket, stands in the middle of the yard, looking at a workman sharpening a scythe upon a grindstone, which is put in motion by a horse in a shed beyond them. Various agricultural tools lie on the ground, and numerous objects are distributed about the place, which, together with a dog and some poultry, add greatly to the effect of the picture. The roof and tower of some houses, and the steeple of a church, terminate the view. It is impossible to commend too highly this masterly production of art; every part of it bears the faithful image of nature. A superlative example. 2 ft. 7 1/2 in. by 2 ft. 1 1/2 in. Canvas. From the collection of M. Lapeyrière, in which it was highly distinguished, and sold in 1825. Speaking of the three Metzus in that collection, M. Henry, Commissaire expert des musées royaux, says, in the Lapeyrière Catalogue, "Celui qui represente les Taillandiers est une chose unique; l'air y est rendu à merveille, C'est la nature; mais la nature embellie par la gout et l'esprit d'un talent superieur." Smith's Catalogue Raisonné, No.76. Exhibited by the present propiretor in the British Gallery in 1837.]] réalisée par Gabriel Metzu, vendue par Edward W. Lake, Esq. au prix de 255 £. [50]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Twelfth Night. The jovial party, consisting of nine person sic, including two children, are grouped round a table, and the attention of the company is directed to the king, who is seated in front drinking off a long glass of liquor, and at the same time carefully compressing his lips to stifle a laugh, which several are provoking. On the right sits a portly woman in a red jacket, suckling a fine chubby infant; and a second female is seated on the further side of the table holding a child in her arms, and near these is an old man occupying a basket chair, behind which is a youth with his back to the window. On the opposite side is a merry fellow, rattling a wooden spoon on a gridiron, and the remaining person stands behind convulsed with laughter. This excellent picture abounds in the genuine spirit of the master. An admirable example. 2 ft. 2 in. by 3 ft. 2 in. Canvas. From the collection of the Duke of Bedford, Smith's Catalogue Raisonné, part iv., page 48. Exhibited by the present proprietor in the British Gallery in 1838. (Jan Steen)|Twelfth Night. The jovial party, consisting of nine person sic, including two children, are grouped round a table, and the attention of the company is directed to the king, who is seated in front drinking off a long glass of liquor, and at the same time carefully compressing his lips to stifle a laugh, which several are provoking. On the right sits a portly woman in a red jacket, suckling a fine chubby infant; and a second female is seated on the further side of the table holding a child in her arms, and near these is an old man occupying a basket chair, behind which is a youth with his back to the window. On the opposite side is a merry fellow, rattling a wooden spoon on a gridiron, and the remaining person stands behind convulsed with laughter. This excellent picture abounds in the genuine spirit of the master. An admirable example. 2 ft. 2 in. by 3 ft. 2 in. Canvas. From the collection of the Duke of Bedford, Smith's Catalogue Raisonné, part iv., page 48. Exhibited by the present proprietor in the British Gallery in 1838.]] réalisée par Jan Steen, vendue par Edward W. Lake, Esq., achetée par Norton au prix de 210 £. [51]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[An Approaching Storm: a view off he Dutch coast. On the right and front are two men in a boat fishing; on the left is a coaster under sail, with a boat at her stern; and more remote are two fishing smacks and a man-of-war, with other boats and vessels in the distance. The agitation of the waves and threatening aspect of the sky, impart a bustle to the scene, as all seem preparing for the coming storm, by furling their sails hauling in their nets, and other precautions. A highly finished and capital example of the master. 1 ft. 6 in. by 2 ft. 2 in. Smith's Catalogue Raisonné, part vi., page 508. (Ludolph Backhuyzen)|An Approaching Storm: a view off he Dutch coast. On the right and front are two men in a boat fishing; on the left is a coaster under sail, with a boat at her stern; and more remote are two fishing smacks and a man-of-war, with other boats and vessels in the distance. The agitation of the waves and threatening aspect of the sky, impart a bustle to the scene, as all seem preparing for the coming storm, by furling their sails hauling in their nets, and other precautions. A highly finished and capital example of the master. 1 ft. 6 in. by 2 ft. 2 in. Smith's Catalogue Raisonné, part vi., page 508.]] réalisée par Ludolph Backhuyzen, vendue par Edward W. Lake, Esq., achetée par D Cleveland au prix de 99.15 £. [52]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Duck Merchant. This comical fellow keeps his shop up in a tree, and serves his customers from a ladder; he is in the act of handing a duck to a young woman on his right, and at the same time is cracking some broad joke which she and her husband by her do not seem to understand, but which hrows an old woman and a sweep into hearty laughter. On the left of the young woman is a fine boy. The scene is laid in a picturesque garden, and in the midst of the group stands a well, of old brickwork, with a tub, a duck in a dish, a brass skillet, a brown pan with eggs, and other accessories; and immediately in front is a white and brown spaniel barking at the customers. This is a masterly and admirable work of the master. (Jan Steen)|The Duck Merchant. This comical fellow keeps his shop up in a tree, and serves his customers from a ladder; he is in the act of handing a duck to a young woman on his right, and at the same time is cracking some broad joke which she and her husband by her do not seem to understand, but which hrows an old woman and a sweep into hearty laughter. On the left of the young woman is a fine boy. The scene is laid in a picturesque garden, and in the midst of the group stands a well, of old brickwork, with a tub, a duck in a dish, a brass skillet, a brown pan with eggs, and other accessories; and immediately in front is a white and brown spaniel barking at the customers. This is a masterly and admirable work of the master.]] réalisée par Jan Steen, vendue par Edward W. Lake, Esq., achetée par Rutley au prix de 157.11 £. [53]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Portrait of Signora de Amicis -- a celebrated cantatrice. This most highly wrought picture exhibits the portrait of a beautiful young woman, with exquisitely formed features and singularly fair complexion. She is seen in a three-quarter view, having dark hair turned up on the forehead, and entwined with a scarlet ribband; her attire consists of a pale yellow robe, with full sleeves tied with scarlet ribbonds, a muslin lace kerchief surrounds the shoulders, and a white satin bow adorns the bosom. A chef d'oeuvre of the master. 2 ft. 1 in. by 1 ft. 8 in. Canvas. From the celebrated collection of M. Godefroy, sold by M. Le Brun in 1785, and subsequently from the collection of John Webb, Esq. Smith's Catalogue Raisonné, part. viii., page 443. M. Le Brun, in his Catalogue of M. Godefroy's collection, speaks of this work in terms of the highest praise. (Jean Baptiste Greuze)|The Portrait of Signora de Amicis -- a celebrated cantatrice. This most highly wrought picture exhibits the portrait of a beautiful young woman, with exquisitely formed features and singularly fair complexion. She is seen in a three-quarter view, having dark hair turned up on the forehead, and entwined with a scarlet ribband; her attire consists of a pale yellow robe, with full sleeves tied with scarlet ribbonds, a muslin lace kerchief surrounds the shoulders, and a white satin bow adorns the bosom. A chef d'oeuvre of the master. 2 ft. 1 in. by 1 ft. 8 in. Canvas. From the celebrated collection of M. Godefroy, sold by M. Le Brun in 1785, and subsequently from the collection of John Webb, Esq. Smith's Catalogue Raisonné, part. viii., page 443. M. Le Brun, in his Catalogue of M. Godefroy's collection, speaks of this work in terms of the highest praise.]] réalisée par Jean Baptiste Greuze, vendue par Edward W. Lake, Esq., achetée par Theobald au prix de 294 £. [54]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Horse Fair. A fair, with booths. The distinguishing feature in this busy scene, consists of a group in the centre of the foreground, among which are a jockey with a whip and a cavalier apparently bargaining for a grey horse, which a groom is showing off; the restive animal is kicking out behind. Near them are other chapmen looking at horses, and close to the front is a boy with a dog. To the right are a grey horse and a bay one, the latter is mounted by a man in a yellow jacket; still furtherr on is a post-waggon; and some booths are seen in the distance. A great number of figures and horses are distributed over the country. This is a beautiful gem, of the choicest quality. 12 in. by 15 in. Panel. From the collection of the Duke de Valentinois, T.F. Tuffin, Esq., and the Right Hon. Sir Charles Bagot, G.C.B. Smith's Catalogue Raisonné, oart i., page 278; and ditto, Supplement, page 174. Exhibited by Sir C. Bagot in the British Gallery in 1834. (Philip Wouvermans)|The Horse Fair. A fair, with booths. The distinguishing feature in this busy scene, consists of a group in the centre of the foreground, among which are a jockey with a whip and a cavalier apparently bargaining for a grey horse, which a groom is showing off; the restive animal is kicking out behind. Near them are other chapmen looking at horses, and close to the front is a boy with a dog. To the right are a grey horse and a bay one, the latter is mounted by a man in a yellow jacket; still furtherr on is a post-waggon; and some booths are seen in the distance. A great number of figures and horses are distributed over the country. This is a beautiful gem, of the choicest quality. 12 in. by 15 in. Panel. From the collection of the Duke de Valentinois, T.F. Tuffin, Esq., and the Right Hon. Sir Charles Bagot, G.C.B. Smith's Catalogue Raisonné, oart i., page 278; and ditto, Supplement, page 174. Exhibited by Sir C. Bagot in the British Gallery in 1834.]] réalisée par Philip Wouvermans, vendue par Edward W. Lake, Esq., achetée par Nieuwenhuys au prix de 304.10 £. [55]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Rembrandt's Cook -- seen half-length, the size of life. She is looking out of an open window, her left hand still holding her cookery knife resting on the sill. She is dressed in a red robe and crimson cap, with a white kerchief thrown over her shoulders which falls down loosely in front. Her eyes have a tipsy expression, and she seems to have come forward to resent some supposed affront. The light strikes upon her forehead, from whence it is diffused with skilful gradation over the lower part of her person and dress, particularly the white kerchief, whereby she all but starts from the canvas. A triumphant example of Rembrandt's power of chiar'oscuro and effect which can scarcely be surpassed. 2 ft. 6 in. by 2 ft. Canvas. From the collection of M. Blondel de Gagny, 1777, and subsequently of Admiral Lord Radstock. Smith's Catalogue Raisonné, part vii., page 163. This is the picture recorded by De Piles and others to have been so delusive, that when polaced in the window by Rembrandt, the passengers thought it the cook herself. (Rembrandt)|Rembrandt's Cook -- seen half-length, the size of life. She is looking out of an open window, her left hand still holding her cookery knife resting on the sill. She is dressed in a red robe and crimson cap, with a white kerchief thrown over her shoulders which falls down loosely in front. Her eyes have a tipsy expression, and she seems to have come forward to resent some supposed affront. The light strikes upon her forehead, from whence it is diffused with skilful gradation over the lower part of her person and dress, particularly the white kerchief, whereby she all but starts from the canvas. A triumphant example of Rembrandt's power of chiar'oscuro and effect which can scarcely be surpassed. 2 ft. 6 in. by 2 ft. Canvas. From the collection of M. Blondel de Gagny, 1777, and subsequently of Admiral Lord Radstock. Smith's Catalogue Raisonné, part vii., page 163. This is the picture recorded by De Piles and others to have been so delusive, that when polaced in the window by Rembrandt, the passengers thought it the cook herself.]] réalisée par Rembrandt, vendue par Edward W. Lake, Esq. au prix de 88 gs. [56]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Boy with the Bird's Nest. A boy, in a quaint dress of the period, holds his hat, in which he has secured a bird's nest, in his left hand, while he cautiously introduces his right to examine its contents. The rapturous expression of his whimsical features at having gained such a prize, is inimitable. Wonderfully painted. 25 in. by 19 in. Canvas. Purchased by the present proprietor from the collection of Lady Stuart de Rothesay. (Murillo)|The Boy with the Bird's Nest. A boy, in a quaint dress of the period, holds his hat, in which he has secured a bird's nest, in his left hand, while he cautiously introduces his right to examine its contents. The rapturous expression of his whimsical features at having gained such a prize, is inimitable. Wonderfully painted. 25 in. by 19 in. Canvas. Purchased by the present proprietor from the collection of Lady Stuart de Rothesay.]] réalisée par Murillo, vendue par Edward W. Lake, Esq. au prix de 88 gs. [57]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Family. The Virgin, seated near a building on the right, dressed in a crimson robe, with a blue mantle and light brown veil, is contemplatng with deep devotion the infant Saviour, who lies on her lap naked, lulled into sleep by cherubim above. St. Joseph stands on the left side, looking up towards the cherrubim, and pointing to the sleeping Saviour, indicates the necessiy for silence. The scene is terminated by a landscape background. The figures are the size of life, seen to the knees. A capital work of this great master. (Van Dyck)|The Holy Family. The Virgin, seated near a building on the right, dressed in a crimson robe, with a blue mantle and light brown veil, is contemplatng with deep devotion the infant Saviour, who lies on her lap naked, lulled into sleep by cherubim above. St. Joseph stands on the left side, looking up towards the cherrubim, and pointing to the sleeping Saviour, indicates the necessiy for silence. The scene is terminated by a landscape background. The figures are the size of life, seen to the knees. A capital work of this great master.]] réalisée par Van Dyck, vendue par Edward W. Lake, Esq. au prix de 120 gs. [58]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Le Petit Boudeur. A fine chubby boy, of a rosy comjplexion and beautiful countenance, with curling flaxen hair, sits, with milky looks, at a little table, doing penance for some transgression. Engraved by Guttenburg, and dedicated by him to M. Le Seurre; a most lovely example. 1 ft. 4 1/2 in. by 1 ft. 2 in. Canvas From the collections of M. de la Live de Jully, 1769; M. Trouard, 1779; and the Prince de Gavre. Smith's Catalogue Raisonnné, part viii., page 401. Exhibited by the present proprietor in the British Gallery in 1837. (Jean Baptiste Greuze)|Le Petit Boudeur. A fine chubby boy, of a rosy comjplexion and beautiful countenance, with curling flaxen hair, sits, with milky looks, at a little table, doing penance for some transgression. Engraved by Guttenburg, and dedicated by him to M. Le Seurre; a most lovely example. 1 ft. 4 1/2 in. by 1 ft. 2 in. Canvas From the collections of M. de la Live de Jully, 1769; M. Trouard, 1779; and the Prince de Gavre. Smith's Catalogue Raisonnné, part viii., page 401. Exhibited by the present proprietor in the British Gallery in 1837.]] réalisée par Jean Baptiste Greuze, vendue par Edward W. Lake, Esq. au prix de 182 gs. [59]
  • 1845.07.12/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape, exhibiting a picturesque view over a flat country. In the centre is a church, with its spire partially concealed by trees; and beyond, to the left, a windmill. In the foreground are the ruins of a fortification with its stagnant moat. The brilliant sky is partially screened by masses of clouds, from which bursts a transient gleam of sunshine, which glances with magic effect on the windmill and the adjacent fields, whilst the rest of the landscape is partially obscured by shadow. This is a carefully finished picture of the master, and of excellent quality. 1 ft. 4 in. by 1 ft. 5 1/2 in. Canvas. Supplement to Smith's Catalogue Raisonné, page 709. (Jacob Ruysdael)|A Landscape, exhibiting a picturesque view over a flat country. In the centre is a church, with its spire partially concealed by trees; and beyond, to the left, a windmill. In the foreground are the ruins of a fortification with its stagnant moat. The brilliant sky is partially screened by masses of clouds, from which bursts a transient gleam of sunshine, which glances with magic effect on the windmill and the adjacent fields, whilst the rest of the landscape is partially obscured by shadow. This is a carefully finished picture of the master, and of excellent quality. 1 ft. 4 in. by 1 ft. 5 1/2 in. Canvas. Supplement to Smith's Catalogue Raisonné, page 709.]] réalisée par Jacob Ruysdael, vendue par Edward W. Lake, Esq., achetée par Artis au prix de 136.10 £. [60]
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