Ventes d'œuvres le 1846.07.04

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  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The large Fair of Antwerp; a most elaborate and amusing picture, full of portraits of the principal characters of the period, combined with groups of peasantry and containing all the accessories of a Fair. It is well known that in his own time, the works of this master brought a better price than those of his master David Teniers. (Tilbourg)|The large Fair of Antwerp; a most elaborate and amusing picture, full of portraits of the principal characters of the period, combined with groups of peasantry and containing all the accessories of a Fair. It is well known that in his own time, the works of this master brought a better price than those of his master David Teniers.]] réalisée par Tilbourg, vendue par Anderson au prix de 74 gs. [22]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Battle of the Standard; one of the successful efforts of this great master, in depicting with truth and vigour a hostile combat. The subject represented is the Relief of Vienna, when that city was beseiged by the TYurks. The monogram of the painter is on the left of the picture. (Salvator Rosa)|The Battle of the Standard; one of the successful efforts of this great master, in depicting with truth and vigour a hostile combat. The subject represented is the Relief of Vienna, when that city was beseiged by the TYurks. The monogram of the painter is on the left of the picture.]] réalisée par Salvator Rosa, vendue par Davis, achetée par Evans au prix de 82.19 £. [26]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A pair of pictures by this master, representing the Madonna de la Salute, with the Custom House; the other a View of the Rialto. The works of this master have become very scarce, and are now much sought for in Venice. They possess all fhe truth of Canaletti. (Guardi)|A pair of pictures by this master, representing the Madonna de la Salute, with the Custom House; the other a View of the Rialto. The works of this master have become very scarce, and are now much sought for in Venice. They possess all fhe truth of Canaletti.]] réalisée par Guardi, vendue par Wiliam Buchanan, Esq. au prix de 96 gs. [31]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[La Vierge aux Roses; this elegant composition is one of those pictures which belonged to the late William Young Ottley, Esq., whose knowledge of fine pictures is well known to all amateurs of the art. It was purchased by him in Italy, when the French Army was in Rome. It would appear that Vandyck must have studied this picture, as several of his works bear a resemblance to the Virgin, in countenance, as well as general attitude. (Titian)|La Vierge aux Roses; this elegant composition is one of those pictures which belonged to the late William Young Ottley, Esq., whose knowledge of fine pictures is well known to all amateurs of the art. It was purchased by him in Italy, when the French Army was in Rome. It would appear that Vandyck must have studied this picture, as several of his works bear a resemblance to the Virgin, in countenance, as well as general attitude.]] réalisée par Titian, vendue par Anderson au prix de 240 gs. [35]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A View on the Rhine; one of the rich and glowing pictures of this master, painted with a breadth equal to Rembrandt, and in some passages finished equal to Paul Potter. It represents an effect of early morning. The works of this master are now in great demand. (Philip de Konink)|A View on the Rhine; one of the rich and glowing pictures of this master, painted with a breadth equal to Rembrandt, and in some passages finished equal to Paul Potter. It represents an effect of early morning. The works of this master are now in great demand.]] réalisée par Philip de Konink, vendue par Anderson au prix de 115 gs. [36]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Anne of Cleves; for many years in the possession of the Royal Family of Sardinia, and supposed to have been formerly in the Collection of Charles the First. This picture is of a superior class to the general works of this master; it is in drawing equal to Raphael. (Hans Holbein)|Anne of Cleves; for many years in the possession of the Royal Family of Sardinia, and supposed to have been formerly in the Collection of Charles the First. This picture is of a superior class to the general works of this master; it is in drawing equal to Raphael.]] réalisée par Hans Holbein, vendue par Ferguson, achetée par Robinson au prix de 210 £. [39]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Monks visiting Pope Gregory the Ninth; a picture painted by this great master for the Franciscan Convent of Seville, on his return from Madrid to his native city. It formed one of the principal pictures of the Aguado Gallery of Paris, where it was always highly esteemed. (Murillo)|Monks visiting Pope Gregory the Ninth; a picture painted by this great master for the Franciscan Convent of Seville, on his return from Madrid to his native city. It formed one of the principal pictures of the Aguado Gallery of Paris, where it was always highly esteemed.]] réalisée par Murillo, vendue par Morrison au prix de 285 gs. [43]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[One of the richly composed Interiors of this esteemed master; it consists of two distinct groups of figures, four of whom form a card party in the foreground, while a second jovial set are smoking and drinking in the background; among whom we recognise the portrait of Adrian himself. This picture is of the class of works at present so much desired by the amateurs of the Dutch school. (Adrian Ostade)|One of the richly composed Interiors of this esteemed master; it consists of two distinct groups of figures, four of whom form a card party in the foreground, while a second jovial set are smoking and drinking in the background; among whom we recognise the portrait of Adrian himself. This picture is of the class of works at present so much desired by the amateurs of the Dutch school.]] réalisée par Adrian Ostade, vendue par Holford au prix de 560 gs. [47]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A beauiful Italian Landscape, wih figures and catle, painted at the best period of the master, and when he had attained the greatest knowledge of his art. It represents early morning, with a girl milking a goat in the foreground, while a brown cow standing, and a black cow laying sic, harmonize well with the figure in front. One of those figures in humble life, into which Berchem has thrown a certain degree of elegance from position and good drawing, is seen passing this group, she appears a blanchiseuse from the basket of linen she carries, and is about to pass a brook where several goats are standing. The burst of light in the sky is finely contrasted by the deep but transparent shadow into which a mass of trees is thrown, under which, an ancient basso relievo denotes the country where the scene is laid. The whole subject is most scientifically managed. This picture was painted for Sir Kenelm Digby, one of the great patrons of art in the time of Charles the First. (Nicholas Berchem)|A beauiful Italian Landscape, wih figures and catle, painted at the best period of the master, and when he had attained the greatest knowledge of his art. It represents early morning, with a girl milking a goat in the foreground, while a brown cow standing, and a black cow laying sic, harmonize well with the figure in front. One of those figures in humble life, into which Berchem has thrown a certain degree of elegance from position and good drawing, is seen passing this group, she appears a blanchiseuse from the basket of linen she carries, and is about to pass a brook where several goats are standing. The burst of light in the sky is finely contrasted by the deep but transparent shadow into which a mass of trees is thrown, under which, an ancient basso relievo denotes the country where the scene is laid. The whole subject is most scientifically managed. This picture was painted for Sir Kenelm Digby, one of the great patrons of art in the time of Charles the First.]] réalisée par Nicholas Berchem, vendue par Blaine au prix de 420 gs. [48]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The fine study by this master for the picture of the Assumption of the Virgin, in the Cathedral of Antwerp; it comes from the select Collection of Jeremiah Harman, Esq., a gentleman of most refined taste, and who always highly appreciated this study. (Rubens)|The fine study by this master for the picture of the Assumption of the Virgin, in the Cathedral of Antwerp; it comes from the select Collection of Jeremiah Harman, Esq., a gentleman of most refined taste, and who always highly appreciated this study.]] réalisée par Rubens, vendue par Holford au prix de 130 gs. [51]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Magdalen in her affliction; this genuine picture of the great colourist, has been recently imported from Italy. The landscape is painted in the free and light manner of the master, and if relined, would become much more effective. It is cited by Ratti, and has been in the De Franchi and Cambiano Collections. (Rubens)|The Magdalen in her affliction; this genuine picture of the great colourist, has been recently imported from Italy. The landscape is painted in the free and light manner of the master, and if relined, would become much more effective. It is cited by Ratti, and has been in the De Franchi and Cambiano Collections.]] réalisée par Rubens, vendue par Boucheron, achetée par Clark au prix de 42 £. [52]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Santa Petronilla, the small finished picture from which this master painted his great picture for the St, Peters at Rome. In 1802 it was purchased by Mr. Irvine of Rome, and was, on his arrival in England, sold for three hundred guineas. It is one of the finest examples we have in this country of this master's composition in his bold and effective manner, which has always been that most esteemed in Italy. (Guercino)|The Santa Petronilla, the small finished picture from which this master painted his great picture for the St, Peters at Rome. In 1802 it was purchased by Mr. Irvine of Rome, and was, on his arrival in England, sold for three hundred guineas. It is one of the finest examples we have in this country of this master's composition in his bold and effective manner, which has always been that most esteemed in Italy.]] réalisée par Guercino, vendue par [[More [?]]], achetée par Evans au prix de 59.17 £. [55]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The beautiful Portrait of Madame Jocondi, Wife of the Signor Francesco Jocondi, of Florence, known in this country under the title of Lionardo's Flora. This picture was for many years in the select Collection of Sir Thos. Baring, Bart., where it was always greatly admired; it cost that gentleman a very large sum of money. (Lionardo da Vinci)|The beautiful Portrait of Madame Jocondi, Wife of the Signor Francesco Jocondi, of Florence, known in this country under the title of Lionardo's Flora. This picture was for many years in the select Collection of Sir Thos. Baring, Bart., where it was always greatly admired; it cost that gentleman a very large sum of money.]] réalisée par Lionardo da Vinci, vendue par William Buchanan, Esq., achetée par Norton au prix de 672 £. [58]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Finding of Romulus and Remus. This picture was painted from a design of Rubens, from whom Honthorst (in Italy called Gerardo de la Notte), sometimes took his subject, as may be seen from some of the pictures in the Dresden Gallery. This picture is painted in a free and powerful manner; it comes from the Collection of the Right Hon. Reginald Pole Carew, where it stood under the name of Rubens. The picture by this master, in the Gallery of His Grace the Duke of Sutherland, has established in England the importance of this master's works. (Honthorst)|The Finding of Romulus and Remus. This picture was painted from a design of Rubens, from whom Honthorst (in Italy called Gerardo de la Notte), sometimes took his subject, as may be seen from some of the pictures in the Dresden Gallery. This picture is painted in a free and powerful manner; it comes from the Collection of the Right Hon. Reginald Pole Carew, where it stood under the name of Rubens. The picture by this master, in the Gallery of His Grace the Duke of Sutherland, has established in England the importance of this master's works.]] réalisée par Honthorst, vendue par [[[Scott]]]. [62]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Return from Egypt. This capital work was painted for the Jesuit's Church of Antwerp, and was one of the few that were saved from the fire by lightening, which consumed the entire roof of that magnificent structure. On the suppression of the order of Jesuits in Flanders, it was sold to Monsieur Danoot, banker in Brussels, at whose sale it was purchased for this country, at the price of 90,000 francs. There is a fine engraving of it by Bolswert, and it was cited by Descamps while still in the Church, where it was placed over the Altar, known by the name of the Altar of St. Joseph. (Sir P.P. Rubens)|The Return from Egypt. This capital work was painted for the Jesuit's Church of Antwerp, and was one of the few that were saved from the fire by lightening, which consumed the entire roof of that magnificent structure. On the suppression of the order of Jesuits in Flanders, it was sold to Monsieur Danoot, banker in Brussels, at whose sale it was purchased for this country, at the price of 90,000 francs. There is a fine engraving of it by Bolswert, and it was cited by Descamps while still in the Church, where it was placed over the Altar, known by the name of the Altar of St. Joseph.]] réalisée par Sir P.P. Rubens, vendue par Miss Buchanan au prix de 360 gs. [63]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Massacre of the Innocents. This powerfully painted picture, which Lucien Buonaparte in the description of his celebrated collection has called "an epic composition," was originally painted for the Borghese Palace of Rome, at the best period of the master. No artist who has duly studied the difficulties of his art in its higher walk, but must feel impressed with the great importance of this picture. There is scarcely any picture in England which can be placed before it. It is truly an epic composition, grand yet simple, and as such deserves a place in one of the first Collections of this Country. It has been engraved by Bettelini, the principal scholar of Raphael Morghen. (Nicholas Poussin)|The Massacre of the Innocents. This powerfully painted picture, which Lucien Buonaparte in the description of his celebrated collection has called "an epic composition," was originally painted for the Borghese Palace of Rome, at the best period of the master. No artist who has duly studied the difficulties of his art in its higher walk, but must feel impressed with the great importance of this picture. There is scarcely any picture in England which can be placed before it. It is truly an epic composition, grand yet simple, and as such deserves a place in one of the first Collections of this Country. It has been engraved by Bettelini, the principal scholar of Raphael Morghen.]] réalisée par Nicholas Poussin, vendue par Davis au prix de 320 gs. [64]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Noli me Tangere is so well known through out Europe, from the engraving of it by Raffaelle Morghen, that it is only necessary to say, it formed one of the pictures of the gallery of H.R.H. the Duke of Lucca. It is a picture of superlative merit, and approaches in execution the works of Correggio, the great prototype of this master. (Federico Baroccio)|The Noli me Tangere is so well known through out Europe, from the engraving of it by Raffaelle Morghen, that it is only necessary to say, it formed one of the pictures of the gallery of H.R.H. the Duke of Lucca. It is a picture of superlative merit, and approaches in execution the works of Correggio, the great prototype of this master.]] réalisée par Federico Baroccio, vendue par Morrison, achetée par Evans au prix de 588 £. [65]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Christ Curing the Blind. This significant work of art, with its companion the Agostino lot 67, were painted under the roof of the Giustiniani Palace of Rome, and occupied a distinguished place in that gallery until the year 1806, when they were purchased, at a large price, by Prince Lucien Buonaparte, and were at an after period sold by him to the Ex-Queen of Etruria, from whose son, H.R.H. the Duke of Lucca, they were purchased by Mr. Buchanan. It is unnecessary to dwell on tte real importance of these pictures. To every true and unbiassed connoisseur of art, they sufficiently speak for themselves, but this may be here asserted on the most undeniable grounds, that were such pictures to be now desired from that country, which has produced so many inimitable works of art, they are nowhere to be acquired upon any terms, the force of money will no longer induce their owners to sell those works which form the glory and wealth of a Country. When these pictures were publicly exhibited, they created a sensation which probably no picures had ever done before, and there was but one feeling expressed, that they ought to be secured for the Nation; for it was asked, do not the miracles of Christ form part of the groundwork of our faith in the Christian religion? What subjects therefore can be more appropriate for the Public Gallery of a great Nation, whose constant care has ever been to propagate the principles of that religion, strengthened by established facts, through the great extent of her vast territories, principally inhabited by a Heathen people, (Ludovico Caracci)|Christ Curing the Blind. This significant work of art, with its companion the Agostino lot 67, were painted under the roof of the Giustiniani Palace of Rome, and occupied a distinguished place in that gallery until the year 1806, when they were purchased, at a large price, by Prince Lucien Buonaparte, and were at an after period sold by him to the Ex-Queen of Etruria, from whose son, H.R.H. the Duke of Lucca, they were purchased by Mr. Buchanan. It is unnecessary to dwell on tte real importance of these pictures. To every true and unbiassed connoisseur of art, they sufficiently speak for themselves, but this may be here asserted on the most undeniable grounds, that were such pictures to be now desired from that country, which has produced so many inimitable works of art, they are nowhere to be acquired upon any terms, the force of money will no longer induce their owners to sell those works which form the glory and wealth of a Country. When these pictures were publicly exhibited, they created a sensation which probably no picures had ever done before, and there was but one feeling expressed, that they ought to be secured for the Nation; for it was asked, do not the miracles of Christ form part of the groundwork of our faith in the Christian religion? What subjects therefore can be more appropriate for the Public Gallery of a great Nation, whose constant care has ever been to propagate the principles of that religion, strengthened by established facts, through the great extent of her vast territories, principally inhabited by a Heathen people,]] réalisée par Ludovico Caracci, vendue par Holford au prix de 2100 gs. [66]
  • 1846.07.04/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Christ Raising the Widow's Son. The present picture, full of pathos and sublime feeling, is one of the most distinguished of this master's works. It is well known that the great works of Agostino are much more are in Italy than those of either Ludovico or Annibal Caracci, and are in that country appreciated accordingly. The present forms a most important companion to the preceding, and indeed ought not to be separatged from it. These pictures were the honor and glory of the Giustiniani Palace. (Agostino Caracci)|Christ Raising the Widow's Son. The present picture, full of pathos and sublime feeling, is one of the most distinguished of this master's works. It is well known that the great works of Agostino are much more are in Italy than those of either Ludovico or Annibal Caracci, and are in that country appreciated accordingly. The present forms a most important companion to the preceding, and indeed ought not to be separatged from it. These pictures were the honor and glory of the Giustiniani Palace.]] réalisée par Agostino Caracci, vendue par Davis au prix de 2100 gs. [67]
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