Ventes d'œuvres le 1850.07.20

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  • 1850.07.20/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A View over an extensive Valley, intersected by a river which falls in a cascade among rocks in the foreground; a peasant driving cattle and sheep through a ford, and figures with mules on a mountain road on the right -- evening scene. From the collection of Sir Gregory Page. (Berghem)|A View over an extensive Valley, intersected by a river which falls in a cascade among rocks in the foreground; a peasant driving cattle and sheep through a ford, and figures with mules on a mountain road on the right -- evening scene. From the collection of Sir Gregory Page.]] réalisée par Berghem, vendue par Earl of Ashburnham, achetée par Greenfell au prix de 27.6 £. [14]
  • 1850.07.20/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin, in a red Dress, seated holding the Infant in her Arms, St. John approaching and holding the Infant's foot; which he is about to kiss. A charming work of this most elegant disciple of Guido. From the Earl of Waldegrave's collection. (S. di Pesaro)|The Virgin, in a red Dress, seated holding the Infant in her Arms, St. John approaching and holding the Infant's foot; which he is about to kiss. A charming work of this most elegant disciple of Guido. From the Earl of Waldegrave's collection.]] réalisée par S. di Pesaro, vendue par Earl of Ashburnham au prix de 33.12 £. [29]
  • 1850.07.20/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A grand Landscape, with figures in the foreground, representing the story of Apollo and the Sybil. Presumed to be the finest landscape known of this master: it was bought by the Earl of Ashburnham at the sale of Monsieur Julien's collection against the agent of the Empress Catharine of Russia, who afterwards sent an offer of double the amount at which it was purchased. (S. Rosa)|A grand Landscape, with figures in the foreground, representing the story of Apollo and the Sybil. Presumed to be the finest landscape known of this master: it was bought by the Earl of Ashburnham at the sale of Monsieur Julien's collection against the agent of the Empress Catharine of Russia, who afterwards sent an offer of double the amount at which it was purchased.]] réalisée par S. Rosa, vendue par Earl of Ashburnham, achetée par Mawson au prix de 1735.0 £. [45]
  • 1850.07.20/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A View in the Bay of Naples, with a building among a fine group of treees; a fleet of Roman galleys is seen in the distance, near some towers, which defend the harbour; in the foreground is a female figure reclining looking towards a man who is issuing from behind a tree. Engraved in the "Liber Veritatis". (Claude)|A View in the Bay of Naples, with a building among a fine group of treees; a fleet of Roman galleys is seen in the distance, near some towers, which defend the harbour; in the foreground is a female figure reclining looking towards a man who is issuing from behind a tree. Engraved in the "Liber Veritatis".]] réalisée par Claude, vendue par Earl of Ashburnham au prix de 1123.0 £. [49]
  • 1850.07.20/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait of the Painter, in a black dress, in a stone niche, on the bottom of which his hand rests; his palette lies on the plinth at the side; on a scroll is inscribed "Bartus Murillo seipsum depingens pro filiorum votis ac precibus explendis." From the collection of Sir Thomas Dundas. (Murillo)|Portrait of the Painter, in a black dress, in a stone niche, on the bottom of which his hand rests; his palette lies on the plinth at the side; on a scroll is inscribed "Bartus Murillo seipsum depingens pro filiorum votis ac precibus explendis." From the collection of Sir Thomas Dundas.]] réalisée par Murillo, vendue par Earl of Ashburnham, achetée par Ld Spencer au prix de 829.10 £. [50]
  • 1850.07.20/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Nature unveiled by the Graces, one of whom has her foot on a satyr; they stand on a raised pedestal, at the base of which are three nymphs, Silenus holding a torch, and a satyr on either side in a rich group of flowers and fruits minutely finished, and upheld to a tree from which satyrs are suspending a crimson drapery over the statue of the goddess. This wonderful picture was painted at the desire of Villiers Duke of Buckingham; when finished, the painter was so enamoured of his performance, that it was with difficulty that the Duke could induce him to part with it. It has been doubted whether Rubens painted the whole of the picture, and some have contended that Breughel was employed to put in the flowers and fruit; but when it is considered how large and how important a part of the composition is occupied by these accesssories, it is scarcely credible that if they were the work of an inferior artist or if Rubens regarded it as an ordinary effort of his own, that he would have testified any reluctance to allow the Duke, who had ordered the picture, to have it. But the strongest evidence in favour of the more general opinion that Rubens painted the whole, even the most minute details, is the perfect harmony of colour which prevails throughout the whole composition. The picture No.10, in this collection, shows that this was not the case, when Rubens and Breughel worked upon the same canvas. It was bought by the Earl of Ashburnham from Sir T. Dundas. (Rubens)|Nature unveiled by the Graces, one of whom has her foot on a satyr; they stand on a raised pedestal, at the base of which are three nymphs, Silenus holding a torch, and a satyr on either side in a rich group of flowers and fruits minutely finished, and upheld to a tree from which satyrs are suspending a crimson drapery over the statue of the goddess. This wonderful picture was painted at the desire of Villiers Duke of Buckingham; when finished, the painter was so enamoured of his performance, that it was with difficulty that the Duke could induce him to part with it. It has been doubted whether Rubens painted the whole of the picture, and some have contended that Breughel was employed to put in the flowers and fruit; but when it is considered how large and how important a part of the composition is occupied by these accesssories, it is scarcely credible that if they were the work of an inferior artist or if Rubens regarded it as an ordinary effort of his own, that he would have testified any reluctance to allow the Duke, who had ordered the picture, to have it. But the strongest evidence in favour of the more general opinion that Rubens painted the whole, even the most minute details, is the perfect harmony of colour which prevails throughout the whole composition. The picture No.10, in this collection, shows that this was not the case, when Rubens and Breughel worked upon the same canvas. It was bought by the Earl of Ashburnham from Sir T. Dundas.]] réalisée par Rubens, vendue par Earl of Ashburnham au prix de 1050,0 £. [62]
  • 1850.07.20/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Triumph of Bacchus, who is seated in a car drawn by centaurs, their heads crowned with vines; the god is preceded and attended by fauns, bacchantes, and satyrs, playing on trumpets, and one of them bearing the sacred tripod: a river god is reclining in the foreground. These two, which are supposed to be the finest works of Niccolo Poussin, are known as the Montmorency Poussin's sic. See Catalogue of the National Gallery (No. ). These two pictures are larger than the one in the National Gallery. (N. Poussin)|The Triumph of Bacchus, who is seated in a car drawn by centaurs, their heads crowned with vines; the god is preceded and attended by fauns, bacchantes, and satyrs, playing on trumpets, and one of them bearing the sacred tripod: a river god is reclining in the foreground. These two, which are supposed to be the finest works of Niccolo Poussin, are known as the Montmorency Poussin's sic. See Catalogue of the National Gallery (No. ). These two pictures are larger than the one in the National Gallery.]] réalisée par N. Poussin, vendue par Earl of Ashburnham, achetée par Seguier au prix de 1218.0 £. [63]
  • 1850.07.20/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Triumph of Pan, whose terminal statue a nymph is decorating with vine leaves; a bacchante is riding on a goat, supported by a faun; other figures are dancing; between the stems of lofty trees is seen a mountainous distance. These two, which are supposed to be the finest works of Niccolo Poussin, are known as the Montmorency Poussin's sic. See Catalogue of the National Gallery (No. ). These two pictures are larger than the one in the National Gallery. (N. Poussin)|The Triumph of Pan, whose terminal statue a nymph is decorating with vine leaves; a bacchante is riding on a goat, supported by a faun; other figures are dancing; between the stems of lofty trees is seen a mountainous distance. These two, which are supposed to be the finest works of Niccolo Poussin, are known as the Montmorency Poussin's sic. See Catalogue of the National Gallery (No. ). These two pictures are larger than the one in the National Gallery.]] réalisée par N. Poussin, vendue par Earl of Ashburnham, achetée par Hume au prix de 1239.0 £. [64]
  • 1850.07.20/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A classical View near Rome with the Ponte Molle in the distance; a palace among trees on the left, and peasants with cattle and goats near a stream, which is crossed by a wooden bridge in the foreground -- evening. This capital work is engraved in the "Liber Veritatis". (Claude)|A classical View near Rome with the Ponte Molle in the distance; a palace among trees on the left, and peasants with cattle and goats near a stream, which is crossed by a wooden bridge in the foreground -- evening. This capital work is engraved in the "Liber Veritatis".]] réalisée par Claude, vendue par Earl of Ashburnham au prix de 1890.0 £. [78]
  • 1850.07.20/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[St. Joseph and the Virgin presenting the infant Christ to the High Priest, who is leaning over an altar to receive the child; a female with birds in a basket, in the foreground. Purchased from Lord Gower, late Duke of Sutherland. From the Orleans gallery. (Guercino)|St. Joseph and the Virgin presenting the infant Christ to the High Priest, who is leaning over an altar to receive the child; a female with birds in a basket, in the foreground. Purchased from Lord Gower, late Duke of Sutherland. From the Orleans gallery.]] réalisée par Guercino, vendue par Earl of Ashburnham au prix de 315.0 £. [81]
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