Ventes d'œuvres le 1778.04.10

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  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Fruit and dead Game. It is to be regretted that the caprice of fashion should defraud real excellence of its just esteem. Nature, to persons of true taste, is charming in all her productions. And if what pleases in the natural object, give proportionable pleasure in the imitation, there are none, or very few, who will not be delighted with looking on this piece. -- From the cabinet of the Abbé Jevigny (Desportes)|Fruit and dead Game. It is to be regretted that the caprice of fashion should defraud real excellence of its just esteem. Nature, to persons of true taste, is charming in all her productions. And if what pleases in the natural object, give proportionable pleasure in the imitation, there are none, or very few, who will not be delighted with looking on this piece. -- From the cabinet of the Abbé Jevigny]] réalisée par Desportes. [14]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Landscape and Figures. This beautiful scene is enriched with nymphs adorning the tomb of Daphnis, with festoons of flowers; the presence of Cupid shews that love was the death of him, and that one of the nymphs laments too late that insensibility which proved fatal to her swain. -- From the same cabinet of the Abbé Peroux (Lairesse)|A Landscape and Figures. This beautiful scene is enriched with nymphs adorning the tomb of Daphnis, with festoons of flowers; the presence of Cupid shews that love was the death of him, and that one of the nymphs laments too late that insensibility which proved fatal to her swain. -- From the same cabinet of the Abbé Peroux]] réalisée par Lairesse. [16]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Two Flower Pieces in Mosaic. They are curious, as shewing the state of this species of painting in its infancy, when it came out of the hands of the Greek painters, by whose assistance the arts were restored. -- From the cabinet of Cardinal Polignac (Uncertain)|Two Flower Pieces in Mosaic. They are curious, as shewing the state of this species of painting in its infancy, when it came out of the hands of the Greek painters, by whose assistance the arts were restored. -- From the cabinet of Cardinal Polignac]] réalisée par Uncertain. [17]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Card Players by Candle-light. This is an expressive, and, at the same time, a moral painting. It shews the folly and mischiefs attending the pernicious mode of murdering time, or, rather, this contrivance to ruin others. The effect of the light is fine! -- From the cabinet of the Abbé Peroux (Valentin)|Card Players by Candle-light. This is an expressive, and, at the same time, a moral painting. It shews the folly and mischiefs attending the pernicious mode of murdering time, or, rather, this contrivance to ruin others. The effect of the light is fine! -- From the cabinet of the Abbé Peroux]] réalisée par Valentin. [18]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A beautiful, and certainly a capital Landscape, in which are introduced Figures by Rottenhamer, representing Venus and Adonis, Cupid, Dogs, &c. most delicately designed and painted. Adonis is telling Venus his intention of setting out on the chace of the boar, which was the occasion of his death, and which cost the Goddess so many tears. It is a most poetical piece. -- From the cabinet of the Abbé Peroux (Paul Brill)|A beautiful, and certainly a capital Landscape, in which are introduced Figures by Rottenhamer, representing Venus and Adonis, Cupid, Dogs, &c. most delicately designed and painted. Adonis is telling Venus his intention of setting out on the chace of the boar, which was the occasion of his death, and which cost the Goddess so many tears. It is a most poetical piece. -- From the cabinet of the Abbé Peroux]] réalisée par Paul Brill. [22]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Our Saviour and the Samaritan Woman at the Well. The figures are painted with grace and becoming dignity. The ground or scene is a beautiful landscape, with a view of Jerusalem: in the Lombard taste. -- From the collection of Cardinal Polignac (Ann. Caracci)|Our Saviour and the Samaritan Woman at the Well. The figures are painted with grace and becoming dignity. The ground or scene is a beautiful landscape, with a view of Jerusalem: in the Lombard taste. -- From the collection of Cardinal Polignac]] réalisée par Ann. Caracci. [23]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Bath of Diana, with the discovery of Callisto's faux-pas. That the painter had taste is evident from the choice he made of such subjects, which gave him an opportunity of looking nature face to face; he has, however, kept within the limits of a decent freedom. From the cabinet of the Abbé Peroux (Polemburg)|The Bath of Diana, with the discovery of Callisto's faux-pas. That the painter had taste is evident from the choice he made of such subjects, which gave him an opportunity of looking nature face to face; he has, however, kept within the limits of a decent freedom. From the cabinet of the Abbé Peroux]] réalisée par Polemburg. [24]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Portrait of a Lady. This is a most delicate and highly finished piece. But these are its least recommendations. The easy unaffected attitude, and even that air of negligence and simplicity observable in the dress, as well as carriage of this agreeable, if not charming woman, expresses in paint, what Horace with his inimitable felicity says in Latin: Vultus nimium lubricus aspici. She is, perhaps, not a Venus; but her eyes do as much as those of the greatest regular beauty of them all. This picture does honour to the choice of the collector, the Abbé Peroux (Mieris)|A Portrait of a Lady. This is a most delicate and highly finished piece. But these are its least recommendations. The easy unaffected attitude, and even that air of negligence and simplicity observable in the dress, as well as carriage of this agreeable, if not charming woman, expresses in paint, what Horace with his inimitable felicity says in Latin: Vultus nimium lubricus aspici. She is, perhaps, not a Venus; but her eyes do as much as those of the greatest regular beauty of them all. This picture does honour to the choice of the collector, the Abbé Peroux]] réalisée par Mieris. [25]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Fruit and Still-life. This is a capital piece in its kind. The lovers or truth, harmony and high-finishing, will here meet with some which will certainly give them pleasure. Note, the works of this master are very scarce. -- From the collection of the Marquis de Gravelle (Christophle)|Fruit and Still-life. This is a capital piece in its kind. The lovers or truth, harmony and high-finishing, will here meet with some which will certainly give them pleasure. Note, the works of this master are very scarce. -- From the collection of the Marquis de Gravelle]] réalisée par Christophle. [26]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Virgin and Bambino. This performance is much in the manner of Titian, whom no one has surpassed in representing women and choldren sic. It also possesses the qualities peculiar to Murillo, grace, elegance and simplicity. -- From the cabinet of the Abbé Jevigny (Murillo)|The Virgin and Bambino. This performance is much in the manner of Titian, whom no one has surpassed in representing women and choldren sic. It also possesses the qualities peculiar to Murillo, grace, elegance and simplicity. -- From the cabinet of the Abbé Jevigny]] réalisée par Murillo. [29]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Winter, represented by a beautiful Landscape. The ground, trees, buildings, &c. Are covered with snow: the scene is enriched with the view of a canal, on which are seen figures skating. On the fore-ground are cavaliers, and highly worthy the attention of the connoisseurs (Brughel)|Winter, represented by a beautiful Landscape. The ground, trees, buildings, &c. Are covered with snow: the scene is enriched with the view of a canal, on which are seen figures skating. On the fore-ground are cavaliers, and highly worthy the attention of the connoisseurs]] réalisée par Brughel. [34]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[St. Ignatius de Loyola, the founder of the order of the Jesuits, filled with the Holy Ghost, which is seen descending over him in the form of a fiery tongue, by the power of faith expels devils. This is truly a miracle of the painter, as well as of the saint. It is, indeed, a most expressive sketch for an altar-piece, well known to those who have travelled in the Low Countries. Purchased at Brussels from the cabinet of the Prince de Beaupré (Rubens)|St. Ignatius de Loyola, the founder of the order of the Jesuits, filled with the Holy Ghost, which is seen descending over him in the form of a fiery tongue, by the power of faith expels devils. This is truly a miracle of the painter, as well as of the saint. It is, indeed, a most expressive sketch for an altar-piece, well known to those who have travelled in the Low Countries. Purchased at Brussels from the cabinet of the Prince de Beaupré]] réalisée par Rubens. [37]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Adoration of the Magi, Shepherds, &c. In the clouds are seen angels descending singing hymns in celebration of the divine Nativity. The body of the picture is full of figures of every sex, age, and character, painted with that grace and delicacy which might be expected from this able scholar of Raphael. The Landscape is not at all inferior. -- From the collection of Mons. Carlo Vanloo (Polydore)|The Adoration of the Magi, Shepherds, &c. In the clouds are seen angels descending singing hymns in celebration of the divine Nativity. The body of the picture is full of figures of every sex, age, and character, painted with that grace and delicacy which might be expected from this able scholar of Raphael. The Landscape is not at all inferior. -- From the collection of Mons. Carlo Vanloo]] réalisée par Polydore. [41]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Martyrdom of St. Cecilia. The attentive spectator will not too hastily pass by this small, but interesting picture. The saint, after being beheaded, is laid on the scaffold. In the heavens, which open, are seen a crown and palm-branch, the signs of her beatitude. Nothing can be more affecting than the attitude, every part of which is expressive of death. It is, besides drawn with an elegance little short of Corregio! (Feti)|The Martyrdom of St. Cecilia. The attentive spectator will not too hastily pass by this small, but interesting picture. The saint, after being beheaded, is laid on the scaffold. In the heavens, which open, are seen a crown and palm-branch, the signs of her beatitude. Nothing can be more affecting than the attitude, every part of which is expressive of death. It is, besides drawn with an elegance little short of Corregio!]] réalisée par Feti. [44]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[An Old Woman and a Boy warming themselves over a Charcoal Fire. The effect of the light is at once singular and beautiful. In this piece are united the merit of Scalken and Rembrandt, blended with that of Rubens, the greatest of the three. -- From the cabinet of Mons. Henriette (Rubens)|An Old Woman and a Boy warming themselves over a Charcoal Fire. The effect of the light is at once singular and beautiful. In this piece are united the merit of Scalken and Rembrandt, blended with that of Rubens, the greatest of the three. -- From the cabinet of Mons. Henriette]] réalisée par Rubens. [52]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Paralytic let down through the Roof, to be cured by Christ. This is one of the most capital pieces of the French school, since the days of Le Sueur, Le Brun and Poussin. The subject is handled in a grand and masterly manner, and does honour to the artists ingenuity. -- From the cabinet of Mons. Coquerell (Colombel)|The Paralytic let down through the Roof, to be cured by Christ. This is one of the most capital pieces of the French school, since the days of Le Sueur, Le Brun and Poussin. The subject is handled in a grand and masterly manner, and does honour to the artists ingenuity. -- From the cabinet of Mons. Coquerell]] réalisée par Colombel. [53]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Magdalen. This exquisite piece has qualities scarce reconcilable, very high finishing, and great softness and expression; she points to the crucifix with an air of satisfaction, to shew that her pleasures are now of a kind wholly different from what they were. This rare piece of genuine beauty is from the cabinet of the Abbé Jevigny (Leonardo da Vinci)|A Magdalen. This exquisite piece has qualities scarce reconcilable, very high finishing, and great softness and expression; she points to the crucifix with an air of satisfaction, to shew that her pleasures are now of a kind wholly different from what they were. This rare piece of genuine beauty is from the cabinet of the Abbé Jevigny]] réalisée par Leonardo da Vinci. [61]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Court of Scandal. A fertile and a fashionable subject. The monarch is all over ears, to shew that his chief pleasure is in hearing; an itch which is gratified by what is most to the disadvantage of others. His court is thronged with persons of all ages, sexes and conditions, from the monarch to the slave. Among others is an astrologer, predicting to the aged and decrepid, length of days; and to the young, ideal happiness.' -- This singular piece is from the cabinet of Mons. St. Andre (Vanderwerf)|The Court of Scandal. A fertile and a fashionable subject. The monarch is all over ears, to shew that his chief pleasure is in hearing; an itch which is gratified by what is most to the disadvantage of others. His court is thronged with persons of all ages, sexes and conditions, from the monarch to the slave. Among others is an astrologer, predicting to the aged and decrepid, length of days; and to the young, ideal happiness.' -- This singular piece is from the cabinet of Mons. St. Andre]] réalisée par Vanderwerf. [63]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Virgin and Child. This exquisite painting may safely be deemed not only genuine, but a masterpiece of this famous rival to Raphael. Good wine needs no bush. This piece shall therefore be left to recommend itself, as containing the most irresistible proofs of its authenticity. -- From the cabinet of the Abbe Jevigny (Andrea del Sarto)|The Virgin and Child. This exquisite painting may safely be deemed not only genuine, but a masterpiece of this famous rival to Raphael. Good wine needs no bush. This piece shall therefore be left to recommend itself, as containing the most irresistible proofs of its authenticity. -- From the cabinet of the Abbe Jevigny]] réalisée par Andrea del Sarto. [65]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Landscape, in which is introduced St. Jerom. In the rock, on the fore-ground, is the hermitage of the saint, with his oratory, &c. The scene here inspires penitence and austerity. The Landscape on the background is gay and pleasing, forming a beautiful contract sic with the horror and nakedness of the fore-ground. The whole is noble and well preserved; concerning its originality there is no room to doubt. -- From the cabinet of the Abbe Peroux (Roland Savery)|A Landscape, in which is introduced St. Jerom. In the rock, on the fore-ground, is the hermitage of the saint, with his oratory, &c. The scene here inspires penitence and austerity. The Landscape on the background is gay and pleasing, forming a beautiful contract sic with the horror and nakedness of the fore-ground. The whole is noble and well preserved; concerning its originality there is no room to doubt. -- From the cabinet of the Abbe Peroux]] réalisée par Roland Savery. [66]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Parnassus of the Vatican. A finished study. The former printed catalogues of this collection having been perused by most connoisseurs, it will be needless to repeat what has been there set forth in confirmation of its authenticity. Whoever wishes to become a purchaser of this painting, may, if he pleases, consult the catalogue already mentioned, where he will meet with the fullest information. We only leave to add, that it was purchased from the cabinet of his Excellency Signor Mocenizo, the Venetian Ambassador at the court of France (artiste anonyme)|The Parnassus of the Vatican. A finished study. The former printed catalogues of this collection having been perused by most connoisseurs, it will be needless to repeat what has been there set forth in confirmation of its authenticity. Whoever wishes to become a purchaser of this painting, may, if he pleases, consult the catalogue already mentioned, where he will meet with the fullest information. We only leave to add, that it was purchased from the cabinet of his Excellency Signor Mocenizo, the Venetian Ambassador at the court of France]] réalisée par un.e artiste anonyme. [67]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Eneas carrying his father Anchises, accompanied by his wife Creusa and his son Julus. This celebrated picture is sufficiently known by the engraving made from it. The artist has done justice to the subject, which is of the most sublime. Nor has Virgil expressed the horrors of that last night of Troy with more force than Frederico has shewn in his painting. -- From the cabinet of Cardinal Polignac (Frederico Barocci)|Eneas carrying his father Anchises, accompanied by his wife Creusa and his son Julus. This celebrated picture is sufficiently known by the engraving made from it. The artist has done justice to the subject, which is of the most sublime. Nor has Virgil expressed the horrors of that last night of Troy with more force than Frederico has shewn in his painting. -- From the cabinet of Cardinal Polignac]] réalisée par Frederico Barocci. [68]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The beautiful Landscape, which is the Scene of this Reposo, is the work of Brughel. All Nature seems to rejoice at the presence of the bambino and his mother. The earth puts on its freshest verdure, and flowers spring up under their footsteps. The animals partake of the general joy at the advent of a Saviour. Van Balens has represented the mother sitting with the child on her lap, angels presenting flowers, &c. -- This master-piece is from the cabinet of the Abbé Peroux (Brughel)|The beautiful Landscape, which is the Scene of this Reposo, is the work of Brughel. All Nature seems to rejoice at the presence of the bambino and his mother. The earth puts on its freshest verdure, and flowers spring up under their footsteps. The animals partake of the general joy at the advent of a Saviour. Van Balens has represented the mother sitting with the child on her lap, angels presenting flowers, &c. -- This master-piece is from the cabinet of the Abbé Peroux]] réalisée par Brughel. [69]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Moses raising the brazen Serpent in the Wilderness. From this excellent and genuine model the artist painted a noble and well-known picture; and from this too Bolsuert engraved the print, which is in the hands of all the curious in the arts. From the cabinet of the Abbé Jevigny (Rubens)|Moses raising the brazen Serpent in the Wilderness. From this excellent and genuine model the artist painted a noble and well-known picture; and from this too Bolsuert engraved the print, which is in the hands of all the curious in the arts. From the cabinet of the Abbé Jevigny]] réalisée par Rubens. [70]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Bacchanalian of Nymphs, Satyrs, Genii, &c. This is certainly one of the most capital performance of this favourite painter of men of taste. It not only abounds with picturesque beauties; it is also a mute kind of poem, by the sight of which the most pleasing ideas are excited. -- It is from the cabinet of Mons. le Doux. (Poussin)|A Bacchanalian of Nymphs, Satyrs, Genii, &c. This is certainly one of the most capital performance of this favourite painter of men of taste. It not only abounds with picturesque beauties; it is also a mute kind of poem, by the sight of which the most pleasing ideas are excited. -- It is from the cabinet of Mons. le Doux.]] réalisée par Poussin. [71]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Christ scourged. It is difficult to say which is most conspicuous in this picture, the beauty of the drawing, or the harmony and sweetness of the colouring. The effect of the light is equally deserving the notice of admirers of the fine arts. -- From the cabinet of the Abbé Peroux (Dominichini)|Christ scourged. It is difficult to say which is most conspicuous in this picture, the beauty of the drawing, or the harmony and sweetness of the colouring. The effect of the light is equally deserving the notice of admirers of the fine arts. -- From the cabinet of the Abbé Peroux]] réalisée par Dominichini. [72]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Mary Queen of Scots, and Francis II. her husband. Whoever considers the stile and manner of these two portraits can have little doubt relative to their being originals of this master. They certainly deserve a place in the first collections. -- From the cabinet of Mons. St. Andre. (Zuccaro)|Mary Queen of Scots, and Francis II. her husband. Whoever considers the stile and manner of these two portraits can have little doubt relative to their being originals of this master. They certainly deserve a place in the first collections. -- From the cabinet of Mons. St. Andre.]] réalisée par Zuccaro. [74]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Resurrection of Lazarus. This is one of the most valuable productions of the Venetian school. Independently of the great scarcity of this master's works, it has a variety of essential recommendations in the elegance of the forms, the variety of the characters, the force and naturalness of the expression, the richness of the draperies, &c. The truth and harmony of the colouring peculiar to this school, and, in a great measure, to Giorgione, who contributed more than any one to its perfection, evinces it to be his performance beyond a doubt. -- From the cabinet of Cardinal Polignac (Giorgione)|The Resurrection of Lazarus. This is one of the most valuable productions of the Venetian school. Independently of the great scarcity of this master's works, it has a variety of essential recommendations in the elegance of the forms, the variety of the characters, the force and naturalness of the expression, the richness of the draperies, &c. The truth and harmony of the colouring peculiar to this school, and, in a great measure, to Giorgione, who contributed more than any one to its perfection, evinces it to be his performance beyond a doubt. -- From the cabinet of Cardinal Polignac]] réalisée par Giorgione. [75]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A large and capital Landscape representing the Evening. This picture is all over perfection. It is Nature herself, and not an imitation. The warmth and glow of the evening sun, the serenity of the atmosphere, the transparency and limpidness of the waters, the lightness and thinness of the trees, the solidity and grandeur of the buildings, which carry every mark of the stamp of antiquity, enhance the beauty and grandeur of the scene, and fill the mind with a pleasing awe and thoughtfulness, The rays of light, when the sun happens to shine, view with those of the sun itself. -- From the cabinet of Mons. Buret (Claude Lorrain)|A large and capital Landscape representing the Evening. This picture is all over perfection. It is Nature herself, and not an imitation. The warmth and glow of the evening sun, the serenity of the atmosphere, the transparency and limpidness of the waters, the lightness and thinness of the trees, the solidity and grandeur of the buildings, which carry every mark of the stamp of antiquity, enhance the beauty and grandeur of the scene, and fill the mind with a pleasing awe and thoughtfulness, The rays of light, when the sun happens to shine, view with those of the sun itself. -- From the cabinet of Mons. Buret]] réalisée par Claude Lorrain. [76]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Portrait of his Mother. This is likewise a capital and most masterly performance. It is unnecessary to dwell on the praises of this and the foregoing picture, as no doubt can be entertained as to their merit or authenticity. -- They are from the cabinet of the Prince de Craon (Rembrandt)|The Portrait of his Mother. This is likewise a capital and most masterly performance. It is unnecessary to dwell on the praises of this and the foregoing picture, as no doubt can be entertained as to their merit or authenticity. -- They are from the cabinet of the Prince de Craon]] réalisée par Rembrandt. [78]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Tancred and Erminia. The story of this picture is from Tasso's Jerusalem, Canto 19. The hero of the piece lies dangerously wounded; death painted in his countenance, his head is supported by one of his captains, whilst Erminia, filled with grief and despair, cuts her flowing hair in order to stop his bleeding wounds. Tancred, with half opened eyes, casting a look at the sorrowful fair is extremely natural and moving. The whole scene is full of the most picturesque objects, exquisitely painted: men, steeds, armour, cities, encampments, every thing conspires to render this one of the sublimest productions of the Italian school. Its value is above all price. -- It is from the cabinet of the Duke de Chaulne (Ciro Ferri)|Tancred and Erminia. The story of this picture is from Tasso's Jerusalem, Canto 19. The hero of the piece lies dangerously wounded; death painted in his countenance, his head is supported by one of his captains, whilst Erminia, filled with grief and despair, cuts her flowing hair in order to stop his bleeding wounds. Tancred, with half opened eyes, casting a look at the sorrowful fair is extremely natural and moving. The whole scene is full of the most picturesque objects, exquisitely painted: men, steeds, armour, cities, encampments, every thing conspires to render this one of the sublimest productions of the Italian school. Its value is above all price. -- It is from the cabinet of the Duke de Chaulne]] réalisée par Ciro Ferri. [79]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Temple and Garden of Love. It would require a volume to relate the detail of what has been said or imagined concerning the subject of this allegorical picture. To confine ourselves to what we see in the piece itself. It appears to be the Temple and Garden of Love, in which the painter seems to have introduced himself, his friends, their wives, and if you will believe report, their mistresses. One of the latter, she who held the painter in her chains, we are told is expelled by his wife, jealous of her charms, and vexed at her husband's inconstancy. She is gentle in her resentment; and the scourge she punishes the unhappy favourite being of feathers, may be meant to signify that sins of love are of the venial kinds, and that a slight punishment is sufficient for involuntary and unpremeditated wrongs. In the porch are the Graces, to denote that other agremens or accomplishments besides mere beauty, are necessary to keep the flame of desire alive. Cupids are seen fluttering on downy pinions in the air, holding the torch, bow, arrows, doves and other emblems of that dangerous passion; whilst others strew flowers over the lovers and their mistresses, expressive of the happiness attendant on successful votaries of the infant God. Plenty pouring rivers of milk from her breasts, is intended to convey this truth, that Poverty and Love are seldom found together: Sine Cerere et Baccho friget Venus. As to the pictureseque merit of this painting, the applauses and wonder of every spectator affords proofs so ample, that to say any thing in praise of this first picture perhaps in the whole universe, would be to tell the judicious public nothing but what they know before. The observation made relative to the artist, may certainly be applied with equal truth to this picture: That if all other pictures were lost, this alone would suffice to restore, and to Perfect The Art Of Painting. (Rubens)|The Temple and Garden of Love. It would require a volume to relate the detail of what has been said or imagined concerning the subject of this allegorical picture. To confine ourselves to what we see in the piece itself. It appears to be the Temple and Garden of Love, in which the painter seems to have introduced himself, his friends, their wives, and if you will believe report, their mistresses. One of the latter, she who held the painter in her chains, we are told is expelled by his wife, jealous of her charms, and vexed at her husband's inconstancy. She is gentle in her resentment; and the scourge she punishes the unhappy favourite being of feathers, may be meant to signify that sins of love are of the venial kinds, and that a slight punishment is sufficient for involuntary and unpremeditated wrongs. In the porch are the Graces, to denote that other agremens or accomplishments besides mere beauty, are necessary to keep the flame of desire alive. Cupids are seen fluttering on downy pinions in the air, holding the torch, bow, arrows, doves and other emblems of that dangerous passion; whilst others strew flowers over the lovers and their mistresses, expressive of the happiness attendant on successful votaries of the infant God. Plenty pouring rivers of milk from her breasts, is intended to convey this truth, that Poverty and Love are seldom found together: Sine Cerere et Baccho friget Venus. As to the pictureseque merit of this painting, the applauses and wonder of every spectator affords proofs so ample, that to say any thing in praise of this first picture perhaps in the whole universe, would be to tell the judicious public nothing but what they know before. The observation made relative to the artist, may certainly be applied with equal truth to this picture: That if all other pictures were lost, this alone would suffice to restore, and to Perfect The Art Of Painting.]] réalisée par Rubens. [80]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Battle of Cassel. As Lewis XIV. engrossed the whole of this artist's labours, it is not wonder they are as scarce as they are excellent. This was a present from that great patron of the arts to his confessor Father La Chaise, from whose apartments it came originally -- It was bought of the Abbé Peroux (Vandermeulen)|The Battle of Cassel. As Lewis XIV. engrossed the whole of this artist's labours, it is not wonder they are as scarce as they are excellent. This was a present from that great patron of the arts to his confessor Father La Chaise, from whose apartments it came originally -- It was bought of the Abbé Peroux]] réalisée par Vandermeulen. [81]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Judgment of Solomon. This noble and grand composition is one of the most important this great and extraordinary genius ever painted. The whole is amazing, variety of ages, sexes, characters and conditions designed with surpassing elegance, and strength of expression, and painted with such a truth and harmony, that the artist seems to have been inspired. -- This amazing piece is from the cabinet of Mons. Bellot de Varenne (Leonardo da Vinci)|The Judgment of Solomon. This noble and grand composition is one of the most important this great and extraordinary genius ever painted. The whole is amazing, variety of ages, sexes, characters and conditions designed with surpassing elegance, and strength of expression, and painted with such a truth and harmony, that the artist seems to have been inspired. -- This amazing piece is from the cabinet of Mons. Bellot de Varenne]] réalisée par Leonardo da Vinci. [82]
  • 1778.04.10/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Portrait of Renata Dutchess of Lorraine. As it is impossible for words to do justice to the wonderful and magical picture, all thoughts of so romantic an attempt have been laid aside. It will not be judged impertinent to inform the public, that it came from the Prince de Craon de Lorraine: and that it was painted in the year 1636 (Rembrandt)|Portrait of Renata Dutchess of Lorraine. As it is impossible for words to do justice to the wonderful and magical picture, all thoughts of so romantic an attempt have been laid aside. It will not be judged impertinent to inform the public, that it came from the Prince de Craon de Lorraine: and that it was painted in the year 1636]] réalisée par Rembrandt. [83]
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