Ventes d'œuvres le 1807.06.26

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  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Land Storm, near the Centre is seen a Group of Oak and Ash Trees yielding to the Storm; a Horseman riding up; and on the Forground, an elegant Figure, whose attitude and flowing Drapery denote the violence of the Wind. For a further Description of this beautiful Cabinet Picture, see the enlarged Catalogue of the Proprietor. No.13. p.35 A richly broken bank and rugged tree, occupy the left corner of the foreground. Towards the right, stands the shattered trunk of an aged oak; near the centre, a group of oak and ash trees rise to a great height; beyond these, and on ground more remote, appear the skirts of a forest. On the left is seen part of a lake, with an old castle on its margin; a range of hills occupies the distance, all which are under shadow of a large cloud that enters from the left, and extends obliquely across the Landscape. Beyond the bank just mentioned, a Horseman, who seems to keep his seat with difficulty, is riding up towards the foreground, on which there is an elegant figure, whose attitude and the flowing lines of her drapery, denote the violence of the wind. The light is from the left, it is finely managed in the sky, falls strong on the foreground, as well as on the stems and foliage of the great oak and ash trees, whose forms and colours are picturesquely constrasted with each other...We have scarcely ever seen an idea of motion or extent more happily expressed, than those suggested by the management of the sky and cloud introduced in this Picture: their threatening aspect, the troubled state of the water, the apparent agitation of the trees, and the solemn gloom that overspreads the distance, portend the approach of an awful storm...On Canvas. One Foot Seven Inches high, by One Foot Three Inches wide. This, and the preceding Picture, were some time in the possession of Sir Joshua Reynolds, who took pleasure in showing them to his friends. (Jacob More)|A Land Storm, near the Centre is seen a Group of Oak and Ash Trees yielding to the Storm; a Horseman riding up; and on the Forground, an elegant Figure, whose attitude and flowing Drapery denote the violence of the Wind. For a further Description of this beautiful Cabinet Picture, see the enlarged Catalogue of the Proprietor. No.13. p.35 A richly broken bank and rugged tree, occupy the left corner of the foreground. Towards the right, stands the shattered trunk of an aged oak; near the centre, a group of oak and ash trees rise to a great height; beyond these, and on ground more remote, appear the skirts of a forest. On the left is seen part of a lake, with an old castle on its margin; a range of hills occupies the distance, all which are under shadow of a large cloud that enters from the left, and extends obliquely across the Landscape. Beyond the bank just mentioned, a Horseman, who seems to keep his seat with difficulty, is riding up towards the foreground, on which there is an elegant figure, whose attitude and the flowing lines of her drapery, denote the violence of the wind. The light is from the left, it is finely managed in the sky, falls strong on the foreground, as well as on the stems and foliage of the great oak and ash trees, whose forms and colours are picturesquely constrasted with each other...We have scarcely ever seen an idea of motion or extent more happily expressed, than those suggested by the management of the sky and cloud introduced in this Picture: their threatening aspect, the troubled state of the water, the apparent agitation of the trees, and the solemn gloom that overspreads the distance, portend the approach of an awful storm...On Canvas. One Foot Seven Inches high, by One Foot Three Inches wide. This, and the preceding Picture, were some time in the possession of Sir Joshua Reynolds, who took pleasure in showing them to his friends.]] réalisée par Jacob More, vendue par George Walker au prix de 26.5 £. [38]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Roman Charity, the Subject finely told, the coloring mellow and harmonious. See Proprietor's Catalogue, No.10. p.25 The principal figure in this well known subject is towards the left, his hands are bound at his back; behind is a stone pillar, to which he is chained; he is represented kneeling, to receive more conveniently the nourishment which his Daughter is gracefully tendering with her right hand -- She is resting on a bench in the middle of the prison, and inclines a little forward so as to assist her aged parent. Her Child is in her lap, supported by her left arm, from which hangs a piece of white drapery, introduced in order to extend the mass of light, break its too great regularity, and improve the general form of the group. A sun beam enters through the iron bars of a window on the right. The principal light is on the head, neck and left shoulder of the Daughter; those on her Father and Child, being less brilliant, form the secondary mass, while the other parts of the group, are thrown into shade. Under an arch, in the left corner of the Picture, the feeble light of a lamp is just discernible. An empty earthen jug is upon the foreground, which is thinly covered with straw...On Canvas. Two Feet Five Inches and a Half high, by Two Feet One Inch wide. (Alex Runciman)|The Roman Charity, the Subject finely told, the coloring mellow and harmonious. See Proprietor's Catalogue, No.10. p.25 The principal figure in this well known subject is towards the left, his hands are bound at his back; behind is a stone pillar, to which he is chained; he is represented kneeling, to receive more conveniently the nourishment which his Daughter is gracefully tendering with her right hand -- She is resting on a bench in the middle of the prison, and inclines a little forward so as to assist her aged parent. Her Child is in her lap, supported by her left arm, from which hangs a piece of white drapery, introduced in order to extend the mass of light, break its too great regularity, and improve the general form of the group. A sun beam enters through the iron bars of a window on the right. The principal light is on the head, neck and left shoulder of the Daughter; those on her Father and Child, being less brilliant, form the secondary mass, while the other parts of the group, are thrown into shade. Under an arch, in the left corner of the Picture, the feeble light of a lamp is just discernible. An empty earthen jug is upon the foreground, which is thinly covered with straw...On Canvas. Two Feet Five Inches and a Half high, by Two Feet One Inch wide.]] réalisée par Alex Runciman, vendue par George Walker au prix de 21.0 £. [39]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape with Figures, a neatly touched and well colored Specimen. See Catalogue, No.17. p.44 On the left of the foreground is an old tree, with the ruins of a fountain, near which are three figures. Upon the right is a Man on horseback, taking leave of a young Woman. Beyond them, on lower ground, is an old Castle, screened by a range of mountains, which run off obliquely towards the left, from whence the light enters...On Copper. Six Inches and a Half high, by Eight Inches and a Half wide. (Ferg)|A Landscape with Figures, a neatly touched and well colored Specimen. See Catalogue, No.17. p.44 On the left of the foreground is an old tree, with the ruins of a fountain, near which are three figures. Upon the right is a Man on horseback, taking leave of a young Woman. Beyond them, on lower ground, is an old Castle, screened by a range of mountains, which run off obliquely towards the left, from whence the light enters...On Copper. Six Inches and a Half high, by Eight Inches and a Half wide.]] réalisée par Ferg, vendue par George Walker au prix de 10.10 £. [41]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Halt at the close of a Battle, a wounded Officer communicating, and various Figures, finely grouped -- a warm and spirited Picture, from the Barberini Palace. See Catalogue, No.15. p.39 Upon the foreground, and toward the centre of the Picture, is a group of General Officers on horseback; one of whom with his back towards us, is mounted on a piebald Horse, of a dark chesnut colour, firmly painted, with a strong effect of light and shadow. Beyond these figures, is a Standard Bearer belonging to the Cavalry, several of whom are riding down the bank towards the right, while others ascend it from the opposite side. Though the brunt of the battle appears to be over, and the fate of the day decided, yet the skirmish appears to be continued or renewed in the distance. This admirable composition is rendered still more interesting, by an episode which formed the subject of a Piece by the same Master, formerly in the Houghton Collection, purchased by the Empress of Russia, namely, a dying Officer at confession; he is lifting up his eyes towards Heaven, full of hope and satisfaction in having done his duty. Near him are other figures, who have also fallen in the action...it was imported by the late Mr Gardner of Montrose, along with a valuable collection of Pictures and antique marbles, about forty years since. On Canvas. Two Feet High, by Two Feet Seven Inches wide. (G. Cortesi, overo il Borgognone)|A Halt at the close of a Battle, a wounded Officer communicating, and various Figures, finely grouped -- a warm and spirited Picture, from the Barberini Palace. See Catalogue, No.15. p.39 Upon the foreground, and toward the centre of the Picture, is a group of General Officers on horseback; one of whom with his back towards us, is mounted on a piebald Horse, of a dark chesnut colour, firmly painted, with a strong effect of light and shadow. Beyond these figures, is a Standard Bearer belonging to the Cavalry, several of whom are riding down the bank towards the right, while others ascend it from the opposite side. Though the brunt of the battle appears to be over, and the fate of the day decided, yet the skirmish appears to be continued or renewed in the distance. This admirable composition is rendered still more interesting, by an episode which formed the subject of a Piece by the same Master, formerly in the Houghton Collection, purchased by the Empress of Russia, namely, a dying Officer at confession; he is lifting up his eyes towards Heaven, full of hope and satisfaction in having done his duty. Near him are other figures, who have also fallen in the action...it was imported by the late Mr Gardner of Montrose, along with a valuable collection of Pictures and antique marbles, about forty years since. On Canvas. Two Feet High, by Two Feet Seven Inches wide.]] réalisée par G. Cortesi, overo il Borgognone, vendue par George Walker au prix de 26.5 £. [42]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Sun-set with Figures and Cattle, View on the Banks of the Forth, near Stirling Castle; a slight but elegant Picture of the Master. See Catalogue, No.14. p.38 On the left, an old oak tree rises over a rock, near which a small fall of water empties itself into a pool below, at which there are some cattle drinking. Part of the great rock, called the Castle Craig, occupies the centre of the Picture, together with the windings of the River, which run off towards the right. In the distance is a range of hills. On the foreground are two picturesque figures. Though this is rather a slight and sketchy piece, it is executed in a very masterly style, and pleasing tone of colouring. An Oval -- On Canvas. (Jacob More)|A Sun-set with Figures and Cattle, View on the Banks of the Forth, near Stirling Castle; a slight but elegant Picture of the Master. See Catalogue, No.14. p.38 On the left, an old oak tree rises over a rock, near which a small fall of water empties itself into a pool below, at which there are some cattle drinking. Part of the great rock, called the Castle Craig, occupies the centre of the Picture, together with the windings of the River, which run off towards the right. In the distance is a range of hills. On the foreground are two picturesque figures. Though this is rather a slight and sketchy piece, it is executed in a very masterly style, and pleasing tone of colouring. An Oval -- On Canvas.]] réalisée par Jacob More, vendue par George Walker au prix de 21.0 £. [43]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Posthumus and Jachimo, the Characters finely marked. See Catalogue, No.11. p.28 The figures are half lengths. The scene is in the house of Philario at Rome. Posthumus is on the left uncovered. Iachimo is towards the right; he is in his beaver, with a plume of feathers, having just returned from Britain...The Artist has paid a compliment to the virtue of Imogen, by representing Iachimo extremely handsome; he is holding the bracelet in his left hand, and pointing to it with the other. Posthumus has his left hand upon his breast, while his right is raised somewhat above his shoulder. The expression in his countenance shews the anguish of his mind. Both characters are finely marked...On Canvas. Two Feet Six Inches high, by Two Feet Two Inches wide. (Alex. Runciman)|Posthumus and Jachimo, the Characters finely marked. See Catalogue, No.11. p.28 The figures are half lengths. The scene is in the house of Philario at Rome. Posthumus is on the left uncovered. Iachimo is towards the right; he is in his beaver, with a plume of feathers, having just returned from Britain...The Artist has paid a compliment to the virtue of Imogen, by representing Iachimo extremely handsome; he is holding the bracelet in his left hand, and pointing to it with the other. Posthumus has his left hand upon his breast, while his right is raised somewhat above his shoulder. The expression in his countenance shews the anguish of his mind. Both characters are finely marked...On Canvas. Two Feet Six Inches high, by Two Feet Two Inches wide.]] réalisée par Alex. Runciman, vendue par George Walker au prix de 21.0 £. [44]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape with Figures, a Group near a Fountain, among them is a Man holding a spirited Horse, a Romantic Distance. See Cat.18. p.45 A fountain on the left, at which are two young Women and a Boy, in conversation with a Man who is holding by the halter a very beautiful and spirited grey Horse. -- High ground towards the right, on which are the ruins of a romantic Castle, and a range of lofty mountains in the distance. Though this Piece is not quite completed, it may be considered as an extraordinary production of the Master...On Copper. Seven Inches and a Half high, by Nine Inches and a Quarter wide. Belonged to the ingenious Mr Skirving, well known for his excellent Portraits in Crayon; and who, on going many years since to Italy to prosecute his studies, parted with it to a friend. (Ferg)|A Landscape with Figures, a Group near a Fountain, among them is a Man holding a spirited Horse, a Romantic Distance. See Cat.18. p.45 A fountain on the left, at which are two young Women and a Boy, in conversation with a Man who is holding by the halter a very beautiful and spirited grey Horse. -- High ground towards the right, on which are the ruins of a romantic Castle, and a range of lofty mountains in the distance. Though this Piece is not quite completed, it may be considered as an extraordinary production of the Master...On Copper. Seven Inches and a Half high, by Nine Inches and a Quarter wide. Belonged to the ingenious Mr Skirving, well known for his excellent Portraits in Crayon; and who, on going many years since to Italy to prosecute his studies, parted with it to a friend.]] réalisée par Ferg, vendue par George Walker au prix de 9.9 £. [45]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin, three quarter Picture, devout Expression and delicately painted. See Cat. No.8. p.22 A ray of glory surrounds the head, which is gently inclined forward, looking down towards the right, with the hands across the bosom, as in the act of contemplating the Infant Saviour, with an expression of great tenderness and devotion, accompanied with that modest and graceful air, so peculiar to the pathetic female character...On Canvas. Two Feet Four Inches high, by One Foot Eleven and a Half Inches wide. (Guido)|The Virgin, three quarter Picture, devout Expression and delicately painted. See Cat. No.8. p.22 A ray of glory surrounds the head, which is gently inclined forward, looking down towards the right, with the hands across the bosom, as in the act of contemplating the Infant Saviour, with an expression of great tenderness and devotion, accompanied with that modest and graceful air, so peculiar to the pathetic female character...On Canvas. Two Feet Four Inches high, by One Foot Eleven and a Half Inches wide.]] réalisée par Guido, vendue par George Walker au prix de 42.0 £. [46]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Prodigal Son, a spirited and elegant Composition of Fifteen Figures, finely colored and touched with a mellow and charming Pencil -- from the Cabinet of the Comte de Proli. See Cat. No.20 p.47 The point of time is at the moment when the Young Man's debaucheries are at their greatest height; that is, during the entertainment given to the Courtezans, which is represented in a sort of vestibule opening on the left, with a view into the country. The principal group, consisting of eleven figures, are around the table, at which are introduced two Performers, one on the Flute the other on the Mandoline. Upon the right, as we look towards the Picture, sits the Prodigal; he holds a glass of liquor in his right hand, which rests upon the table, and has taken one of the Women upon his knee. She appears to be amusing him with some ridiculous story, as the expression of his countenance fully indicates, while a Boy behind him has stolen his purse, which he is handing to an old Woman, who, with one hand resting upon a crutch, makes a sign with a finger of the other, to inform her accomplices that their scheme has succeeded. Behind the group at table, and between pillars of the Corinthian order, are two niches, containing statues of the Apollo and Venus. The Prodigal is placed under that of the latter. Against the right wall of the apartment stands a side-board with sundry articles of plate, &c. at the farther end of which, a Waiter, who is about to fill a large glass from a flask bottle, seems to have an eye upon what is going on. Behind him is an arched door of considerable height, with an ornamental pediment and fluted pilasters. At this end of the side-board, stands a wine chest and chair, against which rests a Violoncello. Upon the foreground on the left is a short flight of stairs leading to an open portico, under which, on the landing place, are two figures; one of whom appears to be a Stage Dancer; a Black Servant Boy is upon the steps with a dish of pastry. Behind the portico is a crimson-coloured curtain, intended to divide the apartement occasionally, but at present drawn up. The pavement of the floor is of black and white marble. The light is from the left, and the principal mass falls vigorously on several of the figures at table; the secondary mass is upon the waiter, and part of the articles upon the sideboard. The next degree of light is upon the statues, by which judicious distribution, the triangular form of the principal group is finely preserved. The staircase and adjoining building on the left, are under a general mass of shadow, which being extended obliquely across the pavement towards the right, removes the principal group to a proper distance from the eye, gives relief to the piece, and contributes to the surprising effect and splendour of this extraordinary composition...it was imported into this country by Robert Alexander, Esq. the banker, and went afterwards into the Earl of Harrington's Collection. It is in the finest state of preservation. On Canvas. Three Feet Nine Inches High, by Four Feet Ten Inches wide. (v. Harp)|The Prodigal Son, a spirited and elegant Composition of Fifteen Figures, finely colored and touched with a mellow and charming Pencil -- from the Cabinet of the Comte de Proli. See Cat. No.20 p.47 The point of time is at the moment when the Young Man's debaucheries are at their greatest height; that is, during the entertainment given to the Courtezans, which is represented in a sort of vestibule opening on the left, with a view into the country. The principal group, consisting of eleven figures, are around the table, at which are introduced two Performers, one on the Flute the other on the Mandoline. Upon the right, as we look towards the Picture, sits the Prodigal; he holds a glass of liquor in his right hand, which rests upon the table, and has taken one of the Women upon his knee. She appears to be amusing him with some ridiculous story, as the expression of his countenance fully indicates, while a Boy behind him has stolen his purse, which he is handing to an old Woman, who, with one hand resting upon a crutch, makes a sign with a finger of the other, to inform her accomplices that their scheme has succeeded. Behind the group at table, and between pillars of the Corinthian order, are two niches, containing statues of the Apollo and Venus. The Prodigal is placed under that of the latter. Against the right wall of the apartment stands a side-board with sundry articles of plate, &c. at the farther end of which, a Waiter, who is about to fill a large glass from a flask bottle, seems to have an eye upon what is going on. Behind him is an arched door of considerable height, with an ornamental pediment and fluted pilasters. At this end of the side-board, stands a wine chest and chair, against which rests a Violoncello. Upon the foreground on the left is a short flight of stairs leading to an open portico, under which, on the landing place, are two figures; one of whom appears to be a Stage Dancer; a Black Servant Boy is upon the steps with a dish of pastry. Behind the portico is a crimson-coloured curtain, intended to divide the apartement occasionally, but at present drawn up. The pavement of the floor is of black and white marble. The light is from the left, and the principal mass falls vigorously on several of the figures at table; the secondary mass is upon the waiter, and part of the articles upon the sideboard. The next degree of light is upon the statues, by which judicious distribution, the triangular form of the principal group is finely preserved. The staircase and adjoining building on the left, are under a general mass of shadow, which being extended obliquely across the pavement towards the right, removes the principal group to a proper distance from the eye, gives relief to the piece, and contributes to the surprising effect and splendour of this extraordinary composition...it was imported into this country by Robert Alexander, Esq. the banker, and went afterwards into the Earl of Harrington's Collection. It is in the finest state of preservation. On Canvas. Three Feet Nine Inches High, by Four Feet Ten Inches wide.]] réalisée par v. Harp, vendue par George Walker au prix de 30 gs. [47]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape with Figures and Cattle, a young Woman and Boy on the Foreground boiling a Kettle, an Encampment and Picturesque distance, not inferior to Philip Wouvermans. See Cat. No.16. p.42 Immediately behind them, in a park overshadowed by a high hill, whose trees and foliage extend upon the sky, is a group of nine Horses, finely drawn. The scene appears to be in the neighbourhood of an encampment, with a range of tents seen obliquely towards the right; beyond these, is a picturesque old Castle, with hills in the distance. The light is from the left, and falls strongest on a white Horse, which, with others of the above mentioned group, is tied to the pales of the inclosure. -- The next degree of light is upon the figures and foreground, on the latter of which is an old saddle. -- The light is beautifully managed in the middle ground as well as in the sky, which is touched with uncommon spirit. The colouring of the whole is of a rich mellow tone, with great breadth of light and shadow, and a vigorous effect...On Canvas. Two Feet Half an Inch high, by Two Feet Five Inches and a Half wide. This Piece formed part of a choice assemblage of Pictures, collected by the late Mr Seton of Touch. (P. Wouvermans)|A Landscape with Figures and Cattle, a young Woman and Boy on the Foreground boiling a Kettle, an Encampment and Picturesque distance, not inferior to Philip Wouvermans. See Cat. No.16. p.42 Immediately behind them, in a park overshadowed by a high hill, whose trees and foliage extend upon the sky, is a group of nine Horses, finely drawn. The scene appears to be in the neighbourhood of an encampment, with a range of tents seen obliquely towards the right; beyond these, is a picturesque old Castle, with hills in the distance. The light is from the left, and falls strongest on a white Horse, which, with others of the above mentioned group, is tied to the pales of the inclosure. -- The next degree of light is upon the figures and foreground, on the latter of which is an old saddle. -- The light is beautifully managed in the middle ground as well as in the sky, which is touched with uncommon spirit. The colouring of the whole is of a rich mellow tone, with great breadth of light and shadow, and a vigorous effect...On Canvas. Two Feet Half an Inch high, by Two Feet Five Inches and a Half wide. This Piece formed part of a choice assemblage of Pictures, collected by the late Mr Seton of Touch.]] réalisée par P. Wouvermans, vendue par George Walker au prix de 21.0 £. [48]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Hagar and Ishmael, designed and executed with all the Elegance and Dignity of the Roman Style and Manner, adopted by this great Master in his best time. See Cat. No.9. p.23 Hagar is sitting on the right of the foreground -- One hand is a little raised, while the other is placed upon her bosom, as expressive of her sufferings -- She is lifting up an eye of affliction towards the Angel, who is pointing to the spring of water, in the distance. Behind her, young Ishmael is lying upon the ground, near the stem of an old tree. A range of light-coloured clouds extend irregularly along the sky. The light is from the left; the principal mass is upon the Angel; his wings, which rise to the top of the picture, are chiefly under shadow. The secondary mass is upon the figure of Hagar; her drapery is of a deep blue, and dark orange tint; the whole of the background, as well as the Child, is under a broad general shadow. The figures being painted in the manner of the old Roman School, he has carried the shadows to the extremity of their outlines, totally disregarding the reflected lights. Supported throughout by its mellow tone of colouring, and great style of drawing, the piece has an impressive and noble effect...Belonged to John Duke of Argyle. On Canvas. Two Feet high, by Two Feet Six Inches wide. (A. Carracci)|Hagar and Ishmael, designed and executed with all the Elegance and Dignity of the Roman Style and Manner, adopted by this great Master in his best time. See Cat. No.9. p.23 Hagar is sitting on the right of the foreground -- One hand is a little raised, while the other is placed upon her bosom, as expressive of her sufferings -- She is lifting up an eye of affliction towards the Angel, who is pointing to the spring of water, in the distance. Behind her, young Ishmael is lying upon the ground, near the stem of an old tree. A range of light-coloured clouds extend irregularly along the sky. The light is from the left; the principal mass is upon the Angel; his wings, which rise to the top of the picture, are chiefly under shadow. The secondary mass is upon the figure of Hagar; her drapery is of a deep blue, and dark orange tint; the whole of the background, as well as the Child, is under a broad general shadow. The figures being painted in the manner of the old Roman School, he has carried the shadows to the extremity of their outlines, totally disregarding the reflected lights. Supported throughout by its mellow tone of colouring, and great style of drawing, the piece has an impressive and noble effect...Belonged to John Duke of Argyle. On Canvas. Two Feet high, by Two Feet Six Inches wide.]] réalisée par A. Carracci, vendue par George Walker au prix de 36.15 £. [49]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Madonna and Child, the latter naked in the Lap of the Virgin, who holds a Book; a little beautiful Specimen on black Marble or touch Stone. See Cat. No.6. p19 Was imported from Venice, by the ingenious Mr Bartolozzi, and is worthy of a place in any Collection, however select. Nine Inches and a Quarter high, by Eight Inches and Three Quarters wide. (Albano)|A Madonna and Child, the latter naked in the Lap of the Virgin, who holds a Book; a little beautiful Specimen on black Marble or touch Stone. See Cat. No.6. p19 Was imported from Venice, by the ingenious Mr Bartolozzi, and is worthy of a place in any Collection, however select. Nine Inches and a Quarter high, by Eight Inches and Three Quarters wide.]] réalisée par Albano, vendue par George Walker au prix de 31.10 £. [50]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[St. Christopher bearing the Infant Saviour by Moonlight, a little beautiful Specimen of this rare Master, and formerly in the Collection of King Charles I. See Cat. No. 1 The subject is allegorically treated; St Christopher being represented with the Infant Saviour upon his shoulders, just setting out on his journey by Moon-light. He is in the water and towards the right; his Staff is in his left hand; the other is placed upon his side, supporting the Child who is naked, and, with a glory round his head, is sitting in the most picturesque attitude imaginable, holding St Christopher by a lock of his hair with one hand. On the left is an oratory of the Virgin Mary, and a Hermit with a lighted torch; anachronisms that may be easily pardoned, when the period at which the piece was executed is considered. In the back-ground, which consists of a beautiful Landscape, two fire-lights with figures near them are just visible. The Moon is towards the zenith, above a mass of dark clouds; the light is finely diffused around it, and falls strong upon the Child, as well as on the head and shoulders of St Christopher, and part of his drapery, which is of deep rich blue (ultramarine) and dark orange tint...On Copper, Nine Inches high, by Six Inches wide, With the initials C.R. and a Crown marked behind it...this Piece belonged to...King Charles the First, and was afterwards in the possession of the late Duke of Portland. (Adam Elsheimer)|St. Christopher bearing the Infant Saviour by Moonlight, a little beautiful Specimen of this rare Master, and formerly in the Collection of King Charles I. See Cat. No. 1 The subject is allegorically treated; St Christopher being represented with the Infant Saviour upon his shoulders, just setting out on his journey by Moon-light. He is in the water and towards the right; his Staff is in his left hand; the other is placed upon his side, supporting the Child who is naked, and, with a glory round his head, is sitting in the most picturesque attitude imaginable, holding St Christopher by a lock of his hair with one hand. On the left is an oratory of the Virgin Mary, and a Hermit with a lighted torch; anachronisms that may be easily pardoned, when the period at which the piece was executed is considered. In the back-ground, which consists of a beautiful Landscape, two fire-lights with figures near them are just visible. The Moon is towards the zenith, above a mass of dark clouds; the light is finely diffused around it, and falls strong upon the Child, as well as on the head and shoulders of St Christopher, and part of his drapery, which is of deep rich blue (ultramarine) and dark orange tint...On Copper, Nine Inches high, by Six Inches wide, With the initials C.R. and a Crown marked behind it...this Piece belonged to...King Charles the First, and was afterwards in the possession of the late Duke of Portland.]] réalisée par Adam Elsheimer, vendue par George Walker au prix de 31.10 £. [51]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Halt of Cavalry, an interesting and spirited Picture of the Master, very highly finished. See Cat. No.3. p.9 This beautiful composition contains thirteen figures, exclusive of those in the distance. The scene is in the immediate neighbourhood of an encampment, with suttlers tents, &c. on either hand. The group on the foreground consists of six figures and three horses. The strongest light falls on a white horse towards the middle of the Picture; his Master, who appears to have dismounted to light a tobacco-pipe, is conversing with a Woman who is at some distance from him, emptying a pail of water. Between these figures, and on baggage lying on the ground, sits one of the Cavalry, who is going to salute a young woman. On the right of the foreground is an Officer with his back towards us, mounted on a chesnut-coloured Horse, beautifully foreshortened; he holds a tankard in his right hand; upon the ground, near his horse's feet is a white Spaniel Dog. On the further side of the group is a Trumpeter, who is seen in front, and is also on horseback. Upon the left, and on ground more remote, is a group of seven figures; one of them with a Young Woman, is dancing to the sound of a fife and drum, while his three comrades are resting on a bank near them. Sundry tents, buildings and a distant mountain terminate the prospect...The Picture is in the finest state of preservation. On Pannel. One Foot Two Inches and a Quarter high, by One Foot Four Inches and a Half wide. (Philip Wouvermans)|A Halt of Cavalry, an interesting and spirited Picture of the Master, very highly finished. See Cat. No.3. p.9 This beautiful composition contains thirteen figures, exclusive of those in the distance. The scene is in the immediate neighbourhood of an encampment, with suttlers tents, &c. on either hand. The group on the foreground consists of six figures and three horses. The strongest light falls on a white horse towards the middle of the Picture; his Master, who appears to have dismounted to light a tobacco-pipe, is conversing with a Woman who is at some distance from him, emptying a pail of water. Between these figures, and on baggage lying on the ground, sits one of the Cavalry, who is going to salute a young woman. On the right of the foreground is an Officer with his back towards us, mounted on a chesnut-coloured Horse, beautifully foreshortened; he holds a tankard in his right hand; upon the ground, near his horse's feet is a white Spaniel Dog. On the further side of the group is a Trumpeter, who is seen in front, and is also on horseback. Upon the left, and on ground more remote, is a group of seven figures; one of them with a Young Woman, is dancing to the sound of a fife and drum, while his three comrades are resting on a bank near them. Sundry tents, buildings and a distant mountain terminate the prospect...The Picture is in the finest state of preservation. On Pannel. One Foot Two Inches and a Quarter high, by One Foot Four Inches and a Half wide.]] réalisée par Philip Wouvermans, vendue par George Walker au prix de 63.0 £. [52]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[An Interior, with the Family of Ostade, a favorite Subject of the Master, and etched by him under the Title of the Cottage Dinner; probably a Study for the larger Picture of this Subject, in the Gallery of the Louvre. See Catalogue; No.4. p.12 This Piece offers a composition of seven figures, five of whom are around a table in the middle of the apartment, with two Children on one side. The whole forms a very beautiful group, which...may be divided into two -- One of them, that on the right of the table, consists of three figures -- The Artist's Wife, who is the nearest figure of this group, is sitting with her back obliquely to the right, with her left hand down by her side; in conversation with her Husband's Brother and his Father, who is about to fill a glass from an earthen jug which he holds in his hand. The other group, consisting of the remaining four figures, are towards the left; two of them at table. -- Ostade, in order to give a more picturesque form to the general group, is represented standing, having just risen from his seat; he is seen nearly in front, with a glass of liquor in one hand, the other is raised towards his breast -- he appears to be addressing himself to his Father-in-law, who is sitting on this side of the table, with his back towards the left, in a triangular Dutch Chair -- he is bald-headed; has one hand on the table, in the other a tobacco-pipe, with his cap and feather on his knee and pouch by his side. Beyond the old man who is nearest the foreground, is the Childrens table, at which a little Boy is helping his younger Sister to the contents of a jug, out of which she is drinking. Towards the door, on the other side of the apartment, which is three steps under ground, is a white Shock Dog. The fire place is in the most remote corner beyond the Children, and on the same side of the house is a small window, which gives light to a winding staircase leading to the higher apartments. The background is diversified with various culinary utensils, and all the paraphernalia of a Dutch Cottage. The light, which enters obliquely from the right and somewhat in front, is beautifully diffused over the group at table, agreeably to their position in the Piece, and falls partially on the Children. The secondary degree of light is upon the floor, between the foreground and table. The whole of the background is kept under shadow...On Canvas. One Foot high, by One Foot One Inch and Three Quarters wide. It was purchased in Holland, by the late Captain Stuart of Dunearn, whose Collection is mentioned by Mr Pennant. Tour in Scotland, 1772, Part II, page 207, quarto edit. (A. Ostade)|An Interior, with the Family of Ostade, a favorite Subject of the Master, and etched by him under the Title of the Cottage Dinner; probably a Study for the larger Picture of this Subject, in the Gallery of the Louvre. See Catalogue; No.4. p.12 This Piece offers a composition of seven figures, five of whom are around a table in the middle of the apartment, with two Children on one side. The whole forms a very beautiful group, which...may be divided into two -- One of them, that on the right of the table, consists of three figures -- The Artist's Wife, who is the nearest figure of this group, is sitting with her back obliquely to the right, with her left hand down by her side; in conversation with her Husband's Brother and his Father, who is about to fill a glass from an earthen jug which he holds in his hand. The other group, consisting of the remaining four figures, are towards the left; two of them at table. -- Ostade, in order to give a more picturesque form to the general group, is represented standing, having just risen from his seat; he is seen nearly in front, with a glass of liquor in one hand, the other is raised towards his breast -- he appears to be addressing himself to his Father-in-law, who is sitting on this side of the table, with his back towards the left, in a triangular Dutch Chair -- he is bald-headed; has one hand on the table, in the other a tobacco-pipe, with his cap and feather on his knee and pouch by his side. Beyond the old man who is nearest the foreground, is the Childrens table, at which a little Boy is helping his younger Sister to the contents of a jug, out of which she is drinking. Towards the door, on the other side of the apartment, which is three steps under ground, is a white Shock Dog. The fire place is in the most remote corner beyond the Children, and on the same side of the house is a small window, which gives light to a winding staircase leading to the higher apartments. The background is diversified with various culinary utensils, and all the paraphernalia of a Dutch Cottage. The light, which enters obliquely from the right and somewhat in front, is beautifully diffused over the group at table, agreeably to their position in the Piece, and falls partially on the Children. The secondary degree of light is upon the floor, between the foreground and table. The whole of the background is kept under shadow...On Canvas. One Foot high, by One Foot One Inch and Three Quarters wide. It was purchased in Holland, by the late Captain Stuart of Dunearn, whose Collection is mentioned by Mr Pennant. Tour in Scotland, 1772, Part II, page 207, quarto edit.]] réalisée par A. Ostade, vendue par George Walker au prix de 28.7 £. [53]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Madona and Child in a Landscape, a little beautiful Cabinet Specimen, from the Collection of the Grassi Family, at Venice. See Cat. No.5. p.16 The Figures are small whole lengths -- The Madona is sitting on a bank near the middle of the Picture. -- The Child is standing on the left; his back towards us -- Her head is inclined downwards: one hand rests upon her lap, in the other, which is raised higher than her head, she is holding up a Pear, to which the Child is reaching. -- Her attitude is extremely graceful: that of the Child is full of elegance and beauty. -- He is naked, and appears to have been bathing, which in consequence of the friction occasioned by drying the body, together with the increased circulation, accounts for the sanguine colour of it; this is somewhat heightened too, by the reflection from the crimson-coloured drapery of the Madona: over her shoulder is a mantle of a rich blue tint; (ultramarine) which, contrasted with the warmth of the local colours near it, would appear out of harmony, were not the same colour revived in the Sky. -- The background is lofty and romantic, it appears to be in the vicinity of a City, and which, as well as the sky, is of a very low tone of colouring; these give a fine effect to the figures. -- The light is from the left, and strongest on the Madona -- At her foot, on the right, is an open wicker basket, with a piece of white drapery, which extends the mass of light, and serves as a counterbalance to the Child, who is represented under a half tint of shadow. -- The foreground is of a rich mellow brownish tint, which harmonizes with the colouring of the figures...From the Collection of the Noble Family of Grassi at Venice. Was imported into this country along with a few others of the same Cabinet, about Forty Years since. On Canvas. One Foot an Inch and Three Eighths high, by Ten Inches and Three Quarters wide. (N. Poussin)|A Madona and Child in a Landscape, a little beautiful Cabinet Specimen, from the Collection of the Grassi Family, at Venice. See Cat. No.5. p.16 The Figures are small whole lengths -- The Madona is sitting on a bank near the middle of the Picture. -- The Child is standing on the left; his back towards us -- Her head is inclined downwards: one hand rests upon her lap, in the other, which is raised higher than her head, she is holding up a Pear, to which the Child is reaching. -- Her attitude is extremely graceful: that of the Child is full of elegance and beauty. -- He is naked, and appears to have been bathing, which in consequence of the friction occasioned by drying the body, together with the increased circulation, accounts for the sanguine colour of it; this is somewhat heightened too, by the reflection from the crimson-coloured drapery of the Madona: over her shoulder is a mantle of a rich blue tint; (ultramarine) which, contrasted with the warmth of the local colours near it, would appear out of harmony, were not the same colour revived in the Sky. -- The background is lofty and romantic, it appears to be in the vicinity of a City, and which, as well as the sky, is of a very low tone of colouring; these give a fine effect to the figures. -- The light is from the left, and strongest on the Madona -- At her foot, on the right, is an open wicker basket, with a piece of white drapery, which extends the mass of light, and serves as a counterbalance to the Child, who is represented under a half tint of shadow. -- The foreground is of a rich mellow brownish tint, which harmonizes with the colouring of the figures...From the Collection of the Noble Family of Grassi at Venice. Was imported into this country along with a few others of the same Cabinet, about Forty Years since. On Canvas. One Foot an Inch and Three Eighths high, by Ten Inches and Three Quarters wide.]] réalisée par N. Poussin, vendue par George Walker au prix de 31.10 £. [54]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Boy's Head a little charming Picture, which formerly belonged to the Cornaro Family at Venice. See Cat. No.7. p.20 The head, which is the size of life, and turned towards the left shoulder, is a perfect model of youthful innocence and beauty...Belonged to the Cornaro family of Venice, was brought to Rome by the Abbe Grant, and from thence to this country, by the late David Martin, Esq. Painted on Canvas laid down on Board. An Oval, Ten Inches and a Half high, by Nine and a Half wide. (Corregio)|A Boy's Head a little charming Picture, which formerly belonged to the Cornaro Family at Venice. See Cat. No.7. p.20 The head, which is the size of life, and turned towards the left shoulder, is a perfect model of youthful innocence and beauty...Belonged to the Cornaro family of Venice, was brought to Rome by the Abbe Grant, and from thence to this country, by the late David Martin, Esq. Painted on Canvas laid down on Board. An Oval, Ten Inches and a Half high, by Nine and a Half wide.]] réalisée par Corregio, vendue par George Walker au prix de 31.10 £. [55]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Agrippina landing at Brundusium, with the Ashes of Germanicus; a truly classical Picture by this Father of the Scotish School of Painting -- capital. See Cat. No.21. p.51 This Picture offers a composition of twenty-three figures, exclusive of the Seamen and Roman Soldiers on board the vessels. Agrippina, is represented as having just landed, carrying in her arms the Urn containing the ashes of her husband, accompanied by her son Nero, who was afterwards put to death by order of Tiberius; and her daughter, called the younger Agrippina, the mother of the Emperor Nero. She appears advancing with her Children and Attendants at a slow and solemn pace, while the Priest is offering sacrifice, either for her safe arrival, or as the highest mark of respect that could be paid to her, as the Grand Daughter of the Deified Augustus. The altar, which bears the inscription of Tiberius Caesar, is upon the right, close by a statue of Neptune. Between the Priest and his assistants are two Youths, one of them with a little chest (the Acerra) holding the perfumes, the other carrying a vase (the praeferriculum) containing the liquor to be used in libation. Near the altar stands a figure with a patera in his hand; on this side of it two others are employed in preparing the victim which is a black Heifer. Near Agrippina are two Roman Ladies, one of whom stoops to explain to her son the meaning of the sacrifice which attracts his attention. On the other side of Agrippina a young Woman appears in conversation with a Centurion, as if enquiring after some of her friends in the army or on board the fleet. On the left of the foreground are some beautiful young Women to whom an aged Matron is pointing out the Widow and Children of the lamented Germanicus. Behind this group are several Women with Children in their arms. In the centre of the Picture, beyond the principal group and close to the quay, is the Roman galley from which Agrippina had landed. The prow of the vessel is adorned with the shields of the Roman Soldiers, and its sides ornamented with representations of River Deities and the Nymphs of their tributary streams. The sail, which is loose and just going to be furled, hangs obliquely to the right, and occupies about two thirds of the width of the Picture, chiefly above the horizon; its depth of shade not only gives an excellent effect to the mellow lights of the principal figures, but also serves as a key-note of a low and solemn tone to the whole Piece. At a short distance the prows and masts of other vessels in the harbour are seen on the left; the space between the pier and horizon is occupied by the sea, on which several boats and vessels appear in the distance. The light is from the left...the utmost attention has been paid to the costumé, except in what relates to the drapery of Agrippina, which is a rich purple instead of white, the mourning dress of the antients...we had opportunities of seeing this Picture begun and completed, nearly about five years before his death (A. Runciman)|Agrippina landing at Brundusium, with the Ashes of Germanicus; a truly classical Picture by this Father of the Scotish School of Painting -- capital. See Cat. No.21. p.51 This Picture offers a composition of twenty-three figures, exclusive of the Seamen and Roman Soldiers on board the vessels. Agrippina, is represented as having just landed, carrying in her arms the Urn containing the ashes of her husband, accompanied by her son Nero, who was afterwards put to death by order of Tiberius; and her daughter, called the younger Agrippina, the mother of the Emperor Nero. She appears advancing with her Children and Attendants at a slow and solemn pace, while the Priest is offering sacrifice, either for her safe arrival, or as the highest mark of respect that could be paid to her, as the Grand Daughter of the Deified Augustus. The altar, which bears the inscription of Tiberius Caesar, is upon the right, close by a statue of Neptune. Between the Priest and his assistants are two Youths, one of them with a little chest (the Acerra) holding the perfumes, the other carrying a vase (the praeferriculum) containing the liquor to be used in libation. Near the altar stands a figure with a patera in his hand; on this side of it two others are employed in preparing the victim which is a black Heifer. Near Agrippina are two Roman Ladies, one of whom stoops to explain to her son the meaning of the sacrifice which attracts his attention. On the other side of Agrippina a young Woman appears in conversation with a Centurion, as if enquiring after some of her friends in the army or on board the fleet. On the left of the foreground are some beautiful young Women to whom an aged Matron is pointing out the Widow and Children of the lamented Germanicus. Behind this group are several Women with Children in their arms. In the centre of the Picture, beyond the principal group and close to the quay, is the Roman galley from which Agrippina had landed. The prow of the vessel is adorned with the shields of the Roman Soldiers, and its sides ornamented with representations of River Deities and the Nymphs of their tributary streams. The sail, which is loose and just going to be furled, hangs obliquely to the right, and occupies about two thirds of the width of the Picture, chiefly above the horizon; its depth of shade not only gives an excellent effect to the mellow lights of the principal figures, but also serves as a key-note of a low and solemn tone to the whole Piece. At a short distance the prows and masts of other vessels in the harbour are seen on the left; the space between the pier and horizon is occupied by the sea, on which several boats and vessels appear in the distance. The light is from the left...the utmost attention has been paid to the costumé, except in what relates to the drapery of Agrippina, which is a rich purple instead of white, the mourning dress of the antients...we had opportunities of seeing this Picture begun and completed, nearly about five years before his death]] réalisée par A. Runciman, vendue par George Walker. [56]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[View of the Great Fall of the Clyd called Cora-Linn. A romantic and beautiful Scene, treated with delightful Taste and happiest Execution; scarcely inferior to the best Productions of Wilson. See Cat. No.12. p.30 On either hand of the Piece, but chiefly on the right, immense rocks with trees and brushwood rise to a great height. There is just sufficient water in the River, to render the fall interesting in the highest degree, by shewing in its descent the stratification of the rocks in its various stages. ~The stupenduous masses of natural masonry' seen in front, and extending along the River with all their hanging woods, give the scene an air of grandeur that cannot be surpassed. On the left of the foreground, which is variegated with rock and underwood, is a beautiful group of figures. From the right, a shattered tree shoots obliquely across the River, and gives a fine relief to the spray of the Fall. The sky is well conceived, the light which is from the right, and beautifully managed in its distribution, is strongest on the Fall, and masses of rocks and brushwood over it; from thence passing obliquely to the foreground and figures, it is received by a mass of picturesque rocks on the other side of the River...On Canvas. Two Feet Eight Inches high, by Three Feet Four Inches wide. This, and the preceding Picture, were some time in the possession of Sir Joshua Reynolds, who took pleasure in showing them to his friends. (Jacob More)|View of the Great Fall of the Clyd called Cora-Linn. A romantic and beautiful Scene, treated with delightful Taste and happiest Execution; scarcely inferior to the best Productions of Wilson. See Cat. No.12. p.30 On either hand of the Piece, but chiefly on the right, immense rocks with trees and brushwood rise to a great height. There is just sufficient water in the River, to render the fall interesting in the highest degree, by shewing in its descent the stratification of the rocks in its various stages. ~The stupenduous masses of natural masonry' seen in front, and extending along the River with all their hanging woods, give the scene an air of grandeur that cannot be surpassed. On the left of the foreground, which is variegated with rock and underwood, is a beautiful group of figures. From the right, a shattered tree shoots obliquely across the River, and gives a fine relief to the spray of the Fall. The sky is well conceived, the light which is from the right, and beautifully managed in its distribution, is strongest on the Fall, and masses of rocks and brushwood over it; from thence passing obliquely to the foreground and figures, it is received by a mass of picturesque rocks on the other side of the River...On Canvas. Two Feet Eight Inches high, by Three Feet Four Inches wide. This, and the preceding Picture, were some time in the possession of Sir Joshua Reynolds, who took pleasure in showing them to his friends.]] réalisée par Jacob More, vendue par George Walker au prix de 50 gs. [57]
  • 1807.06.26/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Shepherd and Shepherdess under a Tree, a Group of Cattle reposing on the Left; a warm and beautiful distance -- from the transparency, richness and harmony of Coloring, this charming Picture may be truly termed a Chef d'OEuvre. See Cat. No.2. p.5 On the right of the foreground, a Shepherd and Shepherdess are at sportful dalliance under an old willow, whose stem and branches extend along the sky. Towards the left, on lower ground, are two Sheep, a Ram and a Dog, which are under the shadow of a bank that rises considerably above them; near the centre, and somewhat more removed from the eye, stands a brownish coloured Cow, beautifully foreshortened. Upon the middle ground are a few Sheep, and a Countryman conversing with the Shepherd; a hill rises beyond them on the right, and on the other side is a delightful prospect across the country towards the horizon. The scene represents the afternoon of a warm summer day. The light is from the left...it glows upon the distance, passes along the middle ground, and falls strong on the shoulder of the Young Woman, who is sitting on her lover's knee; her face is seen in front, but partly concealed by his profile; the drapery is finely cast. These figures, with the exception of the partial light above mentioned, are under a mass of clear broad shadow, as well as the whole of the animals and foreground...By a very safe, but tedious process, we have succceded in carefully removing the medium that almost entirely concealed this exquisite production, and happily restored to its original splendour, a matchless speciment of Colouring...It was presented, about fifty years since, to the late Robert Alexander, Esq. banker in Edinburgh, during his residence abroad, by the Clifford family of Amsterdam, for whose ancestors it was painted. On Pannel. One Foot Four Inches and a Half high, by One Foot Six Inches and a Half wide. The only Piece by the same master that can come in competition with this picture, is one of a subject somewhat similar in the Gallery of the Louvre, No.171 of the Flemish School... (Bamboccio)|A Shepherd and Shepherdess under a Tree, a Group of Cattle reposing on the Left; a warm and beautiful distance -- from the transparency, richness and harmony of Coloring, this charming Picture may be truly termed a Chef d'OEuvre. See Cat. No.2. p.5 On the right of the foreground, a Shepherd and Shepherdess are at sportful dalliance under an old willow, whose stem and branches extend along the sky. Towards the left, on lower ground, are two Sheep, a Ram and a Dog, which are under the shadow of a bank that rises considerably above them; near the centre, and somewhat more removed from the eye, stands a brownish coloured Cow, beautifully foreshortened. Upon the middle ground are a few Sheep, and a Countryman conversing with the Shepherd; a hill rises beyond them on the right, and on the other side is a delightful prospect across the country towards the horizon. The scene represents the afternoon of a warm summer day. The light is from the left...it glows upon the distance, passes along the middle ground, and falls strong on the shoulder of the Young Woman, who is sitting on her lover's knee; her face is seen in front, but partly concealed by his profile; the drapery is finely cast. These figures, with the exception of the partial light above mentioned, are under a mass of clear broad shadow, as well as the whole of the animals and foreground...By a very safe, but tedious process, we have succceded in carefully removing the medium that almost entirely concealed this exquisite production, and happily restored to its original splendour, a matchless speciment of Colouring...It was presented, about fifty years since, to the late Robert Alexander, Esq. banker in Edinburgh, during his residence abroad, by the Clifford family of Amsterdam, for whose ancestors it was painted. On Pannel. One Foot Four Inches and a Half high, by One Foot Six Inches and a Half wide. The only Piece by the same master that can come in competition with this picture, is one of a subject somewhat similar in the Gallery of the Louvre, No.171 of the Flemish School...]] réalisée par Bamboccio, vendue par George Walker au prix de 52.10 £. [58]
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