Ventes d'œuvres le 1811.05.25

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  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Dream of Eve; from Milton. Admirable for its composition and effect These two pictures are, it is presumed, two of the finest effusions of this great artist's genius, and have been since in the possession of the Proprietor, engraved upon a large scale, amongst a selection of what their author deems his best works (H. Fuseli, Esq.R.A.)|The Dream of Eve; from Milton. Admirable for its composition and effect These two pictures are, it is presumed, two of the finest effusions of this great artist's genius, and have been since in the possession of the Proprietor, engraved upon a large scale, amongst a selection of what their author deems his best works]] réalisée par H. Fuseli, Esq.R.A., vendue par William Young Ottley au prix de 12.12 £. [21]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Sin and Death; from the same Poet. These two pictures are, it is presumed, two of the finest effusions of this great artist's genius, and have been since in the possession of the Proprietor, engraved upon a large scale, amongst a selection of what their author deems his best works (H. Fuseli, Esq.R.A.)|Sin and Death; from the same Poet. These two pictures are, it is presumed, two of the finest effusions of this great artist's genius, and have been since in the possession of the Proprietor, engraved upon a large scale, amongst a selection of what their author deems his best works]] réalisée par H. Fuseli, Esq.R.A., vendue par William Young Ottley au prix de 25.4 £. [22]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Fragment of his Frescoe painting, from the Chapel in the Carmelites Church at Florence. Sawed from the wall by Mr. Patch, before the rebuilding of the Church, after the fire of 1770, and presented to its present owner by the late Charles Townley, Esq. by whom it was brought to England. As Boccaccio was the father of modern prose, so was Giotto, as a late eminent Italian writer justly observes, the father of modern painting (Giotto)|A Fragment of his Frescoe painting, from the Chapel in the Carmelites Church at Florence. Sawed from the wall by Mr. Patch, before the rebuilding of the Church, after the fire of 1770, and presented to its present owner by the late Charles Townley, Esq. by whom it was brought to England. As Boccaccio was the father of modern prose, so was Giotto, as a late eminent Italian writer justly observes, the father of modern painting]] réalisée par Giotto, vendue par William Young Ottley, achetée par Lambert au prix de 9.0 £. [28]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Two Saints, small life in distemper; brought to England by the late Lord Bristol. As a remembrance of the artist who painted Petrarch's beloved Laura, it is to be wished that these two figures, the female one certainly not wanting in grace, should find a place in the decoration of some gothic mansion, or chapel, for which they seem particularly calculated (Simone Memmi)|Two Saints, small life in distemper; brought to England by the late Lord Bristol. As a remembrance of the artist who painted Petrarch's beloved Laura, it is to be wished that these two figures, the female one certainly not wanting in grace, should find a place in the decoration of some gothic mansion, or chapel, for which they seem particularly calculated]] réalisée par Simone Memmi, vendue par William Young Ottley au prix de 8.16 £. [29]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[S. Dominic, head and hands distemper. From the collection of the late Honble. Charles Greville. The second age of painting dates its commencement with Masaccio, who greatly advanced whatever relates to the executive parts of the art. Many of his heads for truth and expression are perhaps nowise inferior to those of Raffaele himself (Masaccio)|S. Dominic, head and hands distemper. From the collection of the late Honble. Charles Greville. The second age of painting dates its commencement with Masaccio, who greatly advanced whatever relates to the executive parts of the art. Many of his heads for truth and expression are perhaps nowise inferior to those of Raffaele himself]] réalisée par Masaccio, vendue par William Young Ottley au prix de 18.18 £. [30]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Last Supper. Admirable for its expressive and justness of perspective, and finished like the finest miniature, in distemper. This extraordinary little picture was anciently the Door of a Tabernacle and was purchased from the collection of the Villa Aldobrandini (Masaccio)|The Last Supper. Admirable for its expressive and justness of perspective, and finished like the finest miniature, in distemper. This extraordinary little picture was anciently the Door of a Tabernacle and was purchased from the collection of the Villa Aldobrandini]] réalisée par Masaccio, vendue par William Young Ottley au prix de 64.1 £. [31]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Nativity of Christ. A very interesting specimen of the fancy of its author (who has inserted his name in the Greek inscription, at the top of the picture) and of the state of Italian art, about the year 1480. It is painted in distemper, on cloth, and is one amongst several examples which might be mentioned to prove, that although the early Italian painters usually painted on board, they did not constantly pursue that method -- From the Villa Aldobrandini (Sandro Botticelli)|The Nativity of Christ. A very interesting specimen of the fancy of its author (who has inserted his name in the Greek inscription, at the top of the picture) and of the state of Italian art, about the year 1480. It is painted in distemper, on cloth, and is one amongst several examples which might be mentioned to prove, that although the early Italian painters usually painted on board, they did not constantly pursue that method -- From the Villa Aldobrandini]] réalisée par Sandro Botticelli, vendue par William Young Ottley au prix de 42.0 £. [32]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mary Magdalen, carried to heaven by Angels. An altar picture on board, unfinished; supposed to have been painted for Leo X. when Cardinal, whose portrait is introduced in the lower part of the picture. Vasari speaks with admiration of the mastery observable in several pictures which this great artist left at his death, (in 1517) prepared with browns. One of these of superlative excellence was celebrated in the Gallery of Florence. This picture has received the artist's second coat of colour, and in some parts, especially the head of the Magdalen, is nearly finished, with a tone of colouring and lightness of pencil resembling the latter works of Guido. Raffaele, during his stay at Florence, improved in his colouring under the tuition of the Frate, to whom, in return, it is said, he taught the rules of perspective (Fra. Bartolommeo di San Marco)|Mary Magdalen, carried to heaven by Angels. An altar picture on board, unfinished; supposed to have been painted for Leo X. when Cardinal, whose portrait is introduced in the lower part of the picture. Vasari speaks with admiration of the mastery observable in several pictures which this great artist left at his death, (in 1517) prepared with browns. One of these of superlative excellence was celebrated in the Gallery of Florence. This picture has received the artist's second coat of colour, and in some parts, especially the head of the Magdalen, is nearly finished, with a tone of colouring and lightness of pencil resembling the latter works of Guido. Raffaele, during his stay at Florence, improved in his colouring under the tuition of the Frate, to whom, in return, it is said, he taught the rules of perspective]] réalisée par Fra. Bartolommeo di San Marco, vendue par William Young Ottley au prix de 126.0 £. [33]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Christ and the Samaritan Woman at the Well. The finished preparation for a picture, in chiaroscuro, on board; from the collection of the king of Naples, at Capo di Monte. This great Florentine artist, according to Vasari and other writers, having only in one or two instances indulged in the relaxation of oil painting, it is presumed that this undoubted specimen of his talents, intended, perhaps to be coloured by one of his scholars, may be deemed an interesting succedanium (Michelangiolo Buonaroti)|Christ and the Samaritan Woman at the Well. The finished preparation for a picture, in chiaroscuro, on board; from the collection of the king of Naples, at Capo di Monte. This great Florentine artist, according to Vasari and other writers, having only in one or two instances indulged in the relaxation of oil painting, it is presumed that this undoubted specimen of his talents, intended, perhaps to be coloured by one of his scholars, may be deemed an interesting succedanium]] réalisée par Michelangiolo Buonaroti, vendue par William Young Ottley au prix de 8.15 £. [34]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Warrior, half length; full of animation, and painted with prodigious boldness of pencil. Pietro Vecchia, who was one of the most celebrated Venetian painters of his time, may, perhaps not improperly, be styled the Caravaggio of that School. His pictures were often taken for the works of Giorgione, and indeed this half length, one of his best, was formerly so considered (Pietro Vecchia)|A Warrior, half length; full of animation, and painted with prodigious boldness of pencil. Pietro Vecchia, who was one of the most celebrated Venetian painters of his time, may, perhaps not improperly, be styled the Caravaggio of that School. His pictures were often taken for the works of Giorgione, and indeed this half length, one of his best, was formerly so considered]] réalisée par Pietro Vecchia, vendue par William Young Ottley au prix de 26.5 £. [48]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Judgment of Paris. This elegant artist was the first in celebrity of his time, in the School of Ferrara -- He was contemporary with the Caracci; but born a few years before them. The works of P. Veronese were his model in colouring; and at Ferrara he is styled the Paolo of that School. On copper (Scarsellino di Ferrara)|The Judgment of Paris. This elegant artist was the first in celebrity of his time, in the School of Ferrara -- He was contemporary with the Caracci; but born a few years before them. The works of P. Veronese were his model in colouring; and at Ferrara he is styled the Paolo of that School. On copper]] réalisée par Scarsellino di Ferrara, vendue par William Young Ottley au prix de 17.6 £. [50]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Family, on board. This little specimen of Schidone's finest manner, was presented to the late Sir William Hamilton, by the King of Naples, out of the magnificent collection of Capo di Monte; which collection, it is well known, was above all others rich in the works of that admirable Modenese Artist (Schidone)|The Holy Family, on board. This little specimen of Schidone's finest manner, was presented to the late Sir William Hamilton, by the King of Naples, out of the magnificent collection of Capo di Monte; which collection, it is well known, was above all others rich in the works of that admirable Modenese Artist]] réalisée par Schidone, vendue par William Young Ottley au prix de 35.14 £. [52]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A finished Sketch for his Altar Piece, one of his best works, in the Chapel of the Monti Family, at Bologna: on copper, from the Orleans Collection. Mastelletta was a Scholar of the Caracci, but afterwards visiting Parma, became enamoured with the graces of Parmigiano, and the ambient hues of Coreggio. He was exempt from the servility of an imitator, but adopted the principles of those great Artists, and gained a place amongst the most successful followers of the school of Parma; to which rank this little picture would alone suffice to establish his title (Gio. And. Donducci called Mastelletta)|A finished Sketch for his Altar Piece, one of his best works, in the Chapel of the Monti Family, at Bologna: on copper, from the Orleans Collection. Mastelletta was a Scholar of the Caracci, but afterwards visiting Parma, became enamoured with the graces of Parmigiano, and the ambient hues of Coreggio. He was exempt from the servility of an imitator, but adopted the principles of those great Artists, and gained a place amongst the most successful followers of the school of Parma; to which rank this little picture would alone suffice to establish his title]] réalisée par Gio. And. Donducci called Mastelletta, vendue par William Young Ottley au prix de 52.10 £. [54]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Family, with the Infant St. John, on copper. This beautiful little picture was formerly in a collection in France where it was etched by Picart, and ascribed to Ludovico Caracci. It was afterwards in the collection of that well-known Connoisseur, the late Mr. Barnard (Scarsellino di Ferrara)|The Holy Family, with the Infant St. John, on copper. This beautiful little picture was formerly in a collection in France where it was etched by Picart, and ascribed to Ludovico Caracci. It was afterwards in the collection of that well-known Connoisseur, the late Mr. Barnard]] réalisée par Scarsellino di Ferrara, vendue par William Young Ottley au prix de 27.16 £. [58]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Ferdinand of Austria on Horseback. A finished study on paper for his large picture, engraved by Pontius; in which the painter has added Allegorical Figures in the Sky, and made some other smaller alterations: purchased at Rome by the present Proprietor (Rubens)|Ferdinand of Austria on Horseback. A finished study on paper for his large picture, engraved by Pontius; in which the painter has added Allegorical Figures in the Sky, and made some other smaller alterations: purchased at Rome by the present Proprietor]] réalisée par Rubens, vendue par William Young Ottley au prix de 25.4 £. [64]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Family, with St. Catharine. The genuine works of Giorgione are extremely rare; as a Colourist, he was nothing inferior to Titian, and there is a transparency, united to a vigour and richness of tone in his pictures, which few other artists have approached, and which certainly none ever excelled (Giorgione)|The Holy Family, with St. Catharine. The genuine works of Giorgione are extremely rare; as a Colourist, he was nothing inferior to Titian, and there is a transparency, united to a vigour and richness of tone in his pictures, which few other artists have approached, and which certainly none ever excelled]] réalisée par Giorgione, vendue par William Young Ottley au prix de 178.10 £. [66]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Madona and Child, with St. Jerome. This picture seems to have been painted at the time when Titian made Giorgione his model, and is, as to force and general tone of colouring, of a character not unlike the last described; though, perhaps, inferior to it in transparency, and less decided in its local tints. It was many years ago in the possession of an ancestor of its present proprietor (Titian)|The Madona and Child, with St. Jerome. This picture seems to have been painted at the time when Titian made Giorgione his model, and is, as to force and general tone of colouring, of a character not unlike the last described; though, perhaps, inferior to it in transparency, and less decided in its local tints. It was many years ago in the possession of an ancestor of its present proprietor]] réalisée par Titian, vendue par William Young Ottley, achetée par Clarke Easters Hotel Southn St Cov G au prix de 68.5 £. [67]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Landscape and Figures; the approach to an Ancient City. The pictures of Niccolo seem intended less to captivate the eye, then to set the imagination at work, and furnish food for the mind. He is the Michelangiolo of Landscape. The classic grandeur and novelty of the scene is enhanced by the judicious introduction of the figures, some of which, at a distance, seem those of Philosophers, taking their evening walk of meditation. This picture is in Poussin's finished manner, and was formerly in the collection of M. de Calonne (Niccolo Poussin)|Landscape and Figures; the approach to an Ancient City. The pictures of Niccolo seem intended less to captivate the eye, then to set the imagination at work, and furnish food for the mind. He is the Michelangiolo of Landscape. The classic grandeur and novelty of the scene is enhanced by the judicious introduction of the figures, some of which, at a distance, seem those of Philosophers, taking their evening walk of meditation. This picture is in Poussin's finished manner, and was formerly in the collection of M. de Calonne]] réalisée par Niccolo Poussin, vendue par William Young Ottley au prix de 94.10 £. [68]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Mary Magdalen, with the Box of Ointment. It may be sufficient, to give some idea of the character of this Artist, to state, that of all others he was considered best enabled to paint the companion to a very fine picture of Guido; for which sole purpose he was called from Florence to Venice. His pictures have, in some cases, on account of their excellence, passed under the name of Coreggio (Furino)|Mary Magdalen, with the Box of Ointment. It may be sufficient, to give some idea of the character of this Artist, to state, that of all others he was considered best enabled to paint the companion to a very fine picture of Guido; for which sole purpose he was called from Florence to Venice. His pictures have, in some cases, on account of their excellence, passed under the name of Coreggio]] réalisée par Furino, vendue par William Young Ottley au prix de 31.10 £. [69]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Christ disputing with the Doctors. It is supposed by the Abbe Lanzi that this extraordinary picture, together with one or two others by the same ancient artist, were painted by him expressly for a Cardinal of the Aldobrandini family, who was Legate at Ferrara at the time when Massolino flourished. From the Villa Aldobrandini (Massolino di Ferrara)|Christ disputing with the Doctors. It is supposed by the Abbe Lanzi that this extraordinary picture, together with one or two others by the same ancient artist, were painted by him expressly for a Cardinal of the Aldobrandini family, who was Legate at Ferrara at the time when Massolino flourished. From the Villa Aldobrandini]] réalisée par Massolino di Ferrara, vendue par William Young Ottley au prix de 116.11 £. [72]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Infant Saviour dreaming of his Passion. Of this beautiful subject there exist repetitions; some perhaps by Guido himself, but for the most part by his school: independent of its merit, the originality of this picture is unequivocally proved by the several alterations, or, as the Italians call them, pentimenti, which, upon examination, it may be seen, the artist made in his picture in the course of its execution (Guido)|The Infant Saviour dreaming of his Passion. Of this beautiful subject there exist repetitions; some perhaps by Guido himself, but for the most part by his school: independent of its merit, the originality of this picture is unequivocally proved by the several alterations, or, as the Italians call them, pentimenti, which, upon examination, it may be seen, the artist made in his picture in the course of its execution]] réalisée par Guido, vendue par William Young Ottley, achetée par Howard au prix de 136.10 £. [73]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Nessus and Dejanira. Rubens perhaps seldom painted so beautiful a face as that of the female figure, evidently copied from his wife Helena Foreman; the Nessus is equally admirable for its drawing and expression. As a composition upon a small scale, it may be termed not unjustly one of the most happy efforts of the artist's genius. From the cabinet of M. le Brun (Rubens)|Nessus and Dejanira. Rubens perhaps seldom painted so beautiful a face as that of the female figure, evidently copied from his wife Helena Foreman; the Nessus is equally admirable for its drawing and expression. As a composition upon a small scale, it may be termed not unjustly one of the most happy efforts of the artist's genius. From the cabinet of M. le Brun]] réalisée par Rubens, vendue par William Young Ottley au prix de 99.15 £. [74]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Portrait of Aretine. Titian was very little accustomed to paint upon so small a scale; those, however, who are enabled to execute works in large proportions, it has been often observed, find miniature an easy task; like the use of oil colours after the more laborious practice of frescoe. This little picture was brought from Venice by an eminent living artist (Titian)|The Portrait of Aretine. Titian was very little accustomed to paint upon so small a scale; those, however, who are enabled to execute works in large proportions, it has been often observed, find miniature an easy task; like the use of oil colours after the more laborious practice of frescoe. This little picture was brought from Venice by an eminent living artist]] réalisée par Titian, vendue par William Young Ottley au prix de 52.10 £. [75]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Jason killing the Dragon. Another picture of the same subject, by Salvator, is in the collection of a Gentleman of well known taste Mr Wm Smith, who bought it at Ld. Besborough's Sale: both are undoubted originals; and it may not be uninteresting to state, that this picture differs from the other, which is considerably smaller, although the figures are of the same dimensions. In this picture Salvator has greatly extended the landscape back ground (Salvator Rosa)|Jason killing the Dragon. Another picture of the same subject, by Salvator, is in the collection of a Gentleman of well known taste Mr Wm Smith, who bought it at Ld. Besborough's Sale: both are undoubted originals; and it may not be uninteresting to state, that this picture differs from the other, which is considerably smaller, although the figures are of the same dimensions. In this picture Salvator has greatly extended the landscape back ground]] réalisée par Salvator Rosa, vendue par William Young Ottley au prix de 157.10 £. [76]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[His own portrait. There is a very old mezzotinto of this picture, which, it is believed, is the same mentioned by Descamps, in his list of Rembrandt's pictures in France. Early in the French revolution it was brought from Marseilles to Leghorn, where it was immediately purchased by the British Consul, Mr. Udney (Rembrandt)|His own portrait. There is a very old mezzotinto of this picture, which, it is believed, is the same mentioned by Descamps, in his list of Rembrandt's pictures in France. Early in the French revolution it was brought from Marseilles to Leghorn, where it was immediately purchased by the British Consul, Mr. Udney]] réalisée par Rembrandt, vendue par William Young Ottley au prix de 120.15 £. [79]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Shepherd's Offering. There is a prodigious mastery in the drawing and execution of this picture, which is coloured in some parts with all the delicacy of Baroccio. This great scholar of Raffaele was almost constantly occupied in great works of fresco; his easel pictures are therefore extremely rare (Pierino del Vaga)|The Shepherd's Offering. There is a prodigious mastery in the drawing and execution of this picture, which is coloured in some parts with all the delicacy of Baroccio. This great scholar of Raffaele was almost constantly occupied in great works of fresco; his easel pictures are therefore extremely rare]] réalisée par Pierino del Vaga, vendue par William Young Ottley au prix de 84.0 £. [80]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Jacob's Journey. This, according to Ridolfi, was above all the favourite subject of Giacomo, who, with alterations, and upon canvases of various dimensions often repeated it. This and its companion, are perhaps the finest pair of Bassano's pictures extant. There are mentioned by Ridolfi, as being, in his time, in the Palazzo Contarini, at Venice. It was several years ago purchased by the proprietor from a Palace at Naples, and was considered by the Venetian artists in Italy, the most capital of the master. Its companion was afterwards purchased at Naples, and brought over by an English Nobleman (Giacomo Bassano)|Jacob's Journey. This, according to Ridolfi, was above all the favourite subject of Giacomo, who, with alterations, and upon canvases of various dimensions often repeated it. This and its companion, are perhaps the finest pair of Bassano's pictures extant. There are mentioned by Ridolfi, as being, in his time, in the Palazzo Contarini, at Venice. It was several years ago purchased by the proprietor from a Palace at Naples, and was considered by the Venetian artists in Italy, the most capital of the master. Its companion was afterwards purchased at Naples, and brought over by an English Nobleman]] réalisée par Giacomo Bassano, vendue par William Young Ottley au prix de 231.0 £. [81]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[This picture, when in the Orleans collection, was erroneously styled the Rape of the Sabines: its real subject is one of the Gallantries of Castor and Pollux. The education of Porta had its commencement in the Florentine School; hence he was a learned designer. At an early age he settled in Venice, became an excellent colourist, and the great rival of Tintoretto and Paolo Veronese. The chief great public works of painting in that city were divided amongst these three, and Porta, who got a large share of them, and was at the same time perhaps less expeditious that his competitors, has therefore left very few easel pictures. He was highly esteemed by Titian (Guiseppe Porta called Salivati)|This picture, when in the Orleans collection, was erroneously styled the Rape of the Sabines: its real subject is one of the Gallantries of Castor and Pollux. The education of Porta had its commencement in the Florentine School; hence he was a learned designer. At an early age he settled in Venice, became an excellent colourist, and the great rival of Tintoretto and Paolo Veronese. The chief great public works of painting in that city were divided amongst these three, and Porta, who got a large share of them, and was at the same time perhaps less expeditious that his competitors, has therefore left very few easel pictures. He was highly esteemed by Titian]] réalisée par Guiseppe Porta called Salivati, vendue par William Young Ottley au prix de 99.15 £. [83]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Concert, a highly studied picture of the artist, painted about the same time with his celebrated works in the church, called Del Santo, at Padua. The back figure of the young woman with the guitar is perhaps inferior to nothing ever produced in the art (Titian)|A Concert, a highly studied picture of the artist, painted about the same time with his celebrated works in the church, called Del Santo, at Padua. The back figure of the young woman with the guitar is perhaps inferior to nothing ever produced in the art]] réalisée par Titian, vendue par William Young Ottley au prix de 168.0 £. [85]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin and Child, with St. Catharine and an Angel. From the Vitturi collection at Venice, on board. The real pictures of Parmigiano are of great rarity, since a great part of his short life was spent, like that of L. da Vinci, in pursuits little connected with his art; and, amongst others, in a fruitless search after the Philosopher's stone. He has however left us abundance of exquisite drawings. In this picture the artist appears to have made several very notable changes, or pentimenti, in the progress of his work; especially in the hand of the Madonna and the body of the Christ, great part of which he had at first covered with drapery, which afterwards he judged better to make naked (Parmigiano)|The Virgin and Child, with St. Catharine and an Angel. From the Vitturi collection at Venice, on board. The real pictures of Parmigiano are of great rarity, since a great part of his short life was spent, like that of L. da Vinci, in pursuits little connected with his art; and, amongst others, in a fruitless search after the Philosopher's stone. He has however left us abundance of exquisite drawings. In this picture the artist appears to have made several very notable changes, or pentimenti, in the progress of his work; especially in the hand of the Madonna and the body of the Christ, great part of which he had at first covered with drapery, which afterwards he judged better to make naked]] réalisée par Parmigiano, vendue par William Young Ottley au prix de 178.10 £. [87]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Vision of a Christian Knight, on pannel; from the Borghese Palace at Rome. The subject of this little picture may be termed the application of ancient Allegory to the state of Christian warfare. As in the choice of Hercules, the hero is here represented in a vision, assailed on the one side by the Pleasures of the World, whilst, on the other, he listens to the persuasive eloquence of Religion. It was probably painted some time after Raffaele's first visit to Florence, is studied and finished in every part, so as to bear the largest magnifier, and is perhaps in its kind unique (Raffaele)|The Vision of a Christian Knight, on pannel; from the Borghese Palace at Rome. The subject of this little picture may be termed the application of ancient Allegory to the state of Christian warfare. As in the choice of Hercules, the hero is here represented in a vision, assailed on the one side by the Pleasures of the World, whilst, on the other, he listens to the persuasive eloquence of Religion. It was probably painted some time after Raffaele's first visit to Florence, is studied and finished in every part, so as to bear the largest magnifier, and is perhaps in its kind unique]] réalisée par Raffaele, vendue par William Young Ottley au prix de 409.10 £. [88]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape and Figures. From the Colonna Palace at Rome. Whether this rich and luxuriant scene is every respect a real view, or whether it is a combination of the scattered beauties of nature, is difficult to determine. It may with greater certainty be affirmed, that Gaspar never painted a finer picture, and that there exist very few of his works in such perfect preservation (Gasparo Poussin)|A Landscape and Figures. From the Colonna Palace at Rome. Whether this rich and luxuriant scene is every respect a real view, or whether it is a combination of the scattered beauties of nature, is difficult to determine. It may with greater certainty be affirmed, that Gaspar never painted a finer picture, and that there exist very few of his works in such perfect preservation]] réalisée par Gasparo Poussin, vendue par William Young Ottley, achetée par Long for Sir G Beaumont au prix de 682.10 £. [89]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Bathsheba. Though deficient in beauty, the Head of Bathsheba is not wanting in expression; she is just informed of the passion of David, and her countenance is clouded with the melancholy forebodings of its fatal consequences. For effect and colouring the merit of this picture, which is one of the Artist's most studied works, is superlative (Rembrandt)|Bathsheba. Though deficient in beauty, the Head of Bathsheba is not wanting in expression; she is just informed of the passion of David, and her countenance is clouded with the melancholy forebodings of its fatal consequences. For effect and colouring the merit of this picture, which is one of the Artist's most studied works, is superlative]] réalisée par Rembrandt, vendue par William Young Ottley au prix de 189.0 £. [90]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin and Child, with St. Ann. This picture, cut from its straining-frame apparently with a sabre, and rolled up, was, soon after the English had possession of Cadiz, brought to this country by a Gentleman in the British Service. It was probably a part of the pillage which the French troops found inconvenient to carry with them, and has evidently been the Altar-piece of a Chapel. -- A friend of the proprietor, who was lately for some time at Seville, informs him that he there saw many small but indifferent copies of it. In the pictures generally seen by Murillos, he, for the most part, appears enamoured of the style and graces of Vandyck, and, though not his servile imitator, regulating himself by the same principles. In the dignified sobriety of this group, he seems rather the follower of a Raffaele, or a Bartolommeo, especially in the draperies and style of composition: the characters, it is true, are not ideal, but they are well selected models of Andalusian origin, executed in a grand and simple manner (Murillos)|The Virgin and Child, with St. Ann. This picture, cut from its straining-frame apparently with a sabre, and rolled up, was, soon after the English had possession of Cadiz, brought to this country by a Gentleman in the British Service. It was probably a part of the pillage which the French troops found inconvenient to carry with them, and has evidently been the Altar-piece of a Chapel. -- A friend of the proprietor, who was lately for some time at Seville, informs him that he there saw many small but indifferent copies of it. In the pictures generally seen by Murillos, he, for the most part, appears enamoured of the style and graces of Vandyck, and, though not his servile imitator, regulating himself by the same principles. In the dignified sobriety of this group, he seems rather the follower of a Raffaele, or a Bartolommeo, especially in the draperies and style of composition: the characters, it is true, are not ideal, but they are well selected models of Andalusian origin, executed in a grand and simple manner]] réalisée par Murillos, vendue par William Young Ottley au prix de 399.0 £. [91]
  • 1811.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Charity. This artist, as is well known, having been some time employed at the Court of Francis the first, obtained from that monarch the permission to re-visit Florence, and at the same time a considerable sum of money to lay out in works of Art for his Gallery; upon a most solemn promise of speedy return. Over come, however, by the importunities of his wife, he dissipated the King's money, and never returned to Paris. This, in the latter part of his life, was the souce of many bitter reflections, and he earnestly desired to be reconciled to himself, and to Francis. As these circumstances gave rise to the execution of this capital picture, the following extract from the latter part of Vasari's life of Andrea, may not be improperly introduced. "About this time Gio. Battista della Palla, having purchased all the excellent pictures and statues which he was able, causing those to be copied which he could not obtain, had despoiled Florence of a vast number of fine works of Art, that he might enrich an apartment of the King of France. He therefore, wishing that Andrea might once more be received into the favour and service of the King, ordered him to paint two pictures. In one of these Andrea painted Abraham about to Sacrifice his Son, and that with such diligence, that it was judged he had never before done any thing surpassing it: which picture, after the death of Andrea, and the imprisonment of Gio. Battista, was bought by Filippo Strozzi, who gave it as a present to Sig. Alfonso Davalos Marchese del Vasto, &c." -- This picture is now in the Dresden Gallery. "In the other he painted a most beautiful Charity, with three Children; and this was purchased from the widow of Andrea by Domenico Conti, the painter, who afterwards sold it to Niccolo Antinori, who preserves it as a very fine work, which it really is." This Conti was the scholar of Andrea, and after the death of his master, gratefully raised a monument to his memory. How the picture found its way to France is not recorded, and indeed the French writers, from the circumstance of Andrea's having been some time at their court, erroneously suppose it was executed there. M. Lepicie, in his catalogue of the King of France's Collection, relates, that this picture being found much worm-eaten, was removed from the board by the celebrated Mr. Picault (the inventor of the method) and transferred to canvas, or rather fine cloth: he adds, "Et la restauration s'est faite avec un succes etonnant; car le tableau est actuellement sur toile, sans qu'on puisse s'apercevoir de l'operation en aucun endroit: il n'a pas souffert la moindre alteration, ni dans la partie du dessein, ni dans celle de la couleur." How the picture, which was brought from France to Dublin many years ago by the Attorney General Tyndale, as its present owner has been informed, found its way out of the Royal Palace, it is not now possible to explain: it is however well known, that the French King's Pictures were, in consequence of alterations in the Palace, for many years heaped together, with their faces to the wall; and that some other fine pictures of that collection have since been missing. It is, according to Vasari, the only picture Andrea ever painted of this subject, except a Frescoe in a Cloister at Florence (Andrea del Sarto)|Charity. This artist, as is well known, having been some time employed at the Court of Francis the first, obtained from that monarch the permission to re-visit Florence, and at the same time a considerable sum of money to lay out in works of Art for his Gallery; upon a most solemn promise of speedy return. Over come, however, by the importunities of his wife, he dissipated the King's money, and never returned to Paris. This, in the latter part of his life, was the souce of many bitter reflections, and he earnestly desired to be reconciled to himself, and to Francis. As these circumstances gave rise to the execution of this capital picture, the following extract from the latter part of Vasari's life of Andrea, may not be improperly introduced. "About this time Gio. Battista della Palla, having purchased all the excellent pictures and statues which he was able, causing those to be copied which he could not obtain, had despoiled Florence of a vast number of fine works of Art, that he might enrich an apartment of the King of France. He therefore, wishing that Andrea might once more be received into the favour and service of the King, ordered him to paint two pictures. In one of these Andrea painted Abraham about to Sacrifice his Son, and that with such diligence, that it was judged he had never before done any thing surpassing it: which picture, after the death of Andrea, and the imprisonment of Gio. Battista, was bought by Filippo Strozzi, who gave it as a present to Sig. Alfonso Davalos Marchese del Vasto, &c." -- This picture is now in the Dresden Gallery. "In the other he painted a most beautiful Charity, with three Children; and this was purchased from the widow of Andrea by Domenico Conti, the painter, who afterwards sold it to Niccolo Antinori, who preserves it as a very fine work, which it really is." This Conti was the scholar of Andrea, and after the death of his master, gratefully raised a monument to his memory. How the picture found its way to France is not recorded, and indeed the French writers, from the circumstance of Andrea's having been some time at their court, erroneously suppose it was executed there. M. Lepicie, in his catalogue of the King of France's Collection, relates, that this picture being found much worm-eaten, was removed from the board by the celebrated Mr. Picault (the inventor of the method) and transferred to canvas, or rather fine cloth: he adds, "Et la restauration s'est faite avec un succes etonnant; car le tableau est actuellement sur toile, sans qu'on puisse s'apercevoir de l'operation en aucun endroit: il n'a pas souffert la moindre alteration, ni dans la partie du dessein, ni dans celle de la couleur." How the picture, which was brought from France to Dublin many years ago by the Attorney General Tyndale, as its present owner has been informed, found its way out of the Royal Palace, it is not now possible to explain: it is however well known, that the French King's Pictures were, in consequence of alterations in the Palace, for many years heaped together, with their faces to the wall; and that some other fine pictures of that collection have since been missing. It is, according to Vasari, the only picture Andrea ever painted of this subject, except a Frescoe in a Cloister at Florence]] réalisée par Andrea del Sarto, vendue par William Young Ottley au prix de 504.0 £. [92]
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