Ventes d'œuvres le 1818.05.16

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  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[Apollo and Marsyas; a Sketch. In the foreground of a woody Scene, Apollo is in the act of vanquishing the presumptuous Satyr, who appears sitting in sullen silence at the success of his rival. Near a Temple, in the background, he is represented undergoing the Punishment to which he was doomed. Painted with a firm pencil, and is an exquisite example of splendid colouring. From the Gherardesio Palace at Florence (Francisco Mazzuoli, called Parmegiano)|Apollo and Marsyas; a Sketch. In the foreground of a woody Scene, Apollo is in the act of vanquishing the presumptuous Satyr, who appears sitting in sullen silence at the success of his rival. Near a Temple, in the background, he is represented undergoing the Punishment to which he was doomed. Painted with a firm pencil, and is an exquisite example of splendid colouring. From the Gherardesio Palace at Florence]] réalisée par Francisco Mazzuoli, called Parmegiano, vendue par [[[Norman]]]. [19]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[The dead Body of the Saviour; in the delineation of which the Painter has shown his anatomical knowledge, is supported by Joseph of Arimathea, whose countenance expresses the most poignant grief. The draperies are well cast, and the whole is finely coloured. A very superior specimen of this Master, whose works are scarce (Andrea del Sarto)|The dead Body of the Saviour; in the delineation of which the Painter has shown his anatomical knowledge, is supported by Joseph of Arimathea, whose countenance expresses the most poignant grief. The draperies are well cast, and the whole is finely coloured. A very superior specimen of this Master, whose works are scarce]] réalisée par Andrea del Sarto, vendue par [[[Norman]]]. [20]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[A Landscape. In a variegated broken foreground, the course of a purling Brook is traced flowing under luxuriant Trees, behind which appear the tops of numerous Buildings. To the left are seen a Pile of Ruins, and upon the summit of a rock is a Fort, overlooking the Sea below, bounded by lofty mountains. A tempestuous Sky, brilliantly illumined by the sun breaking through the dense clouds, producing a fine effect, accords with the scene. From the Guinigi Palace, at Lucca (Gaspar Poussin)|A Landscape. In a variegated broken foreground, the course of a purling Brook is traced flowing under luxuriant Trees, behind which appear the tops of numerous Buildings. To the left are seen a Pile of Ruins, and upon the summit of a rock is a Fort, overlooking the Sea below, bounded by lofty mountains. A tempestuous Sky, brilliantly illumined by the sun breaking through the dense clouds, producing a fine effect, accords with the scene. From the Guinigi Palace, at Lucca]] réalisée par Gaspar Poussin, vendue par [[[Norman]]]. [21]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[A Landscape. Upon the bank of a River, at the foot of two lofty Trees, is a Figure attiring after Bathing; on the opposite bank, a group of others are apparently washing linen, and in the middle distance a few buildings are seen under the brow of a verdant hill, from whence the eye wanders over an expansive country, bounded by mountains in the distance. The rich autumnal tints of the trees, and the rudely broken banks, together with the romanticness of the tout ensemble, render this a highly pleasing and desirable Picture (Domenico Zampieri, called Domenichino)|A Landscape. Upon the bank of a River, at the foot of two lofty Trees, is a Figure attiring after Bathing; on the opposite bank, a group of others are apparently washing linen, and in the middle distance a few buildings are seen under the brow of a verdant hill, from whence the eye wanders over an expansive country, bounded by mountains in the distance. The rich autumnal tints of the trees, and the rudely broken banks, together with the romanticness of the tout ensemble, render this a highly pleasing and desirable Picture]] réalisée par Domenico Zampieri, called Domenichino, vendue par [[[Norman]]]. [32]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[A Candlelight. A Woman holding a candle in one hand, and a pitcher in the other, is watering a plant at a window. The figure of the woman is painted with great delicacy of pencil, and the curtains of the room, the flowers, and other details, are finished with a truth of representation and vigour of tone peculiar to this distinguished disciple of Gerard Douw (Godfrey Schalcken)|A Candlelight. A Woman holding a candle in one hand, and a pitcher in the other, is watering a plant at a window. The figure of the woman is painted with great delicacy of pencil, and the curtains of the room, the flowers, and other details, are finished with a truth of representation and vigour of tone peculiar to this distinguished disciple of Gerard Douw]] réalisée par Godfrey Schalcken, vendue par [[[Norman]]]. [33]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[A View near Tivoli. The grand and picturesque Tivoli, so frequently painted by this Master, appears here to have been accomplished in a moment of enthusiasm. The water is pellucid, the trees and rocks are painted with a full and flowing pencil, and the figures are touched with great spirit (Vernet)|A View near Tivoli. The grand and picturesque Tivoli, so frequently painted by this Master, appears here to have been accomplished in a moment of enthusiasm. The water is pellucid, the trees and rocks are painted with a full and flowing pencil, and the figures are touched with great spirit]] réalisée par Vernet, vendue par [[[Norman]]]. [35]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[A Riposo. The Virgin reposing under a Palm Tree, is with maternal fondness regarding the affectionate embrace of the Infant Saviour, and St. John. Joseph is sitting in the centre of the Picture, holding a staff in his right hand, and the foreground is richly clothed with luxuriant plants. To the left the Ruins of an ancient Temple contribute greatly to the beauty of the composition. It is painted in the finest time of the Master, and in brilliancy of colouring nearly approaches to Titian. From the Guinigi Palace at Lucca (Palma Vecchio)|A Riposo. The Virgin reposing under a Palm Tree, is with maternal fondness regarding the affectionate embrace of the Infant Saviour, and St. John. Joseph is sitting in the centre of the Picture, holding a staff in his right hand, and the foreground is richly clothed with luxuriant plants. To the left the Ruins of an ancient Temple contribute greatly to the beauty of the composition. It is painted in the finest time of the Master, and in brilliancy of colouring nearly approaches to Titian. From the Guinigi Palace at Lucca]] réalisée par Palma Vecchio, vendue par [[[Norman]]]. [36]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[The Offering of the Magi. One of the Eastern Kings is offering a gold vase of jewels, kneeling to the Infant Saviour, whom the Virgin holds seated in her lap. Joseph is standing behind, and the other Magi are near them. The architecture, the distant landscape, and other accessories, with the amazing brilliancy of colouring, show how rapidly the art was advancing to perfection in this age. It is well known how recherché the works of Maubeuse are, but particularly such specimens as the present (Jean de Maubeuse)|The Offering of the Magi. One of the Eastern Kings is offering a gold vase of jewels, kneeling to the Infant Saviour, whom the Virgin holds seated in her lap. Joseph is standing behind, and the other Magi are near them. The architecture, the distant landscape, and other accessories, with the amazing brilliancy of colouring, show how rapidly the art was advancing to perfection in this age. It is well known how recherché the works of Maubeuse are, but particularly such specimens as the present]] réalisée par Jean de Maubeuse, vendue par [[[Norman]]]. [37]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[The Circumcision. Simeon kneeling on a cushion, is holding the Infant in his arms, surrounded by the Elders most admirably grouped, and who receive the principal light proceeding from the left. Behind him are Joseph and the Virgin, and to the right a group of figures are in consultation. This brilliant cabinet specimen, containing fourteen figures, appears to have had more than ordinary attention bestowed upon it. The Head of the venerable Simeon, and that of the Rabbi, who is leaning forward from the opposite end of the Table, are finished with the greatest care (Rembrandt)|The Circumcision. Simeon kneeling on a cushion, is holding the Infant in his arms, surrounded by the Elders most admirably grouped, and who receive the principal light proceeding from the left. Behind him are Joseph and the Virgin, and to the right a group of figures are in consultation. This brilliant cabinet specimen, containing fourteen figures, appears to have had more than ordinary attention bestowed upon it. The Head of the venerable Simeon, and that of the Rabbi, who is leaning forward from the opposite end of the Table, are finished with the greatest care]] réalisée par Rembrandt, vendue par [[[Norman]]]. [38]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[Portraits of a Youth and his Preceptor. A Youth holding a Book, is listening to his tutor, who, from the action of his hand, appears to be explaining some particular part of his lesson. The Spaniel in the corner, and the age of the Boy stated on the book, afford strong presumption of its being intended for Charles II. The heads and hands are painted with all the grace and beauty of colouring peculiar to Vandycke (Anthony Vandycke)|Portraits of a Youth and his Preceptor. A Youth holding a Book, is listening to his tutor, who, from the action of his hand, appears to be explaining some particular part of his lesson. The Spaniel in the corner, and the age of the Boy stated on the book, afford strong presumption of its being intended for Charles II. The heads and hands are painted with all the grace and beauty of colouring peculiar to Vandycke]] réalisée par Anthony Vandycke, vendue par [[[Norman]]]. [39]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[The Nativity, this Painter's favourite subject, of which six repetitions are recorded in d'Argenville, is here portrayed with great natural truth and correctness. Surrounded by the believing Shepherds, who are eagerly pressing forward; the holy Mother is leaning over the Infant Saviour in silent rapture, while the animals seem also to partake of the general joy. Joseph is sitting to the right, and in the foreground a Shepherd is offering two lambs. In the distance other figures are approaching, guided by the star which shines above them. It is painted with an unusual force and richness of colour, and the heads of the various figures are exquisitely beautiful (Giacomo da Ponte, called Bassano)|The Nativity, this Painter's favourite subject, of which six repetitions are recorded in d'Argenville, is here portrayed with great natural truth and correctness. Surrounded by the believing Shepherds, who are eagerly pressing forward; the holy Mother is leaning over the Infant Saviour in silent rapture, while the animals seem also to partake of the general joy. Joseph is sitting to the right, and in the foreground a Shepherd is offering two lambs. In the distance other figures are approaching, guided by the star which shines above them. It is painted with an unusual force and richness of colour, and the heads of the various figures are exquisitely beautiful]] réalisée par Giacomo da Ponte, called Bassano, vendue par [[[Norman]]]. [40]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[A Bouquet of Flowers. This beautiful production of Art is perfected with a faithfulness of representation rivaling Nature. The transparency, force of effect, and peculiar richness of colour; the pearly dew drops through which the rays of light are reflected, and the accurate delineation and character of the various insects attracted by the sweets of the fragrant group, are each pencilled with the greatest delicacy and freedom (Rachel Ruisch)|A Bouquet of Flowers. This beautiful production of Art is perfected with a faithfulness of representation rivaling Nature. The transparency, force of effect, and peculiar richness of colour; the pearly dew drops through which the rays of light are reflected, and the accurate delineation and character of the various insects attracted by the sweets of the fragrant group, are each pencilled with the greatest delicacy and freedom]] réalisée par Rachel Ruisch, vendue par [[[Norman]]]. [41]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[His own Portrait. The Painter has here represented himself resting from his labours and looking out of a window with a velvet cap on. He is holding his palette and brushes in one hand; and the other, upon which he has exhausted all his talent, is hanging negligently over the window frame, under which, upon a tablet, his age, and the date when painted, are stated. The Sketch of a Candlelight, his particular fort, is on the easel, and a globe is standing on the table near it. This perfect bijou unites to an elaborate finish, a brilliancy of colour and force of effect that render it a rare specimen (Gerard Douw)|His own Portrait. The Painter has here represented himself resting from his labours and looking out of a window with a velvet cap on. He is holding his palette and brushes in one hand; and the other, upon which he has exhausted all his talent, is hanging negligently over the window frame, under which, upon a tablet, his age, and the date when painted, are stated. The Sketch of a Candlelight, his particular fort, is on the easel, and a globe is standing on the table near it. This perfect bijou unites to an elaborate finish, a brilliancy of colour and force of effect that render it a rare specimen]] réalisée par Gerard Douw, vendue par [[[Norman]]]. [42]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[A Landscape, Mid-day. Poor and illiterate, Claude was indebted to Nature only for the pre-eminence which he attained: strictly attentive to her dictates, and unshackled by rules of art, he needed no other instructor. The present Example of his inimitable powers, combining grandeur and simplicity, delicacy and freedom, and the faithful representation of the appearance of Nature in a mild and luxurious climate, is of a quality which seldom comes before the Public. Under the shade of a spreading tree, springing from a rude and broken bank, a Shepherd earnestly looking at a Shepherdess who stands near him, is playing on a pastoral pipe, while all around "A various group the flocks and herds compose." A stream of water descending from the bank to the left, forming itself into a purling brook, attains the borders of a river, "...and steals at last Along the mazes of the quiet vale." A tender distance, and a clear brilliant sky, together with the naiveté expressed in the figures, render this a superlative specimen of the Master (Claude Gelleé le Lorraine)|A Landscape, Mid-day. Poor and illiterate, Claude was indebted to Nature only for the pre-eminence which he attained: strictly attentive to her dictates, and unshackled by rules of art, he needed no other instructor. The present Example of his inimitable powers, combining grandeur and simplicity, delicacy and freedom, and the faithful representation of the appearance of Nature in a mild and luxurious climate, is of a quality which seldom comes before the Public. Under the shade of a spreading tree, springing from a rude and broken bank, a Shepherd earnestly looking at a Shepherdess who stands near him, is playing on a pastoral pipe, while all around "A various group the flocks and herds compose." A stream of water descending from the bank to the left, forming itself into a purling brook, attains the borders of a river, "...and steals at last Along the mazes of the quiet vale." A tender distance, and a clear brilliant sky, together with the naiveté expressed in the figures, render this a superlative specimen of the Master]] réalisée par Claude Gelleé le Lorraine, vendue par [[[Norman]]]. [44]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[The Interior of a Church. In the interior of a spacious Church, a Grave Digger is resting from his labour, and conversing with a Man dressed in a black cloak; a group of figures are near them, of whom a boy is begging, and others are variously dispersed. The admirable perspective which prevails throughout, and the general effect by the judicious application of colours, evince the Painter's knowledge of chiaro scuro (Van Vliet)|The Interior of a Church. In the interior of a spacious Church, a Grave Digger is resting from his labour, and conversing with a Man dressed in a black cloak; a group of figures are near them, of whom a boy is begging, and others are variously dispersed. The admirable perspective which prevails throughout, and the general effect by the judicious application of colours, evince the Painter's knowledge of chiaro scuro]] réalisée par Van Vliet, vendue par [[[Norman]]]. [45]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[A Field of Battle. This spirited representation of contending Armies, is painted with great boldness and freedom. In the foreground two distinct groups appear, bending their unrelenting fury against each other, while in the distance the adverse squadrons are in close engagement (Jean van Hughtenburg)|A Field of Battle. This spirited representation of contending Armies, is painted with great boldness and freedom. In the foreground two distinct groups appear, bending their unrelenting fury against each other, while in the distance the adverse squadrons are in close engagement]] réalisée par Jean van Hughtenburg, vendue par [[[Norman]]]. [47]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[A Calm. In the front three Fishermen are ballasting their Boat, to the left of whom is a Frigate; two other Ships of War are in the middle distance, and the off-scape presents the view of the City of Haerlem. A fine, clear, and silvery toned Picture (De Vlieger)|A Calm. In the front three Fishermen are ballasting their Boat, to the left of whom is a Frigate; two other Ships of War are in the middle distance, and the off-scape presents the view of the City of Haerlem. A fine, clear, and silvery toned Picture]] réalisée par De Vlieger, vendue par [[[Norman]]]. [48]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[Salmacis and Hermaphroditus. Upon the bank of a transparent lake, the enamoured Nymph is eagerly regarding the unconscious object of her passion, who is revelling in the cooling bath. The landscape is particularly grand; and the brilliant clouds, which appear over the distant mountains, betoken the approaching close of day (Lucio Massari)|Salmacis and Hermaphroditus. Upon the bank of a transparent lake, the enamoured Nymph is eagerly regarding the unconscious object of her passion, who is revelling in the cooling bath. The landscape is particularly grand; and the brilliant clouds, which appear over the distant mountains, betoken the approaching close of day]] réalisée par Lucio Massari, vendue par [[[Norman]]]. [49]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[The Interior of a Room. To the left of the Picture a table appears covered with a rich carpet, upon which a jug is placed by the side of an open book; a young girl with a spinning wheel by her side, is rocking a sleeping Infant in a cradle exquisitely finished: the whole is painted in a rich tone of colour, with the force and effect of Rembrandt, of whom Maes was a distinguished disciple (Nicolas Maes)|The Interior of a Room. To the left of the Picture a table appears covered with a rich carpet, upon which a jug is placed by the side of an open book; a young girl with a spinning wheel by her side, is rocking a sleeping Infant in a cradle exquisitely finished: the whole is painted in a rich tone of colour, with the force and effect of Rembrandt, of whom Maes was a distinguished disciple]] réalisée par Nicolas Maes, vendue par [[[Norman]]]. [50]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[The Children of King Charles the First -- The Prince of Wales, Princess of Orange, and Duke of York. This distinguished disciple of Vandycke has, in portraying the Royal Children, vied to rival his Master in freedom of execution, and truth of colour (Adrien Hanneman)|The Children of King Charles the First -- The Prince of Wales, Princess of Orange, and Duke of York. This distinguished disciple of Vandycke has, in portraying the Royal Children, vied to rival his Master in freedom of execution, and truth of colour]] réalisée par Adrien Hanneman, vendue par [[[Norman]]]. [51]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[The Interior of a Church. This magnificent example of the rare Master whose name is affixed, representing the Interior of a Church, receives additional value from the beauty of the figures in the foreground painted by Gonzales. The rich architecture and splendid decorations are finished with the greatest accuracy; and the numerous figures who are paying their devotions at the various shrines are well disposed (B. Van Bassen)|The Interior of a Church. This magnificent example of the rare Master whose name is affixed, representing the Interior of a Church, receives additional value from the beauty of the figures in the foreground painted by Gonzales. The rich architecture and splendid decorations are finished with the greatest accuracy; and the numerous figures who are paying their devotions at the various shrines are well disposed]] réalisée par B. Van Bassen, vendue par [[[Norman]]]. [52]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[Backgammon Players. Two Youths, one in a velvet cap and feather, are attentively engaged in a Game of Backgammon; behind them a man is standing, who is the Portrait of Cigoli, his intimate friend and associate. A very fine specimen, and painted in an unusually brilliant style (Michael Angelo da Caravaggio)|Backgammon Players. Two Youths, one in a velvet cap and feather, are attentively engaged in a Game of Backgammon; behind them a man is standing, who is the Portrait of Cigoli, his intimate friend and associate. A very fine specimen, and painted in an unusually brilliant style]] réalisée par Michael Angelo da Caravaggio, vendue par [[[Norman]]]. [53]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[Moses elevating the Brazen Serpent; the study for the large Picture. The dignified Lawgiver, accompanied by Aaron, appears on the right of the Picture pointing to the Brazen Image, which a woman is regarding in firm confidence of its healing power. Behind her the faithless Israelites are tormented by the Fiery Serpents, as a punishment for their murmurs against the Almighty. In the foreground, a Man drawn with great truth and accuracy, entwined in the folds of a monstrous reptile, which is infusing its venom into his breast, lies in the utmost agony of pain. Another figure to the right, whose countenance betrays his surprise and dismay at the power of God, is tearing a serpent from around his body: various others are in a similar situation, and in the distance a number of wretches are grouped in wild confusion. The majestic figures of Moses and Aaron, contrasted with the disorder of the surrounding multitude, finely bespeak the holiness of the one, and the venality of the other (P. P. Rubens)|Moses elevating the Brazen Serpent; the study for the large Picture. The dignified Lawgiver, accompanied by Aaron, appears on the right of the Picture pointing to the Brazen Image, which a woman is regarding in firm confidence of its healing power. Behind her the faithless Israelites are tormented by the Fiery Serpents, as a punishment for their murmurs against the Almighty. In the foreground, a Man drawn with great truth and accuracy, entwined in the folds of a monstrous reptile, which is infusing its venom into his breast, lies in the utmost agony of pain. Another figure to the right, whose countenance betrays his surprise and dismay at the power of God, is tearing a serpent from around his body: various others are in a similar situation, and in the distance a number of wretches are grouped in wild confusion. The majestic figures of Moses and Aaron, contrasted with the disorder of the surrounding multitude, finely bespeak the holiness of the one, and the venality of the other]] réalisée par P. P. Rubens, vendue par [[[Norman]]]. [55]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[An Interior. A Group of Figures, consisting of a Cavalier and two Ladies, attended by a Servant, are assembled in the interior of a Chamber. The Cavalier, who is presenting a glass to a Lady attired in a velvet pelisse, is a Portrait of the Painter: behind them the Servant appears ready to replenish the glass, and to the left a Lady is standing dressed in white satin. The Picture is highly finished, in the best style of the Master: on pannel (Gerrard Terburg)|An Interior. A Group of Figures, consisting of a Cavalier and two Ladies, attended by a Servant, are assembled in the interior of a Chamber. The Cavalier, who is presenting a glass to a Lady attired in a velvet pelisse, is a Portrait of the Painter: behind them the Servant appears ready to replenish the glass, and to the left a Lady is standing dressed in white satin. The Picture is highly finished, in the best style of the Master: on pannel]] réalisée par Gerrard Terburg, vendue par [[[Norman]]]. [56]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[The Virgin, Infant Saviour, and St. John. The Virgin holding the Infant standing in her lap, is placidly admiring the affection of St. John, who is offering an apple to the Saviour; cherubs are hovering above them; and the whole derives additional force from an exquisite distant Landscape. The draperies flow with a peculiar ease and grace, and the colouring is of the richest gusto (Paolo Veronese)|The Virgin, Infant Saviour, and St. John. The Virgin holding the Infant standing in her lap, is placidly admiring the affection of St. John, who is offering an apple to the Saviour; cherubs are hovering above them; and the whole derives additional force from an exquisite distant Landscape. The draperies flow with a peculiar ease and grace, and the colouring is of the richest gusto]] réalisée par Paolo Veronese, vendue par [[[Norman]]]. [57]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[A Portrait of the Duchess of Ferrara. The Prince of Painters, in portraying this exalted character, the Duchess of his Patron, has, by his transcendent powers, and exquisite skill in the arrangement and judicious application of his glowing colours, produced a Picture worthy of a place in the first collections (Titiano Vecelli)|A Portrait of the Duchess of Ferrara. The Prince of Painters, in portraying this exalted character, the Duchess of his Patron, has, by his transcendent powers, and exquisite skill in the arrangement and judicious application of his glowing colours, produced a Picture worthy of a place in the first collections]] réalisée par Titiano Vecelli, vendue par [[[Norman]]]. [58]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[Meleager attacking the Caledonian Boar. This subject is here treated with all that spirited vigour peculiar to Rubens. In the foreground Meleager, mounted on a pyebald horse, is in the act of discharging an arrow at the ferocious animal, which is impetuously overthrowing his terrified companions. In the rear of the enraged Savage are several Figures, about to inflict on him a mortal wound; and to the right of the Picture others are in eager pursuit. Diana, the Goddess of the Chase, is seen in the clouds, attentively observing the contention; and the wildness of the scene is finely preserved by a spreading Tree in the centre, painted with a bold and masterly freedom. On copper (P. P. Rubens)|Meleager attacking the Caledonian Boar. This subject is here treated with all that spirited vigour peculiar to Rubens. In the foreground Meleager, mounted on a pyebald horse, is in the act of discharging an arrow at the ferocious animal, which is impetuously overthrowing his terrified companions. In the rear of the enraged Savage are several Figures, about to inflict on him a mortal wound; and to the right of the Picture others are in eager pursuit. Diana, the Goddess of the Chase, is seen in the clouds, attentively observing the contention; and the wildness of the scene is finely preserved by a spreading Tree in the centre, painted with a bold and masterly freedom. On copper]] réalisée par P. P. Rubens, vendue par [[[Norman]]]. [59]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[A Landscape. In a grand romantic Landscape, is seen in the foreground a Shepherd, with a Herd of Goats: he is accosting a Fisherman, who is apparently rejoicing at his success. The fine masses of shadow on each side, forming a vista, through which the eye is imperceptibly led to a tender distance, are enlivened by a Waterfall in the centre, and the whole presents one of the most magnificent coups-d'oeil which it is in the power of Art to produce (Gaspar Poussin)|A Landscape. In a grand romantic Landscape, is seen in the foreground a Shepherd, with a Herd of Goats: he is accosting a Fisherman, who is apparently rejoicing at his success. The fine masses of shadow on each side, forming a vista, through which the eye is imperceptibly led to a tender distance, are enlivened by a Waterfall in the centre, and the whole presents one of the most magnificent coups-d'oeil which it is in the power of Art to produce]] réalisée par Gaspar Poussin, vendue par [[[Norman?]]]. [60]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[A grand Mountainous Landscape; presenting a view of a wild romantic district of an Eastern Country. In the middle-ground of the Picture a Fall of Water is seen through an aperture in a massive rock, from whence a Lion and Lioness have sprung from their Whelps, at the mouth of a Cavern, and furiously attacked one of two Leopards, about to devour an Elk, their recent prey: the other Leopard, affrighted, is flying with rapid speed from the impending danger. There is a prevailing spirit throughout this exquisite Picture, with boldness of effect, freedom of execution, and truth of local colours, that vie with the finest productions of art (J. F. Grimaldi Bolognese)|A grand Mountainous Landscape; presenting a view of a wild romantic district of an Eastern Country. In the middle-ground of the Picture a Fall of Water is seen through an aperture in a massive rock, from whence a Lion and Lioness have sprung from their Whelps, at the mouth of a Cavern, and furiously attacked one of two Leopards, about to devour an Elk, their recent prey: the other Leopard, affrighted, is flying with rapid speed from the impending danger. There is a prevailing spirit throughout this exquisite Picture, with boldness of effect, freedom of execution, and truth of local colours, that vie with the finest productions of art]] réalisée par J. F. Grimaldi Bolognese, vendue par [[[Norman]]]. [61]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[The Woman accused of Adultery. The characters of her accusers, the Pharisees, finely contrasted by the dejection of the Female, bending under the pressure of malignant accusation. The rich tone of colour throughout, and the judicious relief the composition derives from the spirited Portrait of Pordenone, placed at a small distance from the principal group, combine to render it a Picture of the highest class (Giorgio Barbarelli, called Giorgione)|The Woman accused of Adultery. The characters of her accusers, the Pharisees, finely contrasted by the dejection of the Female, bending under the pressure of malignant accusation. The rich tone of colour throughout, and the judicious relief the composition derives from the spirited Portrait of Pordenone, placed at a small distance from the principal group, combine to render it a Picture of the highest class]] réalisée par Giorgio Barbarelli, called Giorgione, vendue par [[[Norman]]]. [62]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[A Pastoral Landscape. This enchanting production, representing Mid-day, excites our admiration at the truth with which it is depicted. An Arcadian Shepherd, seated in the foreground, is playing on the Pan Pipes; to the melody of which a Shepherdess, in a reclining posture before him, is rapturously attentive; the head of whom is painted with all the grace and simplicity which a judicious observation of the antique could impart. A dog sleeping lies near him, and his flock of sheep are variously dispersed over the verdant meadow, some drinking at the bank of a rivulet, which appears meandering round the foot of a broken hill. To the right of the Picture a group of majestic trees extend their luxuriant branches over a Landscape, exhibiting at one view all that is grand and simple (Nicolo Poussin)|A Pastoral Landscape. This enchanting production, representing Mid-day, excites our admiration at the truth with which it is depicted. An Arcadian Shepherd, seated in the foreground, is playing on the Pan Pipes; to the melody of which a Shepherdess, in a reclining posture before him, is rapturously attentive; the head of whom is painted with all the grace and simplicity which a judicious observation of the antique could impart. A dog sleeping lies near him, and his flock of sheep are variously dispersed over the verdant meadow, some drinking at the bank of a rivulet, which appears meandering round the foot of a broken hill. To the right of the Picture a group of majestic trees extend their luxuriant branches over a Landscape, exhibiting at one view all that is grand and simple]] réalisée par Nicolo Poussin, vendue par [[[Norman]]]. [63]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[Paolo and Francesca. The tale from whence this subject is taken, (mentioned in Dante, but more particularly related in Hunt's Poem of Rimini,) was so popular in the time of Giorgione, that he could not fail to portray the unhappy lovers with all the beauties of his pencil. The point of time is, their interview in the Temple in the Garden, the prelude to the Tragedy to which it gave rise. In the delineations of the characters Giorgione has been most happy. The fine manly beauty expressed in the countenance of Paolo, is such as imagination would present to the mind, while the softness and endearing expression in that of Francesca, excuses the Lovers' indiscretion. From the crown and initials C.R. on the back of the Picture, it appears to have been in the Collection of King Charles I., and from its intrinsic merit would grace that of any Potentate (Giorgione)|Paolo and Francesca. The tale from whence this subject is taken, (mentioned in Dante, but more particularly related in Hunt's Poem of Rimini,) was so popular in the time of Giorgione, that he could not fail to portray the unhappy lovers with all the beauties of his pencil. The point of time is, their interview in the Temple in the Garden, the prelude to the Tragedy to which it gave rise. In the delineations of the characters Giorgione has been most happy. The fine manly beauty expressed in the countenance of Paolo, is such as imagination would present to the mind, while the softness and endearing expression in that of Francesca, excuses the Lovers' indiscretion. From the crown and initials C.R. on the back of the Picture, it appears to have been in the Collection of King Charles I., and from its intrinsic merit would grace that of any Potentate]] réalisée par Giorgione, vendue par [[[Norman]]]. [64]
  • 1818.05.16/ maison de ventes : Hickman (John). Vente de l'œuvre décrite comme [[Silenus and Bacchanals. Silenus being overcome by the ardour of his daily occupation, is in a recumbent posture sleeping on a bank, under an Arcadian bower, in the centre of a beautiful Landscape. Empty glasses and vases, the emblems of excess, are strewed beneath him; and an elegant Bacchante, whose figure displays the most admirable symmetry, is attentive to his repose. The classical Poussin, in treating this subject, has figuratively enriched the composition of this inestimable Picture with various groups of infant Bacchanals, some of whom, in playful derision, are binding the legs of the inebriated chief with wreaths of vine, while others are exerting all their energy to obtain its luscious fruit: one prostrate on the earth, ardently grasping an elegant vase, is exhausting its contents: in the middle distance are two displaying the comic mask; and another, in the foreground, intoxicated with the potent juice, is consigned to the arms of Morpheus. From the Lansdown Collection (Nicolo Poussin)|Silenus and Bacchanals. Silenus being overcome by the ardour of his daily occupation, is in a recumbent posture sleeping on a bank, under an Arcadian bower, in the centre of a beautiful Landscape. Empty glasses and vases, the emblems of excess, are strewed beneath him; and an elegant Bacchante, whose figure displays the most admirable symmetry, is attentive to his repose. The classical Poussin, in treating this subject, has figuratively enriched the composition of this inestimable Picture with various groups of infant Bacchanals, some of whom, in playful derision, are binding the legs of the inebriated chief with wreaths of vine, while others are exerting all their energy to obtain its luscious fruit: one prostrate on the earth, ardently grasping an elegant vase, is exhausting its contents: in the middle distance are two displaying the comic mask; and another, in the foreground, intoxicated with the potent juice, is consigned to the arms of Morpheus. From the Lansdown Collection]] réalisée par Nicolo Poussin, vendue par [[[Norman]]]. [65]
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