Ventes d'œuvres le 1838.04.24

De Wikipast
Aller à la navigation Aller à la recherche
  • 1838.04.24/ maison de ventes : Yates (George). Vente de l'œuvre décrite comme [[Virgin, Christ, and St. John. (By Raphael, born 1483; died 1520.) Varied from the picture called the Cardellino, in the Tribune at Florence. This picture was painted for the ancient family of Gaddi, and passed, by marriage, into the Nerli family; and sold for the first time to the present proprietor. Circular (Raphael)|Virgin, Christ, and St. John. (By Raphael, born 1483; died 1520.) Varied from the picture called the Cardellino, in the Tribune at Florence. This picture was painted for the ancient family of Gaddi, and passed, by marriage, into the Nerli family; and sold for the first time to the present proprietor. Circular]] réalisée par Raphael, vendue par Rev J Sanford au prix de 1000 gs. [2]
  • 1838.04.24/ maison de ventes : Yates (George). Vente de l'œuvre décrite comme [[Virgin, Child, St. Elizabeth, and St. John. (By Raphael.) From the Crocetta Palace. At the death of Poerot, the agent of the French in 1797, this picture, formerly the altar-piece, was found in his house, undoubtedly stolen by him, when Italy was plundered (Raphael)|Virgin, Child, St. Elizabeth, and St. John. (By Raphael.) From the Crocetta Palace. At the death of Poerot, the agent of the French in 1797, this picture, formerly the altar-piece, was found in his house, undoubtedly stolen by him, when Italy was plundered]] réalisée par Raphael, vendue par Rev J Sanford au prix de 1000 gs. [3]
  • 1838.04.24/ maison de ventes : Yates (George). Vente de l'œuvre décrite comme [[Vasari, in his Life of Granacci, mentions his having been employed, with Andrea del Sarto and Puntormo, by Pier Francesco Borgherini, and that he executed these pictures in small figures of the history of Joseph, with the most finished care, the colour enchanting and beautiful, not to be surpassed in all the parts. Vasari speaks more of Bacchiacca in the Life of Bastiano. In the Life of Puntormo, Vasari again alludes to the riches of this room in the house of Pier Francesco Borgherini in Florence. He relates that when Pier Francesco Borgherini having retired to Lucca during the siege of Florence, Giovanni Battiata della Porta was desirous of possessing the paintings in this room, in order to present them in the name of the government to Francis the First of France; he was so favoured, and manoeuvred so well, that the Gonfalonier and the chiefs of the republic gave permission to take the paintings, paying Pier Francesco for them. Upon this authority, Giovanni Battiata, with some others, went to execute the order. When they came to the house of Pier Francesco, his wife, who was at home, abused Giovanni Battista in the grossest terms. "Have you then the audacity, Giovanni Battista, contemptible broker and pedlar as you are, to unhang the ornaments of gentlemen's rooms, and to plunder this city of its richest and most honourable possessions, as you have already done, and are continually doing, to embellish foreign countries and our enemies? At your conduct I am not surprised, plebeian as you are, and enemy of your country, but at the conduct of the magistrates of this city, who conduct themselves with such abominable wickedness. This bed (of which these two pictures were the ornaments of the head and foot) which you are in pursuit of, for your own private interest, and thirst of gain, although you cover with piety your vile hypocrisy, is my marriage bed, in honour of which Salvi, my father-in-law, had all these magnificent decorations executed, which I reverence and honour, and for the love of my husband, and which I shall defend with my blood and life. Quit this house with your plunderers, Giovanni Battista, and tell those who sent you with the order to remove these things from their places, that I am she who will not permit anything to be removed, and if they, who have confidence in you (good for nothing as you are), wish to make a present to King Francis of France, let them go and strip their own houses, and the ornaments and beds of their own rooms; and if you have again the same audacity, and return to this house, with the same intention, I will teach you, to your cost, the respect which is due to the houses of gentlemen." This speech of Madonna Margherita, wife of Pier Francesco Borgherini, and daughter of Roberto Acciajuoli; "a noble and prudent citizen, a woman in fact of high courage, and worthy of so great a father by her noble nature and daring, was the cause that these jewels of art are still remaining in their house." The above is one of the most interesting anecdotes related by Vasari, the intimate friend of Michel Angelo. The last grand Duke was in treaty for these pictures, but the price demanded was considered by the director of the gallery too high. They passed into the Sorbelli and Nerli families by marriage, and were sold for the first time to the present proprietor (Francesco Ubertini. (Called Bacchiacca, pupil with Raphael, of Pietro Perugino.))|Vasari, in his Life of Granacci, mentions his having been employed, with Andrea del Sarto and Puntormo, by Pier Francesco Borgherini, and that he executed these pictures in small figures of the history of Joseph, with the most finished care, the colour enchanting and beautiful, not to be surpassed in all the parts. Vasari speaks more of Bacchiacca in the Life of Bastiano. In the Life of Puntormo, Vasari again alludes to the riches of this room in the house of Pier Francesco Borgherini in Florence. He relates that when Pier Francesco Borgherini having retired to Lucca during the siege of Florence, Giovanni Battiata della Porta was desirous of possessing the paintings in this room, in order to present them in the name of the government to Francis the First of France; he was so favoured, and manoeuvred so well, that the Gonfalonier and the chiefs of the republic gave permission to take the paintings, paying Pier Francesco for them. Upon this authority, Giovanni Battiata, with some others, went to execute the order. When they came to the house of Pier Francesco, his wife, who was at home, abused Giovanni Battista in the grossest terms. "Have you then the audacity, Giovanni Battista, contemptible broker and pedlar as you are, to unhang the ornaments of gentlemen's rooms, and to plunder this city of its richest and most honourable possessions, as you have already done, and are continually doing, to embellish foreign countries and our enemies? At your conduct I am not surprised, plebeian as you are, and enemy of your country, but at the conduct of the magistrates of this city, who conduct themselves with such abominable wickedness. This bed (of which these two pictures were the ornaments of the head and foot) which you are in pursuit of, for your own private interest, and thirst of gain, although you cover with piety your vile hypocrisy, is my marriage bed, in honour of which Salvi, my father-in-law, had all these magnificent decorations executed, which I reverence and honour, and for the love of my husband, and which I shall defend with my blood and life. Quit this house with your plunderers, Giovanni Battista, and tell those who sent you with the order to remove these things from their places, that I am she who will not permit anything to be removed, and if they, who have confidence in you (good for nothing as you are), wish to make a present to King Francis of France, let them go and strip their own houses, and the ornaments and beds of their own rooms; and if you have again the same audacity, and return to this house, with the same intention, I will teach you, to your cost, the respect which is due to the houses of gentlemen." This speech of Madonna Margherita, wife of Pier Francesco Borgherini, and daughter of Roberto Acciajuoli; "a noble and prudent citizen, a woman in fact of high courage, and worthy of so great a father by her noble nature and daring, was the cause that these jewels of art are still remaining in their house." The above is one of the most interesting anecdotes related by Vasari, the intimate friend of Michel Angelo. The last grand Duke was in treaty for these pictures, but the price demanded was considered by the director of the gallery too high. They passed into the Sorbelli and Nerli families by marriage, and were sold for the first time to the present proprietor]] réalisée par Francesco Ubertini. (Called Bacchiacca, pupil with Raphael, of Pietro Perugino.), vendue par Rev J Sanford au prix de 5000 gs. [6]
  • 1838.04.24/ maison de ventes : Yates (George). Vente de l'œuvre décrite comme [[The Magdalen and the Virgin. (Leonardo da Vinci, born 1450; died 1528.) Undoubtedly the original composition, varied into the Modesty and Vanity by Luini. Here is the Monna Lisa, the favourite beauty of Leonardo, whose portrait exists by him in the Louvre. The Vanity is Luini's favourite beauty, frequently repeated by him. This picture is from the Nicolini gallery at Florence, formed in the time of the republic, during the perfection of the Tuscan school. Mr. Day was commissioned, and offered for the picture at Rome £. 7000 (Leonardo da Vinci)|The Magdalen and the Virgin. (Leonardo da Vinci, born 1450; died 1528.) Undoubtedly the original composition, varied into the Modesty and Vanity by Luini. Here is the Monna Lisa, the favourite beauty of Leonardo, whose portrait exists by him in the Louvre. The Vanity is Luini's favourite beauty, frequently repeated by him. This picture is from the Nicolini gallery at Florence, formed in the time of the republic, during the perfection of the Tuscan school. Mr. Day was commissioned, and offered for the picture at Rome £. 7000]] réalisée par Leonardo da Vinci, vendue par Rev J Sanford au prix de 2000 gs. [8]
  • 1838.04.24/ maison de ventes : Yates (George). Vente de l'œuvre décrite comme [[Madonna, Child, and St. John. (Giovanni da San Giovanni Manozzi, born 1590; died 1630.) The finest Fresco for its size known by him; painted upon a large tile for the Ricardi Gallery: purchased from the Marchese Ricardi by the present proprietor. Baldanucci says of the Master, that his Frescos were equal to Raphael (Giovanni da San Giovanni Manozzi)|Madonna, Child, and St. John. (Giovanni da San Giovanni Manozzi, born 1590; died 1630.) The finest Fresco for its size known by him; painted upon a large tile for the Ricardi Gallery: purchased from the Marchese Ricardi by the present proprietor. Baldanucci says of the Master, that his Frescos were equal to Raphael]] réalisée par Giovanni da San Giovanni Manozzi, vendue par Rev J Sanford au prix de 150 gs. [10]
  • 1838.04.24/ maison de ventes : Yates (George). Vente de l'œuvre décrite comme [[Paul the Fifth. (Guido Reni, born 1594; died 1665.) One of the twelve Portraits mentioned by Malvasia Felsina as painted by him. The Pope Borghese was Guido's great patron, and sent for him to Bologna to paint his chapel. This Portrait is mentioned by Cinelli in the Bellezze di Firenze, 1677, in the Torrigiani Palace. It was purchased from the Marchese Torrigiani by the present proprietor (Guido Reni)|Paul the Fifth. (Guido Reni, born 1594; died 1665.) One of the twelve Portraits mentioned by Malvasia Felsina as painted by him. The Pope Borghese was Guido's great patron, and sent for him to Bologna to paint his chapel. This Portrait is mentioned by Cinelli in the Bellezze di Firenze, 1677, in the Torrigiani Palace. It was purchased from the Marchese Torrigiani by the present proprietor]] réalisée par Guido Reni, vendue par Rev J Sanford au prix de 400 gs. [24]
  • 1838.04.24/ maison de ventes : Yates (George). Vente de l'œuvre décrite comme [[Madonna, Child, and St. John. (Andrea Del Sarto.) In distemper; the only one known. This was the original design of the celebrated fresco, outside the Porta Pinti, to which all criminals were taken to pay their last devotions. This celebrated fresco no longer exists (Andrea Del Sarto)|Madonna, Child, and St. John. (Andrea Del Sarto.) In distemper; the only one known. This was the original design of the celebrated fresco, outside the Porta Pinti, to which all criminals were taken to pay their last devotions. This celebrated fresco no longer exists]] réalisée par Andrea Del Sarto, vendue par Rev J Sanford au prix de 5 gs. [57]
  • 1838.04.24/ maison de ventes : Yates (George). Vente de l'œuvre décrite comme [[Found in the house of the Advocate Rivani, at his death, at Florence. This is a most remarkable picture. When it was purchased by the present proprietor, it was carried to the Pitti Palace, and confronted with the picture of the same composition, called, from the window in the corner of the picture, the "Impannata," and minutely compared by numerous artists present, and by the two Wallises, distinguished authors and connoisseurs; the elder Mr. Wallis probably the best connoisseur in Europe. There was a perfect harmony of opinion, that the superiority of the drawing in the picture left not the least doubt that none but the hand of the inimitable Raphael could have traced such an outline; and the most prominent defects in the Pitti picture, were in this the most conspicuous beauties, more particularly the advanced leg and thigh of St. John. Numerous attestations of the first connoisseurs on the spot accompany this picture, of their conviction that the picture is the original by Raphael, and declaring equally the inferiority of the picture in the Pitti Palace. As this composition is unfinished, it becomes most instructive as to the manner in which Raphael worked and prepared his works for the last perfection. Upon inquiry, it appears that in 1797 there was a second Impannata in the Guarda Roba of the Poggio Imperiale, the country palace near Florence. At present that is missing. There was most extensive plundering during the French invasion; and a person of the name of Sampieri, was at that time director of the gallery, and most intimate friend of the Advocate Rivani, who was at that time the head of the Buon Governo. The speculation is, that in former times some ignorant person mistook the finished copy for the original picture, and placed it in the Pitti Palace; and that Sampieri took advantage of the times, and stole the Impannata from the Guarda Roba, and transferred it to his friend Rivani, who collected pictures. This conjecture is the more confirmed by the fact, that though Rivani sold his pictures, he never ventured to expose this for sale; and moreover the back of the panel was fresh planed, leaving no seal number or trace of a former possession, invariably the case on all the Medici pictures, which are all sealed and numbered. Sixty-three pictures were transfered to Paris from the Pitti Palace alone, and amongst the number the Impannata. But when David Dunon and the other French artists arranged the pictures for the Louvre, the Impannata was unanimously condemned as not by Raphael, and sent to the Luxembourg Palace, as of the school of Raphael. Extract from Vasari touching the Impannata, the Picture by Raphael, so called from the sash-window in the background, which gives light to the subject. "E similmente un quadro di nostra donna, ch' egli mandò à Firenza il qual quadro è oggi nel Palazzo del Duca Cosimo nella cappella delle stanze nuove e da me fatta e dipinte e serve per tavola dell' altare, e in esso è dipinta una Sant' Anna vecchissima a sedere, la quale porge alla nostra donna il suo figliuolo, di tanta bellezza nell' ignudo a nelle fattezze del volto, che nel suo ridere rallegra chiunque lo guarda, senza che Raffaello, mostrò nel dipignere la nostra donna, tutto quello, che di bellezza si può fare nell' arcà di una vergine, dove sia accompagnata negli occhi modestia, nella fronte onore, nel naso grazia e nella bosca virtù, senza che l'abito suo è tale che mostra una semplicità e onestà infinita. E nel vero io non penso, che per tanta cosa si possa veder meglio. Evvi un San Giovanni a sedere ignudo, ed un' altra Santa, che è bellissima anche ella. Così per campo vi è un casamento, dov' egli ha finto una finestra impannata che fa lume alla stanza, dove le figure son dentro (Raphael)|Found in the house of the Advocate Rivani, at his death, at Florence. This is a most remarkable picture. When it was purchased by the present proprietor, it was carried to the Pitti Palace, and confronted with the picture of the same composition, called, from the window in the corner of the picture, the "Impannata," and minutely compared by numerous artists present, and by the two Wallises, distinguished authors and connoisseurs; the elder Mr. Wallis probably the best connoisseur in Europe. There was a perfect harmony of opinion, that the superiority of the drawing in the picture left not the least doubt that none but the hand of the inimitable Raphael could have traced such an outline; and the most prominent defects in the Pitti picture, were in this the most conspicuous beauties, more particularly the advanced leg and thigh of St. John. Numerous attestations of the first connoisseurs on the spot accompany this picture, of their conviction that the picture is the original by Raphael, and declaring equally the inferiority of the picture in the Pitti Palace. As this composition is unfinished, it becomes most instructive as to the manner in which Raphael worked and prepared his works for the last perfection. Upon inquiry, it appears that in 1797 there was a second Impannata in the Guarda Roba of the Poggio Imperiale, the country palace near Florence. At present that is missing. There was most extensive plundering during the French invasion; and a person of the name of Sampieri, was at that time director of the gallery, and most intimate friend of the Advocate Rivani, who was at that time the head of the Buon Governo. The speculation is, that in former times some ignorant person mistook the finished copy for the original picture, and placed it in the Pitti Palace; and that Sampieri took advantage of the times, and stole the Impannata from the Guarda Roba, and transferred it to his friend Rivani, who collected pictures. This conjecture is the more confirmed by the fact, that though Rivani sold his pictures, he never ventured to expose this for sale; and moreover the back of the panel was fresh planed, leaving no seal number or trace of a former possession, invariably the case on all the Medici pictures, which are all sealed and numbered. Sixty-three pictures were transfered to Paris from the Pitti Palace alone, and amongst the number the Impannata. But when David Dunon and the other French artists arranged the pictures for the Louvre, the Impannata was unanimously condemned as not by Raphael, and sent to the Luxembourg Palace, as of the school of Raphael. Extract from Vasari touching the Impannata, the Picture by Raphael, so called from the sash-window in the background, which gives light to the subject. "E similmente un quadro di nostra donna, ch' egli mandò à Firenza il qual quadro è oggi nel Palazzo del Duca Cosimo nella cappella delle stanze nuove e da me fatta e dipinte e serve per tavola dell' altare, e in esso è dipinta una Sant' Anna vecchissima a sedere, la quale porge alla nostra donna il suo figliuolo, di tanta bellezza nell' ignudo a nelle fattezze del volto, che nel suo ridere rallegra chiunque lo guarda, senza che Raffaello, mostrò nel dipignere la nostra donna, tutto quello, che di bellezza si può fare nell' arcà di una vergine, dove sia accompagnata negli occhi modestia, nella fronte onore, nel naso grazia e nella bosca virtù, senza che l'abito suo è tale che mostra una semplicità e onestà infinita. E nel vero io non penso, che per tanta cosa si possa veder meglio. Evvi un San Giovanni a sedere ignudo, ed un' altra Santa, che è bellissima anche ella. Così per campo vi è un casamento, dov' egli ha finto una finestra impannata che fa lume alla stanza, dove le figure son dentro]] réalisée par Raphael, vendue par Rev J Sanford au prix de 10,000 gs. [64]
  • 1838.04.24/ maison de ventes : Yates (George). Vente de l'œuvre décrite comme [[Canonization of St. Francesco da Paola. (Andrea Del Sarto.) From the Altar of the Paradasino at Valambrosa, which formerly belonged to the Marchese Medici. Purchased from the Tempi Family, into which these Pictures passed by inheritance. They were taken from the Paradasino, at the suppression of the convents (Andrea Del Sarto)|Canonization of St. Francesco da Paola. (Andrea Del Sarto.) From the Altar of the Paradasino at Valambrosa, which formerly belonged to the Marchese Medici. Purchased from the Tempi Family, into which these Pictures passed by inheritance. They were taken from the Paradasino, at the suppression of the convents]] réalisée par Andrea Del Sarto, vendue par Rev J Sanford au prix de 60 gs. [86]
  • 1838.04.24/ maison de ventes : Yates (George). Vente de l'œuvre décrite comme [[Miracles of San Francesco. (Andrea Del Sarto.) Ditto From the Altar of the Paradasino at Valambrosa, which formerly belonged to the Marchese Medici. Purchased from the Tempi Family, into which these Pictures passed by inheritance. They were taken from the Paradasino, at the suppression of the convents (Andrea Del Sarto)|Miracles of San Francesco. (Andrea Del Sarto.) Ditto From the Altar of the Paradasino at Valambrosa, which formerly belonged to the Marchese Medici. Purchased from the Tempi Family, into which these Pictures passed by inheritance. They were taken from the Paradasino, at the suppression of the convents]] réalisée par Andrea Del Sarto, vendue par Rev J Sanford au prix de 50 gs. [87]
  • 1838.04.24/ maison de ventes : Yates (George). Vente de l'œuvre décrite comme [[Cupid Conducting Helen to the Vessel. (Coreggio.) One of the Coreggios missing from the Royal Gallery at Massa, after the entrance of the French. Mr. Wallis considered this picture (its condition and beauty of subject combined) superior to either of Lord Londonderry's (Coreggio)|Cupid Conducting Helen to the Vessel. (Coreggio.) One of the Coreggios missing from the Royal Gallery at Massa, after the entrance of the French. Mr. Wallis considered this picture (its condition and beauty of subject combined) superior to either of Lord Londonderry's]] réalisée par Coreggio, vendue par Rev J Sanford au prix de 3000 gs. [91]
  • 1838.04.24/ maison de ventes : Yates (George). Vente de l'œuvre décrite comme [[Head of St. John. (Coreggio.) A finished Study for the Picture in the Louvre at Paris, came to Florence from Genoa; another of the Massa Pictures missing One of the Coreggios missing from the Royal Gallery at Massa, after the entrance of the French (Coreggio)|Head of St. John. (Coreggio.) A finished Study for the Picture in the Louvre at Paris, came to Florence from Genoa; another of the Massa Pictures missing One of the Coreggios missing from the Royal Gallery at Massa, after the entrance of the French]] réalisée par Coreggio, vendue par Rev J Sanford au prix de 1000 gs. [92]
  • 1838.04.24/ maison de ventes : Yates (George). Vente de l'œuvre décrite comme [[Orion of Nicolo Poussin. Copy of the opinion of Mr. Wallis, professor of the first class of Painting of the Academy of Florence, of the Orion of Nicholas Poussin: -- I have read twice over "Table Talk" by a Mr. Haslitt; neither the title nor the man was adapted to so high a subject as painting. In figures, Nicolo Poussin is after Domenicheno and many others; Le Suer is infinitely superior to him; in historical landscape Nicolo Poussin is so truly epic, that justly he is the Homer of that style of art, as without any doubt Claude is the Virgil of Landscape painting. Mr. Haslitt says, what is only joining to false French opinion, "that the Deluge is the finest Historical Landscape in the world;" composition, and fine conception and invention, are the highest parts, colouring is the last; and the most ordinary men have possessed it in the highest perfection without a grand or an original idea. The Deluge of Nicolo Poussin is a very poor common-place composition, and the miserable boat and the figures are wretched; the grey tone, not at all difficult, is the only merit. I had the print, and I gave it away, not to have it about me. The Orion and his Polyphemus, are where he is equal to Homer, and above all that we have ever seen, as Homer is the greatest of Epic poets. Shakspeare should have seen your Orion and the Polyphemus; only he could have described the unrivalled sublimity, being himself the greatest of the great. Had he studied painting, he would have painted and thought in the same spirit. Dear Sir, Your's devotedly, George A. Wallis. Florence, 1835 (Nicolo Poussin)|Orion of Nicolo Poussin. Copy of the opinion of Mr. Wallis, professor of the first class of Painting of the Academy of Florence, of the Orion of Nicholas Poussin: -- I have read twice over "Table Talk" by a Mr. Haslitt; neither the title nor the man was adapted to so high a subject as painting. In figures, Nicolo Poussin is after Domenicheno and many others; Le Suer is infinitely superior to him; in historical landscape Nicolo Poussin is so truly epic, that justly he is the Homer of that style of art, as without any doubt Claude is the Virgil of Landscape painting. Mr. Haslitt says, what is only joining to false French opinion, "that the Deluge is the finest Historical Landscape in the world;" composition, and fine conception and invention, are the highest parts, colouring is the last; and the most ordinary men have possessed it in the highest perfection without a grand or an original idea. The Deluge of Nicolo Poussin is a very poor common-place composition, and the miserable boat and the figures are wretched; the grey tone, not at all difficult, is the only merit. I had the print, and I gave it away, not to have it about me. The Orion and his Polyphemus, are where he is equal to Homer, and above all that we have ever seen, as Homer is the greatest of Epic poets. Shakspeare should have seen your Orion and the Polyphemus; only he could have described the unrivalled sublimity, being himself the greatest of the great. Had he studied painting, he would have painted and thought in the same spirit. Dear Sir, Your's devotedly, George A. Wallis. Florence, 1835]] réalisée par Nicolo Poussin, vendue par Rev J Sanford au prix de 40 gs. [137]
Récupérée de « https://wikipast.epfl.ch/index.php?title=Ventes_d%27œuvres_le_1838.04.24&oldid=3989601 »