Ventes d'œuvres le 1776.04.24

1776.04.24/ maison de ventes : Walsh. Vente de l'œuvre décrite comme [[A perspective view of St. Peters at Rome, the beautiful Colonnade, and the Vatican, greatly enrich the composition of this picture, and notwithstanding, the infinity of objects the painter has introduced, the artist has preserved a perfect harmony throughout the whole (Da Costa)|A perspective view of St. Peters at Rome, the beautiful Colonnade, and the Vatican, greatly enrich the composition of this picture, and notwithstanding, the infinity of objects the painter has introduced, the artist has preserved a perfect harmony throughout the whole]] réalisée par Da Costa, vendue par Gilbert Marshall, Esq. [86]

1776.04.24/ maison de ventes : Walsh. Vente de l'œuvre décrite comme A warm and most pleasing view on the water near a village in Holland -- This lively and true representation brings you to the place itself -- Few pictures of this master are to be found so finely coloured réalisée par Vangoyen, vendue par Gilbert Marshall, Esq. [87]

1776.04.24/ maison de ventes : Walsh. Vente de l'œuvre décrite comme A most capital and warm landscape, in which is introduced the flight into Egypt réalisée par Claud, vendue par Gilbert Marshall, Esq. [88]

1776.04.24/ maison de ventes : Walsh. Vente de l'œuvre décrite comme The patroness of music exalting her voice to the heavens -- A most graceful figure and finely coloured réalisée par P. Da Cortona, vendue par Gilbert Marshall, Esq. [89]

1776.04.24/ maison de ventes : Walsh. Vente de l'œuvre décrite comme The inside of that ancient Gothic building, the great church at Antwerp, enriched with figures; on the fore-ground is a priest shewing a noble Spaniard the sepulchre of his ancestors; highly finish'd and well preserv'd -- the figures by Gonzales réalisée par P. Neef, vendue par Gilbert Marshall, Esq. [90]

1776.04.24/ maison de ventes : Walsh. Vente de l'œuvre décrite comme [[A most superb and magnificent composition, representing the seven acts of charity. At one end of the picture is seen Moretus (at that time overseer of the poor) standing near a table covered with a Turkey carpet, directing his eldest son to deliver the clothes to cover the naked. The younger one employed in bringing forward a basket full of bread, out of which his sisters supply their mother, who distributes it, and feeds the hungry -- (here the artist has introduced the mother of Rubens, holding forth her hand in a supplicating posture to receive the bread) -- before her on the steps, sits a naked figure, whose back the artist copied from the Torso Dora of M. Angelo. In the distance of this composition is seen the priests attending a funeral to the cathedral of Antwerp; near to them is a small group of pilgrims accompanied by a religious person, who is conducting them to where they may rest their weary limbs. In the second ground is seen another group exercising two acts of charity -- the one giving drink to the thirsty, the other administering comfort to the sick; the person comforting the sick is the portrait of the sister to Mrs. Moretus. At the other extremity of the picture is seen a prison, from whence the kind hand of a good citizen is leading an unhappy wretch to liberty. Throughout the whole of the figures employed in these commendable acts, this inimitable painter has preserved an amazing family likeness, whose sweetness of character might inspire any artist to emply his utmost ability to adorn his performance, and by the pains and care that is visible to have been taken in forming this composition. It is beyond a doubt that Gonzales was intimately connected and particularly attached to that family; the finishing is equal to Netscher, Toubourg, or Metzu, and is undoubtedly the grandest composition known of this master, whose pictures composed of even but four or five figures are extremely scarce. In respect to the colouring of his portraits, it is admitted that he is not inferior to Vandyke. On which acount he is called by the French authors, Le Petit Vandyke (Gonzales)|A most superb and magnificent composition, representing the seven acts of charity. At one end of the picture is seen Moretus (at that time overseer of the poor) standing near a table covered with a Turkey carpet, directing his eldest son to deliver the clothes to cover the naked. The younger one employed in bringing forward a basket full of bread, out of which his sisters supply their mother, who distributes it, and feeds the hungry -- (here the artist has introduced the mother of Rubens, holding forth her hand in a supplicating posture to receive the bread) -- before her on the steps, sits a naked figure, whose back the artist copied from the Torso Dora of M. Angelo. In the distance of this composition is seen the priests attending a funeral to the cathedral of Antwerp; near to them is a small group of pilgrims accompanied by a religious person, who is conducting them to where they may rest their weary limbs. In the second ground is seen another group exercising two acts of charity -- the one giving drink to the thirsty, the other administering comfort to the sick; the person comforting the sick is the portrait of the sister to Mrs. Moretus. At the other extremity of the picture is seen a prison, from whence the kind hand of a good citizen is leading an unhappy wretch to liberty. Throughout the whole of the figures employed in these commendable acts, this inimitable painter has preserved an amazing family likeness, whose sweetness of character might inspire any artist to emply his utmost ability to adorn his performance, and by the pains and care that is visible to have been taken in forming this composition. It is beyond a doubt that Gonzales was intimately connected and particularly attached to that family; the finishing is equal to Netscher, Toubourg, or Metzu, and is undoubtedly the grandest composition known of this master, whose pictures composed of even but four or five figures are extremely scarce. In respect to the colouring of his portraits, it is admitted that he is not inferior to Vandyke. On which acount he is called by the French authors, Le Petit Vandyke]] réalisée par Gonzales, vendue par Mr. Bertles. [91]

1776.04.24/ maison de ventes : Walsh. Vente de l'œuvre décrite comme [[Dedalus and Icarus -- The painter has here introduced his own portrait in the character of Icarus, with an old attendant as Dedalus, trying on his wings.*Footnote: This was a favourite subject with Vandyke in the early part of his life. Lord Spencer has one with the painter's own portrait, but the story differently represented, as Dedalus in that has finished the putting on the wings, and is holding up his finger to the youth, warning him of the danger of soaring too high, and the fatal catastrophy of neglecting his admonitions. By this allegory the artist intimates his intention of becoming an historical as well as portrait painter; in the latter he has indisputably carried the palm against every competitor; and though his genius was not so fertile as his master Rubens, in historical compositions, yet the drawing is more correct, the figures more graceful, and the colour more natural: so that we must grant that he succeeded in his views, that he has taken a noble flight, always avoiding the fate of Icarus, having never miscarried in any undertaking by vanity or incapacity. It is well known that he painted the famous picture of the Ermanus Josephus in one of the jesuits chapels at Antwerp, before he was twenty years old, and it is admired as a miracle of colouring, and stands a model to succeeding generations. The present picture is another monument of his success in this early period of his life, as the portrait seems rather under the age of twenty: there is a pleasing expression of confidence in the features, as if he was under no apprehension of miscarrying in the prospects he was revolving in his mind. The manner of pencilling is masterly, and yet delicate; the colouring has preserved its brilliancy by his pure and undisturbed manner of working them. The general effect of the piece is pleasing; and the light and shadow striking. On the whole, it may be pronounced a most capital performance of this celebrated master -- combining in it the double merit of history and portrait. N.B. This picture was purchased out of the family of the bishop of Trieste at Ghent; and to remove all doubt of its originality, Mr. Bertles, the proprietor, warrants it to be a real performance of Vandyke; and engages, that if the purchaser should entertain any doubts, (which the proprietor can scarce think possible) and shall choose to send it to be judged by the academy of Dusseldorp or Antwerp, to abide by their determination; the great variety of capital performances of this master being daily viewed by them must render them the most competent and certain judges of his work. (Vandyke)|Dedalus and Icarus -- The painter has here introduced his own portrait in the character of Icarus, with an old attendant as Dedalus, trying on his wings.*Footnote: This was a favourite subject with Vandyke in the early part of his life. Lord Spencer has one with the painter's own portrait, but the story differently represented, as Dedalus in that has finished the putting on the wings, and is holding up his finger to the youth, warning him of the danger of soaring too high, and the fatal catastrophy of neglecting his admonitions. By this allegory the artist intimates his intention of becoming an historical as well as portrait painter; in the latter he has indisputably carried the palm against every competitor; and though his genius was not so fertile as his master Rubens, in historical compositions, yet the drawing is more correct, the figures more graceful, and the colour more natural: so that we must grant that he succeeded in his views, that he has taken a noble flight, always avoiding the fate of Icarus, having never miscarried in any undertaking by vanity or incapacity. It is well known that he painted the famous picture of the Ermanus Josephus in one of the jesuits chapels at Antwerp, before he was twenty years old, and it is admired as a miracle of colouring, and stands a model to succeeding generations. The present picture is another monument of his success in this early period of his life, as the portrait seems rather under the age of twenty: there is a pleasing expression of confidence in the features, as if he was under no apprehension of miscarrying in the prospects he was revolving in his mind. The manner of pencilling is masterly, and yet delicate; the colouring has preserved its brilliancy by his pure and undisturbed manner of working them. The general effect of the piece is pleasing; and the light and shadow striking. On the whole, it may be pronounced a most capital performance of this celebrated master -- combining in it the double merit of history and portrait. N.B. This picture was purchased out of the family of the bishop of Trieste at Ghent; and to remove all doubt of its originality, Mr. Bertles, the proprietor, warrants it to be a real performance of Vandyke; and engages, that if the purchaser should entertain any doubts, (which the proprietor can scarce think possible) and shall choose to send it to be judged by the academy of Dusseldorp or Antwerp, to abide by their determination; the great variety of capital performances of this master being daily viewed by them must render them the most competent and certain judges of his work.]] réalisée par Vandyke, vendue par Mr. Bertles. [92]

Ventes d'œuvres le 1776.04.24

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