Ventes d'œuvres le 1778.03.26

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  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Lady reading. This picture, besides that the object is pleasing, is a strong proof of the power of the pencil in the hands of a superior genius; the light, what is remarkable, comes from behind; yet the countenance is sufficiently enlightened by the rays reflected from the billet doux which this beauty is perusing, to discover its native charms, as well as her consciousness of their triumphs. -- It was once the property of Madame Pompadour; and comes now from the cabinet of the Abbé Jevigny (Jean Raoux)|A Lady reading. This picture, besides that the object is pleasing, is a strong proof of the power of the pencil in the hands of a superior genius; the light, what is remarkable, comes from behind; yet the countenance is sufficiently enlightened by the rays reflected from the billet doux which this beauty is perusing, to discover its native charms, as well as her consciousness of their triumphs. -- It was once the property of Madame Pompadour; and comes now from the cabinet of the Abbé Jevigny]] réalisée par Jean Raoux. [17]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Prison; the figures by Van Tulden. In this most delicated picture is introduced the deliverance of St. Peter by the angel; the exactness of the perspective, and the effect of the light in this abode of darkness and horror, render it one of the most valuable and interesting performances of the rare artist; it is in the most entire preservation. -- From the cabinet of the Abbé Peroux (Peter Neef)|A Prison; the figures by Van Tulden. In this most delicated picture is introduced the deliverance of St. Peter by the angel; the exactness of the perspective, and the effect of the light in this abode of darkness and horror, render it one of the most valuable and interesting performances of the rare artist; it is in the most entire preservation. -- From the cabinet of the Abbé Peroux]] réalisée par Peter Neef. [18]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Minerva and Mercury, the Deities of Eloquence and Arts, accompanied by the Graces, instructing Mary De Medicis. An unequivocal sketch of the painting of this subject in the Luxemburg gallery. It possesses more spirit and enthusiasm than the great picture, which is but a copy of this; and particularly, the Graces are more graceful than in the finished performance. -- From the collection of the Duke de Chaulnes (Rubens)|Minerva and Mercury, the Deities of Eloquence and Arts, accompanied by the Graces, instructing Mary De Medicis. An unequivocal sketch of the painting of this subject in the Luxemburg gallery. It possesses more spirit and enthusiasm than the great picture, which is but a copy of this; and particularly, the Graces are more graceful than in the finished performance. -- From the collection of the Duke de Chaulnes]] réalisée par Rubens. [19]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Bacchanalian of Boys. One circumstance will serve to justify the attributing this piece to Andrea, which certainly will not escape the attentive specatator; the character of the design, or drawing, so much resembling that of Michel Angelo. It is known fact, tha Michel Angelo set up Andrea as a rival to Raphael, being taken with the sweetness of his colouring; and, to render the competition more equal, supplied him with designs. This is the only piece which could be saved on the demolishing the gallery of Francis the First at Fontainebleau. From the cabinet of Mons. de Gravelles (Andrea del Sarto)|A Bacchanalian of Boys. One circumstance will serve to justify the attributing this piece to Andrea, which certainly will not escape the attentive specatator; the character of the design, or drawing, so much resembling that of Michel Angelo. It is known fact, tha Michel Angelo set up Andrea as a rival to Raphael, being taken with the sweetness of his colouring; and, to render the competition more equal, supplied him with designs. This is the only piece which could be saved on the demolishing the gallery of Francis the First at Fontainebleau. From the cabinet of Mons. de Gravelles]] réalisée par Andrea del Sarto. [22]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Physician discovering the Disorder of a Patient by the Urine. The gravity and importance of the leech, and the grief of the woman who has recourse to his skill, in behalf of some person in whose welfare she appears deeply interested, are expressed with the greatest force and naivité; Inanimate nature was never seen more perfectly imitated; it is equal to Teniers, and is truly capital. -- From the collection of Mons. Aved (Van Helmont)|A Physician discovering the Disorder of a Patient by the Urine. The gravity and importance of the leech, and the grief of the woman who has recourse to his skill, in behalf of some person in whose welfare she appears deeply interested, are expressed with the greatest force and naivité; Inanimate nature was never seen more perfectly imitated; it is equal to Teniers, and is truly capital. -- From the collection of Mons. Aved]] réalisée par Van Helmont. [25]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Baptism of our Saviour. This picture has a merit seldom met with in the works of this painter. Here he not only vies with Raphael in the dignity, grace and beauty of the characters; he is also a colourest sic., and few pieces of Titian surpass it in the harmony of the colouring. This is certainly one of those performance in which he attempted to follow that great model, in this bewitching part of the art. Pity he had not always painted with the same warmth and mellowness! -- From the cabinet of Mons. July de la Live (Poussin)|The Baptism of our Saviour. This picture has a merit seldom met with in the works of this painter. Here he not only vies with Raphael in the dignity, grace and beauty of the characters; he is also a colourest sic., and few pieces of Titian surpass it in the harmony of the colouring. This is certainly one of those performance in which he attempted to follow that great model, in this bewitching part of the art. Pity he had not always painted with the same warmth and mellowness! -- From the cabinet of Mons. July de la Live]] réalisée par Poussin. [30]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Landscape and Figures. A picture which would have done honour to the pencil of Gaspar Poussin. In it is seen that happy choice of beautiful nature admired in the works of Gaspar; in the distinctness of the objects, the force, freshness and sweetness of colouring, as well as in the elegance and the accuracy of the figures, cattle, &c. it is evidently superior. It is in the most perfect preservation. From the cabinet of Mons. Polallice (Lucatelli)|A Landscape and Figures. A picture which would have done honour to the pencil of Gaspar Poussin. In it is seen that happy choice of beautiful nature admired in the works of Gaspar; in the distinctness of the objects, the force, freshness and sweetness of colouring, as well as in the elegance and the accuracy of the figures, cattle, &c. it is evidently superior. It is in the most perfect preservation. From the cabinet of Mons. Polallice]] réalisée par Lucatelli. [32]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Holy Family, divinely represented. It is a reposo; the bambino asleep is adored by the angels, who hold the instruments of his crucifixion. Thus it is both an historical picture and a landscape, each on sic. them admirable. This subject is one of those which Albano loved to work upon, and in which he succeeded beyond others. The characters of the virgin, bambino, angels, are all taken from the life in his own family. He married a beautiful lady out of love to painting; she enriched him with these models of grace and beauty, which the spectator sees with so much pleasure before him. -- From the cabinet of the Duke de Valentinois (Albano)|A Holy Family, divinely represented. It is a reposo; the bambino asleep is adored by the angels, who hold the instruments of his crucifixion. Thus it is both an historical picture and a landscape, each on sic. them admirable. This subject is one of those which Albano loved to work upon, and in which he succeeded beyond others. The characters of the virgin, bambino, angels, are all taken from the life in his own family. He married a beautiful lady out of love to painting; she enriched him with these models of grace and beauty, which the spectator sees with so much pleasure before him. -- From the cabinet of the Duke de Valentinois]] réalisée par Albano. [34]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Landscape, with a Sun-set; the figures by another artist. The title is pleasing, rural, romantic, and the distance beautifully expressed. The glow and splendor of that luminary, whose beams now mitigated by the evening vapours, diffuse a milder glory over nature, may be felt but cannot be described. -- From the same collection of the Duke de Valentinois (Claude Gelee)|A Landscape, with a Sun-set; the figures by another artist. The title is pleasing, rural, romantic, and the distance beautifully expressed. The glow and splendor of that luminary, whose beams now mitigated by the evening vapours, diffuse a milder glory over nature, may be felt but cannot be described. -- From the same collection of the Duke de Valentinois]] réalisée par Claude Gelee. [35]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A capital Landscape, with Figures, &c. In this piece the spectator will admire the richness and beauty of the view, and the correctness, elegance and spirit of the figures, and other objects with which the painter has chosen to adorn his composition. The rocks, mountains, water, clouds, ether, in representing which few approach him, are expressed with the same force as in nature, which we imagine we see before us, and not a transcript of her beauties. From the cabinet of Abbe Peroux (Salvator Rosa)|A capital Landscape, with Figures, &c. In this piece the spectator will admire the richness and beauty of the view, and the correctness, elegance and spirit of the figures, and other objects with which the painter has chosen to adorn his composition. The rocks, mountains, water, clouds, ether, in representing which few approach him, are expressed with the same force as in nature, which we imagine we see before us, and not a transcript of her beauties. From the cabinet of Abbe Peroux]] réalisée par Salvator Rosa. [37]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Magdalen. Grief and repentance are marked in the strongest manner on the countenance of this beautiful saint. Her eyes are blood-shot with weeping for the sins of her youth: as she is resolved to bid adieu, for ever, to pleasures, at an age when others are most eager in the pursuit of them, these heavenly charms, those bewitching graces, will from henceforth be lost to the world. It is, indeed, a most eloquent and a standing lecture on its vanity. -- From the collection of Cardinal Polignac (Titian)|A Magdalen. Grief and repentance are marked in the strongest manner on the countenance of this beautiful saint. Her eyes are blood-shot with weeping for the sins of her youth: as she is resolved to bid adieu, for ever, to pleasures, at an age when others are most eager in the pursuit of them, these heavenly charms, those bewitching graces, will from henceforth be lost to the world. It is, indeed, a most eloquent and a standing lecture on its vanity. -- From the collection of Cardinal Polignac]] réalisée par Titian. [38]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Landscape with Figures and Cattle. A pastoral scene, representing the innocent and calm pleasures of rural life. It is extremely well painted, and will produce a striking effect, when not placed too near the eye, which its author never meant it should -- From the cabinet of Mons. Bouret (Rubens)|A Landscape with Figures and Cattle. A pastoral scene, representing the innocent and calm pleasures of rural life. It is extremely well painted, and will produce a striking effect, when not placed too near the eye, which its author never meant it should -- From the cabinet of Mons. Bouret]] réalisée par Rubens. [39]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Vertumnus and Pomona. This is an odd stratagem to surprize a timid beauty; however, the conduct of the goddess must not be too rigidly censured. Who would have suspected a gallent could be concealed under the form of this venerable maiden. If, trusting too much to the evidence of her eyes, in evil hour, she suffers her suspicions to be lulled asleep, can we wonder that, the foe once admitted into her heart, resistance should come too late. The example need not alarm the fair of the present age. The swains now-a-days are too fond of their own shape to put on a borrowed one; if they do borrow, it is of their taylor. A beau would hardly think of metamorphosing himself into an old woman to make an impression on cruel beauty. -- This inimitable painting is from the collection of Mons Harriet (Guido Reni)|Vertumnus and Pomona. This is an odd stratagem to surprize a timid beauty; however, the conduct of the goddess must not be too rigidly censured. Who would have suspected a gallent could be concealed under the form of this venerable maiden. If, trusting too much to the evidence of her eyes, in evil hour, she suffers her suspicions to be lulled asleep, can we wonder that, the foe once admitted into her heart, resistance should come too late. The example need not alarm the fair of the present age. The swains now-a-days are too fond of their own shape to put on a borrowed one; if they do borrow, it is of their taylor. A beau would hardly think of metamorphosing himself into an old woman to make an impression on cruel beauty. -- This inimitable painting is from the collection of Mons Harriet]] réalisée par Guido Reni. [40]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The dead Body of our Saviour supported in the Clouds by Angels, the Virgin, &c. weeping over it. Though Paulo was chiefly famous for the harmony of his colouring, he may here rank with the most pathetic painters. It is impossible to view this piece without sorrow. There never was, perhaps a stronger instance of the power of painting over the heart. The painter has introduced the portraits of a noble Venetian family at their devotion, a compliment paid to his patron who bespoke the picture. -- From the collection of the Cardinal Polignac (Paulo Veronese)|The dead Body of our Saviour supported in the Clouds by Angels, the Virgin, &c. weeping over it. Though Paulo was chiefly famous for the harmony of his colouring, he may here rank with the most pathetic painters. It is impossible to view this piece without sorrow. There never was, perhaps a stronger instance of the power of painting over the heart. The painter has introduced the portraits of a noble Venetian family at their devotion, a compliment paid to his patron who bespoke the picture. -- From the collection of the Cardinal Polignac]] réalisée par Paulo Veronese. [41]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A beautiful Landscape, with Cattle and Figures. Among the latter is introduced our Saviour going to Ensus. There are things in this picture which come very near the stile and manner of Rubens; nor is it to be wondered at, that the work of the pupil should resemble that of the master. -- From the cabinet of Mons. Vanloo (Teniers)|A beautiful Landscape, with Cattle and Figures. Among the latter is introduced our Saviour going to Ensus. There are things in this picture which come very near the stile and manner of Rubens; nor is it to be wondered at, that the work of the pupil should resemble that of the master. -- From the cabinet of Mons. Vanloo]] réalisée par Teniers. [43]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Cupid and Psyche. The objects in this pleasing allegorical picture are enlightened by the lamp which the goddess holds in her hand. It possesses a softness, a mellowness, and a harmony from this circumstance, which add a new value to it. The design is as chaste and beautiful as the colouring is harmonious. -- It formed a principal ornament of the cabinet of a farmer-general, Mons. Bouret (Le Moine)|Cupid and Psyche. The objects in this pleasing allegorical picture are enlightened by the lamp which the goddess holds in her hand. It possesses a softness, a mellowness, and a harmony from this circumstance, which add a new value to it. The design is as chaste and beautiful as the colouring is harmonious. -- It formed a principal ornament of the cabinet of a farmer-general, Mons. Bouret]] réalisée par Le Moine. [44]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[St. Sebastian shot with Arrows. This terrible subject the artist has rendered in a manner new, by the poetical manner in which he has treated it. The presence of the angels shew that the saint has received the crown of martyrdom. The cherub, who is employed in pulling out the arrows, seems to suffer with him; his sympathy is pictured in the most lively manner in his attitude and countenance. The colouring and execution speak for themselves. It would be to affront the taste of the spectators to presume to make any encomium on it; all who have seen it allow it to be the most capital picture of this subject in the world, that of Raphael himself not excepted. -- Brought from the Palazzo Borghese at Rome, by Cardinal Polignac (Vandyke)|St. Sebastian shot with Arrows. This terrible subject the artist has rendered in a manner new, by the poetical manner in which he has treated it. The presence of the angels shew that the saint has received the crown of martyrdom. The cherub, who is employed in pulling out the arrows, seems to suffer with him; his sympathy is pictured in the most lively manner in his attitude and countenance. The colouring and execution speak for themselves. It would be to affront the taste of the spectators to presume to make any encomium on it; all who have seen it allow it to be the most capital picture of this subject in the world, that of Raphael himself not excepted. -- Brought from the Palazzo Borghese at Rome, by Cardinal Polignac]] réalisée par Vandyke. [45]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[A Dead Christ, with the Virgin and St. John. There is a gradation of passion in this tremendous scene: we behold the sorrow of the beloved disciple with a strong degree of emotion: this is exceeded by the piercing grief visible in the countenance of the mother of the Saviour. One would have thought it beyond human art to ascend higher: but a more moving object yet strikes the amazed spectator: Death, the King of Terrors, triumphing over the Lord of Life. How beautiful, and yet how ghastly does that divine countenance appear! The Grecian artist received immortal fame, who ingeniously threw a veil over a father's sorrows, which he despaired to come up to. The Flemish painter has boldly ventured to paint the yet greater sorrows of a mother; a for what a son! To complete his triumph, he has dared to delineate The Deity a victim to mortality. But let us turn our eyes, for a while, from an object which overpowers the mind and the senses; and recollect what is more connected with the present business. This unparalleled piece was formerly the property of Mons. de Salles, and las of the Abbé Peroux (Rubens)|A Dead Christ, with the Virgin and St. John. There is a gradation of passion in this tremendous scene: we behold the sorrow of the beloved disciple with a strong degree of emotion: this is exceeded by the piercing grief visible in the countenance of the mother of the Saviour. One would have thought it beyond human art to ascend higher: but a more moving object yet strikes the amazed spectator: Death, the King of Terrors, triumphing over the Lord of Life. How beautiful, and yet how ghastly does that divine countenance appear! The Grecian artist received immortal fame, who ingeniously threw a veil over a father's sorrows, which he despaired to come up to. The Flemish painter has boldly ventured to paint the yet greater sorrows of a mother; a for what a son! To complete his triumph, he has dared to delineate The Deity a victim to mortality. But let us turn our eyes, for a while, from an object which overpowers the mind and the senses; and recollect what is more connected with the present business. This unparalleled piece was formerly the property of Mons. de Salles, and las of the Abbé Peroux]] réalisée par Rubens. [46]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[The Virgin, Bambino and St. John. We have the best evidence in the world of the originality of this painting; superior excellence, the surest mark whereby to ascertain the genuineness of a picture. Though in good preservation, it has sufficient tokens of the age of Raphael, which, added to the native charms of his pencil, prove it to be of his hand beyond the shadow of a doubt. No copier could have transfused into his imitation such divinity as appears in the face of the infant Jesus; such angelic grace as shines forth in the countenance of the Blessed Virgin, nor such an elevated simplicity as we behold in the young Baptist. -- Purchased from the cabinet of Mons. de St. Maur, by the Abbe Regnaud (Raphael)|The Virgin, Bambino and St. John. We have the best evidence in the world of the originality of this painting; superior excellence, the surest mark whereby to ascertain the genuineness of a picture. Though in good preservation, it has sufficient tokens of the age of Raphael, which, added to the native charms of his pencil, prove it to be of his hand beyond the shadow of a doubt. No copier could have transfused into his imitation such divinity as appears in the face of the infant Jesus; such angelic grace as shines forth in the countenance of the Blessed Virgin, nor such an elevated simplicity as we behold in the young Baptist. -- Purchased from the cabinet of Mons. de St. Maur, by the Abbe Regnaud]] réalisée par Raphael. [47]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Xenophon, that famous Captain, Historian and Philosopher, who commanded in the famous Retreat of the ten thousand Greeks, having purchased an Estate at Scilluns, built on it a Temple, and erected a Statue of Diana, consecrating the Whole to the Goddess, offers the Tythes of the Fruits, Game, &c. the Produce of the consecrated Lands. The subject is copious and pleasing, affording a great variety of such objects as enrich a picture. The painting falls nothing short of the theme; never was a grander or richer composition; points in which Pietro is allowed to have surpassed all men. In a word, this picture alone would suffice to establish his merit as an artist, were there no other work of his existing. It shews the extent of his great genius, as much as the most spacious gallery, in which he could only have repeated the same abundance and fertility. We are indebted likewise to Cardinal Polignac for this noble piece; he procured it from the Barberini Palace at Rome, where is the greatest treasury of works of this admired master (Pietro Da Cortona)|Xenophon, that famous Captain, Historian and Philosopher, who commanded in the famous Retreat of the ten thousand Greeks, having purchased an Estate at Scilluns, built on it a Temple, and erected a Statue of Diana, consecrating the Whole to the Goddess, offers the Tythes of the Fruits, Game, &c. the Produce of the consecrated Lands. The subject is copious and pleasing, affording a great variety of such objects as enrich a picture. The painting falls nothing short of the theme; never was a grander or richer composition; points in which Pietro is allowed to have surpassed all men. In a word, this picture alone would suffice to establish his merit as an artist, were there no other work of his existing. It shews the extent of his great genius, as much as the most spacious gallery, in which he could only have repeated the same abundance and fertility. We are indebted likewise to Cardinal Polignac for this noble piece; he procured it from the Barberini Palace at Rome, where is the greatest treasury of works of this admired master]] réalisée par Pietro Da Cortona. [48]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[An Emblematical Picture representing War in its Beginning, characterised by a child holding a lance, and standing by a piece of ordnance. Discord is seen in the back ground "Discord, dire sister of the slaughtering pow'r! Small at her birth, but rising every hour!" (Coreggio)|An Emblematical Picture representing War in its Beginning, characterised by a child holding a lance, and standing by a piece of ordnance. Discord is seen in the back ground "Discord, dire sister of the slaughtering pow'r! Small at her birth, but rising every hour!"]] réalisée par Coreggio. [49]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[War arrived at full growth. Two soldiers of Herculean force, designed as nobly as if drawn by Michael Angelo, with another piece of ordnance. "While scarce the skies her horrid head can bound "She stalks on eather and shakes the world around, "The nation's sic bleed where'er her steps she turns. "The groan still deepens, and the combat burns." It has ever been a favourite amusement with men of taste, to compare the talents of the most extraordinary geniuses, even when their arts were not the same. They are thus made, as it were, to enter the lists and to make a display of their capacity before us. By the lines inserted here, the spectator has the satisfaction to complare the merits of teh greatest poet and the greatest painter that ever existed. The first seems to have laboured his ideal picture exceedingly. He has drawn his object vast in its proportions, and has represented it in the strongest and even fiercest colours. The second too seems to have strained every sinew -- no where can bolder proportion, nor a stronger or more glowing colouring be seen. It remains with the candid spectator to decide and bestow the palm of victory! -- These two paintings were brought from Italy by the Cardinal Polignac (Coreggio)|War arrived at full growth. Two soldiers of Herculean force, designed as nobly as if drawn by Michael Angelo, with another piece of ordnance. "While scarce the skies her horrid head can bound "She stalks on eather and shakes the world around, "The nation's sic bleed where'er her steps she turns. "The groan still deepens, and the combat burns." It has ever been a favourite amusement with men of taste, to compare the talents of the most extraordinary geniuses, even when their arts were not the same. They are thus made, as it were, to enter the lists and to make a display of their capacity before us. By the lines inserted here, the spectator has the satisfaction to complare the merits of teh greatest poet and the greatest painter that ever existed. The first seems to have laboured his ideal picture exceedingly. He has drawn his object vast in its proportions, and has represented it in the strongest and even fiercest colours. The second too seems to have strained every sinew -- no where can bolder proportion, nor a stronger or more glowing colouring be seen. It remains with the candid spectator to decide and bestow the palm of victory! -- These two paintings were brought from Italy by the Cardinal Polignac]] réalisée par Coreggio. [50]
  • 1778.03.26/ maison de ventes : Langford. Vente de l'œuvre décrite comme [[Twelfth Night, or Le Roi boit. This painting has always been esteemed the artist's master-piece. Here Jordaens is in his element; the subject gave full swing to his genius. In effect, it would be absured to select any other productions of this painter than such he himself preferred. The genius of Jordaens led him towards such; here he is excellent; here were have him in his glory; no wonder he excited the jealousy of Rubens, to whom he was a formidable rival, in point of colouring; and in force, and a strong expression of Nature, he often bore away the palm. It is engraved (J. Jordaens)|Twelfth Night, or Le Roi boit. This painting has always been esteemed the artist's master-piece. Here Jordaens is in his element; the subject gave full swing to his genius. In effect, it would be absured to select any other productions of this painter than such he himself preferred. The genius of Jordaens led him towards such; here he is excellent; here were have him in his glory; no wonder he excited the jealousy of Rubens, to whom he was a formidable rival, in point of colouring; and in force, and a strong expression of Nature, he often bore away the palm. It is engraved]] réalisée par J. Jordaens. [51]
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