Ventes d'œuvres le 1799.03.-

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  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[The Nativity of Christ. On the fore-ground the Madona and St. Joseph are kneeling, and regarding the Infant with tender and devout expression. He lays along on a piece of linen, supported by a little angel; two other little angels standing by, bearing instruments of the Passion in their hands. Behind is a ruined temple, with an ass and a cow, of which the heads only are seen. In the clouds is a group of five little angles sic, three of whom are chaunting, the others bearing implements of the Passion. In the middle-ground, which is elevated, are two shepherds listening to an angel, who announces to them this event. The distant view represents the town of Bethlehem. A highly-finished cabinet picture, on pannel, perfectly preserved; the tone of colouring clear and warm, especially the carnations, which are purely natural (Raphael Santio da Urbino)|The Nativity of Christ. On the fore-ground the Madona and St. Joseph are kneeling, and regarding the Infant with tender and devout expression. He lays along on a piece of linen, supported by a little angel; two other little angels standing by, bearing instruments of the Passion in their hands. Behind is a ruined temple, with an ass and a cow, of which the heads only are seen. In the clouds is a group of five little angles sic, three of whom are chaunting, the others bearing implements of the Passion. In the middle-ground, which is elevated, are two shepherds listening to an angel, who announces to them this event. The distant view represents the town of Bethlehem. A highly-finished cabinet picture, on pannel, perfectly preserved; the tone of colouring clear and warm, especially the carnations, which are purely natural]] réalisée par Raphael Santio da Urbino, vendue par [[[George Graves]]]. [1]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Portrait of Bernardo Divizzio Cardinal Bibiena. A half-length, books before him, one open in his left hand while his right is employed in writing. He is shaved, with a studious acute physiognomy. Through a window appears St. Jerome in a landschape. The colouring is true to nature, and the whole minutely finished. It is impossible to do justice to this picture by any description. It is a cabinet jewel of the first lustre, painted on pannel, and in the highest state of preservation (Raphael Santio da Urbino)|Portrait of Bernardo Divizzio Cardinal Bibiena. A half-length, books before him, one open in his left hand while his right is employed in writing. He is shaved, with a studious acute physiognomy. Through a window appears St. Jerome in a landschape. The colouring is true to nature, and the whole minutely finished. It is impossible to do justice to this picture by any description. It is a cabinet jewel of the first lustre, painted on pannel, and in the highest state of preservation]] réalisée par Raphael Santio da Urbino, vendue par [[[George Graves]]]. [2]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[The Holy Family. The Madona sits upon an elevated bench, with her feet on a step. On her left stands Joseph in a thoughtful attitude, which is finely expressed. On the other side stands St. John, of an age differently represented from that of most other pictures of this subject, at least twenty-five years of age; his aspect is serious, and he as well as Joseph, regards the spectator. The attitude of the Virgin is graceful, and her expression tender, though not looking at the Child. The Child stands on her lap, regarding the spectator with a pleasing smile. The figures are the size of small life, about four feet and a half in height -- the back ground terminates with a green curtain. The drawing is correct; the colouring, especially the carnations, true and of a warm tone; and the whole is highly finished. This picture was the chief altar-piece of a conventual church in Italy, and was sold to its present proprietor under a dispensation from the Pope, to enable the monks to defray the expence of repairing their church, which had been almost rent asunder by an earthquake. It is painted on pannel, well preserved, and has still its ancient coat of varnish on; and is in its original frame, which is a very curious one, having seven subjects of the life of Our Saviour, sketched in colours, on a ground of arabesque, or scroll-work, en grisaille, at equal distances; and in the middle, at bottom, the arms of the town wherein the convent stands. Size, exclusive of the frame, 5 feet high, by 4 1/2 feet broad, And the breadth of the frame 9 1/2 inches (Raphael Santio da Urbino)|The Holy Family. The Madona sits upon an elevated bench, with her feet on a step. On her left stands Joseph in a thoughtful attitude, which is finely expressed. On the other side stands St. John, of an age differently represented from that of most other pictures of this subject, at least twenty-five years of age; his aspect is serious, and he as well as Joseph, regards the spectator. The attitude of the Virgin is graceful, and her expression tender, though not looking at the Child. The Child stands on her lap, regarding the spectator with a pleasing smile. The figures are the size of small life, about four feet and a half in height -- the back ground terminates with a green curtain. The drawing is correct; the colouring, especially the carnations, true and of a warm tone; and the whole is highly finished. This picture was the chief altar-piece of a conventual church in Italy, and was sold to its present proprietor under a dispensation from the Pope, to enable the monks to defray the expence of repairing their church, which had been almost rent asunder by an earthquake. It is painted on pannel, well preserved, and has still its ancient coat of varnish on; and is in its original frame, which is a very curious one, having seven subjects of the life of Our Saviour, sketched in colours, on a ground of arabesque, or scroll-work, en grisaille, at equal distances; and in the middle, at bottom, the arms of the town wherein the convent stands. Size, exclusive of the frame, 5 feet high, by 4 1/2 feet broad, And the breadth of the frame 9 1/2 inches]] réalisée par Raphael Santio da Urbino, vendue par [[[George Graves]]]. [3]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Madona and Child, with Elizabeth, &c. A small highly-finished picture, in water colours, said to have been done by Raphael at sixteen years of age; it came out of the Barberini Palace. The subject is well known by Marc Antonio's print, called the Madona, au Berçeau (Raphael Santio da Urbino)|Madona and Child, with Elizabeth, &c. A small highly-finished picture, in water colours, said to have been done by Raphael at sixteen years of age; it came out of the Barberini Palace. The subject is well known by Marc Antonio's print, called the Madona, au Berçeau]] réalisée par Raphael Santio da Urbino, vendue par [[[George Graves]]]. [4]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Venus and a Satyr, Whom a cupid takes by the beard, and is about to peirce with an arrow, while another cupid ties his hands behind; other figures are seen in the back-ground, which is a landschape richly composed, with a distant view of the sea. The whole is clear and charmingly painted, with mellow tints, and highly finished; the carnations warm and true. -- A cabinet piece on cloth (Filippo Lauri)|Venus and a Satyr, Whom a cupid takes by the beard, and is about to peirce with an arrow, while another cupid ties his hands behind; other figures are seen in the back-ground, which is a landschape richly composed, with a distant view of the sea. The whole is clear and charmingly painted, with mellow tints, and highly finished; the carnations warm and true. -- A cabinet piece on cloth]] réalisée par Filippo Lauri, vendue par [[[George Graves]]]. [6]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[A Capital Landschape Of an oblong form, for a door head, a rich and an extensive view -- supposed in the vicinity of Pisa or Lucca. A Ditto, Of the same form and size. The fore-ground finely difersified. They are both in his best time, and excellently coloured. The figures, which are judiciously introduced, are supposed to be by P. F. Mola. Size of each -- 5 feet 7 inches wide, 2 feet 1 inch high (Gaspar Poussin)|A Capital Landschape Of an oblong form, for a door head, a rich and an extensive view -- supposed in the vicinity of Pisa or Lucca. A Ditto, Of the same form and size. The fore-ground finely difersified. They are both in his best time, and excellently coloured. The figures, which are judiciously introduced, are supposed to be by P. F. Mola. Size of each -- 5 feet 7 inches wide, 2 feet 1 inch high]] réalisée par Gaspar Poussin, vendue par [[[George Graves]]]. [7]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Madona Standing on a Crescent in a Glory of Angels. She is crowned by the Saviour. On one side stands an angel, another holds up the drapery of the Virgin. A charming little high finished picture on copper. It is engraved by Cornelius Galle (Francesco Vanni)|Madona Standing on a Crescent in a Glory of Angels. She is crowned by the Saviour. On one side stands an angel, another holds up the drapery of the Virgin. A charming little high finished picture on copper. It is engraved by Cornelius Galle]] réalisée par Francesco Vanni, vendue par [[[George Graves]]]. [8]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[St. Catharine. Large nature -- a bright clear picture, the colours fresh as if just laid on. The expression of the saint is sublime. She leans forward on a table, a book in her left had, her head reclining on her right; an angel is crowing sic her with flowers. The hands are fine nature (Carlo, or Carlino Dolci)|St. Catharine. Large nature -- a bright clear picture, the colours fresh as if just laid on. The expression of the saint is sublime. She leans forward on a table, a book in her left had, her head reclining on her right; an angel is crowing sic her with flowers. The hands are fine nature]] réalisée par Carlo, or Carlino Dolci, vendue par [[[George Graves]]]. [9]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Madona and Child, with St. Jerome and an Angel, A Graceful and elegant composition. The colouring is true to nature -- clear and tranfparent in the shades, without the least obscurity. A charming cabinet jewel, perfectly finished (Antonio de Allegris, or Lieto)|Madona and Child, with St. Jerome and an Angel, A Graceful and elegant composition. The colouring is true to nature -- clear and tranfparent in the shades, without the least obscurity. A charming cabinet jewel, perfectly finished]] réalisée par Antonio de Allegris, or Lieto, vendue par [[[George Graves]]]. [11]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Jupiter and Europa, just Launched into the Sea. This picture is poetically composed. The metamorphosed King of the Gods is conducted by two little cupids in the air, with ribbons tied to his horns, preceeded by two tritons; a third manages a dolphin, bestrode by a little cupid. The relatives of the lady are seen on the shore at a distance in the attitudes of Greif and Despair. -- A capital picture finely coloured (Cav. Giovanni Lanfranco)|Jupiter and Europa, just Launched into the Sea. This picture is poetically composed. The metamorphosed King of the Gods is conducted by two little cupids in the air, with ribbons tied to his horns, preceeded by two tritons; a third manages a dolphin, bestrode by a little cupid. The relatives of the lady are seen on the shore at a distance in the attitudes of Greif and Despair. -- A capital picture finely coloured]] réalisée par Cav. Giovanni Lanfranco, vendue par [[[George Graves]]]. [13]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Madona and Child, sitting on a crescent, A Charming little picture. She is surrounded with a glory of angels. The colouring bright and transparent. -- He appears to have been a perfect master of the art of foreshortening, of which those in this picture are an admirable proof. Size -- 15 inches high, by 13 inches broad. This Picture is finely engraved by Agostino Carracci (Lorenzo Sabbatini)|Madona and Child, sitting on a crescent, A Charming little picture. She is surrounded with a glory of angels. The colouring bright and transparent. -- He appears to have been a perfect master of the art of foreshortening, of which those in this picture are an admirable proof. Size -- 15 inches high, by 13 inches broad. This Picture is finely engraved by Agostino Carracci]] réalisée par Lorenzo Sabbatini, vendue par [[[George Graves]]]. [14]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[A Pieta, or Dead Christ, on the Lap of the Virgin. A little angel stands by in tears. The expression of grief in the Madona is sublime. The foreshortenings are admirable, and the whole is well designed, and in an excellent tone of colouring. (Lodovico Carracci)|A Pieta, or Dead Christ, on the Lap of the Virgin. A little angel stands by in tears. The expression of grief in the Madona is sublime. The foreshortenings are admirable, and the whole is well designed, and in an excellent tone of colouring.]] réalisée par Lodovico Carracci, vendue par [[[George Graves]]]. [15]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Polyphemus and Galatea. A capital picture, finely and poetically composed, and perfectly finished, with a rich mellow pencil The figure of Polyphemus is an admirable specimen of correct drawing and relief, and is the celebrated Torso completed. The elegant and disdainful Galatea and her female attendants are finely contrasted. The landscape is singularly beautiful and extensively detailed, and represents the S.E. coast of Sicily, with a view of Mount Aetna. The whole is clear, and in the highest state of perfection (Agostino Carracci)|Polyphemus and Galatea. A capital picture, finely and poetically composed, and perfectly finished, with a rich mellow pencil The figure of Polyphemus is an admirable specimen of correct drawing and relief, and is the celebrated Torso completed. The elegant and disdainful Galatea and her female attendants are finely contrasted. The landscape is singularly beautiful and extensively detailed, and represents the S.E. coast of Sicily, with a view of Mount Aetna. The whole is clear, and in the highest state of perfection]] réalisée par Agostino Carracci, vendue par [[[George Graves]]]. [43]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Beauty and Love; or, perhaps, Fortune Flying over the Globe. They are both naked -- a cupid holds her by the hair, while she scatters the contents of her purse. The figures are large as life; the carnations perfectly true, bright, and transparent, possessing every quality of his best works. It is in the highest state of preservation; and is infinitely superior to the celebrated picture of the same subject, lately removed from the Capital at Rome to Paris (Guido Reni)|Beauty and Love; or, perhaps, Fortune Flying over the Globe. They are both naked -- a cupid holds her by the hair, while she scatters the contents of her purse. The figures are large as life; the carnations perfectly true, bright, and transparent, possessing every quality of his best works. It is in the highest state of preservation; and is infinitely superior to the celebrated picture of the same subject, lately removed from the Capital at Rome to Paris]] réalisée par Guido Reni, vendue par [[[George Graves]]]. [49]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[The Stoning of St. Stephen, A capital picture, in his best time, composed with great skill. The expression of the Saint is divine; the action of the other figures well contrasted, and the whole executed with great relief and truth of nature. The colouring is fine and rich, with broad lights, and good effect of charo-scuro. In the sky there is a representation of the Trinity (Domenico Zampieri)|The Stoning of St. Stephen, A capital picture, in his best time, composed with great skill. The expression of the Saint is divine; the action of the other figures well contrasted, and the whole executed with great relief and truth of nature. The colouring is fine and rich, with broad lights, and good effect of charo-scuro. In the sky there is a representation of the Trinity]] réalisée par Domenico Zampieri, vendue par [[[George Graves]]]. [51]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Rinaldo and Armida. In the poignancy of a finely expressed grief, she is about to plunge an arrow into her breast, but is prevented by Rinaldo, who seizes the weapon and diverts her from the purpose by his persuasive eloquence. A beautiful, highly finished picture -- colouring true to nature (Giovanni Francesco Babieri)|Rinaldo and Armida. In the poignancy of a finely expressed grief, she is about to plunge an arrow into her breast, but is prevented by Rinaldo, who seizes the weapon and diverts her from the purpose by his persuasive eloquence. A beautiful, highly finished picture -- colouring true to nature]] réalisée par Giovanni Francesco Babieri, vendue par [[[George Graves]]]. [54]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Queen Semiramis Receiving the news of the Defeat of her Army. She is sitting at her toilet, with a calm and dignified expression of grief, in which her domestic sympathises. A highly finished, clear picture, in his best stile. The carnations warm and admirably true, and the shades clear and transparent. Size -- 5 1/4 feet wide, by 4 feet and half an inch high. This picture has been engraved (Giovanni Francesco Babieri)|Queen Semiramis Receiving the news of the Defeat of her Army. She is sitting at her toilet, with a calm and dignified expression of grief, in which her domestic sympathises. A highly finished, clear picture, in his best stile. The carnations warm and admirably true, and the shades clear and transparent. Size -- 5 1/4 feet wide, by 4 feet and half an inch high. This picture has been engraved]] réalisée par Giovanni Francesco Babieri, vendue par [[[George Graves]]]. [56]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Lot and his Daughters, One of the most capital Pictures of this great Master, and to which it is impossible to do justice by any description. The subject is treated wth the utmost delicacy; the drawing extremely correct; the touch sprited; and the whole clear and transparent. -- It is highly finished, and the colouring nature itself. Painted on cloth (Giovanni Francesco Babieri)|Lot and his Daughters, One of the most capital Pictures of this great Master, and to which it is impossible to do justice by any description. The subject is treated wth the utmost delicacy; the drawing extremely correct; the touch sprited; and the whole clear and transparent. -- It is highly finished, and the colouring nature itself. Painted on cloth]] réalisée par Giovanni Francesco Babieri, vendue par [[[George Graves]]]. [58]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Abigail Meeting David, A rich and elegant composition, of about fourteen figures, vigorously executed in bistre, with infinite spirit and determined skill. The figures are about fifteen inches in height, finely drawn, and characterized in the best time of the master. This is certainly the most capital drawing of Guercino in England, or, perhaps, in the world. -- Framed, with plate glass (Giovanni Francesco Babieri)|Abigail Meeting David, A rich and elegant composition, of about fourteen figures, vigorously executed in bistre, with infinite spirit and determined skill. The figures are about fifteen inches in height, finely drawn, and characterized in the best time of the master. This is certainly the most capital drawing of Guercino in England, or, perhaps, in the world. -- Framed, with plate glass]] réalisée par Giovanni Francesco Babieri, vendue par [[[George Graves]]]. [59]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[The Head of a Warrior. He is in an helmet, adorned with plumage, in pen and bistre; below is the following inscription: "D'ogni dio spezzatore e chi repone ne la spada, sua legge e sua Raggione." A masterly drawing, and the study for the picture in page 30 lot 29 (Giovanni Francesco Babieri)|The Head of a Warrior. He is in an helmet, adorned with plumage, in pen and bistre; below is the following inscription: "D'ogni dio spezzatore e chi repone ne la spada, sua legge e sua Raggione." A masterly drawing, and the study for the picture in page 30 lot 29]] réalisée par Giovanni Francesco Babieri, vendue par [[[George Graves]]]. [62]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Mary Magdalen, Naked to the Middle. She is laying along on the ground under a rock, with a death's head and other symbols of her repentance. She supports her head on her right arm, with an elegant expression of pensive sorrow. A clear picture, finely painted, and highly finished. (Benedetto Gennari)|Mary Magdalen, Naked to the Middle. She is laying along on the ground under a rock, with a death's head and other symbols of her repentance. She supports her head on her right arm, with an elegant expression of pensive sorrow. A clear picture, finely painted, and highly finished.]] réalisée par Benedetto Gennari, vendue par [[[George Graves]]]. [65]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Christ's Entry into Jerusalem. The meek and divine character of Our Saviour, and the action and devout attitudes of the multitude are finely conceived. A beautiful cabinet picture, in the Venetian stile of colouring. Painted on copper, and highly finished (Ippolito Scarsellino da Ferrara)|Christ's Entry into Jerusalem. The meek and divine character of Our Saviour, and the action and devout attitudes of the multitude are finely conceived. A beautiful cabinet picture, in the Venetian stile of colouring. Painted on copper, and highly finished]] réalisée par Ippolito Scarsellino da Ferrara, vendue par [[[George Graves]]]. [66]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Christ Praying in the Garden. The subject is evening, and the figures are illuminated by the angel that presents the cup. The characters of the sleeping apostles are finely expressed. This picture is a companion to the above, and in the same stile. The landschape in both is in a great manner, and well kept (Ippolito Scarsellino da Ferrara)|Christ Praying in the Garden. The subject is evening, and the figures are illuminated by the angel that presents the cup. The characters of the sleeping apostles are finely expressed. This picture is a companion to the above, and in the same stile. The landschape in both is in a great manner, and well kept]] réalisée par Ippolito Scarsellino da Ferrara, vendue par [[[George Graves]]]. [67]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Madona, with St. John Baptist, and three other Saints. She is suckling the child. The back-ground is a landschape, of which but little is seen. Colouring warm, and highly finished in the best stile. The figures are about eighteen inches. -- A cabinet picture, on cloth (Tiziano Vecelli da Cadore)|Madona, with St. John Baptist, and three other Saints. She is suckling the child. The back-ground is a landschape, of which but little is seen. Colouring warm, and highly finished in the best stile. The figures are about eighteen inches. -- A cabinet picture, on cloth]] réalisée par Tiziano Vecelli da Cadore, vendue par [[[George Graves]]]. [68]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Portrait of Pope Clement VIII. Half length; sitting in a chair; highly finished in his best time. Size -- 4 feet 3 1/2 inches high, by 2 feet 2 1/2 inches. "Pope Clement VIII. (Julius de Medicis) succeeded Adrian VII. in 1523. Rome was plundered during his pointificate, by the Connetable de Bourbon; -- and it was he who refused to grant a bull to King Henry VIII. of England for the marriage of Anna Bolen." (Tiziano Vecelli da Cadore)|Portrait of Pope Clement VIII. Half length; sitting in a chair; highly finished in his best time. Size -- 4 feet 3 1/2 inches high, by 2 feet 2 1/2 inches. "Pope Clement VIII. (Julius de Medicis) succeeded Adrian VII. in 1523. Rome was plundered during his pointificate, by the Connetable de Bourbon; -- and it was he who refused to grant a bull to King Henry VIII. of England for the marriage of Anna Bolen."]] réalisée par Tiziano Vecelli da Cadore, vendue par [[[George Graves]]]. [69]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Portrait of Pope Paul III. Half length; sitting in a chair; an austere, monastic character of an old man with a white beard, inclining to yellow, highly finished. Size -- 3 feet 10 inches high, by 3 feet and half an inch. "This Pontiff (Alexander Farnese) succeeded Clement VIII. in 1534, during the reign of Francis I. and Charles V. He established the Inquisition, and approved the society of Jesuits. He acted with great rigour towards King Henry VIII. and by that means finished what Clement VIII had begun, the loss of the papal authority in England. He died in 1549, aged 82. He was a man of letters, of great talents, humane in his manners, and of noble sentiment" (Tiziano Vecelli da Cadore)|Portrait of Pope Paul III. Half length; sitting in a chair; an austere, monastic character of an old man with a white beard, inclining to yellow, highly finished. Size -- 3 feet 10 inches high, by 3 feet and half an inch. "This Pontiff (Alexander Farnese) succeeded Clement VIII. in 1534, during the reign of Francis I. and Charles V. He established the Inquisition, and approved the society of Jesuits. He acted with great rigour towards King Henry VIII. and by that means finished what Clement VIII had begun, the loss of the papal authority in England. He died in 1549, aged 82. He was a man of letters, of great talents, humane in his manners, and of noble sentiment"]] réalisée par Tiziano Vecelli da Cadore, vendue par [[[George Graves]]]. [70]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[St. Sebastian, with an Angel Pulling an Arrow out of His Side. The Saint appears to be in a swoon. The design is fine and correct; the carnations warm and natural; and the whole a master-piece of colouring. A cabinet picture, by many supposed to be of Tititan sic (Giacomo Robusti)|St. Sebastian, with an Angel Pulling an Arrow out of His Side. The Saint appears to be in a swoon. The design is fine and correct; the carnations warm and natural; and the whole a master-piece of colouring. A cabinet picture, by many supposed to be of Tititan sic]] réalisée par Giacomo Robusti, vendue par [[[George Graves]]]. [72]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[The Adoration of the Magi. A rich and most capital composition of nine figures. The back-ground is a landschape. The colouring is warm and mellow, and the penciling free and broad, with a great effect. Painted on cloth. Size -- 6 feet 1 inch wide, by 6 feet high. N.B. The head of the European monarch is a portrait of the Emperor Charles V. (Giacomo Robusti)|The Adoration of the Magi. A rich and most capital composition of nine figures. The back-ground is a landschape. The colouring is warm and mellow, and the penciling free and broad, with a great effect. Painted on cloth. Size -- 6 feet 1 inch wide, by 6 feet high. N.B. The head of the European monarch is a portrait of the Emperor Charles V.]] réalisée par Giacomo Robusti, vendue par [[[George Graves]]]. [73]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[An Interesting Landschape, Painted in the bold and striking manner of this extraordinary painter, and in his best stile. -- The fore-ground consists of woods, mountains and rocks, with several figures variously and actively employed; with a perspective of a river with boats, &c. Beyond these are seen buildings and aqueducts, bounded by mountains, characteristic of the scenery of the country, whence the finest pieces of this great master were chiefly drawn (Salvator Rosa)|An Interesting Landschape, Painted in the bold and striking manner of this extraordinary painter, and in his best stile. -- The fore-ground consists of woods, mountains and rocks, with several figures variously and actively employed; with a perspective of a river with boats, &c. Beyond these are seen buildings and aqueducts, bounded by mountains, characteristic of the scenery of the country, whence the finest pieces of this great master were chiefly drawn]] réalisée par Salvator Rosa, vendue par [[[George Graves]]]. [79]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[The Ecce Homo. Christ, with a character inexpressibly meek, is exposed naked to the people. Pilate, who is habited in the jewish costume, with not a little of the characteristic of that nation, has that expression which may be conceived from his words on the occasion. His appearance is dignified. The soldier, who stands on the other side, is brutal licentiousness itself, and wears the bonet rouge. The carnations are natural and appropriate. It is painted with a rich body of colour, with a large and free touch; and is altogether a master-piece of genius and art (Don Diego Velasquez de Silva)|The Ecce Homo. Christ, with a character inexpressibly meek, is exposed naked to the people. Pilate, who is habited in the jewish costume, with not a little of the characteristic of that nation, has that expression which may be conceived from his words on the occasion. His appearance is dignified. The soldier, who stands on the other side, is brutal licentiousness itself, and wears the bonet rouge. The carnations are natural and appropriate. It is painted with a rich body of colour, with a large and free touch; and is altogether a master-piece of genius and art]] réalisée par Don Diego Velasquez de Silva, vendue par [[[George Graves]]]. [80]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Portrait of Pope Innocent X. To whom Velasquez was sent on an embassy by his court. The family name of this Pontiff was J. Bapt. Pamphili. He succeeded Urban VIII. in 1644, at the age of 72, and died on the 6th of January, 1655, aged 81. No description can do justice to this picture. It is a bust, large as life, wonderfully expressive, and a master-piece of art, being painted with as few touches as possible. This picture is mentioned in his life by Cumberland. -- On cloth (Don Diego Velasquez de Silva)|Portrait of Pope Innocent X. To whom Velasquez was sent on an embassy by his court. The family name of this Pontiff was J. Bapt. Pamphili. He succeeded Urban VIII. in 1644, at the age of 72, and died on the 6th of January, 1655, aged 81. No description can do justice to this picture. It is a bust, large as life, wonderfully expressive, and a master-piece of art, being painted with as few touches as possible. This picture is mentioned in his life by Cumberland. -- On cloth]] réalisée par Don Diego Velasquez de Silva, vendue par [[[George Graves]]]. [81]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[A Mountainous Landscape, In his usual great stile. In the middle-ground there is a lake, and on the left side, near the fore-ground, a water-fall. A man on the fore-ground is walking with his dog, whilst another, at some distance, is driving a flock of sheep (Nicolo Poussin)|A Mountainous Landscape, In his usual great stile. In the middle-ground there is a lake, and on the left side, near the fore-ground, a water-fall. A man on the fore-ground is walking with his dog, whilst another, at some distance, is driving a flock of sheep]] réalisée par Nicolo Poussin, vendue par [[[George Graves]]]. [82]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[A Pair of Merry-Makings. Each containing an infinite number of small figures; some on horse-back, others in carriages, all running the race of pleasure. The scene is a great square, or wide street, -- the figures are grouped in his usual incomparable manner, -- the keeping admirable, and the colour of the whole lively, and in perfect harmony (Jacomo Callot)|A Pair of Merry-Makings. Each containing an infinite number of small figures; some on horse-back, others in carriages, all running the race of pleasure. The scene is a great square, or wide street, -- the figures are grouped in his usual incomparable manner, -- the keeping admirable, and the colour of the whole lively, and in perfect harmony]] réalisée par Jacomo Callot, vendue par [[[George Graves]]]. [83]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[Pair of Sea-Ports, Supposed to be Spanish. The scenes of the same gaiety as the preceding pair, though the figures are not so numerous. There are several tilted boats, but no shipping. The buildings are elegant, and the colouring and degradations as in the two preceding; and they are of the same size. The pictures of Callot are extremely rare (Jacomo Callot)|Pair of Sea-Ports, Supposed to be Spanish. The scenes of the same gaiety as the preceding pair, though the figures are not so numerous. There are several tilted boats, but no shipping. The buildings are elegant, and the colouring and degradations as in the two preceding; and they are of the same size. The pictures of Callot are extremely rare]] réalisée par Jacomo Callot, vendue par [[[George Graves]]]. [84]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[A Landscape, A Morning scene in Italy, in a great stile. On the fore-ground, towards the left, is a large clump of trees; farther off, towards the middle, is a lake, on the side of which appears a skirmish between light horse; and on the fore-ground are other equestrians in the fury of pursuit. The horses, as well as their riders, full of animation, are painted by Peter de Laer, nick-named Mamboccio (John Both)|A Landscape, A Morning scene in Italy, in a great stile. On the fore-ground, towards the left, is a large clump of trees; farther off, towards the middle, is a lake, on the side of which appears a skirmish between light horse; and on the fore-ground are other equestrians in the fury of pursuit. The horses, as well as their riders, full of animation, are painted by Peter de Laer, nick-named Mamboccio]] réalisée par John Both, vendue par [[[George Graves]]]. [85]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[A Ditto Landscape, A warm evening scene, much in the stile of Claude. It is bounded by large trees on each side, with a lake and figures at a disctance, and is enriched with a stag-hunt on the fore-ground. The figures by the same artist, P. de Laer. Size nearly the same as the foregoing (John Both)|A Ditto Landscape, A warm evening scene, much in the stile of Claude. It is bounded by large trees on each side, with a lake and figures at a disctance, and is enriched with a stag-hunt on the fore-ground. The figures by the same artist, P. de Laer. Size nearly the same as the foregoing]] réalisée par John Both, vendue par [[[George Graves]]]. [86]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[The Four Evangelists, (In two Picture.) They are only busts with hands, above twice the size of life, being intended to be placed at a great height. -- They are paintd sic in a grand style, and are admirable in their kind. Size of each picture -- 3 feet 16 inches wide, by 3 feet high (Cavalier Joseppe d'Arpino)|The Four Evangelists, (In two Picture.) They are only busts with hands, above twice the size of life, being intended to be placed at a great height. -- They are paintd sic in a grand style, and are admirable in their kind. Size of each picture -- 3 feet 16 inches wide, by 3 feet high]] réalisée par Cavalier Joseppe d'Arpino, vendue par [[[George Graves]]]. [89]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[The Death of Joseph. He is just expiring; Christ and the Madona are on different sides of the bed, at the foot of which, on the right, the angel Gabriel is kneeling, and two little angels are judiciously placed on the fore-ground to break the line of the bed. The subject is illuminated by the Holy Ghost, in a glory of angels. A fine, bright picture, on cloth. Upright (Carlo Maratti)|The Death of Joseph. He is just expiring; Christ and the Madona are on different sides of the bed, at the foot of which, on the right, the angel Gabriel is kneeling, and two little angels are judiciously placed on the fore-ground to break the line of the bed. The subject is illuminated by the Holy Ghost, in a glory of angels. A fine, bright picture, on cloth. Upright]] réalisée par Carlo Maratti, vendue par [[[George Graves]]]. [92]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[The Holy Family. The Madona supports the infant on her lap, whilst St. Catharine, on the left, kneels respectfully and in the most graceful attitude, to receive him; St. Joseph is on the right of the Virgin, devoutly reclining on his staff, in seeming devout meditation. The figures are nearly as large as life, in the centre of the picture, near a magnificent ruin, in a rich and beautiful country; interestingly ornamented with wood, mountains, and vale, and interspersed with buildings and cattle. -- The whole forms a grand and captivating view; and presents to the observer, perhaps, as fine a picture as ever was painted by this great master! for it is difficult to decide whether you are most pleased with the masterly grouping of the figures, or the rich beauties of the landscape; with the easy elegance of the attitudes, or the fine glow of colour which warms and animates the whole composition. Size, without the frame -- 4 feet 5 inches high, by 5 feet 8 1/2 inches long (Tiziano Vecelli da Cadore)|The Holy Family. The Madona supports the infant on her lap, whilst St. Catharine, on the left, kneels respectfully and in the most graceful attitude, to receive him; St. Joseph is on the right of the Virgin, devoutly reclining on his staff, in seeming devout meditation. The figures are nearly as large as life, in the centre of the picture, near a magnificent ruin, in a rich and beautiful country; interestingly ornamented with wood, mountains, and vale, and interspersed with buildings and cattle. -- The whole forms a grand and captivating view; and presents to the observer, perhaps, as fine a picture as ever was painted by this great master! for it is difficult to decide whether you are most pleased with the masterly grouping of the figures, or the rich beauties of the landscape; with the easy elegance of the attitudes, or the fine glow of colour which warms and animates the whole composition. Size, without the frame -- 4 feet 5 inches high, by 5 feet 8 1/2 inches long]] réalisée par Tiziano Vecelli da Cadore, vendue par [[[George Graves]]]. [94]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[A Capital Italian Landscape, The stile is great; it represents an arm of the sea, bounded on the fore-ground by land on each side; on the right appears a romantic, natural arch, of great size. -- Figures on the fore-ground. A Capital Ditto, In a similar character; romantic, excavated rocks on the right side, with a mountainous distant view. Figures, boats, &c. N.B. Both these pictures represent parts of the coast of Genoa (Domenico Campagnola)|A Capital Italian Landscape, The stile is great; it represents an arm of the sea, bounded on the fore-ground by land on each side; on the right appears a romantic, natural arch, of great size. -- Figures on the fore-ground. A Capital Ditto, In a similar character; romantic, excavated rocks on the right side, with a mountainous distant view. Figures, boats, &c. N.B. Both these pictures represent parts of the coast of Genoa]] réalisée par Domenico Campagnola, vendue par [[[George Graves]]]. [95]
  • 1799.03.-/ -. Vente de l'œuvre décrite comme [[A Capital Italian Landscape, An interior scene; the ground romantically broken with buildings. A deep river traverses it obliquely, on which is a boat, with two figures. A Ditto, Seemingly a different view of the same river. The aerial perspective is excellent in all these landscapes; the effect great, and the colouring harmonious. Size of each -- 6 feet 11 inches, by 2 feet 1 inch (Domenico Campagnola)|A Capital Italian Landscape, An interior scene; the ground romantically broken with buildings. A deep river traverses it obliquely, on which is a boat, with two figures. A Ditto, Seemingly a different view of the same river. The aerial perspective is excellent in all these landscapes; the effect great, and the colouring harmonious. Size of each -- 6 feet 11 inches, by 2 feet 1 inch]] réalisée par Domenico Campagnola, vendue par [[[George Graves]]]. [96]
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