Ventes d'œuvres le 1814.10.25

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  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[The Virgin and Child...In this charming cabinet specimen the subject is depicted with much graceful feeling. A mother supplying her infant with life from her own breast, is the abstract image of the purest affection in innocent fruition; and this action, so well calculated to call forth all the tenderness of her soul, is here designed with congenial sensibility. The child lies on a piece of linen in her lap, while with one hand she sustains his head, and with the other directs the breast to his mouth. The sustaining hand is beautifully formed, and its action is very graceful. The overflowing fondness and gratified clinging of a mother's heart to the infant object of her love, are expressed in her countenance, in the bend of her body, and in the gentle pressure of her sustaining fingers. Maternal tenderness is the character of the picture, and the whole attitude is calculated to verify the thought, "None but a mother knows a mother's joy." The character of the Virgin Mother in "The Silence," bears a near resemblance to her head in this picture; and the whole disposition of the group brings to mind of an Amateur the enchanting simplicity of Correggio's Zingara. The colouring is simple and in perfect union. The red and blue draperies are sober; the clear olive shadows of the flesh subside into the embrowned masses of the back ground, and the tone is warm and vigorous The preceding was excerpted (Annibal Caracci)|The Virgin and Child...In this charming cabinet specimen the subject is depicted with much graceful feeling. A mother supplying her infant with life from her own breast, is the abstract image of the purest affection in innocent fruition; and this action, so well calculated to call forth all the tenderness of her soul, is here designed with congenial sensibility. The child lies on a piece of linen in her lap, while with one hand she sustains his head, and with the other directs the breast to his mouth. The sustaining hand is beautifully formed, and its action is very graceful. The overflowing fondness and gratified clinging of a mother's heart to the infant object of her love, are expressed in her countenance, in the bend of her body, and in the gentle pressure of her sustaining fingers. Maternal tenderness is the character of the picture, and the whole attitude is calculated to verify the thought, "None but a mother knows a mother's joy." The character of the Virgin Mother in "The Silence," bears a near resemblance to her head in this picture; and the whole disposition of the group brings to mind of an Amateur the enchanting simplicity of Correggio's Zingara. The colouring is simple and in perfect union. The red and blue draperies are sober; the clear olive shadows of the flesh subside into the embrowned masses of the back ground, and the tone is warm and vigorous The preceding was excerpted]] réalisée par Annibal Caracci, vendue par [[[William Paulet Carey]]]. [1]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[Landscape and Figures -- Mellow colouring, and a Poussinesque handling give value to this picturesque and pleasing composition. The painter, Barry, praised the able disciple of Wyck, and stated that he painted horses and dogs, "which he drew and coloured with consummate skill, fire, and truth;" adding, in his landscapes, he "approached towards Gaspar Poussin, and sometimes imitated happily the glow of Claude Lorraine." He got forty guineas for painting a horse, and realized a handsome fortune (Wootton)|Landscape and Figures -- Mellow colouring, and a Poussinesque handling give value to this picturesque and pleasing composition. The painter, Barry, praised the able disciple of Wyck, and stated that he painted horses and dogs, "which he drew and coloured with consummate skill, fire, and truth;" adding, in his landscapes, he "approached towards Gaspar Poussin, and sometimes imitated happily the glow of Claude Lorraine." He got forty guineas for painting a horse, and realized a handsome fortune]] réalisée par Wootton, vendue par [[[William Paulet Carey]]]. [3]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[Ganymede -- This delicate cabinet specimen is on copper, in a fine state of preservation, and highly finished. The ascending figure and the eagle, form a fine group; designed in the spirit of Annibal Caracci, with chaste Bolognian hues and a suitable vigor of light and shadow (Carlo Cignani)|Ganymede -- This delicate cabinet specimen is on copper, in a fine state of preservation, and highly finished. The ascending figure and the eagle, form a fine group; designed in the spirit of Annibal Caracci, with chaste Bolognian hues and a suitable vigor of light and shadow]] réalisée par Carlo Cignani, vendue par [[[William Paulet Carey]]]. [9]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A Hermit in a Landscape -- This cabinet picture was painted after the artist's return from studying the Alpine Scenery, in his visit to Italy. Parnell's beautiful description of his Hermit, was probably borrowed from some painting of this class and age; and the resemblance is a compliment to the poet and painter. In this mountainous solitude Zimmermann might have written his admirable Reflections, and felt the sublimest flights of imagination. There is an appropriate and primitive simplicity in the venerable figure of the Anchoret and his humble cell, remote from every other human habitation, and shut in by rocks, precipices, rivers, and mountains, from the eye of man. This image of tranquil devotion, is perfected by the wild scenery, in which, with no other companion but his own thoughts, no other voice but the wind, the sound of waters, and the plaintive cry of birds, his hours pass from time to eternity in loneliness and meditation (Peter Brueghell)|A Hermit in a Landscape -- This cabinet picture was painted after the artist's return from studying the Alpine Scenery, in his visit to Italy. Parnell's beautiful description of his Hermit, was probably borrowed from some painting of this class and age; and the resemblance is a compliment to the poet and painter. In this mountainous solitude Zimmermann might have written his admirable Reflections, and felt the sublimest flights of imagination. There is an appropriate and primitive simplicity in the venerable figure of the Anchoret and his humble cell, remote from every other human habitation, and shut in by rocks, precipices, rivers, and mountains, from the eye of man. This image of tranquil devotion, is perfected by the wild scenery, in which, with no other companion but his own thoughts, no other voice but the wind, the sound of waters, and the plaintive cry of birds, his hours pass from time to eternity in loneliness and meditation]] réalisée par Peter Brueghell, vendue par [[[William Paulet Carey]]]. [11]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[The Wood-Cutter and his Family -- The number of prints engraved after the works of this master, in the best cabinets on the Continent, are evidences of the high degree of estimation in which his pictures are held. His productions are characterised by a faithful following of nature, always valuable in the representation of familiar life, where not carried into dryness and servility. The colouring and handling of this picture is not only in his best time, but superior to any of his known compositions in this country. The head of the man is a happy choice of green old age, painted with a juice and vigor, not unworthy of Rubens. The old wife, to the simplicity, breadth, and freedom of Greuze, adds all Le Nains peculiar truth and vivacity of village character (Le Nain)|The Wood-Cutter and his Family -- The number of prints engraved after the works of this master, in the best cabinets on the Continent, are evidences of the high degree of estimation in which his pictures are held. His productions are characterised by a faithful following of nature, always valuable in the representation of familiar life, where not carried into dryness and servility. The colouring and handling of this picture is not only in his best time, but superior to any of his known compositions in this country. The head of the man is a happy choice of green old age, painted with a juice and vigor, not unworthy of Rubens. The old wife, to the simplicity, breadth, and freedom of Greuze, adds all Le Nains peculiar truth and vivacity of village character]] réalisée par Le Nain, vendue par [[[William Paulet Carey]]]. [12]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[The Flaying of Marsyas, anglicised "Marsias," in the old mis-spelling of Friar Gildas's "Tuneful Tragedye." "Whilom, the Satyre by his pipe bewrayed, Wylde Marsias the girlonde grene essayd. From fayre Apolloes magyke lyre to wynn." This small cabinet specimen is in fine preservation, and no two masters ever worked together with more perfect union than Glauber and Lairesse. Their taste was classic; and the whole of this composition appears to have been copied from Ovid's description. "Illum ruricolae, silvarum numina, Fauni, Et Satyri fratres, et tunc quoque clarus Olympus Et Nymphae flerunt; et quisquis montibus illis Lanigerosque greges, armentaque bucera pavit" (Glauber)|The Flaying of Marsyas, anglicised "Marsias," in the old mis-spelling of Friar Gildas's "Tuneful Tragedye." "Whilom, the Satyre by his pipe bewrayed, Wylde Marsias the girlonde grene essayd. From fayre Apolloes magyke lyre to wynn." This small cabinet specimen is in fine preservation, and no two masters ever worked together with more perfect union than Glauber and Lairesse. Their taste was classic; and the whole of this composition appears to have been copied from Ovid's description. "Illum ruricolae, silvarum numina, Fauni, Et Satyri fratres, et tunc quoque clarus Olympus Et Nymphae flerunt; et quisquis montibus illis Lanigerosque greges, armentaque bucera pavit"]] réalisée par Glauber, vendue par [[[William Paulet Carey]]]. [13]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[The Tower of Babel -- In this curious ancient specimen, the group of figures on the foreground is designed and coloured with much spirit. It was painted before he went to Italy, and is thus recorded in his life. "That work of Old Brueghel, which is mentioned as his capital performance, and is in the Emperor's collection at Vienna, was the representation of the Building of the Tower of Babel by Nimrod." He "repeated the same subject several times in large and small, and finished them with equal merit." The question whether this was his first picture, or one of his repetitions, is of little consequence to common sense. The having been in the Emperor's collection, could not, in the opinion of any person of real taste or judgment, add to the merits of an object, whose qualities are altogether intrinsic (John Brueghel, called the Old)|The Tower of Babel -- In this curious ancient specimen, the group of figures on the foreground is designed and coloured with much spirit. It was painted before he went to Italy, and is thus recorded in his life. "That work of Old Brueghel, which is mentioned as his capital performance, and is in the Emperor's collection at Vienna, was the representation of the Building of the Tower of Babel by Nimrod." He "repeated the same subject several times in large and small, and finished them with equal merit." The question whether this was his first picture, or one of his repetitions, is of little consequence to common sense. The having been in the Emperor's collection, could not, in the opinion of any person of real taste or judgment, add to the merits of an object, whose qualities are altogether intrinsic]] réalisée par John Brueghel, called the Old, vendue par [[[William Paulet Carey]]]. [14]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A Moonlight View of a Flemish Village, with Cattle and Figures -- An ordinary mind, in painting night-pieces, is apt to fall into a cold and raw opacity of colouring, as if the absence of day wholly extinguished all sense of hue in discernible objects, and cast a black and sooty monotony around. But, to the true lover of nature, no object is cold. The eye of a genial imagination discovers a glowing beauty -- "On the cheek of night Like a rich jewel in an Ethiop's ear." Vanderneer's choice of hour was usually that which contrasted a midnight depth of shadow, with the silvery lustre of a summer moon-shine or twilight. By this opposition he painted the "darkness visible," with great force and brilliancy, and gave his landscapes a charming character of solemnity and repose. If he had lived, or studied in Italy, his soft and lovely moonlight streaming upon the lofty scenery of that romantic country, would have exhibited a sublimity and grandeur of the highest class. But he drew from the level prospects of Holland and Flanders, and rose to a distinguished reputation by the delicious tranquillity and truth of effect; with which he painted the villages and hamlets of his vicinity. This little picture is the transcript of a spot, and, with his usual fidelity, it unites much delicacy of pencil, a transparent glow, and beauty of effect (Arnold Vanderneer)|A Moonlight View of a Flemish Village, with Cattle and Figures -- An ordinary mind, in painting night-pieces, is apt to fall into a cold and raw opacity of colouring, as if the absence of day wholly extinguished all sense of hue in discernible objects, and cast a black and sooty monotony around. But, to the true lover of nature, no object is cold. The eye of a genial imagination discovers a glowing beauty -- "On the cheek of night Like a rich jewel in an Ethiop's ear." Vanderneer's choice of hour was usually that which contrasted a midnight depth of shadow, with the silvery lustre of a summer moon-shine or twilight. By this opposition he painted the "darkness visible," with great force and brilliancy, and gave his landscapes a charming character of solemnity and repose. If he had lived, or studied in Italy, his soft and lovely moonlight streaming upon the lofty scenery of that romantic country, would have exhibited a sublimity and grandeur of the highest class. But he drew from the level prospects of Holland and Flanders, and rose to a distinguished reputation by the delicious tranquillity and truth of effect; with which he painted the villages and hamlets of his vicinity. This little picture is the transcript of a spot, and, with his usual fidelity, it unites much delicacy of pencil, a transparent glow, and beauty of effect]] réalisée par Arnold Vanderneer, vendue par [[[William Paulet Carey]]]. [15]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[The Death of Dido -- In this grand composition, the forsaken queen is represented sinking on the pyre. The paleness and langour of approaching death are depicted in her features with the placid and mournful expression of one, who welcomes her last moment as a release from the pangs of ill-requited passion. A female attendant sustains her fainting form, and another, in a striking attitude of lamentation, stands behind. One of her courtiers gazes with astonishment and horror on the catastrophe; and Iris, hovering in the air, cuts the thread of her life. The armour of Eneas and some consecrated vessels, the gifts of his former love, are scattered round the pyre; and to right, on the distant sea, are seen the white sails of the vessel, in which he flies. To the left, there is a grand architectural view of the lofty edifices of Carthage, intermingled with groves. The composition of this picture is classic and dignified; the characters and expression well delineated. To the grace of ideal forms, it joins a free execution, and an agreeable harmony of tone, produced by the judicious disposition of bland and lucid hues, without any studied effect of clair-obscure, or depth of shadow (Sebastian Bourdon)|The Death of Dido -- In this grand composition, the forsaken queen is represented sinking on the pyre. The paleness and langour of approaching death are depicted in her features with the placid and mournful expression of one, who welcomes her last moment as a release from the pangs of ill-requited passion. A female attendant sustains her fainting form, and another, in a striking attitude of lamentation, stands behind. One of her courtiers gazes with astonishment and horror on the catastrophe; and Iris, hovering in the air, cuts the thread of her life. The armour of Eneas and some consecrated vessels, the gifts of his former love, are scattered round the pyre; and to right, on the distant sea, are seen the white sails of the vessel, in which he flies. To the left, there is a grand architectural view of the lofty edifices of Carthage, intermingled with groves. The composition of this picture is classic and dignified; the characters and expression well delineated. To the grace of ideal forms, it joins a free execution, and an agreeable harmony of tone, produced by the judicious disposition of bland and lucid hues, without any studied effect of clair-obscure, or depth of shadow]] réalisée par Sebastian Bourdon, vendue par [[[William Paulet Carey]]]. [16]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A Landscape, Cattle, and Figures, with a rich effect of sun-set -- A clump of trees, and a group of cows, sheep, and goats, occupy the central ground; to the left is seen a cottage, before which, a female peasant is seated near a cluster of sheep, and a herdsman asleep beside her; to the right, another cottage is seen among trees, with a boy riding on a white horse into the middle ground, attending cattle. The sky is tinged with a ruddy glow, and the mountainous distance is warmed by the rays of the evening sun. This effect necessarily produces a strong opposition of light and shadow in some parts of the picture. It is conducted upon sound general principles. This master was the father of Rosa da Tivoli, who formed his manner upon the style, but with cold hues, more negligent forms, and an unexampled rapidity of pencil (John Hendrick Roos)|A Landscape, Cattle, and Figures, with a rich effect of sun-set -- A clump of trees, and a group of cows, sheep, and goats, occupy the central ground; to the left is seen a cottage, before which, a female peasant is seated near a cluster of sheep, and a herdsman asleep beside her; to the right, another cottage is seen among trees, with a boy riding on a white horse into the middle ground, attending cattle. The sky is tinged with a ruddy glow, and the mountainous distance is warmed by the rays of the evening sun. This effect necessarily produces a strong opposition of light and shadow in some parts of the picture. It is conducted upon sound general principles. This master was the father of Rosa da Tivoli, who formed his manner upon the style, but with cold hues, more negligent forms, and an unexampled rapidity of pencil]] réalisée par John Hendrick Roos, vendue par [[[William Paulet Carey]]]. [17]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A Landscape, Cattle, and Figures -- This is one of the very few pictures in which this artist painted the figures himself. It is the transcript of a spot enriched with wood and water, a glimpse of blue hills in the distance, and a cool airy sky (Solomon Ruysdael)|A Landscape, Cattle, and Figures -- This is one of the very few pictures in which this artist painted the figures himself. It is the transcript of a spot enriched with wood and water, a glimpse of blue hills in the distance, and a cool airy sky]] réalisée par Solomon Ruysdael, vendue par [[[William Paulet Carey]]]. [19]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A rich Landscape and Figures -- This capital performance represents the entrance of a forest with a piece of water, and some travellers attacked by banditti. It is a fine specimen of Flemish art. The mellowness of tone, and truth of local colouring, prove it a production in the best time of that school. The forms of the clouds, the light characteristic touch of the leafing, and the agreeable freshness of the verdant tints, bespeak the study of Ruysdael and Hobbima. The scene is local, and the imitation of nature excellent. There is a charming union of depth and transparency in the fore and middle grounds; the water is broad and clear, the woody distance recedes admirably, the sky is tender and airy; and the figures are cleverly introduced, and painted with spirit. The pictures of Veerboom are rare, and, like those of Ruysdael and Hobbima, bring high prices (Veerboom)|A rich Landscape and Figures -- This capital performance represents the entrance of a forest with a piece of water, and some travellers attacked by banditti. It is a fine specimen of Flemish art. The mellowness of tone, and truth of local colouring, prove it a production in the best time of that school. The forms of the clouds, the light characteristic touch of the leafing, and the agreeable freshness of the verdant tints, bespeak the study of Ruysdael and Hobbima. The scene is local, and the imitation of nature excellent. There is a charming union of depth and transparency in the fore and middle grounds; the water is broad and clear, the woody distance recedes admirably, the sky is tender and airy; and the figures are cleverly introduced, and painted with spirit. The pictures of Veerboom are rare, and, like those of Ruysdael and Hobbima, bring high prices]] réalisée par Veerboom, vendue par [[[William Paulet Carey]]]. [21]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[The Annunciation -- There is an easy grace in the kneeling figure of the Virgin; and the abashed look of downcast amenity, with which she receives the glad tidings, is expressed with much feminine delicacy. There is a gentle elegance in her whole movement. The angel is happily conceived; the head a beautiful fore-shortening, producing a fine contrast to that of the Virgin; the character celestial, the form volant, and the white drapery relieved with masterly skill from a light azure sky. The warm purple, and mellow dark-blue draperies of the Virgin, compose the preponderant colours; and produce a clear, silvery effect, in union with the bold open breadth of light on the sky and architectural back ground. This is a happy cabinet specimen of this admired master's gay and sparkling execution. It exhibits the peculiar lightness, decision, and vivacity of his touch; and the seduction of his tone, with a simplicity of design, not often to be found in his most celebrated compositions (Paul Veronese)|The Annunciation -- There is an easy grace in the kneeling figure of the Virgin; and the abashed look of downcast amenity, with which she receives the glad tidings, is expressed with much feminine delicacy. There is a gentle elegance in her whole movement. The angel is happily conceived; the head a beautiful fore-shortening, producing a fine contrast to that of the Virgin; the character celestial, the form volant, and the white drapery relieved with masterly skill from a light azure sky. The warm purple, and mellow dark-blue draperies of the Virgin, compose the preponderant colours; and produce a clear, silvery effect, in union with the bold open breadth of light on the sky and architectural back ground. This is a happy cabinet specimen of this admired master's gay and sparkling execution. It exhibits the peculiar lightness, decision, and vivacity of his touch; and the seduction of his tone, with a simplicity of design, not often to be found in his most celebrated compositions]] réalisée par Paul Veronese, vendue par [[[William Paulet Carey]]]. [22]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[Peter freed from his Chains -- A cabinet gem. The perspective of this celebrated picture, bears upon its aspect, all the correctness of a finished portrait. It represents the extensive interior of the prison, dimly illumined by a lamp on the wall, from which the faint rays fall upon the ponderous arches, pillars, and variegated marble floor, with singular beauty and solemnity. The angel is represented in the act of awaking the apostle; the jailer and guards are asleep in different stations. A glimmering light flashes on two minute figures, discernible in a distant inner court. This has a happy effect, as the last link between light and darkness, in relieving the middle parts of the picture, from the more remote points of the prospect. The whole of this fine specimen is finished with the utmost force and delicacy; and it is impossible for any picture to be in a more perfect state of preservation. It formerly belonged to Streater, the Serjeant Painter to Queen Anne, and, at his sale in 1711, it was sold for £25, which, allowing for the difference in the value of money since, was more than equal to one hundred pounds at present; and taking into consideration the immense rise in value of paintings, during that period, the latter valuation may be considerably advanced. It was afterwards sold to the celebrated collector, Dr. Meade, and by him sold to his present Majesty's Father, the late Prince of Wales, according to the late Dr. Gore's printed Catalogue, for £80. In a note, in Walpole's Anecdotes of Painting, vol. ii. p. 178, this picture is mentioned as "a capital picture of St. Peter in prison," by Young Steynwick, and it is added, "it was afterwards in Dr. Meade's collection, who sold it to the Prince of Wales."...The preceding was excerpted (Steynwick)|Peter freed from his Chains -- A cabinet gem. The perspective of this celebrated picture, bears upon its aspect, all the correctness of a finished portrait. It represents the extensive interior of the prison, dimly illumined by a lamp on the wall, from which the faint rays fall upon the ponderous arches, pillars, and variegated marble floor, with singular beauty and solemnity. The angel is represented in the act of awaking the apostle; the jailer and guards are asleep in different stations. A glimmering light flashes on two minute figures, discernible in a distant inner court. This has a happy effect, as the last link between light and darkness, in relieving the middle parts of the picture, from the more remote points of the prospect. The whole of this fine specimen is finished with the utmost force and delicacy; and it is impossible for any picture to be in a more perfect state of preservation. It formerly belonged to Streater, the Serjeant Painter to Queen Anne, and, at his sale in 1711, it was sold for £25, which, allowing for the difference in the value of money since, was more than equal to one hundred pounds at present; and taking into consideration the immense rise in value of paintings, during that period, the latter valuation may be considerably advanced. It was afterwards sold to the celebrated collector, Dr. Meade, and by him sold to his present Majesty's Father, the late Prince of Wales, according to the late Dr. Gore's printed Catalogue, for £80. In a note, in Walpole's Anecdotes of Painting, vol. ii. p. 178, this picture is mentioned as "a capital picture of St. Peter in prison," by Young Steynwick, and it is added, "it was afterwards in Dr. Meade's collection, who sold it to the Prince of Wales."...The preceding was excerpted]] réalisée par Steynwick, vendue par [[[William Paulet Carey]]]. [23]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A half-length Figure in a crimson velvet cap, and gown of the same colour -- This is the portrait of a lawyer, with a pen in one hand, and papers in the other, standing at a table covered with a worked cloth of a rich brown orange colour. From such materials in the hands of Rembrandt, we may expect great force and brilliancy of colouring and effect. The expectation here is fully verified. There is an astonishing lustre and depth of tone, accompanied by those bold and singular strokes of an unctuous pencil, which constitute no mean part of the sparkling character in the second manner of this extraordinary artist. The picture is in a fine state, and the high value of this class of his heads is well known. Sir Joshua Reynolds, in his own portrait in the council chamber of the academy, marked his study of this picture. There is a print engraved from it, in which, unfortunately, the engraver has lost the character of the head, the outline of the figure, and the vigorous effect of light and shadow (Rembrandt Van Rhyn)|A half-length Figure in a crimson velvet cap, and gown of the same colour -- This is the portrait of a lawyer, with a pen in one hand, and papers in the other, standing at a table covered with a worked cloth of a rich brown orange colour. From such materials in the hands of Rembrandt, we may expect great force and brilliancy of colouring and effect. The expectation here is fully verified. There is an astonishing lustre and depth of tone, accompanied by those bold and singular strokes of an unctuous pencil, which constitute no mean part of the sparkling character in the second manner of this extraordinary artist. The picture is in a fine state, and the high value of this class of his heads is well known. Sir Joshua Reynolds, in his own portrait in the council chamber of the academy, marked his study of this picture. There is a print engraved from it, in which, unfortunately, the engraver has lost the character of the head, the outline of the figure, and the vigorous effect of light and shadow]] réalisée par Rembrandt Van Rhyn, vendue par [[[William Paulet Carey]]]. [24]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A sea-view, with Figures on a pier-head, and vessels of different descriptions under-way -- The superior genius of this celebrated marine painter is every where visible in this chaste and exquisite specimen of his art. The massing of the sky, the grouping of the shipping, and the simplicity of the composition, which comprehends only a few objects, and fills, without crowding, the whole space of the canvas, are lessons of pure taste, worthy the study of any artist, however high in his profession. The airy movement of the clouds, and the easy undulation of the waves, are expressed with that happy attention to character, which gives a value to whatever comes from this master's pencil. The effect is mellow, warm, and delicately transparent (Ludolph Backhuysen)|A sea-view, with Figures on a pier-head, and vessels of different descriptions under-way -- The superior genius of this celebrated marine painter is every where visible in this chaste and exquisite specimen of his art. The massing of the sky, the grouping of the shipping, and the simplicity of the composition, which comprehends only a few objects, and fills, without crowding, the whole space of the canvas, are lessons of pure taste, worthy the study of any artist, however high in his profession. The airy movement of the clouds, and the easy undulation of the waves, are expressed with that happy attention to character, which gives a value to whatever comes from this master's pencil. The effect is mellow, warm, and delicately transparent]] réalisée par Ludolph Backhuysen, vendue par [[[William Paulet Carey]]]. [25]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A Landscape and Figures -- This is a picturesque local view, the principal object of which is a mansion on the farther bank of a piece of water in the middle ground. The edifice is partly of ancient construction, and partly of a later date. The near bank, which forms the fore ground is broken by small hillocks, rocks, underwood, and herbage. A peasant, driving pannier asses, is advancing up the bank; and another is turning off by the water-side. The principal light is in the sky, which forms one undivided breadth, mellowed by airy clouds, and painted in a warm, clear, sweet tone. The second mass is formed by the water, which is painted with equal clearness, repose, and beauty. The subordinate gradations of light and half-tint spread over the various prominent parts of the building, and unite with the transparent shadows of the landscape, so as to produce an enchanting stillness of effect (Pynaker)|A Landscape and Figures -- This is a picturesque local view, the principal object of which is a mansion on the farther bank of a piece of water in the middle ground. The edifice is partly of ancient construction, and partly of a later date. The near bank, which forms the fore ground is broken by small hillocks, rocks, underwood, and herbage. A peasant, driving pannier asses, is advancing up the bank; and another is turning off by the water-side. The principal light is in the sky, which forms one undivided breadth, mellowed by airy clouds, and painted in a warm, clear, sweet tone. The second mass is formed by the water, which is painted with equal clearness, repose, and beauty. The subordinate gradations of light and half-tint spread over the various prominent parts of the building, and unite with the transparent shadows of the landscape, so as to produce an enchanting stillness of effect]] réalisée par Pynaker, vendue par [[[William Paulet Carey]]]. [26]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[It is stated in his life, "he shewed his greatest excellence in his small-sized paintings, in which he had the good fortune to be assisted by two celebrated artists, Paul Brill, and the Velvet Brueghel, who frequently painted the landscapes and back grounds of his historical compositions." The subject of this cabinet jewel is The Judgment of Midas. The landscape is the work of Velvet Brueghel; and the figures of Rothenamer. It is painted on copper, highly-finished, and as perfect as when it issued from their hands. The composition is full of classic fancy, and the opposition of vivid greens in the landscape, to the sanguine carnations and warm draperies, has a very brilliant effect. The perfect works of these two admired masters always bring high prices, as being entitled to a high rank in their particular class...There is always a richness of invention, and elegance of form, in the works of Rothenamer; and the Brueghels teem with thought. If a long recollection be correct, Sir Joshua Reynolds, in his Tour in Flanders, has remarked that there was thought enough in one of Brueghel's pictures, to have furnished out a number of pictures in ordinary hands The preceding was excerpted (John Brueghel)|It is stated in his life, "he shewed his greatest excellence in his small-sized paintings, in which he had the good fortune to be assisted by two celebrated artists, Paul Brill, and the Velvet Brueghel, who frequently painted the landscapes and back grounds of his historical compositions." The subject of this cabinet jewel is The Judgment of Midas. The landscape is the work of Velvet Brueghel; and the figures of Rothenamer. It is painted on copper, highly-finished, and as perfect as when it issued from their hands. The composition is full of classic fancy, and the opposition of vivid greens in the landscape, to the sanguine carnations and warm draperies, has a very brilliant effect. The perfect works of these two admired masters always bring high prices, as being entitled to a high rank in their particular class...There is always a richness of invention, and elegance of form, in the works of Rothenamer; and the Brueghels teem with thought. If a long recollection be correct, Sir Joshua Reynolds, in his Tour in Flanders, has remarked that there was thought enough in one of Brueghel's pictures, to have furnished out a number of pictures in ordinary hands The preceding was excerpted]] réalisée par John Brueghel, vendue par [[[William Paulet Carey]]]. [27]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A Landscape and Figures -- To the left of this pleasing prospect a tall grove rises, under which Claude's favorite object, a piping Shepherd, is seated, whose flock is at feed, near him, beside the fore ground. A piece of water stretches to the right. The middle is occupied by well-wooded grounds, diversified by picturesque elevations, in a vigorous tone of warm half-shadow. There is a locality in the form of the building on one of these heights, and in the lines of this part of the picture, which may warrant a belief that it was not only coloured, but designed, from nature at the request of a patron. In a central opening, between these rising grounds, the light catches on a glimpse of river, whose farther bank discovers a country agreeably varied by habitations, beyond which, the gentle swell of an airy mountain closes the prospect. The whole of the fore and middle ground is kept down in a mellow rich hue, excepting some brilliant sparkles of sunny light on the fore ground and trees. The main light is in the sky and distances. The transitions from tint to tint, from light to shade, and mass to mass, are conducted with much harmony, and there is a fascinating glow of sun-set and repose in the general effect (Claude Lorraine)|A Landscape and Figures -- To the left of this pleasing prospect a tall grove rises, under which Claude's favorite object, a piping Shepherd, is seated, whose flock is at feed, near him, beside the fore ground. A piece of water stretches to the right. The middle is occupied by well-wooded grounds, diversified by picturesque elevations, in a vigorous tone of warm half-shadow. There is a locality in the form of the building on one of these heights, and in the lines of this part of the picture, which may warrant a belief that it was not only coloured, but designed, from nature at the request of a patron. In a central opening, between these rising grounds, the light catches on a glimpse of river, whose farther bank discovers a country agreeably varied by habitations, beyond which, the gentle swell of an airy mountain closes the prospect. The whole of the fore and middle ground is kept down in a mellow rich hue, excepting some brilliant sparkles of sunny light on the fore ground and trees. The main light is in the sky and distances. The transitions from tint to tint, from light to shade, and mass to mass, are conducted with much harmony, and there is a fascinating glow of sun-set and repose in the general effect]] réalisée par Claude Lorraine, vendue par [[[William Paulet Carey]]]. [28]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A Landscape and Figures -- This picture is of a commanding size, the subject is the halt of a hawking party taking refreshments, and it may be fairly ranked as a first-class specimen of his powers. His works prove that this artist generally preferred the grey quiet hues of morning, to the garish sun of noon. The landscape here is an extensive mountainous prospect, embellished with the ruins of lofty edifice, and painted in his usual cool silvery tints. The groups of gentlemen, ladies, pages, and grooms, intermingled in the open fields with horses, dogs, and mendicant spectators, are disposed with tasteful and agreeable negligence. The horses and dogs are drawn with a correctness equal to Wouvermans, and penciled with a vigor resembling that of Vandyck, in his smaller pictures. The idea of the noble horse nipping his knee, is borrowed from the admired horse by Rubens, in this collection. The Cavaliers and their fair companions have an air of gentility and elegance, which he acquired in Italy, and which gave value to his subsequent compositions. His superior taste in designing figures and animals was so acknowledged, that Wynants, and other celebrated landscape painters, eagerly employed him to paint the figures in their landscapes. When at Rome, he made studies of the magnificent ruins and monuments of ancient art in that august city and its vicinity; and ever after, as in this picture, he introduced some of those grand architectural remains in his compositions (Linglebach)|A Landscape and Figures -- This picture is of a commanding size, the subject is the halt of a hawking party taking refreshments, and it may be fairly ranked as a first-class specimen of his powers. His works prove that this artist generally preferred the grey quiet hues of morning, to the garish sun of noon. The landscape here is an extensive mountainous prospect, embellished with the ruins of lofty edifice, and painted in his usual cool silvery tints. The groups of gentlemen, ladies, pages, and grooms, intermingled in the open fields with horses, dogs, and mendicant spectators, are disposed with tasteful and agreeable negligence. The horses and dogs are drawn with a correctness equal to Wouvermans, and penciled with a vigor resembling that of Vandyck, in his smaller pictures. The idea of the noble horse nipping his knee, is borrowed from the admired horse by Rubens, in this collection. The Cavaliers and their fair companions have an air of gentility and elegance, which he acquired in Italy, and which gave value to his subsequent compositions. His superior taste in designing figures and animals was so acknowledged, that Wynants, and other celebrated landscape painters, eagerly employed him to paint the figures in their landscapes. When at Rome, he made studies of the magnificent ruins and monuments of ancient art in that august city and its vicinity; and ever after, as in this picture, he introduced some of those grand architectural remains in his compositions]] réalisée par Linglebach, vendue par [[[William Paulet Carey]]]. [29]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[The Head of St. John the Baptist in the Charger...Here the master has represented a moving object in the simplest view, has retained whatever could touch the mind of genuine sensibility, and rejected every thing inessential and repulsive. There is no mark to indicate that the Baptist had passed under the edge of the sword, that result being so wholly concealed by the judicious disposition of the linen, that the imagination is left to supply the mode of the catastrophe. The representation is divested of horror by the grandeur of its treatment. The intellect which spoke on that ample forehead has fled, and the light of life is extinguished in that noble countenance; but it may still be supposed that those eyes were closed by the hand of nature, and that the saint sunk in tranquility into the sleep of death. The charger alone implies the story. The black hair and beard, which form a broad and midnight mass, are unruffled, and there is nothing in those pallid and mournful hues, or in the solemn expression of those lofty features, to excite the tremor of false refinement...The preceding was excerpted (Rubens)|The Head of St. John the Baptist in the Charger...Here the master has represented a moving object in the simplest view, has retained whatever could touch the mind of genuine sensibility, and rejected every thing inessential and repulsive. There is no mark to indicate that the Baptist had passed under the edge of the sword, that result being so wholly concealed by the judicious disposition of the linen, that the imagination is left to supply the mode of the catastrophe. The representation is divested of horror by the grandeur of its treatment. The intellect which spoke on that ample forehead has fled, and the light of life is extinguished in that noble countenance; but it may still be supposed that those eyes were closed by the hand of nature, and that the saint sunk in tranquility into the sleep of death. The charger alone implies the story. The black hair and beard, which form a broad and midnight mass, are unruffled, and there is nothing in those pallid and mournful hues, or in the solemn expression of those lofty features, to excite the tremor of false refinement...The preceding was excerpted]] réalisée par Rubens, vendue par [[[William Paulet Carey]]]. [30]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A rich Landscape with a Road; a Waggon about to pass a Stream, near the fore-ground; several Figures conversing by the road-side; a View of a Village embosomed in a Wood, to the left; and a gentle Elevation bounding the Prospect on the same side -- In the centre, beyond the waggon, a high bank rises enriched with lofty spreading trees, still further on, steep banks appear broken in picturesque taste; and also shaded by lofty trees, which group in a commanding mass, with those on the nearer bank. This is one of those superior productions of Flemish art, which we do not often meet; and which, whenever they are in the market, command high prices. The time is evening, and the sky warmed by the setting sun. The shadows of the landscape are broad and deep, and the effect of the yellow light sparkling through the opening of the dark green wood, is singularly brilliant. A rich opposition is also produced by the shadowy blue of the distant elevation against the golden hue of the sky. The tone of this elevation is deep, and full of lustre. The mass of light formed by the white waggon-horse and the waggon, has a spirited effect. The light is spread with great beauty on the upper part of the road, and dies away, in a browner, fainter, solemn glow, on the cottages and distances to the left; it is spread among the trees and on the banks to the right; but so partially, as not to disturb the admirable repose and breadth of effect in that part of the picture. This fine production exhibits a happy selection of object, hour, and season; uncommon power of colour and effect; with a deep-toned harmony and truth of nature, worthy of the pencil of Rubens, and vieing with the splendor of Titian. The penciling is warm and bold, varied according to the character of the object; and every touch sparkles and breathes, and burns with a living character. The leafing, the rude trunks and wild stems of the trees, are striking instances of this vivid power. The figures are full of life and motion. The picture is of a capital cabinet size, and in the very purest state of preservation. Some estimate of its value may be formed by the fact, that an inferior picture by Ostade, No. 17, in Walsh Porter's Catalogue, sold for £273 (Adrian Ostade)|A rich Landscape with a Road; a Waggon about to pass a Stream, near the fore-ground; several Figures conversing by the road-side; a View of a Village embosomed in a Wood, to the left; and a gentle Elevation bounding the Prospect on the same side -- In the centre, beyond the waggon, a high bank rises enriched with lofty spreading trees, still further on, steep banks appear broken in picturesque taste; and also shaded by lofty trees, which group in a commanding mass, with those on the nearer bank. This is one of those superior productions of Flemish art, which we do not often meet; and which, whenever they are in the market, command high prices. The time is evening, and the sky warmed by the setting sun. The shadows of the landscape are broad and deep, and the effect of the yellow light sparkling through the opening of the dark green wood, is singularly brilliant. A rich opposition is also produced by the shadowy blue of the distant elevation against the golden hue of the sky. The tone of this elevation is deep, and full of lustre. The mass of light formed by the white waggon-horse and the waggon, has a spirited effect. The light is spread with great beauty on the upper part of the road, and dies away, in a browner, fainter, solemn glow, on the cottages and distances to the left; it is spread among the trees and on the banks to the right; but so partially, as not to disturb the admirable repose and breadth of effect in that part of the picture. This fine production exhibits a happy selection of object, hour, and season; uncommon power of colour and effect; with a deep-toned harmony and truth of nature, worthy of the pencil of Rubens, and vieing with the splendor of Titian. The penciling is warm and bold, varied according to the character of the object; and every touch sparkles and breathes, and burns with a living character. The leafing, the rude trunks and wild stems of the trees, are striking instances of this vivid power. The figures are full of life and motion. The picture is of a capital cabinet size, and in the very purest state of preservation. Some estimate of its value may be formed by the fact, that an inferior picture by Ostade, No. 17, in Walsh Porter's Catalogue, sold for £273]] réalisée par Adrian Ostade, vendue par [[[William Paulet Carey]]]. [31]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[An old Peasant, in a red Cap, feeding Fowls -- The interior of the cottage is here represented. The old man holds the grain in his apron with one hand, and scatters their food to the poultry with the other. There is a broad mass of shadow formed by a recess, which serves as a cellar or stable, and in which the sty of a hog feeding and some barrels are seen. The recess is parted into two divisions by a high paleing. Every thing in this part is kept down in strong half shadow, which gives a great brilliancy to the other parts of the picture. The furniture of the apartment is very scanty. It consists of a couple of rude benches, on one of which, a basket, an earthen pot, and an old hat, are laid; a jug hung upon a peg, and a shelf containing a bottle and some earthen-ware...The main light is thrown on the Peasant, and the objects immediately round him; and this master's favorite principle of relieving light upon light, is admirably evinced in the charming gradations, which composed this mass. It is connected by mellow half tints, with the second mass, formed by the latticed window and a cool delicious bit of sky and landscape, seen through the open door. The sprightly touch; the value extracted from the simplest, and almost neutral, tints; and the mellow silvery tone, exhibit the skill of this admired master in a felicitous view. There is a rustic simplicity and truth of character in the old Peasant, in perfect accord with the treatment of the subject, the quiet colouring, and the management of the light and shadow...There is not a touch impaired...it retains all its sharpness and vivacity of pencil in their original spirit...The preceding was excerpted (David Teniers, the Young)|An old Peasant, in a red Cap, feeding Fowls -- The interior of the cottage is here represented. The old man holds the grain in his apron with one hand, and scatters their food to the poultry with the other. There is a broad mass of shadow formed by a recess, which serves as a cellar or stable, and in which the sty of a hog feeding and some barrels are seen. The recess is parted into two divisions by a high paleing. Every thing in this part is kept down in strong half shadow, which gives a great brilliancy to the other parts of the picture. The furniture of the apartment is very scanty. It consists of a couple of rude benches, on one of which, a basket, an earthen pot, and an old hat, are laid; a jug hung upon a peg, and a shelf containing a bottle and some earthen-ware...The main light is thrown on the Peasant, and the objects immediately round him; and this master's favorite principle of relieving light upon light, is admirably evinced in the charming gradations, which composed this mass. It is connected by mellow half tints, with the second mass, formed by the latticed window and a cool delicious bit of sky and landscape, seen through the open door. The sprightly touch; the value extracted from the simplest, and almost neutral, tints; and the mellow silvery tone, exhibit the skill of this admired master in a felicitous view. There is a rustic simplicity and truth of character in the old Peasant, in perfect accord with the treatment of the subject, the quiet colouring, and the management of the light and shadow...There is not a touch impaired...it retains all its sharpness and vivacity of pencil in their original spirit...The preceding was excerpted]] réalisée par David Teniers, the Young, vendue par [[[William Paulet Carey]]]. [32]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[Christ bearing his Cross; painted on pannel, 2 ft. 2 1/2 in. wide, by 1 ft. 8 1/2 in. high...the oil pictures of this celebrated master are rare in Italy, and his easel oil pictures the highest rarities in the schools. In twenty years this writer can recollect having seen only one other picture in England by his hand! The small size of this admirable picture, considered as a Venetian sacred subject, its high finishing, and perfect preservation, render it a rarity indeed...The figures are only a little below the bust, and something less than life. The head of Christ is a high wrought study, wholly different in colour from the style of Correggio, but exhibiting a strong resemblance of that sanctimonious grace, with which the latter always represented the son of God...The generic character of Pordenone's Christ, in this picture before us, like that of Correggio, exhibits a distinct mean between human suffering and divine power. He has chosen the moment, when we may suppose the mortal sense of persecution and danger, merged in the higher sense of unbounded love for mankind. The expression is the ineffable meekness of celestial resignation; a sweet and holy calm, equally removed from the smile of security and the apprehension of suffering. The countenance may be compared to a deep sea, over which a dark and threatening cloud hangs, while yet its majestic surface is unruffled. The heads of his savage persecutors are shaded by the barbarous scowl of triumphant malignity. The carnations are sanguine and in glow, union and depth of tone, may vie with any cabinet picture by Giorgione or Titian. In high-wrought force and finish, it approaches Lionardo da Vinci; and in exquisite gradation and magical richness of clair-obscure, it baffles all description...The preceding was excerpted (Giovanni Antonio Licinio, called Pordenone)|Christ bearing his Cross; painted on pannel, 2 ft. 2 1/2 in. wide, by 1 ft. 8 1/2 in. high...the oil pictures of this celebrated master are rare in Italy, and his easel oil pictures the highest rarities in the schools. In twenty years this writer can recollect having seen only one other picture in England by his hand! The small size of this admirable picture, considered as a Venetian sacred subject, its high finishing, and perfect preservation, render it a rarity indeed...The figures are only a little below the bust, and something less than life. The head of Christ is a high wrought study, wholly different in colour from the style of Correggio, but exhibiting a strong resemblance of that sanctimonious grace, with which the latter always represented the son of God...The generic character of Pordenone's Christ, in this picture before us, like that of Correggio, exhibits a distinct mean between human suffering and divine power. He has chosen the moment, when we may suppose the mortal sense of persecution and danger, merged in the higher sense of unbounded love for mankind. The expression is the ineffable meekness of celestial resignation; a sweet and holy calm, equally removed from the smile of security and the apprehension of suffering. The countenance may be compared to a deep sea, over which a dark and threatening cloud hangs, while yet its majestic surface is unruffled. The heads of his savage persecutors are shaded by the barbarous scowl of triumphant malignity. The carnations are sanguine and in glow, union and depth of tone, may vie with any cabinet picture by Giorgione or Titian. In high-wrought force and finish, it approaches Lionardo da Vinci; and in exquisite gradation and magical richness of clair-obscure, it baffles all description...The preceding was excerpted]] réalisée par Giovanni Antonio Licinio, called Pordenone, vendue par [[[William Paulet Carey]]]. [33]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A grand mountainous Landscape with Figures -- This extraordinary composition is marked by indelible characters of original and powerful imagination. The eye is fixed by a succession of rocky steeps, marked by mouldering castellated vestiges; stony and impassible ridges; gloomy streams; abrupt precipices, and dark glens, which invite the retreat of moody melancholy, guilt or desperation...In this picture Salvator has exhibited a trackless country, in which the eye in vain looks for a human habitation. The very animals and wild fowls have forsaken it; not a bird is seen to wing its way across the prospect, and the few discernible remains of former buildings are so reduced to their foundations, as to be nearly confounded, in colour and shape, with the grey masses of rock on which they crumble. The mind, on the first view, is, as it were, impressed with the sublime and affecting thought, that this was, ages ago, the abode of man, and that his whole race, and all that belonged to him, have passed away like the transient glory of a summer-cloud. This deep and indescribable emotion is for a moment soothed by the appearance of a few wild figures wandering among the fastnesses, or fishing in the dark waters. They do not however appear as inhabitants of the spot. In a scene of desolation so fit for the haunt of banditti, those figures assume the suspicious character of depredators loitering away daylight, till called by nightfall to sally out upon belated travellers. Every object here is full of character, and in accord with the wild and romantic scenery. The shattered stamp of a tree blasted by lightning, appears on the fore ground; and another tree, its fellow, which rises close to it, throws its slender and thinly-leafed trunk, beside a gigantic precipice, across the mountainous prospect. The sky is in motion; a grand volume of ascending clouds marches across the heavens; and their light is warm and gleaming, of a low visionary tone; the ideal hue of grand landscape scenery; or poetical colouring impressed by a fine imagination on nature...There is the usual decided handling of the master in all parts of the picture, and a solemnity and grandeur in the general effect, every way worthy of his distinguished reputation...Of his commanding powers the picture before us is a noble specimen, and some estimate may be formed by comparison. The prices at which Sir George Yonge's pictures were sold by auction were printed and published. It will be seen, there, that lot 91, by Salvator Rosa, sold for £787.10s.; and lot 92, by the same master, for £735 The preceding was excerpted (Salvator Rosa)|A grand mountainous Landscape with Figures -- This extraordinary composition is marked by indelible characters of original and powerful imagination. The eye is fixed by a succession of rocky steeps, marked by mouldering castellated vestiges; stony and impassible ridges; gloomy streams; abrupt precipices, and dark glens, which invite the retreat of moody melancholy, guilt or desperation...In this picture Salvator has exhibited a trackless country, in which the eye in vain looks for a human habitation. The very animals and wild fowls have forsaken it; not a bird is seen to wing its way across the prospect, and the few discernible remains of former buildings are so reduced to their foundations, as to be nearly confounded, in colour and shape, with the grey masses of rock on which they crumble. The mind, on the first view, is, as it were, impressed with the sublime and affecting thought, that this was, ages ago, the abode of man, and that his whole race, and all that belonged to him, have passed away like the transient glory of a summer-cloud. This deep and indescribable emotion is for a moment soothed by the appearance of a few wild figures wandering among the fastnesses, or fishing in the dark waters. They do not however appear as inhabitants of the spot. In a scene of desolation so fit for the haunt of banditti, those figures assume the suspicious character of depredators loitering away daylight, till called by nightfall to sally out upon belated travellers. Every object here is full of character, and in accord with the wild and romantic scenery. The shattered stamp of a tree blasted by lightning, appears on the fore ground; and another tree, its fellow, which rises close to it, throws its slender and thinly-leafed trunk, beside a gigantic precipice, across the mountainous prospect. The sky is in motion; a grand volume of ascending clouds marches across the heavens; and their light is warm and gleaming, of a low visionary tone; the ideal hue of grand landscape scenery; or poetical colouring impressed by a fine imagination on nature...There is the usual decided handling of the master in all parts of the picture, and a solemnity and grandeur in the general effect, every way worthy of his distinguished reputation...Of his commanding powers the picture before us is a noble specimen, and some estimate may be formed by comparison. The prices at which Sir George Yonge's pictures were sold by auction were printed and published. It will be seen, there, that lot 91, by Salvator Rosa, sold for £787.10s.; and lot 92, by the same master, for £735 The preceding was excerpted]] réalisée par Salvator Rosa, vendue par [[[William Paulet Carey]]]. [34]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[This lovely specimen of an admired master, exhibits a romantic country of an Arcadian character, clothed with lofty groves, whose trees are diversified in the finest taste -- Every delicious gradation of vivid, shadowy green, mellows on the eye with an emerald lustre, through all the enchanting hues of the fore and middle ground, and is united in deep-toned harmony, with as rich a variety of autumnal tints. Depth and splendor, the most brilliant vivacity of colour, with the most delicious union and repose, confer upon this noble performance a spell of fascination. The receding grounds are gently broken, and glimpses of a winding river, which reflect the soft blue light of the sky, add to the beauty of the prospect. The distance is composed of mountains whose outlines are undulating, and whose mellow blue tints heighten this richness of effect. The figures are composed in the style of Nicolo Poussin, and are supposed to have been inserted by that master. The grandeur and beauty of this composition is not only founded on the classic selection of objects, but on the delicious repose which unites its majestic masses into one commanding whole, and impresses upon the mind, an idea of a vast diversified prospect, comprehended at a single glance (Gaspar Poussin)|This lovely specimen of an admired master, exhibits a romantic country of an Arcadian character, clothed with lofty groves, whose trees are diversified in the finest taste -- Every delicious gradation of vivid, shadowy green, mellows on the eye with an emerald lustre, through all the enchanting hues of the fore and middle ground, and is united in deep-toned harmony, with as rich a variety of autumnal tints. Depth and splendor, the most brilliant vivacity of colour, with the most delicious union and repose, confer upon this noble performance a spell of fascination. The receding grounds are gently broken, and glimpses of a winding river, which reflect the soft blue light of the sky, add to the beauty of the prospect. The distance is composed of mountains whose outlines are undulating, and whose mellow blue tints heighten this richness of effect. The figures are composed in the style of Nicolo Poussin, and are supposed to have been inserted by that master. The grandeur and beauty of this composition is not only founded on the classic selection of objects, but on the delicious repose which unites its majestic masses into one commanding whole, and impresses upon the mind, an idea of a vast diversified prospect, comprehended at a single glance]] réalisée par Gaspar Poussin, vendue par [[[William Paulet Carey]]]. [35]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A grand Landscape and Figures -- A Nymph supporting the infant Bacchus astride upon a goat, attended by a Satyr, appears to the left, on the fore ground. Among a cluster of lofty oaks, a trunk, of more than gigantic size, stands at the entrance of a natural cave, formed by clefts in a pile of enormous rocks, which rises on the fore ground to the right. Under the commanding masses of shadow, cast upon the fore and middle grounds, by those spreading oaks, a Satyr, half concealed from view, amidst their huge trunks, is seen entering the cave. The shadows of the landscape are broad, powerful, and richly embrowned. They acquire an extraordinary vigor from the relative blue distance, and harmonize with a warm sun-light, which streams upon the horizon and lower part of the sky. The group is conceived with classic fancy, the Nymph and young Bacchus are gracefully designed, and the composition is embellished by a great richness of colour and grandeur of effect (Nicolo Poussin)|A grand Landscape and Figures -- A Nymph supporting the infant Bacchus astride upon a goat, attended by a Satyr, appears to the left, on the fore ground. Among a cluster of lofty oaks, a trunk, of more than gigantic size, stands at the entrance of a natural cave, formed by clefts in a pile of enormous rocks, which rises on the fore ground to the right. Under the commanding masses of shadow, cast upon the fore and middle grounds, by those spreading oaks, a Satyr, half concealed from view, amidst their huge trunks, is seen entering the cave. The shadows of the landscape are broad, powerful, and richly embrowned. They acquire an extraordinary vigor from the relative blue distance, and harmonize with a warm sun-light, which streams upon the horizon and lower part of the sky. The group is conceived with classic fancy, the Nymph and young Bacchus are gracefully designed, and the composition is embellished by a great richness of colour and grandeur of effect]] réalisée par Nicolo Poussin, vendue par [[[William Paulet Carey]]]. [36]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[The Virgin and Child, with Three other Figures -- There is, in the character of the Virgin and Child, a good deal of the sanctimonious grace of Raphael's second style. The two standing Saints resemble the best style of Pietro Perugino. The kneeling figure is the portrait of Lorenzo of Medicis, and it is singular enough that it has been introduced by Titian in a votive altar-piece at Venice, mentioned by Sir Joshua Reynolds, in his Tour in Flanders, and engraved by Le Febure. This matchless specimen of early Venetian art, is one blaze of light and splendid colour. The name and date "Joannes Bellinus," 1505, are painted on it by himself, which shew that it was painted when he was 83 years old; 309 years ago Giorgione and Titian were his disciples, and, as they learnt their style of colouring from him, so he, in his latter time, improved his colouring and design by their example. Hence it is observed in his life, that his latter were his best pictures; and this glorious specimen, in brilliancy and perfect preservation, may vie with any of his works in existence. In the close imitation of nature, the heads of the two Saints display an astonishing degree of high-wrought force and fidelity; and, in the minute resemblance of still life, all the wonders of Gerhard Douw or Mieris, are surpassed by the antique variegated pavement, which conveys an idea not only of the solidity and enamel polish, but the coldness of marble itself (Giovanni Bellino, or Bellini)|The Virgin and Child, with Three other Figures -- There is, in the character of the Virgin and Child, a good deal of the sanctimonious grace of Raphael's second style. The two standing Saints resemble the best style of Pietro Perugino. The kneeling figure is the portrait of Lorenzo of Medicis, and it is singular enough that it has been introduced by Titian in a votive altar-piece at Venice, mentioned by Sir Joshua Reynolds, in his Tour in Flanders, and engraved by Le Febure. This matchless specimen of early Venetian art, is one blaze of light and splendid colour. The name and date "Joannes Bellinus," 1505, are painted on it by himself, which shew that it was painted when he was 83 years old; 309 years ago Giorgione and Titian were his disciples, and, as they learnt their style of colouring from him, so he, in his latter time, improved his colouring and design by their example. Hence it is observed in his life, that his latter were his best pictures; and this glorious specimen, in brilliancy and perfect preservation, may vie with any of his works in existence. In the close imitation of nature, the heads of the two Saints display an astonishing degree of high-wrought force and fidelity; and, in the minute resemblance of still life, all the wonders of Gerhard Douw or Mieris, are surpassed by the antique variegated pavement, which conveys an idea not only of the solidity and enamel polish, but the coldness of marble itself]] réalisée par Giovanni Bellino, or Bellini, vendue par [[[William Paulet Carey]]]. [37]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A sea-port in Italy, with Architectural Ruins, Shipping, Figures, and a rich effect of Sun-set -- Perhaps there is no artist whose powers so wholly elude description as Claude. The delicacies of colour, harmony, and tone, which characterise this picture, the low silent hues of aerial solemnity, which steal athwart the brightness of the horizon as day sinks in the ocean, are not to be done justice to by any ardour of feeling, or eloquence of language. No artist has ever painted the beautiful serenity or nature with so felicitous a pencil, and no artist's landscapes have ever been so eagerly sought after, or so highly valued. This picture was closely studied by Jacob More, the Scotch landscape-painter; and remained in his collection, at Rome, until his death. Posterity will learn, with surprise, that an English merchant, (if the accredited statement be correct,) recently paid the astonishing sum of £12,000. for two Claudes! The print, engraved from Claude's pen and ink sketch for this picture, is in the Liber Veritatis, and an impression is to be seen at the place of sale (Claude Lorraine)|A sea-port in Italy, with Architectural Ruins, Shipping, Figures, and a rich effect of Sun-set -- Perhaps there is no artist whose powers so wholly elude description as Claude. The delicacies of colour, harmony, and tone, which characterise this picture, the low silent hues of aerial solemnity, which steal athwart the brightness of the horizon as day sinks in the ocean, are not to be done justice to by any ardour of feeling, or eloquence of language. No artist has ever painted the beautiful serenity or nature with so felicitous a pencil, and no artist's landscapes have ever been so eagerly sought after, or so highly valued. This picture was closely studied by Jacob More, the Scotch landscape-painter; and remained in his collection, at Rome, until his death. Posterity will learn, with surprise, that an English merchant, (if the accredited statement be correct,) recently paid the astonishing sum of £12,000. for two Claudes! The print, engraved from Claude's pen and ink sketch for this picture, is in the Liber Veritatis, and an impression is to be seen at the place of sale]] réalisée par Claude Lorraine, vendue par [[[William Paulet Carey]]]. [38]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[The Virgin Mary, attended by Angels -- This bright and beautiful picture is painted with a delicacy of colour and pencil, equal to any production by Guido himself. The carnations are rich, the expression and attitude of the Virgin serene and graceful. Her drapery is light, flowing, and nobly folded. The groups of angels are composed in a fine taste; and the luminous diffusion of celestial glory is conducted with unrivalled splendor. This highly-finished specimen is also in a fine state, of a grand cabinet size, and fit to adorn the first collection in Europe. No. 47, in the late Walsh Porter's Catalogue, a repose of the Holy Family, by Murillio, was sold by auction for £630 (Murillio)|The Virgin Mary, attended by Angels -- This bright and beautiful picture is painted with a delicacy of colour and pencil, equal to any production by Guido himself. The carnations are rich, the expression and attitude of the Virgin serene and graceful. Her drapery is light, flowing, and nobly folded. The groups of angels are composed in a fine taste; and the luminous diffusion of celestial glory is conducted with unrivalled splendor. This highly-finished specimen is also in a fine state, of a grand cabinet size, and fit to adorn the first collection in Europe. No. 47, in the late Walsh Porter's Catalogue, a repose of the Holy Family, by Murillio, was sold by auction for £630]] réalisée par Murillio, vendue par [[[William Paulet Carey]]]. [39]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A Magdalen -- A three-quarter length, the size of life, pure, perfect, in the best time, and grandest style of this master. The character is dignified, and full of that sublime resignation, in which religion appears to have triumphed over human frailty...Domenichino, in this picture, has adopted this fine conception, and has drawn an abstract personification of beauty estranged from the desires of mortality, and divested of those brilliant colours which indicate a heart full of gay hopes, and intoxicated by the tender illusions of passion. To unite his idea of a beautiful form, with this total absence of seducing tints, he chose a blue drapery, whose cold reflections enabled him to lower the tone of the carnations in the undraped parts of the figure. The modest hues of the face are more spiritualised, if the expression may be used, by being immediately placed in contrast with the stormy and lurid red, which gleams upon the horizon. The correctness of this idea is illustrated by an example from Shakspeare, whose exquisite picture of, Viola is divested of glowing colours on the same principle. The characters essentially vary, but agree in that sorrow of the mind which is supposed to effect their exterior...The Magdalen before us is of the first order of perfect forms. The carnations are in the silvery tone of Guido's most esteemed style, and her blue drapery, which is cast in broad and simple folds, is peculiarly calculated to give relative value to these pearly tints. There is a native grandeur in the contour of her face and person. Her eyes are upraised "as if inspired," and one of her hands is placed upon her breast, to mark, by a delicate indication, "That within which passeth outward shew." Her auburn hair falls in a profusion of glossy ringlets down her shoulders, and shades a part of her bosom. There is a noble grace in her attitude, and an affecting loveliness in her countenance. The painter has not drawn her under the influence of that excessive grief, which impairs or deadens the effect of personal attractions, but with a tender expression of calm sublime sorrow, which unconsciously heightens every charm. He has represented her as a fair flower in the spring, touched, but not killed, by an untimely frost The preceding was excerpted (Domenichino)|A Magdalen -- A three-quarter length, the size of life, pure, perfect, in the best time, and grandest style of this master. The character is dignified, and full of that sublime resignation, in which religion appears to have triumphed over human frailty...Domenichino, in this picture, has adopted this fine conception, and has drawn an abstract personification of beauty estranged from the desires of mortality, and divested of those brilliant colours which indicate a heart full of gay hopes, and intoxicated by the tender illusions of passion. To unite his idea of a beautiful form, with this total absence of seducing tints, he chose a blue drapery, whose cold reflections enabled him to lower the tone of the carnations in the undraped parts of the figure. The modest hues of the face are more spiritualised, if the expression may be used, by being immediately placed in contrast with the stormy and lurid red, which gleams upon the horizon. The correctness of this idea is illustrated by an example from Shakspeare, whose exquisite picture of, Viola is divested of glowing colours on the same principle. The characters essentially vary, but agree in that sorrow of the mind which is supposed to effect their exterior...The Magdalen before us is of the first order of perfect forms. The carnations are in the silvery tone of Guido's most esteemed style, and her blue drapery, which is cast in broad and simple folds, is peculiarly calculated to give relative value to these pearly tints. There is a native grandeur in the contour of her face and person. Her eyes are upraised "as if inspired," and one of her hands is placed upon her breast, to mark, by a delicate indication, "That within which passeth outward shew." Her auburn hair falls in a profusion of glossy ringlets down her shoulders, and shades a part of her bosom. There is a noble grace in her attitude, and an affecting loveliness in her countenance. The painter has not drawn her under the influence of that excessive grief, which impairs or deadens the effect of personal attractions, but with a tender expression of calm sublime sorrow, which unconsciously heightens every charm. He has represented her as a fair flower in the spring, touched, but not killed, by an untimely frost The preceding was excerpted]] réalisée par Domenichino, vendue par [[[William Paulet Carey]]]. [40]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A romantic Landscape and Figures, with a delicious glow of Sun-light -- This charming scene appears to have been selected from a favorite haunt in Italy. It lies among hills, boldly broken by woody steeps, and embellished by tall trees. It is also enriched by an airy and enchanting distance of gentle elevations; by a rustic bridge over a water-fall; and by massy rocks overgrown with luxuriant herbage, and tumbled by the lavish hand of nature, in picturesque variety on the fore-ground. The figures are finely introduced and painted. Without measuring merits by size, as a large piece of gold is more valuable than a smaller, it is allowable to say, that a perfect picture by the Boths, of so commanding a stretch as the largest cabinet size, may claim a superior value. This is, indeed, a piece of gold, and gold of the purest Flemish quality; all warmth, serenity, and sun-shine. We regret that confined limits compel us to omit our detailed observations on so superior a picture, the joint performance of two artists, who are so deservedly placed in the very first class of the Flemish Landscape school. This omission is, however, of less consequence, as this is the celebrated and well-known Landscape by the Boths, which held a favorite place in the collection of a distinguished Member of the Royal Family, until his Royal Highness's demise a few years since. As it is thus well known, we must be contented here to observe, that its fine taste, richness of composition and glowing tone, render it an enviable object for any collection in Europe. It is about an inch square less than the Both, for which the Prince Regent paid 1350 guineas, about three years ago (John Both)|A romantic Landscape and Figures, with a delicious glow of Sun-light -- This charming scene appears to have been selected from a favorite haunt in Italy. It lies among hills, boldly broken by woody steeps, and embellished by tall trees. It is also enriched by an airy and enchanting distance of gentle elevations; by a rustic bridge over a water-fall; and by massy rocks overgrown with luxuriant herbage, and tumbled by the lavish hand of nature, in picturesque variety on the fore-ground. The figures are finely introduced and painted. Without measuring merits by size, as a large piece of gold is more valuable than a smaller, it is allowable to say, that a perfect picture by the Boths, of so commanding a stretch as the largest cabinet size, may claim a superior value. This is, indeed, a piece of gold, and gold of the purest Flemish quality; all warmth, serenity, and sun-shine. We regret that confined limits compel us to omit our detailed observations on so superior a picture, the joint performance of two artists, who are so deservedly placed in the very first class of the Flemish Landscape school. This omission is, however, of less consequence, as this is the celebrated and well-known Landscape by the Boths, which held a favorite place in the collection of a distinguished Member of the Royal Family, until his Royal Highness's demise a few years since. As it is thus well known, we must be contented here to observe, that its fine taste, richness of composition and glowing tone, render it an enviable object for any collection in Europe. It is about an inch square less than the Both, for which the Prince Regent paid 1350 guineas, about three years ago]] réalisée par John Both, vendue par [[[William Paulet Carey]]]. [41]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A Landscape, Cattle, and Figures, on pannel -- This picture is wholly pure, and, like the preceding, an extensive specimen. The composition is rich, and exhibits a ruined fountain, with peasants and herdsmen watering their cows, sheep, goats, and horses. These groups are luxuriantly spread over the fore and middle-grounds; and a sheep is drinking at a piece of water on the latter. A peasant is advancing, with a sheep and his loaded ass, up a bank from behind. Beyond this, a woman is seen riding off on an ass, across a stream, and driving a sheep. The steep banks of this stream, form a clear mass of low, verdurous shadow, which gives a rich effect to the sunny vapours floating round the base of the distant mountains. The penciling is firm and delicate; the character of the animals and figures correctly discriminated; the colouring every where glowing and diversified; and the embrowned hues are mellowed by shadowy greens in lively gradation. The sky is bright, and the light airy clouds seem to glitter and dance in the sunbeams. A spirit of joyous happiness animates earth, air, water, animals, figures, and every object; and the effect is singularly brilliant and sparkling (Nicholas Berghem)|A Landscape, Cattle, and Figures, on pannel -- This picture is wholly pure, and, like the preceding, an extensive specimen. The composition is rich, and exhibits a ruined fountain, with peasants and herdsmen watering their cows, sheep, goats, and horses. These groups are luxuriantly spread over the fore and middle-grounds; and a sheep is drinking at a piece of water on the latter. A peasant is advancing, with a sheep and his loaded ass, up a bank from behind. Beyond this, a woman is seen riding off on an ass, across a stream, and driving a sheep. The steep banks of this stream, form a clear mass of low, verdurous shadow, which gives a rich effect to the sunny vapours floating round the base of the distant mountains. The penciling is firm and delicate; the character of the animals and figures correctly discriminated; the colouring every where glowing and diversified; and the embrowned hues are mellowed by shadowy greens in lively gradation. The sky is bright, and the light airy clouds seem to glitter and dance in the sunbeams. A spirit of joyous happiness animates earth, air, water, animals, figures, and every object; and the effect is singularly brilliant and sparkling]] réalisée par Nicholas Berghem, vendue par [[[William Paulet Carey]]]. [42]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A Sleeping Female -- A first-class picture. This lovely specimen of Italian art in its best era, blends the delicate sweetness of Correggio's colouring, and his ideas of grace, with the purity of Roman style, and the grandeur of Florentine forms. It is a most perfect specimen of Cambiasi's second style...The preceding was excerpted (Luca Cambiasi)|A Sleeping Female -- A first-class picture. This lovely specimen of Italian art in its best era, blends the delicate sweetness of Correggio's colouring, and his ideas of grace, with the purity of Roman style, and the grandeur of Florentine forms. It is a most perfect specimen of Cambiasi's second style...The preceding was excerpted]] réalisée par Luca Cambiasi, vendue par [[[William Paulet Carey]]]. [43]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[A Landscape, Cattle, and Figures -- This performance is a large cabinet size. It is known that this artist's still larger productions are not so lightly-finished, and, in richness of colouring, he painted few pictures equal to this most attractive specimen. In the left corner of the fore ground, a group of pigs is feeding; immediately behind them a cluster of sheep appears; above, on a high bank, a herdsman and his dog driving cows; a rustic female, with a milk-vessel upon her head, follows them. In the centre the shepherd reposes upon a bank, and, to the right, on the fore ground, several ducks are sporting on a piece of water. On the middle ground, some cottages stand, at the doors of which the peasants are carousing, and, above, the slope of the hill is crowned by the village church and habitations. The artist has here introduced almost all the various objects in which he excelled, when painting in his best manner, namely, landscape, the village alehouses, rustic figures, fowl, and several species of domestic animals. That eminent engraver J. P. Le Bas, engraved from this and the companion picture. The print from this latter, is called "Le Marche conclus." It contains a similar variety of objects, and may be seen with this painting. The high value of this class of Teniers' works is well known. Lot 84, by this master, was sold, at Sir George Yonge's auction, to P. Metcalf, Esq., for £436. 5s. This picture has been always admired as a first-class performance of the master (David Teniers, the young)|A Landscape, Cattle, and Figures -- This performance is a large cabinet size. It is known that this artist's still larger productions are not so lightly-finished, and, in richness of colouring, he painted few pictures equal to this most attractive specimen. In the left corner of the fore ground, a group of pigs is feeding; immediately behind them a cluster of sheep appears; above, on a high bank, a herdsman and his dog driving cows; a rustic female, with a milk-vessel upon her head, follows them. In the centre the shepherd reposes upon a bank, and, to the right, on the fore ground, several ducks are sporting on a piece of water. On the middle ground, some cottages stand, at the doors of which the peasants are carousing, and, above, the slope of the hill is crowned by the village church and habitations. The artist has here introduced almost all the various objects in which he excelled, when painting in his best manner, namely, landscape, the village alehouses, rustic figures, fowl, and several species of domestic animals. That eminent engraver J. P. Le Bas, engraved from this and the companion picture. The print from this latter, is called "Le Marche conclus." It contains a similar variety of objects, and may be seen with this painting. The high value of this class of Teniers' works is well known. Lot 84, by this master, was sold, at Sir George Yonge's auction, to P. Metcalf, Esq., for £436. 5s. This picture has been always admired as a first-class performance of the master]] réalisée par David Teniers, the young, vendue par [[[William Paulet Carey]]]. [44]
  • 1814.10.25/ maison de ventes : Hazard (William). Vente de l'œuvre décrite comme [[Abraham receiving the bread and wine from Melchisedeck -- A grand, harmonious, and magnificent historical picture. This composition comprehends seventeen figures and a horse, divided into two ample groups, and connected in the centre, by the meeting hands of the two principal figures and their attendants, who are giving and receiving the bread. Rubens excelled in every Class of composition. A superb, and, perhaps, the very best specimen of his powers in the Class of Fabulous History, has been fixed for ever in Yarmouth, with some other precious productions of the pencil, by an act of independent taste and princely spirit. Sir Joshua Reynolds has justly observed, that there are cities in Flanders which boast the possession of a single picture by Rubens, and are visited by travellers on that account! This picture of Abraham and Melchisedeck, is a superb specimen of his powers in a Separate Class -- the class of Sacred History. (From these rapid remarks, a want of room compels an omission of the observations on this last most important picture) (Rubens)|Abraham receiving the bread and wine from Melchisedeck -- A grand, harmonious, and magnificent historical picture. This composition comprehends seventeen figures and a horse, divided into two ample groups, and connected in the centre, by the meeting hands of the two principal figures and their attendants, who are giving and receiving the bread. Rubens excelled in every Class of composition. A superb, and, perhaps, the very best specimen of his powers in the Class of Fabulous History, has been fixed for ever in Yarmouth, with some other precious productions of the pencil, by an act of independent taste and princely spirit. Sir Joshua Reynolds has justly observed, that there are cities in Flanders which boast the possession of a single picture by Rubens, and are visited by travellers on that account! This picture of Abraham and Melchisedeck, is a superb specimen of his powers in a Separate Class -- the class of Sacred History. (From these rapid remarks, a want of room compels an omission of the observations on this last most important picture)]] réalisée par Rubens, vendue par [[[William Paulet Carey]]]. [45]
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