Ventes d'œuvres le 1819.04.08

De Wikipast
Version datée du 30 mai 2021 à 14:06 par Unknown user (discussion) (Page créée avec « * 1819.04.08/ maison de ventes : Christie's. Vente de l'œuvre décrite comme ''Three: Ballad Singer, J. Steen; and… »)
(diff) ← Version précédente | Voir la version actuelle (diff) | Version suivante → (diff)
Aller à la navigation Aller à la recherche
  • 1819.04.08/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Political Allegory, having allusion to the Influence of Lord Treasurer Harley -- a very richly coloured Picture, one of the first Specimens in England of that Class of Humour which was afterwards carried to such moral purposes by Hogarth -- very curious (Egbert Heemskirk)|A Political Allegory, having allusion to the Influence of Lord Treasurer Harley -- a very richly coloured Picture, one of the first Specimens in England of that Class of Humour which was afterwards carried to such moral purposes by Hogarth -- very curious]] réalisée par Egbert Heemskirk, vendue par P Hoare. [64]
  • 1819.04.08/ maison de ventes : Denew (James). Vente de l'œuvre décrite comme [[Lot and his Daughters. This Picture, which adorned the Gallery of the Duke of Mantua, in boldness of design, firmness of touch, and brilliancy of colouring, may be considered as a chef d'oeuvre of the Master: the drawing, style, and disposition are admirable (Alexander Veronese)|Lot and his Daughters. This Picture, which adorned the Gallery of the Duke of Mantua, in boldness of design, firmness of touch, and brilliancy of colouring, may be considered as a chef d'oeuvre of the Master: the drawing, style, and disposition are admirable]] réalisée par Alexander Veronese. [137]
  • 1819.04.08/ maison de ventes : Denew (James). Vente de l'œuvre décrite comme [[The Death of Dido. The Artist has chosen the point of time when Dido, abandoned by AEneas, having thrown herself on the funeral pile, plunges the fatal sword in her breast. The conflicting passions of Love, Despair, and Madness, are strongly depicted in the countenance of the unfortunate Queen; the Sister of the Royal Sufferer appears overcome with horror at the sad spectacle: a young Soldier is bearing the helmet of AEneas, whose departure is announced by the Trojan Fleet in the back ground. Every part of the Picture displays the striking manner and charming pencil of this great Master. (Guido Reni)|The Death of Dido. The Artist has chosen the point of time when Dido, abandoned by AEneas, having thrown herself on the funeral pile, plunges the fatal sword in her breast. The conflicting passions of Love, Despair, and Madness, are strongly depicted in the countenance of the unfortunate Queen; the Sister of the Royal Sufferer appears overcome with horror at the sad spectacle: a young Soldier is bearing the helmet of AEneas, whose departure is announced by the Trojan Fleet in the back ground. Every part of the Picture displays the striking manner and charming pencil of this great Master.]] réalisée par Guido Reni. [138]
  • 1819.04.08/ maison de ventes : Denew (James). Vente de l'œuvre décrite comme [[The Martyrdom of Saint Catharine. The countenance of the suffering Saint is beautifully expressive of faith and confidence in God: supported by the Divine Power, she appears unmoved at the cruel fate which awaits her, indicated by the Implements of Death, in the midst of which she is placed. Few Sovereigns can boast the possession of the Works of this Artist, who was at once the Founder and Head of the School of Verona, and who, without a previous knowledge of the Masters of the Roman School, has rivalled their excellencies. This Picture adorned the Church of St. Catharine, at Verona (Antonio Franchi)|The Martyrdom of Saint Catharine. The countenance of the suffering Saint is beautifully expressive of faith and confidence in God: supported by the Divine Power, she appears unmoved at the cruel fate which awaits her, indicated by the Implements of Death, in the midst of which she is placed. Few Sovereigns can boast the possession of the Works of this Artist, who was at once the Founder and Head of the School of Verona, and who, without a previous knowledge of the Masters of the Roman School, has rivalled their excellencies. This Picture adorned the Church of St. Catharine, at Verona]] réalisée par Antonio Franchi. [139]
  • 1819.04.08/ maison de ventes : Denew (James). Vente de l'œuvre décrite comme [[The Flight into Egypt. The Holy Family having left Judea, by Divine command, are passing into Egypt by unfrequented ways, to escape the pursuit of Herod. The Artist has chosen the moment when the interesting Fugitives are passing under an immense Arch; Angelic Messengers, sent from on high to escort them, are offering fruit to the infant Saviour. This charming subject proves incontestably that the Artist was entitled to the epithet bestowed upon him, "The Painter of the Graces;" and we feel the justice of his exclamation on contemplating the Works of Raphael -- "I also am a Painter." This Picture was painted by command of the Duke of Sforza, Founder of the Duchy of Mantua, who considered it as the finest ornament of his Palace (Antonio Correggio)|The Flight into Egypt. The Holy Family having left Judea, by Divine command, are passing into Egypt by unfrequented ways, to escape the pursuit of Herod. The Artist has chosen the moment when the interesting Fugitives are passing under an immense Arch; Angelic Messengers, sent from on high to escort them, are offering fruit to the infant Saviour. This charming subject proves incontestably that the Artist was entitled to the epithet bestowed upon him, "The Painter of the Graces;" and we feel the justice of his exclamation on contemplating the Works of Raphael -- "I also am a Painter." This Picture was painted by command of the Duke of Sforza, Founder of the Duchy of Mantua, who considered it as the finest ornament of his Palace]] réalisée par Antonio Correggio. [140]
  • 1819.04.08/ maison de ventes : Denew (James). Vente de l'œuvre décrite comme [[Christ Bearing his Cross. Jesus is represented bearing his Cross, with a dignity more than human. The countenances of the Virgin Mother and St. John, impressed with the deepest grief, are finely contrasted with the placid firmness and resignation of the Saviour, about to terminate his sufferings by a cruel and ignominious death. The fore ground represents the Pillar where Christ was scourged, on which are placed the Implements used in the Crucifixion. The portrait of St. Francis Xavier is introduced, pointing to a Death's Head, crowned, to represent his triumph, in the death of the Son of God. A Head of the Saviour "Ecce Homo" terminates the highly interesting Composition. This Grand Picture is from the Gallery of The Prince of Peace (Annibal Caracci)|Christ Bearing his Cross. Jesus is represented bearing his Cross, with a dignity more than human. The countenances of the Virgin Mother and St. John, impressed with the deepest grief, are finely contrasted with the placid firmness and resignation of the Saviour, about to terminate his sufferings by a cruel and ignominious death. The fore ground represents the Pillar where Christ was scourged, on which are placed the Implements used in the Crucifixion. The portrait of St. Francis Xavier is introduced, pointing to a Death's Head, crowned, to represent his triumph, in the death of the Son of God. A Head of the Saviour "Ecce Homo" terminates the highly interesting Composition. This Grand Picture is from the Gallery of The Prince of Peace]] réalisée par Annibal Caracci. [141]
  • 1819.04.08/ maison de ventes : Denew (James). Vente de l'œuvre décrite comme [[Portrait of Himself. The Prince of Painters is represented in the Vatican, his hand resting upon a Portfolio of Drawings, made in Greece by the Chevalier D'Arpino and Andrea Prodone. To these Designs the Roman School is indebted for its sublime conceptions. The birth-place of Raphael, Urbino, is also represented in the picture, and behind him is placed the Venus brought from Greece by the above Artists, who were employed at his expence. The Portrait was painted for the Duke of Sforza, and corresponds with that in the Museum at Paris, known by the title of the "Maitre d'Armes" (Raphael)|Portrait of Himself. The Prince of Painters is represented in the Vatican, his hand resting upon a Portfolio of Drawings, made in Greece by the Chevalier D'Arpino and Andrea Prodone. To these Designs the Roman School is indebted for its sublime conceptions. The birth-place of Raphael, Urbino, is also represented in the picture, and behind him is placed the Venus brought from Greece by the above Artists, who were employed at his expence. The Portrait was painted for the Duke of Sforza, and corresponds with that in the Museum at Paris, known by the title of the "Maitre d'Armes"]] réalisée par Raphael. [142]
  • 1819.04.08/ maison de ventes : Denew (James). Vente de l'œuvre décrite comme [[The Presentation in the Temple. The Virgin is presenting the infant Jesus to the High Priest, to be subject to the rite of the Ceremonial Law, accompanied by St. Anne and St. Joseph; the latter bearing the offering enjoined by the law. On the left of the picture, the Attendant of the High Priest is engaged in the solemn Service. The Altar, of white Marble, in the midst, is ornamented with a Bas relief of the Sacrifice of Abraham: two other Bas reliefs on the pilasters of the Temple, represent the Fall of our First Parents, and Moses with the Tables of the Law: three Angels in the Cupola of the Building, crown this sublime Composition. The design, colouring, effect, and an inexpressible simplicity and dignity, which reigns through every part of this Noble Picture, demonstrate it to be the production of the Chief of Painters. This Picture also embellished the Palace of the Duke of Sforza and was painted by Raphael on his leaving the School of Perugini (Raphael)|The Presentation in the Temple. The Virgin is presenting the infant Jesus to the High Priest, to be subject to the rite of the Ceremonial Law, accompanied by St. Anne and St. Joseph; the latter bearing the offering enjoined by the law. On the left of the picture, the Attendant of the High Priest is engaged in the solemn Service. The Altar, of white Marble, in the midst, is ornamented with a Bas relief of the Sacrifice of Abraham: two other Bas reliefs on the pilasters of the Temple, represent the Fall of our First Parents, and Moses with the Tables of the Law: three Angels in the Cupola of the Building, crown this sublime Composition. The design, colouring, effect, and an inexpressible simplicity and dignity, which reigns through every part of this Noble Picture, demonstrate it to be the production of the Chief of Painters. This Picture also embellished the Palace of the Duke of Sforza and was painted by Raphael on his leaving the School of Perugini]] réalisée par Raphael. [143]
  • 1819.04.08/ maison de ventes : Denew (James). Vente de l'œuvre décrite comme [[The Triumph of David. The King of Israel, accompanied by the Ministers of the Sanctuary in their splendid Vestments, appears, conducting with songs of triumph, the Ark of God, from the House of Obed Edom to Jerusalem. The introduction of the Divine Lawgiver, Moses, with the Tables of the Law, and the Angel Raphael, bearing a Sacred Banner over the Ark, shew the bold conception of the Artist. The dignity which marks the various characters, and the richness of Costume, in this grand Composition, cannot be exceeded. The whole presents a noble display of Art, worthy of that great Master. This Picture adorned the Ducal Palace at Modena, of which it formed the chief ornament (Raphael)|The Triumph of David. The King of Israel, accompanied by the Ministers of the Sanctuary in their splendid Vestments, appears, conducting with songs of triumph, the Ark of God, from the House of Obed Edom to Jerusalem. The introduction of the Divine Lawgiver, Moses, with the Tables of the Law, and the Angel Raphael, bearing a Sacred Banner over the Ark, shew the bold conception of the Artist. The dignity which marks the various characters, and the richness of Costume, in this grand Composition, cannot be exceeded. The whole presents a noble display of Art, worthy of that great Master. This Picture adorned the Ducal Palace at Modena, of which it formed the chief ornament]] réalisée par Raphael. [144]
  • 1819.04.08/ maison de ventes : Denew (James). Vente de l'œuvre décrite comme [[Venus and Pan. In the midst of a charming Landscape, the Goddess of Beauty is represented, in a reclining attitude, attentive to the sweet Notes of the God of the Woods, to whom she is presenting a Crown of Flowers, in token of approval: behind her is placed the Statue of Melpomene; and the various lovely Attendants of the Goddess heighten the interest of the Scene. This Picture, in sweetness of touch and breadth of colouring, reminds the Connoisieur of the time, when this Master studied in the School of Dominichino (N. Poussin)|Venus and Pan. In the midst of a charming Landscape, the Goddess of Beauty is represented, in a reclining attitude, attentive to the sweet Notes of the God of the Woods, to whom she is presenting a Crown of Flowers, in token of approval: behind her is placed the Statue of Melpomene; and the various lovely Attendants of the Goddess heighten the interest of the Scene. This Picture, in sweetness of touch and breadth of colouring, reminds the Connoisieur of the time, when this Master studied in the School of Dominichino]] réalisée par N. Poussin. [145]
  • 1819.04.08/ maison de ventes : Denew (James). Vente de l'œuvre décrite comme [[The Combat of Castel Franco. This well-known subject, the Battle of Castel Franco, which was the Birth Place of the Artist, is treated by him in such a masterly manner, as to cause the Picture to be esteemed among the finest of his compositions: the numerous characters in the different groups are drawn with wonderful spirit and accuracy; the countenance of each strongly expressive of their mutual hatred and murderous intent. The Picture proves incontestably the talent of Giorgione, who has always been considered as the loftiest Painter and richest Colourist of the Venetian School (Giorgione)|The Combat of Castel Franco. This well-known subject, the Battle of Castel Franco, which was the Birth Place of the Artist, is treated by him in such a masterly manner, as to cause the Picture to be esteemed among the finest of his compositions: the numerous characters in the different groups are drawn with wonderful spirit and accuracy; the countenance of each strongly expressive of their mutual hatred and murderous intent. The Picture proves incontestably the talent of Giorgione, who has always been considered as the loftiest Painter and richest Colourist of the Venetian School]] réalisée par Giorgione. [146]
  • 1819.04.08/ maison de ventes : Denew (James). Vente de l'œuvre décrite comme [[Head of the Suffering Saviour. In this charming Morceau are combined, all that richness of colouring and height of finishing, which mark the School of Lionardo da Vinci. The Artist appears to have exerted all the powers of his Mind and of his Pencil, on this Interesting Subject (A. Solari)|Head of the Suffering Saviour. In this charming Morceau are combined, all that richness of colouring and height of finishing, which mark the School of Lionardo da Vinci. The Artist appears to have exerted all the powers of his Mind and of his Pencil, on this Interesting Subject]] réalisée par A. Solari. [147]
  • 1819.04.08/ maison de ventes : Denew (James). Vente de l'œuvre décrite comme [[The Annunciation. The Virgin, in whose attitude and countenance every grace is displayed, is receiving the message of the Angel Gabriel, who points to the emblematic representation of the Divine Spirit. This Picture embraces all that is grand and interesting in the Art; in brilliancy of colouring and harmony of light and shade, it resembles the manner of Correggio (Ludovico Caracci)|The Annunciation. The Virgin, in whose attitude and countenance every grace is displayed, is receiving the message of the Angel Gabriel, who points to the emblematic representation of the Divine Spirit. This Picture embraces all that is grand and interesting in the Art; in brilliancy of colouring and harmony of light and shade, it resembles the manner of Correggio]] réalisée par Ludovico Caracci. [148]
  • 1819.04.08/ maison de ventes : Denew (James). Vente de l'œuvre décrite comme [[The Mystery of the Trinity. The Saviour of the World is represented, holding in his right hand an emblematic Representation of The Trinity, the left hand pointing to his own breast. The figure is full of that dignity, of which words are inadequate to convey an idea; and displays, with all the magic of the Art, that Divine Being who suffered for the sins of men. Lionardi da Vinci is justly considered as the greatest Painter of the Italian School. The choice which he made of his subjects, and the extraordinary labour bestowed upon them, are the reasons that we have so few of this Artist's works; which are therefore highly prized by those who are so fortunate as to possess them (L. Da Vinci)|The Mystery of the Trinity. The Saviour of the World is represented, holding in his right hand an emblematic Representation of The Trinity, the left hand pointing to his own breast. The figure is full of that dignity, of which words are inadequate to convey an idea; and displays, with all the magic of the Art, that Divine Being who suffered for the sins of men. Lionardi da Vinci is justly considered as the greatest Painter of the Italian School. The choice which he made of his subjects, and the extraordinary labour bestowed upon them, are the reasons that we have so few of this Artist's works; which are therefore highly prized by those who are so fortunate as to possess them]] réalisée par L. Da Vinci. [149]